UNIXtERSITY of CALIFORNIA PUBLICATIONS AMERICAN ARCHAEOLOGY AND ETHNOLOGY Vol. 2 No. 4 BASKET DESIGNS OF THE INDIANS OF NORTHWESTERN CALIFORNIA BY A. L. KROEBER BERKELEY THE UNIVERSITY PRESS .-JANUARY, 1905 #»«&':■«?> (A^^^5 ^A^;. UNIVERSITY OF CALIFORNIA PUBLICATIONS " tJ ^ DEPARTMENT OF ANTHROPOLOGY The publications issued from the Department of Anthropology of the University of California are sent in exchange for the publications of anthropological societies and museums, for journals devoted to general anthropology or to archaeology ancl ethnology, and for specimens contributed to the museum collections of the Department. They are also for sale at the prices stated, which include postage or express charges. They consist of three series of octavo volumes, a series of quarto memoirs, and occasional special volumes. GRAECO-ROMAN ARCHAEOLOGY. Vol. 1. The Tebtunis Papyri, Part I. Edited by Bernard P. Grenfell, Arthur S. Hunt, and J. Gilbart Smyly. Pages 690, Plates 9, 1903 Price, $16.00 Vol. 2. The Tebtunis Papyri, Part 2 (in preparation). EGYPTIAN ARCHAEOLOGY. Vol. 1. The Hearst Medical Papyrus. Edited by G. A. Reisner and A. M. Lythgoe (in press). AMERICAN ARCHAEOLOGY AND ETHNOLOGY. Vol. 1. No. 1. Life and Culture of the Hupa, by Pliny Earle Goddard. Pages 88, Plates 30, September, 1903 . . . Price, 1.25 No. 2. Hupa Texts, by Pliny Earle Goddard. Pages 290, March, 1904. Price, 3.00 Vol. 2. No. 1. The Exploration of the Potter Creek Cave, by William J. Sinclair. Pages 27, Plates 14, April, 1904 . . Price, .40 No. 2. The Languages of the Coast of California South of San Francisco, by A. L. Kroeber. Pages 72, June, 1904. Price, .60 No. 3. Types of Indian Culture in California, by A. L. Kroeber. Pages 22, June, 1904 Price, .25 No. 4. Basket Designs of the Indians of Northwestern California, by A. L. Kroeber. Pages 60, Plates 7, January, 1905. Price, .75 Vol. 3. The Morphology of the Hupa Language, by Pliny Earle Goddard (in press). ANTHROPOLOGICAL MEMOIRS. Vol. I. Explorations in Peru, by Max Uhle (in preparation). No. 1. The Ruins of Moche. No. 2. Huamachuco, Chincha, lea. No. 3. The Inca Buildings of the Valley of Pisco. SPECIAL VOLUMES. The Book of the Life of the Ancient Mexicans, containing an account of their rites and superstitions; an anonymous Hispano-American manuscript preserved in the Biblioteca Nazionale Centrale, Florence, Italy. Repro- duced in fac-simile, with introduction, translation, and commentary, by Zelia Nuttall. Part I. Preface, Introduction, and 80 Fac-simile plates in colors. 1903. Part II. Translation and Commentary. (In press). Price for the two parts $25.00 Address orders for the above to the University Press, Berkeley, California. Exchanges to be addressed to the Department of Anthro- pology, University of California, Berkeley, California. A. L. Kroeber, Secretary. F. \V. Putnam, Director. Digitized by the Internet Archive in 2011 with funding from The Library of Congress http://www.archive.org/details/basl^, « 23 24 25 26 C^^^ 27 28 |U8l 29 30 32 z:^ iCi. z\ a 35 36 ^ ^^ ^ 37 38 3d 40 ^^ Z^ "^T^f 42 43 44 ^ s .xz_ ^^^^^ ^^^-u^s^"^ 45 46 47 48 ^ir 49 50 52 jM^ S^ 53 54 55 56 [1191 120 University of California Publications. [Am. Arch. Eth. The sharp-tooth desigrn or vEniirpeLaa^ consists of right angled triangles, either singly or in combination, more usually the latter. The essential feature of this design is however not the right angle but the acute angle of the triangle. Figures 13 to 23 show the different forms. In figure 22 it is the two small trian-des at the ends of the Z-shaped figure which give the name to the design. In the design shown in figure 23 the name could have been applied only on account of the acute angles. Figure 115 shows a similarly shaped design-element used as a pattern within larger obtuse triangles. The vEreq !en or sitting design is another of the very common Yurok designs. Its various forms are shown in figures 24 to 34 and in figure 115. It will be seen that all these designs con- tain as element an oblique isosceles triangle. The reason of the application of the name "sitting" to these designs is not clear. It seems however that we have to deal with a spatial or verbal conception, not with the representation of any object. Figures 33 and 34 show two designs which are probably modern but to which the name sitting was given. The snake-nose design (vEleialekcoopern) is identical with the last. It is mentioned very much less frequently. Inasmuch as the ordinary name for the obtuse isosceles triangle among the Karok is snake-nose and among the Hupa rattlesnake-nose, it seems that the occasional occurrence of this design name among the Yurok must be attributed to the influence of these tribes. A case of this design is shown in figure 35. The waxpoo- design is shown in figures 36 to 44. The typ- ical element of this design may be described as a trapezoid the longer upper base of which is bisected by the apex of an inverted isosceles triangle. This design element, however, does not appear to be used in its isolated form, but always occurs either in combinations as in figures 36 to 39, or in distortions as in figures 40 to 44. The meaning of the name has not been ascer- tained ; it seems however to have some reference to ' ' the middle, presumably the bisection of the base of the trapezoid by the ' Occasionally called veniir. ^ Also called haxpoo. UNIV. CALIF. PUB. AM. PARCH. & ETH. VOL. 2, PL. 17. TobiU'CO and other Ijaskets. Yuifik. Vol. 2] Kroeher. — Basket Designs of N.W. California. 121 apex of the triangle. This is also a very frequent characteristic design. Figures 40 to 44 would seem to show that the trapezoid is not an essential element of the design and that any obtuse isosceles triangle whose apex is in contact with a horizontal line may be given this name. The design shown in figure 44 was called sitting as well as waxpoo. The waxpoo design is also shown in figures 116 and 117 in combination with other designs. The snake design (vEleialekeaa) consists of a progressive zigzag of alternately horizontal and vertical stripes. In accord- ance with the general trend of Yurok patterns, the horizontally extending portions of this zigzag are usually considerably longer than the vertical ones. In most cases the snake design is combined with the flint design in the manner shown in figure 119. Figure 45 shows it occurring independently. The design in figure 46 was also given the name snake. It might equally well have received one or two other names. In figure 47 the right angled zigzag stripe does not ascend but is alternately directed upward and downward, thus forming a band through the zone of ornamentation on the basket instead of rising diag- onally from the base to the rim of the basket. The triangles adjacent to this design do not form part of it. They were given the name sitting. The spread-hand or spread-finger design (okwEgetsip) is shown in figures 48 to 50. Its most usual form is the one it has in figure 48. It will be noted that all the figures contain a common element: the paired acute angles with vertical sides parallel. The foot design (umetsqaa), figures 51 to 57, has for its ele- ment a right angled triangle at the end of a bar or stem. Being a small design, it is rarely found singly, but its application in patterns varies considerably. Figure 52 is not uncommon. The form shown in 53 is also not rare. The form shown in figure 57 is fairly common and suggests a design found among the Maidu, Achomawi, and other tribes. Figure 116 shows the foot design in combination with waxpoo and ladder. The ladder design (viLqemvibqemaa, also vibqema) is shown in figures 58 to 63. In figure 58 the small squares were called lad- der. This occurrence and that shown in figure 63 demonstrate that Am. Arch. Eth. 2, 10. ■vZ^S- 57 58 59 60 Qz3c£bd]^c5 [^ 62 63 64 §5 66 67 O O O O ^c::^c^f^c^ 70 72 ^[>^> Vl/Ui. / /, / / 73 74 76 KImIt 77 78 79 80 m^m ^ ^ ^ DDOO D 00 81 82 83 84 fl22l 85 86 87 O O O iiiiii 90 /1//?^ 92 •jMyttAtUjte 93 ,|////>CiS. 94 95 96 97 ^ 98 99 !]□□[_ 101 102 103 lOO 1^ 104 /\AA/v'\/v^/^/^A'^\/^ ^f%^^ ^^ 105 oooo 106 107 IIIW lilMIIIIH J i:iii_„iiiii. 108 109 110 0(?(?(^ 112 [123] 124 University of California Publications. [Am. Arch. Eth. the elemental idea of this design name is the square or rectangle. In by far the j^reater number of cases, however, this element occurs only in combination. In these cases the characteristic feature is the step-like effect which gives the design its name. The Yurok ladder which leads into the pit of the house consists of a large slab or a log into which several steps have been cut. It is interesting to note that while this design obviously takes its name from a combination of elements in a pattern, the same name is also used for the elements occurring singly, when real- istically the name is inappropriate. Not uncommon is the elk design (umevibkaa), eases of which are shown in figures 64 to 70. These designs may in general be described as consisting of a rectangle placed on the middle of another about twice its length. Essentially therefore this design is very like the preceding ladder design, and to many designs either name might properly be applied. It may be noted that among the Karok and Hupa there is only one name correspond- ing to these two Yurok designs. It has not been possible to obtain an explanation of the reason for the use of this name. In figure 64 the rows of vertical bars are strictly only an adjunct to the design. The same may be said of the triangles in figures 65. Figure 68 might quite correctly have been named either sitting or waxpoo by other individuals. For figure 69 the name elk would hardly have been expected. This design would usually receive the name flint, snake, or possibly ladder. There is also no apparent reason why the design shown in figure 70 should have been called elk, as it bears no relation to any of the other forms of the design. The sturgeon-back design (qaxkwilee), representing the plates of the sturgeon, is shown in figures 71 to 75. Figure 71 shows what may be regarded as the most typical form. Whether the parallelograms in figure 75, which would ordinarily be called flint, are correctly named sturgeon-back, seems doubtful. Par- allelograms painted on the back of a bow, though arranged somewhat differently, have however also been called sturgeon- back. The okrekruyaa design, which may be translated crooked or zigzag, is rather common. A variety of its forms are shown in Vol. 2] Kroeher. — Basket Designs of N.W.California. 125 figures 76 to 83. It will be seen that its essential constituent is an angle. As in the ease of most other Yurok designs this usually occurs in repetition or combination, though not neces- sarily so. Figure 83 shows a pattern to which in most cases the name flint or waxpoo would be given. The name crooked was here no doubt applied to it on account of its zigzag outline. Fig- ure 80 was called both crooked and sturgeon-back. A very common design is called by the Yurok vEtseq !seq !oaa. The translation of this word is uncertain. It seems to be about equivalent to striped. The design consists of vertical bars or stripes. These may be attenuated to mere lines or shortened until they become small rectangles. Figures 84 to 90 show the different forms of this design. The grate-like lines of figure 64 were also given this name. Figure 90 is virtually the same design as figure 57, but occurs on another basket and was inter- preted by another woman. Figures 117 and 118 also show this design. In both these cases there is only a single stripe and it is not vertical. Somewhat less common is the design called vAnaanak. This also consists of parallel stripes or bars but their direction is diagonal instead of vertical. The meaning of this name is also not clear. This design sometimes constitutes a small patch at the bottom of a basket. Some of these occurrences may be property marks, irregularities in design being occasionally explained in this way. The vAnaanak design is shown in figures 91 to 94. The meaning of the design called by the Yurok vutsierau can also not be given. It consists simply of a narrow line. Sometimes the name is given to the ridge, one or two courses wide, of a strand laid on horizontally outside and encircling the basket. Such a case is shown in figure 95. While this pattern is very common, it is hardly a true design, and it is not impos- sible that the name may refer only to the technique of its pro- duction. A design called by the Indians vEtergerpuraa is shown in figures 96 and 97. The meaning of this name has not been ascertained. It is however evidently of spatial or geometrical significance, perhaps having reference to the joined apices of 126 University of California Publications. [Am. Arch. Eth. triangles or angles.* Another instance in which this design was found was on a basket showing a pattern identical with the abnormal snake design of figure 46. A design that is not uncommon, but is very limited in the scope of its employment, is the tattoo (opegoixket) design. This represents the tattooing on the chin of the women. It is found only on openwork basketry trays used as plates for dried salmon and similar food. Many of these trays are plain, but some con- tain four or five figures like that shown in figure 98, radiating from the center to the edge of the plate and produced by the use of black-dyed warp stems. All the remaining Yurok designs have been found only once and must therefore be regarded as much less typical than those that have been described. A band consisting of a double row of rectangles (figure 99) was given the name flying geese (q!eilekvelet) by an old woman. Figure 100 shows a design called owatsela, the small skunk or polecat. It probably represents the markings of the animal. A crab or crayfish design (qerLqer) is shown in figure 101. Figure 102 is a design called maggots (viekwELkwaa). Prob- ably the small white rectangles are to be interpreted as the maggots. Boxes of an approximately cylindrical shape are made by the Yurok from elk antlers for holding dentalium money, and of wood for larger objects. Such boxes are represented in a desigTi called vEtekwanekwcaa. It is shown in figure 103 : the rectangles represent the boxes. Figure 104 shows the elbow design, uperxkricenaa. Figure 105 shows another geometrical non-realistic design. It was called tsextselaa, spreading apart. This design was also given the name foot. A design known as vEtsepkwaa or mesh-stick, being a repre- sentation of the approximately rectangular flat pieces of elk antler used for measuring net meshes, was found only once as a basket design. It is shown in figure 106. The same name was however found applied once or twice to carved rectangular figures on the wooden paddles used for stirring acorn soup. * The design shown in figure 97 was called vEtiigerpEkwaa, ' ' small in the middle." Vol. 2] Eroeber. — Basket Designs of N.W. California. 127 A series of rhombi, which would ordinarily be called stur- geon-back, was once given the name kwerermetsaa, a chiton mol- lusk. This design is shown in figure 107. What was called a star design, haagetsaa, is represented in figure 108. A design called swallow is shown in figure 109. It is sup- posed to represent the tail. This name has been also found applied to a decorative figure carved as part of an acorn-soup paddle. A design representing the markings of a small red snake is shown in number 110. In this case part of the design was executed in red. The design shown in figure 111 was called orawoi, dove. Ordinarily such a design would be named waxpoo and vEtseq!- tseqloaa. It is possible that the information supplied in regard to this design and the two preceding may not be correct. The following names that were each found once, seem either to denote geometrical ideas or to be modifications of common designs. They are : A design called veret!, shown in figure 112. A design called veret Ikorem, consisting of the horizontal bar in the middle of figure 54. A design called veniirpeLaa upapelek, large ( ?) sharp-teeth, shown in figure 113. The same design executed in smaller size on the same basket was called okegotir, crossed. A design, shown in figure 120, consisting of two right tri- angles in contact at their aeutest angles, was called kiwagik vElereq !en, sitting in the middle. The term veniir okegaama, "sharp different" or "sharp varying," was applied to the sharp-tooth design shown in figure 18, and the term vEnegetsiq !, interpreted as sleeping together, to the ladder design of figure 63. A modern design, to which no name was given because it was of recent invention, is shown in figure 114, in order to illus- trate its difference in character from the older designs. Figures 115 to 120 show patterns consisting in each case of two or more design elements. These are : ^^ ^^ #^'^^^<^'% —^2-^ 113 115 '-^^r^ ^ ^^ 117 118 119 ^ 121 ■22 123 ' le^i^At "^T'Z^ \AAAA .sr%^ ^ -^ 125 126 127 129 130 131 \7 \ \ A 133 134 135 A 137 138 139 Hf [IM] X7 V ^ Z\ 7 ^-7 \7 Zs zs z_ 142 ~7 K - 144 145 146 ^^^ x^Ex- 148 \! i:^ 149 150 xt'^VA^ K- 152 153 154 155 ?^ 156 _rLn_rLj /=^ ^5^ rfg^Z^ 157 158 160 ^SZ^AAAA. 161 162 163 164 □DDDDDQ 165 166. 167 168 [129] 130 University of California Publications. [Am. Arch. Eth. Figure 115, sharp-tooth and sitting. Figure 116, waxpoo and foot and ladder. Figure 117, waxpoo and vEtsep !tseq !oaa. Figure 118, flint and vEtseq !tseq !oaa. Figure 119, flint and snake. Figure 120, flint and kiwagik vElereq !en. Basket design names are the only names applied by the Yurok to the carved, engraved, or painted figures, predomina- tingly of triangles, on wooden acorn-soup paddles, elkhorn spoons and purses, and network and skins. This decoration, which is never realistic, is not made with any purpose of signi- fication and usually is nameless; but when a name is applied to it, it is either descriptive, such as "scratched," or a name familiar from baskets, such as sitting, sharp-teeth, sturgeon-back, crooked, or mesh-stick. KAROK DESIGNS. The Karok designs are very similar to those of the Yurok, although their names sometimes do not correspond equally. They will be taken up in the order of the Yurok designs.* The Karok oteha'hits or flint-like design has for its element the parallelogram. It is identical with the Yurok flint design. Figures 121 to 124 show different forms. The design shown in figure 124 was called oteha'hits tunueits, small flint. The oblique parallelogram is replaced by a rectangle more often among the Karok than among the Yurok. The tata'ktak design among the Karok corresponds to the Yurok sharp-tooth. The etymology of this word is not known ; it seems to be derived from an adjectival or verbal root. Objects with a row of notches are so called. A variety of the forms assumed by the tata'ktak design may be seen in figures 125 to 133, as well as in figures 185 to 187 where this design occurs in combination with others. A design like that shown in figure 151, which is ordinarily called spread-finger, was once named tata'ktak. This interpretation is very natural, as the elements of the spread-finger design always constitute the tata'ktak figure. ^ Karok names of baskets: cooking or eating basket, large or small, asip; higher basket for trinkets, cipnuk; hat, apxan. Karok names of basket materials; hazel, asis; pine roots, carum; xerophyllum, panyura; adiantum, yiimarekiritap; woodwardia, tiptip. Vol. 2] Kroeber. — Basket Designs of N.W. California. 131 The apcuniu'fi or snake-nose design corresponds to the Yurok sitting design. A number of forms are shown in figures 134 to 141, and in figure 184. The species of snake denoted by apeun is not known. The apxanko'ikoi design corresponds to the Yurok waxpoo. The typical form is seen in figure 142. Figures 143 to 145 show forms that are unusual among the Yurok. It will be seen that figures 143 and 144 lack the isosceles triangle, the bisection by whose apex of the longer base of the trapezoid appears to give the Yurok design its name. The Karok name for the design contains the word for basketry cap, apxan. Koikoi, the second part of the word, is said to mean up and down, or progressively back and forth, or the successive placing of one thing against another. Figures 146 and 147 show forms of this design to which the Yurok would in most cases apply the name of the elements constituting them, sitting. The relation of these pat- terns to the typical forms of the design is however obvious. Fig- ure 185 shows the apxanko'ikoi design in combination with the tata'ktak. These four designs — flint, tata'ktak, snake-nose, and apxan- ko'ikoi — are among the commonest of Karok designs, as their equivalents are among the Yurok. The design called vakaixara, long worm, shown in figures 148 and 149, corresponds exactly to the Yurok snake, even to its usual association with the flint design. An entirely different form is shown in figure 150. This appears to be equivalent to the rare Yurok maggot design. The kixtakpis or kixtapis design of the Karok corresponds in shape to the Yurok spread-finger or hand design. A similar significance has been obtained for the Karok word, but others say that the fingers are used only in illustration, the meaning being long and pointed, though not necessarily sharp. It is pos- sible that the Yurok word okwEgetsip also refers to the fingers only by implication. This design is shown in figures 151 and 152. The crow-foot design, anatcfis, corresponds to the Yurok foot design, especially to that variety of it shown in figure 53. A common Karok design is the cut-wood, en i'kiviti. This is the equivalent of the Yurok elk and ladder designs and there- 182 University of California Publications. [Am. Arch. Eth. fore needs no further characterization. It is shown in figures 153 to 160, and again in figure 184. The ikurukur design is the equivalent of the Yurok okre- kruyaa; apparently the name is to be translated stirred, which may be a way of expressing the spatial idea zigzag. It is shown in figures 161 to 163. Another form is like the Yurok variety in figure 79. The Karok xurip or striped design is the equivalent of the Yurok vEtseq !seq !oaa. It is shown in figures 164 to 166 and 186 to 187. The design corresponding to the Yurok vAnaanak seems to be called among the Karok kutsisiva'c, spotted.^ An instance of this design is shown in figure 167. Another form is identical with the Yurok form shown in figure 93. A single line or ridge encircling a basket, called among the Yurok vutsierau, is called by the Karok uc-acip-rovahit. This is said to mean to put something long around, and in basketry may refer to the technique rather than to the design. A portion of a design given this name is shown in figure 168. A design similar to the ikurukur design was a nuuibc!- of times given the name xasi'ree. The meaning of this term could not be obtained, which is evidence that the word is descrip- tive and not the metaphorical application of the name of an object. This design seems to differ from the ordinary zigzag or crooked design in that when it constitutes a separate zigzag band it appears to be composed of broken lines, and that when it follows an outline of triangles, it is detached from them a little distance. In all the cases obtained there is thus a broken or openwork effect.- (Figures 169 to 172.) There seems to be nothing among the Yurok corresponding to this design name. The esivaci or snail-back design, said also to mean to carry, is another that is not found among the Yurok. Its element seems to be an acute or right angled triangle. It is shown in figures 173 and 174. The two designs in figure 174 were found on the same basket and were called by the owner of the basket both tata'ktak and snail-back. ' The last part of this word has a resemblance to the name of the snail- back design, Ssivaci. ' That this is the essential feature of the design is made almost certain by the fact that xas has recently been found to mean separated. Vol. 2] Kroeher. — Basket Designs of N.W. California. 133 The deer-excrement design, ip'af. is also not found among the Yurok, but occurs among the Achomawi and Wintun. Its element is a small rectangle used in combination. It is shown in figures 175-177. The design in figure 177 was also called rabbit-excrement, niv 'af . A design found only once is shown in figure 178. It was called iyu'uphit, eyes, strictly, like eyes. A modification of the snake-nose design consists of two hori- zontal rows of the isosceles triangular elements. The design is then called apcuniu'fi upcantu'nvahit, snake-noses on top of each other, or snake-noses together. Once the form apcuniu'fi upsan- tunvaramu was given. Figures 179 to 181 show the modified snake-nose design. It will be seen that the isosceles triangles may be put simply above one another or joined at their apices or along their bases. In the latter case a diamond or rhombus results. It is in this way that the diamonds in figure 184 are to be interpreted as snake-noses. Figure 182, which is the same design as 181, was called by an old woman tata'ktak tcivi'tahits. Teivi'tahits is said to be used of small objects in a row. A pattern like the eye pattern of figure 178, ascending diago- nally through two flint-parallelograms, was once called snake- nose ikurukur. This name shows that each of the rectangles in the design was in this case considered as consisting of two tri- angles joined at the bases. Figure 183 shows a design called tata'ktak eviyi'hura, tatak- tak ascending, or thrown or moved up. Figures 184 to 187 show combinations of designs. These are : Figure 184, en i'kiviti and apcuniu'fi. Figure 185, apxanko'ikoi and tata'ktak. Figure 186, xu'rip and tata'ktak. Figure 187, xi;rip and tata'ktak. HUPA DESIGNS. Since the drawings for this paper were made. Dr. P. E. God- dard has published a description of Hupa basket making, includ- ing an account of the designs and their names, in his general paper on the Life and Culture of the Hupa referred to. His #-"##'# '^^y^^^^//^ 170 171 172 yoem^ 173 [>E>[>[>I>0[> i>i>j>j>j>rNr 174 tafUlaTkr 175 176 177 178 ...fc^iPi^i^i^ii^i. y^y^ y^y^ 179 oooo ^^xxx ^WXXSOA^^ 181 182 ^A-^ a "^^ ^11^ 185 186. 187 189 190 '.^=^ 191 192 193 ^ ^/V ^ r^^sj-J-^-j^^ IM 196 [134] z^z^z^ 197 198 Z\ 199 20() 201 202 (Fi^Q°(r^^:^ 203 204 P^e^ZISj^ 205 206 207 203 OOOOO .ilJllJlli 209 210 D D DODOO DODDa 211 212 213 214 215 216 217 218 219 220 MdSe 2 221 222 223 [m] 136 University of California Publications. [Am. Arch. Eth. illustrated description of the vai'ious classes of baskets and of the arrangement of their decoration shows the practical identity of Hupa and Yurok basketry, several of the pieces he figures being in fact of Yurok origin, and has rendered any lengthy treatment of the same subject unnecessary in the present paper. His account of the use and treatment of materials is particu- larly full, and the material previously presented in this connec- tion must be regarded as merely supplementary of his more exact observations. Dr. Goddard names and figures a number of Hupa designs, some of which were not obtained by the author. In the eases where the same names were secured, Dr. Goddard 's orthographical rendering has been adopted, except that his close and u are represented without diacritical marks. Where he does not give a design name, it has been rendered according to the phonetic system employed for native names in this paper. So far as the Hupa designs can be paralleled with Yurok designs they will be taken up in the same order. The common design whose elements are parallelograms is called by the Hupa niLkutdasaan, on top of each other. While this design itself is generally identical in shape with the corre- sponding Yurok and Karok flint designs, its name is altogether different. Several forms are shown in figures 188 to 191. Inas- much as the name has reference only to the relative position of the component elements, and not to their shape, it is perfectly applicable to the pattern shown in figure 191, though this design corresponds much rather to the Yurok elk or ladder than to the flint design. In one case a design consisting of two oblique parallelograms was called by a Hupa woman nesetaxkyuuLon, long mark. According to Dr. Goddard the second part of this word means weave or woven. This design is shown in figure 192. The Yurok sharp-tooth and Karok tata'lctak designs are called by the Hupa tcaxteeuiieL. Occurrences are shown in figures ]93 to 196. According to Dr. Goddard this word means points sticking up and is applicable to a series of projecting angles. The name was obtained, however, for the design reproduced in figure 194, which consists of an isolated triangle. Dr. Goddard gives as the name of the single right triangle tcesLiilalwiltcwel, UNIV. CALIF, PUB, AM. ARCH, & ETH, VOL, 2, PL. 18. "T^r — ,- -V \V.V. mf'M ':.^feS:.ji,i-.-;;a.i,gi:;ivi;. Hgs. ], '2, o. Oj)eii\vork ;nid sifting; trays. Viu'ok. Fi<;-. 4. Diinee basket. Yurok. j^. Vol. 2] Kroeher. — Basket Designs of N.W. California. 137 said to mean sharp and slanting. The design shown in figure 195 was called miskaxe teaxtceuiieL with niLkutdasaan. A design identical with that of figure 196 is shown in figures 200 and 202, which were called swallow-tail. While this is per- haps the more characteristic name, the acute angles in the figure make teaxtceuiieL also applicable to it. Dr. Goddard notes the use of both names for this design. The obtuse isosceles triangle is called by the Hupa nearly as by the Karok, rattlesnake-nose, Lutfmintewut^'. Two patterns are shown in figures 197, 198. Dr. Goddard mentions also LuifmintcwuM' niLkutdasaan, rattlesnake noses on top of each other, as the name of a pattern of isosceles triangles, which cor- responds with the Karok name apcuniu'fi upeantu'nvahit, snake noses on top of each other. The Yurok waxpoo, the Karok apxanko'ikoi design is called by the Hupa tea, or tcax-hultcwe (=tca-wiltcwel?). An instance is shown in figure 199. The meaning is unknown. Tea and the first part of tcax-hultcwe appear to occur also in teax- tceuiieL; hultcwe in mi-kinily-ultewe and perhaps in teesLinal- wiltcwel. According to Dr. Goddard the tea design is usually so arranged that a series of figures encircles the basket, when the name LenaLdauw is given it, signifying ' ' it encircles. ' ' The swallow-tail design, testcetcraikye in Hupa, has not been found among the Karok and only once or twice among the Yurok. It appears to be not uncommon among the Hupa. A typical form is shown in figure 200. The pattei'n shown in figure 201 is from the same basket and was given the same name, but is so unrelated in form that a mistake seems likely. Figure 202 shows the elements found in figure 200 arranged in a continuous zigzag pattern. The design shown in figure 53 as a Yurok foot design is usu- ally called by the Hupa frog hand, tcwal mila. This name was also found applied to the design shown in figure 204, but the connection between this form and the usual one is not clear. The typical form of the frog hand design is again shown in figure 203, though in this case it was given the name spread- hand, mila analeLi. It thus appears that the Yurok foot design Am. Arch. Eth. 2, 11. 138 University of California Publications. [Am.Arch. Eth. corresponds to both the Hupa frog hand and spread-hand designs, while the Yurok spread-hand design is the equivalent of the Hupa swallow-tail. The Yurok elk and ladder, and the Karok cut-wood designs, are found among the Hupa in the forms shown in figures 205 to 208. To the first two of these, which were obtained from one individual, the name LenouLon was given. To the two others, which were obtained from two different individuals, the name LenoikyuuLon w^as applied. According to Dr. Goddard Le-, the first element of these names, means joined or tied together, and is no doubt used because the design extends in a continuous pattern around the basket; while -kyuuLon means, as stated before, weave or woven. The sturgeon-back design, Lokyomenkontc, was found once among the Hupa and shows in this ease the same shape as the typical form of the Yurok design of the same name. It is repro- duced in figure 209. The equivalent of the Yurok crooked or zigzag design is called by the Hupa naikyexoloxats. A form is given in figure 210. The design shown in figure 81 was also called by this name. The Yurok vEtseq !seq !oaa, the design of vertical bars, is called by the Hupa kinesni. It is shown in figures 211 and 212. Presumably the meaning of this design name is, as among the Yurok and Karok, striped. The design of slanting stripes called by the Yurok vAnaanak is called by the Hupa kinilyu. This was translated spotted, but this rendering may be inexact. An instance is shown in figure 213. In figure 189 the diagonal stripes were called mikinily- ultcwe. In addition to the designs here figured. Dr. Goddard gives the following. Mikyowe mila, grizzly bear hand, a parallelogram with pro- jecting acute angles along the oblique sides. "They come together," LekyuwineL, seems to be trapezoids superimposed. Qowitselminat, worm goes round or worm's stairway, is a series of rectangular parallelograms superimposed so that each higher one projects to the right of the one below it, the whole being bordered by a double line conforming to the outline. Vol. 2] Kroeher. — Basket Designs of N.W. California. 139 Oblique lines running through oblique angled parallelograms are called niLkutdasaan, one on the other its scratches. COMPAEISON OF YUEOK, KAEOK, AND HUPA DESIGNS. On the whole the designs of the Yurok, Karok, and Hupa correspond rather closely. Still there are a number of discrep- ancies in design names. The Yurok and Karok flint design, which takes its name from the individual parallelogram, is called in Hupa on top of each other, the name being given not on account of the shape of the elements but on account of their combination into a pattern. The difference between Yurok snake and Karok long worm is of course slight. The same may be said of Yurok ladder and Karok cut-wood, since the ladder consists of a log or slab into which steps are cut. It should be noted however that the Karok cut-wood and the corresponding Hupa design have two equivalents in Yurok : ladder and elk. The design consisting of four or more triangles at the end of vertical stalks, those in the middle being higher than those at the two sides, is called among the Yurok foot, after the indi- vidual elements composing the design ; among the Karok and Wishosk crow-foot, after the design as a whole ; and among the Hupa frog-foot. The Hupa however, apply to the design a second name, namely spread-hand. This name is found also among both Yurok and Karok, but applied to a design consisting of four or six vertically projecting acute angles. This design in turn is found also among the Hupa, who have given it the name swallow-tail. This name, finally, has not been found among the other tribes, except for a few eases among the Yurok. This is a characteristic instance of the degree of variability of design names among the northwestern tribes. All the designs so far found among the Yurok, Karok, and Hupa are given in Table I, which is arranged so as to show the design names that correspond among the three tribes. It will be seen that the greater number of names found in one tribe but missing in another, are names that are rare even where they do occur. Some discrepancies, however, will be noted also among the more common names, although, as previously stated, all the designs themselves are common to the three tribes. Of 140 University of Calif omia Fiiblications. [Am. Arch. Eth. the Yurok desigms found more than once, Karok lacks five: sturgeon-back, tattoo, vEtergerpuraa, elk, and sitting; but of these the first three are not very common even among the Yurok, while the elk and sitting are both second names for designs whose other names, snake-nose and ladder, have Karok equiva- lents. Of Karok designs found more than once, the Yurok lacks only deer-excrement, snail-back and xasiree. Hupa, so far as now known, lacks nearly the same Yurok design names as Karok : snake, sturgeon-back, vEtergerpuraa, elk, and sitting. The diflference in the number of design names among the three tribes is probably only apparent and owing to the fact that inquiry has been fuller among the Yurok than among the other tribes. Omitting the names found only once, and the varia- tions of the common names, there were found among the Yurok sixteen, among the Karok fourteen, and among the Hupa, includ- ing the designs given by Dr. Goddard, about an equal number of characteristic common tribal design names. Vol. 2] Kroeber. — Basket Designs of N.W. California. 141 TABLE I.— EQUIVALENT DESIGN NAMES. The corresponding Yurok, Karok, and Hupa names of the same figure are on the same line. YUROK flint sharp-tooth sitting; snake-nose waxpoo snake spread-hand foot ladder; elk sturgeon-back okrekruyaa vEtseq ! tseq ! oaa vAnaanak vutsierau vEtergerpuraa tattoo flying geese* dove' crab' maggots' box' elbow' spreading' mesh measure' chiton mollusc' star* swallow red snake' skunk' ^ KAROK flint-like tataktak snake-nose apxankoikoi long worm spread-hand crow-foot cut-wood ikurukur xurip kutsisivac ucaciprovahit' (?) xasiree snail-back deer-excrement rabbit-excrement' eye-like' ^ HUPA. on top of each other; long woven' points sticking up rattlesnake-nose tcaxhultcwe, tea' swallow-tail frog hand; spread-hand' LenouLon, LenoikyuuLon sturgeon-back' naikyexoloxats kinesni' kinilyu' WISHOSK DESIGNS. The names of the designs on a few Wishosk baskets seen were obtained, as well as the Wishosk names of a few sketches of Yurok designs. Most of the names are untranslatable. Some may be descriptive terms instead of standard design names. They are given for what they are worth. They are : ' Found once. ' A few variations of standard designs, such as ascending tataktak and snake-noses on top of each other, are not included. 142 University of California Publications. [Am. Arch. Eth. Yurok foot, as in figure 53, but larger, with six to eight stalks on each side : Wishosk gatsireweliLe or sisgoptele welibel, crow foot. Yurok sharp-tooth : Wishosk laget. Yurok sitting, as in figures 27, 135 : Wishosk dutematho. Yurok vEtseq !tseq !oaa : Wishosk tciruratcgat. Yurok sturgeon-back or Karok flint, as in figures 72, 123 : Wishosk gavoyahati. Yurok flint, as in figure 6: Wishosk wa'sat, put on top, or ritve wa'sat, two put on top. Yurok elk, as in figure 66 : Wishosk ritvelet, two ? Yurok waxpoo, like the elements in figures 36, 142, but in three tiers like figure 146 except that the trapezoids are solid : Wishosk rikweritcag' atgat, three 1 Yurok waxpoo, like figure 37 : Wishosk gidacedariL or gidace- dariL dudematho, said to mean grown up or full blown. Long horizontal trapezoids on top of each other: Wishosk datherowaLet, said to mean straight across horizontally. Short vertical bars at the ends of these trapezoids : Wishosk rakdathaligwalat, said to mean beginning to grow. NORTHEASTEEN WINTUN DESIGNS. The following information as to the baskets and design names of the Wintun of the McCloud river at the extreme northeastern end of the territory of the stock and in contact with the Acho- mawi or Pit River Indians, was obtained, together with the speci- mens to which it relates, by Professor John C. Merriam and is presented through his courtesy. Typical baskets of this branch of the Wintun are shown in Plate 21. In general they are of the northwestern type. The weaves are the same except for the different method of over- laying described, the shapes and patterns not very different, and the materials are largely identical. The warp is of willow in place of the northwestern hazel. ^ For conical carrying bas- kets poison oak, rhus diversiloba, is also used. The woof is of roots of yellow pine, pinus ponderosa. The overlaying materials ^ McCloud river Wintun names of baskets : puluk, large cooking basket ; dausep, small shallow cooking and drinking basket; kolom, small deeper basket; kawi, mortar basket; an'kapis, conical openwork carrying basket; an, seed-beater; tekes, flat tray-shaped basket. Vol. 2] Kroeher. — Basket Designs of N.W. California. 143 are the same as in the northwest, xerophyllum, adiantum, and alder-dyed woodwardia. It is possible that additional materials may be used to produce patterns. The hat shown in Plate 21, figure 3, resembles a Modoc more than a Yurok hat in shape, pattern, and softness. The warp appears to be of roots instead of twigs ; it is said to be grass, admitted to be an unusual mate- rial. The woof at the center or origin of this hat is of twine, as in Modoc hats. In part the design names collected by Professor Merriam corroborate those given by Dr. R. B. Dixon from the upper Sac- ramento river Wintun ;^ others are new. The water-snake design, shown in figure 214, agrees with the form given by Dr. Dixon. The diamond-shaped rattlesnake- head design shown in figure 215 in continuous pattern is also given by Dr. Dixon. Figure 216, a row of tri- angles, middle of base on apex, called sucker-tail, is also practically ident- ical with the Dixon sucker-tail design. The flying geese, figures 217 and 224, are somewhat different from the Dixon design, but there is an under- lying similarity in pattern effect. Fig- ure 218 shows leaves. A more typical form is said to consist of obtuse isosceles triangles with their bases in a row. Dr. Dixon shows rows of triangles on each side of a diagonal, which he calls ' ' leaves strung along. ' ' ' Basketry Designs of the Indians of Northern California, Bull. Am. Mus. Nat. Hist., XVTI, I, 17, 1902. 144 University of California Publications. [Am. Arch. Eth. A bird's breast design is shown in figure 219. It consists of a band of diagonal stripes. Both in form and name this sug- gests the Pit River meadowlark neck design.^ Figure 225 shows a design that is called lizard foot or track. A different combination of the elements constituting this design was found by Dr. Dixon called bear-foot.- Figure 220 shows what was called a tribal design, taken from the woman's cap mentioned. Figure 221 shows the arrow point design. Figure 222 is the quail-crest design. Figure 223 represents a form of what is called the zigzag design. A raft design, not figured, is square or oblong, containing about two horizontal dividing lines. A navel-string design on a basket for preserving a child's navel-string, also not figured, consists of vertical parallel bars or stripes. SINKINE DESIGNS. The Athabascans of lower South fork of Eel river and of the neighboring coast region seem to call themselves Sinkine. In the totality of their culture they are as near the Yuki and northern Pomo as they are to the Hupa and Yurok. Their bas- ketry, however, is distinctively of the northwestern type, though very poorly made. The materials include hazel, redwood roots, maidenhair fern, woodwardia fibres dyed with alder, and xero- phyllum; and coiled baskets are not made. These Indians are fond of introducing black radiating stripes in all their open- work by coloring the warp, a method only occasionally practiced by the Yurok. Much like the northern Wintun and probably Shasta, the Sinkine tend to certain minor differences in form of their baskets and pattern arrangements from the Yurok, Karok, and Hupa. Large baskets have somewhat more contin- uous curve and flare in profile than among the tribes of the north, and the edge is more often strengthened by a thick rod. The acorn meal sifter is shallowly concave in place of flat as with the Yurok and Karok or somewhat conical as with the ' Dixon, op. cit., p. 15. ' Ibid., p. 18. UNIV. CALIF, PUB, AM. ARCH, ^ FTH, VOL. 2, PL. 19. Various baskets. Figs. 1, 2, 4, 5, 0, Yurok. Fig. 3, Karok. fVo- Vol. 2] Kroeher. — Basket Designs of N.W. California. 145 Hupa. Openwork trays are slightly deeper than among these tribes. The patterns are inclined to nm in a large horizontal zigzag. A design of a continuous series of angles, either acute or oblique, is called nai^gos. A pattern of alternately black and white small rectangles is called tees 'an or tes'an, which is translated patch. Vertical stripes or bars have the name tcinisnoi, which is dialectically equivalent to the Hupa name of this design, kinesni. COMPAEISON OF BASKET DESIGNS IN NOETHERN CALIFORNIA. Before proceeding to a comparison of the basket design names of California, so far as they are known, it is desirable to discuss briefly the geographical relations of techniques and of pattern arrangements. As between the two chief modes of weaving that are cus- tomarily distinguished in western North America, the twined and the coiled, twined weaving has perhaps a wider distribution in California, but coiled weaving is the principal and more characteristic technique of the greater number of groups. The tribes of northernmost California, both east and west, practice only twined weaving. South of the Yurok, Karok, and Hupa the Wailaki are the first group that make coiled baskets. The Indians who adjoin them on the north class them as coiled basketry makers, while at Round Valley, where they now live in contact with Yuki, Porno, Maidu, and other stocks that chiefly make coiled baskets, they are looked upon as workers in twined weaving. The Wailaki baskets in the Museum of the Depart- ment of Anthropology are divided between the two techniques; and of two in the American Museum of Natural History one is coiled and one twined. The baskets of the Shasta and Chima- riko were undoubtedly twined. The northern Wintun of the upper Sacramento and McCloud rivers make twined baskets exclusively, as those of Trinity river almost certainly did. This however must not be supposed to apply to the entire Wintun stock. The southern Wintun east of the Porno make coiled bas- kets. How far north in the territory of this family the practice of making coiled baskets extends is not certain. Coiled baskets were made on Stony creek. The Achomawi, the Pit river basin 146 University of California Publications. [Am. Arch. Eth. Indians, according to Dixon made only twined baskets. The Yana work is twined. The Klamath Lake and Modoc Indians of the head waters of the Klamath river also use the twined technique exclusively. South of these tribes coiled work was found and everywhere predominated except for larger and more specialized bas- kets. Among the Pomo twined weaving was relatively more important than among other tribes that employed the coiled style ; but even here the smaller and more characteristic baskets are coiled. In regard to the grouping of designs in patterns on Cali- fornia baskets the following arrangements must be distinguished : First, horizontal, either in continuous bands or in rows of figures. Second, vertical or radiating. Third, diagonal or spiral, according as the basket is deep or flat. Fourth, zigzag, or diagonal alternately to the right and left. Fifth, in blocks, where a compact cluster of designs or a single figure occupies the greater part of the basket visible in one view. These terms have reference to the appearance of the ordi- nary basket seen from the side. In the case of a flat, tray-like basket, a horizontal arrangement would consist of circular bands, a vertical pattern would be radiating, a diagonal one spiral, and a zigzag one star or net-shaped. In the baskets from the northwestern region the preponder- ating tendency is a horizontal one. The ordinary baskets for purposes of cooking or eating, and the hats, show in most cases a single decorated strip extending around the basket a short distance below its rim. In the case of caps there is generally an additional simple subsidiary design at the center. This hori- zontal decorative area may consist of the same figure or group of figures three or four times repeated in the circuit of the bas- ket, or of a more simple and. more continuous pattern. The fig- ures may be repeated in part above or below the main design zone. Ordinarily the zone does not take the form of a distinct band of the sort that is so common on the Yokuts and larger Vol. 2] Eroeber. — Basket Designs of N.W. California. 147 Porno baskets. Within this horizontal zone of decoration the lines of the pattern sometimes run vertically, but more usually, in connection with the common parallelograms and triangles, diagonally. A secondary tendency in the general pattern disposition of northwestern baskets is a diagonal arrangement. This is found chiefly in trinket and storage baskets. These are about equal in height and diameter, so that in their case the style of decora- tion which is confined to a zone near the rim would leave the greater portion of the surface of the basket unomamented. The diagonal arrangement allows the design to be carried without difficiilty from the bottom to the top of the basket. The cooking baskets and hats are considerably lower than they are wide, so that a single horizontal zone of decoration sufficiently occupies the visible surface. Other methods of distributing the pattern are rare in bas- kets of northwestern California. A vertical ornamentation is occasionally found in small baskets and a zigzag arrangement on large ones. The Achomawi baskets are made in the same general style as those of the Yurok and Hupa. The unadorned brown, the nat- ural color of the roots employed for the woof in most north- western baskets not intended for purposes of display, is how- ever apparently not used among the Achomawi. The charac- teristic Achomawi basket, even when intended for carrying or cooking, has its entire surface overlaid with xerophyllum grass, which by the northwestern tribes is used to such an extent only for caps, trinket baskets, and others in which the ornamental purpose is at least equal to the useful one. The alder-dyed red of the northwestern region is also absent from baskets of the Pit river region. A black, apparently the same as the maiden- hair fern fibre of northwestern California, is used by the Acho- mawi for making their designs on the white ground color. Some- times a dyed black is used. The bottom of some Achomawi bas- kets is left in a natural brown without xerophyllum overlaying, but this is not always done. The baskets from this region are generally somewhat higher in proportion to the diameter than the comparatively shallow 148 University of California Publications. [Am. Arch. Eth. baskets characteristic of the northwestern region. The bottom of the baskets is also squarer, the sides meeting the flat bottom more nearly at an angle with a very short curvature, while in the northwestern baskets the curving bottom runs very grad- ually into the sides. Nevertheless on the whole Pit river bas- kets and those from the lower Klamath region belong to the same type. In the arrangement of designs, however, the Pit river and northwestern baskets differ fundamentally. The most common arrangement in the Pit river region is the spiral one. Zigzag patterns are also common. Block patterns, or single figiares, which are nearly wanting in the northwest, also occur. On the other hand the horizontally arranged patterns of northwestern California occur rarely. The basketry of the Yana, who are almost extinct, is very little known. Dr. Dixon has however described two pieces. They seem not very different from Achomawi baskets, being twined and overlaid with xerophyllum. Their designs also suggest the Pit river designs.' The baskets of the Modoc, and of the Indians often loosely called Klamath Indians, the two tribes who constitute the Lutu- ami stock, resemble in many ways the northwestern and Acho- mawi baskets, belonging to the same twined overlaid type. Both warp and woof of the Lutuami baskets are however of tule in place of tree twigs and roots, resulting in a more flexible basket. The basketry hats are also higher and flatter than those of the northwestern Indians besides being begun with woof of string. The pattern arrangement on the Modoc-Klamath baskets is different from the characteristic northwestern arrangement. While frequently horizontal, there is a distinct tendency to defined bands. The pattern arrangement of hats resembles that of Achomawi baskets, being usually zigzag or diagonal. The northern Wintun baskets described by Dr. Dixon and in this paper stand nearly as close to the Achomawi and Lutu- ami baskets as to the Yurok-Karok-Hupa. They resemble the Achomawi baskets in being less flat than the northwestern bas- ' E. B. Dixon, op. cit., p. 19. Vol. 2] Kroeher. — Basket Designs of N.W. California. 149 kets and in that their ground color is more often in overlaid white than in the natural color of the root fibres of the woof. They also lack the characteristic horizontal design-zone of the northwestern baskets, but agree with them in showing in the great majority of cases either a diagonal or a horizontal arrange- ment, although the vertical, the zigzag, and the block arrange- ments are also found. The elements of the designs are for the most part equivalent to northwestern design elements. The Shasta seem to have made comparatively few baskets and these resembled the Yurok and Karok baskets of poorer finish. Most of the few baskets that can be regarded as typically Shastan show a simple pattern of a band of vertical bars. Among the few surviving Sinkine, the Athabascans of South fork of Eel river, north and west of the Wailaki, baskets are altogether northwestern in type, though crudely made. It is noteworthy, however, that in the patterns there is a distinct tendency toward a zigzag arrangement. In the region where coiled basketry predominates, compris- ing the remainder and by far the greater part of the state, three main types of pattern arrangement may be distinguished, which may be called the Maidu, the Southern, and the Porno. It is hardly necessary to say once more that this classification has nothing to do with materials, technique, or texture. The Maidu baskets illustrated and described by Dr. Dixon show most commonly a zigzag arrangement. Second in import- ance is a diagonal arrangement. Horizontal distribution of designs is very rare and the vertical or block arrangement still more so. The northern Moquelumnan or Miwok baskets in the American Museum illustrated by Dr. Dixon, show a preponderating hori- zontal arrangement, and secondary to this is a vertical arrange- ment of designs. The characteristic Maidu diagonal and zigzag arrangements seem to be rare. This fact is noteworthy because the Moquelumnan arrangement is that of the southern basketry, so that the Maidu type of pattern arrangement would seem not to extend southward beyond the limits of the stock, and alto- gether to be limited to the Maidu themselves and perhaps some of the adjacent Wintun. 150 University of California Publications. [Am. Arch. Eth. The Yokuts makers of the Tulare baskets prevailingly use horizontal and secondarily vertical patterns, thus agreeing with their northern neighbors the Moquelumnan Indians. Especially among the southern Yokuts the continuous horizontal band is however more in use than in Moquelumnan territory. A diag- onal arrangement is not rare in these regions, but usually has the form of a series of rectangular steps, so that the horizontal - vertical tendency still finds expression. The Shoshonean tribes adjacent to the Yokuts follow the same pattern arrangements. Baskets from the coast region west and southwest of the San Joaquin valley are very scarce. The few that are undoubtedly from this region, almost all from Chumash territory, show a combination of horizontal and vertical designs. The baskets of the Shoshonean and Yuman Mission Indians of Southern California, while different from the Yokuts types of baskets in many ways, like them generally show horizontal and vertical arrangements. Tray-shaped baskets frequently show a star-shaped pattern, which should be classed as a form of zigzag ararngement. The tribes of the desert farther east, such as the Chemehuevi, seem to use the same types of design arrangement. The entire part of California south of the latitude of San Francisco, the larger half of the state, must accordingly be con- sidered a unit in the matter of basket-design arrangement, the patterns being prevailingly horizontal or vertical instead of diagonal or zigzag. The third region in which coiled basketry predominates is that of the coast region immediately north of San Francisco, extending along the coast to the northwestern region. The Porno are the largest group in this area. Twined weaving is of relatively greater importance among the Pomo than among either the Maidu or the Indians south of the latitude of San Francisco. Besides having twined and coiled basketry, the Pomo possess the ti weave, a superimposition of coiling on twining. Including the minor variations, the total number of weaves practiced by the Pomo may not be as large as can be found among some other California groups ; but whereas other groups limit the use of their less characteristic Vol. 2] Kroeber. — Basket Designs of N.W. California. 151 weaves to parts of baskets or to certain classes or shapes of bas- kets having special purposes, among the Pomo the employment of the several techniques is not confined nearly as rigorously to narrow types of ware. Besides the variety of techniques there exists much latitude of shapes, there being flat bowl-shaped bas- kets, others whose opening is about equal in diameter to their bases, and still others which curve inward to the top consider- ably ; besides of course conical carrying baskets and the flat tray baskets found all over California. The Pomo have also devel- oped the canoe shaped or oval basket which is scarcely aborig- inal in any other region in California or at least is not usual anywhere else. They also use the greatest variety of external ornament. Beads, shell ornaments, quail plumes, and feathering are employed to a far greater extent than elsewhere. Among the northern tribes using only the twined technique such external decoration is altogether wanting. The total covering of baskets with feathers is also not found outside of the Pomo region, though this area must probably be made to include some of the southern Wintun, southern Yuki, and perhaps northwestern Moquelumnan, as well as the Pomo. Complete feathering is said not to have been practiced formerly even by the Yuki proper, who in their general culture and their basket technique belong to the Pomo type. As in shape and technique, Pomo baskets show the greatest variety of design arrangements in California. The horizontal and diagonal arrangements apparently predominate. Single flg- ures of such size that one fills the entire visible surface of a basket, or of such size that several are visible at one time, are also considerably used, especially on the smaller coiled baskets. Very often these figures are fairly elaborate, consisting of a group of figures rather than of a design or pattern. Zigzag and vertical patterns are also both found on Pomo baskets, and a net-like arrangement which might be described as a combination of two diagonal patterns slanting in opposite directions is not uncommon. In regard to decorative scheme and pattern arrangements California baskets may therefore be classified as follows : 152 University of California Publications. [Am. Arch. Eth. A. Northwestern type, twined. Designs arranged hori- zontally in a single pattern-zone or diagonally. B. Northeastern or Achomawi type, twined. Arrangement of patterns diagonal or zigzag, not horizontal. C. Maidu type, chiefly coiled. Pattern arrangement zigzag or diagonal. D. Southern type, chiefly coiled. Pattern arrangement horizontal (often in continuous bands) or vertical. E. Pomo type, coiled and twined. Variety of desig-n arrangements, horizontal bands and diagonal patterns being most frequent. In this classification the Yana belong to the Northeastern type, the Lutuami and northern Wintun are intermediate between the Northeastern and the Northwestern types, the affinities of the southern Wintun are either with the Pomo or Maidu, the Tuki probably belong to the Pomo class, and the Southern type covers the larger half of the state. It will be seen that while the Northwestern and Northeastern types resemble each other in technique, materials, and general effect, the Northwestern and Pomo types are most similar in pattern arrangement, whereas the Northeastern is similar in pat- tern arrangement to the Maidu. The Maidu and the North- western types differ most in pattern arrangement. The considerable similarity in materials, methods of manu- facture, and general appearance between the basketry of the Indians of northwestern and of northeastern California must not be interpreted as evidence of general cultural similarity. The culture of the two groups of tribes is quite distinct. The Lutuami and Achomawi in general resemble the tribes of the Sacramento valley or of the great interior basin much more than they do the Karok, Yurok, and Hupa. It is in northernmost California that the deep and sharp difference between the culture of the immediate Pacific coast and that of the interior, which is so marked everywhere farther north, finds its most southerly occurrence. South of Mount Shasta the line of ethnographical division is transferred from the Coast Range eastward to the Sierra Nevada; and the differences across this line become of a different nature. UNIV. CALIF. PUB. AM, ARCH, &. ETH. VOL. 2, PL. 20. Figs. 1-2. Small (•(i(ikiii<4' Imskets. Hupa. '-,. Figs. ;i-8. Cooliiiig and otiiei- basinets. Karok. i. Vol. 2] Kroeher. — Basket Designs of N.W. California. 153 The artistic poverty said by Dr. Dixon to characterize Porno basketry work must from what has been said be understood to be only pavicity of design names. That it does not extend further even to the designs themselves, much less to the general deco- rative and technical style, is sufficiently evident from the series of Pomo baskets illustrated by Dr. Dixon himself. Of patterns the Pomo have as great wealth and variety as any other Cali- fornian group. Apart from all question of whether their work shows a more refined taste and artistic feeling and execution than that of other Indians, it can scarcely be disputed that they evince freer imagination and wider range of treatment in the decoration of their basketry than other tribes. A classification according to meaning of Californian basket design names among the tribes from which adequate material is at present available is shown in Table II. It Avill be seen that names of animals, of parts of animals, and of parts of the body are very frequent, constituting everywhere a majority of the total number of design names. The only exception is among the Maidu, where the proportion of animal designs sinks to about one-half. Instead, there is an unusually large proportion of names of plants and parts of plants among the Maidu, these constituting nearly a third of the designs. Elsewhere plant designs are few, and among the Yurok and Karok are altogether lacking. Names of natural or artificial objects are found in about the same proportion among all the tribes. A fourth class of design names are spatial or dynamic ; these might also be called geometrical or abstractly descriptive. Names of this sort are lacking among the Maidu and are few among the Aehomawi. Among the Yurok and Karok they are important, constituting more than a fourth of all the design names; and the same is true of the northern Wintun. Among the Hupa names of this class are more numerous than all others. In regard to range of representation of design names, accord- ingly, the northwestern tribes and the Maidu stand farthest apart in that the northwestern tribes have numerous geomet- rical designs and none representing plants, the reverse being the case with the Maidu; while the northwestern group is inter- mediate. Am. Arch. Eth. 2, 12. 154 University of California Publications. [Am. Arch. Eth. TABLE II. Animals and Spatial parts of the and dynamical body. Plants. Objects. ideas. Yurok 17 . . 5 9 Karok 8 .. 2 4 Hupa 7 . . . . 12 Wintun 12 1 1 4 Achomawi 13 2 2 1 Maidu 18 11 7 In the descriptions of Yurok designs previously given it will have been noted that almost all the names applied rather to the simple element of design than to the pattern as a whole. The figure which receives the Yurok name flint is the parallelogram. This name is applied to the design whether it consists of the simple parallelogram standing alone or of a pattern of such parallelograms, although the latter is more frequently the case Among the Hupa the same design is named on top of each other. This name is obviously applicable only to a pattern consisting of two or more such parallelograms. We have here a difference between a design-element name and a pattern name. Again, there is a widespread design which may be described as consist- ing of four or more triangles, or horizontal bars, at the ends of vertical stalks arising from a horizontal base, the stalks in the middle being longer than those at the two ends. This design has various names, such as crow-foot among the Karok and Wishosk, frog-foot among the Hupa, lizard-foot among the Acho- mawi, and pine-cone among the Maidu. All of these names are applicable only to the design as a whole. Among the Yurok the design is called simply foot, and the application of this term to certain other patterns shows that the name refers not to the pattern as a whole but to the single elements constituting the pattern, the small triangles at the ends of stalks. The relative frequency of design names applying to design- elements, and of those applying to composite patterns, is shown in Table III.^ It will be seen that among the Yurok and Karok designs named for constituent elements are in the majority. Among the ' The numbers given in Table III are fewer than the total number of designs, owing to the diflficulty of classifying certain designs. Vol. 2] Kroeber. — Basket Designs of N.W.California. 155 Maidu the opposite is the case. The northern Wintun agree with the Yurok and Karok, but the Hupa form an exception among the northwestern tribes. The Aehomawi show an approx- imate balance, but the difference is slightly in the direction of the Maidu tendency. TABLE III. Designs named Designs named after their after the whole elements. pattern. Yurok 13 . 8 Karok 9 4 Hupa 5 12 Wintun 10 6 Aehomawi 8 9 Maidu 8 19 A summary of the Yurok, Karok, Hupa, and northern Win- tun design names presented in this paper, and those of the Maidu, Aehomawi, and Wintun described by Dr. Dixon, together with a few other names obtained by the author, is given in Table IV. Only translatable design names have been included. The Wishosk are from Humboldt Bay, the Sinkine are Athabascans from southernmost Humboldt county, the Yuki are from Round Val- ley, the northern Yokuts are the Chuckchansi of Madera county, the southern Yokuts the Tule river Indians of Tulare county. 156 University of California Publications. [Am. Arch. Eth. H S 3 02 tH a .^ .M -1-3 o o 1 "3 i f -S-^ o O =3 Ui tH q o CO ^' «ia O 'g^ 41 o3 &: ^i 03 a o o o c3 .'3 ji cr"C a,.S O ,0 0) OC t. < ^ P- tS o '-' « *J r, i tH >( f*^ ^ >H P*^ ^CQcd !z; 02 (b!5 « T3 Sf , Hi-' 'S i-^ " =» o S W) fcl p o o ^ M 4^ IS § - P Sic n -M a ^ p, S -c ^ S ^ ^ o ja « &c If P 3 id o 03 o Xi &: zi tiC CS p n o S fl £ p o 158 University of California Publications. [Am. Arch. Eth. & o .i3 i >j J ^ H ,0 O UI F' « S .2.9 0.0 s a 4J 3 CO 2 (D be ^ •J-» t-i M .ill tS ca E3 ^ £1, r^ P 6C 1 iS ® 00 ^ g-s 02 3 SI 3 0) 3 ^1 s 13 3 op ad ^' 0) kH m >< cc;^ a '2 p a 03 U 1^ ^ ® o o ,.3 73 3 3 o bo 3 •a 3 o o o <5 M EH o -o 3 :; 3 X t^ ^ tS ee S: 73 iC K a> "3 ^2 5-0 i a> a> 3.2 b£ 3 «M ««-S S ome to ied, joi triped o. 3 3 ^^ 00 © CO Jd - 00 u S "3 ^ " 2 " U .tf to c ■3 00 p. cc .2 _i- -a -S hcc cS 3 a £ U3 ft '00 .2 UNIV, CALIF. PUB. AM. ARCH. &. ETH. VOL. 2, PL 21 Fif;s. 1, 2, 4, "i, 6. Baskets. Noi'tliPi'ii Wintiui. j/^. FiR. 3. Cap, Modoe type. Norflierii VViiitun. j. Vol. 2] Kroeber. — Basket Designs of N.W. California. 159 It will be seen that although this summary covers only half a dozen tribes or groups, occupying much the smaller part of the state, there yet is no design name which is found in all of them. Patterns having some reference to snakes or parts of snakes are found among all the tribes included except the Acho- mawi. The rattlesnake is of course especially prominent. Among the Yokuts and Maidu its marldng is represented; among the Wintun its head; among the Hupa its nose. It is evident that there is a tendency to use the rattlesnake for design names but that the parts of the snake selected are as diverse as the figures to which they are applied. There is a similar tendency in regard to the deer. The Achomawi have the deer rib, deer gut, and deer excrement designs. The "Wintun have the deer excrement. The Maidu lack deer designs. The northwestern tribes also have no deer design names excepting that among the Karok the deer excrement design is found and among the Yurok an elk design. The arrow-point and flint designs, assuming that they may be taken as equivalents, are of the commonest the state over. So far however neither has yet been found among the Hupa. The quail-plume design, which among some tribes is very common, seems to occur chiefly on coiled basketry, to which the use of the feather itself as an ornament is also confined. The Acho- mawi have the design name but the northern Wintun and all the northwestern tribes lack it. Little of a general nature as to the relative amount of simi- larity of design names among difi'erent tribes can be deduced from the table. On count, the greater part of the total number of design names of any group appears not to be found in any other group. As far as the material goes, the northern Wintun and Achomawi, who are territorially in contact, show the greatest number of design names held in common. If the designs themselves to which the names that are given in this table are attached are compared, it will be seen that the designs corresponding to identical names among several tribes are in many cases very different. In the northwestern region for instance the flint design is always a slanting parallelogram. Among all the other tribes from which material is available the equally common arrow-point design is always a triangle. Con- 160 University of California Publications. [Am. Arch. Eth. versely, the same pattern or design-element has among different tribes often radically different names. To take again the paral- lelogram, its name among the Yurok and Karok, whether used singly or in combination, is flint ; the Hupa call it long mark, or more frequently on top of each other; the Wintun, rattle- snake head. The Achomawi and Maidu do not seem to use it as an isolated figure but always in pairs or diagonal rows. Among the Achomawi these rows are frequently divided by a transverse diagonal stripe or other pattern, the parallelograms thus being cut into triangles. The pattern running through the rows of parallelograms is the deer rib or deer gut design and the tri- angles resulting from the divided parallelograms are called arrow-points. The undivided rows of parallelograms are called by the Achomawi flying geese. The Maidu call such rows vines, or, if triangles are combined with the parallelograms, flying geese. When the rows of parallelograms are divided by a line or pat- tern the design is called fern or notched feather. Another instance of diversity of names for an identical pat- tern is the design in which the point of a triangle rests on the middle of the longer base of a trapezoid. In the northwestern region the meaning of the names for this design are not alto- gether certain, but among the Yurok the name appears to have reference to the middle, among the Karok to basketry-hat, and among the Hupa to sharp or point. Dr. Dixon gives the same figure from the Achomawi, but the name attributed to it by these Indians is bushes. Again the obtuse isosceles or equilateral triangle has, in different arrangements, the meaning among the Maidu of moth, quail-tip, flower, and notched feather, among the Achomawi of arrow-point, among the Wintun of fish-tail, flying geese, and leaves, among the Yurok of sitting. It is not necessary to give further illustrations. The cases cited show that there is no deep or inherent relationship between the designs of California basketry and their names. Of course some names are from their nature applicable only to certain designs and must be applied either to these or drop out of use. Most names, however, owing to the simplicity of technical repre- sentation, are applicable to several designs and are often found Vol. 2] Kroeher. — Basket Designs of N.W.California. 161 attached to different designs among different groups or even in the same tribe, just as the same designs very frequently have different names among different groups. It must be concluded that the basket-design names of at least the greater part of Cali- fornia are little more than conventional names of conventional designs. Symbolism, in the usual and historic sense of the word, does not therefore exist in California basketry. The designs and design names given by Dixon from the northeastern tribes and those from the northwestern part of the state here presented, make this fact very clear. Recent investigations on behalf of the University by Mr. S. A. Barrett among the Pomo have brought out the same result. The various information thus obtained covers northern California fairly completely. As to the rest of the state less is known at present, but there are no indications that conditions are different. The design names of the Yokuts at the southern end of the San Joaquin basin are certainly of the same general character as those found in the north of the state. The names of the designs painted by the Mohave, still farther south, on pottery and sometimes on wood, refer in large part to objects that do not occur among the design names of the basket making tribes, but are as free as these of religious or any but a conventional significance. Lack of con- nection between basket design names and religious thought can therefore be absolutely asserted for the greater part of California and can safely be accepted as extremely probable for all the remainder of the state. Certainly there is as yet no trustworthy evidence of anything to the contrary. This condition is in entire accordance with the almost utter lack of pietographic or realistic representation in the art of these Indians. Symbolic expression in actions or ritual is almost equally absent. When the general fundamental difference in character of the California Indians from those of the southwest and of the Mississippi valley, and in a measure from those of the north Pacific coast, is once clearly realized, the conventionality of their basket design names seems entirely natural. Of course it is needless to say that no California basket designs express modern poetical sentiments. The California Indian calls a triangular ornament in basketry 162 University of California Publications. [Am. Arch. Eth. an arrow-point, not because this figure expresses a wish or prayer for success in the hunt, but because it is a simple and fitting name for a simple design. The significance of the deco- ration of California basketry is therefore of an entirely different nature from the symbolism of a Navaho sand-painting, a Pueblo altar, a Plains shield, or a Haida totem pole. The designs are primarily decorative, no doubt conditioned in part, but only in part, by technique; and they have convenient names. These names of course are as appropriate as possible. This simple naming of decorative figures appears to be the analogue or repre- sentative in California of a more prevalent tendency in mankind to embody a deeper significance in ornaments. But in the form in which these design names exist among the California Indians they are free from attempts at picture writing or the expression of religious ideas. KEY TO FIGURES OF' DESIGNS SHOWN ALSO IN THE PHOTOGRAPHICALLY REPRODUCED PLATES. Figure. Plate. Figure. Figure. Plate. Figure. 4 15 3 140 20 3 5 18 1 142 20 8 9 15 3 150 20 8 14 15 5 152 20 6 15 17 4 172 20 3 17 15 4 179 16 4 20 15 7 184 20 4 29 17 6 192 18 2 38 15 4 197 20 1 64 15 1 199 15 8 71 16 1 206 20 2 74 16 6 209 20 1 81 18 4 215 21 5 84 15 7 216 21 5 90 16 2 217 21 6 93 15 4 218 21 4 96 16 3 219 21 2 98 18 1 ■ 220 21 3 104 17 1 221 21 4 118 15 6 222 21 5 132 20 7 225 21 2 Vol. 2] Kroeber. — Basket Designs of N.W. California. 163 MUSEUM CATALOGUE NUMBERS OF BASKETS ILLUSTRATED IN THE PLATES. Numbers with numerator 1 refer to specimens in the Museum of the Anthropological Department of the University of California. Numbers with numerator 40 refer to specimens in the California Acad- emy of Sciences. Plate 15, figure Plate 16, figure Plate 17, figure Plate 18, figure 1 40-1675 2 1-1591 3 40-1663 4 40-1661 5 40-1653 6 1-1609 7 40-1708 8 1-1496 1 1-1579 2 1-1870 3 1-1472 4 1-1761 5 40-1683 6 1-1481 1 1-1661 2 1-1507 3 1-1888 4 1-1571 5 1-1599-1601 6 40-1655 7 1-1817 8 40-1659 1 40-1711 Plate 19, figure Plate 20, figure Plate 21, figure 2 1-2234 3 1-2016 4 1-1461 1 1-1588 2 1-1877 3 1-1798 4 1-1594 5 1-1847 6 1-1608 1 1-1493 2 1-1517 3 1-1807 4 1-1763 5 1-1772 6 1-1762 7 1-1778 8 1-1764 1 1-2307 2 1-2300 3 1-2305 4 1-2310 5 1-2308 6 1-2303 164 University of California Publications. [Am. Arch. Eth. MUSEUM CATALOGUE NUMBERS OF BASKETS FROM WHICH DESIGNS ARE FIGURED. Fig. Cat. No. Fig. Cat. No. Fig. Cat. No. Fig. Cat. No. Fig. Cat. No. 1 40-1652 46 40-1724, 1720 135 1-1586 136 1-1794 181 o 40-1720 47 1-1473 91 40-1658 137 1-1587 182 3 40-1654 48 40-1664 92 40-1709 138 1-1782 183 1-1783 4 40-1663 49 40-1694 93 40-1661 139 1-1806 184 1-1763 5 40-1711 50 1-1831 94 140 1-1807 185 1-1787 6 40-1720 51 95 141 1-1801 186 1-1774 7 40-1721 52 40-1727 96 1-1472 142 1-1764 187 1-1781 8 40-1659 53 40-1607 97 1-1829 143 1-1598 188 1-1463 9 40-1663 54 1-1698 98 40-1711 144 1-1585 189 1-1502 10 55 1-1577 99 1-1857 145 1-1583 190 1-1494 11 1-1434 56 1-1672 100 1-1474 146 1-1788 191 1-2235 12 1-1438 57 1-1880 101 147 1-1790 192 1-2234 13 40-1721 58 1-1478 102 1-1577 148 1-1803 193 1-1508 14 40-1653 59 1-1482 103 1-1830 149 1-1805 194 1-1500 15 1-1571 60 40-1695 104 1-1661 150 1-1764 195 1-1501 16 40-1707 61 1-1672 105 1-1590 151 1-1767 196 1-1518 17 40-1661 62 1-1483 106 1-1476 152 1-1762 197 1-1493 18 40-1697 63 40-1725 107 40-1665 153 1-1789 198 1-1509 19 1-1636 64 40-1675 108 154 1-1584 199 1-1496 20 40-1708 65 40-1662 109 155 1-1800 200 1-1497 21 40-1699 66 40-1657 lU) 156 1-1585 201 1-1497 22 1-1610 67 1-1441 111 1-1475 157 1-1797 202 1-2233 23 1-1442 68 1-1692 112 40-1700 158 1-1805 203 1-2236 24 40-1709 69 1-1606 113 1-1435 159 1-1586 204 1-1495 25 40-1727 70 40-1706 114 1-1439 160 1-1766 205 1-1516 26 40-1658 71 1-1579 115 1-1437 161 1-1596 206 1-1517 27 40-1660 72 1-1844 116 1-1578 162 1-1776 207 1-1863 28 40-1662 73 1-1828 117 163 1-1598 208 1-2232 29 40-1655 74 1-1481 118 1-1609 164 1-1769 209 1-1493 30 40-1682 75 119 1-1480 165 210 1-1864 31 76 1-1456 120 1-1426 166 1-1773 211 1-1463 32 1-1610 77 40-1699, 1687 121 1-1784 167 1-1597 212 1-1503 33 1-1593 78 40-1684 122 1-1804 168 1-1773 213 1-1492 34 1-1592 79 1-1606 123 1-1514 169 1-1770 214 1-2302 35 40-1656 80 1-1589 124 1-1806 170 1-1772 215 1-2308 36 40-1682 81 1-1461 125 1-1596 171 1-1771 216 1-2308 37 40-1660 82 1-1440 126 1-1769 172 1-1807 217 1-2303 38 40-1661 S3 1-1479 127 1-1595 173 1-1793 218 1-2310 39 1-1424 84 40-1651, 1662, 128 1-1587 174 1-1773 219 1-2300 40 1-1425 1708, 1728 129 1-1799 175 1-1791 221 1-2310 41 40-1725 85 40-1685 130 1-1802 176 1-1768 222 1-2308 42 1-1417 86 40-1712 131 1-1772 177 1-1792 220 1-2305 43 1-1692 87 40-1673 132 1-1778 178 1-1804 223 1-2309 44 1-1444 88 40-1724 133 1-1765 179 1-1761 224 1-2306 45 40-1656, 1659, 1676 89 90 1-1870 134 1-1499 180 1-1777 225 1-2300 UNIVERSITY OF CALIFORNIA PUBLICATIONS BOTANY.— W. 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