U N I V E R S I T Y O F C A L I FO R N I A P U B L IC AT IO N S

A M E R IC A N A R C HA E O LOG Y A N D ET HN O LOG Y

V o l . 2 No 4

BAS KET D E SIG N S OF THE IN DIAN S O F

NO RTHWE STE RN C ALIFO RNIA

A . L . KROEBER

B ERKELEY

THE UNIV E RS ITY P RES S

5 $ANUARY , 1 9 0 G Y

A nth ro pology o f th e Un e r t o f iv si y . th e p ublic atio n s of a n th rop o logi c al s d evoted to gen eral anth ro p ology o an d for s pec imen s contributed to t Th ey are also fo r s ale at o r exp ress

’ T e o s s o f h re se r e ch arge s . h y c n i t t e i s of a series o f

‘ n qu a rto m emoirs , a d o c c as ion al spe cial v

- HAE OL OGY GR AECO ROMAN ARC .

Tebt u n i s P P I E Vol . 1 . The apyri , art . dited rth ur

n a n d . S . Hu t, J Gilbart Smyly.

e btu n i s P P 2 i Vol . 2 . The T apyri , art ( n preparatio n ) .

E GYPTI AN ARCHAE OLOGY .

M c P ' Vol . 1 . The H earst edi al apyrus . Edited by G . A . Reis n er e i n Lyth go ( press) .

AM E RI CAN ARCHAE OL OGY AND E THN OLOGY .

.

o 1 . a n d C th e Vol . 1 . N . Life ulture of Hupa , by Pli ny Earle 88 P 30 m 1 Pages , lates , Septe ber; 90 3 o 2 H T P n E dd d. Pa N . upa exts , by li y arle Go ar 1 964

2 N o . 1 . T E n P C k . Vol . . he xploratio of the otter ree C ave , by William J

S n c . P 27 P 1 4 1 90 4 Pr c i lair ages , lates , April , i e , 2 n a n No . . The La guages of the C oast of C aliforn ia South of S

n c c A . . . P 72 n 1 90 4 P c e Fra is o , by L Kroeber ages , Ju e , . ri ,

‘

3 . n n C i n C n . . e . No . Types of I dia ulture alifor ia , by A L Kroeb r

22 n 1 90 4 . P c 425 Pages , Ju e , ri e , k D n n n N n n N o . 4 . Bas et esig s of the I dia s of orthwester C alifor ia ,

. P 60 P 7 n 1 0 5 . P c . 7 by A . L . Kroeber ages , lates , Ja uary, 9 ri e , § M n P n E V ol . 3 . The orphology of the Hupa La guage , by li y arle Goddard

( i n press) .

ANTHROPOL OGI CAL M EMOI RS .

n i n P Ma x U h le i n i n . V ol . I . Exploratio s eru , by ( preparat o ) 1 i n N o . . The Ru s of Mo c he . 2 H m c n N o . . ua a huc o , C hi c ha , I c a .

3 n c B n . N o . . The I a uildi gs of the Valley of Pis c o

E SPECI AL VOLUM S .

T k h n c n M c n c n n n a n c c n e he B oo of t e Life of the A ie t exi a s , o tai i g a ou t of th ir rites a n d superstitio n s ; a n a n o nymous Hispa n o A meri c an ma n uscript

l n B c N z n n F n c . R preserved the ibliote a a io ale C e trale , lore e , Italy epro u d i n fa c h n d c n n n a n d c o m n d c e simile , wit i tro u tio , tra slatio , m e tary,

by Z elia N uttall .

- P . P f c n d c n a n d 80 Fa c m i n art I re a e , I tro u tio , si ile plates 1 0 3 c olors . 9 .

n n m I n . Part II . Tra slatio n a d C om e n tary . ( press ) ' 2 0C Pric e fo r the two parts $ 5 .

P Berkele Address o rders fo r th e ab ove to th e Un ive rsity ress , y , D m n o f A h ro C alifo rn ia . Ex c h an ges to b e add res se d to th e ep art e t nt

n B r rn i a . p ology , Un ivers ity o f C alifo r ia , e keley , C alifo

R ER reta . F. W . P N M Di rect r . A . L . K OEB , S ec ry UT A , o

UNIV . CAL IF. PUB. AM. ARC . ET H. H VOL. 2 , PL. 15 .

} C s r ap . Yu ok . z . U N I V E R S I T Y O F C A L I FO R N I A P U B L I C AT I O N S

A M E R I C A N A R C HA E O LOG Y A N D ET H N O LOG Y

V O L. 2 N O . 4

B A SKE T D E SIG N S OF THE IND IANS OF

ORTHW T R N E S E N CAL IF ORNIA .

BY

A . L . KROEBE R .

N TR D U T I O C ORY .

n l W The Indians of extreme orthwestern Ca ifornia , hile show i n a n g many similarities to the other tribes of California , d some approximation to those of the north Pacific coast , are in many ways peculiar in their culture . The territory occupied by i l this group of tribes is very limited , compris ng on y Humboldt

sm a ll i and Del Norte and parts of Tr nity an d Siski y ou counties . Their specialized culture is found in its most highly developed form among the tribes of the lower Klamath and Trinity rivers :

K . the Yurok , arok , and Hupa The Hupa belong to one of the

California groups of the great Athabascan linguistic stock . The

Yurok and Karok are small isolated lingui stic stocks . The three languages are as radically diff erent in phonetics as they are totally unrelated in vocabulary . The three tribes live in close c l i ontact , with more or less intercourse and general y fr endly

c l k . relations . In their ulture they are remarkably a i e The names of the basket designs described in this paper were

1 900 1 901 a n d obtained from Indians of the three tribes during , ,

n n n n 1 902. The most exte sive i vestigatio s were made amo g the

s n Yurok . This accoun ts for the larger number of de ig s obtained

n among this tribe . The Yurok designs described are take from o nearly a hun dred baskets . The maj rity of these are now in the Museum of the Anthropological Departme n t of the Un i versity

n of California . A number of baskets , and the ames of their

c i n 1 900 o f designs , were colle ted for the California Academy

es ffi a Sciences . Through the court y of the o cers of the Ac demy

n was this material is used in the present paper . Informatio

2 9 . A 1 1 . A 8 0 8 . E r a . . ’ H R i li r n i P bh i n A A C H . E TH. 1 06 Un i v ers ty of Ca fo a u ca t o s . [

obtained among the Yurok as to the designs of a greater number

of baskets than were actually collected , the total number reach

i n g several hundred . The more common design names are

exceedingly frequent among the northwestern tribes , and , while

s n exact duplication of designs ordi arily do not occur, yet many of the variation s are so slight that it was often thought un n ec es

sary to insure their preservation by purchase of the specimen . All baskets havin g characteristic designs but uncommon design

s names were secured for the Mu eum of the Department . This selection gives the Yurok design names described an appearance

of somewhat greater variety than they actually possess . Prob ably the fif teen most common design names constitute all but a

very few per cent of the total number . Am ong the Karok and Hupa all baskets were secured about which information was

obtained as to the design . The number of such Karok baskets

-fi v e . is about fifty, and of Hupa twenty It was found necessary to get the names of the designs in

s the native language , as many of the word are not names of ani

ls m ma or objects , but geometrical or descriptive ter s not trans l l 1 at ab e by the Indians .

KI N D F B E S O ASK TS . The basketry of northwestern Cali forni a is characteri zed by “ circular open baskets somewhat roun ded at the bottom and “ ’ i h generally of no very great depth , and by women s caps , wh c are shallower than the basketry caps worn in other parts of Cali f or n i a . Large baskets serving for the storage of food are propor t i on ally of deeper shape than the smaller baskets used for cook

‘ a u ing and eating . Conical b skets are sed for gathering seeds,

S . and flat circular baskets for trays, plates , and meal ifters The acorn mortar cons ists of a basket hopper of the type used by the

r Po no . Conical carrying baskets , baby baskets , plates , and some

trinket baskets are made in open work . The various kinds and$

1 The foll owi n g charac ters have bee n used : e z eh x = s i r a n t of — , p : kh a l a t al l I fi z n a z z a i n f h k , q velar k, s or latera , g ; as at er ; i n a = E n sh a a n o= l n n a n E :i a as bad ; i aw ; d o g ope e d o ; A, , = / I 0 ob sc u r e . r r h h c li i f Am n r , , U , vowels Yu ok as t e pe u ar qual ty o eri c a r K r r r n i n a n a r . d ex gge ated deg ee a ok is c lea a tri ll ed . Yurok v is b h n n h h n f a n d : ial , avi g early t e t e sou d o w, its g is al ways a spi t ‘ h g = g '

V OL . 2 — ] Kr oeber . as ket esi n s o W i N . . a l fo n B D g f C r ia . 1 07

shapes of baskets can be seen in the accompanyi ng plates 1 5 t o

21 i n 20 2 , and plates to 7 published in the first volume of the U present series of niversity of California publication s .

: wax e a Yurok names for baskets are p y , cap , if brown ( Plate ’ 1 5 7 8 ii a , figures , ) q , cap , if the ground is covered with over

1 5 u 1 6 he’k laying ( Plate , fig res to ) wu ts , small bas ket for acorn s s 1 6 3 6 mu h , e pecially for eating ( Plate , figure , and figure , ’ fi i m u r i s e un n shed) p , large basket for acorn mu h , us d for cook

’ ’ 1 6 4 5 h e kwu t s ri ing ( Plate , figures , ; and mu p are called by

’ K : 20 4 5 6 8 er xt se ku c the arok asip Plate , figures , , , ) p , a basket ’ h e kwut s higher than , used for keeping small objects ( Plate

’ 1 7 4 5 6 K ci n uk 20 3 r u mi ts ek , figures , , ; arok p , Plate , figure ) , 1 9 5 fi an openwork trinket basket ( Plate , figure , usual form ; g 6 éwfi’i ure , unusual ) q , conical burden basket of openwork ( see

. E . l P Goddard , Life and Cu ture of the Hupa , Universi ty of E California Publications , American Archaeology and thnology ,

’ 22 1 t er r e ks I , Plate , figure ) , conical basket for gathering seeds 22 2 ( Goddard , op . cit . , Plate , figure , of Yurok provenience) ;

’ a a x e kwc p t , basket for storing food, especially acorns , much like

’ r 23 1 p e xt se ku c but much larger ( Goddard, Plate , figure , a

’ m ei xts o Yurok specimen ) , storage basket similar in shape , but

’ a oi xk o made altogether of h zel , without overlaying or patterns ; p ,

24 fi u r e' large fia t tray for acorn meal ( Goddard , Plate , g

’ oi xtse k uc f 1 9 u s p , small tray or seeds used as food ( Plate , fig re

1 l l fiat 1 9 , a so smal , , conical dipper for acorn mush ( Plate , ' 3 wet sa n é t figure , a Karok specimen ) p , meal sif er , flat without ’ 1 8 l a x c eu n appreciable curvature ( Plate , figure p , ope work 1 8 1 3 plates for eating salmon ( Plate , figures , ; Goddard , Plate ’ 21 2 i m eco li L , figure , a Yurok spec men) ; , larger openwork ’ kwa n u plates on which salmon is laid ; up e , mortar hopper ( God ’ ’ 24 1 em e u l h axku m dard , Plate , figure , Yurok) ; q , a so called “ $ ’ - r e k c , u p e xt s u , tobacco its storage basket, tobacco basket often ’ er xts e ku c with a lid , and similar to the p , though generally ’ 1 3 5 7 1 9 4 u ém smaller ( Plate 1 7 figures , , , , Plate , figure ) q ’ ’m erxt s e ku c s t e , said to have been a large form of p with a mall ’ or ; ego , opening and a lid, used for storage of valuable property in i an approxi mately cylindrical basket used the jump ng dance , made of a rectangular sheet bent into shape of a cylinder slit A M R i r i t li r li i A C H . E TH. 1 08 Un v e s y of Ca fo n ia Pu b ca t on s . [

1 8 along the top ( Plate , figure A Hupa baby b a sket and

’ seedb ea t er Go 21 1 are shown in ddard s Plate , figure , and Plate

’ ’ ’ ’ ’ 2 a a er xt se c er r e k s e 23 . k u t a a xt kw c oi xk o , figure The q , p , , p , p ,

’ ’ ’ ’ ’ ’ oi xt se k u c wet sa n e em e u em t e m o r p , p , q , u q , and eg o are gene

’ ’ ’ l wfix e a h e kwu t s m u r i u e ral y overlaid with white ; the p y , , p , p

’ kw a n u oi xt se k u c n , and sometimes the p , are mostly in u ov er

’ laid brown , but usually with a pattern in overlaying ; the rumi

’ ’ ’ i l a x c o li L ewa eu m ec . t sek , q , p , are in openwork

M A T E I A R L S .

The basket materials of this region and their employment

’ have recently been given full treatment in Dr . P . E . Goddard s

1 Life and Culture of the Hupa , and on a less localized basis by

’

. i F V . Coville in Professor 0 . T . Mason s Aborig nal American

2 Basketry .

According to information obtained from the Yurok , the warp of their basketry regularly consists of hazel twi gs . The woof is made of stran ds from roots of sugar pine and near the coast of spruce . Redwood and willow roots are inferior but used . Willow seems to be usual for the woof in beginning a basket .

While these root fibres give a colorless gray , deepening with age to a not unpleasant brown , designs and sometimes the entire ground color are produced by overlaying in other materials . The most import ant of these is the widely used and well known lustrous whitish grass xerophyllum tenax . In baskets for ordi n ary use the designs are worked i n this white on the darker

- ground of root fib r e woof . In ornamental baskets the ground is

th e overlaid with this material , and patterns are black , red, and

occasionally yellow . For black the outside of stems of a species

- of maidenhair fern , adiantum , are used ; for red , alder dyed

fibres of a large woodwardia fern . The stems of this fern are bruised by beating, and two flat fibres extracted from each .

Thes e are usuall y dyed by being passed through the mouth after i alder bark has been chewed . Yellow is produced by dyeing w th

1 A m A h E t h n . I 38 se . 1 903. c . U n iv . C a l . P ubl ., . r , , q ,

$ R U . 8 . N a t . . 1 902 1 99 se . 1 904 . ep . Mus , q , V OL 2] Kr r — oebe . a sk et esi n W i s o . . a l o r i B D g f N C f n a . 1 09

n a lichen , the widely used evernia vulpi a . Porcupi ne quills dyed

‘ yellow are rarely used .

c Besides red and yellow , bla k dyeing is occasionally prao ticed by burial of materials in mud . Part of the hazel twigs for the warp of openwork plate baskets are sometimes treated

in this way ; and rarely the woodwardia. fibre for the woof of other baskets .

s u f r e Of the three colors u ed on a white gro nd , black most quently stands alone . Red is usually accompanied by at least

c n a certain amount of bla k ornamentation , such a s li es or edg ing . Yellow does not seem to be used without accompan ying red or black , usually the latter . Occasionally the three colors are

on n n used in combination a white grou d , but although pleasi g if skilfully carried out this is uncommon . Sometimes areas of u n ov er l a id brown are left in colored baskets a n d employed in

n ov er l a id n design effects . The only baskets with u grou d whose patterns sometimes contain black or red in addition to white , are

as hats , even the plainest of which , is only natural , show more ornamentation than is usual in baskets for household purposes . A somewhat greater proportion of red to black des igns is found among the Karok than among the Yurok or Hupa , due possibly to greater scarcity of the maidenhair fern furnishi n g black .

TE C H N IQ U E .

n a h as In regard to tech ique , the fundament l feature of the k et r y of northwestern California is that twi n ing is the on ly e method followed . Coiled weaves of any kind , except as a bord r

n c a n finish , are unknown . This stateme t be made without quali

fi i n g n cat o , and all coiled baskets attributed to this re io are of erroneous provenience or obtained by the northwestern Indi ans from more southerly tribes .

To all in tents these Indians practice only one weave , the simple twining with t wo stran ds . This is used for the finest

c , hats , for the largest and coarsest storage baskets for ooking

s s . a n d n , , y baskets , for ope work plates cradles and carr ing ba ket

' ' ‘ : h fili L z k Yurok n ames of basket m aterials a n d dyes , ha el ; pa o , ’ ’ a mo ' i L r t ei woh t e o c h a , willow wa x e u suga r pi n e , edwood ; p , sp u e ; p , ; q r ’ i r n h x r e o o m n i f n ; , f ; xerop yll um ten a ; g , aide ha r er paap woodward a e ’ ’ n w r r e et s r m c n r n i i ch . e e g , alde ; e e , eve a l e n i r i i i li i A LL AB C H E TH U v e s ty of Ca l forn a Pu b ca t on s . [

- i i Though two strand tw n ng is very close to wickerwork , differ ing from it only in that the two strands cross after each warp is passed, instead of continuing parallel , these tribes do not seem to practice wickerwork .

Thr ee - strand twining is well k nown in this region and f r e

us e quent in , but apparently no baskets are made completely in

l i n this weave . A most all baskets begin this weave ; the majority

n have one or more courses of it where the bottom begins to tur , and again near the top ; and occas ion ally a basket is finished in

- it . The specific technique seems to be simple three strand twin

- ing, not three strand braiding . Each woof strand passes over

ds two warp ro on the outer or pattern side of the basket, over one on the inside . There is one basket in the collections of the Department of An thropology from this region in which the two strands of the

i n woof cover t wo rods of the warp at a time , wh le in the followi g course they take these rods so as to alternate with the previous

h n . one . Thi s is the weave that as bee n called diago al twining 1 l The basket is shown in Plate 7. At its origin it shows the us ua

- three strand twining . While the alternate or di agonal weave has been praised by Mason a n d Purdy as more susceptible of i developed decoration than ordinary twining, th s basket is unor m n a en t ed except by two plain bands . Thi s poverty of decora tion is perhaps due to the fact that the ornamentation is pro d u ced by covering of the woof instead of by the woof itself . One or two other baskets found are made in this weave for a number of courses near their origin .

In two -strand twi ning the woof strands are usually more or less flat, and are not twisted , the same side being turned toward the outside of the basket conti nuous ly, whether overlaid or not . The only usual modification of two strand twi ned weaving

i s is a multiple warp . This common for the bottom of large

us storage baskets , and is ually accompanied by a certain degree of openness of woof . After the turn from the horizontal bottom has been made and the sides of the basket started on their upward

course , the additional warp sticks taper out and are dropped and the weave is continued on the main stick of each group . Sometimes a group is so di vided as to result in two single warp sticks . often for one course just below the border , occasionally near the i i or g n . Strengthening by means of a rod enclosed in the twining is common . This forms the first step toward lattice twining or l the ti weave , a superimposition of coi ing on twining . Mortar baskets are strengthened by several stout rods ; storage baskets frequently show one or two near top or bottom ; and occasionally n a rod is used as a fi ish . The great majority of cooking baskets th have two strands , apparently of root , laid around e outside near the top of the basket in the regi on of the typ ical design fi i zone , which they serve markedly to de ne , lim t, or divide . It is probable that their decorative eff ect is their chief purpose ;

s being pliable , they do not stiffen the ba ket appreciably, and being held only by the twining of the overlaying material—the body of the woof being usually completely lacki ng in the two courses on which the strands are laid—they can scarcely be a source of strength . Ornamentation almost without exception is produced by over

or laying false embroidery , and not by the use of colored or dyed ff woof material s . The method of overlaying di ers from that of

i ds the Tlink t and Thompson Indians , two stran being employed m k “ in stead of one . A ong the Tlin it the decorative element , i instead of tak ng its turn to pass behind the warp , remains on the outside and makes a wrap about the strand that happens to

$ “ l s be there . The Thompson Indians fo low a method of pa sing

ini a strip of material entirely around the tw ng each time , $ 1 i i showing the figure on the inside . In northwestern Cal forn a

as e each of the two woof strands is faced it were , in the proc ss of weaving, with a strand of overlaying material toward the out

- h side of the basket . This facing follows the woof strand be ind

i s t o - the warp , and together with it tw ne with the o her wo f strand and its facing. As the overlaying always faces the outside of i n the basket, and not the outside of the tw ning, each stra d of i it is half the time between warp and woof and inv sible , and the decoration does not show on the ins ide of the bas ket except casually between turns and plies esp ecially in coarser baskets .

1 902 309. k Re . U . 8 . N a t . . Mason Ab o ri . A me . B as et y Mus , , g r r , p A M n i r i t o a li r n i a P blic ti n ARC H . E TH 1 1 2 U v e s y f C fo u a o s . [

Fin e hats are nearly as c ompletely free from trace of over l laying inside as is Tlinkit work . The t wo ov er ayi n g strands

n -fi r e follow the woof stra ds to the edge of the design g u , where

. e n o fi th y are broke on the inside of the basket , and the woof

on continues its course alone , or overlaid by strands of a diff er n fi en t c ur . olor, u til the next g e is reached Occasionally , where

n r this i te vening space between designs is not great , especially

‘ n where there is a small recurre t design , the overlaying is not

off wo l broken , but brought to the rear of the o f , so as to be uvis b i le from the front , and carried along to the next figure , when it reappears . Of course it then shows inside the basket while it

on i c as is invisible the outside , but th s o c ional result seems to be produc ed among the nort hwestern tribes not for its effect but because in such cases it is preferable to carry on the overlaying material rather than ou t the stran ds to rein sert them a few

s r turns , ometimes only two or th ee , farther on . It will be s een that this method of overlaying can n ot be

$ n classed tech ically with three strand twined weaving, as

' s k r ocess n ot Profes or Mason says of the Tlin it p , only because there is a total of four strands in the woof , but because the opera

n - n tion is ess entially o e of two stra d twining with double strands .

n e n n In orth aster Califor ia , among the northeasternmost

n M c l ou d n Wintun tribes , o the C river , still a other process of

n n overlayi g is practiced . Like the orthwestern overlaying , this is done with two strands , but the overlays form a separate twin i n c g around both warp and woof , whi h latter they entirely

n i n n enclose , ever being within its plies as the orthwestern r p ocess . The design thus shows inside the basket as well as out

ff n e side . That the di ere ce in this respect from the northwest rn v e basket is fundamental , is e id nced by the fact that in the cases when t he desi gn appears on the inside of a northwes tern basket i i n t he n r t does so i te vals of its disappearance from the outside , the inside a n d outside figures being the reverse of each other ; whereas i n these North Wintun baskets t h e regular overlayin g appears inside in the same places as outside and forms iden tical

l o n l figures . In the n rtheastern weaving each stra d of over ay is

n evi dently carried a d treated as part of one of the woof strands ,

n as in the northwestern process , but in passing arou d each warp UNIV . CA I F. L PUB. AM . H ARC . E H T . VOL. 2 P , L. I6 .

F s . 1 2 3 5 6 C n a s k e 1 . b t s . i g , , , , ooki g Yu rok .

Fi . 1 4 . C o o k i n b n s k e t . K g a rok . . g $

i i li r n i li ti AM AR C H . E TH 1 1 4 Un v ers ty of Ca fo a Pu b ca on s . [

lay, and consequently appears on the inside of the basket in an identical red figure ; and vice versa . The purpose of thi s device is explicable ; owing to a desire to continue the strands of over lay unbroken , the usual colorless woof was sacrificed to avoid

s carrying a total of six thread , and its place taken by the overlay temporarily not appearing in the design . The triangles in this basket are however separated into several bands by horizontal lines consisting of a single course of black overlaying . In two of these courses the woof under the black material consist s of red overlay ; but in several other courses the woof is t h e usual colorless root fibre ; and this material is used also for the woof of one of the adjacent courses form ing part of the triangle design .

n K An unfi ished arok hat , the outside only of which is shown

- 20 7 . in Plate , figure , has a red ground surface On this are i horizontal black courses and a certain zone , not reach ng the top hi or bottom of the basket , in w ch there is a recurrent white design . Through the greater part of this zone the usual woof material does not occur , its place being taken by the white of the exterior design , and , in the design , by the red of the ground .

Two horizontal courses of black r un around thi s zone ; for the upper one , the red overlaying serves as underlay ; for the lower there is the usual root fibre woof ; and this is also the woof, with

wo some irregularities , for one or t of the adjacent courses form ing part of the red ground . The onl y producti on of ornamentation other than by over i hi laying n t s region is in openwork plates . Hazel twigs are n dyed black by being buried i mud . They are then grouped so as to for m four or five narrow black sectors or rays in the cir

l a r a cu basket, the m jority of the warp rods in the tray being 1 8 1 the undyed white hazel shoots ( Plate , figures and This process is stamped as exceptional by the fact that the co loring hi is in the warp instead of the woof . For t s reason scarcely any

ul other pattern co d be produced in it, and it is obviously applic

l a able on y to openwork . Thi s method of ornament tion has been

n k fou d among the Yurok, though blac dyed plates are much less common than unornamented ones . The Karok say that they

e f r e do not employ it . The Athabascans of Eel River us it OL 2 V . ] Kr be — oe . asket esi ns li o . W r B D g f N . Ca forn ia . 1 1 5 quently for openwork con l ca l carrying baskets as well as for plates .

The ends of the woof , and occasionally the beginnings of

s n introduced warp rod , are left projecti g on the inside of the

n . ff f basket u til it is finished They are then broken o , a ter the

n set basket has been dried by bei g before a fire , by scraping ; i at the present time , w th the edge of a tin spoon . To even the

o shape of a new basket it is s metimes set filled with damp sand .

s fi n There is u ually no distinct nish for the edge , the ordi ary

- two ply twining merely coming to an end . The warp ends are l cut o ff flush with the top of the last course of the woof . Usual y there i s no projection of the warp above this . In this respect the f i northwestern baskets di fer from the tw ned Pomo baskets , which

are , in process , finished similarly, but usually have the warp ends projecting regul arly a short di stance . The northern Wintun baskets also usually do not show qui te so close a cutting off of

the warp , though there is scarcely a well calculated intentional 1 6 6 effect as among the Pomo . Plate , figure , shows a basket before the superfluous warp and woof ends have been r esp ec t i v ely cut and rubbed off . A mi nority of bas kets are finished in one or more courses of three strand twi ning . Large conical openwork carrying baskets and mortar baskets

usually ha ve the edge braided or interlaced . Openwork plates

us ually show only simple twining at the finish . A few baskets ,

n especially small openwork household and tri ket baskets , have

a coiled edge , the warp sticks being bent at right angles and then carried horizontally around the top of th e basket and 1 l n d wrapped . Crad es are similarly fi ished along the oval e ge in

ds front , but more by means of ro specially employed for the

multiple foun dation than by a continuation of warp sticks from

the twined body of the basket . Professor Mason ’s statement2 that the Mc Clou d Indians

o ff i in Shasta coun ty , California , cut the warp flush and fin sh the border with what looks like plain twined weaving on the

1 on 265 hi s Abo ri P r ofessor Mason h a s ill ustr ated thi s border page of g

ci t . i n al Ameri ca n B asketry, op .

2 i t . 266. i Am . B a . c Ab o r g . er sketry, op , n i r i o a li r n i a bli c ti n A M AR C H E TH 1 1 6 U ve s ty f C fo Pu a o s . [

edge , but a regular half knot is tied between each pair of warp

$ n M c Cl ou d n i n stems , is i applicable to the Wi tun baskets the

’ n n n n Departme t s Museum , no e of which appear to show a yt hi g that could be interpreted as a half knot . The only departure from the simple twin ing of the northwest ern region is that those of the baskets that are overlaid to the edge show a half-twisting on itself of each warp strand , independently of the other, at

s n each stitch , due to the northea tern method of causi g the over laying to come to the surface both inside and out ; but the u n ov er laid baskets go right on to the end in undisturbed and un twisted

- two ply twining . RN A M E N TA L E GN O D SI S . The general character of the ornamental designs on the bas

kets of this region can be seen in the accompanying plates , and

e n their typical arrang ment has bee admirably described by Dr .

1 Goddard in the paper referred to . It will be noted that the majority of baskets have the dec orative pattern confin ed to a comparatively narrow region extending around the basket not

orn a m en far below its rim . Caps are more fully covered by

a i on n i n t t , but eve these the characteristic arrangement is to s n ome extent observed . An arrangeme t of the design in several

c n on r distinct parallel bands, such as is ommo Po no and Yokuts baskets , is not found among the northwestern tribes .

n i n Property marks are occasionally i troduced the weaving, certain small areas being covered with overlaying . The irreg 1 6 6 ular designs on the basket shown in Plate , figure , were said

s to be property mark . There is apparen tly no habit among the northwestern tribes of leaving a break in the design encircling a basket , the opening

n n or i terruption bei g conceived as a p a ssage . Occasional irreg u l a r it i es producing this effect in continuous designs seem to be

n c due to tech i al inability .

R A F F E E N E T IB L DI R C S . K The basketry of the Yurok , arok , and Hupa is virtually

a identical . No given basket could be identified with cert inty as from a particular one of t h e a th r ee tribes . When a large

1 L f a n d C r f h H i . 44 . i e ultu e o t e upa, op . c t , V OL 2] Kr r — oebe . as ke t esi n s W o N . . a li orn B D g f C f ia . 1 1 7

n umber of baskets from one tribe are brought together , slight di fier en ti a t i n n i g te dencies are discern ble . Thus the Karok are

n more incli ed than the other tribes to us e red . They seem als o more inclined to use patterns containing vertic al outlines

n st i ead of the more usual oblique . On the whole the fin est work is done by the Yurok , the Karok a n d Hupa baskets being gene rally less smooth and even . B ut these di fferences hold only as averages . Some of the Hupa baskets are far above the ordi nary Yurok in quality .

RO E GN Y U K D SI S .

One of the comm onest of Yurok designs is the flint or vrm i i 1 g em a a design . Its fundamental shape is that of a parallelo l gram , genera ly with sides slanting downward to the right .

Sometimes , however , the slant of the sides of the parallelogram is toward the left . In all the typic al forms the base i s con s id l er a b . n y greater than the altitude This figure occurs si gly , but more frequently in diagonal rows . Sometimes the bases of suc c essi v e parallelograms are partially superimposed ; sometimes

n the parallelograms merely touch at their corners . The directio of the slant of the row of figures is always opposite to the direction of the slant of the sides of each individual figure . Not

e infrequently subsidiary d signs , especially rows of triangles , 1 1 are combined with the flint design . Figure shows a design the elements of which consist of two triangles close together . They are so placed that they may be interpreted as a parallelo

as gram that has been bisected . It was for this re on no doubt

r ect a n that the name flint was given to the design . Sometimes

- gles take the place of the oblique angled parallelograms , though this is uncommon ( figure Various forms of t h e flint design 1 1 8 1 20 e a r e shown in figures 1 to 1 2 and in figures to , wher they occur in combination with other designs .

1 fi Yu r ok desig n n ames are m ostly for med by the addi tion of the pre x m V A ' U U 0 V E h c h h c r m m c , ( w i , as t e vowel is obs u e, so eti es be o es v . - - n f h - Th ni i em fl n v s nn em a s fli n i ; a n d o t e suffix a s . us g , i t , g , t des g - - ' 1 n t s e kw m h - c V E t s e k w a a m h c d e s g . p , es sti k, p , es sti k n n o t m n r N i i em i n Yu r ok m ea n s fli n t or obsi di a . It does ea ar ow g . n m l r i n n h ch o n e f h c m m n d es 1 g n h poi t , w i is o t e o o est basket a es e sew -e e. r ul f n d c h n km f e o r a C ali o ni a . F li n t kni ves a espe ially t e lo g spe po t r , h f i n h i n n c a n d r d s aped objec ts o obsidi a n used t e deer sk da e, rega de as

c ni i em . ext r emely valuable, are alled g

n i er si t o a li o r n i a bli ca ti n s A M A B E T H. 1 20 U v y f C f Pu o . [ CH

' 1 la ii r n Th e sha rp fit ooth design or V n p e a a consists of right i angled triangles , either singly or in combinat on , more us ually

n i the latter . The esse tial feature of th s design is however not

n the right angle bu t the acute a gle of the tri a ngle . Figures 1 3 22 to 23 show the di fi er en t forms . In figure it is the two small triangles at the ends of the Z- shaped figure which give the name

n i n 23 n . w ul to the design In the , desig sho n figure the ame co d have been applied only on account of the acute angles . Figure

1 1 5 shows a similarly shaped design - element used as a pattern within larger obtuse triangles .

Th e V E r eq len or sittin g design is another of the very comm on 24 Yu rok designs . Its various forms are shown in figures to

n i n 1 1 n c on 34 a d figure 5. It will be seen that all these desig s tain as elemen t a n oblique isosc eles triangle . The reason of the

“ $ application of the name sitting t o 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

n modern but to which the name sitting was give .

The sn ake -nose design ( V El ei al ek coop ern ) is iden tical with

n the last . It is me tioned very much less frequently . Inasmuch as the ordinary name for the obtuse isosceles triangle among the

- n -n Karok is snake nose and amo g the Hupa rattlesnake ose , it seems that the occasion al occurrence of thi s design name among the Yurok must be attributed to the influence of these tribes . 3 A case of this design is shown in figure 5.

2 x 36 44 The wa p oo design is shown in figures to . 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

s . i osceles triangle This design element , however , does not a ppear to be used in its isolated form , but always occurs either

n i n 36 39 i in combinatio s a s figures to , or in d stortions as in

n f h as as cer figures 40 to 44. The meani g o the name not been ' ‘ m $ t a i n ed ; it seems however to have some reference to the iddle , presumably the bisection of the base of the trapezoid by the

' 1 nu Occa sionally cal led ve r.

2 l h a x A lso cal ed p oo .

OL 2 V ] Km el on — asket i W a li i es ns o . . orn B D g f N C f a . 1 21

apex of the triangle . This is also a very frequent characterist ic

u desi gn . Fig res 40 to 44 would seem to show that the trapezoid is not an essential element of the des ign and that any obtuse isosceles triangle whose apex is in contact with a horizontal lin e may be given this name . The design shown in figure 44 was w called sitting as well as a xp oo . The wa xp oo design is als o

1 1 6 a n d 1 1 7 shown in figures in combination with other designs . The sn ake ( vnl eifilek ca a ) s - design con ists of a progressive zigzag of alternately horizontal and vertical stripes . In accord

n a ce with the general trend of Yurok patterns , the horizontally extending portions of this zigza g are usually considerably longer than the vertical ones . In most cases the snake design is combined with the flin t design in the manner shown in figure

1 1 9 45 . . Figure shows it occurring independently The design i n fig ure 46 was also given the name snake . It might equally 47 well have received one or two other names . In figure the right angled zigzag stripe does not a scend but is alternately

s m di rected upward and downward , thu for ing a band through the zone of orn amentation on the basket instead of rising di ag on ally from the base to the rim of the basket . The triangles i adjacent to this design do not form part of it . They were g ven the name sitting .

The spread-hand or spread-fin g er design ( okWE get sip ) is

shown in figures 48 to 50 . Its most usual form is the one it

~ 48 a has in fig u r e . It will be noted that all the figures cont in a common element : the paired acute angles with vertical sides

parallel .

umets a a 51 57 The foot design ( q ) , figures to , has for its ele i n ment a r ght angled triangle at the end of a bar or stem . Bei g

a small design , it is rarely found singly , but its application in

52 . patterns varies considerably . Figure is not uncommon The fi form shown i n 53 is al s o not rare . The form shown in gure 57 is fairly common and suggests a design found among th e 1 1 6 Maidu Achomawi and other tr ibes . Figure shows the foot , , design i n combination with wa xp oo and ladder .

i L ém vi L ém a a vi n éma ) n The ladder des ign ( v q q , also q is show 58 in figur es 58 to 63. In figure the small squares were called lad 63 der This occurren ce and that shown in figure demonstrate that .

H. E r a . 2 l o. A u . A R C .

A M AR TH n i v er si t o a li or n ia u bli ca ti n CH -13 . 1 24 U y f C f P o s . L

n n the eleme tal idea of this design name is the square or recta gle .

In by far the greater number of cases , however , this element

n occurs only i n combinatio . In these cases the characteristic

- f feature is the step like e fect which gives the design its na me . The Yurok ladder which leads in to th e pit of the house c onsi sts

of a large slab or a log into which several steps have been cut . It is in teresting to note that whi le this design obviously takes

a its name from a combin tion of elements in a pattern , the same n n ame is also used for the eleme ts occurring singly , when real i sti c a lly the n a me is inappropriate .

c U mevi L k a a Not un ommon is the elk design ( ) , cases of which 64 are shown in figures to 70 . These designs may in general be described as con sisting of a rectangle placed on the middle of

n a other about twice its lengt h . Essentially therefore this design

n is very like the precedi g ladder design , and to many designs either name might properly be applied . It may be noted that among the Karok a n d Hupa there is only one name correspond

n i g 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 a n adjunct i to the design . The same may be said of the tr angles in figures 6 68 5. Figure might quite correctly have been named either

x 69 sitting or w a p oo by other individuals . For fig ure the name h elk would hardly have been expected . T is design would us ually receive the name flint , snake , or possibly ladder . There is also no apparent reason why the design shown in figure 70 should

c a n have been alled elk , as it bears no relation to y of the other forms of the design .

The sturgeon -back design ( qak il ee ) repres enting the plates 1 ur 7 5. 71 of the sturgeon , is shown in fig es to 7 Figure shows what may be regarded as the most typical form . Wh ether the 75 i parallelograms in figure , which would ord narily be called

- flint, are correctly named sturgeon back, seems doubtful . Par a ll l o a m s n e gr painted o the back of a bow , though arranged f somewhat di ferently , have however also been called sturgeon ba ck .

ok r kr The e uy a a design , which may be translated crooked or m i . ts zigzag, is rather co mon A variety of forms are shown in V OL 2} K eb — o e . a s k et esi ns o W li . . a o n r r B D g f N C f r ia . 1 25

76 83 fi gures to . It will be seen that its es sential constituent is an angle . As in the case of most other Yurok designs this

usually occurs in repetition or combination , though not n ec es sa ril y so . Figure 83 shows a pattern to whi ch in most cases the

wa x oo l name flint or p wou d be given . The name crooked was

here no doubt applied to it on account of its zigzag outline . Fig

80 o - ure was called both cro ked and sturgeon back .

m E s a A very com on design is called by the Yurok V t s eq l eq lo a .

The translation of this word is uncerta in . It seems to be about equivalent to striped . The design consists of vertical bars or

n s stripes . These may be atte uated to mere line or shortened 84 90 until they bec ome small rectangles . Figures to show the

n - 64 diff erent forms of this desig . The grate like lines of figure

90 a were also given this name . Figure is virtu lly the same 57 design as figure , but occurs on another basket and was inter

r 1 1 7 1 1 8 p r et ed by another woman . Figu es and also show this l design . In both these cases there is on y a single stripe and it

1 s n ot vertical .

Somewhat less common is the design call ed v i m aa n ak . This also consists of parallel stripes or bars but their direction is

n l diagonal instead of vertical . The meaning of this ame is a so not

clear . This design sometimes constitutes a small patch at the

c bottom of a basket . Some of these o currences may be property

marks , irregularities in design being occasionally explained in 4 a n k 91 t o 9 . this way . The V An a a design is shown in figures The meaning of the design called by the Yurok V Ut si er au

t li . can also not be gi ven . It consis s simply of a narrow ne

Sometimes the name is given to the ridge , one or two courses

n wide , of a stra d laid on horizontally outside and encircling the h t 95. basket . Such a case is shown in figure W ile this pa tern im os y , p is very common , it is hardl a true design and it is not sible that the name may refer only to the technique of its pro

duction . A design called by the Indi ans vs ter g erp u r aa is shown in

n i h as figures 96 and 97. The mea ing of th s name not been

vi ascertained . It is however e dently of spatial or geometrical significance perhaps having referenc e to the joined apices of , A M TH i r i li r n i P u bli ti n s A RCH . E 1 26 Un v e s ty of Ca fo a ca o . [

1 n t i n triangles or angles . A other ins ance which this design was found was on a basket showing a patter n identical with the 46 abnormal snake desig n of figure .

a n l A design th t is not u common , but is very imited in the

o e oi xk e scope of its employment , is the tattoo ( p g t ) design . This represents the tattooing on the chin of the women . It is found only on openwork basketry trays used as plates for dri ed salmon and similar food . Many of these trays are plain , but some con 98 tain four or five figures like that shown in figure , radiating from the center to the edge of the plate and produced by the

- s use of black dyed warp stem . All the remaining Yurok designs have been found only onc e 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)

leil ek v elet n was g iven the name flying geese ( q ) by an old woma .

1 00 owa t sel a k Figure shows a design called , the small s unk

n or polecat . It probably represe ts the markings of the animal .

r 1 1 A crab or crayfis h design ( qeq e ) is shown in figure 0 .

1 2 V I Figure 0 is a design called maggots ( ekWELkwa a ) . Prob ably the small white rectangles are to be interpreted as the maggots . Boxes of an approximately cylindrical sha pe are made by t h e n Yurok from elk antlers for holdi g dentalium money , and of wood for larger obj ects . Such boxes are represented in a

n k n k 1 0 design called v t e wa e wc a a . It is shown in figure 3 ; the rectangles represent the boxes . 1 04 erxkr i c n a a . Figure shows the elbow design , U p e

1 05 - Figure shows another geometrical non reali stic des ign .

l a a ts éxt se i . It was called , spread ng apart This design was also given the name foot .

n v at se kwa a - e r e r e A desig known as p or mesh stick , b ing a p s en t a t i on of the approximately rectangul ar flat pieces of elk

nl antler used for measuring net meshes , was found o y once as

1 06. a basket design . It is shown in figure The same name was however found applied once or twice to carved rectangular

r figures on the wooden paddles used for stir ing acorn soup .

1 “ h n h n i n fi 97 c vnti i er nkw a a m ll i n T e desig s ow gure was alled g p , s a m $ the iddle .

n i er si t o a li or n ia u bli i A M A C E TH 1 30 U v y f C f P ca t on s . [ R H

1 1 - 5 . Figure , sharp tooth and sitting

1 6 x o 1 w a o . Figure , p and foot and ladder

l a 1 1 7 wa x oo V Et se tsé lo a . Figure , p and p q 1 E 1 8 V ts e lt s e loa a . Figure , flint and q q

1 1 n 9 . Figure , fli t and snake

1 20 n k iwfi ik V El er e Figure , fli t and g q len . Basket design n ames 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 sigu i

fica t i on and usually is nameless ; but when a name is applied t o

“ $ it , it is either descriptive , such as scratched, or a name

- e - familiar from baskets , such as sitting, sharp teeth , sturg on back ,

- r . c ooked, or mesh stick KA R K E GN O D SI S . K The arok designs are very similar to those of the Yurok , although their names sometimes do not correspond equally .

1 They will be taken up in the order of the Yurok des igns .

’ The Karok ot eh a hits or fli n t -li ke design has for i t s element the parallelogram . It is identical with the Yurok flint design .

1 21 1 2 fi r Figures to 4 show di e en t forms . The design shown in

’ 1 24 h a h i i ot e t s t un u e t s . figure was called , small flint The oblique parallelogram is replaced by a rectangle more often among the

Karok than among the Yurok .

’ The t a t a kt ak design among the Karok corresponds to the

- n w Yurok sharp tooth . The etymology of this word is not k o n ; it seems to be derived from an adjectival or verbal root . Objects l with a row of notches are so cal ed . A variety of the forms

’ assumed by the t at a kt ak design may be seen in figures 1 25 to 1 33 1 85 1 87 , as well as in figures to where this design occurs in combination wi th others . A design like that shown in figure

1 51 s l -fin er was , which i ordinarily cal ed spread g , once named ’k k t a t a a . t This interpretation is very natural , as the elements

' of t h e spread-fin g er design always cons titute the t at a kt ak

figu re .

1L K r k n m i n n r or m a o a es of baskets : c ook g or eati g basket , la ge s all ,

i hi h r f or n ci n uk h a xa n . K r n m f as p ; g e basket tri kets, p ; at, p a ok a es o m r h z i n r m x r h ll m n r basket ate ials ; a el, as s ; pi e oots, caru ; e op y u , pa yu a ; n m uma r eki ri t a r i i adia tu , y p ; woodwa d a, t ptip . V OL 2I K r — oebe . a s ket e i n s W li s o . . a orn i a r B D g f N C f . 1 31

’ The a p c un i u fi or snake -n ose design corresponds t o the Yurok

n sitti g design . A number of form s are shown in figures 1 34 1 41 1 84 to , and in figure . The species of snake den oted by a p cu n k is not nown .

’ a xa n k o ik oi The p design corresponds to the Yurok wa xpoo . 42 1 1 The typical form is seen in figure 1 . Figures 43 to 45 show

n forms that are u usual among the Yurok . It will be seen tha t 1 43 1 44 figures and lack the isosceles triangle , the bisection by whose apex of the longer base of the trapezoid appears to give i the Yurok design t s name . The Karok name for the des ign ik i n a xa n . Ko o contai s the word for basketry cap , p , the second part of the word , is said to mean up and down , or progressively

s i back and forth , or the succe sive placing of one th ng ag ainst

1 46 1 47 i s i another . Figures and show forms of th des gn 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 1 85 shows the a p xa n k o ik oi design in combination with the

’ t a t a kt a k .

’ —fli n t t a ta kt a k - a xa n These four designs , , snake nose , and p

’ — K a s ko ikoi are a mong the commonest of arok designs , their equivalents are among the Yurok .

xa r a i n s The design called va k ai , long worm , shown figure

1 4 1 49 s 8 and , correspond exactly to the Yurok snake , even to f its usual association with the flint design . An entirely dif erent form is shown in figure 1 50 . This appears to be equivalent to the rare Yurok maggot design . The k i xt a kp i s or k i xt a pi s design of the Karok corresponds

- in shape to the Yurok spread fin ger or hand design . A similar K significance has been obtained for the arok word , but others sa y that the fingers are used only in illustration , the meaning os . p being long and pointed , though not necessarily sharp It is fi sible that the Yurok word okws géts i p also refers to the ngers

w 1 51 1 52. onl y by i mplication . This design is sho n in figures and

- n at cfis s The crow foot design , a , correspond to the Yurok foot

53. design , especially to that variety of it shown in figure ’ - en i ki vi t i . A co mmon Karok design is the cut wood , This is the equivalent of the Yurok elk and ladder des igns and there 1 32 Un i v er si t o a li for n i a u bli ca ti n A M A E TH y f C P o s . [ RCH

n n o fore eeds further characterization . It is shown in figures 1 53 1 60 to , and again in figure 1 84 .

The ik u r u k u r design is the equivalent of the Yurok okr e k r u a a i y ; apparently the name is to be translated stirred, wh ch

n may be a way of expressi g the spatial idea zigzag . It is shown 1 61 1 6 in figures to 3. Another form is like the Yurok variety 9 in figure 7 . The Karok xu r i p or striped design is the equivalent of the

E Yurok V t seq lseq lo a a . It is shown in figures 1 64 to 1 66 and 1 6 1 8 to 87.

The design corres ponding to the Yurok V An a a n a k seems to

’ K k u ts i si v a c 1 be called among the arok , spotted . An inst ance hi 1 6 of t s design is shown in figure 7. Another form is identical w ith the Yurok form shown in figur e 93. i A single line or r dge encircling a basket , called among the

v u t si er a u K c - - r v h i Yurok , is called by the arok u acip o a t . This

is said to mean to put something long aroun d , and in basketry

’ may refer to the technique rather than to the design . A portion d 1 68 of a esign given this name is shown in figure .

A design similar t o the ik u ru k u r design was a numbe r i i ’ i of times g ven the name xas r ee . The mean ng of this term

l i i d escri cou d not be obta ned, which is ev dence that the word is p tive and not the metaphorical application of the na me of an ff object . This design seems to di er from the ordinary zigzag or crooked desi gn in that when it constitut es a separate zigzag band it appears to be composed of broken lines , and that when it

n follows an outli e of triangles , it is detached from them a little distance . In all the cases obta ined there is thus a broken or 2 1 69 openwork effect . ( Figures to There seems to be nothing amon g the Yurok corresponding to thi s design name .

es i v a ci - s The or snail back de ign , said also to mean to carry, is another that is not found among the Yurok . Its element seems t o be an acute or right angled triangle . It is shown in figures 1 3 1 1 74 7 and 74 . The two designs in figure were found on the same basket and were called by the owner of the basket both

’ t a k n - t a kt a a d snail back .

1 The last pa r t of this wor d has a r esemblan ce to the n am e of the sn ai l n i v a i back desig , es c . That thi s i s the essen ti al featur e of the desi gn i s m ade alm ost c er tai n by the fa c t that xa s has r ecen tly been foun d to m ea n separ ated . V 0 L 2 - ~ l Kr oeber k i W li i . a s et es n s . a o n a . B D g of N . C f r 1 33

’ - i a f n The deer excrement desi gn , p , is also not fou d among the Yurok , but occurs among the Achomawi and Wintun . Its element is a small rectangle used in combination . It is shown

1 75- 1 7 s in figures 7 . The design in figure 1 77 was al o called

’ - i f c n v a . rabbit ex rement ,

A design found only once is shown in figure 1 78. It was

’ i u u hi called y p t , eyes , strictly, like eyes .

A modification of the snake -nose design consists of two hori z n a o t l rows of the isosceles triang ular elements . The design is

’ ’ a cu n i u fi u ca n t u n v a h it - c then called p p , snake noses on top of ea h

’ - i fi . a cun u e other, or snake noses together Once the form p ups n 1 9 1 81 t u n v a r a m u wa s given . Figures 7 to show the modified

- r e snake nose design . It will be seen that the isosceles t iangl s may be put simply above one another or joined at their apices

or along their bases . In the latter case a diamond or rhombus 1 84 results . It is in this way that the diamonds in figure are

- to be interpreted as snake noses . 1 82 1 81 l Figure , which is the same design as , was cal ed by

’ ’ ’ T i v i ah it s an old woman t a t a kt a k t ci v i t a h i ts . c t is said to be

used of small objects in a row . 1 78 A pattern like the eye pattern of figure , ascending diago

- nally through two flint parallelograms , was once called snake a nose iku r u k u r . This name shows that each of the rect ngles in the design was in this case considered as consisting of two tri

angles joined at the bases . ’ ’ a a kt ak evi i h u r a Figure 1 83 shows a design called t t y , tatak

. tak ascending, or thrown or moved up e Fi gures 1 84 to 1 87 show combinations of designs . Th se are

' ’ 1 84 en i ki vi t i a cu n i u fi. Figure , and p

’ ’ 8 a xa n k o ik oi t a t a kt a k . Figure 1 5, p and

’ ’ 6 xu ri a n d t a t a kt a k . Figure 1 8 , p ’ k 1 87 xu r i t a t a kt a . Figure , p and

HU P A DE SI G N S .

Since the drawi ngs for this paper were made , Dr . P . E . God

n dard has published a description of Hupa basket maki g, includ

n h is a ing an account of the designs and their ames , in gener l His paper on the Life and Culture of the Hupa referred to .

A M AR T n i r si t o a li orn i a P u bli ti n . E H. 1 36 U v e y f C f ca o s . [ CH illustrated description of the various 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 i being in fact of Yurok orig n , and has rendered any lengthy

n treatme t of the same subject unnecessary in the pres ent paper . “ His accoun t of the us e and treatment of materials is p a rt i cu l a r l l i e n y fu l , and the material prev ously pres nted in this con ec tion must be regarded as merely supplementary of his more exact observations . Dr . Goddard names and figures a number

s of Hupa design , some of which were not obtained by the author .

’ In the cases where the same names were secured, Dr . Goddard s

a n h a s orthogr phical re dering been adopted , except that his close

n r 0 a d u are represented without diac itical marks . Where he

i c does not g ve a design name , it has been rendered a cording to the

n pho etic 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 comm on design whose elements are paral lelograms is

i nk n n fit d as a a . h i called by the Hupa , on top of each other W le this design it self is generally identical in shape wi th the corre s n i n K e s i ts a p o d g Yurok and arok flint d sign , name is ltogether

fi r n 1 88 1 91 a di e e t . Several forms are shown in figures to . In s

' much as the ' name has reference only to the relative position of l the component elements , and not to their shape , it is perfect y 1 91 applicable to the pattern shown in figure , though this design corresponds much rather to the Yurok elk or ladder than to the

n flint desig . In one case a design consisting of two oblique parallelograms

n eset axk u L on . was called by a Hupa woman y u , long mark i A c cording to Dr . Goddard the second part of th s word means 1 2 n 9 . weave or wove . This design is shown in figure

’ The Yurok sharp - tooth and Karok t a t a kt ak designs are called by the Hupa t ca xt ceu fieL u Occurrences are shown 1 n figures 1 a i 1 93 to 96. According to Dr . Godd rd this word means po nts sticking up and is applicable to a series of projecting angles .

The name was obtained , however, for the design reproduced in

1 94 . . figure , which consists of an isolated triangle Dr Goddard

t ces ni fialwilt cwel gives as the name of the single right triangle , NI V . CAL I U F. P UB. ARC H . 81 ETH . VOL M 1 8 .

Op e n o r a n d s f n w k i ti g t ra s . ro y Yu k .

A n c b e a s . r Da ket Yu ok .

V OL 2 — . 1 Kr oebe . as ket esi ns o W a li i r B D g f N . . C forn a .

i said to mean sharp and slant ng . The des ign shown in figure

1 95 was misk axe t caxt cefifi L k called e with n iL fitd asaa n . A design identical wi th that of figure 1 96 is shown in fig ures

200 202 - and , which were called swallow tail . While this is per haps the more characteristic name , the acute angles in the figure

t ca xt c efifieL make also applicable to it . Dr . Goddard notes the use of both names for th is design . The obtuse isosceles triangle is call ed by the Hupa nea rly

- K L u wmi n t . as by the arok , rattlesnake nose , cwu w Two patte rns 1 1 9 97 8. . l o are shown in figures , Dr Goddard mentions a s

i n w n i L kfit d a s a an s c L u wm t cwu , rattlesnake nose on top of ea h

e i cor other, as the name of a pattern of isosceles triangl s , wh ch

’ ’ a cu n i u fi can u n v a hi t responds with the Karok na me p u p t , snake noses on top of each other .

’ wa x oo K a xa n k o ikoi The Yurok p , the arok p design is called

- - c a x h ul t cwe t ca wi lt cwel t . by the Hupa t ea , or t ) An instance is shown in figure 1 99. The meaning is unknown . Tca and the first part of t c a x-h u lt cwe appear to occur also in t ca x

- - ifi a l t c efifieL ; h u lt cwe in mi k i n i ly u lt cwe and perhaps in t cesn l wiltcwe .

t ea a l so According to Dr . Goddard the design is usu l y arranged that a series of figures encircles the basket when the “ i i . name 1 .en a 1 .d a u w is given it , s gnify ng it encircles

- t est cet cmi k e h as e The swallow tail design , y in Hupa , not be n found among the Karok and onl y once or t wice among the

c . Yurok . It appears to be not un ommon among the Hupa A typical form is shown in figure 200 . The pattern shown in figure

201 is from the same basket and was given the same name , but 202 is so un related in form that a mistake seems likely . Figure shows the elements found in figure 200 arranged in a continuous zigzag pattern . The design shown in figure 53 as a Yuro k foot design is us u h t cwa l . ally called by the Hupa frog hand, mila T is name was 204 also found applied to the design shown in figure , but the

connection between this form and the usual one is not clea r. The typical form of the frog hand design is again shown i n

figure 2 3 though i n this case it was given the name spread 0 , i g hand mila a n al eL i . It thus appears that the Yurok foot des n ,

r a . 2 1 1 . A u . A n on . E . A M A R . TH li r n i bl i ti n [ ' C H E Un i v er si ty of Ca fo a Pu ca o s .

corresponds to both the Hupa frog han d and spread-hand

n - n desig s , while the Yurok spread ha d design is the equivalent

- of the Hupa s wallow tail .

K - ns The Yurok elk and ladder , and the arok cut wood desig , are found among the Hupa in the forms shown in figur es 205

a f to 208. To the first two of these, which were obt ined rom

L en ou Lon . one individual , the name was given To the two hi ff others , w ch were obtained from two di erent individuals , the

i . name L en oikyu u m n was applied . Accord ng to Dr Goddard re , the first element of these names, means joined or tied together, and is no doubt used because the design extends in a

n -k uL on continuous pattern arou d the basket ; while y u means , as stated before , weave or woven .

- L ok om en kon t c The sturgeon back design , y , was found once among the Hupa and shows in thi s case the same shape as the typical form of the Yurok design of the same name . It is repro 2 9 d u ced in figure 0 . The equivalent of the Yurok crooked or zigzag design is

ik x l x called by the Hupa n a y e o o ats . A form is gi ven in figure 1 1 hi 2 0 . The design shown in fig ure 8 was also called by t s name .

V E t se lsé loa a The Yurok q q , the design of vertical bars , is i 1 ki n sn . 2 1 21 2 called by the Hupa e It is shown in figures and .

Presumably the meaning of this design name is , as among the

Yurok and Karok , striped . The design of slanting stripes called by the Yurok V An a a n a k

ki n i l hi c u . s is alled by the Hupa y T s was tran lated spotted, but this rendering may be inexact . An instance is shown in figure 21 3 1 89 . In figure the diagonal stripes were call ed mi ki n ily

l cw u t e .

In addition to the designs here figured, Dr . Go ddard gi ves the following .

Mik owe z l y mila , gri zly bear hand, a para lelogram with pro

ect in j g acute angles along the oblique sides .

“ $ L ek wi fieL They come together, yu , seems to be trapezoids super imposed .

’ owit selmi n a t n Q , worm goes rou d or worm s stairway , is a series of rectangul ar parallelograms superimposed so that each

th e higher one projects to the right of one below it, the whole being bordered by a double line conforming to the outline . V OL 2] Kr eb r — o e . asket D i W i es ns o . . a l orn ia B g f N C f . 1 39

Oblique lines run ning through oblique angled parallelograms

n iL kfit d a s a a n are called , one on the other its scratches .

C OMP AR ON OF ROK B O AN D HU A I S YU , KA K, P DE SI GN S .

K On the whole the designs of the Yurok , arok , and Hupa correspond rather closely . Still there are a number of dis c rep i an c es . K i in design names The Yurok and arok fl nt des ign , 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 accoun t of their combination into a pattern . The difference between Yurok snake and Karok long worm is of course slight . The same may

K — c be said of Yurok ladder and arok cut wood , sin e the ladder

ul consists of a log or slab into which steps are out . It sho d be noted however that the Karok cut-woo d and the corresponding

Hupa design have two equi valents in Yu rok : ladder and elk . The design consisting of four or more triangles at the end

f dl i a o vertical stalks , those in the mid e being h gher th n those at the two sides , is called among the Yurok foot , after the indi vidual elements composing the design ; among the Karok and

k - Wi sh os crow foot , after the design as a whole ; and among the

- Hupa frog foot . The Hupa however, apply to the design a

- n al a . second n me , namely spread hand This name is fou d so i among both Yurok and Karok , but applied to a design cons sting of four or six vertically projecting acute angles . This design a in turn is found also among the Hupa , who h ve given it the

- i fi name swallow tail . Th s name , nally , has not been found

. among the other tribes , except for a few cases among the Yurok Thi s is a characteristic instance of the degree of variabili ty of

design names among the northwestern tribes . K All the designs so far found among the Yurok , arok, and hi Hupa are given in Table I , w ch is arranged so as to show the

design names that correspond among the thr ee tribes . It will

be seen that the greate r number of names foun d in one tribe

but missing in another, are names that are rare even where i will l they do occur . Some d screpancies , however , be noted a so

s , among the more common names , although , as previou ly stated

i . all the des igns themselves are common to the three tr bes Of n i r si t o al i or n ia P u bli ca ti s A M AR CH E TH U v e y f C f on . [

-h n K t e Yurok designs fou d more than once , arok lacks five s - V Et er er u r a a n turgeon back , tattoo , g p , elk , and sitti g ; but of

am these the first three are not very common even ong the Yurok , while the elk and sitting are both second names for designs

- K whose other names snake nose and ladder , have arok equ iv a

K c lents . Of arok designs found more than on e , the Yurok

- n - xasi r ee lacks only deer excreme t , snail back and . Hupa , so k far as now nown , lacks nearly the same Yurok design na mes

K : - V E t er er u ra a as arok snake , sturgeon back , g p , elk , and sitting . The di fier en ce in the number of design names among the three tribes is probably only apparent and owi ng to the fact that inquiry has been fuller among the Yurok than among the other

m n tribes . O itting the names fou d only once , and the varia tions of the common names, there were found among the Yurok K sixteen , among the arok fourteen , and among the Hupa , includ

bo ing the designs given by Dr . Goddard , a ut an equal number of characteristic comm on tribal design names .

n i er si t o a li orn ia u bli ca ti A M A E TH U v y f C f P ons . [ RCH

53 $ Yurok foot, as in figure , but larger , with six to eight stalks

: Wish osk at si r eweli Le si s o t el e weliLel on each side g or g p , crow foot .

Yurok sharp - tooth : Wi sh osk laget .

27 1 35 : Wi h o m Yurok sitting, as in figures , s sk dut e ath o .

E t s e lts e loa a : W i sh osk t ci r u r a Yurok V q q t cg at .

- K s 72 1 23 Yurok sturgeon back or arok flint , as in figure ,

Wi sh osk g a v oy ah at i .

’ 6 : Wi sh osk Yurok flint , as in figure wa sat , put on top , or

’ r i . t ve wa sat , two put on top

66 : i sh osk r i v el et Yurok elk , as in figure W t , two 1

wa x oo t 36 1 42 i n Yurok p , like the elemen s in figures , , but three tiers like figure 1 46 except that the trapezoids are solid :

‘ ‘ Wi sh osk r ikweri ca a a 1 t g t g t , three

wa x oo i r 37 i sh osk i a ari L i a Yurok p , l ke figu e W g d ced or g d ce

L m h a r i d a o f ll . d du e t , said to mean grown up or u blown

Long horizontal trapezoids on top of each other : Wi sh osk

h r d at e owaL et . , said to mean straight across horizontally

Short vertical bars at the ends of these trapezoids : Wish osk

r a k a h a li a l a a . d t gw t , s id to mean beginning to grow

N H N E N ORT E ASTE RN W I T U N D SI G S .

The foll owing information as to the b askets and design names of the Wint un of the Mc Cl ou d 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

s . i i s mens to which it relates , by Profes or $ ohn C Merr am and presented through hi s courtesy . Typical baskets of this branch of the Wintun are shown in

21 . Plate . In general they are of the northwes tern type The weaves are the same except for the diff erent method of over di ff laying described , the shapes and patterns not very erent, l and the materials are largely identical . The warp is of wi low

1 c in place of the northwestern hazel . For coni al carr ying bas kets poison oak, rhus diversiloba, is also used . The woof is of roots of yellow pine, pinus ponderosa . The overlaying materials

M l ri r n n m t : l l r c i n c C ou d ve Wi tun a es of baske s pu uk, a ge ook g basket ; ’ d a u s e m ll h l c lu n a n d r i n i n s m m l p , s a s al ow oo g d k g ba ket ; kolo , s a l deeper ’ m r a n ka i s c m l n r c i n basket ; kawi, o tar basket ; p , o ea ope wo k arry g basket ; a n - r fla r - h a , seed beate ; tekes, t t ay s aped b sket . V OL 2 — . ] Kr k oebe . a s et e i ns W li s o N . a rn r B D g f . C fo ia . 1 43

e t u i are the same as in the northw s , xerophyll m , ad antum , and

- alder dyed woodwardia . It is possible that additional materials

' l 1 . i n P at e 2 may be used to produce patterns The hat shown , 3 figure , resembles a Modoc more than a Yurok hat in shape , i pattern , and softness . The warp appears to be of roots nstead

as d of twigs ; it is said to be gr s , a mitted to be an unus ual mate rial . The woof at the center or origin of this hat i s of twine , as in Modoc hats . In part the design names collected by Professor Merriam

B . corroborate those given by Dr . R . Dixon from the upper Sac 1 ramento river Wintun ; others are new .

- in 21 4 The water snake design , shown figure , ag rees with

- e ak the form gi ven by Dr . Dixon . The diamond shaped rattl sn e head design shown in figure 21 5 in continuous pattern is al so given by

Dr . Dixon . Figure 1 6 2 , a row of tri l 224 angles , midd e of g . _

base on apex, called

- sucker tail , is also practically ident ical with the Dixon

- sucker tail design .

e The flyin g ge se , figures 21 7 and 4 22 , are somewhat diff erent from the

Dixon design , but F i g . 225 . there is an under ly ing similarity i n

pattern eff ec t . Fig

ure 21 8 shows leaves . A more typical form is said to consist of obtuse isosceles triangles wi th their bases in a row . Dr . Dixon i l s shows rows of triangles on each side of a di agonal , wh ch he ca l

‘ $ leaves st rung al ong .

‘ N n C f ni a B ll . Am . B ask etry Design s of the I n di a n s of orther ali or , u

V I 1 7 1 902. Mus . N a t . Hi st , $ I , I , , A M n i v ersi t o a li or n ia u bli ca ti AB C H E TH. U y f C f P on s . [

’ n 21 9 A bird s breast design is show in fig ure . It consists of a band of di agonal stripes . Both in form and name this sug 1 gests the P it River meadowlark neck des ign . 225 or . Figure shows a design that is called lizard foot . track A different combination of the elements constituting this desi gn 2 o - was found by Dr . Dix n called bear foot . 220 l Figure shows what was ca led a tribal design , taken from

’ the woman s ca p mentioned . 221 Figure shows the arrow point design .

222 - Fi gure 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 abou t two horizontal dividing l ines .

’ A navel -string design on a basket for preserving a child s

- c navel st ring, a lso not figured , consists of verti al parallel bars or stripes .

I N K N E N S I E D SI G S .

‘ Th e A th ab a sca n s of lower So uth fork of Eel river and of the

a l n k in neighboring co st region seem to ca l themselves Si e . 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 k et r di i y , however, is st nctively of the northwestern type , though

al very poorly made . The materi s include hazel redwood roots m , , aidenhair fern , woodwardia fibres dyed with alder , and xero

s phyllu m ; and coiled baskets are not made . These Indian are fond of introducing black radiating stripes in all their open

i a work by color ng the warp, method only occasionally practiced by the Yurok . Much like the northern Wintun and probably

Si n ki n e di fier en ces m Shasta , the tend to certain minor in for of their bas kets and pattern arrangements from the Yurok ,

h s K . arok , and Hupa Large baskets ave omewhat more contin u ous curve and flare in profil e than among the tribes of the

b r od. north , and the edge is more often strengthened y a thick The acorn meal sifter is shallowly concave i n place of flat as with the Yur ok and Karok or somewhat conical as with the

1 i x n . i t . . 1 5. D o , op c , p “ . 1 8. Ibid ., p NIV . A I C F. L PU . B AM. AR H . U C ETH. VOL. 2 P L. I9 .

K r . o F i . 3 V o u b s F s . 1 u r . a r i s a s ke t . i g Y k g , a ok

V OL 2] Kr r — i ‘ li oeb . k t D W e B as e es gn s of N . . Ca forn ia .

Hupa . Openwork trays are slightly deeper than among these tribes . The patterns are in clined to run in a large hori zontal zigzag . A design of a continuous series of angles , either acute or

n L s oblique , is called a go . A pattern of al ternately black and whi te small rectangles is ’ ’ l o cal ed t es an or tes an , which is translated patch .

v ci n i sn oi w i s Vertical stripes or bars ha e the name t , hich di i k in i esn . alect cally equivalent to the Hupa name of this design ,

P R N OF A K I C OM A ISO B S E T DE SI GN S N N OR TH ERN CAL I F ORN IA . Before proceeding to a comparison of the basket design names of California , so far as they are known , it is desirable to di scuss briefly the geographi cal relations of techn iques and of pattern arrangements . As between the two chief modes of weaving that are cus

i n M i i tomarily distinguished western North er ca , the tw ned i i and the coiled, tw ned weav ng has perhaps a wider distribution i in Californ a , but coiled weaving is the principal and more characteri stic techn ique of the greater num ber of groups .

n The tribes of northernmost Califor ia , both east and west , K practice only twi ned weavi ng. South of the Yurok , arok , 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 , Pomo , Maidu , and other stocks that chiefly make coiled baskets , they are looked upon as workers in twined

i n weavin g . The Wailaki baskets 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 twi ned . The baskets of the Shasta and Chima riko were un doubtedly twi ned . The northern Wintun of the upper Sacramento and Mc Cl ou d rivers make twined baskets

. exclus ively , as those of Trinity river almost certainly did This however must not be suppose d to apply to the entire Wintun

st ock . The southern Wintun east of the Pomo make coiled bas hi kets . How far north in the territory of t s family the practice of maki ng coiled baskets extends is not certain . Coiled baskets

Th e were made on Stony creek . Achomawi , the Pit river basin A I AR . i i n [ L CH . E TH Un i v er sity of Ca lifor n i a Pu bl ca t o s .

. Indians , according to Dixon made only twined baskets The Kl Yana work is twined . The amath Lake and Modoc Indians of the head waters of the Klamath river also us e the twin ed technique exclu sively . South of these tribes coiled work was found and everywhere predominated except for larger and more specialized bas

i a i kets . Among the Pomo tw ned we v ng 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 desi gns in patterns on Cali formia baskets the following arrangements must be di stinguished

n s First, horizontal , either in conti uous band or in rows of

figures .

Second, vertical or radiating .

i as Third , diagonal or spiral , accord ng the basket is deep or flat .

i . Fourth , zigzag, or diagonal alternately to the r ght 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 vi ew . These terms have reference to the appearance of the ordi

- nary basket seen from the side . In the case of a flat , tray l ike

a i ul basket, a horizont l arrangement would consist of c rc ar

i di al bands , a vertical pat tern would be rad ating, a agon one

- spiral , and a zigzag one star or net shaped . In the baskets from the northwestern regi on 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 aroun d the basket a short distance below its rim . In the case of caps there is generally di an additional simple subsi ary design at the center . This hori zon t a l decorative area may consist of the same figure or group of figu res three or four times repeated in the circuit of the bas fi ket , or of a more simple and more continuous pattern . The g ures may be repeated in part above or below the mai n 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

li i A M AR H E TH Un i v er si ty of Ca lifor n ia Pu b ca t on s . [ C

baskets characteristic of the northwestern region . The bottom of the baskets is also squarer , the sides meeting the flat bot tom wi more nearly at an angle th a very short curvature , while in the northwestern baskets the c urvi ng bottom runs very grad u ally 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 arran gement of designs , however, the Pit river and ff northwestern baskets di er fundamentally . The most common Z arrangement in the Pit river region is the spiral one . igzag patterns are also common . Block patterns , or single figures , which are nearly wanting in the northwest , also occur . On the other hand the horizonta lly arranged patt erns of northwestern

California occur rarely . i The basketry of the Yana , who are almost ext nct , is very

n little known . Dr . Dixo has however described two pieces . They ff seem not very di erent from Achomawi baskets , being twined and overlaid with xerophyllum . Their designs also suggest the

1 Pit river designs .

The baskets of the Modoc , and of the Indians often loosely

K n called lamath Indians , the two tribes who co stitute the Lutu

n ami stock , resemble in many ways the orthwestern and Acho mawi baskets , belonging to the same twined overlaid type . Both warp and woof of the L u t u a mi baskets are however of

ul a n t e in place of tree twigs d 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

The pattern arrangement on the Modoc -Klamath baskets is difi er en t n from the characterist ic northwestern arrangeme t .

i l c Wh e frequently horizontal , there is a distinct tenden y to

s defined band . 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 i n being less flat than the northwestern bas

I R B . i n . ci t . 1 D xo , op . , p . 9. V OL 2] Kr r — k i n W li i as et es s o . . a rn . oebe . B D g f N C fo a 1 49

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 des ign -zone of the

e northwest rn baskets , but agree with them in showing in the great majority of cases either a diagonal or a horizontal arra nge

ment, although the vertical , the zigzag, and the block arrange

ments are also found . The elements of the designs are for the

n most part equivale t to northwestern design elements . The Shasta seem to have made comparatively few baskets and K these resembled the Yurok and arok 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 .

i Si n ki n e Among the few surv ving , the Athabascans of South E fork of el 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 Pomo . It is hardly necessary to say once more that this classification has

l . nothing to do with materia s , technique , or texture

The Maidu baskets illustrated and described by Dr . Dixon

show most commonly a zigzag arrangement . Second in import di ance is a diagonal arrangement . Horizontal stribution of designs is very rare and the vertical or block arrangement still

more so . The northern Moquelumnan or Miwok basket s in the Am erican

Museum illustrated by Dr . Dixon , show a preponderating hori

z n n o t al arrangeme t , and secondary to this is a vertical arrange a a men t of design s . The characteristic Maidu diagon l and zigz g i s arrangements seem to be rare . Th s fact is noteworthy becau e

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 . i li i n A M AR CH E TH Un i v er si ty of Ca lifor n a P u b ca t o s . [

The Yokuts makers of the Tulare baskets prevailin gly use horizontal a n d secondarily vertical patterns , thus agreeing with their northern neighbors the Moquelumnan Indi ans . Especially amon g the southern Yokuts the continuous horizontal band is however more in use than in Moquelumnan territory . A diag on al arrangemen t 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

$ oaquin valley are very scarce . The few that are undoubtedl y l from this region , a most all from Chumash territory , show a combination of horizontal a n d vertical designs . The baskets of the Shoshon ean a n d Yuman Mission Indians of Southern California while different from the Yokuts types , w of baskets in many ways , like them generally sho horizontal

- and vertical arrangements . Tray shaped baskets frequently

- l show a star shaped pattern , which shou d be classed as a form m a r a rn e en t . of zigzag g The tribes of the desert farther eas t ,

us e such as the Chemehuevi , seem to 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 sid er ed n i n - a u it the matter of basket design arrangement , the patterns bein g prevailin gly 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 , t ex ending along the coast to the northwestern region . The Porn o

r a e 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 havi ng twined and coiled P basketry , the omo 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 foun d among some other California groups ; but whereas other groups limit the use of their less cha racteristic V OL 2 — . ] r Kr oebe . k et n s W li r as esi o . a o i a . B D g f N . C f n 1 51

weaves to parts of baskets or to certain classes or shapes of b as

kets having special purposes , among the Pomo the employment of the severa l techniques is not confined nearly as rigorously to

narrow types of ware . Besides the variety of techniques there

l - exists much atitude of shapes , there being flat bowl shaped bas i kets, others whose opening s about equal in di ameter to their hi bases , and still others w ch curve inward to th e top consi der

ably ; besides o f course conical carryi ng 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 a b or i g inal in any other region in California or at least is not usual

anywhere else . They also use the greatest variety of external l ornament . Beads, she l ornaments , quail plumes, and feathering

are employed to a far greater ext ent than elsewhere . Among the northern tribes usin g only the twined technique such ext ernal

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

uk southern Wintun , southern Y i , and perhaps northwestern

Moquelumnan , as well as the Pomo . Complete feathering is said f ki not to have been practiced ormerly even by the Yu 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 i variety of design arrangements in California . The hor zontal fi and di agonal arr angements apparently predominate . Single g ures of such size that one fil ls the entire vi sible surface of a i i basket, or of such size that several are v sible at one t me, are

o . al so considerably us ed, especially on the smaller c iled baskets

i n Very often these figures are fairly elaborate, cons sti g of a

Z z group of figures rather tha n of a design or pattern . ig ag and

vertical pattern s are also both found on Pomo baskets , and a

net-like arrangement whi ch might be described as a combination of two diagonal patterns slanting in opposite direction s is not

un common .

I n regard to decorative scheme an d pattern arrangements

Californi a baskets may therefore be classified as follows : ‘ A M n i er si t o a li or n i a P u bli ca ti n A E TH. U v y f C f o s . [ RCH

A w . . North estern type , twined Designs arranged hori

- a z on t a lly in a single pattern zone or diagon lly .

B . Northeastern or Achomawi type , twined . Arrangement

n . of patter s diagonal or zigzag, not horizontal

C . Maidu type , chiefly coiled . Pattern arrangement zigzag

n or di ago al .

D . Southern type , chiefly coiled . Pattern arrangemen t

n horizo tal ( often in continuous bands) or vertical . c w . E . Pomo typ e , oiled and t ined Variety of design

n r s arra gements , ho izontal band and diagonal patterns being most frequent . In this classification the Yana belong t o the Northeastern

L u t u a mi ty pe , the and northern Wintun are intermediate between t he ffi Northeastern and the Northwestern types , the a nities of the

n n n souther Wi tu are either with the Pomo or Maidu , the Yuki 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 a n d Northeast ern

types resemble each other in technique , materials , and general

n a n d s effect, the Northwester Pomo type are most similar in

as t pattern arrangement, where the Northeas ern is similar in pat

n tern arra gement to the Maidu . The Maidu and the North f western types di fer most in pattern arrangement . a The consider ble similarity in materials , methods of manu f n t h e acture , and general appeara ce between the basketry of In dians 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 L u t u a mi and Achomawi in general resemble the tribes of the Sac ramen to valley or of the grea t interior basin much more than K they do the arok , Yurok , and Hupa . It is in northernmost California that the deep and sharpdifferen ce between the culture

a n d of the immediate Pacific coast that of the interior , which is

‘ e n ds t so mark d everywhere farther orth , fin its mos southerly

n occurrenc e . South of Mount Shasta the line of eth og raphical division is tran sferred from the Coa st Range eastward to the Sierra Nevada and the diff erences across this line become of a different nature .

A M AB E TH. Un i versi ty of Cali forn i a Pu bli ca ti on s . [ CH

TABL E I I .

A n imals a n d Spatial par ts of the a n d dyn am i cal

n i . body. P la ts . Objec ts. deas 1 7 5 9 8 2 4 7 1 2 1 2 1 1 4 1 3 2 2 1 1 8 1 1 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

n s parallelograms , although the latter is more freque tly the ca e

Among the Hupa the same design is named on top of each other . This name is obviously applicable only to a pattern con sisting

ff n of two or more such parallelograms . We have here a di ere ce

- 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 middl e being longer than those at the two ends . This design

- K a n has various names, such as crow foot among the arok d

i sh osk - - W , frog foot among the Hupa , lizard foot among the Acho

- f i . o maw , and pine cone among the Maidu All these names are applicable onl y to the design as a whole . Among the Yurok the des ign is called simply foot , and the application of this term to certain other patterns shows that the name refers not t o 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 1 in Table III . It will be seen that among the Yurok and Karok designs named for constituent elements are in the majori ty . Among the

1 The n um ber s gi ven i n Table I I I a r e fewer than the total n umber of i n n h i ffic l f f i n r n d n des g s, owi g to t e d u ty o c lassi y g ce tai esig s . V OL 2] Kr eb r — t i n W a li rn ia o e . Ba ske D es g s of N . . C fo . 1 55

Maidu the opposite is the case . The northern Wintun agree K with the Yurok and arok , but the Hupa form an exception

among the northwest ern tribes . The Achomawi show an approx

i m at e i balance , but the d fference is slightly in the direction of

the Maidu tendency .

K A summary of the Yurok , arok , Hupa , and northern Win

i n tun design names presented this paper, and those of the Maidu ,

Achomawi , and Wintun described by Dr . Dixon , together with i a few other names obtained by the author , is g ven in Table IV . i h Only trans latable design names have been included . The W s osk

B a i n ki n e are from Humboldt y , the S are Athabascans from

southernmost Humboldt coun ty , 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 . l i [A M A RCH E T H 1 56 Un i ver si ty of Ca lifor n i a Pu b i ca t on s .

c a a a o a o a fi - -v B m a M 8 n o a o p s u o 3 = fi a m e £ M o w m m 3 0 w V OL 2 . ] Kr oeb r — e . a s ket esi n s o N W B D . . a li forn i g f C a . 1 57

o n m 2 “ g 3 5 0 é 0 . S As 3 0 g 0 5 fl k o z 3 e o 3 o h o 3 > w w . h q3 Un i versi t o a li or n i a P u bli c i A M AR E TH 1 58 y f C f a t on s . L CH I I H. . N V . CAL F PUB. AM. ARC H . ET VOL 2 PL 2 I U ,

A H R T li i [ A CH E H. Un i v er si ty of Ca liforn i a Pu b ca t on s .

v er sel - h a s di fi er en t y , the same pattern or design element among tribes ofte n radically di fi er en t names . To take again the paral l l r a m K e og , its name among the Yurok and arok , whether used

n singly or in combi ation , is flint ; the Hupa call it long mark ,

n or more freque tly on top of each other ; the Wintun , rattle

us e sn ake head . The Achomawi and Maidu do not seem to it as an isolated figure but always in pairs or diagonal rows . Among the Achomawi these rows are frequently divided by a transverse i diagonal stripe or other pattern , the parallelograms thus be ng

n cut in to triangles . The pattern ru ning through the rows of parallelograms is the deer rib or deer gut design and the tri angles resulting from the divided parallelograms are called

- n arrow points . The u divided 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 p at tern the design is called fern or notched feather . Another ins tance of diversity of names for an identical pat tern is the design i n which the point of a triangle rests on th e

n I n middl e of the lo ger base of a trapezoid . 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

K - reference to the middle , among the arok 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 .

i i a s Again the obtuse sosceles or equ lateral triangle h , in ff f di erent arrangements , the meaning among the Maidu o moth ,

- quail tip , flower, and notched feather , among the Achomawi of

- fish - arrow point , among the Wintun of tail , flying gee se , and leaves , among the Yurok of sitting . h It is not necessary to give further illustrations . T e cases cited show that there is no deep or inherent relationshi p between

r the designs of California basket y and their names . Of course some names are from their nature applicable on ly to certain designs and must be applied either to these or drop out of use .

i r e Most names , however, ow ng to the simplicity of techni cal ep r sen t a ti on , are applicable to several designs and a re often found V OL 2 — . i W li r a ket es n s o . . a o n ia . 1 Kr oebe . B s D g f N C f r 1 61

attached to di fferent designs among di fi er en t groups or even in

a the s me tribe , just as the same designs very frequently have i ff d fferent names among di erent groups . It must be concluded

that the basket- design names of at least the greater part of Cali f or n i a are little more than conventional names of conventional

designs . m Sy bolism , 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

n no the rest of the state less is k own at present , but there are

n ff indicatio s that conditions are di erent . The design names of the Yokuts at the southern end of the San $ oaquin basin are certainly of the sa me general character as those foun d 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

n a a s . f r e mes of the basket making tribes , but are e as these of religious or any but a conventional significance . Lack of con n ect i on between basket design names and religi ous thought can therefore be absolutely asserted for the greater part of California and can safely be accepted as extremely probable for all the

' nl u remainder of the state . Certai y there is as yet no tr stworthy

n evidence of a ything to the contrary . This condition is in entire accordance with the almost utter lack of pictographic or realist ic representation in the art of these Indians . Symbolic expression

n in actions or ritual is almost equally absent . When the ge eral fun damental di fi er en ce in character of the California Indians i from those of the southwest and of the M ssissippi valley , and

c in a measur e from those of the north Pacific oast , is once clearly realized , the conventionality of their basket design names l seems en tirely natural . Of course it is need ess to say that no

California basket design s express modern poetical sentiments . The California Indian calls a triangular ornament in basketry A M AR T li r n i u bli c ti n s C H. E H. Un i v ersi ty of Ca fo a P a o . [

- s an arrow point , not because this figure expresses a wi h or

n prayer for success in the hu t , but because it is a simple and

fittin g name for a simple design . The significance of the deco ration of California basketry is therefore of a n entirely different

- n ature 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 n ames of course are as appropriate as possible . This simple naming of decorative figures appears to be the analogue or r ep r e s en t a t i v e i n California of a more prevalent tendency in man kin d B to embody a deeper significance in ornaments . u t i n the form i n 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 F I GURES OF DESI GNS SHOW N AL SO I N THE P HOTOGRAP HI CALLY

R P D D E RO UCE P LATE S . V OL 2 — k t D i ns N W li ] r b . rn K oe er B as e es g of . . Ca fo ia . 1 63

M M E M B R I R ED I N USEU CATAL OGU NU E S OF BASKE TS LLUST AT THE PLATES .

N um bers wi th n umerator 1 r efer to speci men s i n the M useum of the

A r l r m n n i f i n th opo ogi c al Depa t e t of th e U versi ty of Cah orn a . N um bers wi th n um er ator 40 r efer to speci men s i n the C ali forn i a A c ad

em n y of Sci e ces .

P 1 5 fi r 1 40-1 75 late , gu e 6 2 1 -1 591

3 40-1 663

P 40-1 661 P late

I O 40-1 653

Q 1 -1 609

Q 40-1 708

D - C 1 1 496

‘ - - 1 6 fi r i 1 1 579 P late , gu e N 1 -1 870 P late

D - C 1 1 472

fi - 1 I 1 1 76

I U 40- 1 683

Q 1 -1 481

P late 1 7 figure H 1 -1 661

N 1 -1 507

W 1 -1 888

1 -1 571 P late

5 1 -1 599-1 601

6 40-1 655

7 1 -1 81 7

8 40-1 659

1 fi r 1 40-1 71 1 P late 8, gu e n i r i t o a li or n i a u bli ca ti n s A M AR CH E TH U v e s y f C f P o . [

M S M A A G N M B R S OF BASK S F R M W I D SI GNS A FI G D U EU C T LO UE U E ET O H CH E RE URE .

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No . 2 . C n n C to lo ic a l Tec h n i ue W . P 50 o tributio s to y g q , by . J . V . Osterhout ri c e , . — GE O O Y . B n D m n n d n Ed . L G ulleti of the epart e t of Geology. A rew C . Lawso , itor P m ri c e per volu e Volumes 1 (pp . 428 ) a n d I I (pp . 450 ) c m ompleted . Volu e II I ( in progress)

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by Jac ques Loeb . u m v s n s rrv o r C A L I FORN IA

— n PHYSI OLOGY . C o n ti ued .

m n o n No . 2 . Further Experi e ts Hete ro

d c . erms , by Ja ques Loeb

n f n C c a n d N o . 3 . The I lue c e of al ium of the Kid n ey ( se c o n d

C allum .

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dd a ll re ue s ts f r n m n c n c n c A ress orders , or o i for atio o er iu the above publi c c Th e gm v ( ex ept Agri ultural) to er 81 ty Pres s , Berk el ey , 0 orn i a u