, none of which show any new decorative design. All possible
changes have been made in them without abandoning the elemental
ornamental motives already considered. The tendency to step or terrace
patterns predominates, as exemplified in simple form in figure 343. In
figure 344 there is a different arrangement of the same terrace
pattern, and the design is helped out with parallel bands of different
length at the ends of a rectangular figure. A variation in the depth
of color of these lines adds to the effectiveness of the design. This
style of ornamentation is successfully used in the designs represented
in figures 345 and 346, in the body of which a crescentic figure in
the black serves to add variety to a design otherwise monotonous. The
two appendages to the right of figure 346 are interpreted as feathers,
although their depart forms widely from that usually assumed by these
designs. The terraced patterns are replaced by dentate margins in this
figure, and there is a successful use of most of the rectangular and
triangular designs.

[Illustration: FIG. 344--Terrace pattern with parallel lines]

[Illustration: FIG. 345--Terrace pattern]

[Illustration: FIG. 346--Triangular pattern with feathers]

In the specimens represented in figures 347 and 348 marginal
dentations are used. I have called the design referred to an S-form,
which, however, owing to its elongation is somewhat masked. The
oblique bar in the middle of the figure represents the body of the
letter, the two extremities taking the forms of triangles.

[Illustration: FIG. 347--S-pattern]

[Illustration: FIG. 348--Triangular and terrace figures]

So far as decorative elements are concerned the design in figure 349
can be compared with some of those preceding, but it differs from them
in combination. The motive in figure 350 is not unlike the
ornamentation of certain oriental vases, except from the presence of
the terraced figures. In figure 351 there are two designs separated by
an inclined break the edge of which is dentate. This figure is
introduced to show the method of treatment of alternating triangles of
varying depth of color and the breaks in the marginal bands or "lines
of life." One of the simplest combinations of triangular and
rectangular figures is shown in figure 353, proving how effectually
the original design may be obscured by concentration.

[Illustration: FIG. 349--Crook, terrace, and parallel lines]

[Illustration: FIG. 350--Trian