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UNIVERSITY OF CALIFORNIA PUBLICATIONS
AMERICAN ARCHAEOLOGY AND ETHNOLOGY

Vol. 2 No. 4

BASKET DESIGNS OF THE INDIANS OF
NORTHWESTERN CALIFORNIA

A. L. KROEBER

BERKELEY

THE UNIVERSITY PRESS

JANUARY, 1905

UNIVERSrTY OF CALIFORNIA PUBLICATIONS
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No. 4. Basket Designs of the Indians of Northwestern California,

by A. L. Kroeber. Pages 60, Plates 7, January, 1905. Price, .75
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UNIV, CALIF. PUB. AM, ARCH, &. ETH.

VOL. 2, PL. 15.

mmmm0^^

Caps. Yurok. i.

VOL. 2

UNIVERSITY OF CALIFORNIA PUBLICATIONS

AMERICAN ARCHAEOLOGY AND ETHNOLOGY

NO. 4

BASKET DESIGNS OF THE INDIANS OP
NORTHWESTERN CALIFORNIA.

A. L. KROEBER.

INTRODUCTORY.

The Indians of extreme northwestern California, while show-
ing many similarities to the other tribes of California, and
some approximation to those of the north Pacific coast, are in
many ways peculiar in their culture. The territory occupied by
this group of tribes is very limited, comprising only Humboldt
and Del Norte and small parts of Trinity and Siskiyou counties.
Their specialized culture is found in its most highly developed
form among the tribes of the lower Klamath and Trinity rivers :
the Yurok, Karok, and Hupa. The Hupa belong to one of the
California groups of the great Athabascan linguistic stock. The
Yurok and Karok are small isolated linguistic stocks. The three
languages are as radically different in phonetics as they are
totally unrelated in vocabulary. The three tribes live in close
contact, with more or less intercourse and generally friendly
relations. In their culture they are remarkably alike.

The names of the basket designs described in this paper were
obtained from Indians of the three tribes during 1900, 1901, and
1902. The most extensive investigations were made among the
Yurok. This accounts for the larger number of designs obtained
among this tribe. The Yurok designs described are taken from
nearly a hundred baskets. The majority of these are now in the
Museum of the Anthropological Department of the University
of California. A number of baskets, and the names of their
designs, were collected in 1900 for the California Academy of
Sciences. Through the courtesy of the oflBcers of the Academy
this material is used in the present paper. Information was

Am. Abch. Eth. 2. 9.

106 University of California Publications. [Am. Arch. Eth.

obtained among the Yurok as to the designs of a greater number
of baskets than were actually collected, the total number reach-
ing several hundred. The more common design names are
exceedingly frequent among the northwestern tribes, and, while
exact duplications of designs ordinarily do not occur, yet many
of the variations are so slight that it was often thought unneces-
sary to insure their preservation by purchase of the specimen.
All baskets having characteristic designs but uncommon design-
names were secured for the Museum of the Department. This
selection gives the Yurok design names described an appearance
of somewhat greater variety than they actually possess. Prob-
ably the fifteen most common design names constitute all but a
very few per cent of the total number. Among the Karok and
Hupa all baskets were secured about which information was
obtained as to the design. The number of such Karok baskets
is about fifty, and of Hupa twenty-five.

It was found necessary to get the names of the designs in
the native language, as many of the words are not names of ani-
mals or objects, but geometrical or descriptive terms not trans-
latable by the Indians.^

KINDS OF BASKETS.

The basketry of northwestern California is characterized by
'^circular open baskets somewhat rounded at the bottom and
generally of no very great depth, "and by women's caps, which
are shallower than the basketry caps worn in other parts of Cali-
fornia. Large baskets serving for the storage of food are propor-
tionally of deeper shape than the smaller baskets used for cook-
ing and eating. Conical baskets are used for gathering seeds,
and flat circular baskets for trays, plates, and meal sifters. The
acorn mortar consists of a basket hopper of the type used by the
Pomo. Conical carrying baskets, baby baskets, plates, and some
trinket baskets are made in open work. The various kinds and-

^ The following characters have been used : c = sh, x = spirant of
k = kh, q z= velar k, L = palatal or lateral 1, n = ng ; a = a as in father ;
a = a as in bad ; a ::= English aw ; b and 6 = long open e and o ; a, e,
I, o, u, = obscure vowels. Yurok r has the peculiar quality of American r
in an exaggerated degree. Karok r is clear and trilled. Yurok v is bilab-
ial, having nearly the the sound of w, and its g is always a spirant =

^.^

-2^.^A^

Vol, 2] Kroeber. — Basket Designs of N.W. California. 107

shapes of baskets can be seen in the accompanying plates 15 to
21, and in plates 20 to 27 published in the first volume of the
present series of University of California publications.

Yurok names for baskets are: waxpeya, cap, if brown (Plate
15, figures 7, 8) ; aqa', cap, if the ground is covered with over-
laying (Plate 15, figures 1 to 6) ; he'kwuts, small basket for acorn
mush, especially for eating (Plate 16, figure 3, and figure 6,
unfinished) ; muri'p, large basket for acorn mush, used for cook-
ing (Plate 16, figures 4, 5; he'kwuts and muri'p are called by*
the Karok asip : Plate 20, figures 4, 5, 6, 8) ; perxtse'kuc, a basket
higher than he'kwuts, used for keeping small objects (Plate
17, figures 4, 5, 6; Karok cipnuk, Plate 20, figure 3) ; rumi'tsek,
an openwork trinket basket (Plate 19, figure 5, usual form; fig-
ure 6, unusual) ; qewa'i, conical burden basket of openwork (see
P. E. Goddard, Life and Culture of the Hupa, University of
California Publications, American Archaeology and Ethnology,
I, Plate 22, figure 1) ; terre'ks, conical basket for gathering seeds
(Goddard, op. cit., Plate 22, figure 2, of Yurok provenience) ;
paaxte'kwc, basket for storing food, especially acorns, much like
perxtse'kuc but much larger (Goddard, Plate 23, figure 1, a
Yurok specimen) ; meixtso', storage basket similar in shape, but
made altogether of hazel, without overlaying or patterns ; poixko',
large flat tray for acorn meal (Goddard, Plate 24, figure' 2) ;
poixtse'kuc, small tray for seeds used as food (Plate 19, figures
1, 2), also small, flat, conical dipper for acorn mush (Plate 19,
figure 3, a Karok specimen) ; wetsane'p, meal sifter, flat without
appreciable curvature (Plate 18, figure 2); laxp'ceu, openwork
plates for eating salmon (Plate 18, figures 1, 3; Goddard, Plate
21, figure 2, a Yurok specimen) ; meco'liL, larger openwork
plates on which salmon is laid; upe'kwanu, mortar hopper (God-
dard, Plate 24, figure 1, Yurok) ; qeme'u, also called haxlui'm
uperxtse'kuc, "tobacco its storage-basket," tobacco basket, often
with a lid, and similar to the perxtse'kuc, though generally
smaller (Plate 17, figures 1, 3, 5, 7, Plate 19, figure 4) ; uq^m'-
te'm, said to have been a large form of perxtse'kuc with a small
opening and a lid, used for storage of valuable property ; ego'or,
an approximately cylindrical basket used in the jumping dance,
made of a rectangular sheet bent into shape of a cylinder slit

108 University of California Publications. [Am. Arch. Eth.

along the top (Plate 18, figure 4). A Hupa baby basket and
seedbeater are shown in Goddard's Plate 21, figure 1, and Plate
23, figure 2. The aqa', perxtse'kuc, terre'ks, paaxte'kwc, poixko',
poixtse^kuc, wetsane'p, qeme'u, uqem'te'm, and ego'or are gene-
rally overlaid with white ; the waxpeya, he'kwuts, muri'p, upe'-
kwanu, and sometimes the poixtse'kuc, are mostly in unover-
laid brown, but usually with a pattern in overlaying ; the rumi'-
Isek, qewa'i, laxp'ceu, meco'liL are in openwork.

MATERIALS.

The basket materials of this region and their employment
have recently been given full treatment in Dr. P. E. Goddard's
Life and Culture of the Hupa,^ and on a less localized basis by
F. V. Coville in Professor 0. T. Mason's Aboriginal American
Basketry.^

According to information obtained from the Yurok, the
warp of their basketry regularly consists of hazel twigs. The
woof is made of strands 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 important of these is the widely used and well known
lustrous whitish grass xerophyllum tenax. In baskets for ordi-
nary use the designs are worked in this white on the darker
ground of root-fibre woof. In ornamental baskets the ground is
overlaid with this material, and the 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.
These are usually dyed by being passed through the mouth after
alder bark has been chewed. Yellow is produced by dyeing with

' Univ. Cal. Publ., Am, Arch. Ethn., I, 38 seq., 1903.
'■ Rep. U. S. Nat. Mus. 1902, 199 seq., 1904.

Vol. 2] Kroeber. — Basket Designs of N.W. California. 109

a lichen, the widely used evernia vulpina. Porcupine quills dyed
yellow are rarely used.^

Besides red and yellow, black dyeing is occasionally prac-
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.

Of the three colors used on a white ground, black most fre-
quently stands alone. Red is usually accompanied by at least
a certain amount of black ornamentation, such as lines or edg-
ing. Yellow does not seem to be used without accompanying red
or black, usually the latter. Occasionally the three colors are
used in combination on a white ground, but although pleasing
if skilfully carried out this is uncommon. Sometimes areas of
unoverlaid brown are left in colored baskets and employed in
design effects. The only baskets with unoverlaid ground whose
patterns sometimes contain black or red in addition to white, are
hats, even the plainest of which, as is only natural, show more
ornamentation than is usual in baskets for household purposes.

A somewhat greater proportion of red to black designs is

found among the Karok than among the Yurok or Hupa, due

possibly to greater scarcity of the maidenhair fern furnishing

black.

TECHNIQUE.

In regard to technique, the fundamental feature of the bas-
ketry of northwestern California is that twining is the only
method followed. Coiled weaves of any kind, except as a border
finish, are unknown. This statement can be made without quali-
fication, and all coiled baskets attributed to this region are of
erroneous provenience or obtained by the northwestern Indians
from more southerly tribes.

To all intents these Indians practice only one weave, the
simple twining with two strands. This is used for the finest
hats, for the largest and coarsest storage baskets, for cooking
baskets, and for openwork plates, cradles, and carrying baskets.

» Yurok names of basket materials and dyes: h&li'L, hazel; paxkwo',
wdllow; waxpe'u, sugar pine; qiL, redwood; teiwolite'po, spruce; haamo',
xerophyllum tenax; rego'o, maidenhair fern; paap, woodwardia fern;
were'regets, alder; mece'n, evernia lichen.

110 University of California Publications. C-A^m. Arch. Eth.

Though two-strand twining is very close to wiekerwork, 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 wiekerwork.

Three-strand twining is well known in this region and fre-
quent in use, but apparently no baskets are made completely in
this weave. Almost all baskets begin in this weave ; the majority
have one or more courses of it where the bottom begins to turn,
and again near the top ; and occasionally 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
two warp rods on the outer or ijattern side of the basket, over
one on the inside.

There is one basket in the collections of the Department of
Anthropology from this region in which the two strands of the
woof cover two rods of the warp at a time, while in the following
course they take these rods so as to alternate with the previous
one. This is the weave that has been called diagonal twining.
The basket is shown in Plate 17. At its origin it shows the usual
three-strand twining. While the alternate or diagonal weave
has been praised by Mason and Purdy as more susceptible of
developed decoration than ordinary twining, this basket is unor-
namented except by two plain bands. This poverty of decora-
tion is perhaps due to the fact that the ornamentation is pro-
duced 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 twining the woof strands are usually more or
less flat, and are not twisted, the same side being turned toward
the outside of the basket continuously, whether overlaid or not.

The only usual modification of two strand twined weaving
is a multiple warp. This is common for the bottom of large
storage baskets, and is usually 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 divided as to result in two single warp
sticks.

Vol. 2] Kroeber.— Basket Designs of N. W. California. m

Crossing of the warp sometimes occurs in openwork, most
often for one course just below the border, occasionally near the
origin.

Strengthening by means of a rod enclosed in the twining
is common. This forms the first step toward lattice twining or
the ti weave, a superimposition of coiling on twining. Mortar
baskets are strengthened by several stout rods; storage baskets
frequently show one or two near top or bottom ; and occasionally
a rod is used as a finish. The great majority of cooking baskets
have two strands, apparently of root, laid around the outside
near the top of the basket in the region of the typical design
zone, which they serve markedly to define, limit, or divide. It
is probable that their decorative effect is their chief purpose;
being pliable, they do not stiffen the basket appreciably, and
being held only by the twining of the overlaying material — ^the
body of the woof being usually completely lacking 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-
laying or false embroidery, and not by the use of colored or dyed
woof materials. The method of overlaying differs from that of
the Tlinkit and Thompson Indians, two strands being employed
instead of one. Among the Tlinkit "the decorative element,
instead of taking its turn to pass behind the warp, remains on
the outside and makes a wrap about the strand that happens to
be there." The Thompson Indians follow a method of "passing
a strip of . . . material entirely around the twining each time,
showing the figure on the inside. ' '^ In northwestern California
each of the two woof strands is faced as it were, in the process
of weaving, with a strand of overlaying material toward the out-
side of the basket. This facing follows the woof-strand behind
the warp, and together with it twines with the other woof -strand
and its facing. As the overlaying always faces the outside of
the basket, and not the outside of the twining, each strand of
it is half the time between warp and woof and invisible, and
the decoration does not show on the inside of the basket except
casually between turns and plies especially in coarser baskets.
» Mason, Aborig. Amer. Basketry, Rep. U. 8. Nat. Mus. 1902, 309.

112 University of California Publications. [Am. Arch. Eth.

Fine hats are nearly as completely free from trace of over-
laying inside as is Tlinkit work. The two overlaying strands
follow the woof strands to the edge of the design-figure, where
they are broken off on the inside of the basket, and the woof
continues on its course alone, or overlaid by strands of a differ-
ent color, until the next figure is reached. Occasionally, where
this intervening space between designs is not great, especially
where there is a small recurrent design, the overlaying is not
broken off, but brought to the rear of the woof, so as to be invis-
ible from the front, and carried along to the next figure, when
it reappears. Of course it then shows inside the basket while it
is invisible on the outside, but this occasional result seems to be
produced among the northwestern tribes not for its effect but
because in such cases it is preferable to carry on the overlaying
material rather than cut the strands to reinsert them a few
turns, sometimes only two or three, farther on.

It will be seen that this method of overlaying cannot be
"classed technically with three strand twined weaving," as
Professor Mason says of the Tlinkit process, not only because
there is a total of four strands in the woof, but because the opera-
tion is essentially one of two-strand twining with double strands.

In northeastern California, among the northeasternmost
Wintun tribes, on the McCloud river, still another process of
overlaying is practiced. Like the northwestern overlaying, this
is done with two strands, but the overlays form a separate twin-
ing around both warp and woof, which latter they entirely
enclose, never being within its plies as in the northwestern
process. The design thus shows inside the basket as well as out-
side. That the difference in this respect from the northwestern
basket is fundamental, is evidenced by the fact that in the cases
when the design appears on the inside of a northwestern basket
it does so in the intervals of its disappearance from the outside,
the inside and outside figures being the reverse of each other;
whereas in these North Wintun baskets the regular overlaying
appears inside in the same places as outside and forms identical
figures. In the northeastern weaving each strand of overlay is
evidently carried and treated as part of one of the woof strands,
as in the northwestern process, but in passing around each warp

UNIV. CALIF. PUB. AM. ARCH. & ETH.

VOL 2. PL, 16.

'> «H«^«»^^*le^|Wat%a^aJ^aw•::-

Figs. I, 2, ;{, J), 6. Cook in jf baskets. Yurok. },.
Fig. 4. Cooking basket. Karok. i.

Vol. 2] Kroeber. — Basket Designs of N.W. California. 113

rod it is either given a half-twist to the other side of the strand
that it accompanies, or much more probably the combined woof
and overlay strand is thus half twisted.

This northern Wintun method of overlaying is used also by
the Lutuami or Klamath Lake and Modoc Indians, and perhaps
by the Achomawi, the Pit River Indians.

The overlaying materials in northwestern basketry are never
used without an underlying woof to serve them as body; but
sometimes this woof is itself of the overlaying material, either
with or without another overlay of the same or another material.
Where a pattern is worked consisting of alternate stitches of
overlaid and of undecorated woof, the whole design being merely
one of regularly disposed dots, the woof strand on which the
white overlay is carried is usually if not always itself of this
material, and sometimes of double thickness, in this case making
a woof of three flat white strands twining alternately with one
of a single strand of brown root fibre. The same process is fol-
lowed to produce a design of vertical bars only one stitch wide
and one stitch apart. It is easy to see why the single overlay
in these cases is carried on continuously with its supporting
woof; but the only explanation that seems to account for the
underlying woof itself being of overlay material is a desire to
preserve the two woof strands of the same total thickness, which,
as only one of them is overlaid, would be very difficult if the
same body material were used for both of them. The white
xerophyllum is flat and thin, so that two or three strands of it
about equal in thickness one of the more rounded root fibres
usually forming the woof.

In some baskets almost completly covered with overlay, por-
tions are sometimes entirely without woof except of overlaying
materials. The motive is apparently the desire to avoid addi-
tional strands in the twining, which would detract from fineness
of stitch ; but as different parts of a basket are sometimes incon-
sistently treated, it is difficult in all cases to follow the weaver's
purpose. A Karok basket covered with a solid pattern of contig-
uous red and white isosceles triangles alternately pointing up and
down, lacks for the major part the usual root woof. Where the
pattern in this basket is white, the red material serves as under-

114 University of California Publications. [Am. Aech. Eth.

lay, and consequently appears on the inside of the basket in an
identical red figure ; and vice versa. The purpose of this device
is explicable; owing to a desire to continue the strands of over-
lay unbroken, the usual colorless woof was sacrificed to avoid
carrying a total of six threads, 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 consists of
red overlay; but in several other courses the woof is the usual
colorless root fibre; and this material is used also for the woof
of one of the adjacent courses forming part of the triangle
design.

An unfinished Karok hat, the outside only of which is shown
in Plate 20, figure 7, has a red ground-surface. On this are
horizontal black courses and a certain zone, not reaching the top
or bottom of the basket, in which 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 run around this 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
some irregularities, for one or two of the adjacent courses form-
ing part of the red ground.

The only production of ornamentation other than by over-
laying in this region is in openwork plates. Hazel twigs are
dyed black by being buried in mud. They are then grouped so
as to form four or five narrow black sectors or rays in the cir-
cular basket, the majority of the warp rods in the tray being
the undyed white hazel shoots (Plate 18, figures 1 and 3). This
process is stamped as exceptional by the fact that the coloring
is in the warp instead of the woof. For this reason scarcely any
other pattern could be produced in it, and it is obviously applic-
able only to openwork. This method of ornamentation has been
found among the Yurok, though black dyed plates are much
less common than unornamented ones. The Karok say that they
do not employ it. The Athabascans of Eel River use it fre-

Vol. 2] Kroeber. — Basket Designs of N.W. California. 115

quently for openwork conical carrying baskets as well as for
plates.

The ends of the woof, and occasionally the beginnings of
introduced warp rods, are left projecting on the inside of the
basket until it is finished. They are then broken off, after the
basket has been dried by being set before a fire, by scraping;
at the present time, with the edge of a tin spoon. To even the
shape of a new basket it is sometimes set filled with damp sand.

There is usually no distinct finish for the edge, the ordinary
two-ply twining merely coming to an end. The warp ends are
cut off flush with the top of the last course of the woof. Usually
there is no projection of the warp above this. In this respect the
northwestern baskets differ from the twined Pomo baskets, which
are, in process, finished similarly, but usually have the warp ends
projecting regularly a short distance. The northern Wintun
baskets also usually do not show quite so close a cutting off of
the warp, though there is scarcely a well calculated intentional
effect as among the Pomo. Plate 16, figure 6, shows a basket
before the superfluous warp and woof ends have been respec-
tively cut and rubbed off.

A minority of baskets are finished in one or more courses of
three strand twining.

Large conical openwork carrying baskets and mortar baskets
usually have the edge braided or interlaced. Openwork plates
usually show only simple twining at the finish. A few baskets,
especially small openwork household and trinket baskets, have
a coiled edge, the warp sticks being bent at right angles and
then carried horizontally around the top of the basket and
wrapped.^ Cradles are similarly finished along the oval edge in
front, but more by means of rods specially employed for the
multiple foundation than by a continuation of warp sticks from
the twined body of the basket.

Professor Mason's statement^' that "the McCloud Indians
in Shasta county, California, cut off the warp flush and finish
the border with what looks like plain twined weaving on the

1 Professor Mason has illustrated this border on page 265 of his Aborig-
inal American Basketry, op. cit.

^Aborig. Amer. Basketry, op. cit., 266.

116 University of California Publications. [Am. Arch. Eth.

edge, but a regular half knot is tied between each pair of warp
stems," is inapplicable to the McCloud Wintun baskets in the
Department's Museum, none of which appear to show anything
that could be interpreted as a half knot. The only departure
from the simple twining of the northwestern 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
each stitch, due to the northeastern method of causing the over-
laying to come to the surface both inside and out ; but the unover-
laid baskets go right on to the end in undisturbed and untwisted
two-ply twining.

ORNAMENTAL DESIGNS.

The general character of the ornamental designs on the bas-
kets of this region can be seen in the accompanying plates, and
their typical arrangement has been admirably described by Dr.
Goddard in the paper referred to.^ It will be noted that
the majority of baskets have the decorative pattern confined to a
comparatively narrow region extending around the basket not
far below its rim. Caps are more fully covered by ornamen-
tation, but even in these the characteristic arrangement is to
some extent observed. An arrangement of the design in several
distinct parallel bands, such as is common on Pomo and Yokuts
baskets, is not found among the northwestern tribes.

Property marks are occasionally introduced in the weaving,
certain small areas being covered with overlaying. The irreg-
ular designs on the basket shown in Plate 16, figure 6, were said
to be property marks.

There is apparently no habit among the northwestern tribes
of leaving a break in the design encircling a basket, the opening
or interruption being conceived as a passage. Occasional irreg-
ularities producing this effect in continuous designs seem to be
due to technical inability.

TRIBAL DIFFERENCES.

The basketry of the Yurok, Karok, and Hupa is virtually
identical. No given basket could be identified with certainty
as from a particular one of the three tribes. When a large

^Life and Culture of the Hupa, op, cit., 44.

Vol. 2] Kroeber. — Basket Designs of N.W. California. 117

number of baskets from one tribe are brought together, slight
differentiating tendencies are discernible. Thus the Karok are
more inclined than the other tribes to use red. They seem also
more inclined to use patterns containing vertical outlines
instead of the more usual oblique. On the whole the finest work
is done by the Yurok, the Karok and Hupa baskets being gene-
rally less smooth and even. But these differences hold only as
averages. Some of the Hupa baskets are far above the ordi-
nary Yurok in quality.

YUROK DESIGNS.

One of the commonest of Yurok designs is the flint or vEnii-
gemaa* design. Its fundamental shape is that of a parallelo-
gram, generally with sides slanting downward to the right.
Sometimes, however, the slant of the sides of the parallelogram
is toward the left. In all the typical forms the base is consid-
erably greater than the altitude. This figure occurs singly, but
more frequently in diagonal rows. Sometimes the bases of suc-
cessive parallelograms are partially superimposed; sometimes
the parallelograms merely touch at their corners. The direction
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
infrequently subsidiary designs, especially rows of triangles,
are combined with the flint design. Figure 11 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-
gram that has been bisected. It was for this reason no doubt
that the name flint was given to the design. Sometimes rectan-
gles take the place of the oblique-angled parallelograms, though
this is uncommon (figure 12). Various forms of the flint design
are shown in figures 1 to 12 and in figures 118 to 120, where
they occur in combination with other designs.

* Yurok design names are mostly formed by the addition of the prefix
VE-, (which, as the vowel is obscure, sometimes becomes VA-, vu-, u-, 0-),
and of the suffix -aa. Thus niigem, flint, vE-niigem-aa, flint design;
tsSpkw, mesh-stick, vE-ts6pkw-aa, mesh-stick design.

Niigem in Yurok means flint or obsidian. It does not mean arrow-
point, which is one of the commonest basket design names elsewhere in
California. Flint knives, and especially the long knife or spearpoint-
shaped objects of obsidian used in the deer skin dance, and regarded as
extremely valuable, are called niigem.

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120 University of California Publications. [Am. Arch. Eth.

The sharp-tooth design or vEniirpeLaa^ consists of right
angled triangles, either singly or in combination, more usually
the latter. The essential feature of this design is however not
the right angle but the acute angle of the triangle. Figures 13
to 23 show the different forms. In figure 22 it is the two small
triangles at the ends of the Z-shaped figure which give the name
to the design. In the design shown in figure 23 the name could
have been applied only on account of the acute angles. Figure
115 shows a similarly shaped design-element used as a pattern
within larger obtuse triangles.

The vEreq !en or sitting design is another of the very common
Yurok designs. Its various forms are shown in figures 24 to
34 and in figure 115. It will be seen that all these designs con-
tain as element an oblique isosceles triangle. The reason of the
application of the name "sitting" to these designs is not clear.
It seems however that we have to deal with a spatial or verbal
conception, not with the representation of any object.

Figures 33 and 34 show two designs which are probably
modern but to which the name sitting was given.

The snake-nose design (vEleialekcoopern) is identical with
the last. It is mentioned very much less frequently. Inasmuch
as the ordinary name for the obtuse isosceles triangle among the
Karok is snake-nose and among the Hupa rattlesnake-nose, it
seems that the occasional occurrence of this design name among
the Yurok must be attributed to the influence of these tribes.
A case of this design is shown in figure 35.

The waxpoo^ design is shown in figures 36 to 44. The typ-
ical element of this design may be described as a trapezoid the
longer upper base of which is bisected by the apex of an inverted
isosceles triangle. This design element, however, does not
appear to be used in its isolated form, but always occurs either
in combinations as in figures 36 to 39, or in distortions as in
figures 40 to 44. The meaning of the name has not been ascer-
tained ; it seems however to have some reference to ' * the middle, ' '
presumably the bisection of the base of the trapezoid by the

'■ Occasionally called veniir.
^ Also called haxpoo.

UNIV. CALIF. PUB. AM. ARCH. & ETH,

VOL 2, PL. 17.

Tobacco and other baskets. Yurok. \.

Vol. 2] Kroeber. — Basket Designs of N.W. California. 121

apex of the triangle. This is also a very frequent characteristic
design. Figures 40 to 44 would seem to show that the trapezoid
is not an essential element of the design and that any obtuse
isosceles triangle whose apex is in contact with a horizontal line
may be given this name. The design shown in figure 44 was
called sitting as well as waxpoo. The waxpoo design is also
shown in figures 116 and 117 in combination with other designs.

The snake design (vEleialekcaa) consists of a progressive
zigzag of alternately horizontal and vertical stripes. In accord-
ance with the general trend of Yurok patterns, the horizontally
extending portions of this zigzag are usually considerably
longer than the vertical ones. In most cases the snake design
is combined with the flint design in the manner shown in figure
119. Figure 45 shows it occurring independently. The design
in figure 46 was also given the name snake. It might equally
well have received one or two other names. In figure 47 the
right angled zigzag stripe does not ascend but is alternately
directed upward and downward, thus forming a band through
the zone of ornamentation on the basket instead of rising diag-
onally from the base to the rim of the basket. The triangles
adjacent to this design do not form part of it. They were given
the name sitting.

The spread-hand or spread-finger design (okwEgetsip) is
shown in figures 48 to 50. Its most usual form is the one it
has in figure -48. It will be noted that all the figures contain a
common element: the paired acute angles with vertical sides
parallel.

The foot design (umetsqaa), figures 51 to 57, has for its ele-
ment a right angled triangle at the end of a bar or stem. Being
a small design, it is rarely found singly, but its application in
patterns varies considerably. Figure 52 is not uncommon. The
form shown in 53 is also not rare. The form shown in figure
57 is fairly common and suggests a design found among the
Maidu, Achomawi, and other tribes. Figure 116 shows the foot
design in combination with waxpoo and ladder.

The ladder design (vibqemviLqemaa, also viLqema) is shown
in figures 58 to 63. In figure 58 the small squares were called lad-
der. This occurrence and that shown in figure 63 demonstrate that

Am. Aboh. Kth. 2, 10.

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124 University of California Publications. [Am. Arch. Eth.

the elemental idea of this design name is the square or rectangle.
In by far the greater number of cases, however, this element
occurs only in combination. In these cases the characteristic
feature is the step-like effect which gives the design its name.
The Yurok ladder which leads into the pit of the house consists
of a large slab or a log into which several steps have been cut.
It is interesting to note that while this design obviously takes
its name from a combination of elements in a pattern, the same
name is also used for the elements occurring singly, when real-
istically the name is inappropriate.

Not uncommon is the elk design (umeviLkaa), cases of which
are shown in figures 64 to 70. These designs may in general be
described as consisting of a rectangle placed on the middle of
another about twice its length. Essentially therefore this design
is very like the preceding ladder design, and to many designs
either name might properly be applied. It may be noted that
among the Karok and Hupa there is only one name correspond-
ing to these two Yurok designs. It has not been possible to
obtain an explanation of the reason for the use of this name.
In figure 64 the rows of vertical bars are strictly only an adjunct
to the design. The same may be said of the triangles in figures
65. Figure 68 might quite correctly have been named either
sitting or waxpoo by other individuals. For figure 69 the name
elk would hardly have been expected. This design would usually
receive the name flint, snake, or possibly ladder. There is also
no apparent reason why the design shown in figure 70 should
have been called elk, as it bears no relation to any of the other
forms of the design.

The sturgeon-back design (qaxkwilee), representing the plates
of the sturgeon, is shown in figures 71 to 75. Figure 71 shows
what may be regarded as the most typical form. Whether the
parallelograms in figure 75, which would ordinarily be called
flint, are correctly named sturgeon-back, seems doubtful. Par-
allelograms painted on the back of a bow, though arranged
somewhat differently, have however also been called sturgeon-
back.

The okrekruyaa design, which may be translated crooked or
zigzag, is rather common. A variety of its forms are shown in

Vol.21 Kroeber. — Basket Designs of N.W, California. 125

figures 76 to 83. It will be seen that its essential constituent is
an angle. As in the ease of most other Yurok designs this
usually occurs in repetition or combination, though not neces-
sarily so. Figure 83 shows a pattern to which in most cases the
name flint or waxpoo would be given. The name crooked was
here no doubt applied to it on account of its zigzag outline. Fig-
ure 80 was called both crooked and sturgeon-back.

A very common design is called by the Yurok vEtseq !seq !oaa.
The translation of this word is uncertain. It seems to be about
equivalent to striped. The design consists of vertical bars or
stripes. These may be attenuated to mere lines or shortened
until they become small rectangles. Figures 84 to 90 show the
different forms of this design. The grate-like lines of figure 64
were also given this name. Figure 90 is virtually the same
design as figure 57, but occurs on another basket and was inter-
preted by another woman. Figures 117 and 118 also show this
design. In both these cases there is only a single stripe and it
is not vertical.

Somewhat less common is the design called vAnaanak. This
also consists of parallel stripes or bars but their direction is
diagonal instead of vertical. The meaning of this name is also not
clear. This design sometimes constitutes a small patch at the
bottom of a basket. Some of these occurrences may be property
marks, irregularities in design being occasionally explained in
this way. The vAnaanak design is shown in figures 91 to 94.

The meaning of the design called by the Yurok vutsierau
can also not be given. It consists simply of a narrow line.
Sometimes the name is given to the ridge, one or two courses
wide, of a strand laid on horizontally outside and encircling the
basket. Such a case is shown in figure 95. While this pattern
is very common, it is hardly a true design, and it is not impos-
sible that the name may refer only to the technique of its pro-
duction.

A design called by the Indians vEtergerpuraa is shown in
figures 96 and 97. The meaning of this name has not been
ascertained. It is however evidently of spatial or geometrical
significance, perhaps having reference to the joined apices of

126 University of California Publications. [Am. Arch. Eth.

triangles or angles.^ Another instance in which this design
was found was on a basket showing a pattern identical with the
abnormal snake design of figure 46.

A design that is not uncommon, but is very limited in the
scope of its employment, is the tattoo (opegoixket) design. This
represents the tattooing on the chin of the women. It is found
only on openwork basketry trays used as plates for dried salmon
and similar food. Many of these trays are plain, but some con-
tain four or five figures like that shown in figure 98, radiating
from the center to the edge of the plate and produced by the
use of black-dyed warp stems.

All the remaining Yurok designs have been found only once
and must therefore be regarded as much less typical than those
that have been described.

A band consisting of a double row of rectangles (figure 99)
was given the name flying geese (qleilekvelet) by an old woman.

Figure 100 shows a design called owatsela, the small skunk
or polecat. It probably represents the markings of the animal.
A crab or crayfish design (qerLqer) is shown in figure 101.

Figure 102 is a design called maggots (viekwELkwaa). Prob-
ably the small white rectangles are to be interpreted as the
maggots.

Boxes of an approximately cylindrical shape are made by
the Yurok from elk antlers for holding dentalium money, and
of wood for larger objects. Such boxes are represented in a
design called vEtekwanekwcaa. It is shown in figure 103 ; the
rectangles represent the boxes.

Figure 104 shows the elbow design, uperxkricenaa.

Figure 105 shows another geometrical non-realistic design.
It was called tsextselaa, spreading apart. This design was also
given the name foot.

A design known as vEtsepkwaa or mesh-stick, being a repre-
sentation of the approximately rectangular flat pieces of elk
antler used for measuring net meshes, was found only once as
a basket design. It is shown in figure 106. The same name
was however found applied once or twice to carved rectangular
figures on the wooden paddles used for stirring acorn soup.

^ The design shown in figure 97 was called vEtiigerpEkwaa, * ' small in
the middle."

Vol. 2] Kroeber. — Basket Designs of N.W. California. 127

A series of rhombi, which would ordinarily be called stur-
geon-back, was once given the name kwerermetsaa, a chiton mol-
lusk. This design is shown in figure 107.

What was called a star design, haagetsaa, is represented in
figure 108.

A design called swallow is shown in figure 109. It is sup-
posed to represent the tail. This name has been also found
applied to a decorative figure carved as part of an acorn-soup
paddle.

A design representing the markings of a small red snake
is shown in number 110. In this case part of the design was
executed in red.

The design shown in figure 111 was called orawoi, dove.
Ordinarily such a design would be named waxpoo and vEtseq!-
tseq !oaa. It is possible that the information supplied in regard
to this design and the two preceding may not be correct.

The following names that were each found once, seem either
to denote geometrical ideas or to be modifications of common
designs. They are:

A design called veret!, shown in figure 112.
A design called veret Ikorem, consisting of the horizontal bar
in the middle of figure 54.

A design called veniirpeLaa upapelek, large ( ?) sharp-teeth,
shown in figure 113.

The same design executed in smaller size on the same basket
was called okegotir, crossed.

A design, shown in figure 120, consisting of two right tri-
angles in contact at their acutest angles, was called kiwagik
vElereq !en, sitting in the middle.

The term veniir okegaama, "sharp different" or "sharp
varying," was applied to the sharp-tooth design shown in figure
18, and the term vEneg^tsiq !, interpreted as sleeping together, to
the ladder design of figure 63.

A modem design, to which no name was given because it
was of recent invention, is shown in figure 114, in order to illus-
trate its difference in character from the older designs.

Figures 115 to 120 show patterns consisting in each case of
two or more design elements. These are :

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130 University of California Publications. [Am. Arch. Eth.

Figure 115, sharp-tooth and sitting.

Figure 116, waxpoo and foot and ladder.

Figure 117, waxpoo and vEtsep !tseq !oaa.

Figure 118, flint and vEtseq !tseq !oaa.

Figure 119, flint and snake.

Figure 120, flint and kiwagik vElereq !en.

Basket design names are the only names applied bj^ the
Yurok to the carved, engraved, or painted figures, predomina-
tingly of triangles, on wooden aeorn-soup paddles, elkhorn
spoons and purses, and network and skins. This decoration,
which is never realistic, is not made with any purpose of signi-
fication and usually is nameless; but when a name is applied to
it, it is either descriptive, such as "scratched," or a name
familiar from baskets, such as sitting, sharp-teeth, sturgeon-back,
crooked, or mesh-stick.

KAEOK DESIGNS.

The Karok designs are very similar to those of the Yurok,
although their names sometimes do not correspond equally.
They will be taken up in the order of the Yurok designs.^

The Karok oteha'hits or flint-like design has for its element
the parallelogram. It is identical with the Yurok flint design.
Figures 121 to 124 show different forms. The design shown in
figure 124 was called oteha'hits tunueits, small flint. The oblique
parallelogram is replaced by a rectangle more often among the
Karok than among the Yurok.

The tata'ktak design among the Karok corresponds to the

Yurok sharp-tooth. The etymology of this word is not known;

it seems to be derived from an adjectival or verbal root. Objects

with a row of notches are so called. A variety of the forms

assumed by the tata'ktak design may be seen in figures 125 to

133, as well as in figures 185 to 187 where this design occurs in

combination with others. A design like that shown in figure

151, which is ordinarily called spread-finger, was- once named

tata'ktak. This interpretation is very natural, as the elements

of the spread-finger design always constitute the tata'ktak

figure.

^ Karok names of baskets: cooking or eating basket, large or siual),
asip; higher basket for trinkets, cipnuk; hat, apxan. Karok names of
basket materials; hazel, asis; pine roots, carum; xerophyllum, panyura;
adiantiun, yamarekiritap ; woodwardia, tiptip.

Vol. 2] Kroeher. — Basket Designs of N.W. California. 131

The apcuniu'fi or snake-nose design corresponds to the Yurok
sitting design. A number of forms are shown in figures 134
to 141, and in figure 184. The species of snake denoted by apcun
is not known.

The apxanko'ikoi design corresponds to the Yurok waxpoo.
The typical form is seen in figure 142. Figures 143 to 145 show
forms that are unusual among the Yurok. It will be seen that
figures 143 and 144 lack the isosceles triangle, the bisection by
whose apex of the longer base of the trapezoid appears to give
the Yurok design its name. The Karok name for the design
contains the word for basketry cap, apxan. Koikoi, the second
part of the word, is said to mean up and down, or progressively
back and forth, or the successive placing of one thing against
another. Figures 146 and 147 show forms of this design to
which the Yurok would in most cases apply the name of the
elements constituting them, sitting. The relation of these pat-
terns to the typical forms of the design is however obvious. Fig-
ure 185 shows the apxanko'ikoi design in combination with the
tata'ktak.

These four designs — flint, tata'ktak, snake-nose, and apxan-
ko'ikoi— are among the commonest of Karok designs, as their
equivalents are among the Yurok.

The design called vakaixara, long worm, shown in figures
148 and 149, corresponds exactly to the Yurok snake, even to
its usual association with the flint design. An entirely different
form is shown in figure 150. This appears to be equivalent to
the rare Yurok maggot design.

The kixtakpis or kixtapis design of the Karok corresponds
in shape to the Yurok spread-finger or hand design. A similar
significance has been obtained for the Karok word, but others
say that the fingers are used only in illustration, the meaning
being long and pointed, though not necessarily sharp. It is pos-
sible that the Yurok word okwEgetsip also refers to the fingers
only by implication. This design is shown in figures 151 and 152.

The crow-foot design, anatcfis, corresponds to the Yurok foot
design, especially to that variety of it shown in figure 53.

A common Karok design is the cut-wood, en i'kiviti. This
is the equivalent of the Yurok elk and ladder designs and there-

132 • University of California Publications. [Am. Arch. Eth.

fore needs no further characterization. It is shown in figures
153 to 160, and again in figure 184.

The ikurukur design is the equivalent of the Yurok okre-
kruyaa; apparently the name is to be translated stirred, which
may be a way of expressing the spatial idea zigzag. It is shown
in figures 161 to 163. Another form is like the Yurok variety
in figure 79.

The Karok xurip or striped design is the equivalent of the
Yurok vEtseq !seq !oaa. It is shown in figures 164 to 166 and
186 to 187.

The design corresponding to the Yurok vAnaanak seems to
be called among the Karok kutsisiva'c, spotted.^ An instance
of this design is shown in figure 167. Another form is identical
with the Yurok form shown in figure 93.

A single line or ridge encircling a basket, called among the
Yurok vutsierau, is called by the Karok uc-acip-rovahit. This
is said to mean to put something long around, and in basketry
may refer to the technique rather than to the design. A portion
of a design given this name is shown in figure 168.

A design similar to the ikurukur design was a nuin])ei*
of times given the name xasi'ree. The meaning of this term
could not be obtained, which is evidence that the word is descrip-
tive and not the metaphorical application of the name of an
object. This design seems to differ from the ordinary zigzag or
crooked design in that when it constitutes a separate zigzag band
it appears to be composed of broken lines, and that when it
follows an outline of triangles, it is detached from them a little
distance. In all the cases obtained there is thus a broken or
openwork effect.^ (Figures 169 to 172.) There seems to be
nothing among the Yurok corresponding to this design name.

The esivaci or snail-back design, said also to mean to carry,
is another that is not found among the Yurok. Its element seems
to be an acute or right angled triangle. It is shown in figures
173 and 174. The two designs in figure 174 were found on the
same basket and were called by the owner of the basket both
tata'ktak and snail-back.

^ The last part of this word has a resemblance to the name of the snail-
back design, Isivaci.

* That this is the essential feature of the design is made almost certain
by the fact that xas has recently been found to mean separated.

Vol. 2] Kroeher. — Basket Designs of N.W. California. 133

The deer-excrement design, ip'af, is also not found among
the Yurok, but occurs among the Achomawi and Wintun. Its
element is a small rectangle used in combination. It is shown
in figures 175-177. The design in figure 177 was also called
rabbit-excrement, niv 'af .

A design found only once is shown in figure 178. It was
called iyu'uphit, eyes, strictly, like eyes.

A modification of the snake-nose design consists of two hori-
zontal rows of the isosceles triangular elements. The design is
then called apcuniu'fi upcantu'nvahit, snake-noses on top of each
other, or snake-noses together. Once the form apcuniu'fi upsan-
tunvaramu was given. Figures 179 to 181 show the modified
snake-nose design. It will be seen that the isosceles triangles
may be put simply above one another or joined at their apices
or along their bases. In the latter case a diamond or rhombus
results. It is in this way that the diamonds in figure 184 are
to be interpreted as snake-noses.

Figure 182, which is the same design as 181, was called by
an old woman tata'ktak tcivi'tahits. Tcivi'tahits is said to be
used of small objects in a row.

A pattern like the eye pattern of figure 178, ascending diago-
nally through two flint-parallelograms, was once called snake-
nose ikurukur. This name shows that each of the rectangles in
the design was in this case considered as consisting of two tri-
angles joined at the bases.

Figure 183 shows a design called tata'ktak eviyi'hura, tatak-
tak ascending, or thrown or moved up.

Figures 184 to 187 show combinations of designs. These are:

Figure 184, en i'kiviti and apcuniu'fi.

Figure 185, apxanko'ikoi and tata'ktak.

Figure 186, xu'rip and tata'ktak.

Figure 187, xurip and tata'ktak.

HUPA DESIGNS.

Since the drawings for this paper were made, Dr. P. E. God-
dard has published a description of Hupa basket making, includ-
ing an account of the designs and their names, in his general
paper on the Life and Culture of the Hupa referred to. His

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209

i r\

210

a ooooaooooaco
211 212

213

214

215

216

217

;$:^$^^:^$:^^

219

221

222

223

[U5J

136 University of California Publications. [Am. Arch. Eth.

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
being in fact of Yurok origin, and has rendered any lengthy
treatment of the same subject unnecessary in the present paper.
His account of the use and treatment of materials is particu-
larly full, and the material previously presented in this connec-
tion must be regarded as merely supplementary of his more
exact observations. Dr. Goddard names and figures a number
of Hupa designs, some of which were not obtained by the author.
In the cases where the same names were secured, Dr. Goddard 's
orthographical rendering has been adopted, except that his close
o and u are represented without diacritical marks. Where he
does not give a design name, it has been rendered according to the
phonetic system employed for native names in this paper.

So far as the Hupa designs can be paralleled with Yurok
designs they will be taken up in the same order.

The common design whose elements are parallelograms is
called by the Hupa niLkutdasaan, on top of each other. While
this design itself is generally identical in shape with the corre-
sponding Yurok and Karok flint designs, its name is altogether
different. Several forms are shown in figures 188 to 191. Inas-
much as the name has reference only to the relative position of
the component elements, and not to their shape, it is perfectly
applicable to the pattern shown in figure 191, though this design
corresponds much rather to the Yurok elk or ladder than to the
flint design.

In one case a design consisting of two oblique parallelograms
was called by a Hupa woman nesetaxkyuuLon, long mark.
According to Dr. Goddard the second part of this word means
weave or woven. This design is shown in figure 192.

The Yurok sharp-tooth and Karok tata'ktak designs are called
by the Hupa tcaxtceuneL. Occurrences are shown in figures
]93 to 196. According to Dr. Goddard this word means points
sticking up and is applicable to a series of projecting angles.
The name was obtained, however, for the design reproduced in
figure 194, which consists of an isolated triangle. Dr. Goddard
gives as the name of the single right triangle tcesbinalwiltcwel,

.-^c^^

UNIV. CALIF. PUB. AM. ARCH. &. ETH.

VOL 2. PL. 18.

''"'■ilfff^ ■^^-

Figs. 1, 2, 3. Openwork and sifting trayn. Yurok. !,.
Fig. 4. Dance basket. Yurok. v'o-

Vol, 2] Kroeher. — Basket Designs of N.W. California. 137

said to mean sharp and slanting. The design shown in figure
195 was called miskaxe tcaxtceuneL with niLkutdasaan.

A design identical with that of figure 196 is shown in figures

200 and 202, which were called swallow-tail. While this is per-
haps the more characteristic name, the acute angles in the figure
make tcaxtceuneL also applicable to it. Dr. Goddard notes the
use of both names for this design.

The obtuse isosceles triangle is called by the Hupa nearly
as by the Karok, rattlesnake-nose, Luwjmintcwuti;. Two patterns
are shown in figures 197, 198. Dr. Goddard mentions also
huwmintewuw nibkutdasaan, rattlesnake noses on top of each
other, as the name of a pattern of isosceles triangles, which cor-
responds with the Karok name apcuniu'fi upcantu'nvahit, snake
noses on top of each other.

The Yurok waxpoo, the Karok apxanko'ikoi design is called
by the Hupa tea, or tcax-hultcwe (=tca-wiltcwelt). An
instance is shown in figure 199. The meaning is unknown. Tea
and the first part of tcax-hultcwe appear to occur also in tcax-
tceuneL; hultcwe in mi-kinily-ultcwe and perhaps in tcesLinal-
wiltcwel.

According to Dr. Goddard the tea design is usually so
arranged that a series of figures encircles the basket, when the
name LenaLdaut/; is given it, signifying "it encircles."

The swallow-tail design, testcetcmikye in Hupa, has not been
found among the Karok and only once or twice among the
Yurok. It appears to be not uncommon among the Hupa. A
typical form is shown in figure 200. The pattern shown in figure

201 is from the same basket and was given the same name, but
is so unrelated in form that a mistake seems likely. Figure 202
shows the elements found in figure 200 arranged in a continuous
zigzag pattern.

The design shown in figure 53 as a Yurok foot design is usu-
ally called by the Hupa frog hand, tcwal mila. This name was
also found applied to the design shown in figure 204, but the
connection between this form and the usual one is not clear.
The typical form of the frog hand design is again shown in
figure 203, though in this case it was given the name spread-
hand, mila analeLi. It thus appears that the Yurok foot design

Am. Aeoh. Eth. 2, U.

138 University of California Publications. [Am. Aech. Eth.

corresponds to both the Hupa frog hand and spread-hand
designs, while the Yurok spread-hand design is the equivalent
of the Hupa swallow-tail.

The Yurok elk and ladder, and the Karok cut-wood designs,
are found among the Hupa in the forms shown in figures 205
to 208. To the first two of these, which were obtained from
one individual, the name LenouLon was given. To the two
others, which were obtained from two different individuals, the
name LenoikynuLon was applied. According to Dr. Goddard
Le-, the first element of these names, means joined or tied
together, and is no doubt used because the design extends in a
continuous pattern around the basket; while -kyuuLon means,
as stated before, weave or woven.

The sturgeon-back design, Lokyomenkontc, was found once
among the Hupa and shows in this case the same shape as the
typical form of the Yurok design of the same name. It is repro-
duced in figure 209.

The equivalent of the Yurok crooked or zigzag design is
called by the Hupa naikyexoloxats. A form is given in figure
210. The design shown in figure 81 was also called by this name.

The Yurok vEtseq !seq !oaa, the design of vertical bars, is
called by the Hupa kinesni. It is shown in figures 211 and 212.
Presumably the meaning of this design name is, as among the
Yurok and Karok, striped.

The design of slanting stripes called by the Yurok vAnaanak
is called by the Hupa kinilyu. This was translated spotted, but
this rendering may be inexact. An instance is shown in figure
213. In figure 189 the diagonal stripes were called mikinily-
ultcwe.

In addition to the designs here figured. Dr. Goddard gives
the following.

Mikyowe mila, grizzly bear hand, a parallelogram with pro-
jecting acute angles along the oblique sides.

"They come together," LekyuwineL, seems to be trapezoids
superimposed.

Qowitselminat, worm goes round or worm's stairway, is a
series of rectangular parallelograms superimposed so that each
higher one projects to the right of the one below it, the whole
being bordered by a double line conforming to the outline.

Vol. 2] Kroeber. — Basket Designs of N.W. California. 139

Oblique lines nmning through oblique angled parallelograms
are called niLkutdasaan, one on the other its scratches.

COMPAEISON OF YUROK, KAROK, AND HUPA DESIGNS.

On the whole the designs of the Yurok, Karok, and Hupa
correspond rather closely. Still there are a number of discrep-
ancies in design names. The Yurok and Karok flint design,
which takes its name from the individual parallelogram, is
called in Hupa on top of each other, the name being given not
on account of the shape of the elements but on account of their
combination into a pattern. The difference between Yurok
snake and Karok long worm is of course slight. The same may
be said of Yurok ladder and Karok cut-wood, since the ladder
consists of a log or slab into which steps are cut. It should be
noted however that the Karok cut-wood and the corresponding
Hupa design have two equivalents in Yurok: ladder and elk.

The design consisting of four or more triangles at the end
of vertical stalks, those in the middle being higher than those at
the two sides, is called among the Yurok foot, after the indi-
vidual elements composing the design; among the Karok and
Wishosk crow-foot, after the design as a whole; and among the
Hupa frog-foot. The Hupa however, apply to the design a
second name, namely spread-hand. This name is found also
among both Yurok and Karok, but applied to a design consisting
of four or six vertically projecting acute angles. This design
in turn is found also among the Hupa, who have given it the
name swallow-tail. This name, finally, has not been found
among the other tribes, except for a few cases among the Yurok.
This is a characteristic instance of the degree of variability of
design names among the northwestern tribes.

All the designs so far found among the Yurok, Karok, and
Hupa are given in Table I, which is arranged so as to show the
design names that correspond among the three tribes. It will
be seen that the greater number of names found in one tribe
but missing in another, are names that are rare even where
they do occur. Some discrepancies, however, will be noted also
among the more common names, although, as previously stated,
all the designs themselves are common to the three tribes. Of

140 University of California Publications, l^^- Arch. Ern.

the Yurok designs found more than once, Karok lacks five:
sturgeon-back, tattoo, vEtergerpuraa, elk, and sitting; but of
these the first three are not very common even among the Yurok,
while the elk and sitting are both second names for designs
whose other names, snake-nose and ladder, have Karok equiva-
lents. Of Karok designs found more than once, the Yurok
lacks only deer-excrement, snail-back and xasiree. Hupa, so
far as now known, lacks nearly the same Yurok design names
as Karok: snake, sturgeon-back, vEtergerpuraa, elk, and sitting.
The difference in the number of design names among the
three tribes is probably only apparent and owing to the fact that
inquiry has been fuller among the Yurok than among the other
tribes. Omitting the names found only once, and the varia-
tions of the common names, there were found among the Yurok
sixteen, among the Karok fourteen, and among the Hupa, includ-
ing the designs given by Dr. Goddard, about an equal number of
characteristic common tribal design names.

Vol. 2] Kroeber.— Basket Designs of N. W. California.

141

TABLE I.-EQUIVALENT DESIGN NAMES.

The corresponding Yurok, Karok, and Hupa names of the same figure
are on the same line.

YUROK

KAROK

HUPA.

flint

flint-like

on top of each other; long woven*

sharp-tooth

tataktak

points sticking up

sitting; snake-nose

snake-nose

rattlesnake-nose

waxpoo

apxankoikoi

tcaxhultcwe, tea*

snake

long worm

spread-hand

spread-hand (?)

swallow-tail

foot

crow-foot

frog hand ; spread-hand*

ladder; elk

cut-wood

LenouLon, LenoikyuuLon

sturgeon -back

sturgeon-back*

okrekruyaa

ikurukur

naikyexoloxats

vEtsSqlts^qloaa

xurip

kinesni*

TAnaanak

kutsisivac

kinilyu'

vutsierau

ucaciprdvahit'

vEtergerpuraa

tattoo

xasiree
snail-back
deer-excrement
rabbit-excrement*
eye-like* '

flying geese*

dove*

crab*

maggots*

box*

elbow*

spreading*

mesh measure*

chiton mollusc*

star*

swallow

red snake*

skunk* »

WISHOSK DESIGNS.

The names of the designs on a few Wishosk baskets seen were

obtained, as well as the Wishosk names of a few sketches of

Yurok designs. Most of the names are untranslatable. Some

may be descriptive terms instead of standard design names.

They are given for what they are worth. They are :

* Found once.

*A few variations of standard designs, such as ascending tataktak and
make-noses on top of each other, are not included.

142 University of California Publications. [Am. Arch, Eth.

Yurok foot, as in figure 53, but larger, with six to eight stalks
on each side: Wishosk gatsireweliLe or sisgoptele weliLel, crow
foot.

Yurok sharp-tooth: Wishosk laget.

Yurok sitting, as in figures 27, 135 : Wishosk dutematho.

Yurok vEtseq !tseq !oaa : Wishosk tciruratcgat.

Yurok sturgeon-back or Karok flint, as in figures 72, 123:
Wishosk gavoyahati.

Yurok flint, as in figure 6: Wishosk wa'sat, put on top, or
ritve wa'sat, two put on top.

Yurok elk, as in figure 66 : Wishosk ritvelet, two 1

Yurok waxpoo, like the elements in figures 36, 142, but in
three tiers like figure 146 except that the trapezoids are solid:
Wishosk rikweritcag' atgat, three ?

Yurok waxpoo, like figure 37 : Wishosk gidacedarib or gidace-
dariL dudematho, said to mean grown up or full blown.

Long horizontal trapezoids on top of each other: Wishosk
datherowaLet, said to mean straight across horizontally.

Short vertical bars at the ends of these trapezoids : Wishosk
rakdathaligwalat, said to mean beginning to grow.

NORTHEASTEEN WINTUN DESIGNS.

The following information as to the baskets and design names
of the Wintun of the McCloud river at the extreme northeastern
end of the territory of the stock and in contact with the Acho-
mawi or Pit River Indians, was obtained, together with the speci-
mens to which it relates, by Professor John C. Merriam and is
presented through his courtesy.

Typical baskets of this branch of the Wintun are shown in
Plate 21. In general they are of the northwestern type. The
weaves are the same except for the different method of over-
laying described, the shapes and patterns not very different,
and the materials are largely identical. The warp is of willow
in place of the northwestern hazel.^ For conical carrying bas-
kets poison oak, rhus diversiloba, is also used. The woof is of
roots of yellow pine, pinus ponderosa. The overlaying materials

^ McCloud river Wintun names of baskets : puluk, large cooking basket ;
dausep, small shallow cooking and drinking basket; kolom, small deeper
basket; kawi, mortar basket; an'kapis, conical openwork carrying basket;
an, seed-beater; tekes, flat tray-shaped basket.

Vol. 2] Kroeher. — Basket Designs of N.W. California.

143

are the same as in the northwest, xerophyllum, adiantum, and
alder-dyed woodwardia. It is possible that additional materials
may be used to produce patterns. The hat shown in Plate 21,
figure 3, resembles a Modoc more than a Yurok hat in shape,
pattern, and softness. The warp appears to be of roots instead
of twigs ; it is said to be grass, admitted to be an unusual mate-
rial. The woof at the center or origin of this hat is of twine,
as in Modoc hats.

In part the design names collected by Professor Merriam
corroborate those given by Dr. R. B. Dixon from the upper Sac-
ramento river Wintun ;^ others are new.

The water-snake design, shown in figure 214, agrees with
the form given by Dr. Dixon. The diamond-shaped rattlesnake-
head design shown
in figure 215 in
continuous pattern
is also given by
Dr. Dixon. Figure
216, a row of tri-
angles, middle of
base on apex, called
sucker-tail, is also
practically ident-
ical with the Dixon
sucker-tail design.
The flying geese,
figures 217 and
224, are somewhat
different from the
Dixon design, but
there is an under-
lying similarity in
pattern effect. Fig-
ure 218 shows leaves. A more typical form is said to consist of
obtuse isosceles triangles with their bases in a row. Dr. Dixon
shows rows of triangles on each side of a diagonal, which he calls
* * leaves strung along. ' '

* Basketry Designs of the Indians of Northern California, Bull. Am.
MuB. Nat. Hist., XVII, I, 17, 1902.

144 University of California Publications. [Am. Arch. Eth.

A bird's breast design is shown in figure 219.' It consists
of a band of diagonal stripes. Both in form and name this sug-
gests the Pit River meadowlark neck design.^

Figure 225 shows a design that is called lizard foot or track.
A different combination of the elements constituting this design
was found by Dr. Dixon called bear-foot. -

Figure 220 shows what was called a tribal design, taken from
the woman's cap mentioned.

Figure 221 shows the arrow point design.

Figure 222 is the quail-crest design.

Figure 223 represents a form of what is called the zigzag
design.

A raft design, not figured, is square or oblong, containing
about two horizontal dividing lines.

A navel-string design on a basket for preserving a child's
navel-string, also not figured, consists of vertical parallel bars
or stripes.

SINKINE DESIGNS.

The Athabascans of lower South fork of Eel river and of the
neighboring coast region seem to call themselves Sinkine. In
the totality of their culture they are as near the Yuki and
northern Pomo as they are to the Hupa and Yurok. Their bas-
ketry, however, is distinctively of the northwestern type, though
very poorly made. The materials include hazel, redwood roots,
maidenhair fern, woodwardia fibres dyed with alder, and xero-
phyllum; and coiled baskets are not made. These Indians are
fond of introducing black radiating stripes in all their open-
work by coloring the warp, a method only occasionally practiced
by the Yurok. Much like the northern Wintun and probably
Shasta, the Sinkine tend to certain minor differences in form
of their baskets and pattern arrangements from the Yurok,
Karok, and Hupa. Large baskets have somewhat more contin-
uous curve and flare in profile than among the tribes of the
north, and the edge is more often strengthened by a thick rod.
The acorn meal sifter is shallowly concave in place of flat as
with the Yurok and Karok or somewhat conical as with the

^ Dixon, op. cit., p. 15.
"Ibid., p. 18.

UNIV. CALIF. PUB. AM. ARCH. &. ETH.

VOL. 2, PL. 19.

Various haskets. Kigs. 1, J, 4, .'), (i. Vun.k. Fifr. :>, Karok. ,Vf

Vol. 2] Kroeber. — Basket Designs of N.W. California. 145

Hupa. Openwork trays are slightly deeper than among these
tribes. The patterns are inclined to run in a large horizontal
zigzag.

A design of a continuous series of angles, either acute or
oblique, is called naijgos.

A pattern of alternately black and white small rectangles is
called tees 'an or tes'an, which is translated patch.

Vertical stripes or bars have the name tcinisnoi, which is
dialectically equivalent to the Hupa name of this design, kinesni.

COMPAEISON OF BASKET DESIGNS IN NORTHERN CALIFORNIA.

Before proceeding to a comparison of the basket design
names of California, so far as they are known, it is desirable to
discuss briefly the geographical relations of techniques and of
pattern arrangements.

As between the two chief modes of weaving that are cus-
tomarily distinguished in western North America, the twined
and the coiled, twined weaving has perhaps a wider distribution
in California, but coiled weaving is the principal and more
characteristic technique of the greater number of groups.

The tribes of northernmost California, both east and west,
practice only twined weaving. South of the Yurok, Karok, and
Hupa the Wailaki are the first group that make coiled baskets.
The Indians who adjoin them on the north class them as coiled
basketry makers, while at Round Valley, where they now live
in contact with Yuki, Pomo, Maidu, and other stocks that chiefly
make coiled baskets, they are looked upon as workers in twined
weaving. The Wailaki baskets in the Museum of the Depart-
ment of Anthropology are divided between the two techniques;
and of two in the American Museum of Natural History one is
coiled and one twined. The baskets of the Shasta and Chima-
riko were undoubtedly twined. The northern Wintun of the
upper Sacramento and McCloud rivers make twined baskets
exclusively, as those of Trinity river almost certainly did. This
however must not be supposed to apply to the entire "Wintun
stock. The southern Wintun east of the Pomo make coiled bas-
kets. How far north in the territory of this family the practice
of making coiled baskets extends is not certain. Coiled baskets
were made on Stony creek. The Achomawi, the Pit river basin

146 University of California Publications. [-A-m. Arch. Eth.

Indians, according to Dixon made only twined baskets. The
Yana work is twined. The Klamath Lake and Modoc Indians
of the head waters of the Klamath river also use the twined
technique exclusively.

South of these tribes coiled work was found and everywhere
predominated except for larger and more specialized bas-
kets. Among the Pomo twined weaving was relatively more
important than among other tribes that employed the coiled
style ; but even here the smaller and more characteristic baskets
are coiled.

In regard to the grouping of designs in patterns on Cali-
fornia baskets the following arrangements must be distinguished :

First, horizontal, either in continuous bands or in rows of
figures.

Second, vertical or radiating.

Third, diagonal or spiral, according as the basket is deep
or flat.

Fourth, zigzag, or diagonal alternately to the right and left.

Fifth, in blocks, where a compact cluster of designs or a
single figure occupies the greater part of the basket visible in
one view.

These terms have reference to the appearance of the ordi-
nary basket seen from the side. In the case of a flat, tray-like
basket, a horizontal arrangement would consist of circular
bands, a vertical pattern would be radiating, a diagonal one
spiral, and a zigzag one star or net-shaped.

In the baskets from the northwestern region the preponder-
ating tendency is a horizontal one. The ordinary baskets for
purposes of cooking or eating, and the hats, show in most cases
a single decorated strip extending around the basket a short
distance below its rim. In the case of caps there is generally
an additional simple subsidiary design at the center. This hori-
zontal decorative area may consist of the same figure or group
of figures three or four times repeated in the circuit of the bas-
ket, or of a more simple and more continuous pattern. The fig-
ures may be repeated in part above or below the main design
zone. Ordinarily the zone does not take the form of a distinct
band of the sort that is so common on the Yokuts and larger

Vol. 2] Kroeber. — Basket Designs of N.W. California. 147

Porno baskets. Within this horizontal zone of decoration the
lines of the pattern sometimes run vertically, but more usually,
in connection with the common parallelograms and triangles,
diagonally.

A secondary tendency in the general pattern disposition of
northwestern baskets is a diagonal arrangement. This is found
chiefly in trinket and storage baskets. These are about equal
in height and diameter, so that in their case the style of decora-
tion which is confined to a zone near the rim would leave the
greater portion of the surface of the basket unomamented. The
diagonal arrangement allows the design to be carried without
difficulty from the bottom to the top of the basket. The cooking
baskets and hats are considerably lower than they are wide, so
that a single horizontal zone of decoration sufficiently occupies
the visible surface.

Other methods of distributing the pattern are rare in bas-
kets of northwestern California. A vertical ornamentation is
occasionally found in small baskets and a zigzag arrangement
on large ones.

The Achomawi baskets are made in the same general style as
those of the Yurok and Hupa. The unadorned brown, the nat-
ural color of the roots employed for the woof in most north-
western baskets not intended for purposes of display, is how-
ever apparently not used among the Achomawi. The charac-
teristic Achomawi basket, even when intended for carrying or
cooking, has its entire surface overlaid with xerophyllum grass,
which by the northwestern tribes is used to such an extent only
for caps, trinket baskets, and others in which the ornamental
purpose is at least equal to the useful one. The alder-dyed red
of the northwestern region is also absent from baskets of the
Pit river region. A black, apparently the same as the maiden-
hair fern fibre of northwestern California, is used by the Acho-
mawi for making their designs on the white ground color. Some-
times a dyed black is used. The bottom of some Achomawi bas-
kets is left in a natural brown without xerophyllum overlaying,
but this is not always done.

The baskets from this region are generally somewhat higher
in proportion to the diameter than the comparatively shallow

148 University of California Publications. [Am. Arch. Eth.

baskets characteristic of the northwestern region. The bottom
of the baskets is also squarer, the sides meeting the flat bottom
more nearly at an angle with a very short curvature, while in
the northwestern baskets the curving bottom runs very grad-
ually into the sides. Nevertheless on the whole Pit river bas-
kets and those from the lower Klamath region belong to the
same type.

In the arrangement of designs, however, the Pit river and
northwestern baskets differ fundamentally. The most common
arrangement in the Pit river region is the spiral one. Zigzag
patterns are also common. Block patterns, or single figures,
which are nearly wanting in the northwest, also occur. On the
other hand the horizontally arranged patterns of northwestern
California occur rarely.

The basketry of the Yana, who are almost extinct, is very
little known. Dr. Dixon has however described two pieces. They
seem not very different from Achomawi baskets, being twined
and overlaid with xerophyllum. Their designs also suggest the
Pit river designs.^

The baskets of the Modoc, and of the Indians often loosely
called Klamath Indians, the two tribes who constitute the Lutu-
ami stock, resemble in many ways the northwestern and Acho-
mawi baskets, belonging to the same twined overlaid type.

Both warp and woof of the Lutuami baskets are however of
tule in place of tree twigs and roots, resulting in a more flexible
basket. The basketry hats are also higher and flatter than those
of the northwestern Indians besides being begun with woof of
string.

The pattern arrangement on the Modoc-Klamath baskets is
different from the characteristic northwestern arrangement.
While frequently horizontal, there is a distinct tendency to
defined bands. The pattern arrangement of hats resembles that
of Achomawi baskets, being usually zigzag or diagonal.

The northern Wintun baskets described by Dr. Dixon and
in this paper stand nearly as close to the Achomawi and Lutu-
ami baskets as to the Yurok-Karok-Hupa. They resemble the
Achomawi baskets in being less flat than the northwestern bas-

* E. B. Dixon, op. cit., p. 19.

Vol. 2] Kroeber. — Basket Designs of N.W. California. 149

kets and in that their ground color is more often in overlaid
white than in the natural color of the root fibres of the woof.
They also lack the characteristic horizontal design-zone of the
northwestern baskets, but agree with them in showing in the
great majority of cases either a diagonal or a horizontal arrange-
ment, although the vertical, the zigzag, and the block arrange-
ments are also found. The elements of the designs are for the
most part equivalent to northwestern design elements.

The Shasta seem to have made comparatively few baskets and
these resembled the Yurok and Karok baskets of poorer finish.
Most of the few baskets that can be regarded as typically Shastan
show a simple pattern of a band of vertical bars.

Among the few surviving Sinkine, the Athabascans of South
fork of Eel river, north and west of the Wailaki, baskets are
altogether northwestern in type, though crudely made. It is
noteworthy, however, that in the patterns there is a distinct
tendency toward a zigzag arrangement.

In the region where coiled basketry predominates, compris-
ing the remainder and by far the greater part of the state, three
main types of pattern arrangement may be distinguished, which
may be called the Maidu, the Southern, and the Porno. It is
hardly necessary to say once more that this classification has
nothing to do with materials, technique, or texture.

The Maidu baskets illustrated and described by Dr. Dixon
show most commonly a zigzag arrangement. Second in import-
ance is a diagonal arrangement. Horizontal distribution of
designs is very rare and the vertical or block arrangement still
more so.

The northern Moquelumnan or Miwok baskets in the American
Museum illustrated by Dr. Dixon, show a preponderating hori-
zontal arrangement, and secondary to this is a vertical arrange-
ment of designs. The characteristic Maidu diagonal and zigzag
arrangements seem to be rare. This fact is noteworthy because
the Moquelumnan arrangement is that of the southern basketry,
so that the Maidu type of pattern arrangement would seem not
to extend southward beyond the limits of the stock, and alto-
gether to be limited to the Maidu themselves and perhaps some
of the adjacent Wintun.

150 University of California Publications. [Am. Arch. Eth.

The Yokuts makers of the Tulare baskets prevailingly use
horizontal and secondarily vertical patterns, thus agreeing with
their northern neighbors the Moquelumnan Indians. Especially
among the southern Yokuts the continuous horizontal band is
however more in use than in Moquelumnan territory. A diag-
onal arrangement is not rare in these regions, but usually has
the form of a series of rectangular steps, so that the horizontal -
vertical tendency still finds expression. The Shoshonean tribes
adjacent to the Yokuts follow the same pattern arrangements.

Baskets from the coast region west and southwest of the San
Joaquin valley are very scarce. The few that are undoubtedly
from this region, almost all from Chumash territory, show a
combination of horizontal and vertical designs.

The baskets of the Shoshonean and Yuman Mission Indians
of Southern California, while different from the Yokuts types
of baskets in many ways, like them generally show horizontal
and vertical arrangements. Tray-shaped baskets frequently
show a star-shaped pattern, which should be classed as a form
of zigzag ararngement. The tribes of the desert farther east,
such as the Chemehuevi, seem to use the same types of design
arrangement.

The entire part of California south of the latitude of San
Francisco, the larger half of the state, must accordingly be con-
sidered a unit in the matter of basket-design arrangement, the
patterns being prevailingly horizontal or vertical instead of
diagonal or zigzag.

The third region in which coiled basketry predominates is
that of the coast region immediately north of San Francisco,
extending along the coast to the northwestern region. The Pomo
are the largest group in this area.

Twined weaving is of relatively greater importance among
the Pomo than among either the Maidu or the Indians south of
the latitude of San Francisco. Besides having twined and coiled
basketry, the Pomo possess the ti weave, a superimposition of
coiling on twining. Including the minor variations, the total
number of weaves practiced by the Pomo may not be as large
as can be found among some other California groups; but
whereas other groups limit the use of their less characteristic

Vol. 2] Eroeber. — Basket Designs of N.W. California. 151

weaves to parts of baskets or to certain classes or shapes of bas-
kets having special purposes, among the Porno the employment
of the several techniques is not confined nearly as rigorously to
narrow types of ware. Besides the variety of techniques there
exists much latitude of shapes, there being flat bowl-shaped bas-
kets, others whose opening is about equal in diameter to their
bases, and still others which curve inward to the top consider-
ably ; besides of course conical carrying baskets and the flat tray
baskets found all over California. The Porno have also devel-
oped the canoe shaped or oval basket which is scarcely aborig-
inal in any other region in California or at least is not usual
anywhere else. They also use the greatest variety of external
ornament. Beads, shell ornaments, quail plumes, and feathering
are employed to a far greater extent than elsewhere. Among the
northern tribes using only the twined technique such external
decoration is altogether wanting. The total covering of baskets
with feathers is also not found outside of the Pomo region,
though this area must probably be made to include some of the
southern Wintun, southern Yuki, and perhaps northwestern
Moquelumnan, as well as the Pomo. Complete feathering is said
not to have been practiced formerly even by the Yuki proper,
who in their general culture and their basket technique belong
to the Pomo type.

As in shape and technique, Pomo baskets show the greatest
variety of design arrangements in California. The horizontal
and diagonal arrangements apparently predominate. Single fig-
ures of such size that one fills the entire visible surface of a
basket, or of such size that several are visible at one time, are
also considerably used, especially on the smaller coiled baskets.
Very often these figures are fairly elaborate, consisting of a
group of figures rather than of a design or pattern. Zigzag and
vertical patterns are also both found on Pomo baskets, and a
net-like arrangement which might be described as a combination
of two diagonal patterns slanting in opposite directions is not
uncommon.

In regard to decorative scheme and pattern arrangements
California baskets may therefore be classified as follows :

152 University of California Publications. [Am. Arch. Eth.

A. Northwestern type, twined. Designs arranged hori-
zontally in a single pattern-zone or diagonally.

B. Northeastern or Achomawi type, twined. Arrangement
of patterns diagonal or zigzag, not horizontal.

C. Maidu type, chiefly coiled. Pattern arrangement zigzag
or diagonal.

D. Southern type, chiefly coiled. Pattern arrangement
horizontal (often in continuous bands) or vertical.

E. Pomo type, coiled and twined. Variety of design
arrangements, horizontal bands and diagonal patterns being
most frequent.

In this classification the Yana belong to the Northeastern
type, the Lutuami and northern Wintun are intermediate between
the Northeastern and the Northwestern types, the affinities of the
southern Wintun are either with the Pomo or Maidu, the 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 and Northeastern
types resemble each other in technique, materials, and general
effect, the Northwestern and Pomo types are most similar in
pattern arrangement, whereas the Northeastern is similar in pat-
tern arrangement to the Maidu. The Maidu and the North-
western types differ most in pattern arrangement.

The considerable similarity in materials, methods of manu-
facture, and general appearance between the basketry of the
Indians of northwestern and of northeastern California must
not be interpreted as evidence of general cultural similarity.
The culture of the two groups of tribes is quite distinct. The
Lutuami and Achomawi in general resemble the tribes of the
Sacramento valley or of the great interior basin much more than
they do the Karok, Yurok, and Hupa. It is in northernmost
California that the deep and sharp difference between the culture
of the immediate Pacific coast and that of the interior, which is
so marked everywhere farther north, finds its most southerly
occurrence. South of Mount Shasta the line of ethnographical
division is transferred from the Coast Range eastward to the
Sierra Nevada; and the differences across this line become of a
different nature.

UNIV. CALIF. PUB. AM. ARCH. & ETH.

VOL. 2, PL. 20.

Figs. 1-2. Small cookiiij; baskets. Hii]>a. •.
Figs. 3-8. Cooking and other baskets. Karok. I.

Vol. 2] Kroeber. — Basket Designs of N.W. California. 153

The artistic poverty said by Dr. Dixon to characterize Porno
basketry work must from what has been said be understood to
be only paucity of design names. That it does not extend further
even to the designs themselves, much less to the general deco-
rative and technical style, is sufficiently evident from the series
of Pomo baskets illustrated by Dr. Dixon himself. Of patterns
the Pomo have as great wealth and variety as any other Cali-
fornian group. Apart from all question of whether their work
shows a more refined taste and artistic feeling and execution
than that of other Indians, it can scarcely be disputed that they
evince freer imagination and wider range of treatment in the
decoration of their basketry than other tribes.

A classification according to meaning of Californian basket
design names among the tribes from which adequate material
is at present available is shown in Table II. It will be seen that
names of animals, of parts of animals, and of parts of the body
are very frequent, constituting everjrwhere a majority of the
total number of design names. The only exception is among
the Maidu, where the proportion of animal designs sinks to
about one-half. Instead, there is an unusually large proportion
of names of plants and parts of plants among the Maidu, these
constituting nearly a third of the designs. Elsewhere plant
designs are few, and among the Yurok and Karok are altogether
lacking. Names of natural or artificial objects are found in
about the same proportion among all the tribes. A fourth class
of design names are spatial or dynamic ; these might also be
called geometrical or abstractly descriptive. Names of this sort
are lacking among the Maidu and are few among the Achomawi.
Among the Yurok and Karok they are important, constituting
more than a fourth of all the design names; and the same is
true of the northern Wintun. Among the Hupa names of this
class are more numerous than all others.

In regard to range of representation of design names, accord-
ingly, the northwestern tribes and the Maidu stand farthest
apart in that the northwestern tribes have numerous geomet-
rical designs and none representing plants, the reverse being the
case with the Maidu; while the northwestern group is inter-
mediate.

Am. Arch. Eth. 2, 12.

154 University of California Publications. [-A-m. Arch. Eth.

TABLE II.

Animals and Spatial

parts of the and dynamical

body. Plants. Objects. ideas.

Yurok 17 . . 5 9

Karok 8 .. 2 4

Hupa 7 . . . . 12

Wintun 12 1 1 4

Achomawi 13 2 2 1

Maidu 18 11 7

In the descriptions of Yurok designs previously given it will
have been noted that almost all the names applied rather to the
simple element of design than to the pattern as a whole. The
figure which receives the Yurok name flint is the parallelogram.
This name is applied to the design whether it consists of the
simple parallelogram standing alone or of a pattern of such
parallelograms, although the latter is more frequently the case
Among the Hupa the same design is named on top of each other.
This name is obviously applicable only to a pattern consisting
of two or more such parallelograms. We have here a difference
between a design-element name and a pattern name. Again,
there is a widespread design which may be described as consist-
ing of four or more triangles, or horizontal bars, at the ends of
vertical stalks arising from a horizontal base, the stalks in the
middle being longer than those at the two ends. This design
has various names, such as crow-foot among the Karok and
Wishosk, frog-foot among the Hupa, lizard-foot among the Acho-
mawi, and pine-cone among the Maidu. All of these names are
applicable only to the design as a whole. Among the Yurok the
design is called simply foot, and the application of this term
to certain other patterns shows that the name refers not to the
pattern as a whole but to the single elements constituting the
pattern, the small triangles at the ends of stalks.

The relative frequency of design names applying to design-
elements, and of those applying to composite patterns, is shown
in Table III.^

It will be seen that among the Yurok and Karok designs
named for constituent elements are in the majority. Among the

^ The numbers given in Table III are fewer than the total number of
designs, owing to the difficulty of classifying certain designs.

Vol. 2] Kroeber. — Basket Designs of N.W.California. 155

Maidu the opposite is the case. The northern Wintun agree
with the Yurok and Karok, but the Hupa form an exception
among the northwestern tribes. The Achomawi show an approx-
imate balance, but the difference is slightly in the direction of
the Maidu tendency.

TABLE III.

Designs named Designs named

after their after the whole

elements. pattern.

YuTok 13 8

Karok 9 4

Hupa 5 12

Wintun 10 6

Achomawi 8 9

. Maidu 8 19

A summary of the Yurok, Karok, Hupa, and northern Win-
tun design names presented in this paper, and those of the Maidu,
Achomawi, and Wintun described by Dr. Dixon, together with
a few other names obtained by the author, is given in Table IV.
Only translatable design names have been included. The Wishosk
are from Humboldt Bay, the Sinkine are Athabascans from
southernmost Humboldt county, the Yuki are from Round Val-
ley, the northern Yokuts are the Chuckchansi of Madera county,
the southern Yokuts the Tule river Indians of Tulare county.

156

University of California Publications. [A^m. Arch. Eth.

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Vol. 2] Kroeber. — Basket Designs of N.W. California. 157

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University of California Publications. [Am. Arch. Eth.

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UNIV. CALIF. PUB. AM. ARCH. &. ETH.

VOL, 2, PL 21

Fiys. 1, 2, 4, .'), (i. BasketH. Nortlu-ni Wiiitun. yVV-
Fig. 3. Cap, Modoc type. Northern Wintuu. ^.

Vol. 2] Kroeber. — Basket Designs of N.W. California. 159

It will be seen that although this summary covers only half
a dozen tribes or groups, occupying much the smaller part of
the state, there yet is no design name which is found in all of
them. Patterns having some reference to snakes or parts of
snakes are found among all the tribes included except the Acho-
mawi. The rattlesnake is of course especially prominent. Among
the Yokuts and Maidu its marking is represented; among the
Wintun its head; among the Hupa its nose. It is evident that
there is a tendency to use the rattlesnake for design names but
that the parts of the snake selected are as diverse as the figures
to which they are applied. There is a similar tendency in regard
to the deer. The Achomawi have the deer rib, deer gut, and deer
excrement designs. The Wintun have the deer excrement. The
Maidu lack deer designs. The northwestern tribes also have no
deer design names excepting that among the Karok the deer
excrement design is found and among the Yurok an elk design.
The arrow-point and flint designs, assuming that they may be
taken as equivalents, are of the commonest the state over. So
far however neither has yet been found among the Hupa. The
quail-plume design, which among some tribes is very common,
seems to occur chiefly on coiled basketry, to which the use of
the feather itself as an ornament is also confined. The Acho-
mawi have the design name but the northern Wintun and all the
northwestern tribes lack it.

Little of a general nature as to the relative amount of simi-
larity of design names among different tribes can be deduced
from the table. On count, the greater part of the total number
of design names of any group appears not to be found in any
other group. As far as the material goes, the northern Wintun
and Achomawi, who are territorially in contact, show the greatest
number of design names held in common.

If the designs themselves to which the names that are given
in this table are attached are compared, it will be seen that the
designs corresponding to identical names among several tribes
are in many cases very different. In the northwestern region
for instance the flint design is always a slanting parallelogram.
Among all the other tribes from which material is available the
equally common arrow-point design is always a triangle. Con-

160 University of California Publications. [Am. Arch. Eth.

versely, the same pattern or design-element has among different
tribes often radically different names. To take again the paral-
lelogram, its name among the Yurok and Karok, whether used
singly or in combination, is flint; the Hupa call it long mark,
or more frequently on top of each other; the Wintun, rattle-
snake head. The Achomawi and Maidu do not seem to use it as
an isolated figure but always in pairs or diagonal rows. Among
the Achomawi these rows are frequently divided by a transverse
diagonal stripe or other pattern, the parallelograms thus being
cut into triangles. The pattern running through the rows
of parallelograms is the deer rib or deer gut design and the tri-
angles resulting from the divided parallelograms are called
arrow-points. The undivided rows of parallelograms are called
by the Achomawi flying geese. The Maidu call such rows vines,
or, if triangles are combined with the parallelograms, flying geese.
When the rows of parallelograms are divided by a line or pat-
tern the design is called fern or notched feather.

Another instance of diversity of names for an identical pat-
tern is the design in which the point of a triangle rests on the
middle of the longer base of a trapezoid. In the northwestern
region the meaning of the names for this design are not alto-
gether certain, but among the Yurok the name appears to have
reference to the middle, among the Karok to basketry-hat, and
among the Hupa to sharp or point. Dr. Dixon gives the same
figure from the Achomawi, but the name attributed to it by these
Indians is bushes.

Again the obtuse isosceles or equilateral triangle has, in
different arrangements, the meaning among the Maidu of moth,
quail-tip, flower, and notched feather, among the Achomawi of
arrow-point, among the Wintun of fish-tail, flying geese, and
leaves, among the Yurok of sitting.

It is not necessary to give further illustrations. The cases
cited show that there is no deep or inherent relationship between
the designs of California basketry and their names. Of course
some names are from their nature applicable only to certain
designs and must be applied either to these or drop out of use.
Most names, however, owing to the simplicity of technical repre-
sentation, are applicable to several designs and are often found

Vol. 2] Kroeber. — Basket Designs of N.W. California. 161

attached to different designs among different groups or even in
the same tribe, just as the same designs very frequently have
different names among different groups. It must be concluded
that the basket-design names of at least the greater part of Cali-
fornia are little more than conventional names of conventional
designs.

Symbolism, in the usual and historic sense of the word, does
not therefore exist in California basketry. The designs and
design names given by Dixon from the northeastern tribes and
those from the northwestern part of the state here presented,
make this fact very clear. Recent investigations on behalf of
the University by Mr. S. A. Barrett among the Pomo have
brought out the same result. The various information thus
obtained covers northern California fairly completely. As to
the rest of the state less is known at present, but there are no
indications that conditions are different. The design names of
the Yokuts at the southern end of the San Joaquin basin are
certainly of the same general character as those found in the
north of the state. The names of the designs painted by the
Mohave, still farther south, on pottery and sometimes on wood,
refer in large part to objects that do not occur among the design
names of the basket making tribes, but are as free as these of
religious or any but a conventional significance. Lack of con-
nection between basket design names and religious thought can
therefore be absolutely asserted for the greater part of California
and can safely be accepted as extremely probable for all the
remainder of the state. Certainly there is as yet' no trustworthy
evidence of anything to the contrary. This condition is in entire
accordance with the almost utter lack of pictographic or realistic
representation in the art of these Indians. Symbolic expression
in actions or ritual is almost equally absent. When the general
fundamental difference in character of the California Indians
from those of the southwest and of the Mississippi valley, and
in a measure from those of the north Pacific coast, is once
clearly realized, the conventionality of their basket design names
seems entirely natural. Of course it is needless to say that no
California basket designs express modern poetical sentiments.
The California Indian calls a triangular ornament in basketry

162 University of California Publications. [A-m. Arch. Eth.

an arrow-point, not because this figure expresses a wish or
prayer for success in the hunt, but because it is a simple and
fitting name for a simple design. The significance of the deco-
ration of California basketry is therefore of an entirely different
nature from the symbolism of a Navaho sand-painting, a Pueblo
altar, a Plains shield, or a Haida totem pole. The designs are
primarily decorative, no doubt conditioned in part, but only
in part, by technique ; and they have convenient names. These
names of course are as appropriate as possible. This simple
naming of decorative figures appears to be the analogue or repre-
sentative in California of a more prevalent tendency in mankind
to embody a deeper significance in ornaments. But in the form
in which these design names exist among the California Indians
they are free from attempts at picture writing or the expression
of religious ideas.

KEY TO FIGURES OF DESIGNS SHOWN ALSO IN THE PHOTOGKAPHICALLY
REPBODUCED PLATES.

Figure.

29 '..

104

118

132

'late.

Figure.

Plate. :

Figure.

140

142

150

152

172

179

184

192

197

199

206

209

215

216

217

218

219

220

221

222

225

Vol. 2] Kroeber. — Basket Designs of N.W. California.

163

MUSEUM CATALOGUE NUMBERS OF BASKETS ILLUSTRATED IN THE PLATES.

Numbers with numerator 1 refer to specimens in the Museum of the
Anthropological Department of the University of California.

Numbers with numerator 40 refer to specimens in the California Acad-
emy of Sciences.

Plate 15, figure

Plate 19, figure

Plate 16, figure

Plate 17, figure

Plate 18, figure

40-1675

1-1591

40-1663

40-1661

40-1653

1-1609

40-1708

1-1496

1-1579

1-1870

1-1472

1-1761

40-1683

1-1481

1-1661

1-1507

1-1888

1-1571

1-1599-1601

40-1655

1-1817

40-1659

40-1711

Plate 20, figure

Plate 21, figure

1-2234

1-2016

1-1461

1-1588

1-1877

1-1798

1-1594

1-1847

1-1608

1-1493

1-1517

1-1807

1-1763

1-1772

1-1762

1-1778

1-1764

1-2307

1-2300

1-2305

1-2310

1-2308

1-2303

164 University of California Publications. [Am. Arch. Eth.

MUSEUM CATALOGUE NUMBERS OF BASKETS PROM WHICH DESIGNS ARE FIGURED.

Fig. Cat. No. Fig. Cat. No. Fig. Cat. No. Fig. Cat. No. Fig. Cat. No.

1 40-1652 46 40-1724,1720 135 1-1586 136 1-1794 181

2 40-1720 47 1-1473 91 40-1658 137 1-1587 182

3 40-1654 48 40-1664 92 40-1709 138 1-1782 183 1-1783

4 40-1663 49 40-1694 93 40-1661 139 1-1806 184 1-1763

5 40-1711 50 1-1831 94 140 1-1807 185 1-1787

6 40-1720 51 95 141 1-1801 186 1-1774

7 40-1721 52 40-1727 96 1-1472 142 1-1764 187 1-1781

8 40-1659 53 40-1607 97 1-1829 143 1-1598 188 1-1463

9 40-1663 54 1-1698 98 40-1711 144 1-1585 189 1-1502

10 55 1-1577 99 1-1857 145 1-1583 190 1-1494

11 1-1434 56 1-1672 100 1-1474 146 1-1788 191 1-2235

12 1-1438 57 1-1880 101 147 1-1790 192 1-2234

13 40-1721 58 1-1478 102 1-1577 148 1-1803 193 1-1508

14 40-1653 59 1-1482 103 1-1830 149 1-1805 194 1-1500

15 1-1571 60 40-1695 104 1-1661 150 1-1764 195 1-1501

16 40-1707 61 1-1672 105 1-1590 151 1-1767 196 1-1518

17 40-1661 62 1-1483 106 1-1476 152 1-1762 197 1-1493

18 40-1697 63 40-1725 107 40-1665 153 1-1789 198 1-1509

19 1-1636 64 40-1675 108 154 1-1584 199 1-1496

20 40-1708 65 40-1662 109 155 1-1800 200 1-1497

21 40-1699 66 40-1657 110 156 1-1585 201 1-1497

22 1-1610 67 1-1441 111 1-1475 157 1-1797 202 1-2233

23 1-1442 68 1-1692 112 40-1700 158 1-1805 203 1-2236

24 40-1709 69 1-1606 113 1-1435 159 1-1586 204 1-1495

25 40-1727 70 40-1706 114 1-1439 160 1-1766 205 1-1516

26 40-1658 71 1-1579 115 1-1437 161 1-1596 206 1-1517

27 40-1660 72 1-1844 116 1-1578 162 1-1776 207 1-1863

28 40-1662 73 1-1828 117 163 1-1598 208 1-2232

29 40-1655 74 1-1481 118 1-1609 164 1-1769 209 1-1493

30 40-1682 75 ' 119 1-1480 165 210 1-1864

31 76 1-1456 120 1-1426 166 1-1773 211 1-1463

32 1-1610 77 40-1699, 1687 121 1-1784 167 1-1597 212 1-1503

33 1-1593 78 40-1684 122 1-1804 168 1-1773 213 1-1492

34 1-1592 79 1-1606 123 1-1514 169 1-1770 214 1-2302

35 40-1656 80 1-1589 124 1-1806 170 1-1772 215 1-2308

36 40-1682 81 1-1461 125 1-1596 171 1-1771 216 1-2308

37 40-1660 82 1-1440 126 1-1769 172 1-1807 217 1-2303

38 40-1661 S3 1-1479 127 1-1595 173 1-1793 218 1-2310

39 1-1424 84 40-1651,1662, 128 1-1587 174 1-1773 219 1-2300

40 1-1425 1708,1728 129 1-1799 175 1-1791 221 1-2310

41 40-1725 85 40-1685 130 1-1802 176 1-1768 222 1-2308

42 1-1417 86 40-1712 131 1-1772 177 1-1792 220 1-2305

43 1-1692 87 40-1673 132 1-1778 178 1-1804 223 1-2309

44 1-1444 88 40-1724 133 1-1765 179 1-1761 224 1-2306

45 40-1656, 89 134 1-1499 180 1-1777 225 1-2300

1659, 1676 90 1-1870

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No. 19. A Fossil Egg from Arizona, by Wm. Conger Morgan and Marion

Clover Tallmon Price, .10

No. 20. Euceratherium, a New Ungulate from the Quaternary Caves of

California, by William J. Sinclair and E. L. Furlong. Price, .10
No. 21. A New Marine Reptile from the Triassic of California, by John C.

Merriam. Price, .05

No. 22. The River Terraces of the Orleans Basin, California, by Oscar H.

Hershey Price, .35

EDUCATION.— Elmer E. Brown, Editor. Price per volume $2.50.

Volume I (pp. 424). Notes on the Development of a Child, by Milicent W.

Shinn Price, 2.25

Vol. II (in progress). — No. 1. Notes on Children's Drawings, by Elmer E.

Brown Price, .50

Vol. Ill (in progress) .—No. 1. Origin of American State Universities, by

Elmer E. Brown Price, .50

No. 2. State Aid to Secondary Schools, by David

Rhys Jones Price, .75

ZOOLOGY.— W. E. Ritter, Editor. Price per volume $3.50. Volume
(pp. 286) completed. Volume II (in progress):

No. 1. The Hydroids of the San Diego Region, by Harry Beal Torrey. ^ In

Pages 43, text figures 23. I °"^

^ ' ^ [-cover.

No. 2. The Ctenophores of the San Diego Region, by Harry Beal j price

Torrey. Pages 6, Plate 1 . J .60

PHYSIOLOGY.— Jacques Loeb, Editor. Price per volume $2.00. Volume I
(pp. 217) completed. Volume II (in progress):

No. 1. The Control of Heliotropic Reactions in Fresh Water Crustaceans
by Chemicals, Especially Coo (a preliminary communication),
by Jacques Loeb.

UNIVERSITY OF CALIFORNIA PUBLICATIONS-(CONTINUED)

PHYSIOLOGY.— Continued.

No. 2. Further Experiments on Heterogeneous Hybridization in Echino-
derms, by Jacques Loeb.

No. 3. The Influence of Calcium and Barium on the Secretory Activity ( In
of the Kidney (second communication), by John Bruce Mac- \ one
Callum. (

V cover.

No. 4. Note on the Galvanotropic Reactions of the Medusa Polyorchis
Penicillata A. Agassiz, by Frank W. Bancroft.

No. 5. The Action on the Intestine of Solutions Containing Two Salts, 1 ,
by John Bruce MacCallum *"

I one

No. 6. The Action of Purgatives in a Crustacean {Sida Crystallina), by cover
John Bruce MacCallum. j

PATHOLOGY.— Alonzo Englebert Taylor, Editor. Price per volume $2.00
Volume I (in progress):

No. 1 . On the Quantitative Separation of the Globulins of Hemolytic Serum,
with Special Reference to the Carbon Dioxide Group, by
Clarence Quinan.

No. 2. Hydrolysis of Protamine with Especial Reference to the Action of
Trypsin, by Alonzo Englebert Taylor.

No. 3. On the Synthesis of Fat Through the Reversed Action of a Fat-] ,
Splitting Enzyme, by Alonzo Englebert Taylor. ^"

No. 4. On the Occurrence of Amido-Acids in Degenerated Tissues, by

Alonzo Englebert Taylor. cover.

No. 5. On the Autolysis of Protein, by Alonzo Englebert Taylor. ^ In

No. 6. On the Reversion of Tryptic Digestion, by Alonzo Englebert Taylor, " °"^

No. 7. Studies on an Ash-Free Diet, by Alonzo Englebert Taylor.

CLASSICAL PHILOLOGY.— Edward B. Clapp, William A. Merrill, Herbert C.
Nutting, Editors. Price per volume $2.00. Volume I (in
progress) :
No. 1 . Hiatus in Greek Melic Poetry, by Edward B. Clapp.

ASTROWOMY.-W. W. Campbell, Editor.

Publications of the Lick Observatory.— Volumes I-V completed. Volume
VI (in progress):

No. 1. A Short Method of Determining Orbits from Three Observations,
by A. O. Leuschner.

No. 2. Elements of Asteroid 1900 GA, by A. O. Leuschner and Adelaide
M. Hobe.

No. 3. Preliminary Elements of Comet 1900 III, by R. H. Curtiss and
C. G. Dall.

Contributions from the Lick Observatory.— Nos. I-V.

Lick Observatory Bulletins.— Volume I (pp. 193) completed. Volume II
(in progress).

UNIVERSITY CHRONICLE.— An official record of University life, issued quarterly,
edited by a committee of the faculty. Price, $1.00 per year. Current
volume No. VII.

Address all orders, or requests for information concerning the above publications
(except Agricultural) to The University Press, Berkeley, California.

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