The use of crosshatching is very common on the most ancient Pueblo ware, and is very common in designs on cliff-house pottery. This style of decoration is only sparingly used on Sikyatki ware. The crosshatching is provisionally interpreted as a mosaic pattern, and reminds one of those beautiful forms of turquois mosaic on shell, bone, or wood found in ancient pueblos, and best known in modern times in the square ear pendants of Hopi women. Figure 340 is one of the few designs having terraced figures with short parallel lines depending from them. These figures vividly recall the rain-cloud symbol with falling rain represented by the parallel lines. Figure 341 is a perfectly symmetrical design with figures of stars, rectangles, and parallel lines. It may be compared with that shown in figure 340 in order to demonstrate how wide the difference in design may become by the absence of symmetrical relationship. It has been shown in some of the previous motives that the crook sometimes represents a bird's head, and parallel lines appended to it the tail-feathers. Possibly the same interpretation may be given to these designs in the following figures, and the presence of stars adjacent to them lends weight to this hypothesis. [Illustration: FIG. 342--Continuous crooks] [Illustration: FIG. 343--Rectangular terrace pattern] An indefinite repetition of the same pattern of rectangular design is shown in figure 342. This highly decorative motive may be varied indefinitely by extension or concentration, and while it is modified in that manner in many of the decorations of vases, it is not so changed on the exterior of food bowls. There are a number of forms which I am unable to classify with the foregoing, none of which show any new decorative design. All possible changes have been made in them without abandoning the elemental ornamental motives already considered. The tendency to step or terrace patterns predominates, as exemplified in simple form in figure 343. In figure 344 there is a different arrangement of the same terrace pattern, and the design is helped out with parallel bands of different length at the ends of a rectangular figure. A variation in the depth of color of these lines adds to the effectiveness of the design. This style of ornamentation is successfully used in the designs represented in figures 345 and 346, in the body of which a crescentic figure in the black serves to add variety to a design otherwise monotonous. The two appendages to the right of figure 346 are interpreted as feathers, although their depart forms widely from that usually assumed by these designs. The terraced patterns are replaced by dentate margins in this figure, and there is a successful use of most of the rectangular and triangular designs. [Illustration: FIG. 344--Terrace pattern with parallel lines] [Illustration: FIG. 345--Terrace pattern] [Illustration: FIG. 346--Triangular pattern with feathers]