In the specimens represented in figures 347 and 348 marginal dentations are used. I have called the design referred to an S-form, which, however, owing to its elongation is somewhat masked. The oblique bar in the middle of the figure represents the body of the letter, the two extremities taking the forms of triangles. [Illustration: FIG. 347--S-pattern] [Illustration: FIG. 348--Triangular and terrace figures] So far as decorative elements are concerned the design in figure 349 can be compared with some of those preceding, but it differs from them in combination. The motive in figure 350 is not unlike the ornamentation of certain oriental vases, except from the presence of the terraced figures. In figure 351 there are two designs separated by an inclined break the edge of which is dentate. This figure is introduced to show the method of treatment of alternating triangles of varying depth of color and the breaks in the marginal bands or "lines of life." One of the simplest combinations of triangular and rectangular figures is shown in figure 353, proving how effectually the original design may be obscured by concentration. [Illustration: FIG. 349--Crook, terrace, and parallel lines] [Illustration: FIG. 350--Triangles, squares, and terraces] In the foregoing descriptions I have endeavored to demonstrate that, notwithstanding the great variety of designs considered, the types used are very limited in number. The geometrical forms are rarely curved lines, and it may be said that spirals, which appear so constantly on pottery from other (and possibly equally ancient or older) pueblos than Sikyatki, are absent in the external decorations of specimens found in the ruins of the latter village. Every student of ancient and modern Pueblo pottery has been impressed by the predominance of terraced figures in its ornamentation, and the meaning of these terraces has elsewhere been spoken of at some length. It would, I believe, be going too far to say that these step designs always represent clouds, as in some instances they are produced by such an arrangement of rectangular figures that no other forms could result. [Illustration: BUREAU OF AMERICAN ETHNOLOGY SEVENTEENTH ANNUAL REPORT PL. CLXVIII GEOMETRIC ORNAMENTATION FROM AWATOBI] [Illustration: FIG. 351--Bifurcated rectangular design] [Illustration: FIG. 352--Lines of life and triangles] [Illustration: FIG. 353--Infolded triangles]