The speaker’s staff (fig. 214), which also represents the shark, has been distorted in the same manner; but here the head has been turned round entirely, so that it faces the back of the fish. The pectoral fins are shown below the chin. [Illustration: Fig. 215. Berry Spoon with design representing the eagle.] On the berry spoon (fig. 215) is an eagle whose head which is turned back completely. The small wing occupies the field under the head. The upper margin with geometrical decoration represents the body under which the hip joint, leg and feet are shown. The changes of position and of the relative sizes of parts of the body, which result from such adaptations to the form of the object to be decorated, are still more far-reaching in the following specimens. [Illustration: Fig. 216. Halibut hook representing a beaver, Tlingit.] On a halibut hook (fig. 216) carved with a design of the beaver, the two incisors, the symbols of the beaver, have been moved to the same side of the mouth. In reality only one of the incisors is visible in profile, but being important symbols, both are shown. [Illustration: Fig. 217. Part of totem pole representing a shark, Haida.] Fig. 217 is a shark represented on the top of a totem pole. The head of the animal is shown in the form of a human face with the characteristic symbols. Under the chin are two flippers. The body must be considered turned upward; but it has been shortened so much that only the tail remains, which rises immediately above the face. [Illustration: Fig. 218. Dancing-hat representing a killer-whale, Tsimshian.] On a wooden dancing-hat (fig. 218) the symbols of the killer-whale are attached to its head. Since the whole body has been omitted, the dorsal fin, the essential symbol, has been moved from the back to the head, and the flippers are attached to the head behind the eyebrows. In all these cases the artist has taken great liberties with the form of the animal body, and has treated it so that the symbols become clearly visible. On the whole, he endeavors to represent the whole animal. When this is not possible, all its essential parts are shown. The insignificant parts are often omitted. Far-reaching distortions result from the adjustment of the animal body to the decorative field and from the necessity of preserving its symbols. [Illustration: Fig. 219. Wooden hat with carving representing the sculpin.]