Fig. 219 is the top view of a wooden hat on which is carved the figure of a sculpin. The animal is shown in top view, as though it were lying with its lower side on the hat. The dancing-hats of these Indians have the forms of truncated cones. To the top are attached a series of rings, mostly made of basketry, which indicate the social rank of the owner, each ring symbolizing a step in the social ladder. The top of the hat, therefore, does not belong to the decorative field, which is confined to the surface of the cone. The artist found it necessary, therefore, to open the back of the sculpin far enough to make room for the gap in the decorative field. He has done so by representing the animal as seen from the top, but split and distended in the middle, so that the top of the hat is located in the opening thus secured. [Illustration: Fig. 220. Grease dish representing seal.] Fig. 220 represents a dish in the shape of a seal. The whole dish is carved in the form of the animal; but the bottom, which corresponds to the belly, is flattened, and the back is hollowed out so as to form the bowl of the dish. In order to gain a wider rim the whole back has been distended so that the animal becomes inordinately wide as compared to its length. The flippers are carved in their proper positions at the sides of the dish. The hind flippers are turned back, and join the tail closely. A similar method of representation is used in decorating small boxes. The whole box is considered as representing an animal. The front of the body is painted or carved on the box front; its sides, on the sides of the box; the hind side of the body, on the back of the box (see figs. 282 et seq., p. 270). The bottom of the box is the animal’s stomach; the top, or the open upper side, its back. These boxes are bent of a single piece of wood and are represented here unbent. In the decoration of silver bracelets a similar principle is followed, but the problem differs somewhat from that offered in the decoration of square boxes. While in the latter case the four edges make a natural division between the four views of the animal,—front and right profile, back and left profile,—there is no such sharp line of division in the round bracelet, and there would be great difficulty in joining the four aspects artistically, two whole profiles offer no such difficulty. This is the method of representation adopted by the native artists (figs. 221; 255-257 p. 245). The animal is imagined cut in two from head to tail, so that the two halves cohere only at the tip of the nose and at the tip of the tail. The hand is put through this hole, and the animal now surrounds the wrist. In this position it is represented on the bracelet. The method adopted is therefore identical with the one applied in the hat (fig. 219), except that the central opening is much larger, and that the animal has been represented on a cylindrical surface, not on a conical one.