[Illustration: Fig. 221. Design on a bracelet representing a bear, Nass River Indians.] An examination of the head of the bear shown on the bracelet (fig. 221), makes it clear that this idea has been carried out rigidly. It will be noticed that there is a deep depression between the eyes, extending down to the nose. This shows that the head itself must not be considered a front view, but as consisting of two profiles which adjoin at mouth and nose, while they are not in contact with each other on a level with the eyes and forehead. The peculiar ornament rising over the nose of the bear, decorated with three rings, represents a hat with three rings which designate the rank of the bearer. We have thus recognized that the representations of animals on dishes and bracelets (and we may include the design on the hat, fig. 219) must not be considered as perspective views, but as representing complete animals more or less distorted and split. The transition from the bracelet to the painting or carving of animals on a flat surface is not a difficult one. The same principle is adhered to; and either the animals are represented as split in two so that the profiles are joined in the middle, or a front view of the head is shown with two adjoining profiles of the body. In the cases considered heretofore the animal was cut through and through from the mouth to the tip of the tail. These points were allowed to cohere, and the animal was stretched over a ring, a cone, or the sides of a prism. If we imagine the bracelet opened, and flattened in the manner in which it is shown in fig. 221, we have a section of the animal from mouth to tail, cohering only at the mouth, and the two halves spread over a flat surface. This is the natural development of the method here described when applied to the decoration of flat surfaces. [Illustration: Fig. 222. Painting representing bear, Haida.] It is clear that on flat surfaces this method allows of modifications by changing the method of cutting. When the body of a long animal, such as that of a fish or of a standing quadruped, is cut in this manner, a design results which forms a long narrow strip. This mode of cutting is therefore mostly applied in the decoration of long bands. When the field that is to be decorated is more nearly square, this form is not favorable. In such cases a square design is obtained by cutting quadrupeds sitting on their haunches in the same manner as before, and unfolding the animal so that the two halves remain in contact at the nose and mouth, while the median line at the back is to the extreme right and to the extreme left. Fig. 222 (a Haida painting) shows a design which has been obtained in this manner. It represents a bear. The enormous breadth of mouth observed in these cases is brought about by the junction of the two profiles of which the head consists. [Illustration: Fig. 223. Painting from a house-front representing a bear, Tsimshian.]