Fig. 238 represents the top of a box on which is carved the sea-monster Wasgo. It has a wolf’s head and body, and a large dorsal fin. It is able to hunt in the sea as well as on land. The artist has shown a profile of the animal with one foreleg and one hindleg, the tail curled up over the back. The dorsal fin, which in most representations of this animal stands out vertically from the body, has been laid down along the back in order to fit it into the decorative field. Fig. 239 is a tattooing representing the sea-monster Ts’um’a´ks, which is sometimes described as having a raven’s body with a whale’s body attached to its head, and a fin attached to the raven’s back. It is shown in profile with one leg, the dorsal fin, and the tails of raven and whale, twisted around so as to be seen from the side. In other cases it is described as having a bear’s head with the mouth of a shark. [Illustration: Fig. 240. Slate dish with design representing a killer-whale, Haida.] [Illustration: Fig. 241. Drum painted with design of an eagle, Tsimshian.] In fig. 240, which represents the design on a circular slate dish, we see a good case of the adaptation of a profile to the decorative field. The design represents a killer-whale with two dorsal fins. The animal is bent around the rim of the dish so that the head touches the tail. The two dorsal fins are laid flat along the back, while the large flipper occupies the centre of the dish. Fig. 241, which is the painting on the head of a drum, is a combination of front and side views. The head is turned sideways, while the body, the outstretched wings, and the feet are shown in front view. This method is found rarely in the art of the North Pacific coast, and, so far as I am aware, almost exclusively in representations of the eagle (see, however, fig. 239). The painting on the outer ring of the drum-head is difficult to explain. It will be noticed that the tail of the eagle occupies the lower centre of the ring. On top we see the front view of a human figure, the arms of which, of diminutive size, are placed near the lower corners of the face, while the hands are of very large size. The two sitting figures below the two hands probably represent the back of the man who is shown on top, but their connection with the peculiar fin-like figures on the lower portion of the painting is not clear. [Illustration: Fig. 242. Tattooing representing the moon, Haida.] [Illustration: Fig. 243. Carving on the end of a food tray representing a hawk, Tlingit.] Fig. 242 is a tattooing representing the moon. In its lower portion the crescent will be seen. In the dark portion of the moon a semi-human figure is shown in profile, with one leg. One arm is extended downward, and one backward, as though he were lifting a heavy weight.