[Illustration: Fig. 264. Body painting representing the bear, Kwakiutl.] I have described at a previous place (p. 215) the extraordinary distortion and dissection of the killer-whale in its adaptation to a blanket, and I have given the description at that place. Quite a unique distortion is found in body paintings used by the Kwakiutl Indians in a boy’s dance. Fig. 264 is a copy of a body painting representing the bear. On the chest, the head of the bear is shown turned downward. The white spots over the collarbones are the eyes of the bear; the angular line with semicircles, the mouth and teeth. On the upper arms are shown the forelegs, the claws just under the elbow. The hind legs are shown on the front of the thighs. On the back of the person is shown the nape of the bear placed on the upper part of the back; under it, extending downward, is the back, the lines representing hair. The hip joints are shown by dark designs on the buttocks. The spiral design on the left leg was said to represent the tail. Still more remarkable is the frog painting shown in fig. 265. On the small of the back is shown the top of the head of the frog; the two eyes with eyebrows above, the mouth below. Corresponding to this place we find in the front of the body the mouth set with teeth (which really do not belong to the frog). The back of the frog is shown on the upper part of the back; the hind legs on the back of the arms. The opposite side of the hind legs is shown on the front of the arms. It seems probable that in the design which was copied for me by an Indian, the painting on the front of the left arm was accidentally omitted. The shoulder joint is shown on the front of the thighs; the forelegs in corresponding position on the back of the thighs; the ankle joints on the knees; and the foot on the calf of the legs. In other words, the frog is shown in such a way as though the body of the person were the frog. No explanation was given for the black design on the left leg. [Illustration: Fig. 265. Body painting representing the frog, Kwakiutl.] * * * * * We will turn now to the purely formal side of the treatment of the decorative field. There is a tendency to cover the entire surface with design elements. Vacant places are avoided. When the surface of the object represented has no features that lend themselves to decorative development, the artist resorts to devices that enable him to fill the surface with patterns. On totem poles the bodies of the animals represented occupy considerable space. The monotony of the surface is broken by placing the forelegs and hindlegs across the front of the body, by turning up the tail in front, and by adding small animal figures.