Lieutenant Emmons has collected the various design elements as they appear on the blankets and has given the names by which they are designated by the Tlingit (fig. 266). These names do not fit the explanations given for the whole pattern. The “double eye” (_h_) and the “eye” (_f_) are not always eyes but occur also as joints, (fig. 269 _b_). The profile eye is called the “head of the salmon trout” (_c_). It is used quite generally as the eye of any animal. The “black eye” (_g_), the “nostril” (_l_) and the design called “one in another” (_o_) are practically identical. They are also used as joints. The frequent use of the circular design of light or dark color, set off against a dark or light background indicates that the tribes of the north west coast do not tolerate areas of the same color, the monotony of which is relieved by the insertion of circular designs of contrasting colors. These may be seen on many blanket and box designs (fig. 274 et seq.). [Illustration: Fig. 266. Design elements from Tlingit blankets.] The forms called “side holes” (_p_) and “holes”, “ends of gambling sticks” or “rain drops” (_q_) have white circles relieving a black background. It is quite evident that these designs also, as parts of the whole design, have not the significance implied in the names, nor do the names explain the reason for their use. The frequent occurrence of the white circles, both isolated and in lines, (see figs. 269 et seq., pp. 259 et seq.) proves that they must be considered primarily as a formal element designed to break large surfaces. It seems to me most likely that the black or white circular design has been the basis from which the eye design has developed. In the style of the north west coast art shoulders, hips, hands, and feet form large dark monotonous surfaces. These are broken by a large white circle or oval, which is again varied by a black center. This tendency would also account for the goggle design (fig. 266 _i_). The same desire to relieve the monotony of the cheek surface leads to the insertion of an oval design on the cheek (_k_). In carved designs these forms are not contrasted by color, but the form alone varies the monotony of the large undecorated surface. Another characteristic pattern, the narrow crescent, has presumably also originated from the desire to break the monotony of continuous areas. It appears particularly when it is desired to set off two merging patterns against each other. Here also design names obtained by Emmons, “woman’s hair ornament” (_r_) and “slit” (_s_) have nothing to do with its function and significance as part of the whole pattern.