The most characteristic filler, next to the eye, is a double curve, which is used to fill angular and round fields that rise over a strongly or gently curved line. Many fillers of this type have a dark colored band at the upper end, generally rounded in paintings or carvings, square in blankets (see fig. 202, lower lateral design on central panel; the tail patterns, fig. 193). In the blankets the angular form is perhaps due to the technique in weaving, although the frequent eye designs prove that round forms are not impossible. On blankets the heavy upper line is often drawn out into a tip (fig. 270 _a_, over the “goggle” design on the side of the central panel). Examples of these forms have been collected by Lieutenant Emmons who states that the Tlingit call them “the wing feather of red-winged flicker” (fig. 266 _t_). The use of the pointed form of this design for a bird feather agrees with the theoretical claim of the Kwakiutl (see p. 205), but obviously the explanation does not always fit the meaning of the pattern as a whole, as is shown by the killer-whale design fig. 205 (p. 215) or the whale design fig. 270 (p. 260). The design is used commonly to represent quite diverse objects. Thus, the double flicker-feather (fig. 266 _t_), occurs in fig. 269 _a_ as the beak of a bird, occupying the middle of the mouth design between the two large eyes. It occurs also between the ears along the upper border of the design as the single flicker-feather. Here as well as over the beak of the bird, in the lateral fields, it is used only for filling in parts of the design which otherwise would remain undecorated. In fig. 202 (p. 213) the same design occurs between the eyes, just over the nostril, and here also it obviously has nothing to do with the red-winged flicker. Many other cases of this application of the wing feather design, simply for the purpose of filling in spaces, may be observed in practically all the blankets. A comparison of fig. 202 with the box designs fig. 274 shows that the wing feather design may serve to express the forearm and the upper arm. In fig. 274, we have the two hands placed in a position, similar to the paws in figs. 202 and 269 _b_. On the box fig. 274 _a_ the parts are connected with the body by a narrow red strip, which is divided by characteristic curves into two parts. A comparison of this design with figs. 222 and 223 shows very clearly that they are meant to represent the upper arm. In the blanket design fig. 269 _b_, the two sections connecting the paw with the body may be recognized distinctly as upper arm and forearm. In the blanket designs fig. 202, the space that is available for the upper arm is much condensed; but it is quite obvious that the two wing feather designs which lie on the outer sides of the paws must be interpreted here also as the forearm and upper arm. Judging by this analogy, I think there can be very little doubt that the two wing feathers placed by the sides of the body in fig.