It seems not unlikely that the symbolic style and the desire to cover the whole field with ornaments have developed exuberantly only recently. In early times geometric ornaments were probably more widely used than is the case now. We shall see presently that they are in extensive use in basketry. A number of ancient blankets show that angular geometrical ornaments played an important part in earlier weaving. Plate X represents a blanket of mountain-goat wool, in the Ethnological Museum at Copenhagen, formerly belonging to the old collections in Leningrad. It is decorated entirely with geometrical designs arranged in horizontal bands. The same zig-zag pattern in short panels that occupies alternating bands in this blanket appears in a second ancient blanket (Pl. XI) which contains also curiously conventionalized faces and triangular designs. This is a cedar bark blanket in the British Museum transferred from the United Service Museum about 1868, collected at Nootka. It has a border in brown and yellow wool (?), consisting of obtuse triangles, assimilated to an eye design. A series of photographs of blankets in the hands of Dr. Newcombe of Victoria, British Columbia, shows that these types were in common use in Bella Coola (Pl. XII, see also p. 292). [Illustration: Fig. 290. Mask of Kwakiutl Indians used in winter ceremonial; according to some representing fool dancer, according to others The-One-Shining-Down.] Our consideration of the fixed formal elements found in this art prove that the principles of geometric ornamental form may be recognized even in this highly developed symbolic art; and that it is not possible to assign to each and every element that is derived from animal motives a significant function, but that many of them are employed regardless of meaning, and used for purely ornamental purposes. The symbolic decoration is governed by rigorous formal principles. It appears that what we have called for the sake of convenience dissection and distortion of animal forms, is, in many cases, a fitting of animal motives into fixed ornamental patterns. We infer from a study of form and interpretation that there are certain purely geometric elements that have been utilized in the symbolic representation. Most important among these are the double curve which appears always as a filler in an oval field with flat base, and the slit which serves to separate distinct curves. The typical eye design is presumably related to the circle and dot and may have developed from the double tendency of associating geometrical motives with animal forms and of the other, of standardizing forms derived from animal motives as ornamental elements.