At the present time the Kwakiutl apply the symbolic style in house paintings, house posts, and masks. The skill of the artist is not inferior to that found among the northern tribes, but the subject matter differs somewhat according to the difference in mythological concepts. The distortions in painting are, if anything, more daring than those of the Haida, but I have not observed to the same degree the tendency to interlock various animal forms, as is done on spoon handles and totem poles of the northern tribes. On totem poles so far as these occur, and on house posts the single figures are placed one on top of the other, but they remain separated. The masks are painted as elaborately as those of the northern tribes. Double masks and revolving attachments occur. In short, the decorative art of those objects that are strictly related to use in totemic and similar ceremonies, have the northern type, while objects of every day life tend to have geometric ornamentation. The use of animal forms on large dishes (see fig. 198, p. 208) is a characteristic trait of this region. [Illustration: Fig. 301. Basket, Lower Chehalis.] [Illustration: Fig. 302. Designs on matting, Kwakiutl.] Historical tradition confirms our view that the northern art type is of recent introduction among the Kwakiutl. In ancient times the walls of the houses were built of horizontal, overlapping boards that did not admit painting, except on separate planks. Old Indians claim that, until about 1860, the house posts were heavy planks with relief carving or painting,—like those known to us from Fraser River, and that only masks were of the same type as those now in use. While realistic representations are rare among the northern tribes, they are found quite frequently among the Kwakiutl. They are principally caricatures that are made and exhibited for the purpose of ridiculing a rival. A head used in a ceremonial performance has been referred to before (fig. 156 p. 185). I have stated that in basketry and matting geometrical ornamentation is used by all the tribes. It is the style of the woman’s art. On decorated mats checker designs are made in black and red on the background of natural color of cedar bark (fig. 302). More elaborate are the patterns which occur on spruce root weaving, particularly on hats. These are made by twining, and ornamental lines are developed by the occasional skipping of two woof strands. By this device lines are produced which appear raised over the surface of the plain weaving. The most frequent designs which are made in this way consist of a series of diamonds and of zig-zag lines. Sometimes these hats are also painted. In these the woven pattern disappears almost completely under the painted design (fig. 303). On the coast of Alaska we find the highest development of the geometric style. [Illustration: Fig. 303. Woven hat of spruce root, Kwakiutl.] [Illustration: Fig. 304. Decorative designs from Tlingit basketry.]