[29] In this specimen (see American Anthropologist, N. S., Volume 24, 1922, p. 188), the connecting links between the two strings have been misplaced, the inner string of beads being shifted three units to the right, i. e. the central connecting link is attached to the first yellow bead to the left of the red center; the others being shifted correspondingly. They have been corrected here so as to bring out the arrangement which was evidently planned. Dr. Reichard[30] has discussed a number of other examples from the same region which have similar characteristics. In one example the arrangement of the fringe elements is more complex than in the one previously described. Designating different colors by numbers and dentalia shells by D, we find the order 1 2 3 D 2 1 2 3 2 1 2 D 3 2 1[31] [30] American Anthropologist l. c., pages 198-199. [31] Owing to a probable error the arrangement of the beads, the order of the last five beads to the right is D 2 3 2 1 instead of 2 D 3 2 1. The change of D and 2 makes the arrangement symmetrical. The same result might be obtained by changing the first five beads from 1 2 3 D 2 to 1 2 3 2 D and leaving the right end undisturbed. Other examples of complex rhythms from this region have been given by Dr. Reichard in the essay previously referred to. In some instances the rhythms are not so distinct, but nevertheless discernible. As an example may serve a neckband consisting of a double string in which beads of various colors are interspersed among red beads in the following order -r- r--r---r --- r----r---r--r- / / / / | \ \ \ \ -r--r--r- -r---rrr---r----r---r--r- In Eastern Siberia similar conditions occur.[32] [32] See W. Jochelson, The Koryak, Publications of the Jesup North Pacific Expedition, Vol. VI, pp. 688 et seq.; and in the publication previously referred to by Dr. Reichard. A fairly simple sequence is shown on an embroidered strip (fig. 37 a) consisting in regular sequence of squares followed by three narrow strips; the middle strip is a little wider than the two lateral strips. [Illustration: Fig. 37. Koryak embroideries.] A more complex rhythm is shown in figure 37 b. The long fringe which is caught in the seam near the upper border of the embroidery is repeated at regular intervals. An embroidered strip near the upper part of the design is interrupted and the black bars on the central white strip are omitted at these places. A division of the upper row of embroidery, between the sets of fringes, into three parts of unequal length will be noticed. Just under the breaks in this row are two groups of tufts of seal fur, a little wider below than on top, and these are set off more definitely by the arrangement of groups of white lines on the lower two rows.