“The hoods of cradle boards are generally richly ornamented. The design of a specimen purchased by me is of peculiar interest on account of the representation of abstract ideas (Fig. 83 _c_, _d_). As usual, the upper surface of the hood is white, which color, in the symbolism of the Indians designates the sky and life. The margin is formed by a green line and the whole surface is divided into three fields by two convergent blue lines. The large lateral fields are strictly symmetrical. They contain three groups of stars represented by rectangles. The lowest line,—four red rectangles with enclosed green centers,—represent large, bright stars; and the top row, red without centers, are the children of the stars. It is uncertain whether by this term the smallest stars or falling stars are meant. “The middle field, bounded by blue lines, represents the path of life of the child. In this field are found peculiar green figures which terminate above and below in T shaped ends. They are diamond-shaped and enclose a red and yellow checkerwork. They designate the child’s good luck or the success that he will have in life. In this case green symbolizes growth and development; yellow, maturity and perfection; red, blood, life and good-fortune; all of which are related to the deities. The lower rim of the hood is interrupted on both sides by small white and blue squares. These are said to represent the child’s age. I did not learn what was meant by this expression. Probably the change of seasons was meant, since the alternation of blue and white signifies the change of winter and summer. “The hood ends in a square flap which bears in its center a green diamond terminating in cross bars, but smaller and simpler than the corresponding figures of the central field. It represents the heart. The blue lines and angles in the corners of the flap are continued in the same way on the opposite side. They represent the unexpected events of life. Attachments on each side are the child’s ears; the short lines of beads embroidered on the back of the flap represents the hair of the child.” Based on these results a somewhat extended study of the symbolism of American Indian art was undertaken, in the course of which A. L. Kroeber investigated the art of the Arapaho; Roland B. Dixon, that of the Californian tribes; Clark Wissler, that of the Sioux and Blackfeet, and H. H. St. Clair that of the Shoshone. Later on the study was extended over other adjacent areas. [Illustration: Fig. 84. Moccasin, Arapaho.] [Illustration: Fig. 85. Knife case, Arapaho.]