We have no information whatever that would enable us to decide whether the ideas expressed are entirely incoherent. It is conceivable that there may be associations that are unknown to us and that create a greater unity than appears on the surface. I am under the impression that connected with the interpretation there exists a certain emotional tone that may be weak, but that is, nevertheless, not negligible in the esthetic effect of the whole object. [Illustration: Fig. 104. Basketry patterns of the Pomo Indians, California.] It would seem that in a considerable number of cases ornamental patterns have definite names that are always applied, no matter in what combination the design may occur. Many Californian basketry patterns are of this kind. Barrett[59] gives the names of decorative patterns used by the Pomo Indians, from which I select a few as an illustration (fig. 104). The northern and eastern Pomo call fig. 104 _a_, _b_ butterflies; the central Pomo call them arrow-heads; the designation for _c_ is sharp arrow-heads. The northern Pomo call _d_, pointed broad band, deer back, or darts for a game; the central Pomo call them crow-foot or crow-track; the eastern Pomo, zig-zag or marks of the east. The design _e_ is called quail plumes; _f_ and _h_, by the northern Pomo, “sharp points and in the middle striped water snake”; the central Pomo call them “similar to slender arrow-heads”, and the single triangles, turtle-neck. The eastern Pomo call the designs butterfly and “in the middle (gaya) striped water snake”. The design _g_ is called by the northern Pomo, empty spaces and quail tip patterns; by the eastern Pomo, butterfly and quail plumes; _i_ by the central Pomo quail plumes arrowhead. [59] S. A. Barrett, Pomo Indian Basketry, Univ. of California Publications in Am. Arch. and Ethn. Vol. VII, No. 3. [Illustration: Fig. 105. Drawn work, Mexico.] This usage corresponds to our terms when we speak, for instance, of the “egg and dart” design. Among the Shetland Islanders patterns on knit stockings are called “flowers”, flowers serving as a synonym for pattern. The drawn work of Mexico bears also names.[60] Here we find names as for instance, “Little Jesus”, “Beehive” (_a_) (fig. 105), “Partridge’s Eye” (_b_), “Tomato Seed and Peel” (_c_), liana (_d_), “Spider Net” (_e_). The same is true of the embroidery of Paraguay.[61] [60] Journal American Folk-Lore Vol. 33, 1920, pp. 73 et seq. [61] E. Roquette-Pinto, On the Ñanduti of Paraguay. Proceedings of the Congress of Americanists, Gotenburg, 1925, pp. 103 et seq. Named designs among more primitive people are particularly common in Africa, where, according to all investigators, the complex designs are conceived as compounds of single elements which bear names. [Illustration: Fig. 106. Designs of the Ruanda.]