[Illustration: Fig. 134. Haida painting representing a sea-monster in the form of a wolf, carrying two whales.] [Illustration: Fig. 135. Haida drawing representing the story of a young man who caught a sea-monster.] Quite analagous is another painting by the same Haida artist, Charles Edensaw (fig. 135) who tried to illustrate for me a Haida story of a man who caught the sea-monster Wasgo by placing a split cedar tree under water. It was held open by means of a spreading-stick. A child was placed in it as bait and when the monster appeared to devour the child, the youth knocked out the spreading-stick; the tree closed and caught the monster. In this sketch the tree is shown by the black, sharp angle, set on the inside with teeth that killed the monster. The spreading-stick, which holds the split tree apart is indicated by the black crossbar. The Wasgo in the form of a wolf with large dorsal fin is shown biting the head of the child, while the youth sits on the tree. The story continues telling that the youth dons the Wasgo skin and goes every night to hunt sea game which he deposits on the beach of the village. His mother-in-law claims shamanistic power and pretends to have obtained the game. When the youth makes known that he has killed it, his mother-in-law falls down being shamed by the young man. She is shown on the left in shamanistic dress with shell rattles, shamanistic apron, neck ring of bone ornaments and the shamanistic crown. Her position indicates that she is falling. It will be noticed that here also every figure shows characteristic traits of the northwest coast ornamental style. [Illustration: Fig. 136. Haida drawing representing part of the raven story.] In fig. 136 part of the raven story is represented. The human figure in the left hand upper corner presumably represents the owner of the halibut hook. Under it is shown the raven flying and carrying on his back the owner of the halibut hook. According to this story he throws him into the sea, takes the halibut hook and begins to fish. This incident is shown on the right hand side of the sketch. The meaning of the seal in the upper right hand corner is not clear. We have seen that in representative art the particular type of perspective or symbolic form or the combination of the two determines in part the local style. We have to turn now to a consideration of the purely formal elements that characterize style. We may distinguish here between the forms of ornamentation and their composition. A general survey of the field of primitive art convinces us at once of the great variety of elementary forms and of their sharp localization. As an instance of the importance of fundamental forms I choose the occurrence of the spiral. It is characteristic of the art of New Zealand, of Melanesia, and of the Amur tribes,—to select only a few typical examples. And still, how great are the differences, how sharply specialized the spiral of each of these districts!