seem manifest that the Seri olla must constitute a normal nucleus for the Seri esthetic; yet even here the field is practically barren, as is shown by the study of a score of usable and mortuary specimens and of thousands of sherds. The most ornate specimen seen is that depicted in plate XXXII. Its form, like that of the balsa, is a mechanical equation of forces and materials; its body-color is that of the clay, blotched and blackened irregularly by the smoke of the firing; and its decoration is limited to 17 faint lines or bands radiating downward from the ill-shaped neck. The radial bands were evidently drawn by a finger dipped in clayey water after the vessel was otherwise finished for the firing; they are irregular in placement, width, length, and direction; they generally run in pairs, two straight lines alternating with two zigzag lines, though the circuit is completed by two zigzags drawn wide apart and separated by a single straight line. The meaning of the device (if meaning there be) was not directly ascertained; but it is suggestive that its maker and owner was the mother of the youthful warrior from whom the rattlesnake necklace was obtained (her face-symbol is that shown in the lower left figure of plate XXVI), and that the vessel was surrendered more reluctantly than any other article obtained from the tribe. Another utensil of some importance to the tribe is a basket of the type illustrated in figure 24. It is manufactured with much skill and is used for various domestic purposes, being practically water-tight and unbreakable, and materially lighter than even the unparalleledly light fictile ware of the Seri. In form and size and weave the half dozen examples seen correspond with widespread southwestern types; yet it is noteworthy that while otherwise similar baskets are habitually decorated by other basket-making tribes, the Seri specimens were absolutely devoid of decorative devices. Practically the only remaining artifacts available for decoration are those connected with archery; and it suffices to say that while the bows are skilfully made and the arrows constructed with exceeding pains, not a single specimen seen showed the slightest trace of symbolism or of nonutilitarian motive. * * * * *