42

The formal element in art

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
123D2123212D3211
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-
/ / / / I \ \\\
-r — r — r-r-rrr-r-r-r — r -
In Eastern Siberia similar conditions occur.2
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.
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 embroid-
ery 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
1 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 123D2tol232D and
leaving the right end undisturbed.
2 See W. Jocbelson, 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.