| 6. | O’pûmusult, "parallel lines doubled on themselves" (pl. XXIII). |
| 7. | Pan ikâ’kĭta, "coyote tracks" (pl. XXIX). |
| 8. | Sâ’-âĭ, "figured," plain design with radiating black bars (pl. XXVIII, e). |
| 9. | Si’hitalduwutcĭm, "spiral," whorled or spiral designs (pl. XXIII). |
| 10. | Si’sitcutcufĭk, "very much figured," the flower pattern (pl. XXVIII). |
| 11. | Stoa, "white," having a few narrow lines. |
| 12. | Sûp’epûtcĭm kakaitoa, "striped with black and white," a general term for designs in alternating black and white lines. |
| 13. | Ta’sita, "set" or "prearranged," the swastika and suavastika. |
| 14. | Tco’ho-otcĭlt, "crooked lines," the fret. |
Kiâhâ
In the Golden Age of Pimería all burdens were borne by the women, either upon their heads with the aid of the head ring or upon their backs with the unique contrivance which they call kiâhâ (fig. 63), a name that it may be well to retain for the purpose of precise description, as the term "carrying basket" suggests the conical receptacle of other tribes, which is an entirely different affair. The kiâhâ, though unwieldy in appearance, is very light and strong, and heavy loads of wood and other bulky articles may be piled upon the framework, as may be seen in the series of pictures (pl. XXXIV a, b, c, d), which illustrate the manner in which the kiâhâ is loaded while set on the ground with the two long front frame sticks and a separate helping stick (fig. 64), forming a tripod. After loading the kiâhâ, the old dame is seen in b rising to her feet with the aid of the helping stick. Had she had to carry a baby in its cradle she would have
