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Many of these are shown in plates CXLVIII to CLVII, inclusive, and in studying them I have found it very difficult to interpret the symbolism, although the figures of feathers are easy to find in many of them. While my attempt at decipherment is not regarded as final, it is hoped that it may at least reveal the important place which the feather plays in Tusayan ceramic decoration.
It is mistaken and it degrades art. This is my SINCERE answer, I have only enough time to mail it. G. Sand CLVII. To MADAME HORTENSE CORNU Your devotion was alarmed wrongly, dear madame, I was sure of it! Here is the answer that came to me by return mail. People in society, I reiterate, see allusions where there are none.
By and bye his wife bore him a daughter but they did not name the child after the bonga and the consequence was that it soon pined away and died. Two or three more were born but they also all died young because he had not named them after the bonga. At last he did give a daughter the right name and from that time his children lived. CLVII. Ramai and the Bonga.
The triangular figure is a marked feature in the latter design. The designs represented in plate CLVII are aberrant bird forms. Of these a and b are the simplest and c one of the most complicated. There is some doubt about the identification of f as a bird, but there is no question that the wing, tail, and breath feathers are represented in it.
your friend and servant, Th: Jefferson. LETTER CLVII. TO JAMES MADISON, February 8, 1786 Paris, February 8, 1786. Dear Sir, My last letters were of the 1st and 20th of September, and the 28th of October. Yours, unacknowledged, are of August the 20th, October the 3rd, and November the 15th.
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