earliest, most detailed and largest. Sash: while similar in appearance to the Tassel figures, the Sash body is depicted more robustly and the accoutrements depicted are slightly different: a three-pointed sash or bags attached to the figures' belts begin to be shown. Elegant Action figures: quite different from the Tassel and Sash figures, these figures are almost always shown running, kneeling or hunting with multi-barbed spears and boomerangs. These are difficult to place in the style sequence as they are the only figures that are not superimposed over a painting from another period. Also, no other style is superimposed over them and they are the only style that has not been defaced. Stylistically, they are believed to fall between the Sash and Clothes Peg figures. Clothes Peg figures: were named by Walsh after their resemblance to old wooden clothes pegs, but they are also referred to as Straight Part Figures by Welch. These figures are depicted in a stationary pose and painted with red pigment. Segments of their bodies are missing, such as their waists, arms and feet, the result of different colour pigments, such as whites and yellows, fading over time. The material culture depicted with these figures includes multi-barbed spears, spear-throwers, and woven bags. This is the most recent style. The anatomical detail common in the earlier styles is missing, and many of the images are shown in aggressive stances. At least one panel shows a battle with opponents arrayed in ranks opposite each other. The distribution and stylistic range of these paintings is quite distinctive, and contrasts with the Wandjina tradition. While more common in some areas, such as the sandstone regions of the west and central Kimberley, isolated examples have also been found in several scattered locations in the east, such as the Napier Ranges, and at the far eastern border of the Kimberley. The art is primarily painted where a suitable rock shelter is found; in contrast with Wandjina art, which has a limited distribution restricted to isolated sites. Unlike Wandjina, Gwion Gwion art is rarely found on ceilings, rather vertical rock surfaces are used, high up in escarpments in shallower rock shelters with small overhangs and with irregular rocky floors not suitable for occupation. The Gwion Gwion paintings predominantly depict human silhouette figures that appear to be suspended in the air or in a dynamic style that suggests running, hunting or dancing. While gender