CALIFORNIA LIBRARY OF THE UNIVERSITY OF CALIFORNIA LIBRARY OF THE UNIVER loll •« LIBRARY OF THE UNIVERSITY OF CALIFORNIA QJ/ LIBRARY OF THE UNIVER LIBRARY OF THE UNIVERSITY OF CALIFORNIA LIBRARY OF THE UNIVER mv ~ m ^^ « ^ = x^s^ = LIBRARY OF THE UNIVERSITY OF CALIFORNIA LIBRARY OF THE UNIVERSITY OF CA LIBRARY OF THE UNIVERSITY OF CALIFORNIA LIBRARY OF THE UNIVERSITY OF CA LIBRARY OF THE UNIVERSITY OF CALIFORNIA LIBRARY OF THE UNIVERSITY OF CA SMITHSONIAN INSTITUTION. UNITED STATES NATIONAL MUSEUM. THE GRAPHIC ART OF THE ESKIMOS, BY WALTER JAMES; HOFFMAN, M. D., Honorary Curator, Ethnological Museum, Catholic University of Americc Washington, D. C. From the Report of the U. S. National Museum for 1895, pages 739-968, with eighty-two plates. WASHINGTON: GOVERNMENT PRINTING OFFICE. I897. THE GRAPHIC ART OF THE ESKIMOS. % BASED UPON THE COLLECTIONS IN THE NATIONAL MUSEUM. HY AVAI/rER JAMES HOFFMAN, M. D., Honorary Curator, Ethnological Museum, Catholic University of America, Washington, 1). C. 739 TABLE OF CONTENTS. Page. Introduction 749 The Eskimo Geographic distribution 752 Sub tribes or settlements 755 Population 757 Early explorations 758 Shell heaps in the Aleutian Islands 761 Prehistoric art 762 „ Eskimo and cave-men 763 •„• Environment 765 Habitations 765 Ornaments, labrets ' 766 Vrt facility 767 Art iu general 767 Materials employed 773 Ivory 773 i Horn 776 Bone 777 Wood 777 Metals 781 Skins of animals 781 Tattooing 781 Instruments and colors 782 Portrayal of natural and other objects 790 Representation by synecdoche 798 Decoration and ornamentation Decoration consisting chiefly of lines, dots, and zigzags 800 Decoration consisting chiefly of circles --- 800 Decoration of personal ornaments, utensils, etc Decoration of animal carvings Pictographs of domestic avocations of habitations and conveyance 843 of utensils and weapons 852 of preparation of food 853 of pastimes and games 856 Pictographic records 872 Individual exploits 872 Hunting and fishing Travel and geographic features 897 Combat 901 Ideography 902 Pictographs of gesture signs and signals 741 742 REPORT OF NATIONAL MUSEUM, 1895. Page. Shamanism 912 Mythic animals 912 Ceremonials 914 " individual 920 Votive offerings and mortuary 927 Conventionalizing 928 Comparison 938 Appendix 947 Gesture signs of Eskimo 948 Specimens referred to in present paper 958 LIST OF ILLUSTRATIONS. PLATES. Facing page. 1. Map of Alaska 755 2. Nomikse'ner, a Kavia'gmiut man "756 3. Suku'uk, a Kavia'gmiut man 756 4. Nerlung'ner, a Kavia'gmint girl 756 5. Unaliua, a man of Nuwiik 756 6. Pnka, a young man of Utkiawiu 7. Arrow straight eners 765 8. Arrow straighteners 765 9. Thlinkit neck ornaments 769 10. Kolgnev Samoyed walrus hunters 772 11. Walrus (Rosmarus obcsus, Illiger) 12. Reindeer or Woodland Caribou (Rangifer tarandus caribou, Kerr)-- 13. Weaving utensils of horn 14. Hunting records of horn 777 15. Native knives 777 16. Dancing mask of wood 777 17. Saws for cutting ivory 18. Bone skin dressers 784 19. Various forms of gravers 785 20. Ivory pipestein showing right and left sides 790 21. Carved drill bows and bag handles 792 22. Carved drill bows and bag handles 792 23. Utensils of bone and horn 793 24. Carved ivory bows and bodkins 793 25. Boxes of bone and tusk 26. Seal drags and bag handle 794 27. Native model of kaiak. Alaska 28. Native model of umiak. Alaska 797 29. Spear rest. Point Barrow 798 30. Bone box for shell money. Hupa Indians 31. Handles bearing primary forms of decorations . . . 32. Decorated ornaments 33. Wooden tablet. Papuan ornamentation 805 34. Wooden boxes and case for fishing tackle 35. Decorated utensils used by women 36. Ornamented kantag handles 809 37. Ornamented drill bows 38. Ornamented kantag handles 810 39. Bag handles 40. Records from bag handles 41. Ornamented utensils 42. Ornamented utensils 43. Ornamented carvings* Africa and Alaska - 815 743 744 REPORT OF NATIONAL MUSEUM, 1895. Facing; page. 44. Knife sheath. Tangiers, Morocco 816 45. Roman lamp. Carthage 816 46. British imitation of Macedonian stater 820 47. Coins of Britons and Gauls 823 48. Ornamented ivory jewelry 827 49. Decorated ornaments and utensils 828 50. Ivory buckles and pendants 828 51. Ivory buckles or toggles 828 52. Snuff tubes and needlecases 829 53. Decorated hunting hat. Katmai Island, Alaska 835 54. Hat ornaments of bone 836 55. Ornamented bag handles 840 56. Ornamented animal effigies 840 57. Decorated animal forms 841 58. Decorated utensils 842 59. Records on drill bows 844 60. Records of domestic avocations 844 61. Decorated ivory pipe 854 62. Decorated ivory pipe 858 63. Decorated pipestem 859 64. Drill bows bearing records 864 65. Ornamented cylindrical cases 865 66. Records on ivory and bone 866 67. Records of daily avocations 866 68. Records on ivory rods 878 69. Records on ivory rods 884 70. Whale and seal hunting records 892 71. Decorated ivory pipestem and bowl 897 72. Mythic bird and whale on harpoon rest 912 73. Records of Shamanistic ceremonials 913 74. Shamanistic ceremonials 915 75. Petroglyphs at Bohuslan, Sweden 934 76. Petroglyphs at Bohuslan, Sweden 934 77. Various forms of concentric circles 933 78. Page from whaleman's log book 935 79. Whaler's record of sighting whales 936 80. Eskimo carvings of whale tails 936 81. "History of a year of the Chukch" 938 82. Samoyed reindeer teams 944 TEXT FIGURES. Page. 1. Wooden buzz toy 77g 2. Wooden mask 778 3. Dancing gorget of wood 779 4. Dancing gorget of wood 780 5. Bone-pointed drill. Point Barrow 788 6. Iron-pointed drill. Point Barrow 788 7. Mouthpiece for holding drill 789 8. Mouthpiece without wings 789 9. Herd of reindeer 791 10. Herd of reindeer 791 11. Herd of startled deer - 791 12. Herd of startled deer 791 13. Herd of reindeer 792 14. Bird .. 793 GRAPHIC ART OF THE ESKIMOS. 745 Pago. 15. Reindeer 794 16. Reindeer 794 17. Reindeer 794 18. Reindeer. Point Barrow 794 19. Reindeer. Norton Sound 794 20. Reindeer. Kotzebue Sound 795 21. Reindeer. Kotzebue Sound 795 22. Reindeer 795 23. Wolf 795 24. Porcupine ' - 795 25. Human form 795 26. Two men in close embrace 795 27. Variants of tbo human form 796 28. Various forms of vessels 796 29. Whaling ships near pine-covered shore 797 30. Schooner 797 31. Sternwheel steamboat 797 32. Umiak 797 33. Eskimo hunter and herd of reindeer 798 34. Natives armed with guns 811 35. Seal head, showing teeth - ... 812 36. Seal tooth pattern 812 37. Tool of antlers 813 38. Gold boat from Nors, Denmark 825 39. Samoyed ornament of metal 826 40. Snow shovels 833 41. Decorated ivory carving 834 42. Twister for working sinew backing 835 43. Dipper of fossil ivory 835 44. Large knife, with ornamented handle 836 45. Chisel, with decorated handle 836 46. Seal dart 836 47. Tool bag of wolverine skin 838 48. Etching of pudendum 841 49. Dwelling from Chuckche year record 843 50. Winter habitation ; wood chopper at work 844 51. White men's habitations 844 52. Native model of kaiak 846 53. Kaiak '. 847 54. Kaiak 847 55. Kaiak 847 56. Umiak; Point Barrow 847 57. Umiak 848 58. Umiak 848 59. Umiak pursuing whale 848 (0. Umiak 849 61. Umiak with four hunters 849 62. Umiak , 849 63. Railedsledge 850 64. Flat sledge 850 65. Small sledge 850 66. Native drawing of sledge 851 67. Sledge 851 68. Mending net 852 69. Splitting wood 852 746 REPORT OF NATIONAL MUSEUM, 1895. Fage 70. Picking berries 863 71. Cutting up walrus 863 72. Cutting up reindeer 863 73. Cutting up reindeer 863 74. Catching fish 864 75. Catching seal through the ice 864 76. Spearing seal 864 77. Spearing seal 864 78. Curing fish 864 79. Engraving on bone 865 80. Athletic sports 868 81. Athletic sports 868 82. Native making bow 868 83. Natives wrestling 869 84. Football 869 85. Gambling 869 86. Smoking pipe 869 87. Dance 870 88. Dance and feast 870 89. Natives visiting whalers 871 90. Whalers and visiting natives 871 91. Records carved on ivory 873 92. Native throwing harpoon *. 874 93. Shooting reindeer 874 94. Shooting reindeer 874 95. Hunting deer 874 96. Hunters after a reindeer 875 97. Hunter approaching walrus 875 98. Hunting score engraved on ivory 875 99. Hunting score engraved on ivory 876 100. Arrow straightener 877 101. Record of hunt 880 102. Hunting score engraved on ivory 881 103. Hunting score engraved on ivory _ 882 104. Rival whale hunters 885 105. Whale hunt 887 106. Whale hunters 890 107. Ivory carving bearing pictographs 890 108. Fishing near the village 891 109. Fishing with hook and line 892 110. Seal drag 892 111. Seal-skin float 893 112. A walrus hunt 894 113. Alaskan notice of direction 897 114. Alaskan notice of direction 897 115. Alaskan notice of distress 900 116. Alaskan departure to relieve distress 900 117. Walrus hunter attacked 901 118. Quarrel over game 901 119. Attack on village 902 120. Human figures making gestures 903 121. Signal of discovery 903 122. Hunting signal 904 123. Signal used by whalers 904 124. Alaskan notice of hunt .. 904 GRAPHIC ART OF THE ESKIMOS. 747 Page. 125. Alaskan iiotice of departure 905 126. Alaskan notice of bunt 905 127. Notice of departure, direction, and refuge 906 128. Starving hunters 907 129. Starving hunters 907 130. Hunting scene 907 131. Signal of distress and want 908 132. Notice of departure to visit neighboring village 909 133. Native speaking to dog 910 134. Shore line or water marks 910 135. A captive whale... 910 136. Mythic serpents 913 137. Mythic animal devouring native 913 138. Mythic animal 913 139. Mythic creatures 914 140. Ceremonial dance 915 141. Shamanistic ceremonial 918 142. Shaman curing a sick man in the ceremonial structure 920 143. Shaman making incantations : 923 144. Shamistic ceremony 923 145. Shaman exorcising demon 924 146. Votive offering 927 147. Inscription on grave post 927 148. Inscription on grave post 928 149. Village and burial grounds 928 150. Swimming seals 929 151. Habitation 930 152. Habitation 930 153. Conventional bearskins 932 154. Whale flukes, Cape Nome 937 THE GRAPHIC ART OF THH ESKIMOS. By WALTER JAMES HOFFMAN, M. D., Honorary Curator. Ethnological Museum, Catholic University of America, Washing- Ion, 1). C. INTRODUCTION. In the selection of appropriate materials upon which to inscribe his thoughts, primitive man w-as governed to a great extent by his environment. In a country abounding in rocks and cliffs, it was but natural for him to portray upon a smooth conspicuous surface the record of an exploit, or a character to direct his companions on the right trail or to a convenient camping place. In that portion of the West known as the " Great Plains," rock pictures are of seldom occurrence. The numerous tribes of many different languages were hunters of the buffalo, and in their frequent movements from place to place found the skin of that animal, as well as that of the deer, the most con venient. Along the shores of the Great Lakes, where the white birch is of frequent occurrence, the Indians employ the bark of this tree for their mnemonic and other records. The bark, when fresh, is tough, and retains permanently the slightest markings indented or incised upon it by means of a sharply pointed bone or nail. Various Indian tribes employ, also, other substances, such as bone, wood, and various arrangements of shell beads, as well as feathers and textile substances, to convey special forms of information.1 The Iimuit or Eskimo of Alaska utilize the tusks of the walrus, and in occasional instances the horns of the reindeer. The tusks are cut longitudinally into rods, upon the faces of which delicate engravings or etchings are made, the depressions or incisions thus produced being filled with black or some other color so as to heighten the effect. The Eskimo of Greenland, Labrador, and the remaining portions of the Arctic regions east of the delta of the Mackenzie Eiver, use flat pieces of wood upon which to exercise their more primitive skill at art ornamentation. Although ivory is abundant in some portions of the Melville Peninsula, yet it appears generally absent in the collections from that region. details and history of pictography, see the writer's " Beginnings of Writing." D. Appleton & Co., New York, 1895. 749 750 EFFORT OF NATIONAL MUSEUM, 1895. While the accompanying paper is based chiefly upon the collection in the United States National Museum, quite a number of valuable data were found in the interesting collection of ivory records in the museum of the Alaska Commercial Company in San Francisco, Cali fornia. In addition to these two sources of information, the writer was so fortunate as to have the services in San Francisco of a native Alaskan half-caste, who had for a number of years been in the employ of the Commercial Company. This man had spent most of his life in travel ing among the various settlements of southern Alaska, chiefly for the purpose of securing furs and peltries in exchange for goods desired by the natives. Vladimir Naornoff, in addition to his thorough familiarity with the Eussian and English language, was fluent in five or six native dialects. His keen observation of the habits of the people of the main land, and their various methods of conveying information by recording on different materials their thoughts, enabled him to interpret with ease the numerous records in the museum referred to; and he also prepared a number of sketches in imitation of records which he had observed, and which he had been instructed to prepare and deposit at habitations at which he had called during the absence of the regular occupants or owners. The primary studies relating to the subject of the interpretation of pictographs were begun by the writer in 1871; and but limited prog ress was made until the year 1879, when the Bureau of Ethnology was organized and furnished the facility necessary to officially conduct investigations among the various Indian tribes of the United States and British Columbia, and to visit nearly all known pictographs and petroglyphs in order to make personal investigations, comparisons, and to secure tracings and sketches thereof. In addition to these researches in pictography, the gesture language of the various tribes was also studied, the latter frequently aiding very materially in interpreting obscure characters, and attempts at the graphic portrayal of gestures and subjective ideas.1 The collection of gesture signs obtained from Vladimir Naomoff, and subsequently verified, to a great extent, by a Mahlemut native from St. Michael's, is appended hereto,2 in connection with the list of objects in the National Museum, to which special reference is made. These gesture signs are of importance in the study and interpreta tion of many of the Eskimo records. Many of these gesture signs are natural, and intelligible to most people who are known, on account of peculiar linguistic position, to have knowledge of this mode of communication because of their 'For names and number of tribes visited, see Salishan Bibliography. J. C. Pilling. Washington, D. C. [Bulletin of the Bureau of Ethnology] under caption Hoffman, W, J. 2 Collected by the writer in 1882, and deposited in the manuscript collections of the Bureau of Ethnology. GRAPHIC ART OF THE ESKIMOS. 751 inability to comprehend tlie oral speech of surrounding tribes. Other gestures were peculiar to these natives because of the unique resources of their peculiar environment 5 and others again were highly interest ing because of the concept being hidden in some old custom, shaman- istic ceremonial, or individual practice of the person having recourse to a particular idea. In a number of the records will be observed outlines of the human figure, with hands and arms, and sometimes the lower extremities, in curious and apparently unnatural positions. Such portrayals are attempts at illustrating gesture signs pictorially, and subjective ideas are thus indicated — a step very much in advance of the ordinary sys tem of pictography as known to and practiced by most of the Indian tribes. It is obvious, therefore, that in order to fully comprehend the inten tion of a pictographic record, it is necessary to know the artist's needs, his environment and resources, his beliefs and shamanistic observ ances, and as much of the gesture language as may be obtainable. From a careful study of the pictographs of the several Indian tribes and the numerous petroglyphs and painted records scattered over various portions of the United States, it is safe to assert that a com parison of these with the various artistic materials of the Eskimo show the latter to be vastly superior to the preceding, especially in faithful reproduction of animal forms and delicacy of artistic execution. The portrayal of the reindeer, in particular, serves as an illustration of the manner in which the Eskimo are close observers as to anatomi cal peculiarities, as well as in catching the expression indicated in various attitudes assumed by these animals in grazing, rising, running, and in the positions assumed to denote alarm, fear, etc. In the portrayal of whales the Eskimo artist is also careful as to specific anatomical features. The peculiar elevation at the spout or blowhole of the "bowhead" is especially indicated, and is character istic of the species, as that part of the mammal is used to raise and keep open the elastic " granular" salt ice for breathing holes or for spouting. The smaller whale, designated also as the California gray, the "mus sel digger,7' or "devilfish," is likewise specifically indicated by a more pointed head and sharp flukes, and I can only call attention to the sharp flukes and conspicuous fins of the "killer" to illustrate the result of observation given to it by the native artist in endeavoring to show graphically the part which, to him, is a specific identification of the animal. In a few illustrations the walrus is very carefully engraved, and although the native result may appear uncouth and cumbersome, yet a comparison of the etchings with the illustration of that animal will at once serve to show strikingly careful imitation of the original subject. As to the portrayal of various other animal forms, they are, generally, 752 REPORT OF NATIONAL MUSEUM, 1895. sufficiently true to nature to admit of ready identification. The imita tion of the specific construction of the kaiak and the umiak is usually excellent, as also the various forms of dog sledges peculiar to certain localities in Alaska and faithfully represented in a number of etchings. For the purpose of further comparison between the Eskimo portrayal and the manufactured vehicle, several illustrations of the latter are reproduced in figures. The Eskimo is not an expert in portraying the human form. It is certain that in various instances man is indicated by linear outlines or incisions very much in imitation of that of the Shoshonian tribes, the head being a mere circular spot, from which is suspended a line ter minating below in two legs, and beneath the head being attached two lateral lines for arms. These extremities may be drawn in various attitudes, but apart from the attitude no further notice would be given to them. This forms a marked contrast as compared with the same idea as portrayed by various Algonkian tribes, notably so the Ojibwa, who devote much artistic attention to the head, dress, and ornaments of the character intended to represent a human being. The peculiarity of Eskimo graphic art as compared with that of other peoples will be treated of farther on. The subject forms the basis of the present paper, and was made possible through the courtesy of Doctor G. Brown Goode, Director in charge of the United States National Museum, and my indebtedness to Professor O. T. Mason, Curator of Ethnology r is hereby gratefully acknowledged for his val uable suggestions and for placing at my disposal every facility for the careful examination of specimens in his custody, not all of which, how ever, were deemed of sufficient importance to illustrate, as such a pro cedure would have resulted in considerable duplication. THE ESKIMO. GEOGRAPHIC DISTRIBUTION. The Eskimauan, or Innuit,1 linguistic family occupies the greater portion of the coast of Arctic America, Greenland, the Aleutian Islands, and a small area of the Chukche Peninsula of Siberia. The extreme points are about 3,200 miles apart, though to follow the shores would necessitate a journey of 5,000 miles. The interior portions of the continent are occupied by various Indian tribes, belonging to several conspicuous linguistic families, but the Eskimo, under various designations, have always apparently confined themselves to the seashore and the country adjacent thereto, not exceeding 50 miles inland, except in following various river courses in pursuit of game. The easternmost branch of the Eskimo is that represented by natives 1 Although the term Innuit is frequently employed, and may be linguistically proper, the writer employs the more popular term, viz : Eskimo. GRAPHIC ART OF THE ESKIMOS. 753 along the north and east coast of Greenland, two families being met with by Captain Clavering in 1823, north of 74° 30'. Captain Holm recently found them on the southeast coast between 05° and 66° north latitude. These are said to profess ignorance of any natives north of them. On the west coast of Greenland they extend to about 74° north latitude. General Greely found indications of permanent settle ments in Grinnell Land, near Fort Conger, at 81° 44' north latitude. Mr. Henry G. Bryant, in his " Notes on the most northern Eskimos,771 says : As is well known, the most northern Eskimos were first visited l>y Sir John Ross in 1818, and he first applied to them the term "Arctic Highlanders." As the appro priateness of this appellation seems quite questionable as applied to a tribe living wholly on the seacoast, I have preferred to use the term "most northern Eskimos/' as being more descriptive and appropriate in its character. This tribe inhabits that rugged strip of indented coast in northwest Greenland which extends for about 550 miles from Cape York to a point somewhat south of the southern edge of the Iluinboldt glacier. It is a fact well known that the impassible ice walls which occur at toth of these points have thus far served as effectual barriers to any extended migrations of this tribe. It is owing to this enforced isolation that at this late day we find here the most typical of the Eskimo family groups — a primitive tribe who are but just emerging from the Stone Age, whose members still dress in skins, eat raw llesh, and pursue their game with the same sort of rude weapons that their forefathers used in prehistoric times. Doctor Kane, in 1855, noted this tribe as numbering 140, while Mr. Bryant remarks that Lieutenant Peary places the census at fully 250. On the Labrador Coast the Eskimo extend southward to Hamilton Inlet at about 55° 30', north latitude, though it is not so long since they were located at the Straits of Belle Isle. On the east coast of Hudson Bay these natives reach southward to James Bay $ while northward it is on Ellsmere Land and around Jones Sound that Doctors Boas and Bessels place the northernmost groups of the middle Eskimo. Several of the northern Arctic islands present evidence of former occupancy, but for some unknown cause the natives migrated thence. The western part of the central region *of the con tinent seems unoccupied, and from the Mackenzie westward the coast seems to have no permanent villages between Herschel Island and Point Barrow. This strip of country is no doubt hunted over in sum mer, as the natives of the latter locality do not penetrate far into the interior for game. The Alaskan Coast from Point Barrow to the Copper Eiver on the south is practically occupied by Eskimo of various villages or bands, as will hereafter be more fully described. The Aleutian Islands are occupied to a certain extent by a branch of the same linguistic family, though the dialects are unintelligible to the Eskimo proper. Their distribution has been very materially 1 Reprinted from Report of the Sixth International Geographical Congress, held at London, 1805, p. 3. NAT MUS 95 48 754 REPORT OF NATIONAL MUSEUM, 1895. changed since the advent of the Russians and the establishment of the fur trade, and at present they are located principally on a few of the largest islands only. On the Asiatic side this family is represented by the Yuit, who are distinct from the Chukche, or Tuski of authors, who are of Asiatic origin, and of a distinct linguistic group. The Yuit "are also a coast people, and, according to Mr. Ball, are comparatively recent arrivals from the American side. Between the Siberian and the Alaskan coasts are the Diomede Islands, a convenient stopping place for voy agers between the two continental points above mentioned. At these islands Simeon Deshneff, in 1648, found natives wearing labrets who were at war with the Tuski. Similar reports were made by Shestakoff, in 1730. Peter Popoff, who visited the Asiatic mainland about 1711 for the purpose of collecting tribute from the Chukche, describes the habitations and remarks that "he found among the Tuski ten of the islanders wearing labrets, who had been taken prisoners of war."1 Mr. Dall2 observes that the Tuski do not wear labrets, - hich distinguishing feature, compared with the Chukche, was noticed by Deshneff, as well as all subsequent voyagers. Both sexes tattoo, not only over the face but all over the body. The women in probably all instances bear tattooed vertical lines on the chin, a practice which is not followed by the men. An illustration of tattooing upon the chin of a Port Clarence woman is given elsewhere. Concerning the representatives of the Eskimo upon the Asiatic side of Bering Strait, the following remarks are reproduced from the memo randa concerning " the Arctic Eskimos in Alaska and Siberia," by John W. Kelly,3 interpreter, who says of the ''Siberian Eskimos:" There are settlements of Eskimos at Cape Tchaplin (Indian Point), Plover Bay, and East Cape. How long they have been there and how much of the country they have occupied can only be conjectured. Those occupying St. Lawrence Island, Cape Tchaplin, and part of the shores of Plover Bay, on the mainland of Asia, opposite St. Lawrence Island, speak a dialect nearer like that of Point Barrow or the Mac kenzie River than the dialects of the Diomedes or Kotzebue Sound. That the Eskimos of Asia have been there a great many years is a certainty. The Deermen people, whose principal support is domesticated reindeer, have gradually crowded out the Eskimo or Fishmen, and have almost absorbed them by assimilation. They wear no labrets, and in dress and tattooing are the same as the Deermen. That they have lived in underground houses is abundantly proved by the ruins at Cape Tchaplin of old huts which have been framed with the whole jaws of whales. Now they live in huts above ground, covered with walrus hides. They are built in the same manner as those of the Deermen, who use a covering of reindeer robes. From the Deermen they have also learned to cremate their dead, instead of scattering the bodies over the plain, according to the custom of the American Eskimos. Like the American Eskimos, they deposit the personal property of the deceased at his grave. If he was a great hunter, they also erect a monument of reindeer antlers over his 1 Quoted from W. H. Dall, "Alaska and its Resources.'' Boston. 1870, p. 376. - Idem, p. 380. 3 Published in the Bureau of Education Circular of Information No. 2, 1890, p. 8, 9. Report of U. S. National Museum, 1895. — Hoffman 160° ' '•''''>'' :170* MAP PLATE ALASKA. GRAPHIC ART OF THE ESKIMOS. 755 grave. At East Cape, Siberia, there is a trace of the Arctic Eskimos, but differing from their nearest neighbors, the Diometle people. In the vicinity of East Cape there are a few ruins of underground houses, and a few Eskimo words are still used by the people. Twenty miles westward from Cape Tchaplin is Plover Bay, where both the Eskimo and Deermen language is spoken, but the Eskimo is on a rapid decline. SUBTRIBES OR SETTLEMENTS. The Eskimo of littoral Alaska are divided into a considerable num ber of geographic divisions, popularly designated as tribes, and are here briefly enumerated chiefly according to W. H. DalPs arrangement, his orthography being generally maintained. The accompanying map of Alaskan and Asiatic coasts will serve to further aid in locating the points occupied by the various native settle ments below enumerated. Plate 1. The Aleutians, properly so called, are divided into two tribes, the Atkans and Unalashkans. The former belong to the western part of the archipelago, and the latter were originally confined to the eastern portion. The original name of these people signified, according to Humboldt, "People of the East," and they have been regarded as having originally come from the continent, a reference to which theory will be made further on. The Ugalakmut [^Aigaruxauriut]1 is the southernmost tribe, begin ning nearly at the mouth of the Copper River and extend westward to Icy Bay. Some of the eastern bands have become mixed by inter marriage with the Thlinkit. "The Chugachmuts occupy the shores and islands of Chugach Gulf, and the southwest coasts of the penin sula of Kenai." They are few in number, compared with the large extent of country they occupy. The Kaniagmuts occupy the island of Kadiak and the greater por tion of the peninsula of Aliaska. This is probably the most popular of all the Eskimo tribes. They extend from Lliamna Lake to 159° west longitude. The Oglemuts occupy the Aliaska peninsula along the northern coast, from 159° west longitude to the head of Bristol Bay, and along the north shore of that bay to Point $tolin. The Kiateqamiut inhabit the coast from near the mouth of Nushergak River westward to Cape Newenham. They are the Nushergagnmts of Dall, who remarks of them as particularly excelling in carving ivory, and that most of their weapons and tools are made of this material. The Kuskwogmuts "inhabit both shores of Kuskoqnim Bay, and some little distance up that river." The Agulmuts extend "from near Cape Avenoff nearly to Cape Romanzoff. There are also a number of settlements of the same tribe on the island of Nunivak." 1 All words, or remarks, within brackets are added by the present writer. 756 REPORT OF NATIONAL MUSEUM, 1895. The Magemuts " inhabit the vicinity of Cape Komanzoff, and reach nearly to the mouth of the Yukon. They resemble their southern neighbors more than they do those to the north of them. The women wear labrets. The name Magemut signifies i Mink people.'" The Ekdgmuts u inhabit the Yukon delta from Kipniuk to Pastolik, and ascend the river as far as Mauki, some distance above the mission* Those who inhabit the Kwikhpak slough call the iselves Kwikhpagmut, a name sometimes applied to the whole tribe." A peculiarity " in many of them is the extreme hairiness of their persons. Many of them have very strong black beards and hairy bodies^" The Unaligmuts, or tlualeet, " occupy the coast from Pastolik to Shaktolik." They have also been designated as the Aziagmut. The Mahlernuts u occupy the coast of Norton Sound and Bay north of Shaktolik and the neck of the Kavidk Peninsula to Selawik Lake. Their most eastern village is Atteumut, and their western boundary the river which flows northward into Spavarieff Bay, Kotzebue Sound." The Kaviagmiuts occupy the Kaviak Peninsula and Sledge or Aziak Island. " Many of them pass the winter in the southern part of Nor ton Sound, and there is a large Kaviak village at Unalaklik. * * * Their principal villages are Nookmut, at Port Clarence, and Knik- Tagmut, on Golofnina Bay." The portrait of a Kaviagmiut man, aged 33 years, is given in plate 2. He is a very intelligent native, and is a clever artisan. Another type of the same tribe is shown in the person of Suku'ut, aged 25 years, from the same locality, plate 3. An interesting illustration of a girl aged 17 years is presented in plate 4. She has a remarkably clear skin, pink cheeks, and bears upon her chin the usual pattern of tattooed lines, extending downward from the mouth. In plate 5 is reproduced the portrait of an inhabitant of the village of Nuwiik, at Point Barrow. The features are very much less pleasing than those shown in the preceding figures. Plate 6 represents a young man from the village of Utkiavwifi.1 The Oke-ogmuts are essentially the same as the preceding, but the name is applied " by the Innuit to the small and energetic tribe who inhabit the islands by Bering Strait. They carry on the trade between the two continents, and visit the island of St. Michael every yeai for the purpose. I have also heard the same name applied to the inhab itants of St. Lawrence Island." The Eskimo of the Point Barrow region are located, according to Mr. Murdoch,2 in the villages of Nuwiik and Utkiavwin. Nuwtik signifies uthe Point," and is a slightly elevated knoll at the extremity ,of Point Barrow, in latitude 71° 23' north, longitude 150° 17' west. Utkiavwin signifies "the Cliffs," is 11 miles west from Nuwiik, at Cape Smyth, and is also a high ridge. The nearest neighbors to the east are those 1 These two portraits are reproduced from the Ninth Annual Report of the Bureau of Ethnology for 1887-88, 1892, figs. 1 and 4. 2 Idem, p. 26. Report of U. S. National Museum, 1 895.— Hoffman. PLATE 2. NOMIKSE'NER, A KAVIAGMIUT MAN. Report of U.S. National Museum, 1 895.— Hoffman. PLATE 3. SUK'UUK, A KAVIAGMPUT MAN.; Report of U. S. National Museum, 1 895.— Hoffman PLATE 4. NERLUNG'NER, A KAVIAQMIU^ GISL. Report of U. S. National Museum, 1895. — Hoffman. PLATE 5. UNALINA, A MAN OF NUWUK. Report of U. S. National Museum, 1895. — Hoffman. PLATE 6. PUKA, A YOUNG MAN OF UTKIAWIN. GRAPHIC ART OF THE ESKIMOS. 757 at Ilerscliel Island, or Demarcation Point, and on the west at a small village between Point Belcher and Wainright Inlet. The natives of these villages are so closely connected, says Mr. Murdoch, " that they are sometimes spoken of collectively as Sidarunmium" (= Sidarunmiut). " At a distance up the river, which Hows into Wainright Inlet, live the Kunmiun, 'the people who live on the river.' These appear to be closely related to the first village below Wainright Inlet, which is named Kilauwitawin." l The people at Point Hope, according to Mr. Murdoch, are known as the Tikera'fimiun, u inhabitants of the forefinger (Point Hope)." The natives along the coast east of Point Barrow to and beyond the Mackenzie are often spoken of by the Hudson Bay traders as the Mac kenzie River Eskimo. They appear to be identical with those described by Father Petitot as the Tapeopmeut [=Ta^eo 'meut] division of the Tchiglit, and are termed by Murdoch the Kupfmmiun, and inhabit the permanent villages at the li western mouth of the Mackenzie, at Shingle Point and Point Sabine, with an outlying village, supposed to be deserted, at Point Kay." Still another tribe is located at Anderson River and Cape Bathurst, not considered by Petitot as the above named, as he applies the name Kpagmalit. Sir John Richardson, the first to meet with them [1820], calls them u Kette-garrce-oot.' •)") 2 POPULATION. With reference to the population of the Eskimo of the several divi sions, only approximate figures can be given. The Greenland group, consisting of seventeen villages on the east coast, are stated by Holm, in 1884-85, to number about 550, while on the west coast the "mission Eskimo" numbered 10,122 in 1886, and the northern Greenland Eskimo, or Arctic Highlanders of Eoss, number about 200. Doctor Boas estimates the " Central or Baffin Laud Eskimo" at about 1,100. The natives along the coast in Labrador are stated by Rink, Packard, and others, to number about 2,000 souls.3 The Alaskan Eskimo, comprising those of the mainland, as well as the few (40?) upon Little Diomede Island, together with those on St. Lawrence Island and the Aleutian Islanders, are estimated by Dall and others at about 20,000.' This, excepting the Siberian tribe, makes a total of about 34,000 Eskimo. What the former population, before the introduction of liquor and social vices, may have been it is impossible to conjecture. It is stated by one author (Dall) that the Aleutians formerly were estimated at 20,000, but recently numbered only 1,500, which figure has also been given by others, though according to a still later estimate these islanders were put down at 2,200. 1 Ninth Annual Report of the Bureau of Ethnology for 1887-88, 1892, pp. 43, 44. 2 Franklin's Narrative of a Second Expedition to the Shores of the Polar Sea in the years 1825, 1826, and 1827. London, 1828, p. 203. 3 Sixth Annual Report of the Bureau of Ethnology for 1884-85, 1888, p. 426. 758 REPORT OF NATIONAL MUSEUM, 1895. EARLY EXPLORATIONS. For reasons which will hereafter become evident, it is necessary to refer briefly to the several explorations made to eastern Siberia, and later to the American mainland. In the following historical references I use freely Mr. Ball's remarks, published in his work, "Alaska and its Resources," of which note has before been made. In the year 1646, the Russians, under Isai Igmitief, pushed their explorations to the east of the Kolyma River, the mouth of which is at about latitude 69° 30' north and longitude 161° 30' east, and obtained by barter from some Ohukche specimens of walrus ivory. In the follow ing year, 1647, four small vessels sailed eastward of Kolyma, the party being under the command of a Cossack, named Simeon Deshueff. The object of this expedition was to reach the Anadyr River, of which vague reports had been received. Other explorers followed, but it was not until 1648 that the northeast coast of Asia was passed and Bering Sea entered. Various explorers continued, from year to year, to visit different por tions of the coast of Kamchatka, but it was not until .711 that a Cos sack, named Peter Iliunsen Popoff, arrived at East Cape with the intention of collecting tribute from the Chukche. The visit proved fruitless, but Popoff returned with an account of the Diomede Island ers and the Chukche account of a continent which lay to the east and beyond these islands. On account of the interest manifested in these discoveries, scientific men succeeded in obtaining the attention of Peter the Great, and instructions for an expedition were delivered to Admiral Apraxin. A few days later the Emperor died, but the Empress, in order to fulfill the wishes of the deceased monarch, ordered the execution of the instruc tions, and Captain Vitus Bering was nominated to command the expe dition. Although the original plan was formulated in 1725, it was not until 1727 that Bering and his companions left St. Petersburg. He sailed past what is now known as St. Lawrence Island, through Bering Strait, and, thus proving the separation of Asia and America, returned to the Kamchatka River on the 20th of September without having seen either the Diomede Islands or the American Coast. He returned to St. Petersburg in 1730, but again went on a voyage of discovery and landed on Bering Island, where he died December 8, 1741. In the meantime various other navigators and explorers had been making considerable progress in exploring the shores of Kamchatka and approaching the American Coast. In 1731 Pavlutski reached Cape Serdze Karnan, in the hope of securing from the Chukche some tribute. This resulted in failure, and in the interim Gwosdeff sailed to the Chukche Coast; a gale drove him eastward, " where they, found an island, and beyond it the shores of the continent of America. They met a native in a Kyak, and sailed two days along the coast without being GRAPHIC ART OF THE ESKIMOS. 759 able to land. A storm came up and they returned to Kamchatka. This completed the exploration of Bering Strait, which had been com menced by Deshneff and his companions." l It was not until July, 1741, that Chirikoff arrived off the American Coast, near Cross Sound. Boats were sent there upon two occasions, and several days later two canoes, filled with natives, came near the ship, but immediately fled to the shore. Various islands were seen by Chirikoff on his return to Kamchatka. During this visit 21 men were lost, de la Croyere, the naturalist, dying of scurvy. Bering saw land on July 2, and anchored near an island two days later. Emilian Bassoff discovered the island of Attu, the westernmost of the Aleutian group, in 1745. Glotloff' discovered the island of Kadiak, or Kaniag as it was designated by some of the natives, in July, 1763. These islanders were less disposed to friendliness and gave frequent evidences of hostility. About 1764 Lieutenant Lynd was put in command of an expedition which was organized under the direction of the Empress Catherine. He did not leave Kamchatka until 1767, sailing from Ochotsk toward Bering Strait, passing St. Matthew and St. Lawrence islands, saw Diomede Island, arid finally landed on the American Coast south of Cape Prince of Wales. Further explorations of the peninsula of Alaska was made by Krenitzin in 1768. Cook entered Bering Strait in August, 1778, and, on his return.froin a voyage northward, explored Korton Sound and Bay. On October 3 he again touched at Uualashka, sailed for the Sandwich Islands, where he was killed by the natives in 1779. As early as 1788, Mares and Douglas, supercargoes, sailed from Macas to Kootka and to Cooks Inlet. The Spanish claimed the right to sail the Pacific on the northwest coast of America. In 1791 Billings and Sarycheff visited Unalashka, St. Paul, St. Law rence, Aziak, and the Diomedes; also touched on the American Coast near Cape Prince of Wales, and then anchored in St. Lawrence Bay on the Asiatic side. In 1793 the Empress of Russia issued an ukase authorizing the introduction of missionaries into the American colonies, and to the works of these patient laborers we are indebted for many interesting and valuable facts respecting the history of the customs and manners of that time. It is singular, however, that although their accounts . often appear unusually concise" and comprehensive, the practice of -j engraving upon ivory and bone, seems to have been entirely over looked, or more likely may not have been in vogue among them. This i subject, however, will be further treated elsewhere. The natives of Point Barrow are said never to have seen a white man until the year 1826rwJie_nJthe barge of the Blossom, under Captain 1 Dall. "Alaska and its inhabitants," p. 299. 760 REPORT OF NATIONAL MUSEUM, 1895. Beech ey, visited their coast. They had, however, received from south ern neighbors articles of European manufacture introduced by the Russians, such as tobacco, copper, and other articles, some of which were obtained, according to Murdoch's statement,1 by way of the Dioiuede Islands and Siberia. Visits by other navigators were made at long intervals, and it was not till 1854 that the first whaling vessel came to the Point. Although the Point Barrow natives are provided with firearms, they would be unable, by means of these alone, to obtain any seals, " as their own appliances for sealing are much better than any civilized con trivances." l Mr. Murdoch, whom I have here quoted, states furthermore that "all are now rich in iron, civilized tools, canvas and wreck wood, and in this respect their condition is improved.7' Nevertheless, in so far as the graphic art is concerned, they appear to be considerably behind the natives of Bristol Bay and Norton Sound. The eminent Danish antiquarian, Doctor Henry Rink,2 in his remarks 'on the probable origin of the Eskimo, speaks of their former location in Greenland as follows: According to the sagas of the Icelanders, they were already met with on the east coast of Greenland about the year 1000, and almost at the same time 011 the east coast of the American continent. Between the years 1000 and 1300, they do not seem to have occupied the land south of 65° north latitude, on the west coast of Greenland, where the Scandinavian colonies were then situated. But the colonists seem to have been aware of their existence in higher latitudes and to have lived in fear of an attack by them, since, in the year 1266, an expedition was sent out for the pur pose of exploring the abodes of the Skra'lings, as they were called by the colonists. In 1379 the northernmost settlement was attacked by them, eighteen men being killed and two boys carried off as prisoners. About the year 1450 the last accounts were received from the colonies, and the way to Greenland was entirely forgotten in the northern country. Doctor Rink says that the Eskimos of southern Greenland present features indicating "mixed descent from Scandinavians and Eskimo," the former, however, not having left any sign of influence of their cul ture or nationality upon the present natives. In 1585 Greenland was discovered anew, by John Davis, who found it inhabited exclusively by Eskimo. In the work before cited,3 Doctor Henry Rink remarks: Recent investigations have revealed differences between the Eskimo tribes which indicate that, after having taken their first step to being an exclusively maritime people, they have still during their migrations been subjected to farther develop ment in the same direction, aiming at adapting them especially for the Arctic coasts as their proper home. The farther we go back toward their supposed original country, the more of what may be considered their original habits we find still pre served. In the general history of culture these variations must certainly appear trifling, but still I believe that a closer examination of them will throw light on the question how the most desolate and deterring regions of the globe could become 1 Ninth Annual Report of the Bureau of Ethnology for 1887-88, 1892, p. 53. -The Eskimo Tribes. Copenhagen and London. 1887. 3 Idem, pp. 3-5. GRAPHIC ART OF THE ESKIMOS. 761 peopled. The solution of this problem is facilitated by the fact that the whole Eskimo nation lias been less exposed to that contact with other peoples which else where renders such investigations more complicated. These variations are among the Eskimo more exclusively due to natural influences to which the wanderers were exposed during their btruggle for existence, and which partly gave rise to new inven tions, partly led only to the abolishment of former habits. In some instances also these external influences evidently occasioned decay where the severity of the climate in connection with the isolation and the fewness of inhabitants almost exceeded the bounds of human endurance. Doctor Rink endeavors to show from this point of view "the peculiar ities of the tribes iii the different domains of culture agree with the supposition that the original Eskimo inhabited the interior of Alaska; that apart from the true Eskimo a side branch of them in the farthest remote period peopled the Aleutian Islands, whereas people of the principal race later settled at the river mouths, spreading north ward along Bering Strait and, hiving off some colonies to the opposite shore, proceeded around Point Barrow to the east, the Mackenzie River, over the central regions or Arctic Archipelago, and finally to Labrador and Greenland. This dispersion may have taken thousands of years; they can only have proceeded in small bands, very much as still they are used to move about during certain seasons. Their only way of procuring subsistence in the vast deserts they passed over, excluded the possibility of national migrations on a larger scale. While in this way they continued to discover new countries, some families were induced to go farther; others remained and finally gave rise to the present scattered settlements. But, in proposing this hypothesis, I con sider it a matter of course that Alaska as the original home of the Eskimo is not to be taken in the strictest sense, absolutely excluding adjacent parts of the continent toward the east. But as to the other theory, that the Eskimo should have emigrated from Asia by way of Bering Strait and found the Indian territory already occupied by the same natives as now, this objection must be separately taken into con sideration in connection with the facts bearing in favor of the former." SHELL HEAPS IN THE ALEUTIAN ISLANDS. The only important researches regarding prehistoric remains in Alaska and the Aleutian Islands are those of Mr. Ball.1 He remarks that the " shell heaps are found on nearly all the islands of the Aleutian group. They are most abundant and extensive in the islands east of Unalashka, and on the few islands from Amchitka east ward, which are less high and rugged than the others, or on those where the greater amount of level land is to be found. The two neces saries for a settlement appear to have been a stream of water or a spring, and a place where canoes could land with safety in rough "On succession in the shell heaps of the Aleutian Islands. Contributions to North American Ethnology, I, 1877, p. 43. 762 REPORT OF NATIONAL MUSEUM, 1895. weather. Where these are both wanting, shell heaps are never found, and rarely when either is absent." From careful examinations made by Mr. Ball, he deems it proba ble that the islands uwere populated at a very distant period; that the population entered the chain from the eastward; that they were, when first settled on the islands, in a very different condition from that in which they were found by the first civilized travelers," etc. It is furthermore suggested by this writer that there was a later wave of population; that the former people "were more similar to the lowest grades of Iiinuit (so-called Eskimo) than to the Aleuts of the historic period," and that the stratification of the shell heaps shows a tolerably uniform division into three stages, characterized by the food which formed their staple of subsistence and by the weapons for obtaining as well as the utensils for preparing the food. The stages are — I. The littoral period, represented by the Echinus layer. II. The fishing period, represented by the Fishbone layer. III. The hunting period, represented by the Mammalian layer. In concluding his impressions respecting the shell heaps, the author concludes by saying "that those strata correspond approximately to actual stages in the development of the population which formed them, so that their contents may approximately, within limits, be taken as indicative of the condition of that population at the times when the respective strata were being deposited.*7 PREHISTORIC ART. With reference to specimens of art or ornament, Mr. Ball 1 remarks : The expression of esthetic feeling, as indicated by attempts at ornamentation of utensils or weapons or by the fabrication of articles which serve only for purposes of adornment, is remarkably absent in the contents of the shell heaps. As a whole, this feeling became developed only at the period directly anterior to the historic period. It was doubtless exhibited in numerous ways, of which no preservation was possible, so that the early record, even for a considerable period, would be very incomplete. We know that great taste and delicate handiwork were expended on articles of clothing and manufactures of grass fiber, which would be entirely destroyed in the shell heaps, and of which only fragmentary remains have been preserved on the mummies found in the latest prehistoric burial caves and rock shelters. * There are some articles used on the kyak which are usually made of bone, and often preserved in the upper mammalian stratum, and upon which some attempts at 'ornamentation were bestowed. These are little pieces of bone or ivory, in general shape resembling a kneeling figure, with one or two holes, through which cords are passed. The latter were in some cases carved to represent figures of ani mals. Another species of ornamentation is elsewhere alluded to in the flat thin strips of bone which were fastened to the wooden visor worn in hunting. These were frequently ornamented with typically Innuit patterns of parallel lines, dots, concentric circles, with zigzag markings between them and radiating lines. All 1 On succession in the shell heaps of the Aleutian Islands, in Contributions to North American Ethnology, I, 1877, p. 43. GRAPHIC ART OF THE ESKIMOS. 763 these were in black, on the white basis of the bone or ivory. * * The mark ings can seldom be accurately described as marks of ownership. I have never seen any definite mark or ornament of this nature among the Aleuts or Western Inuuits. They readily recogni/e their own utensils or weapons without any such aid, and I believe the theory of " marks of ownership/' " batons of command/' and such like, has been stretched far beyond the point of endurance or accuracy, at least among writers on the Innuit. Drawings, engravings on bone or wood, and pictures of any kind, so far as I have observed, are all subsequent to the period covered by the shell heap deposit. They are invariably quite modern, though the taste for them is now widely spread among the Innuit, especially those of the regions where ivory is readily procured. The coloration of wooden articles with native pigments is of ancient origin, but all the more elaborate instances that have come to my knowledge have marks of comparatively recent origin. ESKIMO AND CAVE MEN OF FRANCE. In his "Alaska and its Besources," Mr. Dall presents several illus trations of drawings on bone, very ordinary specimens and limited to poorly executed figures of men hunting. These are given merely to indicate to the reader the general appearance of the etching of the Eskimo. It is related in this connection, however, that these drawings are analogous to those discovered in France in the caves of Dordogne. The numerous specimens of prehistoric art, both incised and carved, which have been given by Messrs. Lartet and Christy in their work entitled Eeliquiaj Aquitanicae,1 are familiar to most archaeologists, so that no reproduction of plates or illustrations is deemed necessary in the present instance. Mr. W. Boyd Dawkins,2 an acknowledged authority on the antiquity of man in Europe, remarks at length upon the possible and in fact probable identification between the cave men and the Eskimo. In his conclusions upon comparisons between the respective arts, forms of weapons, apparently similar modes of living, etc., he says: On passing in review the manners and customs of all the savage tribes known to modern ethnology, there is only one people with whom the cave men are intimately connected in their manners and customs, in their art, and in their implements and weapons. The Eskimo range at the present time from Greenland on the east along the shores of the Arctic Sea as far to the west as the Straits of Bering, inhabiting a narrow littoral strip of country, and living by hunting, fishing, and fowling. The most astonishing bond of union between the cave men and the Eskimo is the art of representing animals. Just as the former engraved bisons, horses, mammoths, and other creatures familiar to them, so do the latter represent the animals upon which they depend for food. On the implements of the one you see the hunting of the urns and the horse depicted in the same way as the killing of the reindeer and walrus on the implements of the other. * * All these points of connection between the cave men and the Eskimo can, in my opinion, be explained only on the hypothesis that they belong to the same race. To the objection that savage tribes living under the same conditions might independently invent the same implements, and that therefore the correspondence in the question does not necessarily imply a unity of race, the answer may be made that there are no savage tribes known which use the same set of implements without being connected by blood. The ruder and more 1 London, 1875, pp. 204. PI. 87. Three maps and 132 woodcuts. Quarto. 2 "Early Man in Britain," 1880, p. 233. 764 REPORT OF NATIONAL MUSEUM, 1895. common instruments, such as flakes, and in a lesser degree scrapers, are of little value in classification ; but where a whole set agrees, intended for various use, and some of them rising above the most common wants of savage life, the argument as to race is of considerable weight. It is still further strengthened by the identity of art. The articles found in the caves of Britain, Belgium, France, or Switzerland differ scarcely more from those used in west Georgia than the latter from those of Greenland or Melville Peninsula. From these considerations it may be gathered that the Eskimos are probably the representatives of the cave men, and protected within the Arctic Circle from those causes by which they have been driven from Europe and Asia. They stand at the present day wholly apart from all other living races, and are cut off from all both by the philologer and the eraniologist. Unaccustomed to war themselves, they were probably driven from Europe and Asia by other tribes in the same manner as within the last century they have been driven farther north by the attacks of the Red Indian. The theory that the peoples of the circumpolar regions might be the descendants of the ancient cave dwellers of France has been enter tained not only by Mr. Dawkins, Among other arguments employed are (1) the apparent similarity of environment, and that as the south ernmost margins of the receding ice, in glacial times, slowly moved northward, the ancient cave people continued their migration in that direction until their present location was reached; (2) the general resemblance in the carved weapons and utensils of reindeer horn, and also some of the portrayals of animal forms which occur thereon. From evidence based upon investigations by Doctor liink, and the arch geologic indications noted by Mr. Dall and others, the Eskimo are believed to have become a littoral people in America by expulsion from some interior regions of North America, such expulsion having been brought about through the northward expansion of the Athabas can tribes toward the northwest and the Algonkian tribes toward the northeast. Even within historic times the Eskimo occupied a much more extensive coast line southward on the Atlantic than at present, and it is impossible to conjecture what may not have been the southern limits, in prehistoric times, with reference to the first theory above named. It is believed by some geologists that as the glaciers of western Europe gradually receded, the direction of migration of the prehistoric people was toward the British Isles, the Scandinavian Peninsula, and Lapland. The theory of their passage across to Greenland does not appear to be supported by any prehistoric remains, such as one would hope to discover after the recovery of the great amount of excellent material indicating a peculiar advancement in the arts of fashioning weapons and utensils of ivory and horn. Neither does there survive anything in Greenland but the simplest type of artistic decoration on ivory or bone, such as lines, dots, etc., which is characteristic of the Eskimo everywhere, excepting in Alaska, where the greater develop ment was due to other causes, which will be mentioned farther on. Neither is there apparent evidence that the Eskimo came across Bering Strait, as the survivors of the ancient cave men of Europe. Report of U S. National Museum, 1 895. — Hoffman. PLATE 7. ARROW STRAIGHTENERS. EXPLANATION OF PLATE 7. 1 2 3 Fig. 1. ARROW AND SPEAR STRAIGHTENED. (Cat. No. 44383, U. S. N. M. From Cape Nome, Alaska. Collected by E. W. Nelson.) Fig. 2. ARROW AND SPEAR STRAIGHTENER. (Cat. No. 45109, U. S. N. M. Sledge or Aziak Island, Alaska. Collected by E. AY. Nelson. Fig. 3. ARROW AND SPEAR STRAIGHTENER. (Cat. No. 44745, U. S. N. M. Sledge Island, Alaska. Collected by E. W. Nelson.) Report of U S. National Museum, 1895.— Hoffman. PLATE 8. ARROW STRAIGHTENERS. EXPLANATION OF PLATE 8. Fig. 1. ARROW AND SPEAR STRAIGHTENER. (Cat. No. 63723, U. S. X. M. Diomcde Islands, Alaska. Collected by E. AV. Nelson ) Fig. 2. ARROW AND SPEAR STRAIGHTENER. (Cat. No. 43958, U. S. X. M. Nubuiakchngaluk, Alaska. Collected by E. W. Nelson.) Fig. 3. ARROW AND SPEAR STRAIGHTENER. /Cat, No. 44274, U. S. X. M. Capo Darby, Alaska. Collected by E. W. Nelson.) GRAPHIC ART OF THE ESKIMOS. 765 With regard to the second theory, it would be strange indeed if there were not some general similarities between the weapons and utensils of two distinct uncivilized peoples when both used the same materials — reindeer horn — for such articles; and, furthermore, the attempted portrayal of animals of like genera -would naturally produce results of very general likeness. Finally, it has been suggested, and the burden of proof appears to indicate, that the development of pictographic art among the Alaskan Eskimo was attributable to their contact with the Kussians; and that, L although these natives preserved a limited degree of culture as to decorating by simple lines and dots their weapons and a few other arti cles of daily use, yet the objective representation of any animate or other forms is believed to have been adopted since the earliest visits of civilized man to the Alaskan Coast. Several Alaskan utensils, however, used as arrow and spear straight- eners are here illustrated in plate 7, figs. 1, 2, and 3, and plate 8, figs. 2 and 3, and are apparently similar to some like remains from the caves of France figured by Messrs. Lartet and Christy. Upon closer examination it will be observed that besides the simi- < larity of form, due chiefly to the reason that both types are of similar materials, the representation of animal forms by engraving, or incision, appears to belong to a different school of artistic work, if such a term may here be employed; a a sketchy" outline of an animal frequently consisting of but a few suggestive incisions here and there, as in very modern nineteenth century art work, producing an effect in several instances as the reindeer figured by Lartet and Christy in their work before cited, which artistic products appear atoo artistic" for the culture status of cave men such as are portrayed in the deductions of the gentlemen above quoted by W. Boyd Dawkius and others who have followed up the same theme. The work of the cave men is appar ently vastly superior in one respect to that of the Eskimo, and again from another aspect inferior to it — inferior in various ways, as will be learned by a perusal of the results attained by the Eskimo in the rep resentation of both objective and subjective ideas, as well as an advancement toward conventionalization beyond that practiced by peo ples who are apparently further advanced in other respects. ENVIRONMENT. So many narratives relating to the life and social conditions of the Eskimo, as well as to the topographic peculiarities of the countries occupied by the various subdivisions of this people, have been pub lished at various times and by various authorities, that anything further in this connection would be superfluous, especially in a paper devoted more particularly to the graphic arts. The habitations and clothing, such as are required in an unusually inhospitable climate, are both illustrated in the native pictography. 7G6 REPORT OF NATIONAL, MUSEUM, 1895. The forms of habitations are more particularly referred to elsewhere, and various native representations are reproduced for the sake of com parison both as to artistic merit as well as indicating personal or tribal variations dependent on climatic requirements. The styles of clothing are not often referred to in Eskimo etchings, tattooing and labrets being sometimes indicated in carvings, as well as in incised characters. Some interesting carvings, with delicate artistic touches to accentuate the effects of tattooing, are given else where. ORNAMENTS AND LABRETS. In some of the etchings are portrayed the outlines of human figures — in various attitudes, though especially as if in the act of dancing — to the rear portion of the body of which are attached little tail-like append ages resembling tails of animals. This may be explained by quoting Captain Beechey,1 as in his refer ence to the natives found northward of Cape Prince of Wales, within 4£ miles of Schismareif Inlet, he states that, in addition to certain described articles of clothing, "they have breeches and boots, the former made of deer's hide, the latter of seal's skin, both of which have drawing strings at the upper part made of seahorse hide. To the end of that which goes round the waist they attach a tuft of hair, the wing of a bird, or sometimes a fox's tail, which, dangling behind as they walk, gives them a ridiculous appearance, and may probably have occasioned the report of the Tschutschi, recorded in Muller, that the people of this country have * tails like dogs.' " Among the trimmings and ornaments attached to the clothing the Point Barrow Eskimo2 also attach at the back the tail of an animal, usually a wolverine's. "Very seldom a wolf's tail is worn, but nearly all, even the boys, have wolverine tails, which are always saved for this purpose and used for no other. The habit among the Eskimo of western America of wearing a tail at the girdle has been noticed by many travelers, and prevails at least as far as the Anderson River," where it was noticed by Father Petitot, who, in describing the dress of the "chief," remarks "par derriere il portait aux reins une queue epaisse et ondoyante de renard noir." :5 Captain Beechey4 first observed lip ornaments at Schismaeff' Inlet, a short distance north of Cape Prince of Wales, and thence northward to Point Barrow, seemingly a common practice along this coast. "These ornaments consist of pieces of ivory, stone, or glass, formed with a double head, like a sleeve button, one part of which is thrust through a hole bored in the under lip. Two of these holes are cut in a slanting direction about half an inch below the corners of the mouth. The 1 Narrative of a Voyage to the Pacific and Bering's Strait, London, I, 1831, p. 248. 2 Ninth Annual Report of the Bureau of Ethnology, 1887-88, 1892, p. 138. 3 Monographic, p. xiv. « Idem, p. 249, GRAPHIC ART OF THE ESKIMOS. 767 incision is made when about the age of puberty, and is at first the size of a quill. As they grow older, the natives enlarge the orifice, and increase the size of the ornament accordingly, that it may hold its place. In adults this orifice is about half an inch in diameter, and will, if required, distend to three-quarters of an inch.77 The same practice in every respect is also observed at Chamisso Island,1 a short distance from the above locality, and further reference concerning the natives is quoted from the same authority as follows: "They readily disengaged these lip ornaments from their lips, sold them, without minding the least inconvenience of the saliva tfrat flowed through the badly cica- triced orifice over the chin; but rather laughed when some of us betrayed disgust at the spectacle, thrusting their tongues through the hole and winking their eyes.'7 ART FACILITY. Mr. Alfred C. Haddon, in his admirable work on " Evolution in Art,'72 remarks of the early methods of conveying information between one man and another, where oral or gesture language are impossible, that pictorial delineation must be resorted to; and further, that "probably one of the earliest of this needs was that of indicating ownership, and it maybe that many devices in primitive implements and utensils have this as one reason for their existence, although the nature of the orna mentation may be owing to quite a different reason.77 It is not of rare occurrence to find upon the arrows and other pos sessions of our native Indian tribes various marks by means of which individual property may be identified; and among some of the pueblo Indians decorated pottery bears "maker7s marks77 in such manner that, although the tribe at large may not recognize the maker of any par ticular decorated vessel, yet such a specimen will at once be identified as originating in, or with, a certain family, and when application is made at the designated abode, the individual will there be pointed out, or named if absent. It seems possible that the various markings upon the weapons from the Alaskan shell heaps may have served as " property marks,77 and it would appear, also, to have been found expedient for the native sea going hunters to devise and adopt some sort of a system by means of which they might be enabled to identify and recover any stray or float ing weapon, or the animal in which such weapon might be found, or possibly both. Mr. Haddon remarks that " the beautifying of any object is due to impulses which are common to all men, and have existed as far back as the period when men inhabited caves and hunted the reindeer and mammoth in western Europe.773 Apparently the oldest markings thus 1 Father Petitot, Monographic, p. 250. 2 " Evolution in Art," London, 1895, p. 203. aldem, pp. 3, 4. 768 REPORT OF NATIONAL MUSEUM, 1895. used consisted of simple lines and punctures or perforations, such as are found at present among the Greenland and Labrador Eskimo, though among the latter small carvings are also beginning to be more abundant. In his reference to the Kauiags, Mr. Ivan Petroff l says they use whale spears about G feet in length, armed with slate points. " Upon the point of his spear each hunter carves his mark to enable him to claim his quarry." Mr. L. M. Turner informs me that Eskimo property marks are unknown to him, although each hunter, or maker of weapons, will recognize his own workmanship, as well as that of others, by different peculiarities of individual skill. Among the sea-otter hunters of the Aleuts, they do have marks by which the detachable point of the otter spear may be known. "This point is often copper, obtained from copper bolts from a Russian vessel long ago stranded on their shore 5 and as the spear is made with exquisite skill, the point is also delicate and of particular form, so that a difficulty would arise as to whose spear point strikes nearest the nose of the creature. In its struggles the point is torn loose from the strong, yet slender, sinew line holding it to the spear. Another thrower may succeed in striking it and capture the otter, but he whose point is nearest the nose may claim the skin. A fair degree of liberality is usually manifested in such instances."2 The residence in Point Barrow of Mr. Murdoch — extending over a period of perhaps three years — afforded him ample opportunity to study the art of the Eskimo of that northernmost extremity of Alaska. In his report before mentioned he remarks: The artistic sense appears to be much more highly developed among the western Eskimo than among those of the east. Among the latter, decoration appears to be applied almost solely to the clothing, while tools and utensils arc usually left plain, and if ornamented are only adorned with carving or incised lines. West of the Mackenzie River, and especially south of Bering Strait, Eskimo decorative art reaches its highest development, as shown by the collections in the National Museum. Not only is everything finished with the utmost care, but all wooden objects are gaily painted with various pigments, and all articles of bone and ivory are covered with ornamental carvings and incised lines forming conventional patterns. There are in the collections also many objects that appear to have been made simply for the pleasure of exercising the ingenuity in representing natural or fanci ful objects, and are thus purely works of art. As would naturally be expected, art at Point Barrow occupies a somewhat intermediate position between the highly developed art of the southwest and the simpler art of the east. It will be noticed that whenever the bone or ivory parts of weapons are decorated, the ornamentation is usually in the form of incised lines colored with red ocher or soot. These lines rarely represent any natural objects, but generally form rather elegant conventional patterns, most commonly doable or single borders, often joined by oblique cross lines or fringed with short pointed parallel lines. v * * The only decorative work in rnetal is to be seen in the pipes and their accompany ing picks and fire steel. 1 Keport on the population, industries, and resources of Alaska, Tenth Census. 1880, VIII, p. 142. 2 Personal letter of date of May, 1896. Report of U. S. National Museum, 1 895.— Hoffman. PLATE 9. NECK ORNAMENTS. EXPLANATION OF PLATE 9. PENDANTS OF BONE USED BY SHAMANS FOR ORNAMENTING NECKLACE. (Cat. No. 168371, IT. S. N. M. Thlingit Indians. Collected by Lieut. G. F. Eminons, U. S. N.) GRAPHIC ART OF THE ESKIMOS. 769 Mr. Dall remarks that the forms in general of the Eskimo are very much alike throughout the entire area occupied by this people; but he continues in another place, " Similar drawings are common everywhere among the lunuit, while I have never seen among the Tenneh tribes of the northwest any similar specimens of art." l Since the time of Mr. Ball's researches in Alaska, however, vari ous specimens of Thlinkit art designs have been received by the National Museum. Several of these, consisting of neck ornaments, are reproduced in plate 9, figs. 1 to 6, and bear purely Eskimo forms of ornamentation obtained through the medium of intertribal traffic, to which other reference is made in connection with trade routes or culture routes. The ornamentation of utensils, articles of personal adornment, and of weapons is limited among the Eskimo eastward of Alaska to lines and dots in various combinations. Carvings occur also, small figures, both flat and in imitation of the animals with which the artist is familiar. The engraving upon ivory and bone for the purpose of recording hunt ing, fishing, and other exploits and pursuits, appears to be entirely absent in the east, being confined to the natives of Alaska, the Siberian Eskimo — the Yiiit — and recently copied by other neighboring peoples. In the vicinity of Chamisso Island, a short distance above Cape Prince of Wales, Captain Beechey2 found various kinds of utensils, weapons, and other manufactures of the natives, upon some of which were engraved various objects, to which he refers as follows : On the outside of this and other instruments there were etched a variety of figures of men, beasts, birds, etc., with a truth and character which showed the art to be common among them. The reindeer were generally in herds. In one picture they were pursued by a man in a stooping posture in snowshoes; in another he had approached nearer to his game, and was in the act of drawing his bow. A third represented the manner of taking seals with an inflated skin of the same animal as a decoy; it was placed upon the ice, and not far from it was a man lying upon his belly with a harpoon ready to strike the animal when it should make its appearance. Another was dragging a seal home upon a small sledge; and several baidars were employed harpooning whales which had been previously shot with arrows ; and thus, by comparing one with another, a little history was obtained which gave us a better insight into their habits than could be elicited from any signs or imitations. Mr. John Murdoch,3 in quoting Mr. L. M. Turner that the natives of Norton Sound keep a regular record of hunting and other events engraved upon drill bows, remarks that " we did not learn definitely that such was the rule at Point Barrow, but we have one bag handle marked with whales, which we were told indicated the number killed by the owner." Several specimens are then referred to as having figures incised upon them, colored both in red or in black, together with very small illustrations of the bow, upon which the figures are so greatly 1 Ninth Annual Report of the Bureau of Ethnology for 1887-88, 1892, p. 238. 2 Idem, p. 251. (Visit made in 1826.) :i Idem, p. 177. NAT MUS 95 49 770 REPORT OF NATIONAL MUSEUM, 1895. reduced as to be of no value in the study of pictographic representa tion of objects, ideas, or gestures. Mr. Murdoch l remarks furthermore : The ouly thing that we saw of the nature of numerical records were the series f animals engraved upon ivory, already alluded to. In most cases we were unable to learn whether the figures really represented an actual record or not, though the hag handle already figured was said to contain the actual score of whales killed hy old Yu'ksina. The custom does not appear to be so prevalent as at Norton Sound. ' With one exception they only record the capture of whales or reindeer. The excep tion presents a series of ten bearded seals. The reindeer are usually depicted in a natural attitude, and some of the circumstances of the hunt are usually represented. For instance, a man is figured aiming with a bow and arrow toward a lino of reindeer, indicating that such a number were taken by shooting, while a string of deer, represented without legs as they would appear swimming, followed by a rude figure of a man in a kaiak, means that so many were lanced in the water. Other incidents of the excursion are also sometimes represented. On these records the whole is always represented by a rude figure of the tail cut off at the " small, '; and often represented as hanging from a horizontal line. We also brought home four engraved pieces of ivory, which are nothing else than records of real or imaginary scenes. The above remarks, with the description of the four specimens else where reproduced, comprise about all the attention that this interesting subject appears to have received during a three years' residence at Point Barrow among natives who surpass almost any other peoples in North America in the graphic arts. It is fortunate that the National Museum has in its possession the rich collections made by Messrs. Nelson and Turner, both of whom appreciated the value of such material and availed themselves of the opportunity of securing it, as well as information pertaining to the interpretation of many of the pictographic ideas shown. In his medical and anthropological notes relating to the natives of Alaska, Doctor Irving C. Rosse2 remarks: Some I have met with show a degree of intelligence and appreciation in regard to charts and pictures scarcely to be expected from such a source. From walrus ivory they sculpture figures of birds, quadrupeds, marine animals, and even the human form, which display considerable individuality notwithstanding their crude delinea tion and imperfect detail. Evidences of decoration are sometimes seen on their canoes, on which are found rude pictures of walruses, etc., and they have a kind of picture writing by means of which they commemorate certain events in their lives, just as Sitting Bull has done in an autobiography that may be seen at the Army Medical Museum. \Vhen we were searching for the missing whales off the Siberian coast, some natives were come across with whom we were unable to communicate except by signs, and wishing to let them know the object of our visit, a ship was drawn in a notebook and shown to them with accompanying gesticulations, which they quickly comprehended, and one fellow, taking the pencil and note book, drew correctly a pair of reindeer horses on the ship's jib boom — a fact which identified beyond doubt the derelict vessel they had seen. * * * 1 Ninth Annual Report of the Bureau of Ethnology for 1887-88, 1892, p. 361. -Cruise of the Revenue-Cutter Cor win in Alaska and the Northwest Arctic Ocean, in 1881. Washington, D. C., 1883, p. 37. GRAPHIC ART OF THE ESKIMOS. 771 The above named author furthermore refers to natives making pencil ' and pen -and-ink sketches, one in particular having taught himself by copying from the " Illustrated London News." These sketches, " though c .'editable in many respects, had the defects of many Chinese pictures, i being faulty in perspective." Doctor Eosse concludes by saying: As these drawings equal those in Doctor Rink's book, done by Greenland artists, I regret my inability to reproduce them here. As evidences of culture, they show more advancement than the carvings of English rustics that a clergyman has caused to be placed on exhibition at the Kensington Museum. Doctor Henry Rink l says : The art exhibited by the Alaska Eskimo in ornamenting their weapons and uten sils is often mentioned in travelers' reports from the time when they were first visited by Europeans. To their skill in carving and engraving, we must join this taste displayed in the same way in making their clothing. Again, when we pass from Alaska to the east, we see this relish for the fine arts declining, and in western Greenland proofs of it have been rather scarce. But the latest expedition to the east coast of this country has discovered that a small isolated tribe here in the vast deserts of the extreme east almost rivals the Alaska artists with respect to carving in bone and ornamenting their weapons and utensils. The chief difference is, that in Alaska, engravings illustrating human life and the animals of the country are the • most popular objects of the artist, whereas the east Greenlanders excel in small reliefs representing for the most part animals and mythological beings grouped together and fastened with admirable taste and care to the surface of the wooden implements. With reference to the arts of the Eskimo of Greenland, Doctor Henry Kink2 remarks: It must be noticed that though the present Greenlanders appear to have a pretty- fair talent for drawing and writing, scarcely any traces of the arts of drawing and sculpture belonging to earlier times remain, with the exception of a few small images cut out in wood or bone, which have probably served children as play things. The western Eskimo, on the other hand, displayed great skill in carving bone ornaments, principally on weapons and tools. Drawings made by Greenland Eskimo for Doctor Sink greatly resemble the American schoolboys' efforts. A recent production of preciseiy'liko character in almost every respect is from the island of Kolguev, and reproduced herewith in plate, together with the following explanation: Some interesting illustrations of Samoyed drawings are given by Mr. Aubyn Trevor- Battye in his "Ice-bound on Kolguev," Westminster, 1895. Kolguev Island lies 50 miles north of Arctic Europe, and is sep arated from the continent by what is known as Barent's Sea. It is about midway, in distance, between Waygat Island — immediately south of ^ovaya Zemblya — and the eastern extremity of Lapland. The Samoyeds here are entirely isolated, from the fact that they possess no boats that could venture 50 miles across the sea — an interesting cir "The Eskimo Tribes." Copenhagen and London, 1887, pp. 15, 16. 2 "Tales and Traditions of the Eskimo." Edinburgh and London, 1875, p. 772 REPORT OF NATIONAL MUSEUM, 1895. cunistance, because they are often, from various supposed or accidental similarities in customs and manners, coupled with the Eskimo, a people with whom the kayak and umiak are the chief methods of transportation. The illustrations represent ordinary pursuits, and appear to be made upon paper by means of a pencil. The peculiarities of drawing are very much of the same character as the Eskimo sketches obtained by Doctor Kink in Greenland. One example will suffice. Plate 10 repre sents Samoyeds killing walrus. The black dots on the right are heads of seals, at which a man, lying flat upon the ice, appears to be shooting. The hunter appears as if placed in the air, though in reality the view seems to be from above — as a bird's-eye view — the ligure of the man corresponding, in this particular, to like portrayals in several Eskimo engravings on ivory, from Alaska. Captain Parry mentions having charts made by the natives of Winter Island. A first attempt made " was by placing several sheets of paper before Iligliuk, and roughly drawing on a large scale an outline of the laud about Eepulse Bay and Lyon Inlet, and terminating at our present winter quarters. * * * Iligliuk was not long in comprehending what we desired, and with a pencil continued the outline, making the land trend, as we supposed, to the northeastward. The scale being large, it was necessary when she came to the end of one piece of paper to tack on another, till at length she had filled ten or twelve sheets, and had completely lost sight of Winter Island * * * at the other end of the table. The idea entertained from this first attempt was that we should find the coast indented by several inlets, and in some parts much loaded with ice, especially at one strait to the northward of her native island, Amitioke, which seemed to lead in a direction very much to the westward. Within a week after this, several other charts were drawn by the natives in a similar way. * * * The coast was here delineated as before, on a very large scale, but much more in detail, 'many more islands, bays, and names being inserted. It was observ able, however, that no two charts much resembled each other, and that the greater number of them still less resembled the truth in those parts of the coast with which we were well acquainted."1 An interesting illustration of a Greenland map made by natives of the east coast is given by Mr. G. Holm in his Ethnographic Sketch of Angmagsalikerne.2 This consists of three blocks of wood, along the edges of which are cut various indentations and curves, leaving pro jections, all of which are intended to portray the contour of the shore lines between various important points on the east shore of Greenland. Channels, capes, islands, and other topographic features are apparently well reproduced, at least sufficiently clear to permit of their identifica tion when compared with a large chart of the locality referred to. "'Tales and Traditions of the Eskimo/' by Doctor Henry Rink. Edinburgh and London, 1875, pp. 1C2, 103. -EtlmologiskSkizzeaf Augma#8aliKerne(Sairtryk af MeddelelseroiuGr^nland. X). Kj0benhavn. 1887. 8°. Report of U. S. National Museum, 1 895.— Hoffman. PLATE 10. GRAPHIC ART OF THE ESKIMOS. 773 Mr. Alfred C. Hadden1 says: I All human handiwork is subject to the same operation of external forces, but the material on which these forces act is also infinitely varied. The diverse races and people of mankind have different ideas and ideals, unequal skill, varied material to work upon, and dissimilar tools to work with. Everywhere the environment is different. * The conclusion that forced itself upon me is that the decorative art of a people does to a certain extent reflect their character. A poor, miserable people have poor and miserable art. Even among savages leisure from the cares of life is essential for the culture of art. It is too often supposed that all savages are lazy and have an abundance of spare time, but this is by no means always the case. Savages do all that is necessary for life; anything extra is for excitement, a'sthetics, or religion; and even if there is abundance of time for these latter, it does not follow that there is an equivalent superfluity of energy. The Eskimo are a peculiarly lively people, and keenly appreciate any thing ludicrous. . Contrary to the Indian generally, they can enjoy a practical joke without thought of resenting such if personal. Such a condition, especially when there is an abundance of food, so that unoccupied time may be utilized for social enjoyment, is one which is apt to foster pursuits that lend gratification and pleasure to the sight and stimulate artistic tendencies. Shamanism prevails extensively and ceremonials are frequent; and apart from this there are numberless dividual instances where natives consult the shaman for success in ai nost every avocation, and also for the exorcism of demons from the body of the sick, and for u hunter's medicine," i. e., securing the help of a shaman that game may be directed in the way of the hunter. It is but reasonable to presume, therefore, that the superstitions and cult beliefs should, to a certain degree, manifest themselves in the art, as well as to be the means of developing a symbolism similar in degree to that found among other peoples living under similar conditions and surrounded by like environment. The possible introduction into western Alaska of articles of foreign art or workmanship may thus have had but little influence upon the native Eskimo in adopting new designs and patterns, with which he was unfamiliar and the signification of which he did not comprehend, but it may have suggested to him a simplification of approaching forms with which he may already have been familiar. MATERIALS EMPLOYED. IVORY. The material generally used by the Eskimo of Alaska is walrus ivory. This is both durable and sufficiently hard to retain indefinitely, with proper care, the most delicate etchings. Its white or cream tint forms a delicate background for any colored incisions, and in instances where from age or otherwise the material attains a yellow or orange tint, the black etching-like pictographs are really improved in appearance. 1 "Evolution in Art." London, 1895, pp. 7-9. 774 REPORT OF NATIONAL MUSEUM, 1895. The animal which furnishes this material is represented in Plate 11, the specimen technically known as Rosmarus obesus, Illiger, being most abundant in Bristol Bay. The walrus tusks are capable of softening and bending, according to J Captain Herendeeu, a gentleman of considerable experience in the region under discussion. The tusks are divided longitudinally, one tusk usually furnishing four rods, either by sawing or scraping and split ting. The process described below by Mr. Lucian M. Turner, as pur sued in former times and with primitive tools, is still practically the same, though accomplished with modern tools purchased at the traders' or obtained from whalers. During his protracted residence in southern Alaska, Mr. Turner studied carefully the customs of the Eskimo, and for special instruction in some of the arts the natives worked in his presence, thus affording every opportunity desired. In response to my inquiry regarding the primitive methods of pre paring the ivory drill bows, and their subsequent engraving with pictographs, the following communication was kindly sent to me by Mr. Turner.1 He says: The abundance of walrus ivory in the days prior to the advent of Americans (the Russians did not encourage the use of firearms by the natives and stringently pro hibited the sale of such weapons except in greatly favored instances) permitted the Innuit to secure the best character of ivory when wanted ; hence the selection of a tusk depended entirely upon the want or use to which it was to be applied. Later \ the best tusks were sold and the inferior qualities retained, as is well shown by the * comparison of the older and the more recent implements created from that material. The tusk selected was rudely scratched with a fragment of quartz, or other sili ceous stone, along the length of the tusk until the sharp edge would no longer deepen the groove; the other three sides were scratched or channeled until the pieces of tusk could be separated. Sometimes this was done by pressure of the hand, or effected by means of a knifeblade-shaped piece of wood, on which was struck a sharp blow, and so skillfully dealt as not to shatter or fracture the piece intended for use. The other side, or slabs, were removed in a similar manner. The piece intended for drill bow or other use was now scraped (rubbed) with a fragment of freshly broken basalt, in which the cavities formed additional cutting edges and aided in the collection of the bone dust. When this was explained to me, I suggested the use of water, but the native (Innuit) smiled and continued his work. I soon saw he knew better than I how to reduce the size of a strip of walrus ivory. This attrition of the surface was continued until the approximate size was reached. The holes or perforations in the ends were produced by means of stone drills after a depression had been made by an angular piece of stone, any stone capable of wearing away the ivory substance. A few grains of sand were put into the shallow cavity and the stone drill started by means of another drill or by a string or thong similar to the manner in making fire. Various sizes of stone drills were made, and by their use the different holes were produced. It is unusual to find two perforations of the same diameter in any object. These stone drills were used in making the long holes in ivory objects of all kinds. The final smoothing of the surface of the ivory piece was effected by rubbing it against a fine-grained stone or in the hand where fine sand was held; lastly, two pieces of ivory were rubbed against each other and thus a polished surface produced. Letter dated December 20, 1894. Report of U. S. National Museum, 1895. — Hoffman. PLATE 1 1 . GRAPHIC ART OF THE ESKIMOS. 775 The etching was done with sharp edges of fragments of fliiit. Sometimes these stone fragments were skillfully fastened into a piece of wood and used as gravers or oven as lancets. In later years files and saws were used to cut the ivory into the required shape, and pieces of steel were used to make the holes. Often a three- cornered file was the instrument used to make the holes. The drill bow or other implement or utensil was not produced in a day or even in a month, as these articles were usually created for personal use. I have known of such articles heing taken along while on a protracted hunting expedition and there worked upon to while away the oftentimes tedious hours of watching game. Again I have known when a native had requested a friend to etch some design, and in their festivals, commemorating their dead, these articles were often presented and highly cherished as gifts. Other articles of ivory often passed as a legacy from a relative to another, and highly valued by the owner. With respect to the walrus ivory and antler, both of which are employed by the engraver for the portrayal of various figures, Mr. Turner writes : l You will observe many of the larger objects of ivory and antler have outer or engraved portions of herder substance than the inner or core portion. You will per ceive that in bent or curved aifairs the outer part is always the denser portion of the material. This or these substances warp or curve because of their unequal density of parts. The native saw that heat would unshape a straight piece of ivory or antler, and, taking advantage of what the sun did, he laid aside the piece where it would become moist, and then placed it before the lire, core next to the lire, and warping was the result. In the winter the heat of the sun was not sufficient to produce harm, but when the warm rays began to heat objects, the native was careful to put his ivory or bone implements of the chase in the shade of a house or on the side of his cache, or within a place where heat could not affect it. I never saw them dip any such object in hot water or try to bend it by force. The absence of graphic art among the Eskimo of Greenland, Labra dor, and the region between Hudson Bay and the Mackenzie River, can not entirely be attributed to the lack of horn, bone, and walrus ivory, as one or more of these materials appear abundant in certain localities. By graphic art as here named is not intended the ordinary ornamentation by means of lines, dots, etc., nor the sketches on paper referred to by Doctor Rink, but the etchings upon .the several materials by means of gravers, to portray graphically records of hunting expe ditions, shamauistic ceremonies, and other subjects of which numerous examples are here given passim. The great supply of ivory in Alaska comes from near Port Muller, in Bristol Bay, and the more northern coast and islands. Mr. Dall, who is authority for this statement, adds, furthermore, "that the amount of walrus ivory taken annually will average 100,000 pounds."2 Some of the utensils in the National Museum are made of fossil ivory; and of this to Mr. Dall remarks, "that it is not uncommon in many parts of the valleys of the Yukon and Kuskoquim. It is usually found on the surface, not buried as in Siberia, and all that I have seen has been so much injured by the weather that it was of little commercial 1 Letter dated March 18, 1896. * "Alaska and its Resources." Boston, 1870, p. 504. 776 REPORT OF NATIONAL MUSEUM, 1895. value. It is usually blackened, split, and so fragile as to break readily in pieces. It has also been found on the shores of Kotzebue Sound and the Arctic coast." l Captain William Edward Parry,2 during his second voyage for the discovery of a northwest passage, found the walrus in tolerable abun dance in latitude 68° 22' '21" north, and longitude (by chronometer) 81° 56' 55" west, which places the locality on the east coast of Mel ville Peninsula. He remarks: In the course of this day the walruses became more and more numerous every hour, lying in large herds upon the loose pieces of drift ice; and it having fallen calm at 1 p. m., we dispatched our boats to endeavor to kill some for the sake of the oil which they afford. On approaching the ice, our people found them huddled close to, and even lying upon, one another, in separate droves of from twelve to thirty, the whole number near the boats being perhaps about two hundred. Most of them waited quietly to be fired at, and even after one or two discharges did not seem to be greatly disturbed, but allowed the people to land on the ice near them, and, when approached, showed an evident disposition to give battle. After they had got into the water, three were struck with harpoons and killed from the boats. When first wounded, they became quite furious, and one which had been struck from Captain Lyon's boat made a resolute attack upon her and injured several of the planks with its enormous tusks. The author above cited mentions, furthermore, the occurrence of reindeer and musk ox, both species of animals furnished with horns that might readily furnish excellent materials upon which to inscribe pictorial representations of exploits or events. Great abundance of the former are killed in the summer time, " partly by driving them from islands or narrow necks of land into the sea, and then spearing them from their canoes, and partly by shooting them from behind heaps of stones raised for the purpose of watching them, and imitating their peculiar bellow or grunt. Among the various artifices which they employ for this purpose, one of the most ingenious consists in two men walking directly from the deer they wish to kill, when the animal almost always follows them. As soon as they arrive at a large stone, one of the men hides behind it with his bow, while the other, continuing to walk on, soon leads the deer within range of his companion's arrows. They are also very careful to keep to leeward of the deer, and will scarcely go out after them at all when the weather is calm."3 HORN. Quite a number of specimens of Eskimo workmanship, upon which both simple forms of ornamentation and pictographic records occur, consist of pieces of reindeer horn, obtained from the Barren-ground caribou or reindeer, shaped into the form desired for the purpose. In plate 12 is reproduced a museum group of Woodland caribou (Rangifer 1 "Alaska and its Resources." Boston, 1870, p. 479. 2 The Journal of a second voyage for the discovery of a northwest passage from the Atlantic to the Pacific. London, 1824, p. 220. 'Idem, pp. 420, 421. Report of U. S. National Museum, 1 895,— Hoffman. PLATE 12. Report of U. S. National Museum, 1895. — Hoffman. PLATE 13. ,'. WEAVING UTENSILS OF HORN. Report of U. S. National Museum, 1895. — Hoffman. PLATE 14. , ' , HUNTING RECORDS OF HORN. EXPLANATION OF PLATE 14. Fig. 1. PlCTOGRAPH ON BOXE. (Cat. No. 33315, U. S. N. M. Norton Sound. Collected by E. W. Nelson.) Fig. 2. RECORD ON BONE. (Cat. No. 129277, F. S. N. M. St. Michaels. Collected by L. M. Turner.) Fig. 3. KANTAG OK BUCKET HANDLE OF HORN. (Cat. No. 37742, TT. S. N. M. Northern part of Norton Sound. Collected by E. W. Nelson.) Figs. 4-7. KANTAG HANDLES OF ANTLER. Cat, Noa. 33311, 33309, 33312, and 33310, respectively, U. S. N. M. Norton Sound. Collected by E. W. Nelson.) Report of U. S National Museum, 1 895.— Hoffman. PLATE 15. EXPLANATION OF PLATE 15. 3 4 Fig. 1. DECORATED KNIFE HANDLE. (Cat. No. 45488, U'. S. N. M. St. Michaels. Collected by E. W. Nelson.) Fig. 2. KNIFE WITH IRON BLADE. (Cat. No. 48536. Kotzebue Sound. Collected by E. W. Nelson.) Fig. 3. BONE KNIFE. ( Cat. No. 33026, IT. S. N. M. Norton Sound. Collected by E. W. Nelson. ) Fig. 4. IVORY KNIFE. (Cat. No. 36576, U. S. N. M. Cbalitmut. Collected by E. W. Nelson.) Report of U. S. National Museum, 1 895.— Hoffman. PLATE 16. ; ' ' ' ;' ; DANCING MASK OF WOOD. EXPLANATION OF PLATE 16. DECORATED DANCING MASK. Used by shamans in ceremonials. It is made of wood, painted white, and ornamented with pictures ot masks, and with feathers. (Cat. No. 64258, U. S. N. M. KuskuKwim. Collected by E. W. Nelson.) GRAPHIC ART OF THE ESKIMOS. 777 tarandus caribou Kerr), a variety found farther south than the Barren- ground variety, which is believed to be the one best known to the Alaskan Eskimo. Several utensils employed in net weaving are shown in plate 13, figs. 1, 2, 3, and several short, stout slabs of horn, neatly ornamented with animals and short records of hunting exploits, are represented in plate 14, figs. 2-7. No specimens of horn of either the mountain sheep or the mountain goat, both of which are employed by various other and more southern coast tribes, have as yet been found in the collection of either the National Museum, or that of the Alaska Commercial Company, in San Francisco, California. BONE. Another article very often met with, inscribed with various kinds of ornamentation and pictorial work, consists of bone, both the larger bones of the legs and ribs of reindeer, and the humerus of the swan, the latter serving as tubes for needle cases or snuff tubes. Specimens are shown farther on. A small piece of bone, rudely incised, is shown herewith in plate 14, fig. 1. Some ornamented bone knives will be referred to under the special class of subjects to which the records pertain. Such weapons are employed in skinning and sometimes in cutting up animals, and native portrayals of such avocations are also reproduced in several illustra tions. The handles, and sometimes the blades of such knives, some with steel blades used in working and fashioning the ivory rods and bag handles, are decorated as in plate 15, fig. 1. WOOD. Wood is sometimes used for various articles, such as boxes for tobacco, small utensils and tools, and women's trinkets. These are frequently incised, but the ornamentation is limited to simple figures composed of straight lines, and perhaps dots. In the country of theMagemuts — who inhabited the vicinity of Cape Eomauzoff and reach nearly to the mouth of the Yukon Eiver — wood is reported as very scarce, and is an article of trade.1 Wood is sometimes used for ornaments, masks, and toys, the surface of which may be whitened, and upon this other designs are portrayed. Such an instance is shown in plate 16, consisting of a dancing mask. The Greenland map, before mentioned, may also be noted in this con nection. The only other examples in the collections of the National Museum are from Point Barrow, and may here be reproduced, together with the descriptions given by Mr. Murdoch: This consists of a toy obtained in Point Barrow and deposited in the 1 "Alaska and its Resources." Boston, 1880, p. 407. 778 REPORT OF NATIONAL MUSEUM, 1895. National Museum. It is a child's toy, resembling what American boys would call a abuzz" toy, and which would by them be made of the round tin top of a shoeblack ing box. The specimen herewith reproduced in tig. 1 is of pine \vood, rather Fig. 1. WOODEN "BUZZ " TOY. POINT BARROW. oblong in shape, and through the two perforations in the middle are passed the ends of a sinew cord. The specimen is about 3.5 inches in length. One end has a border of black on both faces, while the other has a similar border of red. The middle square, 1 inch across7 is Fig. 2. WOODEN MASK AND DA>CING GORGET. also in red, and from the corners are lines extending out to the respec tive corners of the tablet. The compartments thus formed are orna mented with figures of various objects. On the left end face of the illustration a is a goose j the next at the top is a man with one hand GRAPHIC ART OF THE ESKIMOS. 779 elevated and the other apparently so curved as to pretend to touch himself, indicating that he is contemplating something or has performed some deed; the third space contains the conventional figure of a whale's tail to indicate that animal, and in the remaining space, at the bottom, is a whale with what appears to denote a float attached to a harpoon line. The other side of the tablet, that bearing the cord, has in the left- hand space an animal probably intended to denote a wolf; the upper panel has within it a deer, the horns being turned back, whereas to. denote the reindeer they would be turned forward; the next, like the first, appears to be a wolf, while the fourth has two animals seated upon their haunches, facing one another, after the manner of dogs, although they appear to closely resemble the first and third, which are believed to denote wolves, as before stated. Fig. 3. DANCING GOROET OF WOOD; FROM POINT BARROW. An old and weatherworn mask from Point Barrow is shown in fig. 2. It is made of spruce wood, and measures 7£ inches in length. It is peculiar in having the outer corners of the eyes somewhat depressed, and in addition to the mustache and imperial has a broad "whaleman's mask " drawn with black lead across the eyes. Mr. Murdoch1 says of the specimen that "this mask has been for a long time fastened to an ornamented wooden gorget, and appeared to have been exposed to the weather, perhaps at a cemetery. The string is made of unusually stout sinew braid." A decorated gorget is shown in fig. 3. It is from Point Barrow, and Mr. Murdoch2 describes it thus: It is made of spruce, is 18.5 inches long, and has two beckets of stout sinew braid, one to go round the neck and the other round the body under the wearer's arms. 1 Ninth Annual Report of the Bureau of Ethnolgy for 1887-88, 1892, pp. 367, 368, iig. 367. *Idem,p 370,fig.372a. . 780 REPORT OF NATIONAL MUSEUM, 1895. The figures are all painted ou the front face. In the middle is a man painted with red ocher; all the rest of the figures are black and probably painted with soot. The man with his arms outstretched stands on a large whale, represented as spouting. He holds a small whale in each hand. At his right is a small cross-shaped object which perhaps represents a bird, then a man facing toward the left and darting a harpoon with both hands, and a bear facing to the left. On the left of the red man are two umiaks with five men in each, a whale nearly effaced, and three of the crow- shaped objects already mentioned. Below them also, freshly drawn with a hard, blunt lead pencil or the point of a bullet, are a whale, an umiak, and a three-cornered object the nature of which I can not make out. A similar gorget, from the same place, is shown in fig. 4, and appears to have been long exposed to the weather, perhaps at a cemetery, as the figures are all effaced except in the middle, where it was probably " covered by a mask as in fig. 2, which was from the same village." DANCING GORGET OF WOOD; FROM POINT BARROW. Mr. Murdoch says of this that "there seems to have been a red bor der on the serrated edge. In tlfe middle is the same red man as before standing on the black whale and holding a whale in each hand. At his right is a black umiak with five men in it, and at his left a partially effaced figure which is perhaps another boat." The strings are for securing the gorget to the dancer's neck and body. Mr. Murdoch1 remarks of the human figure holding the whales: "This man or giant, able to hold out a whale, appears to be a legend ary character, as we have his image carved in ivory. We unfortu- Niuth Annual Report of the Bureau of Ethnology for 1887-88, 1892, p. 371. GRAPHIC ART OF THE ESKIMOS. 781 uately did not succeed in learning anything more about him, except that his name (apparently) was 'Kikamigo.'" a These gorgets appear to have gone out of fashion," continues the above-named author, " as we saw none which were not very old, or which appeared to have been used recently.71* ! METALS. Copper, brass, and white metal (consisting of block tin, lead, etc.), as well as an occasional specimen of iron, will be met with bearing rude designs in ornamentation. Very little is done also in silver, especially in the manufacture of bracelets, an art which was imported from the Thlinkit, who, in turn, obtained their first suggestions and patterns from the Haida Indians. Mr. Murdoch reports the practice of engrav ing iron-pipe picks and flint steels at Point Barrow. SKINS OF ANIMALS. Tanned hides of walrus are sometimes used for purposes where a touch here or there of ornamentation seems to be desired by the native Eskimo. Reindeer skin and the small peltries used for articles of clothing are sometimes decorated with designs in color by means of small wooden tools resembling spoons, of which the back of the bowl is cut into pat terns, which are then moistened with the pigments or stains, and finally impressed upon the skin or fabric. This process is very like that practiced by the South Sea Islanders in decorating some forms of tapa cloth. TATTOOING. The human skin is also used for the portrayal of various designs, the practice of tattooing varying among the several tribes or bands^of Eskimo between Alaska and Greenland. Plate 4 represents a Port Clarence girl with typical tattooing upon the chin. In the female the designs are usually limited to such vertical bars upon the chin. On Plate 22, fig. 7, is also shown tattooing by pictography upon a carved face. Referring to the Eskimo of Melville Peninsula, Captain Parry2 remarks: Among their personal ornaments must also be reckoned that mode of marking the body called tattooing, which, of the customs not essential to the comfort or happi ness of mankind, is perhaps the most extensively practiced throughout the world. Among these people it seems to be an ornament of indispensable importance to the women, not one of them being without it. The operation is performed about the age of ten or sometimes earlier and has nothing to do with marriage, except that, being considered in the light of a personal charm, it may serve to recommend them as wives. The parts of the body thus marked are their faces, arms, hands, thighs, and in some few women the breasts, but never the feet, as in Greenland. 1 Ninth Annual Report of the Bureau of Ethnology for 1887-88, 1892, p. 372. 2 The journal of a second voyage for the discovery of a northwest passage from the Atlantic to the Pacific. London, 1824. 782 REPORT OF NATIONAL MUSEUM, 1895. The operation is very expeditiously managed by passing a needle and thread, the latter covered with lamp black and oil, under the epidermis, according to a pattern previously marked out upon the skin. Several sketches being thus taken at once, the thumb is pressed upon the part, while the thread is drawn through, by which means the coloring matter is retained and a permanent dye of a blue tinge imparted to the skin. In the absence of needles, says the author, a strip of whalebone is used as a substitute. It is furthermore stated that the patterns " are nearly the same in all," and that " a little of this kind of mark is on the back part of their hands; and with them we understood it to be con sidered as a souvenir of some distant or deceased person who had performed it." Marks of distinction by tattooing are employed by the men to denote success in whaling. " Those men who are or have been captains of whaling umiaks that have taken whales have marks tattooed some where on their person, sometimes forming a definite tally."1 Mr. Murdoch refers to an example in the person of a native named Aiiom, who had a broad band tattooed across each cheek, extending from the corner of the mouth backward toward the lobe of the ear. These bands were made up of many indistinct lines, which were said to indicate " many whales." Another instance was that of a native who "had the ' flukes7 of seven whales in a line across the chest." The wife of the former " had a little mark tattooed on each corner of her mouth, which she said were ' whale marks,' indicating that she was the wife of a successful whaleman."1 McClure notes that at Cape Bathurst he observed that a successful harpooner had a blue line drawn across the bridge of the nose,2 and, according to Armstrong, he has a line tattooed from the inner angle of the eye across the cheek, a new one being added for every whale he strikes.3 Father Petitot remarks that in this region whales are "scored" by "tattooing crosses on the shoulder, and that a murderer is marked across the nose with a couple of horizontal lines."4 It is interesting, says Murdoch, that one of the "striped" men at Nuwilk told us he had killed a man. In east Greenland tattooing is similarly performed. Holm, remarking, in reference to the residents at Angma- gralik, that "Mrendene ere kun undtagelsvis tatoverede og da kun med enkelte mindre Streger paa Arme og Haandled. for at Kunue harpunere godt." 5 INSTRUMENTS AND COLORS. Various instruments are employed by the Eskimo in preparing for the reception of pictographs the several substances used for that purpose. The pigments are now chiefly obtained from the trader, 1 Ninth Annual Report of the Bureau of Ethnology, 1887-88, 1892. p. 139. - Discovery of Northwest Passage, p. 93. :J Personal Narrative, p. 176. 4 Monographic, etc., p. xxv. 6 Geogr. Tidskrift VIII, p. 88. GRAPHIC ART OF THE ESKIMOS. 783 though in former times they were prepared from mineral and vegetable substances. Plate 17 represents two saws used in cutting ivory. The specimen shown in iig. 1 is from Port Clarence, and appears to be made of a piece of a steel saw of American manufacture, but from the appearance of the specimen the teeth were iiled into it by the native. It is hafted to a piece of ivory and secured by means of a i>iece of metal, apparently a nail. Plate 17, fig. 2, represents a saw of a thinner piece of metal with a very irregularly filed cutting edge. It is attached to a piece of ivory, and was obtained at Anderson River. This instrument was used in splitting walrus tusks lengthwise, as well as cutting them into shorter pieces when necessary. In the bone or ivory comb represented in Plate 22, fig. 4, may be seen the effects of native sawing and an attempt to make teeth. Several forms of knives before referred to are illustrated in plate 15. The upper left-hand figure (fig. 1) is a Avood- working knife, obtained at St. Michaels, and sent to the Museum by Mr. E. W. Nelson. The handle is made of a rib, a slot in the forAvard end being made there to receive the laterally curved blade, and in this respect resembling to a limited degree the type used by most of the Indians of the Great Lakes. The blade is secured by means of a thong. Upon the back or obverse side of the handle is a depression one-eighth of an inch deep and five-sixteenths of an inch in diameter, which shows ample evidence of having been used in holding a fire drill, or some other variety of drill. Upon the front side of the handle appears the outlines of three sailing A^essels, immediately behind the right-hand figure being a pit surrounded by a circle Avith four radiating lines, beyond which are indications of an attempt to make other concentric circles. These knives are used in fashioning Avood into various forms, and also, sometimes, in shaving the roughened edges of ivory rods. The specimen at the upper right hand (fig. 2) is from Kotzebue Sound. The handle, like the preceding, is made of a rib, while the arrow-shaped piece of metal constituting the blade is secured by means of two riA7ets, one of iron and one of copper, while the anterior, a third one, has fallen out, leaving only the perforation. The cutting edge is slightly concave from point to base and may have been made so intentionally for the purpose of causing slight con vexity to the surface operated upon. This style of knife is also some times employed in shaving doAvii ivory rods to the desired form and thickness. The third specimen (fig. 3) was obtained at Norton Sound. This bone gouge or chisel represents the type of tool used for stripping off birch bark for canoes before the iron tools were introduced. It is apparently made of the leg bone of a reindeer and bears ornamentation of peculiar interest. The transverse bars consist of parallel lines by twos, and 784 RKPORT OF NATIONAL MUSEUM, 1H<)5. several times by threes, between which is the alternating dentate pat tern, the result of the interlacing, or alternate approximation, ol'points, the intervening surface resulting in a tine /igzag pattern. The simple zigzag lines occur near the middle of the specimen, while the small lat eral ornaments resembling bird tracks are conventional tree patterns. The incisions are all stained with what appears to be red oclier. Total length is 12 j3,.- inches; has a sharp cutting edge and shows evi deuce of much use. The ivory snow knife (fig. 4) was collected by Mr. E. W. Xelson al the Clialitmut village, and occupies the bottom place on plate 1 ~>. The specimen is 14£ inches in length and 1|£ inches across the widest part of the tolerably sharp blade. The bottom of the handle is ornamented with seven projections representing seal heads, the eyes and mouth of each being clearly cut and blackened. Along the top or back of the blade are three parallel creases, crossed at intervals by short lines. The upper edge of each side of the blade has two parallel lines extend ing from the base to near the tip, from the lower one of which extend short << shaped ornaments resembling the legs on some of the Eskimo mythic animals. The line, extending almost halfway along the bottom edge of the blade, has single short lines projecting backward, at a slight angle, at intervals of about half an inch apart. This is a simpler form of ornament, though of the same type as that upon the upper side of the blade. Along the center, on either side, is a line terminating at the middle of the blade in a circle within which is another and a central perfora tion tilled with a hard wooden peg. The central line on each side has simple, short, oblique lateral incisions as ornaments, while the outer circle has lines radiating at the cardinal points. On plate IS are reproduced three bone skin dressers, figs. 1 and 3 being obtained from the Thlingit Indians, while fig. 2 was secured at Sitka, no specific tribe being referred to in the records accompanying the object. The ornamentation on plate 18, fig. 1 consists chiefly of three rows of small squares being arranged in order to resemble a checkered surface, the one series of squares being plain while the other is specified by cross lines. At the upper edge, embracing a little more than one-third of the surface, is a longitudinal surface marked by pairs of diagonal lines. The specimen on plate 18, fig. 2, has most of the surface of one side divided off' into three rectangles, all but one of the lines forming the boundaries, being decorated on the inner side by broken series of small triangles. This is a common Eskimo pattern, but has not the oppos ing fellow so as to form the zigzag. The pattern does not occur on other specimens of like workmanship from the Thlingit Indians, or from Sitka, excepting in the specimen on plate 40, fig. 3, in which two Report of U. S. National Museum, 1 895.— Hoffman. PLATE 17. SAWS FOR CUTTING IVORY. EXPLANATION OF PLATE 17. Fig. 1. SAW. Fi-2 1 2 P°rt Clarence' C°»«»ted by T. H. Bean.) (Cat. No. [JSU4J. Anderson River. Collected by C. P. Gaudet. EXPLANATION OF PLATE 18, 1 2 3 Fig. 1. SKIN DRESSER. (Cat, No. 168360, U. S. X. M. Thlingit Indians. Collected by Lieut. G. F. Emmons, U. S. X.) Fig. 2. SKIX DRESSER. (Cat. No. 74954, U. S. X. M. Sitka. Collected by John J. McLean.) Fig. 3. SKIN DHESSER. (Cat. Xo. 168358. Thlingit Indians. Collected by Lieut. G. F. Emmous, U. S. X.) Report of U. S. National Museum, 1 895.— Hoffmar PLATE 18. Report of U. S. National Museum, 1 895.— Hoffman. PLATE 19. VARIOUS FORMS OF GRAVERS. EXPLANATION OF PLATE 19. Fig. 1. GRAVER. (Cat. Xo. 48549, IT. S. N. M . Kotzebue Sound. Collected by E. W. Nelson.) Fig. 2. GRAVER. (Cat. Xo. 2307, V. S. X. M. Anderson River. Collected by II. McFarlane ) Fig. 3. GRAVER. (Cat. Xo. 2094, U. S. X. M. Anderson River. Collected by K. McFarlane.) Fig. 4. GRAVER. (Cat. Xo. 46080, I'. S. XT. M. Tort Clarence. Collected by \V. H. Dall.) Fig. 5. GRAVER. (Cat. Xo. 44591, V. S. X. M. Cape Xonie. Collected by E. AA". Xelson.) GRAPHIC ART OF THE ESKIMOS. 785 short rows of triangular figures appear near the middle, while at the left are three large triangular patterns placed so as to form a zigzag, or V-shaped, design, this being merely an enlarged illustration of the smaller patterns above noted. At the other end of this specimen is a group of isolated transverse lines; from the middle of the end is issuing a continuous horizontal line, 1J inches in length, terminating in a bifurcation exactly resembling the common Eskimo conventional tree pattern. In the middle space of the tool is a pair of parallel hori zontal lines, also terminating in similar bifurcations ; this, however, may be meaningless, though it resembles a doubletree symbol, or it might also be taken as denoting a seine shuttle, examples of which are given in several illustrations. Mr. L. M. Turner writes:1 Circles are made with a graver; formerly a sharp corner of flint set in a stick. * * * In later days a three-cornered file, one worn out, was substituted, and the manner in which I saw him — an expert ivory worker at St. Michaels — use it was simply pushing it from him, turning the ivory round as the circle was graved, a little deeper at each turn. The straight decorated lines were made as two deep channels at a suitable width apart; the serrations were made by pushing from the outer edge of the ridge toward the groove. These sculptures are not made in a day, week, or month ; many objects are not completed in years, as many of them are life histories of the indi vidual. The Innuit is never in a hurry, and each thinks he has a lifetime before him. The Kauiags or Kaniaks, the inhabitants of the island of Kadiak and surrounding islands, " are possessed of great skill in carving figures and other objects from walrus tusks, the material being obtained from the Alaska Peninsula." Mr. Ivan Petroff,2 whose words I am quoting, remarks furthermore : They also make very nicely carved snuifboxes of whalebone. Formerly all these objects were worked with stone implements, but the use of iron has long been known to the Kaniags, who used it at the arrival of the Russians. The savages said that iron was occasionally cast upon the beach by the waves [sic!]. Eeference has been made to the steel-pointed native-made gravers used in various processes of engraving. In plate 19 are represented five instruments, fig. 1 of which was obtained at Kotzebue Sound by Mr. E. W. Nelson. The handle, a little over 5 inches in length, is made of bone. A slight slot was cut at the large end, into which was inserted a short piece of iron or steel, secured by wrapping with thin cord, apparently of sinew. The point of the instrument is acute, and admirably adapted for etching or scraping. The second figure from the top (fig. 2) was secured at Anderson Eiver by Mr. K. McFarlane. The bone handle bears indentations, so as to admit of secure grasping. The point of steel is inserted in the end 'Letter dated March 18, 1896. '^Report on the population, industries, and resources of Alaska. Tenth Census, 1880, VIII, p. 141. NAT MUS 95 50 786 REPORT OF NATIONAL MUSEUM, 1895. and filed down to a narrower width than that hidden from view. The point measures -3% of an inch in height and is only about 7^ of an inch thick. The front edge is not at right angles to the sides, and thus furnishes a better and sharper cutting edge. The third or middle specimen (fig. 3) is from the same locality as the preceding. The handle consists of two pieces of bone, so arranged as to unite smoothly and also to hold in place a piece of steel, which has been sunk partly in each half of the handle by means of a slot made by sawing. The two pieces are finally tied together with a sinew cord. The apex of the graver is rather more acute than in the preceding specimen. The back of the tool is also ground to a cutting edge, to be used in scraping smooth such surfaces requiring treatment previous to engraving. An interesting specimen occupies the fourth place in the series (fig. 4). This is from Port Clarence, where it was obtained by Mr. W. H. Dall. The two pieces of bone composing the handle are secured to one another by means of a peg passing vertically through them, and two wooden pegs, of no special use apparently, are inserted in handle trans versely. Like in the preceding, a slot has been made with the front of each piece so as to secure the flat piece of metal constituting the blade. The point is neatly finished, and it will be observed has a very acute tip turned downward so as to afiford the best possible means for fine engraving in hard material. The two pieces of handle are tied together with a leather or skin thong. The entire length is 4J inches. The fifth and lower specimen (fig 5) is from Cape Nome, and was secured by Mr. E. W. Nelson. The handle is composed of two pieces of walrus ivory ; two pegs pass vertically through them to hold them together, while the broad blade is, as usual, inserted in slots made in both pieces of handle. The wrapping consists of sinew or hide, being so covered with a layer of hard grease and dirt as to prevent identifica tion. The front edge of the instrument is at an angle sufficient to furnish an excellent cutting edge. The entire length is 4-^ inches. In addition to the above remarks concerning the second specimen, it is of interest to call attention to the fact that upon the right-hand side of the handle there occurs a rounded cavity, made with a rude implement, which may have been intended for use in drilling — by steadying the drill at the top. Such depressions and for such purposes are not rare. Mr. L. M. Turner, Captain Herendeen, and others to whom reference is made elsewhere state that formerly the natives used fragments of flint or quartz with which to engrave and decorate specimens of ivory, bone, and other materials used for utensils and weapons. The small fragments of siliceous material were inserted in the end of wood or bone handles, though sometimes they were large enough to use without the aid of a handle. After a careftil examination of all the engraved specimens of Alaskan GRAPHIC ART OF THE ESKIMOS. 787 art work, in the collections of the National Museum at Washington, Dis trict of Columbia, and the Alaska Commercial Company in San Fran cisco, California, it appears that the more modern specimens of ivory are^ engraved in a manner indicating the use of steel-pointed instru ments, such as are shown in plate 19. The lines or incisions are fre quently very pronounced and represent deep regular channels in which the two sides converge to a sharp cut beneath or at the bottom, resem bling a V-shaped groove of elegant uniformity. In Jfche older specimens of Ivory carving, such as are very much surface worn by frequent and long continued handling, or have been in the possession of certain individuals and families for a long time, the creases have become less deep, and where they are sheltered by lateral ridges they still indicate an origin of a more primitive kind, being made, perhaps, by less expe rienced artists or with ruder instruments. The numerous hair-line scratches and frequent apparently accidental slips of the point would indicate the use of a point less acute than the modern steel gravers made by the natives at this day, and which are herewith illustrated. In some of the later engravings the grooves are regular, deep, and pronounced, the cnt being sometimes vertical, so as to show the lateral edges at right angles to the horizontal base of the groove, indicating a strong hand pressure of a square cutting edge. The greater number of lines are made, evidently, by using an angle of the graver, the result being similar to that resulting from the use of a variety of the three- sided or triangular graver used in wood engraving. ~An examination of the ends of short lines, especially those employed in simple ornamentation, illustrates at once that most of them are made by cutting from the outside toward the main object or body of the design. In this manner the very short lines resemble arrow-headed ornaments or projections, or minute triangles. This is particularly apparent in some of the specimens referred to in connection with conventionalizing and to the art of the Polynesians. Drills and simple borers appear to have been made by securing to wooden handles rather thin but elongated pieces of chalcedony, or similar siliceous minerals. Slight depressions or pits apparently made by such tools are frequent, and it is probable that before the introduction of metals nearly all perforations in bone, wood, and probably in ivory, were thus made. In larger cavities in bone and ivory, such as would serve for steadying the rear or upper end of a fire-drill during rotation of the latter, the origin thus attributed is often very clear, the rounded cavity, when not yet entirely smoothed off by use, retaining the marks of workmanship made by a crude tool or instrument. That circles were made by turning the specimen to be engraved and holding firmly the stone-pointed graver and pushing it toward the specimen has been affirmed by one correspondent; but such instances were no doubt rare, and it is believed that no example of a circle, nucleated or otherwise, made in this offhand manner will be found in the extensive collection of the National Museum. 788 REPORT OF NATIONAL MUSEUM, 1895. Captain Hereiideen states that sometimes a fragment of flint — though generally one of iron or steel and consisting of a narrow strip of perhaps the width of a large nail— was filed at the end so as to receive a V-shaped notch, one point being a little longer than the other. It is well known that pieces of hoop iron, nails, and other articles of iron and steel are similarly employed by our native Indian tribes, and it would indeed be a strange fact if the Eski mo did not seize upon and utilize such a valuable sub stance as metal when the opportunity was presented, and after having seen sailors and others work them into desired shape by hammering or filing. The nuclei of many — I might almost say nearly all — concentric circles are deeper than the circles surrounding them. This may be the result of having the longer point of such a V-shaped notched tool forced deeper into the material to be dec orated, giving the instrument a secure point for rotation, so that the outer or cutting end may not so readily slip from its intended course. In this manner, and for making concentric rings, one such tool would be necessary for each size of circle required. Eeference to the various illustrations will elucidate this more clearly. Accurate measurements of the diameters of circles upon any particular specimens indicate the use of a number of such in struments with different sized bits, and varying distances between the points. Another class of circles, with nuclei, appear to be made with auger bits, the central pin being filed to a sharp point, while the outer vertical cutting edge is also filed so as to cut toward the surface of the ivory, and to remove the tex ture upon which the auger is impressed. The grooves resulting from such work and with such an instrument are sharply defined, with lateral sides and a nearly level bottom, while the circles are mathematically accurate in form. An illustration of such work is reproduced in plate 19, the specimen being from a locality north of Norton Sound. The smaller and more delicate circles occur on earrings and other like objects of personal adornment, and upon such articles of frequent need as sewing utensils, examples of which are given in a number of illus trations. Fig. 5. DRILL FROM POINT BARROW. Fig. 6. DRILL FROM POINT BARROW. GRAPHIC ART OF THE ESKIMOS. 789 DRILL MOUTHPIECE WITHOUT WINGS. Upon the pipestems also are shown excellent results of suclLaborigi- nal work, the ivory stein shown in plate 20, bearing eight sets of circles, that one nearest the brass-bound mouthpiece consisting of but a single circle with its central pit or nucleus one-eighth of an inch deep, while the circle itself is but a mere hair line in comparison ; the next two figures consist of two circles each with the central spot, the next four having three circles each beside the central point, while the last, or eighth, has four concentric rings and the central nucleus. According to measurement, the inner or pri mary circle, in all, is three-sixteenths of an inch in diameter; the next larger one, begin ning with the second ring, is one-fourth of an inch in diameter; the next larger, being the outer circle on the fourth figure, measures three-eighths of an inch, while the outer cir cle of the last figure, having four rings, meas ures one-half of an inch in diameter. The central pit or nucleus in each of the circles, excepting two, is filled with a tightly fitting wooden peg, smoothed off level with the surrounding surface, and carefully black ened to accord in color with the surrounding blackened circles. This regularity in diameter of the several sizes of circles indicates the use of a bit, or tool, of foreign manufacture which the natives obtained probably through barter. The sizes increase by one-sixteenth of an inch each time a change is made corresponding exactly to the regulation sizes used by carpenters and other workers in wood. Drills are used for perforating all kinds of materials, wood, bone, ivory, and even metals, and are much more common than awls among the more northern natives. The handles are of wood and sometimes bone, the point being made of iron or steel, though before the introduction of metals flint and similar siliceous ma terials were employed in arm ing the tool. The illustration given in fig. 5 is a bone pointed drill from Point Barrow, while fig. 6 represents one with an iron drill mounted in a handle of spruce wood which was once painted with red ocher. When the natives use the drill and bow, both hands are necessarily occupied, one in steadying the object to be perforated while with the other the bow is held and moved horizontally to rotate the drill. Therefore, to produce the necessary pressure upon the top of the drill, the native puts into his mouth a drill mouthpiece in which the top of drill rotates. Fig. 7 represents a mouthpiece with an iron Fig. 8. DRILL MOUTHPIECE WITH SOCKET OF IRON. 790 REPORT OF NATIONAL MUSEUM, 1895. socket, while in fig. 8 is another also of wood, but holding a socket of syenite to withstand the friction of the drill. Some of the specimens in the collections of the National Museum are decorated with the usual deep incisions found in Point Barrow bag- handles and tinted with what appears to be red ocher. In several instances the wooden pegs inserted in the perforations made to represent eyes, ears, or nostrils, of small animal forms, are colored, and in other specimens, such as earrings, glass or porcelain beads are inserted instead. After the etchings have been made in the ivory or other material, the creases or incisions are colored so as to bring out the design in sharp contrast to the surrounding surface. Mr. Turner informs me that "the black substance used to color the etched lines was from the charcoal prepared from burned grass, then powdered, mixed with oil, and rubbed into the etching. Afterwards the begrimed hand of the owner was sufficient to renew the coloring mat ter. Some of the etchings are colored with a red substance which (an innovation in the art) is procured from the traders' stock." Mr. W. H. Ball remarks: The coloration of wooden articles with native pigments is of ancient origin, but all the more elaborate instances that have come to my knowledge bore marks of comparatively recent origin. The pigments used were blue carbonates of iron and copper ; the green fungus, or peziza, found in decayed birch and alder wood ; haema tite and red chalk ; white infusorial or chalky earth ; black charcoal, graphite, and micaceous ore of irons. A species of red was sometimes derived from pine bark or the cambium of ground willow. In later prehistoric burial places, the wooden earrings bear the colors nearly as bright as when first applied. PORTRAYAL OF NATURAL AND OTHER OBJECTS. In the following illustrations, which represent selected figures from various records, will be noted the several styles of illustrating like species of animals, and the fidelity of expression and outline of some specimens in further illustration of the intimate acquaintance by the aboriginal artist of the subject by which he attempted to portray his skill. Plate 12 serves to illustrate the form of the Barren-ground caribou or Alaskan reindeer, as well as the horns of the male and female, while in the representation of the form of the walrus similar accuracy is attained, as may be observed by comparing numerous etchings with the illustration on Plate 11, which represents an exceedingly well- formed walrus. In fig. 9 is presented a herd of reindeer shown in various attitudes, the general execution of the figures being very cleverly done. The heads of some are turned to the front, thus showing decided success in an attempt at foreshortening; some of the animals are lying down, as if resting, while others appear to be browsing. Report of U. S. National Museum, ' 895. — Hoffman. PLATE 20. § GRAPHIC ART OF THE ESKIMOS. 791 The animals composing the herd in fig. 10 are engraved so as to rep resent them in various attitudes. In No. 1 the animal appears to be coming up, as out of a depression, or water, while in No. 2 the animal is grazing. No. 3 is in the act of lying down, as shown in the bent legs. In No. 4 the animal is lying down, and the head is drawn so as to make it appear as if looking either toward or away from the beholder. 2, fig. 2. Plate 21, fig. 6, is also a4 drill bow from Kotzebue Sound, and is very yellow with age. The figures portrayed denote reindeer. The peculiarity of this record is the depth of the incisions forming the characters, indicating bold, strong work. The under surface of the bow also bears the outlines of reindeer (somewhat larger than those upon the opposite side), which are drawn with great fidelity to specific features, with the exception of the shape of the body. The peculiari ties of the horns are carefully noted by the artist, and the various attitudes are exceedingly natural. Plate 22, fig. 2, represents a drill bow also from Kotzebue Sound, measuring 14 inches in length along the convex surface. The record portrays thirteen reindeer and three animals which may belong to the same species, although because of their shorter necks and stouter bodies identification is uncertain. The herd seems to be moving for ward, some of them engaged in browsing, and some attempt appears to be made at perspective. The three short lines at the upper right- hand side of the bow immediately above and in front of the right-hand figures of the deer are the outlines of three otter. All of these EXPLANATION OF PLATE 21. Fig. 1. BAG HANDLE. (Cat. No. 48531, IT. S. N. M.) Fig. 2. DRILL Bow. (Cat. No. 48521, U. S. N. M.) Fig. 3. BAG HANDLE. (Cat. No. 48528, U. S. KM.) Fig. 4. BAG HANDLE. (Cat. No. 48529, U. S. N. M.) Fig. 5. DRILL Bow. (Cat. No. 48520, U. S. N. M.) Fig. 6. BAG HANDLE. (Cat, No. 48530, U. S. N. M.) All from Kotzebue Sound. Collected by E. W. Nelson. Report of U S National Museum, 1 895.— Hoffman. PLATE 21 EXPLANATION OF PLATE 22. Fig. 4. Fi«j. 5. BAG HANDLE. (Cat. X<>. 48531, F. S. X. M.) BAG HANDLE. (Cat. Xo. 48.128, TL S. X. M.) DRILL Bow. (Cat. Xo. 48r>25, F. S. X. M.) All froir. Kotzebue Sound. Collected by E. W. Xclson. BAG HANDLE. (Cat. Xo. 89424, TT. S. X. M. Poiut Barrow. Collected by Lieut. P. II. Ray, V. S. A.) DRILL Bow. (Cat. Xo. 48521, V. S. X. M. Kotzebue Sound. Collected by E. W. Xelson.) Report of U. S. National Museum, 1 895. — Hoffman. PLATE 22. Report of U. S. National Museum, 1895. — Hoffman. PLATE 23. UTENSILS OF BONE AND HORN. EXPLANATION OF PLATE 23 Fig. 1. REEL FOR SINEW FOR SMALL NETS. (Cat. No. 43523, U. S. I?. M. Cape Vancouver. Collected by E. W. Kelson.) Fig. 2. BONE SEINE SHUTTLE. (Cat. No. 44448, U. S. 1ST. M. Cape Nome. Collected by E. "W. Nelson.) Fig. 3. GRASS COMB OF BONE. (Cat. No. 48541, IT. S. N. M. Kotzebue Sound. Collected by E. W. Nelson.) Fig. 4. FISHING IMPLEMENT. (Cat. No. 38276, U. S. N. M. Lower Yukon. Collected by E. AV. Nelson.) Report of U. S. National Museum, 1 895.— Hoffman. PLATE 24. EXPLANATION OF PLATE 24 Fig. 1. DRILL Bow. (Cat. No. 44209, TJ. S. N. M. Cape Darby. Collected by E. W. Nelson.) Fig. 2. DRILL Bow. (Cat, No. 28021, U. S. N. M. Sledge Island.) Fig. 3. DRILL Bow. (Cat. No. 43931. IT. S. N. M. Nubuiakbebugaluk. Collected by E. W. Nelson.) Fig. 4. DRILL Bow. (Cat. No. 44466, U.S. N.M. Cape Nome. Collected by E. W. Nelson.) Fig. 5. BODKIN. (Cat. No. 33176, TJ. S. N. M. Norton Sound. Collected by E. \V. Nelson. ) Fig. 6. BODKIN. (Cat. No. 33177, IT. S. N. M. Norton Sound. Collected by E. W. Nelson.) Report of U. S National Museum, 1 895.- Hoffman. PLATE 25. BOXES OF BONE AND TUSK. EXPLANATION OF PLATE 25, Fig. 1. IVORY CASKET. (Cat. No. 24606. St. Michaels. Collected by L. M. Turner.) Fig. 2. SNUFF Box. (Cat. No. 33197, U. S. N. M. Norton Sound. Collected by E. W. Nelson.) Fig. 3. Box FOR FUNGUS ASH. (Cat. No. 48558, U. S. N. M. Kotzebue Sound. Collected by E. W. Nelson.) GRAPHIC ART OF THE ESKIMOS. 793 engravings are characteristic of the crude deeply incised lines of the work accomplished by the Indians of Kotzebue Sound and vicinity. Plate 23, fig. 2, is a bone seine shuttle from Cape Nome. This is ornamented with several almost indefinite lines at the left, probably representing seals, while the four conspicuous characters represent well-engraved outlines of the reindeer. The shading or marking upon the bodies of the animals is indicative of the markings of color upon the animal, and upon the two middle figures this marking is indicated by delicate vertical lines very artistically rendered. Plate 24, fig. 4, represents a triangular drill bow obtained at Cape Nome. The specimen measures 13J inches in length. The thirteen figures at the left represent walruses, two of them heading toward a kaiak occupied by a single hunter who appears to be chased by a walrus coming from the opposite direction, as if it had been pursued and probably angered by the five hunters shown in the umiak immedi ately to the right of it. The native in the stern end of this umiak has successfully harpooned a walrus, as is indicated by the delicate zigzag line connecting his hand with the harpoon which is securely embedded in the breast of the animal. Now, turning the bow upside down, there will be seen two walruses being towed along by an umiak occupied by five hunters. Immediately to the left of this umiak is another boat of similar construction which has just been pulled on shore, as the position of the boat indi cates, as well as the attitude of the six natives walk- ^. ing along toward the left, each with something in his FLYING BIRD. hands, which has evidently been taken from the boat, and which has been captured or secured on the hunt. The remaining six figures indicate habitations. Again reversing the bow to the origi nal position, opposite to the beached umiak is a walrus which has been captured by the hunters in the umiak proceeding toward the right and toward another walrus which is there shown. The remaining six fig ures indicate habitations and storehouses, while between the former are shown human figures in various attitudes as if occupied in different tasks. The under sides of the bow bear hunting records, numbers of which will be shown in other connections. On plate 25, fig. 3, is shown a box for fungus ash. This appears to be made of a piece of bone, is very crude, and bears about the middle a row of five figures, the larger one representing a whale, the next a reindeer, while the three smaller ones appear to be animals of the same species. Fig. 14 probably denotes one of the water birds, though why it fig ures on the ivory drill bow without any other characters, in context, it is impossible to say. The attempt at engraving a record may have been abandoned. The two characters shown in fig. 15, are without doubt deer, as no other species of the family is found in Alaska in which the tangs of the horns project from the posterior ridge of the main branch. In the 794 REPORT OF NATIONAL MUSEUM, 1895. elk, which is not found so far north, the tangs project from the ante rior ridge, while in the reindeer the horn is specifically bent forward at the middle, and the anterior prong, or "snow shovel," is also usually indicated. The accompanying il lustration of the rein Fie. 16. deer, fig. 16, is carefully drawn to Indicate the peculiarity of the curved horns. It is rather too short in the limbs in comparison to the size of the body, and although the work is tolerably good, comparison with other illustrations will be found to be of interest. Fig. 17 is a variant of the proceeding, and much better in both resemblance to the xbOiinj^AibXb) animal it is intended to represent as well as in an artistic point of view. The accompanying figures illustrate the various typical forms of the same animal as drawn by the natives of various parts of the west coast of Alaska. Fig. 18 repre sents some etchings from a specimen obtained in Point Barrow, though the style of en graving is not very much like that of those people. This appears to be one of the few groups in which the horns are so unusually high and in which each animal has but two legs, one at each end of the body. A specimen of the reindeer shown in fig. 19 is from a fragment of a bone obtained at Xor- ton Sound. Although the interior decora tion consists of cross lines, these are diago nal instead of at right angles, as before. A great difference in the art work is visible. Two interesting specimens are The character shown Fig. 19. REINDEER PURSUED BY WOLF. The reindeer is followed by a wolf. reproduced from specimen from Kotzebue Sound. in fig. 20 is heavy in outline, in having a stout body, over which the EXPLANATION OF PLATE 26 1 2 3 St. Michaels. Collected by L. M. Turner.) Fig. 1. SEAL DRAG. (Cat. Xo. 129227, U. S. X. M. Fig. 2. HANDLE FOR KANTAG. (Cat. No. 36375, U. S. X. M. Lower Yukon. Collected by E. W. Xelson.) Fig. 3. SEAL DRAG. Made to represent two seal heads, upon the throat being effigy of whale, partly detached. (Cat. Xo. 33663, U. S. X. M. St. Michaels Island. Collected by E. W. Xelson.) Report of U S. National Museum, 1 895.— Hoffman. PLATE 26. SEAL DRAGS AND BAG HAND'.;: GRAPHIC ART OF THE ESKIMOS. 795 Fig. 20. REINDEER, KOT/EBUE SOUND. Fig. 21. REINDEER, KOTZEBTJE SOUND. Fig. 22. REINDEER. the etching extends almost entirely, while in fig. 21 the body of a simi lar animal from the same locality has but a few cross lines. The horns are very well represented within outline and general curvature. An interesting pair of animals is shown in tig. 22, the foreshortening being admir ably drawn, while at the same time maintain ing the typical spe cific features which are visible in all other native drawings of the reindeer. -Try — : Li . ~ Plate 26, fig. 1, represents a seal drag " \\ */ " from St. Michaels. Upon the upper portion of the ivory utensil are neat outlines of wolves, made with considerable delica cy. The ornamental lines upon which they stand and those encircling the ends of the or nament are a sort of meander or crude zigzag, of which a description is given elsewhere in connection with decoration. Plate 14, fig. 1, represents a fragment of bone Fig. 23. from Norton Sound, upon which is a rude etching WOLP- of a reindeer approaching a wolf, the latter in an inverted position. At the right hand is a perforation, about which is a rude circle ornamented with four radiating lines. Beneath this circle are two par allel curved lines with inner radiating lines, resulting in a very crude meander pattern. The illustration of a wolf (fig. 23) shows the fangs in "? the partly open mouth, the stiff ears, and long bushy tail. *j^ The markings upon the body may be simply in imitation /\ of the etchings found upon most outline or solid figures, J \^ though they greatly suggest the brindled fur of Fig. 25. the Ganis occidentalis Dekay. HUMAN FORM. The porcupine is quite common in some of the southern portions of Alaska, and fig. 24 represents one of these animals, the spines of which are used in decora tive work. The engraving seems to have been made with a very sharp tool, as the outlines are groups of thin parallel hair lines. The selected character reproduced in fig. 25 is so unusual in general form, as found upon ivory or other engravings of the Eskimo, that its presentation here is of interest for purposes of comparison with the pictographs of other peoples, especially the petroglyphs of the western and southwestern, or Pacific Coast States, Fig. 24. PORCUPINE. Fig. 26. TWO MEN IN CLOSE EMBRACE. 796 REPORT OF NATIONAL MUSEUM, 1895. embracing the area chiefly occupied by tribes of the Shoshonian lin guistic family. Two figures shown in close embrace, as in fig. 20, may also denote combat, as well as the ceremonial of the shaman, in which the demon causing the illness is shown near the body of the sick person from which it is expelled. The group of figures of the human form (fig. 27) are selected from a number of engravings on ivory bows, chiefly from southern Alaska. No. 1 is a form frequently occurring in Kiate'xamut Eskimo picto- graphs on wood, as when drawn upon slabs of shingle or other smooth 12345 6 7 8 Fig. 27. VARIENTS OF THE HUMAN FORM. surface to place over the door of the habitation when the owner Leaves for any purpose. It is abbreviated, and the result of carelessness or perhaps incompetency of the recorder. No. 2 is another form of man in which only the lower extremities are indicated, while in No. 3 the arms are thrown out horizontally from the body to denote the gesture for negation, nothing. No. 4 is a headless body and does not always denote death, as is the practice among other pictographers, notably so the Ojibwa. No special information was received respecting the char acter, and it is probable that the head was obliterated by erosion, having originally been drawn. The specimen was copied from an ivory utensil in the collection of the Alaska Commercial Company in San Francisco, California, and was obtained from the Aiqalu'xamut Eskimo. H4^ Fig. 28. VARIOUS FORMS OF VESSELS. The character in No. 5 denotes a canoe, or kaiak, with two persons within it, while the two paddles project beneath. The right-hand upward stroke of the boat represents the bow of the vessel. Nos. 6 and 7, from Cape Nome, Alaska, are variants of the human form with arms loosely extended, and form in No. 8, having fringe suspended from the sleeves, probably a shaman, and very similar to the Ojibwa designation of the Thunder bird, one of the divinities of the western Algonkian tribes. The figure (No. 8) was copied from an ivory drill bow obtained at Port Clarence, Alaska, by Doctor T. H. Bean, formerly of the United States National Museum. Report of U. S. National Museum, 1 895.— Hoffman. PLATE 27. Report of U S. National Museum, 1895. — Hoffmar PLATE 28. GRAPHIC ART OF THE ESKIMOS. 797 Fig. 29. WHALING SHIPS NEAR A PINE-COVERED SHORE. The portrayal by the native artist of boats, both the kaiak and the umiak, is of such frequent occurrence in the Alaskan etchings and toy carvings that the photographic reproduction of native-made models may be deemed of special interest. Plate 27 represents a kaiak, while the illustration shown in plate 28 represents an umiak with raised sail. Comparisons with etchings are suggested, as numerous examples of the former occur in abundance, and will be referred to elsewhere and in another connection. Fig. 28 represents four vessels rigged up with sails, the one at the extreme left being manned by Americans or mixed bloods, distinguished by the presence of hats upon their heads. The hulls of the second, third, and right-hand figures are in imitation of the native made vessel of that size, which is adapted to the erection of masts and small sails. The artist has evidently intended to represent the different varieties used by him or his family. In fig. 29 are represented two vessels, under full sail, within reasonable distance from shore, as is indicated by the presence of two pines which loom up in the mid dle distance. No special motive appears to have prompted the delinea tion of the ships, excepting perhaps the record of an unusual event in the history of the locality where it is supposed to have occurred. The portrayal of a schooner (fig. 30) is perhaps only the result of "having nothing better to do," as loungers often whittle or engrave figures or outlines of such things that create passing in terest. It is probable too that some thing of greater interest may have been connected with the arrival of a vessel from civilization. This, however, could only be cleared up by the artist himself or the person for whom it may have been drawn. In like manner, the illustration shown in fig. 31 may have been engraved because of some event of consequence con nected therewith, or perhaps because of the peculiar ap pearance in the Alaska waters of a vessel with but one wheel, and that at the stern. Such vessels are common on inland waters of the United States, but their seldom occur rence so far north may have been deemed of sufficient importance of which to make a permanent record. Fig. 31. STERN-WHEEL STEAMBOAT. 798 REPORT OF NATIONAL MUSEUM, 1895. A crude or unfinished umiak with four occupants is shown in fig. 32. The bodies are not indicated; the heads, arms, and oars being incised. The umiak itself is well drawn, but with mast or rigging erected. Further reference to vessels, both as to pictographic variants and in relation to conveyance by this means, will be made farther on in con nection with conveyance and domestic avocations. REPRESENTATION BY SYNECDOCHE. The representation of part of an object to represent the whole, or vice versa, is not so common in the etchings of the Eskimo as in the picto- graphs of the Indians. In many instances in the ornamented ivory records, parts of animal or other forms are portrayed in this manner, and such abbreviated characters are subsequently utilized and arranged in such order so as to serve the purpose of simple ornamentation, the primary object or concept having but little if any further connection in its new position. Mr. L. M. Turner1 informs me that "the marginal engravures, resembling the tail of a whale, are intended to represent the number of white whales [Delpliinapterus catodon (Linna3us) Gill.] the owner (or maker) of the ivory article has personally killed or taken in a net. Fig. 33. ESKIMO HUNTER AND HERD OF REINDEER. There are, sometimes, partnership pursuits of these whales (as well as other creatures), and by mutual agreement the quarry falls to him who first struck, killed, or otherwise would have secured the whales." The spears which are portrayed upon some of the engravings of natives in kaiaks are placed so as to be upon a rest, similar to that shown in plate 29, in order that they may be quickly grasped for use. These rests are made of ivory, and in many instances are decorated. The specimen herewith reproduced is from Point Barrow, where it was obtained by Lieutenant P. H. Ray, U. S. A., and by him sent to the National Museum. The entire length of the specimen is SJ inches, the distance across the horns fleiug 4J inches, and across the base, just beneath the figures of the whales' tails, 2£ inches. The tails denote the owner to have been a whale hunter. The top of the horns is fashioned in imitation of a whale's head, the long-curved mouth being carefully indicated, while blue beads are inserted to indi cate the eyes. Upon the outer edge of each horn, corresponding to the back of the whale, is a cross, in the middle of which is a blue bead. The four loops of thong are for attachment to the boat. 1 Letter dated February 25, 1895. Report of U. S National Museum, 1 895. — Hoffman PLATE 29. SPEAR REST. POINT BARROW. GRAPHIC ART OF THE ESKIMOS. 799 Iii the illustration shown in figure 33, the idea of many and much is expressed in the same line of thought or conception as in gesture lan guage. The herd of animals, instead of being indicated by drawing the bodies of those in the foreground singly and complete, and only parts of those beyond being perceivable to the beholder, is represented, with one individual exception, by a single figure of a long body, the thirteen heads being subsequently placed at proper intervals above it, while a certain, though deficient, number of legs and feet are drawn beneath and extending to the ground. These are all drawn as if escap ing from the hunter. At the extreme end of the engraving is the representation of a hunter, armed with bow, and indications of arrows. Parts of the figure have become obliterated by frequent use of the ivory drill bow. The deer next to the hunter does not face in an opposite direction, as if escaping, but is drawn with the head lowered and directed toward him. The attitude has perhaps no special signification, further than that this deer was secured by being shot with an arrow, whereas the remainder of the herd which the hunter saw escaped. Compare also figure of herds in plate 65, fig. 4. Plate 21, fig. 3, represents the convex side of a drill bow, on the right half of which are thirty transverse figures representing that number of wolf pelts. To the right is one otter skin and the outlines of ten bearskins. As will be observed, these figures are deeply cut and rather conventionalized. The great amount of coloring matter and deep inci sions represent the bold, strong work, characteristic of the natives of Kotzebue Sound. The lateral edges are ornamented with parallel longitudinal lines. The regular order of the outline of pelts and hides is perhaps not only illustrative of the great number of animals killed, but the regularity and repetition of specific parts of the animal's body, and the concavity of the sides of the bears' skins, is a tendency toward conventionalizing. On the whole, the record is a good illustration of synecdoche. As there will be occasion to refer to another curious subject in pictog raphy — the transmission of special characters, or the utilization of native symbolic characters to serve as substitutes to replace imported or intrusive forms — it may not be amiss to refer in this connection to the interesting result noted in British coins, in which the native Britons copied the obverse and reverse engravings which they found upon the gold stater of Philip of Macedon. The coins were introduced into the country of the littoral tribes through traffic with the Gauls, while the latter obtained possession of them after Greece was plundered by Brennus, B. C. 279. The reverse of the typical stater bears a charioteer in a biga, th^ two horses in the attitude of running, while behind is the outline of a wheel, usually elliptical, as the space was not sufficiently large to permit a circle as large as the extreme length of the ellipse to be recorded. 800 REPORT OF NATIONAL MUSEUM, 1895. The Britons in adopting the design for their native coins, and being perhaps — I may suggest the word certainly — unacquainted with the form, or use, of the chariot, and the signification of other characters and figures found upon the Greek prototype, reproduced in their suc cessive issues and recoinings variations in these foreign characters, or replaced them by symbols with which they were acquainted and of which they comprehended the signification. In many of the British coins the horses are reduced to a single animal, though with legs sufficient for two, clearly representing the pair by synecdoche, exactly as our ^North American Indian does in his records of personal or tribal engagements with the enemy. Illustrations relating to this peculiarity on the coins named, together with the substitution of native and familiar characters and symbols for those of foreign and unknown types, will be presented farther on.1 DECORATION AND ORNAMENTATION. The importation into Alaska and the adoption by the natives of art designs which are foreign to their own does not appear at all impossible, and the subject is one which would seem to oft'er an interesting field for investigation with a reasonable hope of interesting developments. With respect to the probability of the transmission of such art work, Mr. Hadden,2 whom I have before quoted, remarks : As decorated objects must be conveyed by man, the means for their dispersal and the barriers which militate against it are the same as those which operate on human migrations; but there is one difference. Where men go we may assume that they carry their artistic efforts and proclivities with them, but decorated objects may be carried farther than the actual distance covered by the manufacturer, or even than the recognized middleman or trader. This brings us to a very important subject, and that is the question of trade routes. Trade routes are culture routes; and in order to appreciate the history of culture, it is necessary to know the directions in which it flowed. Until we have a more com plete knowledge of the ancient trade routes of Europe, we can not recover the history of the prehistoric Europe. This subject is now beginning to receive great attention in the Old World, and some highly interesting and valuable facts have been brought to light. In North America the study of prehistoric trade routes, or culture routes, has thus far received but a limited amount of careful attention; but some instances of curious results of intertribal traffic have been observed. Frequently designs of a specific character, such as may be termed peculiar to a special tribe, are carried to remote localities and there adopted by other tribes of an entirely different linguistic family, whereas the same design or pattern of the former may not produce the slightest apparent effect upon the recognized art designs or ornamenta- 'Special attention is called to the work of Doctor John Evans, D. C. L. The Coins of the Ancient Britons, London: 1864-1890. Plates A-N., and i-xxm, together with figures in text. Map. 2E volution in Art, p. 328. GRAPHIC ART OF THE ESKIMOS. 801 tion of an adjoining body of people of a like linguistic family and with whom there may be frequent social intercourse. This is accounted for iu the instances in mind because of the absence of like materials and resources quite necessary for a faithful imitation of the imported pat tern, the original being fully recognized as a cult symbol, and any alteration however slight would immediately provoke the anger of the gods. Therefore, a remote body of people whose cult beliefs are differ ent, and who would perhaps not recognize the sacred or mystic import of a symbol, might readily and without any hesitation adopt such pat tern as might suit one's fancy and subsequently alter it to conform to the shape of the material upon which it would be imposed by incision, impressed in color, or otherwise. The northwest coast of America, between Puget Sound and Kadiak, is an excellent illustration of a culture route, and the arts of the vari ous Selish tribes are traceable over a wide area. The peculiar designs of the Haida, both in sculpture and in tattooing, have been gradually car ried northward into the territory of the Tlilinkits, the Kadiak, and have been even recently adopted, to a limited extent, by the Aigalu'^amut and Kiate'xanmt Eskimo of southern Alaska. The original patterns of the Eskimo, such as the lines, dots, and herring-bone patterns, do not seem to prevail against the rounded and curved figures and designs of the Haida art. The origin of the latter is peculiar, and the alleged development, if not the introduction and adoption, of the elaborate system of tattooing since about the year 1833, certainly offers an interesting field for critical research.1 The Haida patterns, as has been intimated, are very different in both design and concept as compared with the artistic work of the Eskimo. Both are peculiar to the regions in which they flourish, and no resem blance whatever is apparent. The Haida designs originate chiefly in toternic, mythologic, and cult forms, which have, in many instances, become so highly conventionalized as to become difficult of identifica tion. The Eskimo art embraces chiefly an attempt at personal and family records of hunting exploits, with occasional ceremonials por trayed in little more than simple pictorial form, but there is present an exhibition of the progress of recording both gestures and signals, to aid in the explanation of the record, as well as frequent attempts at the record of subjective ideas, a system of pictography foreign to that of the Haida, amLjuiore nearly approaching the petroglyphs of various tribes belonging to the Shoshonian linguistic family, conspicuous among which are some of the pueblos of New Mexico and Arizona; and the sculptiirings found in Owens Valley', California, the authors of which are unknown but are believed to have been members of the same family, both because of the typical resemblance of many of the patterns and the geographic location of the sculptured bowlders. JSee remarks on "Aboriginal Art in California and Queen Charlotte's Island/' W. J. Hoft'iuan, in Proceedings Davenport Academy of Sciences, IV, 1885. NAT MUS 95 61 802 : BEPO'RT OF NATIONAL MUSEUM, 1895. Another trade route of importance in this connection is that afforded by the waters of the Yukon River. Eskimo patterns have been car ried up into the country of the Kenai Indians, a tribe usually designated in the northwest as the Tenanah, and of the same linguistic relation ship as the Apache, the Navajo, and among many others the Hupa Indians of California. These designs are made up of straight lines, dots, and nucleated circles, and occur upon strips of bone with perfora tions at one end, and used, it is presumed, as necklace ornaments. Similar ornaments are found also among the Thlinkit, of which illus trations are given on plate 9. In the National Museum is an interesting relic made of horn, used as a cylindrical box for dentalium shell money, upon which are incised and blackened lines so arranged between two parallel longitudinal lines that the original white surface of the specimen is a serrated figure and not the ordinary zigzag, plate 30. Although the resemblance of this to some of the zigzag and meander patterns of the Eskimo is very striking, no connection can be apparently traced between the two peo ples, even along the supposed course of migration of the Ilupa toward the coast at the time of the separations of the Apache or Athabascan tribes, vivid traditions of which still obtain among the Apaches, and linguistic evidence of which is complete. A well-known trade or culture route — in fact, one of the earliest to influence the crude arts of the Eskimo — was by way of the Diomedo Islands, when the natives came in contact with the Cossack outposts in eastern Siberia.1 The traffic which naturally resulted brought among the American natives various articles of liussian manufacture, among which, no doubt, were ikons and other Christian and ecclesiastical objects and prints, articles which are usually found to be highly decorated in both design and color. Such objects would most naturally tend to influence the simple art of a people who were naturally given to the ornamenta tion of various utensils and weapons, as also of articles of clothing. Through this channel were obtained, so Mr. Murdoch informs me, the Siberian pipes and seal nets, which, together with the native labret, have extended eastward of Point Barrow to Cape Bathurst, beyond which locality, it is believed, neither are found. This blank area between Cape Bathurst and the delta of the Mackenzie forms a barrier, or line of demarcation, beyond which the several bodies of Eskimo are artis tically distinct from one another. In other words, the three objects named as common to the Alaskan Eskimo are totally absent east of the locality indicated, as found by Mr. Murdoch during his residence at the Point. Mr. Haddon2 remarks that although decorated objects pass along 1 " There is good reason to believe that the Malayans, the Dutch of Asia, crossed the Pacific Ocean in the pursuit of commerce." Dwight. Travels in New England and New York. New Haven, 1821. I, p. 129. -Evolution in Art, p. 330. Report of U. S. National Museum, 1 895.— Hoffman. PLATE 30. BONE Box FOR SHELL MONEY. HUPA INDIANS. GRAPHIC ART OF THE ESKIMOS. 803 trade routes "and are distributed far and wide, it does not always nec essarily follow that tlie ornamentation itself is naturalized. It is pos sible that in many cases a certain style of decoration is associated with a particular kind of object, and it might not occur to people to transfer that decorative style to other objects, or at all events the process would doubtless be slow." An interesting example of bone dress ornaments, bearing simple decorations and common to both the eastern Eskimo and the Nascopi, as well as the no\v extinct Beothuk Indians of Newfoundland, was brought to my attention by Professor O. T. Mason, Curator of Ethnology in the National Museum. The specimens are reproduced in colored and plain sketches, and presented to the National Museum by Lady Blake, of the Government House, St. Johns, Newfoundland. The illustrations represent the primitive bone ornaments worn about the bottom of dresses prior to the use of metal substitutes, such as are now attainable from the whites. These ornaments are chiefly of a class which represent an inverted narrow letter V — thus, A — each about 2 or 2J inches in length and decorated with various angular designs. Some of them have marginal incised lines, within which and attached thereto are the base of triangular or serrated markings similar to some Eskimo patterns, shown in various illustrations. Upon the ends of some other small horn ornaments are similar rude zigzag patterns, as shown in other illustrations of Eskimo workman ship. The information is obtainable as to the conceptions which gave rise to the art patterns of the Beothuk. The simple zigzag may have resulted from an incised imitation of some notched ornaments made by Nascopi, ornaments such as the Beothuk were undoubtedly familiar with, as both varieties are shown upon the same plates of illustrations made by Lady Blake. By laying the Nascopi ornament upon the slab of horn used by the Beothuk, the incised serrations forming the border almost exactly fit to the zigzag or serrated ornamentation forming a border near the edge of the piece used by the latter. Several patterns occur in Eskimo decorations, however, which, while not exactly resembling patterns from other parts of the world, appear to have originated with them, and were suggested to them by original products or mechanical contrivances, as the Siberian kautag or wooden buckets, in nests of several sizes, and the peculiar fish trap or run placed in narrow channels of water, and perhaps the guides to the pit fall. To the latter class of ornamentation may be placed the " seal- tooth" pattern. These two different types of objects may have suggested the motive for the figure of concentric circles and the rude zigzag, respectively ; or the introduction from without the territory of the Eskimo of these designs — the former, for instance, through the influ ence of the Russians, and the other, perhaps, from the vicinity of 804 REPORT OF NATIONAL MUSEUM, 1895. Torres Straits and adjacent territory — may have been seized upon as suggesting the outlines or concepts perceived in the native products, the possible difference in artistic results being dependent upon the difference in material upon which the designs are portrayed and to the expertness or lack of skill of the Eskimo copyist or artist. Upon a careful examination of all available materials bearing pic torial records or only simple decorative designs, several interesting- facts appear. First. That the Eskimo east of Point Barrow, including those even of Labrador and Greenland, exhibit but little artistic expression, this being confined chiefly to lines, dots, and other similar rudimentary markings which are employed almost wholly for decorative purposes. This does not refer to various kinds of carvings and outlined flat fig ures in bone or ivory, which are intended to be stitched to clothing, a custom very much resembling a like practice which obtains in Finland. Neither does this refer to the custom of stamping designs upon cloth or buckskin, a practice apparently learned from the several Algonkian tribes with which some of the Hudson Bay and Labrador tribes of Eskimo come in contact. Second. That the Point Barrow natives are apparently but moder ately advanced in the art of recording tribal or individual events, cus toms, etc., and that most of their ivory utensils are not decorated; but that where attempts at beautifying are apparent, only those designs are adopted which suggest or require the least amount of manual exer tion and artistic ability, so that straight incisions, creases, or grooves are most numerous, while nucleated circles, and rarely also a few con centric rings, are incised, the latter apparently by means of the common carpenter's auger bit, properly filed at the cutting edge so as to pro duce a scratch instead of an incision, the latter being too delicate and tedious a process for success in removing the dense resisting particles of ivory. Third. That the engravings on ivory and bone from the northern portion of the west coast of Alaska, embracing the region about Kotze- bue Sound and northward, and including Diomede Islands and the opposing coast, as well as the area occupied by the Asiatic Eskimo, are more deeply and crudely cut, as indicated by the lines being broader and bolder than in the products from any other area. Fourth. That the general results in graphic portrayals are more artis tic among the natives of Bristol Bay and Norton Sound, and improve in delicacy of engraving toward the southward even to and including the Aleutian Islands; that the portrayal of animal forms is accom plished with such fidelity as to permit of specific identification; that the attempt at reproducing graphically common gesture signs becomes more frequent, and various instances of the successful portrayal of subjective ideas also occur. In his reference to the Agulmuts, whose location extends from near Report of U. S. National Museum, 1895.-Hoffman. PLATE 31. HANDLES BEARING PRIMARY FORMS OF DECORATIONS. EXPLANATION OF PLATE 31. 1 2 Fig. 1. BAG HANDLE. (Cat. Xo. 38752, U. S. X. M.) Fig. 2. BAG HANDLE. FISH-TRAP QR SEAL-TOOTH PATTERN. (Cat, Xo. 24412, F. S. X. M. Norton Sound. Collected by L. M. Turner.) Fig. 3. BAG HANDLE. PINE-TRKE PATTERN. (Cat. Xo. 24417, U. S. X. M. Norton Sound. Collected by L. M. Turner.) Fig. 4. BAG HANDLE. VARIANT OF FIG. 2. (Cat, Xo. 38776, U. S. X. M. Xortli of Xorton Sound. Collected by E. W. Xelson.) Fig. 5. BODKIN. PARALLEL Rows OF SEAL-TOOTH PATTERN, (Cat, Xo. [ !]. Xorton Sound. Collected by E. W. Xelson.) Report of U. S. National Museum, 1895. — Hoffmaa PLATE 32. EXPLANATION OF PLATE 32. 1 2 3 I 4 5 I) 7 Fig. 1. IVORY EAR PENDANTS; MADE OF BELUGA TEETH. (Cat. No. 33491, U. S. N. M. St. Michaels. Collected by E. W. Nelson.) Fig. 2. BUCKLE; GIRLS' HAIR ORNAMENT. (Cat. No. 37007, U. S. N. M. Agaiyukchugumnt. Collected by E. W. Nelson.) F 3. EAR PENDANTS; REPRESENTING SEAL HEADS. (Cat. No. 38052, U. 8. N. M. Spngtiuuguumt. Collected by E. W. Nelson.) Fig. 4. COMB. (Cat. No. 48174, U. S. N. M. Cape Prince of Wales. Collected by E. W. Nelson.) Fig. 5. UTEXSIL OF IVORY. THLINGIT INDIANS (?). Fig. 6. IVORY ORNAMENT CARVED TO REPRESENT FACE OF A SEAL. (Cat. No. 37763, U. S. N. M. Kongiqimognmut. Collected by E. W. Nelson.) Fig. 7. CARVED HANDLE, SHOWING HUMAN FACES WITH TATTOOING. (Cat. No. 37319, U. S. N. M. Cualituiut. Collected by E. W. Nelson.) Report of U. S. National Museum, 1895, — Hoffman. PLATE 33. : WOODEN TABLET. PAPUAN ORNAMENTATION. GRAPHIC ART OF THE ESKIMOS. 805 Cape Avinoif nearly to Cape Komanzoff, Mr. Ball1 remarks that they have been reported as remarkable for the beauty of their workman ship in ivory. "A kantag or wooden dish," he continues, "which was obtained at Nunivak by Captain Smith, was neatly carved and inlaid with lozenges of white stone resembling gypsum. They were labrets of the same material. Their food was principally fish and seal, and they appeared to be very destitute of iron and other articles intro duced by traders. Their ivory weapons were of great beauty, and some specimens of hollow carving would tax the resources of the most skillful civilized workman to equal." In addition to the above named facts there occur other peculiar pat terns, two of which are of interest; they are respectively the figures of concentric circles, and a Papuan-like zigzag design, to which reference has already been made. The former is frequently a nucleated circle, frequently regularly incised series of circles one beyond the other, and occasional instances in which delicate radiating lines are attached to the Outer ring. The other pattern is like, and yet unlike, that found in Papuan decorations, in which is a rude wavy or meander zigzag, or even more sharply defined iuterdigital lines, or perhaps even triangular projec tions so as to form true serrations, resulting in what is sometimes termed a tooth pattern. This particular form of Papuan art is usually drawn between or within parallel lines, and extends transversely across the specimen decorated. The Eskimo resemblances, if they may be so termed, are represented on plate 31, figs. 2, 4, and 5. Plate 32, fig. 4, represents an Eskimo comb, the curves upon which form an interesting example for comparison with the Papuan designs upon a tablet of wood, referred to and illustrated by Mr. Stolpe, of Stockholm.2 Plate 33. Similar parallel lines carrying between them the same style of a rude zigzag, but in relief, because the alternate triangular spaces have been removed by cutting, occur upon various other specimens repre sented in various plates and illustrations. The short transverse bars in this type of pattern represent in some instances, according to an Alaskan informant and pictographer, Vladimir Kaomoff, conventionalized fish traps, such as are placed in narrow channels of water for catching the migrating salmon. A sym metrical trap of such construction is shown on the faces of a pipe in plate GO. The transverse lines or bars are complete in this illustra tion, however, yet the decorative or evolved figure is easily traceable to the original. A simpler form of the same pattern appears in the decoration on fig. 4 in plate 31, where the alternate short lines project inward toward the opposing space between the short lines. '-'Alaska and its Resources," Boston, 1870, p. 406. 2 Stolpe, Utveklingsforeteelser i nuturfolkens ornainentik, Yiuer, Stockholm, 1890, 4°, pp. 193-225; 1891, pp. 197-229, figs. 806 REPORT OF NATIONAL MUSEUM, 1895. The native drawings of the so-called fish trap or seal tooth pattern also resemble the approaches to the game trap or inclosure, both these contrivances being represented by horizontal or oblique or per haps even only parallel lines, leading to a trap or inclosure, along which lines are short etchings or bars to denote the posts or divisions to sustain the brush of the game drive or the wickerwork partitions of the fish trap. These short lateral lines simulate the drawings made to denote the separations or spaces between teeth like those of the seal, of which examples are given in fig. 00, and, as was suggested by a native Eskimo, the open mouth of the hunting seal was like the open fish trap and game drive, ready to take in such prey as came within reach. The conception of the design may be found in the trap, as suggested by jSTaomoff, or in the " seal's mouth,77 as suggested by Nomiksener, a Kaviagmut Eskimo from Port Clarence, whose por trait is shown in plate 2. These drawings in ivory are usually placed between horizontal or parallel lines, interesting because they resemble the chief character istics of Celtic art, of which there is no relationship directly except as showing the like workings of man's mind under like conditions. "The Japanese, for instance,'7 says a writer in Archreologia Cambreusis,1 "ignore the margin altogether and make their decoration entirely independent of it, but in Celtic art the patterns are all designed to suit the shape of the margin.77 This is true of much of the Alaskan art. The early contact by the Alaskans with art products from the South Pacific is believed to be pretty generally recognized; and an instance of the discovery among the natives of Bristol Bay of the cocoanut suggested an admirable material for engraving which was only sur passed in beauty and texture by walrus ivory. Various curios have also been carried north by sailors, the carvings upon which have sug gested, no doubt, possibilities in engraving of which the Eskimo had previously had no conception. Illustrated newspapers are seized with avidity, and reproductions of various cuts attempted, in some known instances the features of faces being fairly truthful likenesses. Much of the art of the Eskimo has been influenced, too, by the intro duction of articles of Russian manufacture, of which more is remarked elsewhere. Two fairly good examples of native workmanship of this are given on plate 34, figs. 1 and 2, and representing wooden boxes with native ornamentation and Russian symbols of the cross and other motifs. The suggestion for engraving concentric circles being accounted for as to origin and signification by Mr. L. M. Turner, and described farther on, may also have been introduced through the medium of sailors and others from the Gulf of Papua, where, according to Mr. 1 1 addon, they are conventionalized eyes in the ornamental faces carved on wooden belts. January, 1893. Fifth ser., pp. 20, 21. EXPLANATION OF PLATE 34, Fig. 1. WOODEN Box. (Cat. No. 44457, U. S. N. M. Cape Nome. Collected by E. W. Nelson.) Fig. ± WOODEN Box. (Cat. No. 33077, U. S. N. M. Cape Nome. Collected by E. W. Nelson.) Fig. 3. Box ion FISHING TACKLE. (Cat. No. 24352, U. S. N. M. Norton Sound. Collected by L. M. Turner.) Report of U.S. National Museum, 1 895.— Hoffman. PLATE 34. WOODEN BOXES, AND CASE FOR FISHING TACKLE. GRAPHIC ART OF THE ESKIMOS. 807 In Alaska, however, concentric circles and nucleated rings have been utilized to explain concepts other than the similar patterns which occur elsewhere in the world, referring to other widely distinct origins and concepts. (Compare with variants on plate 17.) The concentric rings, being so generally widespread, survive in the Kongo region and in Tangier, where the design may owe its origin to the introduction of Mohammedanism and the Byzantine style of orna- , mentation; upon Roman lamps in the ruined church of St. Louis, in Carthage; and in numerous localities throughout northern Europe as rock sculpturing^, arid in bronze and other jewelry and ornaments. America has many petroglyphs in which this design is found, the greatest number being upon the basalt rocks in the arid desert south of Ben ton, Owens Valley, California. By these references to the occurrence in widely separated localities of like designs, I do not for a single moment desire to convey the impression that the belief is entertained that this is the result of migration through the ordinary trade, or culture channels, as Mr. Haddon designates them, but rather of independent development, being evolved from very diverse originals and concepts. It is certain, nevertheless, that in some instances religious symbols are carried among peoples to whom they are artistically or technically foreign, and to whom the signification would be meaningless but for the explanation accompanying them. In Alaska several different versions are given to account for the origin of the nucleated circles, plain concentric rings, and rings with dentations. Reference to like forms in other regions is made elsewhere. Mr. Haddon1 remarks with reference to such figures that " there is a j great tendency for spirals to degenerate into concentric circles j exam ples could be given from New Guinea, America, Europe, and elsewhere. In fact, one usually finds the two figures associated together, and the sequence is one of decadence, never the evolution of spirals from cir cles. The intermediate stage has been aptly termed a 'bastard spiral' by Doctor Montelius— 'that is to say, concentric circles to which the recurved junction lines give, to a casual glance, the appearance of true spirals.' " Interesting instances in support of Mr. Haddon's statement are found in the development of decorative designs among various tribes of Indians, in which the textile designs were ultimately imitated in a free hand style, thus gradually converting the angular into curved figures, as in the meander patterns so common in the basketry and pottery designs of the several pueblo tribes. In northern Europe and elsewhere in the Old World coils of withes, cords, and other textile strands were imitated in metal, as may be seen in many of the prehistoric relics of Scandinavia and France. Associated with these patterns are series of figures consisting of 1 "Evolution in Art/' p. 93. 808 REPORT OF NATIONAL MUSEUM, 1895. concentric rings, which no doubt owe their origin to the vegetal prototype. Thus far no spirals have been observed in the native art designs of the Eskimo as illustrated in the National Museum, and one reason for the absence of spirals may be attributed to the difficulty of engrav ing the ivory satisfactorily, or perhaps to the absence of particular life forms which might under other circumstances suggest such motifs. The general shape of the spaces upon drill bows, being long and narrow, would otherwise naturally suggest either a meander or a continuous series of squids as a most appropriate and convenient pattern. Instead of these, however, the ornamental "filling-ill" consists of straight lines of various lengths and at- various angles, together with animal or bird forms in various stages of abbreviation through conventionalization. DECORATION CONSISTING CIIIKFLY OF LINES, DOTS, AND ZIGZAGS. The older forms of ornamentation, as already indicated, seem to consist of straight lines, dots, and <-shaped incisions, while the appar ently later ones are the circles, made by metal instruments possibly of native workmanship, and the rude zigzag or meander. The applica tion of these several types of designs to the ornamentation of various articles of use is represented in the next few pages. Some interesting examples of figure carving, bearing engravings of various types, arc- also reproduced. While the rude zigzag pattern is frequently alluded to as the "fish trap" pattern — the name being deemed appropriate because the type originated in that contrivance, according to Naomoff — the designation "seal tooth" pattern might be equally appropriate, as the arrangement of the teeth and spaces between them may have suggested the pattern among tribes in other parts of the Eskimo territory. Plate 35, fig. 8, shows a woman's skin scraper, from Cape Darby. The specimen appears to be made of fossil ivory and is carved in imi tation of a whale's tail, and rounded so as to fit the palm of the hand. The front end has a deep incision, in which was placed at one time a flint scraper, in imitation of other examples in the collection of the National Museum. The specimen bears beneath a depression, show ing it to have been used for holding the top of a drill. The ornamen tation on both sides and transversely at the rear portion consists of a single line to which are attached irregular short radiating or transverse lines in imitation of the rudest type of the "fish trap" pattern. This ornamentation is in accordance with the typical ornamentation of the Eskimo, such as comes from the shell heaps of the Aleutian Islands, across to the east coast of Greenland, and antedating very likely the historic period. In plate 31, fig. 5, is shown an ivory bodkin, here reproduced as of interest in presenting upon the one side five parallel lines of unequal EXPLANATION OF PLATE 35. 1 2 3 456 789 Fig. 1. THIMBLE GUARD. (Cat. Tto. 43459, U. S. N. M. St. Michaels. Collected by E. AY. Nelson.) Fig. 2. THIMBLE HOLDER. (Cat. No. 29731, U. S. N. M. Norton Sound. Collected by L. M. Turner.) Fig. 3. THIMBLE HOLDER. (Cat. No. 129314, U. S. N. M. St. Michaels. Collected by E. W. Nelson.) Fig. 4. SEINE THIMBLE HOLDER. (Cat. 36452, U. S. N. M. Kushumik. Collected by E. W. Nelson.) Fig. 5. MOUTHPIECE. (Cat. No. 63667, IT. S. N. M. IMomede Islands. Collected by E. W. Nelson.) Fig. 6. THIMBLE GUARD. (Cat, No. 43861, U. S. N. M. Tnaliklut. Collected by E. W. Nelson.) Fig. 7. MOUTHPIECE. (Cat. No. 63666, U. S. N. M. Diomede Islands. Collected by E. AY. Nelson.) Fig. 8. HANDLE OF SCRAPER. (Cat. No. 44180, U. S. N. M. Cape Darby. Collected by E. W. Nelson.) Fig. 9. TOBACCO Box. (Cat. No. 44766, U. S. N. M. Sledge Island. Collected by E. \V. Nelson.) Report of U. S. National Museum, 1 895.— Hoffman. PLATE 35. DECORATED UTENSILS USED BY WOMEN. Report of U S National Museum, 1 895.— Hoffman. PLATE 36. ORNAMENTED KANTAG HANDLES. EXPLANATION OF PLATE 36. Fig. 1. KANTAG HANDLE. (Cat, No. 43809, U. S. N. M. Isbaktolik. Collected by E. AV. Nelson.) Fig. 2. KANTAG HANDLE. (Cat, No. 44276, TJ. S. N. M. Cape Darby. Collected by E. "W. Nelson.) Fig. 3. KANTAG HANDLE. (Cat. No. 2-1730, TJ. S. N. M. St. Michaels. Collected by L. M. Turner.) Fig. 4. KANTAG HANDLE. (Cat. No. 45155, TJ. S. N. M. Sledge Island. Collected by E. W. Nelson.) GRAPHIC ART OF THE ESKIMOS. 809 length, between which are the short lateral lines and zigzag, showing the method of engraving and the artistic evolution of the pattern. Plate 3(>, figs. 1-4, represent kautag handles. The specimen shown in fig. 1 is from Sledge Island, and is ornamented by two parallel longi tudinal lines between which are cross lines by threes at intervals of about an inch. In fig. 2 the sets of cross lines are by twos, but on the inner side, facing one another, are short lines, as in the ornamental pattern before referred to as the fish trap or seal tooth, giving rise ultimately to the zigzag. In fig. 3 is represented a handle, upon the upper side of which the ornamentation consists of ten whales in relief, while upon the under side is a very neatly engraved mammal of the same species, though extending horizontally instead of transversely. In fig. 4 the upper side represents two horizontal lines with the short lines extending inward between their opposing fellows, a sort of inter- digitation, the interior spaces representing a rude zigzag with the outer angles being removed~instead of being shaped to a point, as in the true zigzag. In the next illustration of a bag handle, plate 31, fig. 4, are three parallel lines extending from end to end. From the outer lines inward are short lines at intervals of perhaps J of an inch, while extending to either side from the central line are similar short lines extending out ward so as to project between the short lines from without — a sort of interdigitation, resulting in a double row of the u fish trap" pattern or rude zigzag presented in so many of the illustrations. Fig. 2 of the same plate also bears a series of like ornamentation, the concept perhaps also being found in the fish trap. Plate 37, fig. 3, represents a bow, one end of which terminates in an animal's head, while about the neck, the middle, and the rear end are parallel lines, from the inner side of which and approaching the oppo site side are small triangular points so arranged alternately from one side to the other as to leave an intervening space in the form of zigzag. This design is very common on work from several particular localities. It is used as an ornament in tilling out blank spaces, as in the illustra tion (fig. C on the same plate, 37), where it serves to decorate seals' skins, seventeen of them being placed in a row. This may be compared with like illustrations in connection with conventionalizing. Plate 31, fig. 1, represents a bag handle, locality unknown, upon which is shown a pattern consisting primarily of a central incision extending from end to end, from which radiate toward either side sev eral series of diagonal lines, which appear to be similar in type to that shown in plate 38, fig 1, and on plate 39, fig, 2. On plate 34, fig. 1, is a small wooden box obtained at Cape Nome. It has a sliding lid, while the two lower projections, resembling feet, are in reality the outlines of bears' heads. As will be noted, there are several outlines of flintlock guns shown upon the lid, besides other characters, while along the margin are short diagonal lines arranged 810 REPORT OF NATIONAL MUSEUM, 1895. in the form of zigzags. A few Russian letters are incised upon the sides, indicating the natives' knowledge of, or acquaintance with, char acters of that language. In plate 34, fig. 2, is represented a box of almost the same form and from the same locality, the bottom being represented in the illustra tion, and upon it a variety of ornamentation very much in imitation of the patterns before mentioned and found on many of the specimens. Upon closer investigation, however, it will be observed that the mar ginal lines bear between them small arrowheads or < -shaped figures, while in the remaining spaces the ornamentation consists of parallel lines, the intervening spaces being ornamented by short diagonal lines. The two lozenges in the middle bear upon the center a cross, evidently suggested by Eussian ecclesiastical pictures or literature. Plate 37, fig. 1, is a plain white ivory bow drill from Point Hope. The ornamentation is visible in the illustration and consists simply of the wavy exterior produced by filing a series of indentations along the edge of the triangular bow. Plate 37, fig. 5, also from Point Barrow, shows two parallel lines extending from almost one end to the other, between which are diag onal lines at short intervals. The bottom edge of the bow is indented at intervals of a little over an inch, leaving projections upon which small triangular figures extend from the bottom, presenting an orna mental effect. The coloring matter apparently consists of red ocher. Plate 38, figs. 1, 2, 3, and 4, represent bag handles from Norton Sound, St. Michaels, the Yucon Eiver, and Point Hope, respectively. In plate 39, fig. 1, the ornamentation upon the upper side consists of a median horizontal line or crease terminating at one end with three per forations, which number occurs also at the other end of the rod. At right angles to this median line, at either end, are eight nucleated rings. At the center of the specimen are a like number, in the middle of which group is inserted a large blue glass bead. Upon the upper side, instead of a median line, the surface is filled with a continuous row of nucleated circles. Upon examination, however, it is observed that the circles consist of two or three different sizes, showing that instruments of that number of sizes were used. The rings indicate, furthermore, that the tool was of hard metal, but no doubt fashioned by the artist, a narrow piece of steel having a crotch filed into the end so as to leave two sharp points. Plate 39, fig. 3, represents a very neat bag handle or bow drill nearly 18 inches in length. The top is fluted longitudinally by means of three deep creases, while in the outer sides are a series of cavities or scal lops, also ornamented along the margin by incisions. This specimen is interesting because of the great number of nucleated circles scattered along the under side. Each of these circles seems to have been made with the same instrument, which was apparently a carpenter's bit, one-fourth of an inch in diameter. EXPLANATION OF PLATE 37 Fig. 1. DRILL How. (Cat. 1ST. G3804, U. S. N.M. Point Hope. Collected by E. W. Nelson. Fig. 2. DRILL Bow. (Cat. No. 45346, IT. S. N. M. Cape Nome. Collected by E. W. Nelson.) Fig. 3. DRILL Bow. (Cat, No. 33191, IT. S. N. M. Norton Sound. Collected by E. W. Nelson.) Fig. 4. DRILL Bow. (Cat. No. 89510, U. S. N. M. Point Barrow. Collected by Lieut. P. H. Ray. IT. S. A.) Fig. 5. DRILL Bow. (Cat. No. 56518, U. S. N. M. Point Barrow. Collected by Lieut. P. H. Ray, U. S. A.) Fig. 6. DRILL Bow. This specimen is 24f inches long. (Cat. No. 24540, U. S. N. M. St. Michaels. Collected by L. M. Tiirner.) Report of U S. National Museum, 1 895 —Hoffman. PLATE 37. EXPLANATION OF PLATE 38. Fig. 1. KANTAG HANDLE. (Cat. No. 24415, U. S. N. M. Norton Sound. Collected by L. M. Turner ) Fig. 2. KANTAG HANDLE. (Cat. No. 24425, U. S. N.M. St. Michaels. Collected by L.M. Turner.) Fig. 3. KANTAG HANDLE. (Cat. No. 38539, TJ. s. x. M. Yukon River.) Fig. 4. KANTAG HANDLE. (Cat. No. 63809, U. S. N. M. Point Hope. Collected by £. \V. Nelson.) Report of U. S. National Museum, 1895. — Hoffma PLATE 38. ORNAMENTED KANTAG HANDLES. EXPLANATION OF PLATE 39. 1 3 4 Fig. 1. BAG HANDLE. (Cat. XTo. 89511, U. S. N. M. Point Barrow. Collected by Lieut. P. H. Ray, U. S. A.) Fig. 2. BAG HANDLE. (Cat. Xo. 24549, U. S. N. M. Xorton Sound. Collected by L. M. Turne ? ) Fig. 3. BAG HANDLE. (Cat, Xo. 89423. I'. S. X. M. Point Barrow. Collected by Lieut, P. H. Ray, U. S. A., Fig. 4. BAG HANDLE. (Cat, Xo. 89512, U. S. X. M. Point Barrow. Collected by Lieut. P. H. Ray, U.-S. A.) Report of U. S. National Museum, 1895. Hoffman. PLATE 39, BAG HANDLES. Report of U. S. National Museum, 1895.— Hoffman. 1 2 am- 3 4567891 1 45 RECORDS F V PLATE 40. _ 12 13 14 14 10 11 12 11 12 13 14 15 16 17 18 10 IT "r \ BAG HANDLES. GRAPHIC ART OF THE ESKIMOS. 811 Plate 39, tig. 4, represents a bag handle marked with a single median line from which the specimen slopes toward either side of the outer edge, and it is also fashioned along the outer margin like the preceding one, though the curves or scallops are longer. Between each curve is a small V-shaped niche, while at the middle this is replaced by a short scallop or curve. The specimen represented in plate 39, fig. 2, is decorated upon the upper side by a median horizontal line, deeply engraved, to which are attached, by pairs, short diagonal lines exactly resembling the herring bone pattern, each pair of these patterns being about one-half an inch from the succeeding pair. Upon the lower or concave side is a similar median line, to one side 1 -»vhich are placed the figures of thirty-seven geese, or skuas, swimming toward the right. The figures are as nearly alike as can be made by the average native artist, and are equidistant from one another. The regularity of the arrangement of these bird figures suggests that ornamentation was aimed at as well as a historic record. Fi£.34. NATIVES ARMED WITH GUNS. Fig. 34 represents but two of the five panels or spaces decorated, both of which bear figures referring to canoes in which the men at the rear are armed with oars, while those at the bow have guns raised as if about to shoot. The partitions consist of transverse ornamental lines, an improvement over the pairs or sets of vertical plain incisions shown on the paneled record in plate 36, fig. i>. The serrated inner edges of the dividing lines, facing one another, resemble the conventional figures used to denote fish weirs, and appear in the present instance to have been used as ornaments. As before stated, the same pattern has been suggested, apparently, by the arrange ment of the teeth of the seal, illustrations of which are of frequent occurrence in the collections of the National Museum. In fig. 35 is the rude outline of an ivory harpoon head, on which the teeth of the seal are deeply incised, while in fig. 36 the pattern approaches more nearly the rude meander, between which and the true zigzag as made by the Eskimo there are constant gradations and blending of form. The native in plate 40, bottom line, is following a herd of walrus. He is paddling with an ordinary one-bladed paddle, in front of which is the harpoon slightly elevated above the deck, and behind him is the 812 REPORT OF NATIONAL MUSEUM, 1895. inflated seal-skin float, the rear end being bifurcated, showing the two flippers. Four cross-like characters denote flying birds. The regularity and sameness of the figures seem to denote an attempt at ornamentation as well as a hunting record. Plate 14, figs. 4, 5, 6, and 7, show specimens made of reindeer antler, and are from Norton Sound. The ornamentation is rude, and in all but one case consists of the representation of animals. In fig. 4 the design is of the " fish trap" pattern, with a median line and short alternate radiating incisions, the spaces being occupied by crosses, probably the simplest and rudest form of ornamentation excepting the simple straight line. At one end appears to be an indication of eyes and nostrils, but there is not suf ficient marking to indicate whether this was intended for otter or seal. The accompanying illustration, fig. 37, represents a tool the use of which is not known. " It has a point like a graver,7' says Mr. Murdoch, "and is made of reindeer antler, ornamented with a pattern of incised lines and bauds, colored with red ocher, and was perhaps a marline spike for working with sinew cord." 1 Plate 41, fig. 5, shows a small ivory wedge, used in splitting small pieces of wood. The specimen bears upon one side a nucleated circle with two lateral radiating lines, different from the conventional flower symbol, though resembling to some extent the circles and lines shown on plate 29, fig. 5. Along the upper edge are three parallel lines. From the outer ones, extending inward, are shown very short diagonal lines, being a rude imitation of some of the "fish trap" patterns. A general view of the specimen, taking note of the short curve over the circle to denote an eyebrow, would suggest the head of a bird, the parallel lines along the lower left side very much resembling the mouth. Plate 41, fig. 2, is a small ivory creaser used in Fis- 36- decorating moccasins. Upon the sides are a ARRANGEMENT OF INCISIONS TO 0 \ DENOTE TEETH OF SEAL. series of parallel lines leaving three spaces, the central one consisting alternately of black and white squares, while the lateral spaces bear continuous rude meander or zigzag patterns. The latter are more neatly indicated by deeper incisions than usually found in ivory specimens. Plate 41, fig. 3, represents a bone guard, such as is placed over the bow of a kaiak to protect it against floating ice. The chief ornamenta tion consists of three parallel lines extending along either side, within which is the rude meander pattern, while from the outer sides extends a sort of herring-bone pattern. Plate 41, fig. 4, shows an ornament, broken at one end, which appears 'Ninth Animal Report of the Bureau of Ethnology for 1887-88, 1892, p. 294, fig 288. EXPLANATION OF PLATE 41. 2 4 1 5 3 Fig. 1. WEDGE FOR SPLITTING WALRUS HIDE. (Cat. No. 437159, U. S. N. M. Nunivak Island. Collected by E. TV. Nelson.) Fig. 2. GREASER. (Cat. No. 45140, U. S. N. M. Sledge Island.) Fig. 3. BONE GUARD FOR Bow OF BOAT. (Cat. No. 33219, II. S. N. M. Collected by E. TV. Nelson.) Fig. 4. ORNAMENT. (Cat. No. 37431, U. S. N. M.) Fig. 5. IVORY WEDGE FOR SPLITTING WOOD. (Cat. No. 48289, U. S. N. M. Nunivak Island. Collected by E. TV. Nelson.) Fig. (>. BODKIN. (Cat. No. 37752, U. S. N. M. Cbalitmut. Collected by E. TV. Nelson.) Report of U S. National Museum, 1 895.— Hoffman. PLATE 41 ORNAMENTED UTENSILS. Report of U. S. National Museum, 1895. — Hoffman. PLATE 42. ORNAMENTED UTENSILS. EXPLANATION OF PLATE 42. I 1 2 3 4 5 6 Fig. 1. EAR PENDANT. (Cat. No. 16199, U. S. N. M. Nnnivak Island. Collected by K. \V. Nelson.) Fig. 2. TOY FISH. (Cat. No. 43593, U.S. N.M. Cape Vancouver. Collected by E. W. Nelson.) Fig. 3. HAIR ORNAMENT. (Cat. No. 37003, U. S. N. M. Kushunuk. Collected by E. \V. Nelson .) Fig. 4. SPEAR GUARD FOR BOAT. (Cat. No. 37759, U. S. N. M. Clialitmut. Collected by Ji. W. Nelson.) Fig. 5. HOUSE HOOK, FOR HANGING n> UTENSILS. (Cat. No. 73034, U. S. N.*M. Collected by C- L. McKay. ) Fig. 6. SPKAli (JUARD FOR BOAT. (Cat. No. 37461, U. S. N. M. Anogogumnt. Collected by E. W. Nelson.) Fig. 7. ARROW STRAIGIITENBR. (('at. No. 12780:5, IT. S. N. M. Kowak or Putnam River, Alaska. Collected by Lieut. G. M. Stoiiey, U. S. N.) GRAPHIC ART OF THE ESKIMOS. 813 to have served as a handle, as a small perforation in the middle seems to have been made for the purpose of inserting a cord. The upper side or half of this ornament is decorated with zigzag cross lines, while the lower has the herring-bone pattern, like the ornaments upon one side of the running figure in the preceding illustration, plate 41, fig. 3. Plate 41, fig. 6, represents a bodkin, and is elsewhere referred to with respect to ornamentation. DECORATION CONSISTING CHIEFLY OF CIRCLES. The several objects represented on plate 42 are variously ornamented in simple patterns. Fig. 1 is an ivory ear pendant, which is creased spirally from end to end by one continuous line. Fig. -5 represents a toy fish, upon which is incised the figure of a wolf, with another linear character somewhat resembling a crude representation of the same species. The hair ornament shown in fig. 3 on the same plate is decorated along the upper half by two pairs of transverse parallel lines, between Fig. 37. TOOTH 0V ANTLER. POINT BARROW. which are cross lines to resemble the common portraiture of a sus pended seine net, as shown on plate 59, also in fig. 79 on page 865. The spear guard shown in plate 413, fig. 4, bears a simple vertical line from which diverge, downward and on either side, three lines, between which are small punctures. This enlarged figure suggests a like origin as the ornamented line in the middle of fig. 6, the latter having for its conception, no doubt, the plant symbol mentioned and figured else where, particularly in connection with plate 77, and in fig. 70, page 863. Compare also with fig. 11, on plate 77, and other types of circles repre sented thereon, which occur upon various types of Eskimo utensils and ornaments. Plate 42, fig. 5, is a common hook made for use in suspending various household articles. In addition to the lateral diverging lines, the central one is absent, but in its stead a continuation of perforations from which radiate three incisions, made by means of a narrow saw or a sharp edged file. These incisions serve instead of the narrow or shallow creases noted on figs. 4 and 5. Punctured spots are also added to serve as additional orna ments. 814 REPORT OF NATIONAL MUSEUM, 1895. The lower figure on plate 42, fig. 7, is an arrow straigliteuer, made of ivory. The lower longitudinal line has similar, though more frequently recurring, lateral lines than on fig. C, while the side bears a continuous row of nucleated circles, the central cup-like perforations being unusu ally large in comparison to the rings surrounding them, clearly indicat ing that a one-eighth-inch auger bit was used in their production, as a smaller instrument made specially for incising rings (as the V-shaped cuts in the end of a piece of metal) would naturally have the two points equally pointed. (Compare plate 77.) The reverse of the side bearing the median line bears a similar inci sion from end to end, but the lateral, oblique, radiating lines are each between one eighth and one-half inch in length, somewhat between the two sizes noted on plate 8. This is evidently without significance other than that of ornamentation. In a private communication of recent date Mr. L. M. Turner informs me, with reference to the circle, that "this ornament is much more com mon south of Bering Strait, where it is a conventionalized representa tion of a flower.77 Mr. Murdoch l writes : Some of the older implements in our collection, ornamented with this figure, may have been obtained by trade from the southern natives, but the Point Barrow people certainly know how to make it, as there are a number of newly made articles in the collection thus ornamented. Unfortunately, we saw none of these objects in the proc ess of manufacture, as they were made by the natives during odd moments of leisure, and at the time I did not realize the importance of finding out the process. No tool by which these figures could be made so accurately was ever offered for sale. Neither Mr. Turner nor Mr. Ball, both of whom, as is well known, spent long periods among the natives of the Yukon region, ever observed the process of mak ing this ornament. The latter, however, suggests that it is perhaps done with an improvised centerbit, made by sticking two iron points close together in the end of the handle. * * Lines rarely represent any natural objects, but gen erally form rather elegant conventional patterns, most commonly double or single borders, often joined by oblique cross lines or fringed with short, pointed parallel lines. ' ' While weapons are decorated only with conventional patterns, other implements of bone or ivory, especially those pertaining to the chase, like the seal drags, etc., are frequently carved into the shape of animals, as well as being orna mented with conventional patterns. Mr. L. M. Turner says, furthermore : The circles which have smaller ones within represent the so-called "kantag" (a word of Siberian origin introduced by the Russians), or wooden vessels, manufac tured by Indians and bartered with the Innuit for oil and sealskin bootsoles, etc. These "kantags" are sometimes traded in nests, i.e., A'arious sizes, one within the other. (See figs. 4, 7, and 10, on plate 77.) Regarding the "circle figures,77 Mr. Turner2 remarks further : I know from information given by one of the best workers of bone and ivory, also pipe-bowls, in the Unaligmut (or Unalit) village, near St. Michaels, that the circle means a flower when it has dentations on the outer periphery, and some that were unfinished on an old much used handle for a kantag (wooden vessel) were also said by him to mean flowers. 1 Ninth Annual Report of the Bureau of Ethnology for 1887-88, 1892, pp. 390, 391. 2 Letter dated February 25, 1895. Report of U S National Museum, 1 895.— Hoffman. PLATE 43. ' ' QPttAMENTED CARVINGS. AFRICA AND ALASKA. EXPLANATION OF PLATE 43. I ~ 3 4 Fig. 1. FETISH MADE OF HIPPOPOTAMUS TOOTH. (Cat, No. 174704, U. S. N. M. Lnknga River, Kongo. Collected by Dorsey Mobuii.) Fig. 2. HAIR-DRESSING PIN. (Cat. No. 174737, U. S. N. M. Lukuga River, Kongo. Collected by Dorsey Mohun.) Fig. 3. HAIR-DRESSING PIN. (Cat, No. 174736, U. S. N. M. Luknli River, Kongo. Collected by Dorsey Mobuii.) Fig. 4. SEAL DRAG HANDLE. Effigy of the auimal. (Cat. No. 33618, U. S. N. M. St. Michaels. Alaska.) GRAPHIC ART OF THE ESKIMOS. 815 Those circles also represent the arms; just why I do not know. The spots over a dog's eyelid, usually brown in color in the dog, are also called Tuq, and a dog thus marked is called Tuqoliq. The word refers to the dark colored portion of that region and has nothing to do with the orifice, hut when the circle is made thus 0, then it refers to the hole [spot] and the surrounding part. 1 have elsewhere shown how the circle, or rather the spiral, may be drawn to denote mobility, as in the shoulder joint of the figure of a grasshopper to denote the Nahuatl symbol for Ohapultepec.1 The circle is also used on various figures of seals, and apparently denotes the shoulder joint, as shown in harpoon head in the collection of the Museum (No. 43750). Further illustration of the conventional use of circles is given under the caption of Conventionalizing, with plate 75. The employment of an iron or steel bit, evidence of which appears to have been one about three sixteenths of an inch in diameter, is shown upon a neatly-carved seal obtained in St. Michael's, here represented as the lower right-hand figure on plate 43, fig. 4. The specimen was used as a seal drag, two perforations beneath the reach communicating with a larger one at the lower part of the abdomen, through which the neces sary cord was passed. These bit marks are in the form of decorative circles, the central holes being in each filled with a wooden peg, the eyes, though smaller, also being plugged with hard wood. Plate 37, fig. 4, represents a specimen of bag handle or drill bow from Point Barrow, showing a number of nucleated rings, only one nucleus being without the second outer ring, indicating that these circles are made with different instruments. Similar nucleated circles appear upon specimens from an entirely remote locality. In fig. 1 of the remaining specimens upon plate 43 we have a fetish made of hippopotamus tooth, secured by Mr. Dorsey Mohun on the Lukuga River, in the Kongo State. Africa. The nuclei are probably one-eighth of an inch in depth, while the circle surround ing each one -fourth inch in diameter. The groove clearly indicates the use of a metal tool in every respect resembling the circles and respective central pits upon the ornamented drill bow shown in fig. 4 on plate 37. The specimen referred to is an imitation of the human form, the head slightly bowed forward, the arms close to the body, with the hands reaching toward each other before the body. The body is represented as cut oft' a little below the umbilicus, and is scooped out below as if intended to be placed upon a rod. Another specimen, fig. 2, represents a hair dressing pin, from the same locality, 2J inches long, with a sharp point below, while the almost flat top or head is ornamented with five similar nucleated circles, each three-sixteenths of an inch in diameter. The remaining specimen, fig. 3, from the Lukuga Eiver, Kongo State, Africa, is a slightly concave disk, bearing five series of concentric 1 "Beginnings of Writing." Appleton & Co., N. Y., 1895. p. 90, fig. 49. £16 REPORT OF NATIONAL MUSEUM, 1895. circles, the central perforation in the middle passing entirely through the piece of ivory, which at that point is three - fourths of an inch thick. The circles were also made with a metal tool, more likely of native manufacture, out of a piece of foreign iron or steel, the end of which was filed A -shaped, as mentioned in connection with the jnstruments of the Eskimo. These African specimens, two made of hippopotamus teeth and one of ivory, are similar in texture to the materials employed by the Eskimo, and the process adopted practically the same because of such texture. These illustrations are here introduced not with the object of tracing the migration or transmission of a given pattern, but because of the interest naturally excited by the independent discovery of a process of workmanship found to have developed in such widely remote localities. ~ In northern Africa the same form of circle, nucleated and as concen- trie rings, is very much employed for decorative purposes. What the original signification may have been it is now, perhaps, impossible to determine, and it may be that in the two localities to be referred to below the designs were brought from Europe, and probably originally from the Ottoman Empire. On plate 44 is shown a leather, brass mounted knife sheath, at the upper end of which is a tolerably fair attempt at a figure consisting of concentric rings, while beneath it a series of rectangular figures within one another. The designs are produced by pressure from the under side, the patterns having been made before the piece of sheet metal was placed about the sheath. This example is from Tangier, in Morocco. From an antique subterranean chapel at Carthage was obtained, about fifteen years since, a collection of Christian lamps and other evi dences of the secret profession of the then new faith, among the orna mentation upon some of which relics are many symbols of Christianity and of monograms of the name of Jesus Christ, but the most interest ing in the present connection is the recurrence of the very widespread figure of concentric rings, as also of squares or rectangular figures within one another, as will be observed upon the illustration of the Koman lamp in plate 45. This illustration is reproduced from an article by A. Delathe on Carthage 1'antique chapelle Souterraine de la Colline de Saint- Louis.1 Upon another lamp of the same general form, from the same locality, is a cross pattee, the arms of which are severed with nucleated and concentric rings, exactly like many of those upon Alaskan objects. The larger rings and square figures upon the lamp shown in plate 45 resemble those upon the brass-ornamented Moorish knife sheath from Tangier, Morocco (plate 44), where it was secured by Lieutenant A. P. Mblack, 0. S. !N". The chief interest lies in the two designs near the i Cosmos, Revue de Sciences et de leurs applications, Paris, Nouvelle S^r, 582, 1896 (March 21), p. 495. Report of U. S. National Museum, 1 895.— Hoffman. PLATE 44. Report of U. S. National Museum, 1 895.— Hoffman. PLATE 45. ROMAN LAMP. CARTHAGE. GRAPHIC ART OF THE ESKIMOS. 817 top — one a figure of rectangles within one another, and the other a figure of rude rings surrounding one another. It is strange that these two designs should be suggested upon the Roman lamp from Carthage, the latter of an early Christian period, and from the same quarter of Africa. It is probable that both designs may have their origin in the peculiar Oriental patterns so freely employed in Mohammedan countries, in some of which they even ante date the birth of Mohammed. The occurrence of like designs in Turk estan is also mentioned, and their apparent absence in Hindustan, as illustrated by the collections in the National Museum, is rather remarkable. The delicate zigzag lines on the middle band of the sheath are appar ently made in the same manner as like patterns on Polynesian weapons and ornaments, by pressing forward upon the tool, and at the same time rocking it from side to side, the lateral incised points being made as the lateral cutting edge is depressed, and again liberated when turning the tool toward the opposite side to make a similar mark. The work is performed rapidly, and may be crudely though similarly imi tated by means of a very narrow chisel and a piece of hard wood. The recent discoveries in Egypt by Mr. Flinders-Petrie are of so high an interest to archaeology generally, that a brief reference thereto may be of intern c, especially so because some of the pottery is deco rated not only with figures of animals and birds, but a common decora tive motive which represents "a long boat with two cabins, an ensign pole, and many oars; sometimes the figure of a man is added." A red ware, said to have been imported from the Mediterranean region, bears decorations of "dents de loup," flowers, and plants. Of great interest is the discovery of vessels bearing numerous figures of concentric circles, vases of ruder type than the lathe-made ceramics of the Egyptians, and recognized to be the workmanship of a foreign people. These intruders, the evidences of whose general culture, beliefs, and funeral cus toms show them to have been strangers in the Nile Valley. Not a single detail of their culture did they hold in common with the Egyptians. Moreover, their num ber, which was found to have spread over a considerable portion of upper Egypt, from Abydos to Gebelen, over one hundred miles, whilst their influence was observ able from Tenneh to Hieraconpolis, i. e., over three hundred and fifty miles, and absolute control of the region which they assumed and which is shown by the total absence of any object recalling Egyptian civilization, show them not only to have been invaders, but invaders Avho once had swept over the region and who, settling down, had lived there for a considerable period, borrowing little or nothing of the people whose land they occupied.1 In connection with the report made by Mrs. Cornelius Stevenson, whose words I have quoted, Doctor D. G. Brintou remarks that these 1 Proceedings of the American Philosophical Society, Philadelphia, Pa., XXXV 1896. p. 57, Plate IV. NAT MUS 95 52 818 REPORT OF NATIONAL MUSEUM, 1895. intruders were probably Libyans— that is, Berbers — the ethnography of which stock has been a special study with him. Doctor Brinton remarks: " This identification, I believe, will finally be established. If we examine the configuration of the Nile Valley and its surroundings, no other theory is tenable, providing the Libyan stock extended that far south of the Mediterranean at a date 3000 B. C. We know they did, and much earlier, from their very early presence in east Africa." It appears to be conclusively shown by Doctor Brinton's further argu ments that the unew race" was of the Libyan stock. The origin of the concentric circles and other incised ornamentation as decorative motives on this pottery would seem to have come from the Mediterranean, perhaps north of it, where a near approach is found in later Neolithic stations in Italy, Spain, and in the lower strata of Hasserlik. Could there have been a prehistoric common center of development of this very common ornament in northwestern Europe, from which it was carried into Scandinavia, and the valleys of certain portions of France, where its occurrence is so frequently remarked in bronze and other articles of personal adornment? It has been shown that trade routes existed in prehistoric times between Italy and the Scandinavian Peninsula and Denmark, the scat tered graves en route producing amber for one side and ornaments of south European manufacture on the other. Similar trade routes, which were also culture routes, have also been suggested as having existed between Scandinavia across northern Europe and Asia down.into India. Why could not like routes have been followed in prehistoric times along the lines of the localities producing so much jewelry and fictile ware chiefly ornamented with spirals and concentric rings? That trade routes existed between the countries of the Mediterra nean, even as far east as Macedonia, has been well established, and the following remarks are of interest in this connection : In the June number of " The Strand Magazine " l appeared an illus trated article devoted to finds of coins in Great Britain, one illustration in particular attracting my attention because of the presence upon the reverse of a nucleated ring, which character in this connection appears to have no apparent relation with the other objects represented upon the coin and with which it is associated. Upon reference to the various works on the coinage of the ancient Britons, several curious, interesting, and apparently new facts present themselves— facts which may with propriety be here referred to. The subject seems to me to be closely related to that under consideration in so far as it relates to trade or culture routes, and the adoption of char acters by a people with whose signification or import they may be unac quainted, and the ultimate replacement of such characters which may be of importance in and a necessary part of the prototype, by the sub- 1 London, 1896. GRAPHIC ART OF THE ESKIMOS. 819 stitution of tlieir own characters or symbols, through which change the signification of the legend upon the prototype is lost, and would no longer be recognized by the authors thereof. I have already referred to the coinage of the Britons, as treated in the admirable work of Doctor John Evans,1 to which the reader is referred for full details and ample illustrations in support of the sug gestions ventured below. I have had occasion to refer to British coins bearing the figure of the horse, with additional legs to denote that more than one such animal was intended. Such practice of representing a part for the whole, or vice versa, was referred to as synecdoche, and as being common to the pictographic records of the North American Indians. On plate 43, fig. 3, is the representation of an un in scribed British gold coin, upon the reverse ot which appears the outline of a horse, each leg divided into two, so as to resemble — in fact, give — eight legs, and suggesting the two horses noticeable upon the obverse of the typical prototype, as shown in fig. 1 on the same plate. Now, looking at the legs of the horse on the reverse of fig. l', there will be seen the same number of legs, with the exception that the engraver of this piece has united each pair at the fetlocks, so as to terminate in one hoof, instead of two hoofs, as in some other examples. In the specimens of the same series of coins the successive copying of designs has resulted in solid legs instead of by pairs, thus returning to a pattern on which but a single animal is portrayed. But to return from this digression. It is necessary to show how the original patterns came to be employed by the designers for the British coins. It has been pretty clearly proven by Doctor John Evans, Mr. Hawkins, and others, that the ancient Britons were possessed of money long before the time of Cfpsar's visit. The distinct mention of money 1 "The Coins of the Ancient Britons." London: 1864-1890. See also Adamson's Account of the discovery at Hexham, in Northumberland, of Anglo-Saxon coins called Stycas. Royal Society of Antiquarians of London [1834?]. Illustrations of 941 coins. Doctor Stukeley's " Twenty- three plates of the Coins of the Ancient British Kings/' London. [1765.] Doctor Evans remarks that "the coins themselves are most inaccurately drawn/' yet they are interesting as showing a certain degree of evolution and alteration of characters \vhich the engravers copied or attempted to copy from the prototypes. Nummorum Antiquorum Scriniis Bodleianis Ricouditorum Catalogue cum com- mentario tabulis a'neis et appondice. [Oxonii ?] A. D. 1750. Plates. Numiui Britannici, of interest in present connection, are shown on Plate XVI. Annals of the Coinage of Britain, by the Rev. Rogers Rudiiig, B. D. 4 vols. London, 1819. Plates and map. The Silver Coins of England, by Edward Hawkins, F. R. S., etc. London, 1887. 8°. Plates and map. Gives illustrations of British coins similarto other derivatives of the Macedonian Phillipus. Celtic Inscriptions on Gaulish and British Coins. Beale Poste. London, 1861. Plates i-xi. 820 REPORT OF NATIONAL MUSEUM, 1895. occurs in various classic writings of the time of Caesar, and yearly trib ute is noted by Dion Cassius, Eutropius, Diodorus, Strabo, and others. Doctor Evans remarks : It may indeed be urged that these writers are all of them later than Ctosar; but it is to be observed that the information upon which some of them wrote was derived from earlier sources, and that not one of them treats the presence of gold and silver in this country as of recent date, or appears to have had the remotest conception that in the time of Julius Ca>sar it was destitute of them.1 Commerce between the Gauls and Britons existed long anterior to the period of the Eomau invasion, and a native coinage existed also among the Gauls. The intercourse of the Phoenicians and Britons was also of an early date, and the founding of the Greek colony of Massilia (Marseilles) — usually placed at about B. C. 600 — also aided in civilizing that part of Gaul, where the neighboring Gauls no doubt first learned of the usages of civilized life, the effect of such acquirements gradually extending toward the channel settlements, and finally across and among the British tribes. From this center of civilization, says Doctor Evans, the Gauls became acquainted with the art of coining. The early silver coins of Massilia (and none in gold are known) were occasionally imitated in the surrounding country ; but when, about the year B. C. 365, the gold mines of Crenides (or Philippi) were acquired by Philip II of JNIacedou, and worked so as to produce about £250,000 worth of gold per annum, the general currency of gold coins, which had before been of very limited extent, became much more exten sive, and the stater of Philip — the regale nurnisnie of Horace — became everywhere diffused, and seems at once to have been seized on by the barbarians who came in contact with Greek civilization as an object of imitation. In Gaul this was especially the case, and the whole of the gold coinage of that country may be said to consist of imitation, more or less rude and degenerate, of the Macedonian Philippus.'2 Doctor Evans further remarks : Another reason for the adoption of the Philippus as the model for imitation in the Gaulish coinage has been found in the probability that when Brennus plundered Greece, B. C. 279, he carried away a great treasure of these coins, which thus became the gold currency of Gaul. This would, however, have had more effect in Paunonia, from whence the army of Brennus came, than in the more western Gaul. On plate 4G, fig. 1, is reproduced a type of the Philippus, the lau reate head upon the obverse representing Apollo (or, according to some, of young Hercules), while on the reverse is shown a charioteer in a biga, with the name of Philip below a horizontal line in the exergue. The biga on these coins of Philippus II refers to the victories of Philip at Olympia. The resemblance to Apollo may have been sug gested by some relation to that identification of Hercules and the sun which prevailed in Asia at a later time, and possibly as early as that of 1 " The Coins of the Ancient Britons." London : 1864-1890, p. 20. 2 Idem., p. 24. EXPLANATION OF PLATE 46. Fig. 1. Stater of Philip II. of Macedon. Fig. 2. Uninscribed gold coin of ancient Britons, believed to have been designed after stater of Philip. Gold; weight, 111 grains. Fig. 3. Resembles preceding, though bust and horse face toward left. Weight, 114 grains. Fig. 4. Also uiiiuscribed and of gold. The fillet is of leaves turned upward ; the horse is disjointed, and greater departure from the prototype is apparent. Fig. 5. Another gold imitation of the stater, but still greater dissimilarity is appar ent on the reverse. Fig. 6. Five small dots are introduced in the face, so as to cover the space between the eyes and hair. Beneath the horse, the helmet, visible in the stater, has become a circle surrounded by small dots. Fig. 7. The departure from the prototype is still more interesting in this specimen — a nucleated circle, a plain circle, and a pellet appearing beneath the horse in place of the helmet. Doctor Evans, from whom these references were obtained, remarks that this specimen shows "a curious instance of extreme degradation from the type of the Phillipus on the reverse." The headdress resembles a cruciform ornament, with two open crescents placed back to back in the center. The reverse bears the horse, with both a circle and a wheel-shaped ornament in lieu of the helmet. Report cf U. S. National Museum. 1 895.— Hof'mar PLATE 46. BRITISH IMITATIONS OF MACEDONIAN STATER. GRAPHIC ART OF THE ESKIMOS. 821 Philip II.1 Between the horses and base line is the figure of a helmet, suggesting the head gear of the slain over which the victor is driving. On some specimens the helmet is replaced by the fulmen, a A, or the Greek 1\ Because of the limited space, the wheel of the chariot is rather oval, suggesting perspective on the engraving, though on later imitations this can not be claimed for the elliptical form of the wheel or the character substituted therefor. "The earliest of the Gaulish imita- "tions," says Doctor Evans,2 " follow the prototype pretty closely, but eventually both the head and the biga become completely transformed." The earliest British coins showing such imitation of the Philippus are believed to be of the period of 150-200 B. 0., although the death of Philip II took place B. C. 336, so that his coins began to be imitated in Gaul about B. 0. 300. The author whom I have above quoted says also that coins reduce in weight for the sake of the small gain of the governing power ; and coincident with such reduction in weight, and perhaps size, there is a remarkable change in types, in each successive imitation, thus depart ing more and more from the original prototype. "The reduction of a complicated and artistic design into a symmetrical figure of easy execu tion was the object of each successive engraver of the dies for these coins, though probably they were themselves unaware of any undue saving of trouble on their part or of the results which ensued from it."3 By reference to the illustrations as figs. 4 and 5, and plate 47, figs. 3 and 8, examples selected from many diverse forms, there will be observed a most remarkable deviation in engraving from the original type. The wreath and hair become so strangely altered as to be scarcely recog nizable, a few geometric or other simple figures serving in place of the leaves and locks. These finally result in a cross-like figure, as in plate 47, figs. 1 and 2, while in some still other imitations the head is repre sented by an ear of grain, like wheat or rye (designated by Doctor Evans as corn). The most interesting changes occur, however, upon the reverse of the imitations, and it is to these changes that I wish to make special reference. As stated, the typical Philippus bears beneath the horses a helmet, as shown upon the illustration in plate 46, fig. 1. This article of head gear may or may not have been known to the Gauls, and if it were, it is more than probable that the Britons were unfamiliar with it, being more remote from the peoples by whom such defensive armor was used, so that even if the helmet was represented upon Gaulish imita tions, the British engraver seems to have ignored the exact form and Quoted at second liaiid from Numismata Hellenica, T>y William Martin Leake. London, 1886, in footnote. 2 " The Coins of the Ancient Britons." London, 1864-1890, p. 24. :! Idem., p. 28. 822 REPORT OF NATIONAL MUSEUM, 1895. to have made what he thought may have been intended, or perhaps even ventured to introduce a British symbolic figure, the signification of which he did comprehend. It is probable, also, that, in the absence of good tools for engraving metals, some of the simpler designs were made by using a pointed punch or like tool, and punching the patterns or parts of patterns desired. The pellet, surrounded by a ring of pellets, was equivalent to a ring with its nucleus, as in plate 40, fig. 8. The figure also pre sents itself as a circle with four small pellets arranged in the form of a cross, and plate 46, figs. 2 and 6, and finally in the semblance of a wheel with six, seven, or eight spokes, illustrations of which are given in plate 46, figs. 7 and 8, and plate 47, figs. 1, 2, and 8. Leaving off the circle suggested a cross, as in the former, and a star, as in plate 47, fig. 3, both without doubt Druidical symbols, as was also the nucleated ring, of all of which numerous examples occur. This cross or star form ultimately gave rise to imitations of crab-like objects, which in turn were interpreted to denote figures resembling the hand. Such gradual though persistent imitation resulted in some remarkably dissimilar patterns, as may be noted by comparing the typical Philippus in plate 46, fig. 1, with the illustration, plate 46, figs. 5 and 6, while beneath the figure of a disjointed horse on plate 47, fig. 3, the star survives; while the head upon the obverse retains but a few rectangular marks to denote leaves, while the right-hand upper figure signifies the eye, and the lower broken circle, bearing a <-shaped attachment, the mouth. The A, which has been referred to as a variant, and rarely occurring beneath the body of the horse, has been reproduced as a triangle, the angles of which consist of nucleated circles connected by short lines. This symbol is also an astronomical character, and is of frequent occur rence on various petroglyphs located in that area of country formerly occupied by the several tribes of Indians composing the Shoshonian linguistic family. Again, the same object figures extensively in the mnemonic records of the Ojibwa Indians, especially those records relating to the sha- mauistic ritual of the Mide/wTiwin, or Grand Medicine Society, elsewhere described in detail.1 Another symbol found in lieu of the triangle, though without doubt a variant of it, resembles an Ojibwa symbol to denote uthe mystic power of looking into the earth and there discov ering sacred objects." It consists of three rings, or perhaps even nucleated rings, placed in the form of a triangle, a wavy line extending around the upper circle and downward to either side toward the lower ones, denoting " lines of vision." What the signification of the char acter upon the coins may have been it is impossible to imagine, unless it were merely a variant of the A, which in turn may have been a con ventionalized form of the helmet, as shown in the typical Philippus on 1 See tlie writer's exposition of this ritual in the Seventh Annual Report of the Bureau of Ethnology for 1885-86, 1891, p. 143. Report of U. S. National Museum, 1895. — Hoffman. PLATE 47. COINS OF BRITONS AND GAULS. EXPLANATION OF PLATE 47. Fig. 1. The head ornament on this piece becomes more cross-like than in the preced ing, while upon the reverse the appearance of a nucleated circle beneath the horse is counteibalaiiced by another with.au additional circle of dots or pellets about it above the animal's back. Upon the reverse is the name of a prince, TASCIOVAN, whose Latinized name would be TASCIOVANUS, the exact form in which the name appears upon the coins of Cunobeline, who proclaims himself to have been TASCIOVAXI F. Fig. 2. On this piece the cruciform ornament becomes still more intricate, while the circles are in various forms and of various types. Fig. 3. The remains of the wreath are undefined, and the object beneath the horse has assumed a stellar form instead of a circle, which in turn was a helmet in the prototype. Figs. 4-7. These coins are cast and not stamped. In some specimens noted by Doctor Evans the grain of the wooden mold is distinctly visible. The obverse in all bears a head in imitation of some petroglyphic remains in North America, though the reverse shows the outline of an animal believed to be a horse. Fig. 8. This specimen has a laureate bust without any signs of a face; the open crescents are connected by a serpent line. The reverse bears a horse with a triple tail and a wheel beneath the body. GRAPHIC ART OF THE ESKIMOS. 823 plate 46, fig. 1. Very interesting indeed are the coins of tin — or an alloy in which that metal is in excess — though these are believed to be Gaulish rather than British, although the head of the Philippus proto. type is rudely reproduced, while the animal upon the reverse is believed by Doctor Evans to represent a bull rather than the horse. Plate 47, figs. 4, 5, 6, and 7. The human head upon the obverse is the rude representation of that part of the body, the face being indicated by two crescents, one above the other, with the concave side outward. The eye consists either of a simple ring, a nucleated ring, or the latter attached to a stem which extends down toward the neck. The animal form upon the reverse is readily determined by comparison with other coins showing variants. The two characters beneath the animal form on plate 47, fig. 4, appear to be a remnant of or to have been suggested by the exergual legend on the prototype on which the name, in Greek characters, of Philippus occurs. On some of the British coins no trace of a legend remains, but in a few instances some apparently meaningless characters appear to have been introduced, clearly indicating that the engraver was aware of some legend upon his copy, but being unacquainted with its import or signification, introduced an equivalent in so far as ornamentation was concerned, following the custom of geometric decoration. Such an illus tration is here reproduced on plate 46, figs. 3, 4, and 7. In other examples again, this style of zigzag decoration is omitted below the exergue line and a nucleated circle portrayed instead of a legend or other character, as in plate 47, fig. 1. The wheel of the chariot, which is apparent in the prototype, is gen erally oval, sometimes elliptical, and in some of the British imitations a second wheel is placed upon any remaining otherwise vacant spot, such an illustration being reproduced on plate 47, fig. 3, while in plate 46, fig. 8, two wheel-like characters are introduced, one above the body of the horse and the other beneath, instead of the common nucleated ring. In examining the numerous examples of coins one finds too that the British engraver has introduced, instead of the figure of a char ioteer, a number of disjointed pellets or rings, and short straight or curved lines, making it almost impossible to trace the original in this jumble of characters. In some instances these segregated dots and lines again appear to become readjusted, ultimately forming a chari oteer in the form of what seems to be a winged figure of victory. Similar unique and interesting imitations occur on the obverse of the British coins, in which the engraver's interpretation of the head of Apollo (or Hercules) is shown, sometimes as a fanciful cross, plate 47, fig. 1, and in other instances as an ear of grain, examples being shown in plate 46, figs. 3, 5, and 7. In this use of the circles, nucleated rings, and other British or Gaul ish symbols upon British coins, no evidence appears of the transmission 824 REPORT OF NATIONAL MUSEUM, 1895. of such characters from Macedonia, from which the coins were obtained, and which furnished the designs upon the Philippus for the British and Gaulish engravers. Nevertheless, other of the Macedonian coins bear upon the reverse concentric rings, between which are serrations, so as to almost appear like circular saws of various sizes laid one upon the other, diminishing in size toward the upper or last one. On a coin of Herod I., bearing a Macedonian shield, while upon the obverse of the same piece is a helmet, with cheek pieces, surrounded by a legend. The helmet, which appears to form the chief emblem upon the piece, greatly resembles the smaller headpiece upon the obverse of the stater shown in plate 46, fig. 1 . Mr. Gardner,1 in his paper on "Ares as a sun god, and solar symbols on coins of Thrace and Macedon," shows that the Macedonian shield is of astronomical pattern, and belongs specially to a deity who is worshiped as the sun, and the interior device of this shield on the coins of Herod I. is identical with that adopted as the whole type on certain coins of Uranopolis of Macedon. The occurrence of circles to denote ring money is found in the Egyp tian hieroglyphs, and it is barely possible that such characters upon obelisks, or in other petroglyphs, may have had some reference to ring money in the various countries with which the Egyptians were in com mercial relations, extending possibly to Macedonia, Phoenicia, and other of the peoples of the northern shores of the Mediterranean. The Egyptians used rings of gold and silver, and the Hebrew expres sion for the heaviest unit in weight, the talent, originally meant a circle. Gold rings, says Mr. Madden,2 were also used as a means of exchange in Britain, in the interior of Africa, among the Norwegian sea kings, and in China disks with central perforations are employed. The brass cash is an illustration of the latter, and the sacred writings make frequent reference to rings of metal and strings of gold, the latter evidently being tied in bundles of certain specified weights and values. Interesting as this subject may be, it would be inappropriate in the present paper to continue the study of types of rings and variants and their signification in the various localities throughout the world in which they occur as originals, and as the result of intrusion by intertribal traffic or otherwise. The wooden tablet represented in plate 33 is reproduced from Doctor Stolpe's monograph, published in "Ymer,"3 and illustrates one characteristic type of wood carving found in Polynesia, or, to be more exact as to location, in the Tubuai Islands. The circles are rather infrequent, but the triangular decoration is more common, and occurs upon various ceremonial implements and weapons in various forms and combinations. In some examples the designs are very complicated . Chron., new series, 1880, XX, quoted from Madden's Jewish Coinage. 2 Coins of the .lews, F. W. Madden, London, 1881. ;J Stockholm, 1890, fig. 16. GRAPHIC ART OF THE ESKIMOS. 825 and elaborate, while in other instances, as upon a metal surface, the result is a mere zigzag, the result of using a narrow graver, and as it is pushed forward the tool is rotated from side to side. The character of the material upon which decoration is attempted greatly influences the artistic result. Some circles from eastern Turkistan, to which my attention was called by my friend Doctor Walter Hough, of the National Museum, resemble almost exactly those mentioned by Doctor A. B. Meyer, who presented some interesting illustrations of shields from the Bis marck Archipelago and New Guinea, upon some of which are several series of concentric rings (four) while some are nucleated with a solid spot and three surrounding rings.1 In his monograph on the whirring toy or u bull-rorer," Doctor J. D. E. Schmeltz2 presents a number of illustrations from various localities, nearly all of which are ornamented. Two specimens from West Aus tralia are of peculiar interest, from the fact of the recurrence of two figures shown on a Eoman lamp from Carthage (plate 45, p. 816). The Fig. 38. GOLD BOAT FOUND AT NORS, DENMARK. one specimen of these wooden toys is ornamented with five figures of concentric circles, the three middle ones having each five rings, while the flanking or end figures have each but four rings. The other toy has upon one side three figures of rectangles, each figure consisting of a nest of five, one within the other, as in the con struction of concentric rings. At either end are short curved lines. Such a coincidence — as it can be nothing more — is truly remarkable, especially as the Australian designs are not in exact accordance with the usual type of designs. The district of Thisted, Denmark, contains many small grave mounds, from some of which unique finds have been obtained. One clay vessel covered with a flat stone contained about one hundred small boats, the ribs and sailing of which are made of bronze bauds bent around one another, while in the middle of these lie sheets of thin plates of gold whose corners overlap each other at the bottom of the boat and are bent around the bronze bands above, covering it. In the same manner 1 Publicationen aus dem Kongl. Etlinog. Museum Dresden. X. 1895. Plate xvin, figs. 3, 4, and 5. 2 Das Schwirrholz. Hamburg, 1896. 826 the outside covering is effected.1 Upon the side of the boat illustrated in fig. 38 will be observed two figures of concentric rings, a design so frequently met with in the prehistoric relics of Scandinavia. A wooden dish,2 found with other objects in a funeral ship, bears dec orations consisting of concentric rings similar to the preceding. Petroglyphs in abundance representing so-called cup stones, nucle ated circles, and concentric circles of various numbers of rings, as high as five and six, and occasionally even more, occur throughout northern Europe, from Ireland, Scotland, and elsewhere in the British Isles, eastward throughout Scandinavia, Finland, and Russia, into Siberia. In a petroglyph at Lokeberg, in Bohuslan, Sweden,3 are represented a number of manned A' iking ships, above three of which are portrayed nucleated rings, several of which are attached to projections connected with the vessel, and resembling uplifted banners or other emblems. In a number of instances are small spots only, without the surrounding circle. These circles in contact with vessels resemble very much the Eskimo engraved figures on the rod shown in another place on plate G8, fig. 6. Professor Oscar Montelius figures in his u Kul- tur Schwedens in Yorchristlicher Zeit" a gold vase nearly 3 inches in height and about 4 inches in diameter, about the body of which are four rows of concentric circles. The upper row, near the neck, consists of such raised figures each more than one-sixteenth of an inch in di ameter, while the row a short distance below F. this consists of rings averaging three- sixteenths 8AMOYAD ORIENT OF MKTAL. °f ^ ^^ ™™**' ™™ ^ &*?****> diailietOT of the vessel is another row of raised concentric rings, the outer one measuring about five-eighths of an inch across, while the circles near the base, and extending in a row about it, are apparently a little less in diameter. These rows of circles are separated by longitudinal raised lines, between some of which, both above and below the row of the largest cir cles, are short vertical lines presenting what appears like a milled edge. This style of ornament is very general and, as noted elsewhere, of widespread occurrence. Mr. Frederick George Jackson, in his description of the jewelry of the Samoyads,4 says that the bonnet is adorned with tails of colored 1 Quoted from Report of National Museum for 1891, 1892, pp. 557, 558, fig. fi. (Prehistoric Naval Architecture, Geo. H. Boehmer.) The reader is referred to an interesting paper 011 Origins of Prehistoric Ornament in Ireland, completed in Part I of Vol. VII, of the Journal of the Royal Society of Antiquaries of Ireland, for 1807, by Mr. George Coffey. 2 Report of the United States National Museum for 1891. 1892, p. 594, fig. 108. 3 Oscar Montelius, Die Kultur Schwedens in Vorchristlicher Zeit, Berlin, 1885, p. 73. fig. 87. 4 The Great Frozen Land. London, 1895, p. 67. Report of U. S. National Museum, 1 895. — Hoffman. PLATE 48. ORNAMENTED IVORY JEWELRY. EXPLANATION OF PLATE 48. 10 Fig. 1. EAR PENDANT. (Cat. Xo. 36845, V. S. X. M. Knskuiiuk. (Collected by E. VT. Xelsou.) Fig. 2. EAII PKNDANT. (Cat. No. 36846 [ ?], V . S. X. M . Bi- Lake, Alaska. Collected by E. W. Xelson.) Fig. 3. EAR PENDANT. (Cat. Xo. 36845, U. S. X. M. Kushkakwin River. Collected by E. W. Xelsou.) Fig. 4. EAR PENDANTS. (Cat. Xo. 36839, U. S. X. M. Lower Kushkakwiu River. Collected by E. "W. Xelson.) Fig. 5. EAR PENDANT. (Cat. Xo. 48742, U.S. X.M. Yukon River. Collected by E. W. Xelson.) * Figs. 6, 7. EAR PENDANTS. (Cat. Xos. 36845, 30846. U. S. N. M. Kuskunuk. Collected by E. W. Xelsou.) Fig. 8. EAR PENDANT. (Cat. Xo. 38416, U. S. X. M. Big Lake, Alaska. Collected by E. W. Xelson.) Fig. 9. POWDER CHARGER. (Cat, No. 127460, LT. S. X. M. Ikaluik. Collected by J. Apple^ate, V. S. Signal Corps.) Fig. 10. EAR PENDANT. (Cat. No. 38169, U. S. X. M. Xulukhtulu»umut. Collected by E. W. Xel'son.) GRAPHIC ART OF THE ESKIMOS. 827 strips of cloth, to which are attached "brass disks (about 3 inches in diameter) and other ornaments, such as brass charms, beads, and but tons." It is probable that these materials are specially made in Russia for trade with the natives 5 nevertheless the nucleated circle is an important feature in ornamentation thereon, the metal pendant, of which an illustration is given in fig. 39, being not only very similar to the prehistoric ornaments of Scandinavia, but is decorated in the same manner. Mr. Jackson says furthermore: " While I am talking about Samoyad jewelry, I might mention the vast buckles sometimes used to fasten the belt. They are made of brass, stamped out with patterns, and are often 9 inches in diameter. Of brass, too, and copper are tljeir rings; and they even wear reindeer bells, each weighing at least half a pound, hanging from their elbows.'7 It is but natural to suppose that native art is thus stimulated, and influenced, by the probable introduction of materials of foreign manu facture, such trinkets being gaudily decorated to add to their attract iveness in the estimation of the uncultured natives. DECORATION OF PERSONAL ORNAMENTS, UTENSILS, ETC. The utilization of various figures to apply simply for ornamentation is very common, and is of later date than the incision of simple lines and dots. The animate and other characters do not seem to have been used in any aesthetic manner until the system of pictography had gained a firm foothold. Numerous examples are here given of simple decora tion of drill bows, for which no other record was ready, and of the various styles of decorating articles of primitive jewelry or personal ornaments, and other objects of daily use. The following list comprises a number of selections to illustrate the various methods of decorating articles of personal use or adornment, utensils of daily use, and other objects. A number of ear pendants are represented in plate 48, figs. 1-8 and 10. The chief interest lies in the variety of ornamentation, consisting of drill holes, circles, concentric rings, and in one instance serrations are attached to the circles. The cup- shaped specimen shown in fig. 9 is a powder charge, orna mented with conventionalized figures of flowers, fruit, etc., to which special attention is given in connection with conventionalization. Plate 32, fig. 1, represents ear pendants made of beluga teeth. They were obtained at St. Michaels, and are ornamented with the zigzag pattern frequently alluded to as the "fish trap" pattern. This pattern is quite neatly made and presents an unusually pleasing effect. Upon the bare space between the two transverse rows of ornamentation is incised a small cross — a figure quite unusual in Eskimo art. Plate 32, fig. 2, represents a buckle or ornament used by girls in securing the hair. The decoration represents a face, the eyes being 828 REPORT OF NATIONAL MUSEUM, 1895. indicated by sharply incised lines, while the pupils are perforations made with a drill. The nostrils are also indicated with delicate per forations, and the teeth are well defined. The lips are also well defined by means of transverse lines representing the gums and the edges of the teeth, while the other lines drawn vertically denote the spaces between the teeth. Plate 32, fig. 4, represents a comb from Cape Prince of Wales. This is of peculiar interest from the fact that it exactly represents in outline specimens from Torres Strait. The ornamentation resembles Papuan art designs, and also the peculiar meander or zigzag pattern referred to in plate 33. On the inner space are three ornaments which represent the conven tional tree symbols. Tbe specimen is an old one, as may be observed from its past usage and discoloration. The teeth are broken and appear to have been short. They were no doubt made by sawing with instru ments such as are shown in plate 17. Plate 49, fig. 4, represents a pair of earrings secured in a stick. Upon the front are ornamental incisions representing concentric rings, from four sides of which extend short lines terminating in perforations. In one of these, however, the short connecting lines were not inserted — this part of the operation having evidently been neglected. Upon the reverse are short projections which are carved so as to curve downward, forming an T-shaped hook for insertion in the lobe of the ear. Plate 49, fig. 5, shows a similar stick with wrapping so as to secure a number of earrings which have been inserted, and in which manner they are transferred from place to place for sale or for barter. Plate 50 represents a series of carved ivory belt buttons and pend ants, as well as two spear guards for attachment to a canoe. On fig. 1 is shown the crude meander or zigzag so frequently referred to. Upon the outer surface of these figures appear small tridents which represent trees, or rather they may be termed the conventional ornamental figure evolved from the tree figure or tree design. A simple meander or triangle is shown upon the button in plate 50, fig. 2, in which, it will be observed, the meander is produced by the interdigitation of short lines attached to the parallel lines within which the meander crosses. Figs. 3, 4, and 6 have circles with various decorations, that upon fig. 4 being perhaps the flower symbol, described elsewhere in detail. The ivory button shown in fig. 5 is decorated by simple perforations, each of which is filled with a wooden peg, the arrangement of the perforations being regular and symmetrical. Plate 51 illustrates six forms of bone belt fasteners or toggles. The specimen shown in fig. 1 was collected by Mr. L. M. Turner at Norton Sound, and measures 2J inches across. Within the upper and lower margins are five horizontal incised lines, while along the vertical edge there are but four each. Upon the inner line and directed inward are EXPLANATION OF PLATE 49. Fig 1. IVORY IMPLEMENT. (Cat. No. 37664, V. S. X. M. Konigunogimmt. Collected by E. "W. Nelson.) Fig. 2. IVORY IMPLEMENT. (Cat. No. 29618, U. S. N. M.) Fig. 3. NET SHUTTLE. (Cat. No. 35908, U. S. N. M. Aleutian Islands. Collected by L. M. Turner.) Fig. 4. EARRINGS IN WOODEN HOLDER. (Cat. No. 36861, U.S. N.M. Askenuk. Collected by E.W. Nelson.) Fig. 5. EARRINGS IN WOODEN HOLDER. (Cat. No. 36011, U. S. N. M. Agaiyukchugumut. Collected by E. W. Nelson.) Fig. 6. IVORY ORNAMENT FOR ALEUT HAT. (Cat. No. 38720, U. S. N. M. Collected by E. W. Nelson.) Report of U. S. National Museum, 1895. Hoffman. PLATE 49. DECORATED ORNAMENTS AND UTENSILS.' * " " EXPLANATION OF PLATE 50- Fig. 1. CARVED BELT FASTENER. (Cat. Xo. 38567, U. S. IS". M. Mouth of Lower Yukon River. Collected by E. W. Nelson.) Fig. 2. CARVED BELT BUTTON. (Cat. Xo. 33633, U. S. X. M. St. Michaels. Collected by E. W. Xelson.) Fig. 3. BELT BUTTON. (Cat. No. 38003, U. S. X. M. Chalitmut. Collected by E. W. Xelson.) Fig. 4. BKLT BUTTON. (Cat. Xo. 37761, U. S. X. M. Kongigunogninut. Collected by E W. Xelson.) Fig. 5. BUTTON. (Cat. Xo. 48630, U. S. X. M. Kotzebue Sound. Collected by E. W. Xelson.) Fig. 6. BELT ORNAMENT. (Cat. Xo. 38152, U. S. X. M. Lower Yukon. Collected by E. W. Xelson.) Fig. 7. SPEAR GUARD FOR KAIAK. (Cat. Xo. 35983, U. S. X. M. " Sfugunugumut." Collected by E. "W. Xelson.) Fig. 8. SPEAR GUARD. (Cat. Xo. 43536, V. S. X. M. Cape Vancouver. Collected by E. W. Xelson.) Report of U. S. National Museum, 1 895.— Hoffrran. PLATE 50. IVORY BUCKLES AND PENDANTS. EXPLANATION OF PLATE 51. Collected by L. M. Turner.) Fig. 1. BELT FASTENER, TOGGLE OR BUCKLE. (Cat. No. 24G64, U. S. N. M. Norton Sound. Fig. 2. BELT FASTENER, TOGGLE OR BUCKLE. (Cat. No. 2461(5, F. S. N. M. Norton Sound. Collected by L. M. Turner.) Fig. 3. BELT FASTENER, TOGGLE OR BUCKLE. (Cat. Xo. 24612, TJ. S. N. M. Norton Sound. Collected by L. M. Turner.) Fig. 4. BELT FASTENER, TOGGLE OR BUCKLE. (Cat. No. 37992, F. S. N. M. Pinuit. Collected by E. W. Nelson.) Fig. 5. BELT FASTENER, TOGGLE OR BUCKLE. (Cat. No. 246C3, U. S. N. H. Norton Sound. Collected by E. W. Nelson.) Fig. 6. BELT FASTENER, TOGGLE OR BUCKLE. (Cat. No. 5622, U. S. N. M. Premorska. Collected by W. H. Ball.) Report of U. S. National Museum, 1 895.— Hoffman. PLATE 51 IVORY BUCKLES OR TOGGLES. Report of U. S. National Museum, 1 895.— Hoffman. PLATE 52. GRAPHIC ART OF THE ESKIMOS. 829 short incisions, eack one-sixteenth of an inch in length. Surrounding the central perforation is a quadrilateral figure conforming to the out line of the ornament, consisting of three incised lines one-sixteenth of an inch apart. Upon the inner sides of the square are similar short lines directed upward toward the interior, as upon the inner line of the outer square. In plate 51, fig. 2, also from Norton Sound, the ornamentation con sists of eight lines running parallel with the four outer borders, the interior space about the central perforation being blank. In plate 51, fig. 3, also from Norton Sound, the ornamentation becomes a little more complex. The two sets of parallel lines around the inte rior form a square. Within each set of lines thus drawn are markings so placed as to form a crude zigzag resulting from the short lines pro jecting alternately outward and inward by a process resembling what might be termed interdigitation. This has some resemblance to or sug gests the Papuan patterns, to which reference is made elsewhere. The interior space about the central perforation is ornamented by two lines forming a cross. In plate 51, fig. 4, there is shown a buckle from Pinuit, Alaska, and both lines and dots are employed in ornamenting the surface. The squares are present as in the preceding record, while small perforations occupy the space between the groups of lines. In plate 51, fig. 5, from Norton Sound, the outer border consists of two decorated figures, while surrounding the central perforation are six concentric rings, four short lines diverging from the outer ring toward the outer angles of the ornament. From the inner angle of the inner quadrilateral figure are four short lines, each terminating in a V-shaped figure, or bifurcation, rudely resembling the conventionalized whale tail, though in this instance more likely denoting a tree, as it also represents a conventionalized tree figure. In plate 51, fig. 6, from Prernorska two series of lines are drawn, with the difference, however, that instead of bearing additional ornamenta tion between the two quadrilateral figures the ornamentation consists of nucleated circles, three upon each side, while within the inner square and surrounding the central perforation are three concentric rings. The space beyond the outer ring and the angle of the inner square is filled with small figures consisting of a spot surrounded by two concentric rings. Upon plate 52 are shown thirteen figures of needle cases or snuff tubes, upon which are shown various styles of ornamentation. The specimen at the extreme left, from the Lower Yukon, is octagonal, while the next shows a series of rings produced by filing, as in the fourth figure, and to a certain extent in the last. The encircling hands upon figs. 5, 6, 7, 8, and 9 illustrate in various ways the rudimentary forms or originals from which have developed that peculiar meander or zigzag to which reference is made in various places and in various 830 REPORT OF NATIONAL MUSEUM, 1895 connections, and which has been compared to a certain degree with the Papuan ornamentation referred to by Mr. Alfred C. Haddou. Upon the two figures at the right hand are a series of small, nucleated rings, and particularly in fig. 12 are shown several instances in which these rings are surrounded by radiating lines, a bottom line extending to a transverse base line or attached to another nucleated circle of like form. These may be related to the flower symbols, to which Mr. Lucien M. Turner makes reference in the letter which I have quoted. Plate 35, fig. 9, shows a tobacco box from Sledge Island. It is a rude imitation of a seal, a small opening being cut in the neck, while the rear end was at one time undoubtedly closed by means of a wooden plug. The ornamentation throughout consists of parallel lines between which the incisions of short transverse lines are so arranged as to indi cate the rude meander or zigzag pattern. Upon the back are several conventional tree patterns. Plate 25, fig. 1, represents an ivory casket from St. Michaels. It is made of the upper hollow portion of a walrus tusk and is very pro fusely illustrated with the zigzag pattern, borders of which encircle the specimen both above and below, while around the center is an almost continuous pattern of six nucleated circles, each connected with the other by means of continuous strips or zigzag ornamentation. Between the two outer rims of each of these ornaments we find the fish trap pattern, in some the plain zigzag, in another short transverse lines, etc., showing various degrees of ornamentation of the same gen eral type. Radiating from the outer circles of all the specimens are short vertical lines at four opposite points, in imitation of the flower symbol. On the remaining spaces between this central ornamentation and the two outer margins are rows of small circles similarly orna mented within by concentric rings and upon the outside by radiating lines. The round box illustrated in plate 34, fig. 3, is from Norton Sound. This was used for holding fishing tackle. The top and bottom are made of wood, while the circular band is made of a flat piece of rein deer horn securely lashed together at the joints by means of two iron and one copper clasp attached longitudinally. The surface of this band of horn is very neatly ornamented around the upper portion in zigzag pattern, while the corresponding border below has been left plain. Between these two borders, however, are a series of figures of concentric circles very neatly incised and arranged alternately, first a large circle, then two small ones. Each of these figures is furthermore ornamented by four radiating lines resembling the flower symbol, although from the great number of concentric circles within it there is suggested rather the idea of the symbol used to denote the nests of kantags or wooden buckets obtained by barter from the Chukchi of the Asiatic side. Plate 35, fig. 5, represents a bone " mouthpiece7' from Diomede GRAPHIC ART OF THE ESKIMOS. 831 Island. The ornamentation upon this is rude and deeply incised, con sisting1 of a base line of two parallel incisions, between Avhich is the rude meander or zigzag, to the top of which are incised at regular inter vals trident figures representing the conventional tree symbol. Simi lar incisions and markings appear also upon a larger specimen from the same locality, shown in fig. 7. Plate 32, fig. 5, shows a specimen without any indication to mark the locality from which it was obtained, although from its association with the collections from Alaska it may be inferred that it was made by some one of the native tribes, very likely the southern or southeastern natives, who have intermarried with the Thlingit, or possibly the Thlin- git themselves, although the carving very greatly resembles that copied after the work of the Haida. In almost any position in which the specimen may be held faces appear. Upon the lower side is the repre sentation of a face the expression of which is exactly like that in fig. 3, while the front or rounded portion of the ornament shows a perfect snake's head, though this was probably intended to represent a seal. The ornament appears to have been used for attachment to the end of a cord, probably in harness or on some weapon. Plate 13 represents three figures of bone seine shuttles or handles from the Yukon River. The ornamentation upon fig. 1 is very simple. It consists of diagonal lines between two horizontal ones, with the exception of a small space about the upper third, where half a dozen lines cross at the opposite angle. Upon fig. 2 the lines are closer together, and in the lower figure very short lines are attached so as to extend at right angles from their respective base lines. These are of that primary type forming the base of the "fish weir" or "fish trap" pattern., which in turn forms the base of the rude angular mean der and ultimately of the zigzag, to which reference is made elsewhere. In fig. 3 the ornamentation consists first of two horizontal parallel lines extending along each outer border. Between each pair of lines are short lines forming zigzags. The interior spaces are filled with other patterns. At the upper end is an animal, apparently represent ing a wolf, with the life line upon the body, while at the lower extremity is the outline of a beaver. At the two small triangles formed by the cross lines at the middle of the specimen are two small trees, simply decorative, and intended to fill the blank space. Plate 49, fig. 3, represents a very beautiful net shuttle obtained in the Aleutian Islands by Mr. L. M. Turner. The only ornament of any consequence on this represents a figure of concentric rings, from which radiate eight delicate lines. This is probably a highly conventionalized figure of the flower symbol, though in the pictography of the Ojibwa and some of the Shoshonian tribes it would denote the symbol of the sun. The superiority of the workmanship is apparent, and is character istic of that of the southern Alaska, or rather the Aleutian, natives. Plate 23, fig. 1, represents a reel for sinew for small nets, obtained 832 REPORT OF NATIONAL MUSEUM, 1895. at Cape Vancouver, Alaska, by Mr. B. W. Nelson. The specimen is made of bone, and is decorated with incised lines extending from point to point along either edge, with interior markings of short lines, as shown on the specimen. Plate 23, fig. 4, represents a fishing implement made of reindeer horn. It is slightly curved and forked at either end, three of the four ends terminating in heads, probably that of the seal. The chief decoration consists of a median line extending from end to end, to which are attached several pairs of characters representing the herring bone pattern, though with the addition of short outer lines. The perforation visible in the center is intended for holding a drill. Plate 35, figs. 1, 2, and 3, represents small ivory thimble holders or guards. The ornamentation upon these is different, that upon fig. 1 and fig. 2 consisting, respectively, of simple borings or depressions and concentric rings, while upon fig. 3 appears a continuous line, to which are attached several pairs of short oblique radiating lines, as in plate 29, fig. 1. Plate 35, fig. 4, represents a seine thimble holder from Kushunuk. This is a rude outline of a seal with the young placed transversely to its back, while the ornamentation consists of several sizes of concentric rings, two of which show radiating lines attached to the outer surface. Plate 35, fig. 6, represents a thimble guard from Unalakleet. The ornamentation upon this is in imitation of that from the Northwest Coast northward from Kotzebue Sound, and consists almost exclusively of various patterns of the zigzag or meander design. Plate 23, fig. 3, is marked in the catalogue as a bone grass comb, from Kotzebue Sound. Mr. Murdoch, who has examined the specimen in my presence, believes it to be simply an ordinary comfy for personal use. The ornamentation is divided into two panels, separated by four parallel transverse lines, each about one-eighth of an inch from the other. Short lines, placed closely side by side, radiate from the inner lines toward the outer. These inner lines with short radiating lines are reproduced at either end of the specimen. Reference to the illustra tion will more clearly represent this. In the upper panel is the por trayal of a whale, with some other lines probably intended to denote whales, but the figures were not completed. There is also a depression, which was used for the insertion of the top of a drill. The lower panel contains several pairs of parallel lines, between which is the rude out line of a steamboat representing a revenue cutter. Plate 49, figs. 1 and 2, represents ivory implements, probably used in connection with harness. The former is decorated with a series of nucleated rings, all of one size and apparently made with the same instrument, while on the latter the rings are replaced by simple per forations, some of which are about one-eighth of an inch in depth and were subsequently filled with a hard gummy substance. The most of them have now become emptied of this material. GRAPHIC ART OF THE ESKIMOS. 833 The representation of the two snow shovels, tig. 40 a and fr, is to indicate the manner of attaching the ivory cutting edges upon which some of the engravings described are found. The wooden portion is generally made of spruce ; the several pieces comprising the shovel, as above shown, are secured together by means of sinew braid. They are used for all kinds of shoveling in the snow, and sometimes for excavat ing in snowdrifts, for making pitfalls for game, etc. The edge of the wood is fitted with a tongue into a groove in the top of the ivory edge, which is 1J inches deep. It is fastened on by wooden treenails at Fig. 40. SNOW SHOVELS. irregular intervals, and at one end, where the edge of the groove has been broken, by a stitch of black whalebone. * * * The whippings of sinew braid on the handle are to give a firm grip for the hands.1 Fig. 41 is a fanciful object " made solely for the market." The speci men measures 2.6 inches in length, and is made of an ivory head fitted into a handle of wood painted red. "The head was called a 'dog,' but it looks more like a bear. Small bits of wood are inlaid for the eyes, and the outline of the mouth is deeply incised and colored with red ocher, having bits of white ivory inlaid to represent the canine teeth. 'Ninth Annual Report, Bureau of Ethnology, 1887-88. 1892, p. 306, fig. 386, a and b. NAT MUS 95 53 834 REPORT OF NATIONAL MUSEUM, 1895. The ears, nostrils, vebrissa?, and hairs on the muzzle are indicated by blackened incisions. There is an ornamented collar round the neck, to which is joined a conventional pattern of triangular form on the throat and a somewhat similar pattern on the to^ of the head between the ears. Ornamentation of utensils is carried on to an almost unlimited degree, and the simple nucleated circle occurs very frequently, in fact in pre ference, in some portions of Alaska, to the arrowhead and herringbone designs. Fig. 41. DECORATED IV'QRY CARVING. Point Barrow. From Point Barrow we have a twister for working the sinew backing on bows, upon one side of which is a row of conspicuous nucleated rings.1 The specimen is of ivory, and measures 5.4 inches long. It is one of a pair, as two pieces constitute a set. In fig. 43 is represented a good example of a native dipper made of fossil ivory. The decoration along the top of the straight Hat handle and around the upper part of the outside of the bowl consists of nucleated circles. These were originally colored with red ocher, but are filled with dirt, while those upon the handle are, to a great extent, almost eifaced by wear. Fig. 42. TWISTER FOR WORKING SINEW BACKING OF BOW. Upon fig. 44, representing a knife with a handle made of reindeer antler, occur a number of lines of nucleated circles connected by short lines. The ornamentation extends horizontally along the top and sides, the incisions having originally been colored with red ocher, but at present contain more dirt than ocher.2 1 Ninth Annual Report Bureau of Ethnology, 1887-88. 2 Idem, p. 173, figs. 113 and 114. 1892. p. 292, fig. 286. Report of U. S National Museum, 1 895.— Hoffman. PLATE 53. Y DECORATED HUNTING HAT. KATMAI ISLAND, ALASKA. GRAPHIC ART OP THE ESKIMOS. 835 Another interesting specimen of workmanship, bearing ornamenta tion of the same character as the preceding, is shown in fig. 45, and consists of a chisel. The small blade has an oblique tip, not beveled to an edge, and is hafted in walrus ivory, yellow from age. The nucleated rings are colored with red ocher, and the two halves of the handle are fastened together by a stout wooden treenail and a stitch of whaiebone.1 Fig. 43. DIPPEE OF FOSSIL IVORY.2 The accompanying illustration of the foreshaft of a seal dart, fig. 46, is given, reproduced from the report on the natives of Point Barrow.3 The ornamentation is confined almost wholly to the nucleated circles, the only animate object portrayed being a deer. It is said that some of these shafts are highly ornamented, the figures being all incised and colored, some with ocher and some with soot. The specimen shown on plate 53 represents a decorated hunting hat from Katmai Island, Cooks Inlet, Alaska, and was collected by Mr. W. J. Fisher. Fig. 44. LARGE KNIFE WITH ORNAMENTED HANDLE. This variety of head covering is common to the natives of the islands of Kadiak and those occupied by the Aleuts. This specimen is made of wood shaved down until the average thickness is only about one- fourth of an inch, \vhile the height along the front, from the top to the bottom of the visor, is 9|^ inches. The color in chief is of white; the horizontal band about the bottom, flesh color; the remaining vertical stripes in front and about the top, and downward through the cresceut- 1 Ninth Annual Report Bureau of Ethnology, 1887-88. 1892, p. 173, iigs. 113 and 114. 2 Idem, fig. 42, p. 103. 3 Idem, p. 217, fig. 204. 836 REPORT OF NATIONAL MUSEUM, 1895. like figure, black. The interior spaces between the black lines just named are filled in with dark or dirty vermilion. Beads of dark blue, black, and white constitute portions of the decorations, while the projecting lines denote the application of sea- lioii bristles, over several of which beads have been slipped. The chief purpose of here representing the specimen is to show the place of attaching the decorated bone ornaments illus trated 011 plate 52. The strips of bone are but one-eighth of an inch in thickness, yet there are a number of per forations along the top curve and outer edge, in which were inserted bristles secured by small wooden pegs. The ornamental slab of bone attached to the right side of the hat is decorated with oblique grooves, about one-half an inch apart, between which are rows of dots or complete perforations. Upon the left side of the hat the bone slab was split from near the top to the bot tom, while the diagonal grooves were util ized to carry threads beneath the level of the outer surface to hold together the pieces from completely separating. Upon the upper part of the back of the hat are two arrowheaded ornaments, each If inches in length and projecting at right angles from the wooden base, each being decorated with nucleated rings, those on the central rows of four each measuring three-sixteenths inch in diameter, while the outer rows of three rings each are but one-eighth of an inch each. The two ends of the piece of which the hat is made are held together by means of a piece of wood 5£ inches long and less than an inch in width, placed horizontally at the back and bearing perforations along the central line, through which a sea lion's whisker has been passed in imitation of stitching, thus securing the ends with a per- fectness to almost resemble a continuous pi^ce of wood. The decorations vary according to the owner's skill and taste, and are used in canoe trips to protect the eyes from the glare of light and to permit more intent gazing for the marine animals sought. In plate 54 are three examples of Eskimo bone carv ing, the outer ones being charms and ornaments for attachment to the hunting hats, an illustration of which, together with the method of attachment, is shown in plate 53. The specimen at the left of the plate, as viewed by the reader, was collected by Mr. E. W. Nelson at Shaktolik. It is of bone, and is deco- Ki CHISEL, WITH DECO RATED HANDLE. 0 Fig. -16. SEAL DART. e EXPLANATION OF PLATE 54. 2 3 Fig. 1. HAT ORNAMENT. (Cat. No. 24703, V. S. X. M. St. Michaels. Collected by L. M. Turner.) Fig. 2. HAT ORNAMENT. (Cat. No. 5604, U. S. N. M. Premorska, Yukon River. Collected by Thomas Dennison. Fig. 3. HAT ORNAMENT. (Cat. No. 43808, U. S. N. M. Shaktolik. Collected by E. W. Nelson.) Report of U S. National Museum, 1 895.— Hoffman. PLATE 54. v S GRAPHIC ART OF THE ESKIMOS. 837 rated witli three round pieces connected above and below by permit ting the original bone to remain intact while the intervening portions were removed. The disks are each ornamented with five nucleated circles, the central spots being perforations of uniform diameter. Among these rings are three incised lines, darkened by dirt. The specimen at the right side of the plate is from St. Michaels, Norton Sound, and was collected by Mr. L. M. Turner. The specimen is also of bone, and the decorations are alike on either side. This also is a charm for use on hunting hats. The specimen in the center of the plate is of thin strip of bone, to be used for a similar purpose as the two preceding in ornamenting hunting hats. The specimen is marked " National Museum, No. 5604, Premorska, Yukon lliver," and was collected by Thomas Dennison. The nucleated circles upon the specimen have running upward straight lines, bifurcated at the top in imitation of one variety of the tree sym bol, while midway between the top and bottom are like projecting lines as at the top. At the lower extremity of the specimen is a simple form of decoration, consisting of a horizontal line from which short lines are projecting. Plate 7 represents three forms of ivory arrow and spear straighten- ers from three different localities and bearing different forms of decora tion. The specimen at the left side of the plate was collected by Mr. E. W. Nelson at Diomede Islands, a locality occupying a position mid way between the American and Asiatic continents. It measures 8J inches in extreme length. 1J inches across the widest part, and has an average thickness of five-eighths of an inch. The perforation with which the weapons to be straightened are held is at an angle of almost 45 degrees, as compared with the plane of length of the piece. The rear or convex part is plain, but upon the slightly concave front is an engraving of a reindeer. The lines seem to be partly filled in with dirt, the result of use, and not with black coloring matter placed there with intention to intensify the sketch. The slight depression which appears lower down upon the handle is intended to be used in drilling, the top of the drill being held vertical by being inserted in the cavity, while the opposite end may be intended for drilling holes, or for fire making. Another specimen is that at the right, also collected by Mr. Nelson, though at Cape Darby. This specimen, intended for similar service as the preceding, is shaped like the body of a deer with the doe's head at one end, while the eyes are two blue beads neatly inserted in holes. Like the preceding, some traces of hunting records are retained, the incisions in several places being almost obliterated by long continued use. At one place a native is represented as directing a gun toward a reindeer, while in front of the latter are several lines indicating that another specimen of the same species was to be engraved, but not completed. Almost beneath the hunter is a rectangular figure, to one 838 REPORT OF NATIONAL MUSEUM, 1895. end of which is attached a mammal, which, though relatively small, appears to represent a bear. Upon the opposite side of the specimen, which is brownish yellow from age, are a number of delicate lines, some of which clearly por tray habitations, a tree, two men, and a sledge with two dogs. Along the back of the specimen, representing the spine of the ani mal imitated, are two parallel lines extending backward toward the lozenge-shaped perforation used for straightening weapons. The per foration, as in the preceding example, is also cut through at an angle, though only about 12 or 15 degrees variance from the line of the longest diameter. The entire length is 4f inches. The middle specimen is from Nubriukhchuguluk, and was secured by Mr. Nelson. The form is greatly like that of a common steel car riage wrench. It is made of bone, and the four sides of the handle Fig. 47. TOOT, BAO OF WOLVERINE SKIN. bear longitudinal lines with lateral cuts, so placed as to resemble arrowheaded or >-shaped figures. The type of decoration being one of the oldest and simplest, will be found more fully treated and illustrated in connection with the subject of decoration and conventionalizing. The specimen is apparently a very old one, archreologically, and shows traces of long- continued or rough usage. Plate 49, fig. 6, shows an ornament for attachment to the cap used by Aleut hunters, as is shown in plate 53. This specimen was obtained at Kushunuk. The ornamentation consists of very strongly incised concentric rings, to the outer one of which are attached two parallel lines extending diagonally toward the base line, possibly with the intention of filling the blank triangular space, which would otherwise remain without markings. Many of the so-called drill bows in the collection of the National GRAPHIC ART OF THE ESKIMOS. 839 Museum are, in reality, handles for carrying tool and other bags. The Point Barrow collection contains four such bags, and as Mr. Murdoch's description is short and to the point, I can not do better than to quote him. He says : These bags are always made of skin with the hair out, and the skins of wolver ines' heads are the most desired for this purpose.1 [Fig. 47.] The bottom of the bag is a piece of short-haired brown deerskin, with the hair out, pierced across the middle. The sides and ends are made of the skins of four wolverine heads, without the lower jaw, cut off at the nape and spread out and sewed together side by side with the hair outside and noses up. One head comes to each end of the bag and each side, and the spaces between the noses are filled out with gussets of deerskin and wolverine skin. A narrow strip of the latter is sewed round the mouth of the bag. The handle is of walrus ivory, 144 inches long and about one-half inch square. There is a vertical hole through it one-half inch from each end, and at one end also a transverse hole between this and the tip. One end of the thong which fastens the handle to the bag is drawn through this hole and cut oft' close to the surface. The other end is brought over the handle and down through the vertical hole and made fast with two half stitches into a hole through the septum of the nose of the head at one end of the bag. The other end of the handle is fastened to the opposite nose in the same way, but the thong is secured in the hole by a simple knot in the end above. On one side of the handle is an unfinished incised pattern. Many of these bag handles are decorated on two, three, or even all four sides, when they are so fashioned, although some are convex above, as well as below, leaving but two sides upon which to engrave anything. Another variety of decorated handles are those used in small bags, meaning but one-quarter the size of the one above described. In addition to the incised ornamentation, both decorative and his torical or mythologic, many of the small bag handles are carved with whale flukes, bear heads, seal heads, and other objects, as will be found upon examining various illustrations in the present paper. DECOKATION OF ANIMAL CARVINGS. As in the preceding methods of decorating ornaments, various animal carvings, effigies, toys, etc., are also ornamented, the artistic efforts being directed, in many instances, to heighten the resemblance to the prototype selected. Thus are attempted the indication of spots, stripes, and scales upon animals and fish, the results being often very clever. Plate 5$* fig. 1, shows a specimen which was obtained at Sledge Island. It is a very ornamental handle for packages or bags, to either end of which is attached a short chain. One of these chains terminates in a seal head. The links were cut from the same piece as the handle itself. The separate attachments to which the package is fastened consist of two small swivels, or pins, perforated below assd terminating on top in carved seal heads, the ears, eyes, nostrils, and mouth of which are clearly indicated. The ornamentation upon the top of the handle consists of four small characters of the primary form of decoration 1 Ninth Annual Report Bureau of Ethnology, 1887-88. 1892, pp. 187, 188, fig. 166. 840 REPORT OF NATIONAL MUSEUM, 1895. previously referred to, and illustrated in plate 48, figs. 1 and 2, and plate 31, fig. 2. Plate 55, fig. 2, is another kantag handle, and was obtained at Norton Sound. It is very old, measures 6^ inches in length, and is ornamented upon the upper surface with two rows of seal heads in relief, each row consisting of fifteen heads, upon which are indicated the eyes. At either end are the relief figures of two whales flanking the perforations through which the cords are passed. Plate 32, fig. 3, represents two ear pendants. Very quaint faces are inclosed by circles from, which project four small circles or knobs with central indentations. The eyes, nose, and mouth very much resemble the face of a seal, the forehead being ornamented by small punctures. This closely resembles the carved ivory seal faces in fig. 0, in which the punctures are placed upon the cheeks to indicate the root of the whis kers. Above the eyes are markings to denote the eyebrows. In other respects the faces are very human. These faces resemble to some extent that shown in fig. 7, although it will be observed that in the latter the nostrils are very definitely outlined, while beneath the mouth are two pairs of descending lines to indicate tattoo marks. Plate 50, fig. 2, represents an effigy of a seal. The concentric circles are ornamented on the outer side with three short radiating lines and a longer base line in exact imitation of the common flower symbol which it is undoubtedly intended to represent. The central perforations made by the central pin of the tool used in making the symbols are closed with wooden blocks which secure small bunches of bristles. Altogether the specimen is very artistically made. Plate 56, fig. 3, shows a belt clasp. This represents a seal. Upon the side of the body is a large figure of concentric rings, to either side of which are three small sets. The central one is furthermore orna mented with four short radiating lines attached to the outer ring, while the small circles are decorated with short radiating lines, the upper one being represented by pairs, while the bottom line is represented by two lines 5 yet the figures appear to be the same as the conventional flower symbol, which may have been utilized in this instance to ornament the body of the animal, as in the preceding case. Plate 26, fig. 3, represents a seal drag from St. Michaels. The thong is made of rawhide, and the instrument is used for dragging dead seals. It is made of walrus ivory, and represents two seal heads, the eyes and nostrils being clearly indicated, not only by perforations, but in one case the perforations are filled with wooden pegs, and the other the eyes are filled with beads. Upon the throat of each seal is the eth'gy of a whale, very neatly carved, and partly detached to add to its relief. The perforation extends through the mouth of the seal at the right hand, for the admission of a noose or cord. Upon the upper surface of the drag concentric rings are seen. Plate 56, fig. 4, represents the ettigy of a seal, and was made to be EXPLANATION OF PLATE 55. Fig. 1. BAG HANDLE WITH CHAIN ENDS. (Cut. No. 44691, U. S. N. M. Sledge Island. Collected by E. "\V. Nelson.) Fig. 2. KANTAG HANDLE. (Cat. No. 24431, U. S. N. M. Norton Sound. Collected by L. M. Turner.) Fig. 3. KANTAG HANDLE. (Cat. No. 44690, F. S. N. M. Sledge Island. Collected by E. "W. Nelson.) Report of U. S. National Museum, 1895.— Hoffman. PLATE 55. EXPLANATION OF PLATE 56. 2 I 4 1 5 3 Fig. 1. EFFIGY OF OTTER. (Cat. Xo. 36477, TJ. S. X. M. Kushkunuk. Collected by E. W. Nelson.) Fig. 2. EFFIGY OF SEAL. (Cat, Xo. 55909, TJ. S. X. M. Briston Bay. Collected by E. L. McKay.) Fig. 3. EFFIGY OF OTTER. (Cat. Xo. 16140, U. S. X. M. Minivak Island. Collected by "W . H. Dall.) Fig. 4, EFFIGY OF SEAL. (Cat, Xo. 48642, V. S. X. M. Kotzebue Sound.) Fig. 5. EFFIGY OF WALRUS. (Cat. Xo. 72904, U. S. X. M. Xaslia^ak. Collected by E. L. McKay.) Report of U S. National Museum, 1895.— Hoffr PLATE 56. ORNAMENTED ANIMAL EFFIGIES. Report of U. S. National Museum, 1895.- Hoffman. PLATE 57. DECORATED ANIMAL FORMS. EXPLANATION OF PLATE 57. Fig. 1. EFFIGY OF FLOUNDER. (Cat. No. 43786, U. S. N. M. . Unalakleet. Collected by E. W. Nelson.) Fig. 2. CARVED FIGURES OF SEALS. (Cat. No. 35900, F. S. N. M. Aleutian Islands. Collected by L. M. Turner.) Fig. 3. EFFIGY OF SEAL. (Cat. No. 37610, F. S. N. M. Fualakleet. Collected by E. \Y. Nelson.) Fig. 4. DRAG HANDLE IN IMITATION OF SEAL. (Cat. No. 33292, U. S. N. M. Norton Sound. Collected by E. W. Nelson.) Fig. 5. BELUGA. (Cat. No. 33373, U. S. N. M. Norton Sound. Collected by E. AY. Nelson. ) Fig. 6. BEAVER. (Cat. No. 33356, V. S. N. M. Norton Sound. Collected by E. AY. Nelson.) Fig. 7. GRAYLING. (Cat. No. 33535, TT. S. N. M. Norton Sound. Collected by E. AY. Nelson.) Fig. 8. FISH. (Cat. No. 33535, U. S. N. M. Point Barrow. Collected by Lieut. P. H. Ray. IT. S. A.) GRAPHIC ART OF THE ESKIMOS. 841 used for attaching cord and for dragging seals. The ornamentation consists of sharply marked nucleated circles. The specimen is from Kotzebue Sound, and is considerably ruder and less artistic than the other specimens in this series. In plate 56, fig. 5, is reproduced the effigy of a walrus. The speci men was obtained at ISIashagak by Mr. E. L. McKay. As in figs. 2 and 3, the body is ornamented with concentric rings, to the outer of each of which are radiating lines, almost like the conventional flower symbol, and possibly intended for the same. Extending horizontally between these " circle markings77 are rows of small perforations, or drilled holes, simply to serve as ornaments. The peculiar marking upon the top of the head, which no doubt is intended to represent the wrinkles or folds of the skin, is also the rude symbol of the female genitals as drawn by the Eskimo, and of which one single instance is found in the collec tions of the National Museum, and is reproduced in fig. 48. Plate 41, fig. 1, is an ivory wedge used for splitting wal rus hide, The tool is made in imitation of an otter, the back and eyes having incised nucleated rings, with radii, which are connected by lines. The back bears, within the parallel space, some herringbone patterns similar to those on the figures shown on the same plate (41), figs. 3 and 4. Hate 54, fig. 1, represents a carving of an otter. The arti- cle served as an ornament, but for what special purpose is not known. As will be noted by reference to the illustration, the back from the neck to the base of the tail bears a deep incision, through which were made several perforations for attaching it by means of cords to some other object. Within the concentric circles are blue glass beads which have been inserted in the perforations left by the tool used in making the rings. The eyes are also provided with small glass beads. All the lines and markings have been filled in with some black coloring matter. Plate 57, fig. G, represents a beaver^ upon whose back is the outline of a smaller beaver. Over the whole are ornamental lines crossing one another at right angles. Comparison may be made with an effigy of a seal, upon whose back, transversely and in relief, is a young one; both parent and young being decorated, the former with concentric rings. Plate 26, fig. 2, represents a bag handle from the Lower Yukon. The specimen is almost semicircular, and measures 9 inches across from point to point, and 4 inches in height. The upper or convex side has high relief carvings representing bears' heads, nine in number, the eyes and nostrils being pronounced perforations, while upon the fore head of each is a sharply defined cross. Along the upper edge, corre sponding to the necks of the bears, are the deeply cut figures of six bears, and continued around to the inside of the handle, and con nected with the necks of three of the bears, are the figures of trees. 842 EEPORT OF NATIONAL MUSEUM, 1895. Immediately below the bears' heads are the figures of seventeen seals, to the back of each of which is a diagonal line to represent a harpoon, while transversely to the latter is shown the cord. These resemble a general attempt at ornamentation, the uniformity of drawing appear ing to substantiate this belief. Plate 57 represents a number of figures of animals and fish, all of them toys, with the exception of fig. 4, which is a drag handle. Fig. 1 represents a flounder, and is ornamented with delicate incisions and radiating lines for fins. Fig. 2 shows an ivory carving representing seals and ornamented with delicate punctures and incised lines. Fig. 3 is an effigy of a seal with the head portion plain while the back is ornamented with triangular marks as if made with single incisions of a three-cornered graver. Fig. 4, already referred to, represents a seal, the ornamentation consisting of curved parallel lines within which are short diagonal lines extending from each parallel line toward the other. Plate 57, fig. 5, represents the beluga, with very rude markings upon the back. The Kantag or bag handle shown in plate 58, fig. 3, is in imitation of a beluga whale, while the back of the neck also bears a rude outline of such a mammal. The shoulder bears a transverse bar within which is a meandering line extending from side to side of the animal; behind this are the figures of four u killer'1 whales, while near the rear end of the figure itself is the upper part of a bowhead whale shown with water spouting. Plate 55, fig. 3, represents a kantag handle from Sledge Island. The decoration consists of figures of four right whales carved transversely, two at either end. From the ends of the handle are suspended, in the shape of links, other whales, while upon the middle of the handle are engraved delicate outlines of two whales facing each other. Plate 41, fig. 6, represents a bodkin, the point consisting of part of a three-cornered tile while the other end terminates in a short chain. The last link represents a fish tail and is ornamented with nucleated circles, while the handle of the instrument bears a series of nucleated rings with short radiating lines, representing the flower symbol, as in plate 15, fig. 4, though larger. Plate 57, fig. 7, represents a grayling, though in reality the shape and pronounced decoration of the upper half of the body represents more nearly the salmon. It will be noticed that the median line is ornamented with other lateral incisions in imitation of the "fish trap" pattern, while the fins are very pronounced and consist of sharply marked serrations, resembling one half of the preceding pattern. Plate 57, fig. 8, represents a fish, the dorsal markings consisting of hatched lines. This probably represents a salmon. EXPLANATION OF PLATE 58. Fig. 1. HUNTING RECORD. (Cat, No. 89487, U. S. X. M. Point Barrow. Collected by Lieut. P. H. Ray, U. S. A.) Fig. 2. KANTAG HANDLE. (Cat. Xo. 43936, TJ. S. X. M. "Xubuiakbchugaluk." Collected by E. VT. Xelson.) Fig. 3. KANTAG HANDLE. (Cat. No. 43820. U.S. N.M. TJnalakleet. Collected by E. W. Xelson.) Fig. 4. KANTAG HANDLE. (Cat. Xo. 24429, U. S. X. M. St. Micbaels. Collected by L. M. Turner.) Fig. 5. BONE Box. (Cat. Xo. 129221, U. S. X. M. St. Michaels. Collected by L. M. Turner.) Report of U. S. National Museum, 1895. — Hoffman. PLATE 58. DECORATED UTENSILS. GRAPHIC ART OF THE ESKIMOS. 843 PICTOGRAPHS OF DOMESTIC AVOCATIONS. The greater number of the records appear to come under this general caption, together with which, some hunting scenes are included. The various forms of habitations used by the Eskimo are also here referred to, rather than in the previous chapters in connection with the geo graphic location and environment of the several subtribes or settle ments, because comparisons may here be made between the forms or outlines of houses, sledges, and possibly also canoes, to show the degree of fidelity of reproduction of specific peculiarities of either of the last named. HABITATIONS AND CONVEYANCE. Iii his reference to the dwellings of the Eskimo generally, Mr. Petroff1 speaks of the winter and summer habitations as being quite distinct from one another. The former being underground to a cer tain extent, having a mound- shaped appear ance with a ridge projecting for some distance, beneath which is the entrance, is closely imi tated in the pictographs by the natives. The smoke holes are in the top of the dome, or near the center, for the escape of the smoke. The common houses, on the other hand, are inclosed Fig. 49. above ground, and partake of the nature of a "WELLING FROM CHUCKOHE YEAR , .., , . , RECORD. log structure covered with skins, and some times of an ordinary tent-shaped shelter. The fire is built not within the tent, but before the entrance. This feature is also carefully observed in the etchings made by the native artist, and numerous examples are given in illustration thereof. A larger building, known as the kashqa, is found in almost every village, built after the pattern of the winter habitation. A raised platform runs all around the interior for seating the visitors, and on some of the larger kashqas several such tiers have been observed. These structures are generally used for ceremonial observances. An illustration of the ground plan of such an inclosure, made by a native, is reproduced in fig. 49. In fig. 49 is the outline of a dwelling reproduced from plate 81, which constitutes a Chuckche a year record." The original was obtained by Baron Nordenskiold in Siberia, and is now in the possession of a gentleman in England. The pictographs were drawn upon a piece of walrus hide. In the interior, at the left, is shown the ridge intended for seats or sleeping places. The occupant seated upon it appears to be gesticu lating and in conversation with his companions. A similar drawing in fig. 50 shows this seat also. This sketch is 1 Tenth Census of the United States, VIII, p.128. 844 REPORT OF NATIONAL MUSEUM, 1895. from a pipe from Norton Sound. A drummer occupies the seat, -while his companions are dancing. On the outside is shown one man at work chopping wood, while two of his companions are indicated as bringing in a piece of timber for splitting. This structure is al most a counterpart of Siberia. WINTER HABITATION, WITH WOOD CHOPPER AT WORK. In fig. ^1 are repre sented two forms, almost identical, of structures made for white men, to serve as trading establishments as well as sleeping quarters. The outline in some pictographs of traders possesses one more nearly like a one- story log house. On one of the ivory bodkins shown in plate 24, fig. 5, the triangular figures with diagonal projecting lines on either side near the top are outlines of summer habitations, the utilization of which for apparently purely decorative purposes being probably prompted by the regular and angular forms, straight lines being preferable and more desirable for such ornamental engraving, as curved lines are foreign to the primitive straight-line system, largely attributable to the kind of instruments available and the generally difficult nature of the substance to be worked or engraved. In plate 59, fig. 4, is another and ruder form of indicating the same style of summer habitation, the variants in plate 59, fig. 2, being also more explanatory in detail, and of interest as indicating a departure in engraving from the original type of a tent shelter, the light lines diverging from near the top denoting the poles, over which some skins or imported fabrics have been thrown. In plate (>() are a number of illustrations of native pursuits. In the fifth line, or No. 5, are shown some delicately engraved figures. Nos. 1, 3, 5, 7, 9, 10, and 12 represent habitations of several kinds, of each of which the village is composed. The occupant at the entrance to No. 1 is employed in suspending from a pole — to the left of the house No. 3 — some meat, probably fish. Festoons of the same kind of food, for the purpose of drying, are sus pended from the food racks shown in Nos. 4, 0, and 8 and on the horizontal pole resting on the roofs of the two houses at Nos. 9 and 10. A granary WHITE MEN S DWELLINGS. is also indicated in No. 8, the stair way beneath being plainly shown. The occupants of the houses Nos. 9 and 10 are also occupied with domestic duties. Fig. 11 represents the boat, placed upon a rack so as to dry the skin covering. The summer habitation (No. 12) has an open door at one side, and to EXPLANATION OF PLATE 59. Fig. 1. DRILL Bow. (Cat, Xo. 43930, U. S. X. M. Xubriakh. Collected by E. W. Xolson.) Fig. 2. DRILL Bow. (Cat. No. 43360, U. S. N. M. Cape Prince of Wales. Collected by E. W. Xelson.) Fig. 3. DRILL Bow. (Cat. -So. 33186, F. S. X. M. Norton Sound. Collected by E. W. Xelson.) Fig. 4. DRILL Bow. (Cat. No. 33187, V. S. N. M. Norton Sound. Collected by E. W. Xelson.) Report of U. S. National Museum, 1 895 .- Hoffman. PLATE 59. Report of U, S. National Museum, 1895.— Hoffman. 1 234567 89 10 11 10 11 123 45 10 RECORDS OF DOME PLATE 60. I—* I * i~i 1 J2 13 14 IS 16 17 18 19 80 21 iB S3 34 2S 10 11 12 13 ifltfHH-'. 12 13 14 15 16 AVOCATIONS. GRAPHIC ART OF THE ESKIMOS. 845 the right is seated one of the household (No. 13) employed in stirring some food in a kettle. The smoke (No. 14) is rising to a considerable height, and another pot or kettle is seen to the right. The native shown in No. 1.5 is greatly excited, having both hands, with extended fingers, thrown upward, the cause being seen in an old man drag ging ashore a walrus, which is being harpooned by No. 17. The old age of the native (No. 1(5) is indicated by his walking with a staff, this method of portraying an old person being common in many portions of the world, the Egyptian hieroglyphs abounding in characters almost identical to the one here shown. The walrus (No. 19) is also shown as having been captured, the native in No- 21 having con siderable dilliculty in dragging it ashore, as he is down on one knee tugging at the harpoon line, while a companion is observed near him (No. 22), aiding him. Fig. 20 is the outline of a doe, which was also secured. No. 23 denotes a dog, while Nos. 24 and 25 indicate two other natives. An excellent illustration of the different methods of portraying canoes and houses is given in plate 60, seventh line, the whole scene denoting a native village situated near the water. Upon the canoe (No. 21) is a u shaman stick," or votive offering, erected to the memory of the one who owned the scaffold, and perhaps canoe as well. Another offering of similar purport is erected upon the roof of the house No. 10. One showing the same fan-like top will be found in connection with mortuary customs. At No. 4 the native is putting away something resembling a pole, while at No. G the two men seem to be engaged in conversation con cerning the canoe, the one nearest to it having his right hand pointing toward or touching it. The winter habitations, with their entrances, are portrayed in a manner different from the usual custom. The entrance is very pro jecting, and apparently overhanging. Smoke is seen issuing from the apex, chimney, or funnel containing a smoke hole, on the house No. 12. A food scaffold, known by the vertical poles projecting considerably above the transverse body, is shown in No. 33, while beyond is what appears to be another scaffold. The erosion to which the ivory has been subjected has obliterated all other parts of the figure. A very common figure is that resembling an oblong box placed upon upright poles, in reality a scaffold, upon which is built a storehouse for the protection against noxious animals. These figures are usually placed near the representation of the dome- shaped winter habitation, as each family has such a storehouse. Other scaffold-like structures also occur, and frequently the kaiak or umiak, placed upon the scaffold for drying, may be mistaken for one of these, which, in reality, are the resting place of some human body. This practice is not common everywhere, however. 846 REPORT OF NATIONAL MUSEUM, 1895. Iii some ethnographic " Memoranda concerning the arctic Eskimos in Alaska and Siberia," by Mr. John W. Kelly,1 an interpreter, says: The Eskimo oomeaks (open boats) have a framework of spruce covered with split walrus hides, sea-lion skins, or white grampus skins. The latter is not used if sea- lion or walrus skins are obtainable, as it is rather thin. The Bering Strait and uorth- coast boats are generally 24 feet long with 5 feet beam, and have a carrying capacity of 15 persons and 500 pounds of freight. Those of the Kotzebue Sound average about 35 feet in length and 6 feet in width. They have a carrying capacity of 20 persons and 1,000 pounds of freight, or 3,000 pounds of merchandise and a crew of 6 men. There are exceptional boats built on the sound that are as much as 42 feet over all. In crossing Kotzebue Sound or Bering Strait the natives sew on bulwarks of sea-lion skins a foot high to keep the water from dashing in. Mr. Ivan Petroff,2 who spent a number of years in various portions of Alaska, in an official capacity, says of the vessels of the Eskimo : All the Eskimo tribes, without exception, manufacture and use the skin canoe known as the kaiak, identical with that of the eastern or Greenland Eskimo ; and this feature is so distinctive and exclusive that a tribal name might justly be based upon it should the necessity arise for another. At present I know of only one instance where an intermixture of the Innuit with another tribe has taken place Fig. 52. MODEL KAIAK AND DOUBLE PADDLE, POINT BARROW. under such circumstances that the foreign element has gained the upper hand, and there they have already abandoned the manufacture of the kaiak and apparently forgotten the art of its construction. I refer to the Oughalakhmute. who have mixed with the Thlinket. The open skin boat, the oomiak, or woman's boat, also known as Mdar, is used by certain tribes on the north coast of Asia; but the kaiak proper is only found among the Eskimo. When the Russians first observed this craft, they applied to it the name of bidarka, a diminutive of bidar, a Kamchatkan term for an open skin boat. This term is now used throughout Alaska wherever Russian influence once predominated, and the same word has been incorporated into several Eskimo dialects in the form of Mdali, which is, however, applied only to two and three hatch kaiaks — a variety formerly known only on the Aleutian Islands, and adopted by the Russians for greater con venience in hunting and traveling. From Bristol Bay westward and northward the kaiak and oomiak only are used. The accompanying illustration serves to show the general form of the kaiak, so often figured by the natives in their hunting record.3 Although fig. 52 is from the most northern portion of Alaska, the generic type of construction is practically the same among all the 1 Bureau of Education, Circular of Information No. 2, 1890, Washington, 1890, p. 27. 2 Tenth Census of the United States, VIII, 1884 (Alaska, etc.), pp. 124, 125. 3 Ninth Annual Report Bureau of Ethnology, 1887-88. 1892, fig. 341, p. 224. GRAPHIC ART OF THE ESKIMOS, 847 Eskimo. The double paddle is so often used in portraying signals on ivory that its representation here will be of interest in showing how accurately the native artist portrays even the tapering form of the blades. Fig. 53. KAIAK. Fig. 54. KAIAKS. On plate 27 is shown an illustration of a native kaiak model. Several forms of the native portrayal of kaiaks are shown in figs. 53 and 54. The first is a simple outline and incomplete, and an occupant was evidently intended to be portrayed, as all the remaining portion of the record from which it was selected was complete in every detail. The two illustrations in fig. 54 are less accurate in outline, the latter being a simple group of scratches. The specimen shown in fig. 55 is very 'accurately drawn, the harpoon and seal float being shown upon the kaiak immediately behind the hunters. The representation of large boats used for traveling, hunting, and fishing, for the propulsion of which boat oars and sails may be used, is of such frequent occurrence in the records of the Eskimo, that a reference to the vessel and its actual appearance is deemed appropriate. This large skin-covered open boat is in general use by the natives of Greenland and Alaska, as well as by the Aleuts and some Siberian tribes. The vessel is designated as the umiak, by the Point Barrow natives, and some of the Aigaluxamint, of the southern coast, have used this name as well as the term baidarka. Eig. 50 represents a model of an umiak from Utkiavwin, U. S. N. M., No. 56563,1 and seems to illustrate the general form so closely followed in the engravings by native artists. The natives sit with the face toward the bow, using the paddle and not an oar. The women are Fig. 55. KAIAK. Fig. 56. MODEL OF UMIAK. said by Egede, in his u Greenland" (p. Ill), to sit with the face toward the stern, "rowing with long oars." Mr. Murdoch2 remarks with refer ence to this that " though the women do a great share of the work of 1 From the Ninth Annual Report Bureau of Ethnology, 1887-88, 1892, fig. 345", p. 340. 2 Idem, p. 335. 848 REPORT OF NATIONAL MUSEUM, 1895. navigating the boat when a single family or a small party is making a journey, it is by no means considered a woman's boat, as appears to be the case among the Greenlanders and the eastern Eskimo generally. On the contrary, women are not admitted into the regularly organized whaling crews, unless the umialik can not procure men enough, and in the < scratch7 crews assembled for walrus hunting or sealing there are usually at least as many men as women, and the men work as hard as the women." This is mentioned to explain Fi£-57- the reason why the female fig ure is absent in records of hunt ing and fishing trips, although present in other scenes, such as domestic and probably ceremonial records. Plate 28 represents an illustration of a native model from Alaska. A native drawing of the umiak with four hunters is shown in fig. 57. The lines are heavily incised, and blackened. The men are without paddles, which may have been an oversight on the part of the artist. The spear or harpoon rest is also shown, as well as the weapon itself. -^ l\\ > _ A less carefully drawn illustration of an umiak :^^"^™'"l^— "i"l~ii= is shown in fig. 58. The three occupants are UMIAK. without paddles. Still ruder form is shown m fig. 59, where an attempt at throwing a harpoon at a whale is also shown. In fig. 60 is reproduced a still ruder drawing of an umiak, no hunter being shown, yet the record in which this vessel occurs is of a class, or in that condition of completeness, that should also have present the occupant. A better illustration of an umiak, containing five people, is shown in fig. 61. The lines are lightly incised. A neatly executed sketch of an umiak is illustrated in fig. 62. The bow is longer than usual, and also projects from the water. Two varieties ,«^&r^«. iiiyi i IBM f^> of sledges are F\ ^*x ....^*^Si»^~ portrayed in pic- few1 f| I f 'iNgjjjP1 _ W*T^ VVXfry^ tographs made •'-*- ''"* by the Eskimo, one of them being UMIAK -"URSUING WHALE. the railed sledge (fig. 63), used for carrying loads of articles belonging to camp equipage, etc., while the other pertains to a low flat sledge, without rails (fig. 64),1 and used for carrying bulky objects, such as game, frozen seals, and, as Mr. Murdoch informs us, for transporting the umiak across the land or solid ice. Both are made without nails, the different parts being mortised together and lashed securely with stitches of thong and whalebone. 1 Ninth Annual Report of Bureau of Ethnology, 1887-88, 1892, p. 353. GRAPHIC ART OF THE ESKIMOS. 849 The runners are made to slide easily by fitting to them shoes of clear ice as long as the runners themselves, " fully 1 foot high by G inches thick. The sledge, with these ice runners, is estimated to weigh, even when unloaded, upward of 200 or 300 pounds; but it appears that the smoothness of running more than counterbalances the extra weight."1 The flat sledge is used also for ordinary travel as well as freight, and an illustration of one with ivory runners is shown in fig. 65. The difference between these varieties are often very neatly portrayed, as well as other accessories pertaining thereto. Doctor Dall furnishes several illustra tions of sledges,2 one from Norton Sound being like the railed sledge of Point Barrow. Some difference, however, is apparent, and this may naturally influence the portrayal of the vehicle in engravings on ivory. The same author also furnishes the illustration of a Hudson Bay sledge in which the runners are absent, the entire base consisting of birch boards, three of which are laid side by side and secured, and about 12 feet long. These are cut thin at one end and turned over like a tobog gan, held down with rawhide, and inside the curve, says Doctor Dall, the voyageur carries his kettle. The railed sledge of the Yukon is some- UMIAK. what different from the two forms already mentioned, the upper rail rising from the front toward the back, and resembling very much a native sketch of a dog sledge, as shown in fig. 60. The hunter seems to be seated upon the sledge, seeming to indicate that he has no other loads and that the rear projection on the sledge is the high framework shown in the Yukon type. In fig. 67 is a native reproduction of a dog sledge made somewhat after the type of the Point Barrow type, though no such drawings have been found in Point Barrow records. The men are both energetically working to aid the dog in mov- Fig- 62- ing the sledge, which seems loaded. The UMIAK> dog is well portrayed, the ragged outline no doubt being intended to denote the shaggy coat of hair. In his reference to the Eskimo of Melville Peninsula, Captain Parry says ::! The distance to which these people extend their inland immigrations and the extent of coast of which they possess a personal knowledge are really very remark able. Of these we could at the time of our first intercourse form no correct judgment, from our uncertainty as to the length of what they call a seenik (sleep), or one day's 1 Ninth Annual Report of Bureau of Ethnology, 1887-88, 1892, p. 354. 2 Alaska and its Resources, Boston. 1870, p. 421. 3 Journal of a Voyage, etc., etc., London: 1821, p. 165. NAT MUS 95 54 850 REPORT OF NATIONAL MUSEUM, 1895. journey, by which alone they could describe to us, with the help of their imperfect arithmetic, the distance from one place to another. But our subsequent knowledge of the coast has cleared up much of this difficulty, affording the means of applying to their hydrographical sketches a tolerably accurate scale for those parts which we have not hitherto visited. Fig. 63. RAILED SLEDCiE. POINT BARROW. In the following description tents, habitations, and boats are illus trated, as also some domestic avocations, as might be expected in the representation of village life. Quite an interesting result is produced in plate 60, fig. 6, or sixth line, the drawing representing the outlines of the houses so that the inte rior, with the occupants variously engaged, is exposed to view. Fig. 64. FLAT SLEDGE. POINT BARROW. The end of the record at No. 1 denotes a partial turn, indicating the intention of the owner of the record to at some future time continue the picto graphs in that direction to the next face of the drill bow. No. 1 is 011 or at his empty storehouse, the framework only being drawn. Fig. 65. SMALL SLEDGE WITH IVORY RUNNERS. POINT BARROW. No. 2 is a rack, with food or goods on top, while at No. 3 is the first house of the village — the latter being indicated by the several habita tions. One of the occupants is seated upon an elevated ledge or seat, while another is seated on the floor before it; the other inmates are GRAPHIC ART OF THE ESKIMOS. 851 either seated or moving about as indicated. Upon the roof is a votive offering, a bird-shaped "shainau stick," the import of which is else where described in detail. Still more of the family are seen at the entrance to the house, one person within, while two are upon the roof. In the storehouse, or rather beneath the goods, No. 5, is visible a dog fight, the animals being drawn in the attitude of springing at one another; at the right is the owner occupied in removing some article from the scaffold. In the habitation No. 6, with its entrance No. 7, are a number of persons in various atti- SLEDGE. tudes. One is reclining upon the elevated shelf used for both seat and bed; while upon the floor are three seated at a table, those behind it being represented or partly hidden, the upper parts of their bodies only rising above the board. A number of other individuals are shown occupied in other ways. The scaffold at No. 8 supporting the goods, as usually represented, has also a horizontal pole for drying meat, several pieces thereof being designated, while two persons beneath seem to be touching hands or handing some article. The habitation No. 0, and its entrance No. 10, also indicates a num ber of the inmates. One in particular is making gestures to another; between the two there is an object resembling a person as if wrapped in a blanket. Smoke is seen issuing from the smoke hole, while above it is what may be here intended the evil spirit of a dead person return ing to take possession of a sick one. The Eskimo generally believe in the return of the soul of the dead, and especially does the disembodied spirit hover around the house of the dead for three days, in the endeavor to return and to possess itself of a living body. In the purpose of guarding against this evil, the inmates make certain shamanistic preparations, prompted by the local shaman. The smoke issuing from the mouth of the smoke hole leaves open the way for the return of the evil spirit and his companion spirit, seen approaching from above the house. No. 11 represents a scaffold for the storage of food, and a man is seen in the act of reaching toward the black spot denoting reindeer or venison house, as the shape indicates. No. 12 is another interesting in terior, one native being seated upon ~~^~7"(r7 the ledge while a vessel is seen near SLEDGE his feet. Another man is reaching toward something near the ceiling, while the rest of the occupants of the room are seated, one of them reaching up toward the standing figure as in the act of asking for, or supplication. Smoke is issuing from the smoke hole, while some one is occupied near the fire beneath it. A ladder is placed against the out side of the entrance to the house, and a man is seen part way up near another person who seems to be occupied in gesture and conversation. 852 REPORT OF NATIONAL MUSEUM, 3895. Another man is seen carrying a snowshoe-like object, probably of rein deer or deer, to the summit of the house roof to dry. The pole, with crosspiece, situated near the head of the ladder, is a votive offering erected there by one of the inmates. No. 13 is a sledge, upon which is seated the driver using his whip. The dog is urged forward, and another native, one of the three, No. 14, who had been off' trading for skins, is hailing a boat seen coming to the shore with the gunwale parallel therewith, pre sen ting another good instance of foreshortening of » the object. The man behind the sledge is walking Ei£- 68- along with his staff7 elevated. The in verted figure above seems to belong to a series attempted on that side of the panel of the bow drill, as another figure, having no apparent connection with the completed record, occurs also at a point over the three wading boatmen following the baidarka, No. 1G, which is being pushed ashore. No. 17 is also in shallow water and appears to start away as the oarsmen are seated within with their arms extended grasping the paddle. An interesting and cleverly drawn native sketch of a man mending a seine net is shown in fig. CS. The attitude is lifelike, while in one hand is portrayed a short line denoting the shuttle. A man splitting wood is shown in the accompanying illustration, fig. G9. He has a heavy mallet or some other like utensil raised above his head, and in the act of driving wedges to split a piece of wood. Plate 59, fig. 4, represents an old stained specimen of ivory from Norton Sound. The engravings upon this are rather deep, and are filled Avith deep brown coloring matter. The semicircular objects to the right of the middle, some being shown in rather an angular form toward the left of the middle, represent habitations. These characters appear in a more conventionalized form and for decorative purposes in plate U4, fig. 5. The chief interest attached to this record is in the variety of forms of habitations, thus enabling one to perceive the differences in the variants placed in consecutive order. The two extremes are very unlike, and would scarcely be recognized as portraying a similar idea, but for the intervening examples showing the evolution in the « execution of form. Fis- 69> The two elongated figures to the right of the habi tations denote inverted kaiaks upon racks for drying. The human fig ures, one of whom is shown seated, represent natives supplicating a shaman for aid. The figure has both arms extended, as in making the gesture for supplication, while the shaman, standing at the left, has his arms and hands uplifted, as in the gesture illustrated in several figures relating to shamanistic ceremonials, termed by the natives as " agitating GRAPHIC ART OF THE ESKIMOS. 853 the air" in order to call to him his tutelary guardian, who is to aid the shaman in success, in order to comply with the request made of him. Within the dome-shaped habitation nearest the shaman is an accom paniment of tambourine drumming, while two assistants are also engaged in invocation. To the right of the supplicant is a repetition of his own form, indi cating his harpooning a seal or other animal, while still further toward the end of the rod is an unfinished figure of a man in a kaiak — probably the supplicant in another exploit made possible through the shaman's assistance. Turning the bow around so as to bring the convexity beneath, there appears at the left a linear outline of some undetermined animal, near to which is an umiak containing three men. They ar# approaching a settlement indicated by two forms of habitations, a dome-shaped or permanent one and a triangular or temporary shelter, the two denot ing both kinds constituting the village. Two racks are visible, a single one from which are suspended numer ous stands of meat or fish, and a double one, similarly filled with food. The rude outline of a native at the right is nearest to a boat lying upon its side, beyond which are the outlines of four waterfowl. Some whales are next portrayed. The one with the nukes above the water, and the spray thrown or forced from the spout holes, appears to have thrown from the water the vessel containing four natives. Their vessel is curved, making a slight arch, and the exposed 'end seems broken open. The whale beyond this is harpooned by a native in a kaiak; the inflated float is still upon the kaiak behind him, indicating that not much line has run out, as the whale, also, is headed to ward the hunter. The whale to the right of the preceding character has the tail up in the air, while some water is indicated as issuing from the spout hole. In front of this is an umiak with four hunters making for a herd of wal ruses on and about a ledge of rocks. The rocks are indicated by the short markings between the two par allel lines denoting them, the markings consisting of the pattern frequently mentioned herein as fish trap, and of which numerous illus trations are given, as on plate 31, fig. 2, and plate 36, fig. 2, and on the accompanying plate 59, fig. 3. This indication of rock is of interest in its differentiation from ice, as a solid mass, the latter being drawn only to show its outline as a floe, the interior part of the space being left blank to denote its colorless or transparent condition. On the same plate, plate 50, in fig. 2, is shown a floe upon which seals are taking refuge. The speaker, or rather he of whom the record treats, in plate GO, fig. 8, is represented at No. 1. His right hand is elevated as when used in gesticulating, while his left points down toward the foot of the scaffold upon which is a repository for food. The two scaffolds at No. 2 no 854 REPORT OF NATIONAL MUSEUM, 1895. doubt belong to him, and form part of the village indicated by the several habitations arid storehouses. No. 3 is a dome-shaped winter habitation, about which two people are occupied. No. 4 is another granary or food repository, while No. 5 represents a second house upon which two people are talking very animatedly. The one at the right seems to be requesting, or suppli cating, both hands being directed upward toward the one spoken to. No. G is the storage place for food and other articles, while in No. 7 we find another dome shaped winter house with the inmates in view. A third person is standing before the door, while under the accompany ing scaffold a fourth individual is visible. No. 9 represents a winter house, and smoke is rising from the place where the smoke hole is usually found. The smoke looks straight and rigid, resembling a tree. The two people seem to be occupied in carry ing something. The illustration at No. 10 is a scaffold for the safe loca tion of food, and Nos. 11, 13, and 14 are similar structures, whereas No. 12 is a warehouse, probably of a white trader. No. 15 is a winter house, though apparently deserted. The specimen represented in plate 61 is a pipe bearing delicate and elaborate etchings of a variety of subjects. The object is made of wal rus ivory, measuring 13J inches in length, If inches in height near the insertion of the bowl, and slightly less than 1 inch in transverse diame ter at the same point. The perforation at the mouthpiece is one-eighth of an inch in diameter. The bowl is of block tin, while the top of the bowl is lined with a thin sheet of perforated, ornamented brass. The caliber of the bowl is only one-fourth of au inch in diameter, and seems to have been made in imitation of a Chinese pipe bowl and possibly for the same style of smoking. The pipes, like others of like form from the same locality, at St. Micliael'sf?], have been said to have been made for sale to traders. That may be, and does not in the least impair the interest and value of the pictographic records portrayed upon the several sides. Though the pipes may be shaped, to a limited extent, in imitation of foreign shapes, yet the pictography remains Eskimo, made by an Eskimo, and to portray Eskimo scenes and avocations. ^The upper figure of the pipe presents the characters on the left side, and beginning at the extreme left is observed a vertical ornamental bar or border, similar to those drawn along the lower half of the pipe stem, though in the latter space they are arranged diagonally, and made to separate ornaments consisting of concentric rings, ornaments to which special reference is made elsewhere. The first group consists of two persons engaged in twisting a cord, though the suggestion has been made that they appear to be engaged in a pastime which consists in making string figures, similar to the American boy's " cat's cradle," etc. The figure next to the right repre sents the end view of a building having two rooms, in the larger of Report of U. S National Museum, 1 895. — Hoffman. PLATE 61. GRAPHIC ART OF THE ESKIMOS. 855 which appear two persons seated playing on the tambourine drum, while a third person is depicted in the graceful attitude of dancing "a la Ainericaine." The fourth figure is crouching or kneeling before the hearth, probably to light a fire, as none appears to be there, as indicated by the absence of smoke. The presence of fire is generally indicated by the portrayal of short lines adhering to a vertical one, to denote smoke. Upon the outside of the large room is a low structure containing the second room. The face of the sun is painted upon the wall, in reference to the return of the sun and warm w^eather — to spring ; and the drops of water, caused by the melting sun or ice upon the roof, are shown dropping from a short wooden carved spout. The carving seems to have been made in imitation of similar ones found among the T'hlinkit and Haida Indians. The above dance and portrayal of the sun refers to highly important and complicated ceremonials observed at the return of the sun from the south. The illustration reaching almost across the ivory space, that resem bling light lines in imitation of a ladder, is a fish weir, placed in streams for catching salmon, and one of these fish is actually shown approaching the opening leading to the iuclosure in which the game is secured. An otter is also drawn approaching the fish trap, denoting the destructive habits of the mammal in robbing the trap of fish thus secured and unable to escape. The rectangular figure immediately behind the otter appears to be a view of the top of a boat landing, facing tire water, and upon which are two persons, one seated near a handled vessel — probably a bucket or basket — while the other is drawn in the attitude of spearing fish, the entire sketch seeming to have reference to another method of secur ing fish for food. Immediately across the ivory space, and along the opposite base line, are observable four persons, each drumming upon his medicine drum and approaching a dome-shaped habitation, within which are portrayed two persons, crawling forward on hands and knees to receive from a seated figure some mysterious or magic substance. This is a shaman- istic ceremony, in which some charmed medicines are secured, and by means of which some special success is expected in the chase. The character in the middle of the ivory rod, nearest to the dome- shaped house, is a spout of water, at the narrow end of which is a trans verse line, with a shorter one within the inclosure. These two lines denote the logs of wood employed by the beaver in building a dam. The beaver is shown swimming toward a dark spot, which seems to consist of a series of short scratches, and which denotes the deposit of twigs for food, while the rounded dark disk upon the shore line repre sents the beaver's house. The animal is accurately portrayed, the tail being especially conspicuous to give specific indication as to the species of animal intended to be shown. In the next figure is represented one method of securing deer. The 856 REPORT OF NATIONAL MUSEUM, 1895. iii closure, within which three deer are shown, is a pen made for securing such game, the fourth animal to enter having been driven forward from the open country and guided toward the entrance by the erection of low brush fences, as will be observed, extending diagonally toward it from the base lines at either margin of the ivory. The two hunters, armed with bow and arrow, are seen running toward the inclosure to shoot the deer. Beyond the rear fence or inclosure of the deep pen are two pine trees. Upon one is perched a bird, while half-way up the other is a small mam mal. The latter is not drawn in imitation of the porcupine — as else where portrayed — and it may be intended to represent the marten. The next figure is a black bear, erect upon his hind feet and being- attacked by a hunter armed with a spear. The next scene is a snare trap, which has caught and suspended in the air a small animal. The trap is surrounded by vertical sticks so arranged about the baited part that, to cause it to be sprung, the ani mal can reach the bait only at one open space. The noose is arranged so as to catch the animal about the neck, in imitation of the American boy's rabbit snare. The next trap shown consists of a log, or sapling, resting upon a short upright piece, so that when the bait is touched the log will fall and secure, by crushing, the animal so unfortunate as to enter. The top is weighted by extra pieces of timber and sometimes stones, secured so as not to fall off. A small animal is seen approaching the trap from one side, while from the other is seen approaching a bear; the idea being that this arrangement or kind of trap is employed in securing both kinds of animals. The small deer and men shown along the oppo site base line represent two hunters disguised in wolf skins so as to more readily approach within shooting distance of the reindeer, while the third has gone forward and shot an arrow, which is seen in its flight- approaching an animal. The last figure of the group is a fallen reindeer upon which one bird of prey has alighted and another is seen descending. The feathers in the outstretched wings are clearly indicated and the attitude is very lifelike. The upper ridge of the right side of the pipestem also bears some interesting scenes. That on the section nearest the bowl contains two human figures, one representing a native in the attitude of kicking a ball, his leg being still in the air, while the other person is portrayed as reaching out his hands as if to catch the ball as it descends. The illustration next toward the left represents a habitation with two rooms, in the larger of which is a horizontal line, midway between the floor and ceiling, denoting the shelf used as seats and for sleeping. Upon this shelf are seven persons, five of whom are represented as drum ming, using the ordinary tambourine for the purpose. Beneath are five characters, four being shamans, while the fifth, a GRAPHIC ART OF THE ESKIMOS. 857 smaller one, shown as horizontal in the air, is the demon which has been expelled from a sick man. The smaller apartment shows one person with a dish, or pan, probably preparing food for the participants in the ceremonials conducted within the adjoining room. Outside of the house is a man portrayed in the act of splitting wood, the log beneath his feet having two wedges projecting which are being driven in to split the timber. A second individual is pushing at his dog sledge, he having returned with a load, as may be observed, the logs still in position at the front of the sledge. The figure next to the preceding is seated upon the ground and apparently mending his net. The characters above the wood chopper and the returning traveler are drawn upon the opposing base line. The figure in the attitude of running is going to the assistance of one who has caught a seal, the latter resisting capture by the use of his flippers, which are drawn extended from the body to denote their use in the present instance. The ring indicates a hole in the ice, while the bar held in the hands is the piece of wood to which the line is secured. The illustration of fishing through the ice is shown in several records, but in none more graphically than in the figure nearest to the seal hunter above referred to. The native is here shown seated, and before him is a fish lying attached to a short line by which it is secured, while with the other hand the fisherman is holding his rod, the line passing through a hole, and beneath are shown the sinker and hook, while a fish is seen approaching to take hold. The representation of the trans parency of the ice was no doubt beyond the ability of the artist, and he therefore very wisely made no attempt at any indication of a surface line. By turning over the pipestem the record may be renewed at the fig ure of the umiak, containing five hunters, four of whom are using the paddles, whilst the fifth is throwing a harpoon toward a large walrus. This creature has already been harpooned by a hunter in a kaiak, who is holding up one hand with his fingers spread, while in the other hand he holds his paddle. Upon the stern of the kaiak is the float, used in connection with the harpoon line. A second walrus is observed imme diately behind the harpooned animal. At the extreme left of the stem is a crouching or kneeling hunter preparing to throw a harpoon at a seal or female walrus, from whose mouth drops of water or perhaps blood are seen to trickle. Upon the opposing base line of the pipestem is a single whale hunter in his boat, a small whale having been harpooned, while to the line a large skin float is attached to impede the animal's motion. The other whale is escaping, and the water is shown spouting from the nostrils of both animals. The ornamentation upon the two lower sides, as well as the tree-like figures near the mouthpiece, will be discussed in connection with the evolution of ornamentation. 858 REPORT OF NATIONAL MUSEUM, 1895. The specimen represented in the upper figure in plate 62 measures 12 inches in length along the central line and If inches in height at the back of the bowl. The latter measures 2£ inches across the top and is 1J inches in height. The pipestem is made of a fine compact piece of walrus ivory, which retains some of its lateral curvature as well as that visible from the front view. The bowl is symmetrical and was undoubtedly turned on a lathe. The characters portrayed along the middle base line, beginning nearest the mouthpiece, represent, first, a seal, then two water fowl. A walrus then appears above the surface and is looking after the umiak, which has passed in pursuit of a whale, and which creature has been attacked by one of the hunters. The second hunter is holding aloft his oar, a signal to indicate to others near by that assistance is wanted. The other men in the umiak are using the paddle so as to keep pace with the whale, which is shown spouting. The elevated scaffold which is next portrayed was a notched piece of timber set in place to serve as a ladder, and one person is shown ascending, a bundle being attached to his back — probably food — as the other person on the scaffold is occupied in preparing food of some kind, which is then suspended from the horizontal poles, as shown in the etching. The next illustration, to the right, represents a fisherman hauling up his net to dry, while another man is occupied in splitting wood, the wedges used for the purpose being shown in the log at the end resting upon another piece of wood or a stone. The house, which comes next in order, has two rooms, upon the roof of the smaller one being shown an individual carrying into the house some pieces of wood, which have been split by the wood chopper. The horizontal line at the top of the large room has suspended from it small round objects which denote some kind of food 5 and at the middle line, the shelf, used as a bed or for seat, shows three persons; the first one, with one leg hanging down, is pointing, or reaching, toward a dish containing food, as the second has already placed some into his mouth. The third person is lying down, with legs curved and his head resting upon a pillow or bale of some material found convenient for the pur pose. The person seated upon the floor does not seem specially occu pied, and directly behind is a vertical line, upon which is a lamp, the usual method of constructing these being that of placing two soapstone lamps upon a crosspiece, so as to balance, the center of the latter being- secured to a vertical stick. The last illustration denotes a dome-shaped structure with a smoke hole in the roof, one person being apparently busied with his pipe, while the other has before him a kettle, in which he is stirring with a stick or ladle. Between the two persons is the fire, from which the smoke is seen to rise and to escape through the opening at the top. Within the small room of the house above mentioned is a short vertical line, to which are attached some small globular figures. The Report of U. S. National Museum, 1895. — Hoffman. PLATE 62. Report of U. S National Museum, 1 895 -Hoffman. PLATE 63. GRAPHIC ART OF THE ESKIMOS. 859 line represents the spout and is on the outside of the house, while the globules denote drops of water — similar to those portrayed on the pipe with the metal bowl, plate 61 — and refers to tlie melting of the snow upon the roof, as the approach of spring is referred to especially. On the opposite side of the specimen, the first character is a man, with a bundle on his back, running in the direction of an inclosure and deer drive. Two reindeer are already in the pen, while three animals are running toward it, closely pursued by the drivers, one of which is armed with bow and undoubtedly also arrows. The third person, walking along the upper base line, is in attendance at a fish trap, into which four fish are seen to swim. Beyond this is a tall pine, upon the summit being a bird, and half-way up, a small mammal. The scaffold beyond this has upon the roof a man engaged in hang ing up deer, which have been captured and brought home by the two men at the dog sledge, upon which is another deer. Immediately above these figures is a man leading a dog hitched to a sled and thus dragging home two seals — the latter represented upon their backs, just as these animals are gotten along easily on account of the abundance of hair. A large bear is shown upon his haunches, one native attacking him with a spear, while the second person has started to run away after shooting an arrow into the bear's back. The remaining two figures denote two kinds of traps used in catching small animals, one being caught by a noose, while the second is a deadfall. Upon the upper base line, beginning nearest to the tall pine tree already described, one man is shown attempting to take a somersault, possibly as a pictorial portrayal of the sense of joy at the return of summer; the second person has a rod which he is dragging home. The two dogs are very cleverly portrayed, while the man next to the left is spearing an otter. The animal upon the ground seems to be intended for a marten. A clever sketch is presented in the next illustration, in which a native, with a pack on his back and a small bucket in his hand, is gathering berries. The record ends with a deer, which has been secured by means of suspending a strong noose over a path or trail frequented by the animal. The hunter has come up to kill the captive with a spear. The decorative designs are treated of elsewhere. The specimen shown in plate G3 measures 10| inches in length, 1J inches in height at the highest part near the bowl space, and seven- eighths of an inch in diameter. This differs from the other pipes in the manner of placing the engrav ings, these occupying the lower spaces, while the upper bear the con centric rings and diagonal lines. The left-hand figure in the upper illustration in the plate denotes a habitation with its entrance. Seated upon the projecting shelf seat is the drummer, holding the tambourine drum in one hand while with the other he grasps a drumstick. The 860 REPORT OF NATIONAL MUSEUM, 1895. other figures are the dancers, in various attitudes, with hands and fingers extended. Upon the roof of the entrance are two men in simi lar attitudes, while within the entrance is one figure of a man in the attitude of falling forward upon the ground. The dance does not appear to be a shamanistic ceremony, as otherwise the indication of a demon would be observed. In front of the entrance is a group of figures in a threatening atti tude, especially one of the men, who appears to be drawing his bow with the intention of shooting his vis-a-vis, who has a hand up as if guard ing his face. There appears to have been a discussion respecting a seal — lying upon the ground between the men — which resulted as suggested. The next figure is shown in the attitude of spearing a seal in the water, the spear bladder being shown at the upper end of the weapon. The next man is dragging home a seal, while the next following is engaged with a like animal, stooping down at the tail and for some purpose not indicated. The large creature lying upon the base line, next to the right, is a whale. One of the hunters has a hatchet and is cutting up the ani mal, while the two assistants are otherwise engaged at either end. Next toward the right, is another hunter in the act of dragging along upon a sledge his kaiak. The last person to follow has upon his sledge a seal which has been captured. Apart from the ornamentation in the upper ridge, there are two seals visible at the left. Upon the reverse side of the pipestem shown in the lower figure in plate GjJ the regular ornamentation occurs likewise along the upper face, only two compartments at the extreme right being reserved for the figures of seals. Beginning at the right-hand end, and with the lower plane, a habi tation, similar to the one upon the opposite side, is portrayed, the only difference being that there are two human figures drawn within the entrance to the home instead of one. Another figure of a man is upon the outside, seemingly leaning against the door, while behind him are two men in mortal combat, one preparing to thrust his spear, while the other has a drawn bow with arrow directed forward toward his victim. Some plants are shown upon the ground, which may have been the cause of the quarrei which seems to be indicated. Doctor A. Warburg, of Florence, Italy, kindly sent me sketches taken from a pipe similar to the preceding, which he founa in the col lection of the American Museum of Natural History in New York City. An interesting pipe from St. Michaels is in the collection of the Georgetown College, Washington, District of Columbia. The story told by the etchings is the same as in plate <>2, and it appears as if a certain person, or persons, were the author of all of these examples, the GRAPHIC ART OF THE ESKIMOS. 8G1 characteristics of the etchings being the same, as well as the general import of the narrative. In the Georgetown College specimen, how ever, the base line above or against which are shown the figures in various pursuits and avocations extends from the front or bowl end spirally around the stem back to the mouthpiece. This is unique so far as known, and appears to be simply a fancy on the part of the maker to cause quicker sale" of the specimen, nearly all of this class of ivory workmanship being made for sale to visitors. Plate 24, fig. 2, is a triangularly shaped drill bow from Sledge Island. It is 13.4 inches in length. The three sides are very fully deco rated, the back of the bow bearing the greatest amount of work. The three square figures at the left represent scaffolds, upon which storehouses are located. Between these are two elongated figures rep resenting winter habitations. Upon the house at the left are four human figures in various attitudes of gesticulation. The thin vertical line at the right of the entrance, having a small transverse scratch at the top, denotes a votive offering, indicating that one of the occupants of the house was lately deceased. Five men are seen under and about the second storehouse. Upon the next or second habitation from the left are four human beings, the larger being on all fours, as if in the attitude of watching those just mentioned. The next figure is occu pied with some small object at a fire, the smoke of which is seen rising. Of the two succeeding figures, one is apparently holding a line, while the other appears to be occupied in some gymnastic performance. Beyond the next storehouse is another habitation. Beside the two human figures will be observed smoke issuing from the fire, and a rack upon which are suspended some objects, possibly meat, or some other materials. The fourth habitation from, the left, somewhat larger and more rudely drawn than the preceding, also has upon the roof five individuals, with arms and legs in various attitudes. The two vertical lines with a horizontal pole between them represent a meat rack, and the other lines indicate meat or fish. The six human figures immedi ately to the right of this meat rack are placed so that the heads point toward the center of the record, while the feet of three rest on the bot tom base line, and the feet of the other three on the top base line. This is intended to represent the idea of a circle, as the individuals are engaged in a ceremonial dance. One of them, evidently the shaman, is shown with three lines projecting from the head, possibly indicating a mask. From this point to the right end of the drill bow the record occupies both top and bottom lines of the illustration. Upon the dwelling to the right of the dancers are four human figures, one with a spear directed toward a deer, while the individual on the top of the roof is pointing with one hand toward the animals, and his companion has both arms raised in exclamation. The square elevated structure, adjoining the house, represents a storehouse. At the top of the rod, above these human figures, Is a man dragging home a seal which he 862 REPORT OF NATIONAL MUSEUM, 1895. lias captured, while in front of him stands a reindeer which is being shot at by a native who is armed with bow and arrow. A little farther to the left, upon the same line, a man is lying flat upon the ground with his gun directed toward the deer. Between the two elevated storehouses are eighteen natives in various attitudes, participating in a dance. At the right is a winter habitation, upon which an Indian stands with one hand elevated, the object in his hand evidently denot ing a tambourine drum. A votive offering is shown over the entrance to the habitation, while to the right is seen rising a column of smoke. Upon the scaffold beneath the square part of the structure represent ing the storehouse is an inverted boat suspended for drying. A partly obliterated figure of a human being occupies the space between the storehouse and the end of the rod. The under sides of the bow are filled with figures of habitations, racks from which are suspended pieces of meat, and individuals occupied with various domestic duties. One portion of another part of the record represents an umiak going away from land toward some small objects which are believed to repre sent seal, while on the shore are represented four men dragging at a large animal, possibly intended to represent a seal, and in front of (hem a dog is hitched to another seal, dragging it home to the camp, possibly to the left. Plate 64, fig. 3, also represents an ivory drill bow from Diomede Islands. The ornamentation shown at the left end of the illustration is an attempt at duplicating the peculiar zigzag markings, the simple form of which is shown in plate 31, fig. 4. The next oblong figure on four piles represents a granary or food storehouse. Next is shown a human being with his arms extended in the act of making some ges ture. To the right of this is a building resembling a white man's habitation or trader's store. The mammal to the right of this repre sents a bear. Next come the figures of two walruses, and beyond the middle to the right is the outline of a large bear in the attitude of eat ing some mammal which he has captured at the seashore, apparently a seal or large fish. To the right of this is a very crude figure, some what resembling a whale, with the tail elevated and the head down, though from the " blowholes" there appears to be some spray ascend ing. The latter seems to be represented by dots instead of the usual short lines. To the right of this, upon the base line, is a long-necked animal denoting a seal, and beyond, at the extreme right, is a granary or storehouse elevated upon piles. Turning the specimen so that the upper line becomes the base line there will be observed at the left, to the right of the granary just mentioned, a figure of a seal, next two fair outlines of trees, and a walrus. The pointed figure, almost triangular in shape, appears to denote a summer habitation. The character in the middle of the record, apparently a scaffolding, is not clearly determin- able, as it seems to indicate from one point of view a granary upon a scaffold, but the projec^on at the left with two short vertical lines GRAPHIC ART OF THE ESKIMOS. 863 depending- therefrom suggests an attempt at denoting- some form of animal, which seems obscured by the square structure attached to the opposite line. A little farther to the left is the figure of a man with arms outstretched, and beyond this the body of a walrus with huge tusks. On the opposite side of the record, at the extreme right, is portrayed a rock projecting from the sea, upon Which are resting four seals. A short distance beyond these aflf is seen an umiak, and toward the left a whale, from • I 1* f f \ above the head of which is indicated by simple little PICKING BERK1K8. triangular dots an explosion of spray, as is shown in the figure upon the opposite side of the drill bow. This is of peculiar interest, and indicates either inexperience in portraiture on the part of the native artist or a high degree in conventionalizing. The remaining figures can be readily determined and need no further interpretation. Upon the narrow convex edge of the bow in the center of the entire record is the outline of another whale with the triangular dots for spray being arranged a little nearer together so as to approach more nearly the usual method of indicating spray or water thrown Fig-71- from the blowholes. To the right of this is a wal rus and five seals, while to the left is a seal with its young on its back, and other characters readily determiuable by the reader without further explanation. The bottom of the bow bears a continuous series for more than half of its entire length of conventional ized seal heads, indicating ornamentation rather than an attempt at a historical record. Fig. 70 represents a native picking berries. This illustration is of peculiar interest, as the nucleated circles upon the short leaved stems denote the fruit. The same figure with the blossom, in which the three short radiating lines are added to denote the flower, is shown on plate 46 in the powder measure. Upon this too are the short lines running downward from the ring 011 the measure, to which are attached three berries, i. e., three nucleated circles. The engraving represented in fig. 71 is selected from a series of charac- Fig.72. Fig. 73. CUTTING UP REINDEER. CUTTING UP REINDEER. ters on an ivory drill, locality unknown. The horizontal body represents a walrus, lying on its back, being cut up by the two men, the one at the left hand using a cleaver, while his companion is otherwise engaged at the head of the animal. The artistic execution, apparent, is extraordi narily good ; the lines being deep single creases, indicating the engraver to kave been thoroughly experienced in the use of the graver. 864 REPORT OF NATIONAL MUSEUM, 1895. Two illustrations of natives cutting up reindeer are shown in figs. 72 and 73. Both are very cleverly drawn, the limbs of reindeer being very naturally indicated, as assumed in dead animals. A very clever sketch of a native fishing through a hole in the ice is shown in fig. 74. The hole is indicated by a small ^ — ^J circle while the ice itself is not shown — that being trans parent. One fish has already been caught, as shown above. t ^^ The absence of lines to denote ice is similarly evident in the rig. 74. Kolguev illustration on plate 10. CATCHING ^ seaj caught through the ice is shown in fig. 75, the hole being shown back of the hunter by the single form of a loop, as in the illustration referring to seal spearing, fig. 76, where the hole is again indicated by a circle on the ice line. This scene is taken from the Ohuckche chart, though the drawing is evidently of Eskimo type. The small loop above the nose of the seal is simply an indication that there is a hole in the ice, made by the seal for breathing. A like specimen of Alaskan work is shown in fig. Fig. 75. 77, where only the surface of the ice is shown, and CATCHING SEAL THROUGH THE the figure of animal is absent — beneath the surface. The artistic execution of the several objects portrayed in fig. 78 is rather crude. The two summer habitations or tents at the left have between them a long pole from which are sus pended cords for the reception of fish for curing. The person engaged in hanging up this article of food is drawn in a crouched or seated manner, not because he or she was so seated, but because the figure was made too large rig. 76. for tue Space within which to represent it in an upright SPEARING SEAL. . . . „.. . , , position. Figures in a seated pos ture are always placed in contact with the sur face upon which they are presumed to be so located, either upon the ground, in a canoe, or on a projecting shelf inside of the dwelling. The circumstance of a sick person being brought Fig. 77. before a shaman for treatment is quite differ- SPEARING SEAL. ent, as in such instances the human figure is drawn as if lying down and may not be in contact with the ground. The tree-like figure at the right of the tent is smoke arising from the fire. The two roofed buildings are built in imitation of the habitations of white traders, one of them having a door Fig. 78. at the side, and a covered portico, or platform, at the side. The scene on the flat piece of bone shown in fig. 79 represents sev eral subjects. In the upper half, at the right, is a summer shelter, within which are two figures. One is seated upon the floor, while the y EXPLANATION OF PLATE 64. Fig. 1. DRILL Bow WITH THREE FACES, ORNAMENTED WITH PICTOGRAPIIS. (Cat. No. 38887, U. S. N. M. [Accession number in record book is 38886.] From north side of Norton Sound. Collected by E. "W. Nelson.) Fig. 2. DRILL Bow STAINED WITH AGE. (Cat. No. 63622, V. S. X. M. Diomede Islands. Collected by E. W. Nelson.) Fig. 3. DRILL Bow. (Cat. No. 49163, U. S. N. M. Diomede, Islands. Collected by E. W. Nelson.) Report of U. S. National Museum, 1895.— Hoffr PLATE 64. Report of U. S. National Museum, 1895. — Hoffman. PLATE 65. ' ORNAMENTED CYLINDRICAL CASES. EXPLANATION OF PLATE 65. Fig. 1. HUNTING TALLY. (Cat. No. iJ9437, U. S. N. M. Point Barrow. Collected by Lieut, P. H. Hay, T7. S. A.) Fig. 2. POWDER HORN OF ANTLER. (Cat. Xo. 129221, U. S. N. M. St. Michaels. Collected by L. W. Turner.) Fig. 3. IVORY Box FOR SNUFF, FUNGUS, ETC. (Cat, No. 64186, TJ. S. N. M. Hot-ham Inlet. Collected by I. ^Y. Nelson.) Fig. 4. THREAD CASE OF REINDEER HORN. (Cat. No. 50615. [Locality '!] Collected by Lieut, P. H. Kay, U. S. A.) f fa GRAPHIC ART OF THE ESKIMOS. 865 other has his hands extended and elevated, as if calling attention to something- of importance, or making the gesture for surprise. The tall tree-like object next to the habitation is a column of smoke arising from a heap of burning wood, visible upon the ground, while to the left, against the lire, is a kettle, in which some one is stirring with a stick. That the person is tired appears to be indicated by his resting his hand upon his knee as he leans forward toward his work. The rack, bearing a long horizontal pole, is next toward the left, and beneath it is a man hanging up fish, which has been prepared by the one at the fire. The individual has a piece of meat raised toward the bar, while ^ fore him. is a vessel from which it was removed. The long net stretched from the left-hand scaffold pole to the end of the record is a gill net, a form used to set in shallow water and generally stretched at right angles to the shore line, in which manner more fish are intercepted than if it were parallel therewith. The small projections above and below the net are floats and sinkers. Plate 65, fig. 2, shows a powderhorn made of antler. It was obtained at St. Michaels. The specimen is decorated by incisions cut length wise, to both sides of which are attached various figures of ani- mals, birds, and human habitations. The principal figure shown in the illustra tion represents three summer habitations, while one of the natives is occupied in suspending meat from a drying pole. At the left of this is a habitation beneath which is shown another habitation, inverted, in which are portrayed four human beings. To the left is a fox, or wolf, holding in its paws some small creature, evidently game which it has captured. The animal seems to be pursued by a bird of prey shown to the left, both having probably been hunting the same quarry. Plate 65, fig. 3, represents a so-called ivory box for snuff, though the specimen appears to be made of horn. This was obtained at Hotham Inlet. The specimen is divided into four different compartments by means of transverse lines, each line consisting of parallel incisions decorated as in plate 28, figs. 2 and 4. The spaces contain representa tions of fish, sledges, tree ornamentations, and various other charac ters, notably the outlines of a number of human beings, apparently dancers with rattles. Plate 14, fig. 2, represents a bone or reindeer-horn specimen from St. Michaels. Upon the lower side, at the left, is represented a boat with four white men carrying out supplies from a trader's store, within which and behind the counter stands another man with a hat upou his NAT MUS 95 55 Fig. 79. ENGRAVING ON BONE. 866 REPORT OF NATIONAL MUSEUM, 1895. Lead. To the right of this is shown another hut, about which four persons are occupied in preparing food. One is standing over a kettle with a utensil in his hand, as if stirring, while another, to the right of the smoke, is in the act of reaching into the vessel over which he is occupied. At the extreme right is a meat rack. By turning the speci men upside down there will be observed approaching from the left a native pushing a sledge, to which are attached two dogs. In front is a native with hands lowered and extended, as if calling to urge forward the dogs. At the right is a scaffold which i^ in connection with an underground habitation. From the top of one of the smoke holes is seen rising a heavy cloud of smoke. Two natives are also portrayed, the one at the right with arms extended, as if making signals. To the left is an upright pole over the entrance of the habitation, which represents a votive offering. Plate 66, fig. 3 represents a kantag or bucket handle from Norton Sound. It is an old time-stained piece, and bears upon the lateral edges a few sharply incised figures, that upon the right or upper side denoting a procession of loaded sledges. The attitudes of the dogs following them, as well as of the men assisting, are very natural. Upon the opposite side of the middle are three kaiaks, on either side of which are a number of seals, while at the extreme left are two low mounds representing winter habitations. In plate 67, fig. 3, Nos. 2, 3, and 4 indicate the summer habitations of some natives who had gone away to catch and cure salmon. The fish are drying upon the racks shown in Nos. 1 and 5; at the latter one the natives are hanging up fish, while at the other end of the rack is the ever present dog. No. 6 denotes the boat with three men inside, while the fourth is towing the vessel toward shore. The individual at No. 7 is making the gesture for calling attention to something which he has at his feet — probably a salmon. No. 8 is a native taking a skin of one of the dead animals, while Nos. 9 and 10 are also going to join in carrying venison, as shown by Nos. 11 and 12. The dog between the two last named seems to scent the meat. No. 13 is engaged in cutting up an animal, the cut in the abdomen being shown by two parallel horizontal lines. Nos. 14 and 15 are dead deer, over which the native at the last named is busied. No. 16 is lying flat on his stomach, holding a gun, as beyond the hillock, No. 17, he sees a herd of deer, some grazing and some lying upon the ground. The rack at 18 is where he had a camp at a former time, showing the locality to have been visited before. The entire village appears to have turned out, as shown in plate 67, fig. 3, to aid in dragging ashore a whale, No. 1. Lines extend to either side, where groups of men are dragging at them, No. 2. The figures on the animal are cutting off pieces, one at the left or head end having raised a long slice of blubber or skin, while at the other end one of the Report of U. S. National Museum, 1895. Hoffman. PLATE 66. Report of U. S. National Museum, 1895.— Hoffman. 1 2 345 10 11 12 13 14 15 16 1 234 6 7 8 9 RECORDS OF PLATE 67. 18 19 20 21 22 23 24 11 12 13 14 15 16 17 18 19 AVOCATIONS. GRAPHIC ART OF THE ESKIMOS. 867 men is receiving a piece from another; while still another, nearer the tail, is tossing a piece of the meat to a companion, whose arms are stretched out to receive it. Still another pair of natives are occupied with a large piece lying upon the ground. At No. 3 is a habitation, and at No. 4 the man is getting ready his sledges to haul the meat back to the house, where the long vertical ridge poles indicate that the meat is to be suspended from them. The natives at Nos. 0 and 7 are also in the attitude of some occupation in anticipation of having meat to hang up at the scaffold at No. (>. The inverted quadruped near the middle of the record, and above the rope, pertains to a record which was to rest upon the base line, on the upper surface of the same side, but which was not undertaken. The men at No. 5 are apparently using sledge runners upon which to drag their umiak to the shore, so as to approach the whale from the water side to assist in cutting him to pieces. Plate 07, fig. 3, represents a number of different avocations connected with the chase, and the artistic portrayal of the actions represented are peculiarly distinct and interesting. The left end of the record is somewhat marred by wear, but the first character to be intelligible, No. 1, denotes the horns of a slaughtered reindeer, of which the skin, No. 2, is outstretched upon the ground. At No. 3 are represented the horns and forelegs of the animal, which have been dressed for transportation to the village. At No. 4 is the skin of a female reindeer, while at No. 5 is visible the hunter seated upon the ground and smoking his pipe. His gun and quiver of arrows are indicated at Nos. 6 and 7 respectively. No. 8 denotes a bear which has been captured by the same hunter, whose figure is reproduced, and his companion. No. 11 represents a man engaged upon the section of a temporary shelter, while the indi vidual at No. 12 is using a drill bow to rotate the stick, held by No. 13, in the act of making fire. Nos. 14 and 1(> represent a boat's crew who landed at the camp or shelter just named. The first of the figures is dragging the boat along shore, the one in the stern aiding in poling. No. 15 is the figure of a fish to indicate the purpose for which the party is away from their own home. At No. 17 is shown a man hanging meat upon the rack for drying, the strips of meat being visible the entire length of the horizontal pole to 19, which is the skin of a reindeer. The duties of No. 18 are not apparent, but he was evidently helping in the work of suspending pieces of meat. No. 20 is a winter habitation, before which is one of the inmates, No. 21, engaged in preparing food, or something that requires stirring. Before him is observed rising a column of smoke, No. 22, while at No. 22 is another kettle belonging to No. 23, who is also, apparently, going to assist in the culinary work. No. 24 is a canoe lying upon its side, so as to dry the bottom, and behind it is seen the owner engaged in cleaning and repairing the side. 868 KEPORT OF NATIONAL MUSEUM, 1895. The elongated figure at No. 25 is a fish net stretched out for drying. Other characters appear to have been made farther toward the right, but from use of the rod the surface has been worn so smooth as to obliterate them. 1 2 34567 Fig. 80. ESKIMO ATHLETIC SPORTS. The etchings reproduced in plate 67, fig. 4, were copied from an ivory rod in the collection of the Alaska Commercial Company, and were interpreted by Vladimir Naomoff, a Kadiak half-caste referred to else where. The left-hand figure represents a long rack from which a native has suspended reindeer hides, the person being portrayed at the right as in the act of descending from 'a short ladder. The dome-shaped figure is a habitation, before the door of which is \* a square figure — perhaps a kettle — from which IT^V. ^* smoke is arising. A native is next drawn in the '* ^/^ A^, act of shooting a reindeer, the arrows being shown lgt * as if sticking in its back. The continuous body NATIVE ATHLETE. . , , . .. , . - . J . with eleven pairs 01 horns indicates that number of animals. To the right are several reindeer down upon the ground, two having been shot with arrows, the native being again shown in the act of shooting toward a herd of ten reindeer, wounding one which after wards attacked him, and which he caught by the horns, as shown at the extreme right end of the record. The figure of the habitation No. 1, shown in accompanying illustra tion fig. 80, has above it at the left a character resembling a cedar tree> but which denotes smoke. This resembles also the char acter to denote spray or water as spouted by whales, illus trations of which are found elsewhere. The individual seated over the entrance to the habita tion, No. 2, is watching the amusements going on a short ^ig. 82. distance before him. Nos. 3 and 4 have made use of the NATIVE fishrack poles for horizontal bars, and while No. 3 is astride of his and gesturing with his conversation with No. 2, No. 4 is making a turn. The person indicated in No. 5 is preparing to run, the two remaining figures in Nos. 6 and 7 acting, perhaps, as coachers. Fig. 81, taken from the engravings on the ivory pipestem represented in plate 61, shows a native in the act of standing upon his head or taking a somersault. The representation is unique, and nothing approaching this kind of athletic sport has been elsewhere found upon the specimens in the collection. The seated figure in fig. 82 is holding with one hand a piece of wood GRAPHIC ART OF THE ESKIMOS. 869 from which he intends to make a bow; the other hand holding an adz with which the greater part of the superfluous material is removed ere beginning the final cuts and scrapings to produce the ultimate form ou surface. The illustration of two men wrestling is reproduced in fig. 83 from the pipestems shown in plate 62. The attitude of the men is realistic, and shows the clinch in a " catch- as-catch-can" contest. This, fig. 84, is also reproduced from the same pro- * lific source, the pipestem, shown in plate 61. The .NATI\ Eft AA RESTLING. man at the right has kicked the ball into the air, while his companion is ready to catch it, as is shown by the outstretched hands. Two men engaged in gambling are shown in fig. 85. That they are sitting close together is indicated not only by their apparent proximity but furthermore by the representation of the foot of one man extending beyond the back of his vis-a-vis. Whether the game is played with cards, with sticks, or some other materials, is not determi- nable. The illustration in fig. 86 is notf of uncommon FOOTBALL KICKED BY NATIVE. . -. . occurrence in records of dances, those so indi cated being the observers and not the participants in the ceremonials. The pipe represented in the native drawing is the Siberian pattern, an Eskimo reproduction of the general type being shown in plates 61 and 62, in which the bowl is a vertical stem with a broad, rather 'flaring top with but a narrow and deep perforation, resembling the Chinese pattern in respect to the small quantity of tobacco which the smoker can consume at one filling. The effect is attained, however, as Mr. Murdoch iu- .,, , , , . , , , NATIVES GAMBLING. forms me "that the smoker will take a deep inhalation of smoke — and vile smoke it is, generally — retaining it for a considera ble time until he is compelled to take breath, when another similar inhalation of smoke is taken. This is repeated until the small charge of tobacco is consumed. The result is a most violent fit of coughing, becoming spasmodic and of such appareut- ly painful character as to lead one to believe that the poor victim is going to die at once." Fig 86> Many of the Indian tribes practice like NATIVE SMOKING PIPE. inhalations of smoke, the usual combina tion among the Dakota tribes consisting of various kinds of purchased tobacco mixed in varying degrees with the inner red bark of the red osier Cornus stolonifera, or the leaves of Uva Ursi, found along the elevated lands of the upper Missouri and Yellow stone rivers. The bark or the leaves are chopped up finely in the proportion, 870 KEPORT OF NATIONAL MUSEUM, 1895. usually, of two to one of tobacco, rubbed together in the palm of the hand and packed into the deep, narrow tube of the Catlinite pipe. The outer or dry part of the lips only are placed against the pipe- stem, and the moment a deep long pull is taken the outer corners of the mouth are slightly opened, without removing the lips irom the tip, and a deep breath taken in order that as the air enters the mouth some of the smoke held therein passes /"^T ^A s^L \£/