81 illliiiiiiiii^iliiii: JSC3Jo .^^.5, m^ -^^0^ r- "^^"'' :'fl^^': ''^'"^^ •^'^' <^H<^ ^. •- "w* ,#&\/ 0' .*••'. ^;^ x^ .: bv*^ <^ -^^0^ -^^0^ >0 «-> ^ >• ^^' > vr'<;^ -. ^< t: ^ -^^ -'^ c ,\^ *-^ --I^^??*/. % ,^" ,•< "^-^^ .^'X 4^ '=u. ' ^: - ^ ^"•^.^^ri^f, -ov 'iW%^i- ^-^0^ ' - ^^<>^ -^jm^^\ '^ ^"V I AMERICAN MUSEUM OF NATURAL HISTORY Stokes Paintingfs represent ing Greenland Eskimo GUIDE LEAFLET NO. 30 NOVEMBER, 1909 American Museum of Natural History Seventy-seventh Street and Central Park West, New York City First Vice-President J. PiERPONT Morgan Treasurer Charles Lanier BOARD OF TRUSTEES President Henry Fairfield Osborn Ex Officio Second Vice-President Cleveland H. Dodge Secretary J. Hampden Robb The Mayor of the City of New York The Comptroller of the City of New York The President of the Department of Parks JOSEPH H. CHOATE Class of 1909 J. PIERPONT MORGAN HENRY F. OSBORN J. HAMPDEN ROBB ARTHUR CURTISS JAMES CHARLES LANIER ANSON W. HARD Class of 1910 Class of 1911 SETH LOW Class of 1912 PERCY R. PYNE JOHN B. TREVOR WILLIAM ROCKEFELLER GUSTAV E. KISSEL D. O. MILLS ARCHIBALD ROGERS ALBERT S. BICKMORE CORNELIUS C. CUYLER * ADRIAN ISELIN, Jr. Class of 1913 GEORGE S. BOWDOIN A. D. JUILLIARD CLEVELAND H. DODGE ARCHER M. HUNTINGTON EXECUTIVE OFFICERS Director Hermon C. Bumpus Assistant-Secretary and Assistant-Treasurer George H. Sherwood The American Museum of Natural History was established in 1869 to promote the Natural Sciences and to diffuse a general knowledge of them among the people, and it is in cordial cooperation with all similar institutions throughout the world. The Museum authorities are dependent upon private subscriptions and the dues from members for pro- curing needed additions to the collections and for carrying on explorations in America and other parts of the world. The membership fees are, Annual Members Sustaining Members (Annual) Life Members $ 10 Fellows $ 500 25 Patrons 1000 100 Benefactors (Gift or bequest) 50,000 All money received from membership fees is used for increasing the collections and for developing the educational work of the Museum. The Museum is open free to the public on every day in the year. * Deceased- The Stokes Paintings Representing Greenland Eskimo A DESCRIPTION OF THE MURAL DECORATIONS OF THE ESKIMO HALL GIVEN TO THE American Museum of Natural History BY ARTHUR CURTISS JAMES No. 30 OF TH1-: GUIDE LEAFLET SERIES OF THE AMERICAN MUSEUM OF NATURAL HISTORY EDMUND OTIS HOVEY, EDITOR New York. Published by the Museum. November, 1909 Floor plan of the ground floor of the Museum, showing the location of the Eskimo Hall, where are displayed the Stokes paintings presented by Mr. Arthur Curtiss James. Transferred from librcrr-'-'s Offlc?. SEP 71 f5l9 THE STOKES PAINTINGS REPRESENTING GREENLAND ESKIMO. THE mural decorations at the northern end of the Eskimo Hall have been painted by ]\Ir. Erank Wilbert Stokes, an artist, who, as mem- ber of the Peary Relief Expedition of 1892 and of the Peary North Greenland Expedition of 1893 and 1894, has made careful study of the Eskimo people and their frozen country. The INIuseum is indebted for these paintings to Mr. Arthur Curtiss James, one of the Trustees. Ranged about the hall below are the weapons, the articles of dress, the boats, the sleds, while above them in this painted frieze these same objects are seen put to use in the daily activities of the Eskimo, revealing his adaptation to an environment of months' long days and nights among glaciers and icebergs. The combination of the scientific exhibits below and the artist's work above, brings home to the observer not only the ethnological facts involved, but also other facts, such as the austerity of Eskimo life, its enforced simplicity and the limitations set upon civiliza- tion for the people of the Arctics. Much of the interest of these pictures rests in the fact that many of the scenes represent localities actually visited by the artist. ^Nlr. Stokes established his studio at Bowdoin Bay, 77° 44' N. latitude, and worked there during fourteen months, with the primitive life of the Eskimo and the glowing colors of the northern land under con- stant observation. As ^Yilliam Walton has said in an article in Scribner's Magazine for February, 1909, ^Ir. Stokes has here succeeded, despite the inadecpiacy of pigments, in well suggesting "the utmost sj)lendor of light that blazes in the Polar skies and glows in the Polar, translucent ice." The North Wall. The largest picture of the series — in full view from the main foyer of the IMuseum — is a continuous panorama sixty feet long. It is intense and realistic in its coloring. In the center the glow of a mid- night sun illuminates promontories and sea, toward the right this bril- liant color gradually fades to the gray and purple of the twilight that precedes the long Arctic night, while toward the left it changes to the white lights and deep blue shadows of that other twilight tliat fort-tells the approach of the long x\rctic day. AMERICAN MUSEUM GUIDE LEAELETS ESKIMO GODDESS OF THE SUN. From the painting on the North Wall. Copyright UioS hij Frtiiik Wilbni St moon is forever in love with the sun and seeks ever to overtake her, bnt that since his torch chanced to l)e a poor one and lie is fre(inentiy com- pelled to return to earth to relight it, ilw snn is enabh>d to keep well in 6 AMERICAN MUSEUM GUIDE LEAELETS advance. Acconliiii;- to the mytli, disaster would come if he should succeed in catchiiiii' her, for with his embrace would come the end of all thino-s. 'J'his leoxMid of t\\v sun and the moon has many variations among the Eskimo })eoj)le and is sometimes termed the Sedua Cycle, Sedna also signifying the sun. It is ])ossihle that we have here not only an allegory of the great Arctic day and night, but also the proof that there has taken root in Eskimo imagination the idea of man's search after the unattain- able. C'cpi/riglit 19IIS Inj Frmik Willurt Stokes. POLAR BEAR AT BAY. From the painting on the North Wall. The right ])ortion of the jiainting, realistic in the extreme, repre- sents the twilight before the aj)proach of the long night, the dramatic interest resting in an encounter between an Eskimo hunter and a polar bear. The hunter has left his sledge and, accompanied l)y his team, has followed in the chase, lie has used his arrows and is now near enough to give a thrust with his lance, the bear's attention l)eing held by the dogs. That part of the ])ainting at the (>xtreme left tells the Eskimo's method of stalking j)i'ey. In the foregi'ound on an ice-floe a himter, harpoon in hanil, is crawling slowly toward two ring seals, which lie basking in the PAINTINGS OF GREENLAND ESKIMO 7 sun near their hole. Eskimo hunters have great skill in giving decoy sounds. They can make cautious approach to gulls by waving a gull's wing in the air, while whistling the bird's notes; they can allay the suspicions of seals by lying flat on the ice and waving a foot in imita- tion of a seal's head, while giving the characteristic calls of the seals. Beyond the seal hunter in the distance rises above the ice of the glacier, a bell-shaped elevation of land which the Eskimo knows as a " nunatak." Still farther to the left towers an iceberg, while over all is the dawning light of the summer that is being ushered in by Sukh-eh-nukh, the sun goddess. Copyright 1908 by Frank Wilbert Stokes. ESKIMO STALKING THE SEAL. From the Painting on the North \^■ull. The East ^VALL. The first or northern panel — An Innuif Eneampmetit in Late Aiifiimn. Pictures of acttial events in Eskimo life are continued on the east and west sides of the hall, the imity of the compositions being gained by making the skv line in the east and west panels (he same as that of the 8 AMERICAN MUSEUM GUIDE LEAFLETS painting on the north wnW. I1ie tliree panels on the east wall continue pictures of Eskimo life as it goes on during the Arctic night. The first of the panels gives a view of Inglefield Gulf, which by November is well frozen over. In the foreground to the right an Innuit (Memkashoo) is cutting up pieces of meat and feeding his team after a hunting trip. The sledge lies to the left, and just beyond is an Innuit woman with her bal)e carried on her back in a pouch. Such a pouch is made of fox skin and is a part of the hooded upper garment. The head and shoulders of the child are covered by soft fox skin, but the rest of its body lies naked against the mother's bare back and so is kept warm. The child is secured in the pouch by a sinew which passes around its body and around the upper part of the mother's waist. A little Innuit l)oy stands by his mother, watching his playmate, an Eskimo puppy. Immediately to the right is the stone-built entrance of the igloo, or winter residence, which, partly covered with snow, is itself seen directly behind the figures. The seal-entrail window of the igloo reveals a pale light from the lamp within, a lamp which must serve the purposes of lighting, heating, cooking and drying for the whole family. Beyond in the middle distance to the left is a bay, its shore covered with snow which is about three inches in depth at this season. Beyond the bay is a long low promontory stretching into the sea, a November sea, completely frozen over and with an iceberg frozen into it. The stars are brilliant in the sky, while mountain, sea and shore are enshrouded in rich oranijce light from a sun that is o-raduallv receding. The Central Panel — Walrus Ilunlnuj in February. The east central panel represents a February scene on the ice of Baffin Bay, which is never completely frozen over. The flaming colors of the Aurora Borealis fill tiie sky and are reflected by the ice. In their weird light is made visible the attack of an Imuiit hunter upon a large walrus, one of a gi'oup of three in the central foreground of the pictvu-e. In the immediate foreground to the right a bull walrus is just emerging from the water. There is no look of fear in the animal's dog-like eye, since he has not yet caught sight of the hunter. In the Arctics the barking of walrus can be heard for miles. When the Innuit hunter hears it, he may hitch six or eight dogs to his sledge ESKIMO ENCAMPMENT IN LATE AUTUMN. The north panel of the East Wal 10 AMERICAN MUSEUM GUIDE LEAFLETS Copyright 1908 hy Frdiik Wilhrrt Stokcf:. WALRUS HUNTING IN THE LIGHT OF THE AURORA BOREALIS. The central panel of the Eajst Wall. rtiid travfl toward the souiid, often with only tlie lio-]it of the moon or of the stars to show him the way. When within a thousand yards to the windward of the animals, he tethers his dogs to the ice, and if they are unaccustomed to hunting and will not remain noiseless, he may tin-n the sledge upside down, to check any attempt on their |)art to run away. PAINTINGS OF GREENLAND ESKIMO 11 Armed with a stout harpoon and plenty of wah-us-hide Hne, the Innuit crawls over the ice toward the animals. He conceals himself behind ice blocks or hummocks until the distance between him and the animals is short, then suddenly leaps to his feet, singles out a big bull (as in the painting) and strikes — usually with unerring aim. The whole herd, barking furiously, rushes for the sea. The stricken bull dives, and the walrus-hide line pays out rapidly, but not before the Innuit has deftly thrust his lance, which he carries in his free hand, firmly into the ice. With knee and shoulder braced against the shaft of the lance, he obtains sufficient purchase to play the walrus until the big fellow is so weakened by loss of blood that the hunter can leave his lance to cut two holes in the ice close to the spot where he is standing. Now, whenever the line is slack, he hauls in a few fathoms, and running the noose a couple of times down through one hole and across through the other, obtains a more reliable hold. With the lance now free, he stands over the breathing hole, striking the walrus each time that it rises. ^Mien it is finally despatched, he cuts off piece after piece of the meat and seeks his sledge and dogs to carry the spoil home. Walrus are huge ungainly creatures, weighing upwards of three thousand pounds, but to the nimble Innuit hunter there is usually no difficulty in getting out of harm's way on the ice after he has struck the blow. If, however, the iron point slips, or the ice gives way, or if, as the coils of the line are running out, the hunter's legs become entangled, he is quickly dragged down beneath the water to speedy death. The Third or Southern Panel. Peterawik in Moonlight. The third panel represents a winter scene at Peterawik on the shore of Smith Sound. In the foreground at the extreme left is a hunter with sledge and dogs, bringing a load of walrus meat. His snow igloo is at the right, where his wife, carrying a child in her hood, and accompanied by an Eskimo woman, is waiting to welcome him. The sea-ice of Smith Sound stretches far to the horizon at the north; the head-line of Cape Alexander is visible in the distance. The rocks at the right are charac- teristic of the west coast of Greenland at this latitude, 76° X. In the spring before the ice breaks up, the Innuit congregate at Peterawik for walrus hunting. They build dieir snow igloos on the ice foot, that portion of the sea-ice bordering the land. Here they remain 12 AMERICAN MUSEUM GUIDE LEAFLETS hunting, frolicking and feasting in their joyous fashion, until the sun's warmth has broken up the ice. Then they travel southward, still over the ice, some to the settlements of Inglefield Gulf and others even as far as Cape York. The West Wall. The First or Nortlicru Panel — Reindeer LIuntimj in Summer. I'he paintings on the west wall represent Eskimo life during the long Arctic day. In the middle foregrouufl of the northern panel a hunter, crouching at the top of a rocky prominence, is in the act of drawing his bow of bone and sinew upon a white reindeer,^ which has espied too late some- thing to excite its curiosity. In the middle distance at the extreme right, is the continuation of the large iceberg of the central panel of the north wall. Icebergs in the Arctic regions are frequently from 150 to 300 feet in height, measure five to seven times this distance below the surface of the sea, and sometimes have a length of three miles. Beyond the ice- berg in the distance is a glacier flowing down from the great ice "Sahara" in the interior of Greenland, while to the left is a dark rocky portion of the submerged land. In the immediate foreground are purple flowers (Epilobium lati- folium) which nestle in pockets in the rocks. The middle foreground is covered by stimted grass and mosses, especially by reindeer moss on which the deer are feeding. Many flowers bloom in Greenland and other polar lands during the short siunmer, notaljly members of the mustard family, and of the pink, rose, saxifrage and grass families. There is one species of sedge known; willows and birches are found, although grow- ing only two to three inches in height; while daisies, buttercups, yellow poppies, harebells, dandelions, gentians and primroses cover the ground in many places. Another source of bright color in these northern latitudes lies in two species of algpe, one red and the other gi-een. They are microscopic plants that grow on the ice or snow, but they may occur in such profusion as to impart their color to tlie ground. It is the presence of these algse ' A white caribou {Rangifcr -pranji Allen) discovered by Peary in 1902 in Elles- mere Land near Lake Hazoii, latitude .S2° X. PAINTINGS OF GREENLAND ESKIMO 13 WINTER SCENE AT PETERAWIK ON THE SHORE OF SMITH SOUND. The southern panel of the East Wall. that explains the famous "crimson gLncier" or "crimson snow" near Cape York. As to edible plants, there are a few even in tiiis extreme nt)rthern reo-ion. A blueberry which grows partly concealed imder the moss can be secured during the greater part of the year, and is eaten with relish bv the Innuit. There are several plants of which the roots, leaves, buds and even flowers are eaten. A plant resembling celery (Arch- angelica officinalis) is a favorite article of food. Iceland moss is also eaten. The chief sources of vegetable food, however, are marine. A (n/,iirnjhf ,"".- '-; / nnik W ilhiii Stokes. REINDEER HUNTING IN SUMMER. The nortluTii jiaiiel of the West Wall. PAIXTIXGS OF GREEN LAND ESKIMO 15 Copyright 19US by Fnnik Wtllurt .s7,-/,( .s. ESKIMO IN SEALSKIN CANOE HARPOONING A NARWHAL. The central panel of the West Wall. seaweed used commonly for food is Alaria pi/laii, closely allied to "hlad- derlocks," of Scotland, and in flavor somewhat like asparao-us. The Central Panel ^ XancliaJ Iluniinr/ in Summer. The dramatic center of this panel is an Immlt in his kayak or sealskin canoe in the act of harpooning a narwhal, which is visible hcncath the 16 AMERICAN MUSEUM GUIDE LEA E LETS surface of the water at the k^ft of the boat. To the right in the middle distance are fuhnar gulls. In the distance is the great ice river, the ^Vrhoeft" glacier. The narwhal is an animal about which little is definitely known. Some, notably Peary, think that it is the fabled unicorn of the ancients. It occasionally has both a long and a short horn, one of which it may lose, however. The narwhal is blue-black along the back and spotted with dark along the sides, the color fading into ivory white underneath. The tliin skin covers a \'ery deep layer of fat or blul)l)er, considered a delicacy by the Innuit. This lilubber is eaten raw, as in fact is most of the food in the Arctics, and of course without pepper or salt, neither of which is known to the Eskimo. In narwhal hunting, the Innuit approaches the animal from the rear and one side, decreasing the distance noiselessly until he is within strik- ing distance. A com])anion always accompanies the hunter, so that, in the event of his being struck by the narwhal, and his boat overturned, there may be some rescue at hand. The harpoons used in narwhal hunting formerly had heads made of flakes from the iron meteorites near Cape York, but since the first quarter of the nineteenth century the Eskimo have obtained their metal from traders and from whaling and other ships. The harpoon head is joined to a piece of walrus or narwhal ivory, which fits loosely on to the ivory end of the shaft. To the center of this har|)oon head, is fastened a line of walrus hide kept in place by the hand that holds the harpoon. The line itself is coiled on the fore part of the kayak, so that it will unwind rapidly and with- out becoming- tangled. Attached to the other end of this line and placed in the after j)art of the kayak are two objects, a sealskin bag and a drag resembling a box lid. When the animal dives and flees vainly from the pain of the harpoon point imbedded in its flesh, the drag tires it out, and the skin bag, floating on the siu'face of the water, marks its position and keeps it from sinking. The hunter, who adroitly gets out of the way of the infuriated animal, can thus trace its course and finally tow it home. The AVrhoeff glacier represented in the painting is one of two glaciers at the head of Ilobertson Bay, on the northern shore of Inglefield Gulf, West Greenland. It was here that Verhoeff , the meteorologist of one of the Peary Expeditions, while trying to cross the glacier alone, lost his life in Sej)tember of 1802. The sea wall of the glacier is from 150 to fYsJ R U 1 4. 8 S PAINTINGS OF GREENLAND ESKIMO 17 Copijrujht i:iiis },ij Frank Wilbert .S<«A-fs SCENE AT CAPE YORK A SUMMER HOME OF THE ESKIMO The southern panel of the West ^\'all. 200 feet high, but the ice shelves out beneath the water, wliere tl;e buoy- ancy of the sea breaks off parts which float away as icebergs. This birth of icebergs at the water's edge of a gUicier often causes waves thirty or forty feet in height, miles in extent, and attended by volleys of thunderous reports that are terrifying in the ears of the Eskimo. Each of these glaciers is an arm of the inland ice cap of Greenland, a un'ghty sheet submerging mountains and valleys to a (le])th of ."),()()() Feet or more. 18 AMERICAN MUSEUM GUIDE LEAFLETS The Third ur Suuihtiii Panel — Cape York, a Summer Home of the Ituiuit. The scene depicted is at Cape York, a summer home of the Innuit, at the head of Melville Bar. Here the Innuit, or Arctic Highlander, as he was misnamed l)y Sir James Ross, is first met by those visiting the Arctics. The painting gives a view of Cape York looking toward the north. In the foreground is the camp, where an Innuit leans over a harp- seal which he has killed and is about to cut up, while his dogs are watching for some stray pieces of meat. This man is clothed in bear- skin trousers and a hooded jacket made of about seventy auk skins, the feathers being turned next to the body. He is wearing boots of seal- skin. To the left in the camp is a girl of about seven years, painted from a sketch made by the artist in 1894. She is clothed in small trousers of fox skin and an upper hooded garment, also of fox skin, and wears boots of sealskin, reaching to the thighs. She is attending a fire of moss and blubber, over which blood soup is being prepared, while guarding from the dogs a piece of meat on the ground at her right. Behind the girl are two sealskin tents (tupekhs) from one of which a voung woman is emerging. Beyond the tents are mountains towering 1500 to 3000 feet above the camp. The summits of these mountains are frequently obscured by dense fogs, from which come continually the wild cries of innumerable multitudes of kittiwake gulls and little auks. In this bay, but some miles to the eastward, the three meteorites now on exhibition in the foyer of this nniseum remained for ages. It was Peary who wrested them from their ancient abode and brought them to New York in 1895. From these meteorites, in olden times, the Innuit fiaked off pieces for use in knives, harpoons and arrow heads, to aid in the struii'gle for food and life. No. 12.— THE COLLECTION OF FOSSIL VERTEBRATES. By W. D. Mat- thew, Ph. D., Associate Curator of Vertebrate Paleontology. Octo- ber, 1903. Price, 10 cents. No. 13.— A GENERAL GUIDE TO THE AMERICAN MUSEUM OF NATURAL HISTORY. January, 1904. Out of print. No. 14.— BIRDS' NESTS AND EGGS. By Frank M. Chapman. Associate Curator of Mammalogy and Ornithology. April, 1904. Reprinted, February, 1905. Price, 10 cents. No. 15.— PRIMITIVE ART. July, 1904. Price., 15 cents. No. 16.— THE INSECT-GALLS OF THE VICINITY OF NEW YORK CITY. By William Beutenmuller, Curator of Entomology. October, 1904. Price, 15 cents. {Reprinted from The American Museum Journal.) No. 17.— THE FOSSIL CARNIVORES, MARSUPIALS AND SMALL MAM- MALS IN THE AMERICAN MUSEUM OF NATURAL HISTORY, By W. D. Matthew, Ph. D., Associate Curator of Vertebrate Palseon- tology. January, 1905. Price, 15 cents. No. IS.— THE MOUNTED SKELETON OF BRONTOSAURUS. By W. D Matthew, Ph. D., Associate Curator of Vertebrate Palaeontology. April, 1905. Out of print. No. 19.— THE REPTILES OF THE VICINITY OF NEW YORK CITY. By Raymond L. Ditmars, Curator of Reptiles, New York Zoological Park. July, 1905. Price, 15 cents. No. 20.— THE BATRACHIANS OF THE VICINITY OF NEW YORK CITY. By Raymond L. Ditmars, Curator of Reptiles, New York Zoological Park. October, 1905. Price, 15 cents. No. 21.— THE DEVELOPMENT OF A MOLLUSK. By B. E. Dahlgren, D. M. D. Januaiy, 1906. Price, 10 cents. No. 22.— THE BIRDS OF THE VICINITY OF NEW YORK CITY. By Frank M. Chapman, Associate Curator of Mammalogy and Ornithology. April-July, 1906. Priee, 15 cents. No. 23.— THE SPONGE ALCOVE. By Roy W. Miner, Assistant Curator of Invertebrate Zoology. October, 1906. Price, 10 cents. (Published as a separate series.) No. 24.— PERUVIAN MUMMIES. By Charles W. Mead, Department of Eth- nology. March, 1907. Price, 10 cents. No. 25.— PIONEERS OF AMERICAN SCIENCE. Memorials of the naturalists whose busts are in the Foyer of the Museum. April, 1907. Price, 15 cents. No. 26.— THE METEORITES IN THE FOYER OF THE AMERICAN MUSEUM OF NATURAL HISTORY. By Edmund Otis Hovey, Ph.D., Associate Curator of Geology. December, 1907. Price, 10 cents. No. 27.— THE MALARIA MOSQUITO. By B. E. Dahlgren, D. M. D. Assis- tant Curator of Invertebrate Zoology. April, 1908. Price, 15 cents. No. 28.— THE HABITAT GROUPS OF NORTH AMERICAN BIRDS. By Frank M. Chapman, Curator of Ornithology. February, 1909. Price, 15 cents. No. 29.— THE INDIANS OF MANHATTAN ISLAND AND VICINITY. By Alanson Skinner, Department of Anthropology. September, 1909 Price, 10 cents. No 3o._THE STOKES PAINTINGS REPRESENTING GREENLAND ESKIMO. November, 1909. Price, 5 cents. The American riuseum Journal Edmund Otis Hover, Editor. Mary Cynthia Dickerson, Associate Editor. Frank M. Chapman, i Louis P. Gratacap, > Advisory Board. William K. Gregory, 3 The Journal is sent free to all Members of the Museum. Giiide Leaflets published by the AMERICAN MUSEUM OF NATURAL HISTORY. For Sale at the Museum. (Issued as supplements to The American Museum Journal.) No. 1.— THE BIRD ROCK GROUP. By F. M. Chapman, Associate Curator of Mammalogy and Ornithology. October, 1901. Price, 10 cents. No. 2.— THE SAGINAW VALLEY COLLECTION. By H. I. Smith, Assistant Curator of Archaeology. December, 1901. Price, 10 cents. No. 3.— THE HALL OF FOSSIL VERTEBRATES. By W. D. Matthew, Ph. D., Assistant Curator of Vertebrate Palaeontology. January, 1902. Out of print. No. 4.— THE COLLECTION OF MINERALS. By Louis P. Gratacap, A. M., Curator of Mineralogy. February, 1902. Revised edition, May, 1904. Price, 10 cents. No. 5.— NORTH AMERICAN RUMINANTS. By J. A. Allen, Ph. D. Curator of Mammalogy and Ornithology. March, 1902 Revised edition, February, 1904. Price, 10 cents. No. 6.— THE ANCIENT BASKET MAKERS OF SOUTHEASTERN UTAH. By George H. Pepper, Assistant in Anthropology. April, 1902. Second edition. May, 1909. Price, 10 cents. No. 7.— THE BUTTERFLIES OF THE VICINITY OF NEW YORK CITY. By William Beutenmxjller, Curator of Entomology. May, 1902. Price, 15 cents. No. 8.— THE SEQUOIA. A Historical Review of Biological Science. By George H. Sherwood, A. M., Assistant Curator. November, 1902. Price, 10 cents. No. 9.— THE EVOLUTION OF THE HORSE. By W. D. Matthew, Ph. D., Associate Curator of Vertebrate Palaeontology. January, 1903. Sec- ond edition, May, 1905. Price, 10 cents. No. 10.— THE HAWK-MOTHS OF THE VICINITY OF NEW YORK CITY. By William BeutenmIjuler, Curator of Entomology. February, 1903. Price, 10 cents. No. 11.— THE MUSICAL INSTRUMENTS OF THE INCAS. By C. W. Mead,, Assistant in Archaeology. July, 1903. Price, 10 cents. {Continued on page S of cover.) ^0 V V^ s ' ° • o ,> \^ ,-?^" .i;^ .■*M^--%/r ' ^' ^^ /jsi\ \./ ''-^^■^'- /\. -m^- •^ A ,-i^ 0 " <= « -^. C^\^ •^q. .0 ^-^_ *> -^ -Aas?-.- .<• > 0 ° ^ = * <^^ ^^ W: . % A^ y~J Oak .\ -^^ . ' • « * - O / :>V^", %^^^ yff^'- %/* ..:a%#.v. -^^^^^^ »*i^fe'-' \.,** 9- _j4y'' ^^ 0 « o , ^ ^ 0 C" . ' tIEBARY BINDING -j -» ^ 'S^ ST. AUGUSTINE; \^^^ ; r "^^