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Les diagrammes suivants illustrent la mdthode. trrata to pelure, n H n 32X 1 2 3 1 2 9 « f IBM38Z09 73 O u> ST lO resentations of animals. In course of time, forms that were originally realistic became more and more sketchy, and more and more distorted. Details, even large portions, of the subject so represented, were omitted, until finally the design attained a purely geometric character. The decorative art of the Indians of the North Pacific Coast agrees with this oft-observed phenomenon in that its subjects are almost exclusively animals. It differs from other arts in that the process of conventionalizing has not led to the development of geometric designs, but that the parts of the animal body may still be recognized as such. The body of the animal, however, under- goes very fundamental changes in the arrangement and size of its parts. In the following paper I shall describe the characteristics of these »:hanges, and discuss the mental attitude of the artist which led to their development. In treating this subject, we must bear in mind that almost all the plastic art of the Indians of the North Pacific Coast is decorative art. While some primitive people — for instance, the Eskimo — produce carvings which serve no practical ends, but are purely works of art, all the works of the Indian artists of the region which we are considering serve at the same time a useful end ; that is to say, the form of the object is given, and the subject to be represented is more or less subordinate to the object on which it is shown. Only in the. cases of single totemic figures is the artist free to mould his subject without regard to such considera- tions ; but, owing to the large size of such figures, he is limited by the cylindrical form of the trunk of the tree from which he carves his figures. We may therefore say that the native artist is ip almost all his works limited by the shape of the object on which he represents his subject. [123] • .■• , v.. , >•' l'», r! !)! M 1-4 '^iill'tin Ameii.an ^[usatm of Xaliiral History. [Vol. IX. \ \ r!-.J ^1 \s:\ The plastic arts of the Indians arc carving and painting, in which latter we may include tattooing and weaving. Carving is done mostly in wood, but also in stone and hoin. It is either in the round, in has-relief, or, although more rarely, in high relief. There is no art of puttery. The artists have ai quired a high technique, which proves that realistic representations of animals are not beyond their powers. The following arc a few exquisite examples of realistic carvings. The helmet (Fig. i) is decorated with the head of an old man affected with partial paralysis. Undoubtedly this specimen must be considered a portrait head. Nose, eyes, mouth, and the general exi)ression, are highly characteristic. The mask (Fig. 2) represents a dying warrior. The artist has represented faithfully the wide lower jaw, the pentagonal face, and the strong nose of the Indian. The relaxing muscles of the mouth and tongue, the drooping eyelids, and the motionless eyeballs, mark the agonies of death. The conception is so realistic that the mask creates a ghastly impression. Fig. 3 represents a dancing hat decorated with the design of a seal. Fig. 4 is a small float representing a swimming puffin. Fig. 5 is a rattle in the form of a s\Yimming goose. The characteristic bend of its neck and the characteristic color of head and neck are very true to nature. In these cases the artist has rendered the form of his model faithfully. The object on which the representation of his model was placed allowed him the use of the figure without any altera- tion. This is not often the case. Generally the object to be decorated has a certain given form to which the decoration must be subordinated, and the artist is confronted with the problem of how to adjust his subject to the form of the object to be deco- rated. Before attempting an explanation of the method adopted by the artist in the solution of this problem, we must treat another aspect of our subject. We must premise that in consequence of the adaptation of the form to the decorative field, the native artist cannot attemi)t a realistic representation of his subject, but is often compelled to indicate only its main characteristics. In consequence of the distortion of the animal body, due to its adaptation to various surfaces, it would be all but impossible to 1897.] Boas, Decorative Art of the Intlians. "5 .iw 7J-»»- t )?^ Fig. I. '' ^SJ^ ^ Fig. %. t i Fig. 3. Fi«. 4 Fig. 5. Fig. I (^^l). Helmet with c.irving representing .t p.iralyiic man. Tribe, Tlingit. Heii;ht, 11.; cm.; width, iS cm.; ilc(Hti, jS cm. Fig. > (i«'.ii). M.iik representing .111) iiii; warrior. Tribe, Tlingit. Height, .-4 cm.; wiilth, 19 cm.; depth, n cm. Fig. 3Ui\). Hanclnk; h.Tt representing .t seal. Tri!>e, Tlingit. Height. 21 cnt.; wiiltht ^4 cm.; «cpth, 3 J cm. Fig* 4 (ii>i'ii). Small till. It representing a sw iuimtng purtin, Trib**. Tlingit. Length, 6 cm. Fig. 5 (s'.Mt). Rattle representing a goi>se. Tribe, MaiJ.i. I.engih, j.> cm. ( t i; I I20 IhilUlin Ameiicitn Museum oj Natuml Iliitory. [Vol. IX, rccoj;ni/e what animal is meant, if the artist did not emphasize what he consiilcrs the iliarw tcristic features of animals. These are so essential to his mind that he considers no representation adetpiate in which they are missing. In many cases they become the symbols of tlie animal. We find, therefore, that each animal is characterized by certain symbols, and great latitude is allowed in the treatment of all features other than .symbols. I will illustrate this feature of the art of the Indians of the North Pacific Coast by means of a number of characteristic examples. Fig. 6 is a figure from a totem pole, which represents the lieaver. It will be noticed that the face is treated somewhat like a human face, particularly the region around eyes and nose. The posi- tion ot the ears, however, indicates that the artist intended to represent an animal head, not a human head. While the human ear is represented, in its characteristic form, on a level with the eye (Figs. 26 and 28), animal ears are indicated over the fore- head ; that i-i to say. ap])roximately in the position in which they appear in a front view of the animal. Their characteristic shape may be seen in Figs. 6 and 7, and in many others. While the ears characterize the head as that of an animal, the two large incisors serve to identify the rodent par excellence, — the beaver. The tail of the animal is turned up in front of its body. It is ornamented by cross-hatching, which is intended to represent the scales on the beaver's tail. In its fore paws it holds a stick. The large incisors, the tail with cross-hatching, and the stick, are symbols of the beaver, and each of these is a sufficient characteristic of the animal. Fig. 7 is another representation of a beaver from a totem pole. It resembles Fig. 6 in all details, e.xcept that the stick is missing. The beaver is simply holding its fore paws raised nearly to its chin. There are other carvings in which the beaver is shown with four or five toes, but the symbols described here never vary. In Fig. 8, which is the handle of a spoon, we find only the first of the symbols of the beaver represented, namely, its incisors. Only the head and the fore paws of the animal are shown ; and in its mouth are indicated an upper and a lower pair of incisors, all the other teeth being omitted. There is nothing e.xcept the teeth to indicate that the artist intended to represent the beaver. 1897.] /ioas, Detoralivf Art of the Imliam. 1-7 Fig. 6. Fig. 7. Fig. 6 (VA). r.owcst figure from model of a totem pole, carved in nlate, representink{ a beaver. Tribe, H.nid.i. Height. 3^.$ cni. Fig. 7 (bVi). Lowest figure from mode! of a totem pole, carved in slate, representing a beaver. Trine. Haida. Height, ii^ cm. Fig- 8 (ij!,,). Handle of a sponn made of mnuntain-goat horn, design representing a beaver. Tnbe, Tlingit. Length of handle, 8 cm. Fig; 9 is tlie front of a dancing he.id-dress, which is attached to a framework made of whalebone, and set on top with bristles of the sea-lion. To the back is attached a long train of ermine skins. The outer side of the carved front is set with abalone shells. The squatting figure which occupies the centre of the front represents the beaver. The same symbols which were men- tioned before will be recognized here. The face is human ; but the ears, which rise over the eyebrows, indicate that an animal is meant. Two large pairs of incisors occupy the centre of the open mouth. The tail is turned up in front of the body, and appears between the two hind legs, indicated by cross-hatching. The fore paws are raised to the height of the mouth, !)ut they do not hold a stick. It will be noticed that on the chest of the beaver another head is represented, over which a number of sm.\Ii rings stretch towards the chin of the beaver. Two feet, whii li belong to this animal, extend from the corners of its mouth 1 "■ ". » I ' i J \\ ^ I 28 BulUtin Ameiican Museum 0/ Nalural Jlistory. [Vol. IX, I. 'I towards the haunches of tlic beaver. This animal represents the dragon-fly, wlii' h is sy nholized by a large head and a slender segmented body. In many represcntalTcjns of the dragon-fly there are two pairs of wings attai.hed to the head. Tiie face of this animal resembles also a human face ; but the two ears, which rise over the eyebrows, indicate that an animal is meant. Com- binations of two animals of this sort are found very frecpiently, a smaller figure of one animal being represented on the chest of a larger carving. K\am|)!es of this kind will be seen in Figs. 13 and 17. Fig. 10 is a hr.libut-hook, the point of which is carved with a design of the sculpin. The symbols of the fish are fins and tail. Those of this species of fish are two spines rising over its mouth, and joined dorsal fins. In this figure the sculpin is represented swallowing a fish, the tail of which protrudes from its mouth. The two spines apj)ear inunediately over the lips, their points being between the two eyes, which are represented by two circles with small projections. The two pectoral fins are indicated in bas- relief over the eyes. The joined dorsal fins extend from the eyes upward toward the narrowest part of the body. The tail of the animal extends toward the place where point and shank of the hook are bound together by means of a strip of s[)ruce root. The same animal is represented in a slightly different way in Fig. II, which represents the lower portion of a totem pole. The lowest figure is probably the sun, or perhaps a starfish. Its arms extend upward, and are being bitten by a sculpin, which latter is shown with its head downward, its back forward, and its tail extending upward. The head will be easily recognized. Two crescent-shaped ornaments above the corners of the mouth repre- sent the gills of the fish. Above these are seen the pectoral fins. On the level of the pectoral fins toward the middle appear the symbols of the sculpin, namely, the two spines, the lower portions of which are decorated with small human faces. The eye is rep- resented under the spine. The dorsal fin commences at the height of the eyes, and finally merges into the tail. The tail end of the fish is clasped by a human figure, which appears cut in two by the fish tail. This carving is also characterized by two sym- bols, — the two spines and the joined dorsal fins. i897l Jioiis, Duorativf Art of the liiiliim. 129 Fig. 9. Fig 10. \ \<^ Fig. It. f'8 9 fi**«*' He.id-dress rcprescniitig a beaver. The drag'm-fly i^ shown on the chest of the beaver. Tribe, Haida. Height id cm. F^9- 1" C11K1)' Halibtu-hoolc with design representing a sctilpit) swalliiwtng a fi^h. Tribe, Tlinglt. Length of piint, 36 5 cm. Fig II (,',('.). Part nf a totem pole with design representing a sculpin. Tribe, Tsimshian. Height from base to tip of tail, 323 cm. • Fig. 12 represents a legging made of blue cloth with a red cloth appli([ue of the figure of a sculpin. The sides of the leg- ging are trimmed witii leather fringes. The general shape of the fish will be easily recognized. Its teeth are represented by buttons of abalone shells, which are sewed on the cloth. The eyes and the dorsal fin are indicated in the same manner. Two small triangles cut out to the right and left of the niouth represent the gills. Immediately over the eyes, and extending toward the middle of the back, we find the two spines, indicated by two slender triangular pieces of red cloth cut out in their mid- dle part. The pectoral fins are indicated by two bro.uicr pieces of red cloth extending from the eyes outward and upward toward [.T/„.r, ,$./■;. \ U '3Q li ullctin AmciuiH Musa,,,, 0/ NatunU Ilhlory. [Vol. IX, Ha^ li^i;, ^:f^, ^^i^l. :)^ ^^^t^ f;^i;-."i"« - -.Ipm XHbe the ..argin of the body of the fish. The dor.al fin is indicated by the long shts along the back of the animal. In this case the the eyls" '•^"^^'^''^^^'^ ^^ ^'^^ '«'° «Pin*^« which appear over hair'Th'i""/-^''' \^*^'^^"°" °f "rvings representing the hawk^ The hawk .s symbolized by an enormous hooked beak. chin T '"'^^r' " ''^' '^^ ^'^"^^^ J^°-' '---^es the chm. In many cases the face of the bird is represented as that of a human bemg. In this case the nose is given the shape o he s m,„, ,^^^^^ ^^ .^ ^^^^^^^^ .^ ^g^ form of Teak theloriip '"'° ''' "°"'''°^ ""^'^^^ into the face bdow rfef ^1 'f K '^ ^?"' °^ ' head-dress, which is used like the one described be ore (I^g. 9). The upper, larger face is that of the ha. . . The face .s human ; but the ears, which rise over the eye- s exce d.ngly sn.all. and .s hidden behind the smaller, lower face s ou ncs are seen under this face, in the middle of the lou^; edge of the carvmg. It ,s not quite certain whether the two i897.] Boas, Decorative Art of the InJiahs. ^31 Fig. 13. rig. IS. Fig. 14. Fig. 16. Fig- 13 (jVi). HeaJ-Jrcss representing a hawk. Tribe, T«imshian. Height, jo.j cm.; width, 18.5 cm. Fig- 14 (iir^). H-inJIe of a 5p>on in.tde of inntintain->;()at hum : lowest figure renrescntiii,; a hawk ; up^Kr tig TcreprescnliiiK a man holilini; a ilrai;im-l'>'- Tribf. pr-'b-vhly 'I sitnshi.in- Lengtii of c irvcd p-iri ot hatuile, 10 cm- Fig- 15 (i37i)- Rattle with design of a hawk. Trihc, 'I'lin^it- H-'-i;ht with-Mit h-ui- die, 17 cm- Fig. 16 (i/i)- l>ish made of mount.iin-shccp h-trii. Tribe, Tliii^;it- Orcatcst k*nyih, 16 cm. 13^ J^iillciin American Museum of A^atmal History. [Vol. IX, wings, whicli are grasped by the arms, are those of the hawk, or whetl\er lliey belong to the face whicli is carved on tlie body of the bird. It will be noticed that oser the arm, which is grasp- ing the wing, another wing is carved. Possibly this carving is intended to represent the wing of the hawk, while the central raised wing is that of the being holding the two central wings. Fig. 14 is the handle of a spoon, on which is represented the head of a hawk, symbolized by its beak. The top of the spoon represents a man who is holding a small animal with a segmented body, which may represent the dragon-fly, although the head seems rather smaller than we are accustomed to see in repre- sentations of the dragon-fly. In P'igs. 15 and 16 the same sym- bols of the hawk will be recognized. Fig. 17, the front of a head- '* "^' dress representing the eagle, is very similar to the preceding series ; but it differs from these carvings in that the beak of the bird is not turned back so as to touch the face, but ends in a sharp point extending downward. The wings of the eagle are shown e.xtending from the margin of its body inward. The feet are seen at the sides of the lower margin of the carving, under the wings. On the body of the eagle a rather realistic carving of a frog is shown. The characteristic difference between the eagle and the hawk will also be noticed in the paint- ing on a drum (Fig. 63), in which also the beak ends in a sharp point directed downward, and not turned back toward the face. Figs. 18 and 19 are representations of the killer-whale. In the rattle (Fig. 18) the form of the whale will be easily recognized. Its tail is bent downward. The large head, one of the characteristic features of the whale, is much more pronounced in this than in the next figure. The eye ajjpears on the front part of the rattle. Under the eye we see the large mouth, which is set with a number of curved sjiines. They are intended to rej)resent the teeth. Fig- 17 (A*«)- Head-dress rej resenting eagle bcnrinK a frog en its chest. be,Tsimshlan. Height, i^cnj.; uidth, „„., *,„^/A^.;^^*i':!'':': - u 1 r nart of ll»t: carving, Immediately behind the .outh on ^^^^^^ ,,, ,He fon. we find the AU'l'*^-- ^ ^f ^f h huge dorsal fm, is mtendcd to of a Tmall face, .n front oifJ\^,^ ,^.,,imen a fuUcr ser.s reoresent the blow-hole. We nna .^ ^^^^,j,^ ,^.t :r;S:sy.bolsof the r;;f ^^:t;::r^.) than in the ne. with teeth, the blow-holt, and specimen (Fig- ^o)- . . , ^^ ^ „,,,^\, so that the head is 'in Fig. 19 the whale .s pa.nted on a ^^ ^^^^ ^^^^^^^^^ ^^^^ ,,^. placed on the left cheek of the face. ^^^ FiR. i8. Fig. •■)■ «""• ,.,. M..k with painting rcpresent.ng a k.Ue , viurheek The whole animal IS forehead, and the tail ^^^^^, "pectoral fin, or rather eiven the form of a fish whose t charactenst.e, mnper are essential character.st.es. The ^^^ ^^^^.^^^ :X' symbol, of the m.^^ - ^^ , ,„,,ea.ed by a rises over the eyebrows, ^he ey ^^^^^ ^,,,^.„,,,,a. white spot.- Its mouth .so-.an_d ^^^ ^^^,^^.^^.,,,,,,, of the The following series I .s j 3 ^^^.^^^^^ .^ .ei-rescnled, . shark. Whenever the whole bod> of ^,^^. ^^,^,^^,,, , 1 characterised by a hetercK-ere^uaJ-^;^^^^^^^, ^^^^^^ ^,^ ,^,,, which are drawn downward, a mmmmif^rmi^ T 134 Bulletin Aiiuiuaii Mtistitm of Natural History. [Vol. IX, cheek which rei)re.seiit the gills, and a high tapering forehead, which is often decorated with two circles and a series of curved lines similar to those found ©n the cheeks. In Fig. 20 we see the uj)per part of a totem pole, on which a shark is represented devouring a halibut. The head has the char- acteristic symbols, to which are added here the numerous sharp teeth which are found often, but not regularly, as symbols of the shark. The greater part of the body has been omitted by the artist, since the animal is sufficiently identified by the symbols found on the head ; but under the chin will be noticed the two pectoral fins which identify it as a fish. Fig. 21 is the handle of a copper dagger on which the mouth with depressed corners, the curved lines on the cheeks, and the ornament rising over the forehead, characterize the shark. Fig. 22 is a small pi[)e on which the entire shark is rei)resented. The square end at the right-hand side is the face of the animal, which is shown in front view in the smaller figure. Eyes and mouth are inlaid with abalone shell. On accouui of the narrow- ness of the face, the three curved lines general!) found on the cheeks are placed under the mouth. The forehead has the char- acteristic height and tapering shape described before. The opposite end of the pipe shows the heterocerc tail turned upward. On the sides are carved the pectoral fins, which extend over about one-half of the whole length of the sides of the pipe. Fig. 23 is a copy of a tattooing on the back of a Haida woman. Here we have only the outline of the head of a shark, again char- acterized by a peculiarly high forehead, the depressed corners of the mouth, and curved lines on each cheek. Fig. 24 represents a fabulous sea-monster with the head and fore legs of a bear and the body of a killer-whale, but with two or three dorsal fins. Flippers are attached to the fore legs. The head of the specimen shows one of the most characteristic sym- bols of the bear, namely, the wide mouth set with teeth, the tongue protruding. The large paws are a second symbol of the bear. The sea-monster is also symbolized by the three crescents which are shvjWP behind the corner of the mouth. These are intended to represent gills. We shall find a series of representations of this fabulous monster later on (Figs. 73, 75, 76, and 77). r897.] Boas, Decorative Art of the Tiuliam. 135 Fig. ai. Fig. aa. Mg. aj. Fig. ao(,|l,). Part of model of a totem pole carved in slate with design represcntini; a shark siirmonnicd by an eagle. Tribe, H.iiua. Length of shark fiRure, 13.5 cm.; width, 6.5 cm. Kig. ai (j.nrV Handle of a d;igi;er representing ihe he.id of a sh.trk. Tribe, Tlingit. Length of handle. 15 cm.; width, 7.5 cm. Fig. aa (i!). Wooden pipe, representing a shark. Tribe, Tlini;il. Length, 10 c;n.; height, 6 cm.; depth, 3 cm. Fig. 23. Tattooing representing a shark. Tribe, "H-aida. (From a photograph.) 13^> Bullethi American Muse, urn of Natural History. [ Vol. I X , Let us briefly recapitulate what we have thus far tri r-s of syn,bols h:,s been described in the pricedin. A serie.- ed to show, the foilowini{ preceding remarks : Unuo°'dl';Lur' ""' "■'"" *'■"= "'■" •"■-■ "■«'■.»■"' "on. 3- Of the haii-k : larce curvpH K.>.,i, .i ..rn.db„^„,<,so.h„u^:;;:;lttc:. ' '""'" *" '""'^ '^ forth °d,t:u;'wi;roo::zr "■""^'■^ "- '■-«»-' >He on .he cheek, ..solt^^lt^'T?' ' ^'"^ "" """" «"« over ,he forehead ro,„rt "' ''"'' ''° ""■■ »™»"'™' ming ce,c .ail. ■ '" ">''• ""'"«"'" '""'l' 'Ml', and hetero pro.r,lt^i;:;,;, '"«' """'-^ '"«« "'O"". -. with .ee,h, .,,h 8. 01 \.\\Q sea-iiionstcr : bear's h.-nrl 1,..-,.' «.«ched, and g,„, and l.ody „ , 'c' 'r^i ,;,;:7 ""1 "''"«- dorsal fins. '"'- '^""-r-w hale, with several wings'"' "" ''■'^'^"^■^ '"^^ '"^''^- -«-"'-'. ^>-cler bod;, and <^ 1897.1 Boas, Decorative Art of the liiilians. 1.37 So far I have considered the symbols only in connection with their use in representing various animals. It now becomes neces- saryTo inquire in what manner they are used to identify the animals. We have seen that in a number of the preceding cases entire animals were re[)resented, and that they were identified by means of these symbols. When we investigate this subject more closely, we find that the artist is allowed wide latitude in the selection of the form of the animal. Whatever the form may be, as long as the recognized sym- bols are present, the identity of the animal is established. We have mentioned before that the symbols are often applied to human faces, while the body of the figure has the characteristics of the animal. We find this principle ai)plied in Fig. 25, which represents a totem pole. Three animals are shown in this carving. Each of these has a human face, to which are added the symbols that characterize the animal. In the top figure the ears indicate that the head represents that of an animal ; while the arms, to which the flippers are attached, indicate that the sea-monster (see Fig. 24) is meant. The next figure below rejjresents the shark. It has a human face, and it seems that originally a large lip with a labret was attached to it, which, however, was lost before the specimen came into possession of the Museum. This would indicate that a female shark is represented. Its symbols in this case are the peculiar high ornament \ihich rises over its forehead, and the fins, which are placed vinder the chin. The face of the lowest figure resembles the faces of the two upper figares very closely. Its body, which is shown under the face, makes it clear that the artist intended to represent a fish ; and the two large spines which rise over the eye- toiciii pnUwii:. thr.eiiBiiris brows specify that the figure represents a sculpm. reprc-^cntiiit;, frtim l>cIow lip- ,,,, ., • ,, ., .• • i i war.i,ascnipi..,(i..fi.iisii,and \Viule in thesc cases the entire animals have Height, 47.5 cm. been represented, m others only parts of animals I i^ are applied to a purely 1^^,^^^' '" """^^''^^" "-■ ^>™^oI.s f'g. 26 IS a human face with human ears Onlv ,h ■ .■ Fig. »«. Fig. 27. bird-s beak. Thus -he r,r, f ""doul-tedly ,he form ot a , J. wa, «pec,„e/;:;:": —:„ :rrtar .r °' • ^Tf • flicker. "'""'"" "■= '"'h'" »' .he red-uinged .807.1 ■ Bo.s.DecoraHveJri^n^ headband of swan's down. It ^'V^'''^ ,,,v,ch represent the 7tL eyebrows we ^"ll --;- J^f .bis symbol tbe face . sucking-cups of the ^n^d- Hy recognized as that of the squid. Fig. »9' Fig «8. rig »o- . ^i'^A-'^'aJ) .^'".t-J^^^^C^^'^-''-'^- '■'''"', ,..„„«,.alc. Tribe. TUnsit. Height, .8cm*;wiirncm.;dep.h.8cn,. 1, fFiB 20) is identified as the In the same manner the mask ^ g'^^) ^,^ i,,, .^eek .rwhalebythetwobjackor^^^^^^^^ ^,, ,„„al .n and extending down to the chm. of thekiUer-whale. .^ as fncial paintings by dancers, wuo ° These symbols are also "-^as^^-K ? .^ ^^^,^3,,, . a are thus recognized -\V^'^''''''^2lLi over by the animal. At belonging to the ^^^X:^^^.r. performed which are in 1 4^ Bulletin American Museum of Natural Untory. [Vol. IX, the ancestor himself is represented by a small figure placed on the mask, thus indicating that he was carried away by the animal which tiie dancer personifies. In other festivals, legends are dramatized which refer to the events that took place "before the animals took off tlieir blankets ;" that is, at the time when there was no clear distinction between men and animals. In these cereinoniL's the dancers appear with paintings or other 'decora- tion symbolizing the animals. To this class belongs the ornament (Fig. 30), which represents the dorsal fin of a killer-whale, and which is worn attached to the back part of the blanket. These ornaments and paintings are found most extensively among the Kwakiutl tribes. • - ^ It appears, therefore, that as, first of an, ."^e artist tried to characterize the animals he intended to represent by eni[)ha;iizing their most prominent characteristics, these gradually became symbols which were recognized even when not attached to the animal form, and which took the place of representations of the entire animal. Having thus become acquainted with a few of the symbols of animals, we will ne.xt investigate in what manner the native artist adapted the animal form to the object he intended to deco- rate. First of all, we will direct our attention to a series of specimens which show that the native artist endeavors, whenever possible, to represent the whole animal on the object that he desires to decorate. Fig. 31 is a club used for killing seals and halibut before they are landed in the canoe. The carving represents the killer-whale. If the principal symbol of the killer-whale, its dorsal fin, were placed in an upright position on the club, the implement would assume an exceedingly awkward shape. On the other hand, the artist could not omit the dorsal fin, since it is the most important symbol of the animal. Therefore he has bent it downward along the side of the body, so that it covers the flipper. /I'he tail of the whale would have interfered with the handle, and for this reason it has been turned forward over the back of the whale, so as to be in close contact with the body. The distortion of the body has been carried still further in Fig. 32, which is the handle of a spoon, and represents the same ■ » -W fi'yf jij ,iM ip umn " 1897.] Boas, Dt'coralive Ail of thr Imtian^ I4T Fig. 3. Fig. 30. Fig. 3a. Fig. 30(933). Wood carving representing the dorsal fin of the killer-whale. Tribe, Tlingit. Height, 35 cm.; thicknesst 3 cm. Fig- 3t (sij)' Fish-club carved to represent* the killer^whale. Tribe, Tlingit. Total length, 49 cm.; height, 8 cm.; thickness, 5 cm. Fig. 33 (I'l'i). Handle nf horn spoon with design reprcTtenting a killer-whale. Tribe, proba- bly Tsimshian. Length of handle, 15 cm. animal. The large head of the whale, to which the flippers are attached, will be easily recognized near the bowl of the spoon. The body has been twisted backward so that the tail almost touches the mouth. The carving is only on the back of the spoon, and the two projections just below the mouth will be recognized as the two tips of the whale's tail, which has been split along its lower side and then distended 'along the back of the spoon. The dorsal fin has thus been brought into a position so as to extend alon;^ the handle of the spoon. It is soon project- ing upward from the head of the whale, between the Icijs of the man who forms the tip of the handle. l^i Bulletin Ameiuan MuscumoJ Natunil History, [Vol. IX, Fig. 2)?t 's ;i small totem pole rcprcsciuiin; the shark. The tip of its tail forms the top of the pole, while the face is placed at its lower end. Sinct; most of the sjmbols of the shark are found on its face, it was necessary to bring the face into such a |)osition as to be seen in front view, but the artist also desired to show the back of the fish. For this reason the head has been twisted around entirely, so that it appears in front view over the back of the fish. In order that the flip- pers, an important symbol of the fish, might be made visible, they have been pushed backward far beyond the place to which they properly belong. The speaker's staff (Fig. 34), which also repre- sents the shark, has been distorted in the same manner ; but here the head has been turned round entirely, so that it faces the back of the fish. The pectoral fins are shown below the chin. In Fig. 35, which is a berry-spoon represent- ing a shark, the lower jaw of the animal has been entirely omitted. The flat bowl of the spoon is formed by the palate of the fish, while its back is the lower side of the spoon. The changes of position and of the relative sizes of parts of the body, which result from such adaptations to the form of the object to be decorated, are still more far-reaching in the following specimens. - "' / Fig. 36 is a shark represented on the top of a totem pole. The head of the animal is shown in the form of a human face with the characteristic symbols. Under the chin are two flippers. The body must be considered turned upward ; but it has been short- ened so much that only the tail remains, which rises immediately above the face. In Fig. 37 (a wooden dancing hat) the symbols of the killer- whale are attached to its head. Since the whole body was omitted in this case, it was necessary to rem the symbols from the back to the head. We see the dorsal fin rising over the eyes, and the flippers attached to the head behind the eyebrows. Fig. 31 (i18t). Model of a totem pole representing; a •hark. Tribe, Hauls. Height, 97 cm.; width, 5 cm ; depth, 4 cm. 1 897-1 Boa^.DeconUiuAriofOuI.uiia,u^ 143 Fig J$- fig. 37- Fig- 3'- Fig. 38- •...harW Tribe. TUngit. Ung.h.-S^cm. rig.3.(M). ^--^•-:z"::-- t...---- • ----^ wld'!?:*"'- • — " Tribe. H.VK.... HeigMof.h.u ^;^i&J^r!i:^J^^'"- "' . ^..„„„ Tribe, TUn.U. Lcng.h --&J^-^^^^-^^,^„„^_,,.... Tribe.TU... ..«.- ^ Fig.38(.U.>- HMibu.-bookw..ha«..n«p Fig. 34- of «»'"'• ^'^""" I I I Bulletin AiiKri.an Museum oj i^'aliiriil Jliilo>)\ [Vol. IX, In Fij;. ,3s, which reiucscnts a hahl)Ut-h()ok carved with a (lesij;n of tlie hcivcr. \vc find tl):it the two incisors, tlio symbols of the heaver, have been moved over to the right side of tlie animal whicli is represented on the point of the hook. While in reality only one of the incisors would be visible in this view, the artist, in order to be certain that his idea would be understood, moved the two incisors so as to make both visible. U'e find that in .til these cases the artist has taken great liberty with the form of the animal body, and h.is treated it so that the synd)ols become clearly visible. On the wiiolc, we may say tliat the artist endeavors to represent the whole animal. When this is not possible, all its essential parts are shown. The insignificaiit ones are often omitted. We have now to treat a series of peculiar phenomena which result from the endeavor on the part of the artist to adjust the animal that he desires to represent to the decorative field in such a manner as to preserve as far as possible the whole animal, and bring out its symbols most clearly. P'ig. 39 is the top view of a wooden hat on which is carved the figure of a sculpin. The animal is shown in top view, as though it were lying with its lower side on the hat. The dancing hats of these Indians have the forms of truncated cones. To the top are attached a series of rings, mostly m.ide of basketry, which indi- cate the social rank of the owner, each ring symbolizing a step in the social ladder. The top of the h.it, therefore, does not belong to the decorative field, which is confined to the surface of the cone. The artist found it necessary, therefore, to open the back of the sculpin far enough to make room for the gap in the deco- rative field. He has done so by representing the animal as seen from the top, but split and distended in the middle, so that the top of the hat is lo ated in the opening thus secured. Fig. 40 represents a dish in the shape of a seal. The whole dish is carved in the form of the animal ; but the bottom, which corresponds to r'.ie belly, is flattened, and the back is hollowed out so as to form the bowl of the dish. In order to gain a wider rim the whole back has been distended so that the animal becomes inordinately wide as compared to its length. The flippers are carved in their proper positions at the sides of the dish. The 1897] Boas, Decorative Art of the Indians. 145 hind flippers are turned back, and closely join the tail. A similar method of representation is used in decorating small boxes. The wholeTjox is considered as representing an animal. The front of its body is painted or carved on the box front ; its sides, on the sides of the box ; the hind side of its body, on the back of the box. The bottom of the box is the animal's stomach ; the top, or the open upper side, its back. These boxes, therefore, are decorated only on the sides, which are bent of a single piece of Fig. SQ- Fig. 40. Fig. V((;'"j) n-incinu h:il willi Jo,i«M reprc.inliuK a -culpi.i. Tribe. H.iiil.i 'r T»im- ihian >lei>;lit, 14 cm ; width, lOcni.; ilcpth, 4 > cm. width, jicm.; depth in centre, i) 5 cm. \ s 146 Bulletin AinciiciUi Musiiini of Natural History. [\'ol. IX, wood (Fig. 41). When we unbend the sides we find the deco- ration extended on a long band, which we may consider i- con- sisting of two symmetrical halves. The centre is occupied by the front view of the animal, the sides by a side view, and the ends by one-half of the hind view at each end of the board. An actual unbending of the sides of the box would not give a sym- metrical form; but, since the ends are necessarily sewed at the corner, the hind view of the body will occupy one end. In the decoration of silver bracelets a similar principle is followed, but the problem differs somewhat from that offered in the decoration of square boxes. While in the latter case the four edges make a natural division between the four views of the animal, — front and right profile, back and left profile, — there is no such sharp line of division in the round bracelet, and there would be great difficulty in joining the four aspects artistically, while two profiles offer no such difficulty. When tiie tail end of ach profile is placed where the ends of the bracelet join, then there is only one point of junction ; namely, in the median line of the head. This is the method of representation that the native artists have adopted (Figs. 42, 72, 73, 74). The animal is cut in two from head to tail, so that the two halves cohere only at the tip of the nose and at the tip of the tail. The hand is put through this hole, and the animal now surrounds the wrist. In this posi- tion it is represented on the bracelet. The method adopted is therefore identical with the one applied in the hat (Fig. 39), except that the central opening is much larger, and that the animal has been represented on a cylindrical surface, not on a conical one. An examination of the head of the bear shown on the bracelet (Fig. 42), makes it clear that this idea has been carried out rigidly. It will be noticed that there is a deep depression between the eyes, extending down to the nose. This shows that the head itself must not be considered a front view, but as consisting of two profiles which adjoin at mouth and nose, while they are not in contact with each other on a level with the eyes and forehead. The peculiar ornament rising over the nose of the bear, decoratetl with three rings, represents a hat with three rings (see p. 141), which designate the rank of the bearer. i897.] />'0(is, Decomtivc Art of the I/iJiiuis. 147 We have tliiis recognized that the representations of animals on dishes and bracelets (and we may include the design on the hat, fig- 39) miisl not be considered as perspective views of animals, but as representing complete animals more or less distorted and split. The transition from the bracelet to the painting or carving of animals on a flat surface is not a difficult one. 'I'he same principle Shouhier. Ear. Ear. Shoulder. Wi Tail. Leg. Foot. Mouth. Fig. 41. \ / Foot. Leg. Tail. Fig. 4J. Fig. 4t (^5*1). Carving on the sides of a disli representinv; a beaver. The sides of the dish are bent of a single piece of wood, and are shown here liattened our. Tribe, Tlingit. Length of short sides. 2.) cm.; length of long sides, 31.5 cm ; greatest height of sides, 16 cm. Fig. 4-2 (ajjn). Design on a bracelet representing a bear. Tribe, Nass River Indians. Height, 3.5 cm. is adhered to ; and either the animals are represented as split in two so that the profiles are joined in the middle, or a front view of the head is shown with two adjoining profiles of the body. In the cases considered heretofore the animal was cut through and through from the mouth to the tip of the tail. These points were allowed to cohere, and the animal was stretched over a ring, a cone, or the sides of a prism. If we imagine the bracelet opened, and flattened in the manner in which it is sho\p. in Fig. 42, we have a section of the animal from mouth to tail, cohering only at the nu)uth, and the two halves siiread over a flat surface. This is the natural development of the method here described when applied to the decoration of flat surfaces. 148 Bulletin American Museum of Natural History. [Vol. IX, ; :i It is clear that on flat surfaces this method allows of modi- fications by changing tlie method of cutting. When the body of a long animal, sucli as that of a fish or of a standing quadruped, is cut in this manner, a design results v/hich forms a long narrow- strip. This mode of cutting is therefore mostly applied in the decoration of long bands. When the field that is to be decorated is more nearly square, this form is not favorable. In such cases Fig. 43. Painting representing a bear. Tribe, Haida. a square design is obtained by cutting quadrupeds sitting on their haunches in the same manner as before, and unfolding the animal so that the two halves remain in contact at the nose and mouth, while the median line at the back is to the extreme right and to the extreme left. Fig- 43 (3 Haida painting) shows a design which has been obtained in this manner. It represents a bear. The enormous breadth of mouth observed in these cases is brought about by the junction of the two profiles of which the head consists. This cutting of the head is brought out t'nost clearly in the painting (Fig. 44), wliich also represents the bear. It is the paint- ing on the front of a Tsimshian house, the circular hole in the middle of the design being the door of the house. The animal is cut from back to front, so that only the front part of the head coheres. The two halves of the lower jaw do not touch each i897.] Boas, Decorative Art of the finiiaits. 149 I r Fig. 44. Fig. 45. Fig. 45. Fig. 4^. Painting from a house front rcprcsenttni; a bc:»r. Tribe, Tsimshlan. Fig. 45 i^T\^- WcMHlfii hat p;\intcd with the dosiijii of a sculpin. Tribe, llaid.i. Heiiiht, 17 cm.; width, 41 i-ni.; licpth, 4,\5 cm. Fij^. 4^ (g'u). Hat m.ide of spruce routs p.xintcd with the(.It:^ig^ of a bc.iver. Tribe, H.nd.i orTsimshtan. Height, iftcm.; (.ii.imetcr, 36.5 cm. I •' 15^' fhdlctin Amci hail Museum of Natural History. [Vol. IX, other. The back is represented by the black outline on which the hair is indicated by fine lines. In a number of cases the designs painted on hats must also be explained as formed by the junction of two profiles. This is the case in the painted wooden hat (Fig. 45), on which the design of a sculpin is shown. It will be noticed that only the mouth of the animal coheres, while the eyes are widely separated. The spines "rise immediately over the mouth. The flippers are attached to the corners of the face, while the dorsal fin is split into halves, each half being joined to an eye. The beaver (Fig. 46) has been treated in the same manner. The head is split down to the mouth, over which rises the hat with four rings. The split has been carried back to the tail, which, however, is left intact, and turned up towards the centre of the hat. The importance of the symbols becomes very clear in this specimen. If the two large black teeth which are seen under the four rings, and the tail with the cross-hatchings, were omitted, the figure would represent the frog. In other designs the cut is made in the opposite direction from the one described heretofore. It passes from the chest to the back, and the animal is unfolded so that the two halves cohere along the middle line of the back. This has been done in the Haida tattooings (Figs. 47 and 48), the former representing the raven, the latter the duck. In both the tail is left intact. The duck has been split along the back so that the two halves of the body do not cohere e.xccpt in their lowest portion, while the two halves of the raven are left in contact up to the head. Fig. 49 is a dancing apron woven from mountain-goat wool, and fastened to a large piece of leather, the fringes of which are set with puffin beaks. The woven design represents the beaver. Its symbols, the two pairs of incisors and the scaly tail, are clearly represented. While in most carvings and paintings the tail is turned upward in front of the body, it is hanging down here between the two feet. The meaning of the ornaments in the upper part of the apron to the right and to the left of the head are not quite clear to mc, but I believe they must be considered as the back of the body split and folded along the upper margin of the blanket. If this explanation is correct, we have to con- 1 I ■! 1897.] Boas, Dccoralivc Art of the Imlians. 151 r.B. 48. Fig. 49- Fig' 47. Tattooing representing .1 duck. Tribe, Haida. Fig. 48. Tattooing representing a raven. Tribe, Haida. Fig. 49 (aV*)- Oancinc apron vnvcn of mountain-goat wooi, design representing a bea\er. Tribe, Tsimsnian. Height of design, 38 cm.; width, 91 cm. sider the animal cut into three pieces, one cut running along the sides of the body, the other one along the back. Fig. 50 is one of a pair of leggings embroidered with ijuiils on a piece of leather. The design, which represents the sea-monster described in Kig. 24, must also be explained as a re[>rescnt.ition of the animal split along its lower side, and flattened. In the lower 152 Bulletin Amfrican Museum 0/ Nalunil History. [Vol. IX, portion of the legging the two profiles are seen, which are joined on a level witli the eyes, while the two mouths are separated. The nostrils are shown in the small triangle below the line con- necting the two eyes. Owing to the shape of the legging, the arms are not attached to the body, but to the upper part of the head. They appear at the right and left margins of the legging, : Fig 50 (j>3"[). Embrnidcred Icggins rfDresenting a sea-monster with a bear's he.td and body of the killer-whale. Tribe, HaiJa. Height, 37.5 cm; greatest width, 31 cm. and are turned inward along the lower jaws, the three-toed paws touching the lower margin. The fins, which are supposed to grow out of the upper part of the arms, adjoin the elbows, and are turned upward. Another pair of fins, which do not appear in most representations of this monster, are attached to the upper part of the back, and form the two flaps to the right and left of the upper margin. On the ba^-.k we see a series of circles, which probably represent the dorsal fins. The tail occupies the centre of the upper margin. The smaller ornaments in the outside corners of the head, adjoining the mouth, probably represent the gills. 1897.1 Boas, Decorative Art of tlic Indiain. 153 Fig. 51 represents a leather legging painted with the design of a beaver squatting on a human head. In this specimen j\e oi/serve that the proportions of the body have been mucli distorted owing to the greater width of the legging rt its upper part. The head has been much enlarged in order to fill the wider portion of the decorative field. The gambling leather (Fig. 52) is treated in a similar manner. It represents the beaver, and must probably be explained as the Fig. 5«- Fig. 5J. Fig. 51 (j'j'o)' Painted legging with design representing a beaver sitting on a man's head. Tribe, Haida. Height, 22 cm.; greatest width, 19 cm. Fij. 5a (iJ?,)- Gambling leather with engraved design representing a beaver. Tribe, Tlingic. Height, 18.5 cm.; width, 17 cm. animal cut in two: The symbols — the large incisors and a scaly tail — appear here as in all other representations of the beaver, but the lower extremities have been omitted. It might seem *hat this design could be explained as well as a front view of the ani- mal, but the deep depression between the two eyes is not in favor of this assumption. The head consists undoubtedly of two Profiles, which join at the nose and mouth ; but the cut has not been continued to the tail, which remains intact. In the following figures we find a new cut applied. Figs. 53 and 54 represent the shark. I e.xplained, when discussing the symbols of the shark, that in the front view of the animal the "54 BulUtin American Museum of Natunil J/istury. [Vol. IX, symbols arc shown to best advantage. For tliis reason side vi.ws of the face of the shark are avoided, and in representing tlie whole amnial a cut is made from the back to tlie lower side, and the two sides are unfolded, leaving the head in front view. The painting (Fig. 53) has been made in this manner, the two halves of the body being entirely separated from each other, and V Fig". 53. Painting rcprc-icnting a shark. Tribe, Haida. folded to the right and to the left. The heterocerc tail is cut in halves, and is shown at each end turned downward. The pectoral fins are shown unduly enlarged, in order to fill the vacant space under the head. The shark which is shown in Fig. 54 is treated in a slightly dif- ferent manner. Again the head is left intact. The cut is made from back to chest, but the two halves of the animal are not sepa- rated. They cohere at the chest, and are unfolded in this manner, so that the pectoral fins and dorsal fins appear to the right and left of the body. The heterocerc tail is not clearly indicated in this specimen. The method of section applied in Fig. 55 is still different. The figure represents, a painting on the margin of a large leather blanket. The animal here represented is the killer-whale. The upper painting clearly represents the profile of the animal. The lower painting rejiresents the other profile, so that both the right and the left halves of the animal are shown. Since there was no room for showing the dorsal fin on the lower painting, it is indi- A 1 1 V- 1897] Boas, Decorative Aft of tlh- Indians. 155 cated by a curved line on one of the scries of wider fringes at the lower margin of the blanket. It is remarkable that the tails in the two halves of the animal are not drawn symmetrically ; but it is possible that this is due to a mistake on the part of tlie painter, because the design is repeated on the opposite margin of the blanket in the same manner, but with symmetrical tails. The two halves of the body differ in details, but their main features are Fig- 54- W' n Fig. 55. Fig. 54 (a'.riV Sl.ite dish wilh carved design represcntinj; .» shark. Tribe, Haid.i. Di.ime- ter, J7.5 cm.; depth, j.5 cm. Fig. 53 (ii^.j). Painting iin edge of a bl.inket representing a killer-wh.ile. Tribe, Tlingit. Length, 114 cm. 15^ Bull f till A nurhiiii Miisiiim of Nafiinil Jliiloiy. [Vol. IX, r 'I I ii identical. 'I'lic nii)[)or is shuwn on a very large sc:alc. It is attaciicd iinmciliatcly lichiiul the head, and extends to a point near the tail. Its prineiiial [lart is iicciipieil by a face, in front of which an eye is sliou n. Animals are rei)reseiited hy means of sections not only on flat surfaces, but also in round carvings in which one side cannot be shown. This is the case on all totem poles, the hind part of which is not carved. Wlunever all the synd)ols of the animal can be shown on the front of the totem pole, the animals are a[)par- ently represented in their natural position. But rejjresentations of animals, the symbols of which would be placed on the rear side of the totem pole, make it clear that the artist actually splits the animals along the rear of the totem pole, anil extends this cut in such a way that the animal is spread along the curved front of the pole. This will become clear by a consideration of the follow- ing figures. Fig. 56 represents a sea-monster with a whale's body and bear's paws. It differs from the monster discussed before iu that it has a whale's head, and no fins attached to the fore paws. It has, however, one large dorsal fin. The blow-hole of the whale is shown over its eyebrows. The tail is turned up in front of the body, and the paws are raised in front of the chest. The dorsal fin will be recognized in the narrow strip, ornamented with a small ring, which slants downward from the elbow towards the tail. An ornament of this sort is shown on both sides of the carving. We see, therefore, that the dorsal fin has been split, and is turned down along each side of the body. This shows that the right and left margins of the carved portion of the totem pole must be considered as the medial line of the back, which has been split and pulled apart. The sculpin shown on the totem pole (Fig. 57) is treated in the same manner, but in this case the cut is made along the lower sidp of the animal. The head is turned upward, so that the front view of the face is seen when looking down upon the back of the fish. The spines rise over nose and eyebrows. The pectoral fins ' are shown over the eyebrows on the edge of the carved i)ortion of the pole, while the hind portion of the lower part of the body occupies the upper part of the margin of the pole. 18971 Boas, Dtcorative Art of the Indians. 157 o Fig. 56. \i\ o^ Fig. 57. Fig. 58. Fig. 56 (iVi). Part of mod"! .if a f jtem pole with design representing a sea-monster. Tribe, Haida. Height of figur*.. ^3 t-.i.; width, 7.5 cm.; depth, 6 cm. Fig. 57 (ilU). Part of m;>>'f ff 4 totem pole with design representing a sciilpin. Tribe, Haida. Height of figure, 1^ ri-n.; width, 5.5 cm.; depth, 5.5 cm. Fig. s8. Part of a totem pole with design representing a sea-monster devouring a fish. Tribe, Haida. Height of figure (e.\cluding cars), 13 cm.; width. 5.5 cm.; depth, 5 cm. d, dorsal fin ; b. fin of forearm ; i', tail of monster ; d^ paws of monster ; t^ »ing of bird. The exceedingly intricate central figure on tiie pole shown in Fig. 58 must be explained in the same manner as Fig. 56. We see here the sea-monster described before in Fig. 24 It has a bear's head. In each ear is placed a small human figure the hands of which grasj) the eyelid of the monster, which tliey are lifting. The tail is turned upward in front of tlie body, immedi- ately over a beaver's head, which is the next lower figure on the ■ 4 RM I *■ ■ <« ■■jHi.im 15^ Bulletin Amciiiiin .\[uii:tm o/ Natural Iliitory. [Vol. IX, ; I ' I : i I II column. The dorsal fin has been i;-!it, and one-half of it is seen under the month of the hear, indicated by a projection which is decorated with a double circle. The fore [kiws of the animal are raised in front of its chest, and ajijiear under the nioutli. The fins which are attached to them a e shown to the riijht and to the left of the tail. The animal is swallowing another being, but it is not clear what animal is meant. A fish-tail and a h.ind are seen protruding from the mouth. The s[)ace between \.\'>\ fore paws and the tail of the sea-monster is occupied by an inverted bird, which will be seen clearly when the figure is reversed. Its head is shown with beak resting between tlie feet. The two wings are e.xtended, and reach from the fins of the fore arm of the monster to its dorsal fin. The particular point brought out by this figure is the same as that which I tried to make clear in considering P'ig. 56 ; namely, that the two edges of the carved pole must be considered as the e.xtended medial line of the back of the animal that is represented on the pole. These carvings make it clear that in paintings on hats, such as shown in Figs. 39, 45, and 46, and in flat figures, such as Fig. 12, we must consider the outer rim of the figure as the distended sides of a cut made along the lower side of the animal. \!1 these dis- tortions and sections of animals may be explained by th ' -.ecessity the artist felt of showing all the symbols of the animal in his works. In most cases the symbols appear clearly in profiles of animals. For this reason the artist, when representing profiles, has not endeavored to show both sides of the body. I will give here a series of figures illustrating this point. Fig. 59 represents the top of a box on which is carved the sea- monster Wasku. It has a wolf's head and body, and a large dorsal fin. It is able to hunt in the sea as well as on land. The artist has shown a profile of tiie animal with one fore leg and one hind leg, the tail curled up over the back. The dorsal fin, which in most representations of this animal stands out vertically from the body, has been laid down along the back in order to fit it into the decorative field. Fig. 60 is a tattooing representing the sea-mobster Tsem'aks, which has a raven's body with a whale's body attached to its head, -897.] Boas, Decorative Art of the Indians. 159 and a fin attached to the raveu back It is shown in profile with one leg, the dorsal fin, and the tau:i of raven and whale twisted around so as to be seen from the sider^ Fig. 6i is a tattooing representing the moon. In its lower por- tion the crescent will be seen. In the dark portion of the moon Fig. 60. Fig. 59(flV.). SiLitc carving rtprescntinj; the se.i-mon iter W.>skii. Tribo, H,iikl.i. Si.'e, j^.j .\ 19.5 cm. Fig. 60, Tattooing rcpresentin,; the fabulous r.ca-niop-iler Tscm'aliH. Tritic, MaiJa, Fig. 61. Tattooing reprc!»t:i.lii(g the moon. Tribe, Haida. 3v:. l6o Bulletin American Museum of Natural History. [\'ol. IX, I y A a semi-human figure is shown in profile, with one leg. One arm is extended downward, and one backward, as though he were lift- ing a heavy weight. In Fig 62, which represents the design on a circular slate dish, we see a good case of the adaptation of a profile to the decora- tive field The design represents a killer-whale with two dorsal Fig. & UM- Slate dish with design representing a killer-wh,.le. Tribe, rtaida. Diame- ter, 41.5 cm.; depth, 6.5 cm. fins The animal is bent around the rim of a dish so that the head touches the tail. The two dorsal fins are laid flat along the back, while the large flipper occupies the centre of the dish. Fig 63 which is the painting on the head of a drum, is a com- bination of front and side views. It is a system of representation with which we are familiar in the art of ancient Egypt. Here the head is turned sideways, while the body, the outstretched wings, and the feet are shown in front view. It is found very rarely in the art of the Indians of the North Pacific coast, and, so far as I am aware, almo.st e.xclusively in representations of the eade The painting on the outer ring of the drum-head is d.ft.- cuU 'to e.i,luin. It will he noticed that the tail of the e.igle •897.] Bods, Decora lire Art of the Iiiiiians. •i6i Fig. 63. fig. 63 (A'a). Drum painted with design of an eagle. Tribe, Tsimshian. Diameter, 38 cm. Fig. 64 (i9]fl). Carving on the end of a food tray representing a hawk. Tribe, Tlingit. Width, 30 cm. occupies the lower centre of the ring. On \.o\t we see the front view of a human figure, the arms of which ;ire placed near the lower corners of the face, and are of diminutive size, while the hands are of very largo size. The two sitting figures below the two hands probably re; recent the back of the man who is shown on top, but their connection •> ith the peculiar fin-like figures on the lower portion of the painting is not clear. There are very few designs which can possibly be interpreted as full-face views of animals. I explained before that the face of the shark is always shown in this manner, because its symbols appear best in this position. The only other animal which is painted or carved on flat surfaces in full front view is the hawk or thunder-bird, whose symbol is the long beak which descends to the chin. A number of carvings representing the thunder-bird were given in Figs. 13-16. We find full-face representations of the thunder-bird very fre- quently used on dishes, on which the beak is imiicateil by a long wedge which separates tiie mouth into two halves. It i.i, Iiowevcr, [ t of the Iiuliiuis. 169 shown on a rather small scale. The whole rest of the body is of very small size, the two halves of the body, with the adjninjng half of the tail, occupying only the outer u|)per margin of the bracelet. I am not quite clear whether the artist intended to Fig. Ti. F'g- 73- Fig. 741 Fig. 72 (kij). Design on a silver bracelet representing a beaver. Tribe, Haid.i. Heii^ht, 3.5 cm. Fig. 73 (3^1). Design on a silver bracelet representing a sea-monster. Tribe, Haida. Height, 3.5 cm. ^is* 74 (xfs)* Design on a silver bracelet representing a hawk. Tribe, Haida. Height, 35 cm. represent the two halves of the dorsal fin by the curved ornament adjoining the hat which rises over the nose of the monster. The hawk which is shown in Fig. 74 has been cut in a different manner, namely, from the beak backward, the two halves being then turned outward. The centre of the design is occupied by the two halves of the head, and the two talons which adjoin it. The wings are cut off from the body, and occupy the outer corners of the design. tl ' i 170 Bulletin Anu-iiciin Museum 0/ JVa/unil History. [Vol. IX, The designs on the following series of carvings arc no less conventionalized. Fi^. 75 is a sea-monster adjusted to a circular slate dish. The carvini; is perfectly symmetrical ; but, owing to an accident, the drawing; appears asymmetrical because it has been taken from an eccentric point of view. Here also the centre is occupied by the he.id of the animal. The tail is seen under the lowest part of the mouth, turned upward in front of the body. The arms are shortened considerably. They are attached to the lower corners of the mouth, the paws touching the chin. i: s J. ■• ««• Fig- 75 WAV Sl.ite dish with design representing a sea-monster. Tribe, Hjida. Diame- ter, 36.3 cm.; depth, 7.5 cm. - ii The fins are joined to the upper part of the arms, and are turned upward so that they lie close to .i'e ides of the face and about on a level with the ears. In Fig. 76, which represents the front of a small box carved in slate, the same sea-monster is shown. Again we see the animal cut in two, the section separating the eyes and the ears, the mouth, however, being left intact. Here the whole body has been omitted, with the exception of the paws, to which the fins are attached. The paws will be recognized turned inward under the mouth, while the fins e.xtend upward along the outer margins of 1897.] fiotts, Dciniitfivr Art 0/ l/ir /nJiiiits. 171 the slat). The dorsal fin has l)C(.ii bisected, and one-lialf is sliown in each iipiier corner. 'I'he ornament in the centre of the u|)iier margin i)rol)aI>!y represents tlie tail turned upwartl over the !)ack so that it al'iiost touches the head. Fig. 77 represents the carvin;^ on a slate slab. W'c have here a Hiff-rent representatior of the sea-monster, which is also, as we might saj', very much abbreviated. The head occupies by far the larger portion of the carving. The body, which is seen underneath Fig. 76. ►ig. 77- ^'''S' 76 (aVr)- Frtnt of a ^Iiitc box with llc^i^;n rcpresrutiiitj a sci-ni-'iistcr. Tribe, ll.iiil.i. Size, 18.5 .\ 30 cm. f'K' 77 (ili»)- Slale sUl) with desitjn rcprvsciiiing a scammisicr. Tril>c, Haiil.i. Si^e, 14 .X 36.5 cm. 1 7"^ HulUtin Anurican Museum oj NiUiinit History. [Vol. IX, the head, occiipyiiij,' tlu- centre of the shib, is iiuliiated by a cdin- 'larativcly sm;ill s(iu.\re with romuleil edt^es, wliich is ilec()rate(l witli two fms. 'I'lie rest of— ilie decoration nn the lower edye of the slab nuist be interpreted as the arms of tlie monster, the large face on each corner representing an elbow, 'i'he whole arm, exteniling from tlie elbow to the hand, is omitted. 'J'he latter is indicated by an oval the centre of which is occii[)ied by an eye. From it rise the three fingers or claws. The important symbols of the monster, the fins, which are attached to the fore arm, are shown adjoining the elbow, and rise along the sides of the slab, outside of the eyes. The two ornaments occupying the upper corners of the si > are undoubtedly the tail of the monster. The shark which is shown in Fig. 78 is found on one end of a small food tray. I do not need to repeat the description of the shark's face, on which the characteristic symbols will be recog- .nized. I have introduced this figure here in order to show that the whole body of the animal has been omitted with the sole exception of its pectoral fins, which are carved on the rim of the tray on both sides of the forehead. Their position is somewhat analogous to the one found on the totem pole (Fig. 'i2))- . In Figs. 79 and 80 we find the representations of the sculpin distorted and dissected in the same manner as the sea-monster on the preceding figures. In Fig. 79 the sculpin has been adapted to a circular slate dish. The centre of the design is occupied by a rosette, which has un- doubtedly been copied from European designs. In the drawing the outlines of the various parts of the body have been strength- ened in order to make their relations somewhat clearer. It will be noticed that the head is split in two, cohering only at the nose and the upper jaw. The two spines rise immediately from the nose. The two halves of the body - aend from the corners of the face upward along the rim of tiie dish. There they grow thinner, indicating the tiiin portion of the fish body near the tail. The tail has not been split, and is turned upward and backward so that it touches the central rosette. A comparison between this design and the design at the centre of the upper margin in Fig. 76 will show a great similarity between the two, thus making it probable, that, as stated before, the latter design is intended to •^1 Iti 1897.] Boas, Decorative Art of the Indians. 173 Fig. 78. Fig. 79. Fig. 78 (i13t)- Design from the end of a food tray representing a siiarlc. Tribe, Tlingit. Central length of design, 12.5 cm. Fig. 79 (iVi). Slate dish with design representing a st-ulpin, Tribi:, Haida. Diameter, 34 cm.; depth. 6.5 cm. represent the tail of the monster. The pectoral fins of the scul- pin are shown in a rather abnormal position. They are turned forward from the body so that they adjoin the lower jaw. They will be recognized between the jaws and the rim of the dish. The dorsal fin is indicated by the long pointed ornaments extending from the eye towards the tail. In the design Fig. 80 the sculpin has been dissected in a nome- what different manner. The head occupies the upper margin of the slab. It has a remarkably triangular shape. The body has been bisected from head to tail, and turned and twisted in such a man- ner that each half extends in a curve downward from the corners of the face to the middle of the lower margin of the slab. The pectoral fins have been left in contact with the corners of tiie mouth, and are placed in the same position as in tl>c preceding figure, namely, adjoining the lower jaw. They meet just below the Clin of the animal. I bt eve the ornaments which ate J 174 BuUctin American Mtiseiim of Xatuial Iliitory. [\'ol. IX, I 'A' A' Stretched alon;,' the riglu and left margins of tlie slab represent the dorsal fins of the sculpin. Our last figure (Fig. Si) shows tlie design of a beautiful Chilcat blanket. In this specimen the distortion and dissection of the finiinal have been carried further than in any of the preceding specimens. On the design are shown the two profiles of the head, the dorsal fin, the tail, the Rippers, and the chest of the killer- whale. In order to understand the design, we must imagine the .{ ■ ■1 ! A ■ » Fi)f 80 (sV-). Vrt-M of a sl.ile box with design rfpr«enting a sculpi.i. Tribe, Hairfa. oii*C| io>5 X, 3'J cm, whale placed head downward, the chest towards the observer. The design on the chest is the large face which occupies the centre of the upper margin of the blanket. Then we must imagine that the head has been cut off, and split and twisted in such a way that the two 'lalvesof the mouth are turned outward. Ne.xt we must imagine the body of the animal cut through just above the chest, and turn- ! I.ackward so that the tail is placed behind the he.id. Then tlio Im ohah es of the head have been moved to the right and to the left in order to allow the Mii to appear between the two halves. In this position the dorsal fin would be hidden behind the chest of the animal. In order to make it visible it has been cut off ironi die b:;ck and moved towards the tail until it apix',!'-,-. just above the tail ; it has been split and flattened so that both halves, the left and the right, are seen under tiie chest. '^ 1897] Boas, Decorative Art of the Indians. 17s Finally the two flippers have been considerably enlarged and twisted in such a way that they occupy the two upper corners of the blanket. I will add a remark in regard to the frequent occurrence of the eye ornament on all these designs. An examination of our fig- ures will show that in most cases it is used to indicate a joint. Flitfer Chat. Flipper. Hiad. Tail. Hiad. Fig. Si ({]r). Chilcat blanket representing a killer-whale. Tribe, Tlingit. ' *^ ' r cm. fig. 81 (,,,). Ct isfi cm.; height, 77 c Width, Shoulder, elbow, hand, hips, knees, feet, the points of attach- ment of fins, tails, and so forth, are always indicated by eyes, which, I believe, may best be interpreted as representations of the surfaces of ball-and-socket joints. We can now sum up the results of our considerations. In the first part of this papei I described the symbols of a number of animals, and pointed out that in many cases there is a tendency to substitute the symbol for the whole animal. The works of art which I described in the second part 'of my paper may be said to illustrate a principle which is apparently diametrically opposed to the former. While the symbolism developed a ten- dency to suppress parts of the animal, we find in the elTorts of the artist to adapt the form of the animal to the decorative lield a far-reaching desire to preserve, so far as feasible, the whole t , \ 1 7