■,'iu IMAGE EVALUATION TEST TARGET (MT-S) 1.0 I.I 12.5 2.2 2.0 1.8 1.25 1.4 1.6 ^ 6" — ► V v^ (^.. ''^ ^;> Photographic Sciences Corporation # v iV \\ ^ ,«* '» O^ rs WIST MAIN STRUT WIBSTIR,N.Y. MS80 (716) S72-4S03 ] L CIHM/ICMH Microfiche Series. CIHM/iCiVIH Collection de microfiches. Canadian Institute for Historical Microreproductions / Institut Canadian de microreproductions historiques Technical and Bibliographic Notes/Notes techniques et bibliographiques The Institute has attempted to obtain the best original copy available for filming. 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The to tl I I Coloured pages/ D Pages de couleur Pages damaged/ Pages endommagtes Pages restored and/oi Pages restaurtes et/ou peilicuiAes Pages discoloured, stained or foxe( Pages dAcolortes, tachetAes ou piquAes Pages detached/ Pages ditachtes Showthrough> Transparence Quality of prir Quality inigale de I'impression Includes supplementary materii Comprend du matAriei supplAmentaire Only edition available/ Seule Adition disponible I — I Pages damaged/ I — I Pages restored and/or laminated/ r-~\ Pages discoloured, stained or foxed/ I I Pages detached/ I I Showthrough/ r I Quality of print varies/ I I Includes supplementary material/ I — I Only edition available/ The posi of tl filml Orig bogi the I sion oths first sion or ill The shall TINl whic Map diffe entir begii right requ metl Pages wholly or partially obscured by errata slips, tissues, etc., have been refilmed to ensure the best possible image/ Les pages totaiement ou partiellement obscurcies par un feuillet d'errata, une pelure, etc., ont At* filmAes i nouveau de fa9on h obtenir la moiileure image possible. This item Is filmed at the reduction ratio checked below/ Ce document est film* au taux de rAduction indiquA ci-dessous. 10X 14X 18X 22X 26X 30X / 3 12X lex »x 24X 28X 32X Th« copy filmad hers hat baan raproducad thanks to tha ganarosity of: Library Division Provincial Archives of British Columbia L'axamplaira film* f ut raprodult erica 6 la gAn6ro«ltA da: Library Division Provincial Archives of British Columbia Tha Imagas appaaring hara ara tha bast quality posslbia consldaring tha condition and laglblllty of tha original copy and In kaaping with tha filming contract spaciflcations. Original copias in printad papar covars ara filmad baginning with tha front covar and anding on tha last paga with a printad or illustratad Impras- sion. or tha back covar whan appropriata. All othar original copias ara filmad baginning on tha first paga with a printad or illustratad impras- sion, and andii g on tha last paga with a printad or illustratad imprassion. The last racordad frama signifie "A SUIVRE ". le symbols V signifie "FIN ". Les cartes, planches, tableaux, etc., peuvent Atre film«s A des taux de reduction diff«rents. Lorsque le document est trop grand pour Atra reproduit en un seul ciich*, il est film* * par*ir da I'angle supirieur gauche, de gauche * droite. et de haut en bas. an prenant le nombre d'images n*cessaire. Les diagrammes suivants illustrant la m*thode. 1 2 3 1 2 3 4 5 6 I NWlMS'i.iViy MOURNINd lll'K MHAVH. lEngmved by H, U.vidson from the ,K.intiu« l.y (ic.rKc.lc lore, Hn„l,, |„ ,|,c po.w„lo„ ..f Thonm. II. C1„k. K.,.,.; Ci ^-^ t> AN ARTIST AMONG THE INDIANS. [The pictures of one of the younger artists of America, Mr. Cleorge de Forest Brush, have attracted attention in recent exhibitions for their original and vigorous rendering of scenes among the aljorigines of the North American continent. Two of these paintings in oil \vc are permitted to reproduce here by means of wood- engraving — "Mourning her Brave," eigraved liy Mr. H. Davidson, and " The I'icture-Wriier," engraved by Mr. J. H. E. Whitney. We c.ill attention also to the same artist's illustrations to " How Squire Coyote brought Fire to the Cahrocs," in Tiik Ckniury for January, 1885. At our request Mr. Brush has written out a few notes with regard to the Indians as subjects of pictorial art. — The Editor.] EVERY one who goes far West sees about the streets of the little railroad towns a few Indians. The squaws are fat and prematurely wrinkled ; the men give the impression of dark-skinned tramps, and we seldom look under their dirty old felt hats to study their features. Certainly, when one first sees these wretched creatures, and recalls the pictures in the geography, the pages of travelers, or the imagery which the musical and high-sounding names — such as Crow Nation or Land of the Dakotas — awoke within him when a bov, there is sbme reason for feeling as if one had been deceived ; as if a false charm had been thrown around these poor brutes. This, in- deed, is the feeling of most people in the East to-day regarding Indians. One cannot speak of them without the certain response, " Well, as for me, I have not much faith in the noble red man "; and so deep is the pre- judice against them that travelers who are aware of this sentiment, and who have lived long among the aborigines, knowing how much of interest and good there is to l)e told, are tempted to counterbalance prejudice with over-statement ; they exaggerate the beauty and suppress all mention of the ugly that is to be found in their manners and life. In reading C'atlin, one is oppressed with a certain partiality, a constant tendency to throw into re- lief all their good and to subordinate the bad. It is true that, from the jjoint of viewof the (•ivilized merchant, who loves one woman, lives in a stone mansion, and tastes the sweets of intellectual life, they are a sad sight, with their limited enjoyments, licentiousness, and coarse palates that can relish a boiled dog, — their old people blind and dirty, with brutal jaws and uncombed hair, antl blooil on the faces of old women, who have cut themselves in mourning, and which they refuse to wash otT. But the (|uestion whether they are fit to enter the kingdom of heaven is apart from that of their artistic interest. Many people fail to see this ; but such persons are as badly olf as the farmer who lived in the house of a celebrated author which I went to sketch. On leannng my errand, the oltl man eyed the moss-covorc(l shingles and defective chimney with a mixed look of humor and humiliation, and questioned whether it would not be bet- ter to return in the spring, when he hoped to have a new house in its place ! All that Rembrandt asked of the human figure was that it might exhibit light and shade ; he never looked for pretty people, but found in this aspect of things a life-work. It is not necessary that an Indian learn to spell and make changes before we see that his long locks are beautiful as he rides against the prairie winds. A hawk is cruel, yet who has npt loved to watch its spiral course in the summer heavens ? It is also a mistake to suppose that Indians are all homely. A really handsome squaw is rare, but there are more superb and symmet- ri'.al men among them than I have ever seen elsewhere, their beardless faces reminding one always of the antitjue; these are not rare, but are to be seen at every dance, where they are mostly naked, decorated in feathers and light finerie?. Their constant light exercise, fre- ([uent steam-baths, and freedom from over- work develop the body in a manner only e([ualed, I must believe, by the Greek. When we study them in their own homes, see them well fed, independent, unembar- rassed, dressed in their elk-skins and feathers, dancing nearly nude when the November snows lie deep upon the ground, smoking their long pipes and chatting with the 'il- dren about the door of the lodge, or sadly climbing the brown October foot-hills to bury a dei)arted villager on some chosen cliff, — then they are beautiful. It is when we detach them from all thouglits of what we would have them be, and enjoy them as patt of the landscajjc, that they fill' us with lovely emo- tions. The vulgar think that only roses are beautifiil ; but the weed which we root up also illustrates the divine law of harmony. It is not by trying to imagine the Indian some- thing finer than he is that the artistic sense finds delight in him. We do not miss human refinement in the sow and her litter ; we admire them, as we look over the old fence, simply as pig.s, their liny pink feet plunging into the trough in their arw^qa gree| roor fooc apa| the I the resell tribe witnl that! deati In bod^ in t\[ the MAY-BLOOM. 57 greed, and the little black brother trying to find room. The beauty of the maid who brings their food does not lessen theirs. So the Indian is a part of nature, and is no more ridiculous than the smoke that curls up from the wigwam, or the rock and pines on the mountain-side. The custom of mourning the dead, as rep- resented in the picture, is common to all the tribes of the North-west, I believe. I have witnessed it daily among the Crows. I know that we do not mourn in this manner, but death and grief we are all acquainted with. In the picture I was afraid of making the body too prominent, on account of the effect in the composition. In the engraving I fear the point is quite lost, and does need expla- nation, " The Picture- Writer " is supposed to be a scene in the interior of a Mandan lodge. The Mandans were not a roving tribe, but built these large huts of poles and mud, and raised corn. But in choosing Indians as subjects for art, I do not paint from the historian's or the anti- quary's point of view ; I do not care to rep- resent them in any curious habits which could not be comprehended by us ; I am interested in those habits and deeds in which we have feelings in common. Therefore, I hesitate to attempt to add any interest to my pictures by supplying histO''cal facts. If I were required to resort to this in order to bring out the poetry, I would drop the subject at once. George de Forest Brush. ^«» MAY-BLOOM. Oh, for You that I never knew! — Now that the Spring is swelling. And over the way is a whitening may, Tn the yard of my neighbor's dwelling. Oh, may, oho! do your sisters blow Out there in the country grasses — A-mocking the white of the cloudlet light. That up in the blue sky passes ? Here in town the grass it is brown, Right under your beautiful clusters; But your sisters thrive where the sward's alive With emerald lights and lustres. Dream of my dreams! vision that seems Ever to scorn my praying. Love that I wait, face of my fate, Come with me now a-maying! Soul of my song ! all my life long Looking for you I wander; Long have I sought — shall I find naught, Under the may-bushes yonder? Oh, for You that I never knew, Only in dreams that bind you! — By Spring's own grace I shall know your face, When under the may I find you! H. C. Bunner. Vol. XXX.-7.