Fig. 235 represents a sea-monster with a whale’s body and bear’s paws.
It differs from the monster discussed before in 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 on the totem pole (fig. 236) is treated in the same manner,
but in this case the cut is made along the lower side 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 portion of the pole, while the hind portion of the lower
part of the body occupies the upper part of the margin of the pole.
[Illustration: Fig. 237. Model of totem pole representing a sea-monster
devouring a fish, Haida.]
The exceedingly intricate central figure on the pole shown in fig.
237 must be explained in the same manner as fig. 235. We see here the
sea-monster described before in fig. 183. It has a bear’s head. In each
ear is placed a small human figure the hands of which grasp the eyelid
of the monster, which they are lifting. The tail (_c_) is turned upward
in front of the body, immediately over a beaver’s head which is the
next lower figure on the column. The dorsal fin (_a_) has been split,
and one-half of it is seen under the mouth of the bear, indicated by a
projection which is decorated with a double circle. The fore paws of
the animal (_d_) are raised in front of its chest, and appear under the
mouth. The fins which are attached to them (_b_) are shown to the right
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 hand are
seen protruding from the mouth. The space between the 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 the feet. The two wings (_e_) are extended, 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 explain in considering fig. 235; namely, that the two edges
of the carved pole must be considered as the extended 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. 219, 224 and 225, and in flat figures, such as fig. 163, we
must consider the outer rim of the figure as the distended sides of a
cut made along the lower side of the body. All of these distortions and
sections of animals may be explained by the necessity the artist felt
of showing in his work all the symbols of the animal.
[Illustration: Fig. 238. Slate carving representing the sea-monster,
Wasgo, Haida.]
[Illustration: Fig. 239. Tattooing representing the fabulous
sea-monster, Ts’um’a´ks, Haida.]
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. 238 represents the top of a box on which is carved the sea-monster
Wasgo. 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 the animal with one foreleg and one hindleg, 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. 239 is a tattooing representing the sea-monster Ts’um’a´ks, which
is sometimes described as having a raven’s body with a whale’s body
attached to its head, and a fin attached to the raven’s back. It is
shown in profile with one leg, the dorsal fin, and the tails of raven
and whale, twisted around so as to be seen from the side. In other
cases it is described as having a bear’s head with the mouth of a shark.
[Illustration: Fig. 240. Slate dish with design representing a
killer-whale, Haida.]
[Illustration: Fig. 241. Drum painted with design of an eagle,
Tsimshian.]
In fig. 240, which represents the design on a circular slate dish, we
see a good case of the adaptation of a profile to the decorative field.
The design represents a killer-whale with two dorsal fins. The animal
is bent around the rim of the 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. 241, which is the painting on the head of a drum, is a combination
of front and side views. The head is turned sideways, while the body,
the outstretched wings, and the feet are shown in front view. This
method is found rarely in the art of the North Pacific coast, and,
so far as I am aware, almost exclusively in representations of the
eagle (see, however, fig. 239). The painting on the outer ring of the
drum-head is difficult to explain. It will be noticed that the tail
of the eagle occupies the lower centre of the ring. On top we see the
front view of a human figure, the arms of which, of diminutive size,
are placed near the lower corners of the face, while the hands are of
very large size. The two sitting figures below the two hands probably
represent the back of the man who is shown on top, but their connection
with the peculiar fin-like figures on the lower portion of the painting
is not clear.
[Illustration: Fig. 242. Tattooing representing the moon, Haida.]
[Illustration: Fig. 243. Carving on the end of a food tray representing
a hawk, Tlingit.]
Fig. 242 is a tattooing representing the moon. In its lower portion the
crescent will be seen. In the dark portion of the moon a semi-human
figure is shown in profile, with one leg. One arm is extended downward,
and one backward, as though he were lifting a heavy weight.
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. 165-168 (p.
191).
We find full-face representations of the thunder-bird frequently
used on dishes, on which the beak is indicated by a long wedge which
separates the mouth into two halves. It is, however, not certain
whether the artists consider this face always as a full front view,
because we often find (fig. 243) a depression between the two eyes,
corresponding to the depression which I described before when
referring to the joining of the profiles of animals. It may be that
the long central wedge must be considered as the two halves of the
long descending beak, which join in the middle. It might be expected,
however, that in this case the beak would, at least sometimes, be
carried on outward to the right and to the left below the chin,
corresponding to one-half of the beak seen in fig. 166 (p. 191). I have
not observed a single specimen in which this is the case, and therefore
I am inclined to consider the carvings of thunder-birds on dishes as
full front views.
[Illustration: Fig. 244. Painting from a house-front representing
thunder-bird, Kwakiutl.]
This ornament may have originated in the following manner: Many grease
and food dishes have the form of canoes. The canoe symbolizes that a
canoe-load of food is presented to the guests; and that this view is
probably correct is indicated by the fact that the host in his speeches
sometimes refers to the canoe filled with food which he gives to his
guests. The canoe form is often modified, and a whole series of types
may be established forming the transition between canoe dishes and
ordinary trays. Dishes of this sort always bear a conventionalized
face at each short end, while the middle part is not decorated. This
is analogous to the style of the decoration of the canoe. On the whole
the decoration of the canoe is totemic. It may, however, be that the
peculiar manner in which the beak of the hawk is represented has given
rise to the prevalence of this decoration. The upper jaw of the hawk
is always shown so that its point reaches the lower jaw and turns
back into the mouth. When painted or carved in front view the beak is
indicated by a narrow wedge-shaped strip in the middle of the face,
the point of which touches the lower margin of the chin. The sharp
bow and stern of a canoe with a profile of a face on each side, when
represented on a level or slightly rounded surface, would assume the
same shape. Therefore it may be that originally the middle line was not
the beak of the hawk, but the foreshortened bow or stern of the canoe.
This decoration is so uniform that the explanation given here seems to
me probable.
In fig. 244 we see a painting representing a full front view of the
thunder-bird. Its principal symbol is the long beak, which in front
view appears like a long line descending from the nose over the mouth.
In this case it is doubtful whether the body may be considered as being
split along the back. Since the face is certainly represented in front
view, it seems more likely that the animal is represented with spread
wings, similar to the eagle in fig. 241.
I have described a number of dissections applied in representing
various animals. Heretofore we have had cases only in which the
dissections were rather simple. In many cases in which the adaptation
of the animal form to the decorative field is more difficult, the
sections and distortions are much more far-reaching than those
described before.
[Illustration: Fig. 245. Model of totem pole with design representing a
killer-whale, Haida.]
The cut that has been applied in the totem pole (fig. 245) is much
more intricate than the preceding ones. The upper figure represents a
bird which is shown in the form of a human being, to the arms of which
wings are attached. Under this figure we find a representation of the
killer-whale. The hind part of its body is more easily recognized than
the head. A small human figure is seen riding on the dorsal fin. The
tail (_a_), which appears at the lower margin of the figure, is turned
backward over the back of the animal. We must therefore imagine that
the head has been turned downward behind the human figure (_b_) riding
on the dorsal fin (_c_). It would, therefore, lie on the back of the
totem pole, which is not carved. Consequently, according to what was
stated before, the artist has split and distended it so that the middle
line appears at each edge of the carved portion of the pole. Thus the
right half of the head (_d_) has been brought into view on the right
side of the totem pole, and the left half on the left. This is the
explanation of the whale’s head with its teeth, which is seen in our
figure next to the tail, the lower jaw being omitted. The flipper (_e_)
which adjoins the head, is laid over the back of the whale, immediately
under the feet of the human being riding on the dorsal fin of the
whale. The figure must therefore be explained in such a way that the
animal is twisted twice, the tail being turned up over the back, and
the head being first turned down under the stomach, then split and
extended outward.
[Illustration: Fig. 246. Painting for a box front, design representing
a frog, Haida.]
[Illustration: Fig. 247. Painting for a house-front, design
representing a killer-whale, Kwakiutl.]
Fig. 246 is a copy of a painting on the front of a box, made on paper
with colored crayons by a Haida Indian named Wiha. It represents a
frog. By far the greater portion of the box front is occupied by the
head of the animal, which, according to what was said before, must be
considered as consisting of two adjoining profiles. The symbol of the
frog’s head is its toothless mouth. The two black portions extending
downward from the lower corners of the face are two halves of the body.
To these are joined the fore paws, which occupy the space below the
mouth; the upper arm and fore arm being turned inward, the fore feet
being turned outward under the arm. The hind legs occupy the lateral
field on both sides of the head. They are not connected in any way with
the body of the animal.
In fig. 247 we find a novel representation of the killer-whale, which
was given to me as illustrating the painting on a house of the Kwakiutl
Indians. The sections that have been used here are quite complicated.
First of all, the animal has been split along its whole back towards
the front. The two profiles of the head have been joined, as described
before. The painting on each side of the mouth represent gills,
thus indicating that a water-animal is meant. The dorsal fin, which
according to the methods described heretofore would appear on both
sides of the body, has been cut off from the back before the animal was
split, and appears now placed over the junction of the two profiles of
the head. The flippers are laid along the two sides of the body with
which they cohere only at one point each. The two halves of the tail
have been twisted outward so that the lower part of the figure forms a
straight line. This is done in order to fit it over the square door of
the house.
[Illustration: Fig. 248. Painting for a house-front with design
representing a killer-whale, Kwakiutl.]
In fig. 248 the same animal has been treated in still a different
manner. The figure illustrates also the painting from a house-front of
the Kwakiutl Indians. The central parts of the painting are the two
profiles of the head of the killer-whale. The notch in the lower jaw
indicates that it also has been cut, and joined in its central part.
The cut on the upper part of the face has been carried down to the
upper lip. The body has disappeared entirely. The cut of the head has,
however, been carried along backward the whole length of the body as
far as the root of the tail, which latter has been cut off, and appears
over the junction of the two profiles of the head. The dorsal fin has
been split, and the two halves are joined to the upper part of the
head, from which they extend upward and outward. Immediately below them
the two halves of the blow-hole are indicated by two small faces, the
upper parts of which bear a semicircle each. The flippers are attached
to the lower corners of the face. The painting on the face next to the
mouth represents gills.
[Illustration: Fig. 249. Painting on a paddle representing porpoise and
seal, Kwakiutl.]
Fig. 249 is a complicated painting on a Kwakiutl paddle. It represents
a porpoise and a seal combined; the porpoise turning to the right,
the seal to the left, and both having a common body. At the right is
seen the head of the porpoise and the short lines behind it, upward,
represent the animal spouting. (1) is the neck, (2) the flipper, (3) a
joint in the flipper, (4) and (5), (9) and (13) jointly representing
the body of the porpoise, (5) is the stomach, (8) the dorsal fin of
the porpoise, (9) is the backbone both of the porpoise and of the
seal, (12) is the tail of the porpoise. The head of the seal is shown
in (11), (10) represents the ears, although another pair of ears, like
those of all animals, appear over the head. It has been stated before
that (9) is the backbone of both seal and porpoise, (5) is the stomach
of the seal, (13) its flippers, and (4) its tail.
[Illustration: Fig. 250. Painting for a house-front representing a
raven, Kwakiutl.]
Fig. 250 represents the painting from a house-front showing a raven in
profile. This painting appears on the right and left of the doorway;
the beaks facing the door. (1) is the raised tuft on the head of the
raven, (2) feathers, (3) the facial bones, (4) the skin over the
beak, (5) is supposed to be a joint in the tongue, (6) the skin over
the lower jaw, (7) the supposed joint at the base of the tongue, (8)
represents the shoulder joint, (9) feathers, and (10) the long wing
feathers. It will be noticed that the inner feathers (9) are rounded,
while the wing feather has a sharp point, according to the standard
requirements referred to on p. 205. (11) represents the tail with a
single face as a joint, according to standard requirements.
[Illustration: Fig. 251. Painting for a house-front representing a
thunder-bird, Kwakiutl.]
Fig. 251 is a design from a house-front, over the door, representing
a thunder-bird. The design must be considered as consisting, more or
less clearly, of two profiles. (1) represents the hooked nose, (2) the
skull, (3) the ears, (4) the feathers over the heavy eyebrows. The tail
rises over the head. It has the characteristic single joint. Rounded
feathers are shown on the wings, right and left; the extreme long wing
feather is sharply pointed. The feet, to the right and left of the
face, are enormously enlarged. The circular eye design represents the
joint to which three toes are attached.
Fig. 252 represents another painting which is placed over the door
of a Kwakiutl house-front. It represents a whale. In this specimen
are found a number of deviations from the supposed standard. Below is
the tail (1), with the flukes (2). While the double curvature on the
inner side of the flukes is preserved, there is only one joint design
instead of the normal two. The design (3) on each side represents the
fins. According to the standard these ought to be round, but they
are actually sharply pointed like wing feathers. This may be due to
the prevailing tendency of showing the middle feathers as round, and
letting the extreme lateral ones run into a long point which closes
off the design more effectively than a round form would. Over the tail
will be noticed the long mouth and the nose with its sudden turn.
The line (4) indicates the strong curve which sets off the nose from
the forehead. This is analogous to the treatment of the nose among
the Haida. (5) represents the shoulder joint. The scallops under the
eyes are the cheekbones. Over the eyes are the ears (6), over the
forehead rises the dorsal fin with a single joint. Normally the eyes
of the whale are round and the person who explained the design called
particular attention to the fact that in this painting they had not the
standard form.
[Illustration: Fig. 252. Painting for a house-front representing a
whale, Kwakiutl.]
Fig. 253 is another house-painting of the Kwakiutl, representing the
raven. The same principle as in fig. 251 has been adhered to by the
artist. The central portion of the figure is occupied by the head of
the raven split from its lower side upward so that the two halves
cohere along the upper edge of the beak. The two halves of the head
have been folded outward, so that the two halves of the tongues (2)
and the two lower jaws (1) appear on each side of the central line.
The two halves of the lower side of the body are shown extending in a
curved line (3) from the corners of the mouth towards the tail, which
latter has not been cut. The wings have been considerably reduced in
size, and pulled upward so that they appear over each upper corner of
the head. The legs (5) occupy the right and left lower parts of the
painting, the feet (4) being disconnected from the thin legs.
[Illustration: Fig. 253. Painting for a house-front representing a
raven, Kwakiutl.]
[Illustration: Fig. 254. Painting from the edge of a blanket
representing a sea-monster, Northern British Columbia.]
In fig. 254, which is a painting on the margin of a blanket, the
sea-monster described in Fig. 183 (p. 199) is represented. The animal
is shown here as split in two along its back; but all its parts,
except the head, the paws, and the tail, are much reduced in size.
The two enormous eyes, and between them the nose, will be readily
recognized. The teeth are indicated by a series of slanting lines under
each eye, but the lower jaws of both halves have been omitted. The
whole body is represented by the thin line extending from the lower
outer corner of the eyes upward, then along the upper margin of the
painting, and downward again. The three dorsal fins are shown over this
line,—one-half of each on each side of the back. The arms are indicated
by two curves under the line indicating the back. The fin of the arm is
shown under the fore arm. While all these are of small size, the paw
which adjoins the fore arm is shown on a large scale, the claws turned
towards the face. The line representing the body runs towards both ends
of the painting along the lower margin until it is merged into the
tail, one-half of which is shown on each side. In this specimen the
proportions of the body are much more distorted than in any previous
case.
The following series of figures are designs found on a number of
silver bracelets. The animals represented on these are also shown very
fragmentarily.
[Illustration: Fig. 255. Design on a silver bracelet representing a
beaver, Haida.]
[Illustration: Fig. 256. Design on a silver bracelet representing a
sea-monster, Haida.]
[Illustration: Fig. 257. Design on a silver bracelet representing a
hawk, Haida.]
In fig. 255 we see the beaver cut in two along its back. The face does
not need any further explanation. The fore legs adjoin it on each
side, the toes being turned inward; but the whole rest of the body has
been omitted, except the two halves of the tail, which the artist was
compelled to show, because they are symbols of the animal.
In fig. 256 we recognize the sea-monster, with a bear’s head and a
whale’s body. Here also by far the greater portion of the etching
represents the head and fore arms of the monster. The fins, that are
attached to the upper arms near the elbow, are shown on a rather small
scale. The whole rest of the body is of small size, the two halves of
the body, with the adjoining half of the tail, occupying only the outer
upper margin of the bracelet. I am not quite clear whether the artist
intended to 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. 257 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.
[Illustration: Fig. 258. Slate dish with design representing a
sea-monster, Haida.]
The designs on the following series of carvings are no less
conventionalized. Fig. 258 is a sea-monster adjusted to a circular
slate dish. The carving is perfectly symmetrical. The drawing appears
asymmetrical because it has been taken from an eccentric point of view.
Here also the centre is occupied by the head 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. The fins are
joined to the upper part of the arms, and are turned upward so that
they lie close to the sides of the face and about on a level with the
ears. Attention is called again to the spiral nostrils.
In fig. 259, 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 extend upward along
the outer margins of the slab. The dorsal fin has been bisected, and
one-half is shown in each upper corner. The ornament in the centre
of the upper margin probably represents the tail turned upward over
the back so that it almost touches the head. This arrangement must be
considered in connection with the formal treatment of boxfronts which
will be discussed later (pp. 263 et seq.).
[Illustration: Fig. 259. Front of a slate box with design representing
a sea-monster, Haida.]
[Illustration: Fig. 260. Slate slab with design representing a
sea-monster, Haida.]
Fig. 260 represents the carving on a slate slab. We have here a
different representation of the sea-monster, which is also, as we might
say, much abbreviated. The head occupies by far the larger portion
of the carving. The body which is seen underneath the head, in the
centre of the slab, is indicated by a comparatively small square with
rounded edges, decorated with two fins. The rest of the decoration
on the lower edge of the slab must be interpreted as the arms of the
monster, the large face on each corner representing an elbow. The whole
arm, extending from the elbow to the hand, is omitted. The latter is
indicated by an oval the centre of which is occupied 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 slab are undoubtedly
the tail. This arrangement is also determined by the general
principles governing the decoration of boxes (see p. 263).
The shark which is shown in fig. 261 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 recognized. 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. 213 (p. 219).
[Illustration: Fig. 261. Design from the end of a food tray
representing a shark, Tlingit.]
[Illustration: Fig. 262. Slate dish with design representing a sculpin,
Haida.]
In figs. 262 and 263 we find the representations of the sculpin
distorted and dissected in the same manner as the sea-monster of the
preceding figures.
In fig. 262 the sculpin has been adapted to a circular slate dish. The
centre of the design is occupied by a rosette, which has undoubtedly
been copied from European patterns. In the drawing the outlines of the
various parts of the body have been strengthened 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 extend from
the corners of the face upward along the rim of the dish. There they
grow thinner, indicating the thin 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. 259 will show
a great similarity between the two, thus making it probable, that, as
stated before, the latter design is intended to represent the tail of
the monster. The pectoral fins of the sculpin 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.
[Illustration: Fig. 263. Front of a slate box with design representing
a fish, Haida.]
In the design fig. 263 a fish has been dissected in a somewhat
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 manner 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 the mouth, and are placed in the same position as
in the preceding figure, namely, adjoining the lower jaw. They meet
just below the chin of the animal. I believe the ornaments which are
stretched along the right and left margins of the slab represent the
dorsal fins.
[Illustration: Fig. 264. Body painting representing the bear, Kwakiutl.]
I have described at a previous place (p. 215) the extraordinary
distortion and dissection of the killer-whale in its adaptation to a
blanket, and I have given the description at that place.
Quite a unique distortion is found in body paintings used by the
Kwakiutl Indians in a boy’s dance. Fig. 264 is a copy of a body
painting representing the bear. On the chest, the head of the bear is
shown turned downward. The white spots over the collarbones are the
eyes of the bear; the angular line with semicircles, the mouth and
teeth. On the upper arms are shown the forelegs, the claws just under
the elbow. The hind legs are shown on the front of the thighs. On the
back of the person is shown the nape of the bear placed on the upper
part of the back; under it, extending downward, is the back, the lines
representing hair. The hip joints are shown by dark designs on the
buttocks. The spiral design on the left leg was said to represent the
tail.
Still more remarkable is the frog painting shown in fig. 265. On the
small of the back is shown the top of the head of the frog; the two
eyes with eyebrows above, the mouth below. Corresponding to this place
we find in the front of the body the mouth set with teeth (which really
do not belong to the frog). The back of the frog is shown on the upper
part of the back; the hind legs on the back of the arms. The opposite
side of the hind legs is shown on the front of the arms. It seems
probable that in the design which was copied for me by an Indian, the
painting on the front of the left arm was accidentally omitted. The
shoulder joint is shown on the front of the thighs; the forelegs in
corresponding position on the back of the thighs; the ankle joints on
the knees; and the foot on the calf of the legs. In other words, the
frog is shown in such a way as though the body of the person were the
frog. No explanation was given for the black design on the left leg.
[Illustration: Fig. 265. Body painting representing the frog, Kwakiutl.]
* * * * *
We will turn now to the purely formal side of the treatment of the
decorative field. There is a tendency to cover the entire surface with
design elements. Vacant places are avoided. When the surface of the
object represented has no features that lend themselves to decorative
development, the artist resorts to devices that enable him to fill
the surface with patterns. On totem poles the bodies of the animals
represented occupy considerable space. The monotony of the surface
is broken by placing the forelegs and hindlegs across the front of
the body, by turning up the tail in front, and by adding small animal
figures.
Far more important is the application of a great variety of decorative
elements, all of which consist of curved lines. The Indians have a
decided disinclination to apply equidistant curves. In all work of
the better class the lines are so arranged that more or less crescent
shaped surfaces result, or that narrow, curved areas, wide in the
middle, narrower at the ends, are formed.
The most striking decorative form which is used almost everywhere,
consists of a round or oval field, the “eye design”. This pattern is
commonly so placed that it corresponds to the location of a joint.
In the present stage of the art, the oval is used particularly as
shoulder, hip, wrist, and ankle joint, and as a joint at the base
of the tail and of the dorsal fin of the whale. It is considered as
a cross section of the ball and socket joint; the outer circle the
socket, the inner the ball. Often the oval is developed in the form of
a face: either as a full face or a profile.
The general disposition of this design demonstrates that the
explanation is not by any means always tenable. Thus in the blanket,
fig. 205 (p. 215), the eye pattern in the two lower corners has no
connection with a joint. In this position, in the mouth of an animal,
it is sometimes described as food. The two profile faces higher up on
the side of the same blanket, are obviously fillers. They might be
replaced by “eye designs”. Another instance of similar kind is found on
the upper part of the face of the dish fig. 168 (p. 191). The circular
designs shown here might perhaps be interpreted as tail joints, but
they are probably decorative elements. The design appears clearly as a
filler in fig. 283 _f_ (p. 272) at the inner upper corner on the long
side of the box, and on the ears of the beaver, fig. 229, (p. 227). On
Chilkat blankets it appears always in fixed positions (see p. 258) and
in large boxes it is the constant corner design (see p. 263). Its use
and interpretation as a joint is presumably related to the frequent
ornamental combination shown, for instance, in the feet on fig. 160
(p. 188) and in the tails fig. 193 (p. 205). The oval represents the
joint and the elevated part the limb. These are at the same time formal
elements that appear regularly on the lateral border designs on carved
boxes (fig. 274, p. 263). The eye design appears in a variety of forms
ranging from a large double eye to a circular pattern with black center.
Lieutenant Emmons has collected the various design elements as they
appear on the blankets and has given the names by which they are
designated by the Tlingit (fig. 266). These names do not fit the
explanations given for the whole pattern. The “double eye” (_h_) and
the “eye” (_f_) are not always eyes but occur also as joints, (fig. 269
_b_). The profile eye is called the “head of the salmon trout” (_c_).
It is used quite generally as the eye of any animal. The “black eye”
(_g_), the “nostril” (_l_) and the design called “one in another” (_o_)
are practically identical. They are also used as joints. The frequent
use of the circular design of light or dark color, set off against a
dark or light background indicates that the tribes of the north west
coast do not tolerate areas of the same color, the monotony of which is
relieved by the insertion of circular designs of contrasting colors.
These may be seen on many blanket and box designs (fig. 274 et seq.).
[Illustration: Fig. 266. Design elements from Tlingit blankets.]
The forms called “side holes” (_p_) and “holes”, “ends of gambling
sticks” or “rain drops” (_q_) have white circles relieving a black
background. It is quite evident that these designs also, as parts of
the whole design, have not the significance implied in the names, nor
do the names explain the reason for their use. The frequent occurrence
of the white circles, both isolated and in lines, (see figs. 269 et
seq., pp. 259 et seq.) proves that they must be considered primarily as
a formal element designed to break large surfaces.
It seems to me most likely that the black or white circular design has
been the basis from which the eye design has developed. In the style of
the north west coast art shoulders, hips, hands, and feet form large
dark monotonous surfaces. These are broken by a large white circle or
oval, which is again varied by a black center. This tendency would
also account for the goggle design (fig. 266 _i_). The same desire to
relieve the monotony of the cheek surface leads to the insertion of an
oval design on the cheek (_k_).
In carved designs these forms are not contrasted by color, but the form
alone varies the monotony of the large undecorated surface.
Another characteristic pattern, the narrow crescent, has presumably
also originated from the desire to break the monotony of continuous
areas. It appears particularly when it is desired to set off two
merging patterns against each other. Here also design names obtained by
Emmons, “woman’s hair ornament” (_r_) and “slit” (_s_) have nothing to
do with its function and significance as part of the whole pattern.
The most characteristic filler, next to the eye, is a double curve,
which is used to fill angular and round fields that rise over a
strongly or gently curved line. Many fillers of this type have a
dark colored band at the upper end, generally rounded in paintings
or carvings, square in blankets (see fig. 202, lower lateral design
on central panel; the tail patterns, fig. 193). In the blankets the
angular form is perhaps due to the technique in weaving, although the
frequent eye designs prove that round forms are not impossible. On
blankets the heavy upper line is often drawn out into a tip (fig.
270 _a_, over the “goggle” design on the side of the central panel).
Examples of these forms have been collected by Lieutenant Emmons who
states that the Tlingit call them “the wing feather of red-winged
flicker” (fig. 266 _t_). The use of the pointed form of this design for
a bird feather agrees with the theoretical claim of the Kwakiutl (see
p. 205), but obviously the explanation does not always fit the meaning
of the pattern as a whole, as is shown by the killer-whale design fig.
205 (p. 215) or the whale design fig. 270 (p. 260).
The design is used commonly to represent quite diverse objects. Thus,
the double flicker-feather (fig. 266 _t_), occurs in fig. 269 _a_ as
the beak of a bird, occupying the middle of the mouth design between
the two large eyes. It occurs also between the ears along the upper
border of the design as the single flicker-feather. Here as well as
over the beak of the bird, in the lateral fields, it is used only
for filling in parts of the design which otherwise would remain
undecorated. In fig. 202 (p. 213) the same design occurs between the
eyes, just over the nostril, and here also it obviously has nothing to
do with the red-winged flicker. Many other cases of this application of
the wing feather design, simply for the purpose of filling in spaces,
may be observed in practically all the blankets. A comparison of fig.
202 with the box designs fig. 274 shows that the wing feather design
may serve to express the forearm and the upper arm. In fig. 274, we
have the two hands placed in a position, similar to the paws in figs.
202 and 269 _b_. On the box fig. 274 _a_ the parts are connected with
the body by a narrow red strip, which is divided by characteristic
curves into two parts. A comparison of this design with figs. 222 and
223 shows very clearly that they are meant to represent the upper
arm. In the blanket design fig. 269 _b_, the two sections connecting
the paw with the body may be recognized distinctly as upper arm and
forearm. In the blanket designs fig. 202, the space that is available
for the upper arm is much condensed; but it is quite obvious that the
two wing feather designs which lie on the outer sides of the paws
must be interpreted here also as the forearm and upper arm. Judging
by this analogy, I think there can be very little doubt that the two
wing feathers placed by the sides of the body in fig. 269 _a_ may be
considered in the same way as the two parts of the arm of the animal
represented. Since the animal here shown is a bird, these feather
designs are in this way made to represent the bones of the wing.
Similar considerations have determined the distribution of ornaments in
the design fig. 270 _b_. Here the two feet will be recognized at the
lower edge of the design. Adjoining it, above the “eye”, are two long
white flicker-feather designs, which obviously represent the legs. Each
of the two inverted double eyes under the jaws must be interpreted as
a shoulder joint to which is attached the lower part of the arm in the
form of a flicker-feather design.
The forms here discussed are interpreted as various kinds of
animals,—birds, quadrupeds, sea-monsters,—but never as the red-winged
flicker, nor can the parts be interpreted as ornaments made of
flicker-feathers. It is obvious that we are dealing here with a fixed
form, which has a conventional name, and which is used for a variety of
purposes.
It will be noticed that this design occurs in three principal forms.
In one of these it is cut off square at the upper end. Most of those
shown in fig. 266 are of this type. Another characteristic form of this
design has the pointed wing feather, (as the second one in the series
fig. 266 _t_). A third form, which is not given in the series of named
designs, seems to be quite common. It has a rounded tip, and may be
observed, for instance, in the beak part in front of the upper eye in
the lateral panels of figs. 203 and 269 _a_; also in the central field
in fig. 273 _b_.
The wing design is applied wherever a somewhat oval or rectangular
field which is situated laterally has to be filled in, particularly
when the field adjoins another design which is surrounded by heavy
black lines, and which forms part of an animal body. For this reason
the design appears very commonly in front of, over, or under the eye
design. It is used to fill in the ears; it appears at the sides of the
body, as in figs. 203 and 269 _a_; and it is used to fill in small
fields which adjoin black lines, as for instance, in the lowest section
of the lateral panels in fig. 269 _a_.
On blankets the light circle on a darker background with black tip
and small white segment at the base, is almost ever-present. The
white segment at the base is limited very often by a pointed double
curve,—like a brace,—which divides the adjoining colored field more or
less distinctly into two halves. These may be observed, for instance,
in one of the ear designs in figs. 202 and 269 _b_, and also in the
design over the nose in fig. 202.
This pattern is also used as a filler for long narrow spaces.
According to Emmons this is called the “mouth design” (fig. 266 _j_)
or the “eyebrow” (_e_), but it is often used on fields that cannot be
interpreted as “mouth” or “eyebrow”, as for instance, in the lateral
parts of the lower border of fig. 202 and in the lower corner of the
box, fig. 274 _b_.
Judging from the general application of this design, it is quite
obvious that it is not primarily a feather design, but that it is a
decorative element used throughout in certain definite positions for
the purpose of filling in.
Flat black curves are used quite often for indicating the teeth. These
may be observed in fig. 269 _a_, on the body of fig. 270 _a_, in the
lowest face in fig. 204, in the lower faces of fig. 271.
* * * * *
We have discussed before the adjustment of animal form to the
decorative field. The adjustment is not by any means free, but
definite, stylistic forms may be recognized. These appear with great
clarity on the Chilkat blankets.
The measurements of the blankets show that the central height is
very nearly one half of the width. The width of the narrow border,
consisting of a black and yellow stripe, is about one twelfth of the
total width. The angle of the lower border is quite variable, the
vertical distance from a line connecting the lower corners of the
blanket to its greatest depth is generally a little less than one sixth
of the width. The fundamental trait of the blanket pattern is the
division of the field into three panels. The central one about double
the width of the lateral ones, or more. In most blankets the line of
division of these fields is quite clear and is indicated by black and
white lines. The designs on the lateral fields are symmetrical and
quite distinct from the central field.
[Illustration: Fig. 267. Schematic design showing the arrangement of
the central field of the Chilkat blanket.]
[Illustration: Fig. 268. General plans of Tlingit blankets.]
The blankets may be divided into two large groups. Their fundamental
patterns are indicated schematically in fig. 267. The one design is
clearly a representation of an animal with a large head which occupies
the whole upper part of the field down to an almost straight cross
line (fields 1, 2, 5, fig. 268). Under it are the body (field 3) and
in the lower border the tail and hips (field 4) of the animal. It may
be noticed that there are always two tail joints, although in other
cases the use of a single tail joint for birds and a double tail joint
for sea mammals is fairly consistent. Fields 6, 7, and 8 are used in
various ways. They are not essential parts of the animal represented,
although field 6 may be utilized for the purpose of showing parts of
the back, and field 7 may be utilized for a representation of the fore
arms. In this style we may distinguish, in the wide center, a central
stripe, consisting of the elements numbered 6, 2, 3, 4 and two lateral
stripes 5, 1, 7, and 8. Generally these sections interlock. In a few
specimens, the outer limits of field 3 are carried down to the lower
border so that they form a continuous broad line with the outer limits
of field 4.
[Illustration: Fig. 269. Chilkat blankets.]
Examples of this type are shown in figs. 202 and 269. In these the
animal figure in the center appears very clearly. It will be noticed
that the large eyes of the animal have always a cheek design attached
to them. These appear also in fig. 203, a blanket belonging to the same
class, the lower part of which is, however, much less distinctively
body and tail belonging to the large head. The reduction of field 7
and its extension to the lower margin is rare in other specimens. In
fig. 202 field 7 is occupied by the raised hands of the animal, while
in fig. 269 _a_ it is occupied by a wing design. The rectangular frame
surrounding the body in fig. 269 _b_ is an exceptional feature which I
have seen only in one other modern blanket.
[Illustration: Fig. 270. Chilkat blankets.]
A sub-type may be distinguished in which the lower part is treated
differently (fig. 270 _a_). The two eyes of field 4 are of the same
size as those of field 1. In this way a more symmetrical impression
is produced, but at the expense of the unity of the animal form. This
treatment lends itself to a sharper separation of the fields 5, 1,
7, 8 against the fields 6, 2, 3, 4 so that the whole central field
seems to be divided into three sections (see fig. 204). Fig. 270 _a_
is decidedly influenced by the second type of blanket; the four eyes
being approximately of the same size and symmetrically arranged around
a central face.
The fundamental feature of the second type of blankets is a central
face placed a little higher than in the preceding type, so that it
forms exactly the center of the whole field. In place of the large eyes
on top, we find two large inverted eyes, often without the adjoining
jaw design. In many cases two small circular patterns, or small eye
designs, occupy the center of the lower border. These may often be
identified with the nostril of the head to which the two large lower
eyes belong. This pattern is much more symmetrical than the former
type, but its symbolism is much more obscure. I presume that the
inverted position of the eye in the upper border is essentially due
to the attempt to obtain greater symmetry. For an explanation it is
necessary that the upper eyes must be viewed as some part of the body
that is turned upside down. Characteristic examples of this type are
shown in figs. 103 and 271. In these, the fields to the right and left
of the central face are treated, in the former, as a profile face; in
the second they are decorated with a feather design filler. A somewhat
different treatment is given in fig. 272 which may be compared with
fig. 270. In both a large face occupies the center of the whole design,
surrounded by the four large eyes and the lateral spaces filled with
feather designs.
[Illustration: Fig. 271. Chilkat blankets.]
[Illustration: Fig. 272. Chilkat blanket.]
In fig. 273 the upper eyes have been moved towards the center and the
eye design has been expanded into a profile which occupies the whole
upper margin of the central field. In fig. 273 _b_ the lateral fields
next to the central face are occupied by the two sides of the dorsal
fin so that here the form of a whale is brought out fairly clearly.
[Illustration: Fig. 273. Chilkat blankets.]
The general scheme of the narrow lateral panels is also quite definite.
We find on practically all the blankets an eye design,—part of the
profile of an animal’s head,—in the upper, outer corner, another eye
design near the lower border, generally approximately in the middle
of the lateral field. The position of the lower eye design is much
more irregular than that of the upper one. In general we are given the
impression of an animal, the body of which extends along the extreme
outer border of the blanket, the head occupying the centre of the
panel, while the feet or tail are shown along the lower border. In this
way a space is left in the middle, next to the central panel, which
does not belong essentially to the form of the animal.
In both fundamental types the intervening spaces which are not filled
by the large eye designs, the body, tail, and extremities, are filled
with a variety of patterns which depend only in part upon the selection
of the animal to be represented, but are very largely determined by
esthetic considerations.
[Illustration: Fig. 274. Front, reverse and side of a painted box.]
[Illustration: Fig. 275. Painted and carved box front.]
[Illustration: Fig. 276. Four sides of a painted box, Tlingit.]
The broad sides of rectangular boxes bear the same fundamental design
as the first type of blankets; an animal with an enormous head on the
upper border, the body occupying the centre below. A fairly consistent
difference between the blanket and box types is that the lower border
of the large face is curved on the boxes; straight on the blankets.
I believe this difference is due to the desire to avoid excessive
parallelism. In the blanket the straight lower line of the head is set
off against the curves of the upper part of the head and against the
angle in the lower border of the blanket, while in the boxes a straight
middle line would appear set off against the parallel upper and lower
edges of the box. The lateral panels of the blanket correspond, in a
way, to the narrow lateral strips in the front of the long boxes (fig.
274 _a_) which are characterized by a fairly large eye design in each
corner. These are connected by a variety of decorative elements. At
the lower border of the box front there originate, in this manner,
five fields. The middle one being occupied by the body of the central
animal; the corners being occupied by the eye designs which form the
basis of the lateral strips. Between these there remain spaces which
are often filled with designs representing the fore or hind feet of
the central animal. On account of the shifting of the eyes the five
field division does not appear as clearly in fig. 275. The reverse side
of fig. 276 is treated differently; in the lower field the body is
omitted, the two eyes placed in the middle so that a fourfold division
of the whole area under the mouth originates. A similar treatment is
given to a front (fig. 277 below), in which the eyes are placed in the
corners while the middle is occupied by the two sides of a tail, which,
however, is treated like a hawk’s face. The arbitrary character of the
details appears very clearly in this arrangement.
[Illustration: Fig. 277. Four sides of a painted box, front on a larger
scale, Tlingit.]
The narrow sides of the boxes are generally painted with a design
analogous to the central design of the front with this difference,
however, that the lateral panels are missing and that the head is
more compressed. In a number of cases the short sides are treated
differently, as shown in fig. 276. Very rarely the short sides contain
a profile figure that does not occupy the whole width of this side
(fig. 277).
[Illustration: Fig. 278. Front and side of a painted box.]
There are also a number of low boxes which are treated somewhat
differently. On account of the lowness of the sides the lower rim
of the head is drawn straight so that a narrow rectangular panel
originates along the lower border (fig. 278). In this specimen the eyes
are retained; the central face in the lower field presumably represents
the body, to which are attached the arms and hands. In most specimens
of this type, however, the lower section is almost entirely suppressed;
the large upper face is retained but under it we find only a few
ornaments that may be interpreted only as fillers (fig. 279 above).
There are also a number of low boxes in which the body is entirely
suppressed. They contain, essentially, the large head design with a few
decorative features along the sides, and the eyes in the upper corners.
(Fig. 279 below).
The arrangement of the long boxes is such that the center of the mouth,
or a point a little below it, is the center of the decorative field
(figs. 274-276). A line drawn from the center of the lower border to
the upper corners passes almost always along the corner of the mouth
and often also through the sharp curve at the upper, outer outline of
the face. The line drawn from the center of the upper border to the
lower corner passes, generally, through the corner of the mouth. When
the central field along the upper border is wide, so that it reaches
down to the upper curve limiting the mouth, the eye is shown in profile
(figs. 274 _b_, 276 reverse). When the central field consists only of
a sharp short angle, there is a double eye (figs. 274 _a_, 275, 276
front, 277).
The general arrangement of lines on the box is such that the upper
curves of the face are strongly curved downward. The curvature
decreases downward; and in some boxes, for instance in those shown in
figs. 275 and 276 reverse, there is a tendency to an arrangement of
lines which are convex, upward.
[Illustration: Fig. 279. Front, reverse and side of carved boxes.]
The eye decorations are always so placed that they are not arranged in
straight lines. It will be seen that in the best boxes they fall into
curves that intersect the black lines of the design. In fig. 274 _a_,
the eyes in the lower corners and those in the mouth are placed so as
to form a continuous curve; in fig. 274 _b_, the arrangement of the
eyes in the upper corners, the eyes of the large head, and those in the
mouth form a fairly regular curve.
In the square boxes on which only one side of the face is shown on
each side (fig. 280), the body is very much reduced in size. In most
of these the large head is limited below by a straight line, while on
the long boxes containing the full face on the front the lower line of
the face is curved. In only one of these (fig. 278) do we find the face
limited below by a straight line.
[Illustration: Fig. 280. Carved boxes.]
In fig. 280 _a_, the two sides shown on the left are occupied by a
large head on top, corresponding to the blanket fields 1, 2, and 5. The
ear (5) is much reduced in size. The sharp beak in the middle indicates
that the hawk is meant. Under it is seen a small field corresponding
to field 3 on the blankets and under it a face with its two eyes,
corresponding to 4. The field 7 is occupied by the arms, indicated by
the curved line running from the shoulder to the wrist of the raised
hand. The whole lateral field of the blanket is condensed in the
narrow strip to the right and left of the face and body. The designs
on the upper corners are clearly ornamental and do not represent
any particular part of the head; the eyes in the lower corners are
considered as feet and toes; the large eyes over the lower corners as
knee joints. The two sides of the box shown on the right hand side
correspond in all details to those on the left, excepting the mouth,
which is treated quite differently; the nostrils being shown in the
center.
[Illustration: Fig. 281. Carved box, Tlingit.]
In fig. 280 _b_ the lower portion of the decorated side is much reduced
in size and the marginal fields are simplified. The head may represent
a hawk; the eyes in the lower fields are exceptional in so far as
they are not placed in the corners but near the body and they may be
considered ankle joints and below them the toes. The eye designs in
the upper corners take the place of the ears. The reduction of the
body is even more marked in fig. 281; here the eye designs and the
adjoining curves on the upper margin are clearly fillers; the body
has been completely dissolved. The eyes in the lower corners with the
attached lower curve show an attempt to represent a flipper. The common
character of these three specimens is the horizontal dividing line
under the mouth and (excepting the one face in fig. 281) the general
tendency to the symmetrical arrangement of lines in the upper and lower
fields. The lines in the upper field point from the middle downward,
and those in the lower, from the middle upward.
[Illustration: Fig. 282. Carved trays.]
There are a number of peculiar developments of the head and body
designs which are used on small food trays, the sides of which are
bent out of a single plank. In one group of these (fig. 282) the two
narrow sides represent, in front, the head of the animal; on the
opposite, side the tail. This appears most clearly in figs. 282 _b_
and _d_; both representing the beaver. In fig. 282 _d_ the beaver’s
head and tail are perfectly plain. In 282 _b_ there is considerable
confusion; the beaver’s body below is provided with two human arms and
over it is indicated the large characteristic head. The tail is shown
on the opposite short side, together with the hind legs and the two
disconnected eyes which ordinarily would form the hip joints and would
be connected with the upper end of the thighs. On all these specimens,
282 _a_, _b_, and _c_, the other sides show an inverted face. This
originates evidently in such a way that the eyes represent, at one
end, the shoulder joints, at the opposite end, the hip joints, but
instead of developing the sides as fore and hind legs, the inverted
eyes have lead to the development of a face design which has no
particular relation to the animal represented. In other words, we find
here, as well as in many other places that elements which are in part
derived from representations of parts of animals, have assumed a purely
decorative function so that an explanation of the details is, to a
great extend, arbitrary. The geometrical decoration on the long side
of fig. 282 _d_ is also derived from the shoulder and hip joints, but
instead of parts of a face, slit designs fill in the rest of the side.
[Illustration: Fig. 283. Carved trays.]
The trays shown in fig. 283 are of the same make as those shown
before, with the only difference that on the long sides the shoulder
joints, knee and foot are shown in the ordinary way. The hind limbs
are here represented on the short side, where the hip joints are
shown by two large eyes in the upper part of the design. It will be
observed, however, that in these cases also there is a considerable
amount of arbitrary use of decorative elements that have no particular
significance, but which must be considered simply as fillers. This
appears most clearly in fig. 283 _e_, which represents a dish with a
design of a human being. Here the arms are represented on the long
sides, the shoulder joint by an eye which, however, is provided with
lids. The space under the eye is filled in with a mouth which has
no function in this position. It is evidently introduced in the same
way as the profile faces which serve as fillers on the blankets. The
most distinctive specimen of this type is shown in fig. 283 _f_. It
represents a beaver, the face indicated by disconnected eyes, mouth,
and ear; the nose showing the form of one of the conventional copper
plates used by the northwest coast Indians, while the face in the
middle of the upper border is purely ornamental. The opposite short
side shows very clearly a tail, hip, legs, and feet and on the long
side also the large shoulder joint in the form of an eye with ear; the
arm and the foot are distinctly shown but here also, by the addition of
four teeth, the shoulder joint is elaborated in the form of a face; the
eyes in the corners of the long field are purely ornamental.
[Illustration: Fig. 284. Carved trays.]
To the same group belong also the carved trays cut out of a single
piece of wood, shown in fig. 284. Here we have only the head design
which is adjusted to the curvature of the upper border of the
decorative field. The lines of the face are drawn so as to conform to
the decorative field.
It will be observed that the eyes of the large head in the blankets
are always almost horizontal while those on the boxes and trays are
strongly inclined. I presume this is due to the tendency to avoid
massing of parallel lines.
[Illustration: Fig. 285. Designs on Tlingit armor.]
The large head design found on the blankets and boxes occurs also on
the paintings in the center of the front of slat armour. The lateral
panels are missing and the design consists simply of the head with
attached shoulder, arm, and hand (fig. 285).
A number of square food trays, bent of a single piece of wood, are
not decorated according to this plan. The face, consisting of two
symmetrical halves, is replaced by a series of profiles (fig. 286); the
short and high sides have the large eye in the left hand upper corner;
the mouth in the lower right hand corner. The design on the long sides
represents the sides of the body. The large eyes stand, presumably,
for the shoulder joint and are placed in the center of the side; wrist
and fingers are in the lower left hand corner. The significance of
the design in the right hand upper corner is not clear. The general
distribution of the design elements is evidently determined by the
central position of the large eyes.
[Illustration: Fig. 286. Painted tray.]
[Illustration: Fig. 287. Painted boxes.]
The boxes shown in fig. 287 illustrate that still another pattern is
used on square boxes. Each of the four sides of the two boxes shown in
figs. 287 _a_ and _b_, is divided into four rectangles of unequal size.
The general plan of the two designs is almost the same, although there
are considerable differences in detail. It is quite evident that in 287
_a_ the lower part of the first and third sides represents legs and
feet. A distinct wing design appears in the left hand upper rectangle
of the fourth side, but otherwise the arrangement of the elements
is so arbitrary that a safe interpretation is impossible. It seems
plausible that in this case also the attempt at decoration was much
more important than the attempt at interpretation. An interpretation
was given to me for the box shown in fig. 287 _b_. Although obtained
from Charles Edensaw, one of the best artists among the Haida, I
consider it entirely fanciful. The first side to the left, corresponds
to the third side, which is opposite to it on the box. The second side
corresponds to the fourth side. Edensaw explained the design as showing
four interpretations of the raven as culture hero. The upper right
hand rectangle of the first side he claimed to represent the head of
the raven surmounted by the ear; the large eye to the left of it, in
the left hand upper corner, the shoulder and under it the wing and
tail. The design in the right hand lower corner he interpreted as the
foot; the toes are clearly visible in the lowest right hand corner of
this field. He claims that the head turned upside down in the left hand
upper rectangle of the second side represents the head of the raven
and under it the hand; the raven being conceived as a human being. The
rectangle in the upper right hand corner contains the shoulder; the
right hand lower corner under it, the tail; and the left hand lower
corner, leg and foot.
The box shown in fig. 287 _c_ is related to the general design of fig.
287 _b_. The somewhat slanting lines between the upper and lower fields
occur in both cases, but the vertical division of each side, which is
characteristic of the specimen just described, is lacking in the last
named specimen.
[Illustration: Fig. 288. Horn spoons showing carving on the back; _a_,
representing sea-monster; _b_, hawk; _c_, beaver (?); _d_, raven; _e_,
killer-whale; _f_, raven; _g_, dlia (?); _h_, sun.]
A fairly fixed formal arrangement may also be observed on horn spoons
moulded of a single piece (fig. 288). On the back of the spoon is a
design, the center of which is a large face. In many specimens the
space above the eye is filled by two ear designs which are doubled
and unusually large on account of the space that they have to fill.
In these specimens the space between the ears is taken up by a narrow
decorated strip. In a few simpler forms parts of the bowl of the spoon
remain undecorated.
[Illustration: Fig. 289. Dish of horn of big-horn-sheep representing
the bear.]
A closer examination of the decorated objects shows that even apart
from the decorative use of symbolic motives, geometric elements are
not by any means absent. The most striking use of geometrical forms
is found on wooden trays, which bear at the ends the characteristic
faces, but which are decorated on the sides by groups of short parallel
lines (fig. 284, p. 273). The line and circle pattern on the dish
(fig. 168, p. 191) illustrates also the use of geometrical forms for
decorative purposes. On the berry spoon (fig. 215, p. 221) the space
left vacant by the symbolic design is filled in with a net of crossing
lines. This specimen shows that the cross hatching which occurs in many
specimens,—on the beaver tail (fig. 157, p. 186), on berry spoons (fig.
182, p. 197), on spoons (fig. 189, p. 201) and often in red or black
as a filler on boxes (fig. 274, p. 263) has a decorative value even
when it may be given at the same time a symbolic meaning. The dish of
big-horn-sheep horn (fig. 289) shows a bear’s head at each end. At the
same time it has a decorative border which seems to imitate the border
of a basket and which is purely ornamental. It serves to close off the
rim which without it would seem to end abruptly. A similar device is
used on a Kwakiutl mask (fig. 290). Although the encircling ornament
is explained as a ring made of twisted, shredded cedar bark, it is
obviously essentially ornamental. The circular and spiral designs bring
out the ornamental character most clearly.
[Illustration: PLATE X.