538 ANNUAL REPORT SMITHSONIAN INSTITUTION, 1964 



Time pictures a buffalo hunt on horseback in the chapter on the French 

 and Indian Wars, Catlin's Crow warrior on horseback in the one on 

 the War of 1812, and the same artist's portrait of Eagle Ribs, a Black- 

 foot warrior, in the Creek war chapter. 



Catlin's and Bodmer's representations of Plains Indians underwent 

 even more miraculous changes in identity in William V. Moore's Indian 

 Wars of the United States from the Discovery to the Present Time. 

 In that book Catlin's "Four Bears" became "Pontiac" (pi. 6, fig. 2), 

 his Crow Indian on horseback "A Creek Warrior" (pi. 7, fig. 2), and 

 a ceremonial in a Mandan setting emerged as "Village of the Semi- 

 noles." Bodmer's well-identified portraits of Mandan, Hidatsa, and 

 Sioux leaders became "Saturiouva," a 16th-century Florida chief, and 

 two leaders in the Indian wars of colonial New England. 



The first illustrated edition of Henry Wadsworth Longfellow's pop- 

 ular Song of Hiawatha was published in England in 1856. John Gil- 

 bert, its illustrator, did not copy Catlin slavishly but leaned heavily 

 upon him in representing the poet's ancient Ojibwa of the southern 

 shore of Lake Superior as typical Indians of the Upper Missouri. 

 His portrait of "Paw-pul^-keewis," for example, is but a slightly altered 

 version of Catlin's Mandan hero, "Four Bears" (pi. 6, fig. 3). 



Nor were these Woodland Indians in Plains Indian clothing limited 

 to the works of artists who had had no first-hand knowledge of Indians. 

 Jolm Mix Stanley had known the Plains tribes well, yet when he 

 attempted a portrait of "Young Uncas" (the 17th-century Mohegan) 

 or "The Trial of Red Jacket" (the Seneca), he tended to clothe his 

 Indians in the dress costume of the tribes of the western grasslands 

 (pi. 10) . And when Karl Bodmer collaborated with the French artist 

 Jean Frangois Millet to produce a series of realistic but imaginative 

 scenes in the border warfare of the Ohio Valley during the Revolu- 

 tionary War, the war-bonneted Plains Indian was clearly portrayed 

 (Smith, 1910, p. 83). 



INFLUENCE OF THE PLAINS INDIAN WARS (1860-90) 



In 1860 a new medium appeared to exploit the American boy's fasci- 

 nation for the Indian's prowess as a warrior. Dime novels increased 

 very rapidly in both numbers and sales. A favorite theme in this 

 lurid literature was Indian fighting on the Western Plains in which 

 many a wild Comanche, Kiowa, Blackfoot, or Sioux "bit the dust" 

 before the hero ended his perilous adventures. Bales of these cheap 

 "paperbacks" were sent to the soldiers in camp or in the field during 

 the Civil War, and reading them helped the boys in blue or gray 

 to forget, for a time at least, their own hardships and sufferings 

 ( Johannsen, vol. 1, p. 39) . 



The horrors of Plains Indian warfare became very real as emigrants, 

 prospectors, stage, and telegraph and railroad lines pushed across the 



