GRAPHIC ART OF THE ESKIMOS. 915 



by meaus of thin stL-ands of bark. The several pieces were rudely 

 besmeared with a white chalky paint, while over several portions of 

 them are markings in black. 



Upon the left cheek of the mask are four vertically arranged tigures 

 of masks, rather grotesque in expression. The lower one is not as 

 elaborately drawn as the others. Upon the ui)per piece of wood, iipou 

 the left of the mask, is an outline of an umiak, with sail spread. In 

 the bow of the boat is the figure of a native with hands and arms 

 uplifted, while another figure is visible in the stem acting as helmsman. 



The markings upcm the remaining piece are i)robably meaningless. 



Among the Indians of the Northwest Coast, the lakutat and Tshilkat, 

 and to a certain extent the neighboring tribes, masked dances are of 

 frequent occurrence, the purport being usually ceremonial; though at 

 this day much of the former sacredness of these ceremonials has become 

 debased. Among the Eskimo ceremonial dances are of great impor- 

 tance, though not of such frequence as among their vsouthern neighbors. 



In fig. 140 the vertical strokes shown by Nos. 1 and 10 represent the 

 timbers supporting the structure within which the dance takes place, 

 not sufQcient space being available upon the specimen of ivory to rep- 



rip. 140. 



CEREMONIAL DANCE. 



resent the roof. Nos. 2, 7, and 9 are the drummers, each armed with a 

 flat, tambourine drum, generally used by the shamen everywhere. Nos. 

 3, 4, 5, G, and 8 rei^resent the dancers, marked with what appears to be 

 bear heads — made of some light wood, such as cedar. The attitudes of 

 the dancers are remarkably clever and lifelike, showing the various 

 attitudes, both natural and assumed, in imitation of the animal rejire- 

 sented, as may be found at any dance of aboriginal peoi)les when they 

 attain that particular degree of enthusiasm consequent upon and per- 

 ceptible to the beholder after a feast. 



This engraving, ])\ate 73, fig. 2, is one of the most interesting on 

 account of the portrayal of the transmission of sound, a stage of devel- 

 opment found in but few instances in Alaskan pictographs, but of 

 frequeutoccurrence among the Cheyennes,and other neighboring tribes, 

 in the vicinity of Fort Sill, Indian Territory, and other posts farther 

 north. 



The entire record relates to a ceremonial dance, held on account of a 

 sick person, and the indication of the village houses and sledges of 

 visiting natives. 



The narrator is indicated at ISTo. 1, his arras outstretched to embrace 

 the surrounding area as the place where he was, and which, perhaps, 



