GRAPHIC ART OF THE ESKIMOS. 919 



The two mammalian figures at the extreme right — Nos. 10 and 11 — 

 are clogs, facing one another, an attitude assumed by strangers, as 

 these had probably accompanied their masters to the jdace of the 

 ceremony portrayed. 



Plate 73, fig. 4 represents a ceremonial dance. The characters in 

 Nos. 1 and 4, representing three pairs of human forms, are dancers, 

 who are aiding the shaman at Ko. 2, who is shown with his hands 

 uplifted and throwing them circularly about as if "stirring up a 

 breeze," which he is in fact doing, in so far as it pertains to the spirits 

 of the air, whose aid he is invoking. All this is being done because 

 the seated figure at the left end of the habitation, I^To. 3, is requesting 

 the shaman's assistance. Four other human figures are indicated about 

 the same habitation, though partly worn off, and at the right-hand 

 upper corner is a shaman stick or votive offering, placed there to the 

 memory of one of the owner's family. The stick appears to be sur- 

 mounted by an eflSgy of a bird, this being the common practice. Nos. 

 5 and appear to be dancers, each armed with rattles, small round 

 frames of wood, having both flat sides covered with seal gut or buck- 

 skin, being used by shamen or their assistants. No. 7 denotes another 

 habitation, "at the left end of which is a votive offering and at the 

 other a human figure, who, with his left hand, reaches down to another, 

 No. 8, who appears in the act of winking aid from spirits in the air. 



No. 9 is undetermined, but Nos. 10, 11, and 12 are reindeer, the first 

 and last having attached to them the spirit or guardian of the shaman, 

 who has comiielled the animals to come within reach of the hunter's 

 gun, though only one of the three. No. 12, having been secured. 



No. 13 represents the shaman in another instance when his services 

 were requested; this time by a native shown in No. 14, at the left-hand 

 end and seated or leaning against the dwelling. Some votive offerings 

 are also perceived upon the roof, while to the right. No. 15, are a num- 

 ber of natives indulging in a dance, x)robably a ceremonial one, as the 

 record is one pertaining to shamanistic matters entirely. 



The ivory bag handle shown on plate 32, fig. 7, is an excellent piece 

 of workmanship, and i)resents evidence of artistic expression not met 

 with in any other specimens. 



The central disk presents the relief carving of a human face, the nose 

 being clearly indicated as different from that drawn or engraved ui)on 

 the seal's face, w^hile below the mouth are the vertical lines to denote 

 the tattooing practiced by the women. The expression of the face is 

 rather firm and represents a frown. The ring surrounding the face 

 is the far hood, the fur itself being indicated by the short radiating 

 lines extending therefrou). 



The opposite side of the specimen is a reproduction of the obverse, 

 with the exception, however, that the face is that of a man, the mouth 

 being portrayed by having the corners turned upward to denote a 

 smile, while below either corner is a circular spot to indicate the 

 labrets. The furred hood is also show^n. 



