GRAPHIC ART OP THE ESKIMOS. 925 



The hunters, Nos. 18 and 19, had gone to a shaman to seek his aid in 

 securing" hick for game, and the shaman (who is represented by tlie 

 upper part of the body only, hands outstretched, above the two rein- 

 deer, Nos. 11 and 12) being favorably disposed, is driving the game 

 in the way of the hunters, his assistants, at Nos. 1, 2, and 5, also driv- 

 ing animals by being portrayed as if riding upon their backs. 



No. 4 represents a fiiwn, the open mouth suggesting its crying to its 

 parents, while the upper figure at No. 3 and the legless one at the 

 space between Xos. 7 and 8 are represented as beyond the first file of 

 animals — an attempt at perspective, no doubt. 



The attitudes of Nos. 12 and IG are a good attempt at foreshorten- 

 ing, rather a difficult undertaking for a native barbarian. 



A doe is also shown above the animal at No. 16, walking parallel 

 with the herd, No. 17, but her legs are supposed to be invisible because 

 of her being beyond those in the foreground. 



The herd at No. 17 is portrayed as an elongated body with numerous 

 heads and two legs more than necessary for the eight animals indicated. 

 In nearly all instances the horns are carefully drawn so as to show the 

 peculiar curve toward the front as well as the so-called snow shovels — 

 the horns projecting forward and downward over the nose, and by 

 means of which the animals cut through the snow in search of lichens 

 and other food. 



Nos. 18 and 19 are the hunters with bow and arrow, the attitudes 

 assumed in shooting being well represented. No. 20 is the hut. 



In the accompanying illustrations, plate 74, are. three views selected 

 from a drill bow, in the museum of the Alaska Commercial Company 

 of San Francisco, California. The rod upon which the characters occur 

 is here presented in three sections, A, B, and C. In A is found the 

 beginning of the narrative of one w^ho applied to a shaman for success 

 in hunting; which extends only one-half of the length of the rod. 

 The course of the inscription is then continued on the adjacent side of 

 the rod at the middle, and reading in both directions (sections B and C), 

 toward the two files of approaching animals. Band C occupies the 

 whole of one side. 



The following is the explanation of the characters: 



A. No. 1 represents a baidarka, or skin boat, resting on i)oles; this 

 is done in order that the vessel may dry. No. 2 is one of the habita- 

 tions of the village, as are also those in No. 4, and the storehouses in 

 Nos. 5 and 7. No. 3 denotes a tree located in the village. No. 6 is a 

 tree, between the branches of which and the roofs of the houses are 

 placed poles for drying food— fish, etc. The characters from No. 1 to 

 No. 7 signify the settlement, the home of the person to whom the 

 history relates. No. 8 is the hunter sitting on the ground asking for 

 aid and making the gesture for supplication, asking by elevating both 

 hands toward the sky, or toward the one from whom aid is solicited. 

 No. 9 is the shaman to whom application is made by the hunter desiring 



