Tin: .\Mi:iuc.\s Mrsi:rM jorn.x.i!. 



On the Stikinc Itivcr iit the (ircat (ilufier. The artist visitctl all the roiiiitry along the 

 coast makiiiK color studies and collecting facts 



the Tsiiiishiaii; l)iit the art passed from tlK'in tlirouf^di the Tongas, the 

 Stikiiie and the more soutlierii Tniia:it t:) the Chilkat tril)e, a (hxisioii f>f 

 the Th'iitiit t'amilx which h'xcs al;out tht head of Lynn ("anal in sontlieastern 

 Ahiska. This migration of art is attril)iitahk' to the intermigratf ry hal)its 

 of the peojih'. Canoe hfe in the net\v(,rk cA' island ehamifl-ways permits 

 free intei'course hetween the tribes and an cxeliange of eoinnio(Ht ies wliieh, 

 together witli the practice of inteitrihti! marriages, accoimts for the (h's- 

 semiiiation and perpetuation of siinihii' arts among neighhoring peopU-s. 



The ( liilkat hhuiket is nndonhtedly tlie hest possil)ie expression for this 

 grotip, not only that it is the emhlem of the clan hut also, as is always true 

 of art objects, that it sums within its textile limits suggestions of the 

 mythical lore and history of its pe()i)le. Not Iciist interesting is the fact 

 that this textile is a copy from a j^ainted design. 



In the can\as against an impressive backgroimd of mountains, whose 

 snows and glaciers are tinted with bines and purjjlcs and greens, a (hilkat 

 blanket hangs in process f)f making, and around it is giouped the family 

 engaged in the work. The man stands passively at the left. ( 'ar\ed 

 embh'ms on the uprights of the looms, also tin painted pattern boar<l at the 

 right of the comixtsition, are his share in the work. Tlie old wonitui setited 

 at the right with lower lij) flistended by a mouth orntiment indicati\e of her 

 wealth and rank, is engaged in spiiming a strand of the wool from the moun- 

 tain goat. 



For the weaving of ;i (hilkat blanket all the long coarse outer hair of the 

 goat is discarded, since only the soft fine under wool is used. The wool is 



