PAINTER. 305 



716. The already named images of dead New Zealand 

 chiefs tattooed in imitation of their originals, illustrate 

 primitive attempts to finish the representations of departed 

 persons by surface-markings and colours; and the idols pre 

 served in our museums not painted only but with imita 

 tion eyes and teeth inserted make clear this original union 

 of the two arts. 



Of evidence that the priests painted as well as carved 

 these effigies, little is furnished by travellers. Bourke writes 

 of the Apaches: &quot;All charms, idols, talismans, medicine 

 hats, and other sacred regalia should be made, or at least 

 blessed, by the medicine-men.&quot; But while the agency of the 

 primitive priest in idol-painting must remain but partially 

 proved, we get clear proof of priestly agency in the produc 

 tion of other coloured representations of religious kinds. 

 Describing certain pictographs in sand, Mr. Gushing says : 

 &quot;When, during my first sojourn with the Zuni, I found this art 

 practice in vogue among the tribal priest-magicians and members of 

 cult societies, I named it dry or powder painting.&quot; The pictures 

 produced &quot;are supposed to be spiritually shadowed, so to say, or 

 breathed upon by the gods or god-animals they represent, during the 

 appealing incantations or calls of the rites. . . . Further light is 

 thrown on this practice of the Zufii in making use of these supposi- 

 tively vivified paintings by their kindred practice of painting not only 

 fetiches of stone, etc. , and sometimes of larger idols, then of washing 

 the paint off for use as above described, but also of poirder painting in 

 relief ; that is, of modeling effigies in sand, sometimes huge in size, of 

 hero or animal gods, sacramental mountains, etc., powder painting 

 them in common with the rest of the pictures, and afterwards removing 

 the paint for medicinal or further ceremonial use.&quot; 



But the clearest evidence is yielded by the Navajo Indians. 

 Dr. Washington Matthews in a contribution on &quot;The Moun 

 tain Chant, a Xavajo ceremony,&quot; says 



&quot;The men who do the greater part of the actual work of painting, 

 under the guidance of the chanter, have been initiated [four times], but 

 need not be skilled medicine men or even aspirants to the craft of the 

 shaman. . . . The pictures are drawn according to an exact system. 

 The shaman is frequently seen correcting the workmen and making 



