398 BUREAU OF AMERICAN ETHNOLOGY [Bull. 191 



ity, suggests the possibility of technical excellence as a third standard. 

 The quality to which this standard refers is not a specific characteris- 

 tic but rather a way of handling the forms. It can be summed up 

 in the word "finished" as opposed to "crude," as it requires a 

 precise delineation of the large forms, a breaking down of these 

 forms into smaller ones, an emphasis on detail, and an elaboration 

 and refinement of the surface. Technical excellence is evident in 

 the carvings of James Homer, Eddie Schenandoah, and Kenneth 

 Thomas, particularly in the latter's spoon-lipped masks which are 

 probably the most difficult type to execute successfully. Whether 

 this standard is considered important by the other carvers but not 

 attained because they lack the necessary skill, or whether there is a 

 contrasting standard which prescribes a simpler, less finished treat- 

 ment of masks, it is impossible to determine simply from an examina- 

 tion of their work. 



The Onondaga make relatively few comments or evaluations about 

 the appearance of their masks, at least to an outsider. One of the 

 carvers, comparing the ancient masks with the modern, said that in 

 his opinion, "We do finer work now than they did in the past," 

 while another told me that he didn't think much of tlie masks carved 

 today because they look too much like Halloween false faces. Still 

 another declared that some masks are better than others, but did 

 not specify which one or explain why. Only two carvers passed 

 judgment on their own work. Kenneth Thomas said that every 

 mask he did was an improvement over the last because he always 

 thought of some way to make it better. Eddie Schenandoah admitted 

 that although he tried to make the next one better, it never turned 

 out quite as he had hoped. Neither of these men, however, was 

 explicit as to the meaning he attached to "better." 



Several carvers made general statements which indicate a prefer- 

 ence for the traditional forms: masks should look old, they should 

 look "Indian," they should be carved according to the origin legend 

 because "that's the way the old fellows used to make them." Much 

 more frequently verbalized is the value placed upon individuality. 

 In referring to their own work, most of my informants tended to 

 minimize the similarities between the carvings and to emphasize the 

 differences. "We all like to make them our own way"; "We make 

 each one different"; "The theme song of the Onondagas could be 

 'To Each His Own.' " Lee Thomas amplified his claim to individual- 

 ity by pointing out that his masks could always be recognized by 

 their wide mouths. The carvers also believe that whereas the Seneca 

 carve only certain types of false faces, the Onondaga make all kinds 

 and have a greater range of types than any of the other Iroquois 

 tribes. Actually there is as much, if not more, variation among 



