200 BUREAU OF AMERICAN ETHNOLOGY [BULL. 77 
PLATE 30 
a, Reproduction of the illustration in De Smet’s work, where the picture is 
signed Geo. Lehman, del. 
b. Reproduced from the engraving after a drawing by Samuel Seymour. 
In the instructions issued to members of the expedition, dated “ Pittsburgh, 
March 81, 1819,” Major Long stated: ‘“* Mr. Seymour, as painter for the expedi- 
tion, will furnish sketches of landscapes, whenever we meet with any dis- 
tinguished for their beauty and grandeur. He will also paint miniature like- 
nesses, or portraits if required, of distinguished Indians, and exhibit groups 
of savages engaged in celebrating their festivals or sitting in council, and in 
general illustrate any subject, that may be deemed appropriate in his art.” 
PLATE 31 
Reproduced from a photograph in the Chittenden scrapbook. (See note, 
pl. 19.) 
PLATE 32 
a. From an orignal photograph furnished by Francis La Flesche. 
b. Reproduced from an illustration in Transactions of the Kansas State His- 
torical Society, 1907-1908, Vol. X. Topeka, 1908. 
PLATE 33 
Reproduced from an engraving of the original drawing by Samuel Seymour. 
(See note, pl. 30, b.) 
PLATE 34 
Specimens in the United States National Museum. 
PLATE 35 
a. After original drawing by Friedrich Kurz. (See note, pl. 23, b.) 
b. Photograph of specimen now in the United States National Museum. 
PLATE 36 
Both a and b are reproduced from original photographs in the United States 
National Museum. Washington. It is not known by whom the negatives were 
made, 
PLATE 37 
From a photograph made about the year 1900, furnished by Miss Alice C. 
Fletcher. The structures stood near the bank of the Missouri, north of the 
Omahas. The photograph was reproduced as plate 18 in the Twenty-seventh 
Annual Report of the Bureau of American Ethnology. 
PLATE 388 
a. From the drawing by Catlin of the original painting. This is No. 503 
in Catlin’s Catalogue (London, 1848), where it is described as * The Interior 
of a Mandan Lodge, showing the manner in which it is constructed of poles 
and covered with dirt. The chief is seen smoking his pipe, and his family 
grouped around him.” 
b. After the original painting in the National Museum, Washington, This is 
the fourth and last of Catlin’s paintings representing different scenes during 
the remarkable ceremony by the Mandan. No. 507 in the Catalogue, where it 
is referred to as ‘‘ The Last Race.” 
George Catlin. (See note, pl. 28, a.) 
