504 



GRANITE GRAPHIC ART 



[b. a. e. 



offer peace, which he sought to make 

 conditional on the restoration to French 

 merchants of the trade that the Iroquois 

 had diverted to the EngHsh. Grangula, 

 representing the Five Nations, rephed 

 defiant!)' that the Iroquois would trade 

 with English or French as they chose, and 

 would continue to treat as enemies French 

 traders who supplied the Miami, Illinois, 

 Shawnee, and other tribes with arms and 

 ammunition to fight them. 



Granite. A term applied to igneous 

 rocks consisting essentially of quartz and 

 orthoclase feldspar, with mica, horn- 

 blende, and other accessories. The name, 

 however, is often made to include a vari- 

 ety of siliceous rocks with similar struc- 

 ture, as the coarser gabbros and diabases, 

 gneiss, syenite, etc. These rocks are gen- 

 erally massive in structure, and were 

 much used by the Indian tribes for their 

 heavier implements, such as sledges for 

 quarry work, hammers for breaking up 

 stone and roughing out implements, and 

 for axes, celts, mortars, pestles, muUers, 

 discoidal stones, and the larger varieties 

 of so-called ceremonial objects. On ac- 

 count of the toughness of these rocks 

 they were difficult to fracture or to flake, 

 anci were therefore shaped almost exclu- 

 sively by the pecking and grinding proc- 

 esses. Very generally the natives se- 

 lected water-worn fragments approxi- 

 mating the form of the implement to be 

 made, so that the minimum of shaping 

 work was necessary. (w. h. h. ) 



Grape Island. A former Missisauga set- 

 tlement, probably in n. Minnesota. — 

 Jones, Hist. Ojeb. Inds., 138, 1861. 



Grapevine Town. A former village, per- 

 haps belonging to the Delawares, situated 

 8 m. up Captina cr., Belmont co., Ohio. — 

 AVashington (1770) in Rupp, West Pa., 

 app., 397,1846. 



Graphic art. With the tribes n. of 

 Mexico the arts that may be compre- 

 hended under the term graphic are prac- 

 tically identical with the pictorial arts; 

 that is to say, such as represent persons 

 and things in a manner so realistic that 

 the semblance of the original is not en- 

 tirely lost. Graphic delineations may be 

 (1) simply pictorial; that is, made to 

 gratify the pictorial or esthetic impulse 

 or fancy; (2) trivial, intended to excite 

 mirth, as in caricature and the grotesque; 

 (3) simply decorative, serving to embel- 

 lish the person or object to which they 

 areapplied; (4) siraplyideographic, stand- 

 ing for ideas to be expressed, recorded, or 

 conveyed; (5) denotive, including per- 

 sonal names and marks of ownership, dis- 

 tinction, direction, enumeration, etc. ; and 

 (6) symbolic, representing some religious, 

 totemic, heraldic, or other occult concept. 

 It is manifest, however, that in very many 

 cases there must be uncertainty as to the 



motives prompting these graphic repre- 

 sentations; and the significance attached 

 to them, even where the tribes using them 

 come directly under observation, is often 

 difficult to determine. 



The methods of expression in graphic 

 art are extremely varied, but may be 

 classified as follows: (1) Application of 

 color by means of brushes and hard or 

 soft points or edges, and by developing 

 the form in pulverized pigments (see 

 Dry pa'mtinij, Fainting); (2) engraving, 

 which is accomplished by scratching and 

 pecking with hard points (see Engraving) ; 

 ( 3 ) indenting and stamping where the sur- 

 faces are plastic (see Pof^t'j'y); (4) tattooing, 

 the introduction of coloring matter into 

 designs j^ ricked or cut in the skin (see Tat- 

 tooing); (5) textile methods, as in weav- 

 ing, basketry, beadwork, featherwork, 

 and embroidery (see Textile arts); and 

 (6) inlaying, as in mosaic, where small 

 bits of colored material are so set as 

 to form the figures (see Mosaic). The 

 figures are drawn in outline simply, 

 or are filled in with color or other dis- 

 tinctive surfacing. The elaboration or 

 embellishment of sculptured or modeled 

 figures or images of men and beasts by 

 adding details of anatomy, markings, etc., 

 in color or by engraving, thus increasing 

 the realism of the representation, comes 

 also within the realm of the graphic as 

 here defined. In recent times, as the re- 

 sult of contact with the whites, much 

 progress has been made by some of the 

 native tribes in the pictorial art; but the 

 purely aboriginal work, although display- 

 ing much rude vigor, shows little advance 

 toward the higher phases of the art. Ab- 

 originally , there was little attempt at effect- 

 ivegroupingof thesubject save as required 

 in decoration, and ligh t and shade and per- 

 spective were entirely unknown. Por- 

 traiture and landsca])e belong apparently 

 to much more advanced stages of culture 

 than have been reached by any of the 

 northern tribes. When the delineations 

 are devoted to the presentation of non- 

 symbolic ideas merely, as in pictography 

 and denotive devices, there is a tendency 

 in frequently recurring use to progressive 

 simplification; the picture as such has no 

 reason to be perpetuated, and this sim- 

 plification in time reaches a stage where 

 a part takes the place of the whole, oi 

 where semblance to the original is en- 

 tirely lost, the figure becoming the formal 

 sign of an idea. The graphic art of the 

 northern tribes, however, shows no very 

 significant progress in this kind of special- 

 ization, unless modern alphabets, like 

 those of the Micmac, or certain inscrip- 

 tions of somewhat problematical origin, 

 as the Grave Creek Mound tablet (see 

 Grave Creek Mound) and the Davenport 

 tablet (Farquharson), are considered. 



