1G6* THE SERI INDIANS [eth.ann.17 



piepiired by tiitixratioii with a. ])ebl)le or rubbing witli tbe fiii>jei's, 

 usually iu a shell cup. Sometimes the shell used for the purpose is the 

 valve of a Cardium, which serves indiscriminately as cup, spoon, skin- 

 scra[)er, etc; but preference is api)arently given to thick and strong 

 shells, such as the wave- worn valve of C'liama ( ?), shown in plate 

 XXVII, figure 7, which are consecrated to the use and eventually buried 

 with the user, together with a supply of the paint (like that illustrated 

 in the cane cylinder — figure -t — which was a mortuary sacrifice). The 

 gypsum is usually carried in natural slabs or other fragments, perhaps 

 rounded by wear (plate xxvii, figures G and 8); it is prepared by wet- 

 ting and rubbing two pieces together, the larger being reduced to 

 inetate shape by the operation. The dumortierite was observed only 

 iu the form of a pencil made by pulverizing the substance and mixing 

 with sufiicient clay to give consistency. The several pigments are 

 applied wet by means of human-hair brushes kept for the purpose, the 

 process occupying from half an hour to three or four hours for the 

 more elaborate designs. So far as observed at Costa Rica iu 1894, the 

 paints were mixed in water only; but since painting outfits found on 

 Tiburon island in 1895 were smeared with grease, it is probable that 

 either water or fats may serve for menstrua, at the convenience of the 

 artists. Commonly the process of painting is measurably cooperative. 

 The matron usually depicts her device on the faces of her daughters 

 up to the age of 12 or 15 years, when they learn to make the applica- 

 tions themselves; and frequently two or more women (usually those 

 with similar devices) work together iu preparing and applying the pig- 

 ments, each laying the paint on her own face and apparently guiding 

 her hand partly by the sense of feeling and partly by suggestions 

 from her coworkers; but Candelaria and some other of the; younger 

 women at Costa Rica frequently worked alone, aided by a minor 

 in the form of a shallow bowl of water set in the shadow while the 

 brilliant desert glare fell full on the face. 



The mines yielding the pigments were not located. The geologic con- 

 ditions are such that the ochers are undoubtedly abundant; but it is 

 probable that the gypsum is uncommon and confined to a remote local- 

 ity or two, and that the dumortierite is rare and scanty here as else, 

 where. The care with which the paints are preserved, prepared, and 

 applied, the fact that they are indispensable feminine appurtenances 

 even on the longest journeys, and their sacred role iu the mortuary 

 customs, all combine to indicate that they are among the most highly 

 prized possessions of the people and by far the most precious of their 

 minerals. 



Tlie sematic functions of the designs are esoteric, yet an inkling of 

 their meaning was obtained through Mashem, the interpreter at Costa 

 Rica in I8'.)4; from hi.s e.Kpressions it appears that the designs are 

 sacred insignia of totemic cliaractcr, .serving to denote the clans of 

 which the tribe is composed. Hut three clans were identified, and 



