622 PICTURE-WRITING OF THE AMERICAN INDIANS. 
teeth!” An alteration of the physical appearance is itself a distine- 
tion, and the greater the difference between the decorated person and 
the want of decoration in others the greater the distinction. Modern 
milliners, dressmakers, tailors and hatters, and their patrons pursue the 
same ends of fashionable distinction which are exhibited in rivalry for 
priority and singularity. These arbitrary fluctuations of fashion, which 
are seen equally in the Mandan and the millionaire, the Pueblan and the 
Parisian, are to be considered with reference to the supposed tribal 
significance of colors before mentioned. So far as they originated in 
fashion they changed with fashion, and the studies made in the prep- 
aration of this paper tend to a disbelief in their distinctness and sta- 
bility. The conservatism of religious and of other ceremonial practices 
and of social customs preserved, however, a certain amount of con- 
sistency and continuity. 
IDEOCRASY OF COLORS. 
Tt has often been asserted that there was and is an intrinsic signifi- 
cance in the several colors. <A traditional recognition of this among 
the civilizations connected with modern Europe is shown by the associ- 
ations of death and mourning with black, of innocence and peace with 
white, danger with red, and epidemic disease officially with yellow. 
A comparison of the diverse conceptions attached to the colors will 
show great variety in their several attributions. 
The Babylonians represented the sun ,and its sphere OE motion by 
gold, the moon by silver, Saturn by black, Jupiter by orange, Mars by 
red, Venus by pale yellow, and Mercury by deep blue. Red was an- 
ciently and generally connected with divinity and power both priestly 
and royal. The tabernacle of the Israelites was covered with skins 
dyed red, and the gods and images of Egypt and Chaldea were of that 
color, which to this day is the one distinguishing the Roman Pontiff and 
the cardinals. 
In ancient art each color had a mystic sense or symbolism, and its 
proper use was an essential. consideration. With regard to early 
Christian art Mrs. Clement (a) furnishes the following account: 
White is worn by the Saviour after his resurrection; by the Virgin in representa- 
tions of the Assumption; by women as the emblem of chastity; by rich men to 
indicate humility; and by the judge as the symbol of integrity. It is represented 
sometimes by silver or the diamond, and its sentiment is purity, virginity, inno- 
cence, faith, joy, and light. 
Red, the color of the ruby, speaks of royalty, fire, divine love, the holy spirit, cre- 
ative power, and heat. In an opposite sense it symbolized blood, war, and hatred. 
Red and black combined were the colors of Satan, purgatory, and evil spirits. Red 
and white roses are emblems of love and innocence or love and wisdom, as in the 
garland of St. Cecilia. 
Blue, that of the sapphire, signified heaven, heavenly love and truth, constancy 
and fidelity. Christ and the Virgin Mary wear the blue mantle; St. John a blue 
tunic. 
Green, the emerald, the color of spring, expressed hope and victory. 
