THE GEORGE CATLIN INDIAN GALLERY. 57 



in sucli elaborate profusion as to appear at a little distance like a beautifully em- 

 broidered dress. In his hand he held a handsome pipe, the stem of which was several 

 feet long, and all the way wound with ornamented braids of the porcupine quills ; 

 around his body was wrapped a (see i^late) A^alued robe, made of the skin of the grizzly 

 bear, and on his neck several strings of ivampum, an ornament seldom seen amongst 

 the Indians in the far West and the North. 



I was much amused with the excessive vanity and egotism of this notorious man, 

 who, whilst sitting for his picture, took occasion to have the interpreter constantly 

 explaining to me the wonderful effects which his oratory had at different times pro- 

 duced on the minds of the chiefs and people of his tribe. He told me that it was a 

 very easy thing for him to set all the women of the tribe crying, and that all the 

 chiefs listened profoundly to his voice before they went to war, and at last summed 

 up by saying that he was " the greatest orator in the Sioux Nation," by which he tin- 

 doubtedly meant the greatest in the tcorld ! 



83. Mah-t6-rah-rish-nee-eeli-ee-rah, the Grisly Bear that runs without Regard; a 



brave of the Onc-pah-pa band. 1832. (No plate.) 



84. Mali-t6-che-ga, the Little Bear; a distinguished brave. One-capapa. (See 



note.) 



(Painted 1832. Plate No. 273, page 190, vol. 2, Catlin's Eight Years.) 



85. Shon-ka, the Dog ; chief of the Ca-za-zhee-ta : Bad Arroiv Points band. 



(Painted 1832. Plate No. 275, page 190, vol. 2, Catlin's Eight Years.) 



86. Tah-teck- a- da-hair, the Steep Wind ; a Brave of the Ca-za-zhee-ta (or Bad Ar- 



row Points) band. 1822. 

 These three distinguished men (No. 84, 85, and 86) were all killed in a private quar- 

 rel (while I was in the country), occasioned by my painting only one-half oi the face 

 of the first (No. 84) ; ridicule followed, and resort to fire-arms, in which that side of 

 the face which I had left out was blown offin a few moments after I had finished the 

 portrait; and sudden and violent revenge for the offense soon laid the other two in 

 the dust, and imminently endangered my own life. (For a full account of this strange 

 transaction, see Catlin's Letters and Notes on North American Indians, pages 90, 

 91, 189, vol. 2.) 



37. Heh-h^h-ra-pah, the Elk's Head; chief of the Ue-ta-sip-shov band, Upper Mis- 

 souri. Painted 1832. (No plate.) 



88. Mah-to-een-nah-pa, the White Bear that goes out; chief of the Blaclcfoot Sioux 



band. Painted 1832. (No plate.) 



89. Tcli6n-su-m6ns-ka, the Sand Bar ; woman of the Te-ton band, with a beautiful 



head of hair ; her dress almost literally covered with brass buttons, which 



are highly valued by the women to adorn their dresses. Painted 1832. 



(Plate No. 94, page 223, vol. 1, Catlin's Eight Years.) 



Wife of a white man named Chardon, a Frenchman in the employ of the American 



Fur Company as a trader and interpreter. Very richly dressed. Her hair, which 



was inimitably beautiful and soft and glossy as silk, fell over her shoulders in 



great profusion and in beautiful waves, produced by the condition in which it is 



generally kept in braids giving to it, when combed out, a waving form, adding much 



to its native appearance, which is invariably straight and graceless.— /6M. 



90. W^-be-sha-w, the Leaf; Upper Mississippi; chief of a baud; blind in one eye; 



a very distinguished man ; since dead. 



(Painted 1835. See page 132, vol. 2, Catlin's Eight Years.) 

 " W^-a-pa-shaw," head chief of the Keoxa tribe of the Dacotah Nation. (Relation- 



