262 REPORT OF NATIONAL MUSEUM, 1888. 



Finger-rings. — These were formerly made entirely of copper, boue, 

 shell, or black slate, and were ornamented with totemic designs. Now 

 silver has so generally displaced all other materials that the primitive 

 types are rarely seen. 



Bracelets. ^-¥ig. 5, Plate vi, is a pair of copper bracelets from Bella 

 Bella, British Columbia, (Kwakiutl) similar to those worn north. Fig. 

 6 represents a pair from' Fort Wrangell, Alaska, also of copper, in- 

 laid wjth haliotis shell. Fig. 7 is one similar in style to that shown in 

 Fig. 6, from Fort Simpson, British Columbia (Tsimshian). Fig. 8 rep- 

 resents a very primitive type of copper bracelet of twisted copper wire, 

 from Fort Rupert, British Columbia (Kwakiutl), but similar to those 

 worn north. Fig. 166 is a Tlingit iron bracelet of native workman- 

 ship, from the Emmons Collection. Plate viii 

 represents the types of silver bracelets worn 

 on the northwest coast at the present day. 

 They are made from silver coin, and have re- 

 placed those of bone, horn, copper, shell, and 

 iron formerly worn. Fig. 24 represents the 

 coin hammered out into a flat strip of the re- 

 p. jg^ quired width with ends rounded into shape. 



Iron Bracelet. ^^S' ^5 represents the Same bent nearly into 



(Tlingit. Emmons Collection.) shapc by gcutlc hammering. 



In its flat shape the silver has little or no elasticity or spring, so the 

 next step is to round the bracelet out on the inside, as shown in cross- 

 section, Fig. 26. This is done by means of a hammer and a blunt cold 

 chisel. In the process of hammering the bracelet curls up more and 

 more, and is beaten out thinner and broader. This economizes silver, 

 and gives elasticity and clasp to the bracelet. The next step is to carve 

 the design on it as shown in the finished bracelet, Fig. 27. On this 

 width totemic designs are seldom carved, scroll work being used. The 

 tools are of the most primitive kind, consisting of a hammer, blunt cold- 

 chisels, and a sharp steel carving or etching tool. Figs. 28 and 30 

 represent a style of clasp somewhat in vogue, but Figs. 27 and 29 are 

 the prevailing patterns. On the larger bracelets the totemic design of 

 the wearer is usually cnrved. Fig. 31 represents the design on Fig. 20 

 rolled out, and Fig. 32 the same for Fig. 30. The former design repre- 

 sents the Bear, and the latter the Thunder Bird. Figs. 27, 28, and 29 

 are Tlingit, Fig. 30 Haida, but the same types are found amongst all 

 the northern tribes ; the Haida being the most expert silversmiths, as 

 they are also in general the best carvers on the coast. 



Dixon (1787) states that the Tlingit and Haida wore large circular 

 wreaths of copper about the neck, evidently of native manufacture. 

 With the introduction of iron by Europeans bracelets of iron wire some- 

 what took the place of the more expensive copper ones, to be in turn 

 later succeeded by those of silver. The present custom is to wear 



