THE GEORGE CATLIN INDIAN GALLERY. 721 



they were only nominally so, for he paid them off in articles at the most exorbitant 

 rates. Common three-point or Mackinaw blankets were sold at $8 each, batcher 

 knives at $2, rifle locks at $8, common coarse blue cloth at $6 per yard, coffee at 75 

 cents per pound, salt at $5 per bushel, lead at 25 cents per pound, gun powder at $2 

 per pound, axes at $6 each, horseshoe nails at $3 per set, etc. — A View of the Lead 

 Mines of Missouri, 1818 and 1819. 



MR. CATLIN PAINTING INDIANS — DIFFICULTIES IN OBTAINING SUBJECTS 



AND INCIDENTS. 



The illustration, drawn by Mr. Catlin, and the frontispiece to this 

 work, shows him painting in an Indian village, with a crowd of in- 

 terested spectators. He was given quarters by Mr. Kipp, tho Ameri- 

 can Fur Company agent, at Fort Clark, in 1832, in the building in 

 which he resided. 



Mr. Catlin was called by the Ioway Indians Chip-pe-ho-la ; by the 

 Mandans, Te-ho-pe-nee-Wash-ee, or Great Medicine White Man; and by 

 the Sioux at Fort Pierre, Ee-cha-zoo-kah-gawaJcon, The Medicine Painter, 

 and also Wechash-a-wa-Jcon, The Painter. 



METHOD OF CARRYING HIS OUTFIT. 



In the preface to his Catalogue Mr. Catlin indicates how he traveled 

 and carried his painting materials while with the North American In- 

 dians. He carried sketch-books, canvas, and colors. His sketches in 

 oil were unstretched, and when dry were rolled up and packed in a tin 

 case, which was slung on his back. He carried a sketch-box, or well, 

 for wet sketches. 



In South America Mr. Catlin had a servant, a negro man (a maroon), 

 Cwsar Bolla, who carried his painting materials. This Caesar was with 

 him for six years, and with him in his second tour among the North 

 American Indians. 



Strapped upon Caesar's back was always my large portfolio, containing a large 

 number of cartoon portraits of North American Indians, and blank cartoons for other 

 portraits to be made, protected by a water-proof covering. 



At a Zurumati village near the Acarai (or Crystal) Mountains, South 

 America, he describes his paintings. 



Our views were made known to them and we were received with hospitality and 

 kindness. Caesar soon got my portfolio open in a suitable place and began his usual 

 lecture of the portraits of their "red bredern" in North America, as he held them up 

 one by one to their view. 



MR. CATLIN AT FORT PIERRE, 1832. 



After resting a few days at Fort Pierre, after his arrival, Mr. Catlin 

 began to work. After he had privately painted the portrait of One 

 Horn, a Sioux- 

 Several of the chiefs and doctors were allowed to see it, and at last it was talked 

 of through the village, and, of course, the greater part of their numbers were at once 

 gathered around me. Nothing short of having it out of doors, on the side of my wig- 

 wam, would in any way answer them, and here I had the peculiar satisfaction of be- 

 holding, through a small hole I had made in my wigwam, the high admiration and re- 

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