ers, in Rep. Smithson. Inst. 1893, 1894; 
Murdoch, Study of Eskimo Bows, Rep. 
Nat. Mus. 1884, 1885; Morse, Arrow Re- 
lease, in Bull. Essex Inst., 1885; Arrows 
and Arrow-makers, in Am. Anthrop., 45- 
74, 1891 ; also various Reports of the Bu- 
reau of American Ethnology, (o. t. m. ) ^ 
Arroyo Grande. A Pima settlement in 
3. Arizona with 110 inhabitants in 1858. 
Del Arroyo Grande. — Bailey in Ind. Aff. Rep., 208, ( 
1858. H 
Arseek. A tribe living in 1608 in the* 
vicinity of the Sarapinagh, Nause, and 
Nanticoke (Smith, Hist. Va., i, 175, 
repr. 1819). They are not noted on 
Smith’s map, but the Nause and Nanti- 
coke are, by which their location is in- 
dicated as on Nanticoke r., in Dorches- 
ter or Wicomico co., Md. (j. m.) 
fc.roeck. — Bozman, Maryland, 1 , 12, 1837 (misprint). 
Irsek. — Purchas (1625), Pilgrimes, IV, 1713. 
Arsuk. An Eskimo village in s. Green- 
and, w. of Cape Farewell, lat. 61°. — 
Nansen, First Crossing of Greenland, 
nap, 1890. 
Art. The term “art” is sometimes ap- 
plied to the whole range of man’s cultural 
ictivities, but as here employed it is in- 
ended to refer only to those elements of 
he arts which in the higher stages of cul- 
ure come fully within the realm of taste 
md culminate in the ornamental and 
ine arts (see Ornament ) . Among primi- 
ive peoples many of these esthetic ele- 
nents originate in religious symbolism. 
Huong the tribes n. of Mexico such 
dements are exceedingly varied and im- 
portant, and extend in some degree to 
ill branches of the arts in which plastic, 
graphic, sculptural, constructional, and 
issociative processes are applicable, as 
well as to the embellishment of the hu- 
man person. These symbolic elements 
consist very largely of natural forms, es- 
pecially of men and beasts, and of such 
natural phenomena as the sun, stars, 
lightning, and rain; and their introduc- 
tion is probably due largely to the general 
belief that symbols carry with them some- 
thing of the essence, something of the 
mystic influence of the beings and poten- 
cies which they are assumed to represent. 
In their introduction into art, however, 
these symbo's are subject to esthetic in- 
fluence and supervision, and are thus 
properly classed as embellishments. In 
use they are modified in form by the va- 
rious conventionalizing agencies of tech- 
nique, and a multitude of variants arise 
which connect with and shade into the 
great body of purely conventional deco- 
ration. Not infrequently, it is believed, 
the purely conventional designs originat- 
ing in the esthetic impulse receive sym- 
bolic interpretations, giving rise to still 
greater complexity. Entering into the 
arts and subject to similar influences are 
UJ * 
sentations which contribute to embellis 
ment and to the development of pure 
esthetic phases of art. These elemen 
largely pictographic, contribute not on 
to the growth of the fine art, paintin 
but equally to the development of b 
recording art, writing. The place occ 
pied by the religious, ideographic, a: 
simply esthetic elements in the vario 
arts of the northern tribes may be brief 
reviewed : 
(1) The building arts, employed 
constructing dwellings, places of ivorshi 
etc., as practised n. of Mexico, althou;. 
generally primitive, embody various r 
ligious and esthetic elements in their no; 
essential elaborations. As a rule, the 
are not evolved from the constructive fe 
tures of the art, nor are they expresst 
in terms of construction. The primith 
builder of houses depends mainly c 
the arts of the sculptor and the painti 
for his embellishments. Among Puebl 
tribes, for example, conventional figure 
and animals are painted on the walls < 
the kivas, and on therm floors (laborer 
symbolic figures and religious personag 
are represented in dry-painting (q. v. ) ; £ 
the same time nonsignificant pictorial sul 
jects, as well as purely decorative design 
occur now and then on the interior wall 
and the latter are worked out in crude pa 
terns in the stonework of the exterio 
Though the buildings themselves presen 
many interesting features of form and prr 
portion, construction has not been brougl 
to any consi derable degree under the supe j 
vision of taste. The dwellings of primitiv 
tribes in various parts of the country, cor 
structecl of reeds, grass, sod, bark, mats 
and the like, are by no means devoid c 
that comeliness which results from care 
ful construction, but they show few defi 
nite traces of the influence of either sym 
holism or the esthetic idea. The skin tipi 
of the Plains tribes present tempting sun 
faces to the artist, and are frequently tast/ 
full v adorned with heraldic and religioi • 
symbols and with graphic designs painte 
in brilliant colors, while the grass lodge 
is embellished by emphasizing certaii 
constructive features in rhythmic order 
after the manner of basketry. Tht 
houses of the N. W. coast tribes, buil 
wholly of wood, are furnished withir 
with carved and painted pillars, whose 
main function is practical, since they 
serve to support the roof, while the to- 
tem-poles and mortuary columns outside, 
still more elaborately embellished, are 
essentially emblematic. The walls both 
within and without are often covered 
with brilliantly colored designs embody- 
ing mythologic conceptions. Although 
these structures depend for their effect 
largely on the work of the sculptor and 
AVir> — numior itio-sr shnw r\anTrlar\ <i i'i-Iii. 
&\ / 
w 
I 
