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connexion with the method of repainting. The weathering of the wood 
had been accompanied by a fading of the original colours, giving to each 
pole an archaic and subdued appearance in harmony with the landscape. 
Only the Indians themselves, who owned the poles and who alone knew 
the original colours, could be employed for repainting, and they were not 
experienced in reproducing antique forms; so although they toned down 
the new colours as far as they were able, they could not avoid a gaudiness 
in the repainted poles that contrasts unpleasingly with the mellow colours 
of those still untouched. It should be remembered, however, that new 
poles were gaudy even in olden days, and that exposure to the weather 
for one or at the most two years will produce all the fading that should 
be necessary to restore an archaic appearance. The poles that were 
repainted in 1925 now appear quite satisfactory in this respect, although 
they were extremely gaudy immediately after their restoration. 
When the operations were begun in 1925 in Kitwanga, three totem- 
poles had already fallen and most of the remaining fifteen had rotted 
immediately below the ground-level, so that they were in danger of falling. 
In that year eight specimens were treated, seven totem-poles and one 
totem figure, two of which had fallen. Last summer ten specimens were 
cared for in the same way, nine totem-poles and one totem figure, a gain 
of 25 per cent, at the same expense. The gain was doubtless due to the 
experience gained in 1925, to more suitable equipment, and to better 
relations with the Indians, whose experience with the movement in the 
preceding year resulted in a more friendly disposition, fewer delays, and 
even voluntary offers of co-operation. 
Ninety per cent of the totem-poles at Kitwanga are now restored. 
Only two poles remain untouched, and for these the native owner refuses 
to give his consent. The Indians have given permission to work on eight 
poles at Gitseyukla, one at Hazelton, four at Hagwelget, and two at the 
forbidden village of Kitwinkul; it is understood, also, that they agree to 
the restoration of all the poles at Kispiox. 
This work of preserving the totem-poles at Kitwanga has already 
produced some interesting results. The “Out-of-Doors Totem Pole 
Museum” (as they have been called) has not only attracted tourists, but 
stimulated the Indians themselves. In 1925, John Laknitz, a Gitksan 
Indian, opened beside it a museum of ancient Gitksan costumes, musical 
instruments, and other objects; he played phonograph records taken by 
himself of Gitksan songs, and exhibited photographs of some Gitksan 
portraits painted by Mr. Kihn. His little museum was visited by many 
tourists, but was closed a year later on the death of its owner. Soon after- 
wards, however, his father, Jim Laknitz, opened his own house, a much 
more suitable place. Its large size, its fireplace, smoke-hole, and two 
large ridge poles with four carved house posts supporting them, are typi- 
cally Indian features, although the pitch of the roof, the shakes, the lumber, 
the doors, and the windows are modern in character. Inside are a large 
number of excellent old Gitksan specimens. Visitors have expressed the 
opinion that this building should be preserved, because, among all the 
Indian houses in this part of the country, it perhaps approaches nearest 
to the old aboriginal type. During the lifetime of its owner it is probably 
fairly safe except from fire, but after his death measures might be taken 
to secure its preservation. 
