a mere trellis-work of black lines is painted on the face; they have also a half-mourning, and only paint half the face black. Red is not only their joy, but also their favourite colour. They generally cover their face with a coating of bright red, on which the other colours are laid; for this purpose they employ vermilion, which comes from China, and is brought them by the Indian traders. However, this red is by no means de rigueur. Frequently the ground colour is a bright yellow, for which they employ chrome-yellow, obtained from the trader.
"They are also very partial to Prussian blue, and employ this colour not only on their faces, but as a type of peace on their pipes; and as the hue of the sky, on their graves. It is a very curious fact, by the way, that hardly any Indian can distinguish blue from green. I have seen the sky which they represent on their graves by a round arch, as frequently of one colour as the other. In the Sioux language toya signifies both green and blue; and a much-travelled Jesuit Father told me that among many Indian tribes the same confusion prevails. I have also been told that tribes have their favourite colours, and I am inclined to believe it, although I was not able to recognize any such rule. Generally all Indians seem to hold their own native copper skin in special affection, and heighten it with vermilion when it does not seem to them sufficiently red.
"I discovered during a journey I took among the Sioux that there is a certain national style in this face-painting. They were talking of a poor Indian who had gone mad, and when I asked some of his countrymen present in what way he displayed his insanity, they said, 'Oh, he dresses himself up so funnily with feathers and shells; he paints his face so comically that it is enough to make one die of laughing.' This was said to me by persons so overladen with feathers, shells, green and vermilion, Prussian blue, and chrome-yellow, that I could hardly refrain from smiling. Still, I drew the conclusion from it that there must be something conventional and typical in their variegated style which might be easily infringed."
Indian Art
If the Red Race of North America did not produce artistic work of an exalted order it at least evolved a distinctive and peculiar type of art. Some of the drawings and paintings on the walls of the brick erections of the southern tribes and the heraldic and religious symbols painted on the skin-covered lodges of the Plains people are intricate and rhythmic in plan and brilliant in colouring. The houses of the north-west coast tribes, built entirely of wood, are supported by pillars elaborately carved and embellished to represent the totem or tribal symbol of the owner. On both the interior and exterior walls brilliantly coloured designs, usually scenes from Indian mythology, are found.
The decoration of earthenware was and is common to most of the tribes of North America, and is effected both by carving and stamping. It is in the art of carving that the Indian race appears to have achieved its greatest æsthetic triumph. Many carved objects are exceedingly elaborate and intricate in design, and some of the work on stone pipes, masks, and household utensils and ornaments has won the highest admiration of European masters of the art. Indeed, many of the pipes and claystone carvings of the Chimpseyans and Clallams of Vancouver, and the Chippeways and Babeens, are by no means inferior to the best specimens of European mediæval carved work.
In the potter's art the Indian people often exhibit great taste, and the tribes of the Mississippi valley and the Pueblo Indians had made exceptional progress in plaster design. As has already been mentioned, the mound-builders displayed considerable skill in metalwork, and the stamped plates of copper taken from the earthen pyramids which they raised strikingly illustrate the fact that Indian art is the growth and outcome of centuries of native effort and by no means a thing of yesterday.
In weaving, needlework of all kinds, bead-work, and feather-work the Indians show great taste. Most of the designs they employ are geometric in plan. In feather-work especially the aboriginal peoples of the whole American continent excel. Rank was indicated among the Plains tribes either by the variety and number of feathers worn or by the manner of mounting or notching them.
The aboriginal art of North America is in the highest degree symbolic and mythologic. It is thus entirely removed from any taint of materialism, and had it been permitted to evolve upon its own peculiar lines it might have developed a great measure of idealistic excellence.
Warfare
In the art of guerrilla warfare the Indians have always shown exceptional skill. Armed with bow and arrow, a war-club, or a tomahawk, they carried on a fierce resistance to the incursions of the white man. These weapons were artistically shaped and moulded, and were eminently suited to their owner's mode of fighting. But as they came more into contact with the whites the natives displayed a particular keenness to obtain firearms and gunpowder, steel knives and hatchets. They dispensed with their own rude if effective implements of war, and, obtaining the coveted weapons by making successful raids upon the camps of their enemies, they set themselves to learn how to use them. So mysterious did gunpowder appear to them that they believed it to possess the property of reproduction, and planted it in the earth in the hope that it would yield a supply for their future needs. In attacking the settlers they used many ingenious artifices to entrap or ambuscade them. These methods, naturally, proved successful against the whites, who had yet to learn Indian war-craft, but soon the settlers learned to adopt the same devices. The Indian would imitate the cry of the wild goose to attract the white hunter into the woods, where he would spring upon him. He would also reverse his snow-shoes in winter, to make it appear to the settler that he was retreating. Covering themselves with twigs to look like a bush was another method adopted by Indian spies. Occasionally they would approach the white man apparently in a spirit of friendliness, only to commit some act of treachery. Block-houses were built by the settlers as a means of defence against Indian nocturnal surprises, and into these the women and children were hurried for safety. But the perseverance of the white man and the declining birth-rate of the Indian tribes began to create a new situation. Driven repeatedly from one part of the country to another, and confined to a limited territory in which to live, hunt, and cultivate the soil, the Indians finally adopted a less aggressive attitude to those whom they at first, and for some time after their settlement, regarded with suspicion and resentment.
Although the methods of warfare differed with the various tribes, the general scheme of operations was usually dictated by the council of chiefs, in whose hands the making of peace and war also lay. The campaign was generally prefaced by many eloquent harangues from the leaders, who gradually wrought the braves into a fury of resentment against their enemies. The ceremony of the war-dance was then proceeded with. Ranged in a circle, the warriors executed a kind of shuffle, occasionally slowly gyrating, with gestures and movements obviously intended to imitate those of some bird or beast,14 and grunting, clucking, and snarling the while. This ceremony was always undertaken in full panoply of war-paint and feathers. Subsequently the braves betook themselves to the 'war-path.' If the campaign was undertaken in wooded country, they marched in single file.15 The most minute attention was paid to their surroundings to prevent ambuscade. The slightest sound, even the snapping of a twig, was sufficient to arrest their attention and cause them to halt. Alert, suspicious, and with every nerve strung to the highest point of tension, they proceeded with such exceeding caution that to surprise them was almost impossible. Should a warrior become isolated from the main body and be attacked and fatally wounded, he regarded it as essential to the safety of his comrades to utter a piercing shriek, which reverberated far through the forest ways and placed the rest of the band on their guard. This was known as the 'death-whoop.'
When the campaign was undertaken in prairie or open country, the method usually employed was that of night attack; but if for any reason this could not be successfully made, a large circle was drawn round the place to be assailed, and gradually narrowed, the warriors who composed it creeping and wriggling through the grass, and when sufficiently near rising and rushing the camp or fort with wild war-cries. If a stout defence with firearms was anticipated,
