water-worn stones in the bed of the river, to carry home for the purpose of pipe manufacture, although they were then fully five hundred miles from their lodges. Such traditional adherence to the choice of a material peculiar to a remote source, as well as the perpetuation of special forms and patterns among the scattered members of the tribe, may frequently prove of considerable value as a clue to former migrations.

Among the Cree Indians a double pipe is occasionally in use, consisting of a bowl carved out of stone without much attempt at ornament, but with perforations on two sides, so that two smokers can insert their pipe-stems at once, and enjoy the same supply of tobacco. This form would seem peculiarly adapted for sealing the new-born amity of ancient foes turned friends; but I have not been able to learn that any special significance is attached to the singular fancy. The Chippewas, on the St. Louis river, at the head of Lake Superior, a branch of the great Algonquin nation, also carve their pipes out of an easily-wrought dark close-grained stone; and frequently introduce groups of animals and human figures with considerable artistic skill, but generally with accompaniments which betray the influence of European intercourse on the development of native art.

One of the most celebrated Indian pipe-sculptors is Pabahmesad, or the Flier, an Old Chippewa, still living on the Great Manitoulin Island in Lake Huron; but more generally known as Pwahguneka, the Pipe Maker, literally "he makes pipes." Though brought in contact with the Christian Indians of the Manitoulin Islands, he resolutely adheres to the pagan creed and rites of his fathers, and resists all the encroachments of civilisation. His materials are the muhkuhda-pwahgunahbeck, or black pipe-stone of Lake Huron, the wahbepwahgunahbeck, or white pipe-stone, procured on St. Joseph's Island,

and the misko-pwahgunahbeck, or red pipe-stone of the Coteau des Prairies. His saw, with which the stone is first roughly blocked out, is made by himself out of a bit of iron hoop, and his other tools are correspondingly rude; nevertheless the workmanship of Pabahmesad shows him to be a master of his art. A characteristic illustration of his ingenious sculpture is engraved here

(Fig. 26), from the original, in the museum of the University of Toronto.

It is impossible that a people manifesting such peculiar aptitude for artistic imitation, should fail to copy some of the novel arts and objects brought under their notice by European traders and settlers. But the unimpressible nature of the Indian, and the dormant state of his mental faculties, appear in the fact of his imitation extending only to the transference of a few novel forms to his carvings, while all the ingenious discoveries and useful arts of the European remain unheeded or despised. Here and there the manufactures of Europe, bartered by the fur trader for Indian peltries, find acceptance. The copper kettle displaces in part the rude and fragile clay caldron, and the blanket gradually takes the place of the more graceful buffalo robe. But the most characteristic and interesting objects of native workmanship disappear in this process of exchange:

with no other effect on the poor Indian than to make him more dependent on the civilisation which he despises, and to rob him of the few simple arts which he has inherited from his fathers.

The tendency to imitation, within the limited range of native art-manufacture, shows itself more like an unreasoning instinct, where the Indian is now frequently found laboriously reproducing the simple form of the clay pipe in the hardest stones; though here also his taste is seen to break the bonds of fashion, and to superadd incongruous, yet not ungraceful ornaments and devices to the homely European model. But the most elaborate of all the modern specimens of pipe-sculpture are those executed by the Babeen, or big-lip Indians, so called from the singular deformity the females produce by inserting a piece of wood into a slit made in the lower lip. The frontispiece to vol. I. illustrates the characteristic physiognomy of this tribe. It is an accurate portrait of a Chimpseyan chief, from sketches taken by Mr. Paul Kane during his travels in the North-west. The Chimpseyan or Babeen Indians are found along the Pacific Coast, about latitude 54° 40', and extend from the borders of the Russian dominions eastward nearly to Frazer River. Some of their customs are scarcely less singular than that from whence their name. is derived, and are deserving of minute comparison with the older practices which pertained to the more civilized regions of the continent. This is especially the case in relation to their rites of sepulture, wherein they make another marked distinction between the sexes. Their females are wrapped in mats, and placed on an elevated platform, or in a canoe raised on poles, but they invariably burn their male dead.

The pipes of the Babeen, and also of the Clalam Indians occupying the neighbouring Vancouver's Island,

VOL. II.

B

are carved with the utmost elaborateness, and in the most singular and grotesque devices, from a soft blue claystone or slate found in that region. The form is in part determined by the material, which is only procurable in thin slabs; so that the sculptures, wrought on both sides, present a sort of double bas-relief. From this, singular and grotesque groups are carved, without any apparent reference to the final destination of the whole as a pipe. The lower side is generally straight, and in the specimens I have examined, the pipes measure from two or three to fifteen inches long; so that in these the pipe-stem is included. A small hollow is carved out of some protruding ornament to serve as a bowl, and from the further end a perforation is drilled to connect with this. The only addition made to it, when in use, is the insertion of a quill or straw as a mouth-piece instead of the usual pipe-stem, which would be incompatible with the peculiar form, as well as with the weight, of such elaborate and somewhat brittle works

of art. The woodcut (Fig. 27) illustrates the simpler devices of the Babeen sculptor in decorating one of his smaller pipes. But large and complicated designs are of common occurrence. One of the largest brought back by Mr. Kane measures nearly fifteen inches long. It consists of a grotesque intermixture of figures, in which that of the frog predominates; though accompanied with strange monstrosities intermingling human

and brutal forms, and presenting some analogy to much of the sculpture on the temple-ruins of Central America.

The more elaborate specimen of pipe-sculpture shown in Fig. 28, may be regarded as the conventional repre

sentation, by the Babeen artist, of a bear-hunt in the vicinity of one of the Hudson's Bay Company's stations or forts; and possibly the swampy nature of the scene of action is indicated by the frogs, though the latter are favourite objects with the Babeen sculptors. The grotesque masks imitated here, are executed the size of life, and brilliantly coloured; and furnish a frequent subject repeated in miniature on the claystone carvings. From the costume, it is evident that the man who turns his back on the bear is intended to represent one of the Hudson's Bay Company's trappers. The group constitutes altogether an ingenious and spirited specimen of native art, such as would be regarded as no discreditable product of conventional design if sculptured on a Norman capital of the twelfth century.

Messrs. Squier and Davis conclude their remarks on the sculptures of the Mounds by observing: "It is unnecessary to say more than that, as works of art, they are immeasurably beyond anything which the North American Indians are known to produce, even at this day, with all the suggestions of European art, and the