SYNONYMY

Sibley, John.

(1) Historical Sketches of the Several Indian Tribes in Louisiana, south of the Arkansa River, and Between the Mississippi and River Grand.InAmerican State Papers. Vol. IV. Washington, 1832.

Smet, P. J. de.

(1) Letters and Sketches with a Narrative of a Year's Residence Among the Indian Tribes of the Rocky Mountains. Philadelphia, 1843.

(2) Oregon Missions and Travels over the Rocky Mountains, in 1845, '46. New York, 1847.

Spencer, Joab.

(1) The Kaw or Kansas Indians: Their Customs, Manners, and Folk-Lore.InTransactions of the Kansas State Historical Society, 1907-1908. Vol. X. Topeka, 1908.

Stanley, J. M.

(1) Visit to the Piegan Camp.InReports of Explorations and Surveys to Ascertain the Most Practicable and Economical Route for a Railroad from the Mississippi River to the Pacific Ocean ... 1853-1854. Vol. 1. Washington, 1855.

Stansbury, Howard.

(1) An Expedition to the Valley of the Great Salt Lake of Utah. Philadelphia, 1855.

Stoddard, Amos.

(1) Sketches ... of Louisiana. Philadelphia, 1812.

Stuart, James.

(1) The Yellowstone Expedition of 1863.InContributions to the Historical Society of Montana. Vol. I. Helena, 1876.

Tanner, John.

(1) Narrative of the Captivity of.SeeJames, Edwin. (2).

Townsend, John K.

(1) Narrative of a Journey Across the Rocky Mountains. Philadelphia, 1839.

Trudeau.

(1) Journal of ... 1794-1795.InSouth Dakota Historical Collections. Vol. VII, 1914. Pierre, S. D.

Warren, G. K.

(1) Explorations in the Dacota Country, in the Year 1855. Washington, 1856.

Whipple, A. W.

(1) Itinerary.InReports of Explorations and Surveys to Ascertain the Most Practicable and Economical Route for a Railroad from the Mississippi River to the Pacific Ocean ... 1853-1854. Vol. III. Washington, 1856.

Winship, George P.

(1) The Coronado Expedition, 1540-1542.InFourteenth Annual Report Bureau of Ethnology. Pt. 1. Washington, 1896.

Accancea=Quapaw.Ahnahaways=Amahami.Alkansa=Quapaw.Archithinue=Blackfeet.Aricaree, Arickarees, Arikkaras=Arikara.Arkansa=Quapaw.Arwacahwas=Amahami.Asinepoet, Assinneboins=Assiniboin.Assonis=Caddo.Awachawi=Amahami.Big-bellied Indians=Atsina.Big Bellys=Hidatsa.Canzee=Kansa.Cenis=Caddo.Chayennes=Cheyenne.Chepewyans=Chipewyan.Chippeway=Chippewa.Cristinaux=Cree.Dacotahs=Dakota.Fall Indians=Atsina.Grosventre Indians, Grosventres, Gros Ventres of the Missouri=Hidatsa.Gros Ventres of the Prairie=Atsina.Huecos=Waco.Kansas, Kanzas, Kaws=Kansa.Knistenaux, Knisteneaux=Cree.Konsee, Konza, Konzas=Kansa.Machigamea=Michigamea.Maha=Omaha.Manitaries, Minatarres, Minnetarees=Hidatsa.Minnetarees of Fort de Prairie=Atsina.Naudowessies=Dakota.Nehetheway=Cree.Ogallallaha=Oglala.Ojibway=Chippewa.Omawhaw=Omaha.Osinipoilles=Assiniboin.Otoes, Ottoes=Oto.Ougapa=Quapaw.Pay-gans, Picaneaux, Piekann=Piegan.Poncara, Punca, Punka=Ponca.Quappa=Quapaw.Quivira=Wichita.Rapid Indians=Atsina.Ree, Ricaras, Riccaree, Rickarees, Rus=Arikara.Sak=Sauk.Sarsees=Sarsi.Saulteaux, Sautaux, Sauteaux, Sauteux=Chippewa.Sharha=Cheyenne.Shoe Indians=Amahami.Shoshonees=Shoshoni.Soulier Noir=Amahami.Stone Indians=Assiniboin.Sur-cees=Sarsi.Upsaroka=Crows.Waekoes, Wakos=Waco.Wattasoons=Amahami.Witchita=Wichita.Yanctonies=Yanktonai.Yanctons=Yankton.

The art of photography has made it possible to preserve a pictorial record of the dwellings and other structures of native tribes beyond the Mississippi, and many early photographs, together with drawings and paintings by various artists, have been selected to illustrate the present work.

One of the original drawings by Griset reproduced by woodcuts in Col. R. I. Dodge's workThe Plains of the Great West, 1877. The reproduction is now made exact size of the original. Collection of David I. Bushnell, jr.

Ernest Henry Griset, born in France, 1844; died March 22, 1907. Lived in England, where he did much of his work. In 1871 he exhibited at Suffolk Street. Some of his paintings are hung in the Victoria and Albert Museum. More than 30 examples of his work belong to the Smithsonian Institution, Washington. "His reputation rests on his water-color studies of animals, for which he was awarded prizes in London. Two of his best-known works areCache-cache, andTravailleurs de la fôret."

Reproduction of one of the five paintings by Stanley now in the United States National Museum, Washington, D. C.

James M. Stanley, born in Canandaigua, New York, January 17, 1814; died April 10, 1872. He moved to Michigan in 1835 and became a portrait painter in Detroit; two years later removed to Chicago. About this time he visited the "Indian Country" in the vicinity of Fort Snelling, and there made many sketches. Returned to the eastern cities, where he spent several years, but in 1842 again went west and began his wanderings over the prairies far beyond the Mississippi, reaching Texas and New Mexico. HisBuffalo Hunt on the Southwestern Prairieswas made in 1845. From 1851 to 1863 Stanley lived in Washington, D. C., during which time he endeavored to have the Government purchase the many paintings which he had made of Indians and of scenes in the Indian country, but unfortunately he was not successful. His pictures were hanging in the Smithsonian Building, and on January 24, 1865, when a large part of the building was ruined by fire, only five of his pictures escaped destruction, they being in a different part of the structure. The five are now in the National Museum, including the large canvas shown in this plate.

This is considered to be one of Wimar's best works. The original is owned by the City Art Museum, St. Louis, Missouri. Size of canvas, 36 inches high, 60 inches long.

Charles Ferdinand Wimar, usually known as Carl Wimar, was born in Germany, 1828; died in St. Louis, November, 1862. Came to America and settled in St. Louis during the year 1843. A few years later he met the French artist Leon de Pomarede, with whom he later studied and made several journeys up the Missouri for the purpose of sketching. Went to Europe and returned to St. Louis about 1857. HisBuffalo Hunt, now reproduced, waspainted in 1860, exhibited at the St. Louis Fair during the autumn of that year, when it was seen by the Prince of Wales, later Edward VII, for whom a replica was made.

One of four water-color sketches by Peter Rindisbacher secured in London some years ago. Size of original 91⁄4inches high, 171⁄8inches long. Collection of David I. Bushnell, jr. Twenty or more similar sketches are in the library of the Military Academy, West Point. One of these was used as an illustration by McKenney and Hall in their great work; the second used by them is in a private collection in Washington. Another of the pictures now at West Point was reproduced by wood cut and appeared on page 181 of Burton's Gentleman's Magazine, Philadelphia, April, 1840. Rindisbacher may have come to America with the Swiss colonists who settled in the Red River Valley in 1821, and in the Public Archives of Canada are six small sketches which were probably made by him at that time. (See pl.6,a.)

a.A scene near Fort Carlton, 1846, showing buffalo approaching a pound. Reproduction of a photograph of the painting by Kane, now in the Royal Ontario Museum of Archaeology, Toronto, Canada. Size of painting, 18 inches high, 29 inches long.

Paul Kane, born at York, the present city of Toronto, 1810; died 1871. After spending several years in the United States he went to Europe, where he studied in various art centers. Returned to Canada, and from early in 1845 until the autumn of 1848 traveled among the native tribes of the far west, making a large number of paintings of Indians and scenes in the Indian country. One hundred or more of his paintings are in the Museum at Toronto; others are in the Public Archives of Canada, Ottawa. Some of the sketches and paintings were reproduced in his workWanderings of an Artist, London, 1859.

b.Reproduction of a photograph, probably made in the upper Missouri Valley about 1870.

a.Reproduction of a water-color sketch now in the collection in Public Archives of Canada, Ottawa. It is one of six small sketches "by an artist, probably Swiss, who accompanied the European emigrants brought by Lord Selkirk's agents to the Red River Settlement in 1821." Size of original, 55⁄8inches high, 75⁄8inches long. Although not signed it suggests and resembles the work of Peter Rindisbacher. (See note, pl. 4.)

b.Reproduced from an original photograph furnished by the Minnesota Historical Society, St. Paul.

a.Reproduction of a photograph of a painting by Kane, now in the Museum at Toronto. Size of original, 18 inches high, 29 inches long. (See note, pl. 5,a.) This was engraved and shown on page 7 of his workWanderings of an Artist.

b.Reproduced from an original photograph made near the Red River during the summer of 1858 by Humphrey Lloyd Hime, who was photographer with the expedition led by Henry Youle Hind.

aandb. Same asb, plate 7. Original photographs are in the Bureau of American Ethnology.

Bothaandbare from original photographs belonging to the Minnesota Historical Society, St. Paul. The two small prints are mounted on similar cards, that ofbbearing the name of C. A. Zimmerman, photographer. The name has been cut froma. Both are attributed to Zimmerman, who, in 1869, purchased the studio of Whitney, which had been established some years. The negatives may have been made by Whitney, and although the prints are catalogued as Ojibway habitations, neverthelessaresembles more closely the Siouan type, with an arbor over the entrance, and the photograph may have been made in a Sioux village. The dwellings are quite similar to the Winnebago structure shown in plate36,a.

Charles Alfred Zimmerman was born in Strassburg, Alsace, June 21, 1844; died in St. Paul, Minnesota, September 23, 1909.

Reproductions of original photographs by David I. Bushnell, jr. October, 1899.

a.This small log structure stood near the southeastern shore of Cass Lake, Minnesota. Several Ojibway Indians are in the picture. Original photograph by David I. Bushnell, jr. November, 1899.

b.The old Ojibway medicine man, Nagwanabe, a name well known in Ojibway annals, is shown holding a club of unusual design which he said he took from a Sioux warrior many years ago, during a fight between some of his people and members of that tribe. Original photograph by David I. Bushnell, jr. 1900.

a.Objects collected among the Ojibway. At top, a hammer formed of a section of a small tree with part of a branch cut to serve as a handle. Used in driving plugs in maple trees during the season of sugar making. Mille Lac, May, 1900. Bag braided of narrow strips of cedar bark. Size about 9½ inches square. From the Ojibway settlement on shore of Basswood Lake, north of Ely, Lake County, Minnesota, October, 1899. Two tools used in dressing skins. Formed of leg bones of moose, beveled and serrated. Length of example on right, 15 inches. Cass Lake, Minnesota, 1898.

b.Section of rush mat.

a.Wooden mortar and pestle collected among the Ojibway. Length of pestle about 37½ inches. Reproduced from Fourteenth Annual Report Bureau of Ethnology, part 1, p. 257.

b.Mortar and pestle collected among the Delaware by Dr. E. Palmer and acquired by the National Museum November 11, 1868. Length of pestle 33½ inches. Diameter of mortar 7½ inches, height 15 inches. (U. S. N. M. 6900.)

c.Birch-bark dish, type used extensively by the Ojibway and other northern tribes. Reproduced from Nineteenth Annual Report Bureau of American Ethnology, part 2, Pl. LXXIX.

Reproduced from an original negative now in the Bureau of American Ethnology.

Reproduced from the engraving of the painting by Bodmer, as used by Maximilian.

Karl Bodmer, born in Zurich, Switzerland, 1805; died 1894. Studied under Cornu. He accompanied Maximilian, Prince of Wied, on several journeys, including that up the Valley of the Missouri. Many of his original sketches made during that memorable trip are now in the Edward E. Ayer collection, Newberry Library, Chicago. His later works are chiefly of wooded landscapes, some being scenes in the valleys of the Missouri and Mississippi. Bodmer was a very close friend of the great artist Jean François Millet. De Cost Smith, in Century Magazine, May, 1910, discussing the close association of the two artists, and referring especially to their joint work, wrote: "The two men must have worked together from the pure joy of friendship, for it must be confessed that the work of neither was very greatly improved by the other's additions. Bodmer would put a horse into one of Millet's Indian pictures and add some vegetation in the foreground, Millet would return the favor by introducing figures into Bodmer's landscapes." But this does not refer to the sketches made by Bodmer during his journey up the Missouri in 1833.

a.Reproduction of a wood cut on page 420 ofWanderings of an Artist. The original painting by Kane is now in the Royal Ontario Museum of Archaeology, Toronto, being No. 51 in the catalogue. Size of painting, 18 inches high, 29 inches long. (See note, pl. 5,a.)

b.The original photograph from which this illustration is made is in the collection of the United States National Museum, Washington, D. C. It is not known by whom the negative was made.

Reproduced from the engraving of the original painting by Bodmer, as used by Maximilian. (See note, pl. 15.)

Bothaandbare reproductions of photographs furnished by the State Historical Society of Iowa.

Reproduction of an original photograph in a scrapbook, which contains many manuscript notes, news clippings, etc., prepared by Newton H. Chittenden. The book is now in the Manuscript Division, Library of Congress, Washington, D. C.

From original photographs by David I. Bushnell, jr. 1900.

Reproduction of an original pencil sketch of the Sioux village of Kaposia, made June 19, 1851, by F. B. Mayer. The drawing is now in the Edward E. Ayer collection, Newberry Library, Chicago.

Frank Blackwell Mayer, born in Baltimore, Maryland, December 27, 1827; died in 1908. Many of his paintings represented scenes in Indian life, and in 1886 he completed a canvas entitledThe Treaty of Traverse des Sioux, the treaty having been signed during the summer of 1851, about the time the sketch of Kaposia was made.

Bothaandbare reproduced from engravings of paintings by Eastman, used by Schoolcraft inInformation respecting the History, Conditions, and Prospects of the Indian Tribes of the United States, 1851-1857.

Seth Eastman, born in Brunswick, Maine, January 24, 1808; died in Washington, D. C., August 31, 1875. Was appointed to the Military Academy, West Point, at the age of 16, and was graduated June, 1829. Served at Fort Crawford and Fort Snelling, where he had ample opportunities for studying the Indians who frequented the posts. In November, 1831, he was detailed for duty at the Academy and retired from active service December, 1863. From 1850 to 1855 he was engaged in the preparation of the illustrations used in the work mentioned above, evidently under the supervision of the Commissioner of Indian Affairs.

a.Reproduction of a drawing made by Catlin of one of his oil sketches. The original painting is now in the United States National Museum, Washington, D. C.

George Catlin, born in Wilkesbarre, Pennsylvania, 1796; died in Jersey City, New Jersey, December 23, 1872. In the year 1832 he went to the then far west, and during the succeeding eight years traveled among numerous native tribes, making many paintings portraying the life and customs of the people. He went to Europe, taking with him his great collection of pictures and objects obtained from the Indians among whom he had been for so long a time. One hundred and twenty-six of his pictures were shown at the Centennial Exposition, Philadelphia, 1876, and now more than 500 of his works, portraits and scenes are preserved in the National Museum, forming a collection of inestimable value and interest.

b.Fort Pierre, after sketch by Kurz, July 4, 1851.

Friedrich Kurz, born in Bern, Switzerland, 1818; died 1871. At the suggestion of his friend Karl Bodmer, he came to America in 1846, for the purpose of studying the native tribes, intending to prepare a well-illustrated account of his travels. He landed at New Orleans and reached St. Louis by way of the Mississippi. The trouble with Mexico had developed, and for that reason instead of going to the Southwest, to endeavor to accomplish among the tribes of that region what Bodmer had already done among the people of the Upper Missouri Valley, he decided to follow the route of the latter and ascend the Missouri to the Rocky Mountains. But although his plans were changed he did not become discouraged, and on October 28, 1851, entered in his journal: "My plan is still for the gallery.... I shall have lots of correct drawings." Cholera raged along the upper Missouri in 1851, and for that reason Kurz was unable to remain at Fort Pierre. However, he reached Fort Berthold July 9, 1851. Later he continued to Fort Union at the mouth of the Yellowstone, where he remained until April 19, 1852. Returning, he reached St. Louis May 25, thus covering the distance from the mouth of the Yellowstone in five weeks and one day. He arrived in Bern during September of that year and was soon appointed drawing master in the schools of his native city, a position which he held until his death.

During the winter of 1851-52, while Kurz was at Fort Union, a German artist of some ability was with the Oto and Omaha near the banks of the Missouri. H. Baldwin Möllhausen, late in the autumn of 1851, became lost on the frozen, snow-covered prairies south of the Platte, and was rescued by a family of Oto encamped on the bank of a small stream. He remained with the Oto and later returned with them to their village near the mouth of the Platte. From the Oto village he went up the Missouri to the Omaha, with whom he stayed some weeks. While with the two tribes he made many sketches of the Indians and scenes depicting the ways of life of the people. When he returned to his home in Berlin he carried with him the collection of drawings, and these, if found at the present time, would probably prove of much interest.

Bothaandbare reproductions of photographs made in the vicinity of Fort Laramie in 1868, during the visit of the Indian Peace Commission. The commission was composed of a number of Army officers who went among many of the Plains tribes for the purpose of gaining their friendship for the Government. From original prints in the possession of Mrs. N. H. Beauregard, St. Louis. The name of the photographer is not known.

c.From the engraving of the original picture by Bodmer, as used by Maximilian. (See note, pl. 15.)

a.Reproduced from a photograph of the original painting by Kane, now in the Royal Ontario Museum of Archaeology, Toronto. Rocky Mountain Fort in the distance on the right. No. 57 in the catalogue. Size of picture, 18 inches high, 29 inches long. (See note, pl. 5,a.)

b.From a photograph of a water-color sketch by Kurz. (See note, pl. 23,b.)

a.From an original negative now in the Bureau of American Ethnology, made by Jackson in 1871. It was probably made at the Omaha village shown in plate 27.

b.A page of Kurz's sketchbook. (See note, pl. 23,b.)

Omaha village, from an original negative made by Jackson in 1871 and now in the Bureau of American Ethnology. According to La Flesche, "The location of the Omaha village can best be described as in the southwest quarter of Section 30, Township 25, Range 10, in the extreme eastern border of Thurston County, Nebraska. The land was allotted in 1883 to Pe-de-ga-hi, one of the Omaha chiefs. It is about three-quarters of a mile west of the historic site known as Blackbird Hill, on which the great medicine man Blackbird was buried."

Bothaandbrepresent pages in Kurz's sketchbook. (See note, pl. 23,b.)

Reproduced from the engraving of Bodmer's painting, as illustrated by Maximilian. (See note, pl. 15.)

a.Reproduction of the illustration in De Smet's work, where the picture is signedGeo. Lehman, del.

b.Reproduced from the engraving after a drawing by Samuel Seymour.

In the instructions issued to members of the expedition, dated "Pittsburgh, March 31, 1819," Major Long stated: "Mr. Seymour, as painter for the expedition, will furnish sketches of landscapes, whenever we meet with any distinguished for their beauty and grandeur. He will also paint miniature likenesses, or portraits if required, of distinguished Indians, and exhibit groups of savages engaged in celebrating their festivals or sitting in council, and in general illustrate any subject, that may be deemed appropriate in his art."

Reproduced from a photograph in the Chittenden scrapbook. (See note, pl. 19.)

a.From an original photograph furnished by Francis La Flesche.

b.Reproduced from an illustration in Transactions of the Kansas State Historical Society, 1907-1908, Vol. X. Topeka, 1908.

Reproduced from an engraving of the original drawing by Samuel Seymour. (See note, pl. 30,b.)

Specimens in the United States National Museum.

a.After original drawing by Friedrich Kurz. (See note, pl. 23,b.)

b.Photograph of specimen now in the United States National Museum.

Bothaandbare reproduced from original photographs in the United States National Museum, Washington. It is not known by whom the negatives were made.

From a photograph made about the year 1900, furnished by Miss Alice C. Fletcher. The structures stood near the bank of the Missouri, north of the Omahas. The photograph was reproduced as plate 18 in the Twenty-seventh Annual Report of the Bureau of American Ethnology.

a.From the drawing by Catlin of the original painting. This is No. 503 in Catlin's Catalogue (London, 1848), where it is described as "The Interior of a Mandan Lodge, showing the manner in which it is constructed of poles and covered with dirt. The chief is seen smoking his pipe, and his family grouped around him."

b.After the original painting in the National Museum, Washington. This is the fourth and last of Catlin's paintings representing different scenes during the remarkable ceremony by the Mandan. No. 507 in the Catalogue, where it is referred to as "The Last Race."

George Catlin. (See note, pl. 23,a.)

From the engraving of Bodmer's painting used by Maximilian. (See note, pl. 15.)

Reproduced from the engraving of Bodmer's painting as used by Maximilian. (See note, pl. 15.)

Two wooden bowls and a pottery vessel collected among the Mandan. Specimens in the United States National Museum.

Examples of spoons, one made of a buffalo horn, the other formed from a horn of a mountain sheep, now in the United States National Museum.

Reproduction of the original painting by Catlin, now in the United States National Museum, Washington. It is No. 383 in Catlin's Catalogue, described as "Minatarree Village, earth-covered lodges, on Knife River, 1,810 miles above St. Louis."

George Catlin. (See note, pl. 23,a.)

a.Original pencil sketch by Bodmer of the finished picture shown inb. The sketch is now in the Edward E. Ayer collection, Newberry Library, Chicago.

b.Reproduction of a photograph of the engraving as used by Maximilian.

After original sketches by Friedrich Kurz. (See note, pl. 23,b.)

a.Reproduction of the original painting by Catlin, now in the United States National Museum, Washington. It is mentioned as No. 491 in Catlin's Catalogue and described as a "Crow Lodge, of twenty-five buffalo-skins." A drawing made from the painting appeared as plate 20 in Vol. I of Catlin's work.

b.From the original negative by Jackson now in the Bureau of American Ethnology.

A rather crude woodcut, made from this photograph, was used in Dunraven's book,The Great Divide. Unfortunately it is not known when or by whom this most interesting negative was made, but it was probably the work of J. D. Hutton, a member of the Raynolds party during the exploration of the Yellowstone Valley, 1859-1860. Although the Raynolds journal is in the War Department in Washington, there is no record or list of the photographs, many of which are known to have been made during the journey. A number of Hutton's photographs were reproduced by Hayden in his workContributions to the Ethnography and Philology of the Indian Tribes of the Missouri Valley, Philadelphia, 1862.

A page from Kurz's sketchbook, carried by him during his travels through the Upper Missouri Valley. This shows several traders approaching Fort Union and a herd of buffalo in the distance on the right. (See note, pl. 23,b.)

Two negatives were made by Jackson, evidently without moving the camera. One was reproduced in Bulletin 69 of this Bureau's publications; the second is now shown. The first negative now belongs to the Bureau, but the present plate is a reproduction of a photograph furnished by the Peabody Museum, Harvard University.

Concerning the photographs now reproduced in plates 49, 50, and 51, Mr. W. H. Jackson, now of Detroit, wrote to the Bureau, April 28, 1921, and said in part: "Negatives to which you refer, viz, of Pawnee village scenes, were made by myself in 1871 on my return from the first Yellowstone expedition of the Survey, this trip also including a visit to the Omaha Agency."

Earth lodges standing in the Pawnee village. From original negative by W. H. Jackson, 1871. Negative now in the Bureau of American Ethnology.

Views in the Pawnee village, after photographs by Jackson, 1871. Original photographs belonging to the Bureau of American Ethnology.

Specimens in the United States National Museum.

Reproduction of a photograph of the original painting by Catlin, now in the United States National Museum. It is No. 386 in Catlin's Catalogue, described as "Riccaree Village, with earth-covered lodges, 1,600 miles above St. Louis."

George Catlin. (See note, pl. 23,a.)

Specimens in the United States National Museum.

a.From a photograph in the Chittenden scrapbook. (See note, pl. 19.)

b.After a photograph in the collection of the United States National Museum.

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