Europe as well as among American aborigines, and even in our own times, the European families with long "pedigrees" still carry their "arms" as a mark or totem of their descent. So that if we would seek to establish a con nection between the pictorial art of Algonquin-speaking tribes and the inhabitants of Europe, we shall have to go further back in time than the arrival of a few French traders among the Canadian aborigines in the seventeenth century, when the supposed transfer of ingenious ideas is alleged to have taken place when the two peoples met.

The facts of the case, therefore, appear to be these: The Algonquinspeaking tribes, who were mostly littoral peoples living along the shores of lakes and the rivers, and were also canoe-using peoples, were less devoted to the cultivation of tobacco, and indeed all other crops, than were the Huronspeaking tribes, especially the Tobacco Nation. Sites of the Algonquins far removed from Huron sites, or belonging to an earlier age than the Hurons, yield few pipes, while early Huron sites yield an abundance of pipes, but they are mostly inartistic in their designs. Briefly stated, the Hurons brought the tobacco plant and its cultivation, while the Algonquins, possessing the ingenuity to fashion good pipes, brought this ingenuity to bear upon the production of good work. And so it resulted that along the areas of closest contact of the two peoples we now find the best made pipes.

HUMAN FACES OF THE CLAY PIPES.

Persons of all ranks, shapes and conditions appear on pipes-portly matrons and skinny grandmammas, medicine-men, warriors bold and chiefs bedecked in their best, little men and big men, fat men and lean men, all have their images on the pipes. Some are in holiday attire as well as countenance, and often there are rows of dots along the forehead, presumably to represent some, beads or other ornaments.

In all periods of the world's history some races have far excelled others in depicting the human features. Like the Egyptians of old and the Japanese of to-day, the Huron and his Algonquin neighbors had an innate gift for portraiture. Some of the human faces on pipes are so lifelike that we are often forced to regard them as the portraits of Indians who actually lived, moved and had their being in those old Huron days. These pipe-bowls represent the Huron features of countenance more naturally and more lifelike than the likenesses of Hurons made by the early French travellers and filtered through the artistic processes of the engravers of the day. It is true that, in the work of the native artists as displayed upon the pipes, there are often exaggerations of some salient traits in the features, as well as crudenesses in the art, but the Huron racial features have been preserved with an approach to faithfulness, in these unique memorials. One never finds at smile in the features represented in the pipes; everyone wears the same stolid air as on state occasions in real Indian life. It is only since the introduction of instantaneous dry-plate photography that laughter is, even among ourselves, regularly "taken," or indeed any other expression of short duration. The countenance in a quiescent state was the invariable product of all the earlier artists, whether savage or civilized. Before the invention of photography, the Indians who sat for their portraits were, like our own people on such occasions, on their best behavior, which of course did not include laughter, especially among the staid Indians. Hence we find no laughter depicted. on the pipes.

As examples of this class of pipes, here are three representative specimens. The first is very highly decorated. Eight vertical slots are arranged along the forehead, the last outer slot at each side being a little lower than the others, and evidently intended to represent ears, or the ornaments attached thereto. The boy who found it (in Oro Township) called it an "Indian Chief," and the elaborate ornamentation certainly does suggest the name. As the ears are indicated, the other knobs on the top (one of which had been rubbed off) evidently indicate hair knobs-i.e., some kind of headdress. This is a somewhat common representation in Huron portraits of human heads. In this connection we may also recall the fact that some Algonquin neighbors of the Tobacco Nation were called "Chevaux Releves" by Champlain, from their prevailing fashion of wearing their hair, and the name Huron, itself, is said to come from their style of wearing the hair.

The next pipe of this class is a veritable souvenir of "Sleepy Hollow." This specimen may not indicate good humor or laughter, but a war-whoop, or perhaps a sleepy yawn. In any case, it is the effort of an artist who evidently belonged to the impressionist school. Pipes of this kind are not by any means rare in the Huron country.

The third specimen has the physiognomy of an Indian who, if not a warrior, had at any rate a face so bold as to make the most courageous of us shudder when we look at his portrait. His grim visage has a likeness to the Old Man of the Mountain, whose face we are called upon to see in the profile of a high, rocky cliff in the White Mountains of New Hampshire. His Dantesque features have a stony stare, and his chin, which protrudes much beyond the normal amount, gives the owner the expression of strong executive power, not always wielded for good, as some of his other features would indicate.

ANIMAL FORMS ON CLAY PIPES.

These forms are often well made, and in some cases even the draughtsmen and plastic workers of our own race could not have designed them with the features better portrayed. The animal kingdom is represented by the wolf, beaver, deer, eagle, hawk, owl, heron or bittern and crane, coiled snakes, frogs, and many others. There was an obvious tendency to choose the biggest specimens in the animal tribes-the eagle and owl in the hawk tribe (rapaces), the raven in the omnivorous (hornbill) tribe, the panther in the cat tribe, the wolf and bear among the carnivora. Great things and portentous things commanded the attention of the Hurons in quite a human way, small and insignificant birds and animals being, for the most part, beneath their notice.

In this connection some questions will naturally arise to what extent do these animal forms indicate the abodes of the clans from the positions where the specimens are found most abundantly, and to what extent were they merely pictorial? Were the pictorial pipes tribal marks, or clan emblems, used to denote clans, or did the Indians make them merely for amusement? This subject has already been referred to on a former page. It is evident that in many cases the pictorial pipes were emblematic, yet this was not universally true. According to Mecklenburg, each of the Mohawk clans or "tribes" carried its totem when they went to war in early times. Francis Ass kinack, writing of the Ottawas, said that people of the same clan dwelt in a particular section or quarter of a village, with their totem on the "gatepost. (Canad. Jour. III., 117.) From these, and many other instances of segregation, we may suppose the tribal elements of the Hurons were indicated by the totems they bore, including the pictorial pipes. Unfortunately we have not yet sufficient data to decide these questions completely, although the evidence is accumulating from year to year.

The use of the open mouth as the pipe bowl is a common idea in Huron clay pipes, and I have seen different examples having this design with snakes. foxes and wolves, as well as the human face.

Some examples of the Huron animal pipes are realistic and lifelike pictures. In the American Museum of Natural History, New York, the pottery representations of animals made by the ancient Peruvians illustrate more than fifty different species. These were not on pipes, yet it need not surprise us if Huron animal representations are also numerous, with the more conspicuous features of each animal faithfully, though sometimes rudely, portrayed.

The long, slender limbs and forms of the heron and crane would be difficult to portray in clay, yet we occasionally find them in a cramped or conventional form. Their stately flight and deliberate movements seem to have impressed the Indians as much as they do ourselves. The crane is a clan still extant among the Lake Simcoe Ojibways.

Although there are multitudes of owl pipes, there was perhaps no owl clan among Indians; at any rate, any trace of such a clan has hitherto failed to come under my observation. But, as their legends relate, certain spirits took the form of an owl, especially the spirits about the graves of the dead. And it may have been in some such connection that the bird came to be depicted so often upon their pipes, rather than as a clan emblem. Being a bird of such evil omen, its conduct, or rather, its misconduct, did not warrant any gens in holding the bird in reverence as their progenitor. As well think of Judas Iscariot in connection with canonization, or the commemoration of

his name in any list of the departed saints. The facts and circumstances about the owl show the Indian's imagination at work, and his overpowering belief in the innumerable spooks around him. Indeed, the majority of image pipes of the Indians had more or less to do with the uncanny spirit world.

IMAGINARY ANIMAL FORMS ON PIPES.

A proportion of the animal forms and images on pipes are so unlike anything in the heavens, earth or the deeps, that they must be representations of mythical creatures,-vague nondescript beings and ogres, in whose existence the Indians had a firm belief. George E. Laidlaw has stated (in his essay on stone pipes) that a proportion of the stone pipes show nondescript animals, etc. The same remark is true of the clay pipes. Some of the creatures represented defy classification, according to our received principles in natural history. These creatures were perhaps mythical. The Thunder Bird pipe, found in the territory of the Neutrals and identified by W. J. Wintemberg, goes to prove that Indians did portray legendary beings, and it shows the possibility of finding other mythical forms as well as the Thunder Bird. If the aborigines of Ontario had confined their attention to images of real beings, as white men now know the real beings, they had been alone in the world in doing so. The Egyptians, Assyrians, and Babylonians had their griffins and sphinxes and winged lions and bulls, and other composite, mythic animals, now strange to us. Even the cultivated Greeks and Romans had their mythical beings, and the mythology of those nations is a very elaborate compilation. In recent ages, and not very far from our own people, attempts at delineating Santa Claus and even the Devil himself have been frequent, the latter personality having a composite structure, with his horns, cloven hoofs, and forked tail on a human body. For the worship of the Devil, in gay Paris at the present day, there is a so-called "church," so strongly are the worshippers held by fancy. Poor "Lo," in the simplicity of his untutored mind, actually saw the repulsive spirit, or perhaps sometimes talked with him as a friend, and that was why he could make a picture of the being. Amongst figures and images fashioned by barbarous popples, there are always grotesque forms, taste with them being unsettled and capricious. As the fantastic monster or nondescript animal was the outcome of an individual's imagination, and had a personality as many-sided as their imaginations were numerous, no duplicate of any object in this class could likely be found anywhere.

PLANT FORMS ON PIPES.

While pipes are often found showing objects in the animal world, there is a corresponding class of ines representing forms in the plant world. As examples of this class, I may cite the tobacco blossom (trumpet-mouthed shape), corn-cob, acorn cup, thimbleberry, not to speak of other common forms.

Plants and herbs have magical repute, barbarous peoples being unable to distinguish medicinal properties from magic. The relations which the plant pipes bore to the Hurons were evidently of a nature different from the so-called "animal worship" connected with the animal pipes. In many cases the plant pipes would be clan emblems; for example, there was doubtless a tobacco gens in the Tobacco Nation.