The graphic and plastic art of the early people of this region is illustrated by pictographic line paintings in red and white on the basaltic columns of the cliffs;[347] petroglyphs of the same general style pecked into similar cliffs; incised designs on stone, bone, antler and dentalium shells, and carvings both incised and pecked in stone. Some of the objects found are colored by red ochre or have it rubbed into the lines of their incised designs. Examples of graphic art seem to be more common than those of plastic art.

The paintings and pecked designs on cliffs are more or less geometric although pictographic in character. The incised designs are still more geometric and include the circle and dot commonly found in the Thompson River region.[348] This design is also common on modern objects from the coast of British Columbia and Washington, but was not there present among archaeological finds. Lewis[349] states that according to the early writers, in the general area of which this is a part, porcupine quills were much used for decorating articles of clothing and that later, beads were used for this purpose. The modern designs are largely floral. Among the Nez Perce, floral and plant designs in beadwork are particularly common although some geometric designs occur, as on belts, the decoration of which is largely geometric, as squares, triangles and similar figures.[350] Lewis[351] believes that the designs of the general region were originally geometric and that some of the modern geometric designs are survivals, while others suggest eastern influence. He further states that floral designs are found among the Salish tribes but to a much less extent. We found no floral designs among the archaeological specimens in the Yakima area. Some of the incised work, on certain of the carvings is of good technique, and artistic execution. This is noticeable in the object made of antler, carved on one surface to represent a human figure in costume, shown in Fig. 121 and on the dish shown in Fig. 116. Inlaying with white metal was practised in comparatively modern times. Animal heads are represented by the specialization of knobs on pestles, an animal form by a mortar and human forms by some of the pictographs, and petroglyphs, the incised antler figure and several of the pipes.

Many of the representations are realistic, others are highly conventional. Some conventional representations are explained by similar figures. For instance, the radiating lines of the pictographs shown in Plate XVI are probably explained satisfactorily by similar figures in Plate XI, Fig. 2, such radiations on the costumed figure in antler shown in Fig. 121 or by the feather headdresses worn by the present natives. Spinden states that in the Nez Perce region, realistic figures are probably of recent origin.[352] One of the carvings is clearly of the art of the northwest coast, from which the object or the artist who executed it must have come. Some of the pictographic-geometric and conventional figures probably represent guardian spirits and illustrate dreams done in symbols. A few art forms are evenly spaced on objects but only a few are distorted to fit the shape of the field. Pictographic symbols and conventional figures may be placed in groups to form designs as in the arrangement of the circles and dots on the pipe shown in Fig. 106.

In general, the art of the region tends toward line work of geometric and a slightly pictographic nature. It shows little resemblance to that of the coast, but a strong relationship to that of the Plains. The decorative art of the Nez Perce region includes motives from the Plains and also from the Pacific Coast.[353] Some of their designs partake strongly of motives from the Plains, while here in the Yakima Valley there are perhaps more examples of coast art and still much influence from the Plains. Spinden says that in early times the Nez Perce were very poor in decorative ideas and that the richness and variety found in their modern art may be ascribed to the absorbing of ideas from other cultures. This is perhaps equally true of the Yakima region where the influence of coast art in proportion to that from the Plains is perhaps greater than in the Nez Perce region.Paintings. Pictographic line paintings somewhat geometric in character, made on the basaltic columns on the west of the mouth of Cowiche Creek, on the south side of the Naches River, about four miles northwest from North Yakima, are shown in Plates XIV-XVI. These pictures, some in red, and some in white, were probably painted with mineral matter mixed with grease. Their antiquity is unknown. In the Nez Perce region to the east,[354] pictographs in red, yellow and black occur, while in the Thompson River area[355] and in the Lillooet Valley,[356] pictographs in red are found. Some of the Yakima pictographs have been destroyed during the construction of the irrigation flume which runs along the top of this cliff. Others are partly covered by the talus slope. All those remaining, are here represented by those reproduced in the plates. They extend from the top of the talus slope upward a distance of perhaps five feet. Many of them are indistinct, and appear more easily seen, if they are not actually clearer, in the photographs here reproduced than in the originals. Many of the paintings represent human heads and headdresses and one of them the whole figure with such a headdress. These headdresses may be compared to similar designs in the petroglyphs (Plate XI) at Sentinal Bluffs, thirty-three miles to the northeast (Fig. 2, Plate XII and Fig. 1, Plate XIII) at Selah Canon, eight miles to the northeast and the headdress pecked on the grooved net sinker shown in Fig. 14. Also, taken together with the pictographs representing the full figure with similar headdress shown in Fig. 1, Plate XIV, may be compared to the petroglyphs of men each with a headdress among those at Sentinal Bluffs, the human figure with a headdress carved in antler found near Tampico, only fourteen miles to the southwest and shown in Fig. 121, petroglyphs which apparently represent human forms somewhat similar to this, on Buffalo Rock, in the Nez Perce region to the east[357] and the quill flattener carved to represent a human form with headdress or hair from the Dakota shown in Fig. 122.

The human figure with feather headdress indicated by ten lines shown in Fig. 1, Plate XIV is all in red. It is the next to the westernmost pictograph at this site. It is 457 mm. high, the ends of the legs are 279 mm. apart, the tip of the arms 254 mm., the width of the headdress 229 mm. and the height of the middle feather 101 mm. There are four horizontal red lines on the overhanging column above the figure.[358] Fig. 2, Plate XIV shows human heads with feather headdresses in white.[359] Fig. 1, Plate XV shows similar human heads with feather headdresses also in white.[360] Fig. 2, Plate XV shows human heads with feather headdresses in white and a double star figure in white and red.[361] Plate XVI[362] shows human heads with feather headdresses in white and red. In addition, Fig. 2 shows the advertisement of a modern business man over the pictographs. Some of the pictographs at the same place have every alternate radiating line in red, while others are in white.

Mr. G. R. Shafer informed me that he knows of painted rocks in the Teton River Valley, 20 miles above the Nelson Bridge, which crosses the Naches a short distance above the mouth of Cowiche Creek. Mr. W. H. Wilcox of North Yakima stated to me that there are pictures on rocks on the west side of the Columbia River ten miles south of Wenatchee. Bancroft[363] refers to painted and "carved" pictures on the perpendicular rocks between Yakima and Pisquouse. According to Mallery, "Capt. Charles Bendire, U. S. Army, states in a letter that Col. Henry C. Merriam, U. S. Army, discovered pictographs on a perpendicular cliff of granite at the lower end of Lake Chelan, lat. 48° N., near old Fort O'Kinakane, on the upper Columbia River. The etchings appear to have been made at widely different periods, and are evidently quite old. Those which appeared the earliest were from twenty-five to thirty feet above the present water level. Those appearing more recent are about ten feet above water level. The figures are in black and red colors, representing Indians with bows and arrows, elk, deer, bear, beaver, and fish. There are four or five rows of these figures, and quite a number in each row. The present native inhabitants know nothing whatever regarding the history of these paintings."[364] Apparently only paintings are meant.

Red ochre is rubbed in the circle and dot designs and the grain of the stone of the pestle shown in Fig. 30 and also in the incised lines on the pipe shown in Fig. 104. Red paint (mercury) partly fills some of the holes and lines on the pendant made of steatite shown in Fig. 119. Because of the mineral nature of this paint, it may have remained a long time and its presence does not necessarily prove that the supposedly old grave in which the object was found is recent. Red paint also fills the circles and dots in the slate object shown in Fig. 120 while vermilion paint is found in the grooves of the animal form shown in Fig. 125 and as this is probably a mineral which would be rather enduring, it does not indicate that the painting was recently done.

Painting was done on moccasins in the general plateau area of which this is a part.[365] Spinden states that in the Nez Perce region the natives depended upon minerals for dyes, except in the cases of a wood, which produced a brown dye, and rock slime which produced green[366] and that white, red, blue and yellow earth paints were obtained by them further east from the vicinity of the Grande Ronde Valley;[367] also, that rock surfaces were painted over with brown as a field upon which to peck petroglyphs.[368] In the same region moreover, white clay[369] was used for cleaning clothing.Petroglyphs. The petroglyphs pecked into the weathered surface of the basaltic columns found in this region, are similar in style to the paintings, being largely line designs of geometric or conventional representation together with a few realistic figures. The pictures are formed by pecking away the weathered surface and exposing the lighter color of the basalt below. Some of them may be very old, but the bruised surfaces making up the lines are not weathered very much in comparison with the surrounding rock surface and yet there is no history of their manufacture. In the Nez Perce region[370] such pecked pictographs are also found, some of them being upon fields painted brown.

In Plate XI are shown petroglyphs on the vertical basaltic columns on the eastern side of the Columbia River at Sentinal Bluffs, immediately above Priest Rapids. They are at the base of the cliffs shown in Plate V. Those shown in Fig. 1 are to the east of the road which runs along a notch blasted in the top of the columns that rise from the river at this point, while those shown in Fig. 2 are about fifteen feet to the southwest on the columns that rise shear from the river.

Some of those shown in Fig. 1[371] represent human figures each with a feather headdress which may be compared with that of the antler figure found at Tampico (Fig. 121) and the pictographs of Cowiche Creek. This place is only about 47 miles northeast from Tampico, and 33 miles in the same direction from the mouth of Cowiche Creek. One of these is shown in Fig. 2.[372] The long form in the centre has a headdress which taken with its shape reminds us especially of the human form in antler from Tampico. The general shape of the body and the row of dots on each side edge suggest a resemblance to the quill flattener made of antler from the Dakota shown in Fig. 122. On each side are human heads, each with a similar feather headdress that might be interpreted as rising suns with eyes and mouths. On the left are some similar figures without eyes and mouths. Below, is a horizontal figure resembling five links of a chain. There is also a goat which resembles the two pecked in a granite boulder near Buffalo Rock in the Nez Perce area, eighteen miles above Lewiston on the east bank of the Snake River.[373] The star at the bottom, the rays of which end in dots, a small oval with radiating lines at the left, and two connected ovals with radiating lines at the top, remind us of the stars at Selah Canon, shown in Fig. 1, Plate XII, the petroglyphs near Wallula Junction, shown in Fig. 2, Plate XIII, somewhat similar figures on the large petroglyph at Nanaimo[374] and perhaps even more than of the Nanaimo figures, those in the petroglyphs beyond Nanaimo at Yellow Island, near Comox.[375] However, the two connected ovals with the radiating lines may represent hands of a human figure with a headdress having radiating feathers. All of these headdresses remind us of the others at this place shown in Fig. 1, the rising suns at Selah Canon next described, the pictographs at the mouth of Cowiche Creek, and the incised human form in antler.

In Plate XII and Fig. 1, Plate XIII are shown petroglyphs which appear fresher and whiter or yellower than the naturally weathered reddish basaltic columns into which they are pecked. They are on the north side of Selah Canon about one and a half miles from the Yakima River at a point about a mile north of Selah station or one half a mile south of the intake of the Moxee Canal. It is about twenty-five miles west southwest of Sentinal Bluffs, eight northeast from the mouth of Cowiche Creek and twenty-two miles northeast from Tampico. They are more easily made out from a distance than close by.

The petroglyph shown in Fig. 1, Plate XII, is the most northeasterly of the group. This seems to be made up of circles with a dot in the middle and radiating lines, some of which end in dots. They remind us of some of the same series of figures as the oval with radiating lines at Priest Rapids.[376]

The one shown in Fig. 2, is about eight feet to the southwest and a little lower down. The upper part of the left figure and the two main parts on the right, each consisting of a curve with short radiating lines like a representation of the rising sun, may be compared with the top of the petroglyph on the rocks a few feet to the southwest shown in Fig. 1, Plate XIII, next described, and with some of those at Sentinal Bluffs, shown in Plate XI; also, with the pictographs at the mouth of Cowiche Creek.[377]

The petroglyph shown in Fig. 1, Plate XIII, is a few feet southwest of those shown in Plate XII, taken from the south. The segment with radiating lines like the rising sun at the top reminds us of similar figures among the other petroglyphs here just described, those at Sentinal Bluffs and pictographs at the mouth of Cowiche Creek, but the other lines are not interpreted and are not suggestive to us of other figures in the neighborhood. A small figure, similar in that it consists of two nearly vertical lines crossing each other and topped by a curved line, shows very faintly above, a little to the right.[378] A design similar to the part of some of these pictures interpreted as representing a headdress was also found pecked in the surface of the grooved net sinker shown in Fig. 14.

The petroglyph shown in Fig. 2, Plate XIII, is pecked on the top of a rock which projects about three feet from the surface of the ground near mile post 209 between it and 210 above the Spokane branch of the O. R. & N. on the south side of the Columbia River about four miles west of Wallula Junction and is here illustrated as one twentieth of the natural size, from a tracing made by Mr. J. P. Newell, of Portland, assistant chief engineer on that road. We are indebted to Mr. W. E. Elliott of New York City, formerly engineer with Mr. Newell for permission to copy this tracing.[379] The top of the rock forms an east and west ridge. The pecked grooves are all of about equal depth and there are no other petroglyphs on the rock. The large figure at the left reminds us of the dog-like figures with "spines" in the petroglyphs at Nanaimo,[380] on Vancouver Island, especially as it has waved parallel lines, a fin or "spine" and two concentric curves at the top similar in shape to the lines indicating the back of the head and the mouth of the Nanaimo figure. This is less suggestive of certain harpoon points that are incised apparently to represent fish found in the main shell heap in the Fraser Delta at Eburne[381] although Eburne is nearer than Nanaimo and en route, and although these harpoon points have parallel lines, a fin-like projection and two lines representative of the back of the head or cheek and the mouth. The small circles some with lines radiating from them, remind us of similar marks on the same large petroglyph at Nanaimo and even more so of the petroglyphs beyond Nanaimo at Yellow Island near Comox.[382] The large figure on the right reminds us of the human form of the petroglyph at Nanaimo.[383]

I am informed by Mr. Owen that there is a petroglyph on the north side of the Columbia River below Kennewick and that it has been destroyed by recent railroad construction; by Mr. W. H. Willcox of North Yakima that there are petroglyphs or pictographs on the rocks ten miles south of Wenatchee on the western side of the Columbia River; and by Prof. Mark Harrington that it is said that there are "engravings" on the cliffs overhanging Lake Chelan. Mallery[384] refers to etchings at the lower end of Lake Chelan but his information seems to refer to painted figures only (See p. 120). The late Prof. Israel C. Russell informed me that there are etchings close to the river on both sides in the Snake Canon at Buffalo Rock in the extreme southeast corner of the state of Washington.[385]

Incised Designs. Among the designs incised on stone, attention may be called to the top of the pestle made of steatite shown in Fig. 35, which bears two parallel longitudinal incisions and notches, ten on the left and eleven on the right of each side edge of the obverse. There are fifteen fine incisions running obliquely down from the notches on the left to the first longitudinal incision. They begin at the eighth notch from the bottom and extend to the lower notch. On the reverse are three longitudinal incisions apparently more recently made, and eleven notches on each side edge. This incised knob is said by the Indians to represent the head of a snake. On the reverse of the steatite object, possibly a mat-presser, shown in Fig. 59a, is an incised pictographic sketch which unfortunately, with the exception of the nine short lines above, was re-scratched by its owner. It is reproduced in Fig. 59b. The first figure beginning at the left possibly represents a tree. The middle figure has not been identified but it is clear that the one on the right represents a human being. On the left of the groove in the object are incised two hands pointing towards the left. These also were re-cut and are not reproduced in Fig. 59. The incision in the edge of the top of the club shown in Fig. 62 and the incisions at right angles to this were probably intended for decorative purposes. There is an incised design on the rounded surface of the saddle-shaped hollow of the club shown in Fig. 64. This design is made of transverse notches above and a zigzag line below. The upper part of the right edge of this knob is flat with two incisions across it. Incised lines arranged parallel to each other in rows may be seen on the handle and knob of the club shown in Fig. 68. There are thirteen of these lines on either edge of the knob. The other incisions are arranged in four vertical rows on the handle. The lines on the top of the shell pendant shown in Fig. 88 may be merely the depths of the teeth rather than incisions artificially made, but in this case they may have been considered as decorative and the shell may even have been chosen because of these lines. There are nine incised lines on the bone tube shown in Fig. 98. These run around it in a spiral direction in such a way that the lower end of each line is on the opposite side from the upper end.

The three transverse incisions on the top of the steatite specimen shown in Fig. 99 may be for decorative purposes or merely as tallies as also the five small drilled pits arranged about equi-distant from each other around the top and the four similarly arranged near the bottom.

The oblique incised lines on the edge of the mouthpiece and on the ridge about the middle of the pipe shown in Fig. 100, which slant outward from left to right at an angle of about 45° and make the ridge at least suggest a twisted cord, were no doubt made for decorative purposes. Pictographic scratches may be seen on the disk-shaped stone pipe, shown in Fig. 107. Those on the reverse are shown in Fig. 115. A simple geometric incised line decoration on wood may be seen on a fragment of a bow shown in Fig. 111. It will be remembered that parallel irregularly arranged cuneiform incisions decorated a fragment of a bow found in the Thompson River region.[386] The incised design on the stone dish previously mentioned on p. 38 and shown in Fig. 116 consists of two horizontal incisions running around the upper part of the dish a little below its middle and a zigzag line made up of twenty-five V-shaped marks which fills the space between the flat rim of this dish and the upper horizontal line.

Incised designs on dentalium shells are shown in Figs. 117 and 118. The first four were found under the skeleton in grave No. 25. This skeleton was of a child and was surrounded by a stone cyst buried in a dome of volcanic ash near Tampico, as shown in Plate X. This lot contained two shells ornamented with designs of the type shown in a, but in the one not figured the diamond points met and formed a checker pattern. There were four of the type shown in b, one of the type shown in c, and two like the type shown in d. The specimens shown in Fig. 118 were found among broken and charred human bones of about twelve individuals in cremation circle No. 15 (10) on the terrace northwest of the mouth of the Naches River. While there was only one specimen of the type shown in a, there were two of the type shown in b, and one like the four represented by Fig. 117b. Another cremation circle containing incised dentalium shells is known as No. 18 (13) and was located on the same terrace. The specimens are mere fragments, one of them, from the tip of the shell, bears a design similar to that shown in Fig. 117b, the other bears a simple incised spiral, the space between one incision and another being about equal to the width of the incision itself. The character of both the technique and the motive of these designs resembles that of those found on similar shells at Kamloops in the Thompson River region[387] and in the Nez Perce area to the east.[388] The design shown in Fig. 117a at least reminds us of paintings on the parfleches found among the modern Sahaptin and Plains tribes.

The incised design on the pendant made of steatite (p. 94, Fig. 119) does not seem to differ greatly in technique or motive from other incised designs found in this area and in the Thompson River region to the north. While most of the lines and pits can be considered as forming symmetrical or geometric designs, the central figure on the side shown in Fig. 119b may be interpreted as a conventional representation of a life form, namely, a fish. Red paint is rubbed into some of the lines and pits.

The human figure described under costume (p. 100, Fig. 121) is a somewhat conventionalized realistic form indicated by incisions on one surface of a piece of antler 2 to 5 mm. thick.[389] It was found in the grave of an infant under the vertebrae, No. 25 in a dome of volcanic ash. It is of good technique and artistic execution. The eyes are of the shape of a parallelogram with rounded corners. These, with similarly shaped figures on the headdress or inner hair-rolls, and on the hands, knees, and insteps, slightly resemble a motive common in the art of the coast to the northwest. The crescent-shaped mouth and thick lips are indicated by incised lines, while the cheeks are full, and the entire head is somewhat set out in relief from the rest of the object. The radiating figures above the head do not represent feathers in a realistic way, but closely resemble the conventional paintings made by the Dakota on buffalo robes. These paintings have been called sun symbols, but are interpreted by the Dakota as the feathers of a war-bonnet or other headdress. The fingers and thumb are set off from the palm by two lines, which, with the mark at the wrist, make a figure resembling the eye-form so common in Northwest coast art. The concentric design on the knees is probably related to the wheel, sun, or spider-web pattern common as a symbol on the shirts, blankets, and tents of some Plains tribes. The feet jutting out at the sides are slightly wider than the legs. The inside of the foot is straight with the inside of the leg, while the outer part is curved. The two, taken together with the lower portion of the legs, resemble a divided hoof. The divided hoof is a common design among Plains tribes.

There are only two specimens, of which I am aware, that resemble this. One (T-22107, 177 II) consists of seven fragments of a thin piece of antler found by Mrs. James Terry at Umatilla, Oregon, only about 83 miles in a southerly direction from Tampico. The back of this specimen is largely disintegrated, except on the two dog heads, and these being only about 5 mm. thick suggest that the whole figure was thin. The carving (Fig. 123) is in much greater relief than in the specimen from Tampico, although some of the lines are merely incisions. The tongue projects between, but not beyond, the lips. The cheeks are raised and there is considerable character to the face. The nose is aquiline and narrow, but the alÆ are indicated. The orbits are sunken and horizontal oblong pits evidently indicate the eyes. The eyebrows are raised. Two horizontal incisions extend across the brow. Below the chin, at the left, are four incisions in a raised piece. This seems to represent a hand held with the fingers to the neck. A similar hand was probably at the right. A foot, with four toes in relief projecting above the brow as high as do the eyebrows, rests immediately above the upper horizontal incision and apparently indicates that some animal, possibly a bird, stood upon the human head. The fragment, however, is not sufficiently large to settle these points. Two of the other fragments are apparently intended to represent the heads of dogs. The eyes are indicated by the common circle and dot design; while the nostrils in one are represented by drilled dots. The shape of the heads is brought out by the carving of the edge of the object. The fragments are broken off at the neck, and the lower side of each shows the finished surface of the back of the object. The remaining fragments show little or nothing. The animal heads and the feet and hands suggest the possibility that in some cases animal forms were combined in such figures, as on the Northwest Coast, although the general style of art of the object is like neither Haida nor Kwakiutl work, but more like the carvings of Puget Sound and the lower Columbia River. The fact that the carving of this face is more in relief helps to explain the intent of the author of the Tampico specimen.

The other specimen (50-3110 a, b, c) is a quill-flattener, made of antler (Fig. 122). It was obtained by Dr. Clark Wissler from the Dakota at Pine Ridge, South Dakota, who also made reference to other objects of the same sort among the tribe. Porcupine quills were flattened on it with the thumb nail until after it had been broken, when the lower or pointed end had been used as a brush in applying color to form designs on various articles made of buckskin. This end is stained a deep red and the point is much worn. The object, in general, resembles in shape and size the specimen from Tampico. Its sides are somewhat thinner and sharper. The slight indications of hair or headdress, the deeply cut eyes and mouth in the concave side, the holes or ears at the sides of the head, and the method of indicating the arms by slits, setting them off, from the body, are all details which emphasize this general resemblance. The technical work is about as good as that of the Tampico specimen, but the art work is inferior. One edge of the convex or outer surface of the bone has twenty-five notches, and in each tooth left between them, as well as above the top one, is a small drilled dot. Some of the notches on the other side are broken away with the arm, which is missing. On the same surface are twenty-six horizontal incisions, which were interpreted as year counts. The general shape of the body and the rows of dots are similar to those of the figure pecked on the cliff at Sentinal Bluffs (Plate XI, Fig. 2).

The Tampico specimen may have developed from a quill-flattener, which implement was probably of common and characteristic use among Indian mothers, not only of the Plains but also as far west as Tampico. If the result of such a development, it had probably lost its domestic use and become entirely symbolic.

Mr. Teit has heard the Thompson Indians speak of figures carved by some men in their spare time, and valued highly as curiosities and works of art. They had no practical value, and were generally used as ornaments inside the house. They were in wood, bark, stone and antler, more generally in the last three, and usually represented the human figure. Although the Indians aver that they were sometimes very elaborately and truthfully carved, it is impossible to say, in the absence of a good specimen from the Thompson Indians whether there was any resemblance in style to that of this figure. The Thompson sometimes, placed such figures on the tops of houses, but the great majority were shown inside the houses. The Indian who made the one illustrated[390] told Mr. Teit that he had seen some of larger size which had taken a carver's spare time for many months.

The headdress seems to be a so-called war-bonnet, and would indicate that the figure was that of an important personage; perhaps a suggestion of what had been hoped for the child's position in the tribe or after death. The arms, body, legs, and feet are apparently bare and ornamented with ceremonial paintings, while about the waist is an apron. The whole object seems of a rather high order of art to be a mere child's doll, and it would seem more plausible to consider it as an emblematical figure. The general style of art and costume indicated show little or no resemblance to those of the Northwest Coast, but a strong relationship to those of the Plains.

There are some incised lines on the pipe shown in Fig. 127. Those on the pipe shown in Fig. 104 are described on p. 131. In the Nez Perce region, according to Spinden, incised designs, some of them of a pictographic character and probably modern are found on pipes, and designs of ladder shape are found on a flat plummet-shaped bone object.[391]Notches. The notch in the base of the spatulate object made of bone shown in Fig. 58 and the two notches in each side of the base may be for practical purposes but were probably intended to be artistic, while the six notches in the edge of the pendant made of slate shown in Fig. 81 probably also have been intended for decoration or even to make the object represent something although possibly the representation may be rather conventional.

In the Nez Perce region to the east,[392] a notched stone has been found near Asotin and notches occur as decorations on objects found in the Thompson River region to the north, but, of this type, they are rare if not absent among archaeological finds on the coast to the west from Fort Rupert on northern Vancouver Island to Tacoma.Circle and Dot Designs. The circle and dot design is commonly found in this region. It may be seen on the top of the pestle shown in Fig. 30. There is one of these designs in the tip and eleven about equi-distant in a row around the edge of the knob. In the Nez Perce region to the east[393] the design is found on bone gambling pieces. Further east, this design is also found. This motive may be seen around the top of the bowl on a pipe (50-4867a, b) from the Gros Ventre Indians of Montana collected by Dr. Clark Wissler, which, however, is considered to be recent. To the west, it is not found among ancient things on the coast but among recent objects it may be seen on certain bone gambling cylinders and on beaver teeth used for dice. The design is common in the Thompson River region[394] and the Lillooet Valley between there and the coast.[395] It is perhaps even more frequently seen on the modern things among the Thompson River Indians[396] who often visit the Okanogan country.

The pipe shown in Fig. 104 was secured from an Indian who is known to have frequently visited the Okanogan area so that if he did not bring the pipe from there, he may at least have gotten the idea for this style of decoration there. This suggests an explanation for the occurrence of the circle and dot design on what are apparently older specimens from the Yakima country. On the lower end of this specimen is a design made up of a zigzag line based upon an incision running around where the stem meets the bowl. The five triangles thus formed are nearly equilateral and there is a circle and dot design in each. Other circles and dots are arranged in seven equi-distant longitudinal pairs about the middle of the bowl. In addition, parallel to these, and between two of the pairs, there is a double-headed figure each end of which resembles the form of a crude fleur-de-lis. All of the incisions on this pipe are colored with red paint. The circle and dot design may be seen on the limestone pipe shown in Fig. 106. There is one circle and dot on the tip of the base, encircling this is a row of eight of them and outside of this still another circle of nine. Around the opening for the stem is a circle made up of eight, around the mouth of the bowl are ten and between the circle around the bowl and the one around the stem are three of the circles and dots. A typical circle and dot decoration is shown in Fig. 120 of what, as stated on p. 65, may possibly have been used as a whetstone. The object is made of slate and the top is broken off. It is 142 mm. long, 18 mm. wide and 6 mm. thick. The lower end and side edges are rounded. On the reverse, the design is similar except that it is continued upward by three circles and dots arranged in the same order as the uppermost three on the obverse and that there are several slightly incised marks on it, one of which, of X form, makes a tangent and a cord with the next to the lower circle and dot. All the circles and dots are filled with red paint. There are twelve incisions, possibly tally marks, on one side edge near the point. The original is in the collection of Mr. Janeck.[397]

The symmetrical arrangement of the perforations and the pits on both sides of the object shown in Fig. 77 was no doubt due to artistic motives.Pecked Grooves. Some designs were made by pecking grooves in stone. Part of these, those forming petroglyphs, have been mentioned on p. 121 and are shown in Plates XI-XIII. The upper portion of the marking on the grooved stone shown in Fig. 14 is made in this way. It may represent a feather headdress, such as is mentioned on p. 119 and such as is so common in the pictographs as well as in the petroglyphs. The design on the lower part of the same object was formed in the same way and on the obverse of the net sinker shown in Fig. 15 are pecked grooves forming three concentric semi-circles on each side of the groove and nearly parallel with the edges of the object. Taken together, they give the suggestion of a spiral. There are three pecked grooves encircling the stone mortar shown in Fig. 20 and two around the head of the pestle shown in Fig. 25. On each side of the lower part of the pestle shown in Fig. 31 is a longitudinal design made up of four parallel zigzag pecked grooves. The two pecked grooves at right angles to each other on the specimen shown in Fig. 60 while they are probably made for use may have been interpreted as decorative or artistic. This may also be said of the three pecked grooves at right angles to each other on the club-head shown in Fig. 61, and it seems likely that the eight pecked pits made in the middle of the spaces between these grooves and possibly even the two pits at either pole of the object were intended to embellish it. Pecking was also the process employed in forming the sculpture shown in Fig. 125. The four pyramidal or dome-shaped nipples on the top of the knob of a pestle found at Five Mile Rapids mentioned on p. 45 were probably made by pecking, followed by polishing and they may have served a ceremonial as well as a decorative purpose.

Animal and Human Forms. There are a number of sculptures that apparently were intended to represent heads of animals, whole animals and human forms. The top of the pestle shown in Fig. 31 is sculptured to represent what is apparently an animal head. The top of the one shown in Fig. 33 has three nipples one of which is longer than the others. This sculpture also seems to represent an animal head, the ears being indicated by the short nipples and the nose by the long one. The top of the pestle shown in Fig. 34 apparently represents an animal head, the mouth being indicated by the groove, each eye by a pit and there are four incisions across the top or back of the head. A sculptured animal head, with wide open mouth, pits for eyes, and projections for ears on what may be a pestle top, has been found in the Nez Perce region to the east[398] and pestles with heads are found in the Thompson River area to the north.[399] The knob shown in Fig. 35 (p. 47) is interpreted as representing a snake's head. The heart-shaped knob on the top of the club shown in Fig. 68 resembles the form of an animal head and stands at an angle of about 45° to the axis of the club. Two of the incised circles probably represent the eyes. The top of the handle of a digging stick made of horn of the Rocky Mountain sheep, shown in Fig. 126 is sculptured to represent an animal head. It was obtained from an Indian woman living near Union Gap below Old Yakima.

Fig. 124 illustrates a fragment of sculpture from Pasco. It is hoof-shaped and is here reproduced from a sketch of the original in the collection of Mr. Owen. The sculptured animal form made of lava shown in Fig. 125 which was mentioned on p. 38, bears a mortar or dish in its back. It is a good example of an art form which has been specialized so that it may be used or at least so that the useful part is less prominent than the animal figure. It has been sculptured by pecking. The raised eyes are almond-shaped rather than elliptical, and the ears are indicated by raised places on the transverse ridge at the top of the head. The mid-rib or dewlap under the chin is about 6 mm. wide and of the three transverse grooves in this, only the upper one is deep. The tail is slightly under cut. The grooves are all more or less colored with vermilion, apparently a mineral paint and consequently sufficiently lasting so that we need not consider even the painting as necessarily modern. The general form and especially the four elephantine legs remind us of a somewhat similar animal form with a dish in its back found in a shell heap in the delta of the Fraser River[400] and the animal form with the dish in its back resembles slightly carvings found in the Lillooet Valley[401] and the Thompson River region.

The pipe made of steatite shown in Fig. 128[402] illustrates the modern type of carving in soft, easily cut stone, as well as the style of white metal inlaying employed here during recent years. In this case, the inlaying is nearly bilaterally symmetrical as may be seen by comparing Fig. 128a with the outlines in c and d. The carving is not symmetrical, the human form holding a fish-like form appearing on one side only, while the rear figure evidently represents a turtle which animal is found in the valley. The other two figures are not easily identified but the forward one perhaps represents a dog, the white metal inlay on it possibly representing a harness, but as likely was merely for decoration. The figure on the base of the pipe might represent a lizard or any quadruped with a long tail. This form and the way it is represented as clinging to the cylindrical part of the pipe at least remind us of similar forms seen on totem poles in the region from Puget Sound to Victoria.[403] The technique is rather crude and the style of art does not closely resemble that of the coast, but reminds us of certain sculptures found on pipes and on the carved wooden stems of pipes in the Plains where this particular shape of pipe is much more common than here.

In Fig. 105 is illustrated a fragment of a sculptured tubular pipe made from steatite by cutting or scratching and drilling the soft material rather than by pecking. It was apparently intended to represent an anthropoid form. The mouth is indicated by an incision, the other features of the head are more difficult to determine, but both the arm and the leg stand out in high relief. As previously suggested on p. 111, this style of art slightly resembles that found in the region from the Lillooet Valley to the Lower Willamette and as far east at least as The Dalles.[404] It is possible that some of the sculptures found in the Thompson River region[405] adjoining the Lillooet Valley on the east and the Yakima region on the north, may be somewhat related to the style of art of this fragmentary pipe. The human form shown in Fig. 121 has been discussed on p. 127 as it is incised rather than carved in the round. Clark mentions a "malet of stone curiously carved,"[406] which he says was used by the Indians near the mouth of the Snake River and Eells[407] mentions two stone carvings from the general area of which this is a part which he describes as horses' heads. If this interpretation be correct, the carvings are evidently modern. The fish form shown in Fig. 119 has been mentioned on p. 127.

The very form of the pestle shown in Fig. 34 and the symmetrical outline of the club shown in Fig. 62 are in themselves somewhat artistic, while the fact that the pipe shown in Fig. 113 somewhat represents a tomahawk or hatchet suggests that it may have been sculptured as representative art. It seems likely that it was modelled after the metal tomahawk pipe introduced by the traders which of course would indicate that it was recently made.Coast Art. The pipe shown in Fig. 127 which was mentioned on p. 116 is clearly of the art of the northwest coast. It must have been brought to this region from as far at least, as the Kwakiutl and Haida region, and may be the work of an artist from that part of the coast, on Vancouver Island, north of Comox. Although in a fragmentary condition, this sculpture exhibits an excellent technique of its style of art. Astride of the stem is a human figure with the left hand to the chest, and the right one resting on the right knee. The head is missing, the chest muscular. The other end of the pipe apparently represents the thunder bird. The head and most of the figure are bilaterally symmetrical. The beak is cut off in such a manner as to form a flat surface at the tip. The feathers of the rear portion of the left wing extend in a different direction from those on the tip, while those of the right wing are parallel with those on the rear part of the left wing. The lower side or tail of this bird figure is broken off, but it probably extended to the broken place shown at the neck of the human face on the base of the pipe. In it, may be seen a groove, the half of a longitudinal perforation which does not connect with the pipe bowl. The carving on the right side of the pipe bowl, the top of which is broken away, is practically the same as that on the left, while the base is carved to represent a human head.