International studio (35.1908)

The Scrip

the olden times displays mainly non-realistic geometric phases of
embellishment, while that of the middle period shows a fair per-
centage of representative elements, and that of later time chiefly
realistic motives. The modern work is largely a repetition of the
ancient, with an inclination, however, toward overornamentation, to
a confusion of motives and somewhat barbaric display. It should
be said, however, that among the Pueblos there are certain tribes
practising the art of pottery to-day with no less skill than did
their ancestors and are turning out vases and other objects equal
in merit to ancient productions. The Pueblos have depended at all
times almost entirely upon color for ornamentation, painting their
pottery rather than engraving or stamping it. The tribes that inhab-
ited the Mississippi Valley and the Gulf Coast, on the other hand, are
seen to have favored the latter methods, and to have used color
sparingly. While rude, many of their decorative devices are very
interesting.
From the plastic to the sculptor’s art, ag^n, is but a step, and some-
what oddly it is found that those tribes that were not potters were most
skilled in carving. Totem poles, masks, batons, pipes and various
implements and utensils in wood, stone, horn, shell and bone, beau-
tifully carved by the Thlinket and Haida Indians, as well as the
Eskimo, are set forth in the National Museum, almost all of which
represent symbolically beasts, men and monsters. The meaning of
these symbols, it has been said, none but the carver can interpret,
but the carvers’ appreciation for decorative effects is patent to all. The
Eskimo work in bone and ivory is tasteful and interesting and that of
the Haida Indians in slate must specially be remarked for virtue of
craftsmanship and excellence of design. There are some boxes and
chests in this medium by these people which show, besides the carving,
inlay of mother-of-pearl, and while by no means beautiful are immensely
attractive. In these, as in all other examples of primitive craftsmanship,
the accurate skill of the workman, the patient labor expended upon
the execution of the object, and the manner in which it is brought to
completion are worthy not only of note but emulation.
Of work in metal there is comparatively little. Some jewelry of the
Navajo Indians is shown, but nothing impressive. In this particular
line many of the aboriginal Americans did not excel, though it should
be remembered that wonderful specimens of metal casting have been
exhumed at Chiriqui, and that among the Peruvians in prehistoric days
were, undoubtedly, metal workers worthy of distinction.
The National Museum collection is, of course, not complete, but it is
especially comprehensive and in some particulars very superior. Next
winter it will be transferred from the old building to the new building,
which is now approaching completion, and then better arrangement
and classification will be possible. At present, on account of cramped
conditions, probably not half the specimens owned by the Museum are
on view, and those which are shown are much crowded. When the
new building is ready for occupancy, it is hoped that the old building
Eskimo totem post may be utilized for an industrial museum in which a permanent exhibit
of arts and crafts can be installed. Much valuable material, it will be
seen, is already on hand, and much which has not been mentioned, in the way of modern work, is alsv
available. It is well to look back occasionally, not only to mark progress, but to preserve tradition;
it is, however, also well to look ahead. We must be not only large producers but good producers. We
must, in a measure, follow the example of the aborigines, employ the best form and hold fast to simplicity.

LXVI