[V.]Model of a Shield, Museum No. 50-2929. Diameter, 39 cm.
[VI.]Shield-design on a Cape, Museum No. 50-3102. Width of cape, 178 cm.
[VII.]Model of a Shield, Museum No. 50-5467. Diameter, 46 cm.

Text Figures.

[1.]Shield-cover with Design
[2.]Shield-design, from a Drawing by a Native
[3.]Drawing, by a Native, of a Shield-cover
[4.]Shield-design, from a Drawing by a Native
[5.]Spider-design for a Shield, from a Drawing by a Native
[6.]Shield-design, from a Drawing by the Man who dreamed of it
[7.]Shield-design representing a Thunderstorm, from a Drawing by a Native
[8.]Model of a Shield with Pictographic Design
[9.]Design on Sioux Shield captured by a Fox Indian
[10.]Front of a Ghost-dance Garment
[11.]Back of Garment shown in Fig. 10
[12.]Designs on the Front of Ghost-dance Garment
[13.]Designs on the Back of Garment shown in Fig. 12
[14.]Front of a Ghost-dance Garment bearing Dragon-fly Design
[15.]Back of Garment shown in Fig. 14
[16.]Circular Design upon a Shirt
[17.]Sketch, by a Native, of an Elk-mystery Dancer carrying a Hoop with a Mirror in the Centre
[18.]Engraved Metal Cross
[19.]Engraved Bone Object
[20.]Whirlwind Design, from the Handle of a Club
[21.]Whirlwind Design, from a Popgun
[22.]Whistle, of Bone
[23.]Design of a Spider-web
[24.]Sketch of a Robe for the Medicine-bow Owner
[25.]Design on a Metal Belt-ornament
[26.]Design of the Spider-web on a Straight Pipe

INTRODUCTION.

The decorative art of the Dakota has been treated in a preceding paper, in which brief mention was made of religious art, or that art in which there was a definite, unmistakable motive on the part of the artist to represent mythical or philosophical ideas. In this more serious art, a large number of designs may be characterized as “protective designs,” because their presence or possession is in part a protection. The idea in a protective design seems to be a symbolical appeal to the source or concrete manifestation of a protective power. It is not easy to get the point of view and the spirit of the faith that make these designs significant, but from the detailed explanations of them some general idea can be formed. The descriptions given in this paper are based upon the statements of Indians, in most cases the executers of the designs. The attitude of the reader toward such a study as this is often that of concluding that the points of view set forth by a writer are universal in the tribe. This leads to a great deal of superficial criticism. In the opinion of the writer, any rejection of such study because one or two or several Indians deny all knowledge of some or all of the specific native accounts upon which conclusions are based, is absurd. We might as well test the artistic sense of a city by calling in one or two persons from the street. As a case in point, the reader is referred to the remarks of J. Owen Dorsey on the authenticity of Bushotter’s Double Woman.[[1]] A great deal of the information received from Indians relative to religion is largely individual, and every ethnological field-worker must take the best of his material from the brightest men of a tribe. The object of this study has been to bring together ideas expressed by various individuals more or less eminent among their people, because all of these individual conceptions seem to have much in common. The data were secured by the writer when on Museum expeditions to the Teton and Yankton divisions of the Dakota.

[1] Dorsey (Eleventh Annual Report of the Bureau of American Ethnology, p. 480).

SHIELD-DESIGNS.

The circular shield was distributed over a large part of North America. A conspicuous part of the arms of Mexican warriors was “the round, small ‘target’ worn by the ‘brave’ on his left arm, and made of canes netted together and interwoven with cotton ‘twofold,’ covered on the outside with gilded boards and with feathers, and so strong that a hard cross-bow shot could alone penetrate them;”[[2]] but “merely ornamental shields [were also] used and carried by warriors and chiefs on festive occasions only.”[[3]]