Decorative Art of Indian Tribes of Connecticut

by Frank G. Speck

Until ten years ago the native art of basketry was preserved by the Scatticooks, and some specimens were then collected during several visits. It was found recently, in another visit to the tribe, that the industry had become extinct; so our remarks are now based upon old specimens and implements in the possession of the Indians. The general character of Scatticook work is the same as that of the Mohegans. Instead of the maple, however, the Scatticook used white oak or brown ash. The method of preparing the splints was the same, as was also the case with the types of weaving (Plate [VIII]). In the round-bottom forms we notice the same flat radiating splints cut narrow at the edge, as figured before in dealing with Mohegan work. The Scatticook baskets are, as a whole, quite finely constructed of very thin splints. One somewhat distinctive feature is found here, namely, the very frequent use of the curlicue or roll as an ornamental feature. The curlicue consists of a splint run over one of the warp splints and twisted between two alternate standards, thus making a sort of twisted imbrication. The Scatticook, considering the embellishment as representing a shell, call it “a shell”; and they term the baskets with this feature “shell-baskets” (Figures [15], [16], [17]).

Three modifications of this ornamentation are shown in Figures [15], [16, a] and [b]; in Figure [16, a], the splint is twisted alternately between two rows of warp at a different level; in Figure [15], the splint is curled twice in a different direction, and forms a point; in Figure [16, b], the splint is twisted once between two parallel rows of warp. This is claimed by the Indians to be a native feature; and, since it is found in the oldest baskets from the region, there seems little doubt that it is aboriginal.

The Scatticook seem to have employed almost exclusively pokeberry juice to stain the basket splints dark blue. In none of the specimens made in recent times do we find the painting upon the splints, as is the case among the Mohegans. The only record of this kind of work from the Scatticook is found in an article by W. S. Curtis,[7] describing a collection of old baskets obtained many years ago.

The gauges made by these people are somewhat distinctive (Figures [18 a] and [b], and [19]). One of their characteristics is that the decorations are largely functional, the object in the maker’s mind evidently having been to provide a firm grip for the operator and at the same time to produce a decorative effect. This interesting feature is noticeable in the few specimens that were discovered on the reservation, and in several others in the possession of collectors. They are all highly prized by their possessors. In one case there seems to have been an attempt to portray a fish on the handle. Another instrument, a knife used in shaving the splints, is shown in Figure [20].

While we may assume that some influence upon the art of the Connecticut Indians resulted from contact with the Iroquois, there is nothing to show that the former had such symbolic associations in their designs as did the Iroquois.[8] The general similarity of the Connecticut Indian decorations to those of both the Iroquois and the northeastern Algonkins is really too ambiguous to permit a final decision as to their affinities. Aware of these uncertainties, I feel, however, that the evidence sustains the conclusion that the stamped and painted designs are original to the southern New England Indians, and that they spread from them to the Iroquois.

The occurrence of identical types of splint basketry and similar potato stamp decorations among the Oneida (Plate [IX]) and Onondaga,[9] might lead to the impression, were we to overlook resemblances with northern Algonkin designs, of an Iroquoian origin for the whole technique. In a recent visit, however, to the Cherokee of North Carolina, for the purpose of tracing relationships between northern and southern art motives, nothing was discovered comparable to these northern types either in design or technique, although the eastern Cherokee are quite conservative. This naturally leaves the art of the southern New England tribes to be tentatively classified as a somewhat distinctive branch of the northern and eastern Algonkin field, with some outside affinities.

From information and sketches furnished by Dr. J. Alden Mason, based on studies and photographs which he made of New England baskets in the C. P. Wilcomb collection, Oakland, Cal., it seems that similar stamped splint baskets were found among the Indians as far as the Merrimac River valley in southeastern New Hampshire. Specimens in the collection referred to are supposed to have come from Union, Me., Lenox, Mass., Ipswich, Mass., and Herkimer, N.H. While not numerous enough to permit of discussion, the specimens from this eastern extension of the stamped or painted basket area show a type of design different from that of our southern New England tribes. The patterns are less elaborate. Although it is difficult to account for it, they seem to bear closer resemblances to the designs on Oneida baskets.

North of the southern New England culture sub-area, which appears to have terminated at the Merrimac river, splint basketry and painted designs were replaced by the birch bark basketry and etched designs characteristic of the art of the Wabanaki group.

A few examples of Mohegan and Niantic beadwork have survived the decay of Indian culture in New England. These miscellaneous articles are shown in Plates [X] and [XI]. They include moccasins, bags, and portions of costume. Whether they have all been actually made by Mohegans is not certain, except where indicated. One peculiarity of Mohegan art is beadwork upon birch bark. A couple of very old specimens (Figure [21]) of this work have come to light. The foundation is the thin bark of the white birch. The beadwork figures are practically all floral, though a few geometrical designs occur; and realism appears as in the butterfly representation. The floral designs seem to be somewhat related to those found in the basket paintings, although they are not so aboriginal in appearance. The beadwork designs are generally termed “forget-me-nots,” “daisies,” “yellow daisies,” with buds, leaves, and stems. It should be noted in this connexion that from the earliest time the Mohegans have had some contact with Iroquois, especially the Mohawks, who from time to time visited the Connecticut Indians in small parties. During the early nineteenth century a number of the latter joined the Iroquois, with whom an intermittent relationship has since been maintained. It may be said in general, however, that the same type of floral beadwork extends throughout the whole northeastern and Great Lakes area, in which the Mohegan work may be included. Almost identical bags, for example, both in form and design, come from the Mohegan, Penobscot, Malecite, Montagnais, and Ojibwa.

In the carving of wooden utensils, such as bowls, spoons, mortars, and miscellaneous articles, the Mohegans have shown considerable skill, as appears from what few articles have survived among them. Some of their bowls made from maple burls are exquisite. Several of these have been described and illustrated by Mr. Willoughby in a recent paper, the originals being in the Slater Memorial Museum, of Norwich. Wolf or dog faces facing inward from projections upon the rim are very well executed. Oftentimes such bowls were decorated by inserting wampum beads into the wood, giving the outline and eateries of the face. These bowls were used until a few generations ago for mixing native bread known as johnny-cake.