This sign of the red hand is still a familiar one among the aborigines of America. It is stamped on robes and skins, and on Indian tents.[[240]] Schoolcraft says of it: “The figure of the human hand is used by the North American Indians to denote supplication to the Deity or Great Spirit, and it stands in the system of picture-writing as the symbol for strength, power, or mastery, thus derived [through a covenant relation]. In a great number of instances which I have met with of its being employed, both in the ceremonial of their dances and in their pictorial records, I do not recollect a single one in which this sacred character is not assigned to it.”[[241]]
A frequent use of the hand-print among the American Indians is as “a symbol applied to the naked body after its preparation and decoration for sacred and festive dances.” These preparations are “generally made in the arcanum of the medicine, or secret lodge, or some private place, and with all the skill of the priest’s, the medicine-man’s, or the juggler’s art. The mode of applying it in these cases is by smearing the hand of the operator with white or colored clay, and impressing it on the breast, the shoulder, or other part of the body. The idea is thus conveyed that a secret influence, a charm, a mystic power, is given to the dancer, arising from his sanctity, or his proficiency in the occult arts.” Schoolcraft, speaking of this custom, says: “The use of the hand is not confined to a single tribe or people. I have noticed it alike among the Dacotah, the Winnebagoes, and other Western tribes, as among the numerous branches of the red race still located east of the Mississippi River, above the latitude of 42°, who speak dialects of the Algonquin language.”[[242]]
Is there possibly any connection with this idea in the custom of “the laying on of hands,” as a symbol of imparting virtue or power to one newly in covenant relations with those who are God’s representatives, so frequently referred to in the Bible?[[243]] This would seem to be indicated by the power imparted to an Egyptian king by the touch of the uplifted hand of the deity, as shown in the representations on the monuments of Egypt. It was known as “the imposition of the Sa,” or increased vitality.[[244]]
A remarkable illustration of the use of the red-hand print among American Indians is given in the story of a famous Omaha chief, who, when dying, enjoined it upon his followers to carry his body to a prominent look-out bluff above the Missouri River, and bury him there, full armed, on the back of his favorite war-horse, who was to be buried alive, that he might watch from that place the passing of the whites up and down the river. It would seem as if he wanted to be known as dying in the faith of his covenant relations with the Great Spirit, for himself and for his people.
Because of this request, in the presence of his assembled tribe “he was placed astride his horse’s back, with his bow in his hand, and his shield and quiver slung; with his pipe and his medicine bag; with his supply of dried meat, and his tobacco pouch replenished; ... with his flint and steel, and his tinder, to light his pipe by the way. The scalps that he had taken ... were hung to the bridle of his horse. He was in full dress and equipped; and on his head waved ... his beautiful head-dress of the war-eagle’s plumes.” As he stood thus on the threshold of the life beyond, when the last funeral honors were performed by the medicine-men, “every warrior of his band painted the palm and fingers of his right hand with vermilion, which was stamped and perfectly impressed on the milk-white sides of his devoted horse,”–as if in covenant pledge of fidelity to their chief in the sight of the Great Spirit.[[245]]
There is another phase of the red-hand symbolism among the American Indians, which has been noted by Frank H. Cushing, who is so experienced and careful an observer of their customs and ceremonies. This phase connects the symbol directly with the idea of life and its transmission. Mr. Cushing says:[[246]]
“By reference to the paintings (and writings, to some extent) of such men as Catlin and Stanley, and to the works of Schoolcraft, Matthews, Bourke, and others, you will find that the red-hand symbol was painted on the lodges, sometimes on the clothing and person, and sometimes on the shields of various of the hunter tribes of the plains,–as, for example, of the Ioways, Sauks and Foxes, Sioux, Arickarees, Cheyennes, Arapahos, and Comanches. Precisely what the significance of the symbol was, with these peoples and others like them, I am not able to say, save that in some cases it was connected with war, in others with treaties, and in yet others as expressive of power. There were yet other meanings attached to the sign; but neither the former significances nor these latter were, I take it, as definite or fixed [with the hunter tribes] as with the more advanced and settled tribes of the farther south.
“Of these tribes, the typical Pueblos and the peoples more or less directly influenced by them–such as the Jicarillas on the north and east, and the Apaches to the south and west[[247]]–made frequent use of not only the red-hand symbol, but also of the black-hand symbol. I have seen both, not only in the modern but also in the very ancient pueblos–as those of the Pecos, and those of the great cliff-dweller towns in the Chelly and other canyons. In the Pecos ruins, to give a special example, I copied beautiful hand-paintings and prints from the rafters, as well as from the walls of ordinary dwelling-rooms. Sometimes these paintings were in red, but more often in black. They invariably represented the hands of women, as could be seen by their delicacy and smallness of outline and by their shapeliness. There was, I think, a reason for this, which the following facts will explain.
“It was my good fortune to witness, early in the eighties, a ceremonial celebrating the attainment to puberty, or womanhood, of a young girl of the Jicarilla Apaches. The latter people are not to be confounded with the Apaches proper. They are a mixed people, descended not only from the Apaches, but also the Comanches, and in large part also from the Pueblos of the north, the so-called Tañoans of whom the Pecos people were a branch. It was clear from the character of the masks and other paraphernalia used in the ceremonials I witnessed, that the latter were almost, if not quite, wholly derived from the pueblo, rather than from the wilder, ancestry of the Jicarillas who performed them.
“The ceremonial in question was performed by four medicine-men, or priests, as one might call them, within and around a rectangular enclosure of evergreen boughs set in the plain near to the village. Inside of this enclosure, which was designed to screen from view the more secret operations of the priest dancers in question, stood a little conical skin lodge, the snow-white top of which appeared above the screen of evergreen, and within which the young girl, over whom these rites were being enacted, was ensconced, together with one or two old women of the tribe. As I have said before, each of the priests, on appearing (and this they did successively; that is, the first on the first day, the second on the second day, and so on), wore a conical mask or helmet, which entirely concealed, not only the face, but also the head. This mask was painted black or red, and upon the face of it appeared one of these hand symbols. Unfortunately, I did not see the mask as worn by the first priest, but, as worn by the second priest on the morning of the second day, it bore upon its face the symbol of the red hand; and as worn upon the third day, this symbol recurred, but, if I remember aright, was surrounded by an outline of another color, either black or yellow, whilst the hand painted on the mask as worn on the fourth day was black surrounded by white, that it might stand out more conspicuously; and in turn, below it, were two or more dots alternating with dotted circles.