On reaching the sequestered spot above referred to, Petawanaquat sat down on a fallen tree and made the wondering child stand up before him.
“The white man’s boy must become an Indian,” he said solemnly.
“How zat poss’ble?” demanded the child with equal solemnity.
“By wearing the red man’s clothes and painting his face,” returned his captor.
“Zat’ll be jolly,” said Tony, with a smile of hearty approval.
How he expressed the word “jolly” in the Indian tongue we cannot tell, but he conveyed it somehow, for the Indian’s lips expanded in a grim smile, the first he had indulged in since the day of the abduction.
The process by which Tony was transformed was peculiar. Opening a little bundle, the Indian took therefrom a small coat, or capote, of deer-skin; soft, and of a beautiful yellow, like the skin of the chamois. It was richly ornamented with porcupine-quill-work done in various colours, and had fringes of leather and little locks of hair hanging from it in various places. Causing Tony to strip, he put this coat on him, and fastened it round his waist with a worsted belt of bright scarlet. Next he drew on his little legs a pair of blue cloth leggings, which were ornamented with beads, and clothed his feet in new moccasins, embroidered, like the coat, with quill-work. Tony regarded all this with unconcealed pleasure, but it did not seem to please him so much when the Indian combed his rich curly hair straight down all round, so that his face was quite concealed by it. Taking a pair of large scissors from his bundle, the Indian passed one blade under the hair across the forehead, gave a sharp snip, and the whole mass fell like a curtain to the ground. It was a sublimely simple mode of clearing the way for the countenance—much in vogue among North American savages, from whom it has recently been introduced among civilised nations. The Indian then lifted the clustering curls at the back, and again opened the scissors. For a few moments his fingers played with the locks as he gazed thoughtfully at them; then, apparently changing his mind, he let them drop, and put the scissors away.
But the toilet was not yet complete. The versatile operator drew from his bundle some bright-red, yellow ochre, and blue paint, with a piece of charcoal, and set to work on Tony’s countenance with all the force of a Van Dyck and the rich colouring of a Rubens. He began with a streak of scarlet from the eyebrows to the end of the nose. Skipping the mouth, he continued the streak from the lower lip down the chin, under which it melted into a tender half-tint made by a smudge of yellow ochre and charcoal. This vigorous touch seemed to rouse the painter’s spirit in Petawanaquat, for he pushed the boy out at arm’s length, drew himself back, frowned, glared, and breathed hard. Three bars of blue from the bridge of the nose over each cheek, with two red circles below, and a black triangle on the forehead, were touched in with consummate skill and breadth. One of the touches was so broad that it covered the whole jaw, and had to be modified. On each closed upper eyelid an intensely black spot was painted, by which simple device Tony, with his azure orbs, was made, as it were, to wink black and gaze blue. The general effect having thus been blocked in, the artist devoted himself to the finishing touches, and at last turned out a piece of work which old Samuel Ravenshaw himself would have failed to recognise as his son.
It should have been remarked that previous to this, Petawanaquat had modified his own costume. His leggings were fringed with scalp-locks; he had painted his face, and stuck a bunch of feathers in his hair, and a gay firebag and a tomahawk were thrust under his belt behind.
“Ho!” he exclaimed, with a look of satisfaction, “now Tony is Tonyquat, and Petawanaquat is his father!”