On [Pl. VIII] is presented a reduced copy of the Midē´ chart made by Ojibwa, a Midē´ priest of the fourth degree and formerly a member of the society of the Sandy Lake band of the Mississippi Ojibwa. The illustration is copied from his own chart which he received in 1833 in imitation of that owned by his father, Me´toshi´kōnsh; and this last had been received from Lake Superior, presumably La Pointe, many years before.
The illustration of the four degrees are here represented in profile, and shows higher artistic skill than the preceding copies from Red Lake, and Mille Lacs.
The information given by Ojibwa, regarding the characters is as follows:
When Ki´tshi Man´idō had decided to give to the Ani´shinâ´bēg the rites of the Midē´wiwin, he took his Midē´ drum and sang, calling upon the other Man´idōs to join him and to hear what he was going to do. No. 1 represents the abode in the sky of Ki´tshi Man´idō, No. 2, indicating the god as he sits drumming, No. 3. the small spots surrounding the drum denoting the mī´gis with which everything about him is covered. The Midē´ Man´idōs came to him in his Midē´wigân (No. 4), eleven of which appear upon the inside of that structure, while the ten—all but himself—upon the outside (Nos. 5 to 14) are represented as descending to the earth, charged with the means of conferring upon the Ani´shinâbē´g the sacred rite. In the Midē´wigân (No. 4) is shown also the sacred post (No. 15) upon which is perched Kŏ-ko´kŏ-ō—the Owl (No. 16). The line traversing the structure, from side to side, represents the trail leading through it, while the two rings (Nos. 17 and 18) upon the right side of the post indicate respectively the spot where the presents are deposited and the sacred stone—this according to modern practices.
When an Indian is prepared to receive the rights of initiation he prepares a wig´iwam (No. 19) in which he takes a steam bath once each day for four successive days. The four baths and four days are indicated by the number of spots at the floor of the lodge, representing stones. The instructors, employed by him, and the officiating priests of the society are present, one of which (No. 20) may be observed upon the left of the wig´iwam in the act of making an offering of smoke, while the one to the right (No. 21) is drumming and singing. The four officiating priests are visible to either side of the candidate within the structure. The wig´iwams (Nos. 22, 23, 24, and 25) designate the village habitations.
In the evening of the day preceding the initiation, the candidate (No. 26) visits his instructor (No. 27) to receive from him final directions as to the part to be enacted upon the following day. The candidate is shown in the act of carrying with him his pipe, the offering of tobacco being the most acceptable of all gifts. His relatives follow and carry the goods and other presents, some of which are suspended from the branches of the Midē´ tree (No. 28) near the entrance of the first degree structure. The instructor’s wig´iwam is shown at No. 29, the two dark circular spots upon the floor showing two of the seats, occupied by instructor and pupil. The figure No. 27 has his left arm elevated, denoting that his conversation pertains to Ki´tshi Man´idō, while in his right hand he holds his Midē´ drum. Upon the following morning the Midē´ priests, with the candidate in advance (No. 30), approach and enter the Midē´wigân and the initiation begins. No. 31 is the place of the sacred drum and those who are detailed to employ the drum and rattles, while No. 32 indicates the officiating priests; No. 33 is the degree post, surmounted by Kŏ-ko´-kŏ-ō´, the Owl (No. 34). The post is painted with vermilion, with small white spots all over its surface, emblematic of the mī´gis shell. The line (No. 35) extending along the upper portion of the inclosure represents the pole from which are suspended the robes, blankets, kettles, etc., which constitute the fee paid to the society for admission.
This degree is presided over and guarded by the Panther Man´idō.
When the candidate has been able to procure enough gifts to present to the society for the second degree, he takes his drum and offers chants (No. 35) to Ki´tshi Man´idō for success. Ki´tshi Man´idō himself is the guardian of the second degree and his footprints are shown in No. 36. No. 37 represents the second degree inclosure, and contains two sacred posts (Nos. 38 and 39), the first of which is the same as that of the first degree, the second being painted with white clay, bearing two bands of vermilion, one about the top and one near the middle. A small branch near the top is used, after the ceremony is over, to hang the tobacco pouch on. No. 40 represents the musicians and attendants; No. 41 the candidate upon his knees; while Nos. 42, 43, 44, and 45 pictures the officiating priests who surround him. The horizontal pole (No. 46) has presents of robes, blankets, and kettles suspended from it.
When a candidate is prepared to advance to the third degree (No. 47) he personates Makwa´ Man´idō, who is the guardian of this degree, and whose tracks (No. 48) are visible. The assistants are visible upon the interior, drumming and dancing. There are three sacred posts, the first (No. 49) is black, and upon this is placed Kŏ-ko´-kŏ-ō´—the Owl; the second (No. 50) is painted with white clay and has upon the top the effigy of an owl; while the third (No. 51) is painted with vermilion, bearing upon the summit the effigy of an Indian. Small wooden effigies of the human figure are used by the Midē´ in their tests of the proof of the genuineness and sacredness of their religion, which tests will be alluded to under another caption. The horizontal rod (No. 52), extending from one end of the structure to the other, has suspended from it the blankets and other gifts.
The guardian of the fourth degree is Maka´no—the Turtle—as he appears (No. 53) facing the entrance of the fourth degree (No. 54). Four sacred posts are planted in the fourth degree; the first (No. 55), being painted white upon the upper half and green upon the lower; the second (No. 56) similar; the third (No. 57) painted red, with a black spiral line extending from the top to the bottom, and upon which is placed Kŏ-ko´-kŏ-ō´—the Owl; and the fourth (No. 58), a cross, the arms and part of the trunk of which is white, with red spots—to designate the sacred mī´gis—the lower half of the trunk cut square, the face toward the east painted red, the south green, the west white, and the north black. The spot (No. 59) at the base of the cross signifies the place of the sacred stone, while the human figures (No. 60) designate the participants, some of whom are seated near the wall of the inclosure, whilst others are represented as beating the drum. Upon the horizontal pole (No. 61) are shown the blankets constituting gifts to the society.