Fig. 39.—Leech Lake Midē´ song.

The characters on [Fig. 39] are found to be arranged so as to read from the right hand upper corner toward the left, the next line continuing to the right and lastly again to the left, terminating with the figure of a Midē´ with the mī´gis upon his breast. This is interesting on account of the boustrophic system of delineating the figures, and also because such instances are rarely found to occur.

[ DRESS AND ORNAMENTS.]

While it is customary among many tribes of Indians to use as little clothing as possible when engaged in dancing, either of a social or ceremonial nature, the Ojibwa, on the contrary, vie with one another in the attempt to appear in the most costly and gaudy dress attainable. The Ojibwa Midē´ priests, take particular pride in their appearance when attending ceremonies of the Midē´ Society, and seldom fail to impress this fact upon visitors, as some of the Dakotan tribes, who have adopted similar medicine ceremonies after the custom of their Algonkian neighbors, are frequently without any clothing other than the breechcloth and moccasins, and the armlets and other attractive ornaments. This disregard of dress appears, to the Ojibwa, as a sacrilegious digression from the ancient usages, and it frequently excites severe comment.

Apart from facial ornamentation, of such design as may take the actor’s fancy, or in accordance with the degree of which the subject may be a member, the Midē´ priests wear shirts, trousers, and moccasins, the first two of which may consist of flannel or cloth and be either plain or ornamented with beads, while the latter are always of buckskin, or, what is more highly prized, moose skin, beaded or worked with colored porcupine quills.

Plate XXIII.Midē´ Dancing Garters.

Immediately below each knee is tied a necessary item of an Ojibwa’s dress, a garter, which consists of a band of beads varying in different specimens from 2 to 4 inches in width, and from 18 to 20 inches in length, to each end of which strands of colored wool yarn, 2 feet long, are attached so as to admit of being passed around the leg and tied in a bow-knot in front. These garters are made by the women in such patterns as they may be able to design or elaborate. On [Pl. XXIII] are reproductions of parts of two patterns which are of more than ordinary interest, because of the symbolic signification of the colors and the primitive art design in one, and the substitution of colors and the introduction of modern designs in the other. The upper one consists of green, red, and white beads, the first two colors being in accord with those of one of the degree posts, while the white is symbolical of the mī´gis shell. In the lower illustration is found a substitution of color for the preceding, accounted for by the Midē´ informants, who explained that neither of the varieties of beads of the particular color desired could be obtained when wanted. The yellow beads are substituted for white, the blue for green, and the orange and pink for red. The design retains the lozenge form, though in a different arrangement, and the introduction of the blue border is adapted after patterns observed among their white neighbors. In the former is presented also what the Ojibwa term the groundwork or type of their original style of ornamentation, i.e., wavy or gently zigzag lines. Later art work consists

chiefly of curved lines, and this has gradually become modified through instruction from the Catholic sisters at various early mission establishments until now, when there has been brought about a common system of working upon cloth or velvet, in patterns, consisting of vines, leaves, and flowers, often exceedingly attractive though not aboriginal in the true sense of the word.