But the decorations of the Haidah lodge-poles admit at times of a much more homely interpretation. Mr. James G. Swan, the author of an article on “The Haidah Indians,” in Vol. XXI. of the _Smithsonian Contributions to Knowledge_, in a communication to the _West Shore_, an Oregon journal, thus describes an Indian lodge and house-pole which attracted his notice, owing to its carved figures, in round hat and other European costume, surmounting the two corner-posts of the lodge. He accordingly made a careful drawing of the whole, which, as he says, “is interesting as illustrative of the grim humour of an Indian in trying to be avenged for what he considered an act of injustice a number of years ago. Bear Skin, a somewhat noted Haidah chief, belonging to Skidegate village, Queen Charlotte Islands, was in Victoria, when for some offence he was fined and imprisoned by Judge Pemberton, the police magistrate. Bear Skin felt very much insulted; and in order to get even with the magistrate he carved the two figures, which are said to be good likenesses of the Judge, who in this dual capacity mounts guard at each corner of the front of the chiefs residence. The gigantic face on the front of the house, and the two bears on the two mortuary columns, seem to be grinning with fiendish delight, while the raven on top of one of the columns has cocked his eye so as to have a fair look at the effigies beneath him. Bear Skin is dead, but the images still remain. It has been suggested that they be removed to Victoria, and be placed over the entrance to the police barracks, to keep watch and ward like Gog and Magog at the gates of old London city.” But, on the other hand, a symbolical meaning appears to be most frequently embodied in the Haidah devices; of which Mr. Swan reproduces various illustrations, accompanied with native interpretations of them. One drawing, for example, represents a grouping of conventional patterns such as are common on the Haidah blankets of goats’ hair, and in which the untutored student can discern little more than confused scroll-work, with here and there an enormous eye, rows of teeth, and a symmetrical repetition of the design on either side of the central device. Yet, according to Kitelswa, the native Haidah interpreter, “it represents cirrus clouds, or, as sailors term them, ‘mares’ tails and ‘mackerel sky,’ the sure precursors of a change of weather. The centre figure is T’kul, the wind spirit. On the right and left are his feet, which are indicated by long streaming clouds; above are his wings, and on each side are the different winds, each designated by an eye, and represented by the patches of cirrus clouds. When T’kul determines which wind is to blow, he gives the word and the other winds retire. The change in the weather is usually followed by rain, which is indicated by the tears which stream from the eyes of T’kul.” The difficulty with which the inexperienced observer has to contend, in any attempt to interpret such native conventional art, finds apt illustration in Mr. Swan’s account of an elaborately sculptured lodge-pole of which he made a drawing at Kioosta village, on Graham Island, one of the Queen Charlotte group. When describing it in minute detail, he says: “I could make out all the figures but the butterfly, which I thought at first was an elephant with its trunk coiled up; but on inquiry of old Edinso, the chief who was conveying me in his canoe from Massett to Skidegate, he told me it was a butterfly, and pointed out one which had just lit near by on a flower.” The same characteristics have already been referred to in describing the claystone carvings of the Chimpseyans. They also mark the Haidah sculptures executed in the soft argillaceous slate which abounds in their vicinity. But the Haidahs work with no less ability in other materials; and were familiar of old with the native copper, which is brought from some still unascertained locality, it is believed, in Alaska. The collections of the Geological Survey at Ottawa include some of their beautifully wrought copper daggers and a massive and finely finished copper neck-collar. They have now learned to work with equal skill in iron. Their bracelets, rings, and ear ornaments of gold and silver; their copper shields and richly carved emblematic weapons, bows and arrows, iron daggers and war knives; as well as their wooden and horn dishes, spoons, masks, and toys, are eagerly sought after. The carvings on them, when properly explained, are of great interest; for every device has a meaning, and each illustrates a story or a legend, readily understood by the Indian, but by no means willingly interpreted to strangers.