One of the most conspicuous customs of the Seri is that of painting the face in designs by means of mineral pigments. Of the 55 members of the tribe shown in the group forming plate XIII, 28 (in the original photograph; a somewhat less number in the reproduction) exhibit face-painting more or less clearly, and this proportion may be regarded as typical; i. e., about half of the tribe are painted.
On noting the individual distribution of face-painting, it is found to be practically confined to the females, though male infants are sometimes marked with the devices pertaining to their mothers, as adult warriors are said to be on special occasions; and so far as observed all the females, from aged matrons to babes in arms, are painted, though sometimes the designs are too nearly obliterated by wear to be traceable. About 35 of the individuals shown in the group (plate XIII) are females; of these, fully four-fifths showed designs or definite traces of the paint, while the remaining fifth bore traces too faint to be caught by the camera; but none of the men or larger boys were painted. In the smaller group shown in plate XIV all of the females display paint, as does the small boy in the center also, while the man (husband of the middle-aged matron) reveals no trace of the symbol. The two pictures typify the prevalence and the distribution by sex of the painting.
[Illustration: BUREAU OF AMERICAN ETHNOLOGY
The painted designs vary among different individuals, but are fairly persistent for each. The prevailing design at Costa Rica in 1893 was that of the aged matron known as Juana Maria (plate XVIII), with variations in detail such as that exhibited by her unmarried daughter Candelaria (the Seri belle shown in plate XXIV); next in frequency were the designs, in white and red, exhibited by the matrons portrayed in plates XX and XXII. Other designs observed are indicated in plate XXVI. The variations in individual designs are apparently due either to varying care in the application of the paint or to the degree of obliteration by wear—e. g., the withered Juana Maria sometimes put on her design askew and was negligent of details, while the blooming Candelaria greatly elaborated the details of the pattern and carefully perfected the symmetry of the whole when preparing for her full-dress sitting before the camera (plate XXIV), so that her design was then gorgeous by contrast with the nearly obliterated blur of a half-hour before. The designs are renewed every few days, especially for ceremonious occasions, and hence are practically permanent.