Figure 111_a_ was drawn and interpreted by Naumoff, a Kadiak native, in San Francisco, California, in 1882.
It represents the ground plan of a Shaman’s lodge with the Shaman curing a sick man.
[Illustration: FIG. 111_a_. Shaman’s lodge. Alaska.]
No. 3. A. vertical piece of wood upon which is placed a cross-piece, upon each end of which is a lamp.
No. 4. The musicians seated upon the raised seats furnishing drumming and music to the movements of the Shaman during his incantations in exorcising the “evil spirit” supposed to have possession of the patient.
No. 5. Visitors and friends of the afflicted seated around the walls of the lodge.
No. 6. The Shaman represented in making his incantations.
No. 7. The patient seated upon the floor of the lodge.
No. 8. Represents the Shaman in another stage of the ceremonies, driving out of the patient the “evil being.”
No. 9. Another figure of the patient; from his head is seen to issue a line connecting it with No. 10.
No. 10. The “evil spirit” causing the sickness.
No. 11. The Shaman in the act of driving the “evil being” out of the room. In his hands are sacred objects, his personal fetish, in which the power lies.
Nos. 13, 14. Are assistants to the Shaman, stationed at the entrance to hit and hasten the departure of the evil being.
A chart of this character appears to have been seen among the natives of New Holland by Mr. James Manning, but not copied or fully described in his Notes on the Aborigines of New Holland (Jour. of Royal Society, New South Wales, Vol. XVI, p. 167). He mentions it in connection with a corrobery or solemn religious ceremony among adults, as follows: “It has for its form the most curious painting upon a sheet of bark, done in various colors of red, yellow, and white ochre, which is exhibited by the priest.” Such objects would be highly important for comparison, and their existence being known they should be sought for.
Several devices indicating death are presented under other headings of this paper. See, for example, page 103 and the illustrations in connection with the text.
According to Powers, “A Yokaia widow’s style of mourning is peculiar. In addition to the usual evidences of grief she mingles the ashes of her dead husband with pitch, making a white tar or unguent, with which she smears a band about 2 inches wide all around the edge of the hair (which is previously cut off close to the head), so that at a little distance she appears to be wearing a white chaplet.” (See Contrib. to N. A. Ethnol., III, p. 166.) Mr. Dorsey reports that mud is used by a mourner in the sacred-bag war party among the Osages. Many objective modes of showing mourning by styles of paint and markings are known, the significance of which are apparent when discovered in pictographs.