birds, the scales of the serpent, &c., are almost precisely what is to
be observed in modern Indian productions of a similar kind.

Few and faint as are these tendencies towards caricaturing and
conventionalizing as compared with what may be noted in the artistic
productions of the Haidahs, Chinooks, and other tribes of the Northwest,
they are yet sufficient to show that in these particulars no hard and
fast line can be drawn between the art of the Indian and of the
Mound-Builder.

As showing how narrow is the line that separates the conventional and
imitative methods of art, it is of interest to note that among the
Esquimaux the two stages of art are found flourishing side by side. In
their curious masks, carved into forms the most quaint and grotesque,
and in many of their carvings of animals, partaking as they do of a half
human, half animal character, we have abundant evidence of what authors
have characterized as savage taste in sculpture. But the same tribes
execute carvings of animals, as seals, sea-lions, whales, bears, &c.,
which, though generally wanting in the careful modeling necessary to
constitute fine sculpture, and for absolute specific resemblance, are
generally recognizable likenesses. Now and then indeed is to be found a
carving which is noteworthy for spirited execution and faithful
modeling. The best of them are far superior to the best executed
carvings from the mounds, and, are much worthier objects for comparison
with modern artistic work.

As deducible from the above premises it may be observed that, while the
state of art among primitive peoples as exemplified by their artistic
productions may be a useful index in determining their relative position
in the scale of progress, unless used with caution and in connection