but the most elaborately decorated were kept absolutely free from
grease and used for a mixture of soap-berries and water, which,
whipped with long slender spoons, made a much enjoyed drink.

Plate 10, Figure 2 shows a Shaman's spirit catcher, a Pie
example of Tsimsyan skill. Collected in 1905 at Naas River by
W. A. Newcombe of Victoria it is made probably from the leg bone
of a bear, very highly polished and smoked to its rich tint. Ex-
quisitely inlaid with iridescent abalone shell the outlines of
the design are emphasized by slender lines of black. These spirit
catchers are now rare and seldom have two been found alike. The
Shaman would place this instrument over the seat of the man's
pain which he proceeded to suck out into the hollow bone within
which, with the aid of a little shredded cedar bark, he could
seal it safely! This he was also able to do when he caught the
wandering spirit of some distressed person who had suffered this
serious loss during sleep.

Two spoons moulded on wooden "forms" from the horn of moun-
tain sheep are shown in Figures 3 and 4. The horn is first
split open, then steamed till soft, after which it is lashed
to a wooden mould of the form desired until the horn is "set."
Larger spoons are usually made in two parts, of which the black
handle is the tip of the horn of the mountain goat while the
bowl is the lower part of a small mountain sheep horn. The
beautiful and intricate designs carved on these valuable spoons
were originally executed with the incisor tooth of a beaver
before the introduction of metal tools.

Adapted to the curvature of the handle of each such spoon
they often illustrated family crests and also the traditions of
the owner in vertical sequence such as was customary on totem
poles. The specimen shown in Figure 3 is carved with one of
the chief crests of the Haida "Ragles," namely the Mythical
Raven. In the upper representation he is shown holding his nose,
reminiscent of the legend in which his beak was broken by a fish-—
hook when he stole a halibut. The more elaborate sequence on
Figure 4 shows an eagle at the tip, wings bent back over its
head. Next in order is a Supernatural Being with a long tongue,
which serves also as a high dorsal fin for the Killer Whale be-
low; the face between the two ears is an ornamental symbol of the
blow hole of this whale.

Another form of art is exemplified by Figures 7 and 8.
Rattles constituted an important part in the equipment of a
Shaman. -They were made from blocks of wood split open after
rough shaping into flat ovals and hollowed out to well-nigh
paper thinness. After the designs had been carved in low re-
lief (sometimes the outlines being coloured black or dull red),
the two halves were united almost invisibly, pebbles being

Be eae