MusEuM AND ArT NOTES 93

A peculiar and interesting feature about these dreams and visions was that the
totem object always appeared, no matter what its bodily form might be, in human
guise, and revealed to its protege the mystic name or word of power by which it
might be summoned in time of need.

After the novice had acquired his totem in this or any other way, he might paint
or carve a symbol of it on the posts or front of his dwelling, by which act it was
believed he ensured the constant presence and protection of his guardian spirit.
According to the belief of the Indians, a picture or carving of an object brought about
the enforced enshrinement, within the representation, of the spirit of that object.

The same idea undoubtedly lies behind all forms of so-called idol worship
wherever found. The untutored savage does not bow down to wood and stone as
has been commonly stated. His worship is given to the spirit he believes he has been
able by his artistic powers to enchain and enshrine within the idol.

So strongly did our Coast Indians believe that the carved or painted representation
of their totems held and enshrined ghostly presences that, whenever they were about
to do anything they believed the totem spirit would disapprove of, they first covered
up the carving or painting with a blanket.

We can easily understand, therefore, why they carved and wore realistic or
symbolic masks in their totem dances. By the very act of wearing such an emblem
of their guardian spirit they became one with it in a very close and mysterious
manner,

This particular mask of the Tsimshians is obviously a carving of this kind. Its
owner and wearer clearly believed, when he donned it, that he was under the protec-
tion of, and intimately related to, the spirit of the Eagle, the outer mask being a
realistic representation of that bird. The inner mask I interpret as representing in
the mind of the wearer the spirit form of his totem as it first appeared to him in
human guise.