Frank Gouldsmith Speck Decorative Art of Indian Tribes of Connecticut 
 
 
 Decorative Art of Indian Tribes of Connecticut Pg 1 
 A fortunate phase of the research work among the Indians of New England 
 has recently led to the extension of our knowledge of the decorative 
 art of the eastern Algonkin tribes. This has been made possible by the 
 discovery of specimens, and by information furnished by several aged 
 Indians of the Mohegan and Niantic tribes of eastern Connecticut.[1] 
   
 During several visits in the winter of 1912-13, Mrs. Henry Mathews 
 (Mercy Nonsuch), the only full-blooded survivor of the Niantic Indians, 
 formerly inhabiting the shore of Long Island sound around the mouth of 
 Niantic river, and the Mohegans, Cynthia Fowler, Charles Mathews, and 
 the late Fidelia Fielding, the last person who could speak the Mohegan 
 language, all contributed towards the material here presented.[2] 
   
 The principal field of decoration among the Mohegan and Niantic, so far 
 as we can now tell, seems to have been chiefly in paintings on baskets. 
 Decorative wood-carving upon household utensils and sometimes upon 
 implements was also quite common. Bead-work, on the other hand, appears 
 to have been a secondary activity. A short account of the basket-making 
 itself is required, before the basket decorations are described. 
 For household and gardening purposes these people have developed a 
 few types of baskets (_manu·´da_[3] “receptacle”) varying in shape, 
 size, and weave. 
 
 
 
 Decorative Art of Indian Tribes of Connecticut Pg 2 
 The most characteristic forms seem to have been 
 rectangular baskets a foot or so in length, two-thirds as high, and of 
 proportionate width, and without handles, though often provided with 
 covers. These are the household storage articles (Plates I and II). For 
 carrying garden products, and for hand use in general, are somewhat 
 smaller round-bottomed baskets, with handles or bails, ranging in width 
 from 4 inches up to baskets with a capacity of half a bushel (Plates 
 III and V). Then we have the type known, among the Indians from Nova 
 Scotia to the Southern States, as “melon”, “rib”, or “gizzard” baskets 
 (Plate III, upper right hand corner), provided with bails, and also 
 used for carrying. And, lastly, there are the open work baskets, some 
 of which are small fancy articles, while others are used as strainers 
 (Plates IV and VI). These fall under the general type of open hexagonal 
 twill baskets. All these types, of course, are commonly found among 
 practically all the tribes of the Atlantic coast, varying only in the 
 minor details of weave at the rim and the bottom. 
   
 As to the materials, the Mohegan and Niantic, like the northern New 
 England tribes, used prepared splints of the brown ash. Next in 
 importance is the white oak. Here the pounding is unnecessary, the 
 splints being more easily freed from the log. Swamp maple is also 
 commonly used by the Mohegan basket-makers, although it is not as 
 durable as either the oak or the ash. 
   
 All these materials go through the same processes of preparation before 
 the splints are ready to be woven. The first stage in the process 
 consisted in pounding the ash log all over, and then separating the 
 layers of wood. Next, the lengths of splints were shaved smooth with a 
 spoke-shave, which looks like a European tool. Hand gauges were then 
 used to cut the splints into strips of uniform width. These gauges 
 (Figure 1), not unlike those of the Penobscots, were provided with 
 teeth made, in recent days, of clock springs; the width of the splint 
 depending upon the distance at which the teeth were set in the end 
 of the gauge. Another small implement, a sort of hand planer through 
 which the splint was drawn to make it finer, was also obtained at the 
 Mohegan village (Figure 2). The knives of the crooked type, 
 _bən·ī·´dwaŋg_ (Figure 3), used by the Mohegans for woodworking in 
 general, have a very pronounced curve, and are usually mounted on 
 wooden or sometimes buckhorn handles. While not necessarily used 
 directly in basket making, these knives are indispensable to the 
 Indian workman. A very old bone pointed tool, probably a punch (Figure 
 4), seems to have been used in some way, perhaps in weaving the basket 
 rims. 
   
 The ordinary weave among these tribes is the common checker-work. 
 The basket bottoms are of two kinds, rectangular and round. In the 
 rectangular bottoms the checker-work forms a foundation, the same 
 process continuing up the sides. In the round-bottomed forms the 
 splints are arranged like the spokes of a wheel crossing and radiating 
 from a centre. These splints turn upwards around the bottom, and 
 form the standards around which the side filling is woven, in the 
 under-one-over-one-process. Among the Mohegans a certain feature of 
 the round-bottomed types occurs which has not yet been found in other 
 tribes making similar baskets; that is, the broad flattened centre 
 standards of the bottom, appearing in Plate III, figure b. The ordinary 
 New England oak or maple hoops, one inside and the other outside, bound 
 down by a splint in the ordinary manner of wrapping, constitute the 
 rims of all the baskets. The second type of round baskets is called 
 “gizzard” basket by the Mohegans (Plate III, upper right hand corner). 
   
 
 
 
 Decorative Art of Indian Tribes of Connecticut Pg 3 
 These are generally made of oak, and their weave, although shown 
 plainly in the illustration, is almost impossible to describe. 
   
 The decorations upon baskets are produced in two ways, either by 
 running variously coloured splints into the weaving as fillers round 
 the sides, or by painting with pigment upon broad splints various 
 patterns extremely free in outline and quite independent of the 
 technique. It is with such painted designs that we have chiefly to 
 deal, because they perpetuate the native decorative art of these 
 Indians. The colours appearing upon the baskets are red (_skwa´yo_), 
 black (_sug·a´yo_), and indigo (_zi·wamba´yo_), the commonest being 
 red and black. The red is obtained by boiling down cranberries. The 
 black dye has now been forgotten, although some think that it was 
 either ‘snakeberries’ (or ‘poke-berries,’ termed _skuk_), or perhaps 
 huckleberries. In later times they have used either water colours or 
 blueing. The colours were applied by means of crude brushes, made by 
 fraying the end of a splinter of wood, or by using a stamp cut from a 
 potato, which is dipped into the colouring matter and then stamped on 
 the splints. 
   
 The designs themselves in the field of basketry decoration are 
 pre-eminently floral, the figures being highly conventionalized. The 
 main parts of the blossom are pictured. The corolla of the flower forms 
 the centre, surrounded by four petals, and commonly augmented by four 
 corner sprays apparently representing the calyx from underneath brought 
 into view. There is a fundamental similarity in these pseudo-realistic 
 representations occurring on all the different baskets, which shows 
 that this was the prevailing motive in this kind of decoration. The 
 corolla usually occupies the exposed surface of one splint, and the 
 four petals occupy the surrounding ones, as is shown in the natural 
 size illustration (Figure 5). The colours in this specimen are limited 
 to blue and red. Cynthia Fowler, a Mohegan informant, named the flower 
 the “blue gentian”; but how generally this name was used in former 
 times it is impossible to say. These flowers are usually found enclosed 
 within a larger diamond-shaped space, on one side of the basket, 
 the enclosing border consisting of a straight line or chain-like 
 line edged by dots. These dotted borders and the flower elements are 
 very characteristic of Mohegan and Niantic work. The corners of the 
 baskets from top to bottom also constitute another favourite field of 
 ornamentation. Here vertical alternating chain-like curves of several 
 types appear. Examples of the available designs of both sorts are shown 
 in Figures 6 to 14. The solid black in the sketches represents either 
 black or dark indigo of the actual design; the lined spaces represent 
 red. 
   
 Turning to the design reproductions (Figures 6, 7, 8, 9), we observe 
 a most consistent similarity in all those of the rosette type, to 
 wit, the conventional centre, the radiating petals, and the enclosing 
 diamond or four-curve, recurring with modifications in practically all 
 of such designs. Some are very handsome, a few rather colourless. The 
 dotting is very distinctive. Next are the line or border patterns, 
 which, although adapted to linear spaces, are characterized, like the 
 rosettes, by intertwined lines, dots, and petals. Frequently different 
 rosettes appear on each of the four sides of the same basket; and the 
 sides are also occasionally quartered diagonally by one of the border 
 or line patterns, and are thus divided into triangular areas, each 
 containing a rosette.   
 
 
 
 Decorative Art of Indian Tribes of Connecticut Pg 4 
 Unfortunately none of the painted figures show in 
 the photographs, on account of their having become quite faint through 
 age and wear.[4] 
   
 In this whole series of conventional painted patterns a general 
 resemblance to northeastern Algonkin designs, as far north as the 
 Naskapi of Labrador, is very noticeable. It is, moreover, quite likely 
 that similar designs among the Narragansetts were referred to by Roger 
 Williams when he wrote, “They also commonly paint these (skin garments, 
 etc.) with varieties of formes and colours.”[5] 
   
 A further extension of the ubiquitous splint basketry of the New 
 England tribes, and the decorative work connected therewith, is 
 furnished by another Connecticut tribe--the Scatticook, of the 
 Housatonic river, near Kent. Their art is especially interesting, 
 because it has also just become extinct among their descendants here. 
 As a tribe the Scatticook (_Pisga´‛tiguk_, ‘At the fork of the river’) 
 were composed of exiled Pequots, Mohegans, and the remnants of western 
 Connecticut tribes who formed a new unit in their new home.[6] Their 
 type of culture was accordingly intermediate in some respects between 
 the eastern Connecticut tribes and those of the Hudson river. 
   
 To judge from a vocabulary which I obtained at Scatticook about ten 
 years ago, they had closer linguistic affinities with the Hudson River 
 (Delaware) group. 
   
 Until ten years ago the native art of basketry was preserved by the 
 Scatticooks, and some specimens were then collected during several 
 visits. It was found recently, in another visit to the tribe, that the 
 industry had become extinct; so our remarks are now based upon old 
 specimens and implements in the possession of the Indians. The general 
 character of Scatticook work is the same as that of the Mohegans. 
 Instead of the maple, however, the Scatticook used white oak or brown 
 ash. The method of preparing the splints was the same, as was also 
 the case with the types of weaving (Plate VIII). In the round-bottom 
 forms we notice the same flat radiating splints cut narrow at the 
 edge, as figured before in dealing with Mohegan work. The Scatticook 
 baskets are, as a whole, quite finely constructed of very thin 
 splints. One somewhat distinctive feature is found here, namely, the 
 very frequent use of the curlicue or roll as an ornamental feature. 
 The curlicue consists of a splint run over one of the warp splints 
 and twisted between two alternate standards, thus making a sort of 
 twisted imbrication. The Scatticook, considering the embellishment as 
 representing a shell, call it “a shell”; and they term the baskets with 
 this feature “shell-baskets” (Figures 15, 16, 17). 
   
 Three modifications of this ornamentation are shown in Figures 15, 16, 
 a and b; in Figure 16, a, the splint is twisted alternately between two 
 rows of warp at a different level; in Figure 15, the splint is curled 
 twice in a different direction, and forms a point; in Figure 16, b, 
 the splint is twisted once between two parallel rows of warp. This is 
 claimed by the Indians to be a native feature; and, since it is found 
 in the oldest baskets from the region, there seems little doubt that it 
 is aboriginal. 
   
 The Scatticook seem to have employed almost exclusively pokeberry juice 
 to stain the basket splints dark blue.   
 
 
 
 Decorative Art of Indian Tribes of Connecticut Pg 5 
 In none of the specimens made 
 in recent times do we find the painting upon the splints, as is the 
 case among the Mohegans. The only record of this kind of work from the 
 Scatticook is found in an article by W. S. Curtis,[7] describing a 
 collection of old baskets obtained many years ago. 
   
 The gauges made by these people are somewhat distinctive (Figures 
 18 _a_ and _b_, and 19). One of their characteristics is that the 
 decorations are largely functional, the object in the maker’s mind 
 evidently having been to provide a firm grip for the operator and 
 at the same time to produce a decorative effect. This interesting 
 feature is noticeable in the few specimens that were discovered on the 
 reservation, and in several others in the possession of collectors. 
 They are all highly prized by their possessors. In one case there 
 seems to have been an attempt to portray a fish on the handle. Another 
 instrument, a knife used in shaving the splints, is shown in Figure 20. 
   
 While we may assume that some influence upon the art of the Connecticut 
 Indians resulted from contact with the Iroquois, there is nothing to 
 show that the former had such symbolic associations in their designs 
 as did the Iroquois.[8] The general similarity of the Connecticut 
 Indian decorations to those of both the Iroquois and the northeastern 
 Algonkins is really too ambiguous to permit a final decision as to 
 their affinities. Aware of these uncertainties, I feel, however, that 
 the evidence sustains the conclusion that the stamped and painted 
 designs are original to the southern New England Indians, and that they 
 spread from them to the Iroquois. 
   
 The occurrence of identical types of splint basketry and similar potato 
 stamp decorations among the Oneida (Plate IX) and Onondaga,[9] might 
 lead to the impression, were we to overlook resemblances with northern 
 Algonkin designs, of an Iroquoian origin for the whole technique. In 
 a recent visit, however, to the Cherokee of North Carolina, for the 
 purpose of tracing relationships between northern and southern art 
 motives, nothing was discovered comparable to these northern types 
 either in design or technique, although the eastern Cherokee are quite 
 conservative. This naturally leaves the art of the southern New England 
 tribes to be tentatively classified as a somewhat distinctive branch of 
 the northern and eastern Algonkin field, with some outside affinities. 
   
 From information and sketches furnished by Dr. J. Alden Mason, based on 
 studies and photographs which he made of New England baskets in the 
 P. Wilcomb collection, Oakland, Cal., it seems that similar stamped 
 
 splint baskets were found among the Indians as far as the Merrimac 
 River valley in southeastern New Hampshire. Specimens in the collection 
 referred to are supposed to have come from Union, Me., Lenox, Mass., 
 Ipswich, Mass., and Herkimer, N.H. While not numerous enough to permit 
 of discussion, the specimens from this eastern extension of the stamped 
 or painted basket area show a type of design different from that of 
 our southern New England tribes. The patterns are less elaborate. 
 Although it is difficult to account for it, they seem to bear closer 
 resemblances to the designs on Oneida baskets. 
   
 North of the southern New England culture sub-area, which appears to 
 have terminated at the Merrimac river, splint basketry and painted 
 designs were replaced by the birch bark basketry and etched designs 
 characteristic of the art of the Wabanaki group. 
   
 
 
 
 Decorative Art of Indian Tribes of Connecticut Pg 6 
 A few examples of Mohegan and Niantic beadwork have survived the decay 
 of Indian culture in New England. These miscellaneous articles are 
 shown in Plates X and XI. They include moccasins, bags, and portions 
 of costume. Whether they have all been actually made by Mohegans is 
 not certain, except where indicated. One peculiarity of Mohegan art is 
 beadwork upon birch bark. A couple of very old specimens (Figure 21) of 
 this work have come to light. The foundation is the thin bark of the 
 white birch. The beadwork figures are practically all floral, though a 
 few geometrical designs occur; and realism appears as in the butterfly 
 representation. The floral designs seem to be somewhat related to those 
 found in the basket paintings, although they are not so aboriginal in 
 appearance. The beadwork designs are generally termed “forget-me-nots,” 
 “daisies,” “yellow daisies,” with buds, leaves, and stems. It should be 
 noted in this connexion that from the earliest time the Mohegans have 
 had some contact with Iroquois, especially the Mohawks, who from time 
 to time visited the Connecticut Indians in small parties. During the 
 early nineteenth century a number of the latter joined the Iroquois, 
 with whom an intermittent relationship has since been maintained. It 
 may be said in general, however, that the same type of floral beadwork 
 extends throughout the whole northeastern and Great Lakes area, in 
 which the Mohegan work may be included. Almost identical bags, for 
 example, both in form and design, come from the Mohegan, Penobscot, 
 Malecite, Montagnais, and Ojibwa. 
   
 In the carving of wooden utensils, such as bowls, spoons, mortars, and 
 miscellaneous articles, the Mohegans have shown considerable skill, 
 as appears from what few articles have survived among them. Some of 
 their bowls made from maple burls are exquisite. Several of these have 
 been described and illustrated by Mr. Willoughby in a recent paper, 
 the originals being in the Slater Memorial Museum, of Norwich. Wolf or 
 dog faces facing inward from projections upon the rim are very well 
 executed. Oftentimes such bowls were decorated by inserting wampum 
 beads into the wood, giving the outline and eateries of the face. These 
 bowls were used until a few generations ago for mixing native bread 
 known as johnny-cake. 
   
 Hardly inferior in workmanship to the bowls are the very distinctive 
 Mohegan mortars (_də´kwaŋg_, “pounder”) made 
 of a pepperidge log, and provided with long stone pestles (_gwu´nsnag_, 
 “long stone”). Three of these specimens, now in the Heye collection, 
 are shown in Plate XII. Practically all of the large mortars for 
 grinding corn in the household, among the Mohegans, were of this type. 
 Their sides were tapered toward the pedestal, and there were from two 
 to three handles on the sides near the bottom. Hollowed scallop work 
 ornamented the edge of the pedestal. The mortars average about 17 
 inches in height; and their cavity, narrowing towards the bottom, is 
 very deep. The stone pestle is 18 inches long. Until lately a few of 
 these heirlooms were cherished in several Mohegan families. 
   
 The use of wooden spoons and ladles (_giya´mən_) has not 
 been entirely abandoned by these Indians. The designs of most of the 
 forms are considered as aboriginal. They have rather broad oval--or 
 sometimes even circular--bowls, sometimes flat-bottomed bowls; and 
 the handles are of varying lengths, with rounded projections in the 
 under side to prevent the ladle from sliding down into the pot. This 
 favourite semi-decorative and functional feature also occurs in the 
 handles of gauges (Figure 1).  
 
 
 
 Decorative Art of Indian Tribes of Connecticut Pg 7 
 The spoons are usually made of birch or 
 maple. One or two ornamentally carved specimens were found. One with a 
 dog’s head at the end of the handle, and the bowl set at an angle to 
 the handle, is in the Slater Museum. Another, recently obtained from 
 the Indians (Plate XIII), has two human faces, back to back, at the end 
 of the handle. The spoons range from 6 to 12 inches in length. Various 
 types are shown in Plate XIII. 
   
 Several articles of bone, ornamentally carved, have come to light. 
 Chief among these are whalebone canes, with skilfully made carvings. 
 The handle of one of these canes represents a very natural looking 
 human hand (Figure 22). This same figure has been met with in the 
 carvings of the Penobscot and Iroquois. 
   
 A few miscellaneous articles made by old Mohegan workmen have been 
 discovered during the investigation, one of which is covered with 
 decorative designs (Figure 23). No discussion is warranted, since any 
 possible interpretation has now been forgotten, even as to the function 
 of the object. 
   
 Strange as it may seem to find definitive material amid such 
 deculturated surroundings, there can be little doubt that these tribes 
 have preserved designs of considerable antiquity. Perhaps they belong 
 to an early type of eastern Algonkin art, consisting of curves, 
 circles, ovals, wavy lines and dottings forming floral complexes, 
 having a general distribution in the north and east, from which the 
 more elaborate realistic floral figures of beadwork have developed. 
   
 [Figure 1. Mohegan basket gauge.] 
   
 [Figure 2. Mohegan hand splint planer.] 
   
 [Figure 3. Mohegan crooked knives, with wood and antler handles.] 
   
 [Figure 4. Bone punch.] 
   
 [Figure 5. Typical basketry design of the Mohegans.] 
   
 [Figure 6. Mohegan and Niantic painted designs. 
    c, f, from specimen _b_, Pl. IV, Niantic. 
    a, d, from specimen _a_, Pl. III, Mohegan. 
    b, e, from specimen _b_, Pl. I, Mohegan.] 
   
 [Figure 7. Mohegan and Niantic painted designs. 
    a, from specimen _a_, Pl. III, Mohegan. 
    b, from specimen _b_, Pl. IV, Niantic. 
    c, e, from specimen _b_, Pl. I, Mohegan. 
    d, from specimen _a_, Pl. I, Mohegan. 
    f, from specimen _c_, Pl. II, Mohegan.] 
   
 [Figure 8. Mohegan and Niantic painted designs. 
    a, c, d, e, f, from specimen _b_, Pl. IV, Niantic. 
    b, from specimen _a_, Pl. III, Mohegan.] 
   
 [Figure 9. Mohegan painted designs. 
    a, c, from specimen _a_, Pl. III, Mohegan. 
    b, Mohegan.] 
   
 
 
 
 Decorative Art of Indian Tribes of Connecticut Pg 8 
 [Figure 10. Mohegan, Niantic, and Scatticook painted designs. 
    a, b, from specimen _a_, Pl. III, Mohegan. 
    c, e, f, g, h, i, k, from specimen _b_, Pl. IV, Niantic. 
    d, from specimen _a_, Pl. II, Mohegan. 
    j, from specimen _c_, Pl. II, Mohegan. 
    l, from Curtis, Scatticook.] 
   
 [Figure 11. Mohegan and Niantic painted designs. 
    a, from specimen _b_, Pl. I, Mohegan. 
    b, c, d, e, f, from specimen _b_, Pl. IV, Niantic.] 
   
 [Figure 12. Mohegan, Scatticook, and Niantic painted designs. 
    a, c, from specimen (Mohegan). 
    b, from specimen _a_, Pl. III, Mohegan. 
    d, f, from Curtis (Scatticook). 
    e, from specimen _b_, Pl. IV, Niantic.] 
   
 [Figure 13. Linear border designs from Mohegan painted baskets.] 
   
 [Figure 14. Body designs from Mohegan painted baskets; 
    _a_, on the top of the basket; _b_ on the sides.] 
   
 [Figure 15. The curlicue or roll, in Scatticook baskets.] 
   
 [Figure 16. The curlicue or roll, in Scatticook baskets.] 
   
 [Figure 17. Bottom of Scatticook basket, showing trimming of radial 
 splints.] 
   
 [Figure 18 (a). Scatticook gauge.] 
   
 [Figure 18 (b). Scatticook gauge.] 
   
 [Figure 19. Scatticook gauges.] 
   
 [Figure 20. Scatticook splint planer.] 
   
 [Figure 21. Mohegan beadwork on birch bark.] 
   
 [Figure 22. Carved bone hand.] 
   
 [Figure 23. Decorated Mohegan wooden object.] 
   
   
 /Explanation of Plate I./ 
 Mohegan baskets (_a_ and _b_ painted.) 
   
 [/Plate I./] 
   
   
 /Explanation of Plate II./ 
 Mohegan baskets (_a_, _b_, and _c_ painted.) 
   
 [/Plate II./] 
   
   
 /Explanation of Plate III./ 
 Mohegan baskets. 
   
 
 
 
 Decorative Art of Indian Tribes of Connecticut Pg 9 
 a--Painted. 
    b--Shows bottom construction. 
   
 [/Plate III./] 
   
   
 /Explanation of Plate IV./ 
 Niantic and Mohegan baskets. 
    a--Mohegan washing basket. 
    b--Niantic storage basket made about 1840 by Mrs. Mathews at Black 
    Point (near Lyme, Conn.) 
   
 [/Plate IV./] 
   
   
 /Explanation of Plate V./ 
 Mohegan carrying baskets. 
   
 [/Plate V./] 
   
   
 /Explanation of Plate VI./ 
 Mohegan baskets, fancy work baskets, and wall pocket. 
   
 [/Plate VI./] 
   
   
 /Explanation of Plate VII./ 
 Tunxis baskets. Made by Pually Mossuck, a Tunxis woman from Farmington, 
 Conn., who died about 1890 at Mohegan. Lower left hand basket slightly 
 painted. 
   
 [/Plate VII./] 
   
   
 /Explanation of Plate VIII./ 
 Scatticook baskets, made by Rachel Mawee, Abigail Mawee, and Viney 
 Carter, who died at Kent, Conn., about 1895. 
   
 [/Plate VIII./] 
   
   
 /Explanation of Plate IX./ 
 Oneida stamped basket (Heye collection.) 
   
 [/Plate IX./] 
   
   
 /Explanation of Plate X./ 
 Mohegan and Niantic moccasins. 
    a--Mohegan moccasins. 
    b--Niantic moccasins from the old reservation at Black Point, near 
    Lyme, Conn. 
   
 
 
 
 Decorative Art of Indian Tribes of Connecticut Pg 10 
 [/Plate X./] 
   
   
 /Explanation of Plate XI./ 
 Mohegan and Niantic beaded bags (3 from the Heye collection.) 
   
 [/Plate XI./] 
   
   
 /Explanation of Plate XII./ 
 Mohegan corn mortars and stone pestle. 
   
 [/Plate XII./] 
   
   
 /Explanation of Plate XIII./ 
 Mohegan ladles and spoons. 
   
 [/Plate XIII./] 
   
 
 
 
 FOOTNOTES Pg 11 
 [Footnote 1: A few baskets made by an old woman, named Pually 
 Mossuck, of the Tunxis tribe (in the vicinity of Farmington, Conn.) 
 were incidentally obtained. A number of years ago this woman died at 
 Mohegan, the last of her people. This entire collection is now in the 
 possession of Mr. George G. Heye.] 
   
 [Footnote 2: In previous papers the writer has already published other 
 ethnologic notes on the Mohegan and Niantic tribes. See Anthropological 
 Papers of the American Museum of Natural History (N.Y.) vol. III, pp. 
 183-210 (1909), where are also listed papers in collaboration with 
 Prof. J. D. Prince on the Mohegan language.] 
   
 [Footnote 3: · indicates that preceding vowel or consonant is long; 
 ` indicates breathing following vowel; ´ indicates main stress; 
 _ə_, like _u_ of English _but_; _ŋ_, like 
 _ng_ of English _sing_; other characters used in transcription of 
 Indian words need no comment.] 
   
 [Footnote 4: I am indebted to Mr. Albert Insley for his careful work in 
 deciphering and reproducing the designs on these baskets.] 
   
 [Footnote 5: Cf. Roger Williams, _A Key into the Language of America_, 
 London, 1643 (reprinted by the Narragansett Club), p. 145 and p. 206.] 
   
 [Footnote 6: Cf. article in _Proceedings of American Philosophical 
 Society_, vol. XLII, No. 174 (1903), by J. D. Prince and F. G. Speck; 
 also De Forest, _History of the Indians of Connecticut_.] 
   
 [Footnote 7: ‘Basketry of the Scatticooks and Potatucks,’ _Southern 
 Workman_, vol. XXXIII, No. 7, 1904, pp. 383-390.] 
   
 [Footnote 8: Cf. A. C. Parker, _American Anthropologist_, N.S., vol. 
 14, No. 4, 1912, pp. 608-620.] 
   
 [Footnote 9: Specimens in the collection of the American Museum of 
 Natural History, New York City. I also learned of the same decorations 
 among the Iroquois at Oshweken, Ontario, and the Mohawks of Deseronto.] 
 
 
 Publication Date: January 5th 2015 https://www.bookrix.com/-mk496e398f1e345