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\ Syllabus Guide to Public Health
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Exhibits in the American Museum of Natural History
Peruvian Art A Help for Students of Design
General Guide to Exhibition Halls
Insects and Disease
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Indian Beadwork A Help for Students of Design ©
A First Chapter in Natural History
The Hall of the Age of Man
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SYLLABUS GUIDE TO PUBLIC HEALTH EXHIBITS IN THE
AMERICAN MUSEUM OF NATURAL HISTORY
DEALING WITH WATER SUPPLY, DISPOSAL OF MUNICIPAL WASTES AND INSECT-BORNE DISEASES
An Outline for Teachers and Students
By LAURENCE V. COLEMAN
GUIDE LEAFLET SERIES No. 45 MAY, 1917
INTRODUCTION
Man is an animal and the story of his activities properly forms a chapter of natural history.
The exhibits of the Hall of Public Health are planned to illustrate certain important phases of man’s relation to his environment—to show how it affects him and how he modifies it with a view to making life safer and more healthful.
It is hoped that this Guzde Leafiet may be of service to those who wish to learn briefly and connectedly the story which the exhibits have to tell.
WATER SUPPLY
PLAN OF HALL OF PUBLIC HEALTH
Showing the arrangement of the exhibits and location of the cases referred to in the Notes.
eo ters .
AMERICAN MUSEUM’ OF NATURAL HISTORY
SYLLABUS GUIDE TO THE PUBLIC HEALTH EXHIBITS
WATER SUPPLY
Most of the water on the earth’s surface is stored in the oceans, from which it is drawn up or evaporated by the sun to form the clouds.
The rain is the primary source of all water supplies. Rainfall varies consider- ably at different places.
Surface water flows off in rivers— which are swift at first, but slow and winding farther down.
Slowly flowing rivers, unless con- taminated by sewage from towns on their banks, are less apt to be dangerous than rapid ones, but safer than either are lakes in which the water is stored—undergoing through storage a natural purification.
A common way of obtaining water supplies for large cities is by impounding streams in artificial lakes and reservoirs.
Another portion of the rain sinks at once into the ground, often to emerge at a lower level, forming a spring or well, — another common source of public water supply.
Water may be hard or soft, turbid or clear, depending upon the amount and nature of the matter which it contains in solution or in suspension.
Drinking water frequently contains microscopic organisms, most of which are harmless, although some of them produce tastes and odors in the water.
(Nores REFERRING TO ExuHrpits)
See 1st panel of frieze, left wall.
WALL CASE 1 shows the number of rainy days at certain places and the actual rainfall in inches at others.
WALL CASE 2 presents graphically rainfall dataforthe whole United States.
See 3d panel of frieze. See 4th panel of frieze.
See 2d panel of frieze.
Jars of rice in WALL CASE 3 indicate how typhoid bacilli die off during storage but CHART 1 shows a case where purification by storage failed.
-
CENTER CASE 1 shows how a reservoir was formed near Boston, Massachusetts, for this purpose.
In WALL CASE 4 is a section of an
artesian well.
The physical character of five samples of water is indicated by blocks in
WALL CASE 3. In WALL CASE 3 are displayed en-
larged glass models of micro-organisms (algae, diatoms and protozoa) which occur in water.
Their seasonal prevalance is shown by
CHARTS 2 and 3.
i
SEWAGE DISPOSAL
Wien man i
Occasionally disease-producing bac- teria are present, derived either from direct sewage discharge or from the washing in of human wastes from the shore or through the ground.
Impure water must be either stored or treated before it is safe for drinking. ‘Treatment may be by slow sand filtration, by rapid mechanical filtration after the addition of chemicals which produce a flocculent filtering layer, or by disinfec- tion.
Purification of a water supply is usu- ally followed by a marked drop in the typhoid fever death rate; from a purely economic standpoint this saving of life far outweighs the cost of treatment.
SEWAGE DISPOSAL
Cities usually discharge their sewage into the nearest large body of water: New York, for example, uses its two rivers and the bay for this purpose.
The sewage, sometimes washed back and forth for days by the tides, causes our waterways to be grossly polluted. Such a condition, always a menace to health, is especially dangerous in fresh-water streams or lakes where the polluted water has access to the supply of some other city.
The food supply may also become contaminated in this way.
Such local nuisances and dangers to health may be avoided by treating sewage before it is finally discharged. To do this a city has several alternatives but the most effective process involves a number of successive treatments.
In CENTER’ \CASE 2 and m CHART § are given instances of epi- demics caused by disease-producing bacteria in drinking water.
In CENTER CASE 3 is a model of a mechanical filter and in CENTER CASE 4 that of a slow sand filter and of an apparatus for disinfection with liquid chlorine.
A model of a plant for treating water with bleaching powder is exhibited in CENTER CASE «.
The data for a number of cities are presented in CHARTS 4 and 6.
CHARTS in CENTER CASE6 show the system of sewers in use by New York at present and the system as it wil} be when completed, the path of a float set adrift in the Hudson River, and the extent of pollution at various points. In the same case is depicted a scene on the water-front showing one dan- gerous phase of pollution.
Another model in CENTER CASE 6 shows one way in which shellfish be- come polluted.
SEWAGE DISPOSAL
The coarse matter may first be re- moved by screening, after which the finer material may be allowed to settle as the sewage flows slowly through a sedimenta- tion tank.
Or sedimentation may be combined with digestion of the solids removed by the use of either a septic or an Imhoff tank.
The principle of both is the same, viz., that sludge, if allowed to accumulate under water, will be reduced in amount by the bacteria present in it. Imhoff tanks provide a separate lower chamber for this process.
The treatment may stop here ora final stage may be added, in which the organic matter in the sewage is oxidized and changed to a harmless mineral form.
This oxidization, which is brought about by bacteria, may be effected in either an intermittent sand filter, a con- tact bed of broken stone alternately filled with sewage and emptied, or a trickling filter—a bed of broken stone through which the sewage percolates after being sprayed over the surface.
In the so-called activated sludge process the oxidizing bacteria are culti- vated in the sewage sludge itself and are supplied with compressed air from the bottom of the tank.
The country dweller may purify his sewage by installing a small septic tank and allowing its effluent to percolate through the sandy soil.
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CENTER CASE 7 contains models of a coarse bar screen, a revolving mechanical screen and a_ rotating Riensch-Wurl screen.
A sedimentation tank is also repre-
sented in CENTER CASE 7.
Models of each of these will be found in CENTER CASE 8.
CENTER CASE 9 contains an inter- mittent sand filter in miniature.
Models of two contact beds are shown
in CENTER CASE to. In CENTER CASE 11 a trickling
filter is shown in action.
An activated sludge tank will be found in CENTER CASE 8.
One possible arrangement is shown by a model in CENTER CASE 8.
BACTERIA
Bacteria are minute single-celled plants. Most of them are harmless; some are necessary to the life and indus- trial pursuits of man; a few cause disease. When properly stainedand viewedthrough a microscope, they are seen to occur in three shapes:
Different bacteria vary greatly in pro- portions and appearance. Some species have long, thread-like processes (flagella), which enable them to swim about, while others are surrounded with slime. A great many contain resistant spores and others contain granules, which give them a barred or spotted appearance.
Bacteria may be made to live and multiply by planting them on a specially prepared jelly. increase that a colony of millions of
Soon their numbers so
microbes becomes visible at each point where asingle germ was planted originally.
BACTERIA=INSECT-BORNE DISEASES
Transparencies in WINDOW CASE 1 are photographs of bacteria as they appear under a microscope.
WINDOW CASE 2 contains en- larged glass models of each type: for example:
Staphylococci (2d panel). Bacillus of tuberculosis (1st panel).
Spirochete of relapsing fever (bottom panel).
See bacilli in two central panels.
See acetic acid bacilli just above.
See one of the center panels. Bacillus of diphtheria (top row).
Preserved colonies are shown at both sides of WINDOW CASE 1.
INSECT-BORNE DISEASES
An insect may carry disease from one man, or from one animal, to
another in two ways:
1. By acquiring and dispersing the parasites during the act of biting. A few of the most important diseases carried in this way are:
Bubonic Plague -— carried by the flea.
Malaria — carried by Anopheles mosquitoes. Yellow Fever — carried by the 4édes mosquito. ‘Typhus Fever — carried by the body louse. Sleeping Sickness —— carried by the Tsetse fly. Tick Fevers — carried by ticks.
With the exception of Bubonic Plague, these diseases can be contracted only through the agency of insects and in the
way described above.
2. By spreading germs lodged on its body and feet. Typhoid fever organisms and germ of infant diarrhoea are sometimes carried in this way by the fly.
6
BUBONIC PLAGUE
BUBONIC PLAGUE
Since the sixth century, Bubonic Plague has swept three times over the world, killing millions of people.
It is a bacterial disease,
primarily of the rat,
spread and carried to man by the bites of infected fleas.
In California two species of squirrels are subject to the disease,
while in Asia the marmot must be reckoned with. To control the plague we must fight the rat and the other rodents mentioned.
The most effective measures are:
1. Prevention of rat breeding — Clean up rubbish and cut off the rats’ food supply.
2. Destruction of rats— Poison or trap them and _ fumigate enclosed spaces.
3. Exclusion of rats from dwellings by rat-proofing.
4. Quarantine against vessels from in- fected regions by placing rat guards on the hawsers, etc.
Plague, under certain conditions, may also be spread by the mouth spray from a coughing patient.
A fair degree of immunity may be produced for a short time by the use of vaccine.
(Notes RELATING TO EXHIBITs )
CHART 7 gives the range of each pandemic.
CHARTS 9 to 12 are copies of old paintings, showing how the scourge impressed the ancients.
An enlarged glass model of the germ (Bacillus pestis) will be found in WALL CASE 5, and on the same snelf are displayed four species of rats most often concerned. CENTER CASE 12 contains a model of part of an actual house, which was badly in- fested with rats.
A flea is mounted under a lens in WINDOW CASE 3 and an accurate model of the insect, magnified one hundred and twenty times, is installed in a case at the entrance to the Hall.
Mounted specimens are in WALL CASE 5, andin CENTER CASE 13 the most important species is shown in its natural surroundings.
CHART 8 summarizes the methods of control and CHART 13 shows some phases of an anti-plague campaign in New Orleans.
In WALL CASE <5 are three good traps and beside them is a model showing the results from their use.
On the 1st shelf is a model of a farm protected against rats
and one of a schooner with rat guards in position.
On the top shelf of WALL CASE s5 are shown the costume and respirator worn to protect against this danger.
Samples of the commercial product are just beneath.
MALARIA
MALARIA . Malaria is an important disease responsible for an annual loss’ of
$100,000,000 in the United States.
It is caused by a protozoan parasite (Plasmodium), living part of its life in the blood of human beings, and part in the body of the Azopheles mosquito.
Mosquitoes of this kind become in- fected by biting a malaria sufferer and spread the disease by subsequently biting healthy persons.
‘To wipe out malaria we must cure cases by quinine treatment and extermi- nate the insect-carrier.
To fight an enemy successfully, its habits must be known. ‘Those of the mosquito are well understood.
Water is essential to mosquito breeding, for on its surface the eggs are
laid and in it the early stages must live.
In warm weather mosquitoes re- produce most rapidly.
Our safety from malaria depends on the following mosquito-control measures:
I. Prevention of mosquito breeding — Swamps should be drained by ditching.
Overhanging grass should be cut from the edges of all ditches, streams and pools.
An enlarged glass model of /Waso- dium willbe foundinW ALLCASEg, and CHART 18 shows its life cycle.
A chart in the top of WALL CASE 6 gives the points of difference between the malaria carrier and the common mosquito. The geographic distribu- tion of the disease and that of its carrier are mapped in CHART 24.
A chart in the upper right corner of WALL CASE 6 shows the intimate relationship between the mosquito season and the prevalence of mosquito- borne disease.
A model on the middle shelf illustrates the use of quinine in Panama, anda chart just above it indicates the reduc- tion of malariain Italy due to the use of quinine dispensed by the Government.
A series of three jars giving the life . cycle of the mosquito (left) and a set of collecting implements used in study- ing its natural history are also shown in WALL CASE 6.
CENTER CASE 14 (to be installed) will contain the reproduction of an actual pool in which malaria mosquitoes were found breeding, while a chart in WALLCASE 6 pictures a breeding place on the shore of the Nile.
Relief maps in CENTER CASES 15 and 16 (near the entrance to the hall) indicate the prevalence of malaria near marshlands.
A chart in the upper left corner of WALL CASE 6 gives data to illustrate this fact.
CHART 23 summarizes the methods of control.
A special spade for digging ditches is shown in WALL CASE 6, while in CENTER CASE 15 isa relief map of a well-drained marsh. CHART 19 shows a swamp before and after drain- age. ‘That drainage pays is proven by a model in CENTER CASE 16 and by the facts presented in CHART 20. In WALL CASE 7 is a model of a concrete ditch as constructed in Panama.
In the bottom of WALL CASE 7 is a group showing how this is done in Panama.
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YELLOW FEVER
Cast-out pots and cans should be removed to prevent the accu- mulation of rain-water, while for rain-barrels, screening is essential.
2. Destruction of wigglers —
‘They may be suffocated by oiling the surface of the water in which they live, or killed by poisoning.
Their natural enemies, es- pecially small fishes, should be encouraged.
3. Destruction of adult mosquitoes by fumigating —
Cellars in which they hiber- nate and houses in which cases of malaria have occurred should re- ceive special attention.
4. Screening to keep mosquitoes away from malaria patients from whom infection may be derived and away from healthy persons whom they might infect.
When the use of screens is imprac- ticable it is often possible to drive mos- quitoes away by the use of repellants.
The phenomenal success of the battle against mosquito-borne disease is discussed in the section on yellow fever.
YELLOW FEVER
Yellow fever is atropical disease, the cause of which was shrouded in mystery until the beginning of this century, when
its connection with the mosquito was established.
A typical vacant lot breeding-place is reproduced in the bottom of WALL CASE 6 and above is a properly screened rain-barrel.
Samples of oil are arranged on the middle shelf of WALL CASE 6, and a jar just above shows the condition produced by oiling. At the lower left corner of the case is a barrel used for applying oil to running water. ‘The picture behind it is of an oiling squad in New Jersey.
A sample of the poison used in Panama is shown.
The most important insect enemies of the mosquito are displayed in WALL CASE 8, and in WALL CASE 6 is
a group of fishes devouring their prey.
In WALL CASE 7 1s shown a screened hospital compartment, and a portable net for protection against mosquitoes.
Samples of repellants are shown in
WALL CASE 6.
CHARTS 16 and 17 show the place where the discovery was made, and the heroes who accomplished it.
SLEEPING : SLOKINES;.
The germ remains as yet undis- covered, but it is known to be carried by the Aedes mosquito just as the malaria parasite is borne by the 47opheles.
Ades, being an inhabitant of houses, breeds more often in vessels of stagnant water than in swamps and streams. It is fought by practically the same measures as Anopheles, though fumigation is more important than in the case of the malaria carrier. It is the common practice in Panama to fumigate an entire house in which a case of yellow fever has oc- curred.
The wonderful success of the battle against mosquito-borne disease is nowhere better illustrated than in the history of the Panama Canal.
Our country was not the first to at- tempt this enterprise but it was the first to cope with the mosquito, and hence to succeed in building the canal.
Without the sanitarian, the engineer was helpless; with him the greatest en- gineering feat in history was accomplished.
Many other plague spots have been cleaned up by the same means, and other projects than the great Canal have been made possible by war on the deadly mos- quito.
SLEEPING SICKNESS
Sleeping sickness is a disease of man which has caused enormous fatality in
Africa.
It is produced by minute parasites called “Trypanosomes, which live and multiply in the blood.
10
Watercolor sketches of 4éd2s will be found in CHART 15.
Such a scene is shown in WALL CASE-7:;
CHART 21 is a view of part of the completed Canal.
In WALL CASE 7 are shown a French and an American hospital at Panama. The difference explains
why France failed and America built the Canal.
These facts are presented to the eye by a series of models on the middle shelf. A chart at the top gives the drop in death rate resulting from the anti-mosquito campaign, and CHART 14 is a picture of the man who directed the work.
CHART 22 andachart in the bottom of WALL CASE 7 give the results of sanitary work in Havana.
A map in. WALL CASE 7 and a model just beneath it illustrate one such instance.
In WALL CASE 1o will be found a picture of a sufferer and near it a map showing the distribution of the disease.
In WALL CASE og is an enlarged glass model of the parasite, and in WALL CASE 10a photomicrograph of the organisms in the blood.
7
Various species of these parasites cause a number of tropical diseases of man and animals.
The organisms are spread by the biting tsetse-fly (G/oss?za) which inhabits dense wet places.
Sleeping sickness is sométimes treated by drugs.
Our best means of fighting the disease is by controlling the insect-carrier. The most effective control measures are:
1. Prevention of fly breeding by re- moval of sheltering bush.
2. Control of infected human beings and animals so that flies may not acquire infection. Inspection and quarantine will accomplish this.
3. Protection of healthy persons against fly bites. Proper clothing and screening and avoidance cf dan- gerous localities are the means.
Marked success has attended the fight against the tsetse-fly.
OTHER INSECT-BORNE DISEASES
There are a great number of other diseases which depend for their existence upon insect-carriers. A few of these are treated in the Public Health exhibits.
Diseases of Man: Typhus fever is a disease which was once very prevalent in army camps. _ It is caused by a para- site which is transmitted by the bite of the body louse.
Modern sanitary methods have brought it largely under control.
Il
OTHER INSECT-BORNE DISEASES
Specimens of the insect and pictures of its native haunts are in WALL CASE to.
A sample of Atoxyl (the drug used) is shown.
CHART 26 summarizes the contro] measures.
A model in WALL CASE to helps to visualize this process.
Another model shows a quarantine camp.
A small chart gives the drop in death rate in one instance.
A large wax model of the body louse will be found in a case at the entrance to the Hall, and specimens of it are in WINDOW CASE 3.
The upper shelf of WALL CASE to is devoted to typhus control, and a chart in the center indicates the effectiveness of the campaign.
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Relapsing fever is a tropical disease carried by ticks and caused by a blood parasite (Spzvocheta).
Owing to social conditions in the tropics, control is difficult, and the method most often employed is the destruction of the infected dwellings.
Elephantiasis: is another tropical dis- ease caused by a relatively large, worm- like parasite called /7/arza, This animal obstructs the blood vessels, causing an enlargement of some extremity.
Mosquitoes of the genus Cz/ex carry the young parasites from diseased to healthy persons.
Chagas fever is a disease of children in Brazil, which is carried by the bites of certain bugs.
Diseases of Cattle: Cattle are fre- quently sufferers from the ravages of blood parasites of which little is known save that ticks are the sole carriers.
‘The diseases are very serious in some parts of the United States and are responsible for great financial loss to the country.
The most effective means of control is the frequent treatment of cattle with Arsenic solutions— the poison most used — may be applied
poisonous washes.
by immersion or by spraying.
LAE ORLY
A great many species of flies are found in houses, but the preponderant type is the well-known House Fly (JZusca domestica). ‘This insect is our commonest and most dangerous household pest.
|B
A glass model of a Spirocheta will be found among the blood parasites in WALL CASE og.
A mode! at the right of the bottom in WALL CASE to depicts such a
scene.
See model in WALL CASE go.
In WALL CASE 10 isa picture of a person so afflicted.
Specimens of these bugs are shown in WALL CASE to.
In WALL CASE to are specimens of the principal offending ticks and a piece of cowhide which tells the story of the creature’s abundance.
CHART 25 gives the distribution of the disease, and in CASE to is a picture of Bitter Root Valley, where a human tick-borne disease, Rocky Mountain Spotted Fever, has prevailed.
The right of the middle shelf of WALL CASE io is devoted to the various devices used by cattle raisers for the protection of their stock.
Just above CHART 33 will be found specimens of some of the commonest species of flies, and CHARTS 28 and 33 include enlarged drawings of them.
7 Pa
During its life the fly passes through four stages: egg, larva, pupa and adult.
The eggs are laid by the female in filth of some sort — preferably in horse manure, but frequently in human excreta.
The larva or maggot, hatching from the egg, feeds upon this substance and grows to a length of perhaps half an inch, when it burrows down to a dry place and, upon casting its skin, becomes a dormant pupa. From this pupa the adult fly emerges, to wing its way from filth to our food.
As each female lays an average of one hundred and twenty eggs, and as nine generations are possible in one season, a single female may, under ideal conditions, be responsible for several hundred trillion offspring.
As a result of its nasty habits, the fly is a germ-laden creature.
If it has access to human discharge and then to food the fy may become a disease bearer. The fly was largely re- sponsible for typhoid fever during the Spanish-American War, while it has been suspected of causing epidemics in times of peace. It has been shown that infants in fly-infested houses of New York City are visited by two and a half times as much summer complaint as those in clean homes.
Such conditions as these demonstrate the necessity of ridding ourselves of the fly. This is best done by the following means:
a3
THE FLY
In a case at the entrance to the Hall is a huge model of the House Fly.
In WALL CASE 11 4 series of four jars illustrates the fly’s life cycle, while charts give the time required at various temperatures for the complete transformation and the relative impor- tance of various breeding substances. A jar on the bottom shelf shows the number of flies found breeding in a pound of manure. CHART 32 shows two typical breeding places.
This fact is illustrated by four jars and a picture on the top shelf of WALL CASE 11.
Several culture plates in the same case show the bacteria which developed in the tracks of a fly, and tubes of sand represent the number of bacteria washed from flies. CHART 31 shows a much enlarged fly foot with disease bacteria clinging to it.
See a model nm WALL CASE 11 (top shelf, right) and a small map at the extreme left.
A model in the center of the same case illustrates this fact.
For summary see CHART 29.
Vie tale of Es &
t Prevention of fly breeding: All manure should be _ either covered or disinfected. A covered manure bin and samples Exposed refuse should be cleaned _ of borax and hellebore for disinfecting up. Maggots may be destroyedin 9 "@™"7© 47° Snowe a maggot trap. The fly’s natural One such trap is exhibited.
‘ The most important fly enemies are enemies should be encouraged. grouped in WALL CASE 12.
2. Destruction of adult flies: They should be trapped or killed with fly-paper, fly-poison and the A good fly-trap is shown in WALL swatter. CASE 11, 3. Guarding human excreta against access of flies: Flies cannot carry typhoid from
2 properly screened and enclosed and on the shelf above are two types privy. of safe privies explained by models.
4. Keeping flies out of houses and away from food: A screened window in summer may be valuable health insurance. The storekeeper who does not protect his foods from flies is your enemy.
Facts and figures have shown that CHART ‘44 shows the cHecuee oe war on the fly is worth while. application of control measures.
14
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A HELP FOR STUDENTS OF DESIGN
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BY CHARLES W. MEAD
SECOND, ENLARGED EDITION
The American Museum of Natural History GUIDE LEAFLET No. 46
New York, APRIL, 1919
PRINTED AT THE MUSEUM
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FHEEUYVEAN. ART A HELP FOR STUDENTS OF DESIGN By CHARLES W MEAD
Assistant Curator, Department of Anthropology
INTRODUCTION
The Museum’s collections of textiles and pottery vessels from pre- historic graves in Peru provide an opportunity for the study of primitive art that is not excelled, if, indeed, it is equaled in any other field. The great beauty of the color schemes and the wonderful number of curious conventionalized animal figures, especially in the textiles, make these exhibits particularly valuable to the student of design. That this opportunity exists and that the Museum authorities as a part of their educational system are providing all the assistance and comfort possible to visiting artists and students are fast becoming known, as shown by the fact that for quite a number of years an average of one hundred and fifty a month have availed themselves of this privilege, while during the last two years that number has been doubled.
As a large part of the students of design who make use of these textiles expect later to obtain positions in textile houses, carpet, rug, or wall paper manufactories, or to enter into some other business where designers are employed, it will interest and encourage them to know that many textile houses have lately put upon the market silks and other materials decorated with designs inspired by the figures and color schemes of the prehistoric Peruvians. Our large textile manufacturers have, year after year, sent their best artists to Paris for designs, having no idea that such a wealth of material, eminently suitable for decora- tion, was waiting for them in the Museum so near at hand.
During the past year a number of these textile manufacturers have visited the Museum and have become aware of the existence of these col- lections. Having once seen them they were by no means slow in recognizing their value and in sending their artists to copy the color schemes and create designs from the decorative figures of the ancient Peruvians. Having satisfied themselves of the commercial value of the Peruvian collections to them, they naturally began to look about for the decorative work of other primitive peoples and to-day their designers may be seen at work in many of the Museum halls.
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AMERICAN MUSEUM GUIDE LEAFLETS
In a Guide Leaflet it will not be possible to go far in the peculiar art of the Peruvians, and but comparatively few of the innumerable designs can be shown. Their color schemes, which excite the wonder and admiration of artists, must be seen on the original webs, but enough designs can be reproduced to show the general character of this side of their art.
It always gives an added zest to the work when we know something about the material from which we are drawing and for this reason it will not be out of place to say a few words about the history of these cloths. They all come from prehistoric graves; many of them were found still on the mummies when the burial places were excavated. A greater part of them came from the coast region which is a desert tract except for the valleys of the small rivers rising in the cordillera and flowing into the Pacific Ocean. These valleys were very fertile and there the people lived and buried their dead in the dry nitrous sand outside. Rain is all but unknown in this region, which accounts for the wonderful state of preservation in which these webs have come down to us.
The first question that naturally suggests itself to the visitor is— How old are these things? This question cannot be definitely answered. All that can be said is that they antedate the Conquest (1532); that they belong to different epochs, and that the oldest in all probability date back several thousand years. In two papers published by the Museum, my associate, Mr. M. D. C. Crawford, has given the results of his studies in the technique of Peruvian textiles. To these anyone interested in that subject is referred.
It is a very common mistake to speak of such a collection of Peruvian textiles as the work of the Incas, for by far the greater part of them were made by the so-called Megalithic people who ruled the country many centuries before the rise of the Inca empire.
Four motives continually occur in Peruvian decorations: the human figure, the bird, the fish, and the puma. These were everywhere em- ployed throughout the country in designs which varied somewhat in the different localities, showing that their arts had developed along slightly different lines.
In studying the designs more space will be given to.the figures de- rived from the fish than to those from the other motives. The reason.
1 Anthropological Papers of the American Museum of Natural History, Vol. 12, Parts 3-4.
PERUVIAN ART
for this is that the designs from the other three motives very rarely show degeneration to the extent that their identity is not apparent, while many of the fish figures have progressed so far that to recognize the motive one must be familiar with some of the stages through which it had passed in reaching its present form.
The writer does not wish to convey the idea that degeneration of any animal form constantly progressed, step by step, at every repetition losing a little more of its realistic appearance until its character could not be recognized. A series of figures could be selected from the vast number at our command that would apparently show such progres- sion and this has often been done for the primitive art of other localities, but this method is very misleading, as the higher conventionalized forms were undoubtedly reached by mutations instead of steady progressions.
Many of the sketches on the Plates of this Leaflet were made at various times during the past fifteen years for various papers, illustrated eatalogue cards, and other purposes. Every design shown will be found in the exhibition cases in the South American Hall.
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The Peruvians of the coast region worshipped the sea as one of their gods and the fish, being the natural emblem of the sea, undoubtedly accounts for the frequency with which it appears in all their arts. We find it woven, embroidered, and painted on cloth; molded, incised, and painted on pottery; and represented in various ways on their works in metal, wood, stone, and bone. I shall show some of the conventionalized figures that plainly represent fish; others that I have found, during my long experience with art students, where the fish motive is very rarely suspected, and some intermediate figures that I believe will enable the student to recognize this motive in the higher forms of Peruvian art. The first three figures on this Plate plainly represent fish, although degeneration has made considerable progress. They are shown as if seen from above, a common way of representing fish with many primitive peoples.
Fig. 1 is painted on a large piece of cloth which formed the outer wrapping of a mummy bundle from Surco. It is painted in black except the curved line representing the gill openings and the fins. The six small squares show the dorsal fin. |
Fig. 2 is a very common form, in fact the typical Peruvian fish. If we study carefully all the forms on Plates I and II we shall find that the greater part of them are but modifications of this figure. We shall find the number of points projecting from the sides more or less, or two fish derived from this form interlocked, as shown in Fig. 7.
Fig. 3 is from the wrapping of a mummy bundle found in the vicinity of Lima. The lines representing gill openings are straight in this case. The characteristic projecting points from the sides are present.
Fig. 4 is a design not uncommon in tapestry from the coast region in the vicinity of Lima. It consists of four fish heads, in colors, sur- rounding a fret. During the many years that design students have worked from these Peruvian collections, I do not remember a single case in which the fish motive was suspected in this figure until I had made it clear by drawing the forms shown in Figs. 5 and 6. The character of such a design when it is woven in the cloth, in a variety of colors, is by no means as easily recognized as when drawn on paper in black and white.
PLATE II
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THE FISH
4
PERUVIAN ART
Figs. 5-6. Fig. 5 is a tracing of the upper fish head in Fig. 4. Fig. 6 was made from the same tracing, but in inking it, straight lines down from the mouth were substituted for the step-formy ones of Fig. 5, and this gives us exactly the same head as seen in the fish form at Fig. 2. These step-form lines, caused by the technique of weaving, often dis- guise a form that would be obvious if the lines were straight.
Fig. 7 shows the interlocked fish design, a form of decoration very common over most of the coast region, where it is found on borders of ponchos, belts, ete. In the poncho border from which this figure was taken the decoration is in diagonal bands, each band having two colors. The black fish shown is interlocked with one in red. The bands on either side are in different colors. A repetition of the same figure, but in different colors, arranged either in rows or, as in this illustration, in diagonal bands, is a prominent characteristic of Peruvian art. If we examine any one of these fish we find that such parts of it as can be | seen when another is interlocked with it are like the typical one shown in Fig. 2.
THE FISH
PuaTeE II
Fig. 1 gives us another form of the interlocked fish design. We see here attached to the tail of each fish a form bounded on one side by a straight line and on the other by a zigzag forming four chevrons or points. This added figure plays quite a part in Peruvian art, as we shall see when we come to discuss their bird forms.
Fig. 2 was traced from the black fish above. If two forms like this are cut from paper, and one of them colored black, they will, on being put together, give the design shown. This form is often found and sometimes a bird head takes the place of the half of a fish head shown here. On turning back to Plate I and looking at the typical fish in Fig.
2 we find that one is but a skeleton or part of the other.
Fig. 3 is also a part of the design above, and is frequently used in decoration just as it is shown here.
Fig. 4 is an example of their work in pyrography. This design was burned into the side of a gourd bowl. The figure spoken of before: one bounded on one side by a straight line and on the other by a zigzag, forms all but the head of this highly conventionalized fish. It varies
9
AMERICAN MUSEUM GUIDE LEAFLETS
but little from those shown in Figs. 3 and 6, and has the triangular head of Fig. 10. Triangular heads are very common in cloth and on pottery fish forms.
Fig. 5 is another variation in the interlocked fish pattern. As the heads, tails, and crude outlines of the bodies of fish, as the Peruvians represented them, are shown, there has never been any trouble about identifying the true motive.
Figs. 6 and 7 are in relief on pottery vessels. They show again the fondness of the Peruvians for the interlocked design. In Fig. 6 each fish is the same as Fig. 3, which has an extra projecting point. The number of points in the body of a fish or bird was governed entirely by the space to be filled up by the decoration. In Fig. 7 degeneration has not progressed as far as in most of the other figures and the motive is apparent.
Figs. 8-10 are forms common on pottery vessels, sometimes painted, but oftener incised or in relief.
Fig. 11 shows the designs on a tapestry belt. It is very common on the small bags that may have been used as charms. This fish head varies but slightly from that shown in Plate I, Fig. 4, and the means shown there of identification apply equally to this form and its many variants.
Fig. 12 has been identified as the horse mackerel and is a fairly realistic representation of that fish. It is painted in several colors on a pottery vessel from Nazca.
Fig. 13 is cut from a thin sheet of silver. Twenty of these fish are fastened on a cord in the form of a necklace. It comes from Ica, but such fish strung together or with beads were common in many places in the coast region. |
The forms shown in Figs. 14-16 represent the shark and are found both on cloth and on pottery vessels.
Fig. 17 is in relief on a pottery vessel from Surco. It is a very common fish form over all the coast region. The original of this sketch is 9 cm. long, and it is often seen very much larger both on cloth and pottery.
Figs. 18-19 are from Nazca pottery. Both show a parallel line of © white which in the first case completely separates the body into two-
unequal parts. Whether this represents the median line or was only a fancy of the artist must be left to guesswork.
10
PERUVIAN ART
In Fig. 18 there is an idea for the design student. In the original the two parts are in different colors, with the line of white between them. This will suggest to the design student the breaking up of any of the other figures and using the parts so obtained in his work.
THE BIRD PuaTeE III
Figs. 1-8 and 11 are from the coast region in the vicinity of Lima. Figs. 1-2 show the typical bird of Peruvian cloth. The heads and necks are fairly realistic. The body consists of the form mentioned in the remarks on the interlocked fish design, Plate II, Fig. 1. As was said, this consists of a figure bounded on one side by a straight line, and on the other by a zigzag which forms chevrons or points. The number of points, or length of the body, depends entirely on the space to be decorated.
Fig. 3. The head is more realistic than in the two preceding figures, but the body is represented in the same way. In the original the space between the head and the body is nearly filled by the head of a second bird, turned in the opposite direction, the two forming an interlocked bird design.
Fig. 4 is from the border of a tapestry poncho, where the decoration consists of a long line of these birds. Each figure is woven in several colors, and they are so placed that two with the same color scheme do not come together. Note the exaggerated topknot projecting over the bird’s head. This device makes the whole figure nearly rectangular, and in a row of such designs little space will be left undecorated.
Fig. 5 is painted on white cloth. The heavy outline is black, the body brown, and the eye and space between the mandibles were left white.
Fig. 6. Here again the artist resorted to the same device as is shown in Fig. 4. He has used an exaggerated topknot to balance his designs and cover space.
Fig. 7. In this case the wings have been carried over the head and made to serve as quite a part of the design.
Fig. 8 shows a common bird form in textiles. It will be seen that this is very closely related to the form in Fig. 2. If we substitute the legs in this for one of the points in the body of that one, we shall have practically the same design.
11
PLATE ITI
THE BIRD
_
PERUVIAN ART
Fig. 9 represents a humming bird. A row of these birds is painted around a pottery vessel from Nazca. They are all sucking honey from a six-pointed flower on the upper surface of the vessel. Only a part of this flower is shown in the sketch.
Fig. 10 shows another bird on Nazca pottery. This, like the last described, is beautifully painted in colors.
Fig. 11 is a pelican that has just caught a fish. This design is a part of the woven fabric. Similar figures are also found in relief on cloth. This is done by sewing on narrow pieces of braid. The fish in the bird’s mandibles is a common conventionalized form, often seen both on cloth and pottery, especially where space only admits of a small figure.
Fig. 12 shows birds from three Nazca pottery vessels. They are painted white on variously colored darker backgrounds.
Fig. 13 shows the decorations on a piece of vicufia cloth, as it is commonly called, from Pachacamac. The warp threads are cotton, crossed by a weft of vicufia wool, which completely covers them. The ground color is a deep reddish-brown with the decoration in yellow. The effect produced is extremely pleasant and artistic and has made this textile one of the favorites of art students who have many times copied it in colors. It also affords a good example of the influence of basket work on the arts of these people. The lines bounded by zigzags are plainly copied from the work of the basket maker. The birds’ necks rise and depend from these basket designs.
Fig. 14 is from a large shawl-like garment from Lachay, near Chan- cay. The color of this textile is indigo blue with the designs woven in white, in broad stripes. It is the interlocked bird design: the upper bird faces to the right, and the lower one to the left. If we study one of these birds we find in its neck and body the same form as is shown in Fig. 3.
THE PUMA PiatTEe IV
Fig. 1 shows the head of the puma in terra cotta. This form is only found in the art of Tiahuanaco. It seems to be the parent of the hundreds of conventionalized cat heads wherever the influence of Tia- huanaco art is found and especially at Pachacamac. The puma was one of the gods worshipped by the Peruvians and the “ puma god,”’ part man and part puma, is often represented in the arts of the Tiahuanaco or Megalithic people.
13
PLATE IV
THE PUMA
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PERUVIAN ART
Fig. 2. The central figure on the monolithic gateway at Tiahuanaco is represented as wearing a belt with this form of puma head on either end of it. A great number of variants of this head are common to Tia- huanaco art and wherever its influence extended.
Figs. 34 are plainly derived from the preceding figure. Fig. 3, from Pachacamac, has the ring nose. Fig. 4, from Nazca, has a step-form nose in place of the ring. There is a close similarity in the outlines of these figures. We shall find other variations on this head in Figs. 7, 9, and 15.
Figs. 5-6. These two figures will show, to a person who has no knowledge of primitive art, one way in which animal figures degenerate. It would be very excusable if such a person did not recognize Fig. 6 as a great cat. In fact, a positive identification could not be made by anyone who had not seen the same form of the animal before the degen- eration had proceeded to the extent shown here. Now, looking at Fig. 5, we recognize that it shows the same animal in a more realistic form. It is still highly conventionalized, but the presence of the humped-up back, a characteristic of the cat family, and the tail, both omitted in Fig. 6, clearly identify it. To identify many highly conventionalized repre- sentations of animals in any primitive art, one must be long associated with large collections, which are seldom to be found except in museums. Only in this way can he become familiar with the peculiar art of a primi- tive people. He sees the animal forms represented with considerable truth to nature, and also a long succession of figures where, as it were, the original form is gradually fading away, until the degeneration has run its full course and left little more than a geometrical figure.
Figs. 7-8. The Peruvians had a fondness for combining a number of animal heads in a design. Sometimes heads of the same animal, but often of two or more different kinds, were thus combined. Fig. 7 shows two puma heads joined by a curved band. The design is painted on a pottery vessel from Pachacamac. On account of the form of the band that connects the heads, this figure has sometimes been mistaken for a representation of a serpent, but a comparison of one of the heads with the four puma heads on the line above will show its true character. Fig. 8, on a web from Ancon, has the typical cat heads connected by an angular band.
Fig. 9 shows part of a human face engraved on a piece of a stone vessel from Tiahuanaco. One eye is represented with the facial decora-
15
AMERICAN MUSEUM GUIDE LEAFLETS
tion about it. The other eye is similarly decorated. The puma head below the eye plainly belongs to the same animal, as do those in Figs. 2 and 3.
Figs. 10 to 20 are from the coast region, within fifty miles of Lima.
Figs. 10-11 are very common in tapestry. Both have the raised back, a characteristic of the cat family.
Fig. 12 is another example of their fondness for joining animal forms together in a design. The two cats have the humped-up back in common.
Fig. 13 is common on cloth, pottery, gourds, and on metal objects. A comparison of this figure with that in Fig. 6 shows a great similarity in the management of the legs. Doubtless some ancestor of this design has the raised back and tail that we have seen to have been the case with the other figure.
Fig. 14 is from a piece of tapestry from Ancon. The most cohapcabie thing about this figure is the manner of representing the nose, eyes, and mouth. The technique of weaving seems to have been responsible for this form, as Hasluck shows the same device in a lion woven in a goat- hair carpet of the fifteenth century from Persia.! Certainly no one will claim contact between the prehistoric Peruvians and Persians.
Fig. 15. This design is taken from a coca bag from Pachacamac. It is in the style of Tiahuanaco.
Fig. 16 is from a long belt or sash. It is the most highly conven- tionalized design on this Plate, but the characteristics of the cat family, the raised back and tail, are still present.
Fig. 17 is painted on either end of a barrel-shaped vessel from Ica.
Fig. 18 was taken from a textile from Ancon. The design is made up of cat and bird heads. Their fondness for joining different animals together in a design has been spoken of before. It is not uncommon to find birds, cats, and fish in the same design.
Fig. 19 is from a gourd bowl from Marquez, near Lima. The design is burned into the side of the vessel. Pyrography was commonly used in decorating these gourds. This design shows three motives, cat, bird, and fish. There has never been any difficulty in recognizing the cat and bird, but in my experience few students see the fish motive in this —
1 Decorative Designs of all Ages for all Purposes. London, Paris, New York, Toronto, and Melbourne, 1808, p. 128.
16
PERUVIAN ART
figure until their attention is called to other designs where practically the same form of fish is shown, but under conditions that make its true nature more apparent. See Figs. 1-3 on Plate IT.
Fig. 20 is found both on cloth and pottery, in the coast region.
MAN AND MYTHOLOGICAL CHARACTERS PLATE V
Fig. 1 is from tapestry from Surco.
Fig. 2 was taken from a long cotton belt from Chancay.
Fig. 3 shows a woven tapestry design from Pachacamac. It is in the Tiahuanaco style and probably represents the puma god. Their fondness for combining different animal figures has been spoken of. Note near the bottom, to the right, the bird head and neck, and to the left of it a puma head with its ring nose. Compare this head with those on Plate IV, Figs. 2, 3, 4, and 9.
Fig. 4. This conventionalized human figure is common in many parts of Peru. The head occupies the center of the design, and the arms and legs have degenerated into scrolls.
Figs. 5-6 are painted on Nazca pottery.
Fig. 7. In this design the man’s headdress, arms, and legs have turned into frets.
Figs. 8-9 are from painted decorations on Nazca pottery. Fig. 8 shows a face very common on vessels from that locality, especially on the tall, cylindrical ones. |
Fig. 10 shows a human head with feather headdress. This form of representing feathers is common all over the coast region. It is painted on a pottery vessel from Pachacamac.
Fig. 11, also from Pachacamac pottery, needs no comment.
_ Fig. 12 is woven in a web from Ancon. It shows a headdress of two feathers and has the ear represented in a curious way that seems to be peculiar to Peruvian art. We find this same ear in animal figures. See the puma head at the lower part of Fig. 3 on this Plate. Dr. Arthur Baessler has commented at some length on this subject, and styles this figure “‘a misdrawn ear.’”!
1 Ancient Peruvian Art, Ed. A. H. Keane. Description of Plates 136-139. New York, 1902-1903.
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PLATE V
MAN AND MYTHOLOGICAL CHARACTERS
PERUVIAN ART
Figs. 13-14 show faces painted on Nazca pottery.
Figs. 15-17. We have here three mythological characters of the pre-Incan people. They occur in many localities, with such local varia- tions as we should naturally expect them to show. The first is part bird and part man; the second, part fish and part man; and the third, part cat and part man. They are known respectively as the condor god, the fish god, and the puma god. They are taken from painted representa- tions on pottery. Fig. 15 is from Pachacamac. Fig. 16 is common in the coast region, and is often represented as chasing two men in a balsa. Fig. 17 is from Nazca.
Figs. 18-24 show various designs from the human head and form which I have copied from painted decorations on Nazca pottery.
MISCELLANEOUS PERUVIAN DESIGNS
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BIBLIOGRAPHY
The works named below are profusely illustrated and will be found useful to the design student. They may be consulted on application to the librarian of the Museum.
PERU BagssLer, ArtTHuUR. Ancient Peruvian Art. Berlin, 1902-1903.
Crawrorp, M. D. C. Peruvian Textiles. (Anthropological Papers, American Museum of Natural History, Vol. 12, Part 3, 1915.) Peruvian Fabrics. (Anthropological Papers, American Museum of Natural History, Vol. 12, Part, 4, 1916.)
Meap, Cuartes W. The Six Unit Design in Ancient Peruvian Cloth. (Boas Anniversary Volume, New York, 1906.) The Puma Motive in Ancient Peruvian Art. (Proceedings, International Con- gress of Americanists, 19th Session, Washington, 1917.) Conventionalized Figures in Ancient Peruvian Art. (Anthropological Papers, American Museum of Natural History, Vol. 12, Part, 5, 1916.)
Reiss, W., and Striper, A. The Necropolis of Ancon. Berlin, 1880-1887. Scumipt, Max. Altperuanische Gewebe. Leipzig and Berlin, 1911.
Stuse., A., Reiss, W., and Koprer, B. Kultur und Industrie Siidamerikanischer Volker. Berlin, 1890.
Unite, Max. The Nazca Pottery of Ancient Peru. (Proceedings, Davenport Acad- emy of Sciences, Davenport, 1916.) Pachacamac. Report of the William Pepper, M.D., LL.D., Peruvian Expedi- tion of 1896. (University of Pennsylvania, Department of Archeology, 1903.)
Wrener, Cuarues. Peru et Bolivie. Paris, 1880.
SOME OTHER LOCALITIES
The books in the following list cover a wide range in the arts of primitive peoples. It contains, however, but a small part of the vol- umes in the Museum’s library that will prove of great help to the student.
AMBROSETTI, JUAN B. Antiqiiedades Calchaquies. Buenos Aires, 1902. Exploraciones Arquelogicas en la Cuidad Prehistorica de ‘‘La Paya.’ Buenos Aires, 1908. Batrour, Henry. Evolution of Decorative Art. London, 1893. Boas, Franz. Decorative Art of the Indians of the North Pacific Coast. (Bulle- tin, American Museum of Natural History, Vol. 9, 1897.)
Drxon, Rotanp B. Basketry Designs of the Indians of Northern California. (Bulletin, American Museum of Natural History, Vol. 17, 1902.)
23
FEWKES, JESSE WALTER. Archeological Expedition to Arizona in 1895. (Seven- teenth Annual Report, Bureau of American Ethnology, Washington, 1898.)
Gorpon, GrorGcE B. The Serpent Motive in the Ancient Art of Central America
and Mexico. (Transactions, Department of Archeology, University of
Pennsylvania, Vol. 1, 1904.)
Happon, A.C. Evolution in Art. London and New York, 1902. Decorative Art of British New Guinea. Dublin, 1896.
Hami.tton, Aucustus. Art and Workmanship of the Maori Race in New Zealand. Dunedin, N. Z., 1896.
Houmes, WitiiaAm H. Textile Art in its Relation to the Development of Form and Ornament. (Sixth Annual Report, Bureau of American Ethnology, Wash- ington, 1888.)
Pottery of the Ancient Pueblos. (Fourth Annual Report, Bureau of American Ethnology, Washington, 1886.) - Ancient Art of the Province of Chiriqui. (Sixth Annual Report, Bureau of American Ethnology, Washington, 1888.) ;
Hovey, WALTER. Culture of the Ancient Pueblos of the Upper Gila River Region, New Mexico and Arizona. (Bulletin 87, United States National Museum, 1914.)
JASPER, J. E., and PrrnaapigE, M. De Inlandsche Kunstnijverheid in Nederlandsch Indié. 2 vols. S’Gravenhage, 1912.
Kocu-GrtNnBERG, THEOpoR. Zwei Jahre unter den Indianern—Reisen in Nord- west-Brasilien, 1903-1905. Band 1-2. Berlin, 1908.
Kroeser, A. L. Basket Designs of the Indians of Northwestern Caliiornia. (Uni- versity of California, Publications in oo Archeology and Ethnology, Vou. II, No. 4, Berrkely, 1905.)
The Arapaho. (Bulletin, American Museum of Natural History, Vol. 18, 1902.)
Laurer, BERTHOLD. The Decorative Art of the Amur Tribes. (Memoirs, Ameri- can Museum of Natural History, Vol. 7, 1902.)
LumMuHOLTz, Caru. Decorative Art of the Huichol Indians. (Memoirs, American Museum of Natural History, Vol. 3, 1903.)
Mason, Otis Turron. Indian Basketry. 2 vols. London, 1905. NIEWENHUIS, A. A. Quer Durch Borneo. Leiden, 1907. NoRDENSKIOLD, G. The Cliff Dwellers of the Mesa Verde. Chicago, 1892.
SPINDEN, Hersert J. A Study of Maya Art: Its Subject Matter and Historical Development. (Memoirs, Peabody Museum of American Archeology and Ethnology, Vol. 6, Cambridge, 1913.)
STEINEN, Kart von DEN. Unter den Naturvélkern Central-Brasiliens. Berlin, 1894.
SELER, Epuarp. Gesammelte Abhandlungen zur Amerikanischen Sprach- und Alterthumskunde. 3 vols. Berlin, 1902-1908.
WIissLeR, CuarK. Decorative Art of the Sioux Indians. (Bulletin, American.
Museum of Natural History, Vol. 18, 1904.) Some Protective Designs of the Dakota. (Anthropological Papers, American Museum of Natural History, Vol. 1, Part II, 1907.)
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The American Museum of Natural History
BOARD OF TRUSTEES
President Henry FAIRFIELD OSBORN First Vice-President CLEVELAND H. DopGE Treasurer Henry P. Davison
Second Vice-President J. P. MorGAN Secretary ADRIAN ISELIN THe Mayor OF 1HE City oF New YorK THE COMPTROLLER OF THE City orf NEw YorkK THE PRESIDENT OF THE DEPARTMENT OF PARKS
GrorGE F. BAKER FREDERICK F. BREWSTER R. Furron Currina Tuomas DeWirr CuYLER JAMES DouUGLAS
Henry C., Frick Mapison GRANT ARCHER M. HuNTINGTON ARTHUR CurTIss JAMES WALTER B. JAMES
CHARLES LANIER OGDEN MILLS Percy R. PYNEe JoHun B. TREVOR Fevix M. WARBURG
A.D. Jurmiarp
ADMINISTRATIVE OFFICERS
Director Freperic A. Lucas
Assistant Treasurer Ture UNITED States Trust COMPANY
Assistant Secretary GEORGE H. SHERWOOD
or New YORK
SCIENTIFIC STAFF
Freperic A, Lucas, Se.D., Director
Geology and Invertebrate Paleontology
Epmunp Otis Hovey, Ph.D., Curator CHESTER A. REEDs, Ph.D., Associate Curator
Mineralcegy Woods and Forestry
Mary Cynrsia Dickerson, B.S., Curator BARRINGTON Moore, A.B., M.F., Assoc. Curator
Invertebrate Zodlogy
W. M. WHEELER, Ph.D., Honorary Curator Henry E. Crampton, Ph.D., Curator
Roy W. Miner, A.B., Assoc. Curator Frank E. Lutz, Ph.D., Assoc. Curator
A. J. MutTcuuer, Assistant Wiiiarp G. Van Name, Ph.D., Assistant Frank E. Watson, B.S., Assistant
Ichthyology and Herpetology
Basurorp Dean, Ph.D., Honorary Curator
Joun T. Nicuots, A.B., Asst. Cur. Recent Fishes
“gerne Cyntuia Dickerson, B.S., Assoc. Cur. Herpe- tology
Mammalogy and Ornithology
J. A. ALLEN, Ph.D., Curator Frank M. Cuapman, Se.D., Curator Ornithology Roy C. Anprews, A.M., Assoc. Curator of Mam-
W. DeW. Miter, Assoc. Curator Ornithology H. E. Anruony, B.S., Assistant Mammalogy Herpert Lana, Assistant, Mammalogy James P. Cuaprn, A.B., Assistant, Ornithology Leo E. Mriter, Assistant, Ornithology
Vertebrate Paleontology
Hewry Fairrietp Ossporn, LL.D., D.Se., Honorary ‘urator
W. D. Martuew, Ph.D., Curator
Watrer Grancer, Assoc. Curator ( epinals)
Barnum Brown, A.B., Assoc. Curator (Reptiles)
Witiram K. Grecory, Ph.D., Assoc. in Palwontology
Anthropology
CLARK WIssLER, Ph.D., Curator
Purny E. Gopparp, Ph.D., Curator Ethnology Rosert H. Lowrie, Ph.D., Assoc. Curator HERBERT J. SPINDEN, Ph.D., Asst. Curator
N. C. Netson, M.L., Asst. Curator
CHARLES W. Meap, Asst. Curator
Louis R. Sutuivan, A.M., Asst. Curator LESLIE Spter, B.S., Assistant, Anthropology HERMAN K. HAEBERLIN, Ph.D., Assistant
Anatomy and Physiology
Rate W. Tower, Ph.D., Curator CHARLES F. Her, Assistant
Public Health
CHARLES-EpwarRp A. WrinsLow, M.S., M.A., Curator Tuomas G. He tt, Ph.D., Assistant
Public Education
GeEorGE H. SHERwoop, A.M., Curator G. CrypE FisHer, Ph.D., Assoc. Curator ANN E. Tuomas, Ph.B., Assistant
Books and Publications
Ratpx W. Tower, Ph.D., Curator __ ' Ipa RrcHarpson Hoop, A.B., Asst. Librarian
Research Associates
M. D. C. Crawrorp, Textiles, Anthropology CHARLES R. Eastman, Ph.D., Vertebrate Palwontology W. E_mer Exsiaw, A.B., A.M., Geology ALESSANDRO Fassri, Physiology
Georce Birp Grinne.t, Ph.D., Ethnology
Grorce F. Kunz, Ph.D., Mineralogy
Cuar.es W. Lena, B.S., Coleoptera
J. Howarp McGrecor, Ph.D., Anthropology
A. L. Treapwe vt. Ph.D., Annulata
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GENERAL GUIDE
EXHIBITION HALLS AMERICAN MUSEUM NATURAL HISTORY
FREDERIC A. LUCAS, Director Assisted by Members of the Museum Staff
GUIDE LEAFLET SERIES No. 47
New York Published by the Museum January, 1918
HOW TO REACH THE MUSEUM
The Museum is located at 77th Street and Central Park West, and can be reached by the 8th or 9th Avenue surface cars, the 6th or 9th Avenue elevated to 81st Street station, or by the subway to 72nd or 79th Street station. The Museum is open free every day in the year; on week days, including holidays, from 9 a. M. to 5 Pp. M., on Sundays from | 1to5P.oM.
From the Grand Central Station take Subway Local to 79th Street.
From the Pennsylvania Station take the Eighth Avenue surface cars.
CONTENTS
Boarp or TRUSTEES.. ScreNTIFIC STAFF.
How To REAcH THE MuUSEUM.. ee ee Pan Pe es ek INDEX OF EXHIRITION HALLS. ............ *
First Fioor:
Visitors’ Room.. Memorial Hall (South Pavilion)... Meteorites. .
Indians of North Pacific Coast ‘(South Central Wi Ving). er eae ore
Eskimo Collections (South Central Wing). . Mural Decorations (South Central Wing). . Auditorium (Central Pavilion) ..
Indians of the Woodlands (Southwest WwW ing).. Indians of the Plains (Southwest ae Indians of the Southwest (West Wing). . Polar Maps (East Corridor). .
Jesup Collection of North American Woods (Southeast \ Wi ing ¥ ae
Darwin Hall, Invertebrates (Southeast Pavilion). .
SeconpD FLoor:
_ Amphibians, Reptiles (South Pavilion). . - Local Birds (West Corridor). . Ancient Monuments of Mexico and Central America (Southw est Wing).
Prehistoric Man of North America and rere rating: est can sme
Collections from Africa (West Wing). .
Birds of the World (South Central Wing).
Recent Fishes (Corridor of Central Pavilion) . Mammals of North America (Southeast Wing ea Preparation of Elephant Group (Southeast Pavilion).
TutrD FLoor:
Members’ Room (East Corridor). .
Monkeys, Apes, Rodents and Bats (South Central Pavilion). . Habitat Groups of North American Birds (South Central W ing). Public Health: Water Supply, Insects and Disease aod est | Corridor) . Auduboniana (West Corridor) .
Indians of South America (Southw est W ing)...
Chinese and Siberian Collections (Southwest Pavilion) .
Shells (West Wing)..
Mammals of the World, ‘Their Families and Evolution (Southeast Wi ing)
Hall of Insect Life (Southeast Pavilion). .
FourtTH FLoor:
Foreword on Fossil Vertebrates.
Fossil Fishlike Lizards (West Corridor). .
Early Man, Mastodons and Mammoths ( (South Pay ilion) .. Mammals of the Tertiary Period (Southeast Wing). . Fossil Reptiles and Fishes (Southeast Pavilion) .
Geology and Invertebrate Palwontology uacgn Central Wi ing ). Se tee
Gems and Precious Stones ir Corridor). .
Minerals (Southwest Win
Collections from the Paci , ‘Islands (Southwest Pavilion 2 Collections from the Philippines (West Wing). .
Firru Fioor:
Lawery. Ofietas 0. sac
History AND WoRK OF THE MUSEUM..
Membership. . Index. .
Price List of Popular Publications. .......... 00.0.0 0-0. cee eee cee es
PREFATORY NOTE
It is frequently necessary to rearrange the exhibits in order to provide space for new material or to put into effect advanced ideas regarding methods of exhibition, and as these changes are taking place all the time, it unavoidably happens that now and then discrepancies will be found between the actual arrangement of the specimens and that noted in the GurIpE. In some cases further information may be obtained from the
GuIpE LEAFLETS which describe exhibits of special interest. See list of Popular Publications.
WEST CENTRAL CENTRAL WING | PAVILION re “ ae Oe Terk Pe oe >: Pees 95 1 ' ' 1) t ' 4 H : SOUTH EAST Aid i ide, goitaies SF Lt east | WEST 4 COURT : iy CENTRAL] } ag. : WING H i; $ WING } i 1 ' xz WING { i ce ' 125% { ee a ee See ~ ' ; - i i =|2 212 SOUTHWEST = SOUTH o SOUTHEAST SOUTHWEST WING a = SOUTHEAST WING PAVILION = PAVILION & PAVILION é IS au ee 2 we < = enue | a= w
FLOOR PLAN OF THE MUSEUM
Showing the location of the halls and the names by which they are designated in this Guide. See Key to Exhibition Halls on opposite page.
The halls are named according to the position they will have in the completed Museum build- ing, which will consist of four long facades, facing east, west, north and south respectively, each con- nected with the center of the quadrangle formed by a wing extending between open courts. Thus
the hall at the eastern end of the south facade (the only facade completed) becomes the “southeast pavilion.”’
6
i. ee we
SSS SR 80 C8 ai, | aa en ae eres Fifth Floor, SEP SEEDERS SEOMI Ss «<2 «= << Co oo em & wlcde op « olarays Second Floor, INS CMENI Sod, fs yak a hon alent oh oe Third Floor, RUIN EE te PR CE RS A alae SWRA First Floor, EE Se - e Por eee ekeee Third Floor, LOSS sis ae JS al re’ a parr Second Floor, Birds of North America (Habitat Groups)...........Third Floor, a EN ES ee | ee re Second Floor, SPEER RIEATREINI Pee Se A ee Sic cas Second Floor, ae Se Poe i a, ee ae Third Floor, RINE ORR tn ek ED kt Coe itis a wie tee we First Floor, UE ee NN ee Se 8s ces weed ale Fourth Floor. LO ESTE SANT SS SR A ee gg a First Floor, pe ernIIR ARTIS ee ee nn Oi ee wis 4 kta oe First Floor, SNS ar ee Se lege enn ee Second Floor, Pemernury. IOrkm Avwieriean:. 2 ooucs 22 5 oe oo oe on First Floor, TSU a ge ee ee Fourth Floor, RGUATEWENMETITRRE So Sc. eee oS ae We whew ig wo alk Fourth Floor, Fossil Mammals (Mastodons)...................... Fourth Floor, Fossil Mammals (Horses, Camels, etc.)............. Fourth Floor, Sa SS ESOT Oc a a Fourth Floor, CePeeRIME PEMIGUS SLODES: 2 o..0. 16k. Sh chee oe Scie « Fourth Floor, Dre PETIGRTiGal nk set AE ott eee Fourth Floor, LO ESET OT STS Ae Oo See rr Third Floor, Indians of the North Pacific Coast.................. First Floor. a ES SS ae ee ae ee ane ee First Floor, SR PUMMC CRT EEM: (IOMSEIT WERE Soo 5 ried ccs » Soe bn gale oe First Floor, Indians of the Woodlands....... Mae, tay an eee First Floor, 0 SS I a te eee fe aie = ak ee a ae First Floor, Insects..... RS Ree Ale RE SOS SRN Pac) tien wee Ee Third Floor, aS EN SE Aa eh a Di eee nn ae a tee First Floor, Jesup Collection of Nerth American Woods.......... First Floor, 0 a ee pee gle ts Pea. tan Fifth Floor, eammmnme of North America... ..f.. >. ....- 252 -. «es Second Fleor, mM NE, EAMG WH OTEC <5. <4. oro Ge a cee Fe Soe Sa Third Floor, EN MLTR, se ey OO oo oe a Third Floor, akc ee er ee ae ee First Floor, PECL rik. See Ee SS Oe ee aes. First Floor, Tp aera A ee on oe Fourth Floor, OEM te be Sees Seiia e, «Poe ae ee Second Floor, OS Sx ageless ee ees Fourth Floor, Monkeys, Apes and Rodents....................... Third Floor, Peamue inanges Conecions... 22. ..2...i:.0..52:.40 Fourth Floor, ee eS sah a mEel sw aye’ ne oon We Third Floor, EE AO ER POR, See earns © oer ea Fourth Floor, Cy A el ee 2 ee ee First Floor, Prehistoric Man in Europe.............-......- ,-- Second Floor, Prehistoric Man of North America................. Second Floor, aI ARI eat, ee eas At eS rm Third Floor, NUS UINNEE MURINE 2 Shs inns nic sso kas wc dno nad Second Floor, Rodents...... TE Se ae Oe Cllr Soi g el Se ne ae Third Floor, DU ie ir gies Fo ale oe axa, Se i Gie.n ole Third Floor, UMITER REE CERI eli, WE ene a yl Gh bP oh, eels we 4 First Floor, SE RS oe Re Fs She Pg ony. 6 ore. x,o ome nev 0.2» Third Floor,
KEY TO EXHIBITION HALLS See Floor Plan on Opposite Page
Location in Museum Page South Pavilion: >. os. ox... 121 WV Geir WIDE. S Oecls 2 Pee. 46 Southwest Pavilion....... 8S Central Pavilion.......... 15 West Camidor.7......2:>« 6 West Corridor *:....... 6. .«: 40 South Central Wing...... 71 South Central Wing...... 47 Southwest Wing.......... 4i Southwest Pavilion....... 88 Southeast Pavilion....... 27 Southeast Pavilion........ 105 West Central Wing....... 15 South Central Wing...... 15 Central. Pavilion.......:.... 53 Southeast Wing.......... 25 Wrest Corridor: .o.4)5....2 97 South Central Wing...... 111 South Pavilion... , 2.3... - 97 Southeast Wing. fx. 0. ok 99 Southeast Pavilion........ 105 West Gormeuor. <= f. 6-05 116 South Central Wing...... 112 Southwest Wing.......... 84 South Central Wing...... 11 Southwest Pavilion....... 19 CR MTT sh cee ee 21 Southwest Wing.......... 47 Left of Entrance......... 9 Southeast Pavilion........ 92 Southeast Pavilion........ 27 Southeast Wing.......... 25 Wreat Cordon... =o. = 121 Southeast Wing.......... 57 Southeast Wing.......... 91 Bast. Corridors... 2. o>... 67 South Pavillon: ...¢a....; 11 South Pavilion... 3.2. 11 South Central Wing...... 111 NESE UUEENS See hs ook s wok 41 Southwest Wing.......... 117 South Pavilion.......¢... 67 Southwest Pavilion....... 117 ET a SS ae ni ea S4 OT Eo ee i a em 0 East Corndor..=.......:.. 21 Southwest Pavilion....... 45 Southwest Pavilion....... 45 West Cormdor, .2..2i2.. 2 ', 79 South Pavilion.../......:.-. 35 South Pavilion........:.. 67 Wewt We Wi oe ih a e'ss es 90 Right of Entrance........ 9 Southeast Wing.......... 91
The halls are named according to the position they will have in the completed Museum building,
which will consist of four long f.
ades facing east, west, north and south respectively, each connected
with the center of the quadrangle formed by a wing extending between open courts. Thus the hall at the eastern end of the south facade (the only facade completed) becomes the *‘ southeast pavilion.’’
7
MEMORIAL STATUE OF MORRIS K. JESUP
Mr. Jesup, President of the American Museum of Natural History for more than a quarter of a century, was a staunch supporter of the institution’s two aims: to pe a great educational institution for the people and also a
center for activity in scientific research.
8
NORINM
1. Elevators a Ut AUDITORIUM es 2. Information Bureau © <i . re s ‘mo 3. Visitors’ Room 4. Academy Room ~ Vv = > ou? | — 5. West Assembly Room ==> ”) Se han <b zwv —_ x = <” . > . ~ WEST eta = oS 6. Collection of Corals =o2 Qaur0 ” Zorv fa 2 5 SE JESUP =4= INDIANS INDIANS STATUE JESUP COLLECTION OF : Airs earn MEMORIAL HALL NORTH AMERICAN NVERTEBRATE METEORITE Hy wooos =_ = 2 3
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SOUTH
SoutH PAVILION
MEMORIAL HALL
Before entering the Museum one notices the “‘Bench Mark” estab- lished by the U. 8S. Geological Survey in 1911 on which is inscribed the latitude and longitude, 40° 46’ 47.17” N.., 73° 58’ 41” W., and height above sea level, 86 feet.
On the right is a “‘pothole”’ from Russell, St. Lawrence Co., N. Y., Glacial formed by an eddy in the waters of a stream beneath the Pothole melting ice of the glacier that covered Northern New York. The stream carried pebbles that, whirled around by the eddy, cut and ground this hole, which is two feet across and four feet deep.
On the left is a large slab of fossiliferous limestone from Kelleys Glacial Island in Lake Erie near Sandusky, whose surface has been Grooves smoothed, grooved and scratched by the stones and sand in the bottom of the vast moving ice sheet or glacier that covered the northeastern part of North America during the Glacial Epoch.
The Information Bureau and the Visitors’ Room are on either side of the south entrance. Wheel chairs for children or adults are available without charge. Postcards, photographs, guide leaflets, and Museum Visitors’ publications of various sorts are for sale, and visitors may Room arrange to meet friends here. On the right and left of the entrance are small Assembly Halls in which lectures to classes from the public schools of the City are given and where the New York Academy of Sciences and other scientific societies hold their meetings.
Bench Mark
EAST
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METEORITES 11
From the lobby the visitor first enters Memorial Hall and faces the Statue of marble statue of Morris K. Jesup, third President of the Morris K. Jesup\fuseum. Mr. Jesup was a founder, trustee and benefac- tor of the Museum and for twenty-seven years its President. Under his administration and through his liberality the Museum made rapid pro- gress. This statue of Mr. Jesup was executed by William Couper and was presented to the Museum by the Trustees and a few other friends. The marble busts in the wall niches represent noteworthy pioneers of American science, and are the gift of Morris K. Jesup. These include Benjamin Franklin, statesman and natural philosopher, Alexander von Humboldt, geographer and geologist, Louis Agassiz, zodlogist, Joseph Henry, physicist, John James Audubon, ornithologist, Spencer Fullerton Baird, zoédlogist and founder of the United States Fish Commission, James Dwight Dana, geologist, John Torrey, botanist, Edward Drinker Cope, paleontologist, Joseph Leidy, anatomist, and Robert E. Peary, explorer.
Memorial Hall was once the lecture hall and here thousands have listened to Professor Bickmore.
Circling this same hall is a portion of the collection of meteorites, popularly known as “‘shooting stars,’’ ranging in weight from a few pounds to 36 tons. The greater number of meteorites are stony, but the more interesting ones are composed chiefly of iron, while certain meteorites contain both stone and iron. The toughness of iron meteorites is due to the presence of nickel, and the fact that they were so difficult to cut led to the adoption of an alloy of nickel and iron in making the armor plate for battleships. Meteorites have a very definite structure and when polished (see specimens on the right with electric lamp) show characteristic lines which together with their composition are to the expert absolute proof that the specimens are meteorites.
* Ahnighito” or “The Tent” at the left is the largest known meteorite Ahnighito in the world and was brought from Cape York, Greenland, Meteorite by Admiral R. E. Peary. It weighs 36 tons, and its trans- portation to New York was an engineering feat. Opposite it at the right is the curiously pitted “‘ Willamette” meteorite from Oregon which Willamette was the subject of a famous lawsuit. The smaller meteor-
Meteorites
Meteorite ites will be found in the Hall of Geology, fourth floor. {The collection of meteorites is described in Guide Leaflet No. 26.| Jadeite Here too is a polished boulder of jade, or jadeite, the
Boulder second largest ever found.
12
WEAVING A CHILKAT BLANKET One of the Mural Paintings of Will S. Taylor
INDIANS OF NORTH PACIFIC COAST 13
SoutH CENTRAL WING
INDIANS OF THE NORTH PACIFIC COAST
North of Memorial Hall—that is, to the rear of the Jesup statue—is the North Pacific
Indians of Hall, where are displayed collections nal ang llustrating the culture of the Indians Alaska of the northwest coast of America.
These collections are arranged geo- graphically so that in passing from south to north through the hall the visitor meets with the tribes in the same sequence that he would in traveling up the west coast of North America.
The most striking object is the great Haida Canoe in the center of the hall. In it is being constructed a group represent-
ing a party of Chilkat Indians on the way to celebrate the rite of the ‘“‘potlatch.”’ The potlatch is the great “giving ceremony,” common to all the coast tribes when individuals and families gladly im- poverish themselves that the dead may be honored, and social standing of the clan or family recognized and increased. At the stern of the canoe, which is represented as approaching the beach, stands the chief or “‘medicineman,”’ who directs the ceremony. The canoe is a huge dugout made from a single tree, is 641% feet long and 8 feet wide and capable of carry- ing 40 men.
Against the pillars and walls of the hall are many house posts and totem poles with their grotesque carvings; the latter may rep- resent either the coat of arms or family tree, or they may illustrate some story or legend connected with
Haida Canoe
Totem Poles
.the family. The Haida Indians together with the
Tlingit are recognized as superior in art to the other Indian tribes along the northwest coast of North America. They are divided into a number of fam- ilies with various crests for each family and grouped ; in two main divisions, the Ravens and eee the Eagles. The Tlingit are makers of the famous Chilkat blankets, of which
the Museum possesses an exceptionally fine collection.
Beh
Totem pole at Wrangel, Alaska. At the bottom is
a beaver with a frog under his chin; above is a raven; and above the raven a frog, which is surmounted by a human head.
14 RELIGIOUS CEREMONIES
Among some of the other tribes there is little wool weaving, the clothing consisting of shredded and softened inner tree bark braided and matted together. The Indians of this region are preeminently a woodworking people, as is manifest in the exhibit. Religious ceremo- Religious nies and the wearing of masks generally supposed to aid Ceremonies the shaman or priest in curing disease were customary among most of the tribes. The masks represented guardian spirits and by wearing them the shaman impersonated these spirits and assumed their powers in healing the sick or obtaining game.
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ESKIMO HOME SCENE
There are two instructive groups near'the entrance to the Auditorium. In one, a home. scene within a snow house or “‘igloo,’’ an Eskimo woman is cooking blubber over the flame from a seal-oil lamp; the other represents an Eskimo woman fishing through the ice. The Museum is rich in Eskimo collections.
AUDITORIUM 15
The mural decorations by Will 8. Taylor between the windows on both sides of the hall represent the industries and cere- monies of the Indians of this region. That at the north end of the hall by Frank Wilbert Stokes relates to the Eskimo and their country.
The Eskimo collections are being arranged in the adjoining hallway and corridor. Here is a group showing the Eskimo woman cooking in the interior of a snow hut or igloo lined with sealskin. She is using a stone lamp filled with seal oil, which feeds the flame over which the meal is being prepared. Nearby is an Eskimo woman fishing through the ice. She has formed a windbreak with blocks of ice. The fish rod and hook, and the long ladle are made of bone, and with this latter she keeps the water in the hole from freezing over while she is fishing. In this section will be found collections obtained by the Stefansson- Anderson expedition from the Eskimo of Coronation Gulf, some of whom had never seen a white man. In other cases are shown the cloth- ing of the Eskimo, the many ingeniously made implements, and many finely carved and engraved ivory objects.
The doorway at the north end of the hall leads to the Auditorium,
which has a seating capacity of 1,400, and is equipped Auditorium §_ with two screens, 25 feet square, for stereopticons. Free
public lectures are given here Tuesday and Saturday evenings from October to May under the auspices of the Board of Education. There are also special lectures for Members of the Museum as well as lectures for school children. At the entrance of the lecture hall is appropriately placed a bust of Professor Albert 8. Bickmore, originator of the movement that resulted in the erection of the Museum, first curator, and founder of its lecture system.
At the end of the corridor is the power room, where may be seen demonstrated the transformation of the potential energy of coal into heat, light and motion.
Mural Decorations
Power Room
West CorRRIDOR
To the right or west of the Jesup statue are three halls devoted to Indian collections. To reach these the visitor passes through the West Corridor, which is devoted to the temporary display of recent acquisi- tions or small collections of particular interest. Opening from this is the West Assembly Hall, frequently used for temporary exhibitions as well as meetings.
On the landing, at the head of the stairway, is the William Demuth collection of pipes and fire-making appliances from many parts of the world.
AN IROQUOIS WARRIOR From the Group in the Woodland Indian Hall
Ke)
INDIANS OF THE WOODLANDS 17
SOUTHWEST WING INDIANS OF THE WOODLANDS
The halls to the west contain collections from the North American Indians of Indians and together with the hall in the south central the Woodlands wing present the nine great culture areas of North America.
(See map on the right of the entrance.)
The hall you now enter represents three of these culture areas. Filling the greater part of the hall are the tribes of the Eastern Woodlands who occupied the middle portion of the North American continent east of the Missis- sippi. In two wall cases on the left are exhibits of the Mackenzie region of the North and of the related tribes in Alaska west of that region. Midway of the hall on the right side are represented the peoples of the Southeast.
Near the entrance of the hall will be Decorated birchbark vessel of the
2 F Penobscot Indians.
found the remains of our local Indians.
On the left are some specimens of pottery vessels and many small objects of stone and bone recovered from the Island of Man- hattan and the neighboring territory of Staten Island, Long Island, and Westchester... Nearby on the same side of the hall are collections obtained from living Indians of the coast region north and south of New York. These are the Penobscot and Passamaquoddy of Maine, the Micmac and Malecite of the lower provinces of Canada, and a few but rare objects from the Delaware who once occupied the vicinity of New York City and the State of New Jersey.
On the opposite side, the north, are the Iroquois whose league comprised the Mohawk, Seneca, Oneida, Onondaga, Cayuga and later the Tuscarora. They dominated New York and much adjoining terri- tory. The exhibits represent particularly the agriculture of the Kast, which was carried on with rude tools by the women.
In a case in the aisle are exhibited wampum belts which were highly esteemed in this region. They served as credentials for messengers and as records of treaties and other important events. Later, wampum beads came to have a definite value as currency, especially in trade between the white men and the Indians.
In the farther end of the hall, on the left, are the collections from the Ojibway, Hiawatha’s people, who lived mainly north of the Great Lakes. They had but little agriculture, living chiefly by hunting
18 INDIANS OF THE WOODLANDS
and fishing. Beyond the Ojibway are the Cree, who live still farther north. Here is to be seen the rabbit skin clothing of our childhood rhymes.
Opposite the Ojibway are the great Central Algonkian tribes, the Me- nomini and Sauk and Fox, who lived south and west of the Great Lakes. They gathered wild rice and hunted and fished, practicing also some ag- riculture. In one of the Menomini cases are some skin bags beautifully worked in porcupine quills. These bags were used in the Midewin, the
secret society of the shamans.
The dwellings are of several forms, among which may be mentioned
A DANCER OF THE DOG SOCIETY — Arapaho Indian
the long rectangular houses of the Iroquois covered with oak- bark; the dome-shaped huts of Long Island and vicinity which were covered with mats and bundles of grass; and the familiar conical wigwam of the Ojibway covered with birchbark. The utensils are of pottery, wood or birchbark. Pottery was not made by all the Eastern tribes and seems to be associated with the practice of agriculture. The designs are incised, never painted. Bowls, trays, and spoons are made of wood and often decorated with - animal carvings. The use of birchbark in the construction of light, portable, household vessels is a particular trait of our Eastern Indians.
In the southeastern portion of the United States agricul- ture was highly developed. These tribes are represented by the Cherokee and Yuchi who made pottery, and by the > Choctaw and Chitimacha who have interesting baskets made of cane. The Seminoles of Florida have maintained an independent existence in the
Everglades for nearly a century. Their picturesque costumes are shown.
INDIANS OF THE PLAINS 19
SOUTHWEST PAVILION INDIANS OF THE PLAINS
The collections from the Indians of the Plains will be found in the hall adjoining. These Indians comprised the tribes living west of the Mississippi and east of the Rocky Mountains as far south as the valley of the Rio Grande and as far north as the Saskatchewan. (See map on south wall.)
Occupying the greater part of the hall beginning on the left are the
buffalo hunting tribes: the Plains-Cree, Dakota, Crow, Indians of the Biackfoot, Gros Ventre, Arapaho and Cheyenne. These Plains ’ ’ p yy’
tribes did not practise agriculture but depended almost entirely on the buffalo; buffalo flesh was their chief food, and of buffalo skin they made their garments. In some cases a buffalo paunch was used for cooking, and buffalo horns were made into various implements of industry and war. The spirit of the buffalo was considered a power- ful ally and invoked to cure sickness, to ward off evil, and to give aid in the hunt. Whenever the buffalo herds led the way, the more
A DOG FEAST OF THE SIOUX
Given in honor cf Mr. Sanford, Pierre Choteau and Catlin. From the Catlin Collection of paintings.
nomadic Plains tribes moved their tents and followed. With the extermination of the buffalo the entire life of the Plains Indians was revolutionized.
On the right, near the entrance, are the village tribes of the Plains; the Mandan with whom Lewis and Clark passed the winter of 1804-1805, the Hidatsa who now live with them, and the Omaha, Kansa, lowa and Pawnee. All these tribes raised corn and lived in earth covered
20 INDIANS OF THE PLAINS
houses of considerable size. A small model of one of these houses
stands near the exhibits.
In the center of this hall is a Blackfoot Indian tipi with paintings of
otters on the sides, representing a vision of the owner. This tipi has been fitted up to show the home life of a typical buffalo hunting Indian. There were numerous soldier soci- eties among the Plains Indians which included practically all the adult males. Each society had a special dance and special costumes. (See the Arapaho cases for costume dances.) There were other dances connected with tribal religious ceremonials, the best known and most important of which is the sun dance, illustrated by a model at the left of the tipi. The sun dance was held annually in the early summer in fulfillment of a vow made during the preceding winter by some member of the tribe who wished a sick relative to recover. The dance involved great physical endurance and excruciating self-torture, lasting three days, during which time the dancers neither ate nor drank.
In the center of the hall is a gen-
uine medicine pipe, held
Blackfoot Tipi
Societies
Sun Dance
‘ ee oa in awe by the Indians
and dearly parted with;
PIPE AND TOBACCO BAGS also the contents of a medicine pipe Dakota Indians. bundle. The contents of another medi-
cine bundle, belonging to a leading man of the Blackfoot tribe (medi- cineman), together with the headdress which he wore in ceremonies, is in a case near the tower.
The Plains Indians are noted for their picture writing on skins and for their quillwork, which has now been superseded by beadwork. They have a highly developed decorative art in which simple geometric designs are the elements of composition, this being one of the most interesting features of their art. (See Dakota case.) [See Handbook No. 1. North American Indians of the Plains.| .
Pa * —_
PUEBLO INDIANS 21
West WING INDIANS OF THE SOUTHWEST
On the left are collections from the sedentary Indians who occupy
the pueblos of the Rio Grande and of Hopi, Acoma and
— Zuni; and also the objects recovered from the prehistoric
pueblos, caves, and cliff-dwellings. On the right are the
nomadic Indians-—the Eastern and Western Apache, the Navajo, the Pima and the Papago.
The sedentary Indians live in large community houses, often with several receding stories, built of stone or adobe. They depend chiefly upon agriculture for their food, make a great variety of pottery, and have many elaborate religious ceremonies. The nomadic peoples live in tipis or small brush and thatched houses which are moved or deserted when they are forced to seek the wildgame and wild vegetable products which furnish much of their food. They make baskets for household purposes which are more easily transported than vessels of clay. There are models in the hall of the pueblos of Taos and Acoma, of prehistoric cliff-dwellings and of the houses used by the Navajo. In the first alcove on the left is shown the pottery of the villages along the Rio Grande, the principal art of the region, skin clothing, household utensils and ceremonial objects.
The upright cases of the next alcove are filled with wonderful pre- historic pottery. That in the wall case is from Pueblo Bonito. Similar gray and white ware with very elaborate and splendidly executed designs in an adjoining case are from Rio Tularosa, one of the upper tributaries of the Gila, where a vanished agricultural people once lived in pueblos and cliff-dwellings. A third case has material gathered by the Museum expedition now exploring Galisteo Valley, New Mexico. In the table case and in a case standing in the aisle are shown the wonder- ful art work in turquois, shell, stone and wood of the former inhabi- tants of Chaco Cavon. These objects, as well as the pottery from Pueblo Bonito mentioned above, were secured by the Hyde expedition.
In the next alcove, devoted to the Hopi, are the costumes, masks, images, and placques used in their ceremonies. Besides the well-known snake dance, the various Hopi villages have many interesting ceremonies, many of which are concerned with the rainfall and their crops.
The inhabitants of Zufi are believed to be the descendants of the first people seen by the Spanish in 1540. Their former villages, many of which now are in ruins, were probably the “‘Seven Cities of Cibola,” for which Coronado was searching at that time. Although they had
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PIMA, NAVAJO 23
missionaries among them for about three centuries, they have retained many of their own religious ceremonies. Many objects pertaining to these ceremonies as well as to everyday life are shown in this alcove. In the last case on this side of the hall are examples of Zuftiand Acoma pottery.
At the north end of the hall opposite the Zuni, space is given to an exhibit from the tribes of California. In the large end wall case the baskets of the region are arranged so as to show the various types.
The Pima, east side of the hall, practised irrigation, raising by its aid
f the corn and beans on which they relied for food and the Pima . é cotton which they used for their scanty garments. The Papago, with whom they are closely associated, occupied the more arid portions of southern Arizona and northern Sonora, securing their living from such desert products as the giant cactus, the century plant, the yucea and the mesquite and small game. Examples of their food, basketry, pottery, and ceremonial articles are shown.
From the aisle near the Pima-Papago section one catches a glimpse of the home of the Hopi. This large group represents the First Mesa with the village of Walpi. The canvas was painted by Howard McCor- mick and the figures were modeled by Mahonri Young.
The Navajo, a large and widely scattered tribe, inhabit much of the country drained by the San Juan and Little Colorado rivers. During the winter they occupy houses like sub- stantial log houses, but in milder weather camp with the slight shelter of a cliff or a windbreak and shade made of brush. They live by raising corn in the moist valley and on the flesh of their numerous flocks of sheep.
They are the present-day blanket makers of North America. They make use of the wool of the sheep they raise, carding, spinning, and weav- ing it by means of the simplest implements and looms. This art is believed to have arisen since the coming of the Spanish and it is known to have passed through several stages in the last sixty years. The older types of blankets here shown contain yarn which was obtained by cutting or ravelling from imported flannels, called in Spanish “bayeta,”’ from which the blankets of this sort receive their name. These are either bright red or old rose in color, resulting from cochineal dye. Several blankets are made of yarn bought ready dyed from the traders and are called Germantowns. The greater number, however, contain yarn of native spinning, dyed with native vegetable and mineral dyes.
The Navajo are also expert silversmiths. Their tools and samples of workmanship are displayed in a case in the center of the hall.
The Western Apache live along the upper portion of the Gila and
Navajo
24 APACHE
Salt rivers, where they practise agriculture, gather the wild products and hunt. ‘These were the people who, under Geronimo, raided the settlements of southern Arizona and northern Mexico and evaded our troops for years. They live in grass-thatched houses or in the open under the shade of flat-topped, opensided shelters. In an adjoining alcove is an industrial group with painted background showing the well-watered San Carlos valley occupied by the Apache for many generations. Itis shown on page 22.
Apache
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Bt ans serra hacamtiation tales $ 2 ETS HM LER IED LE Be te OTN AE: PRT RTE F Lin SH Ye ante gpa: 2H a _— 2 it Wits Cini POOL iy poperyie
An attractive Navajo blanket from the Museum’s valuable collection. The Navajo Indians of the Southwest are a wealthy, pastoral people. and the best Indian blanket makers of North America.
The Eastern Apache lived in Buffalo-skin tipis. They went far out on the plains in search of the buffalo herds, avoiding, if possible, the plains tribes, but fighting them with vigor when necessary. In dress and outward life they resemble the Plains Indians, but in their myths and ceremonies they are like their southwestern relatives and neighbors. The baskets of the Apache are shown in the large end case, which is in contrast with the corresponding case of pottery on the other side of the hall. Not the environment but social habits caused one people to develop pottery and the other to make the easily transported and not easily breakable baskets. [See Handbook, Indians of the Southwest.] [Return to the Jesup Statue.]
ee
a ee —
NORTH AMERICAN WOODS
bo Tt
East CorRIDOR POLAR MAPS
Leaving the statue on the left and “‘ Willamette’? meteorite on the right, and going east, the visitor enters the corridor where the elevators are located (Hast Corridor). Here will be found maps of the north and south polar regions showing the routes of explorers. On the wall are sledges used by Admiral Peary in his last three expeditions in search of the North Pole. The Morris K. Jesup sledge, which the Admiral used in his successful polar expedition, is the one nearest the entrance. The various Sledzes sledges in their differences of style show the persistent
effort made by Admiral Peary to bring the sledge up to its greatest possible usefulness. That he was successful on his last trip was in part due to the final modification,
On the opposite side of the map is one of the sledges used by Amund-
sen on his journey to the South Pole. [A history of south Sledee gs polar expeditions is given in Guide Leaflet No. 31.] In a room at the north end of this corridor is the large Mainka seismograph for recording the occurrence of earthquakes. This was given to the New York Academy of Sciences by Emerson McMillin, and by the Academy deposited in the Museum.
Polar Expeditions
SOUTHWEST WING JESUP COLLECTION OF NORTH AMERICAN WOODS
To the east of the elevators is the Hall of North American Forestry containing the Jesup Collection of North American Woods, a nearly complete collection of the native trees north of Mexico,
ia of Presented to the Museum by Morris K. Jesup. On the
North right is a bronze tablet, by J. E. Fraser, the gift of J. J. American Cl] dame We Tes Se ee Bid Gaettc Woods ancy, depicting Mr. Jesup as he walked in his favorite
wood at Lenox, Mass., and, still farther to the right is the
bust of Charles Sprague Sargent under whose direction the collection was brought together.
To the left is a section of one of the Big Trees of California, sixteen
feet in diameter and 1341 years old. [See Guide Leaflet No. 42.] It
began its growth in the year 550, so that it was nearly a thousand years
WILD PLUM IN THE FORESTRY HALL Each of the five hundred species of trees in North America is represented by a section of trunk
five feet long, some of a diameter not found in the country’s forests to-day. Many of the specimens are accompanied by wax models of leaves, flowers and fruits accurately reproduced from life.
26
—f lS.) _ oe 7 ill ~ @
INVERTEBRATES. PROTOZOA 27 i
old before America was even discovered. The specimens show cross, longitude and oblique sections of the wood finished and unfinished, and the labels on the specimens give the distribution of the species, the characteristics of the wood and its economic uses. The trees are grouped by families and the location of each family will be found on the floor plan at the entrance of the hall. The reproductions of the flowers, leaves and fruits in natural size are instructive. This work is done in the Museum laboratories.
SOUTHEAST PAVILION INVERTEBRATES
At the extreme east is the Darwin Hall, devoted chiefly to the invertebrate animals (those which do not possess a backbone) and to groups illustrating biological principles. Facing the entrance is a bronze bust of Darwin by Wm. Couper, presented by the New York Academy of Sciences on the occasion of the Darwin centenary in 1909. Passing around the hall from left to right the pregression is from the lowest forms of animal life, the one-celled Protozoa, to the highest and most complex forms of animal Jife, the Primates, including man. The distinctive charac- teristics of each group are fully described on the alcove and case labels. Many of the minute forms are represented by skilfully prepared models in glass and wax showing the animal many times enlarged. Thus the visitor may obtain an idea of the form and structure of these animals which in spite of their small size have in so many instances such a vital influence on the life of man.
This alcove contains the lowest forms of animal life. All are single- celled individuals. The simplest kinds are abundant in swamps and
stagnant water, others are found in myriads in the sea, Alcove I ; iG: ‘ Tarkan while the ocean bottom in many localities is covered with them. The exhibits in this alcove are mainly models, some of which represent Protozoa enlarged more than a thousand diame- ters.
Sponges are principally of two kinds—those with skeletons or supporting structures of silica (i. ¢., flint) and those with skeletons of horny fiber. The sponges of commerce belong to the latter class. In the dry specimens exhibited the skeleton only can be seen, the living tissue having been removed. Many of the ‘‘glass’’ sponges are very beautiful in design. Sponges range in
Synoptic Series
Alcove 2 Sponges
28 INTERTEBRATES. SPONGES
size from the tiny Grantia of the New England coast to the gigantic
Alcove 2 ‘‘Neptune’s goblets”? found in the eastern seas. This Sponges
alcove contains certain specimens whose tissue is repre- sented in wax tint- ed to show the nat- ural coloring of sponges, which varies from the bleached yellowish color commonly seen to deep brown or black, or yellow and red, in varying shades.
In Alcove 3 are shown coral ani- mals and __ their relatives: plantlike
European commercial sponge comparable with the Florida yel- hydroids which low sponge or ‘‘Hardhead.’”’ The sponge industry in both the : Mediterranean and the Bahama region is almost destroyed by often are mistaken careless methods, and conservation must be practised here as in other of the world’s resources. s for sea MOss, but
which really are a series of polyps living in a colony; jellyfishes with their umbrella-shaped bodies and long, streaming tentacles; Alcove 3 “Ty: Polyps brilliant colored sea anemones, sea fans and sea plumes; the magenta colored organ-pipe coral, the stony corals, and the precious coral of commerce. Coral polyps, mistakenly called “coral insects,” are the animals that build up the coral reefs. In front of the window is a life-size model in glass of the beautiful Portuguese Man-of-War. This organism is really a colony of many polyp individ- als attached to one another, and specialized for various functions.
The best known species in this group include the tape-worms, whose development and structure are shown by models in se the central case and in the third section of the left- hand alcove case. These are parasite flatworms. The less familiar free-living flatworms, which inhabit both salt and fresh water, are shown on an enlarged scale by models in the right-hand alcove case and illustrate well the great diversity of color and detail in this group. i | The Roundworms are also parasitic, since they live in the digestive canal of mammals. The most familiar is the common roundworm or stomach worm, Ascaris, of which an enlarged scale model is exhibited, showing the internal structure.
Alcove 5 Roundworms
INVERTEBRATES. ANTHROPODS 29
[Note for teachers and students—Some of the models in each alcove are anatomical, i. e., so constructed as to show the internal organs of typical members of each group. In such cases, arbitrary colors chosen to designate the various systems of organs are adhered to consistently throughout the series. For example, the digestive system is shown in yellow, heart and blood-vessels in red, organs of excretion (kidneys) in green, reproductive system in gray, and the brain and other parts of the nervous system in black or neutral color.}
The minute wheel animacules comprise many exquisite and
grotesque forms, some of which construct tubes of gela- ae tinous substance, sand-grains, etc. A few of the species are parasites, but most of them live a free, active life. ‘They are aquatic and found mainly in fresh water. The sea-mats in Alcove 7 are plant-like animals which lead the colonial form of life. The majority of the species Alcove 7 are marine, although a few occur in fresh water. Sea-Mats and : : , Lamp-Shells The lamp-shells shown in this alcove superficially resemble clams, but by structure are more closely related to the worms and starfishes.
Aleove 8 is occupied by the sea stars, sea urchins, sea-cucumbers
and sea lilies. The sea-star is the pest of the oyster beds, Pago ae where it feeds on oysters and destroys them in large Their Relatives numbers. The brittle stars are so-called because of their
habit of dropping. off one or more arms when handled or attacked. These, however, are later renewed.
The annulates, typified by the familiar earthworm, are worm
whose bodies are made up of rings or segments. They Alcove 9 , : aoe are inhabitants of both fresh and salt water, many
kinds living in the mud and sand of the shore while others bore into wood and shells. The marine annulates are often very beautiful in color and greatly diversified in form and habits, as illustrated by the models, many of which are greatly enlarged. The “houses” that these annulates build are often very beautiful and interesting. In the window is a group showing a section of mud flat on the New England coast, with the variety of worm-life found in what to the casual observer seems to be an uninhabited area, and illustrating some of their habits.
Arthropods include the familiar crabs, lobsters, insects and
their relatives. The number of existing species in crete this group is greater than that of all the rest of the animal and vegetable kingdoms together. No other group comprises so many species useful or harmful to man. In the case
30 INVERTEBRATES. CRUSTACEANS AND INSECTS
in the center of the alcove is a model showing the anatomy of the
common lobster, also enlarged models showing heads of various species of insects. On the wall are the two largest
Crustaceans .
and Insects Specimens of lobster that have ever been taken. They weighed when alive thirty-one and thirty-four pounds
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Marine Habitat Group. A community of starfishes, sea anemones, sea urchins and sponges as seen below the edge of a. Goral reef in the Bahamas.
| | _ respectively. The largest.of the arthropods is the giant crab of Japan, which, like that placed on the wall, may have a spread of about ten
feet. The main exhibit of insects is displayed on the third floor. The mollusks form a group second only to the arthropods in the vast number and diversity of forms which it embraces,
AMeove 14. including marine, fresh-water and land animals. All Mollusks mollusks have soft bodies, but nearly all of them secrete Wiedels of a shell which in many species is of pearly material (mother- ee of-pearl). Well-known examples of this group are the
common clam and oyster and enlarged models in the center case show the anatomy of these species. A large collection of mollusks is shown on the third floor.
INVERTEBRATES. WINDOW GROUPS 31
Vertebrates include the largest, most powerful and most intelli- gent of animals. This group culminates in man, who still
Alcove 12 bears witness to his chordate ancestry in the retention cluding of a chorda (cartilaginous spine), and gill clefts during
Vertebrates embryonic life. Among these ancestral forms are the
Ascidians, or Sea-squirts, an enlarged model of which is shown in the central case, while others are seen among the animals on the wharf-piles in the window group. Other models in the central ease show the development of the egg of typical vertebrates.
In the circular tower alcove in the southeast corner of the hall is a comprehensive synoptic series of stony corals. Central cases in this tower and at its entrance show unusually large specimens, while a magnificent example of madrepore coral six feet in diameter is shown to the rear of the bust of Darwin. The associations of marine life found in the Bahamas are represented by several small groups in the center of the hall.
Here also four large models show. the mosquito, which is the active agent in the spread of malaria. These models Models of. represent the insect enlarged seventy-five diameters the Malaria : : Mosquito or in volume four hundred thousand times the natural size. The mosquito in its development undergoes a ‘metamorphosis. The model at the left shows the aquatic larval stage; the larve are the “wigglers”’ of our rain-water barrels. The next model is the pupal stage, also aquatic. The third model is of the adult male mosquito, which is harmless, since it never bites man. The fourth model shows the adult female mosquito in the attitude of biting. It is so arranged as to show the internal organs, thus illustrating a typical insect anatomy. In another case is a series of models showing the life cycle of the malaria germ in the blood of man and in the mosquito.
In several of the alcove windows are habitat groups of inverte-
; brates illustrating the natural history of the commoner ae and more typical animals.
In the Annulate Alcove is shown the Marine Worm
Group, reproducing these animals with their associates in their natural
surroundings, as seen in the harbor of Woods Hole, Mass. The harbor
and the distant view of Woods Hole village with the U. 8. Fish Com-
mission buildings are shown in the background, represented by a colored
photographic transparency. In the foreground the shallow water of
the harbor near the shore is represented in section to
Group expose the animal life found on muddy bottoms among
the eel-grass, as well as the chimneys of various worm-
burrows. In the lower part of the group a section of the sea bottom
Corals
aaa RA A MEO LES ANI IT 8 I, SCI ae
Pe ¢
A PART OF THE WHARF PILE GROUP
INVERTEBRATES. WINDOW GROUPS 33
exposes the worms within the burrows. Several species of these are represented.
In the Mollusk Alcove window is shown the natural history of a sand-spit at Cold Spring Harbor, Long Island, including some of the shore mollusks and their associates. The entrance of
aa a the harbor is seen in the distance. In the foreground Group at the edge of the sand-spit a mussel-bed is exposed by the
receding tide over which fiddler-crabs are swarming into their burrows. Beneath the water surface an oyster is being attacked by a star-fish, while crabs and mollusks of various species are pursuing their usual activities.
The window group in the Vertebrate Alcove shows the piles of an old wharf at Vineyard Haven, Mass. Below the low- tide mark the submerged piles are covered with flower- like colonies of invertebrate animals. Among these are sea-anemones, tube-building worms, hydroids, mussels, seamats and several kinds of ascidians or sea-squirts. The latter are primitive members of the Chordate group which includes the vertebrates. Like the embryo of man, they possess during their larval period a chorda or cartilaginous spine. At first they are free swimming but later in life many of their organs degenerate and they become fitted to a stationary mode of life.
Wharf Pile Group
In the northeast corner of the Hall, a window group shows the animals and plants of a rock tide-pool, the ‘‘ Agassiz Cave,” at Nahant, Mass. Under a natural bridge below a 60-foot cliff the falling
ae tide leaves a pool in a _ rocky basin, sheltered within Group which is a community of sea-anemones, sea-stars, corals,
sponges, hydroids and other animals living in the midst of a gorgeous sea-garden of marine plants such as are common on the northern New England coast. Through the arch of the natural bridge may be seen a curious rock formation known as the “Pulpit Rock.”’
Other exhibits illustrate certain facts made clear by Darwin, and those who came after him. On the left facing the entrance variation under domestication is illustrated by dogs, pigeons, and
i rg domesticated fowls, the wild species from which they have Domestication been derived being shown in company with some of the
more striking breeds derived from them.
On the right, various exhibits will show variation in nature. Variation An example of this is the variation among the finches in Nature of the genus Geospiza in the Galapagos Islands.
34 HEREDITY
Other examples show by means of a series of mollusks the range of color variation within a single species of West Indian Sun Shell, variation of sculpture within a single genus of land snail, and variations about the normal type of the common scallop.
The struggle for existence is portrayed by the meadow mouse,
surrounded by its many enemies and yet continuing Struggle for
Rete to mainta n an existence by virtue of its great birth rate. The simpler features of the laws of Heredity as eluci-
dated by Mendel and his followers are illustrated by the inheritance
of seed-coat color in the common pea, the color of sweet
peas, and the coat-color of rats.
[Return to the elevators and ascend to the second floor.|
Heredity
ENLARGED MODEL OF A RADIOLARIAN
NORTH
”
w
x LABORATORIES® of iy PREPARATION
OF ea
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GALLERY
ECE
al z : wee i x a aa ast WEST Vo- Sate ae EAS Wy ox a O stu 26> O° <= Ss) [re oo gh ah ANCIENT MONUMENTS] | i aa MAMMAL S F MEXICO Seba & CENTRAL AMERICA NORTH AMERICA Fb ame o = oe sens 2 om SOUTH 1. Elevators. 2. Copies of Maya Monuments. 3. Local Birds.
SECOND FLOOR SOUTH PAVILION
This hall illustrates a phase of Museum progress, the temporary dis- order that precedes an ultimate change for the better. At present the hall contains a mixed assemblage of animals brought hither from other halls in process of rearrangement; later it is hoped that it will contain a series of groups of birds from various parts of the world.
The group of king penguins from South Georgia Island is one of four devoted to the bird life of South America, but is at present pro- visionally installed, awaiting important changes in hall and cases.
The Asiatic elephant is the famous “Tip” brought to this country in
1881, and for seven years one of the attractions of Fore- re paugh’s circus. He was given to the City of New York by
Mr. Forepaugh and lived in the Central Park Menagerie until 1894 when, because of his treacherous disposition, it was found necessary to kill him. He is said to have caused the death of several of his keepers, and was twenty-three years old when killed.
Here, awaiting the construction of a new wing, is exhibited the collec-
; tion of reptiles and amphibians. Because of the difficulty Aokieee of preserving the natural covering of many of these animals they are usually exhibited in jars of alcohol. In the speci-
mens on exhibition here the perishable parts have been cast in wax from
35
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REPTILES AND AMPHIBIANS 37
life; for example, in the star tortoise the original ‘“‘shells”’ of the specimens are used, while the head, neck and legs are restored in wax. ‘The mount- ing not only brings out the principal features of the species exhibited, but in many instances illustrates also some distinctive habit of the animals; for instance, the common newt, one of the salamanders, is represented by a series of five life-size casts showing the process of shedding the skin; Pickering’s hyla or the “‘spring peeper”’ is shown with vocal sacs inflated; and so on.
The classification of these animals is shown in the upright cases; the groups in the center of the hall represent various reptiles as they
_ appear in their natural haunts. They include the tuberculated iguana,
the water moccasin, the diamond-backed rattlesnake, the Texas rattle- snake, the copperhead, the Gila monster, the pine snake, the box tortoise and the common painted turtle.
One of the most interesting of the groups is a jungle scene in India showing a water monitor, one of the largest of living lizards, the poisonous Russell’s viper and the deadly spectacled cobra, the last with hood distended and poised ready to strike. The cobra is said to be the cause of a large proportion of the 20,000 deaths which annually occur in India from snakebite. Examine care- fully the group of the copperhead snake or “‘red-eye,”’ one of the two
species of poisonous snakes to be found in the vicinity ee Geom of New York, and also the group contrasting the harmless
watersnake with the poisonous water moccasin of southern cypresss wamps. ‘T'wo groups are devoted to rattlesnakes, which are easily recognized by the string of rattles at the end of the tail, by means of which they give warning before they strike. There are comparatively few species of poisonous snakes in the United States—about sixteen in all—comprising rattlesnakes, the moccasin, copperhead and two kinds of coral snake. All other species are harmless and in spite of the almost universal prejudice against them are very useful allies of man, since they live chiefly on rats, mice and insects injurious to crops.
Entering the darkened room nearby we find a group of unusual in-
terest, showing the common bullfrog of North America. Group This group is a study of the bullfrog undisturbed in its typical haunt. It illustrates the changes from the tadpole
Cobra Group
- to the adult frog and shows many of the activities of the frog—its molt-
ing; swimming, breathing under water and in air, croaking, and “lying low”’ before an enemy; also its food habits in relation to small mammals, to birds, snakes, insects, snails, to small fish and turtles.
Another group is the Great Salamander or Hellbender, best known in the creeks of western Pennsylvania. The group pictures them at
LOWER CALIFORNIA LIZARD GROUP
The material for this group was collected
nia.
plant life of one of the small desert islands off the coast of Lower Califor
Showing the characteristic animal and by the ‘Albatross Expedition”’ of 1911
, under Dr. C. H. Townsend.
REPTILES AND AMPHIBIANS 39
breeding time, and shows their characteristic stages and habits: thus
one of the salamanders is pictured molting, another, a Great
Salamander Male, is brooding a great mass of eggs; and the group
explains many details of their manner of living.
This depicts the spring life of a little pond in southern New England, in the water may be seen the ege masses and tad- poles of various toads and frogs, while in and about the pool are the young and full grown in character- istic poses, includ- ing some with vocal sacs distended in the act of “singing.”’ Lower In strik- en ae ing ¢ on trast with
these water loving animals is a group showing one of the desert islands off the coast of Lower Cali- fornia where rep- tiles must go with- out water for long periods. Page 38. Latest, largest, and finest of the groupsis that showing the semi- tropical life of Southern Florida, on one side a stretch of cypress swamp, on the other the sandy lowlands, each with its characteristic life, alligators, turtles, and snakes.
Florida Group
A BIT OF THE TOAD GROUP
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THE AMERICAN ROBIN—ONE OF THE GROUPS OF LOCAL BIRDS
WEST CORRIDOR
LOCAL BIRDS
Adjoining the South Pavilion is the West Corridor, which contains the collections of local birds.
In this room are specimens of all the species of birds which have been known to occur within fifty miles of New York City. As far as possible each species 1s shown in all its different plumages. In the wall-case next the windows on the visitor’s left is the Seasonal Collection, containing the birds which may be expected to occur in this region during a part or the whole of the current month; in its left-hand two panels are the permanent residents, which are never changed, and in the right-hand two are the migrants, which are changed as necessary about the first of each month. In the next case on the left come first a panel of accidental visittors—stragglers from other parts of the country and from other countries which have been taken within our limits—then the General Collection of all birds found within this area, arranged according to the current American system of classification, beginning with the Grebes and continuing around the hall to end with the Thrushes by the south- west window. | 40
MAYA ART 41
Besides the table case containing the eggs (often with the nest) of species known to nest within fifty miles of the City, there are down the middle of the room a series of groups of local breeding birds with their nests. These, the forerunners of our “‘ Habitat Groups,’ were the first of their kind made for the Museum.
At the head of the stairs, on one side is a map of the country within fifty miles; on the other, exhibits which explain what is meant by a subspecies, and through what changes of plumage a bird passes from the time of hatching.
At the other end of the room, between the windows, is a bust of John
- Burroughs, by C. 8. Pietro.
SOUTHWEST WING ANTIQUITIES OF MEXICO AND CENTRAL AMERICA
Continuing west past the collection of local birds we enter the south- west wing, devoted to the ancient civilizations of Mexico and Central America. As the hall is approached casts of large upright stones appear completely covered by sculpture. These stones, called stelae, are found chiefly near Copan in Honduras and represent the highest art of the Maya civilization.
At the left of the entrance on the south side of the hall is the exten- sive exhibit from Costa Rica of Mr. Minor Keith. This includes stone sculpture and a great variety of pottery interesting in form and design. To this collection also belongs the gold and jade from Costa Rica arranged in the cases in the center of the hall. See page 44.
On the south wall is a copy of the painted sculptures of the Temple of the Jaguars at Chichen Itza. Here are shown warriors in procession who seem to be coming to worship a serpent god. Prayers are represented as coming from their lips. This sculpture, while Maya, shows strong existence of Mexican influence in certain of its details.
In the table cases on this side of the hall are facsimile reproductions of native books or codices, which were painted free hand on strips of deerskin, paper or cloth. Several original documents are also exhibited. The Spaniards, in their zeal to destroy the native religion, burned hundreds of these books, which recorded ceremonial rites and historical events by means of pictures and hieroglyphs.
Nearby is a replica of the Calendar Stone, which is a graphic repre- sentation of the four creations and destructions of the world, as well as a symbol of the sun and a record of the divisions of the year.
Maya Art
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THE AZTEC GODDESS OF THE EARTH
The famous statue of the Aztec Goddess of the Earth called Coatlicue, ‘‘The Serpent-skirted One, ’”’ is a striking example of barbaric imagination. .It was found in Mexico City near the Cathedral in the year 1791. It doubtless occupied an important place in the great ceremonial center of Tenochtitlan, the Aztec capital, and probably dates from the last quarter of the 15th century.
The head, which is the same on front and back, is formed by two repulsive serpent heads meeting face to face. The feet are furnished with claws, but the arms, which are doubled up with the elbows close to the sides, end each in a serpent’s head. The skirt is a writhing mass of braided rattlesnakes. The creature wears about the neck and hanging down over the breast'a necklace of human hands and hearts with a death’s head pendant in the center. Coatlicue seems to have been regarded as a very old woman and as the mother of the Aztec gods.
42
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AZTECS AND MAYAS 43
In the aisle near the end of the hall stands a copy of the great sacri- ficial stone, or Stone of Tizoc, on which is a record of the principal conquests made before 1487.
The statue of Coatlicue, the mother of the two principal Aztec gods, is a curious figure, made up of serpents. See page 42.
These three sculptures were originally in the Great Temple enclosure at Tenochtitlan, the native name of Mexico City before its conquest by Cortez, but they have been removed to the Mexican National Museum.
The Nahua culture of Mexico extended through many centuries, relics of which are found deposited in distinct layers, one above the other. Inthe valley of Mexico there are three so-called culture horizons, the last being that of the Aztecs. These three stages of culture are represented on the north side of the hall beginning at the western end. We first have the Archaic Period as represented in the culture of Tarasca and Jalisco. Here are many crude figurines of pottery. The eyes and other features are formed by adding fillets of clay which are afterwards rudely modeled.
Next in order is the culture of the Toltecs, who were skilled in making pottery, the decorations of which were frequently stamped on with
terra cotta stamps. Examples of this work together with the stamps -are shown in one of the cases.
Near the middle of the hall the final period, that of the Aztecs, is shown representing their work in clay and stone.
Near the cast end of the same side of the hall in the same order will be found the Archaic Period of Central America, and the succeeding Maya civilization as represented at Chichen Itza and Copan.
The Maya were perhaps the most highly civilized people in the New World. They built many cities of stone and erected many fine pillar- like stelae to which attention was called on entering the hall. The sculp- tures on these monuments represent priest-like beings who carry serpents and other ceremonial objects in their hands. There are also on them long hieroglyphic inscriptions containing dates in the wonderful Maya calendar. Maya history contains two brilliant periods. That of the south, extending from 160 A. D. to 600 A. D., was chiefly remarkable for its sculptures. The principal cities were Copan, Quirigua, Tikal, Yaxchilan and Palenque. The second period fell between 950 A. D. and 1250 A. D., and centered in northern Yucatan. The chief cities were Chichen Itza, Uxmal and Labna, and the finest works of art were architectural. (See Handbook, No. 3, Ancient Civilizations of Mexico and Central America.)
ee
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PREHISTORIC MAN 45
SOUTHWEST PAVILION PREHISTORIC MAN OF NORTH AMERICA
Continuing west we pass into the Southwest Pavilion, likewise given over to archeology, in this instance that of North America. Here are examples of ancient pottery, arrow-heads, stone axes and other imple- ments of stone and bone, mostly from burial mounds. The most important of these are the rude implements and fragments of human bones from the Trenton gravels, as these are the most probable evidences of man’s antiquity on this continent. Notice that the arrangement of the hall is geographical and by states. In addition there is a special exhibit of Mississippi Valley pottery in the wall cases and the Douglass type specimen series in the cases to the left.
In the adjoining tower room are the implements and carvings made by the early inhabitants of western Europe. These are arranged in an evolutionary series, beginning with the so-called eoliths in the first case on the left, and continuing through the various stages of the paleolithic period to the neoliths of more modern times. This series, showing the gradually improving skill and artistic taste of primitive
man, represents at least two hundred and fifty thousand sear secam years of man’s early history, during which time Europe Europe passed through alternating warm and frigid conditions as
the great glacial ice cap crept down from the north and receded. This changing climate was accompanied by corresponding changes in the animals associated with man and on which he largely lived. Some of these are represented by the paintings on the walls copied from the caves of northern Spain and southern France where, soon after the final retreat of the great glacier, man left us illustrations in color of the bison, mammoth, reindeer and horse of that day.
On either side of the tower entrance are cases devoted to physical anthropology. The case on the left illustrates the various types of skulls of living man with the measurements on which they are classified. On the right is a comparative historical series showing the gradual devolopment of the human race.
West WING
COLLECTIONS FROM AFRICA
Opening to the north from this hall of North American Archeology is the African Hall. This differs from other halls in containing besides ethnographical specimens a number of characteristic African mammals. The future extension of the Museum will provide room for groups of African mammals, including elephants. The installation is geographical, i. e., as the visitor proceeds through the hall from south to north he meets the tribes that would be found in passing from south to north of Africa, and the west coast is represented along the west wall, the east coast along the west wall.
There are three aboriginal races in Africa: the Bushmen, the Hotten- tot, and the Negroes. In the north the Negroes have been greatly influenced by Hamitic and Semitic immigrants and become mixed with them.
At the south end of the Hall the wall is decorated with reproductions of cave-paintings made by the Bushmen, the most ancient and primitive of African natives. These works of art are remarkable for their realism, i and should be compared with the reproductions of old European cave- : , paintings in the tower of the adjoining hall.
Nothing is more characteristic of the Negro culture, to which the rest
of the Hall is devoted, than the art of smelting iron and fashioning iron
| tools. The process used by the African blacksmith is illustrated in a
: eroup near the entrance, on the west side, and the finished products,
such as knives, axes, and spears, are amply shown throughout the Hall.
The knowledge of the iron technique distinguishes the Negro culturally from the American Indian, the Oceanian and the Australian.
All the Negroes cultivate the soil, the women doing the actual tilling while the men are hunters and, among pastoral tribes, herders. Cloth-
46
- = Pr <
BIRDS OF THE WORLD 47
ing is either of skin, bark cloth, or loom-woven plant fiber. The manu- facture of a skin cloak is illustrated by one of the figures in the group to the left of the entrance; bark cloths from Uganda are shown in the northeastern section of the Hall; while looms and the completed garments are shown in the large central rectangle devoted to Congo ethnology. The most beautiful of the last-mentioned products are the ‘pile cloths”’ of the Bakuba, woven by the men and supplied with decorative pattern by the women. Very fine wooden goblets and other carvings bear witness to the high artistic sense of the African natives, who also excel other primitive races in their love of music, which is shown by the variety of their musical instruments.
A unique art is illustrated in the Benin case in the northern section of the Hall, where the visitor will see bronze and brass castings made by a process similar to that used in Europe in the Renaissance period. It is doubtful to what extent the art may be considered native.
The religious beliefs of the natives are illustrated by numerous fetiches and charms, believed to give security in battle or to avert evils. Ceremonial masks are shown, which were worn by the native medicine- men.
[Return to Central Pavilion.|
SoutH CENTRAL WING BIRDS OF THE WORLD
Going north we enter the hall containing the general collection of birds. In the first four main cases on the right the 13,000 reo known species are represented by typical examples of the the World Pp p y typ p principal groups arranged according to what is believed to be their natural relationship. The series begins with the Ostriches, the “lowest”’ birds (that is, those which seem to have changed least from their reptilian ancestors), and goes up to those which show the highest type of development, the Singing Perching Birds such as our Thrushes and Finches. The remaining cases on the right wall and all of those on the left show the geographical distribution of the bird fauna of the world. The specimens are grouped according to the great faunal regions, the Antarctic, South American Temperate, American Tropical, North American Temperate, Arctic, Eurasian, Indo-Malay, African and , Australian realms. These cases in connection with the accompanying maps give opportunity for a comparative study of the birds of the differ- ent parts of the world. In each region, as in the Synoptic Collection, the birds are arranged in their natural groups to the best of our present knowledge.
48 EXTINCT BIRDS
THE DODO
Restored from Old Dutch Paintings. This gigantic, monstrous pigeon was abundant in Mauritius when the island was discovered, but was quickly exterminated by the early Dutch navigators.
Down the middle of the hall near the entrance are several cases con- taining birds which have become extinct or nearly so. The Labrador Duck, once a common visitor to our Long Island shores, became extinct for no known reason. The great Auk and the Dodo were flightless species which bred in great numbers on small islands and were easily and quickly killed off by men. The Passenger Pigeon of North America lived by the million in such dense
Extinct Birds
EXTINCT BIRDS 49
THE PTARMIGAN IN WINTER
One of a series of four small groups showing this bird’s seasoned changes of color as brought about by molting and feather growth.
flocks that vast numbers were slaughtered with ease, but the last indi- vidual died in captivity Sept. 1, 1914. The Heath Hen formerly had a wide range on our Atlantic seaboard, but as a game bird it was so continually persecuted, in and out of the breeding season, that it is now extinct except for a colony under protection on the island of Martha’s Vineyard. Specimens of all of these birds are shown here, the Dodo being represented by an incomplete skeleton and by a life-size repro- duction copied from an old Dutch painting. Others of our splendid game birds, such as the Trumpeter Swan and Eskimo Curlew, are nearly, if not quite, gone and more, like the Wood Duck and Wild Tur- key, will soon follow them if a reasonable close season and limited bag be not rigidly enforced. Still others—the beautiful Egrets and the Grebes, for example—have already gone far on the same road owing to the great demand for their plumage for millinery purposes.
Also down the center of the hall, and in certain alcoves as well, are several cases designed to illustrate the general natural history of birds.
50 BIRDS OF PARADISE
LABRADOR DUCKS, NOW EXTINCT
From the Group in the American Museum.
The widely different plumages (varying with age, sex, season, or all G ._ three) often worn by one species will be found illustrated eneral Topics . ; 2 tet in the Ptarmigan case and in the case containing Orchard Orioles, Snow Buntings, Scarlet Tanagers and Bobolinks. The rela- tionship between structure and habits, the many forms of bill, feet, wings, tail, etc., and the different ways of using them are illustrated in other cases, particularly by one showing the feeding habits of some birds. Other cases show instances of albinism, hybridism and other abnor- malities; the excessive individual variation in a bird called the Ruff; birds of prey used by man in hunting; a few domestic birds (an extensive collection of which will be found in Darwin Hall); the growth of the embryo and the structure of the adult bird; Archzopteryx, the oldest fossil bird; and a map-exhibit of migration. .
In the alcoves to the right the first egg case contains the Synoptic Collection of Eggs, which shows the variation in the num- ber in a set, size, shell-texture, markings, shape, etc., and — tells something of the laws governing these things. The succeeding cases contain the genera] exhibition collection of nests and eggs, principally those of North American and of European birds.
Near the center of the hall is a nearly complete collection of the Birds of Paradise, presented by Mrs. Frank K. Sturgis. This family of birds is comfined to New Guinea, Australia and some neighboring islands. Their feet and bills show their close relationship to the Crows and Jays, which they resemble in nesting habits as well. Their chief characteristic is of course their gorgeous plumes, wonderful as well in variety of form and position as in beauty. For these plumes the birds are still being killed in such large numbers
Eggs
Birds of Paradise
BIRDS OF PARADISE 5]
that unless the demand for them soon ceases all the finer species will be exterminated, as the Great Bird of Paradise is already believed to be. More Birds of Paradise have been sold at a single London auction (23,000 in two sales) than are contained in all the museums of the world.
In this hall, too, are a number of groups of local and other birds which
are placed here only temporarily. In fact, much of the arrangement of
the hall will be changed as soon as circumstances permit. Suspended from the ceiling is the skeleton of a Finback
Finback Whale ___ : Whale, sixty-two feet in length.
THE WHOOPING CRANE
A bird almost extinct. Shown in the ‘‘ Habitat Groups.”
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CORRIDOR OF CENTRAL PAVILION RECENT FISHES
The exhibit of fishes occupies the center of the north end of the hall of the birds of the world and the corridor beyond the door leading to the gallery of the Auditorium.
The exhibit includes typical examples of the various groups of back- boned animals popularly comprised in the term ‘“‘fishes,’’ and is arranged in progressive order. The visitor should first examine the case of hag- fishes and lampreys facing the large window, near the end of the corri- dor. These rank among the most primitive ‘“‘fishes.’’ They are with-
A PORTION OF THE PADDLEFISH GROUP
out scales, without true teeth, without paired limbs, and their backbone consists of but a rod of cartilage. One of the models shows the way in which a newly caught hag-fish secretes slime, forming
a eats around it a great mass of jelly. In the same case are Lampreys lampreys, and one of them is represented attached to a
fish, which it fatally wounds. The nest-building habit of lampreys is illustrated in a neighboring floor case: here the spawners are preparing a pit-like nest and carrying away stones, which they seize with their sucker-like mouths.
The visitor should next inspect the cases of sharks which are situ- ated on the south side of the corridor. These include various forms of sharks and rays, selected as typical members of this ancient group—for the sharks have numerous characters which put them in the ancestral line of all the other groups of fishes.
Sharks
53
LUMINOUS DEEP-SEA FISHES
At the top as seen in daylight; below as they would appear in the deep sea by their own phosphorescence.
al
WINDOW GROUPS 55
Next to be visited are the silver sharks or Chimaeroids, which are exhibited by the side of the lamprey case. They are now known to be highly modified sharks: their scales have failed to develop, and their heavy ‘‘teeth”’ appear to represent many teeth fused together. These fishes are now very rare and, with few exceptions, occur in the deep sea. The present models show the characteristic forms.
The adjacent case pictures the three types of surviving lungfishes, and the models are arranged to indicate the life habits of these interest- ing forms. Thus they are shown going to the surface of the water to breathe; and their poses indicate that they use their paired fins just as a salamander uses its arms and legs. In fact, there is reason to believe that the land-living vertebrates are descended from forms closely related to lungfishes. One sees in this case also a‘‘cocoon,’’ in which the African lungfish passes the months when the streams are dried up and during which time it breathes only by its lungs.
Returning again to the cases of sharks, one sees on a panel above them two huge sturgeons and two large garpikes. These are examples of the group known as Ganoids—fishes that represent, as it were, a halfway station between lungfishes and sharks on the one hand, and the great tribe of bony fishes on the other—such as perches, basses, cod, ete. <A further glimpse of the Ganoids may now be had by viewing the spoonbill sturgeon (paddlefish) group, on the side opposite. In this group a number of these eccentric fishes are shown side by side with gar- pikes and other characteristic forms from the lower Mississippi. This group was secured through the Dodge Fund. In the window are groups showing the shovel-nosed sturgeon, and the spawning habits of the bowfin and of the slender-nosed garpike,— allGanoids. See page 54.
Passing now through the door leading to the Bird Hall, we are con- fronted by a case containing additional examples of the Ganoids. Here one sees garpikes, sturgeons, the mudfish (Amia), together with the African Bichir, a curious Ganoid encased in bony scales and retain- ing structures which bring it close to the ancestral sharks.
The remaining cases in the center of the bird hall give characteristic examples of the various groups of modern “bony fishes,” or Teleosts. There are fourteen cases of them in all, but they offer little space in which to illustrate the 10,500 species. For these are the fishes which are dominant in the present age, con- tributing over nine-tenths of all existing forms and including nearly all food and game fishes such as bass, cod, eel and herring.
The cases should be examined in the order in which they are arranged; and one may pass in review the catfishes, carps, eels, trout, salmon,
Lungfish
Window Groups
Teleosts
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Cae “ S ef
—
56 ' DEEP-SEA FISHES
pike, mullets, mackerel, basses, wrasses, drumfish, sculpins, cods, flat- fishes and anglers. The end case exhibits the grotesque fishes from deep water, in
which they occur to the surprising depth of over 3,000 Deep-Sea
Fishes fathoms, or more than 3% miles. They are usually soft.
in substance, with huge heads and dwarfish bodies, and are often provided with illuminating organs like little electric bulbs, which can be “‘shunted”’ off or on by the fish, and enable the fishes either to see their neighbors or to attract their prey. A group representing a number of these fishes as they are supposed to appear in the gloom of the profound depths, lit up only by their luminous organs, is shown in an enclosure next to the Paddlefish Group mentioned above. See page 56. Before the visitor has completed his view of the hall, he should examine the two wall cases, on either side of the doorway, which explain the characteristic structures of fishes of different groups, and the way in which the groups are related to one another. In one of these wall cases various kinds of fishes have been arranged in a genealogical tree, and the lines and labels give an idea of their evolution. Above the cases hangs a reproduction of the Giant Ray or “devil- fish” over sixteen feet across, taken by Mr. Coles, with whom Colonel Roosevelt made the expedition described in Scribner’s for October, 1917.
[Return to the Elevators.|
CHIMERA, A DEEP SEA “SILVER SHARK”
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“\ ae Cr THE VIRGINIA DEER—A CHARACTERISTIC NORTH AMERICAN MAMMAL
Line drawing from the mounted specimen. This Virginia doe stands as the first example in the
~ Museum of the new methods of animal sculpture as opposed to the old taxidermy. It was mounted
and presented by Carl E. Akeley in 1902.
SOUTHEAST WING MAMMALS OF NORTH AMERICA
Continuing east beyond the elevator corridor, we enter the hall devoted to North American mammals. Something like 2,000 kinds or species and subspecies of mammals have been described from North America and the purpose of the exhibits is to show those that are pe- culiar to that region or characteristic of it, the more important, or more striking, being displayed in groups that tell something of their home life or of the region in which they live. The individual specimens give some idea of the variety of species found in North America and their range in size and color.
The appearance and arrangement of the hall is impaired by the Boreal Mammals placed here in order to provide room in the adjoining hall for work on the great group of African Elephants and other mammals.
The first mammal to catch the eye is the giant moose of Alaska. Back of this is a group of moose from New Brunswick, and beyond this the American bison; these groups,
mounted years ago, are still among the finest examples of their kind.
Moose Bison
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NORTH AMERICAN MAMMALS 59
On the north, or left side of the hall, is a group of Virginia deer, a ae, familiar and widely distributed species, shown in their ‘aay 2 summer coat. Farther on are the great brown bears of Alaska, the. grizzly bear, a family of fur seals from the
Pribilof Islands, and a family of Rocky Mountain goats.
THE WEASEL IN WINTER
One of the groups representing the small mammals found within fifty miles of New York City. The others of the series show opossum, raccoon, red and gray foxes, skunk, mink, muskrat, woodchuck, rabbits and squirrels. The list includes some ‘‘fur-bearing’’ species; weasel fur is often used instead of ermine.
In the case immediately at the left of the entrance, and in the al- coves, are groups of small mammals, including many found within fifty miles of New York City.
One of these groups shows the opossum, the sole representative
inthe United States of the marsupial or pouched mammals. Opossum With what appear to be the head and ears of a pig and the prehensile tail of a monkey, with a strange pouch for the transportation of the young, and with proverbial cunning and remarkable tenacity of life, the opossum is one of the quaintest
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FUR SEALS ON KITOVI ROOKERY, PRIBILOF ISLANDS
60
NORTH AMERICAN MAMMALS 61
and most interesting of North American mammals. This is the animal so famous in the negro songs of the South.
Next is the raccoon, more commonly known as the ‘‘coon.” It is nocturnal in habit and makes its nest in hollow trees. Twospeciesof fox are shown, the red fox and the gray fox, both of which are justly famous for their sly cunning.
Raccoon Foxes
Dees tay? PS ie BISON COW AND CALF The big game of North America is described in Guide Leaflet No. 5, North American Ruminants. The common skunk is a very useful although greatly abused animal. While it occasionally destroys poultry and other birds, its principal food consists of injurious insects and field mice. Its defensive weapon is an excessively fetid fluid secreted by a pair of glands situated near the base of the tail. It has the ability to eject this fluid to a considerable distance. Its skin makes a valuable fur known as “Alaskan sable.” Other fur-bearing animals shown are the mink and otter and the
Skunk
Otter weasel, the latter in both its summer dress of dull brown a a and its winter coat of white. Weasel fur is often used ease
in place of ermine.
Another important fur-bearing animal shown is the muskrat. In the group are seen its summer home, usually a burrow in the bank of a stream or pond, and its winter mound, construct- ed of swamp grass and roots mixed with mud. Muskrats are extensively
Muskrat
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| MAMMALS OF THE NORTH 63
trapped for their fur, and in 1913 no less than 4,500,000 were sold in London.
Back of the gray fox a group of little brown bats shows about a hundred of these animals gathering in Wyandotte Cave,
Brown Bat ; : Indiana, for their long winter sleep.
The woodchuck or ground hog is a vegetable feeder, but does very little harm to crops save clover. It hibernates for a large part of the year, usually from September to April. The old legend says that the ground hog comes out of his hole on the second of February, and if it is bright and he sees his shadow he goes back into his hole for six weeks longer and we may expect more cold weather. Other groups represent the varying hare, the jack rabbit amid the characteristic sage brush, and the common species of squirrels.
Woodchuck
Hares and Squirrels
Pack rats, so called from their habit of packing off, carrying away, small articles, are characteristic of the mountain regions of the West, though one species is found near West Point.
Pack Rats
In the center of the hall is a group showing the color phases of our black bear, from which it appears that in a part of its range the black bear is literally a white bear.
At the end of the hall is a group of Roosevelt elk found in the Coast
Range from British Columbia to Northern California. Roosevelt Elk Once abundant, they have become much reduced in
a numbers, though an effort is now being made to preserve Sheep them. On the opposite side of the hall are the mountain
sheep or bighorns. Nearby is a group of that interesting animal, the beaver, perhaps the most important of North American mammals and one intimately connected with the early history and explora- tion of this country.
Beaver
On the south side of the hall are displayed some of the cloven-hoofed
animals of North America. These include sheep, musk
ox, caribou, collared peccary and various species of deer.
In one of the cases is a group of antelope showing the man- ner in which they wander across the plains.
: Here too are, for the time being, shown the mammals of the polar regions, placed in the North American hall in order that the Southeast Pavilion, which once harbored them, may be used as a workroom for the preparation of a group of African elephants and other mammals from the dark continent.
Antelope Group
Ri |
] races of man
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AFRICAN CHIEF MANZIGA
One of the figures illustrating the pr
sH Ke)
MUSK OX 65
Grant’s caribou inhabits the barren ground of the
extreme western end of the Alaskan peninsula. The type specimen of this species is in the Museum. Near by is a group of the Atlantic walrus. These huge mammals are relatives of the seals, inhabit the waters of the Far North and are still fairly abundant along the shores of Greenland. The seal and walrus are the animals which play such an im- portant part in the life of the Eskimo. From these animals come the principal food supply, skins for clothing, for fishing and hunting gear, boat covers, and harnesses for dog teams; from bones and tusks are made knives, bows, harpoons, and other hunting and cooking utensils.
The specimens in the musk ox group were collected for the Museum by Admiral Peary in 1896. Musk oxen inhabit the snow- covered wastes of the Arctic barrens, living mainly upon willow leaves, dug up from under the snow.
Note the various devices in the way of labels introduced to make the exhibits interesting and instructive. At the entrance attention is called to the principal causes influencing the distribution of mammals; on many of the labels are maps showing the range of the species shown, and near the group of mountain sheep is a label including a map and miniature models illustrating the species of North American mountain sheep and their range.
Grant’s Caribou Group
Walrus Group
SOUTHEAST PAVILION
Owing to lack of an appropriation, no additions have been made to the Museum building for the past ten years, and although a new wing was authorized and the excavation for the basement actually made, work was stopped in 1912.
Owing to this fact, and the continued Hors of the Museum expedi- tions, all space in the Museum, and especially the storage rooms and work rooms, have become badly congested. When Mr. Akeley began the preparation of the group of African Elephants, intended as the central piece for the projected African Hall, it was necessary to clear out the Southeast Pavilion in order to provide necessary space; when the collections were received from the Congo Expedition, the collection of fishes was removed from the Central Corridor to the Bird Hall to furnish a little storage room. The beautiful Reptile Groups are installed in temporary quarters in the Central Pavilion, Second Floor, while nothing can be done toward exhibiting the collection of Mammals of the Sea, and the African Hall—the most beautiful and comprehensive museum exhibit yet devised—is still in the future.
[Return to the Elevators and ascend to the Third Floor.]
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99
NORTH PUBLIC EDUCATION vw) < o| 2 |S a 6 oO a z = u} = jo WEST a =~ Phe: EAST w ee es x= fa} a <x * a| Sie Fy < as "_ ate LOCAL REE BE vonkeys —S mar mbes OF INSECTS NDIANS OF A/P fied | Giomaatey | gay FT BEER MAN | WHELES IIN SEC LiFe 3 SOUTH r4 1. Elevators 2. Members’ Room 3 Public Health TuHtrD FLOOR EAST CORRIDOR To the left of the elevators is a room set apart for the use of honorary or subscribing members of the Museum where they may Members’ : : . . ; Dinieis leave their wraps, rest, write letters, or meet their friends.
Nearby is a bronze tablet in memory of Jonathan Thorne,
whose bequest provides for lectures and objects for the instruction of the blind.
SoutH PAVILION APES, MONKEYS, BATS, RODENTS
This hall, in course of rearrangement, is to contain, besides the Pri-
mates, which include man, apes, monkeys and lemurs, the small sys- tematic series of insectivores, bats, and rodents.
The Systematic Series of Primates, intended to give some idea of the
number of species in this order, and their range in size, form and color, begins on the left with examples of the principal races of mankind and is continued in the wall cases around the room, ending with the lemurs.
Species of especial interest are shown in groups, the first to meet the
Horse-Tailed eye being the beautiful black and white horse-tailed Monkeys monkeys.
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PROBOSCIS MONKEY One of many interesting forms in the Primates Hall.
The orang utans, on the south, or left side, show a family of these great apes feeding on durians. This group, one of the first groups of large animals to be mounted in this country, was looked upon as a daring innovation.
The red monkeys, engaged in rolling up sheets of moss, as one African would a rug, to get at the insects beneath, illustrate the Red Monkeys point that some monkeys feed largely on the ground.
At the other extreme are the spider monkeys, so named peered from their slender, spidery limbs, who dwell in the tree Monkeys y Spidery 8, Who
tops under the roof of the jungle.
Noteworthy among the single specimens is the gorilla, largest and most powerful of apes; ‘‘Mr. Crowley,” for many years a resident in the Central Park Zoo, and the curious proboscis monkey from Borneo.
Skeletons of man and the large apes illustrate the similarities and differences in structure between them and there is an important series of skeletons of monkeys and lemurs.
The fruit bats, often known as flying foxes, the largest members of the order and found only in the warmer parts of the Old World, are represented by a small portion of a colony from Calapan, Philippine Islands. Such a colony may number several thousands, and be very destructive to bananas and other fruits.
Orang Utans
Fruit Bats
69
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DUCK HAWK ON PALISADES OF THE HUDSON
Realism and artistic effect have been achieved in the ‘‘Habitat Bird Groups,’’ and they present vividly many stories of adaptation to environment.
SoutH CENTRAL WING BIRD GROUPS
Here are the “Habitat Groups” of North American birds. This unique series of groups shows the habits of some typical American birds in their natural haunts. The groups have been prepared under the immediate direction of Frank M. Chapman, curator of ornithclogy, who collected most of the specimens and made practically all of the field studies necessary for their reproduction. In the course of this collecting, he traveled more than 60,000 miles. The backgrounds are reproductions of specific localities, painted from sketches made by the artist who usually accompanied the naturalists when the field studies for the groups were made. Practically all sections of the country are represented;
71
72 ORIZABA GROUP
thus the series not only depicts characteristic bird-life of North America, but characteristic American scenery as well. The backgrounds of the groups were painted by Bruce Horsfall, Charles J. Hittell, J. Hobart Nichols, Carl Rungius, W. B. Cox and Louis A. Fuertes. The foliage and flowers were reproduced in the Museum laboratories from material collected in the localities represented. Each group is fully described in the label attached to the case. [See Guide Leaflet No. 28.] Beginning with the case at the right of the entrance and passing on to the right around the hall, we find the groups arranged in the following sequence:
The distribution of birds, notwithstanding their powers of flight, is limited in great measure by climate. Thus in traveling from Panama north to Greenland there are zones of bird- life corresponding to the zones of temperature. This con- dition is illustrated on the mountain of Orizaba in Mexico, where in traveling from the tropical jungle at its base to its snow-clad peak the naturalist finds zones of life comparable with those to be found in travel- ing north on the continent. Thus the Orizaba group so far as the dis- tribution of life is concerned is an epitome of ail the groups in the hall.
Among our most beautiful and graceful shore-birds are the terns and gulls, which (because of their plumage) have been so cease- lessly hunted and slaughtered for millinery purposes that now in their breeding-places there are only hundreds where formerly there were thousands. The group represents a section of an island off the Virginia coast where the birds are now protected by law.
The duck hawk may be found nesting on the Palisades of the Hudson almost within the limits of New York City. It builds nests on the ledges of the towering cliffs. This hawk is a near relative of the falcon which was so much used for hunting in the Middle Ages. It often comes into the City for pigeons.
In August and September the meadows and marshlands in the
vicinity of Hackensack, New Jersey, are teeming with ee mca bird-life. In the group showing these Hackensack Group meadows are swallows preparing to migrate southward,
bobolinks or “rice birds”? in autumn plumage, red-winged blackbirds, rails, wood ducks and long-biled marsh wrens.
The wild turkey is a native of America and was once abundant in the wooded regions of the eastern portion of the United States, but is now very rare. It differs slightly in color from the Mexiean bird, the an- cestor of our common barnyard turkey, which was intro- duced from Mexico into Europe about 1530 and was
Orizaba Group
Cobb’s Island Group
Duck Hawk Group
Wild Turkey Group
brought by the colonists to America. (Reproduced from
studies near Slaty Forks, West Virginia.)
“SNAKE-BIRD” 73
The great blue heron usually nests Florida Great jin trees. ‘The Blue Heron é ‘ ‘ Group bird flies with its neck curved back on its body and be- cause of this habit can read- ily be distinguished from the crane with which it is frequently confounded. (Re- produced from studies near St. Lucie, Florida.)
In the “‘bonnets”’ or yel- Water Turkey low pond-lily or swamps with ae cypresses and
cabbage pal- mettoes, the shy water tur- key builds its nest. It receives the name “‘turkey”’ from its turkey-like tail and the title ‘‘snake-bird”’ from its habit of swimming with only the long slender neck above water. (Reproduced from studies near St. Lucie, Florida. )
The sandhill crane builds
its nest of reeds
Sandhill Crane . Group in the water. Unlike the herons in this respect, it A PORTION OF THE EGRET GROUP differs also in its manner As shown here, the birds carry their plumes only dur-
: ; ing the nesting season; killing the parents means the of flight, alwavs stretching slow starvation of the young.
its neck well when on the wing. (Reproduced from studies on the Kissimmee Prairies of Florida.)
Pelican Island on the Indian River of Florida has been made a reservation by the United States Government and these grotesque birds may now breed there undisturbed. The view shows a section of the island ai the height of the nesting season. Notwithstanding the hundreds of young birds that are clamoring for food, observation has shown that the parent bird can
Brown Pelican Group
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CALIFORNIA CONDOR 75
pick out its own offspring with unfailing accuracy. (Reproduced from studies at Pelican Island, Florida.)
This beautiful bird has been brought to the verge of extinction in
this country through the use of its “‘aigrette plumes”’ American for millinery purposes, and is now confined to a few pro- Egret Group tected rookeries of the South. The birds have these
plumes only during the nesting season, at which time the death of the parent means the starvation of the young. (Reproduced from studies in a rookery of South Carolina.)
The turkey vulture, or “buzzard,” is one of the best-known birds of the South, where it performs a valuable service in acting as the scavenger of the streets. On this account it is pro- tected by law and by public sentiment and has become both abundant and tame. (Reproduced from studies at Plummer Island in the Potomac River, near Washington.)
The California condor is the largest and one of the rarest of North- American birds. It is not so heavy as the condor of the Andes, but has a slightly greater spread of wing, eight and one-half to eleven feet. In the group the visitor is sup- posed to be standing in the interior of the cave where the bird has its nest and is looking down on the river of the cafon which is more than five thousand feet below. (Reproduced from studies in Piru Cafion, California.)
The foreground of the group shows a detail of the island that is
painted in the background. The young birds are feeding,
Turkey Vulture Group
California Condor Group
a and it will be noticed that one fledgling is reaching well Group down the mother’s throat after the predigested food.
(Reproduced from studies at Monterey, California.) Formerly this area was an arid place with a characteristic desert bird Sen Joaquin fauna. Now the ranchmen have irrigated the land and Valley Group aquatic bird-life abounds. This group is a good illustra- tion of the influence of man on the bird-life of a region. In the breeding season the flamingoes congregate in great numbers in their rookeries. There were estimated to be two thousand nests in this colony. The flamingoes construct their nests by scooping up mud with their bills and packing it down by means of bills and feet. The nests are raised to a height of twelve or fourteen inches; this protects eggs and young from disasters due to high water. Only one egg is laid in the nest, and the young is born covered with down like a young duck and is fed by the mother on predigestedfood. The brilliant plumage of the adult is not acquired until the fifth or sixth moult. (Reproduced from studiesin the Bahama Islands.)
to) Group
—--
. Man-of-War
76 GOLDEN EAGLE
In this group is shown a portion of a coral islet on which three
thousand boobies and four hundred man-of-war birds
were nesting, the former on the ground, the latter in the sea
Bird Group grape bushes. (Reproduced from studies in the Bahama Islands.)
The abundance of bird-life in one of these rookeries is quite astound- ing. In this group are roseate spoonbills, snowy egrets,
Booby and
eck American egrets, little blue herons, Louisiana herons, _ Group ibises, cormorants, and water turkeys. Because of the
ereat inaccessibility of this island it has been one of the last places to escape the depredations of the plume-hunter. (Repro- duced from studies in the Everglades of Florida.)
The golden eagle is one of the most widely distributed of birds. In North America it is now most common in the region from ee Eagle the Rockies to the Pacific Coast, although it is found as far east as Maine. Stories to the contrary notwithstanding,
the eagle never attacks man, even though the nest is approached. Its food consists of rabbits, squirrels, woodchucks, and occasionally
_ Sheep. (Reproduced from studies near Bates Hole, Wyoming.)
These two groups have recently been added, though provision was
made for them in the original plans for this gallery. The
eos Swan whooping crane was exterminated so rapidly that not
Whooping only was it impossible to obtain a nest and young, but it Crane was necessary to use old birds taken many years ago.
The abundance of bird-life in this western lake beneath Mt. Shasta, which is seen in the center of the background, is astonish-
Klamath Lake . . : : Group ing. Here is an example of how the normal nesting habits of a bird may be changed by its being driven into a dif- ferent locality. In the group are white pelicans which usually make a nest of pebbles, Caspian terns, which commonly build their nests on sand, and cormorants that nest on rocks, all nesting together here on the tule or rush islets of the lake. (Reproduced from studies at
Klamath Lake, Oregon.)
The scene represented in this group is above timber-line on the crest.
of the Canadian Rockies, 8,000 feet above the sea.
oe Although these mountains are in the temperate region, Group the altitude gives climatic conditions that would be found in the Far North, and the bird-life is arctic in
character. Here are nesting the white-tailed ptarmigan, rosy snow
finches and pipits. (Reproduced from studies in the Canadian
Rockies.)
: j
PRAIRIE CHICKEN 77
This group shows a stretch of Western pla- teau covered with sage brush. In this brush is seen the male sage grouse strutting and woo- ing a mate. (Reproduced from studies at Medicine Bow,
Wyoming.) The prairie chickens are akin to the com-
Sage Grouse Group
Prairie Chicken mon grouse. The Group group represents
a typical scene during the mating season. The male birds go through most surprising antics in their efforts to attract the females. i” SSP They inflate the orange-colored Love-making of the prairie chicken. In this position sacs on the sides of their necks, fGoming sound which may carry: 4 distance of two dancing and strutting about ™** and uttering a loud, resonant, booming note. (Reproduced from studies near Halsey, Nebraska.)
The wild goose is'one of the first birds to migrate north in the spring. It nests among the lakes of Canada even before the ice is melted. To secure the young birds for this group it was necessary to hatch the eggs of the wild goose under a hen, so difficult is it to find the young in nature. (Reproduced from studies made at Crane Lake, Saskatchewan, Canada.)
The grebes are aquatic birds which build their nests in the water. During the incubation period the parent bird usually covers the eggs with grass and reeds when leaving the nest. Nesting at the same lake with the grebes was the redhead, a duck which lays from fifteen to twenty eggs. (Reproduced from studies made at Crane Lake, Saskatchewan, Canada.)
The loon is justly famed for its skill as a diver, and can swim with great speed under water. Its weird call is a familiar sound on the northern New England lakes. Many loons pass the winter at sea fifty miles or more from land. (Reproduced from studies at Lake Umbagog, New Hampshire.)
This rocky island thirty miles from shore in the Gulf of St. Lawrence affords some protection to the sea birds which still nest in great
Wild Goose Group
Grebe Group
Loon Group
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PUBLIC HEALTH 79
numbers on and in its cliffs, although the colony is a mere shadow of what it was even fifty years ago. Seven species are shown nesting in the group—the razor-billed auk, Leach’s petrel, gannet, puffin, kittiwake gull, common murre and Brunnich’s murre. (Reproduced from studies at Bird Rock, Gulf of St. Lawrence.) This was the American Museum’s first habitat group. [Return to the South Pavilion containing the apes and monkeys.]
Bird Rock Group
West CORRIDOR PUBLIC HEALTH
Returning to the South Pavilion where the monkeys are, and passing to the right, we enter the West Corridor containing the exhibits of the Department of Public Health.
The Hall of Public Health is dominated by a bronze bust of Louis Pasteur, the founder of scientific bacteriology and preventive medicine, which was presented to the Museum through the courtesy of the Pasteur Institute of Paris. Near the head of the stairway is a reading table where pamphlets bearing on insect-borne disease and other public-health problems may be consulted.
The first section of the exhibit deals with the natural history of water supply as it affects the life and health of man. The large frieze at the entrance to the corridor on the left illustrates the primary source of water supply, the sea, the clouds, and the secondary sources, rivers and lakes. Diagrams, models, and a relief map show the variations in rainfall at different points in the United States. Relief maps of the region about Clinton, Massachusetts, before and after the construction of the Wachusett Reservoir for the water supply of Boston, show the way in which surface water supplies are collected by impounding streams, and a model of a well sunk through impervious clay or rock down to water-bearing strata shows how ground- water supplies are obtained. A series of samples and models illustrate the variation in composition which occur in natural waters, from the swamps of Virginia to the deep wells of Iowa and the turbid rivers of the Ohio Valley.
Some of the principal micro-organisms, Algze and Protozoa, which grow in reservoirs and impart tastes and odors to water are represented by a series of glass models. The effect produced by the pollution of water by disease germs is illustrated by relief maps and diagrams show- ing the course of famous typhoid and cholera epidemics. Models are displayed which illustrate the purification of water by storage, filtra- tion, and disinfection, the filter models being elaborate representations
Water Supply
80 BACTERIA
of the plants at Little Falls, N.J., and Albany, N. Y. Diagrams indicate the results of water purification as measured in the saving of human life. Finally a series of five large relief maps show the growth and develop- ment of the water supply of New York City.
Following the water-supply exhibit is a series of models illustrating aseniee the dangers from improper disposal of the liquid wastes City Wastes of the city and how they may be avoided. Actual points
of danger in the neighborhood of New York are shown where polluted harbor waters, bathing-places, and shellfish beds consti- tute a menace to health. Modern methods for the treatment of sew- age on scientific lines are illustrated by a series of models of screens, sedimentation tanks, and filter beds of various types.
The cases near the window are devoted to the group of Bacteria, espe- cially in their relation to human life. Glass models show the various shapes and relative sizes of these minute forms, and in particular of the principal types which cause disease. In anearby case are displayed actual colonies of a number of species of bacteria, including some which produce disease and others which are beneficial to man by their effect upon soil fertility or from the fact that they may be utilized in the production of substances useful as foods or in the arts. A group of transparencies at the window shows some of the more im- portant disease bacteria as they appear under the microscope.
Bacteria
Another series of exhibits deals with the transmission of disease by insects, notably by the fly and flea and by the mosquito. The most striking features are greatly enlarged models of the
Insects fly, the flea, and the louse. These, the finest models of and : Disease the kind ever made, were prepared by the late Ignaz
Matausch from his original studies, and required several years of constant, exacting labor.
The egg, larva and pupa of the fly, and the eggs of the louse are also shown.
Models in the wall case deal with the life history of the fly, showing its various stages in their natural size and actual habitat, and illustrate the large numbers of flies which may breed in a single pound of.manure and the enormous progeny which may spring from a neo pair and their descendants during the breeding season.
The deadly work of the fly in carrying typhoid ea isdJustrated by graphic presentations of typhoid statistics of the Spanish-American War and of the relation between flies and “summer disease”’ of children, as worked out by the Association for Improving the Condition of the Poor in New York City.
THE FLEA AND BUBONIC PLAGUE
Nearby are two models showing unsanitary and sanitary conditions onasmallfarm. In one, pools of stagnant water and uncovered manure heaps and general uncleanliness favor the breeding of mosquitoes and flies, while the open doors and windows give these insects free access to the house. In the other, the swampy land is drained and cultivated, the windows screened, the shallow dug well replaced by a driven well; the conditions are sanitary, and health and prosperity replace sickness and poverty.
Various types of traps for larvee and adult flies are shown with models illustrating how fly-breeding may be prevented, how human wastes may be protected from their access, and how manure may be cared for so as not to be a medium for breeding flies.
A wall case on the right of the entrance to the hall shows a group of the natural enemies of the fly: the cock, phebe, swifts, the bat, spiders and centipedes, in characteristic surroundings as they may be seen in the corner of a New York State farm on a late August afternoon.
The relation of the flea and the rat to the terrible disease bubonic
plague is illustrated in considerable detail. Wall charts The Flea _—_—— picture the spread of the great historic epidemics of this and Bubonic : ; ; Plague disease, and reproductions of sixteenth and seventeenth
century drawings show with what terror the Black Death was regarded in pre-scientific days. The chief carrier of the disease, the flea, is shown in a remarkable model, 120 times the length of the actual in- sect, and having the bulk of 1,728,000 fleas, prepared by Ignaz Matausch.
Specimens of some of the principal animals which harbor the plague germ and serve as reservoirs from which it is carried by the flea to man (the black, brown and roof rats, the wood rat and the California ground squirrel) are shown, and the manner in which the disease is disseminated is illustrated by a copy of a corner of a rat-infested house in California. The original from which this was copied, as well as many of the rats and squirrels, were obtained through the courtesy of the U. 8. Public Health Service of Washington. A habitat group shows a typical family of ground squirrels on a rocky hillside in central California, during the breeding season in May. Preventive measures used against the plague are illustrated by models of a farm with buildings rat-proofed, of a rat-killing squad, equipped for work in San Francisco, of a ship at dock with rat-guards to prevent the access of rats to the shore, and by specimens of various types of rat traps.
In a window case are shown various stages of the common mosquito, Culex, as well as of Anopheles, the carrier of malaria, and Aedes, which is responsible for the spread of yellow fever. In the same case are specimens of other insect carriers, such as the flea, the bedbug and the
82 MALARIA AND YELLOW FEVER
louse. Small cases flanking the windows contain specimens of the Glossinas, which transmit sleeping-sickness and the Mosquitoes Nagana disease in Africa, and of the ticks which spread and Other ors Texas fever of cattle and relapsing f Insect Carriers LeX@S fever of cattle and relapsing fever, African fever, of Disease and Rocky Mountain spotted fever of man. Nearby are shown maps indicating the area affected by the principal tick fever in the United States and a model of a dipping vat used in
freeing animals from tick infestation.
A series of models and diagrams is devoted to the life history of the Anopheles mosquito and its relation to malaria. A relief map of the State of Arkansas illustrates the coincidence between low swampy lands and the prevalence of malaria, and another shows the heavy incidence of malaria in the vicinity of marshlands near Boston. A small relief map indicates the type and arrangement of drains used for lowering the water level and eliminating mosquito-breeding pools, and diagrams illustrate the progress made in mosquito control in New Jersey and the financial return which has resulted.
Mosquitoes and Malaria
A wall case devoted to the natural history of the mosquito illustrates the world distribution and seasonal prevalence of malaria and yellow fever in relation to the habits of their mosquito hosts, the breeding-places of mosquitoes, the life history (shown by specimens) and the money cost of malaria to the United States. Here are also shown some of the practical methods of control by ditching, oiling, stocking with fish, and encouraging enemies such as the bat, bite cures, and repellents and finally the practical results in the reduction of malaria which have been obtained in Italy. A second mosquito case contains a series of small-scale models, attractively worked out by Otto Block, illustrating Mie some of the methods and results of tropical sanitation borne Disease aS applied to the mosquito-borne diseases, malaria and yellow fever. A hospital at Panama is shown as it was during the French regime with mosquito-breeding pools all about and with the legs of the beds and the flower pots set in dishes of water to keep off the ants. In contrast there is illustrated a modern hospital with all stagnant water removed, and wards screened and ventilated. Other models show the sanitary squads on the Isthmus which fought the yellow-fever mosquito in the town by fumigation, and the malarial mosquito in the country by ditching and oiling. The same case con- tains oil paintings of the completed canal and of the camp near Havana where the secret of the transmission of yellow fever was discovered and the foundations of tropical sanitation laid in 1900. Photographs
Malaria and Yellow Fever
MILITARY HYGIENE 83
of the four American Army officers, Reed, Carroll, Lazear, and Agra- monte, to whose researches this advance is due, are hung upon the wall near by.
One wall case is devoted to the subject of military hygiene, which
a has become of such immediate moment and has, on the Hygiene whole, been so successfully solved during the Great War. Diagrams illustrate the relative deadliness of disease germs and bullets in earlier wars; and their lesson is reinforced by a representation of the relative importance from injuries in action and from typhoid fever during the Spanish War. One company, con- fronted by a cannon, suffers the loss of one man wounded, while the other, facing a tube of typhoid germs, has one dead and thirteen in the hospital. Other models show how camp wastes are disposed of, and how water supply is sterilized, and still others, how the soldier’s tent is pro- tected against mosquitoes and how a field hospital is equipped. The field ration of the soldier and the preparation of anti-typhoid vaccine are illustrated by specimens and models. Two tree trunks, one normal and the other infested with fungi as a result of mechanical injury, illustrate the important fact ae that the normal plant or animal is able to resist disease, and Disease While anything which tends to lower vital resistance may open the way for the invasion of pathogenic germs.
The collection of Auduboniana, or objects relating to the life and works of John J. Audubon, presented to the Museum by his granddaughters, Maria R. and Florence Audubon, occupies the stairway hall. It includes original sketches and paintings by Audubon and his sons, illustrations in various stages from the Quad- rupeds of North America, and some of the copper plates of the “‘ Birds of North America.’’ The most important piece is a large painting of a covey of “English” pheasants, flushed by a dog. Of more personal interest is the gun carried by Audubon on many of his expeditions and a favorite buckskin hunting coat.
Near by is a portrait of Robert Havell, the engraver and publisher of the first edition of Audubon’s, Birds of America.
Auduboniana
$4 THE PERUVIANS
SOUTHWEST WING
~* INDIANS OF SOUTH AMERICA
Passing through the west corridor, where the exhibit of the Depart- ment of Public Health is installed, and on into the adjoining hall to the west, we find the collections from South America. The greater part of
the hall is filled with archeological material illustrating the
er of various forms of culture existing in Colombia, Ecuador, America Peru, Bolivia, and Chile, in prehistoric times. The remains
found in Peru, in parts of Central America, and in Mexico show a degree of culture far in advance of that attained in any other part
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PIECES OF CLOTH FOUND WITH PERUVIAN MUMMIES
The prehistoric Peruvians were familiar with modern weaves, including the finest gobelins and produced highly decorative effects by harmonized colors and a repetition of woven-in designs. The Museum’s collection of mummy cloths is one of the largest in the world, and is much used by teachers and students of art
THE PERUVIANS 85
of this continent in prehistoric times. Unlike the ancient peoples of Mexico and Central America the Peruvians had no written language. They were tillers of the soil and raised maize, potatoes, oca, quinua, beans, coca, and cotton. They had domesticated the llama, which was used asa beast of burden. They excelled in the manufacture and decora- tion of pottery vessels, in metal work, and in textile fabrics. In the case
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PERUVIAN MUMMY BUNDLES AND MUMMY
The ancient Peruvians wrapped their dead in fabrics of fine cotton and wool, then covering with a sack of strong cloth. The mummy “bundle” thus produced was often given a ‘‘false head”’ of cloth filled with cotton or vegetable fibre. Climatic conditions in Peru have preserved these mummies and their wrappings during many centuries.
directly in front of the entrance are displayed gold and silver objects, such as beads, cups, pins and ear ornaments, which show the high degree of skill attained in the beating, soldering and casting of metals. In weaving they were perhaps preeminent among prehistoric peoples, many of their specimens exhibited here being unsurpassed at the present day. The materials used were cotton and the wool of the llama, alpaca and vicuna. In the first cases on the right are examples of these textiles with looms and shuttles. [The musical instruments of ancient Peru