219

INSCRIBED BIRCH BARK SCROLLS

AND OTHER OBJECTS OF THE MIDEWIWIN
Richard E. Nelson
Duluth, Minnesota
Midewiwin priests with their medicine bags, lodges and a village of
the dead, heads with power lines, turtles and thunderbirds, snakes and
serpents, underwater panthers and sea monsters inhabit the world of
one w h o studies the incised birch bark scrolls of the Grand Medicine
Society.
Little did I realize that a love of the birch tree, nourished by a
childhood c a m p song:
White stately birch
Beside a sparkling lake,
Here we campers gather
A n d true friendship make.

would develop into a fascination with the objects crafted from the bark
of that tree by Native Americans. Seemingly there is no end to the size,
shape, or use of the objects formed from this bark.
Recently m y collecting activity has centered on incised birch bark
items. This material, usually in the form of bark scrolls, had its origin
in the Midewiwin, or Grand Medicine Society of the Ojibwa. Inscriptions were engraved with awls on the soft inner bark of the birch for
use as mnemonic devices in ceremonial teaching about the mysteries
of the society. While most scrolls are interpreted only by initiates or
informants, speculation about engravings is possible based on studies
from scrolls which have been interpreted.
Early descriptions of this picture writing are found in the reports of
W.J.Hoffmann (1891) and Henry R. Schoolcraft (1854). A more recent
study, The Sacred Scrolls of the Southern Ojibwa, was published in
1975 by the late Selwyn Dewdney. H e examined over 150 inscribed
scrolls and developed a typology of the mnemonic records from the
research. O f the eleven scrolls in m y collection none are included in
the D e w d n e y inventory. Other inscribed birch bark items of possible
Mide origin are in the collection, too. This paper will be a study and
description of these artifacts largely using the categories developed by
Dewdney.
Prior to a review of the engraved birch bark items in the collection
a survey of material in the literature might prove helpful.

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Richard Nelson

Outside of the studies previously mentioned there are limited references to birch bark picture writing. Frances Densmore examines it in
her Chippewa Customs (Densmore 1979:86-92, 174-183). The cover of
Norman Feder's Art of the Eastern Plains Indian (1964) is a reproduction of a song scroll in the Brooklyn Museum's Nathan Sturgis Jarvis
collection. Additional brief references are found in Feest (1980:61,62),
Whiteford (1973:109), and others.
Pictures of birch bark scrolls and inscribed work in exhibition catalogues are few. T w o scrolls were in the Sacred Circles exhibition, one
of which is partially shown in a photograph in the catalogue (Nelson
1977:99 Item 160). In the 1977 exhibition catalogue, The Native American Heritage, of the Art Institute of Chicago two scrolls are pictured
(Mauer 1977:128-129 Items 141, 143). A n incised birch bark comb case
is illustrated in Art of the Great Lakes Indians, the catalogue of the
1973 Flint Institute of Arts exhibit (Flint 1973:102 Item 479).
Other photographs are reproduced in several additional sources. The
study of the Jarvis collection, mentioned earlier, shows a song scroll
attributed to either the Sioux or Chippewa (Feder 1964:35). Richard
Conn's book, Native American Art in the Denver Art Museum, pictures
a detail from one of the Midewiwin scrolls in that institution's collection
(Conn 1979:91). A detail of one of the other large scrolls in the Denver
collection is illustrated in Feder's American Indian Art (Feder 1965
Item 218). Dewdney describes this as a Ghost Lodge or funeral scroll
and states that it is the largest one, 71 3/4 x 15 3/4 inches, that
he found (Dewdney 1975:186). Dewdney makes no reference to the
Mide roll pictured in Carrie Lyford's Ojibwa Crafts (Lyford 1943:49).
There is no information given by her about the repository where it is
located. Another scroll from an American collection, the Field M u s e u m
of Natural History, Chicago, is partially shown in America's Fascinating
Indian Heritage (Reader's Digest 1978:343). It is pictured again along
with a sacred song record in The Archaeology of North America (Snow
1976:94-95).
A European collection scroll which is not listed in Dewdney's inventory is found in Christian F. Feest's Native Arts of North America
(Feest 1980:61-62). It appears to be a master scroll and is in the M u seum fur Volkerkunde, West Berlin.

Inscribed Birch Bark Scrolls

221

Scrolls from Canadian collections are pictured in several books. One

shown in Nancy-Lou Patterson's Canadian Native Art from the National M u s e u m of Canada is similar to a Saulteaux-Ojibwa scroll described by Dewdney found at the Lower Fort Garry M u s e u m (Patterson
1973:34; Dewdney 1975:150). A photograph of a placement or shooting
scroll in the Glenbow Institute collection is reproduced in Stones, Bones
and Skin, Ritual and Shamanic Art (Brodzky 1977:31).
Along with a photograph, Chippewa Customs depicts some line
drawings of a scroll and other forms of picture writing (Densmore
1979:Plate 34, 89, 91, 177-181). A n extensive study of Mide scrolls
and Ojibwa religious heritage was made by Fred K. Blessing, Jr. in
The Ojibwa Indians Observed. In this study many scrolls are reproduced through line drawings (Blessing 1977:116-163), some of which are
shown again in Dewdney.
The Dewdney study provides helpful categories for reviewing the
scrolls in m y collection. He lists six categories: origin scrolls, migration charts, master scrolls and ritual charts, ghost lodge and sky degree scrolls, deviant scrolls and enigmatic scrolls (Dewdney 1975:21-22).
While the collection does not include material of each type, several categories are included and the typology is helpful in a collection analysis.
Origin Scroll
A n essential element of Midewiwin ceremonials was the use of a
megis shell, a small white sea shell. This origin scroll was collected by
Monroe Killy at Nett Lake, Minnesota, in 1954. His informant told
him that it depicts a megis shell emerging from a primordial whirlpool.
A myth describing this is from Basil Johnston's (1976:87-88) Ojibway
Heritage:
The sacred Midemegis represented and commemorated an event in the history
of the Anishnabeg.
According to accounts, a large group of Anishnabeg left their homeland in search
of the Land of Abundance. Thinking that such a land lay to the east, the band
travelled for m a n y years in the direction of the morning. They at last came to a
great ocean whose waters were salt. Unable to go further, the Anishnabeg settled
on the lands of the salt waters. So long did they remain that the m e n and w o m e n
forgot their origin.
O n e day a small sea shell emerged from the waves of the great sea and hovered
over the land of the Anishnabeg where it remained for a long time. It frightened
the men, w o m e n and children; puzzled the wise and learned medicine men.
The medicine m e n and w o m e n went into seclusion and kept vigil until one of the
elders received a dream. He dreamed of a land to the west, where the sun sank.
The vision of the setting sun was to him as beautiful as that of the dawn. W h e n he

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Richard Nelson

related his dream to his colleagues, they interpreted his vision as a sign to return
to their homeland which all, except the very ancient had forgotten. T h e elders
remembered a previous land and existence only in story.
The medicine people told the leaders the meaning of the ea shell. A n d the leaders immediately c o m m a n d e d the Anishnabeg to dismantle their lodges and prepare
to go on a long journey.

While the megis shell and whirlpool dominate the centre and right
side of this scroll, the most elaboratefigureis thefinelydrawn crosshatched frog. Since the frog is traditionally an evilfigure,its prominence in this scroll is enigmatic, unless it is to be inferred that the
power of the megis is able to destroy and overcome the power inherent
in the frog. Credence is given to this theory by the six shooting points
or arrows that are drawn on or around the frog. Similar arrows are
shown on human figure placement charts which were used for megis
"shooting" of Midewiwin degree candidates (Dewdney 1975:100).
The second animal figure in the scroll is a very small bear with a
heart line. Thefigureis drawn at right angles to the frog and slightly
to the right and above it. It is a small benevolent figure viewing the
victory of the Megis over the frog.
This scroll is a single section of bark. To prevent splitting of the
bark the ends are bound with small split endsticks that are bound with
ties made from the inner bark of the basswood tree.
Master Scrolls and Ritual Charts
Master scrolls were used by the Mide priests to initiate candidates
into the various degrees of the Grand Medicine Society. There were a
total of eight degrees. However, few candidates reached that level and
it is unusual to find a scroll that was used beyond the fourth degree.
The number of degrees pictured in the scrolls are referred to as lodges.
A small, 4 x 2 3/4 inches, single lodge scroll in the collection depicts
a human profile with power lines radiating from the skull. Thefigureis
set within a double circle which has an arrow and serpentfigurescoming
out of the circle. That total scene is set within a double outlined lodge.
The inscribed work on this small amulet is meticulous in the manner
in which the scribe or awl was used on the bark. W h e n Ifirstobtained
this scroll I thought that it might have been made as a tourist item.
However, upon reflection I no longer feel that was its purpose. I believe
that the scroll was used as a personnal amulet carried as a charm in a
medicine bag or bundle. I have discovered no reference in the literature to such a small scroll. It hasfinesingle endsticks bound to the bark

Inscribed Birch Bark Scrolls

223

with basswood strips.

In a two lodge Master scroll the head of an underwater panther is
depicted along with numerous otherfish,serpents, sea creatures and
mythological sea animals. Each lodge contains priestlyfigureswith
power lines, onefigurein profile, two others with a frontal view. From
the emphasis on malevolent sea creatures, a conjecture is that this
scroll focused on teachings that would enable the candidate to overcome
these menacing forms. The presence of the power imbued priests is
indicative of the forces which must be brought to play in order to
subdue them. The scroll is composed of two sections, sewn together in
a double running stitch, with what appears to be cord made from the
inner bark of a cedar tree. The ends are bound with a single endstick
attached with the same material.
Ritual dance patterns form the major content of another two lodge
scroll. Highly developed dance patterns were part of the ceremonial
activities of the Grand Medicine Society. In this chart those patterns
are seen in the swirling lines within each lodge. A n interesting feature
on this scroll is the north-south orientation of thefirstlodge (reading
from left to right), although the lodge entrances are on the east and
west sides. Usually the lodges are in a rectangular form with the longer
dimension running from left to right or west to east. Several human
forms and creatures grace the bark but the major feature is the fluid
lines of the dance. The two bark sections are sewn in an irregular
double stitch of rawhide lace. The endsticks are single charred wooden
pieces attached with the rawhide. One endstick is longer than the
other, making a convenient handle as the scroll is used.
The largest scroll in the collection is composed of three bark sections.
It shows three large round lodges connected by twin paths with four
small round lodges, one off each path, between the three large circular
lodges. N o reference to a similar scroll has been found. Engravings in
thefirsttwo lodges are leaf and tree forms, some reminiscent of birch
bark cutouts (Howard 1980), sgrafitto on bark baskets or asymetrical
beadwork patterns on bandolier bags. Since part of the lore transmitted
in the Grand Medicine Society dealt with the beneficial use of herbs,
this could be a scroll containing references to this heritage. The most
elaborate features are in the lodge on the left, using the prominant
human figure engraved on the path inside the middle lodge for the
orientation of the reading of the scroll. This west lodge contains four

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Richard Nelson

levels of plant forms. They are not song references since there are
no pause marks between any of the plant forms. The two pathways
connecting the three lodges show additional plant forms. The second,
or middle, lodge contains two levels of medicinal forms. The third
lodge, containing no plant forms, encloses four cross-hatched circles
and has four serpent forms writhing out of it at the termination of
the scroll. The scroll is dominated by the circular lodge forms. There
are, in addition, three groupings of two and three h u m a n figures and
several animal forms, one of which seems to be a turtle. The sections
are stitched in a haphazard manner with sinew. The endsticks are
charred larger split sticks carved with a notch towards each end and
bound to the bark with sinew.
The one scroll in the collection which is almost identical to a scroll
found in Dewdney (Dewdney 1975:90) and Blessing (Blessing 1977:155159) is a four lodge Master scroll. Their large scroll, 50 3/4 x 13 3/4
inches, came from the Minnesota White Earth Reservation. The one
in m y collection is much smaller, 32 1/4 x 4 1/2 inches. The contents
of the scrolls are so similar that the White Earth one could have been
used as the original source of the one in m y collection. Further, I have
seen another scroll in a private collection similar in size and content to
mine. It was from the Nett Lake Reservation in northern Minnesota.
These three scrolls indicate the wide distribution of similar material in
centers of Mide influence among the Ojibwa.
John C. Ewers in his recent article, "Water Monsters in Plains Indian
Art," traces the widespread influence of water monsters among the
Great Plains tribes (Ewers 1981:38-45). However, there is a strong
tradition of these creatures reflected in the artifacts of the tribes of the
Great Lakes. One of the earliest is a ca. 1780 black buck skin bag with
a porcupine quill embroidered underwater panther in the center of the
pouch (Flint 1973:2). Other examples are seen on garters, reed mats,
nettle bags and yarn bags (Flint 1973:61,71,85,87).
Between the second and third, and third and fourth lodges of this
Master scroll are two underwater panthers. In some of the literature
this cat-like creature with the horned human-faced head is called an
underground lion, Ah nah mah cumig mish shee bee szhee (Blessing
1977:154). A m o n g the titles which Dewdney lists for this monster are
Misshipeshu, Snake Monster, Underground Panther, Huge Cat, and
Great Lion (Dewdney 1975:123). Sometimes this underwater creature

Inscribed Birch Bark Scrolls

225

takes the form of a whale-likefishwithfinsalong its back and a horned

h u m a n head. This creature is portrayed above the third lodge in the
scroll. It has similarities to the Jonathan Carver drawing of the Sioux
water monster (Ewers 1981:41).
Four small bark sections form this scroll, none longer than 8 1/4
inches. The sections are bound with a double running stitch of what
is now dried buck skin lacing. The ends arefinishedwith single carved
flat endsticks. The total scroll appears to have been wiped with a brown
colored wash.
Ghost Lodge and Sky Degree Scroll

Dewdney discovered only ten specimens of what he describes as

Ghost Lodge, or funeral scrolls (Dewdney 1975:103). One of the scrolls
in m y collectionfitsthis category. Distinguishing features are the circular "Village of the Dead," the large lodge on the west side of the scroll
towards the setting sun, the pathway between the two lodges which
features images found on other funeral scrolls, the wolf, bird, serpent,
trees, and bear path. This scroll is similar to several others which
depict an additional set of two lodges (Dewdney 1975:104). Proxy candidates were used during the Ghost Lodge ceremonials to insure the
voyage of the deceased to the Village of the Dead. This use of proxies
may account for the second set of lodges in this scroll. A human figure
with a staff or cane incised in the lodge connected to the large circular
lodge could depict the deceased. The small circles adjacent to the figure could be tally marks indicating the number of occasions in which
the scroll had been used.
The two four-pointed stars at the bottom of the scroll are, in this
context, unusualfigures.N o such inscriptions are seen in other Ghost
Lodge material. They m a y serve no other function than to indicate
how widespread this design motif was among the American Indians.
The two sections of the scroll are sewn with a double row of sinew
running stitches. The endsticks, attached with sinew thread, are smalldiameter charred sticks.
Shaking Tent Chart
A note by an unknown author which accompanied this scroll relates,
"It's the ritual style scroll outlining the Shaking Tent ceremony of the
Chippewa. The conjurer went into this tent to make contact with the
spirits for various reasons. I've heard a story on this from a Chippewa

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Richard Nelson

up on Leech Lake (Minnesota) relative tofindingthree lost youths who

vanished. He directed the searchers to the spot where the bodies were
found, they drowned in the lake!"
Schoolcraft describes a similar petition of a Jossakeed, "It is inquired
by one questioner, to know the precise spot on the bottom or shores
of Lake Superior, of a person w h o has been drowned" (Schoolcraft
1855:422).
Dewdney devotes little space to this type of shamanism in his study.
He has several reproductions, one a birch bark bitten work pattern, or
dental pictograph (Dewdney 1975:121). The phenomena of the shaman
who entered a tent to c o m m u n e with spirits was reported early in the
contact period. Representations on the charts and scrolls usually show
a tent with a juggler inside and, outside the tent, various manito, or
animal forms which were called upon for assistance. The clearest photographic reproduction of this type of bark engraving is in the Chicago
exhibition catalogue (Maurer 1977:128).
This two section scroll is the least legible of any in m y collection.
A n unusual feature is the depiction of three tents. The largest tent
and shaman are flanked on either side by small tents and conjurers.
The various animal forms that surround the tents include a wolf, deer,
beaver, thunderbird, bear,fishand an underwater monster. The scroll
has a set of vertical lines which separate the three tents. This type of
separation or pause mark is frequently seen in song scrolls. Its function
in this instance is unknown.
The distinctive scent of burnt bark still lingers over this scroll, which,
at one time, was charred byfire.A small portion was destroyed at that
time. The two sections are irregularly laced with sinew and the small
round burned endsticks are attached with the same material.
Song Records or Scrolls
The bark records which form the major emphasis of this study were
instruction texts covered with mnemonic symbols used by the Mide
masters to transmit the tradition of myth and healing ceremonials to
the initiates.
However, there was another style of scroll, sometimes used in Mide
rites. It is the song scroll. They have several distinguishing characteristics. They are smaller than those examined earlier. Instead of being
bound with endsticks, the ends are cut in a rounded fashion to prevent
the splitting of the bark. The engravedfiguresused to recall a sacred

Inscribed Birch Bark Scrolls

227

song or chant are arranged side by side, periodically separated by pause

marks.
Three scrolls in m y collection are song records. T w o of them are
made from thick spring bark and are rolled so tightly that they have
not been opened. Both seem to have been made by the same person.
A m o n g the few pictographs which can be seen are plant forms and a
bird. The third scroll records plant, human and animal forms. One of
the bird shapes appears to be a thunderbird.
Other Birch Bark Midewiwin Objects
Reports of evil sorcery based on powers obtained through Midewiwin
knowledge are found in the literature. One of the means used to effect
this evil power was through the use of dolls. Pictures of these effigy
figures and charms m a y be seen in the exhibition catalogues (Flint
1973:109; Maurer 1977:130; Feder 1972:102-106,108). They indicate
the skill of the carvers in fashioning the charms.
The small wooden male doll in m y collection is wrapped in an inscribed birch bark cloak or robe. Seven small tacks secure the bark to
the back of the figure. The bark encircles the doll one and one-half
times. Traces of red coloring may be seen on the head and neck of the
figure.
The evil power which was inherent in the use of thisfigureis demonstrated by the engravings that are on it. Included is the whole panoply
of denizens of the deep: snakes,fishes,underwater panther, turtle and
a finned sea monster.
This doll is unusual in being wrapped in the engraved birch bark
cloak. Other dolls are pictured with cloth leggings. A n d one 18th
century doll in the Glenbow Institute is clothed in a frayed birch bark
skirt (Brodzky 1977:33; Reader's Digest 1978:337). This is the only
other Midefigurewhich has been seen that is clothed in bark.
A n enscribed birch wrapped medicine bundle in the collection has
similarities to one described by Hoffman (1891:288, Plate X X ) . Hoffman's roll has the ends cut in short strips to cause the bark to curl
inward to help contain the contents. The enscribedfiguresare a thunderbird and a buffalo. He was able to unroll his bark bundle and find
a number of medicine items which were inside.
Some features of the medicine bundle in m y collection were similar to
the Hoffman item, but others are distinctive. For example, like the 19th
century bundle from Red Lake, mine has cut ends. However, the ends

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Richard Nelson

are scalloped with a slit cut in each scallop. Enscribed on each scallop
is a small square and circle. Engraved on the bark is a turtle, only a
little more than half of which can be seen. Clearly distinguishable are
the outline of the shell back, the tail, head, and two claws. If the dried
bark could be unrolled, it is assumed that the two other claws would
be revealed. In the middle of the turtle shell is inscribed a circle with
arrow heads emerging from it at the four cardinal points. In the middle
of the circle are frontal views of two heads with power lines emanating
from the skulls. A highly developed technical skill on the part of the
artist is evident in the incised work on this bark. Circles and curves are
difficult to mark on the bark since the tool used in the engraving has
a tendency to follow the natural grain of the bark. This piece with its
circular lines and shapes is a demonstration of a skill which overcomes
the limitation of the medium.
Aspects of this bundle which are different from the Hoffman example
include the smoked deer hide skin which is rollled within the bark and
the manner in which bunches of feathers are rolled in the bundle and
form the ends of the medicine object.
The bark in the bundle is so dry that no attempt has been made to
unroll it for fear of damage to the bark. Neither has it been X-rayed. So
the contents are unknown. From material found in other Mide medicine
bags one would assume that ther is a megis shell, tobacco, and cloth
wrapped packets of herbs and powder used for body painting.
A birch bark rattle used in Mide rites has been added to the collection. There are no incised markings on it. The cylindrical rattle is
formed with two curved sheets of sinew sewn bark for the sides and
round circles of bark for the ends. The handle is a stick which has
been wrapped with rawhide and sewn with sinew. Descriptions of the
use of these rattles in the Mide ceremonials are found in Densmore
(1979:166,167).
W h a t began as a love of the beauty of the birch tree continues with a
respect for the priests and doctors of the Midewiwin w h o used the bark
of that tree to fashion their ceremonial scrolls and implements. While
many of the mysteries of their mnemonic devices remain unfathomed,
the scrolls which survive exhibit tantalizing invitations to a worldview
full of myths of the people w h o inhabited the forests and lakes of the
woodland area.

Inscribed Birch Bark Scrolls

229

REFERENCES

Blessing, Fred K. Jr.

1077 The Ojibway Indians Observed. Papers of Fred K. Blessing, Jr., on the Oji
way Indians from the Minnesota Archaeologist. St. Paul: The Minnesot
Archaeological Society.
Brodzky, Anne Trueblood, et al, eds.
1077 Stones, Bones and Skin, Ritual and Shamanic Art. Toronto: The Society for
Art Publications.
Conn, Richard
1070 Native American Art in the Denver Art Museum.
Washington Press.

Seattle: University of

Densmore, Frances
1070 Chippewa Customs. Bureau of American Ethnology, Bulletin 86. Washing
ton. (Reprinted: Minnesota Historical Society, St. Paul, 1070.).
Dewdney, Selwyn
1075 The Sacred Scrolls of the Southern Ojibway. Toronto: University of Toronto
Press.
Ewers, John C.
1081 Water Monsters in Plains Indian Art.
6(4):38-45.

American Indian Arts Magamine

Feder, N o r m a n
1064 Art of the Eastern Plains Indians. Brooklyn: The Brooklyn Museum.
1065 American Indian Art. New York: Harry N. Abrams.
1071 Two Hundred Years of North American Indian Art. New York: Praeger.
Feest, Christian F.
1080 Native Arts of North America. London: Oxford University Press.
Flint Institute of Arts
1073 The Art of the Great Lake Indians. Flint, Michigan: The Flint Institute of
Arts.
Hoffman, W.J.
1801 Midewiwin or "Grand Medicine Society"of the Ojibwa. Pp.143-300 in The
Annual Report of the Bureau of American Ethnology for the Years 1885-1886.
Washington.
Howard, James H.
1080 Birch Bark and Paper Cutouts. American Indian Arts Magamine 5(4):5461,86-87.
Johnston, Basil
1076 Ojibway Heritage. Toronto: McClelland and Stewart.
Lyford, Carrie A.
1043 The Crafts of the Ojibwa (Chippewa). Willard W . Beatty, ed. U.S. Office
of Interior Affairs, Indian Handicrafts 5. Washington.
Maurer, Evan M .
1077 The Native American Heritage. Chicago: The Art Institute of Chicago.

230

Inscribed Birch Bark Scrolls

Origin Scroll
*

Photography: Jonathan Batkin, Colorado Springs, C O .

Prints prepared by Gilbert Westman, Ashland, WI.

231

Richard Nelson

232

~M

f 11

^K

pi

wetm-st.^'

One Lodge Dream Amulet

Ir

233

Inscribed Birch Bark Scrolls

** ...

4 rff*?W,"-

8rH&

Right side

Left side
Four Lodge Master Scroll

Richard Nelson

234

Inventory of Midewiwin Birch Bark Scrolls

and Other Related Midewiwin Birch Bark Objects
in the Collection of Richard E. and Dorothy R. Nelson
TYPE DIMENSIONS SECTIONS INFORMATION ABOUT OBJECT
Origin Scroll
Origin Myth

16 l/4"x 0 1/3"

one

Depict* the myth of a megis shell

emerging: from a whirlpool In the ae*.
Collected by Monroe Kllly In IIS4,
Nett Lake, Minnesota. Ojibwa.

Master Scrolls and Ritual Charts

One Lodge

4"x 1 1/4"

one

Single lodge with an elaborate figure surrounded by double outlined

lodges.
Power lines radiate from
the head inside a circle which has
an arrow and serpent figures coming
from It. Sourcet Northern Michigan.

T w o Lodge

17 l/4"x l/l"

two

T w o lodges containing human, animal

and sea ereaturee. Sourcei unknown.

T w o Lodge

Jft"x 10 1/4"

two

Three Lodge

10"x 10"

three

Four Lodge

Ot l/4"x 4 1/1"

four

Ritual dance patterns In each lodge.

Additional Inscribed human, animal
and other forms. Sourcei unknown.
Ojibwa.
Medicinal scroll with three large round
lodges connected by twin paths with
four small round lodges off each path.
T w o of the three large lodges eontain tree and plant forms. Additional
human and animal forms Inscribed
on the scroll. Sourcei Squaw Point.
Leech Lake, Minnesota. Ojibwa.
Four lodge master scroll engraved with
numerous priests, sea creatures, plant
and other forms. Similar to scrolls
from White Earth and Nett Lake Reservations In Minnesota. Sourcei unknown. Ojibwa.

OJIbwa(T)

OJIbwa(T)

Ghost Lodge and Sky Degree Scroll

T w o double
Lodges

00" x 10 1/1"

two

The double circle "Village of the Dead"

has within It another circular lodge
connected by a double pathway to a
rectangular lodge which has a single
human figure holding a staff. Three
animal figures, four tree symbols,
and bear paws are on the pathway.
There are an additional two lodges
below the rectangular lodge with hum a n and bird figures Inscribed. Soureei
Lae Court Orellles, Wisconsin, ca.
1010. Ojibwa.

Inscribed Birch Bark Scrolls

235

Shaking Tent Chart

w b e n o Scroll

" x 1 0 "

two

O n e large tent, t w o smaller, each enclosing a figure with power lines radiating from the head. A variety of animal forms outside of tents. Sourcei
S q u a w Point, Leech L a k e , M i n n e s o t a .
Ojibwa.

Song Records of Scrolls

S o n g scroll
S o n g scroll

S o n g scroll

0 0/4" x 14"
1 1/1" x 1 7 "

5 1/4" x 16 1/1"

one

Tightly

one

scribed. Sourcei u n k n o w n . OJtbwa(T)

Tightly rolled with plant and bird

one

rolled

with

plant

forms In-

f o r m s engraved.
Sourcei
unknown.
OJlbwa(T)
Inscribed plant, h u m a n , animal, and
bird forms, one of which appears to
be a thunderbird. Soureei u n k n o w n .

OJlbwa(T)
Other Midewiwin Birch Bark Objects
Birch bark
trapped
w o o d e n doll

0 1/1"

Medicine bundle

1 0 " long

Birch bark rattie

Rattle, 6 1/3" long,

6" diameters stick,
10 1/1" long

W o o d e n doll, male, w r a p p e d In 4
1/4" x 10 1/1" birch bark scroll attached with tacks to the back of the
doll. B a r k Inscribed with u n d e r w a ter panther, sea monsters, fish, and
serpent. Soureei Lac Court Orelllee,
Wisconsin, ca. 1010. O j i b w a .
Cylindrical birch bark w r a p p e d m e dicine bundle with scalloped ends.
T h e bundle Is very dry a n d has not
been opened. B a r k Is w r a p p e d around
deer hide and feathers. E n g r a v e d on
the bark Is a turtle with a circle with
four cardinal points on the outside
a n d a frontal view of t w o heads with
p o w e r lines c o m i n g from the skulls.
Sourcei u n k n o w n . Ojlbwa(f)
A sinew s e w n birch bark rattle with
rawhide w r a p p e d stick handle. N o Ins e r l p t l o n s o n t h e b a r k . Sourcei unk n o w n , possibly from M i n n e s o t a , ca.
1000. Ojibwa(r)

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Richard Nelson

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LINGUISTIQUE

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