Tasks to prepare for the competition "Chip" Olympic tasks on the topic. Horoscopes of artists

With the "Mandatory Program" end. The next post will begin with one of your favorites.

Summer Day 1945 I am at the fair in Great Falls, North Montana. In front of me, the brisk commruer from medicine exols the medical forces of its own sealing in the bottles of goods. From time to time, he points to the living advertisement standing in front of him - a high, straight, young white young man, whose paint's paint rang out the beautiful, dropping headdress from feathers. The body of a young man was closed in the plated shirt, leggins and a loin bandage, painted in the color of the skin. The audience consisted mainly of Montana's reservation Indians dressed in ordinary European clothing: pants and shirts. I was interested in the fact that the Pale's Symbol of the American Indian stands in front of us in a suit, which very much resembles those in which his listeners are Black and Cree and Crowe - act for tourists on the Indian show.

What way this picturesque costume became a symbol of "Indysosti" and for the Indians themselves and for whites? What way on the basis of the culture of plains was formed a popular image of the Indian? Why and in Europe and in America, people thinking about the Indians, are carriers of falling feathers, inhabitants of conical typi, horse rains and bison hunters? There is no doubt that our founding fathers in the days when the frontal settlements were located not much west of the Allegian mountains and the border people were familiar with the Indians - inhabitants of the forests, inhabited in the covered bark of dwellings, who traveled to birch canoes or shutouts who fought and fought and fought and We have not worn out of falling hats, such a presentation did not exist. How and when it originated?

Looking down in history, we discover that the creation and formation of this image was a long process, which was influenced by many factors. We will try to trace the development of the image from the moment that seems the most initial.

Obviously, before the non-Indians began to depict Indian Indian Plains, they did not have a clear idea of \u200b\u200bthe Indians of the Great Plains and about those aspects of their culture, which typed their way of life. For two and a half centuries between the traveling of Koronado to the fabulous city of Kiwira in the Steppes of Kansas in 1541 and the purchase of US Louisiana in 1803. European researchers and merchants crossed significant parts of the plains. Nevertheless, these Spaniards, the French and the British did not create popular literature and did not draw famous pictures about the Indians - nor portraits, nor scenes of life. Before the purchase of Louisiana, these Indians remained essentially unknown either to Europeans or US residents (although some reports of early researchers and merchants were already published).

The first glorified portraits of Indians Plains were made in eastern cities in the first decade of the XIX century. They portrayed Indians who Lewis and Clark, following the instructions of President Jefferson, sent to Washington. The drawings were made in profile, very competent artists who used the mechanical reception, known as "physionotrais" to accurately outline the contours of their customers. French artist Charles Baltazier Ferge de Saint-menin drew portraits of 12 men and two boys who made up the first delegation of the Indians who arrived due to Mississippi. Thomas Jefferson welcomed these Indians in the Presidential Palace in the summer of 1804 and enthusiastically called them "The giants and the best people we have ever met."

Charles Willeson Saw, an outstanding Philadelphic artist and the owner of the museum, cut out miniature silhouettes of ten members of the second delegation of the Indians of the West. On February 8, 1806, he sent several profiles to President Jefferson with a comment: "The lines of individuals of some of these Indians are very interesting."

After his return from the Pacific coast, M. Lewis bought several originals and copies of Indian portraits of Saint-Menin. There is no doubt that he intended to include reproductions made from them, in a richly illustrated report on Lewis research and Clark, unfulfilled because of his untimely death in 1809. It is undoubtedly the exact sketch of costumes and other objects of the art of Indian plains would enter it, Expressed or brought by Lewis and Clark, who saws demonstrated in his popular Philadelphia Museum.

More important factor in the early spread of the image of the flat Indian became the portraits of several members of the Indian delegation from the Lower Missouri and the Platt's Valley, who arrived in Washington at the end of 1821. Although Charles King King painted portraits of these Indians for Thomas Mackennai, he made superintendent And several duplicates of their portraits who diverged more widely - one was sent to Denmark, the other in London. Original portraits have formed the core of the National Portrait Gallery of the Indians, which became one of the most beloved tourists of Washington places. In 1865, she was almost completely destroyed during a fire in the Smithsonian Institute.

The most popular Indian delegation of 1821 was Petalesharro, a young Warrior Powney. During his trip to the East, he was adopted as a hero due to the fact that he bravely reversed the team girl, which was to sacrifice the morning star during the annual Powanior ceremony. Portrait of Petalesharo was drawn in Philadelphia John Nigl, as well as King, and Samuel F. B. Morse placed it in front of the visitors' gallery on his popular painting "Old Representative House", drawn in 1822. All three paintings depict this Indian hero in the falling feathers Headgear. As far as I know, they are the first of the millions of images of this picturesque Indian head decoration made by artists and photographers.

During this Eastern travel, Indians with Petalesharro met a popular writer James Fenimore Cooper. This meeting was a source of inspiration in writing Prairie, the only novel from the "Leather stocking" series associated with the Great Plains. In the Indians, Cooper found the virtues with which he endowed his heroes - Woodland Indians ( Forests- approx. Per.) An early period in the "last of the Mogican". Obligating the Indians two years after the publication of this popular novel, he notes: "Most of them living in, or near settlements - humiliated and strongly degraded race. As he removed from Mississippi, more healthy parties to the life of savages will be visible."

Cooper thought that the leaders of the Indians plains possess "The Majesty of Spirit, Resistance and Wild Heroism ..." and led Petalesharro as the first example.

Until 1840, some of the distinctive features of Indians plains were brought in illustrated books and magazines. The first published image of the conical leather Tipi of the nomadic Indian tribes was a rude engraving on the field sketch of Titian saw during the Along of Major Long 1819-20 expedition, which appeared in the report of Edwina James on these studies.

T. Saw We are also obliged to first publish the image of the High Indian Plains, which kills the bison from the bow. She appeared as color lithograph in "Cabinet of Natural History and Rural Sports", Philadelphia, 1832

The first image of the Top Winnin, apparently, was lithographing from Piter Rindesbacher "Attack SIU", published in October 1829 in "American Turf Register and Sporting Magazin" and accompanying the article "Horseering from Indians of North America". Rindisbacher had many opportunities to observe warriors and hunters on Bizonon Plain during almost five years of residence in the settlement of Lord Selkrick on Northern Red River in 1821-26. There is no doubt that Pyl and Rindisbacher warmed up the growing interest among army officers, horses and athletes to the wonderful art of Indians Plains as horse-drawn warriors and bison hunters.

Rindisbahherova sketching equestrian indians who pursue the bison, was proposed as a color lithograph for the cover of the second volume of Thomas McKenneya and James Hall "History of Indian tribes of North America." However, only a small part of 120 perfectly printed colored lithographs of this work was indeed depicted Indians Plains. And almost all of them were portraits of the members of Western delegations to Washington, whose originals were created by Saint-Menin, King or his student, George Cook.

In 1839, Samuel George Morton from Philadelphia, considered the father of physical anthropology in America, published his main work "Crania Americana". A lithograph, a reproaching portrait, written by John Nigl from the Supreme Leader of Omaha, Big Elk, an outstanding member of the delegation from the great plains in 1821, Morton explained his choice as follows: "Among the many people studied by the Indian portraits, there is no one depicting more Characteristic features: Downstairs, low eyebrows, large eagle nose, High cheekbones, wide forehead and chin, and angular face.

The first illustrated textbook on American history was the book "History of the United States" Charles A. Gudrich. For the first time published in 1823, by 1843 it was reprinted 150 times. However, Nov. Novos Werster became her popular competitor. Small and sometimes unintelligible engravings in this book were not numerous. Nevertheless, some of them depict Indians. In the history of the webcant, some scenes were copied with the sketches of the Indians of the coast of Northern California made by John White in the XVI century. But the scenes depicting the meetings of early researchers with Indians, the conclusion of Indian agreements and Indian wars were mainly based on the works of anonymous authors. Indians plains were absent. They have not yet managed to leave a bright mark in the history of America with their stubborn resistance to the invasion of white settlements in their native steppes.

But the Books of the American artist J. Kathlin and the German scientist, Prince Alexander Philippe and German scientist, Prince Alexander Philippa Maximilian, as well as the paintings of Katlin and Swedish artist Karl Boder, who accompanied the prince in the expedition to the top missions, accompanied the prince on the expedition to the top missure in 1833 were the most influence -44

Inspired by the view of the delegation of the Western Indians, who passed through Philadelphia on the way to Washington, and his own conclusion that the picturesque Indians of the Plains are doomed to cultural destruction as the frontier moves to the West, Kathleen decided to save these Indians from oblivion and, not too late "Become their historian". In the summer of 1832 and in the summer of 1834, he traveled among the tribes of the Upper Missouri and southern plains, collecting information and preparing pictures for the Indian gallery, which caused the enthusiasm of the audience in large cities of America. In 1840, the exhibition of 4 years was demonstrated in England, in London. Then she moved to Paris and was specifically presented in the Louvre king Louis Philippe. In addition to pictures, the exhibition was shown dressed in costumes of mannequins, there was Tipi Crowe and the regalia of Indian dances and ceremonies (Chippev and Iowa). It was Kathleen who presented the "Wild West" of civilization, and the exhibition made an indelible impression on Europeans and Americans.

Nogre, Katlin's books had an even greater influence. Its two-volume "manners, customs and state of North American Indians, published in 1841 in London, included both a living description of its travel and observations and 312 reproductions with metal engravings of its sketches. The work caused enthusiastic responses and in the United States and abroad and was reissued 5 times in 5 years. Although Kathleen has included brief descriptions and illustrations, mainly portraits of some half-civilized Woodland tribes, it concentrated mainly on the wild tribes of the great plains. It can be said that the Indians plains were his pets. Often, if not constantly, Kathleen exalt them. He stated that the Top Missouri tribes were "The most beautiful examples of the Indians of the continent ... in a state of complete rudeness and wildness, and therefore picturesque and beautiful so much that it is impossible to describe". Crowe were "Beautiful and well-folded people by the standards of any part of the world". Assinibus - "Beautiful and proud race". "Siu look as beautiful" And almost the same words are used in the description of Chainov. Several heads of books he devoted four bears, the second leader of the Mandananov, whom he called "The most extraordinary person living in our days among the pristine nature".

"Reise in Das Innere Nord Amerika in Der Jahren 1832 BIS 1834" Prince Maximilian, first published in Koblenz (1839-41) was a more restrained scientific description of the Indians of the Upper Missouri. Nevertheless, for several years she was reprinted in Paris and London, and the demand for it exceeded the proposal. She is largely popular with excellent reproductions of incomparable field sketches of the plain Indians Karl Boder, which appeared in the accompanying "Atlas".

The works of Katlin and Maximilian - Boder, which appeared almost simultaneously affected the external image of the Indians, which was pretended in the middle of the XIX century, in two directions. First, the example of these researchers pushed other artists to travel to the west and drawing Indians Plains in the field. Among those artists are the most famous American John Mix Stanley, American German Charles Wormar, Canadian Paul Kane, and Swede Rudolf Frederick Kerz.

Secondly, the most capable illustrators who were not in the West began to draw, using Katlin and Boder for reference. In 1843, two years after the first publication of the popular book of Katlin, an enterprising Philadelphia Publisher proposed "scenes of Indian life: a series of original drawings depicting events from the life of the Indian leader. Drawn and carved on Stone Felix O.S. Darlem. The work depicted episodes from the life of the fictional leader Siou. The artist was then not a completely well-known "local guy", 20 years old; But he possessed the wonderful art of the draftsman. Darley became an outstanding illustrator of books and magazines. Although most of his illustrations are depicting non-Indians, he drew a hunt for bison and other parties to the Life of Indians Plains several times. He prepared a cover and illustrated first page for the first edition of the "Ways to California and Oregon" Francis Parkman. At the end of his life, he made the color lithograph of the "return from hunting", which is distinguished by a false realism, which, with the full ignorance of the object, can achieve only a very skillful artist. In the foreground shows a birest canoe, on average - typi, village, in the back - high mountains. Darley seemed to compressed in a single scene geography and culture characteristic of the whole area from the Great Lakes to Rocky Mountains.

Darley was closer to the truth, when he followed Katlin and Bodmer more accurately. Some of his illustrations to books are honestly accompanied by a note "on Katlin".

Some of the most popular Ltdiszov Kerie and Ives (1850-60s) were Western scenes, lithographic with very realistic drawings, made jointly by German by Louis Maurer and Arthur Fitziilliam, who were born in England. None of them personally did not see Indians Plains. Maurer admitted that they received his knowledge about the Indians, considering the reproductions of the works of Boder and Katlin in the Estonian library in New York.

Finally, Kathleen and Bodmer have greatly influenced those less, cheap paid artists who illustrated many popular books about the Indians, as well as school benefits; They began to appear a few years after the publication of the works of Katlin and Boder. You can trace the degeneration of realism in illustrating copies of these once popular books stored now in the Hall of Rare Books of the Congress Library.

In the 1840-50s. The prolific creator of popular books was Samuel Griswold Goodrich, usually used the pseudonym "Peter Parley". In 1856 He argued that he wrote 170 books with a total circulation of several million copies. By 1844, Gudrich opened Katlin when he published the "history of the Indians of North and South America"; He quoted Katlin in the text and copied the "four bear" on one of the illustrations. After 2 years, Gudrich's book "The manners, customs and antiquities of the Indians of North America" \u200b\u200bborrowed all its 35 illustrations depicting Indians from Katlin. Twenty-eight of them represented Indians Plains. Finally, in the Hand Drawn History of the United States for Children "Goodrich, first published in 1860 and five years old adopted as a textbook for Maryland Public Schools, New England, Virginia and Roanok Island are depicted in Tipi and Wearing Fallen Living Heads And the Indians of Virginia XVII century are shown wrapped in painted bison skins and bieciony dance in front of their Tipi.

Exppictive young readers of popular stories about the Indian wars published in the 1850s were also seen in Woodland's tribes common features of the plain culture. In the "Indian wars of the United States from the very early period to the present day" John Frost Equestrian hunting for Bizonon is depicted in the chapter on the Franco-Indian wars, Katlinovsky Horse Warrior Crowe - in the chapter on the war of 1812, and Katlinovsky and the same portrait of Orlini ribs, warrior of black - In the chapter about the war with screams.

Katlinovsky and Bodmera images of Indian Indians have undergone even more in the "United States Indian wars since the opening time and so far" William V. Mura. In this book, "four bear" became "Pontiac", the equestrian warrior Crowe - "Warrior of Screams", and the ceremony of the Mandanov turned into the "Seminole Village". Well identified bodmery portraits of Mandanov's leaders, Hidats and SIU "Saturouvoy", the Floridian leader of the XVI century and the two leaders of the Indian wars of colonial New England.

In 1856, the first illustrated edition of the "Song about Guyavate" Longfello was published in England. John Jilbert, his illustrator, did not copy Katlin meticulously, but in many respects it was based on it and presented the heroes of the poem of the ancient Ojabweev Lake of the Upper Typical Indians of the Upper Missouri. For example, his portrait of "Pok-Kivis" is only slightly excellent version of the Katlin's Mandanian Hero, "four bears".

The emergence of such Indians Woodland in the clothes of Indians plains was not limited. John Mix the Walls knew the plains tribes well, however, when he tried to draw a "young monitoring" (Mohaganin of the XVII century) and the "test of the Red Jacket" (Seneca), then dressed them in the costumes of the tribes of Western steppes. And when Karl Bodmer, together with the French artist Jean F. Millet, created a series of realistic, but rich in poetic images of border wars in the Ohio Valley during independence war, it is quite clear that the Indians plains in the heads of the heads were shown on them.

In 1860, a new means of capturing the imagination of American boys way of the Indian warrior appeared. The number and circulation of cheap novels increased. A favorite theme of this sensational literature was the war with the Indians on the Western Plains, during which the wild teams, Cayow, Black or Siou were plunged into the dust "during the dangerous adventures of the hero. The piles of these cheap books were sent to the camp of the soldiers or in the field during the Civil War and reading them allowed the young men in a gray or blue uniform at least for a while to forget about their own disasters and suffering.

The threat of wars with the Indians Plains became very real when after the civil war, immigrants, prospectors, diligences and telegraph lines stretched through the plains, and this, Siapenny, Arapaho, Kayov and the Teams began to defend their hunting land from this invasion. On the West were sent reporters of newspapers and magazines, which should have reported on the results of Indian wars. Theodore R. Davis, the artist and the reporter "Harper" S Weekly "traveled on the Diligence Butterfield Overland Dispatch, attacked on November 24, 1865. Chayennes (near the SMOKO SPRING station). This bright picture of the experience of his own real life, published on April 21, 1866 G. became the prototype of one of the most persistent symbols of the Wild West - the attacks of the Indians on the diligence.

Mounted informing a civilized world about the nature and course of wars with Indians Plains, the illustrated magazines were sent in the field of drawers who depicted Indian life, contractual councils and all those events of a rapidly changing military situation, which they were witnesses or those learned from participants in these events. In 1867, T. Davis highlighted the campaign of General Henkok against hostile Shainov, Siou and Cayow, which turned on the territory of Kansas. J. Taylor drew a Medicin Agreement Lodge, prisonered in the same year, for the "illustrated weekly newspaper Frank Leslie. "Artists and reporters came from distant Germany, and our Western Indians were reflected in Canadian and English magazines, such as" Canadian Illustrated News "and" London Illustrated News ".

Desperately resisted US Army Indians Plains again and again demonstrated their courage and military art. June 26, 1876, on Little Big Horn they destroyed the squad of the Castera, applying the most sensitive defeat of the US Army in the entire long history. Many artists, based, mainly, on their own imagination, tried to portray this dramatic action. One artistic reconstruction of the final stage of battle, Litography Otto Becker "Last Caster Fight", in the picture of Cassilli Adams, became one of the most famous American paintings. More than 150 thousand copies of this big lithography were common (copied by the schouser-buvka in 1896). They gave a topic for conversations to millions of bars throughout the country.

For 4 years before his death, George Armstrong Caster serially published in Helaxi, a respectable magazine of the middle class, "my life on the plains", in which he admired the "fearless hunter incomparable rider and the warrior of the Plains." Many army officers who fought against these Indians expressed a similar opinion, spread on demand books, some of which were richly illustrated by reproductions of drawings and photographs, including portraits of many leading leaders and warriors of hostile Indians - red clouds, satans, gallium, sitting bull and Others. The military exploits of these leaders became known to readers of the XIX century better than the feats of the heroes of forests, such as King Philip, Pontiac, Tekums, Ocole and a black hawk.

On July 20, 1881, a sitting bull, the last of the outstanding leaders of the wars of the plain Indians, returned from Canada and surrendered to the US authorities, passed his rifle. But in the next 2 years, William F. Kody, Rider Pony Express, Scout, Wrestler with Indians and Hero of hundreds of Cheap Romanes, who received his hunting art nickname "Buffalo Bill", organized a view on the theme of the outgoing life of the Old West, which was so realistic, That none of the seen already forgot him. The show "Wild West Buffalo Bill" opened in Omaha, Nebraska, on May 17, 1883, it existed more than 3 decades and acted in front of the eyes of the US, Canada, England and Europe. In 1885 From the show traveled by the seated bull himself. It has always included a number of representations with the real Indians of Plains - Powney, Siou, Chayennes and Arapaho - those who have been whistled on a small herd of bison, dancing military dances, arranged jumps and attacked the hut for a migrant or for a migrating conversation crossing the plains. The culmination of each presentation was the attack of the Indians to the Deadwood Postal Dealerians, the passengers got out the Buffalo Bill himself and his dashing riders-cowboys. This scene brought quickly on the cover of the program and on posters advertising shows.

In 1877 The show was a hit of the American exhibition at the celebration of the Golden Anniversary of Queen Victoria in England, presented to the filled tribunes that accommodate 40 thousand spectators, on a large arena. April 16, 1887 London Illustrated News tried to explain this: "Wonderful idea, "Wild West" caused Furore in America, and it is easy to explain. After all, it is not a circus, and not at all representing the theatrical sense, but an exact image of the everyday scenes of the frontier life, experienced and depicted by people of the company "Wild West". "

Excluding Spain, where no street representation could compete with the fight of the bulls, Buffalo Bill show received unsurpassed recognition on the entire continent. During the seven-month stop at the Paris exhibition (1899), it attracted many famous artists. Famous French Animaler Rose Bonee depicted Indians participating in the show with the bison. Moreover, the Indians inspired the Dalina's Cirus, the American sculptor, who was then trained in Paris, to create the first series of heroic statues depicting Indians Plains. "Sign of the World", finished just in time to win the medal of the Paris Salon of 1890, now stands in Lincoln Park, Chicago. Second work, "Shaman" (1899) is in the park Feemount, Philadelphia. The famous sculptor Lorado Taft considered her "The greatest achievement" Dallia I. "One of the most wonderful and significant fruits of American sculpture". In the "Appeal to the Great Spirit", the owner of the Gold Medal of the Paris Salon 1909, Indian sits riding a horse in front of the Museum of Fine Arts in Boston. And the fourth job, "scouta" can be seen on a hill in Kansas City. Taft called realistic equestrian Indians Dallia "Some of the most interesting public monuments of the country".

The phenomenal success of the show "Wild West Buffalo Bill" inspired other people to organize similar shows, which, together with the small "Medicin" of the Indian Shaw, in the first years of our century we went to the United States and Canada, providing work to many Indians who were not members of the plain tribes. These shows played a certain role in the spread of such features of a flat culture, like a drop-down feathers, typi, military dances of the plain tribes, among the Indians who lived at the distance from them. Already in the 1890s, the Shayne traveled from Medicin-show introduced a "military headdress" among the Indians of Cape Breton Island. Thanks to the contact with the Indians participating in the show on the Pan American Exposition in Buffalo (1901) Seneca, New York, replaced its traditional crown of sticking down feathers on the headdress of flat type and learned to ride and dance like Indians plains to get a job In the popular Indian show of this period. Carl standing deer, professional circus Indian, introduced the headdress of Indian plains among his people, the Cherokee of North Carolina (autumn 1911).

The adoption of a typical costume of Indian plains, their typi, as well as some other characteristic features of culture as standard equipment for the show Indians of other cultural areas Obviously when studying photographs of the XX century. My collection of photos, postal cards and newspaper illustrations dated from the beginning of the century include the images of the Penobuston State of Maine (and Women, and Men), wearing Typical Clothes for Plains, dancing in front of their Tipi on the holiday in Bangor; Yuma brass community Arizona, each member of which wears a full suit of Indian Plains; Dancing Zia Pueblo New Mexico in falling feathers heads; Kayyusov Oregon posing in a typical plains costume before typi; And the Youth Indian standing in front of Tipi in the Cherkoe settlement, attracting tourists and lubricating them to the rare shop shop.

In 1958 I spoke with an Indian Mattaponi on the coast of Virginia about the beautiful head feather of the Succian-type jury, which he wore, welcoming visitors to the Little Indian Museum located in its reservation. He was proud of what he did himself, even embroidered the head ribbon. With simple and irrefutable logic that can often be found in Indian comments of American culture, he explained: "Your women copy their hats with Paris, because they like them. We, Indians, use the styles of other tribes as well as we like".

The standardization trend of the Indian costume, based on the models of Indians Plains, was reflected in the art of some talented artists Taos from New Mexico, for which the sensual interpretation of "Indysostiy" was more important than tribal accuracy. Similarly, this is manifested in outstanding paintings devoted to significant historical events of the colonial period of the East. The costumes of the plain Indians are not difficult to learn on the fresco of Robert Raid Boston Tea Party (State House, Boston) or "Treaty with the Indians William Penn" in the building of the Congress in Harrisburg, both works were created in the first quarter of our century. And, apparently, it is not surprising a view of the Indians of the XIX century, sitting on the festival shown in the picture of Jenny Brown's "First Thanksgiving Day", hanging in Pilgrim Hall, Plymouth, Massachusetts.

All American coins on which Indians depict are closely related to Indians Plains. And Penny with the head of the Indian, released in 1856, and the Golden Decade Rollipus prepared by Auguste Saint Gaudence for the release in 1907, are the artistic concepts of Divine Freedom in the Opera Headdress. Several Indians attracted that they were the models of five Indian heads on the famous "Bizonian Nickel". But his creator, James Eli Frener, in a letter to the commissioner on Indian affairs dated June 10, 1931, claimed: "I used three heads and remember two people, one was an iron tail, the best Indian type from me known, the other was Two moon, and I do not remember the third name.

It is noteworthy that two models that the author remembers were Indians Plains. Two moon, the Chinnov's leader, helped the "Sew" Castera squad at Little Big Horn. Having had pronounced facial features, an iron tail was headed by Siu's attack at the Deadwood Diligence in the Buffalo Bill show. For 25 years after the release of the coin in 1913 - when the nickel could be drunk in the New York subway, to buy a cigar or ice cream - an impressive head of the Indian, along with the bison shown on the opposite side of the coin, reminded Americans about the Indian plains.

The only, constantly produced by the American brand wearing the portrait of the Indian is the 14th century brand, first published on May 30, 1923. Named American Indian, she depicts a bear's bear's bear, beautiful this from Rosebad reservation, South Dakota, who deceased in Washington after Participation in the parade that followed the inauguration of President Woodrow Wilson.

In a solemn ceremony dedicated to the funeral of an unknown soldier of the First World War, a special man was chosen to commit a solemn imposition of a feather headdress on a helmet - as a gift from all American Indians, an unknown soldier who had lived for their country. This man was many feats, an elderly, majestic military leader Crow Montana. This happened in 100 years, until the coincidence of months, after the young Powani hero, Petalesharro, first appeared in the capital, decorated with a picturesque feathering headdress. Over the past century, the military headdress of Indians Plains became a generally accepted symbol of Indian North America.

J. Yuers.
Translation Schetko A.
Ewers J.C., Indian Life On The Upper Missouri. Norman, 1968, p. 187-203.