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Trumantia Resource Directory 04
Page 06
The internal evidence of the wooden figures themselves--nothing analogous to which, it should be remembered, can be found in the chapel of 1687--points to a much earlier date. I have met with no school of sculpture belonging to the early part of the eighteenth century to which they can be plausibly assigned; and the supposition that they are the work of some unknown local genius who was not led up to and left no successors may be dismissed, for the work is too scholarly to have come from any one but a trained sculptor. I refer of course to those figures which the artist must be supposed to have executed with his own hand, as, for example, the central figure of the Crucifixion group and those of the Magdalene and St. John. The greater number of the figures were probably, as was suggested to me by Mr. Ranshaw, of Lowth, executed by a local woodcarver from models in clay and wax furnished by the artist himself. Those who examine the play of line in the hair, mantle, and sleeve of the Magdalene in the Crucifixion group, and contrast it with the greater part of the remaining draperies, will find little hesitation in concluding that this was the case, and will ere long readily distinguish the two hands from which the figures have mainly come. I say "mainly," because there is at least one other sculptor who may well have belonged to the year 1709, but who fortunately has left us little. Examples of his work may perhaps be seen in the nearest villain with a big hat in the Flagellation chapel, and in two cherubs in the Assumption of the Virgin.
The figures shown in the dry-paintings are conventionalized representations of the characters in Navaho mythology and of incidents in the myth. With how many such paintings the Navaho medicine-men are familiar is an unanswered question; but more than sixty have been noted, some of them most elaborate. In making them, the ground within the ceremonial hogan is evenly covered with fine brown earth, upon which the figures are drawn with fine sands and earths of many colors allowed to flow between the thumb and the first two fingers. The Navaho become so skilled in this work that they can draw a line as fine as a broad pencil mark. Many of the paintings are comparatively small, perhaps not more than four feet in diameter; others are as large as the hogan permits, sometimes twenty-four feet across. To make such a large painting requires the assistance of all the men who can conveniently work at it from early morning until mid-afternoon.
In No. 4 we have an illustration of the tube-mouth or Solenostoma, one of the two known kinds of fish in which the female shows a sense of her position as a mother. The tube-mouth, as you can see at a glance, is a close relation of our old friend the seahorse, whose disguised and undisguised forms in Australia and the Mediterranean we have already observed when dealing with the question of animal masqueraders. Solenostoma is a native of the Indian Ocean, from Zanzibar to China. In the male, the lower pair of fins are separate, as is usual among fish; but in the female, represented in the accompanying sketch, they are lightly joined at the edge, so as to form a sort of pouch like a kangaroo's, in which the eggs are deposited after being laid, and thus carried about in the mother's safe keeping. No. 5 shows the arrangement of this pouch in detail, with the eggs inside it. The mother Solenostoma not only takes charge of the spawn while it is hatching in this receptacle, but also looks after the young fry, like the father stickleback, till they are of an age to go off on their own account in quest of adventures. The most frequent adventure that happens to them on the way is, of course, being eaten.
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