The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1900-01-28
TO PAINT MORE INDIANS.
n. A. BUnBAxx 0rvhs ANECDOTES
or CHIEFS WHO POSED.
HeaniAgs, IN signs-0audy Figsrss
sand Feathers They Wear Are
Y ssynboIs or Rseoras-Artist 70
visit the Paciae Northwest.

>HERE II 1t least one man who does
" not think that the "only good In
dian 10 aidead Indian" and that il
f.. A. Burbank, the Indian portrait
painter who has Just left Chicago to
70 to Mescalera and LAguna. N. M, to
paint the Pueblo and Moqui Indians. Later
he expects to 80 to Oregon and visit the
Umatilla reservation.
Mr.. Burbank has painted 1o3 Indian
portraits and expects In the next few
years Of work to paint 800 more. He told
some interesting "reminiscences of Indians
that never have been published.
Old Geronimo, who was q Federal pris-
oner for so many years. felt kindly to-
ward the artist, who hadspaihted his por-
trait, and had many a pleasant chat
with him. After Geronimo had his hair.
cut Mr.. Burbank saw him again, and
laughed at him on account Of his short.
cropped hair. Old Geronimo was sensi-
tive. and when he next called on the
artist his head was covered with blue
cloth bound around like a Turkish tur-
ban, and this head covering appears In
the last portrait Of him painted.
Most art lovers in Chicago have seen
exhibitions of Burbank's Indian portraits.
The Southern Indians show the dark cop
per colored skin, sometimes almost brown.
whereas those of the Northern tribes
show light skin. almost the color Of that
, of the Chinaman. Indeed. the features
of the Northern Indian are strangely ASH
attic. and back UP the theory of those
who think that the Indians are descend
ants Of the Chinese.
Every gaudy cross, circle or ngure en-
broidered on the blanket or moccasins Of
an Indian means something. The figures
are Indicative of some historic event or
are characters that imply some personal
history. Their embroidery Is simply a
record made with the needle instead Of
the pen. One feather IN the hair means
that the wearer ia a chief, whereas any
warrior Is entitled to wear the war bonnet
with the tail Of many feathers
Mr.. Burbank believes grmly In the In
dams virtues being the same II not SUI
perior in crude way, to those Of the
white man, and demonstrated this idea
by giving an anecdote OF Burnt-All-Over.
of the Southern Cheyennes-part Sioux
whose original name was Big Wolf. but
his comrades found him after fight
nearly dead and burnt all over with pow
der. so they gave him his present sobri-
quet.
Burnt-AIl-Over's Gratitude.
Burnt All-over. being out Of funds and
having heard that the artist was paying
81 and 50 a day to Indians to pose for
a few hours work. wanted to have his
likeness perpetuated for the benefit Of the
white man, and the replentshing of his
own money pouch. He called on the ar
fist and asked for "posework" Mr.. Bur-
bank had no need Of another model just
then, but through the interpreter Burnt
All-Over succeeded in working on his
sympathies. and Mr.. Burbank let him
pose for few days. at the end of which
he paid him. Burnt-All-Over was de-
lighted and proceeded to buy for himself,
his squaw and his papooses some luxuries,
and then went back to his village.
Months afterwards Mr.. Burbank was
sick with the grip, and was unable to
work for a couple of weeks, but on the
first day he worked after his recovery.
while he was painting an Indian who
spoke sufficient English to be understood.
he heard moccasined feet coming down
the hall; the next thing was q dark face
beneath the chiefs feather" peering in
at the door. 1t was Burnt-All-Over. He
showed his pleasure. at seeing the ar
tist up, and talked to the other Indian,
telling him that on that morning another
Indian had passed through his village and
told him the artist was sick, and he had