page_title: Wi-jún-jon
hierarchical_section_title: Wi-jún-jon
context_page_description: Wi-jún-jon, also called Pigeon's Egg Head or The Light was a Native American chief of the Assiniboine tribe. He is best known as the subject of a painting by George Catlin, depicting what happened after he was assimilated into white culture following a trip to Washington, D.C., in 1832.
  Caitlin wrote that Wi-jún-jon "exchanged his beautifully garnished and classic costume" for
  a suit of "broadcloth, of finest blue, trimmed with lace of gold; on his shoulders were mounted two immense epaulets; his neck was strangled with a shining black stock and his feet were pinioned in a pair of water-proof boots, with high heels which made him 'step like a yoked hog'."
  A print based on the painting, showing Wi-jún-jon wearing Assiniboine dress and a Western suit, titled Wi-jún-jon, Pigeon's Egg Head, Going to Washington, returning to his house, became quite popular, appearing in a German magazine, Die Gartenlaube in 1853.
context_section_description: Wi-jún-jon, also called Pigeon's Egg Head or The Light (1796–1872) was a Native American chief of the Assiniboine tribe. He is best known as the subject of a painting by George Catlin, depicting what happened after he was assimilated into white culture following a trip to Washington, D.C., in 1832.
  Caitlin wrote that Wi-jún-jon "exchanged his beautifully garnished and classic costume" for
  a suit of "broadcloth, of finest blue, trimmed with lace of gold; on his shoulders were mounted two immense epaulets; his neck was strangled with a shining black stock and his feet were pinioned in a pair of water-proof boots, with high heels which made him 'step like a yoked hog'."
  A print based on the painting, showing Wi-jún-jon wearing Assiniboine dress and a Western suit, titled Wi-jún-jon, Pigeon's Egg Head, Going to Washington, returning to his house, became quite popular, appearing in a German magazine, Die Gartenlaube in 1853.
caption: Wi-jún-jon Before and After his trip to Washington, DC by George Catlin
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