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[[article clipping]] ers, in Rep. Smithson, Inst. 1893, 1894; Murdoch, Study of Eskimo Bows, Rep. Nat. Mus. 1884, 1885; Morse, Arrow Release, in Bull. Essex Inst., 1885; Arrows and Arrow-makers, in Am. Anthrop., 45-74, 1891; also various Reports of the Bureau of American Ethnology. (O.T.M.) ^[[X End.]] Arroyo Grande. A Pima settlment in S. Arizona with 110 inhabitants in 1858. Del Arroyo Grande. - Bailey in Ind. Aff. Rep., 208, 1858 Arseek. A tribe living in 1608 in the vicinity of the Sarapinagh, Nause, and Nanticoke (Smith, Hist. Va., I, 175, repr. 1819). They are not noted on Smith's map, but the Nause and Nanticoke are, by which their location is indicated as on Nanticoke r., in Dorchester or Wicomico co., MD. (J.M.) Aroeck. - Bozman, Maryland, I, 12, 1837 (misprint). Arsek. - Purchas (1625), Pilgrimes, IV, 1713 [[Note: left column is clipped at left edge, but most of the words are fairly obvious in context]] Arsuk. An Eskimo village in s. Greenland w. of Cape Farewell, lat. 61[[degree symbol]]. - Nansen, First Crossing of Greenland, map, 1890. [[red line under "of Greenland"]] Art. The term "art" is sometimes applied to the whole range of man's cultural activities, but as here employed it is intended to refer only to those elements of the arts which in the higher states of culture come fully within the realm of taste and culminate in the ornamental and fine arts (see Ornament). Among primitive peoples many of the esthetic elements originate in religious symbolism. Among the tribes N. of Mexico such elements are exceedingly varied and important, and extend in some degree to all branches of the arts in which plastic, graphic, sculptural, constructional, and associative processes are applicable, as well as to the embellishment of the human person. These symbolic elements consist very largely of natural forms, especially of men and beasts, and of such natural phenomena as the sun, stars, lightning, and rain; and their introduction is probably due largely to the general belief that symbols carry with them something of the essence, something of the mystic influence of the beings and potencies which they are assumed to represent. In their introduction into art, however, these symbols are subject to esthetic influence and supervision, and are thus properly classed as embellishments. In use they are modified in form by the various conventionalizing agencies of technique, and a multitude of variants arise which connect with and shade into the great body of purely conventional decoration. Not infrequently, it is believed, the purely conventional designs originating in the esthetic impulse receive symbolic interpretations, giving rise to still greater complexity. Entering into the arts and subject to similar influences are [[Note: text is trimmed very close on the right, and some words are incomplete; they have been included where possible based on context, and probably extrapolations included in brackets.]] sentations which contribute to embellishment and to the development of pure esthetic phases of art. These element[s are] largely pictographic, contribute not on[ly] to the growth of the fine art, paintin[g], but equally to the development of [the] recording art, writing. The place occupied by the religious, ideographic, a[nd] simply esthetic elements in the vario[us] arts of the northern tribes may be brief[ly] reviewed: (1) The building arts, employed construction dwellings, places of worshi[p], etc., as practiced N. of Mexico, although generally primitive, embody various religious and esthetic elements in their [non]essential elaborations. As a rule, the[se] are not evolved from the constructive features of the art, nor are they expressed in terms of construction. The primitive builder of houses depends mainly [on] the arts of the sculptor and the painter for his embellishments. Among Pueblo tribes, for example, conventional figures and animals are painted on the walls [of] the kivas, and on their floors elaborate symbolic figures and religious personag[es] are represented in dry-painting (q. v.); [at] the same time nonsignificant pictorial subjects, as well as purely decorative designs, occur now and then on the interior wall[s?] and the latter are worked out in crude patterns in the stonework of the exterior. Though the buildings themselves present many interesting features of form and proportion, construction has not been brought to any considerable degree under the supervision of taste. The dwellings of primitive tribes in various parts of the country, construction of reeds, grass, sod, bark, mats[?] and the like, are by no means devoid of that comeliness which results from careful construction, but they show few definite traces of the influence of either symbolism or the esthetic idea. The skin tipi[s?] of the Plains tribes present tempting surfaces to the artist, and are frequently tastefully adorned with heraldic and religious symbols and with graphic designs painted in brilliant colors, while the grass lodge is embellished by emphasizing certain constructive features in rhythmic order after the manner of basketry. The houses of the N. W. coast tribes, buil[t] wholly of wood, are furnished within with carved and painted pillars, whose main function is practical, since they serve to support the roof, while the totem-poles and mortuary columns outside, still more elaborately embellished, are essentially emblematic. The walls both within and without are often covered with brilliantly colored designs embodying mythologic conceptions. Although these structures depend for their effect largely on the work of the sculptor and the painter, they show decided archi- [[/article clipping]]
