So far I have considered the symbols only in connection with their use in representing various animals. It now becomes necessary to inquire in what manner they are used to identify the animals. We have seen that in a number of the preceding cases entire animals were represented, and that they were identified by means of these symbols. However, the artist is allowed wide latitude in the selection of the form of the animal. Whatever its form may be, as long as the recognized symbols are present, its identity is established. We have mentioned before that the symbols are often applied to human faces, while the body of the figure has the characteristics of the animal. We find this principle applied on the totem pole, fig. 206. Each of the three animals represented has a human face, to which are added characteristic symbols. In the top figure the ears indicate an animal; the arms, to which flippers are attached, the sea-monster (see fig. 183). The next figure below represents the shark. Originally a large lip with a labret was attached to it. This would indicate that a female shark is represented. Its symbols are the peculiar high snout which rises over its forehead, and the fins, which are placed under the chin. The body of the lowest figure which is shown under the face represents a fish; and the two large spines which rise over the eyebrows specify the sculpin. In many cases the bodies of the animals are not represented and the essential symbols are applied to a purely human face. This style is found on masks and in facial paintings. [Illustration: Fig. 207. Mask representing the hawk, Tlingit.] Fig. 207 has a human face with human ears. Only the nose indicates that the mask is not intended to represent a human being. It is strongly curved, and drawn back into the mouth, thus symbolizing the hawk. [Illustration: Fig. 208. Mask with painting symbolizing the flicker, Tlingit.] In fig. 208 we see the face of a woman with a moderately large labret. The ears, as explained before, are those of an animal. The nose, which has been lost, had undoubtedly the form of a bird’s beak. Thus the face was characterized as that of a bird. It was specified partly by the form of the beak, but principally by the ornaments painted in red and black on the cheeks and forehead. These represent the feathers of the red-winged flicker. [Illustration: Fig. 209. Mask with eyebrows symbolizing the squid, Tlingit.] A small mask representing a human face (fig. 209) has, in place of the eyebrows, two rows of circles, the sucking-cups of the squid. By means of this symbol the face is recognized as that of the squid. [Illustration: Fig. 210. Mask with painting symbolizing the killer-whale, Tlingit.] In the same manner the mask fig. 210 is identified as the killer-whale by the two black ornaments painted on the left cheek and extending down to the chin. They represent the dorsal fin of the killer-whale.