The sculpin on the totem pole (fig. 236) is treated in the same manner, but in this case the cut is made along the lower side of the animal. The head is turned upward, so that the front view of the face is seen when looking down upon the back of the fish. The spines rise over nose and eyebrows. The pectoral fins are shown over the eyebrows on the edge of the carved portion of the pole, while the hind portion of the lower part of the body occupies the upper part of the margin of the pole. [Illustration: Fig. 237. Model of totem pole representing a sea-monster devouring a fish, Haida.] The exceedingly intricate central figure on the pole shown in fig. 237 must be explained in the same manner as fig. 235. We see here the sea-monster described before in fig. 183. It has a bear’s head. In each ear is placed a small human figure the hands of which grasp the eyelid of the monster, which they are lifting. The tail (_c_) is turned upward in front of the body, immediately over a beaver’s head which is the next lower figure on the column. The dorsal fin (_a_) has been split, and one-half of it is seen under the mouth of the bear, indicated by a projection which is decorated with a double circle. The fore paws of the animal (_d_) are raised in front of its chest, and appear under the mouth. The fins which are attached to them (_b_) are shown to the right and to the left of the tail. The animal is swallowing another being, but it is not clear what animal is meant. A fish tail and a hand are seen protruding from the mouth. The space between the fore paws and the tail of the sea-monster is occupied by an inverted bird, which will be seen clearly when the figure is reversed. Its head is shown with beak resting between the feet. The two wings (_e_) are extended, and reach from the fins of the fore arm of the monster to its dorsal fin. The particular point brought out by this figure is the same as that which I tried to explain in considering fig. 235; namely, that the two edges of the carved pole must be considered as the extended medial line of the back of the animal that is represented on the pole. These carvings make it clear that in paintings on hats, such as shown in figs. 219, 224 and 225, and in flat figures, such as fig. 163, we must consider the outer rim of the figure as the distended sides of a cut made along the lower side of the body. All of these distortions and sections of animals may be explained by the necessity the artist felt of showing in his work all the symbols of the animal. [Illustration: Fig. 238. Slate carving representing the sea-monster, Wasgo, Haida.] [Illustration: Fig. 239. Tattooing representing the fabulous sea-monster, Ts’um’a´ks, Haida.] In most cases the symbols appear clearly in profiles of animals. For this reason the artist, when representing profiles, has not endeavored to show both sides of the body. I will give here a series of figures illustrating this point.