We were hours late in reaching Saint Louis. Mr. Hulbert was at the station waiting for our arrival and at once secured a great coach to take us in state to the Exposition grounds, where we arrived at four o’clock in the afternoon of April 6th, the group being temporarily located in the Government Indian School building. We were pressed for time; work began at the University on the 1st of April and we must reach Chicago as soon as possible. So we told the Ainu that our time for separation had come and wished them happiness. Kutoroge hastily ransacked the luggage and drew out a wooden tray with carved decoration, which he presented us on behalf of the party as a token of their affection. All followed us to the door and stood upon the topmost step; tears filled their eyes and all were sobbing; they rubbed their hands and waved them in the air and the old men stroked their beards. When almost out of sight we turned and saw them all standing as before, weeping and waving their partings. Upon my tray are carved designs, graceful curves, fillings of criss-cross lines. The Ainu is a great carver of wooden articles and all he carves he decorates. Trays, cigarette holders, knife-handles, tobacco-boxes, pipe-holders, moustache-sticks, sheaths for knives and swords, spoons—all of these are decorated with good designs. Only one student has, so far, made a serious study of Ainu art, Dr. H. Schurtz, of Bremen, Germany. In a complete study one must investigate not only the designs cut in wood, but also the patterns embroidered on dress and the figures tattooed upon the arms and hands of women. Almost all the Ainu patterns are highly conventionalized and many of them are derived from original animal representations. On the whole Ainu art appears to be notably independent and characteristic.