A review of the terms of art in the diverse aboriginal vocabularies would furnish an interesting supplement to the general question of the manifestation of an artistic faculty, and the evidences of appreciation of art among savage races. I note a few illustrations, which the languages of some Northern Indian tribes supply, of the ideas associated in the native mind with terms of art. The Algonkin languages generally have no distinctive words clearly discriminating between painting, drawing, and writing in the sense of ideography; though the inevitable tendency to invent or appropriate words, as equivalents expressive of any novel object or idea, is in operation in those as in other languages. The Ojibways have no generic term for painting the body or face, but express it by some word connected with the specific colour in use. For example, the painting the face black, as is done to a youth on attaining puberty, is _muhkuhdaekawin_. This consists of _muh-kuh-da_, meaning “black,” _eka_, the form which gives it the verbal significance, “he makes himself black,” with the termination _win_, constituting the whole a noun. So _misquah_, “red,” is the root of _misquah-ne-ga-zoo_, “he is painted red”; _misquah-ne-gah-da_, “it is painted red.” _Oozahwah_, “yellow,” gives _oo-zah-we-ne-gah-zoo_, “he is painted yellow”; with the corresponding terminal change for the neuter. But the word _oozahnamahne_, from _oonah_, “the cheek,” is also used for painting the face either red or yellow. _Quahnaiy_, or _gwanai_, the word for “beautiful,” is applied to moral as well as physical beauty, _e.g._ _gwanaienene_ would be used of a fair, honourable dealing man, as well as of one who was handsome or good-looking. But such rhetorical tropes are common to many languages.