I was indebted to the late Silas T. Rand, for upwards of thirty years a missionary among the Micmac Indians of Nova Scotia, for the following illustrative details: “The Micmac is rich in words relating to art, the making and ornamenting of garments, moccasins, snow-shoes, etc., of weapons and implements for domestic use, making pottery and modelling in clay. For building and managing a canoe there are at least seventy-six words. They have words for carving on stone, and also on wood, for marking dressed skins with flower patterns, for carving flowers in stone, for scraping them on birch-bark dishes, for drawing a likeness, making models and patterns, and for working after them. When I was engaged in translating Exodus, and largely dependent on my Indian teacher for the words to express all the parts of the Tabernacle, its coverings and furniture, mortices, tenons, hooks, fillets, loops, bars, pins, sockets, etc., I fully expected to be baffled. What was my surprise to find that there were words in the language by which to express all I needed. Boards, bars, bolts, pillars, poles, rings, everything was made, put together, and my ‘pundit’ an excellent mechanic, when he returned next day to go on with our work, assured me that he had been dreaming about that ‘wigwam’ we had been erecting the previous day, and he was sure he could make such a one. He had the pattern in his head as clearly as Moses had it, after he had seen it up the mountain.” In the Micmac, _aweekum_ is “a drawing,” lit. “I write it,” “I draw it”; _essum_, “I colour it”; _elapskudaaga_, “I am carving,” or “cutting stone”; _elapskudaam_, “I am carving it in stone”; _apsk_, which here denotes “stone,” is only used in composition; _coondow_ is the word for “stone”; _eloksowa_, “I am carving in wood”; _noojeweekuga_, “a painter,” “drawer,” “writer,” lit. “a maker of marks”; _aweegasik_, “a picture,” lit. “it is marked down,” etc.