But apart from the great compass of the Iroquois verb as illustrative of grammatical development in the languages of unlettered nations, another characteristic feature is the distinction between masculine and feminine forms both in speaking of and to a man or woman. In the study of the minute niceties of the Iroquois verb I have been largely indebted to Dr. Oronhyatekha, and to the Rev. Isaac Bearfoot, both educated Mohawks. When tracing out the comprehensive power of the Mohawk verb, I had in view at the same time the recovery of evidences that the language might supply of an inherent recognition of the artistic faculty. This is much more strongly manifested in other American races in all stages of progress, from the ingenious Haidahs and Tawatins of British Columbia, and the Pueblo Indians of Arizona, to the semi-civilised nations of Mexico and the lettered races of Central and Southern America. Nevertheless the Iroquois recorded in primitive picture-writing the deeds of their departed braves, and have left records in the same crude hieroglyphics, such as the graven rock on Cunningham Island, Lake Erie. Their pipes were carved, and their pottery modelled into representations of familiar objects indicative of a habitual, though simple practice of imitative art that could not fail to beget some counterpart in their languages. Hence the choice of the verb _kyadarahste_, “to draw.” _Kayadareh_, or _kyadareh_, signifies “a body or form _in_,” _e.g._ “in a frame” or “group”; _kyadarastonh_, on the other hand, implies “a body” or “form transferred _on_ to something,” _e.g._ a board or canvas. The latter is therefore the more expressive and correct term to use for drawing or painting, while it illustrates the process of augmenting the vocabulary to meet the requirements of novel acquisitions in art. But its chief value consists in its affording illustration not only of the inherent capacity of the language to express with minute nicety of detail the manifestations of an æsthetic faculty, as yet very partially developed, but of the compass of its grammar to indicate every distinctive variation of form expressive of time, place, action, object, or subject. The latest results of philological research in this direction are set forth in the _Lexique_ and the _Études philologique_ of Abbé Cuoq, and in an admirable _résumé_ in Mr. Horatio Hale’s introduction to _The Iroquois Book of Rites_.[147] The systematic processes by which the moods and tenses are indicated, either by changes of termination or prefixed particles, or by both conjoined, are carefully indicated by Mr. Hale; but he adds: “A complete grammar of this speech, as full and minute as the best Sanscrit or Greek grammars, would probably equal, and perhaps surpass those grammars in extent. The unconscious forces of memory and of discrimination required to maintain this complicated intellectual machine, and to preserve it constantly