Mató-Tópe (“Four Bears”), the Mandan chief who was the subject of writings by Maximilian, George Catlin and others, was one of the best known Indian personages of the early nineteenth century. In this portrait, Mató-Tópe poses in elaborate regalia indicating his elevated status.

The long overshirt is made from bighorn leather; it is trimmed with ermine tails and decorated with ornate bead- and quill-work. Figures symbolizing brave deeds and accomplishments are painted on the shoulders; red spatter marks on the shirt’s front represent old wounds suffered in warfare.

The headdress is symbolic as well as spectacular. The tail of eagle feathers is so extensive that it may serve to represent not only the battle coups of its wearer but of an entire war party or men’s society. Mató-Tópe wore this in April of 1834 when he rode at the front of the Half-Shorn Society. Split buffalo horns rise from the white ermine-covered cap. In addition to the feathers that decorate it, the spear incorporates a scalp stretched on a hoop.

About Karl Bodmer

In 1832-34 German explorer-naturalist Prince Maximilian of Weid-Neuweid traveled the interior regions of North America to document what he referred to as vanishing cultures, the tribes of Native Americans who live in what was then a vast wilderness west of the Mississippi. Accompanying him was 23-year-old Swiss artist Karl Bodmer (1809-93), whom Maximilian employed to capture a “faithful and vivid picture” of American Indian people. During their journey, Bodmer painted chiefs and warriors from the same tribes -- and in some cases the same individuals -- that Lewis & Clark met on their journey nearly three decades before.

If you'd like to see and learn more about this fascinating body of work, click here to buy Karl Bodmer's America at Amazon.com