Mysteries of the Lost Colony

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Mysteries of the Lost Colony

• A New World Englands First View of America
• Displayed at the North Carolina Museum of History
  Courtesy of the British Museum
• Mrs. Hardees AIG Class

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A Bit of Background

• http//www.youtube.com/watch?v4XxNgGljaGE
• http//www.youtube.com/watch?vNM6exVR_zXI
  Great for images mute sound
• Museum You Tube http//www.youtube.com/watch?veC
  N9CXmfJ4sNR1

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Why are we going

• Explore one of historys most astonishing
  unsolved mysteries in a major exhibition.
• This is a once-in-a-lifetime exhibit.
• This is the first time in more than 40 years that
  the complete collection of John Whites
  watercolors will be show outside of England.

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Journey back to the 16th century, and embark on
an adventure to the New World in the footsteps of
John White. Search for the lost colonists, view
an Algonquian Indian village, and follow the
history of the outdoor drama The Lost Colony
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Algonquin Indian Village
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Mysteries of the Lost Colony examines Englands
first attempts at a permanent settlement in
America and what may have happened to the
colonists at Roanoke Island.
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(No Transcript)
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Every North Carolinian knows about the legend of
the Lost Colony.

• More than four centuries ago, English colonists
  challenged the wilderness of North America when
  Sir Walter Raleigh authorized two colonies at a
  site on the northern end of Roanoke Island
  protected by barrier islands from the Atlantic
  Ocean and from marauding Spaniards.

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• One group of colonists gave up and returned to
  England. A second colony vanished without a
  trace, creating the Lost Colony mystery the
  genesis story of North Carolina and English North
  America.

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John White

• John White, a gentleman and artist, was appointed
  governor of the Roanoke Island colony in 1587.
  That same year, his granddaughter, Virginia Dare,
  became the first English child born in America.
  Weeks after her birth, White traveled to England
  for supplies. When he returned three years later,
  the entire colony had vanished.

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The Mystery

• Today, the Lost Colony mystery remainsas do
  Whites detailed renderings of New World flora
  and fauna and Algonquian Indians. These
  extraordinary images provide the only surviving
  visual English record of America at the time of
  European contact. Londons Daily Telegraph has
  called A New World Englands First View of
  America enthralling and unmissable.

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Watercolors

• At its heart is A New World England's First View
  of America, featuring more than 70 watercolor
  drawings made by John White on the voyages to
  Virginia (now North Carolina) in the 1580s. This
  is the first time in over 40 years that this
  complete collection of White's original
  watercolors is on view outside of England.

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Indian Village of Pomeiooc http//www.virtualjame
stown.org/quicktime/flash/pomhi.html
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Description
A bird's-eye view of an Indian village enclosed
by a circular palisade of quite irregular light
poles, with two entrances, one in the foreground
and one in the background at bottom and top left.
The path leading to the front entrance is
bordered with hooped sticks. The village consists
of eighteen buildings of pole and mat (and
perhaps bark) construction, many of them with
open ends or sides or both, and some with door
openings at the ends, usually off-centre. Most
are rectangular in ground-plan, but some may have
rounded ends. Several are seen to contain an
interior platform along one or both sides and
across one end, supported by two rows of posts
independent of the house posts. All have simple
arched roofs, except the largest, where the
cupola-like roof is constructed on ridges
springing from the corners and coming to a point
in the centre. In three houses the open sides
seem to be shaded by an arched section of roof
supported on longer vertical poles. The houses
are grouped irregularly about a large open space
in the centre where a fire is burning and around
which a number of apparently naked Indians are
sitting with rattles in their hands (see no. 43
(A), pl. 39). Other groups of men, women and
children are seen standing or walking near the
houses, several of them making signs with their
hands towards the fire and one man is splitting
timber with an axe, another is carrying wood on
his back, yet another carries a bow, while a
cloaked figure is dimly seen emerging from a
house to the left of the fire. A dog with longish
legs and tail is also shown. Yellow, crimson and
gold body-colours, various shades of brown and
grey water-colours, touched with black, over
black lead 22.2 x 21.5 cm. or 8 3/4 x 8 1/2 in.
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Inscription

• Inscribed in brown ink, at the foot, "The towne
  of Pomeiock and true forme of their howses,
  couered and enclosed some wth matts, and some
  wth barcks of trees. All compassed abowt wth
  smale poles stock thick together in stedd of a
  wall."

16
Indian Woman and Young Girl"
17
Description

• A woman is standing to the front with her head
  turned half-right and with a child standing at
  her left side, facing half-left. The woman is
  wearing an apron-skirt of fringed skin of which
  only the part in front is visible, edged at top
  and bottom with a single row of white beads. Her
  hair is fringed in front, long behind and caught
  up at the nape of her neck. A headband, probably
  of woven beadwork, is shown running across her
  forehead and under the hair at each side. A
  close-fitting three-string necklace with a
  pendant is either worn or suggested by painting
  or tattooing on the skin. She also wears a long
  three-strand bead necklace hanging to her waist,
  through which her right hand is thrust. Painted
  or tattooed decoration is visible on her
  forehead, cheek and chin and on her upper arms.
  She holds in her left hand a large bottle-shaped
  gourd vessel. The girl's head reaches almost to
  the woman's waist and her hair is fringed on the
  forehead, hanging free at the sides and back. She
  wears a necklace of at least three strands of red
  and blue or black beads, with a tongue-like
  pendant which she is holding in her right hand.
  Her sole article of clothing is a thong or string
  passing round the waist, where it is tied in
  front, and through her crutch where it secures a
  small pad. In her left hand she holds a doll
  dressed in Elizabethan female costume.
• Black, various shades of grey and brown
  water-colours, touched with white and crimson
  body-colours, over black lead 26.3 x 14.9 cm. or
  10 3/8 x 5 7/8 in.

18
Inscription

• Inscribed in dark brown ink, at the top,
• "A cheife Herowans wyfe of Pomeoc. and her
  daughter of the age of .8. or. .10. yeares. "

19
"Old Indian Man" by John White
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Description

• The man is standing to the front, his face
  half-left, with feet apart. His greying hair is
  drawn flat at the sides and caught up in a knot
  at the back, leaving a roach down the middle of
  his head. Some facial hair is visible on his
  chin, cheeks, and upper hp. He wears a large
  fringed deerskin mantle thrown over his left
  shoulder and reaching below the knee, leaving the
  right shoulder bare, with the top edge turned
  down to reveal the hairy side. A neat seam is
  visible down the left side. His right hand lies
  across his body clasping his mantle, his left is
  extended at the side and points down with the
  index finger. He is perhaps wearing an ear
  ornament.
• Black, touches of brown body-colour, various
  shades of brown and grey water-colours,
  heightened with white (partly oxidized),
  especially along the edges of the feet, hands and
  shoulder, all over black lead outlines 26.1 x 15
  cm. or 10 1/4 x 5 7/8 in.

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Inscription

• Inscribed in dark brown ink, along the top, "The
  aged man in his wynter garment.

22
"Indian Woman and Baby of Poemiooc" by John White
23
Description

• The woman is standing to the left, her back to
  the observer, her head turned towards the front,
  looking over her left shoulder. She carries a
  naked child on her back who grips her shoulders
  with both arms and whose left leg is tucked under
  and through her left arm, while the right hangs
  down. Her hair forms what now appears to be a
  grey cap (almost as if it were a wig--an effect
  caused by the removal of the surface wash by
  water) and from it some straggling hairs emerge
  in a fringe at the front and loosely at the neck.
  Her upper arms are decorated with bands of zigzag
  and other patterns, either painted or tattooed.
  She wears a double apron-skirt of fringed skin
  which reaches half-way down her thighs.
• Black, brown and grey water-colours in several
  shades, touched with white (partly oxidized),
  over black lead 25.7 x 14.1 cm. or 10 1/8 x 5
  5/8 in.

24
Inscription

• Inscribed in brown ink, along the top, "The wyfe
  of an Herowan of Pomeiooc. "

25
"Indian Village of Secoton"
26
Description

• A bird's-eye view of an unenclosed Indian village
  of thirteen houses of light pole and mat
  construction. At the top, a path leads from water
  (a stream or pond) to the main group of houses
  where it widens into a central thoroughfare
  running down through the settlement. On the
  street, in the centre of the main group of
  houses, a spoke-shaped fire attended by two
  Indians is burning and below, further down the
  path, are shown mats spread out on which are
  three large circular eating vessels and six small
  objects of indefinite form. One squatting and two
  sitting figures are seen eating and one man armed
  with a bow stands by. To the right of the path
  and street are three cornfields each at a
  different stage of growth. The top field of ripe
  maize contains a small hut, open at one side,
  which may shelter a seated figure and is mounted
  on a platform with four legs. A path to the right
  separates this field from the two lower ones in
  which crops of unripe and very young maize are
  growing. The last has faint indications perhaps
  representing hills around the bases of the
  plants. To the left of the unripe maize is a
  house with a small fenced yard before the door
  which is in the centre of the end wall. The
  houses to the left of the road are set among (or
  near to) birch-like trees. Among the trees to the
  left are two houses with three figures nearby,
  two of them apparently carrying bows. Four other
  figures are to be seen among the main group of
  houses, which are shown with open ends, several
  revealing the pole framework and side platforms,
  while a few have small window-like openings. At
  the bottom right a path separates the lowest
  cornfield from the ceremonial area and is
  bordered by a row of seven posts. Below this is a
  circle of seven posts, the tops of which are
  possibly carved in the form of human heads, and
  on a path around it nine Indians (apparently all
  men), with feathers in their hair and waving
  gourd rattles, are dancing. Some wear a single
  apron-skirt and others apparently are naked or
  wear breech-clouts only. One Indian crouches
  beside a post outside the circle to the right and
  six others squat or sit in line on the roadway to
  the left. A further path is indicated at the
  bottom right, below the dancers. To the left of
  the roadway, opposite the circle, a path
  surrounds four posts within which a spoke-shaped
  log fire is burning, a fifth post being seen to
  the right near where the path joins the road. The
  heads of the posts are again possibly carved like
  the others. To the left of the fire is a but with
  the end covered and below, at the bottom left, is
  a house taller than the rest which may have
  openings in the end wall. A short path leads from
  it to the road.

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"Indian Woman of Secoton"
28
Description

• The woman is standing, facing half-right with
  arms folded. Her hair is fringed in front and
  hangs in wisps at the side and back and is
  secured by a headband of twisted material. There
  is a suggestion of an ear ornament. She is
  wearing a double apron-skirt of fringed skin,
  ornamented with a double row of beads or pearls.
  The tassels of the fringe below the waist are
  heightened, as they are on the lower fringe, with
  white (oxidized) and show traces of gold. The
  skirt reaches nearly half-way down the thighs.
  She is elaborately painted or tattooed with
  bluish lines on her cheeks, forehead and chin, a
  simulated necklace, and patterns on the upper and
  lower arms and on the calves and instep.
• Black, blue and crimson body-colours, brown and
  various shades of grey water-colours, heightened
  with white (oxidized) and touched with gold, over
  black lead outlines.

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Inscription

• Inscribed in dark brown ink, along the top, "The
  wyfe of an Herowan of Secotan.

30
"Indian Charnal House"
31
Description

• A rectangular building (20 x 13.5 cm. or 7 7/8 x
  5 3/8 in.) of pole and mat construction with
  curved roof, is raised perhaps 6 feet above the
  ground on eleven timber posts. The front end is
  open and the mat covering thrown back over the
  roof. The raised floor is made of either narrow
  poles or cane. Below it, in front, is a border or
  pelmet of cane or mat, perhaps 18 inches deep. On
  the raised floor lies a row of ten pale, naked
  and emaciated bodies placed close together on
  their backs, their arms by their sides and their
  heads almost reaching the front edge of the
  floor. Their hair is shown drawn out from the
  scalp to a point or knot. At their feet, four
  large rectangular bundles of matting with curved
  tops lie two by two against the end wall of the
  building. The figure of an idol ('Kywash') is
  represented sitting slightly elevated, with legs
  flexed and hands on knees, close to the
  right-hand wall and some little way back. It
  appears to be dressed in black throughout with a
  white streak or opening on the chest (giving the
  effect almost of a jacket and trousers with a
  white undergarment showing in front). Its feet
  and hands are black and on its head is a large
  round hat, brownish in colour, with a rolled
  brim, coming to a point at the top. The face is
  pale and looks to the front. Under the floor of
  the building, inside the wooden posts, are two
  reddish-brown skins spread out on the ground, one
  on top of the other. In front a small
  spoke-shaped wood fire is burning. The building
  stands on a levelled foundation a little wider
  than itself and extending to the front of the
  drawing.
• Black, various shades of brown, reddish-brown,
  pink and grey water-colours, heightened with gold
  on the flames, over black lead outlines 29.5 x
  20.4 cm. or 11 5/8 x 8 in.

32
Inscription

• Inscribed in dark brown ink, at the top, "The
  Tombe of their Cherounes or cheife personages,
  their flesh clene taken of from the bones saue
  the skynn and heare of theire heads, wch flesh is
  dried and enfolded in matts laide at theire
  feete. their bones also being made dry, ar
  couered wth deare skynns not altering their
  forme or proportion. With theire Kywash, which is
  an Image of woode keeping the deade. "

33
"(No Caption - Indians Dancing Around a Circle of
Posts)"
34
Description

• Seventeen Indians (ten men, seven women) are
  dancing within and around a circle of seven
  upright posts, somewhat taller than a man,
  defined on the ground by a path outside them. The
  tops of the posts are carved in the form of human
  heads which appear to be draped and to have the
  features painted in pale grey and reddish
  colours, touched with white. The dancers may be
  divided into three groups the two figures
  standing between the posts in the foreground,
  whose clasped hands hold a leafy twig the circle
  of men and women dancers moving outside the
  circle of posts the three women in the centre of
  the circle clasped closely together, facing
  inwards.

35
Indians Numbers 1-3

• Numbering the dancers clockwise from a post at
  the bottom, left of centre (1) a woman, to the
  right of the post, is balanced on her left leg,
  her right foot crossing it behind. She is dressed
  in a fringed skin mantle which hangs over her
  left shoulder and reveals the fur on the fold.
  The mantle appears to be tied round the waist
  with a band or string into which is tucked a skin
  bag with fringed ends which hangs down behind.
  Her hair sticks out in a fringe at the front and
  is tied behind at the neck and she probably has a
  headband. She appears to have a small bracelet on
  her right wrist. She is tattooed or painted on
  the upper arms and holds in her left hand a gourd
  rattle with a stick handle her right hand clasps
  that of her neighbour (2) a man to the left of
  the post, seen from the back, his head turned to
  the left, is balanced on his right foot with his
  left leg raised high, the knee fully bent and his
  right arm raised above his head, a twig in his
  hand his left hand is thrust behind his back and
  holds a gourd rattle. He is wearing a single
  apron-skirt, secured by a thong round his waist,
  from which a skin bag hangs over his right hip.
  His hair is short at the side with a roach down
  the middle into which two feathers are stuck.
  Apparently, from his right ear an ornament (or
  tobacco pipe?) protrudes. On the left side of his
  back are three or four designs, perhaps
  downward-pointing arrows (3) below the post
  furthest to the left a man seen from the back is
  in a similar posture, but with his right knee
  raised, the rattle (in red body-colour) in his
  right hand held above his head, and a twig in his
  left which he holds away from his body. His dress
  is also similar but he wears his bag on the left.
  The sides of his head are seen to be shaven and
  the roach comes to a point on the nape of his
  neck. He seems to be wearing five feathers on his
  head, one above each ear and three sticking in
  the roach. On his left shoulder there is a
  design, perhaps a small animal within a
  shield-like border

36
Indians Numbers 4-7

• 4) a woman, facing front and to the left of the
  post, is balanced on her right foot, the left
  pulled up behind her, and is holding a twig in
  her right hand and another in her left which is
  stretched across the front of her body. She is
  wearing a double apron-skirt. Her hair is fringed
  on the forehead, worn long and caught up at the
  neck. An ornament is just visible near her left
  ear, which may be a string of beads or pearls
  hanging down on the left side of her head. She
  has a two- or three-strand necklace and tattooed
  or painted ornaments on her left upper arm and
  wrist (5) a man facing front, to the right of
  the next post, his right leg thrust out behind
  him, is balanced on the ball of his left foot.
  His left hand is raised above his head and holds
  a twig, while his right grasps a rattle held out
  from his side. He apparently wears a single
  apron-skirt. His hair stands in a roach into
  which are stuck three feathers, and he wears
  another above each ear. He has a long two- or
  three-string necklace (6) a man, facing
  half-right, and to the right of the post, has his
  left knee raised up towards his left arm which is
  stretched out in front. His right hand is raised
  above his head and holds a gourd rattle. He is
  wearing a breech-clout lapped over a thong round
  the waist, into which is tucked a skin bag
  hanging over the right hip. His hair is dressed
  in a similar fashion to that of the other men
  already described, and a single feather is stuck
  in the roach, another appearing above each ear.
  He wears a long necklace, the three strands of
  which are joined just above his waistband to form
  an ornament (7) a man facing half-right to the
  left of the top post, is balanced on his right
  leg, with his left leg raised and fully flexed,
  and his right arm bent and raised above his head,
  his left crossing his body in front. His dress is
  similar to that of no. 6 as is his hair. He
  wears, apparently, a two-strand necklace from
  which hangs a round ornament

37
Indians Numbers 8-10

• 8) a man to the right of the topmost post, facing
  half-left, is balanced on the left foot and his
  right leg is stretched out to the right. His
  right hand is hidden by the post to the left of
  which the top of a rattle is visible. His left
  arm holds out a long arrow or spear, the barbed
  point facing downwards, the butt missing off the
  top of the page. He is wearing a single
  apron-skirt, and his hair has a single feather
  sticking up from the back of his roach and
  another from his left ear. He appears to be
  wearing a necklace which hangs across his chest
  and under his left arm (9) a man, to the left of
  the top right post, is balanced on his left foot,
  his right leg raised to the side and flexed. He
  is holding up a twig in his right hand and a
  rattle in his left. He wears a breech-clout
  giving the effect of a reddish mottled skin,
  lapped over a thong round the waist. There are
  three feathers in his roach and one above each
  ear, and he wears a three-strand necklace (10) a
  man to the right and below the post is balanced
  on his right leg, his left leg bent up behind. He
  holds a twig above his head in his right hand,
  and another in his left near his side. He is
  wearing an apron-skirt and has four feathers
  stuck near the front of his roach. He wears a
  long three-strand necklace

38
Indians Numbers 11-14

• (11) a woman, to the right of the right-hand
  post, is facing left and is balanced on her left
  leg with the right raised behind. With her right
  hand she holds up a rattle to her chin, while her
  left arm is bent, the hand resting on her hip.
  She is wearing a fringed skin dress or mantle,
  hanging from the shoulders, ornamented with beads
  or pearls around the bottom and the neck line
  (and extending down in strings on to the chest),
  which is secured at both shoulders, leaving her
  arms bare and reaching below her knees. Her hair
  is worn long, fringed in front and caught up at
  the back. She has tattooed or painted ornaments
  on the upper arms, and the suggestion of a
  bracelet on her left wrist (12) a man below, and
  to the right of the post, is balanced on his
  right leg, his left leg drawn up behind. He is
  brandishing in his right hand a long arrow
  showing both barbed point and fletching, and
  holds up a gourd rattle in his left hand. He
  wears only a waistband into which a skin bag is
  tucked on the left side and, apparently, a twig
  stuck into it on the right. His hairstyle is
  indeterminate. He appears to have one long
  feather sticking from the middle of his head and
  one above each ear (13) a man, viewed from
  behind, his head turned left, in profile, is
  balancing on his left foot with his right foot
  raised. His right hand is held close behind his
  back, grasping an upright twig, and in his left
  hand is a rattle partly hidden by his left thigh.
  He is wearing only a thong round his waist,
  through which is tucked a skin bag hanging down
  on his left hip. His hair is smooth at the sides
  and is caught up in a knot at the back of the
  neck. He has a high roach from which two feathers
  stick up in front and one behind. He appears to
  be wearing a large ear ornament but its form
  cannot be clearly distinguished. On his right
  shoulder-blade is a design representing two
  arrows pointing downwards, and there is a painted
  or tattooed ornament on his left wrist (14) a
  woman, viewed from the back, is standing to the
  left of the lower right-hand post with her head
  facing left. In her right hand she holds a twig
  upright, while her left reaches out to clasp that
  of no. I, as described above. She is unclothed
  except for a waistband through which are stuck a
  number of long twigs reaching from her knees to
  above her head. Her hair has a fringe in front
  and hangs down loosely to her neck. She appears
  to have a small bracelet on her left wrist. A
  tattooed or painted ornament can be faintly
  distinguished on her left upper arm and perhaps
  on her right wrist

39
Indians Numbers 15-17

• 15) in the middle of the circle a woman, viewed
  from the back, is seen standing, balanced on the
  balls of her feet. Her head is turned half-left
  and her arms are clasped round the necks of two
  other women (16 and 17). She is wearing a single
  apron-skirt tied at the back round the waist,
  leaving her buttocks bare. Her hair hangs down
  loosely on her neck (16) a woman, turned to the
  right, is seen to the left of no. 15 . Her left
  foot is on the ground and she is balancing on the
  ball of her right foot which is extended behind
  her. One arm rests on the left shoulder of no.
  15, the other is not visible. She appears to be
  wearing a single apron-skirt, or possibly a
  mantle (like that of no. 1). A tattooed or
  painted ornament can perhaps be distinguished on
  her right forearm (I7) a woman, turned to the
  left, her face half-front, is seen on the right
  of no. 15. Her right foot is on the ground and
  she is balancing on her left foot. Her left arm
  is closely clasped round the waist of no. 15 (and
  her right may be linked to no. 16). She appears
  to be wearing a single apron-skirt, but, again,
  it may be a mantle. Her hair is smooth and is
  apparently caught up at the back of her neck,
  leaving a large wisp hanging down. She is perhaps
  wearing an ear ornament, and possibly has a
  headband. The inner circle is about 16 feet in
  diameter. In the centre of the ring a small
  circle, about 3 feet across, has been made (or
  worn) on the ground.

40
"Indians Round a Fire"
41
Description

• Ten Indians, apparently six men and four women,
  are seated or kneeling in a circle round a
  spoke-shaped log fire. Five are holding gourd
  rattles. Four of the men wear feathers in their
  hair which is cut short at the side to leave a
  roach in the middle. The women wear their hair
  somewhat longer and looser. The figure (a man?)
  seen behind the flames has long, untrimmed hair.
  Several men and women are wearing one-, two-, or
  three-strand necklaces and there is a suggestion
  that some have ear ornaments. One man clearly
  wears a breech-clout, one is evidently entirely
  unclothed, and two wear skin mantles draped over
  one shoulder. One woman wears a single
  apron-skirt, one has either a single or double
  apron-skirt, and one seems to be wearing only a
  cord around her waist. One woman is painted or
  tattooed on her arms and one leg, and another on
  one arm.

42
"Indian Man and Woman Eating"
43
Description

• A man on the left and a woman on the right are
  seated facing each other on a strip of matting
  some 4 feet wide, which appears to be stitched
  across at about one foot intervals. It extends
  beyond the left-hand edge but the end on the
  right is finished with a double row of stitches.
  They are eating with their right hands from a
  large circular dish containing large grains of
  food. The man has his hair shaved at the side,
  with a roach running from front to back in which
  he wears a turkey(?) feather. A small knot of
  hair is gathered at the back of the neck. His ear
  ornament is apparently a piece of skin, passed
  through a hole in the right ear lobe and hanging
  down several inches on either side. Each end is
  marked with a streak of yellow, perhaps
  representing cylindrical pieces of shell or bone.
  Lines of red paint are visible on his face and
  forehead. His fringed deerskin mantle is worn
  over the left shoulder, the top folded over,
  showing the hair on the inside. The woman's hair
  is worn long, with a low fringe in front, perhaps
  hiding a headband or tattooing, and is tied in a
  knot at the neck. She also wears a three-string
  bead or pearl necklace, and a fringed skin robe
  over her left shoulder. A few plants are lightly
  indicated in the background behind the mat.

44
Inscription

• Inscribed in dark brown ink, at the top, "Theire
  sitting at meate. "

45
"Indian Priest"
46
Description

• An elderly man stands facing half-right, his
  right foot placed slightly in front of his left,
  wearing a short cloak which covers his left
  shoulder and arm. It is tied with a string on the
  right shoulder leaving the right arm bare. It
  reaches barely to the thighs and is made of
  narrow strips of light brown fur, with hem and
  neckband probably of reversed skin. His right
  hand is raised and points downwards with the
  index finger. There is a suggestion of veins (or
  body painting (?)) on the right forearm. His hair
  is shaved close at the sides leaving a stiff
  roach from the forehead to the nape of the neck
  and also a fringe projecting from his forehead. A
  few wisps of facial hair can be seen on his chin
  and upper lip. Some of the wrinkles on the face
  would appear to have been emphasized with red
  paint. He is wearing an ornament consisting of a
  strip of skin threaded through the lobe of the
  ear, tied below the ear and marked at each end
  with a grey streak, probably representing a bone
  or shell bead.

47
Inscription

• Inscribed in dark brown ink, at the top, "One of
  their Religious men. "

48
"Indians Fishing"
49
Description

• A wide stretch of water is represented as a
  channel between two shore-lines, one in the
  immediate foreground, one in the distance. On the
  former sand and turf are shown with sea-shells,
  grasses and a number of flowering plants which
  are not depicted sufficiently clearly for
  identification. Close to the edge of the sand are
  shown, on the right, a King Crab 1 and part of
  another at the right-hand edge, and between them
  a small fish. To the left of the King Crab are
  two shells, the one on the right apparently
  containing a Hermit Crab. 2 Beyond the King Crab
  is a Hammerhead Shark 3 to the right and a
  largish fish to the left. An Indian dug-out canoe
  occupies the centre of the drawing. It is stoutly
  constructed with the stern and bows curved, the
  latter slightly more sharply. An Indian is
  standing at the bows wielding a long
  shovel-bladed paddle to starboard and another
  Indian stands at the stern holding in the water
  to port an implement with a long handle and a
  fan-shaped end-piece, formed by six sticks held
  flaring apart by two crosswise sticks or rows of
  twining, the distal end being hidden in the
  water. In the middle of the canoe two Indians are
  crouching over a small fire surrounded by piles
  of large fish (Shad(?)). 4 A small dip-net hangs
  over the stern to starboard. The two standing
  Indians are wearing longish breech-clouts secured
  by strings round the waist, hanging down between
  their thighs, their hair short at the sides and
  caught up at the back with a roach in the middle
  (the right standing figure has reddish hair and
  breechclout). The hair of the crouching Indians
  is similarly dressed and the one on the left is
  wearing a skin mantle over his left shoulder,
  while the one on his right may be wearing an
  apron-skirt. The head of a Catfish 5 is visible
  to the left of the canoe, beyond the bows
  towards the centre are three small fish and,
  beyond, a Burrfish 6 in the centre is a
  Hammerhead Shark, and towards the right a large
  fish. From the middle of the left-hand edge a
  fish-weir extends obliquely right to the farther
  shore. At the nearer end a rectangular fish-trap
  protrudes from it in which a number of fish can
  be distinguished including a Skate or Ray. To the
  right, in the centre, a naked Indian, in water up
  to his calves, is about to throw a long fish
  spear held in his right hand. In front of him are
  two jacks (?) 7 and, beyond, a large fish (a
  Sturgeon (?)) 8 and two smaller fish to the
  right. Another Indian, similarly posed, is shown
  on the right facing left, while behind him part
  of another fishweir is visible at the right-hand
  edge. In the distance, near the far shore, is
  another canoe containing two figures. On the
  shore are low undulating sand-hills with a few
  trees or large bushes. The sky is washed with
  pink and blue to indicate light clouds. On the
  left, above the land, two swans 9 are flying
  towards the left and, on the right, nine duck(?).
  In the top left corner flies a Brown Pelican. 10

50
Inscription

• Inscribed in brown ink, above the far shore, in
  the centre, "The manner of their fishing., " and
  across the canoe, "A Cannow."

51
"Cooking in a Pot"
52

• A large cylindrical earthenware pot with conical
  base, the sides near the base somewhat concave,
  with horizontal parallel lines on the walls, is
  resting on a small fire made of stout trimmed
  pieces of timber. It contains liquid of a bluish
  colour in which ears of maize and other
  foodstuffs are cooking.

53
Inscription

• Inscribed in dark brown ink, to the left and
  right of the pot, in the centre, "The seething of
  their meate. in Potts of earth. "

54
"Cooking Fish"
55
Description

• Four corner stakes, forked at the top, enclose a
  wood fire and support four sticks, across which
  six others are laid from front to back to form a
  simple grill or barbecue (7 cm. or 2 3/4 in.
  square). On this are laid to cook, from right to
  left, two large fish, 1 bluish in colour,
  occupying the full width of the grill. At the
  right-hand side two fish, each impaled by the
  gills on a small upright stick, are also being
  broiled. From the fire reddish tongues of flame
  arise but little more than the smoke reaches the
  grid.

56
Inscription

• Inscribed in dark brown ink, at the bottom, "The
  broiling of their fish ouer th' flame of fier. "

57
"Indian Elder or Chief"
58
Description

• An elderly man stands facing half-left, his feet
  somewhat apart and his arms folded. He is wearing
  a single apron skirt of fringed deerskin edged
  with blue (or black) beads or pearls. His hair is
  thin at the sides and caught up at the back,
  leaving a roach down the middle of his head. He
  wears an ear ornament consisting of at least nine
  dark blue beads or pearls hanging by a loop of
  skin from the lobe. Around his neck is a short
  single-string necklace of bluish white pearls or
  beads and a string suspending, through a hole, a
  rectangular gorget of yellowish metal, some 6
  inches square, which hangs on his chest. He also
  wears a single bracelet of pearls on the right
  wrist.

59
Inscription

• Inscribed in dark brown ink, at the top, "A
  cheife Herowan. "

60
"Indian Woman"
61
Description

• A woman stands facing half-left, with the right
  foot crossed behind the left and her arms bent,
  her hands resting on her shoulders so that her
  forearms partly cover her breasts. She is wearing
  an apron-skirt of fringed deerskin, apparently
  single. Her hair has a fringe in front and is
  caught at the neck behind, while beneath the
  fringe, a headband is visible. Her ear ornament
  consists of two or more blue beads hanging from
  the lobe. She wears a short, two-string necklace
  of alternate black and blue beads (or pearls?)
  from which hangs a large bead (with two others)
  to form a pendant. She is tattooed or painted on
  the forehead, cheeks, chin, wrists, the left
  upper arm and the calves. Her left foot, as
  drawn, has the toes on the wrong side.

62
Inscription

• Inscribed in dark brown ink, at the top, "One of
  the wyues of Wyngyno. "

63
"Indian in Body Paint"
64
Description

• A man stands to the front, his face half-left,
  his feet well apart, the back of his right hand
  resting on his right hip. He is wearing a single
  apron-skirt of fringed deerskin and a grayish
  (puma?) tail which hangs down at the back and is
  seen between his legs from the thighs almost to
  the ankles. His hair is worn short at the sides
  leaving a central roach and is caught up at the
  back. Two feathers are stuck in his hair by his
  left ear and one is visible by his right, while a
  tall feather stands upright from his forehead.
  From his right ear protrudes what seems to be a
  bone ornament, and from his left hangs an
  ornament which appears to consist of a stone (or
  bead) enclosed by a strip of yellowish metal from
  which depend three small metal balls one ball
  may also be seen above the stone. Around his neck
  he wears a long six-string necklace of blue or
  near black pearls or beads of even size, and two
  bracelets of the same materials are worn round
  his right wrist. He is elaborately painted in
  reddish-brown and white on the face, neck, chest,
  upper arms and calves. Around the neck the
  painting simulates a necklace from which hang
  three circular plaques with double outlines, the
  lowest of these having a central boss. Round the
  nipples and on the shoulders are similar circular
  designs, from the latter of which stripes are
  carried down to the forearm. He is armed with a
  strung bow somewhat taller than himself which he
  holds upright in his left hand. On his left wrist
  is a folded band or wrist-guard of skin, secured
  with a button, while from his left side projects
  a basketry quiver inside which the tips of arrows
  are visible. This is supported by a string or
  thong probably suggested by the line on his left
  shoulder.

65
Inscription

• Inscribedin dark brown ink, in the upper
  left-hand corner, "The manner of their attire and
  painting themselues when they goe to their
  generall huntings, or at theire Solemne feasts.
  "

66
"Indian Conjuror"
67
Description

• The man, facing half-right, is shown in a dancing
  posture with the left leg raised behind, the
  right arm lifted, and the left arm above his
  head. He has a girdle of skin (or string) around
  the waist from which hang his breech-clout and
  bag. The former is a reddish skin reaching nearly
  to the knees and folded over the girdle to leave
  the animal's mask hanging down in front. The bag
  of greyish-white colour at his right side is also
  made of pieces of skin sewn together, the ends of
  which make a long fringe hanging down below his
  knee. Little of his hair is visible but a small
  roach can be seen. To the right of his head is
  attached a bird (6-7 in. long in life), seen from
  beneath, with wings outspread, a long bill and
  plumage of dark brownish-grey, possibly a small
  woodpecker.

68
Inscription

• Inscribed in dark brown ink, in the upper
  left-hand corner, "The flyer. "

69
Map of Raleighs Virginia
70
Description

• The map covers the coastline of North America
  from some way south of the modern Cape Lookout to
  the north side of the entrance to Chesapeake Bay
  and inland to approximately longitude 77 west.
  The windrose is shown near the upper right-hand
  edge and is offset towards the tap right-hand
  corner. A scale of leagues from 1 to 10 (1
  leagueabout 3 miles or 1/20) appears in the
  bottom right-hand corner. Three English ships lie
  outside what are now the Carolina Outer Banks,
  one at anchor with the sails furled off
  'Hatrask', arid the two others under sail
  south-west from 'Wococon'. Within the sounds four
  pinnaces are shown, one at the head of Albemarle
  Sound, one sailing north in Pamlico Sound near
  'Mentso', and two others heading north from the
  vicinity of 'Secataóc'. Eleven dug-out canoes, a
  number with the Indian occupants visible, are
  shown in the sounds, three off the north share of
  Albemarle Sound, one north-west off Roanoke
  Island, one near 'Aquascogoc', one near 'Secotan'
  and five more in the mouth of the Neuse River. On
  the mainland, between Chesapeake Bay and
  Albemarle Sound, are shown the royal arms and
  between Albemarle Sound and Pamlico River those
  of Sir Walter Raleigh. Indian villages are marked
  by red dots. The greater part of the mainland is
  left white but there are washes of light colour
  on the coastline from Cape Henry south to
  'Hatrask'. The lower part of the island of
  'Páquiac' has touches of brown and crimson and
  the islands of 'Croatoan' and 'Roanoac', together
  with a small island near Cape Lookout and part of
  the mainland shore facing Roanoke Island, are
  coloured crimson. Shoals are indicated between
  Roanoke Island and the mainland, in Pamlico Sound
  south of 'Wococon', and off Cape Lookout by brown
  markings. What appears to be a buoy is visible in
  the channel from Port Ferdinando, north of
  'Hatrask', just inside the sound. 1

71
Inscription

• Inscribed in brown ink, on the land, from the
  upper left-hand corner to the lower left-hand
  corner, "L A. VI R G I NEA. P A
  R S." Along the coastline from the top, the
  names of villages and physical features "
  Combec, Mashawatec., Skicóac., Chesepiuc., Sho.,
  Titepano." then to the left, along the north
  coast of Albemarle Sound, "Masequetuc.,
  Ricahokene., Cautaking., Weapemeoc., Mascomenge.,
  Warowtani., Chawanoac." Right, along the south
  coast of Albemarle Sound, "Moratuc.,
  Tramaskecooc., Dasemunkepeuc, Roanoac." South,
  along the coast, "Nausegoc,, Pomeyooc." and left,
  on a lake, "Paquippe." Continuing south,
  "Mentso., Aquascogoc., Seco, Secotan., Secotaóc,
  Newasiwac." and to the left, "Marasanico." Along
  the Carolina Banks, south from the mouth of
  Albemarle Sound, "Croatamung., Etacrewac.,
  Hatràsk, Páquiac., Croatoan." and "Wococon."

72
John Whites Art Lesson Plan

• Teach your students how to read images while
  examining the paintings of John White. These
  paintings and the engravings of them by Theodor
  de Bry will help students understand American
  Indian culture and the interaction of Indians
  with their environment. Courtesy of North
  Carolina Department of Public Instruction Middle
  Grade Resources. (Download pdf)

73
What Can We Learn From John Whites Artwork?
The first landing on Roanoke Island in July 1584.
Image courtesy of the North Carolina Office of
Archives and History, Raleigh, NC
74
Artifacts

• Visitors will gain a deeper understanding of
  Englands attempts at colonization and offer
  several perspectives surrounding the colonists
  disappearance. Exhibit items, such as Algonquian
  Indian artifacts and other 16th-century objects,
  offer clues to the unsolved puzzle. For example,
  a 1583 English sixpence that was likely brought
  to North Carolina on a Roanoke voyage and various
  objects from Americas first science laboratory
  set up by the colonists will be on view.

75
The Ring

• One of the most recent artifacts found that has
  been linked to the colonists at Roanoke is the
  ring

76
The Croatan Project

• The island identified as "Croatoan" on White's
  1586 map of the North Carolina coast includes the
  southern part of Hatteras Island, extending from
  Buxton, site of the Cape Hatteras Lighthouse, to
  Hatteras Village and at least part of Ocracoke
  Island. Dr. David Phelps, professor emeritus at
  East Carolina University, is director of the
  Croatan Project, started in 1995 to study the
  culture of the ancient Croatan society on the
  island and the interaction with the English
  during the 1580s. Most significant among the
  Hatteras Island sites is Cape Creek at Buxton,
  the probable location of the Croatan capital
  town.
• http//www.lost-colony.com/magazineOS.html

77

• Before White left the colonists, the Croatans
  indicated they did not have the resources to
  support anyone else, so is it likely they would
  have taken on the care and feeding of the entire
  1587 colony? Phelps's working assumption is that
  one or two of the colonists were dispatched to
  Croatan to wait for White, the intent being for
  them to lead him to the rest of the colonists.
•  From 1997 to 2000, grants from the Richard J.
  Reynolds III and Marie M. Reynolds Foundation and
  the Michael W. Kelly Foundation, along with
  private donors, funded fieldwork at the Buxton
  site, yielding many artifacts, including gun
  flints, copper farthings, lead bale seals, glass
  beads, and brass pins of European origin. But
  grabbing headlines was the discovery of a gold
  signet ring found in the area of the late
  17th-century American Indian workshop/trading
  center. The ring bears a crest used by the
  Kendall family of England during the 16th
  century. A "Master Kendall" is recorded as a
  member of the 1585-86 Lane colony, but no
  Kendalls were associated with the 1587 Lost
  Colony. Phelps speculates Kendall may have been
  part of a 20-man group sent by Lane to live
  temporarily with the Croatans when supplies ran
  low. Could Kendall have lost the ring there or
  given it away as a gift? Or did the ring belong
  to Abraham Kendall, one of the captains in
  Drake's fleet?

78
First Immigrants Native American Settlement of
North Carolina

• Discover what archaeologists have learned about
  the origins and everyday lives of American
  Indians in North Carolina. Find out how European
  settlement pushed Indians westward, sparking
  conflicts. This article (pdf) originally appeared
  in the spring 1995 issue of Tar Heel Junior
  Historian magazine.

79
Theodor de Bry

• In a rare appearance, several engravings from the
  1500s by Theodor de Bry, a Flemish publisher who
  engraved prints based on Whites watercolors, are
  on exhibit. De Brys engravings were used to
  illustrate Thomas Harriots written account of
  the 1585 Roanoke voyage, A brief and true report
  of the new found land of Virginia. An exceptional
  1590 German hand-colored version of Harriots
  manuscript is featured.

http//www.nndb.com/people/674/000095389/
80
Virginia Dare

• Whatever happened to Virginia Dare? Learn the
  legend of her transformation into a ghostly white
  doe that still haunts the site of the Lost
  Colony. This article (pdf) originally appeared in
  the Raleigh News Observer, 9 January 2004.

The August 24, 1587 baptism of Virginia Dare, the
first Christian born in the New World. Image
courtesy of the North Carolina Office of Archives
and History, Raleigh, NC.
81
Virginia Dare and the Lost Colony Fact and
Legend

• No one knows the fate of Virginia Dare and the
  Lost Colony. Stories and legends have been
  created to help explain what might have happened.
  Explore one of these legends. This article (pdf)
  originally appeared in the spring 2000 issue of
  Tar Heel Junior Historian magazine.

82
Roanoke Voyages

• Learn about Englands three attempts to establish
  a permanent English settlement on Roanoke Island.
  This article (pdf) originally appeared in the
  Raleigh News Observer, 16 May 2007.

83
The Lost Colony

• The tale of the Lost Colony is often told in
  North Carolina, but what do some people think
  really happened to the missing settlers? This
  article (pdf) originally appeared in the Raleigh
  News Observer, summer 2004.

84
Outdoor Drama

• Visitors can follow the 70-year history of the
  famous The Lost Colony outdoor drama and walk
  through an Indian village made with set pieces
  from the production, where North Carolina star
  Andy Griffith began his career. The Indian
  village will feature hands-on activities and the
  opportunity for further exploration with museum
  docents.

85
The Lost Colony

• Visit the Website of the longest running outdoor
  drama in North Carolina.
• http//thelostcolony.org/

86
Additional Links.

• http//www.lost-colony.com/newspaper.html