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Updated: May 8, 2025


Mah-to-toh-pa had a brother slain in open fight, let us remember by a Rickaree, who left his lance sticking in the dead man. Mah-to-toh-pa found the body, drew out the lance, and carried it to his village, where it was recognized as the property of a famous warrior named Won-ga-tap. He kept the bloodstained weapon, vowing that some day he would with it avenge his brother's death.

In the days of Mah-to-toh-pa the Mandans numbered two thousand, in two towns allied with the towns of the Minnetarees. They were beset by the tough, winter-traveling Assiniboins to the north, and by the treacherous Arikarees and the bold Sioux to the south.

Pigeon's-egg Head pitched the bundle of willow sticks over-board. His knife was worn out, and his hand and brain were tired. At St. Louis he stood for his portrait, painted by the same Artist Catlin who the next year, in the Mandan towns, listened to the hero tales of Mah-to-toh-pa. He was a great man at painting Indians, this Artist Catlin.

While the United States was getting acquainted with the Western Indians, there lived among the Mandans in the north a most noted hero the chief Mah-to-toh-pa, or Four Bears.

This story, which Catlin says is attested by white men who were in the Mandan village at the time, may stand as a notable instance of savage vengefulness and daring, cunning and treachery, but it will scarcely serve to make us believe in Catlin's "noble Mandan gentlemen," of whom he puts forward Mah-to-toh-pa as a conspicuous example.

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