,transcriber's ,note ,italics are indicated by underscores1 and superscript by caret signs1 e4 g4 ,ohenonpa1 #chmm4 ,individual letters in square brackets were inverted in the printed text4 ,,smithsonian ,,institution--,,bureau ,,of ,,ethnology4 ,,pictographs ,,of ,,the ,,north ,,american ,,indians4 ,a ,,preliminary ,,paper4 ,,by ,,garrick ,,mallery4 ,,contents4 ,page4 ,list of illustrations #g ,introductory #ac ,distribution of petroglyphs in ,north ,america #ai ,northeastern rock-carvings #ai ,rock-carvings in ,pennsylvania #bj in ,ohio #ba in ,west ,virginia #bb in the ,southern ,states #bb in ,iowa #bc in ,minnesota #bc in ,wyoming and ,idaho #bd in ,nevada #bd in ,oregon and ,washington ,territory #be in ,utah #bf in ,colorado #bg in ,new ,mexico #bh in ,arizona #bh in ,california #cj in ,colored pictographs on rocks #cc ,foreign petroglyphs #ch ,petroglyphs in ,south ,america #ch in ,british ,guiana #dj in ,brazil #dd ,pictographs in ,peru #de ,objects represented in pictographs #df ,instruments used in pictography #dh ,instruments for carving #dh for drawing #dh for painting #dh for tattooing #di ,colors and methods of application #ej ,in the ,united ,states #ej ,in ,british ,guiana #ec ,significance of colors #ec ,materials upon which pictographs are made #eh ,natural objects #eh ,bone #ei ,living tree #ei ,wood #ei ,bark #ei ,skins #fj ,feathers #fj ,gourds #fj ,horse-hair #fj ,shells1 including wampum #fj ,earth and sand #fj ,the human person #fa ,paint on the human person #fa ,tattooing #fc ,tattoo marks of the ,haida ,indians #ff ,tattooing in the ,pacific ,islands #gc ,artificial objects #gh ,mnemonic #gi ,the quipu of the ,peruvians #gi ,notched sticks #ha ,order of songs #hb ,traditions #hd ,treaties #hf ,war #hg ,time #hh ,the ,dakota ,winter ,counts #hi ,the ,corbusier ,winter ,counts #abg ,notification #adg ,notice of departure and direction #adg condition #aeb ,warning and guidance #aee ,charts of geographic features #aeg ,claim or demand #aei ,messages and communications #afj ,record of expedition #afd ,totemic #afe ,tribal designations #afe ,gentile or clan designations #afg ,personal designations #afh ,insignia or tokens of authority #afh ,personal name #afi ,an ,ogalala roster #agd ,red-,cloud's census #agf ,property marks #ahb ,status of the individual #ahc ,signs of particular achievements #ahc ,religious #ahh ,mythic personages #ahh ,shamanism #aij ,dances and ceremonies #aid ,mortuary practices #aig ,grave-posts #aih ,charms and fetiches #bja ,customs #bjc ,associations #bjc ,daily life and habits #bje ,tribal history #bjg ,biographic #bjh ,continuous record of events in life #bjh ,particular exploits and events #bad ,ideographs #bai ,abstract ideas #bai ,symbolism #bba ,identification of the pictographers #bbd ,general style or type #bbe ,presence of characteristic objects #bcj ,modes of interpretation #bcc ,homomorphs and symmorphs #bci ,conventionalizing #bdd ,errors and frauds #bdg ,suggestions to collaborators #bed ,,illustrations4 ,,plate ,page4 ,i4--,colored pictographs in ,santa ,barbara ,county1 ,california #cd ,,ii4--,colored pictographs in ,santa ,barbara ,county1 ,california #ce ,,iii4--,new ,zealand tattooed heads #gf ,,iv4--,ojibwa ,meda song #hb ,v4--,penn wampum belt #hg ,,vi4--,winter count on buffalo robe #hi ,,vii4--,dakota winter counts3 for #aghf-'hg to #agib-'ic #ajj ,,viii4--,dakota winter counts3 for #agic-'id to #agii-ahjj #aja ,,ix4--,dakota winter counts3 for #ahjj-'ja to #ahjb-'jc #ajc ,x4--,dakota winter counts3 for #ahjc-'jd to #ahje-'jf #ajd ,,xi4--,dakota winter counts3 for #ahjf-'jg to #ahjh-'ji #aje ,,xii4--,dakota winter counts3 for #ahji-'aj to #ahaa-'ab #ajf ,,xiii4--,dakota winter counts3 for #ahab-'ac to #ahad-'ae #ajh ,,xiv4--,dakota winter counts3 for #ahae-'af to #ahag-'ah #aji ,,xv4--,dakota winter counts3 for #ahah-'ai to #ahbj-'ba #aaj ,,xvi4--,dakota winter counts3 for #ahba-'bb to #ahbc-'bd #aaa ,,xvii4--,dakota winter counts3 for #ahbd-'be to #ahbf-'bg #aac ,,xviii4--,dakota winter counts3 for #ahbg-'bh to #ahbi-'cj #aad ,,xix4--,dakota winter counts3 for #ahcj-'ca to #ahcb-'cc #aae ,,xx4--,dakota winter counts3 for #ahcc-'cd to #ahce-'cf #aaf ,,xxi4--,dakota winter counts3 for #ahcf-'cg to #ahch-'ci #aag ,,xxii4--,dakota winter counts3 for #ahci-'dj to #ahda-'db #aag ,,xxiii4--,dakota winter counts3 for #ahdb-'dc to #ahdd-'de #aah ,,xxiv4--,dakota winter counts3 for #ahde-'df to #ahdg-'dh #aai ,,xxv4--,dakota winter counts3 for #ahdh-'di to #ahej-'ea #abj ,,xxvi4--,dakota winter counts3 for #ahea-'eb to #ahec-'ed #abj ,,xxvii4--,dakota winter counts3 for #ahed-'ee to #ahef-'eg #aba ,,xxviii4--,dakota winter counts3 for #aheg-'eh to #ahei-'fj #abb ,,xxix4--,dakota winter counts3 for #ahfj-'fa to #ahfb-'fc #abc ,,xxx4--,dakota winter counts3 for #ahfc-'fd to #ahfe-'ff #abd ,,xxxi4--,dakota winter counts3 for #ahff-'fg to #ahfh-'fi #abe ,,xxxii4--,dakota winter counts3 for #ahfi-'gj to #ahgj-'ga #abf ,,xxxiii4--,dakota winter counts3 for #ahga-'gb to #ahgf-'gg #abg ,,xxxiv4--,corbusier winter counts3 for #agge-'gf to #aghj-'ha #acj ,,xxxv4--,corbusier winter counts3 for #agha-'hb to #aghf-'hg #aca ,,xxxvi4--,corbusier winter counts3 for #aghg-'hh to #agib-'ic #acb ,,xxxvii4--,corbusier winter counts3 for #agic-'id to #agih-'ii #acc ,,xxxviii4--,corbusier winter counts3 for #agii-ahjj to #ahjd-'je #acd ,,xxxix4--,corbusier winter counts3 for #ahje-'jf to #ahaj-'aa #acd ,,xl4--,corbusier winter counts3 for #ahaa-'ab to #ahaf-'ag #ace ,,xli4--,corbusier winter counts3 for #ahag-'ah to #ahbb-'bc #acf ,,xlii4--,corbusier winter counts3 for #ahbc-'bd to #ahbh-'bi #acg ,,xliii4--,corbusier winter counts3 for #ahbi-'cj to #ahcd-'ce #ach ,,xliv4--,corbusier winter counts3 for #ahce-'cf to #ahdj-'da #aci ,,xlv4--,corbusier winter counts3 for #ahda-'db to #ahdf-'dg #adj ,,xlvi4--,corbusier winter counts3 for #ahdg-'dh to #aheb-'ec #adb ,,xlvii4--,corbusier winter counts3 for #ahec-'ed to #aheh-'ei #adc ,,xlviii4--,corbusier winter counts3 for #ahei-'fj to #ahfd-'fe #adc ,,xlix4--,corbusier winter counts3 for #ahfe-'ff to #ahgj-'ga #add ,l4--,corbusier winter counts3 for #ahga-'gb to #ahgf-'gg #ade ,,li4--,corbusier winter counts3 for #ahgg-'gh to #ahgh-'gi #adf ,,lii4--,an ,ogalala roster3 ,big-,road and band #agd ,,liii4--,an ,ogalala roster3 ,low-,dog and band #agd ,,liv4--,an ,ogalala roster3 ,the ,bear ,spares-him and band #agd ,,lv4--,an ,ogalala roster3 ,has a ,war-club and band #agd ,,lvi4--,an ,ogalala roster3 ,wall-,dog and band #agd ,,lvii4--,an ,ogalala roster3 ,iron-,crow and band #agd ,,lviii4--,an ,ogalala roster3 ,little-,hawk and band #agd ,,lix4--,red-,cloud's census3 ,red-,cloud's band #agf ,,lx4--,red-,cloud's census3 ,red-,cloud's band #agf ,,lxi4--,red-,cloud's census3 ,red-,cloud's band #agf ,,lxii4--,red-,cloud's census3 ,red-,cloud's band #agf ,,lxiii4--,red-,cloud's census3 ,red-,cloud's band #agf ,,lxiv4--,red-,cloud's census3 ,red-,cloud's band #agf ,,lxv4--,red-,cloud's census3 ,red-,cloud's band #agf ,,lxvi4--,red-,cloud's census3 ,red-,cloud's band #agf ,,lxvii4--,red-,cloud's census3 ,red-,shirt's band #agf ,,lxviii4--,red-,cloud's census3 ,red-,shirt's band #agf ,,lxix4--,red-,cloud's census3 ,red-,shirt's band #agf ,,lxx4--,red-,cloud's census3 ,black-,deer's band #agf ,,lxxi4--,red-,cloud's census3 ,black-,deer's band #agf ,,lxxii4--,red-,cloud's census3 ,black-,deer's band #agf ,,lxxiii4--,red-,cloud's census3 ,red-,hawk's band #agf ,,lxxiv4--,red-,cloud's census3 ,red-,hawk's hand #agf ,,lxxv4--,red-,cloud's census3 ,high-,wolf's band #agf ,,lxxvi4--,red-,cloud's census3 ,high-,wolf's band #agf ,,lxxvii4--,red-,cloud's census3 ,gun's band #agf ,,lxxviii4--,red-,cloud's census3 ,gun's band #agf ,,lxxix4--,red-,cloud's census3 ,second ,black-,deer's band #agf ,,lxxx4--,rock ,painting in ,azuza ,caon1 ,california #aef ,,lxxxi4--,moki masks etched on rocks4 ,arizona #aid ,,lxxxii4--,buffalo-head monument #aie ,,lxxxiii4--,ojibwa grave-posts #aii ,,figure #a4--,petroglyphs at ,oakley ,springs1 ,arizona #cj #b4--;,deep carvings in ,guiana #db #c4--,shallow carvings in ,guiana #dc #d4--,rock etchings at ,oakley ,springs1 ,arizona3 ,beaver #dg #e4--,rock etchings at ,oakley ,springs1 ,arizona3 ,bear #dg #f4--,rock etchings at ,oakley ,springs1 ,arizona3 ,mountain sheep #dg #g4--,rock etchings at ,oakley ,springs1 ,arizona3 ,three ,wolf heads #dg #h4--,rock etchings at ,oakley ,springs1 ,arizona3 ,three ,jackass rabbits #dg #i4--,rock etchings at ,oakley ,springs1 ,arizona3 ,cotton-tail rabbit #dg #aj4--,rock etchings at ,oakley ,springs1 ,arizona3 ,bear tracks #dg #aa4--,rock etchings at ,oakley ,springs1 ,arizona3 ,eagle #dg #ab4--,rock etchings at ,oakley ,springs1 ,arizona3 ,eagle tails #dg #ac4--,rock etchings at ,oakley ,springs1 ,arizona3 ,turkey tail #dg #ad4--,rock etchings at ,oakley ,springs1 ,arizona3 ,horned toads #dg #ae4--,rock etchings at ,oakley ,springs1 ,arizona3 ,lizards #dg #af4--,rock etchings at ,oakley ,springs1 ,arizona3 ,butterfly #dg #ag4--,rock etchings at ,oakley ,springs1 ,arizona3 ,snakes #dg #ah4--,rock etchings at ,oakley ,springs1 ,arizona3 ,rattlesnake #dg #ai4--,rock etchings at ,oakley ,springs1 ,arizona3 ,deer track #dg #bj4--,rock etchings at ,oakley ,springs1 ,arizona3 ,three ,bird tracks #dg #ba4--,rock etchings at ,oakley ,springs1 ,arizona3 ,bitterns #dg #bb4--;,bronze head from the necropolis of ,marzabotto1 ,italy #fb #bc4--;,fragment of bowl from ,troja #fc #bd4--;,haida totem post1 ,queen ,charlotte's ,island #fh #be4--;,haida man1 tattooed #fi #bf4--;,haida woman1 tattooed #fi #bg4--;,haida woman1 tattooed #gj #bh4--;,haida man1 tattooed #gj #bi4--,skulpin 7right leg of ,fig4 #bf7 #ga #cj4--;,frog 7left leg of ,fig4 #bf7 #ga #ca4--;,cod 7breast of ,fig4 #be7 #ga #cb4--,squid 7,octopus71 7thighs of ,fig4 #be7 #ga #cc4--,wolf1 enlarged 7back of ,fig4 #bh7 #ga #cd4--,tattoo designs on bone1 from ,new ,zealand #gd #ce4--,new ,zealand tattooed head and chin mark #ge #cf4--,new ,zealand tattooed woman #ge #cg4--;,australian grave and carved trees #gf #ch4--,osage chart #hf #ci4--;,device denoting succession of time4 ,dakota #hh #dj4--;,device denoting succession of time4 ,dakota #hi #da4--,measles or ,smallpox4 ,dakota #aaj #db4--,meteor4 ,dakota #aaa #dc4--,river freshet4 ,dakota #aac #dd4--,meteoric shower4 ,dakota #aaf #de4--,the-,teal-broke-his-leg4 ,dakota #aai #df4--,magic ,arrow4 ,dakota #ada #dg4--,notice of hunt4 ,alaska #adg #dh4--,notice of departure4 ,alaska #adh #di4--,notice of hunt4 ,alaska #adi #ej4--,notice of direction4 ,alaska #adi #ea4--,notice of direction4 ,alaska #aej #eb4--,notice of direction4 ,alaska #aej #ec4--,notice of distress4 ,alaska #aeb #ed4--,notice of departure and refuge4 ,alaska #aeb #ee4--,notice of departure to relieve distress4 ,alaska #aec #ef4--;,ammunition wanted4 ,alaska #aed #eg4--;,assistance wanted in hunt4 ,alaska #aed #eh4--,starving hunters4 ,alaska #aed #ei4--,starving hunters4 ,alaska #aee #fj4--,lean ,wolf's map4 ,hidatsa #aeh #fa4--,letter to 8,little-man0 from his father4 ,cheyenne #afj #fb4--;,drawing of smoke signal4 ,alaska #afa #fc4--,tesuque ,diplomatic ,packet #afb #fd4--,tesuque ,diplomatic ,packet #afb #fe4--,tesuque ,diplomatic ,packet #afb #ff4--,tesuque ,diplomatic ,packet #afc #fg4--,tesuque ,diplomatic ,packet #afc #fh4--;,dakota pictograph3 for ,kaiowa #afe #fi4--;,dakota pictograph3 for ,arikara #aff #gj4--;,dakota pictograph3 for ,omaha #aff #ga4--;,dakota pictograph3 for ,pawnee #aff #gb4--;,dakota pictograph3 for ,assiniboine #aff #gc4--;,dakota pictograph3 for ,gros ,ventre #aff #gd4--,lean-,wolf as 8,partisan0 #afh #ge4--,two-,strike as 8,partisan0 #afi #gf4--,lean-,wolf 7personal name7 #agb #gg4--,pointer4 ,dakota #agb #gh4--,shadow4 ,dakota #agc #gi4--,loud-,talker4 ,dakota #agc #hj4--;,boat ,paddle4 ,arikara #ahb #ha4--;,african property mark #ahb #hb4--;,hidatsa feather marks3 ,first to strike enemy #ahd #hc4--;,hidatsa feather marks3 ,second to strike enemy #ahd #hd4--;,hidatsa feather marks3 ,third to strike enemy #ahd #he4--;,hidatsa feather marks3 ,fourth to strike enemy #ahd #hf4--;,hidatsa feather marks3 ,wounded by an enemy #ahd #hg4--;,hidatsa feather marks3 ,killed a woman #ahd #hh4--;,dakota feather marks3 ,killed an enemy #ahe #hi4--;,dakota feather marks3 ,cut throat and scalped #ahe #ij4--;,dakota feather marks3 ,cut enemy's throat #ahe #ia4--;,dakota feather marks3 ,third to strike #ahe #ib4--;,dakota feather marks3 ,fourth to strike #ahe #ic4--;,dakota feather marks3 ,fifth to strike #ahe #id4--;,dakota feather marks3 ,many wounds #ahe #ie4--,successful defense4 ,hidatsa1 etc4 #ahf #if4--,two successful defenses4 ,hidatsa1 etc4 #ahf #ig4--;,captured a horse4 ,hidatsa1 etc4 #ahf #ih4--;,first to strike an enemy4 ,hidatsa #ahg #ii4--,second to strike an enemy4 ,hidatsa #ahg #ajj4--,third to strike an enemy4 ,hidatsa #ahg #aja4--;,fourth to strike an enemy4 ,hidatsa #ahg #ajb4--;,fifth to strike an enemy4 ,arikara #ahg #ajc4--,struck four enemies4 ,hidatsa #ahg #ajd4--,thunder bird4 ,dakota #ahh #aje4--,thunder bird4 ,dakota #ahh #ajf4--,thunder bird 7wingless74 ,dakota #ahi #ajg4--,thunder bird 7in beads74 ,dakota #ahi #ajh4--,thunder bird4 ,haida #aij #aji4--,thunder bird4 ,twana #aij #aaj4--;,ivory record1 ,shaman exorcising demon4 ,alaska #aia #aaa4--;,ivory record1 ,supplication for success4 ,alaska #aib #aaa;a4--,shaman's ,lodge4 ,alaska #aif #aab4--;,alaska votive offering #aig #aac4--;,alaska grave-post #aih #aad4--;,alaska grave-post #aii #aae4--;,alaska village and burial grounds #aii #aaf4--,new ,zealand grave effigy #bjj #aag4--,new ,zealand grave-post #bja #aah4--,new ,zealand house posts #bja #aai4--,mdewakantawan fetich #bjb #abj4--,ottawa pipe-stem #bjd #aba4--,walrus hunter4 ,alaska #bje #abb4--;,alaska carving with records #bje #abc4--,origin of ,brul4 ,dakota #bjg #abd4--,running ,antelope3 ,killed one ,arikara #bjh #abe4--,running ,antelope3 ,shot and scalped an ,arikara #bji #abf4--,running ,antelope3 ,shot an ,arikara #bji #abg4--,running ,antelope3 ,killed two warriors #baj #abh4--,running ,antelope3 ,killed ten men and three women #baj #abi4--,running ,antelope3 ,killed two chiefs #baa #acj4--,running ,antelope3 ,killed one ,arikara #baa #aca4--,running ,antelope3 ,killed one ,arikara #bab #acb4--,running ,antelope3 ,killed two ,arikara hunters #bab #acc4--,running ,antelope3 ,killed five ,arikara #bac #acd4--,running ,antelope3 ,killed an ,arikara #bac #ace4--,record of hunt4 ,alaska #bad #acf4--,shoshoni horse raid #bae #acg4--;,drawing on buffalo shoulder-blade4 ,camanche #baf #ach4--;,cross-,bear's death #bag #aci4--;,bark record from ,red ,lake1 ,minnesota #bah #adj4--,sign for pipe4 ,dakota #bai #ada4--,plenty buffalo meat4 ,dakota #bai #adb4--,plenty buffalo meat4 ,dakota #bbj #adc4--,pictograph for ,trade4 ,dakota #bbj #add4--,starvation4 ,dakota #bbj #ade4--,starvation4 ,ottawa and ,pottawatomi #bba #adf4--,pain4 ,died of 8,whistle40 ,dakota #bba #adg4--;,example of ,algonkian petroglyphs1 from ,millsborough1 ,pennsylvania #bbd #adh4--;,example of ,algonkian petroglyphs1 from ,hamilton ,farm1 ,west ,virginia #bbe #adi4--;,example of ,algonkian petroglyphs1 from ,safe ,harbor1 ,pennsylvania #bbf #aej4--;,example of ,western ,algonkian petroglyphs1 from ,wyoming #bbg #aea4--;,example of ,shoshonian petroglyphs1 from ,idaho #bbh #aeb4--;,example of ,shoshonian petroglyphs1 from ,idaho #bbi #aec4--;,example of ,shoshonian petroglyphs1 from ,utah #bcj #aed4--;,example of ,shoshonian rock painting1 from ,utah #bcj #aee4--,rock painting1 from ,tule ,river1 ,california #bce #aef4--,sacred inclosure from ,arizona4 ,moki #bcg #aeg4--;,ceremonial head-dress4 ,moki #bcg #aeh4--;,houses4 ,moki #bcg #aei4--;,burden-sticks4 ,moki #bch #afj4--;,arrows4 ,moki #bch #afa4--;,blossoms4 ,moki #bch #afb4--,lightning4 ,moki #bch #afc4--;,clouds4 ,moki #bch #afd4--;,clouds with rain4 ,moki #bch #afe4--,stars1 ,moki #bch #aff4--,sun4 ,moki #bci #afg4--,sunrise4 ,moki1 #bci #afh4--;,drawing of ,dakota lodges1 by ,hidatsa #bdj #afi4--;,drawing of earth lodges1 by ,hidatsa #bdj #agj4--;,drawing of white man's house1 by ,hidatsa #bdj #aga4--;,hidatsati1 the home of the ,hidatsa #bdj #agb4--;,horses and man4 ,arikara #bdj #agc4--;,dead man4 ,arikara #bdj #agd4--,second to strike enemy4 ,hidatsa #bdj #age4--,third to strike enemy4 ,hidatsa #bdj #agf4--,scalp taken4 ,hidatsa #bdj #agg4--;,enemy struck and gun captured4 ,hidatsa #bdj #agh4--,mendota drawing4 ,dakota #bda #agi4--,symbol of war4 ,dakota #bda #ahj4--;,captives4 ,dakota #bdb #aha4--;,circle of men4 ,dakota #bdb #ahb4--,shooting from river banks4 ,dakota #bdb #ahc4--,panther4 ,haida #bdb #ahd4--,wolf head4 ,haida #bdc #ahe4--;,drawings on an ,african knife #bdc #ahf4--;,conventional characters3 ,men4 ,arikara #bdd #ahg4--;,conventional characters3 ,man4 ,innuit #bdd #ahh4--;,conventional characters3 ,dead man4 ,satsika #bdd #ahi4--;,conventional characters3 ,man addressed4 ,innuit #bdd #aij4--;,conventional characters3 ,man4 ,innuit #bdd #aia4--;,conventional characters3 ,man4 ,from ,tule ,river1 ,california #bdd #aib4--;,conventional characters3 ,man4 ,from ,tule ,river1 ,california #bdd #aic4--;,conventional characters3 ,disabled man4 ,ojibwa #bdd #aid4--;,conventional characters3 ,shaman4 ,innuit #bde #aie4--;,conventional characters3 ,supplication4 ,innuit #bde #aif4--;,conventional characters3 ,man4 ,ojibwa #bde #aig4--;,conventional characters3 ,spiritually enlightened man4 ,ojibwa #bde #aih4--;,conventional characters3 ,a wabeno4 ,ojibwa #bde #aii4--;,conventional characters3 ,an evil ,meda4 ,ojibwa #bde #bjj4--;,conventional characters3 ,a ,meda4 ,ojibwa #bde #bja4--;,conventional characters3 ,man4 ,hidatsa #bde #bjb4--;,conventional characters3 ,headless body4 ,ojibwa #bde #bjc4--;,conventional characters3 ,headless body4 ,ojibwa #bde #bjd4--;,conventional characters3 ,man4 ,moki #bde #bje4--;,conventional characters3 ,man4 ,from ,siberia #bde #bjf4--;,conventional characters3 ,superior knowledge4 ,ojibwa #bdf #bjg4--;,conventional characters3 ,an ,american4 ,ojibwa #bdf #bjh4--,specimen of imitated pictograph #bdi #bji4--,symbols of cross #beb ,,on ,,the ,,pictographs ,,of ,,the ,,north ,,american ,,indians4 ,,by ,,garrick ,,mallery4 ,,introductory4 ,a pictograph is a writing by picture4 ,it conveys and records an idea or occurrence by graphic means without the use of words or letters4 ,the execution of the pictures of which it is composed often exhibits the first crude efforts of graphic art1 and their study in that relation is of value4 ,when pictures are employed as writing the conception intended to be presented is generally analyzed1 and only its most essential points are indicated1 with the result that the characters when frequently repeated become conventional1 and in their later forms cease to be recognizable as objective portraitures4 ,this exhibition of conventionalizing also has its own import in the history of art4 ,pictographs are considered in the present paper chiefly in reference to their significance as one form of thought-writing directly addressed to the sight1 gesture-language being the other and probably earlier form4 ,so far as they are true ideographs they are the permanent1 direct1 visible expression of ideas of which gesture-language gives the transient expression4 ,when adopted for syllabaries or alphabets1 which is known to be the historical course of evolution in that regard1 they have ceased to be the direct and have become the indirect expression of the ideas framed in oral speech4 ,the writing common in civilization records sounds directly1 not primarily thoughts1 the latter having first been translated into sounds4 ,the trace of pictographs in the latter use shows the earlier and predominant conceptions4 ,the importance of the study of pictographs depends upon their examination as a phase in the evolution of human culture1 or as containing valuable information to be ascertained by interpretation4 ,the invention of alphabetic writing being by general admission the great step marking the change from barbarism into civilization1 the history of its earlier development must be valuable4 ,it is inferred from internal evidence that picture-writing preceded and originated the graphic systems of ,egypt1 ,nineveh1 and ,china1 but in ,north ,america its use is still modern and current4 ,it can be studied there1 without any requirement of inference or hypothesis1 in actual existence as applied to records and communications4 ,furthermore1 its transition into signs of sound is apparent in the ,aztec and the ,maya characters1 in which stage it was only arrested by foreign conquest4 ,the earliest lessons of the birth and growth of culture in this most important branch of investigation can therefore be best learned from the ,western ,hemisphere4 ,in this connection it may be noticed that picture-writing is found in sustained vigor on the same continent where sign-language has prevailed or continued in active operation to an extent unknown in other parts of the world4 ,these modes of expression1 i4 e41 transient and permanent idea-writing1 are so correlated in their origin and development that neither can be studied with advantage to the exclusion of the other4 ,the limits assigned to this paper allow only of its comprehending the ,indians north of ,mexico1 except as the pictographs of other peoples are introduced for comparison4 ,among these no discovery has yet been made of any of the several devices1 such as the rebus1 or the initial1 adopted elsewhere1 by which the element of sound apart from significance has been introduced4 ,the first stage of picture-writing as recognized among the ,egyptians was the representation of a material object in such style or connection as determined it not to be a mere portraiture of that object1 but figurative of some other object or person4 ,this stage is abundantly exhibited among the ,indians4 ,indeed1 their personal and tribal names thus objectively represented constitute the largest part of their picture-writing so far thoroughly understood4 ,the second step gained by the ,egyptians was when the picture became used as a symbol of some quality or characteristic4 ,it can be readily seen how a hawk with bright eye and lofty flight might be selected as a symbol of divinity and royalty1 and that the crocodile should denote darkness1 while a slightly further step in metaphysical symbolism made the ostrich feather1 from the equality of its filaments1 typical of truth4 ,it is evident from examples given in the present paper that the ,north ,american tribes at the time of the ,columbian discovery had entered upon this second step of picture-writing1 though with marked inequality between tribes and regions in advance therein4 ,none of them appear to have reached such proficiency in the expression of connected ideas by picture as is shown in the sign-language existing among some of them1 in which even conjunctions and prepositions are indicated4 ,still many truly ideographic pictures are known4 ,a consideration relative to the antiquity of mystic symbolism1 and its position in the several culture-periods1 arises in this connection4 ,it appears to have been an outgrowth of human thought1 perhaps in the nature of an excrescence1 useful for a time1 but abandoned after a certain stage of advancement4 ,a criticism has been made on the whole subject of pictography by ,dr4 ,richard ,andree1 who1 in his work1 ,ethnographische ,parallelen und ,vergleiche1 ,stuttgart1 #ahgh1 has described and figured a large number of examples of petroglyphs1 a name given by him to rock-drawings and adopted by the present writer4 ,his view appears to be that these figures are frequently the idle marks which1 among civilized people1 boys or ignorant persons cut with their pen-knives on the desks and walls of school-rooms1 or scrawl on the walls of lanes and retired places4 ,from this criticism1 however1 ,dr4 ,andree carefully excludes the pictographs of the ,north ,american ,indians1 his conclusion being that those found in other parts of the world generally occupy a transition stage lower than that conceded for the ,indians4 ,it is possible that significance may yet be ascertained in many of the characters found in other regions1 and perhaps this may be aided by the study of those in ,north ,america2 but no doubt should exist that the latter have purpose and meaning4 ,any attempt at the relegation of such pictographs as are described in the present paper1 and have been the subject of the study of the present writer1 to any trivial origin can be met by a thorough knowledge of the labor and pains which were necessary in the production of some of the petroglyphs described4 ,all criticism in question with regard to the actual significance of ,north ,american pictographs is still better met by their practical use by historic ,indians for important purposes1 as important to them as the art of writing1 of which the present paper presents a large number of conclusive examples4 ,it is also known that when they now make pictographs it is generally done with intention and significance4 ,even when this work is undertaken to supply the demand for painted robes as articles of trade it is a serious manufacture1 though sometimes imitative in character and not intrinsically significant4 ,all other instances known in which pictures are made without original design1 as indicated under the several classifications of this paper1 are when they are purely ornamental2 but in such cases they are often elaborate and artistic1 never the idle scrawls above mentioned4 ,a main object of this paper is to call attention to the subject in other parts of the world1 and to ascertain whether the practice of pictography does not still exist in some corresponding manner beyond what is now published4 ,a general deduction made after several years of study of pictographs of all kinds found among the ,north ,american ,indians is that they exhibit very little trace of mysticism or of esotericism in any form4 ,they are objective representations1 and cannot be treated as ciphers or cryptographs in any attempt at their interpretation4 ,a knowledge of the customs1 costumes1 including arrangement of hair1 paint1 and all tribal designations1 and of their histories and traditions is essential to the understanding of their drawings1 for which reason some of those particulars known to have influenced pictography are set forth in this paper1 and others are suggested which possibly had a similar influence4 ,comparatively few of their picture signs have become merely conventional4 ,a still smaller proportion are either symbolical or emblematic1 but some of these are noted4 ,by far the larger part of them are merely mnemonic records and are treated of in connection with material objects formerly and1 perhaps1 still used mnemonically4 ,it is believed that the interpretation of the ancient forms is to be obtained1 if at all1 not by the discovery of any hermeneutic key1 but by an understanding of the modern forms1 some of which fortunately can be interpreted by living men2 and when this is not the case the more recent forms can be made intelligible at least in part by thorough knowledge of the historic tribes1 including their sociology1 philosophy1 and arts1 such as is now becoming acquired1 and of their sign-language4 ,it is not believed that any considerable information of value in an historical point of view will be obtained directly from the interpretation of the pictographs in ,north ,america4 ,the only pictures which can be of great antiquity are rock-carvings and those in shell or similar substances resisting the action of time1 which have been or may be found in mounds4 ,the greater part of those already known are simply peckings1 etchings1 or paintings delineating natural objects1 very often animals1 and illustrate the beginning of pictorial art4 ,it is1 however1 probable that others were intended to commemorate events or to represent ideas entertained by their authors1 but the events which to them were of moment are of little importance as history4 ,they referred generally to some insignificant fight or some season of plenty or of famine1 or to other circumstances the evident consequence of which has long ceased4 ,while1 however1 it is not supposed that old inscriptions exist directly recording substantively important events1 it is hoped that some materials for history can be gathered from the characters in a manner similar to the triumph of comparative philology in resurrecting the life-history and culture of the ancient ,aryans4 ,the significance of the characters being granted1 they exhibit what chiefly interested their authors1 and those particulars may be of anthropologic consequence4 ,the study has so far advanced that1 independent of the significance of individual characters1 several distinct types of execution are noted which may be expected to disclose data regarding priscan habitat and migration4 ,in this connection it may be mentioned that recent discoveries render it probable that some of the pictographs were intended as guide-marks to point out trails1 springs1 and fords1 and some others are supposed to indicate at least the locality of mounds and graves1 and possibly to record specific statements concerning them4 ,a comparison of typical forms may also usefully be made with the objects of art now exhumed in large numbers from the mounds4 ,ample evidence exists that many of the pictographs1 both ancient and modern1 are connected with the mythology and religious practices of their makers4 ,the interpretations obtained during the present year of some of those among the ,moki1 ,zui1 and ,navajo1 throw new and strong light on this subject4 ,it is regretted that the most valuable and novel part of this information cannot be included in the present paper1 as it is in the possession of the ,bureau of ,ethnology in a shape not yet arranged for publication1 or forms part of the forthcoming volume of the ,transactions of the ,anthropological ,society of ,washington1 which may not be anticipated4 ,the following general remarks of ,schoolcraft1 ,vol4 ,i1 p4 #cea1 are of some value1 though they apply with any accuracy only to the ,ojibwa and are tinctured with a fondness for the mysterious3 ,for their pictographic devices the ,north ,american ,indians have two terms1 namely1 ,kekeewin1 or such things as are generally understood by the tribe2 and ,kekeenowin1 or teachings of the medas or priests1 jossakeeds or prophets4 ,the knowledge of the latter is chiefly confined to persons who are versed in their system of magic medicine1 or their religion1 and may be deemed hieratic4 ,the former consists of the common figurative signs1 such as are employed at places of sepulture1 or by hunting or traveling parties4 ,it is also employed in the muzzinbiks1 or rock-writings4 ,many of the figures are common to both1 and are seen in the drawings generally2 but it is to be understood that this results from the figure-alphabet being precisely the same in both1 while the devices of the nugamoons1 or medicine1 wabino1 hunting1 and war songs1 are known solely to the initiates who have learned them1 and who always pay high to the native professors for this knowledge4 ,it must1 however1 be admitted1 as above suggested1 that many of the pictographs found are not of the historic or mythologic significance once supposed4 ,for instance1 the examination of the rock carvings in several parts of the country has shown that some of them were mere records of the visits of individuals to important springs or to fords on regularly established trails4 ,in this respect there seems to have been1 in the intention of the ,indians1 very much the same spirit as induces the civilized man to record his initials upon objects in the neighborhood of places of general resort4 ,at ,oakley ,springs1 ,arizona ,territory1 totemic marks have been found1 evidently made by the same individual at successive visits1 showing that on the number of occasions indicated he had passed by those springs1 probably camping there1 and such record was the habit of the neighboring ,indians at that time4 ,the same repetition of totemic names has been found in great numbers in the pipestone quarries of ,dakota1 and also at some old fords in ,west ,virginia4 ,but these totemic marks are so designed and executed as to have intrinsic significance and value1 wholly different in this respect from vulgar names in alphabetic form4 ,it should also be remembered that mere graffiti are recognized as of value by the historian1 the anthropologist1 and the artist4 ,one very marked peculiarity of the drawings of the ,indians is that within each particular system1 such as may be called a tribal system1 of pictography1 every ,indian draws in precisely the same manner4 ,the figures of a man1 of a horse1 and of every other object delineated1 are made by every one who attempts to make any such figure with all the identity of which their mechanical skill is capable1 thus showing their conception and motive to be the same4 ,the intention of the present work is not to present at this time a view of the whole subject of pictography1 though the writer has been preparing materials with a reference to that more ambitious project4 ,the paper is limited to the presentation of the most important known pictographs of the ,north ,american ,indians1 with such classification as has been found convenient to the writer1 and1 for that reason1 may be so to collaborators4 ,the scheme of the paper has been to give very simply one or more examples1 with illustrations1 in connection with each one of the headings or titles of the classifications designated4 ,this plan has involved a considerable amount of cross reference1 because1 in many cases1 a character1 or a group of characters1 could be considered with reference to a number of noticeable characteristics1 and it was a question of choice under which one of the headings it should be presented1 involving reference to it from the other divisions of the paper4 ,an amount of space disproportionate to the mere subdivision of ,time under the class of ,mnemonics1 is occupied by the ,dakota ,winter ,counts1 but it is not believed that any apology is necessary for their full presentation1 as they not only exhibit the device mentioned in reference to their use as calendars1 but furnish a repertory for all points connected with the graphic portrayal of ideas4 ,attention is invited to the employment of the heraldic scheme of designating colors by lines1 dots1 etc41 in those instances in the illustrations where color appeared to have significance1 while it was not practicable to produce the coloration of the originals4 ,in many cases1 however1 the figures are too minute to permit the successful use of that scheme1 and the text must be referred to for explanation4 ,thanks are due and rendered for valuable assistance to correspondents and especially to officers of the ,bureau of ,ethnology and the ,united ,states ,geological ,survey1 whose names are generally mentioned in connection with their several contributions4 ,acknowledgment is also made now and throughout the paper to ,dr4 ,w4 ,j4 ,hoffman who has officially assisted the present writer during several years by researches in the field1 and by drawing nearly all the illustrations presented4 ,,distribution ,,of ,,petroglyphs ,,in ,,north ,,america4 ,etchings or paintings on rocks in ,north ,america are distributed generally4 ,they are found throughout the extent of the continent1 on bowlders formed by the sea waves or polished by ice of the glacial epoch2 on the faces of rock ledges adjoining streams2 on the high walls of caons and cliffs2 on the sides and roofs of caves2 in short1 wherever smooth surfaces of rock appear4 ,drawings have also been discovered on stones deposited in mounds and caves4 ,yet while these records are so frequent1 there are localities to be distinguished in which they are especially abundant and noticeable4 ,also they differ markedly in character of execution and apparent subject-matter4 ,an obvious division can be made between characters etched or pecked and those painted without incision4 ,this division in execution coincides to a certain extent with geographic areas4 ,so far as ascertained1 painted characters prevail perhaps exclusively throughout ,southern ,california1 west and southwest of the ,sierra ,nevada4 ,pictures1 either painted or incised1 are found in perhaps equal frequency in the area extending eastward from the ,colorado ,river to ,georgia1 northward into ,west ,virginia1 and in general along the course of the ,mississippi ,river4 ,in some cases the glyphs are both incised and painted4 ,the remaining parts of the ,united ,states show rock-etchings almost exclusive of paintings4 ,it is proposed with the accumulation of information to portray the localities of these records upon a chart accompanied by a full descriptive text4 ,in such chart will be designated their relative frequency1 size1 height1 position1 color1 age1 and other particulars regarded as important4 ,with such chart and list the classification and determination now merely indicated may become thorough4 ,in the present paper a few only of the more important localities will be mentioned2 generally those which are referred to under several appropriate heads in various parts of the paper4 ,notices of some of these have been published2 but many of them are publicly mentioned for the first time in this paper1 knowledge respecting them having been obtained by the personal researches of the officers of the ,bureau of ,ethnology1 or by their correspondents4 ,,northeastern ,,rock ,,carvings4 ,a large number of known and described pictographs on rocks occur in that portion of the ,united ,states and ,canada at one time in the possession of the several tribes constituting the ,algonkian linguistic stock4 ,this is particularly noticeable throughout the country of the great lakes1 and the ,northern1 ,middle1 and ,new ,england ,states4 ,the voluminous discussion upon the ,dighton ,rock1 ,massachusetts1 inscription1 renders it impossible wholly to neglect it4 ,the following description1 taken from ,schoolcraft's ,history1 ,condition1 and ,prospect of the ,indian ,tribes of the ,united ,states1 ,vol4 ,,iv1 p4 #aai1 which is accompanied with a plate1 is1 however1 sufficient4 ,it is merely a type of ,algonkin rock-carving1 not so interesting as many others3 ,the ancient inscription on a bowlder of greenstone rock lying in the margin of the ,assonet1 or ,taunton ,river1 in the area of ancient ,vinland1 was noticed by the ,new ,england colonists so early as #afhj1 when ,dr4 ,danforth made a drawing of it4 ,this outline1 together with several subsequent copies of it1 at different eras1 reaching to #ahcj1 all differing considerably in their details1 but preserving a certain general resemblance1 is presented in the ,antiquats ,americanes sic 7,tab4 ,,xi1 ,,xii7 and referred to the same era of ,scandinavian discovery4 ,the imperfections of the drawings 7including that executed under the auspices of the ,rhode ,island ,historical ,society1 in #ahcj1 ,tab4 ,,xii7 and the recognition of some characters bearing more or less resemblance to antique ,roman letters and figures1 may be considered to have misled ,mr4 ,magnusen in his interpretation of it4 ,from whatever cause1 nothing could1 it would seem1 have been wider from the purport and true interpretation of it4 ,it is of purely ,indian origin1 and is executed in the peculiar symbolic character of the ,kekeewin4 ,,rock ,,carvings ,,in ,,pennsylvania4 ,many of the rocks along the river courses in ,northern and ,western ,pennsylvania bear traces of carvings1 though1 on account of the character of the geological formations1 some of these records are almost1 if not entirely1 obliterated4 ,mr4 ,p4 ,w4 ,shafer published in a historical map of ,pennsylvania1 in #ahge1 several groups of pictographs4 7,they had before appeared in a rude and crowded form in the ,transactions of the ,anthropological ,institute of ,new ,york1 ,n4 ,y41 #ahga-'gb1 p4 #ff1 ,figs4 #be1 #bf1 where the localities are mentioned as 8,big0 and 8,little0 ,indian ,rocks1 respectively47 ,one of these is situated on the ,susquehanna ,river1 below the dam at ,safe ,harbor1 and clearly shows its ,algonkin origin4 ,the characters are nearly all either animals or various forms of the human body4 ,birds1 bird-tracks1 and serpents also occur4 ,a part of this pictograph is presented below1 ,figure #adi1 page #bbf4 ,on the same chart a group of pictures is also given1 copied from the originals on the ,allegheny ,river1 in ,venango ,county1 #e miles south of ,franklin4 ,there are but six characters furnished in this instance1 three of which are variations of the human form1 while the others are undetermined4 ,mr4 ,j4 ,sutton ,wall1 of ,monongahela ,city1 describes in correspondence a rock bearing pictographs opposite the town of ,millsborough1 in ,fayette ,county1 ,pennsylvania4 ,this rock is about #cij feet above the level of ,monongahela ,river1 and belongs to the ,waynesburg stratum of sandstone4 ,it is detached1 and rests somewhat below its true horizon4 ,it is about #f feet in thickness1 and has vertical sides2 only two figures are carved on the sides1 the inscriptions being on the top1 and are now considerably worn4 ,mr4 ,wall mentions the outlines of animals and some other figures1 formed by grooves or channels cut from an inch to a mere trace in depth4 ,no indications of tool marks were discovered4 ,it is presented below as ,figure #adg1 page #bbd4 ,the resemblance between this record and the drawings on ,dighton ,rock is to be noted1 as well as that between both of them and some in ,ohio4 ,mr4 ,j4 ,sutton ,wall also contributes a group of etchings on what is known as the 8,geneva ,picture ,rock10 in the ,monongahela ,valley1 near ,geneva4 ,these are foot-prints and other characters similar to those mentioned from ,hamilton ,farm1 ,west ,virginia1 which are shown in ,figure #adh1 page #bbe4 ,schoolcraft 7,vol4 ,,iv1 pp4 #agb1 #agc1 ,pll4 #ag1 #ah71 describes also1 presenting plates1 a pictograph on the ,allegheny ,river as follows3 ,one of the most often noticed of these inscriptions exists on the left bank of this river the ,allegheny1 about six miles below ,franklin 7the ancient ,venango71 ,pennsylvania4 ,it is a prominent point of rocks1 around which the river deflects1 rendering this point a very conspicuous object4 99 ,the rock1 which has been lodged here in some geological convulsion1 is a species of hard sandstone1 about twenty-two feet in length by fourteen in breadth4 ,it has an inclination to the horizon of about fifty degrees4 ,during freshets it is nearly overflown4 ,the inscription is made upon the inclined face of the rock4 ,the present inhabitants in the country call it the #8,indian ,god4' ,it is only in low stages of water that it can be examined4 ,captain ,eastman has succeeded1 by wading into the water1 in making a perfect copy of this ancient record1 rejecting from its borders the interpolations of modern names put there by boatmen1 to whom it is known as a point of landing4 ,the inscription itself appears distinctly to record1 in symbols1 the triumphs in hunting and war4 ,,rock ,,carvings ,,in ,,ohio4 ,in the ,final ,report of the ,ohio ,state ,board of ,centennial ,managers1 ,columbus1 #ahgg1 many localities showing rock carvings are noted4 ,the most important 7besides those mentioned below7 are as follows3 ,newark1 ,licking ,county1 where human hands1 many varieties of bird tracks1 and a cross are noticed4 ,independence1 ,cuyahoga ,county1 showing human hands and feet and serpents4 ,amherst1 ,lorain ,county1 presenting similar objects4 ,wellsville1 ,columbiana ,county1 where the characters are more elaborate and varied4 ,mr4 ,james ,w4 ,ward describes in the ,journal of the ,anthropological ,institute of ,new ,york1 ,vol4 ,i1 #ahga-'gb1 pp4 #eg-fd1 ,figs4 #ad-bb1 some sculptured rocks4 ,they are reported as occurring near ,barnesville1 ,belmont ,county1 and consist chiefly of the tracks of birds and animals4 ,serpentine forms also occur1 together with concentric rings4 ,the author also quotes ,mr4 ,william ,a4 ,adams as describing1 in a letter to ,professor ,silliman in #ahdb1 some figures on the surface of a sandstone rock1 lying on the bank of the ,muskingum ,river4 ,these figures are mentioned as being engraved in the rock and consist of tracks of the turkey1 and of man4 ,,rock ,,carvings ,,in ,,west ,,virginia4 ,mr4 ,p4 ,w4 ,norris1 of the ,bureau of ,ethnology1 reports that he found numerous localities along the ,kanawha ,river1 ,west ,virginia1 bearing pictographs4 ,rock etchings are numerous upon smooth rocks1 covered during high water1 at the prominent fords of the river1 as well as in the niches or long shallow caves high in the rocky cliffs of this region4 ,although rude representations of men1 animals1 and some deemed symbolic characters were found1 none were observed superior to1 or essentially differing from1 those of modern ,indians4 ,mr4 ,john ,haywood mentions 7,the ,natural and ,aboriginal ,history of ,tennessee1 ,nashville1 #ahbc1 pp4 #ccb1 #ccc7 rock etchings four miles below the ,burning ,spring1 near the mouth of ,campbell's ,creek1 ,kanawha ,county1 ,west ,virginia4 ,these consist of forms of various animals1 as the deer1 buffalo1 fox1 hare2 of fish of various kinds2 8infants scalped and scalps alone10 and men of natural size4 ,the rock is said to be in the ,kanawha ,river1 near its northern shore1 accessible only at low water1 and then only by boat4 ,on the rocky walls of ,little ,coal ,river1 near the mouth of ,big ,horse ,creek1 are cliffs upon which are many carvings4 ,one of these measures #h feet in length and #e feet in height1 and consists of a dense mass of characters4 ,about #b miles above ,mount ,pleasant1 ,mason ,county1 ,west ,virginia1 on the north side of the ,kanawha ,river1 are numbers of characters1 apparently totemic4 ,these are at the foot of the hills flanking the river4 ,on the cliffs near the mouth of the ,kanawha ,river1 opposite ,mount ,carbon1 ,nicholas ,county1 ,west ,virginia1 are numerous pictographs4 ,these appear to be cut into the sandstone rock4 ,see also page #bbe1 ,figure #adh4 ,,rock ,,carvings ,,in ,,the ,,southern ,,states4 ,charles ,c4 ,jones1 jr41 in his ,antiquities of the ,southern ,indians1 etc41 ,new ,york1 #ahgc1 pp4 #fb1 #fc1 gives some general remarks upon the pictographs of the southern ,indians1 as follows3 ,in painting and rock writing the efforts of the ,southern ,indians were confined to the fanciful and profuse ornamentation of their own persons with various colors1 in which red1 yellow1 and black predominated1 and to marks1 signs1 and figures depicted on skins and scratched on wood1 the shoulder blade of a buffalo1 or on stone4 ,the smooth bark of a standing tree or the face of a rock was used to commemorate some feat of arms1 to indicate the direction and strength of a military expedition1 or the solemnization of a treaty of peace4 ,high up the perpendicular sides of mountain gorges1 and at points apparently inaccessible save to the fowls of the air1 are seen representations of the sun and moon1 accompanied by rude characters1 the significance of which is frequently unknown to the present observer4 ,the motive which incited to the execution of work so perilous was1 doubtless1 religious in its character1 and directly connected with the worship of the sun and his pale consort of the night4 ,the same author1 page #cgg1 particularly describes and illustrates one in ,georgia1 as follows3 ,in ,forsyth ,county1 ,georgia1 is a carved or incised bowlder of fine-grained granite1 about #i feet long1 #d feet #f inches high1 and #c feet broad at its widest point4 ,the figures are cut in the bowlder from one-half to three-fourths of an inch deep4 99 ,it is generally believed that they are the work of the ,cherokees4 ,these figures are chiefly circles1 both plain1 nucleated1 and concentric1 sometimes two or more being joined by straight lines1 forming what is now known as the 8spectacle-shaped0 figure4 ,dr4 ,m4 ,f4 ,stephenson mentions1 in ,geology and ,mineralogy of ,georgia1 ,atlanta1 #ahga1 p4 #aii1 sculptures of human feet1 various animals1 bear tracks1 etc41 in ,enchanted ,mountain1 ,union ,county1 ,georgia4 ,the whole number of etchings is reported as one hundred and forty-six4 ,,rock ,,carvings ,,in ,,iowa4 ,mr4 ,p4 ,w4 ,norris found numerous caves on the banks of the ,mississippi ,river1 in ,northeastern ,iowa1 #d miles south of ,new ,albion1 containing incised pictographs4 ,fifteen miles south of this locality paintings occur on the cliffs4 ,,rock ,,carvings ,,in ,,minnesota4 ,mr4 ,p4 ,w4 ,norris has discovered large numbers of pecked totemic characters on the horizontal face of the ledges of rock at ,pipe ,stone ,quarry1 ,minnesota1 of which he has presented copies4 ,the custom prevailed1 it is stated1 for each ,indian who gathered stone 7,catlinite7 for pipes to inscribe his totem upon the rock before venturing to quarry upon this ground4 ,some of the cliffs in the immediate vicinity were of too hard a nature to admit of pecking or scratching1 and upon these the characters were placed in colors4 ,,rock ,,carvings ,,in ,,wyoming ,,and ,,in ,,idaho4 ,a number of pictographs in ,wyoming are described in the report on ,northwestern ,wyoming1 including ,yellowstone ,national ,park1 by ,capt4 ,william ,a4 ,jones1 ,u4 ,s4 ,a41 ,washington1 #ahge1 p4 #bfh et seq41 ,figures #ej to #ec in that work4 ,the last three in order of these figures are reproduced in ,sign ,language among ,north ,american ,indians1 in the ,first ,annual ,report1 ,bureau of ,ethnology1 pages #cgh and #cgi1 to show their connection with gesture signs4 ,the most important one was discovered on ,little ,popo-,agie1 ,northwestern ,wyoming1 by members of ,captain ,jones's party in #ahgc4 ,the etchings are upon a nearly vertical wall of the yellow sandstone in the rear of ,murphy's ranch1 and appear to be of some antiquity4 ,further remarks1 with specimens of the figures1 are presented in this paper as ,figure #aej1 on page #bbg4 ,dr4 ,william ,h4 ,corbusier1 ,u4 ,s4 ,army1 in a letter to the writer1 mentions the discovery of rock etchings on a sandstone rock near the headwaters of ,sage ,creek1 in the vicinity of ,fort ,washakie1 ,wyoming4 ,dr4 ,corbusier remarks that neither the ,shoshoni nor the ,arapaho ,indians know who made the etchings4 ,the two chief figures appear to be those of the human form1 with the hands and arms partly uplifted1 the whole being surrounded above and on either side by an irregular line4 ,the method of grouping1 together with various accompanying appendages1 as irregular lines1 spirals1 etc41 observed in ,dr4 ,corbusier's drawing1 show great similarity to the ,algonkin type1 and resemble some etchings found near the ,wind ,river ,mountains1 which were the work of ,blackfeet 7,satsika7 ,indians1 who1 in comparatively recent times1 occupied portions of the country in question1 and probably also etched the designs near ,fort ,washakie4 ,a number of examples from ,idaho appear infra1 pages #bbh and #bbi4 ,,rock ,,carvings ,,in ,,nevada4 ,at the lower extremity of ,pyramid ,lake1 ,nevada1 pictographs have been found by members of the ,united ,states ,geological ,survey1 though no accurate reproductions are available4 ,these characters are mentioned as incised upon the surface of basalt rocks4 ,on the western slope of ,lone ,butte1 in the ,carson ,desert1 ,nevada1 pictographs occur in considerable numbers4 ,all of these appear to have been produced1 on the faces of bowlders and rocks1 by pecking and scratching with some hard mineral material like quartz4 ,no copies have been obtained as yet4 ,great numbers of incised characters of various kinds are found on the walls of rock flanking ,walker ,river1 near ,walker ,lake1 ,nevada4 ,waving lines1 rings1 and what appear to be vegetable forms are of frequent occurrence4 ,the human form and footprints are also depicted4 ,among the copies of pictographs obtained in various portions of the ,northwestern ,states and ,territories1 by ,mr4 ,g4 ,k4 ,gilbert1 is one referred as to as being on a block of basalt at ,reveill1 ,nevada1 and is mentioned as being ,shinumo or ,moki4 ,this suggestion is evidently based upon the general resemblance to drawings found in ,arizona1 and known to have been made by the ,moki ,indians4 ,the locality is within the territory of the ,shoshonian linguistic division1 and the etchings are in all probability the work of one or more of the numerous tribes comprised within that division4 ,,rock ,,carvings ,,in ,,oregon ,,and ,,in ,,washington4 ,numerous bowlders and rock escarpments at and near the ,dalles of the ,columbia ,river1 ,oregon1 are covered with incised or pecked pictographs4 ,human figures occur1 though characters of other forms predominate4 ,mr4 ,albert ,s4 ,gatschet reports the discovery of rock etchings near ,gaston1 ,oregon1 in #ahgh1 which are said to be near the ancient settlement of the ,tulati 7or ,atflati7 ,indians1 according to the statement of these people4 ,these etchings are about #ajj feet above the valley bottom1 and occur on six rocks of soft sandstone1 projecting from the grassy hillside of ,patten's ,valley1 opposite ,darling ,smith's farm1 and are surrounded with timber on two sides4 ,the distance from ,gaston is about #d miles2 from the old ,tulati settlement probably not more than #b-a_/b miles in an air-line4 ,this sandstone ledge extends for one-eighth of a mile horizontally along the hillside1 upon the projecting portions of which the inscriptions are found4 ,these rocks differ greatly in size1 and slant forward so that the inscribed portions are exposed to the frequent rains of that region4 ,the first rock1 or that one nearest the mouth of the caon1 consists of horizontal zigzag lines1 and a detached straight line1 also horizontal4 ,on another side of the same rock is a series of oblique parallel lines4 ,some of the most striking characters found upon other exposed portions of the rock appear to be human figures1 i4 e41 circles to which radiating lines are attached1 and bearing indications of eyes and mouth1 long vertical lines running downward as if to represent the body1 and terminating in a bifurcation1 as if intended for legs1 toes1 etc4 ,to the right of one figure is an arm and three-fingered hand 7similar to some of the ,moki characters71 bent downward from the elbow1 the humerus extending at a right angle from the body4 ,horizontal rows of short vertical lines are placed below and between some of the figures1 probably numerical marks of some kind4 ,other characters occur of various forms1 the most striking being an arrow pointing upward1 with two horizontal lines drawn across the shaft1 vertical lines having short oblique lines attached thereto4 ,mr4 ,gatschet1 furthermore1 remarks that the ,tulati attach a trivial story to the origin of these pictures1 the substance of which is as follows3 ,the ,tillamuk warriors living on the ,pacific coast were often at variance with the several ,kalapuya tribes4 ,one day1 passing through ,patten's ,valley to invade the country of the ,tulati1 they inquired of a passing woman how far they were from their camp4 ,the woman1 desirous not to betray her own countrymen1 said that they were yet at a distance of one 7or two87 days' travel4 ,this made them reflect over the intended invasion1 and holding a council they preferred to retire4 ,in commemoration of this the inscription with its numeration marks1 was incised by the ,tulati4 ,capt4 ,charles ,bendire1 ,u4 ,s4 ,army1 states in a letter that ,col4 ,henry ,c4 ,merriam1 ,u4 ,s4 ,army1 discovered pictographs on a perpendicular cliff of granite at the lower end of ,lake ,chelan1 lat4 #dh ,n41 near old ,fort ,o',kinakane1 on the upper ,columbia ,river4 ,the etchings appear to have been made at widely different periods1 and are evidently quite old4 ,those which appeared the earliest were from twenty-five to thirty feet above the present water level4 ,those appearing more recent are about ten feet above water level4 ,the figures are in black and red colors1 representing ,indians with bows and arrows1 elk1 deer1 bear1 beaver1 and fish4 ,there are four or five rows of these figures1 and quite a number in each row4 ,the present native inhabitants know nothing whatever regarding the history of these paintings4 ,for another example of pictographs from ,washington see ,figure #aji1 p4 #aij4 ,,rock ,,carvings ,,in ,,utah4 ,a locality in the southern interior of ,utah has been called ,pictograph ,rocks1 on account of the numerous records of that character found there4 ,mr4 ,g4 ,k4 ,gilbert1 of the ,united ,states ,geological ,survey1 in #ahge collected a number of copies of inscriptions in ,temple ,creek ,caon1 ,southeastern ,utah1 accompanied by the following notes3 8,the drawings were found only on the northeast wall of the caon1 where it cuts the ,vermillion cliff sandstone4 ,the chief part are etched1 apparently by pounding with a sharp point4 ,the outline of a figure is usually more deeply cut than the body4 ,other marks are produced by rubbing or scraping1 and still other by laying on colors4 ,some1 not all1 of the colors are accompanied by a rubbed appearance1 as though the material had been a dry chalk4 8,i could discover no tools at the foot of the wall1 only fragments of pottery1 flints1 and a metate4 8,several fallen blocks of sandstone have rubbed depressions that may have been ground out in the sharpening of tools4 ,there have been many dates of inscriptions1 and each new generation has unscrupulously run its lines over the pictures already made4 ,upon the best protected surfaces1 as well as the most exposed1 there are drawings dimmed beyond restoration and others distinct4 ,the period during which the work accumulated was longer by far than the time which has passed since the last4 ,some fallen blocks cover etchings on the wall1 and are themselves etched4 8,colors are preserved only where there is almost complete shelter from rain4 ,in two places the holes worn in the rock by swaying branches impinge on etchings1 but the trees themselves have disappeared4 ,some etchings are left high and dry by a diminishing talus 7#ae-bj feet71 but ,i saw none partly buried by an increasing talus 7except in the case of the fallen block already mentioned74 8,the painted circles are exceedingly accurate1 and it seems incredible that they were made without the use of a radius40 ,in the collection contributed by ,mr4 ,gilbert there are at least fifteen series or groups of figures1 most of which consist of the human form 7from the simplest to the most complex style of drawing71 animals1 either singly or in long files1 as if driven1 bird tracks1 human feet and hands1 etc4 ,there are also circles1 parallel lines1 and waving or undulating lines1 spots1 and other unintelligible characters4 ,mr4 ,gilbert also reports the discovery1 in #ahhc1 of a great number of pictographs1 chiefly in color1 though some are etched1 in a caon of the ,book ,cliff1 containing ,thompson's spring1 about #d miles north of ,thompson's station1 on the ,denver and ,colorado ,railroad1 ,utah4 ,collections of drawings of pictographs at ,black ,rock spring1 on ,beaver ,creek1 north of ,milford1 ,utah1 have been furnished by ,mr4 ,gilbert4 ,a number of fallen blocks of basalt1 at a low escarpment1 are filled with etchings upon the vertical faces4 ,the characters are generally of an 8unintelligible0 nature1 though the human figure is drawn in complex forms4 ,foot-prints1 circles1 etc41 also abound4 ,mr4 ,i4 ,c4 ,russell1 of the ,united ,states ,geological ,survey1 furnished rude drawings of pictographs at ,black ,rock spring1 ,utah 7see ,figure #aec74 ,mr4 ,gilbert ,thompson1 of the ,united ,states ,geological ,survey1 also discovered pictographs at ,fool ,creek ,caon1 ,utah 7see ,figure #aed74 ,both of those figures are on page #bcj4 ,,rock ,,carvings ,,in ,,colorado4 ,captain ,e4 ,l4 ,berthoud furnished to the ,kansas ,city ,review of ,science and ,industry1 ,,vii1 #ahhc1 ,no4 #h1 pp4 #dhi1 #dij1 the following3 ,the place is #bj miles southeast of ,rio ,del ,norte1 at the entrance of the caon of the ,piedra ,pintada 7,painted ,rock7 ,creek4 ,the carvings are found on the right of the caon1 or valley1 and upon volcanic rocks4 ,they bear the marks of age and are cut in1 not painted1 as is still done by the ,utes everywhere4 ,they are found for a quarter of a mile along the north wall of the caon1 on the ranches of ,w4 ,m4 ,maguire and ,f4 ,t4 ,hudson1 and consist of all manner of pictures1 symbols1 and hieroglyphics done by artists whose memory even tradition does not now preserve4 ,the fact that these are carvings1 done upon such hard rock merits them with additional interest1 as they are quite distinct from the carvings ,i saw in ,new ,mexico and ,arizona on soft sand-stone4 ,though some of them are evidently of much greater antiquity than others1 yet all are ancient1 the ,utes admitting them to have been old when their fathers conquered the country4 ,,rock ,,carvings ,,in ,,new ,,mexico4 ,on the north wall of ,caon de ,chelly1 one fourth of a mile east of the mouth of the caon1 are several groups of pictographs1 consisting chiefly of various grotesque forms of the human figure1 and also numbers of animals1 circles1 etc4 ,a few of them are painted black1 the greater portion consisting of rather shallow lines which are in some places considerably weathered4 ,further up the caon1 in the vicinity of cliff-dwellings1 are numerous small groups of pictographic characters1 consisting of men and animals1 waving or zigzag lines1 and other odd and 8unintelligible0 figures4 ,lieut4 ,j4 ,h4 ,simpson gives several illustrations of pictographs copied from rocks in the northwest part of ,new ,mexico in his ,report of an ,expedition into the ,navajo ,country4 7,sen4 ,ex4 ,doc4 ,no4 #fd1 #cast ,cong41 #ast sess41 #ahef1 ,pl4 #bc1 #bd1 #be47 ,inscriptions have been mentioned as occurring at ,el ,moro1 consisting of etchings of human figures and other unintelligible characters4 ,this locality is better known as ,inscription ,rock4 ,lieutenant ,simpson's remarks upon it1 with illustrations1 are given in the work last cited1 on page #abj4 ,he states that most of the characters are no higher than a man's head1 and that some of them are undoubtedly of ,indian origin4 ,at ,arch ,spring1 near ,zui1 figures are cut upon a rock which ,lieutenant ,whipple thinks present some faint similarity to those at ,rocky ,dell ,creek4 7,rep4 ,pac4 ,r4 ,r1 ,exped41 ,vol4 ,,iii1 #ahef1 ,pt4 ,,iii1 p4 #ci1 ,pl4 #cb47 ,near ,ojo ,pescado1 in the vicinity of the ruins1 are pictographs1 reported in the last mentioned volume and page1 ,plate #ca1 which are very much weather-worn1 and have 8no trace of a modern hand about them40 ,,rock-,,carvings ,,in ,,arizona4 ,on a table land near the ,gila ,bend is a mound of granite bowlders1 blackened by augite1 and covered with unknown characters1 the work of human hands4 ,on the ground near by were also traces of some of the figures1 showing some of the pictographs1 at least1 to have been the work of modern ,indians4 ,others were of undoubted antiquity1 and the signs and symbols intended1 doubtless1 to commemorate some great event4 7,see ,ex4 ,doc4 ,no4 #da1 #cjth ,cong41 #ast sess4 7,emory's ,reconnaissance71 #ahdh1 p4 #hi2 ,ill4 opposite p4 #hi1 and on p4 #ij47 ,characters upon rocks1 of questionable antiquity1 are reported in the last-mentioned volume1 ,plate1 p4 #fc1 to occur on the ,gila ,river1 at #cb #ch #ac ,n4 lat41 and #aji #jg #cj long4 ,according to the plate1 the figures are found upon bowlders and on the face of the cliff to the height of about #cj feet4 ,the party under ,lieutenant ,whipple 7see ,rep4 ,pac4 ,r4 ,r4 ,exped41 ,,iii1 #ahef1 ,pt4 ,,iii1 p4 #db7 also discovered pictographs at ,yampais ,spring1 ,williams ,river4 8,the spot is a secluded glen among the mountains4 ,a high1 shelving rock forms a cave1 within which is a pool of water and a crystal stream flowing from it4 ,the lower surface of the rock is covered with pictographs4 ,none of the devices seem to be of recent date40 ,many of the country rocks lying on the ,colorado plateau of ,northern ,arizona1 east of ,peach ,springs1 bear traces of considerable artistic workmanship4 ,some observed by ,dr4 ,w4 ,j4 ,hoffman1 in #ahga1 were rather elaborate and represented figures of the sun1 human beings in various styles approaching the grotesque1 and other characters not yet understood4 ,all of those observed were made by pecking the surface of basalt with a harder variety of stone4 ,mr4 ,g4 ,k4 ,gilbert discovered etchings at ,oakley ,spring1 eastern ,arizona1 in #ahgh1 relative to which he remarks that an ,oraibi chief explained them to him and said that the 8,mokis make excursions to a locality in the caon of the ,colorado ,chiquito to get salt4 ,on their return they stop at ,oakley ,spring and each ,indian makes a picture on the rock4 ,each ,indian draws his crest or totem1 the symbol of his gens 7874 ,he draws it once1 and once only1 at each visit40 ,mr4 ,gilbert adds1 further1 that 8there are probably some exceptions to this1 but the etchings show its general truth4 ,there are a great many repetitions of the same sign1 and from two to ten will often appear in a row4 ,in several instances ,i saw the end drawings of a row quite fresh while the others were not so4 ,much of the work seems to have been performed by pounding with a hard point1 but a few pictures are scratched on4 ,many drawings are weather-worn beyond recognition1 and others are so fresh that the dust left by the tool has not been washed away by rain4 ,oakley ,spring is at the base of the ,vermillion ,cliff1 and the etchings are on fallen blocks of sandstone1 a homogeneous1 massive1 soft sandstone4 ,tubi1 the ,oraibi chief above referred to1 says his totem is the rain cloud but it will be made no more as he is the last survivor of the gens40 ,a group of the ,oakley ,spring etchings of which ,figure #a is a copy1 measures six feet in length and four feet in height4 ,interpretations of many of the separated characters of ,figure #a are presented on page #df et seq41 also in ,figures #aef et seq41 page #bcg4 ,illustration3 ,,fig4 #a4--,petroglyphs at ,oakley ,springs1 ,arizona4 ,mr4 ,gilbert obtained sketches of etchings in ,november1 #ahgh1 on ,partridge ,creek1 northern ,arizona1 at the point where the ,beale wagon road comes to it from the east4 8,the rock is cross-laminated ,aubrey sandstone and the surfaces used are faces of the lamin4 ,all the work is done by blows with a sharp point4 7,obsidian is abundant in the vicinity47 ,some inscriptions are so fresh as to indicate that the locality is still resorted to4 ,no ,indians live in the immediate vicinity1 but the region is a hunting ground of the ,wallapais and ,avasupais 7,cosninos740 ,notwithstanding the occasional visits of the above named tribes1 the characters submitted more nearly resemble those of other localities known to have been made by the ,moki ,pueblos4 ,rock etchings are of frequent occurrence along the entire extent of the valley of the ,rio ,verde1 from a short distance below ,camp ,verde to the ,gila ,river4 ,mr4 ,thomas ,v4 ,keam reports etchings on the rocks in ,caon ,segy1 and in ,keam's ,caon1 northeastern ,arizona4 ,some forms occurring at the latter locality are found also upon ,moki pottery4 ,,rock ,,carvings ,,in ,,california4 ,from information received from ,mr4 ,alphonse ,pinart1 pictographic records exist in the hills east of ,san ,bernardino1 somewhat resembling those at ,tule ,river in the southern spurs of the ,sierra ,nevada1 ,kern ,county4 ,these pictographic records are found at various localities along the hill tops1 but to what distance is not positively known4 ,in the range of mountains forming the northeastern boundary of ,owen ,valley are extensive groups of petroglyphs1 apparently dissimilar to those found west of the ,sierra ,nevada4 ,dr4 ,oscar ,loew also mentions a singular inscription on basaltic rocks in ,black ,lake ,valley1 about #d miles southwest of the town of ,benton1 ,mono ,county4 ,this is scratched in the basalt surface with some sharp instrument and is evidently of great age4 7,ann4 ,report upon the ,geog4 ,surveys west of the #ajjth meridian4 ,being ,appendix ,j ,j1 ,ann4 ,report of ,chief of ,engineers for #ahgf4 ,plate facing p4 #cbf47 ,dr4 ,w4 ,j4 ,hoffman1 of the ,bureau of ,ethnology1 reports the occurrence of a number of series of etchings scattered at intervals for over twenty miles in ,owen's ,valley1 ,california4 ,some of these records were hastily examined by him in #ahga1 but it was not until the autumn of #ahhd that a thorough examination of them was made1 when measurements1 drawings1 etc41 were obtained for study and comparison4 ,the country is generally of a sandy1 desert1 character1 devoid of vegetation and water4 ,the occasional bowlders and croppings of rock consist of vesicular basalt1 upon the smooth vertical faces of which occur innumerable characters different from any hitherto reported from ,california1 but bearing marked similarity to some figures found in the country now occupied by the ,moki and ,zui1 in ,new ,mexico and ,arizona1 respectively4 ,the southernmost group of etchings is eighteen miles south of the town of ,benton2 the next group1 two miles almost due north1 at the ,chalk ,grade2 the third1 about three miles farther north1 near the stage road2 the fourth1 half a mile north of the preceding2 then a fifth1 five and a half miles above the last named and twelve and a half miles south of ,benton4 ,the northernmost group is about ten or twelve miles northwest of the last-mentioned locality and south west from ,benton1 at a place known as ,watterson's ,ranch4 ,the principal figures consist of various simple1 complex1 and ornamental circles1 some of the simple circles varying as nucleated1 concentric1 and spectacle-shaped1 zigzag1 and serpentine lines1 etc4 ,animal forms are not abundant1 those readily identified being those of the deer1 antelope1 and jack-rabbits4 ,representations of snakes and huge sculpturings of grizzly-bear tracks occur on one horizontal surface1 twelve and a half miles south of ,benton4 ,in connection with the latter1 several carvings of human foot-prints appear1 leading in the same direction1 i4 e41 toward the south-southwest4 ,all of these figures are pecked into the vertical faces of the rocks1 the depths varying from one-fourth of an inch to an inch and a quarter4 ,a freshly broken surface of the rock presents various shades from a cream white to a ,naples yellow color1 though the sculptured lines are all blackened by exposure and oxidation of the iron contained therein4 ,this fact has no importance toward the determination of the age of the work4 ,at the ,chalk ,grade is a large bowlder measuring about six feet in height and four feet either way in thickness1 upon one side of which is one-half of what appears to have been an immense mortar4 ,the sides of this cavity are vertical1 and near the bottom turn abruptly and horizontally in toward the center1 which is marked by a cone about three inches high and six inches across at its base4 ,the interior diameter of the mortar is about twenty-four inches1 and from the appearance of the surface1 being considerably grooved laterally1 it would appear as if a core had been used for grinding1 similar in action to that of a millstone4 ,no traces of such a core or corresponding form were visible4 ,this instance is mentioned as it is the only indication that the authors of the etchings made any prolonged visit to this region1 and perhaps only for grinding grass seed1 though neither grass nor water is now found nearer than the remains at ,watterson's ,ranch and at ,benton4 ,the records at ,watterson's are pecked upon the surfaces of detached bowlders near the top of a mesa1 about one hundred feet above the nearest spring1 distant two hundred yards4 ,these are also placed at the southeast corner of the mesa1 or that nearest to the northern most of the main group across the ,benton ,range4 ,at the base of the eastern and northeastern portion of this elevation of land1 and but a stone's throw from the etchings1 are the remains of former camps1 such as stone circles1 marking the former sites of brush lodges1 and a large number of obsidian flakes1 arrowheads1 knives1 and some jasper remains of like character4 ,upon the flat granite bowlders are several mortar-holes1 which perhaps were used for crushing the seed of the grass still growing abundantly in the immediate vicinity4 ,pion nuts are also abundant in this locality4 ,upon following the most convenient course across the ,benton ,range to reach ,owen's ,valley proper1 etchings are also found1 though in limited numbers1 and seem to partake of the character of 8indicators as to course of travel40 ,by this trail the northernmost of the several groups of etchings above mentioned is the nearest and most easily reached4 ,the etchings upon the bowlders at ,watterson's are somewhat different from those found elsewhere4 ,the number of specific designs is limited1 many of them being reproduced from two to six or seven times1 thus seeming to partake of the character of personal names4 ,one of the most frequent is that resembling a horseshoe within which is a vertical stroke4 ,sometimes the upper extremity of such stroke is attached to the upper inside curve of the broken ring1 and frequently there are two or more parallel vertical strokes within one such curve4 ,bear-tracks and the outline of human feet also occur1 besides several unique forms4 ,a few of these forms are figured1 though not accurately1 in the ,ann4 ,report upon the ,geog4 ,surveys west of the #ajjth meridian last mentioned 7#ahgf71 ,plate facing p4 #cbf4 ,lieutenant ,whipple reports 7,rep4 ,pac4 ,r4 ,r4 ,exped4 ,,iii1 #ahef1 ,pt4 ,,iii1 p4 #db1 ,pl4 #cf7 the discovery of pictographs at ,pai-,ute ,creek1 about #cj miles west of the ,mojave villages4 ,these are carved upon a rock1 8are numerous1 appear old1 and are too confusedly obscure to be easily traceable40 ,these bear great general resemblance to etchings scattered over ,northeast ,arizona1 ,southern ,utah1 and ,western ,new ,mexico4 ,remarkable pictographs have also been found at ,tule ,river ,agency4 ,see ,figure #aee1 page #bce4 ,,colored ,,pictographs ,,on ,,rocks4 ,mr4 ,gilbert ,thompson reports the occurrence of painted characters at ,paint ,lick ,mountain1 #c miles north of ,maiden ,spring1 ,tazewell ,county1 ,virginia4 ,these characters are painted in red1 blue1 and yellow4 ,a brief description of this record is given in a work by ,mr4 ,charles ,b4 ,coale1 entitled 8,the ,life and ,adventures of ,wilburn ,waters10 etc41 ,richmond1 #ahgh1 p4 #acf4 ,mr4 ,john ,haywood 7,the ,natural and ,aboriginal ,history of ,tennessee1 ,nashville1 #ahbc1 p4 #adi7 mentions painted figures of the sun1 moon1 a man1 birds1 etc41 on the bluffs on the south bank of the ,holston1 #e miles above the mouth of the ,french ,broad4 ,these are painted in red colors on a limestone bluff4 ,he states that they were attributed to the ,cherokee ,indians1 who made this a resting place when journeying through the region4 ,this author furthermore remarks3 8,wherever on the rivers of ,tennessee are perpendicular bluffs on the sides1 and especially if caves be near1 are often found mounds near them1 enclosed in intrenchments1 with the sun and moon painted on the rocks10 etc4 ,among the many colored etchings and paintings on rock discovered by the ,pacific ,railroad ,expedition in #ahec-'ed 7,rep4 ,pac4 ,r4 ,r4 ,exped41 ,,iii1 #ahef1 ,pt4 ,,iii1 pp4 #cf1 #cg1 ,pll4 #bh1 #bi1 #cj7 may be mentioned those at ,rocky ,dell ,creek1 ,new ,mexico1 which were found between the edge of the ,llano ,estacado and the ,canadian ,river4 ,the stream flows through a gorge1 upon one side of which a shelving sandstone rock forms a sort of cave4 ,the roof is covered with paintings1 some evidently ancient1 and beneath are innumerable carvings of footprints1 animals1 and symmetrical lines4 ,mr4 ,james ,h4 ,blodgett1 of the ,u4 ,s4 ,geological ,survey1 calls attention to the paintings on the rocks of the bluffs of the ,mississippi ,river1 a short distance below the mouth of the ,illinois ,river1 in ,illinois1 which were observed by early ,french explorers1 and have been the subject of discussion by much more recent observers4 ,mr4 ,p4 ,w4 ,norris found numerous painted totemic characters upon the cliffs in the immediate vicinity of the pipestone quarry1 ,minnesota4 ,these consisted1 probably1 of the totems or names of ,indians who had visited that locality for the purpose of obtaining catlinite for making pipes4 ,these had been mentioned by early writers4 ,mr4 ,norris also discovered painted characters upon the cliffs on the ,mississippi ,river1 #ai miles below ,new ,albin1 in northeastern ,iowa4 ,mr4 ,gilbert ,thompson reports his observation of pictographs at ,san ,antonio ,springs1 #cj miles east of ,fort ,wingate1 ,new ,mexico4 ,the human form1 in various styles1 occurs1 as well as numerous other characters strikingly similar to those frequent in the country1 farther west1 occupied by the ,moki ,indians4 ,the peculiarity of these figures is that the outlines are incised or etched1 the depressions thus formed being filled with pigments of either red1 blue1 or white4 ,the interior portions of the figures are simply painted with one or more of the same colors4 ,charles ,d4 ,wright1 esq41 of ,durango1 ,colorado1 writes that he has discovered 8hieroglyphical writings0 upon rocks and upon the wall of a cliff house near the ,colorado and ,new ,mexico boundary line4 ,on the wall in one small building was found a series of characters in red and black paints1 consisting of a 8chief on his horse1 armed with spear and lance1 wearing a pointed hat and robe2 behind this were about twenty characters representing people on horses1 lassoing horses1 etc42 in fact1 the whole scene represented breaking camp and leaving in a hurry4 ,the whole painting measured about #ab by #af feet40 ,other rock-paintings are also mentioned as occurring near the ,san ,juan ,river1 consisting of four characters representing men as if in the act of taking an obligation1 hands extended1 etc4 ,at the right are some characters in black paint1 covering a space #c by #d feet4 ,the rock-paintings presented in ,plates ,i and ,,ii are reduced copies of a record found by ,dr4 ,w4 ,j4 ,hoffman1 of the ,bureau of ,ethnology1 in ,september1 #ahhd1 #ab miles west-northwest of the city of ,santa ,barbara1 ,california4 ,they are one-sixteenth original size4 ,the locality is almost at the summit of the ,santa ,ynez range of mountains2 the gray sandstone rock on which they are painted is about #cj feet high and projects from a ridge so as to form a very marked promontory extending into a narrow mountain caon4 ,at the base of the western side of this bowlder is a rounded cavity1 measuring1 on the inside1 about #ae feet in width and #h feet in height4 ,the floor ascends rapidly toward the back of the cave1 and the entrance is rather smaller in dimensions than the above measurements of the interior4 ,about #dj yards west of this rock is a fine spring of water4 ,one of the four old ,indian trails leading northward across the mountains passes by this locality1 and it is probable that this was one of the camping-places of the tribe which came south to trade1 and that some of its members were the authors of the paintings4 ,the three trails beside the one just mentioned cross the mountains at various points east of this1 the most distant being about #ae miles4 ,other trails were known1 but these four were most direct to the immediate vicinity of the ,spanish settlement which sprang up shortly after the establishment of the ,santa ,barbara ,mission in #aghf4 ,pictographs 7not now described7 appear upon rocks found at or near the origin of all of the above-mentioned trails at the base of the mountains1 with the exception of the one under consideration4 ,the appearance and position of these pictographs appear to be connected with the several trails4 ,the circles figured in b and d of ,plate ,i1 and c1 r1 and w of ,plate ,,ii1 together with other similar circular marks bearing cross-lines upon the interior1 were at first unintelligible1 as their forms among various tribes have very different signification4 ,the character in ,plate ,i1 above and projecting from d1 resembles the human form1 with curious lateral bands of black and white1 alternately4 ,two similar characters appear1 also1 in ,plate ,,ii1 a1 b4 ,in a1 the lines from the head would seem to indicate a superior rank or condition of the person depicted4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,i ,,pictographs ,,in ,,santa ,,barbara ,,county1 ,,california4 ,having occasion subsequently to visit the private ethnologic collection of ,hon4 ,a4 ,f4 ,coronel1 of ,los ,angeles1 ,california1 ,dr4 ,hoffman discovered a clue to the general import of the above record1 as well as the signification of some of the characters above mentioned4 ,in a collection of colored illustrations of ,mexican costumes some of them probably a century old1 he found blankets bearing borders and colors1 nearly identical with those shown in the circles in ,plate ,i1 d1 and ,plate ,,ii1 c1 r1 w4 ,it is more than probable that the circles represent bales of blankets which early became articles of trade at the ,santa ,barbara ,mission4 ,if this supposition is correct1 the cross-lines would seem to represent the cords1 used in tying the blankets into bales1 which same cross-lines appear as cords in l1 ,plate ,,ii4 ,mr4 ,coronel also possesses small figures of ,mexicans1 of various conditions of life1 costumes1 trades1 and professions1 one of which1 a painted statuette1 is a representation of a ,mexican lying down flat upon an outspread serape1 similar in color and form to the black and white bands shown in the upper figure of d1 ,plate ,i1 and a1 b1 of ,plate ,,ii1 and instantly suggesting the explanation of those figures4 ,upon the latter the continuity of the black and white bands is broken1 as the human figures are probably intended to be in front1 or on top1 of the drawings of the blankets4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,ii ,,pictographs ,,in ,,santa ,,barbara ,,county1 ,,california4 ,the small statuette above mentioned is that of a ,mexican trader1 and if the circles in the pictographs are considered to represent bales of blankets1 there is a figure in ,plate ,i1 d1 still more interesting1 from the union of one of these circles with that of a character representing the trader1 i4 e41 the man possessing the bales4 ,bales1 or what appear to be bales1 are represented to the top and right of the circle d1 ,plate ,i1 and also upon the right hand figure in l1 ,plate ,,ii4 ,to the right of the latter are three short lines1 evidently showing the knot or ends of the cords used in tying a bale of blankets without colors1 therefore of less importance1 or of other goods4 ,this bale is upon the back of what appears to be a horse1 led in an upward direction by an ,indian whose head-dress1 and ends of the breech-cloth1 are visible4 ,other human forms appear in the attitude of making gestures1 one also in j1 ,plate ,,ii1 probably carrying a bale of goods4 ,figure u represents a centipede1 an insect found occasionally south of the mountains1 but reported as extremely rare in the immediate northern regions4 7,for x1 see page #bcb47 ,mr4 ,coronel stated that when he first settled in ,los ,angeles1 in #ahdc1 the ,indians living north of the ,san ,fernando mountains manufactured blankets of the fur and hair of animals1 showing transverse bands of black and white similar to those depicted1 which were sold to the inhabitants of the valley of ,los ,angeles and to ,indians who transported them to other tribes4 ,it is probable that the pictograph is intended to represent the salient features of a trading expedition from the north4 ,the ceiling of the cavity found between the drawings represented in ,plate ,i and ,plate ,,ii has disappeared1 owing to disintegration1 thus leaving a blank about #d feet long1 and #f feet from the top to the bottom of the original record between the parts represented in the two plates4 ,dr4 ,w4 ,j4 ,hoffman also reports the following additional localities in ,santa ,barbara and ,los ,angeles counties4 ,fifteen miles west of ,santa ,barbara1 on the northern summit of the ,santa ,ynez range1 and near the ,san ,marcos ,pass1 is a group of paintings in red and black4 ,one figure resembles a portion of a checker-board in the arrangement of squares4 ,serpentine and zigzag lines occur1 as also curved lines with serrations on the concave sides2 figures of the sun1 groups of short vertical lines1 and tree forms1 resembling representations of the dragon-fly1 and the human form1 as drawn by the ,moki ,indians1 and very similar to ,fig4 e1 ,pl4 ,,ii4 ,these paintings are in a cavity near the base of an immense bowlder1 over twenty feet in height4 ,a short distance from this is a flat granitic bowlder1 containing twenty-one mortar holes1 which had evidently been used by visiting ,indians during the acorn season4 ,trees of this genus are very abundant1 and their fruit formed one of the sources of subsistence4 ,three miles west-northwest of this locality1 in the valley near the base of the mountain1 are indistinct figures in faded red1 painted upon a large rock4 ,the characters appear similar1 in general1 to those above mentioned4 ,forty-three miles west of ,santa ,barbara1 in the ,najowe ,valley1 is a promontory1 at the base of which is a large shallow cavern1 the opening being smaller than the interior1 upon the roof and back of which are numerous figures of similar forms as those observed at ,san ,marcos ,pass4 ,several characters appear to have been drawn at a later date than others1 such as horned cattle1 etc4 ,the black color used was a manganese compound1 while the red pigments consist of ferruginous clays1 abundant at numerous localities in the mountain caons4 ,some of the human figures are drawn with the hands and arms in the attitude of making the gestures for surprise or astonishment1 and negation4 ,one of the most extensive records1 and probably also the most elaborately drawn1 is situated in the ,carisa ,plain1 near ,seor ,orea's ranch1 sixty or seventy miles due north of ,santa ,barbara4 ,the most conspicuous figure is that of the sun1 resembling a face1 with ornamental appendages at the cardinal points1 and bearing striking resemblance to some ,moki marks and pictographic work4 ,serpentine lines and numerous anomalous forms also abound4 ,four miles northeast of ,santa ,barbara1 near the residence of ,mr4 ,stevens1 is an isolated sandstone bowlder measuring about twenty feet high and thirty feet in diameter1 upon the western side of which is a slight cavity bearing figures corresponding in general form to others in this county4 ,the gesture for negation again appears in the attitude of the human figures4 ,half a mile farther east1 on ,dr4 ,coe's farm1 is another smaller bowlder1 in a cavity of which some portions of human figures are shown4 ,parts of the drawings have disappeared through disintegration of the rock1 which is called 8,pulpit ,rock10 on account of the shape of the cavity1 its position at the side of the narrow valley1 and the echo observed upon speaking a little above the ordinary tone of voice4 ,painted rocks also occur in the ,azuza ,caon1 about thirty miles northeast of ,los ,angeles1 of which illustrations are given in ,plate ,,lxxx1 described on p4 #aef4 ,dr4 ,hoffman also found other paintings in the valley of the ,south ,fork of the ,tule ,river1 in addition to those discovered in #ahhb1 and given in ,figure #aee1 p4 #bce4 ,the forms are those of large insects1 and of the bear1 beaver1 centipede1 bald eagle1 etc4 ,upon the eastern slope of an isolated peak between ,porterville and ,visalia1 several miles east of the stage road1 are pictographs in red and black4 ,these are chiefly drawings of the deer1 bear1 and other animals and forms not yet determined4 ,just previous to his departure from the ,santa ,barbara region1 ,dr4 ,hoffman was informed of the existence of eight or nine painted records in that neighborhood1 which up to that time had been observed only by a few sheep-herders and hunters4 ,other important localities showing colored etchings1 and other painted figures1 are at ,san ,diego1 ,california2 at ,oneida1 ,idaho2 in ,temple ,creek ,caon1 southeastern ,utah1 and in the ,caon de ,chelly1 northwestern ,new ,mexico4 ,,foreign ,,petroglyphs4 ,the distribution and the description of the petroglyphs of ,mexico1 as well as of other forms of pictographs found there1 are omitted in the present paper4 ,the subject is so vast1 and such a large amount of information has already been given to the public concerning it1 that it is not considered in this work1 which is mainly devoted to the similar productions of the tribes popularly known as ,north ,american ,indians1 although the pre-,columbian inhabitants of ,mexico should1 in strictness1 be included in that category4 ,it is1 however1 always to be recognized that one of the most important points in the study of pictographs1 is the comparison of those of ,mexico with those found farther north4 ,copies of many petroglyphs found in the eastern hemisphere have been collected1 but the limitations of the present paper do not allow of their reproduction or discussion4 ,,petroglyphs ,,in ,,south ,,america4 ,while the scope of this work does not contemplate either showing the distribution of the rock carvings in ,south ,america1 or entering upon any detailed discussion of them1 some account is here subjoined for the purpose of indicating the great extent of the ethnic material of this character that is yet to be obtained from that continent4 ,alexander von ,humboldt1 in ,aspects of ,nature in different lands and different climates1 etc41 ,vol4 ,i1 pp4 #aif-bja1 ,london1 #ahej1 gives the following general remarks concerning pictographs from ,south ,america3 ,in the interior of ,south ,america1 between the #b;d and #dth degrees of ,north latitude1 a forest-covered plain is enclosed by four rivers1 the ,orinoco1 the ,atabapo1 the ,rio ,negro1 and the ,cassiquiare4 ,in this district are found rocks of granite and of syenite1 covered1 like those of ,caicara and ,uruana1 with colossal symbolical figures of crocodiles and tigers1 and drawings of household utensils1 and of the sun and moon4 ,at the present time this remote corner of the earth is entirely without human inhabitants1 throughout an extent of more than #h1jjj square geographical miles4 ,the tribes nearest to its boundaries are wandering naked savages1 in the lowest stages of human existence1 and far removed from any thoughts of carving hieroglyphics on rocks4 ,one may trace in ,south ,america an entire zone1 extending through more than eight degrees of longitude1 of rocks so ornamented2 viz4 from the ,rupuniri1 ,essequibo1 and the mountains of ,pacaraima1 to the banks of the ,orinoco and of the ,yupura4 ,these carvings may belong to very different epochs1 for ,sir ,robert ,schomburgk even found on the ,rio ,negro representations of a ,spanish galiot1 which must have been of a later date than the beginning of the #afth century2 and this in a wilderness where the natives were probably as rude then as at the present time4 ,but it must not be forgotten that 99 99 nations of very different descent1 when in a similar uncivilized state1 having the same disposition to simplify and generalize outlines1 and being impelled by inherent mental dispositions to form rythmical repetitions and series1 may be led to produce similar signs and symbols4 99 99 99 ,some miles from ,encaramada1 there rises1 in the middle of the savannah1 the rock ,tepu-,mereme1 or painted rock4 ,it shews several figures of animals and symbolical outlines which resemble much those observed by us at some distance above ,encaramada1 near ,caycara1 in #g #e to #g #dj lat41 and #ff #bh to #fg #bc ,w4 long4 from ,greenwich4 ,rocks thus marked are found between the ,cassiquiare and the ,atabapo 7in #b #e to #c #bj lat471 and what is particularly remarkable1 #efj geographical miles farther to the ,east in the solitudes of the ,parime4 ,this last fact is placed beyond a doubt by the journal of ,nicholas ,hortsman1 of which ,i have seen a copy in the handwriting of the celebrated ,d',anville4 ,that simple and modest traveller wrote down every day1 on the spot1 what had appeared to him most worthy of notice1 and he deserves perhaps the more credence because1 being full of dissatisfaction at having failed to discover the objects of his researches1 the ,lake of ,dorado1 with lumps of gold and a diamond mine1 he looked with a certain degree of contempt on whatever fell in his way4 ,he found1 on the #afth of ,april1 #agdi1 on the banks of the ,rupunuri1 at the spot where the river winding between the ,macarana mountains forms several small cascades1 and before arriving in the district immediately round ,lake ,amucu1 8rocks covered with figures10--or1 as he says in ,portugese1 8de varias letras40 ,we were shown at the rock of ,culimacari1 on the banks of the ,cassiquiare1 signs which were called characters1 arranged in lines--but they were only ill-shaped figures of heavenly bodies1 boa-serpents1 and the utensils employed in preparing manioc meal4 ,i have never found among these painted rocks 7piedras pintadas7 any symmetrical arrangement or any regular even-spaced characters4 ,i am therefore disposed to think that the word 8letras0 in ,hortsmann's journal must not be taken in the strictest sense4 ,schomburgk was not so fortunate as to rediscover the rock seen by ,hortsmann1 but he has seen and described others on the banks of the ,essequibo1 near the cascade of ,warraputa4 8,this cascade10 he says1 8is celebrated not only for its height but also for the quantity of figures cut on the rock1 which have great resemblance to those which ,i have seen in the island of ,st4 ,john1 one of the ,virgin ,islands1 and which ,i consider to be1 without doubt1 the work of the ,caribs1 by whom that part of the ,antilles was formerly inhabited4 ,i made the utmost efforts to detach portions of the rock which contained the inscription1 and which ,i desired to take with me1 but the stone was too hard and fever had taken away my strength4 ,neither promises nor threats could prevail on the ,indians to give a single blow with a hammer to these rocks--the venerable monuments of the superior mental cultivation of their predecessors4 ,they regard them as the work of the ,great ,spirit1 and the different tribes who we met with1 though living at a great distance1 were nevertheless acquainted with them4 ,terror was painted on the faces of my ,indian companions1 who appeared to expect every moment that the fire of heaven would fall on my head4 ,i saw clearly that my endeavors would be fruitless1 and ,i contented myself with bringing away a complete drawing of these memorials40 99 99 99 ,even the veneration everywhere testified by the ,indians of the present day for these rude sculptures of their predecessors1 shews that they have no idea of the execution of similar works4 ,there is another circumstance which should be mentioned3 between ,encaramada and ,caycara1 on the banks of the ,orinoco1 a number of these hieroglyphical figures are sculptured on the face of precipices at a height which could now be reached only by means of extraordinarily high scaffolding4 ,if one asks the natives how these figures have been cut1 they answer1 laughing1 as if it were a fact of which1 none but a white man could be ignorant1 that 8in the days of the great waters their fathers went in canoes at that height40 ,thus a geological fancy is made to afford an answer to the problem presented by a civilization which has long passed away4 ,mr4 ,a4 ,pinart has for several years past been engaged in ethnologic researches1 in which1 as he explained to the present writer1 orally1 he has discovered a very large number of pictographs in the islands of the ,caribbean ,sea1 in ,venezuela1 and ,nicaragua1 with remarkable correspondences between some of them1 and strongly demarkating lines in regard to different types4 ,his report will be of inestimable value in the complete discussion of this subject4 ,,petroglyphs ,,in ,,british ,,guiana4 ,in particular1 a copious extract is given from the recent work ,among the ,indians of ,guiana1 by ,everard ,f4 im ,thurn3 ,london1 #ahhc4 ,his account is so suggestive for comparison with the similar discoveries made in ,north ,america that there is a temptation to extract from it even more liberally than has been done4 ,illustration3 ,,fig4 #b4--;,deep carvings in ,guiana4 ,the following is taken from pages #cia1 et seq41 of that author3 ,the pictured rocks1 which are certainly the most striking and mysterious of the antiquities of ,guiana1 are--and this has apparently never yet been pointed out--not all of one kind4 ,in all cases various figures are rudely depicted on larger or smaller surfaces of rocks4 ,sometimes these figures are painted1 though such cases are few and1 as will be shown1 of little moment2 more generally they are graven on the rock1 and these alone are of great importance4 ,rock sculptures may1 again1 be distinguished into two kinds1 differing in the depth of incision1 the apparent mode of execution1 and1 most important of all1 the character of the figures represented4 ,painted rocks in ,british ,guiana are mentioned by ,mr4 ,c4 ,barrington ,brown1 well known as a traveler in the colony4 ,he says1 for instance1 that in coming down past ,amailah fall 7in the same district and range as the ,kaieteur71 on the ,cooriebrong ,river1 he passed #8a large white sandstone rock ornamented with figures in red paint4' ,when in the ,pacaraima mountains1 on the ,brazilian frontier1 ,i heard of the existence of similar paintings in that neighborhood1 but was unable to find them4 ,mr4 ,wallace1 in his account of his #8,travels on the ,amazons1' mentions the occurrence of similar drawings in more than one place near the ,amazons2 and from these and other accounts it seems probable that they occur in various parts of ,south ,america4 ,if1 as seems likely1 these figures are painted with either of the red pigments which the ,indians use so largely to paint their own bodies as well as their weapons and other implements1 or1 as is also possible1 with some sort of red earth1 they must be modern1 the work of ,indians of the present day2 for these red pigments would not long withstand the effects of the weather1 especially where1 as in the case quoted from ,mr4 ,brown1 the drawings are on such an unenduring substance as sandstone4 ,some further account of these paintings is1 however1 much to be desired2 for1 though they are probably modern1 it would be very interesting to know whether the designs resemble those depicted on the engraved rocks1 or are of the kind with which the ,indian at the present time ornaments both his own skin and his household utensils and paddles4 ,it may be mentioned that in the ,christy collection there is a stone celt from ,british ,guiana on which are painted lines very closely resembling in character those which the ,indian commonly paints on his own body4 ,the engraved rocks1 on the contrary1 must be of some antiquity2 that is to say1 they must certainly date from a time before the influence of ,europeans was much felt in ,guiana4 ,as has already been said1 the engravings are of two kinds and are probably the work of two different people2 nor is there even any reason to suppose that the two kinds were produced at one and the same time4 ,these two kinds of engraving may1 for the sake of convenience1 be distinguished as #8deep1' a typical example of which is in ,figure #b and #8shallow' typical example ,figure #c1 respectively1 according as the figures are deeply cut into the rock or are merely scratched on the surface4 ,the former 99 99 vary from one-eighth to one-half of an inch1 or even more1 in depth2 the latter are of quite inconsiderable depth4 ,this difference probably corresponds with a difference in the means by which they were produced4 ,the deep engravings seem cut into the rock with an edged tool1 probably of stone2 the shallow figures were apparently formed by long continued friction with stones and moist sand4 ,the two kinds seem never to occur in the same place or even near to each other2 in fact1 a distinct line may almost be drawn between the districts in which the deep and shallow kinds occur1 respectively2 the deep 99 99 form occurs at several spots on the ,mazeruni1 ,essequibo1 ,ireng1 ,cotinga1 ,potaro1 and ,berbice ,rivers4 ,the shallow form has as yet only been reported from the ,corentyn ,river and its tributaries1 where1 however1 examples occur in considerable abundance4 ,but the two kinds differ not only in the depth of incision1 in the apparent mode of their production1 and in the place of their occurrence1 but also--and this is the chief difference between the two--in the figures represented4 99 99 99 99 99 ,they 7the shallow engravings7 seem always to occur on comparatively large and more or less smooth surfaces of rock1 and rarely1 if ever1 as the deep figures1 on detached blocks of rock1 piled one on the other4 ,the shallow figures1 too1 are generally much larger1 always combinations of straight or curved lines in figures much more elaborate than those which occur in the deep engravings2 and these shallow pictures always represent not animals1 but greater or less variations of the figure which has been described4 ,lastly1 though ,i am not certain that much significance can be attributed to this1 all the examples that ,i have seen1 face more or less accurately eastward4 ,the deep engravings1 on the other hand1 consist not of a single figure but of a greater or less number of rude drawings4 99 99 ,these depict the human form1 monkeys1 snakes1 and other animals1 and also very simple combinations of two or three straight or curved lines in a pattern1 and occasionally more elaborate combinations4 ,the individual figures are small1 averaging from twelve to eighteen inches in height1 but a considerable number are generally represented in a group4 ,some of the best examples of this latter kind are at ,warrapoota cataracts1 about six days' journey up the ,essequibo4 99 99 99 ,the commonest figures at ,warrapoota are figures of men or perhaps sometimes monkeys4 ,these are very simple1 and generally consist of one straight line1 representing the trunk1 crossed by two straight lines at right angles to the body line3 one1 about two-thirds of the distance from the top1 represents the two arms as far as the elbows1 where upward lines represent the lower part of the arms2 the other1 which is at the lower end1 represents the two legs as far as the knees1 from which point1 downward lines represent the lower part of the legs4 ,a round dot1 or a small circle1 at the top of the trunk-line1 forms the head2 and there are a few radiating lines where the fingers1 a few more where the toes1 should be4 ,occasionally the trunk-line is produced downwards as if to represent a long tail4 ,perhaps the tailless figures represent men1 the tailed monkeys4 ,in a few cases the trunk1 instead of being indicated by one straight line1 is formed by two curved lines1 representing the rounded outlines of the body2 and the body1 thus formed1 is bisected1 by a row of dots1 almost invariably nine in number1 which seem to represent vertebr4 ,most of the other figures at ,warrapoota are very simple combinations of two1 three1 or four straight lines similar to the so-called #8,greek meander pattern1' which is of such widespread occurrence4 ,combinations of curved lines and simple spiral lines also frequently occur4 ,many of these combinations closely resemble the figures which the ,indians of the present day paint on their faces and naked bodies4 ,the resemblance is1 however1 not so great but that it may be merely due to the fact that the figures are just such simple combinations of lines which would occur independently to the rock-engravers and to the body-painters as to all other untaught designers4 ,illustration3 ,,fig4 #c4--,shallow carvings in ,guiana4 ,the same author 7pp4 #cfh1 #cfi7 gives the following account of the superstitious reverence entertained for the petroglyphs by the living ,indians of ,guiana3 ,every time a sculptured rock or striking mountain or stone is seen1 ,indians avert the ill-will of the spirits of such places by rubbing red peppers 7,capsicum7 each in his or her own eyes4 ,for instance1 on reaching the ,timehri rock on the ,corentyn ,river1 ,i at once began to sketch the figures sculptured thereon4 ,looking up the next moment ,i saw the ,indians--men1 women and children--who accompanied me all grouped round the rock-picture1 busily engaged in this painful operation of pepper-rubbing4 ,the extreme pain of this operation when performed thoroughly by the ,indians ,i can faintly realize from my own feelings when ,i have occasionally rubbed my eyes with fingers which had recently handled red-peppers2 and from the fact that1 though the older practitioners inflict this self-torture with the utmost stoicism1 ,i have again and again seen that otherwise rare sight of ,indians1 children1 and even young men1 sobbing under the infliction4 ,yet the ceremony was never omitted4 ,sometimes when by a rare chance no member of the party had had the forethought to provide peppers1 lime-juice was used as a substitute2 and once1 when neither peppers nor limes were at hand1 a piece of blue indigo-dyed cloth was carefully soaked1 and the dye was then rubbed into the eyes4 ,these1 ,i believe1 are the only ceremonies observed by the ,indians4 ,one idea underlies them all1 and that is the attempt to avoid attracting the attention of malignant spirits4 ,the following extract from a paper on the ,indian picture writing in ,british ,guiana1 by ,mr4 ,charles ,b4 ,brown1 in the ,journal of the ,anthropological ,institute of ,great ,britain and ,ireland1 #ahgc1 ,vol4 ,,ii1 #bed-beg1 gives views and details somewhat different from the foregoing3 ,these writings or markings are visible at a greater or less distance in proportion to the depth of the furrows4 ,in some instances they are distinctly visible upon the rocks on the banks of the river at a distance of one hundred yards2 in others they are so faint that they can only be seen in certain lights by reflected rays from their polished surfaces4 ,they occur upon greenstone1 granite1 quartz-porphyry1 gneiss1 and jasperous sandstone1 both in a vertical and horizontal position1 at various elevations above the water4 ,sometimes they can only be seen during the dry season1 when the rivers are low1 as in several instances on the ,berbice and ,cassikytyn rivers4 ,in one instance1 on the ,corentyne river1 the markings on the rock are so much above the level of the river when at its greatest height1 that they could only have been made by erecting a staging against the face of the rock1 unless the river was at the time much above its usual level4 ,the widths of the furrows vary from half an inch to one inch1 while the depth never exceeds one-fourth of an inch4 ,sometimes the markings are almost level with the surrounding surfaces1 owing to the waste or degradation by atmospheric influences1 which have acted with greater force upon the rough rock than on the polished face of the grooved markings4 ,the furrows present the same weather-stained aspect as the rocks upon which they are cut1 and both the rocks and the furrows are in some instances coated with a thin layer of the oxides of iron and manganese4 ,the ,indians of ,guiana know nothing about the picture writing by tradition4 ,they scout the idea of their having been made by the hand of man1 and ascribe them to the handiwork of the ,makunaima1 their great spirit4 ,nevertheless1 they do not regard them with any superstitious feelings1 looking upon them merely as curiosities1 which is the more extraordinary as there are numbers of large rocks without any markings on some rivers1 which they will not even look at in passing1 lest some calamity should overtake them4 ,their ,peaimen or sorcerers always squeeze tobacco juice in their eyes on approaching these1 but pay no regard to the sculptured rocks4 ,in the ,pacaraima mountains1 between the villages of ,mora and ,itabay1 the path passes through a circle of square stones placed on one end1 one of which has a carving upon it2 some of these blocks have been thrown down and broken by the ,indians1 clearly proving their utter disregard for them4 ,if then there were any traditions regarding these writings handed down from father to son1 ,i conclude that the ,indians of the present day--the most superstitious of beings--would undoubtedly treat them with awe and respect4 ,again1 if their forefathers were as indolent as they now are1 they never would have gone to the trouble of making these pictures merely for the purpose of passing away their time1 which they could have more easily accomplished by lying in their hammocks from morning to night in a semi-dreamy sort of state1 as their descendants do at present4 ,as these figures were evidently cut with great care and at much labor by a former race of men1 ,i conclude that they were made for some great purpose1 probably a religious one1 as some of the figures give indications of ,phallic worship4 ,,petroglyphs ,,in ,,brazil4 ,the following is an abstract from a paper by ,j4 ,whitfield on ,rock ,inscriptions in ,brazil1 in the ,journal of the ,anthropological ,institute of ,great ,britain and ,ireland1 #ahgd1 ,vol4 ,,iii1 p4 #aad3 ,the rock inscriptions were visited in ,august1 #ahfe1 during an exploring expedition for gold mines in the province of ,cear4 ,several similar inscriptions are said to exist in the interior of the province of ,cear1 as well as in the provinces of ,pernambuco and ,piauhy1 especially in the ,sertas1 that is1 in the thinly-wooded parts of the interior1 but no mention is ever made of their having been seen near the coast4 ,in the margin and bed only of the river are the rocks inscribed4 ,on the margin they extend in some instances to fifteen or twenty yards4 ,except in the rainy season the stream is dry4 ,the rock is a silicious schist of excessively hard and flinty texture4 ,the marks have the appearance of having been made with a blunt heavy tool1 such as might be made with an almost worn-out mason's hammer4 ,the situation is about midway between ,serra ,grande or ,ibiapaba and ,serra ,merioca1 about seventy miles from the coast and forty west of the town ,sobral4 ,there are not any indications of works of art or other antiquarian remains1 nor anything peculiar to the locality4 ,the country is gently undulating1 and of the usual character that obtains for hundreds of miles extending along the base of the ,serra ,ibiapaba4 ,the native population attribute all the #8,letreiros' 7inscriptions71 as they do everything else of which they have no information1 to the ,dutch as records of hidden wealth4 ,the ,dutch1 however1 only occupied the country for a few years in the early part of the seventeenth century4 ,along the coast numerous forts1 the works of the ,dutch1 still remain2 but there are no authentic records of their ever having established themselves in the interior of the country1 and less probability still of their amusing themselves with inscribing puzzling hieroglyphics1 which must have been a work of time1 on the rocks of the far interior1 for the admiration of wandering ,indians4 ,,pictographs ,,in ,,peru4 ,dr4 ,j4 ,j4 ,von ,tschudi mentions in his ,travels in ,peru during the years #ahch-ahdb1 ,wiley and ,putnam's ,library1 ,vols4 ,,xciii-,,xciv1 ,new ,york1 #ahdg1 ,pt4 ,,ii1 p4 #cde-cdf1 that the ancient ,peruvians also used a certain kind of 8hieroglyphics0 which they engraved in stone1 and preserved in their temples4 ,notices of these 8hieroglyphics0 are given by some of the early writers4 ,there appears to be a great similarity between these ,peruvian pictographs and those found in ,mexico and ,brazil4 ,the temptation to quote from ,charles ,wiener's magnificent work ,prou et ,bolivie1 ,paris1 #ahhj1 and also from ,la ,antigedad del ,hombre en el ,plata1 by ,florentine ,ameghino1 ,paris 7and ,buenos ,aires71 #ahhj1 must be resisted4 ,,objects ,,represented ,,in ,,pictographs4 ,the objects depicted in pictographs of all kinds are too numerous and varied for any immediate attempt at classification4 ,those upon the petroglyphs may1 however1 be usefully grouped4 ,instructive particulars regarding them1 may be discovered1 for instance the delineation of the fauna in reference to its present or former habitat in the region where the representation of it is found1 is of special interest4 ,as an example of the number and kind of animals pictured1 as well as of their mode of representation1 the following ,figures1 #d to #ba1 are presented1 taken from the ,moki inscriptions at ,oakley ,springs1 ,arizona1 by ,mr4 ,g4 ,k4 ,gilbert4 ,these were selected by him from1 a large number of etchings1 for the purpose of obtaining the explanation1 and they were explained to him by ,tubi1 an ,oraibi chief living at ,oraibi1 one of the ,moki villages4 ,jones1 in his ,southern ,indians1 p4 #cgg-cgi1 gives a rsum of objects depicted as follows3 ,upon the ,enchanted ,mountain in ,union ,county1 cut in plutonic rock1 are the tracks of men1 women1 children1 deer1 bears1 bisons1 turkeys and terrapins1 and the outlines of a snake1 of two deer1 and of a human hand4 ,these sculptures--so far as they have been ascertained and counted--number one hundred and thirty-six4 ,the most extravagant among them is that known as the footprint of the 8,great ,warrior40 ,it measures eighteen inches in length1 and has six toes4 ,the other human tracks and those of the animals are delineated with commendable fidelity4 99 99 99 ,most of them present the appearance of the natural tread of the animal in plastic clay4 99 99 99 ,these intaglios closely resemble those described by ,mr4 ,ward ,jour4 ,anthrop4 ,inst4 of ,n4 ,y41 ,no4 #a1 #eg et seq41 as existing upon the upheaved strata of coarse carboniferous grit in ,belmont ,county1 ,ohio1 near the town of ,barnesville4 ,the appearance of objects showing the influence of ,european civilization and christianization should always be carefully noted4 ,an instance where an object of that character is found among a multitude of others not liable to such suspicion is in the heart surmounted by a cross1 in the upper line of ,figure #a1 page #cj ante4 ,this suggests missionary teaching4 ,illustration3 ,fig4 #d ,fig4 #e ,fig4 #f ,fig4 #g ,fig4 #h ,fig4 #i ,fig4 #aj ,fig4 #aa ,fig4 #ab ,fig4 #ac ,fig4 #ad ,fig4 #ae ,fig4 #af ,fig4 #ag ,fig4 #ah ,fig4 #ai ,fig4 #bj ,fig4 #ba ,the following is the explanation of the figures3 ,fig4 #d4 ,a beaver4 #e4 ,a bear4 #f4 ,a mountain sheep 7,ovis montana74 #g4 ,three wolf heads4 #h4 ,three ,jackass rabbits4 #i4 ,cottontail rabbit4 #aj4 ,bear tracks4 #aa4 ,an eagle4 #ab4 ,eagle tails4 #ac4 ,a turkey tail4 #ad4 ,horned toads 7,phryosoma sp4874 #ae4 ,lizards4 #af4 ,a butterfly4 #ag4 ,snakes4 #ah4 ,a rattlesnake4 #ai4 ,deer track4 #bj4 ,three ,bird tracks4 #ba4 ,bitterns 7wading birds74 ,,instruments ,,used ,,in ,,pictography4 ,these are often of anthropologic interest4 ,a few examples are given as follows1 though other descriptions appear elsewhere in this paper4 ,,instruments ,,for ,,carving4 ,this includes etching1 pecking1 and scratching4 ,the ,hidatsa1 when carving upon stone or rocks1 as well as upon pieces of wood1 use a sharply pointed piece of hard stone1 usually a fragment of quartz4 ,the bow-drill was an instrument largely used by the ,innuit of ,alaska in carving bone and ivory4 ,the present method of cutting figures and other characters1 to record events and personal exploits1 consists in the use of a small blade1 thick1 though sharply pointed1 resembling a graver4 ,,instruments ,,for ,,drawing4 ,when in haste1 or when the necessary materials are not at hand1 the ,hidatsa sometimes prepare notices by drawing upon a piece of wood or the shoulder blade of a buffalo with a piece of charcoal obtained from the fire1 or with a piece of red chalk1 with which nearly every warrior is at all times supplied4 ,,instruments ,,for ,,painting4 ,painting upon robes or skins is accomplished by means of thin strips of wood1 or sometimes of bone4 ,tufts of antelope hair are also used1 by tying them to sticks to make a brush4 ,this is evidently a modern innovation4 ,pieces of wood1 one end of each chewed so as to produce a loose fibrous brush1 are also used at times1 as has been observed among the ,titon ,dakota4 ,the ,hidatsa1 ,arikara1 and other ,northwest ,indians usually employ a piece of buffalo rib1 or a piece of hard wood1 having somewhat of an elliptical or lozenge-shaped form4 ,this is dipped in thin glue and a tracing is made1 which is subsequently treated in a similar manner with a solution1 of glue1 water1 and color4 ,,instruments ,,for ,,tattooing4 ,the ,hidatsa say that formerly1 when tattooing was practiced1 sharp pieces of bone were used for pricking the skin4 ,the tribes of ,oregon1 ,washington1 and northern ,california used sharp pieces of bone1 thorns1 and the dorsal spines of fish1 though at present needles are employed1 as they are more effective and less painful1 and are readily procured by purchase4 ,needles are used by the ,klamath ,indians1 according to ,mr4 ,gatschet4 ,rev4 ,m4 ,eells reports 7,bull4 ,u4 ,s4 ,geol4 and ,geog4 ,survey ,,ii1 p4 #ge7 that for tattooing the ,twana ,indians use a needle and thread1 blackening the thread with charcoal and drawing it under the skin as deeply as they can bear it4 ,stephen ,powers says 7,contrib4 to ,n4 ,a4 ,ethnol4 ,,iii41 p4 #acj7 that tattooing among the ,yuki is done with pitch-pine soot1 and a sharp-pointed bone4 ,after the designs have been traced on the skin the soot is rubbed in dry4 ,paul ,marcoy mentions in his ,travels in ,south ,america1 ,n4 ,y41 #ahge1 ,vol4 ,,ii1 #cec1 that the ,passs1 ,yuris1 ,barrs and ,chumanas1 of ,brazil1 use a needle for tattooing4 ,the following quotation is from ,te ,ika a ,maui1 or ,new ,zealand and its ,inhabitants1 by ,rev4 ,richard ,taylor1 ,london1 #ahgj1 pp4 #cbj1 #cba3 ,the substance generally used as coloring matter is the resin of the kauri or rimu1 which1 when burnt1 is pounded and converted into a fine powder4 ,the uhi or instrument used was a small chisel1 made of the bone of an albatross1 very narrow and sharp1 which was driven by means of a little mallet1 he mahoe1 quite through the skin1 and sometimes completely through the cheek as well1 in which case when the person undergoing the operation took his pipe1 the smoke found its way out through the cuttings2 the pain was excruciating1 especially in the more tender parts1 and caused dreadful swellings1 only a small piece could be done at a time2 the operator held in his hand a piece of muka1 flax1 dipped in the pigment1 which he drew over the incision immediately it was made2 the blood which flowed freely from the wound was constantly wiped away with a bit of flax2 the pattern was first drawn either with charcoal or scratched in with a sharp-pointed instrument4 ,to tattoo a person fully was therefore a work of time1 and to attempt to do too much at once endangered life4 ,i remember a poor porangi1 or insane person1 who1 during the war1 was tattooed most unmercifully by some young scoundrels2 the poor man's wounds were so dreadfully inflamed1 as to occasion his death2 whilst any one was being operated upon1 all persons in the pa were tapu1 until the termination of the work1 lest any evil should befall him2 to have fine tattooed faces1 was the great ambition of young men1 both to render themselves attractive to the ladies1 and conspicuous in war3 for even if killed by the enemy1 whilst the heads of the untattooed were treated with indignity and kicked on one side1 those which were conspicuous by their beautiful moko1 were carefully cut off1 stuck on the turuturu1 a pole with a cross on it1 and then preserved2 all which was highly gratifying to the survivors1 and the spirits of their late possessors4 ,the person operated upon was stretched all his length on the ground1 and to encourage him manfully to endure the pain1 songs were continually sung to him4 ,,colors ,,and ,,methods ,,of ,,application4 ,,in ,,the ,,united ,,states4 ,since the establishment of traders' stores most colors of civilized manufacture are obtained by the ,indians for painting and decoration4 ,frequently1 however1 the primitive colors are prepared and used when ,indians are absent from localities where those may be obtained4 ,the ferruginous clays of various shade of brown1 red1 and yellow1 occur so widely distributed in nature that these are the most common and leading tints4 ,black is generally prepared by grinding fragments of charcoal into a very fine powder4 ,among some tribes1 as has been found in some of the 8ancient0 pottery from the ,arizona ruins1 clay had evidently been mixed with charcoal to give better body4 ,the black color of some of the ,innuit tribes is blood and charcoal intimately mixed1 which is afterwards applied to the incisions made in ivory1 bone1 and wood4 ,among the ,dakota1 colors for dyeing porcupine quills are obtained chiefly from plants1 or have been until very recently4 ,the vegetable colors1 being soluble1 penetrate the substance of the quills more evenly and beautifully than the mineral colors of eastern manufacture4 ,the black color of some of the ,pueblo pottery is obtained by a special burning with pulverized manure1 into which the vessel is placed as it is cooling after the first baking4 ,the coloring matter--soot produced by smoke--is absorbed into the pores of the vessel1 and will not wear off as readily as when colors are applied to the surface with sticks or primitive brushes4 ,in decorating skins or robes the ,arikara ,indians boil the tail of the beaver1 thus obtaining a viscous fluid which is in reality thin glue4 ,the figures are first drawn in outline with a piece of beef-rib1 or some other flat bone1 the edge only being used after having been dipped into the liquor4 ,the various pigments to be employed in the drawing are then mixed with some of the same liquid1 in separate vessels1 when the various colors are applied to the objects by means of a sharpened piece of wood or bone4 ,the colored mixture adheres firmly to the original tracing in glue1 and does not readily rub off4 ,when similar colors are to be applied to wood1 the surface is frequently picked or slightly incised to receive the color more securely4 ,for temporary purposes1 as for mnemonic marks upon a shoulder blade of a buffalo or upon a piece of wood to direct comrades upon the course to be pursued to attain a certain object1 a piece of red chalk1 or a lump of red ocher of natural production is resorted to4 ,this is often carried by the ,indian for personal decoration4 ,a small pouch1 discovered on the ,yellowstone ,river in #ahgc1 which had been dropped by some fleeing hostile ,sioux1 contained several fragments of black micaceous iron4 ,the latter had almost the appearance and consistence of graphite1 so soft and black was the result upon rubbing it4 ,it had evidently been used for decorating the face as warpaint4 ,mr4 ,dall1 in treating of the remains found in the mammalian layers in the ,amakuak cave1 ,unalashka1 remarks 7,contributions to ,n4 ,a4 ,ethnology1 ,i1 p4 #gi7 that 8in the remains of a woman's work-basket1 found in the uppermost layer in the cave1 were bits of this resin from the bark of pine or spruce driftwood1 evidently carefully treasured1 with a little birch-bark case 7the bark also derived from drift logs7 containing pieces of soft hmatite1 graphite1 and blue carbonate of copper1 with which the ancient seamstress ornamented her handiwork40 ,the same author reports1 op4 cit4 p4 #hf1 8,the coloration of wooden articles with native pigments is of ancient origin1 but all the more elaborate instances that have come to my knowledge bore marks of comparatively recent origin4 ,the pigments used were blue carbonates of iron and copper2 the green fungus1 or peziza1 found in decayed birch and alder wood2 hmatite and red chalk2 white infusorial or chalky earth2 black charcoal1 graphite1 and micaceous ore of iron4 ,a species of red was sometimes derived from pine bark or the cambium of the ground willow40 ,stephen ,powers states in ,contributions to ,n4 ,a4 ,ethnology1 ,,iii1 #bdd1 that the ,shastika women 8smear their faces all over daily with chokecherry juice1 which gives them a bloody1 corsair aspect40 ,mr4 ,a4 ,s4 ,gatschet reports that the ,klamaths of southwestern ,oregon employ a black color1 lg1 made of burnt plum seeds and bulrushes1 which is applied to the cheeks in the form of small round spots4 ,this is used during dances4 ,red paint1 for the face and body1 is prepared from a resin exuding from the spruce tree1 pnam4 ,a yellow mineral paint is also employed1 consisting probably of ocher or ferruginous clay4 ,mr4 ,gatschet says the ,klamath spl1 yellow mineral paint1 is of light yellow color1 but turns red when burned1 after which it is applied in making small round dots upon the face4 ,the white infusorial earth 7871 termed chalk by ,mr4 ,gatschet1 is applied in the form of stripes or streaks over the body4 ,the ,klamaths use charcoal1 lgm1 in tattooing4 99 99 99 99 99 ,the various colors required by a tribe were formerly obtained from plants as by the ,dakota1 while some of the earthy compounds consisted of red and yellow ocher--oxides of iron--and black micaceous ore of iron and graphite4 ,some of the ,california ,indians in the vicinity of ,tulare ,river also used a white color1 obtained at that locality1 and consisted of infusorial earth--diatomaceous4 ,the tribes at and near the geysers1 north of ,san ,francisco ,bay1 obtained their vermilion from croppings of sulphuret of mercury--cinnabar4 ,the same is said to have been the case at the present site of the ,new ,almaden mines1 where tribes of the ,mutsun formerly lived4 ,black colors were also prepared by mixing finely powdered charcoal and clay1 this being practiced by some of the ,pueblos for painting upon pottery4 ,some of the black color obtained from pictographs in ,santa ,barbara ,county1 ,california1 proved to be a hydrous oxide of manganese4 ,for black color in tattooing the ,yuki1 of ,california1 use soot4 ,the juice of certain plants is also used by the ,karok1 of ,california1 to color the face4 ,the ,yokuts1 of ,tule ,river ,agency1 ,california1 employ the roots of the cedar 7red7 and willow 7white7 split and rendered uniform in caliber4 ,during work the materials are kept moistened1 so as to permit of easy manipulation and to prevent fracture of the vegetal fibers4 ,rev4 ,j4 ,owen ,dorsey1 of the ,bureau of ,ethnology1 reports regarding the ,osages that one mode of obtaining black color for the face consists in burning a quantity of small willows4 ,when these are charred they are broken in small pieces and placed in pans1 with a little water in each4 ,the hands are then dipped into the pan and rubbed together1 and finally rubbed over the parts to be colored4 ,formerly tattooing was more frequently practiced among the ,hidatsa than at present1 the marks being caused by pricking the skin with a sharp splinter of bone and the application of a paste consisting of finely-powdered charcoal and water4 ,the ,hualpais1 living on the western border of the ,colorado ,plateau1 ,arizona ,territory1 were found by ,dr4 ,hoffman1 in #ahga1 to decorate their persons by a disgusting process4 ,various individuals were observed who appeared as if their persons had been tattooed in vertical bands from the forehead to the waist1 but upon closer examination it was found that dark and light bands of the natural skin are produced in the following manner3 ,when a deer or an antelope has been killed1 the blood is rubbed over the face and breast1 after which the spread and curved fingers--to resemble claws--are scratched downward from the forehead over the face and over the breast1 thus removing some of the blood2 that remaining soon dries1 and gives the appearance of black stripes4 ,the exposed portion of the skin retains the natural dark-tanned color1 while that under the coating of coagulated blood naturally becomes paler by being protected against the light and air4 ,these individuals do not wash off such marks of success in the chase1 and after a while the blood begins to drop off by desquamation1 leaving lighter spots and lines1 which for a short period of a week or two appear like tattoo marks4 ,the ,mojave pigments are ocher1 clay1 and probably charcoal1 mingled with oil4 ,see ,pac4 ,r4 ,r4 ,exped41 ,vol4 ,,iii1 ,pt4 ,,iii1 p4 #cc4 ,the colors1 at present used by the ,indians and obtained from the traders1 consist generally of the following compounds1 viz43 vermilion1 red lead1 chromate of lead 7yellow71 ,prussian blue1 chrome green1 ivory black and lamp black1 ,chinese white1 and oxide of zinc4 ,all of these are in the form of powder or in crude masses1 and are subsequently prepared for use as required4 ,,in ,,british ,,guiana4 ,everard ,f4 im ,thurn1 op4 cit41 p4 #caf1 gives the following details3 ,the dyes used by the ,indians to paint their own bodies1 and occasionally to draw patterns on their implements1 are red faroah1 purple caraweera1 blue-black lana1 white felspathic clay1 and1 though very rarely1 a yellow vegetable dye of unknown origin4 ,faroah is the deep red pulp around the seed of a shrub 7,bixa orellana71 which grows wild on the banks of some of the rivers1 and is cultivated by the ,indians in their clearings4 ,mixed with a large quantity of oil1 it is then either dried and so kept in lumps which can be made soft again by the addition of more oil1 or is stored in a liquid condition in tubes made of hollow bamboo-stems4 ,when it is to be used1 either a mass of it is taken in the palm of the hand and rubbed over the skin or other surface to be painted1 or a pattern of fine lines is drawn with it by means of a stick used as a pencil4 ,the ,true ,caribs also use faroah largely to stain their hammocks4 ,caraweera is a somewhat similar dye1 of a more purplish red1 and by no means so commonly used4 ,it is prepared from the leaves of a yellow flowered bignonia 7,b4 chicka71 together with some other unimportant ingredients4 ,the dried leaves are boiled for a few minutes over a fire1 and then some fresh-cut pieces of the bark of a certain tree and a bundle of twigs and fresh leaves of another tree are added to the mixture4 ,the whole is then boiled for about twenty minutes1 care being taken to keep the bark and leaves under water4 ,the pot is then taken from the fire1 and the contents1 being poured into bowls1 are allowed to subside4 ,the clear water left at the top is poured away1 and the sediment1 of a beautiful purple colour1 is put into a cloth1 on which it is allowed to dry2 after this it is scraped off and packed in tiny baskets woven of the leaves of the cokerite palm4 ,the pigment is used for body-painting1 with oil1 just as is faroah4 ,lana is the juice of the fruit of a small tree 7,genipa americana71 with which1 without further preparation1 blue-black lines are drawn in patterns1 or large surfaces are stained on the skin4 ,the dye thus applied is for about a week indelible4 ,one or more of the three body paints already mentioned is used by most ,indians and in large quantities4 ,but the white1 and still more the yellow1 pigments are used only rarely1 in lines or dots1 and very sparingly1 by some of the ,savannah ,indians4 ,the white substance is simply a very semi-liquid felspathic clay1 which occurs in pockets in one or two places on the savannah2 this is collected and dried in lumps1 which are then pierced1 threaded1 and so put aside for future use4 ,the nature of the yellow dye ,i was never able to trace2 all that the ,indians could or would say was that they received it in small quantities from a tribe living beyond the ,wapianas1 who extracted it from a tree which only grows in that neighborhood4 ,paul ,marcoy1 in ,travels in ,south ,america3 ,n4 ,y41 #ahge1 ,vol4 ,,ii1 p4 #cec1 says the ,passs1 ,yuris1 ,barrs1 and ,chumanas1 of ,brazil1 employ a decoction of indigo or genipa in tattooing4 ,,significance ,,of ,,colors4 ,significance has been attached to the several colors among all peoples and in all periods of culture4 ,that it is still recognized in the highest civilizations is shown by the associations of death and mourning connected with black1 of innocence and peace with white1 danger with red1 and epidemic disease1 officially1 with yellow4 ,without dwelling upon the modern popular fancies on this subject1 some illustrations from antiquity may be useful for comparison4 ,the ,babylonians represented the sun and its sphere of motion by gold1 the moon by silver1 ,saturn by black1 ,jupiter by orange1 ,mars by red1 ,venus by pale yellow1 and ,mercury by deep blue4 ,red was anciently and generally connected with divinity and power both priestly and royal4 ,the tabernacle of the ,israelites was covered with skins dyed red and the gods and images of ,egypt and ,chaldea were noticeably of that color1 which to this day is the one distinguishing the ,roman ,pontiff and the cardinals4 ,in ancient art each color had a mystic sense or symbolism1 and its proper use was an important consideration and carefully studied4 ,with regard to early ,christian art1 the following extract is given from ,mrs4 ,clement's ,handbook of ,legendary and ,mythologic ,art1 ,boston1 #ahhc4 ,the associations with the several colors therein mentioned differ widely from those in modern folk-lore--for instance1 those with green and yellow1 from the same colors stigmatized in the song produced by ,mr4 ,black in his ,three ,feathers1 exhibiting the belief in ,cornwall that 8green's forsaken and yellow's forsworn40 ,white is worn by the ,saviour after his resurrection1 by the ,virgin in representations of the ,assumption2 by women as the emblem of chastity2 by rich men to indicate humility1 and by the judge as the symbol of integrity4 ,it is represented sometimes by silver or the diamond1 and its sentiment is purity1 virginity1 innocence1 faith1 joy1 and light4 ,red1 the color of the ruby1 speaks of royalty1 fire1 divine love1 the holy spirit1 creative power1 and heat4 ,in an opposite sense it symbolized blood1 war1 and hatred4 ,red and black combined were the colors of ,satan1 purgatory1 and evil spirits4 ,red and white roses are emblems of love and innocence1 or love and wisdom1 as in the garland of ,st4 ,cecilia4 ,blue1 that of the sapphire1 signified heaven1 heavenly love and truth1 constancy and fidelity4 ,christ and the ,virgin ,mary wear the blue mantle1 ,st4 ,john a blue tunic4 ,green1 the emerald1 the color of spring1 expressed hope and victory4 ,yellow or gold was the emblem of the sun1 the goodness of ,god1 marriage and fruitfulness4 ,st4 ,joseph and ,st4 ,peter wear yellow4 ,yellow has also a bad signification when it has a dirty1 dingy hue1 such as the usual dress of ,judas1 and then signifies jealousy1 inconstancy1 and deceit4 ,violet or amethyst signified passion and suffering1 or love and truth4 ,penitents1 as the ,magdalene1 wear it4 ,the ,madonna wears it after the crucifixion1 and ,christ after the resurrection4 ,gray is the color of penance1 mourning1 humility1 or accused innocence4 ,black with white signified humility1 mourning1 and purity of life4 ,alone1 it spoke of darkness1 wickedness1 and death1 and belonged to ,satan4 ,in pictures of the ,temptation ,jesus sometimes wears black4 ,it is probable that1 at one time1 the several colors1 at least in the same ,indian tribe1 had each special significance4 ,this general significance was1 however1 modified by specific positions of the colors4 ,colors are generally applied at this day according to fancy and without regard to special signification4 ,the warriors make a distinction when on the warpath1 and when mourning a deceased relative or engaged in dances and religious ceremonies the members of most of the tribes still exhibit precise care in the selection and arrangement of color4 ,the ,dakota at ,grand ,river ,agency1 now abandoned1 generally painted the face red from the eyes down to the chin when going to war4 ,the whole face was blacked with charcoal or ashes when mourning4 ,the women frequently resorted to this method of expressing grief4 ,the ,absaroka1 or ,crow ,indians1 generally paint the forehead red when on the war-path4 ,this distinction of the ,crows is also noted by the ,dakota in recording pictographic narratives of encounters with the ,crows4 ,see page #fb1 and ,figures #abd et seq4 ,haywood1 ,nat4 and ,aborig4 ,hist4 of ,tennessee1 #ahbc1 p4 #bbh1 says of the ,cherokees3 8,when going to war their hair is combed and annointed with bear's grease and the red-root ,sanguinaria canadensis81 and they adorn it with feathers of various beautiful colours1 besides copper and iron rings1 and sometimes wampum or peak in the ears4 ,and they paint their faces all over as red as vermillion1 making a circle of black about one eye and another circle of white about the other40 ,when a ,modoc warrior paints his face black before going into battle it means victory or death1 and he will not survive a defeat4 ,see ,bancroft's ,native ,races1 ,i1 p4 #ccc4 ,the ,los ,angeles ,county ,indian girls paint the cheeks sparingly with red ocher when in love4 7,bancroft1 ,i1 #djc47 ,this prevails1 to some extent also1 among the northern bands of the ,sioux1 and among the ,arikara at ,fort ,berthold1 ,dakota4 ,rev4 ,j4 ,owen ,dorsey reports that when the ,osage men go to steal horses from the enemy they paint their faces with charcoal4 ,the same authority gives the following description of the ,osage paint for war parties3 ,before charging the foe the ,osages warriors paint themselves anew4 ,this is called the death paint4 ,if any of the men die with this paint on them the survivors do not put on any other paint4 ,all the gentes on the ,tsicu side use the 8fire paint0 or ikaman1 which is red4 ,it is applied by them with the left hand all over the face4 ,and they use prayers about the fire3 8,as the fire has no mercy1 so should we have none40 ,then they put mud on the cheek below the left eye1 as wide as two or more fingers4 ,on the ,haka side this mud is put on the cheek1 below the right eye4 ,it is the young buffalo bull decoration 7,tse-t-cika knn itapi a74 ,with reference to it1 a man says1 8,my little grandfather 7the young buffalo bull7 is ever dangerous1 as he makes attempts4 ,very close do ,i stand1 ready to go to the attack0 7,witsku cika wckn nnpew ehnunpi a4 ,ecnqtsita wakana p atqanhi a67 ,the horse is painted with some of the mud on the left cheek1 shoulder1 and thigh4 ,for the corresponding ,hanka decorations1 substitute the right for the left wherever the latter word occurs above4 ,some who act like a black bear paint with charcoal alone4 ,some paint in the wind style1 some in the lightning style1 and others in the panther or puma style4 ,see also pages #he and #afb4 ,when a ,thlinkit arms himself for war he paints his face and powders his hair a brilliant red4 ,he then ornaments his head with white eagle-feathers1 a token of stern vindictive determination4 ,see ,bancroft1 ,native ,races1 etc41 ,i1 page #aje4 ,blue signifies peace among the ,indians of the ,pueblo of ,tesuque4 ,see ,schoolcraft1 ,,iii1 #cjf4 ,in several addresses before the ,anthropological ,society of ,washington1 ,d4 ,c41 and papers yet unpublished1 in the possession of the ,bureau of ,ethnology1 by ,mr4 ,james ,stevenson1 ,dr4 ,washington ,matthews1 ,u4 ,s4 ,army1 and ,mr4 ,thomas ,v4 ,keam1 the tribes below are mentioned as using in their ceremonial dances the respective colors designated to represent the four cardinal points of the compass1 viz43 ,n4 ,s4 ,e4 ,w4 ,stevenson--,zui ,yellow4 ,red4 ,white4 ,black4 ,matthews--,navajo ,black4 ,blue4 ,white4 ,yellow4 ,keam--,moki ,white4 ,red4 ,yellow4 ,blue4 ,capt4 ,john ,g4 ,bourke1 ,u4 ,s4 ,army1 in the ,snake ,dance of the ,moquis of ,arizona1 etc41 ,new ,york1 #ahhd1 p4 #abj1 says that the ,moki employ the following colors3 yellow in prayers for pumpkins1 green for corn1 and red for peaches4 ,black and white bands are typical of rain1 while red and blue bands are typical of lightning4 ,the ,central ,californians 7north of ,san ,francisco ,bay7 formerly wore the down of ,asclepias787 7white7 as an emblem of royalty4 ,see ,bancroft1 ,native ,races1 ,i1 #chg1 #chh1 quoting ,drake's ,world ,encomp4 pp4 #abd-abf4 ,the natives of ,guatemala wore red feathers in their hats1 the nobles only wearing green ones4 ,ibid1 p4 #fia4 ,see with reference to the ,haidas1 ,mr4 ,j4 ,g4 ,swan's account1 page #ff1 infra4 ,the following extract relative to the color red among the ,new ,zealanders is from ,taylor's ,te ,ika a ,maui1 etc41 pp4 #bji-baj4 ,closely connected with religion1 was the feeling they entertained for the ,kura1 or ,red ,paint1 which was the sacred color2 their idols1 ,pataka1 sacred stages for the dead1 and for offerings or sacrifices1 ,urupa graves1 chief's houses1 and war canoes1 were all thus painted4 ,the way of rendering anything tapu was by making it red4 ,when a person died1 his house was thus colored2 when the tapu was laid on anything1 the chief erected a post and painted it with the kura2 wherever a corpse rested1 some memorial was set up1 oftentimes the nearest stone1 rock1 or tree served as a monument2 but whatever object was selected1 it was sure to be made red4 ,if the corpse were conveyed by water1 wherever they landed a similar token was left2 and when it reached its destination1 the canoe was dragged on shore1 thus distinguished1 and abandoned4 ,when the hahunga took place1 the scraped bones of the chief1 thus ornamented1 and wrapped in a red-stained mat1 were deposited in a box or bowl1 smeared with the sacred color1 and placed in a tomb4 ,near his final resting-place a lofty and elaborately carved monument was erected to his memory2 this was called he tiki1 which was also thus colored4 ,in former times the chief annointed his entire person with red ochre2 when fully dressed on state occasions1 both he and his wives had red paint and oil poured upon the crown of the head and forehead1 which gave them a gory appearance1 as though their skulls had been cleft asunder4 ,a large number of examples occur in the present paper where the use and significance of color is mentioned4 ,among these see pages #fd1 #afe-'f-'g1 and #ahc4 ,,materials ,,upon ,,which ,,pictographs ,,are ,,made4 ,these may be divided into3 #ast4 ,natural objects other than the human person4 #b;d4 ,the human person4 #c;d4 ,artificial objects4 ,,natural ,,objects4 ,under the first head1 the most important division is that of rocks and stones1 many examples of which have already been presented4 ,in addition to those respecting stone1 ,mr4 ,gilbert furnishes some data relating to the sacred stone kept by the ,indians of the village of ,oraibi1 on the ,moki mesas4 ,this stone was seen by ,messrs4 ,john ,w4 ,young and ,andrew ,s4 ,gibbon1 and the notes were made by ,mr4 ,gilbert from those furnished to him by ,mr4 ,young4 ,few white men have had access to this sacred record1 and but few ,indians have enjoyed the privilege4 ,mr4 ,gilbert remarks that 8the stone was evidently squared by the eye and not by any instrument4 ,the engraving seems to have been done with some rude instrument1 but executed with some degree of skill1 like an ancient art faded into dim remembrance of the artist or writer of the characters4 ,the stone is a red clouded marble1 entirely different from anything found in the region1 so ,i learn by the ,indians4 ,the stone is badly worn1 and some of the characters are difficult to determine40 ,according to the notes accompanying the rude drawings of this stone1 it is an oblong rectangle1 measuring #aa-c_/d inches long1 #g-a_/d inches wide1 and #a-a_/b inches thick4 ,on one side there is an interior space1 also an oblong rectangle measuring about three-fourths of the size of the whole tablet1 between which and the outer margin are six nude human figures resembling one another1 one at either end and two on each of the two sides4 ,the interior space may have contained characters1 though no traces are now visible4 ,on the other side are drawings of the sun1 clouds with rain descending therefrom1 lightning1 stars1 arrows1 foot-prints of the bear1 and several other undeterminable characters4 ,no history of the origin and import of this tablet has been obtained4 ,other materials may be mentioned as follows3 ,,bone4 ,for instances of the use of bone1 refer to several ,alaska ivory carvings in this paper1 e4 g41 ,figure #aaa1 page #aib2 ,comanche buffalo shoulder blade1 ,figure #acg1 page #baf2 ,hidatsa shoulder blade1 page #aea2 ,new ,zealand human bone1 ,figure #cd1 page #gd4 ,,the ,,living ,,tree4 ,an example is to be found in ,schoolcraft1 ,,iv1 p4 #bec2 ,pl4 #cc1 ,fig4 ,a1 where it is stated that ,mr4 ,richard ,h4 ,kern furnished a copy of an ,indian drawing1 which was 8found on the trunk of a cottonwood tree in the valley of ,king's ,river1 ,california1 and evidently represents the manner of catching different wild animals with the lasso40 ,the use of the lasso1 and the characters being upon the bark of a living tree1 show sufficient reason to believe that this record was of modern workmanship4 ,,wood4 ,the ,indians of the ,northwest ,coast generally employ wood upon which to depict objects of various kinds4 ,these appear to partake of a mythical nature1 sometimes becoming absurdly grotesque4 ,totem posts 7,plate ,,lxxxiii1 page #aii71 boats1 boat paddles1 the boards constituting the front wall of a house1 and masks are among the objects used upon which to display artistic skill4 ,ottawa drawings are also found upon pipe-stems made of wood1 usually ash4 ,figure #abj1 page #bjd1 is an example of this4 ,among the ,arikara boat paddles are used upon which marks of personal distinction are reproduced1 as shown in ,figure #hj1 page #ahb4 ,wooden dancing ornaments1 such as fanciful representations of the human figure1 idols1 etc41 are generally ornamented with a variety of colors1 having them sometimes arranged to represent designs closely related to1 if not actually signifying1 marks of gentile distinction4 ,in ,alaska1 mortuary records are drawn upon slabs of wood4 ,see ,figures #aac and #aad1 page #aih4 ,mnemonic devices1 notices of departure1 distress1 etc41 are also drawn upon thin narrow slips of wood1 averaging an inch in width1 and of sufficient length4 ,see ,figures #eh and #ei1 page #aed4 ,a circular piece of wood or board is sometimes drawn upon1 showing the human face1 and placed upon a pole1 and facing in a certain direction1 to show the course taken by the survivors of a settlement which has been attacked by an enemy4 ,see ,figure #ej1 page #aeb4 ,,bark4 ,the ,ojibwa have1 until very recently1 been in the habit of tracing characters of various kinds upon the inner surface of birch bark4 ,these records are usually mnemonic1 though many pertain to personal exploits4 ,an illustration is given in ,figure #aci1 page #bah4 ,the lines appear to have been traced with a sharply-pointed instrument1 probably bone1 and in some examples the drawings are made by simple puncturing4 ,sometimes color is applied to the objects delineated1 and apparently with reference to specific signification4 ,the strips of bark1 varying from an inch to several feet in length1 roll up upon drying1 and are straightened out for examination by heating near the fire4 ,,skins4 ,this includes scalps4 ,a large number of records upon the hides of animals are mentioned in the present paper4 ,plate ,,vi with its description in the ,dakota ,winter ,counts is one instance4 ,,feathers4 ,the ,sacramento tribes of ,california are very expert in weaving blankets of feathers1 many of them having really beautiful figures worked upon them4 ,this is reported by ,edward ,m4 ,kern in ,schoolcraft1 ,v1 #fdi1 #fej4 ,the feather work in ,mexico1 ,central ,america and the ,hawaiian ,islands is well known1 often having designs properly to be considered among pictographs1 though in general not1 at least in modern times1 passing beyond ornamentation4 ,,gourds4 ,after gourds have dried the contents are removed and handles are attached2 they serve as rattles in dances1 and in religious and shamanistic rites4 ,the representations of natural or mythical objects for which the owner may have special reverence are often depicted upon their surfaces4 ,this custom prevails among the ,pueblos generally1 and1 also1 among many other tribes1 notably those constituting the ,siouan linguistic stock4 ,,horse ,,hair4 ,the ,hidatsa1 ,arikara1 ,dakota1 and several other tribes of the ,northwest plains1 use horse hair dyed red as appendages to feathers worn as personal marks of distinction4 ,its arrangement is significant4 ,,shells1 ,,including ,,wampum4 ,the illustrated and exhaustive paper of ,mr4 ,w4 ,h4 ,holmes1 in the ,second ,annual report of the ,bureau of ,ethnology1 removes all necessity for present extended mention under this head4 ,,earth ,,and ,,sand4 ,papers by ,dr4 ,washington ,matthews1 ,u4 ,s4 ,a41 ,dr4 ,w4 ,h4 ,corbusier1 ,u4 ,s4 ,a41 and ,mr4 ,james ,stevenson were read in the ,anthropological ,society of ,washington during the season of #ahhd-e1 giving account of important and entirely novel paintings by the ,navajo1 ,yuman1 and ,zuni ,indians4 ,these paintings were made upon the ground by means of sand1 ashes1 and powdered vegetable matter of various colors4 ,these were highly elaborate1 made immediately preceding certain ceremonies1 at the close of which they were obliterated4 ,dr4 ,w4 ,j4 ,hoffman states that when the expedition under command of ,capt4 ,g4 ,m4 ,wheeler1 ,u4 ,s4 ,a41 passed through ,southern ,nevada in #ahga1 the encampment for one night was at ,pai-,uta ,charlie's rancheria1 where it was visited by many of the ,pai-,uta ,indians of that vicinity4 ,on leaving camp the following morning representations of many mounted men1 the odometer cart and pack animals were found depicted upon the hard1 flat surface of the sand4 ,the ,indians had drawn the outlines in life size with sticks of wood1 and the work was very artistically done4 ,a mounted expedition was a new thing in that part of the country and amused them not a little4 ,the well-known animal mounds1 sometimes called effigy mounds1 of ,wisconsin come in this category4 ,,the ,,human ,,person4 ,pictographs upon the human person may be divided into1 #ast1 paint on the face2 #b;d1 paint on the body2 and1 #c;d1 tattooing1 which is also divided into tattoo marks upon the head and tattoo marks upon the body4 ,,paint4 ,dr4 ,hoffman1 who visited the ,hualpai ,indians of northern ,arizona in #ahga1 gives an account 7see ante1 p4 #eb7 of their habit of besmearing their bodies and faces with the blood of game killed4 ,a colored plate1 facing page #cc of the report of the ,pacific ,railroad ,expedition1 #ahef1 pt4 ,,iii1 shows the designs adopted by the ,mojave ,indians for painting the body4 ,these designs consist of transverse lines extending around the body1 arms1 and legs1 or horizontal lines1 or different parts may partake of different designs4 ,clay is now generally used1 as was observed by ,dr4 ,hoffman1 who visited ,camp ,mojave in #ahga4 ,for other notices of paint on head and body and the significance of color see ante1 page #ec et seq4 ,everard ,f4 im ,thurn1 in his work before cited1 page #aif1 describes the painting of the ,indians of ,guiana as follows3 ,the paint is applied either in large masses or in patterns4 ,for example1 a man1 when he wants to dress well1 perhaps entirely coats both his feet up to the ankles with a crust of red2 his whole trunk he sometimes stains uniformly with blue-black1 more rarely with red1 or covers it with an intricate pattern of lines of either colour2 he puts a streak of red along the bridge of his nose2 where his eyebrows were till he pulled them out he puts two red lines2 at the top of the arch of his forehead he puts a big lump of red paint1 and probably he scatters other spots and lines somewhere on his face4 ,the women1 especially among the ,ackawoi1 who use more body-paint than other ornament1 are more fond of blue-black than of red2 and one very favorite ornament with them is a broad band of this1 which edges the mouth1 and passes from the corners of that to the ears4 ,some women especially affect certain little figures1 like ,chinese characters1 which look as if some meaning were attached to them1 but which the ,indians are either unable or unwilling to explain4 ,the ,serranos1 near ,los ,angeles1 ,california1 formerly cut lines upon the trees and posts1 marking boundaries of land1 these lines corresponding to those adopted by the owner as facial decorations4 ,see page #ahb4 ,during his connection with the ,yellowstone expedition of #ahgc1 under the command of ,general ,stanley1 ,dr4 ,hoffman found elaborate narratives of hostile encounters between the ,absaroka and ,dakota ,indians incised upon the bark of cotton-wood trees1 in the valley of the ,musselshell ,river4 ,the ,absaroka were shown by having the bark in the forehead removed1 thus corresponding to their war custom of painting that portion of the face red1 while the ,dakota were denoted by having only the part of the face from the eyes down to the chin removed1 referring to their custom of painting that part of the face4 ,the number of individuals was shown by the outline of one individual of either tribe1 with added short lines4 ,the total number of arms was shown by drawing one gun and the requisite number of spots4 ,the number of horses was indicated in a similar manner4 ,see also with reference to paint on the human person1 pages #afe and #afg4 ,the present writer1 when reading the magnificent work of ,conte ,giovanni ,gozzadini1 ,di ,ulteriori ,scoperte ,nell' ,antica ,necropoli a ,marzabotto nel ,bolognese1 ,bologna1 #ahgj1 noticed in ,plate ,,xii1 ,figure #a1 the representation of a human head in bronze of great antiquity1 and that it shows incised lines over the superior malar region1 below and outward from the outer canthus of the eye4 ,to any one recently familiar with tattooing and the lines of face painting this gives a decided suggestion1 and is offered as such4 ,the head is reproduced in ,figure #bb4 ,illustration3 ,,fig4 #bb4--;,bronze head from the ,necropolis of ,marzabotto1 ,italy4 ,a less distinct suggestion arose from the representation of a 8,fragment of a lustrous black bowl1 with an incised decoration filled with white chalk10 pictured in ,troja1 etc41 by ,dr4 ,henry ,schliemann1 ,new ,york1 #ahhd1 p4 #ca1 ,no4 #a1 and here presented1 ,figure #bc4 ,in the absence of knowledge as to the connection of the two sets of parallel lines on each side of the face1 with the remainder of the bowl1 it is not possible to form any decision as to whether there was any intention to portray face painting or tattooing1 or whether the lines merely partook of the general pattern of the bowl4 ,the lines1 however1 instantly caught the present writer's eye as connected with the subject now under consideration4 ,illustration3 ,,fig4 #bc4--;,fragment of bowl from ,troja4 ,,tattooing4 ,tattooing1 a permanent marking of the skin as distinguished from the temporary painting1 and accomplished by the introduction of coloring matter under the cutaneous epidermis1 was formerly practiced extensively among the ,indians of ,north ,america4 ,some authorities for this statement are here quoted1 as also some descriptions of the custom where still practiced4 ,capt4 ,john ,smith1 in 8,the ,true ,travels1 ,adventures1 etc410 ,richmond1 #ahai1 ,vol4 ,i1 page #acj1 is made to say of the ,virginia ,indians3 8,they adorne themselues most with copper beads and paintings4 ,their women1 some haue their legs1 hands1 breasts and face cunningly imbrodered with divers workes1 as beasts1 serpents1 artificially wrought into their flesh with blacke spots40 ,the ,innuit1 according to ,cook1 practiced tattooing perpendicular lines upon the chin of women1 and sometimes similar lines extending backward from near the outer portions of the eyes4 ,mr4 ,gatschet reports that very few ,klamath men now tattoo their faces1 but such as are still observed have but a single line of black running from the middle of the lower lip to the chin4 ,the women have three lines1 one from each corner of the mouth and one down over the center of the chin4 ,the ,modoc women tattoo three blue lines1 extending perpendicularly from the center and corners of the lower lip to the chin4 ,see ,bancroft1 ,native ,races1 ,i1 p4 #ccb4 ,stephen ,powers says 7,contrib4 ,n4 ,a4 ,ethnol41 ,,iii1 p4 #bj7 that the ,karol1 ,california1 squaws tattoo in blue three narrow fern leaves perpendicularly on the chin1 one falling from each corner of the mouth and one in the middle4 ,for this purpose1 they are said to employ soot gathered from a stone1 mingled with the juice of a certain plant4 ,the same author reports1 page #gf3 8,nearly every 7,hup1 ,california7 man has ten lines tattooed across the inside of the left arm1 about half way between the wrist and the elbow2 and in measuring shell-money1 he takes the string in his right hand1 draws one end over his left thumbnail1 and if the other end reaches to the uppermost of the tattoo lines1 the five shells are worth #be in gold or #e a shell4 ,of course it is only one in ten thousand that is long enough to reach this high value40 ,the same author1 on page #if1 says3 ,the squaws 7,patawt1 ,cal47 tattoo in blue three narrow pinnate leaves perpendicularly on their chins1 and also lines of small dots on the backs of their hands4 ,he reports1 page #adh1 of the ,kastel ,pomo3 ,the women of this and other tribes of the ,coast ,range frequently tattoo a rude representation of a tree or other object1 covering nearly the whole abdomen and breast4 ,of the ,wintns of ,california the same author says 7page #bcc7 that the squaws all tattoo three narrow lines1 one falling from each corner of the mouth1 and one between4 ,see also page #afg infra4 ,rev4 ,m4 ,eells says 7,bull4 ,u4 ,s4 ,geol4 and ,geog4 ,survey1 ,,iii1 p4 #ge7 of the ,twana ,indians3 ,a little of this tattooing is done1 but much less than formerly1 and chiefly now among the children4 ,blue marks tattooed upon a ,mojave woman's chin denotes that she is married4 ,see ,pacific ,r4 ,r4 ,exped41 ,,iii1 #ahef1 p4 #cc4 ,the only remarkable instance of tattooing now among the ,hidatsa is that of ,lean-,wolf1 the present second chief of the tribe4 ,the ornamentation consists of horizontal stripes1 from one-third to one-half an inch broad1 running from the middle of the breast around the right side of the body to the spinal column4 ,the right arm and the right leg are encircled by similar bands1 between which there are spaces of equal width4 ,lean-,wolf professed not to be able to give the origin and history of this ornamentation1 although1 he represents himself with it upon pictographs relating to personal events of warfare and the chase4 ,bancroft 7,native ,races1 ,vol4 ,i1 p4 #dh7 says of the ,eskimo1 that the females tattoo lines on their chins2 the plebeian female of certain bands has one vertical line in the center and one parallel to it on either side4 ,the higher classes mark two vertical lines from each corner of the mouth4 ,on page #gb he says that young ,kadiak wives tattoo the breast and adorn the face with black lines4 ,the ,kuskoquim women sew into their chin two parallel blue lines4 ,this color is applied by drawing a thread under the skin or pricking it with a needle4 ,on page #aag he says that the ,chippewyans have tattooed cheeks and foreheads4 ,both sexes have blue or black bars or from one to four straight lines to distinguish the tribe to which they belong2 they tattoo by entering an awl or needle under the skin and on drawing it out1 immediately rubbing powdered charcoal into the wounds4 ,on page #abg he states that on the ,yukon ,river among the ,kutchins1 the men draw a black stripe down the forehead and the nose1 frequently crossing the forehead and cheeks with red lines and streaking the chin1 alternately with red and black1 and the women tattoo the chin with a black pigment4 ,it will be observed that these statements by ,bancroft1 about tattooing among the ,hyperboreans1 seem to be confined to the face1 except as is mentioned among the ,kadiak1 where the women tattoo the breast1 and that these tattoo marks seem to be simple straight lines1 either vertical or horizontal4 99 99 99 99 99 ,in this place is properly inserted the following report of original research among the ,haidas on this subject1 by ,mr4 ,james ,g4 ,swan1 of ,port ,townsend1 ,washington1 for which the thanks of this ,bureau are tendered to him4 ,,tattoo ,,marks ,,of ,,the ,,haida ,,indians ,,of ,,queen ,,charlotte ,,islands1 ,b4 ,c41 ,,and ,,the ,,prince ,,of ,,wales ,,archipelago1 ,,alaska4 ,by ,,james ,g4 ,,swan4 ,h4 ,h4 ,bancroft1 in his 8,native ,races1 ,pacific ,states10 ,vol4 ,i1 p4 #aee1 includes in the ,haida family the nations occupying the coast and islands from the southern extremity of ,prince of ,wales ,archipelago to the ,bentinck ,arms in about #eb ,n4 ,their territory is bounded on the north and east by the ,thlinkeet and ,carrier nations of the ,hyperboreans1 and on the south by the ,nootka family of the ,columbians4 ,its chief nations1 or1 more correctly speaking1 bands1 whose boundaries1 however1 can rarely be fixed with precision1 are the ,massets1 ,skiddegates1 ,cumshawas1 ,laskeets1 and the ,skringwai1 of ,queen ,charlotte ,islands3 the ,kaigani1 ,howkan1 ,klemakoan1 and ,kazan1 of ,prince of ,wales ,archipelago2 the ,chimsyans1 about ,fort ,simpson and on ,chatham ,sound2 the ,nass and the ,skenas1 on the rivers of the same name2 the ,sebasses1 on ,pitt ,archipelago and the shores of ,gardiner ,channel1 and the ,millbank ,sound ,indians1 including the ,hailtzas1 ,bella ,bella1 ,bella ,coola1 etc4 ,among all the tribes or bands belonging to the ,haida family1 the practice of tattooing the person in some manner is common2 but the most marked are the ,haidas proper1 or those living on ,queen ,charlotte ,islands1 and the ,kaiganis1 of ,prince of ,wales ,archipelago1 ,alaska4 ,of the ,haida tribe1 ,h4 ,h4 ,bancroft says 7,works #ahhb1 ,vol4 ,i1 p4 #aei71 8,besides the regular lip piece1 ornaments various in shape and material1 of shell1 bone1 wood1 or metal1 are worn1 stuck in the lips1 nose1 and ears1 apparently according to the caprice or taste of the wearer1 the skin being sometimes1 though more rarely1 tattooed to correspond40 ,the authors quoted by ,bancroft for this information are ,mayne's ,british ,columbia1 p4 #bhb2 ,barrett-,lennard's ,travels1 pp4 #de1 #df2 ,poole's ,queen ,charlotte ,islands1 pp4 #ge-caa2 ,dunn's ,oregon1 pp4 #bgi1 #bhe1 and ,reed1 who says1 8,the men habitually go naked1 but when they go off on a journey they wear a blanket40 ,how this latter writer1 presuming he speaks from personal experience1 could have seen naked ,haida men without noticing tattoo marks1 ,i cannot understand4 ,on page #ahb of the same volume of ,bancroft1 footnote1 is the following3 8#8,the habit of tattooing the legs and arms is common to all the women of ,vancouver's ,island2 the men do not adopt it4' ,grant1 in ,lond4 ,geog4 ,soc4 ,jour41 ,vol4 ,,xxvii1 p4 #cjg4 #8,no such practice as tattooing exists among these natives4' ,sproat's ,scenes1 p4 #bg40 ,what ,grant says applies not to the women of ,vancouver's ,island1 but to those of ,queen ,charlotte ,islands4 ,sproat seems to have given more of his attention to some fancied terminal in their language1 upon which he builds his theory of the 8,aht0 nation1 than to the observance of their personal peculiarities4 ,i am of the opinion1 judging from my own observation of over twenty years among the coast tribes1 that but few females can be found among the ,indians1 not only on ,vancouver's ,island1 but all along the coast to the ,columbia ,river1 and perhaps even to ,california1 that are not marked with some device tattooed on their hands1 arms1 or ankles1 either dots or straight lines2 but of all the tribes mentioned1 the ,haidas stand pre-eminent for tattooing1 and seem to be excelled only by the natives of the ,fiji ,islands or the ,king's ,mills ,group in the ,south ,seas4 ,the tattoo marks of the ,haidas are heraldic designs or the family totem1 or crests of the wearers1 and are similar to the carvings depicted on the pillars and monuments around the homes of the chiefs1 which casual observers have thought were idols4 ,in a memoir written by me on the ,haida ,indians1 for the ,smithsonian ,institution1 and published as ,no4 #bfg of ,contributions to ,knowledge1 ,i have given illustrations of various tattoo designs and heraldic carvings in wood and stone1 but did not attempt to delineate the position or appearance of those designs upon their bodies or limbs1 although all the tattoo marks represented in that memoir were copied by me directly from the persons of the ,haidas1 as stated in the illustrations4 ,the publication of this memoir1 with its illustrations1 which ,i showed to the ,haidas and ,kaiganis in #ahge1 during my cruise to ,alaska in the ,united ,states revenue steamer ,wolcott1 gave them confidence in me that ,i had not made the drawings from idle curiosity1 and in ,february1 #ahgi1 ,i was fortunate enough to meet a party of ,haida men and women in ,port ,townsend1 ,washington1 who permitted me to copy their tattoo marks again4 ,these designs are invariably placed on the men between the shoulders1 just below the back of the neck1 on the breast1 on the front part of both thighs1 and on the legs below the knee4 ,on the women they are marked on the breast1 on both shoulders1 on both fore-arms1 from the elbow1 down over the back of the hands1 to the knuckles1 and on both legs below the knee to the ankle4 ,when the ,haidas visit ,victoria or the towns on ,puget ,sound they are dressed in the garb of white people and present a respectable appearance1 in marked contrast with the ,indians from the west coast of ,vancouver's ,island1 or the vicinity of ,cape ,flattery1 who dress in a more primitive manner1 and attract notice by their more picturesque costumes than do the ,haidas1 about whom there is nothing outwardly of unusual appearance1 except the tattoo marks on the hands of the women1 which show their nationality at a glance of the most careless observer4 ,as ,i before remarked1 almost all of the ,indian women of the northwest coast have tattoo marks on their hands and arms1 and some on the face2 but as a general thing these marks are mere dots or straight lines1 having no particular significance4 ,with the ,haidas1 however1 every mark has its meaning2 those on the hands and arms of the women indicate the family name1 whether they belong to the bear1 beaver1 wolf1 or eagle totems1 or any of the family of fishes4 ,as one of them quaintly remarked to me1 8,if you were tattooed with the design of a swan1 the ,indians would know your family name40 ,although it is very easy to distinguish the ,haida women from those of other tribes by seeing the tattoo marks on the backs of their hands1 yet very few white persons have cared to know the meaning of these designs1 or are aware of the extent of the tattoo marks on the persons of both sexes4 ,in order to illustrate this tattooing as correctly as possible1 ,i inclose herewith a view 7,figure #bd7 taken at ,massett1 ,queen ,charlotte ,island1 of the carved columns in front of the chief's residence2 and also sketches of the tattoo marks on two women and their husbands taken by me at ,port ,townsend4 ,illustration3 ,,fig4 #bd4--;,haida ,totem ,post4 ,it should be borne in mind that during their festivals and masquerade performances the men are entirely naked and the women have only a short skirt reaching from the waist to the knee2 the rest of their persons are exposed1 and it is at such times that the tattoo marks show with the best effect1 and the rank and family connection known by the variety of designs4 ,like all the other coast tribes1 the ,haidas are careful not to permit the intrusion of white persons or strangers to their ,tomanawos ceremonies1 and as a consequence but few white people1 and certainly none of those who have ever written about those ,indians1 have been present at their opening ceremonies when the tattoo marks are shown4 ,my information was derived from the ,haidas themselves1 who explained to me while ,i was making the drawings1 and illustrated some of the positions assumed in their dances by both sexes4 ,fig4 #be represents a man4 ,on his breast is the cod 7kahatta7 split from the head to the tail and laid open2 on each thigh is the octopus 7noo71 and below each knee is the frog 7flkamkostan74 ,illustration3 ,,fig4 #be4--;,haida man1 tattooed4 ,,fig4 #bf4--;,haida woman1 tattooed4 ,figure #bf represents a woman4 ,on her breast is the head with forepaws of the beaver 7tsching72 on each shoulder is the head of the eagle or thunder-bird 7skamskwin72 on each arm1 extending to and covering the back of the hand1 is the halibut 7hargo72 on the right leg is the sculpin 7kull72 on the left leg is the frog 7flkamkostan74 ,figure #bg is a woman with the bear's head 7hoorts7 on her breast4 ,on each shoulder is the eagle's head1 and on her arms and legs are figures of the bear4 ,illustration3 ,,fig4 #bg4--;,haida woman1 tattooed4 ,,fig4 #bh4--;,haida man1 tattooed4 ,figure #bh shows the back of a man with the wolf 7wasko7 split in halves and tattooed between his shoulders1 which is shown enlarged in ,figure #cc4 ,wasko is a mythological being of the wolf species similar to the chu-chu-hmexl of the ,makah ,indians1 an antediluvian demon supposed to live in the mountains4 ,illustration3 ,,fig4 #cc4--,wolf4 ,the skulpin on the right leg of the woman in ,figure #bf is shown enlarged in ,figure #bi2 the frog on the left leg in ,figure #cj4 ,illustration3 ,,fig4 #bi4--,skulpin4 ,illustration3 ,,fig4 #cj4--;,frog4 ,the codfish on the man in ,figure #be is shown enlarged in ,figure #ca1 the octopus or squid in ,figure #cb4 ,illustration3 ,,fig4 #ca4--;,cod4 ,illustration3 ,,fig #cb4--,squid or octopus4 ,as the ,haidas1 both men and women1 are very light colored1 some of the latter1 full blooded ,indians too1 having their skins as fair as ,europeans1 the tattoo marks show very distinct4 ,these sketches are not intended as portraits of persons1 but simply to illustrate the positions of the various tattoo marks4 ,to enter into a detailed description would require more space and study than is convenient at this time4 ,enough is given1 it is hoped1 to convey to you an idea of this interesting subject1 which will require much study to properly elaborate1 or understand4 ,this tattooing is not all done at one time nor is it every one who can tattoo4 ,certain ones1 almost always men1 have a natural gift which enables them to excel in this kind of work4 ,one of the young chiefs1 named ,geneskelos1 was the best designer ,i knew1 and ranked among his tribe as a tattooer4 ,he belonged to ,laskeek village on the east side of ,moresby's ,island1 one of the ,queen ,charlotte group4 ,i employed him to decorate the great canoe which ,i sent to the ,centennial ,exposition at ,philadelphia in #ahgf1 for the ,national ,museum4 ,i was with him a great deal of the time both at ,victoria and ,port ,townsend4 ,he had a little sketch book in which he had traced designs for tattooing1 which he gave to me4 ,he subsequently died in ,victoria of small-pox1 soon after he had finished decorating the canoe4 ,he told me the plan he adopted was first to draw the design carefully on the person with some dark pigment1 then prick it in with needles and then rub over the wound with some more coloring matter till it acquired the proper hue4 ,he had a variety of instruments composed of needles tied neatly to sticks4 ,his favorite one was a flat strip of ivory or bone1 to which he had firmly tied five or six needles1 with their points projecting beyond the end just far enough to raise the skin without inflicting a dangerous wound1 but these needle points stuck out quite sufficiently to make the operation very painful1 and although he applied some substance to deaden the sensation of the skin1 yet the effect was on some to make them quite sick for a few days2 consequently the whole process of tattooing was not done at one time4 ,as this tattooing is a mark of honor1 it is generally done at or just prior to a ,tomanawos performance and at the time of raising the heraldic columns in front of the chief's houses4 ,the tattooing is done in open lodge and is witnessed by the company assembled4 ,sometimes it takes several years before all the tattooing is done1 but when completed and the person well ornamented1 then they are happy and can take their seats among the elders4 ,it is an interesting question1 and one worthy of careful and patient investigation1 ,why is it that the ,haida ,nation alone of all the coast tribes tattoo their persons to such an extent1 and how they acquire the art of carving columns which bear such striking similarity to carving in wood and stone by the ancient inhabitants of ,central ,america1 as shown by drawings in ,bancroft's fourth volume of ,native ,races and in ,habel's investigation in ,central and ,south ,america8 ,some of these idols in design1 particularly on pages #dj to #eh1 and notably on pages #di-ej 7,bancroft1 op4 cit471 are very like some small carvings ,i have in ,port ,townsend which ,i received from ,alaska1 showing a similarity of idea which could not be the result of an accident4 ,the tattoo marks1 the carvings1 and heraldic designs of the ,haida are an exceedingly interesting study1 and ,i hope what ,i have thus hastily and imperfectly written may be the means of awakening an interest to have those questions scientifically discussed1 for they seem to me to point to a key which may unlock the mystery which for so many ages has kept us from the knowledge of the origin of the ,pacific tribes4 99 99 99 99 99 ,,tattooing ,,in ,,the ,,pacific ,,islands4 ,the following quotations and illustrations of tattooing in the islands of the ,pacific ,ocean are presented for comparison1 and in hopes that the discussion of the subject may afford further information upon the significance of tattoo marks4 ,it is by no means probable that they were originally altogether or chiefly for ornamentation4 ,the accompanying illustration1 ,figure #cd1 is taken from a bone obtained from a mound in ,new ,zealand1 by ,mr4 ,i4 ,c4 ,russell1 of the ,united ,states ,geological ,survey1 several years ago4 ,mr4 ,russell says that the ,maori formerly tattooed the bones of enemies1 though the custom now seems to have been abandoned4 ,the work consists of sharp1 shallow lines1 as if made with a sharp-pointed steel instrument1 into which some blackish pigment has been rubbed1 filling up some of the markings1 while in others scarcely a trace remains4 ,illustration3 ,,fig4 #cd4--,tattoo designs on bone1 ,new ,zealand4 ,in connection with the use of the tattoo marks as reproduced on artificial objects see also1 ,figure #cg1 page #gf1 and ,figure #aaf1 page #bjj4 ,the following is extracted from ,te ,ika a ,maui1 or ,new ,zealand and its inhabitants1 by ,rev4 ,richard ,taylor1 ,london1 #ahgj1 p4 #cbj1 etc4 ,before they went to fight1 the youth were accustomed to mark their countenance with charcoal in different lines1 and their traditions state that this was the beginning of the tattoo1 for their wars became so continuous1 that to save the trouble of thus constantly painting the face1 they made the lines permanent by the moko2 it is however a question whether it did not arise from a different cause2 formerly the grand mass of men who went to fight were the black slaves1 and when they fought side by side with their lighter colored masters1 the latter on those occasions used charcoal to make it appear they were all one4 ,whilst the males had every part of the face tattooed1 and the thighs as well1 the females had chiefly the chin and the lips1 although occasionally they also had their thighs and breasts1 with a few smaller marks on different parts of the body as well4 ,there were regular rules for tattooing1 and the artist always went systematically to work1 beginning at one spot and gradually proceeding to another1 each particular part having its distinguishing name4 ,thus1 #a4 ,te kawe1 which are four lines on each side of the chin4 #b4 ,te pukawae1 six lines on the chin4 #c4 ,nga rere hupe1 the lines below the nostrils1 six in number4 #d4 ,nga kohiri1 a curved line on the cheek-bone4 #e4 ,nga koroaha1 lines between the cheek-bone and ear4 #f4 ,nga wakarakau1 lines below the former4 #g4 ,nga pongiangia1 the lines on each side of the lower extremity of the nose4 #h4 ,nga pae tarewa1 the lines on the cheek-bone4 #i4 ,nga rerepi1 and ,nga ngatarewa1 lines on the bridge of the nose4 #aj4 ,nga tiwana1 four lines on the forehead4 #aa4 ,nga rewha1 three lines below the eyebrows4 #ab4 ,nga titi1 lines on the center of the forehead4 #ac4 ,ipu rangi1 lines above the former4 #ad4 ,te tonokai1 the general names for the lines on the forehead4 #ae4 ,he ngutu pu rua1 both lips tattooed4 #af4 ,te rape1 the higher part of the thighs4 #ag4 ,te paki paki1 the tattooing on the seat4 #ah4 ,te paki turi1 the lower thigh4 #ai4 ,nga tata1 the adjoining part4 ,the following are female tattoos3-- #a4 ,taki taki1 lines from the breast to the navel4 #b4 ,hope hope1 the lines on the thighs4 #c4 ,waka te he1 the lines on the chin4 ,figure #ce is a copy of a tattooed head carved by ,hongi1 and also of the tattooing on a woman's chin1 taken from the work last quoted4 ,illustration3 ,,fig4 #ce4--,new ,zealand tattooed head and chin mark4 ,figure #cf is a copy of a photograph obtained in ,new ,zealand by ,mr4 ,russell4 ,it shows tattooing upon the chin4 ,illustration3 ,,fig4 #cf4--,new ,zealand tattooed woman4 ,two beautifully tattooed heads are in the collection of the ,army ,medical ,museum at ,washington1 ,d4 ,c41 of which illustrations are presented in the accompanying ,plate1 ,,iii4 ,no history of these heads can be obtained4 ,the skin is almost perfect1 and has become much brighter in tint than the original color4 ,the tattooing is a blue black1 and in certain lights becomes almost bright indigo4 ,in many of the markings there appear slight grooves1 which add greatly to the general ornamentation1 breaking the monotony of usually plain surfaces4 ,whether any mechanical work was performed upon the heads after death is not positively known1 though from the general appearance of the work it would be suggested that the sharp creases or grooves was done subsequent to the death of the individual4 ,the tattooing shows sub-cutaneous coloring1 which indicates that at least part of the ornamentation was done in life4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,iii ,,new ,,zealand ,,tattooed ,,heads4 ,figure #cg is an illustration from ,te ,ika a ,maui1 etc41 op4 cit41 facing page #cgh4 ,it shows the 8grave of an ,australian native1 with his name1 rank1 tribe1 etc41 cut in hieroglyphics on the trees10 which 8hieroglyphics0 are supposed to be connected with his tattoo marks4 ,illustration3 ,,fig4 #cg4--;,australian grave and carved trees4 ,mr4 ,i4 ,c4 ,russell1 in his sketch of ,new ,zealand1 published in the ,american ,naturalist1 ,volume ,,xiii1 p4 #gb1 ,february1 #ahgi1 remarks1 that the desire of the ,maori for ornament is so great that they covered their features with tattooing1 transferring indelibly to their faces complicated patterns of curved and spiral lines1 similar to the designs with which they decorated their canoes and their houses4 ,in ,mangaia1 of the ,hervey ,group1 the tattoo is said to be in imitation of the stripes on the two kinds of fish1 avini and paoro1 the color of which is blue4 ,the legend of this is kept in the song of ,ina4 ,see ,myths and songs from the ,south ,pacific1 ,london1 #ahgf1 p4 #id4 ,mr4 ,everard ,f4 im ,thurn1 in his work previously cited1 pages #aie-'if among the ,indians of ,guiana1 says3 ,painting the body is the simplest mode of adornment4 ,tattooing or any other permanent interference with the surface of the skin by way of ornament is practiced only to a very limited extent by the ,indians2 is used1 in fact1 only to produce the small distinctive tribal mark which many of them bear at the corners of their mouths or on their arms4 ,it is true that an adult ,indian is hardly to be found on whose thighs and arms1 or on other parts of whose body1 are not a greater or less number of indelibly incised straight lines2 but these are scars originally made for surgical1 not ornamental purposes4 ,the following extracts are taken from ,samoa1 by ,george ,turner1 ,,ll4,d41 ,london1 #ahhd3 ,page #ee4 ,taema and ,tilafainga1 or ,tila the sportive1 were the goddesses of the tattooers4 ,they swam from ,fiji to introduce the craft to ,samoa1 and on leaving ,fiji were commissioned to sing all the way1 8,tattoo the women1 but not the men40 ,they got muddled over it in the long journey1 and arrived at ,samoa singing1 8,tattoo the men and not the women40 ,and hence the universal exercise of the blackening art on the men rather than the women4 ,page #hh4 8,herodotus found among the ,thracians that the barbarians could be exceedingly foppish after their fashion4 ,the man who was not tattooed among them was not respected40 ,it was the same in ,samoa4 ,until a young man was tattooed1 he was considered in his minority4 ,he could not think of marriage1 and he was constantly exposed to taunts and ridicule1 as being poor and of low birth1 and as having no right to speak in the society of men4 ,but as soon as he was tattooed he passed into his majority1 and considered himself entitled to the respect and privileges of mature years4 ,when a youth1 therefore1 reached the age of sixteen1 he and his friends were all anxiety that he should be tattooed4 ,he was then on the outlook for the tattooing of some young chief with whom he might unite4 ,on these occasions1 six or a dozen young men would be tattooed at one time2 and for these there might be four or five tattooers employed4 ,tattooing is still kept up to some extent1 and is a regular profession1 just as house-building1 and well paid4 ,the custom is traced to ,tam and ,tilafainga2 and they were worshipped by the tattooers as the presiding deities of their craft4 ,the instrument used in the operation is an oblong piece of human bone 7os ilium71 about an inch and a half broad and two inches long4 ,a time of war and slaughter was a harvest for the tattooers to get a supply of instruments4 ,the one end is cut like a small-toothed comb1 and the other is fastened to a piece of cane1 and looks like a little serrated adze4 ,they dip it into a mixture of candle-nut ashes and water1 and1 tapping it with a little mallet1 it sinks into the skin1 and in this way they puncture the whole surface over which the tattooing extends4 ,the greater part of the body1 from the waist down to the knee is covered with it1 variegated here and there with neat regular stripes of the untattooed skin1 which when they are well oiled1 make them appear in the distance as if they had on black silk knee-breeches4 ,behrens1 in describing these natives in his narrative of ,roggewein's voyage of #aggb1 says3 8,they were clothed from the waist downwards with fringes and a kind of silken stuff artificially wrought40 ,a nearer inspection would have shown that the fringes were a bunch of red ti leaves 7,dracna terminalis7 glistening with cocoa-nut oil1 and the 8kind of silken stuff10 the tattooing just described4 ,as it extends over such a large surface the operation is a tedious and painful affair4 ,after smarting and bleeding for awhile under the hands of the tattooers1 the patience of the youth is exhausted4 ,they then let him rest and heal for a time1 and1 before returning to him again1 do a little piece on each of the party4 ,in two or three months the whole is completed4 ,the friends of the young men are all the while in attendance with food4 ,they also bring quantities of fine mats and native cloth1 as the hire of the tattooers2 connected with them1 too1 are many waiting on for a share in the food and property4 ,among the fellahs1 as well as among the laboring people of the cities1 the women tattoo their chin1 their forehead1 the middle of the breast1 a portion of their hands and arms1 as well as feet1 with indelible marks of blue and green4 ,in ,upper ,egypt most females puncture their lips to give them a dark bluish hue4 ,see ,featherman1 ,social ,hist4 of the ,races of ,mankind1 ,v1 #ahha1 p4 #ede4 99 99 99 99 99 ,professor ,brauns1 of ,halle1 reports 7,science1 ,,iii1 ,no4 #ej1 p4 #fi7 that among the ,ainos of ,yazo the women tattoo their chins to imitate the beards of the men4 99 99 99 99 99 ,the antiquity of tattooing in the eastern hemisphere is well established4 ,with reference to the ,hebrews1 and the tribes surrounding them1 the following ,biblical texts may be in point3 8,ye shall not make any cuttings in your flesh for the dead1 nor print any marks upon you40 ,lev41 ,,xix1 #bh4 99 99 99 8,though thou rentest thy face with painting1 in vain shalt thou make thyself fair40 ,jer41 ,,iv4 #cj4 ,,artificial ,,objects4 ,the objects of this character1 on which pictographs are found1 may be mentioned as follows3 #a4 ,lances4 #b4 ,arrows4 #c4 ,shields4 #d4 ,canoes4 #e4 ,paddles4 #f4 ,habitations4 #g4 ,utensils4 #h4 ,pottery4 #i4 ,sinews or thread4 #aj4 ,artificial beads4 ,it is believed that examples showing the use of each of these objects are presented in various parts of the present paper1 but the following do not appear under other headings3 ,many of the ,california tribes are expert workers in grass and roots in the manufacture of baskets1 upon which designs are frequently worked1 other than mere ornamentation1 in geometric forms4 ,the ,yokuts1 at ,tule ,river ,agency1 in the southeastern part of the ,state1 frequently incorporate various forms of the human body1 in which the arms are suspended at the sides of the body with the hands directed outward to either side4 ,above the head is a heavy horizontal line4 ,in the manufacture of these vessels grass is taken1 carefully cleaned1 and soaked1 so as to become smooth and uniform in size4 ,among the ,thlinkit1 boats as well as paddles are ornamented with painted figures1 and the family coat of arms4 ,see ,bancroft's ,native ,races1 etc41 ,i1 #ajf4 ,there is no need to give evidence concerning the designs upon pottery1 after the numerous illustrations in the ,second ,annual ,report of this ,bureau1 from ,zui1 etc4 ,,mnemonic4 ,this has been the most apparent1 and probably the most ancient1 purpose for which pictographs have been made4 ,it commenced by the use of material objects which afterwards were reproduced graphically in paintings1 etchings1 and carvings4 ,in the present paper many examples appear of objects known to have been so used1 the graphic representations of which1 made with the same purpose1 are explained by knowledge of the fact4 ,other instances are mentioned as connected with the evolution of pictographs1 and possibly to interpret some of the latter which are not yet understood4 ,the quipu of the ,peruvians is one of the most instructive devices for the general aid of memory1 and as applicable to a variety of subjects1 also having value for comparison with and reference to all other objects of this character4 ,a good account of the quipu1 quoted from ,travels in ,peru1 during the years #ahch-ahdb1 99 99 by ,dr4 ,j4 ,j4 von ,tschudi ,wiley and ,putnam's ,library1 ,vols4 ,,xciii-,,xciv41 ,new ,york1 #ahdg1 ,pt4 ,,ii1 pp4 #cdd1 #cde1 is as follows3 ,,the ,,quipu ,,of ,,the ,,peruvians4 ,the ancient ,peruvians had no manuscript characters for single sounds2 but they had a method by which they composed words and incorporated ideas4 ,this method consisted in the dexterous intertwining of knots on strings1 so as to render them auxiliaries to the memory4 ,the instrument consisting of these strings and knots was called the ,,quipu4 ,it was composed of one thick head or top string1 to which1 at certain distances1 thinner ones were fastened4 ,the top string was much thicker than these pendent strings1 and consisted of two doubly twisted threads1 over which two single threads were wound4 ,the branches1 if ,i may apply the term to these pendent strings1 were fastened to the top ones by a single loop2 the knots were made in the pendent strings1 and were either single or manifold4 ,the length of the strings used in making the quipu were various4 ,the transverse or top string often measures several yards1 and sometimes only a foot long2 the branches are seldom more than two feet long1 and in general they are much shorter4 ,the strings were often of different colors2 each having its own particular signification4 ,the color for soldiers was red2 for gold1 yellow2 for silver1 white2 for corn1 green1 c4 ,this writing by knots was especially employed for numerical and statistical tables2 each single knot representing ten2 each double knot stood for one hundred2 each triple knot for one thousand1 c42 two single knots standing together made twenty2 and two double knots1 two hundred4 ,this method of calculation is still practiced by the shepherds of the ,puna4 ,they explained it to me1 and ,i could1 with very little trouble1 construe their quipus4 ,on the first branch or string they usually place the numbers of the bulls2 on the second1 that of the cows2 the latter being classed into those which were milked1 and those which were not milked2 on the next string were numbered the calves1 according to their ages and sizes4 ,then came the sheep1 in several subdivisions4 ,next followed the number of foxes killed1 the quantity of salt consumed1 and1 finally1 the cattle that had been slaughtered4 ,other quipus showed the produce of the herds in milk1 cheese1 wool1 c4 ,each list was distinguished by a particular color1 or by some peculiarity in the twisting of the string4 ,in this manner the ancient ,peruvians kept the accounts of their army4 ,on one string were numbered the soldiers armed with slings2 on another1 the spearmen2 on a third1 those who carried clubs1 c4 ,in the same manner the military reports were prepared4 ,in every town some expert men were appointed to tie the knots of the quipu1 and to explain them4 ,these men were called quipucamayocuna 7literally1 officers of the knots74 ,imperfect as was this method1 yet in the flourishing period of the ,inca government the appointed officers had acquired great dexterity in unriddling the meaning of the knots4 ,it1 however1 seldom happened that they had to read a quipu without some verbal commentary4 ,something was always required to be added if the quipu came from a distant province1 to explain whether it related to the numbering of the population1 to tributes1 or to war1 c4 ,through long-continued practice1 the officers who had charge of the quipus became so perfect in their duties that they could with facility communicate the laws and ordinances1 and all the most important events of the kingdom1 by their knots4 ,all attempts made in modern times to decipher ,peruvian quipus have proved unsatisfactory in their results4 ,the principal obstacle to deciphering those found in graves consists in the want of the oral communication requisite for pointing out the subjects to which they refer4 ,such communication was necessary1 even in former times1 to the most learned quipucamayocuna4 ,most of the quipus here alluded to seems to be accounts of the population of particular towns or provinces1 tax-lists1 and information relating to the property of the deceased4 ,some ,indians in the southern provinces of ,peru are understood to possess a perfect knowledge of some of the ancient quipus1 from information transmitted to them from their ancestors4 ,but they keep that knowledge profoundly secret1 particularly from the whites4 ,that the general idea or invention for mnemonic purposes appearing in the quipus1 was used pictorially is indicated in the illustrations given by ,dr4 ,s4 ,habel in ,the ,sculptures of ,santa ,lucia ,cosumalwhuapa in ,guatemala1 etc41 ,smithsonian ,contributions to ,knowledge1 ,no4 #bfi1 #ahgh1 ,vol4 ,,xxii1 page #he4 ,upon these he remarks3 ,it has been frequently affirmed that the aborigines of ,america had nowhere arisen high enough in civilization to have characters for writing and numeral signs2 but the sculptures of ,santa ,lucia exhibit signs which indicate a kind of cipher writing1 higher in form than mere hieroglyphics4 ,from the mouth of most of the human beings1 living or dead1 emanates a staff variously bent1 to the sides of which nodes are attached4 ,these nodes are of different sizes and shapes1 and variously distributed on the sides of the staff1 either singly or in twos and threes1--the last named either separated or in shape of a trefoil4 ,this manner of writing not only indicates that the person is speaking1 or praying1 but also indicates the very words1 the contents of the speech or prayer4 ,it is quite certain that each staff1 as bent and ornamented1 stood for a well-known petition which the priest could read as easily as those acquainted with a cipher dispatch can know its purport4 ,further1 one may be allowed to conjecture that the various curves of the staves served the purpose of strength and rhythm1 just as the poet chooses his various meters for the same purpose4 ,in connection with the quipu1 ,dr4 ,hoffman reports a corresponding device among the ,indians formerly inhabiting the mountain valleys north of ,los ,angeles1 ,california1 who frequently came to the settlements to dispose of native blankets1 skins1 and robes4 ,the man delegated by the tribe to carry away and sell these articles was provided with a number of strings1 made of some flexible vegetable fiber1 one string for each class of goods1 which were attached to his belt4 ,every one contributing articles mentioned the prices to be asked therefor1 and when the salesman disposed of a blanket the proper cord was taken1 and a single knot was tied for each real received1 or a double knot for each peso4 ,thus any particular string indicated the kind of goods disposed of1 as well as the whole sum realized1 which was finally distributed among the original contributors4 ,,notched ,,sticks4 ,the use of these mnemonically was very frequent4 ,a few instances only of this obvious expedient need be given4 ,the ,dakotas formerly residing at ,grand ,river ,agency1 the ,hidatsa1 and the ,shoshoni from ,idaho were observed to note the number of days during which they journeyed from one place to another1 by cutting lines or notches upon a stick of wood4 ,the coup sticks carried by ,dakota warriors are often found bearing a number of small notches1 which refer to the number of individuals the owners may have hit after they had been shot or wounded4 ,the young men and boys of the several tribes at ,fort ,berthold1 ,dakota1 frequently carry a stick1 upon which they cut a notch for every bird killed during a single expedition4 ,dr4 ,hoffman states that he found in the collection of the ,hon4 ,a4 ,f4 ,coronel1 of ,los ,angeles1 ,california1 a number of notched sticks1 which had been invented and used by the ,indians at the ,mission of ,san ,gabriel4 ,the history of them is as follows3 ,immediately after the establishment of the mission the ,franciscan father appointed major domos1 who had under their charge corporals or overseers of the several classes of laborers1 herders1 etc4 ,the chief herder was supplied with a stick of hard wood1 measuring about one inch in thickness each way1 and from twenty to twenty-four inches long4 ,the corners were beveled at the handle4 ,upon each of these facets were marks to indicate the kinds of cattle herded1 thus3 one cut or notch1 a bull2 two cuts1 a cow2 one cross1 a heifer2 and a -shaped character1 an ox4 ,similar characters were also used for horses1 respectively1 for stallion1 mare1 colt1 and gelding4 ,where only cattle were owned no difference was made in the upper end of the stick2 but when both kinds of animals were owned near the same localities1 or by the same settler1 the stick referring to cattle was notched v-shaped at the head end1 and reversed or pointed to denote horses4 ,sticks were also marked to denote the several kinds of stock1 and to record those which had been branded4 ,in all of these sticks numbers were indicated by cutting notches into the corners1 each tenth cut extending across the face of the stick4 ,for instance1 if the herder had thirteen oxen in charge1 he selected that edge of the stick which bore upon the handle the -shape1 and cut nine short notches1 one long one1 and three short ones4 ,labor sticks were also used by the ,indians4 ,on one side was a circle intersected with cross lines to denote money1 and on the opposite side1 which was reserved for time1 either nothing or some character1 according to the fancy of the owner4 ,short notches on the money side indicated reals1 long cuts pesos4 ,on the opposite side short cuts indicated days1 and long cuts weeks4 ,for further reference to this subject1 see ,reliqui ,aquitanic2 etc41 by ,edouard ,lartet and ,henry ,christy1 99 99 ,london1 #ahge1 p4 #ahc et seq4 ,,order ,,of ,,songs4 ,many instances have been published in regard to the use of mnemonic characters to preserve the remembrance of songs4 ,the words of these are invariable as well as the notes to which they are chanted4 ,both words and notes must have been previously memorized by the singers4 ,ideographic characters might give the general interpretation1 but would not suggest the exact words4 ,schoolcraft1 ,i1 #cfa1 remarks3 ,sounds are no further preserved by these mnemonic signs1 than is incident1 more or less1 to all pure figurative or representative pictures4 ,the simple figure of a quadruped1 a man1 or a bird1 recalls the name of a quadruped1 a man or a bird4 99 99 ,we may thus recall something of the living language from the oblivion of the past1 by the pictorial method4 ,mnemonic symbols are thus at the threshold of the hieroglyphic4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,iv ,,ojibwa ,,meda ,,song4 ,one of the best examples of this mnemonic device is one of the ,ojibwas1 found in ,schoolcraft1 op4 cit41 ,i1 page #cfb et seq41 and called by him ,songs of the ,meda4 ,his illustration is reproduced as ,plate ,,iv1 and his explanation1 much condensed1 is as follows3 ,no4 #a4 ,a medicine lodge filled with the presence of the ,great ,spirit1 who1 it is affirmed1 came down with wings to instruct the ,indians in these ceremonies4 ,the meda1 or priest1 sings1 8,the ,great ,spirit's lodge--you have heard of it4 ,i will enter it40 ,while this is sung1 and repeated1 the priest shakes his shi-shi-gwun1 and each member of the society holds up one hand in a beseeching manner4 ,all stand1 without dancing4 ,the drum is not struck during this introductory chant4 ,no4 #b4 ,a candidate for admission crowned with feathers1 and holding1 suspended to his arm1 an otter-skin pouch1 with the wind represented as gushing out of one end4 ,he sings1 repeating after the priest1 all dancing1 with the accompaniment of the drum and rattle3 99 99 8,i have always loved that that ,i seek4 ,i go into the new green leaf lodge40 ,no4 #c marks a pause1 during which the victuals prepared for the feast are introduced4 ,no4 #d4 ,a man holding a dish in his hand1 and decorated with magic feathers on his wrists1 indicating his character as master of the feast4 ,all sing1 8,i shall give you a share1 my friend40 ,no4 #e4 ,a lodge apart from that in which the meda-men are assembled1 having a vapor-bath within it4 ,the elder men go into this lodge1 and during the time of their taking the bath1 or immediately preceding it1 tell each other certain secrets relative to the arts they employ in the ,med-win4 ,the six heavy marks at the top of the lodge indicate the steam escaping from the bath4 ,there are three orders of men in this society1 called #a4 meda2 #b4 sangemau2 and #c4 ogemau4 ,and it is in these secret exchanges of arts1 or rather the communication of unknown secrets from the higher to the lower orders1 that they are exalted from one to another degree4 ,the priest sings1 8,i go into the bath--,i blow my brother strong40 ,no4 #f4 ,the arm of the priest1 or master of ceremonies1 who conducts the candidate1 represented in connection with the next figure4 ,no4 #g4 ,the goods1 or presents given1 as a fee of admission1 by the novitiate4 8,i wish to wear this1 my father1 my friend40 ,no4 #h4 ,a meda-tree4 ,the recurved projection from the trunk denotes the root that supplies the medicine4 8,what6 my life1 my single tree6--we dance around you40 ,no4 #i4 ,a stuffed crane-skin1 employed as a medicine-bag4 ,by shaking this in the dance1 plovers and other small birds are made1 by a sleight-of-hand trickery1 to jump out of it4 ,these1 the novitiates are taught1 spring from the bag by the strong power of the operator4 ,this is one of the prime acts of the dance4 8,i wish them to appear--that that has grown--,i wish them to appear40 ,no4 #aj4 ,an arrow in the supposed circle of the sky4 ,represents a charmed arrow1 which1 by the power of the meda of the person owning it1 is capable of penetrating the entire circle of the sky1 and accomplishing the object for which it is shot out of the bow4 8,what are you saying1 you mee d man8 ,this--this is the meda bone40 ,no4 #aa4 ,the ,ka ,kaik1 a species of small hawk1 swift of wing1 and capable of flying high into the sky4 ,the skin of this bird is worn round the necks of warriors going into battle4 8,my kite's skin is fluttering40 ,no4 #ab4 ,the sky1 or celestial hemisphere1 with the symbol of the ,great ,spirit looking over it4 ,a ,manito's arm is raised up from the earth in a supplicating posture4 ,birds of good omen are believed to be in the sky4 8,all round the circle of the sky ,i hear the ,spirit's voice40 ,no4 #ac4 ,the next figure denotes a pause in the ceremonies4 ,no4 #ad4 ,a meda-tree4 ,the idea represented is a tree animated by magic or spiritual power4 8,the ,wabeno tree--it dances40 ,no4 #ae4 ,a stick used to beat the ,ta-wa-e-gun or drum4 8,how rings aloud the drum-stick's sound40 ,no4 #af4 ,half of the celestial hemisphere--an ,indian walking upon it4 ,the idea symbolized is the sun pursuing his diurnal course till noon4 8,i walk upon half the sky40 ,no4 #ag4 ,the ,great ,spirit filling all space with his beams1 and enlightening the world by the halo of his head4 ,he is here depicted as the god of thunder and lightning4 8,i sound all around the sky1 that they can hear me40 ,no4 #ah4 ,the ,ta-wa-e-gun1 or single-headed drum4 8,you shall hear the sound of my ,ta-wa-e-gun40 ,no4 #ai4 ,the ,ta-wa-e-gonse1 or tambourine1 ornamented with feathers1 and a wing1 indicative of its being prepared for a sacred use4 8,do you understand my drum80 ,no4 #bj4 ,a raven4 ,the skin and feathers of this bird are worn as head ornaments4 8,i sing the raven that has brave feathers40 ,no4 #ba4 ,a crow1 the wings and head of which are worn as a head-dress4 8,i am the crow--,i am the crow--his skin is my body40 ,no4 #bb4 ,a medicine lodge4 ,a leader or master of the ,meda society1 standing with his drum stick raised1 and holding in his hands the clouds and the celestial hemisphere4 8,i wish to go into your lodge--,i go into your lodge40 ,in connection with this topic reference may be made to the ,lenp and their ,legends3 with the complete text and symbols of ,the ,walam ,olum1 by ,daniel ,g4 ,brinton1 ,a4 ,m41 ,m4 ,d41 ,phila41 #ahhe4 #hvo4 pp4 #bfb1 with numerous illustrations4 ,,traditions4 ,illustration3 ,,fig4 #ch--,osage chart4 ,as an example of a chart used to assist in the exact repetition of traditions1 ,figure #ch is presented with the following explanation by ,rev4 ,j4 ,owen ,dorsey3 8,the chart accompanies a tradition chanted by members of a secret society of the ,osage tribe4 ,it was drawn by an ,osage1 ,hapa ctse1 ,red ,corn1 who was adopted in childhood by a white man named ,matthews2 hence he is also known as ,wm4 ,p4 ,matthews1 or 8,bill ,nix40 ,he is one of the tribal lawyers4 ,he obtained his version of the tradition from a member of his gens1 ,sapeki4 ,another version of the same tradition was obtained by him from ,pah-sk1 ,white ,hair1 the chief of the ,bald ,eagle sub-gens of the ,tsicu gens4 ,kahike watayike1 ,saucy ,chief1 gave me other parts of the tradition1 which ,hapa ctse had forgotten4 ,he also chanted a few lines of the tradition of the ,wacace gens4 ,waytsakac1 of the ,black ,bear gens1 told me a little of his tradition2 and ,i obtained part of the ,wacace tradition from ,huakin1 ,good ,voice1 of the ,mink'in gens4 ,the tree at the top represents the tree of life4 ,by this flows a river4 ,the tree and the river are described later in the degrees4 ,when a woman is initiated she is required by the head of her gens to take four sips of water 7symbolizing the river71 then he rubs cedar on the palms of his hands1 with which he rubs her from head to foot4 ,if she belongs to a gens on the left side of the tribal circle1 her chief begins on the left side of her head1 making three passes1 and pronouncing the sacred name of ,deity three times4 ,then he repeats the process from her forehead down2 then on the right side of her head2 then at the back of her head2 four times three times1 or twelve passes in all4 ,beneath the river are the following objects3 ,the ,watse tuka1 male slaying animal7871 or morning star1 which is a red star4 #b4 ,six stars called the 8,elm rod0 by the white people in the ,indian ,territory4 #c4 ,the evening star4 #d4 ,the little star4 ,beneath these are the moon1 seven stars1 and sun4 ,under the seven stars are the peace pipe and war hatchet1 the latter is close to the sun1 and the former and the moon are on the same side of the chart4 ,four parallel lines extending across the chart1 represent four heavens or upper worlds through which the ancestors of the ,tsicu people passed before they came to this earth4 ,the lowest heaven rests on an oak tree3 the ends of the others appear to be supported by pillars or ladders4 ,the tradition1 according to ,sapeki1 begins below the lowest heaven1 on the left side of the chart1 under the peace pipe4 ,each space on the pillar corresponds with a line of the chant2 and each stanza 7at the opening of the tradition7 contains four lines4 ,the first stanza precedes the arrival of the first heaven1 pointing to a time when the children of the 8former end0 of the race were without human bodies as well as human souls4 ,the bird hovering over the arch denotes an advance in the condition of the people2 then they had human souls in the bodies of birds4 ,then followed the progress from the fourth to the first heaven1 followed by the descent to earth4 ,the ascent to four heavens and the descent to three1 makes up the number seven4 ,the tree on which the ,tsicu was called p-s-h1 jack oak1 or a sort of a red oak4 ,when they alighted1 it was on a beautiful day when the earth was covered with luxuriant vegetation4 ,from that time the paths of the ,osages separated2 some marched on the right1 being the war gentes1 while those on the left were peace gentes1 including the ,tsicu1 whose chart this is4 ,then the ,tsicu met the black bear1 called ,kxe-wh-san in the tradition4 ,kxe-wh-san1 ,crow-bone-white in the distance4 ,he offered to become their messenger1 so they sent him to the different stars for aid4 ,according to the chart he went to them in the following order3 ,morning star1 sun1 moon1 seven stars1 evening star1 little star2 but1 according to the chant related1 they were as follows3 ,watse tuka 7morning star72 ,watse minka 7female animal that slays another star72 ,han-patan-,wakanta 7,wakanda or ,deity during the day1 the sun72 ,wakantahan ikce 7,deity of the night1 moon72 ,mikak'e penpa1 ,seven ,stars2 ,ta apin1 ,three ,deer2 ,mikak'e taka1 ,big ,star2 ,mikak'e cika1 ,little ,star4 ,then the ,black bear went to the ,wacika-ctse1 a female red bird sitting on her nest4 ,this grandmother granted his request4 ,she gave them human bodies1 making them out of her own body4 ,the earth lodge at the end of the chart denotes the village of the ,haka utaantsi1 who were a very warlike people4 ,buffalo skulls were on the tops of the lodges1 and the bones of the animals on which they subsisted1 whitened on the ground4 ,the very air was rendered offensive by the decaying bodies and offal4 ,the ,haka utaantsi made a treaty of peace with the ,wacace and ,tsicu gentes1 and from the union of the three resulted the present nation of the ,osages4 ,the ,bald ,eagle account of the tradition begins very abruptly4 ,the stars were approached thus3 ,hanpatan-,wakanta 7sun71 ,watse tuka 7morning star71 ,wapaha 7,great ,dipper71 ,tapa 7,pleiades71 ,mikak'e-han-patan 7,day ,star74 ,this version gives what is wanting in the other1 the meeting of other gentes1 ,hak cika1 ,wacace1 ,haka-utaantsi1 etc41 and the decisions of the chief of the ,haka-utaantsi4 ,the people on the war side had similar adventures1 but the accurate account has not yet been obtained4 ,the whole of the chart was used mnemonically4 ,parts of it1 such as the four heavens and ladders1 were tattooed on the throat and chest of the old men belonging to the order40 ,,treaties4 ,the most familiar example of the recording of treaties is the employment of wampum belts for that purpose4 ,an authority on the subject says3 8,the wampum belts given to ,sir ,william ,johnson1 of immortal ,indian memory1 were in several rows1 black on each side1 and white in the middle2 the white being placed in the center was to express peace1 and that the path between them was fair and open4 ,in the center of the belt was a figure of a diamond made of white wampum1 which the ,indians call the council fire40 ,see ,voyages and ,travels of an ,indian interpreter and trader1 etc41 by ,j4 ,long1 ,london1 #agia1 p4 #dg4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,v ,,penn ,,wampum ,,belt4 ,more minute statements regarding wampum is made superfluous after its full discussion by ,mr4 ,w4 ,h4 ,holmes in his work1 8,art in ,shell of the ancient ,americans10 in the ,second ,annual ,report of the ,bureau of ,ethnology1 pages #bec et seq4 ,one of his illustrations specially in point for the present purpose is here reproduced in ,plate ,v4 ,his remarks upon it are as follows3 ,the remarkable belt shown has an extremely interesting1 although a somewhat incomplete1 history attached to it4 ,it is believed to be the original belt delivered by the ,leni-,lenape sachems to ,william ,penn at the celebrated treaty under the elm tree at ,shackamaxon in #afhb4 ,although there is no documentary evidence to show that this identical belt was delivered on that occasion1 it is conceded on all hands that it came into the possession of the great founder of ,pennsylvania at some one of his treaties with the tribes that occupied the province ceded to him4 ,up to the year #aheg this belt remained in the keeping of the ,penn family4 ,in ,march1 #aheg1 it was presented to the ,pennsylvania ,historical ,society by ,granville ,john ,penn1 a great-grandson of ,william ,penn4 ,mr4 ,penn1 in his speech on this occasion1 states that there can be no doubt that this is the identical belt used at the treaty1 and presents his views in the following language3 8,in the first place1 its dimensions are greater than of those used on more ordinary occasions1 of which we have one still in our possession--this belt being composed of eighteen strings of wampum1 which is a proof that it was the record of some very important negotiation4 ,in the next place1 in the center of the belt1 which is of white wampum1 are delineated in dark-colored beads1 in a rude but graphic style1 two figures--that of an ,indian grasping with the hand of friendship the hand of a man evidently intended to be represented in the ,european costume1 wearing a hat2 which can only be interpreted as having reference to the treaty of peace and friendship which was then concluded between ,william ,penn and the ,indians1 and recorded by them in their own simple but descriptive mode of expressing their meaning1 by the employment of hieroglyphics4 ,then the fact of its having been preserved in the family of the founder from that period to the present time1 having descended through three generations1 gives an authenticity to the document which leaves no doubt of its genuineness2 and as the chain and medal which were presented by the parliament to his father the admiral1 for his naval services1 have descended among the family archives unaccompanied by any written document1 but is recorded on the journals of the ,house of ,commons1 equal authenticity may be claimed for the wampum belt confirmatory of the treaty made by his son with the ,indians2 which event is recorded on the page of history1 though1 like the older relic1 it has been unaccompanied in its descent by any document in writing40 ,,war4 ,material objects were often employed in challenge to and declaration of war1 some of which may assist in the interpretation of pictographs4 ,a few instances are mentioned3 ,arrows1 to which long hairs are attached1 were stuck up along the trail or road1 by the ,florida ,indians1 to signify a declaration of war4 ,see ,captain ,laudonnire in ,hakluyt1 ,,iii1 #dae4 ,challenging by heralds obtained4 ,thus the ,shumeias challenged the ,ponios in central ,california by placing three little sticks1 notched in the middle and at both ends1 on a mound1 which marked the boundary between the two tribes4 ,if the ,ponios accept1 they tie a string round the middle notch4 ,heralds then meet and arrange time and place1 and the battle comes off as appointed4 ,see ,bancroft1 ,native ,races1 ,i1 p4 #cgi4 99 99 99 99 99 ,a few notices of the foreign use of material objects in connection with this branch of the subject may be given4 ,it appears in the ,bible3 ,ezek41 ,,xxxvii1 #af-bj1 and ,numbers1 ,,xvii1 #b4 ,lieutenant-,colonel ,woodthorp says 7,jour4 ,anth4 ,inst4 ,gr4 ,brit41 ,vol4 ,,xli1 #ahhb1 p4 #baa73 8,on the road to ,niao we saw on the ground a curious mud figure of a man in slight relief presenting a gong in the direction of ,senna2 this was supposed to show that the ,fiao men were willing to come to terms with ,senna1 then at war with ,niao4 ,another mode of evincing a desire to turn away the wrath of an approaching enemy1 and induce him to open negotiations1 is to tie up in his path a couple of goats1 sometimes also a gong1 with the universal symbol of peace1 a palm leaf planted in the ground hard by40 ,the ,maori had neither the quipus nor wampum1 but only a board shaped like a saw1 which was called he rakau wakapa-paranga1 or genealogical board2 it was in fact a tally1 having a notch for each name1 and a blank space to denote where the male line failed and was succeeded by that of the female2 youths were taught their genealogies by repeating the names of each to which the notches referred4 ,see ,te ,ika a ,maui4--,rev4 ,richard ,taylor1 ,london1 #ahgj1 p4 #cgi4 ,,time4 ,dr4 ,william ,h4 ,corbusier1 assistant surgeon1 ,u4 ,s4 ,army1 gives the following information3 ,illustration3 ,,fig4 #ci4--;,device denoting succession of time4 ,dakota4 ,the ,dakotas make use of the circle as the symbol of a cycle of time2 a small one for a year and a large one for a longer period of time1 as a life-time1 one old man4 ,also a round of lodges1 or a cycle of #gj years1 as in ,battiste ,good's ,winter ,count4 ,the continuance of time is sometimes indicated by a line extending in a direction from right to left across the page1 when on paper1 and the annual circles are suspended from the line at regular intervals by short lines1 as in ,figure #ci1 and the ideograph for the year is placed beneath each one4 ,at other times the line is not continuous1 but is interrupted at regular intervals by the yearly circle1 as in ,figure #dj4 ,illustration3 ,,fig4 #dj4--;,device denoting succession of time4 ,dakota4 ,the large amount of space taken up by the ,dakota ,winter ,counts1 now following1 renders it impracticable to devote more to the graphic devices regarding time4 ,while these ,winter ,counts are properly under the present head1 their value is not limited to it1 as they suggest1 if they do not explain1 points relating to many other divisions of the present paper4 ,,the ,,dakota ,,winter ,,counts4 ,the existence among the ,dakota ,indians of continuous designations of years1 in the form of charts corresponding in part with the orderly arrangement of divisions of time termed calendars1 was first made public by the present writer in a paper entitled 8,a ,calendar of the ,dakota ,nation10 which was issued in ,april1 #ahgg1 in ,bulletin ,,iii1 ,no4 #a1 of the ,united ,states ,geological and ,geographical ,survey4 ,later consideration of the actual use of such charts by the ,indians has induced the change of their title to that adopted by themselves1 viz41 ,winter ,counts1 in the original1 wanyetu wwapi4 ,the lithographed chart published with that paper1 substantially the same as ,plate ,,vi1 now presented1 was ascertained to be the ,winter ,count used by or at least known to a large portion of the ,dakota people1 extending over the seventy-one years commencing with the winter of ,a4 ,d4 #ahjj-'ja4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,vi ,,winter ,,count ,,on ,,buffalo ,,robe4 ,the copy from which the lithograph was taken1 is traced on a strip of cotton cloth1 in size one yard square1 which the characters almost entirely fill1 and was made by ,lieut4 ,h4 ,t4 ,reed1 ,first ,united ,states ,infantry1 an accomplished officer of the present writer's former company and regiment1 in two colors1 black and red1 used in the original1 of which it is a fac simile4 ,the general design of the chart and the meaning of most of its characters were ascertained by ,lieutenant ,reed1 at ,fort ,sully1 ,dakota1 and afterwards at ,fort ,rice1 ,dakota1 in ,november1 #ahgf1 by the present writer2 while further investigation of records and authorities at ,washington elicited additional details used in the publication mentioned and many more since its issue4 ,after exhibition of the copy to a number of military and civil officers connected with the ,departments of ,war and of the ,interior1 it appeared that those who1 from service on expeditions and surveys or from special study of ,american ethnology1 were most familiar with the ,indian tribes west of the ,mississippi1 had never heard of this or any other similar attempt among them to establish a chronological system4 ,bragging biographies of chiefs and partisan histories of particular wars delineated in picture writing on hides or bark are very common4 ,nearly every traveler on the plains has obtained a painted robe1 on which some aboriginal artist has stained rude signs purporting to represent tribal or personal occurrences1 or often the family connections of the first owner4 ,some of these in the possession of the present writer have special significance and are mentioned under appropriate heads in the present work4 ,it is believed that1 in the pictographs of all of these peoples discovered before the chart mentioned1 the obvious intention was either historical or biographical1 or more generally was to chronicle occurrences as such1 and that there was not an apparent design to portray events selected without exclusive reference to their intrinsic interest or importance1 but because they severally occurred within regular successive intervals of time1 and to arrange them in an orderly form1 specially convenient for use as a calendar and valuable for no other purpose4 ,the copy made by ,lieutenant ,reed was traced over a duplicate of the original1 which latter was drawn on a buffalo robe by ,lone-,dog1 an aged ,indian1 belonging to the ,yanktonai tribe of the ,dakotas1 who in the autumn of #ahgf was near ,fort ,peck1 ,montana1 and was reported to be still in his possession4 ,his ,dakota name is given him by correspondents who knew him1 as in the ordinary ,english literation1 ,shunka-ishnala1 the words respectively corresponding very nearly with the vocables in ,riggs's lexicon for dog-lone4 ,others have1 however1 identified him as ,chi-no-sa1 translated as 8a lone wanderer10 and asserted that he was at the time mentioned with the hostile ,dakotas under ,sitting ,bull4 ,there appear to have been several ,dakotas of the present generation known to the whites as ,lone-,dog4 ,plate ,,vi is a representation of the chart as it would appear on the buffalo robe1 but it is photographed from the copy on linen cloth1 not directly from the robe4 ,the duplicate from which the copy was immediately taken was in the possession of ,basil ,clment1 a half-breed interpreter1 living at ,little ,bend1 near ,fort ,sully1 ,dakota1 who professed to have obtained information concerning the chart from personal inquiries of many ,indians1 and whose dictated translation of them1 reduced to writing in his own words1 forms the basis of that given in the present paper4 ,the genuineness of the document was verified by separate examination1 through another interpreter1 of the most intelligent ,indians accessible at ,fort ,rice1 and at a considerable distance from ,clment1 who could have had no recent communication with those so examined4 ,one of the latter1 named ,good-,wood1 a ,blackfoot ,dakota and an enlisted scout attached to the garrison at ,fort ,rice1 immediately recognized the copy now in possession of the writer as 8the same thing ,lone-,dog had10 and also stated that he had seen another copy at ,standing ,rock ,agency in the hands of ,blue-,thunder1 a ,blackfoot ,dakota4 ,he said it showed 8something put down for every year about their nation40 ,he knew how to use it as a calendar1 beginning from the center and counting from right to left1 and was familiar with the meaning of many of the later characters and the events they commemorated1 in which he corroborated ,clment's translation1 but explained that he had forgotten the interpretation of some of the earlier signs1 which were about those things done before his birth4 ,all the investigations that could be made elicited the following account1 which1 whether accurate or not1 the ,indians examined certainly believed3 ,probably with the counsel of the old men and authorities of his tribe1 ,lone-,dog ever since his youth has been in the habit of deciding upon some event or circumstance which should distinguish each year as it passed1 and when such decision was made he marked what was considered to be its appropriate symbol or device upon a buffalo robe kept for the purpose4 ,the robe was at convenient times exhibited to other ,indians of the nation1 who were thus taught the meaning and use of the signs as designating the several years1 in order that at the death of the recorder the knowledge might not be lost4 ,a similar motive as to the preservation of the record led to its duplication in #ahgj or #ahga1 so that ,clment obtained it in a form ending at that time4 ,it was also reported by several ,indians that other copies of the chart in its various past stages of formation had been known to exist among the several tribes1 being probably kept for reference1 ,lone-,dog and his robe being so frequently inaccessible4 ,although ,lone-,dog was described as a very old ,indian1 it was not supposed that he was of sufficient age in the year #ahjj to enter upon the duty as explained4 ,either there was a predecessor from whom he received the earlier records or obtained copies of them1 or1 his work being first undertaken when he had reached manhood1 he gathered the traditions from his elders and worked back so far as he could do so accurately1 the object either then or before being to establish some system of chronology for the use of the tribe1 or more probably in the first instance for the use of his particular band4 ,present knowledge of the ,winter ,count systems renders it improbable that ,lone-,dog was their inventor or originator4 ,they were evidently started1 at the latest1 before the present generation1 and have been kept up by a number of independent recorders4 ,the idea was one specially appropriate to the ,indian genius1 yet the peculiar mode of record was an invention1 and is not probably a very old invention1 as it has not1 so far as known1 spread beyond a definite district or been extensively adopted4 ,if an invention of that character had been of great antiquity it would probably have spread by inter-tribal channels beyond the bands or tribes of the ,dakotas1 where alone the copies of such charts have been found and are understood4 ,yet the known existence of portable pictographs of this ascertained character renders it proper to examine rock etchings and other native records with reference to their possible interpretation as designating events chronologically4 ,a query is naturally suggested1 whether intercourse with missionaries and other whites did not first give the ,dakotas some idea of dates and awaken a sense of want in that direction4 ,the fact that ,lone-,dog's winter count1 the only one known at the time of its first publication1 begins at a date nearly coinciding with the first year of the present century by our computation1 awakened a suspicion that it might be due to civilized intercourse1 and was not a mere coincidence4 ,if the influence of missionaries or traders started any plan of chronology1 it is remarkable that they did not suggest one in some manner resembling the system so long and widely used1 and the only one they knew1 of counting in numbers from an era1 such as the birth of ,christ1 the ,hegira1 the ,ab ,urbe ,condit1 the ,first ,olympiad1 and the like4 ,but the chart shows nothing of this nature4 ,the earliest character 7the one in the center or beginning of the spiral7 merely represents the killing of a small number of ,dakotas by their enemies1 an event of frequent occurrence1 and neither so important nor interesting as many others of the seventy-one shown in the chart1 more than one of which1 indeed1 might well have been selected as a notable fixed point before and after which simple arithmetical notation could have been used to mark the years4 ,instead of any plan that civilized advisers would naturally have introduced1 the one actually adopted--to individualize each year by a specific recorded symbol1 or totem1 according to the decision of a competent person1 or by common consent acted upon by a person charged with or undertaking the duty whereby confusion was prevented--should not suffer denial of its originality merely because it was ingenious1 and showed more of scientific method than has often been attributed to the northern tribes of ,america4 ,the ideographic record1 being preserved and understood by many1 could be used and referred to with sufficient ease and accuracy for ordinary purposes4 ,definite signs for the first appearance of the small-pox and for the first capture of wild horses may be dates as satisfactory to the ,dakotas as the corresponding expressions ,a4 ,d4 #ahjb and #ahac to the ,christian world1 and far more certain than much of the chronological tables of ,regiomontanus and ,archbishop ,usher in terms of ,a4 ,m4 and ,b4 ,c4 ,the careful arrangement of distinctly separate characters in an outward spiral starting from a central point is a clever expedient to dispense with the use of numbers for noting the years1 yet allowing every date to be determined by counting backward or forward from any other that might be known2 and it seems unlikely that any such device1 so different from that common among the white visitors1 should have been prompted by them4 ,the whole conception seems one strongly characteristic of the ,indians1 who in other instances have shown such expertness in ideography4 ,the discovery of the other charts presented or referred to in this paper1 which differ in their times of commencement and ending from that of ,lone-,dog and from each other1 removed any inference arising from the above-mentioned coincidence in beginning with the present century4 ,copies of the paper publishing and explaining ,lone-,dog's record were widely circulated by the present writer among ,army officers1 ,indian agents1 missionaries1 and other persons favorably situated1 in hopes of obtaining other examples and further information4 ,the result was a gratifying verification of all the important statements and suggestions in the publication1 with the correction of some errors of detail and the supply of much additional material4 ,the following copies of the chart1 substantially the same as that of ,lone-,dog1 are now1 or have been1 in the possession of the present writer3 #a4 ,a chart made and kept by ,bo--de1 ,the-,flame 7otherwise translated ,the-,blaze71 who1 in #ahgg1 lived at ,peoria ,bottom1 #ah miles south of ,fort ,sully1 ,dakota4 ,he was a ,dakota and had generally dwelt with the ,sans ,arcs1 though it was reported that he was by birth one of the ,two ,kettles4 ,the interpretation was obtained 7it is understood originally at the instance of ,lieutenant ,maus1 ,first ,united ,states ,infantry7 directly from ,the-,flame by ,alex4 ,laravey1 official interpreter at ,fort ,sully1 in the month of ,april1 #ahgg4 ,the fac-simile copy in the writer's possession1 also made by ,lieutenant ,reed1 is on a cotton cloth about a yard square and in black and red--thus far similar to his copy of ,lone-,dog's chart1 but the arrangement is wholly different4 ,the character for the first year mentioned appears in the lower left-hand corner1 and the record proceeds toward the right to the extremity of the cloth1 then crossing toward the left and again toward the right at the edge of the cloth--and so throughout in the style called boustrophedon2 and ending in the upper left-hand corner4 ,the general effect is that of seven straight lines of figures1 but those lines are distinctly connected at their extremities with others above and below1 so that the continuous figure is serpentine4 ,it thus answers the same purpose of orderly arrangement1 allowing constant additions1 like the more circular spiral of ,lone-,dog4 ,this record is for the years #aghf-'g to #ahgf-'g1 thus commencing earlier and ending later than that of ,lone-,dog4 #b4 ,the-,swan's chart was kindly furnished to the writer by ,dr4 ,charles ,rau1 of the ,smithsonian ,institution4 ,it was sent to him in #ahgb by ,dr4 ,john ,r4 ,patrick1 of ,belleville1 ,saint ,clair ,county1 ,illinois1 who received it from ,dr4 ,washington ,west1 of ,belleville1 ,illinois1 who became an acting assistant surgeon1 ,u4 ,s4 ,army1 ,november #b1 #ahfh1 and was assigned to duty at ,cheyenne ,agency1 ,dakota1 established by ,general ,harney1 as one of a number of agencies to become useful as rendezvous for ,dakotas to keep them from disturbing the line of the ,union ,pacific ,railroad4 ,he remained there from ,november1 #ahfh1 to ,may1 #ahgj4 ,the agency was specially for the ,two ,kettles1 ,sans ,arcs1 and ,minneconjous4 ,a ,minneconjou chief1 ,the-,swan1 elsewhere called ,the-,little-,swan1 kept this record on the dressed skin of an antelope or deer1 claiming that it had been preserved in his family for seventy years4 ,the title of the written interpretation of this chart was called the ,history of the ,minneconjou ,dakotas1 its true use not being then understood4 ,in return for favors1 ,dr4 ,west obtained permission to have some copies made on common domestic cotton cloth and employed an ,indian expert of the ,two ,kettle band to do the work in fac-simile4 ,from one of these he had a photograph taken on a small plate1 and then enlarged in printing to about two-thirds of the original size and traced and touched up in ,india ink and red paint to match the original1 which was executed in some black pigment and ruddle4 ,the characters are arranged in a spiral similar to those in ,lone-,dog's chart1 but more oblong in form4 ,the course of the spiral is from left to right1 not from right to left4 ,the interpretation of this chart was made at ,cheyenne ,agency in #ahfh for ,dr4 ,washington ,west by ,jean ,premeau1 interpreter at that agency4 ,a useful note is given in connection with the interpretation1 that in it all the names are names given by the ,minneconjous1 and not the names the parties bear themselves1 e4 g41 in the interpretation for the year #ahbi-'cj1 7see ,plate ,,xviii1 and page #aad17 ,bad ,arrow ,indian is a translation of the ,dakota name for a band of ,blackfeet4 ,the owner and explainer of this copy of the chart was a ,minneconjou1 and therefore his rendering of names might differ from that of another person equally familiar with the chart4 #c4 ,another chart examined was kindly loaned to the writer by ,brevet ,maj4 ,joseph ,bush1 captain ,twenty-second ,united ,states ,infantry4 ,it was procured by him in #ahgj at the ,cheyenne ,agency1 from ,james ,c4 ,robb1 formerly ,indian trader1 and afterwards post trader4 ,this copy is one yard by three-fourths of a yard1 spiral1 beginning in the center from right to left4 ,the figures are substantially the same size as those in ,lone-,dog's chart1 with which it coincides in time1 except that it ends at #ahfi-'gj4 ,the interpretation differs from that accompanying the latter in a few particulars4 #d4 ,the chart of ,mato ,sapa1 ,black-,bear4 ,he was a ,minneconjou warrior1 residing in #ahfh and #ahfi on the ,cheyenne ,agency ,reservation1 on the ,missouri ,river1 near ,fort ,sully1 ,dakota1 near the mouth of the ,cheyenne ,river4 ,in order to please ,lieut4 ,o4 ,d4 ,ladley1 ,twenty-second ,united ,states ,infantry1 who was in charge of the reservation1 he drew or copied on a piece of cotton cloth what he called1 through the interpreter1 the ,history of the ,minneconjous1 and also gave through the same interpreter the key or translation to the figures4 ,lieutenant ,ladley loaned them to an ex-army friend in ,washington1 who brought them to the notice of the present writer4 ,this copy is on a smaller scale than that of ,lone-,dog1 being a flat and elongated spiral1 #b feet #f inches by #a foot #f inches4 ,the spiral reads from right to left4 ,this chart1 which begins as does that of ,lone-,dog1 ends with the years #ahfh-'fi4 ,the present writer has had conversation and correspondence concerning other copies and other translated interpretations of what may be called for convenience and with some right1 on account of priority in publication1 the ,lone-,dog system of winter counts4 ,but it also was discovered that there were other systems in which the same pictographic method was adopted by the ,dakotas4 ,an account of the most important of these1 viz43 the charts of ,baptiste or ,battiste ,good1 ,american-,horse1 ,cloud-,shield1 and ,white-cow-killer has been communicated by ,dr4 ,william ,h4 ,corbusier1 assistant surgeon1 ,united ,states ,army1 and is presented infra1 page #abg1 under the title of ,the ,corbusier ,winter ,counts4 ,the study of all the charts1 with their several interpretations1 renders plain some points remaining in doubt while the ,lone-,dog chart was the only example known4 ,in the first place1 it became clear that there was no fixed or uniform mode of exhibiting the order of continuity of the year-characters4 ,they were arranged spirally or lineally1 or in serpentine curves1 by boustrophedon or direct1 starting backward from the last year shown1 or proceeding uniformly forward from the first year selected or remembered4 ,any mode that would accomplish the object of continuity with the means of regular addition seemed to be equally acceptable4 ,so a theory advanced that there was some symbolism in the right to left circling of ,lone-,dog's chart was aborted1 especially when an obvious reproduction of that very chart was made by an ,indian with the spiral reversed4 ,it was also obvious that when copies were made1 some of them probably from memory1 there was no attempt at ,chinese accuracy4 ,it was enough to give the graphic or ideographic character1 and frequently the character is better defined on one of the charts than on the others for the corresponding year4 ,one interpretation or rather one translation of the interpretation would often throw light on the others4 ,it also appeared that while different events were selected by the recorders of the different systems1 there was sometimes a selection of the same event for the same year and sometimes for the next1 such as would be natural in the progress of a famine or epidemic1 or as an event gradually became known over a vast territory4 ,to exhibit these points more clearly1 the characters on the charts of ,the-,flame1 ,lone-,dog1 and ,the-,swan have been placed together on ,plates ,,vii-,,xxxiii1 and their interpretations1 separately obtained and translated1 have also been collated1 commencing on page #ajj4 ,where any information was supplied by the charts of ,mato ,sapa or of ,major ,bush and their interpretation1 or by other authorities1 it is given in connection with the appropriate year4 ,reference is also made to some coincidences or explanatory manner noticed in the ,corbusier system4 ,with regard to the ,lone-,dog system1 with which the present writer is more familiar1 and upon which he has examined a large number of ,indians during the last eight years1 an attempt was made to ascertain whether the occurrences selected and represented were those peculiar to the clan or tribe of the recorder or were either of general concern or of notoriety throughout the ,dakota tribes4 ,this would tend to determine whether the undertaking was of a merely individual nature1 limited by personal knowledge or special interests1 or whether the scope was general4 ,all inquiries led to the latter supposition4 ,the persons examined were of different tribes1 and far apart from each other1 yet all knew what the document was1 i4 e41 that 8some one thing was put down for each year20 that it was the work of ,lone-,dog1 and that he was the only one who 8could do it10 or perhaps was authority for it4 ,the internal evidence is to the same effect4 ,all the symbols indicate what was done1 experienced1 or observed by the nation at large or by its tribes without distinction--not by that of which ,lone-,dog is a member1 no special feat of the ,yanktonais1 indeed1 being mentioned--and the chiefs whose deaths or deeds are noted appear to have belonged indifferently to the several tribes1 whose villages were generally at great distance each from the other and from that of the recorder4 ,it is1 however1 true that the ,minneconjous were more familiar than other of the ,dakotas with the interpretation of the characters on ,lone-,dog's chart1 and that a considerable proportion of the events selected relate to that division of the confederacy4 ,in considering the extent to which ,lone-,dog's chart is understood and used among his people1 it may be mentioned that the writer has never shown it to an intelligent ,dakota of full years who has not known what it was for1 and many of them knew a large part of the years portrayed4 ,when there was less knowledge1 there was the amount that may be likened to that of an uneducated person or child who is examined about a map of the ,united ,states1 which had been shown to him before1 with some explanation only partially apprehended or remembered4 ,he would tell that it was a map of the ,united ,states2 would probably be able to point out with some accuracy the ,state or city where he lived2 perhaps the capital of the country2 probably the names of the ,states of peculiar position or shape1 such as ,maine1 ,delaware1 or ,florida4 ,so the ,indian examined would often point out in ,lone-,dog's chart the year in which he was born or that in which his father died1 or in which there was some occurrence that had strongly impressed him1 but which had no relation whatever to the character for the year in question4 ,it had been pointed out to him before1 and he had remembered it1 though not the remainder of the chart4 ,with the interpretations of the several charts given below some explanations are furnished1 but it may be useful to set forth in advance a few facts relating to the nomenclature and divisions of the tribes frequently mentioned4 ,in the literature on the subject the great linguistic stock or family embracing not only the ,sioux or ,dakotas proper1 but the ,missouris1 ,omahas1 ,ponkas1 ,osages1 ,kansas1 ,otos1 ,assiniboines1 ,gros ,ventres or ,minnitaris1 ,crows1 ,iowas1 ,mandans1 and some others1 has been frequently styled the ,dakota ,family4 ,major ,powell1 the ,director of the ,bureau of ,ethnology1 from considerations of priority1 has lately adopted the name ,siouan for the family1 and for the grand division of it popularly called ,sioux has used the term ,dakota1 which the people claim for themselves4 ,in this general respect it is possible to conform in this paper to ,major ,powell's classification1 but1 specially in the details of the ,winter ,counts1 the form of the titles of the tribes is that which is generally used1 but with little consistency1 in literature1 and is not given with the accurate philologic literation of special scholars1 or with reference to the synonomy determined by ,major ,powell1 but not yet published4 ,the reason for this temporary abandonment of scientific accuracy is that another course would require the correction or annotation of the whole material contributed from many sources1 and would be cumbrous as well as confusing prior to the publication1 by the ,bureau of ,ethnology1 of the synonomy mentioned4 ,the word 8,dakota0 is translated in ,riggs's ,dictionary of that language as 8leagued1 or allied40 ,dr4 ,j4 ,hammond ,trumbull1 the distinguished ethnographer and glossologist1 gives the meaning to be more precisely 8associated as comrades10 the root being found in other dialects of the same group of languages for instance1 in the ,minitari1 where dki is the name for the clan or band1 and dake means friend or comrade4 ,in the ,sioux 7,dakota7 dialect1 cota1 or coda means friend1 and ,dakota may1 literally translated1 signify 8our friends40 ,the title ,sioux1 which is indignantly repudiated by the nation1 is either the last syllable or the two last syllables1 according to pronunciation1 of 8,nadowesioux10 which is the ,french plural of the ,algonkin name for the ,dakotas1 8,nadowessi10 8enemy10 though the ,english word is not so strong as the ,indian1 8hated foe0 being nearer4 ,the ,chippeways called an ,iroquois 8,nadowi10 which is also their name for rattlesnake 7or1 as others translate1 adder72 in the plural1 ,nadowek4 ,a ,sioux they called ,nadowessi1 which is the same word with a contemptuous or diminutive termination2 plural1 ,nadowessiwak or ,nadawessyak4 ,the ,french gave the name their own form of the plural1 and the voyageurs and trappers cut it down to 8,sioux40 ,the more important of existing tribes and organized bands into which the nation is now divided are given below1 being the dislocated remains of the 8,seven ,great ,council ,fires10 not only famed in tradition1 but known to early white pioneers3 ,yankton and ,yanktonai or ,ihaktonwan1 both derived from a root meaning 8at the end10 alluding to the former locality of their villages4 ,sihasapa1 or ,blackfeet4 ,ohenonpa1 or ,two ,kettles4 ,itaziptco1 ,without ,bow4 ,the ,french translation1 ,sans ,arc1 is1 however1 more commonly used4 ,minneconjou1 translated ,those who plant by the water1 the physical features of their old home4 ,sitcangu1 ,burnt ,hip or ,brul4 ,santee1 subdivided into ,wahpeton1 ,men among ,leaves1 i4 e41 forests1 and ,sisseton1 ,men of ,prairie ,marsh4 ,two other bands1 now practically extinct1 formerly belonged to the ,santee1 or1 as it is more correctly spelled1 ,isanti tribe1 from the root ,issan1 knife4 ,their former territory furnished the material for stone knives1 from the manufacture of which they were called the 8knife people40 ,ogallalla1 ,ogalala1 or ,oglala4 ,the meaning and derivation of this name1 as well as the one next mentioned 7,uncpapa71 have been the subjects of much controversy4 ,uncpapa1 ,unkpapa1 or ,hunkpapa1 the most warlike and probably the most powerful of all the bands1 though not the largest4 ,hale1 ,gallatin1 and ,riggs designate a 8,titon tribe0 as located west of the ,missouri1 and as much the largest division of the ,dakotas1 the latter authority subdividing into the ,sichangu1 ,itazipcho1 ,sihasapa1 ,minneconjou1 ,ohenonpa1 ,ogallalla1 and ,huncpapa1 seven of the tribes specified above1 which he calls bands4 ,the fact probably is that 8,titon0 7from the word tintan1 meaning1 8at or on land without trees1 or prairie07 was the name of a tribe1 but it is now only an expression for all those tribes whose ranges are on the prairie1 and that it has become a territorial and accidental1 not a tribular distinction4 ,one of the ,dakotas at ,fort ,rice spoke to the writer of the 8hostiles0 as 8,titons10 with obviously the same idea of locality1 8away on the prairie20 it being well known that they were a conglomeration from several tribes4 ,it is proper here to remark that throughout the charts the totem of the clan of the person indicated is not generally given1 though it is often used in other kinds of records1 but instead1 a pictorial representation of his name1 which their selection of proper names rendered practicable4 ,the clans are divisions relating to consanguinity1 and neither coincide with the political tribal organizations nor are limited by them4 ,the number of the clans1 or distinctive totemic groups1 of the ,dakota is less than that of their organized bands1 if not of their tribes1 and considerably less than that of the totems appearing on the charts4 ,although it has been contended that the clan-totem alone was used by ,indians1 there are many other specimens of picture-writings among the ,dakota where the name-totem appears1 notably the set of fifty-five drawings in the library of the ,army ,medical ,museum narrating the deeds of ,sitting-,bull4 ,a pictured message lately sent by a ,dakota at ,fort ,rice to another at a distant agency1 and making the same use of name-signs1 came to the writer's notice4 ,captain ,carver1 who spent a considerable time with these ,indians 7called by him ,nadowessies7 in #agff-'gg1 explains that 8besides the name of the animal by which every nation or tribe clan is denominated1 there are others that are personal1 which the children receive from their mother4 99 99 99 ,the chiefs are distinguished by a name that has either some reference to their abilities or to the hieroglyphic of their families1 and these are acquired after they have arrived at the age of manhood4 ,such as have signalized themselves either in their war or hunting parties1 or are possessed of some eminent qualification1 receive a name that serves to perpetuate the fame of their actions or to make their abilities conspicuous40 ,the common use of these name-signs appears in their being affixed to old treaties1 and also to some petitions in the office of ,indian ,affairs4 ,their similarity in character1 use1 and actual design1 either with or without clan designation1 affords an instructive comparison with the origin of heraldry and of modern surnames4 ,further remarks about the name system of ,indians appear on page #afi4 ,with reference to the ,winter ,counts1 it is well known that the ,dakotas count their years by winters 7which is quite natural1 that season in their high levels and latitudes practically lasting more than six months71 and say a man is so many snows old1 or that so many snow seasons have passed since an occurrence4 ,they have no division of time into weeks1 and their months are absolutely lunar1 only twelve1 however1 being designated1 which receive their names upon the recurrence of some prominent1 physical phenomenon4 ,for example1 the period partly embraced by ,february is intended to be the 8raccoon moon02 ,march1 the 8sore-eye moon02 and ,april1 that 8in which the geese lay eggs40 ,as the appearance of raccoons after hibernation1 the causes inducing inflamed eyes1 and oviposition by geese vary with the meteorological character of each year1 and as the twelve lunations reckoned do not bring back the point in the season when counting commenced1 there is often dispute in the ,dakota tipis toward the end of winter as to the correct current date4 ,in careful examination of the several ,counts it does not appear to be clear whether the event portrayed occurred in the winter months or was selected in the months immediately before or in those immediately after the winter4 ,no regularity or accuracy is noticed in these particulars4 ,the next following pages give the translated interpretation of the above-mentioned charts of ,the-,flame1 designated as ,no4 ,i2 of ,lone-,dog1 designated as ,no4 ,,ii2 and of ,the-,swan as ,no4 ,,iii2 and are explanations of ,plates ,,vii to ,,xxxiii4 ,as ,the-,flame's count began before the other two and ended later than those1 ,plates ,,vii1 ,,viii1 and ,,xxxiii are confined to that count1 the others showing the three in connection4 ,the red color frequently mentioned appears in the corresponding figures in ,plate ,,vi of ,lone-,dog's chart as reproduced1 but black takes its place in the series of plates now under consideration4 ,mention of the charts of ,mato ,sapa and of ,major ,bush is made where there seems to be any additional information or suggestion in them4 ,when those charts are not mentioned they agree with that of ,lone-,dog4 ,reference is also made to the counts in the ,corbusier system when correspondence is to be noted4 99 99 99 99 99 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,vii #aghf-'hg4 #aghg-'hh4 #aghh-'hi4 #aghi-'ij4 #agij-'ia4 #agia-'ib4 #agib-'ic4 ,,the ,,dakota ,,winter ,,counts4 #aghf-'hg4--,no4 ,i represents an ,uncpapa chief who wore an 8iron0 shield over his head4 ,it is stated that he was a great warrior1 killed by the ,rees4 ,this word is abbreviated from the word ,arikaree1 a corrupt form of ,arikara4 ,this year in the ,anno ,domini style is ascertained by counting back from several well-known historical events corresponding with those on the charts4 ,battiste ,good's count for the same year says3 8,iron-hand-band-went-on-war-path winter10 and adds1 8,they formerly carried burdens on their backs hung from a band passed across their forehead4 ,this man had a band of iron which is shown on his head40 #aghg-'hh4--,no4 ,i4 ,a clown1 well known to the ,indians2 a mischief-maker4 ,a ,minneconjou4 ,the interpreter could not learn how he was connected with this year4 ,his accoutrements are fantastic4 ,the character is explained by ,battiste ,good's winter count for the same year as follows3 8,left-the-heyoka-man-behind winter40 ,a certain man was heyoka1 that is1 in a peculiar frame of mind1 and went about the village bedecked with feathers singing to himself1 and1 while so1 joined a war party4 ,on sighting the enemy the party fled1 and called to him to turn back also1 but as he was heyoka1 he construed everything that was said to him as meaning the very opposite1 and1 therefore1 instead of turning back he went forward and was killed4 ,the interpreter remarked if they had only had sense enough to tell him to go on1 he would then have run away1 but the idiots talked to him just as if he had been an ordinary mortal1 and1 of course1 were responsible for his death4 ,the figure by ,battiste ,good strongly resembles that in this chart1 giving indications of fantastic dress with the bow4 ,the independent explanations of this figure and of some on the next page referring to dates so remote have been of interest to the present writer4 #aghh-'hi4--,no4 ,i4 ,very severe winter and much suffering among the ,indians4 ,crows were frozen to death1 which is a rare occurrence4 ,hence the figure of the crow4 ,battiste ,good says3 8,many-crows-died winter40 ,cloud ,shield says3 ,the winter was so cold that many crows froze to death4 ,white-,cow-,killer calls the preceding year1 #aghg-'hh1 8,many-black-crows-died winter40 ,for the year #aghi-'ij1 ,american-,horse says3 8,the cold was so intense that crows froze in the air and dropped dead near the lodges40 ,this is an instance of where three sets of accounts refer to the same severe cold1 apparently to three successive years2 it may really not have been three successive years1 but that all charts referred to the same season1 the fractions of years not being regarded1 as above explained4 #aghi-'ij4--,no4 ,i4 ,two ,mandans killed by ,minneconjous4 ,the peculiar arrangement of the hair distinguishes the tribe4 ,the ,mandans were in the last century one of the most numerous and civilized tribes of the ,siouan stock4 ,lewis and ,clarke1 in #ahjd1 say that the ,mandans settled forty years before1 i4 e41 #agfd1 in nine villages1 #hj miles below their then site 7north of ,knife ,river71 seven villages on the west1 and two on the east side of the ,missouri4 ,two villages1 being destroyed by the small-pox and the ,dakotas1 united and moved up opposite to the ,arickaras1 who probably occupied the same site as exhibited in the counts for the year #ahbc-'bd4 ,battiste ,good says3 8,killed-two-,gros-,ventres-on-the ice winter40 #agij-'ia4--,no4 ,i4 ,the first ,united ,states flag in the country brought by ,united ,states troops4 ,so said the interpreter4 ,no special occasion or expedition is noted4 ,battiste ,good says3 8,carried-flag-about-with-them winter10 and explains2 they went to all the surrounding tribes with the flag1 but for what purpose is unknown4 ,white-,cow-,killer says3 8,all-the-,indians-see-the-flag winter40 #agia-'ib4--,no4 ,i4 ,a ,mandan and a ,dakota met in the middle of the ,missouri2 each swimming half way across1 they shook hands1 and made peace4 ,mulligan1 post interpreter at ,fort ,buford1 says that this was at ,fort ,berthold1 and is an historic fact2 also that the same ,mandan1 long afterwards1 killed the same ,dakota4 ,cloud-,shield says3 ,the ,sioux and ,omahas made peace4 #agib-'ic4--,no4 ,i4 ,dakotas and ,rees meet in camp together1 and are at peace4 ,the two styles of dwellings1 viz41 the tipi of the ,dakotas1 and the earth lodge of the ,arickaras1 are apparently depicted4 ,battiste ,good says3 8,camp-near-the-,gros-,ventres winter10 and adds3 8,they were engaged in a constant warfare during this time40 ,the ,gros ,ventres' dirt-lodge1 with the entry in front1 is depicted in ,battiste ,good's figure1 and on its roof is the head of a ,gros ,ventre4 ,see ,cloud-,shields's explanations of his figure for this year1 page #acc4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,viii #agic-'id4 #agid-'ie4 #agie-'if4 #agif-'ig4 #agig-'ih4 #agih-'ii4 #agii-ahjj4 ,,the ,,dakota ,,winter ,,counts4 #agic-'id4--,no4 ,i4 ,thin-,face1 a noted ,dakota chief1 was killed by ,rees4 ,battiste ,good says3 8,killed-a-long-haired-man-at-,raw-,hide -,butte winter10 adding that the ,dakotas attacked a village of fifty-eight lodges1 of a tribe called by a correspondent the ,cheyennes1 and killed every soul in it4 ,after the fight they found the body of a man whose hair was done up with deer-hide in large rolls1 and on cutting them open1 found it was all real hair1 very thick1 and as long as a lodge-pole4 7,mem43 ,catlin tells of a ,crow called ,long-,hair1 whose hair1 by actual measurement1 was #aj feet #g inches long47 ,the fight was at ,raw-,hide ,butte1 now so-called by the whites1 which they named ,buffalo-,hide ,butte because they found so many buffalo hides in the lodges4 ,according to ,cloud-,shield1 ,long-,hair was killed in #aghf-'hg2 and1 according to ,american-,horse1 ,long-,hair 7a ,cheyenne7 was killed in #agif-'ig4 ,white-,cow-,killer says3 8,little-,face-kill winter40 ,battiste ,good says in his count for the succeeding year1 #agid-'ie1 8,killed-little-face-,pawnee winter40 ,the ,pawnee's face was long1 flat1 and narrow like a man's hand1 but he had the body of a large man4 #agid-'ie--,no4 ,i4 ,a ,mandan chief killed a noted ,dakota chief with remarkably long hair1 and took his scalp4 ,white-,cow-,killer says3 8,long-,hair-killed winter40 #agie-'if--,no4 ,i4 ,while surrounded by the enemy 7,mandans7 a ,blackfeet ,dakota ,indian goes at the risk of his life for water for the party4 ,the interpreter states that this was near the present ,cheyenne ,agency1 ,dakota ,territory4 ,in the original character there is a bloody wound at the shoulder showing that the heroic ,indian was wounded4 ,he is shown bearing a water vessel4 ,battiste ,good gives a figure for this year recognizably the same as that in ,the-,flame's chart1 but with a different explanation4 ,he calls it 8,the ,rees-stood-the-frozen-man-up-with-the-b uffalo stomach-in-his-hand winter10 and adds3 8,the body of a ,dakota who had been killed in an encounter with the ,rees1 and had been left behind1 froze4 ,the ,rees dragged it into their village1 propped it up with a stick1 and hung a buffalo stomach filled with ice in one hand to make sport of it4 ,the buffalo stomach was in common use at that time as a water-jug40 ,white-,cow-,killer calls it 8,water-stomach-killed winter40 #agif-'ig--,no4 ,i4 ,a ,mandan chief1 8,the-,man-with the-,hat10 becomes noted as a warrior4 ,the character is precisely the same as that often given for white man4 ,some error in the interpretation is suggested in the absence of knowledge whether there actually was a ,mandan chief so named1 in which case the pictograph would be consistent4 ,battiste ,good says3 8,wears-the-war-bonnet-died winter10 adding3 ,he did not die this winter1 but received a wound in the abdomen from which the arrow head could not be extracted1 but he died of the belly-ache years after4 ,white-,cow-,killer says3 8,war-,bonnet-killed winter40 ,the translated expression1 8killed10 has been noticed to refer often to a fatal wound1 though the death did not take place immediately4 #agig-'ih4--,no4 ,i4 ,a ,ree woman is killed by a ,dakota while gathering 8pomme-blanche10 a root used for food4 ,pomme-blanche1 or ,navet de prairie1 is a white root somewhat similar in appearance to a white turnip1 botanically ,psoralea esculenta 7,nuttal71 sometimes ,p4 argophylla4 ,it is a favorite food of the ,indians1 eaten boiled down to a sort of mush or hominy4 ,a forked stick is used in gathering these roots4 ,it will be noticed that this simple statement about the death of the ,arikara woman is changed by other recorders or interpreters into one of a mythical character4 ,battiste ,good says3 8,took-the-god-woman-captive winter10 adding3 a ,dakota war party captured a woman of a tribe unknown1 who1 in order to gain their respect1 cried out1 8,i am a #8,waukan-,tanka' woman10 meaning that she feared or belonged to ,god1 the ,great ,spirit1 whereupon they let her go unharmed4 ,a note is added3 ,this is the origin of their name for ,god ,wakan-,taka1 the ,great ,holy1 or ,supernatural ,one1 they having never heard of a ,supreme ,being1 but had offered their prayers to the sun1 earth1 and many other objects1 believing they were endowed with spirits4 ,white-,cow-,killer says3 8,caught-a-medicine-god-woman winter40 #agih-'ii4--,no4 ,i4 ,blackfeet ,dakotas kill three ,rees4 #agii-ahjj4--,no4 ,i4 ,uncpapas kill two ,rees4 ,the figure over the heads of the two ,rees is a bow1 showing the mode of death4 ,the hair of the ,arickaras in this and the preceding character is represented in the same manner4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,ix #ahjj-'ja4 #ahja-'jb4 #ahjb-'jc4 ,,the ,,dakota ,,winter ,,counts4 #ahjj-'ja4--,no4 ,i4 ,thirty-one ,dakotas killed by ,crows4 ,no4 ,,ii4 ,thirty ,dakotas were killed by ,crow ,indians4 ,the device consists of thirty parallel black lines in three columns1 the outer lines being united4 ,in this chart1 such black lines always signify the death of ,dakotas killed by their enemies4 ,the ,absaroka or ,crow tribe1 although classed by ethnographers as belonging to the ,siouan family1 has nearly always been at war with the ,dakotas proper since the whites have had any knowledge of either4 ,the official tables of #ahge give the number of ,crows then living as #d1bjj4 ,they are tall1 well-made1 bold1 and noted for the extraordinary length of their hair4 ,no4 ,,iii4 ,thirty ,dakotas killed by the ,gros ,ventres ,indians between ,forts ,berthold and ,union1 ,dakota4 ,mato ,sapa's record has nine inside strokes in three rows1 the interpretation being that thirty ,dakotas were killed by ,gros ,ventres between ,forts ,berthold and ,union1 ,dakota4 ,major ,bush says the same1 adding that it was near the present site of ,fort ,buford4 #ahja-'jb4--,no4 ,i4 ,many died of small-pox4 ,no4 ,,ii4 ,the small-pox broke out in the nation4 ,the device is the head and body of a man covered with red blotches4 ,no4 ,,iii4 ,all the ,dakotas had the small-pox very bad2 fatal4 ,battiste ,good's record says3 8,small-pox-used-them-up-again winter40 ,white-,cow-,killer says3 8,all-sick winter40 ,major ,bush adds 8very badly0 to 8small-pox broke out40 #ahjb-'jc4--,no4 ,i4 ,first shod horses seen by ,indians4 ,no4 ,,ii4 ,a ,dakota stole horses with shoes on1 i4 e41 stole them either directly from the whites or from some other ,indians who had before obtained them from whites1 as the ,indians never shoe their horses4 ,the device is a horseshoe4 ,no4 ,,iii4 ,blackfeet ,dakotas stole some ,american horses having shoes on4 ,horseshoes seen for the first time4 ,mato ,sapa says3 ,blackfeet ,dakota stole ,american horses with shoes on1 then first seen by them4 ,major ,bush agrees with ,mato ,sapa4 ,white-,cow-,killer calls it 8,brought-in-horseshoes winter40 ,battiste ,good says3 8,brought-home-,pawnee-horses-with-iron shoes-on winter40 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,x #ahjc-'jd4 #ahjd-'je4 #ahje-'jf4 ,,the ,,dakota ,,winter ,,counts4 #ahjc-'jd4--,no4 ,i4 ,a ,blackfeet steals many curly horses from the ,assinaboines4 ,no4 ,,ii4 ,they stole some 8curly horses0 from the ,crows4 ,some of these horses are still seen on the plains1 the hair growing in closely-curling tufts1 resembling in texture the negro's woolly pile4 ,the device is a horse with black marks for the tufts4 ,the ,crows are known to have been early in the possession of horses4 ,no4 ,,iii4 ,uncpapa ,dakotas stole five woolly horses from the ,ree ,indians4 ,white-,cow-,killer calls it 8,plenty-woolly-horses winter40 ,mato ,sapa says3 ,uncpapa stole from the ,rees five horses having curly hair4 ,major ,bush same as last1 using 8woolly0 instead of 8curly40 ,battiste ,good says3 8,brought-home-,pawnee-horses-with-their -hair-rough-and-curly winter40 #ahjd-'je4--,no4 ,i4 ,calumet dance4 ,tall-,mandan born4 ,no4 ,,ii4 ,the ,dakotas had a calumet dance and then went to war4 ,the device is a long pipe-stem1 ornamented with feathers and streamers4 ,the feathers are white1 with black tips1 evidently the tail feathers of the adult golden eagle 7,aquila chrysatos71 highly prized by all ,indians4 ,the streamers anciently were colored strips of skin or flexible bark2 now gayly colored strips of cloth are used4 ,the word calumet is a corruption of the ,french chalumeau1 and the pipe among all the ,mississippi tribes was a symbol of peace4 ,captain ,carver1 in his ,three ,years' ,travels ,through the ,interior ,parts of ,north ,america1 ,philadelphia1 #agif1 which travels began in #agff1 after puzzling over the etymology of the word calumet 7that honest 8captain of ,provincial troops0 obviously not understanding ,french71 reports it as 8about #d feet long1 bowl of red marble1 stem of a light wood curiously painted with hieroglyphics in various colors and adorned with feathers4 ,every nation has a different method of decorating these pipes and can tell at once to what band it belongs4 ,it is used as an introduction to all treaties1 also as a flag of truce is among ,europeans40 ,the event commemorated in the figure was probably a council of some of the various tribes of the nation for settlement of all internal difficulties1 so as to act unitedly against the common enemy4 ,j4 ,c4 ,beltrami1 who visited the ,dakotas not long after this date1 describes them in his ,pilgrimage1 ,london1 #ahbh1 as divided into independent tribes1 managing their separate affairs each by its own council1 and sometimes coming into conflict with each other1 but uniting in a general council on occasions affecting the whole nation4 ,no4 ,,iii4 ,danced calumet dance before going to war4 ,battiste ,good says3 8,sung-over-each-other-while-on-the-war- path winter40 ,he adds3 8,the war party while out made a large pipe and sang each other's praises40 ,a memorandum is also added that the pipe here seems to indicate peace made with some other tribe assisting in the war4 ,but see pages #aah and #aci4 #ahje-'jf4--,no4 ,i4 ,eight ,dakotas killed by ,crows4 ,no4 ,,ii4 ,the ,crows killed eight ,dakotas4 ,again the short parallel black lines1 this time eight in number1 united by a long stroke4 ,the interpreter1 ,fielder1 says that this character with black strokes is only used for grave marks4 ,no4 ,,iii4 ,eight ,minneconjou ,dakotas killed by ,crow ,indians at the mouth of ,powder ,river4 ,battiste ,good says3 8,they-came-and-killed-eight winter40 ,the enemy killed eight ,dakotas4 ,white-,cow-,killer calls it 8,eight-,dakotas-killed winter40 ,mato ,sapa says3 ,eight ,minneconjous killed by ,crows at mouth of ,powder ,river4 ,major ,bush same as last4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xi #ahjf-'jg4 #ahjg-'jh4 #ahjh-'ji4 ,,the ,,dakota ,,winter ,,counts4 #ahjf-'jg4--,no4 ,i4 ,many eagles caught4 ,this is done by digging a hole and baiting the eagles to the hole in which the ,indian is concealed1 who then catches the eagle4 ,no4 ,,ii4 ,a ,dakota killed an ,arikara as he was about to shoot an eagle4 ,the sign gives the head and shoulders of a man with a red spot of blood on his neck1 an arm being extended1 with a line drawn to a golden eagle4 ,the ,arickaras1 a branch of the ,pawnee 7,pani7 family1 were at the date given a powerful body1 divided into ten large bands4 ,they migrated in recent times from southeast to northwest along the ,missouri ,river4 ,no4 ,,iii4 ,a ,ree ,indian hunting eagles from a hole in the ground killed by the ,two ,kettle ,dakotas4 ,battiste ,good says3 8,killed-them-while-hunting-eagles winter40 ,some ,dakota eagle-hunters were killed by enemies4 ,white-,cow-,killer calls it 8,killed-while-hunting-eagles winter40 ,mato ,sapa says3 ,a ,ree hunting eagles from a hole in the ground was killed by ,two ,kettles4 ,major ,bush says the same without the words 8hole in the ground40 ,there is no doubt that the drawing represents an ,indian in the act of catching an eagle by the legs1 as the ,arickaras were accustomed to catch eagles in their earth-traps4 ,they rarely or never shot war eagles4 ,the enemies probably shot the ,arikara in his trap just as he put his hand up to grasp the bird4 #ahjg-'jh4--,no4 ,i4 ,red-,shirt killed by ,rees4 ,no4 ,,ii4 ,red-,coat1 a chief1 was killed4 ,the figure shows the red coat pierced by two arrows1 with blood dropping from the wounds4 ,no4 ,,iii4 ,uncpapa ,dakota1 named ,red-,shirt1 killed by ,ree ,indians4 ,battiste ,good says3 8,came-and-killed-man-with-red-shirt-on winter40 ,white-,cow-,killer calls it 8,red-shirt-killed winter40 ,mato ,sapa says3 ,red-shirt1 an ,uncpapa ,dakota1 was killed by ,rees4 ,major ,bush same as last4 #ahjh-'ji4--,no4 ,i4 ,broken-,leg 7,dakota7 killed by ,rees4 ,no4 ,,ii4 ,the ,dakota who had killed the ,ree shown in this record for #ahjf-'jg was himself killed by the ,rees4 ,he is represented running1 and shot with two arrows2 blood dripping4 ,these two figures1 taken in connection1 afford a good illustration of the method pursued in the chart1 which was not intended to be a continuous history1 or even to record the most important event of each year1 but to exhibit some one of special peculiarity4 ,war then raging between the ,dakotas and several tribes1 probably many on both sides were killed in each of the years2 but there was some incident about the one ,ree who was shot as in fancied security he was bringing down an eagle1 and whose death was avenged by his brethren the second year afterward4 ,hence the selection of those occurrences4 ,it would1 indeed1 have been impossible to have graphically distinguished the many battles1 treaties1 horse-stealings1 big hunts1 etc41 so most of them were omitted and other events of greater individuality and better adapted for portrayal were taken for the calendar1 the criterion being not that they were of national moment1 but that they were of general notoriety1 or perhaps of special interest to the recorders4 ,no4 ,,iii4 ,a ,blackfeet ,dakota1 named ,broken-,leg1 killed by ,ree ,indians4 ,mato ,sapa says3 ,broken-,leg1 a ,blackfeet ,dakota1 was killed by ,rees4 ,major ,bush same as last4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xii #ahji-'aj4 #ahaj-'aa4 #ahaa-'ab4 ,,the ,,dakota ,,winter ,,counts4 #ahji-'aj4--,no4 ,i4 ,little-,beaver1 a white trapper1 is burnt to death by accident in his house on the ,white ,river4 ,he was liked by ,indians4 ,no4 ,,ii4 ,a chief1 ,little-,beaver1 set fire to a trading store1 and was killed4 ,the character is simply his name-totem4 ,the other interpretations say that he was a white man1 but he probably had gained a new name among the ,indians4 ,no4 ,,iii4 ,white ,french trader1 called ,little-,beaver1 was blown up by powder on the ,little ,missouri ,river4 ,battiste ,good says3 8,little-,beaver's-house-burned winter40 ,little-,beaver was an ,english trader1 and his trading house was a log one4 ,white-,cow-,killer says3 ,little-,beaver's house was burned4 #ahaj-'aa4--,no4 ,i4 ,black-,rock1 a ,minneconjou chief1 killed4 ,see page #ace4 ,no4 ,,ii4 ,black-,stone made medicine4 ,the 8medicine men0 have no connection with therapeutics1 feel no pulses1 and administer no drugs1 or1 if sometimes they direct the internal or external use of some secret preparation1 it is as a part of superstitious ceremonies1 and with main reliance upon those ceremonies they 8put forth the charm1 of woven paces and of waving hands10 utter wild cries1 and muddle in blood and filth until they sometimes work themselves into an epileptic condition4 ,their incantations are not only to drive away disease1 but for many other purposes1 such as to obtain success in war1 avert calamity1 and very frequently to bring within reach the buffalo1 on which the ,dakotas depended for food4 ,the rites are those known as ,shamanism1 noticeable in the ethnic periods of savagery and barbarism4 ,in the ceremonial of 8making medicine10 a buffalo head1 and especially that of an albino1 held a prominent place among the plains tribes4 ,many references to this are to be found in the ,prince of ,wied's ,travels in the interior of ,north ,america2 ,london1 #ahdc2 also see infra1 pages #aah1 #abb and #aie4 ,the device in the chart is the man-figure1 with the head of an albino buffalo held over his own4 ,no4 ,,iii4 ,a ,minneconjou ,dakota1 named ,little-,tail1 first made 8medicine0 with white buffalo cow-skin4 ,mato ,sapa says3 ,a ,minneconjou1 named ,little-,tail1 first made medicine with white buffalo cow-skin4 ,major ,bush same as last4 ,american-,horse gives for the preceding year1 #ahji-'aj3 ,black-,rock was killed by the ,crows4 #ahaa-'ab4--,no4 ,i4 ,twenty-seven ,mandans surrounded and killed by ,dakotas4 ,no4 ,,ii4 ,the ,dakotas fought a battle with the ,gros ,ventres1 and killed a great many4 ,device1 a circle inclosing three round objects with flat bases1 resembling heads severed from trunks1 which latter the copy shows too minute in this device for suggestion of what they probably represent2 but they appear more distinct in the record for #ahfd-'fe as the heads of enemies slain in battle4 ,in the sign-language of the plains1 the ,dakotas are always denoted by drawing a hand across the throat1 signifying that they cut the throats of their enemies4 ,the ,dakotas count by the fingers1 as is common to most peoples1 but with a peculiarity of their own4 ,when they have gone over the fingers and thumbs of both hands1 one finger is temporarily turned down for one ten4 ,at the end of the next ten another finger is turned1 and so on to a hundred4 ,opawinge ,opawinxe1 one hundred1 is derived from pawinga pawinxa1 to go around in circles1 to make gyrations1 and contains the idea that the round of all the fingers has again been made for their respective tens4 ,so the circle is never used for less than one hundred1 but sometimes signifies an indefinite number greater than a hundred4 ,the circle1 in this instance1 therefore1 was at first believed to express the killing in battle of many enemies4 ,but the other interpretations remove all symbolic character1 leaving the circle simply as the rude drawing of a dirt lodge1 being an instance in which the present writer1 by no means devoted to symbolism1 had supposed a legitimate symbol to be indicated1 which supposition full information on the subject did not support4 ,there are two wholly distinct tribes called by the ,canadians ,gros ,ventres4 ,one1 known also as ,hidatsa and ,minnetari1 is classed in the ,siouan family1 and numbered1 in #ahjd1 according to ,lewis and ,clarke1 #b1ejj souls4 ,the other 8,big ,bellies10 properly called ,atsina1 are the northern division of the ,arapahos1 an ,algonkin tribe1 from which they separated in the early part of this century1 and1 wandering eastward1 met the ,dakotas1 by whom they were driven off to the north4 ,it is probable that this is the conflict recorded1 though the ,dakotas have also often been at feud with their linguistic cousins1 the ,minnetari4 ,no4 ,,iii4 ,twenty of the ,gros ,ventres killed by ,dakotas in a dirt lodge4 ,they were chased into a deserted ,ree dirt lodge and killed there4 ,mato ,sapa says3 ,twenty ,gros ,ventres were killed by the ,dakotas in a dirt lodge4 ,in this record there is a circle with only one head4 ,major ,bush's interpretation is the same as the last4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xiii #ahab-'ac4 #ahac-'ad4 #ahad-'ae4 ,,the ,,dakota ,,winter ,,counts4 #ahab-'ac4--,no4 ,i4 ,many wild horses caught4 ,no4 ,,ii4 ,the wild horses were first run and caught by the ,dakotas4 ,the device is a lasso4 ,the date is of value1 as showing when the herds of prairie horses1 descended from those animals introduced by the ,spaniards in ,mexico1 or those deposited by them on the shores of ,texas and at other points1 had multiplied so as to extend into the far northern regions4 ,the ,dakotas undoubtedly learned the use of the horse and perhaps also that of the lasso from southern tribes1 with whom they were in contact2 and it is noteworthy that notwithstanding the tenacity with which they generally adhere to ancient customs1 in only two generations since they became familiar with the horse they have been so revolutionized in their habits as to be utterly helpless1 both in war and the chase1 when deprived of that animal4 ,no4 ,,iii4 ,dakotas first used lariat 7sic7 for catching wild horses4 ,battiste ,good says for the preceding year1 #ahaa-'ab3 8,first-hunted-horses winter40 ,he adds3 8,the ,dakotas caught wild horses in the sand-hills with braided lariats40 ,american-,horse also1 for #ahaa-'ab1 says3 ,they caught many wild horses south of the ,platte ,river4 ,white-,cow-,killer calls #ahaa-'ab 8,catching-wild-horses winter40 ,major ,bush says3 ,dakotas first made use of lariat in catching wild horses4 #ahac-'ad--,no4 ,i4 ,many ,indians died of cold 7consumption74 ,no4 ,,ii4 ,the whooping-cough was very prevalent and fatal4 ,the sign is ludicrously suggestive of a blast of air coughed out by the man-figure4 ,no4 ,,iii4 ,dakotas had whooping-cough1 very fatal4 ,the interruption in the cough is curiously designed4 ,an attempt at the same thing is made in ,chart #a1 and a less marked attempt appears in ,no4 ,,ii4 #ahad-'ae--,no4 ,i4 ,hunchback1 a ,brul1 killed by ,utes4 ,no4 ,,ii4 ,a ,dakota killed an ,arapaho in his lodge4 ,the device represents a tomahawk or battle-ax1 the red being blood from the cleft skull4 ,the ,arapahos long dwelt near the head-waters of the ,arkansas and ,platte ,rivers1 and in #ahbb numbered by report #aj1jjj4 ,no4 ,,iii4 ,a ,wetapahata 7a stranger ,indian1 whose nationality was not identified by the interpreter7 ,indian killed by a ,brul ,dakota1 while on a visit to the ,dakota4 ,mato ,sapa says3 a ,wetopahata ,indian was killed by a ,brul ,sioux while on a visit to the ,dakotas4 ,major ,bush says the same1 but spells the word ,watahpahata4 ,riggs gives ,w-ta-pa-ha1 the ,kiowas1 and ,ma-qp-ya-to1 the ,arapahos1 in the ,dakota ,dictionary4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xiv #ahae-'af4 #ahaf-'ag4 #ahag-'ah4 ,,the ,,dakota ,,winter ,,counts4 #ahae-'af4--,no4 ,i4 ,large dirt lodge made by ,sans ,arcs4 ,the figure at the top of the lodge is a bow4 ,no4 ,,ii4 ,the ,sans ,arcs made the first attempt at a dirt lodge4 ,this was at ,peoria ,bottom1 ,dakota ,territory4 ,crow-,feather was their chief1 which fact1 in the absence of the other charts1 seemed to explain the fairly-drawn feather of that bird protruding from the lodge top1 but the figure must now be admitted to be a badly drawn bow1 in allusion to the tribe ,sans ,arc1 without1 however1 any sign of negation4 ,as the interpreter explained the figure to be a crow feather1 and as ,crow-,feather actually was the chief1 ,lone-,dog's chart with its interpretation may be independently correct4 ,no4 ,,iii4 ,sans ,arc ,dakotas built dirt lodges at ,peoria ,bottom4 ,a dirt lodge is considered a permanent habitation4 ,the mark on top of the lodge is evidently a strung bow1 not a feather4 ,battiste ,good says3 8,the-,sans-,arcs-made-large-house winter40 ,white-,cow-,killer calls it3 8,made-a-house winter40 ,major ,bush's copy also shows a clearly drawn figure of a bow1 strung4 #ahaf-'ag4--,no4 ,i4 ,buffalo very plenty4 ,no4 ,,ii4 8,buffalo belly was plenty40 ,the device rudely portrays a side or perhaps hide of buffalo4 ,no4 ,,iii4 ,dakotas had unusual quantities of buffalo4 #ahag-'ah4--,no4 ,i4 ,trading store built at ,fort ,pierre4 ,no4 ,,ii4 ,la ,framboise1 a ,canadian1 built a trading store with dry timber4 ,the dryness is shown by the dead tree4 ,la ,framboise was an old trader among the ,dakotas4 ,he once established himself in the ,minnesota ,valley4 ,his name is mentioned by various travelers4 ,no4 ,,iii4 ,trading post built on the ,missouri ,river #aj miles above ,fort ,thompson4 ,battiste ,good says3 8,choz-built-a-house-of-dead-logs winter40 ,mato ,sapa says3 ,a trading house was built on the ,missouri ,river #aj miles above ,fort ,thompson4 ,major ,bush says the same as last1 but that it was built by ,louis ,la ,conte4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xv #ahah-'ai4 #ahai-'bj4 #ahbj-'ba4 ,,the ,,dakota ,,winter ,,counts #ahah-'ai4--,no4 ,i4 ,many ,indians died of cholera sic4 ,no4 ,,ii4 ,the measles broke out and many died4 ,the device in the copy is the same as that for #ahja-'jb1 relating to the small-pox1 except a very slight difference in the red blotches2 and though ,lone-,dog's artistic skill might not have been sufficient to distinctly vary the appearance of the two patients1 both diseases being eruptive1 still it is one of the few serious defects in the chart that the sign for the two years is so nearly identical that1 separated from the continuous record1 there would be confusion between them4 ,treating the document as a mere aide-de-mmoire1 no inconvenience would arise1 it probably being well known that the small-pox epidemic preceded that of the measles2 but such care is generally taken to make some1 however minute1 distinction between the characters1 that possibly the figures on ,lone-,dog's robe show a more marked difference between the spots indicating the two eruptions than is reproduced in the copy4 ,it is also to be noticed that the ,indian diagnosis makes little distinction between small-pox and measles1 so that no important pictographic variation could be expected4 ,the head of this figure is clearly distinguished from that in #ahja-'jb4 ,no4 ,,iii4 ,all the ,dakotas had measles1 very fatal4 ,battiste ,good says3 8,small-pox-used-them-up-again winter40 ,they at this time lived on the ,little ,white ,river1 about #bj miles above the ,rosebud ,agency4 ,the character in ,battiste ,good's chart is presented here in ,figure #da1 as a variant from those in the plates4 ,illustration3 ,,fig4 #da4--,measles or small-pox4 ,cloud-,shield says3 ,many died of the small-pox4 ,white-,cow-,killer calls it 8,little-small-pox winter40 ,in ,mato ,sapa's drawing the head of the figure is distinguished from that of #ahja-'jb4 #ahai-'bj4--,no4 ,i4 ,another trading store built4 ,no4 ,,ii4 ,another trading store was built2 this time by ,louis ,la ,conte1 at ,fort ,pierre1 ,dakota4 ,his timber1 as one of the ,indians consulted specially mentioned1 was rotten4 ,no4 ,,iii4 ,trading post built on the ,missouri ,river above ,farm ,island 7near ,fort ,pierre74 ,battiste ,good says3 8,choz-built-a-house-of-rotten-wood winter40 ,white-,cow-,killer calls it3 8,made-a-house-of-old-wood winter40 #ahbj-'ba4--,no4 ,i4 ,large dirt lodge made by ,two-,arrow4 ,the projection at the top extends downward from the left1 giving the impression of red and black cloth streamers4 ,no4 ,,ii4 ,the trader1 ,la ,conte1 gave ,two-,arrow a war-dress for his bravery4 ,so translated an interpreter1 and the sign shows the two arrows as the warrior's totem2 likewise the gable of a house1 which brings in the trader2 also a long strip of black tipped with red streaming from the roof1 which possibly may be the piece of parti-colored material out of which the dress was fashioned4 ,this strip is not intended for sparks and smoke1 as at first sight suggested1 as the red would in that case be nearest the roof1 instead of farthest from it4 ,no4 ,,iii4 ,a ,minneconjou ,dakota1 named ,two-,arrows1 built himself a dirt medicine-lodge4 ,this the interpreter calls1 rather inaccurately1 a headquarters for dispensing medicines1 charms1 and nostrums to the different bands of ,dakotas4 ,the black and red lines above the roof are not united and do not touch the roof4 ,white-,cow-,killer calls it3 8,two-,arrows-made-a-war-bonnet winter40 ,battiste ,good says3 ,they made bands of strips of blankets in the winter4 ,major ,bush says3 ,a ,minneconjou1 named ,two-,arrow1 made medicine in a dirt-lodge4 ,it will be observed that the interpreters vary in the details4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xvi #ahba-'bb4 #ahbb-'bc4 #ahbc-'bd4 ,,the ,,dakota ,,winter ,,counts4 #ahba-'bb4--,no4 ,i4 ,large ball of fire with hissing noise 7arolite74 ,no4 ,,ii4 ,the character represents the falling to earth of a very brilliant meteor1 and though no such appearance is on record1 there were in #ahba few educated observers near the ,upper ,mississippi and ,missouri who would take the trouble to notify scientific societies of the phenomenon4 ,no4 ,,iii4 ,dakota ,indians saw an immense meteor passing from southeast to northwest which exploded with great noise 7in ,dakota ,territory74 ,red-,cloud said he was born in that year4 ,battiste ,good says3 8,star-passed-by-with-loud-noise winter40 ,his device is shown in ,figure #db1 showing the meteor1 its pathway1 and the clouds from which it came4 ,illustration3 ,,fig4 #db--,meteor4 ,white-,cow-,killer calls it 8,one-star-made-a-great-noise winter40 ,see also ,cloud-,shield's count1 page #acf4 #ahbb-'bc4--,no4 ,i4 ,trading store built at ,little ,missouri1 near ,fort ,pierre4 ,no4 ,,ii4--,another trading house was built1 which was by a white man called ,big-,leggings1 and was at the mouth of the ,little ,missouri or ,bad ,river4 ,the drawing is distinguishable from that for #ahai-'bj4 ,no4 ,,iii4 ,trading post built at the mouth of ,little ,missouri ,river4 #ahbc-'bd--,no4 ,i4 ,whites and ,dakotas fight ,rees4 ,no4 ,,ii4 ,white soldiers made their first appearance in the region4 ,so said the interpreter1 ,clment1 but from the unanimous interpretation of others the event portrayed is the attack of the ,united ,states forces1 accompanied by ,dakotas1 upon the ,arikara villages1 the historic account of which is as follows1 abstracted from the annual report of ,j4 ,c4 ,calhoun1 ,secretary of ,war1 ,november #bi1 #ahbc3 ,general ,william ,h4 ,ashley1 lieutenant-governor of the ,state of ,missouri1 a licensed trader1 was treacherously attacked by the ,arickara ,indians at their village on the west bank of the ,missouri ,river1 about midway between the present ,fort ,sully and ,fort ,rice1 on ,june #b1 #ahbc4 ,twenty-three of the trading party were killed and wounded1 and the remainder retreated in boats a considerable distance down the river1 whence they sent appealing for succor to the commanding officer at ,fort ,atkinson1 the present site of ,council ,bluffs4 ,this officer was ,col4 ,h4 ,leavenworth1 ,sixth ,united ,states ,infantry1 who marched ,june #bb1 with #bbj men of that regiment1 #hj men of trading companies1 and two #f-pound cannon1 a #e-a_/b-;inch brass howitzer1 and some small swivels1 nearly #gjj miles through a country filled with hostile or unreliable ,indians to the ,ree villages1 which1 after much hardship and some losses1 he reached on the #ith of ,august4 ,the ,dakotas were at war with the ,arickara or ,rees1 and #gjj to #hjj of their warriors had joined the ,united ,states forces on the way2 of these ,dakotas #ejj are mentioned as ,yanktons1 but the tribes of the remainder are not designated in the official reports4 ,the ,rees were in two villages1 the lower one containing seventy-one dirt lodges and the upper seventy1 both being inclosed with palisades and a ditch1 and the greater part of the lodges having a ditch around the bottom on the inside4 ,the enemy1 having knowledge of the expedition1 had fortified and made every preparation for resistance4 ,their force consisted of over #gjj warriors1 most of whom were armed with rifles procured from ,british traders4 ,on the #ith of ,august the ,dakotas commenced the attack1 and were driven back until the regular troops advanced1 but nothing decisive resulted until the artillery was employed on the #ajth1 when a large number of the ,rees1 including their chief1 ,grey-,eyes1 were killed1 and early in the afternoon they begged for peace4 ,they were much terrified and humbled by the effect of the cannon1 which1 though small1 answered the purpose4 ,during the main engagement the ,dakotas occupied themselves in gathering and carrying off all the corn to be found1 and before the treaty was concluded1 which1 at the supplication of the ,rees1 ,colonel ,leavenworth agreed to1 the ,dakotas all left in great disgust at not being allowed to kill and scalp the surrendered warriors with their squaws and pappooses1 take possession of the villages1 horses1 etc41 and in fact to exterminate their hereditary foes4 ,however1 the ,rees1 having become panic-stricken after the treaty and two days of peaceful intercourse with the soldiers1 deserted their homes1 and the troops1 embarking on the #aeth to descend the river1 shortly saw the villages in flames1 which was the work either of the ,dakotas or of inimical traders4 ,the device is believed to represent an ,arickara palisaded village and attacking soldiers4 ,not only the remarkable character and triumphant result of this expedition1 but the connection that the ,dakotas themselves had with it1 made it a natural subject for the year's totem4 ,all the winter counts refer to this expedition4 ,no4 ,,iii4 ,united ,states troops fought ,ree ,indians4 ,battiste ,good says3 8,general----- -first-appeared-and-the-,dakotas-aided-h im-in-an-attack-on-the-,rees winter10 also 8,much-corn winter40 ,for his character see ,figure #fi1 page #aff4 ,the gun and the arrow in contact with the ear of corn show that both whites and ,indians fought the ,rees4 ,white-,cow-,killer calls it 8,old-corn-plenty winter40 ,mato ,sapa's chart gives the human figure with a military cap1 beard1 and goatee4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xvii #ahbd-'be4 #ahbe-'bf4 #ahbf-'bg4 ,,the ,,dakota ,,winter ,,counts4 #ahbd-'be4--,no4 ,i4 ,all the horses of ,little-,swan's father are killed by ,indians through spite4 ,no4 ,,ii4 ,swan1 chief of the ,two ,kettle tribe1 had all of his horses killed4 ,device1 a horse pierced by a lance1 blood flowing from the wound4 ,no4 ,,iii4 ,swan1 a ,minneconjou ,indian1 had twenty horses killed by a jealous ,indian4 ,mato ,sapa says3 ,swan1 a ,minneconjou chief1 lost twenty horses killed by a jealous ,indian4 ,major ,bush says the same4 #ahbe-'bf4--,no4 ,i4 ,river overflows the ,indian camp2 several drowned4 ,the-,flame1 the recorder of this count1 born4 ,in the original drawing the five objects above the line are obviously human heads4 ,no4 ,,ii4 ,there was a remarkable flood in the ,missouri ,river1 and a number of ,indians were drowned4 ,with some exercise of fancy1 the symbol may suggest heads appearing above a line of water1 or it may simply be the severed heads1 several times used1 to denote ,indians other than ,dakotas1 with the uniting black line of death4 ,no4 ,,iii4 ,thirty lodges of ,dakota ,indians drowned by a sudden rise of the ,missouri ,river about ,swan ,lake ,creek1 which is in ,horsehead ,bottom1 #ae miles below ,fort ,rice4 ,the five heads are more clearly drawn than in ,no4 ,,ii4 ,battiste ,good says3 8,many-,yanktonais-drowned winter20 adding3 ,the river bottom on a bend of the ,missouri ,river where they were encamped was suddenly submerged1 when the ice broke and many women and children1 were drowned4 ,this device is presented in ,figure #dc4 ,illustration3 ,,fig4 #dc4--,river freshet4 ,all the winter counts refer to this flood4 #ahbf-'bg4--,no4 ,i4 ,all of the ,indians who ate of a buffalo killed on a hunt died of it1 a peculiar substance issuing from the mouth4 ,no4 ,,ii4 8,an ,indian died of the dropsy40 ,so ,basil ,clment was understood1 but it is not clear why this circumstance should have been noted1 unless the appearance of the disease was so unusual in #ahbf as to excite remark4 ,baron de ,la ,hontan1 a good authority concerning the ,northwestern ,indians before they had been greatly affected by intercourse with whites1 although showing a tendency to imitate another baron--,munchausen--as to his personal adventures1 in his ,nouveaux ,voyages dans l',amrique ,septentrionale specially mentions dropsy as one of the diseases unknown to them4 ,carver also states that this malady was extremely rare4 ,whether or not the dropsy was very uncommon1 the swelling in this special case might have been so enormous as to render the patient an object of general curiosity and gossip1 whose affliction thereby came within the plan of the count4 ,the device merely shows a man-figure1 not much fatter than several others1 but distinguished by a line extending sidewise from the top of the head and inclining downward4 ,the other records cast doubt upon the interpretation of dropsy4 ,no4 ,,iii4 ,dakota war party killed a buffalo2 having eaten of it they all died4 ,battiste ,good says3 8,ate-a-whistle-and-died winter10 and adds3 8,six ,dakotas1 on the war-path1 had nearly perished with hunger1 when they found and ate the rotting carcass of an old buffalo1 on which the wolves had been feeding4 ,they were seized soon after with pains in the stomach1 their abdomens swelled and gas poured from the mouth1 and they died of a whistle1 or from eating a whistle40 ,the sound of gas escaping from1 the mouth is illustrated in his figure which see in ,figure #adf1 page #bba4 ,white-,cow-,killer calls it 8,long-whistle-sick winter40 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xviii #ahbg-'bh4 #ahbh-'bi4 #ahbi-'cj4 ,,the ,,dakota ,,winter ,,counts4 #ahbg-'bh4--,no4 ,i4 ,a ,minneconjou is stabbed by a ,gros ,ventre1 and his arm shrivels up4 ,no4 ,,ii4 ,dead-,arm was stabbed with a knife or dirk by a ,mandan4 ,the illustration is quite graphic1 showing the long-handled dirk in the bloody wound and the withered arm4 ,though the ,mandans are also of the great ,siouan family1 the ,dakotas have pursued them with special hatred4 ,in #ahbc1 their number1 much diminished by wars1 still exceeded #b1ejj4 ,no4 ,,iii4 ,a ,minneconjou ,dakota wounded with a large knife by a ,gros ,ventre4 ,the large knife was a sword1 and the ,indian who was wounded was named1 afterwards1 ,lame-,shoulder4 ,this is an instance of a change of name after a remarkable event in life4 #ahbh-'bi4--,no4 ,i4 ,chardran1 a white man1 builds a house at forks of ,cheyenne ,river4 ,this name should probably be spelled ,chadron1 with whom ,catlin hunted in #ahcb1 in the region mentioned4 ,no4 ,,ii4 ,a white man named ,shardran1 who lately 7as reported in #ahgg7 was still living in the same neighborhood1 built a dirt lodge4 ,the hatted head appears under the roof4 ,,iii4 ,trading post opened in a dirt lodge on the ,missouri a little below the mouth of the ,little ,missouri ,river4 #ahbi-'cj4--,no4 ,i4 ,a ,dakota found dead in a canoe4 ,no4 ,,ii4 ,bad-,spike killed another ,indian with an arrow4 ,no4 ,,iii4 ,a ,yanktonai ,dakota killed by ,bad-,arrow ,indians4 ,the ,bad-,arrow ,indians is a translation of the ,dakota name for a certain band of ,blackfeet ,indians4 ,mato ,sapa says3 a ,yanktonai was killed by the ,bad-,arrow ,indians4 ,major ,bush says the same as ,mato ,sapa4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xix #ahcj-'ca4 #ahca-'cb4 #ahcb-'cc4 ,,the ,,dakota ,,winter ,,counts4 #ahcj-'ca4--,no4 ,i4 ,mandans kill twenty ,crows at ,bear ,butte4 ,no4 ,,ii4 ,bloody battle with the ,crows1 of whom it is said twenty-three were killed4 ,nothing in the sign denotes number1 it being only a man-figure with red or bloody body and red war bonnet4 ,no4 ,,iii4 ,twenty ,crow and one ,cheyenne ,indians killed by ,dakotas at ,bear ,butte4 ,mato ,sapa says3 ,one ,cheyenne and twenty ,crows were killed by ,dakotas at ,bear ,butte4 ,major ,bush says the same as ,mato ,sapa4 #ahca-'cb4--,no4 ,i4 ,two white men killed by a white man at ,medicine ,creek1 below ,fort ,sully4 ,no4 ,,ii4 ,le ,beau1 a white man1 killed another named ,kermel4 ,another copy reads ,kennel4 ,le ,beau was still alive at ,little ,bend1 #cj miles above ,fort ,sully1 in #ahgg4 ,no4 ,,iii4 ,trader named ,le ,beau killed one of his employs on ,big ,cheyenne ,river1 below ,cherry ,creek4 #ahcb-'cc4--,no4 ,i4 ,lone-,horn's father broke his leg4 ,no4 ,,ii4 ,lone-,horn had his leg 8killed10 as the interpretation gave it4 ,the single horn is on the figure1 and a leg is drawn up as if fractured or distorted1 though not unlike the leg in the character for #ahjh-'ji1 where running is depicted4 ,no4 ,,iii4 ,a ,minneconjou ,dakota1 ,lone-,horn's father1 had his leg broken while running buffalo4 ,mato ,sapa and ,major ,bush also say ,lone-,horn's father4 ,battiste ,good says3 8,stiff-leg-,with-war-bonnet-on-died winter40 ,he was killed in an engagement with the ,pawnees on the ,platte ,river4 ,white-,cow-,killer calls it 8,one-,horn's-leg-broken winter40 ,in ,catlin's 8,north ,american ,indians10 ,new ,york1 #ahdd1 ,vol4 ,i1 page #baa1 the author1 writing from the mouth of ,teton ,river1 ,upper ,missouri1 site of ,fort ,pierre1 described ,ha-won-je-tah1 ,the ,one-,horn1 head chief of all the bands of the ,dakotas1 which were about twenty4 ,he was a bold1 middle-aged man of medium stature1 noble countenance1 and figure almost equalling an ,apollo4 ,his portrait was painted by ,catlin in #ahcb4 ,he took the name of ,one-,horn1 or ,one-,shell1 from a simple small shell that was hanging on his neck1 which descended to him from his father1 and which he valued more than anything else which he possessed1 and he kept that name in preference to many others more honorable which he had a right to have taken1 from his many exploits4 ,on page #bba1 the same author states1 that after being the accidental cause of the death of his only son1 ,lone-,horn became at times partially insane4 ,one day he mounted his war-horse1 vowing to kill the first living thing he should meet1 and rode to the prairies4 ,the horse came back in two hours afterwards1 with two arrows in him covered with blood4 ,his tracks were followed back1 and the chief was found mangled and gored by a buffalo bull1 the carcass of which was stretched beside him4 ,he had driven away the horse with his arrows and killed the bull with his knife4 ,another account in the catalogue of ,catlin's cartoons gives the portrait of ,the ,one-,horn as number #ced1 with the statement that having killed his only son accidentally1 he became deranged1 wandered into the prairies1 and got himself killed by an infuriated buffalo bull's horns4 ,this was at the mouth of ,little ,missouri ,river1 in #ahcd4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xx #ahcc-'cd4 #ahcd-'ce4 #ahce-'cf4 ,,the ,,dakota ,,winter ,,counts4 #ahcc-'cd4--,no4 ,i4 ,many stars fell 7meteors74 ,the character shows six black stars above the concavity of the moon4 ,no4 ,,ii4 8,the stars fell10 as the ,indians all agreed4 ,this was the great meteoric shower observed all over the ,united ,states on the night of ,november #abth of that year4 ,in this chart the moon is black and the stars are red4 ,no4 ,,iii4 ,dakotas witnessed magnificent meteoric-showers2 much terrified4 ,battiste ,good calls it 8,storm-of-stars winter10 and gives as the device a tipi1 with stars falling around it4 ,this is presented in ,figure #dd4 ,the tipi is colored yellow in the original1 and so represented in the figure according to the heraldic scheme4 ,illustration3 ,,fig4 #dd4--,meteoric shower4 ,white-,cow-,killer calls it 8,plenty-stars winter40 ,all the winter counts refer to this meteoric display4 ,see page #ach4 #ahcd-'ce4--,no4 ,i4 ,a ,ree killed by a ,dakota4 ,no4 ,,ii4 ,the chief1 ,medicine-,hide1 was killed4 ,the device shows the body as bloody1 but not the war bonnet1 by which it is distinguished from the character for #ahcj-'ca4 ,no4 ,,iii4 ,an ,uncpapa ,dakota ,medicine-man killed by the ,ree ,indians4 ,mato ,sapa says3 ,an ,uncpapa medicine-man was killed by ,rees4 ,there is no red on the figure4 #ahce-'cf4--,no4 ,i4 ,lame-,deer killed by a ,dakota4 ,the ,dakota had only one arrow4 ,he pulled it out and shot ,lame-,deer many times4 ,no4 ,,ii4 ,lame-,deer shot a ,crow ,indian with an arrow2 drew it out and shot him again with the same arrow4 ,the hand is drawing the arrow from the first wound4 ,this is another instance of the principle on which events were selected4 ,many fights occurred of greater moment1 but with no incident precisely like this4 ,no4 ,,iii4 ,minneconjou chief named ,lame-,deer shot an ,assiniboine three times with the same arrow4 ,he kept so close to his enemy that he never let the arrow slip away from the bow1 but pulled it out and shot it in again4 ,mato ,sapa says a ,minneconjou named ,lame-,deer shot an ,assiniboine three times running with the same arrow4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xxi #ahcf-'cg4 #ahcg-'ch4 #ahch-'ci4 ,,the ,,dakota ,,winter ,,counts4 ,lame-,deer was a distinguished chief among the hostiles in #ahgf4 ,his camp of five hundred and ten lodges was surprised and destroyed by ,general ,miles1 and four hundred and fifty horses1 mules1 and ponies were captured4 #ahcf-'cg4--,no4 ,i4 ,father-of-the-,mandans died4 ,no4 ,,ii4 ,band's-,father1 chief of the ,two ,kettles1 died4 ,the device is nearly the same as that for #ahaf-'ag1 denoting plenty of buffalo belly2 and the question might be raised1 what the buffalo belly had to do with the demise of the lamented chieftain1 unless he suffered from a fatal indigestion after eating too much of that delicacy4 ,interpreter ,fielder1 however1 throws light on the subject by saying that this character was used to designate the year when ,the-,breast1 father of ,the-,band1 a ,minneconjou1 died4 ,the-,band himself died in #ahge1 on ,powder ,river4 ,his name was ,o-ye-a-pee4 ,the character was therefore the buffalo breast1 a name-totem4 ,no4 ,,iii4 ,two ,kettle1 ,dakota1 named ,the-,breast1 died4 ,mato ,sapa says3 ,a ,two ,kettle1 named ,the-,breast1 died4 ,major ,bush same as ,mato ,sapa4 #ahcg-'ch4--,no4 ,i4 ,many elk and deer killed4 ,the figure does not show the split hoof4 ,no4 ,,ii4 ,commemorates a remarkably successful hunt1 in which it is said one hundred elk were killed4 ,the drawing of the elk is good enough to distinguish it from the other quadrupeds in this chart4 ,no4 ,,iii4 ,the ,dakotas killed one hundred elk at the ,black ,hills4 ,mato ,sapa says3 ,the ,dakotas killed one hundred elk at the ,black ,hills4 ,his figure does not show the split hoof4 #ahch-'ci4--,no4 ,i4 ,indians built a lodge on ,white ,wood ,creek1 in the ,black ,hills1 and wintered there4 ,no4 ,,ii4 ,a dirt lodge was built for ,iron-,horn4 ,the other dirt lodge 7#ahae-'af7 has a mark of ownership1 which this has not4 ,perhaps it was not so easy to draw an iron horn as a crow feather1 and the distinction was accomplished by omission4 ,a chief of the ,minneconjous is mentioned in ,general ,harney's report in #ahef1 under the name of ,the-,one-,iron-,horn4 ,no4 ,,iii4 ,a ,minneconjou chief1 named ,iron-,horn1 built dirt lodge 7medicine lodge7 on ,moreau ,river 7same as ,owl ,river74 ,this ,minneconjou chief1 ,iron-,horn1 died a few years ago and was buried near ,fort ,sully4 ,he was father-in-law of ,dupuis1 a ,french ,canadian4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xxii #ahci-'dj4 #ahdj-'da4 #ahda-'db4 ,,the ,,dakota ,,winter ,,counts4 #ahci-'dj4--,no4 ,i4 ,dakotas killed twenty lodges of ,arapahos4 ,no4 ,,ii4 ,the ,dakotas killed an entire village of ,snake ,indians4 ,the character is the ordinary tipi pierced by arrows4 ,the ,snakes1 or ,shoshoni1 were a numerous and wide-spread people1 inhabiting ,southeastern ,oregon1 ,idaho1 ,western ,montana1 and portions of ,utah and ,nevada1 extending into ,arizona and ,california4 ,no4 ,,iii4 ,a ,minneconjou ,dakota1 named ,the-,hard 7with band71 killed seven lodges of the ,blue ,cloud ,indians4 ,the ,blue ,clouds are the ,arapahos1 so styled by the ,dakotas1 original ,maqpyato4 ,mato ,sapa says3 ,a ,minneconjou ,dakota named ,the-,hard killed seven lodges of the ,blue ,cloud ,indians4 ,major ,bush same as ,mato ,sapa4 #ahdj-'da4--,no4 ,i4 ,red-,arm1 a ,cheyenne1 and ,lone-,horn1 a ,dakota1 make peace4 ,no4 ,,ii4 ,the ,dakotas made peace with the ,cheyennes1 a well-known tribe belonging to the ,algonkin family4 ,the symbol of peace is the common one of the approaching palms of two persons4 ,the different coloration of the two arms distinguishes them from the approximation of the palms of one person4 ,no4 ,,iii4 ,dakotas made peace with ,cheyenne ,indians4 #ahda-'db4--,no4 ,i4 ,feather-in-the-,ear steals horses from the ,crows4 ,no4 ,,ii4 ,feather-in-the-,ear stole thirty spotted ponies4 ,the spots are shown red1 distinguishing them from those of the curly horse in the character for #ahjc-'jd4 ,no4 ,,iii4 ,a ,minneconjou ,dakota1 named ,feather-in-his-,ear1 stole nineteen spotted horses from the ,crow ,indians4 ,mato ,sapa says3 ,a ,minneconjou named ,feather-in-the-,ear stole nineteen spotted horses from the ,crows4 ,major ,bush1 says the same1 except that he gives the number as nine instead of nineteen4 ,a successful theft of horses1 demanding skill1 patience1 and daring1 is generally considered by the plains ,indians to be of equal merit with the taking of scalps4 ,indeed1 the successful horse-thief is more popular than a mere warrior on account of the riches gained by the tribe1 wealth until lately being generally estimated in ponies as the unit of value4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xxiii #ahdb-'dc4 #ahdb-'dd4 #ahdd-'de4 ,,the ,,dakota ,,winter ,,counts4 #ahdb-'dc4--,no4 ,i4 ,a ,minneconjou chief tries to make war4 ,the tip of the feather is black4 ,no red in it4 ,no4 ,,ii4 ,one-,feather raised a large war party against the ,crows4 ,this chief is designated by his long solitary red eagle feather1 and holds a pipe with black stem and red bowl1 alluding to the usual ceremonies before starting on the war path4 ,for further information on this subject see page #aci4 ,the ,red-,war-,eagle-,feather was at this time a chief of the ,sans ,arcs4 ,no4 ,,iii4 ,feather-in-the-,ear made a feast1 to which he invited all the young ,dakota braves1 wanting them to go with him4 ,a memorandum is added that he failed to persuade them4 ,see ,corbusier ,winter ,counts for same year1 page #ada4 ,mato ,sapa says3 ,the same man 7referring to last year71 ,feather-in-the-,ear1 made a feast inviting all ,dakota young men to go to war4 ,major ,bush says same as ,mato ,sapa4 #ahdc-'dd4--,no4 ,i4 ,buffalo is scarce2 an ,indian makes medicine and brings them to the suffering4 ,no4 ,,ii4 ,the ,sans ,arcs made medicine to bring the buffalo4 ,the medicine tent is denoted by a buffalo's head drawn on it4 ,no4 ,,iii4 ,no buffalo2 ,indians made medicine to the ,great ,spirit by painting a buffalo's head on lodge2 plenty came4 ,mato ,sapa says3 ,dakotas were starving2 made medicine to ,great ,spirit by painting buffalo head on their lodges2 plenty came4 ,major ,bush substantially same as ,mato ,sapa4 #ahdd-'de4--,no4 ,i4 ,mandans wintered in ,black ,hills4 ,no4 ,,ii4 ,the ,minneconjous built a pine fort4 ,device3 ,a pine tree connected with a tipi4 ,no4 ,,iii4 ,unusually heavy snow2 had to build corrals for ponies4 ,major ,bush says3 ,heavy snow1 in which many of their ponies perished4 ,probably the ,indians went into the woods and erected their tipis there as protection from the snow1 thus accounting for the figure of the tree4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xxiv #ahde-'df4 #ahdf-'dg4 #ahdg-'dh4 ,,the ,,dakota ,,winter ,,counts4 #ahde-'df--,no4 ,i4 ,dakotas have much feasting at ,ash ,point1 #bj miles above ,fort ,sully4 ,no4 ,,ii4 ,plenty of buffalo meat1 which is represented as hung upon poles and trees to dry4 ,no4 ,,iii4 ,immense quantities of buffalo meat4 #ahdf-'dg4--,no4 ,i4 ,broken-,leg dies4 ,no4 ,,ii4 ,broken-,leg died4 ,rev4 ,dr4 ,williamson says he knew him4 ,he was a ,brul4 ,there is enough difference between this device and those for #ahjh-'ji and #ahcb-'cc to distinguish each4 ,no4 ,,iii4 ,a ,minneconjou ,dakota named ,broken-,leg died4 ,battiste ,good calls this3 8,the-,teal-broke-his-leg winter40 ,the arm in his character1 given in ,figure #de1 is lengthened so as nearly to touch the broken leg1 which is shown distorted1 instead of indicating the injury by the mere distortion of the leg itself as in the charts on ,plate ,,xxiv4 ,the bird over the head and connected by a line with it1 probably represents the teal as a name-totem4 ,he was perhaps called ,broken-,leg after the injury1 or perhaps the other interpreters did not remember his name1 only the circumstance4 ,illustration3 ,,fig4 #de4--,the-,teal-broke-his-leg4 ,mato ,sapa says3 ,a ,minneconjou named ,broken-,leg died4 ,the ,corbusier records for #ahdg-'dh refer to a number of accidents by which legs were broken4 ,see page #adb4 #ahdg-'dh--,no4 ,i4 ,mandans kill two ,minneconjous4 ,no4 ,,ii4 ,two-,man was killed4 ,his totem is drawn--two small man-figures side by side4 ,no4 ,,iii4 ,two ,minneconjou ,dakotas killed by the ,assiniboine ,indians4 ,major ,bush says3 the wife of an ,assiniboine chief named ,big-,thunder had twins4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xxv #ahdh-'di4 #ahdi-'ej4 #ahej-'ea4 ,,the ,,dakota ,,winter ,,counts4 #ahdh-'di4--,no4 ,i4 ,humpback1 a ,minneconjou1 killed4 ,no4 ,,ii4 ,humpback was killed4 ,an ornamented lance pierces the distorted back4 ,no4 ,,iii4 ,a ,minneconjou ,dakota named ,broken-,back was killed by the ,crow ,indians at ,black ,hills4 ,major ,bush says3 ,a ,minneconjou1 ,broken-,back1 was killed by ,crows4 #ahdi-'ej4--,no4 ,i4 ,crows steal all the ,dakotas' horses4 ,no4 ,,ii4 ,the ,crows stole a large drove of horses 7it is said eight hundred7 from the ,bruls4 ,the circle may denote multitude1 at least one hundred1 but probably is a simple design for a camp or corral from which a number of horse-tracks are departing4 ,no4 ,,iii4 ,crow ,indians stole two hundred horses from the ,minneconjou ,dakotas near ,black ,hills4 ,interpreter ,a4 ,lavary says3 ,bruls were at the headwaters of ,white ,river1 about #ge miles from ,fort ,laramie1 ,wyoming4 ,the ,dakotas surprised the ,crows in #ahdi1 killed ten1 and took one prisoner1 because he was a man dressed in woman's clothes1 and next winter the ,crows stole six hundred horses from the ,bruls4 ,see page #adb4 #ahej-'ea4--,no4 ,i4 ,cow with old woman in her belly4 ,cloven hoof not shown4 ,no4 ,,ii4 ,the character is a distinct drawing of a buffalo containing a human figure4 ,clment translated that 8a buffalo cow was killed in that year1 and an old woman found in her belly02 also that all the ,indians believed this4 ,good-,wood1 examined through another interpreter1 could or would give no explanation1 except that it was 8about their religion40 ,at first the writer suspected that the medicine men had manufactured some pretended portent out of a ftus taken from a real cow1 but the ,dakotas have long believed in the appearance from time to time of a monstrous animal that swallows human beings4 ,this superstition was perhaps suggested by the bones of mastodons1 often found in the territory of those ,indians2 and the buffalo being the largest living animal known to them1 its name was given to the legendary monster1 in which nomenclature they were not wholly wrong1 as the horns of the fossil ,bison latifrons are #aj feet in length4 ,the medicine men1 perhaps1 announced1 in #ahej1 that a squaw who had disappeared was swallowed by the mammoth1 which was then on its periodical visit1 and must be propitiated4 ,no4 ,,iii4 ,a ,minneconjou ,dakota1 having killed a buffalo cow1 found an old woman inside of her4 ,memorandum from interpreter3 ,a small party of ,dakotas1 two or three young men1 returning unsuccessful from a buffalo hunt1 told this story1 and it is implicitly believed by the ,dakotas4 ,major ,bush suggests that perhaps some old squaw left to die sought the carcass of a buffalo for shelter and then died4 ,he has known that to occur4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xxvi #ahea-'eb4 #aheb-'ec4 #ahec-'ed4 ,,the ,,dakota ,,winter ,,counts4 #ahea-'eb4--,no4 ,i4 ,peace made with the ,crows4 ,no4 ,,ii4 ,peace with the ,crows4 ,two ,indians1 with differing arrangement of hair1 showing two tribes1 are exchanging pipes for a peace-smoke4 ,no4 ,,iii4 ,dakotas made peace with the ,crow ,indians4 ,it was1 as usual1 broken immediately4 ,the treaty of ,fort ,laramie was in #ahea4 #aheb-'ec4--,no4 ,i4 ,a ,crow chief1 ,flat-,head1 comes into the tipi of a ,dakota chief1 where a council was assembled1 and forces them to smoke the pipe of peace4 ,this was a daring act1 for he was in danger of immediate death if he failed4 ,no4 ,,ii4 ,the ,nez ,percs came to ,lone-,horn's lodge at midnight4 ,the device shows an ,indian touching with a pipe a tipi1 the top of which is black or opaque1 signifying night4 ,the ,nez ,percs are so styled by a blunder of the early travelers1 as they never have been known to pierce their noses1 although others of their family1 the ,sahaptin1 do so4 ,the tribe was large1 dwelling chiefly in ,idaho4 ,no4 ,,iii4 ,an enemy came into ,lone-,horn's lodge during a medicine feast and was not killed4 7,the enemy numbered about fourteen and had lost their way in a snow-storm47 ,the pipe is not in the man's hand1 and the head only is drawn with the pipe between it and the tipi4 ,mato ,sapa says3 ,several strange ,indians came into the ,dakota camp1 were saved from being killed by running into ,lone-,horn's lodge4 ,major ,bush says3 ,an enemy came into ,lone-,horn's lodge during a feast and was not killed4 ,touch-the-,clouds1 a ,minneconjou1 son of ,lone-,horn1 on being shown ,chart ,no4 ,,ii by the present writer1 designated this character as being particularly known to him from the fact of its being his father's lodge4 ,he remembers all about it from talk in his family1 and said it was the ,nez ,percs who came4 #ahec-'ed4--,no4 ,i4 ,spanish blankets introduced by traders4 ,the blanket is represented without the human figure4 ,no4 ,,ii4 ,spanish blankets were first brought to the country4 ,a fair drawing of one of those striped blankets1 held out by a white trader4 ,no4 ,,iii4 ,dakotas first saw the ,spanish blankets4 ,see ,corbusier records for #ahea-'eb1 page #adb4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xxvii #ahed-'ee4 #ahee-'ef4 #ahef-'eg4 ,,the ,,dakota ,,winter ,,counts4 #ahed-'ee4--,no4 ,i4 ,brave-,bear killed by ,blackfeet4 ,no4 ,,ii4 ,brave-,bear was killed4 ,it does not appear certain whether he had already invested in the new style of blanket or whether the extended arms are ornamented with pendent stripes4 ,the latter is more probable4 ,no4 ,,iii4 ,a ,minneconjou ,dakota named ,brave-,bear was killed by the ,upper ,blackfeet4 ,satsika8 ,see ,corbusier winter-counts for the same year1 page #adc4 #ahee-'ef4--,no4 ,i4 ,general ,harney 7,putin ska7 makes a treaty4 ,no4 ,,ii4 ,general ,harney made peace with a number of the tribes or bands of the ,dakotas4 ,this was at ,fort ,pierre1 ,dakota4 ,the figure shows an officer in uniform shaking hands with an ,indian4 ,executive document ,no4 #id1 ,thirty-fourth ,congress1 first session1 ,senate1 contains the 8minutes of a council held at ,fort ,pierre1 ,nebraska1 on the #ast day of ,march1 #ahef1 by ,brevet ,brig4-,gen4 ,william ,s4 ,harney1 ,u4 ,s4 ,army1 commanding the ,sioux expedition1 with the delegations from nine of the bands of the ,sioux1 viz41 the ,two-,kettle band1 ,lower ,yankton1 ,oncpapas1 ,blackfeet ,sioux1 ,minneconjous1 ,sans ,arcs1 ,yanctonnais 7two bands71 ,bruls of the ,platte40 ,no4 ,,iii4 ,dakotas made peace with ,general ,harney 7called by them ,putinska1 white beard or moustache7 at ,fort ,pierre1 ,dakota4 #ahef-'eg4--,no4 ,i4 ,four-,horns1 a great warrior4 ,no4 ,,ii4 ,four-,horn was made a calumet or medicine-man4 ,this was probably the result of an important political struggle1 as there is much rivalry and electioneering for the office1 which1 with its triple character of doctor1 priest1 and magician1 is one of far greater power than the chieftainship4 ,a man with four horns holds out the same kind of ornamented pipe-stem shown in the character for #ahjd-'je1 it being his badge of office4 ,four-,horn was one of the subchiefs of the ,uncpapas1 and was introduced to ,general ,harney at the council of #ahef by ,bear-,rib1 head chief of that tribe4 ,no4 ,,iii4 ,a ,minneconjou ,dakota1 named ,red-,fish's-,son1 danced calumet dance4 ,mato ,sapa says the same as last4 ,major ,bush says1 8,a ,minneconjou1 ,red-,fish's-,son1 ,the-,ass1 danced the ,four-,horn calumet40 ,interpreter ,clment1 in the spring of #ahgd1 said that ,four-,horn and ,sitting-,bull were the same person1 the name ,sitting-,bull being given him after he was made a calumet man4 ,no other authority tells this4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xxviii #aheg-'eh4 #aheh-'ei4 #ahei-'fj4 ,,the ,,dakota ,,winter ,,counts4 #aheg-'eh4--,no4 ,i4 ,white-,robe kills a ,crow woman4 ,there is but one arrow and one blood spot in the character4 ,no4 ,,ii4 ,the ,dakotas killed a ,crow squaw4 ,the stripes on the blanket are shown horizontally1 ,brave-,bear's1 #ahed-'ee1 and ,swan's1 #ahff-'fg1 being vertical4 ,she is pierced by four arrows1 and the peace made with the ,crows in #ahea-'eb seems to have been short lived4 ,no4 ,,iii4 ,a party of ,crow ,indians1 while on a visit to the ,dakotas1 had one of their number killed by a young ,dakota4 ,the figure has blood from the four arrows running down each side of the body4 ,mato-,sapa says3 ,a ,crow was killed by a ,dakota while on a visit to the latter4 ,major ,bush says substantially the same as ,mato ,sapa4 #aheh-'ei4--,no4 ,i4 ,lone-,horn makes medicine4 8,at such times ,indians sacrifice ponies1 etc41 and fast40 ,in this character the buffalo-head is black4 ,no4 ,,ii4 ,lone-,horn1 whose solitary horn appears1 made buffalo medicine1 probably on account of the scarcity of that animal4 ,again the head of an albino bison4 ,one-,horn1 doubtless the same individual1 is recorded as the head chief of the ,minneconjous at this date4 ,no4 ,,iii4 ,a ,minneconjou chief1 named ,lone-,horn1 made medicine with white buffalo-cow skin4 ,lone-,horn1 chief of ,minneconjous1 died in #ahgd1 in his camp on the ,big ,cheyenne4 #ahei-'fj4--,no4 ,i4 ,big-,crow killed4 ,no4 ,,ii4 ,big-,crow1 a ,dakota chief1 was killed by the ,crows4 ,the crow1 transfixed by an arrow1 is drawn so as to give quite the appearance of an heraldic crest4 ,no4 ,,iii4 ,a ,minneconjou ,dakota1 named ,big-,crow1 was killed by the ,crow ,indians4 ,he had received his name from killing a ,crow ,indian of unusual size4 ,mato ,sapa says3 ,big-,crow1 a ,minneconjou1 was killed by ,crows4 ,major ,bush says same as ,mato ,sapa4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xxix #ahfj-'fa4 #ahfa-'fb4 #ahfb-'fc4 ,,the ,,dakota ,,winter ,,counts4 #ahfj-'fa4--,no4 ,i4 ,the-,elk-who-shows himself-when-he-walks makes medicine4 ,no4 ,,ii4 ,device1 the head and neck of an elk1 like that part of the animal in #ahcg-'ch1 with a line extending from its mouth1 at the extremity of which is the albino buffalo-head4 8,the elk made you understand his voice while he was walking40 ,the interpreter persisted in this oracular rendering1 probably not being able to fully catch the ,indian explanation from want of thorough knowledge of the language4 ,the ignorance of professed interpreters1 who easily get beyond their philological depth1 but are ashamed to acknowledge it1 has occasioned many official blunders4 ,this device and its interpretation were unintelligible to the writer until examination of ,general ,harney's report above referred to showed the name of a prominent chief of the ,minneconjous1 set forth as 8,the-,elk-that-,hollows-,walking40 ,it then became probable that the device simply meant that the aforesaid chief made buffalo medicine1 which conjecture1 published in #ahgg1 the other records subsequently discovered verified4 ,no4 ,,iii4 ,a ,minneconjou ,dakota1 named ,red-,fish's-,son1 made medicine with white buffalo-cow skin4 ,mato ,sapa's record agrees with ,no4 ,,iii4 ,major ,bush says the same1 adding1 after the words 8,red-,fish's-,son10 8,the-,ass40 ,interpreter ,a4 ,lavary said1 in #ahfg1 that ,the-,elk-that-,hollows-,walking1 then chief of the ,minneconjous1 was then at ,spotted-,tail's camp4 ,his father was ,red-,fish4 ,he was the elder brother of ,lone-,horn4 ,his name is given as ,a-hag-a-hoo-man-ie1 translated ,the ,elk's-,voice-,walking1 compounded of ,he-ha-ka1 elk1 and ,omani1 walk--this according to ,lavary's literation4 ,the correct literation of the ,dakota word meaning elk is heqaka2 voice ho2 and to walk1 walking1 mani4 ,their compound would be ,heqaka ho mani1 the translation being the same as above given4 #ahfa-'fb4--,no4 ,i4 ,buffalo very plenty4 ,no4 ,,ii4 ,buffalo were so plenty that their tracks came close to the tipis4 ,the cloven hoof-mark is cleverly distinguished from the tracks of horses in the character for #ahdi-'ej4 ,no4 ,,iii4 ,dakotas had unusual abundance of buffalo4 #ahfb-'fc4--,no4 ,i4 ,red-,plume kills an enemy4 ,no4 ,,ii4 ,red-,feather1 a ,minneconjou1 was killed4 ,his feather is shown entirely red1 while the 8one-feather0 in #ahdb-'dc has a black tip4 ,no4 ,,iii4 ,a ,minneconjou ,dakota killed an ,assiniboine named ,red-,feather4 ,mato ,sapa says3 ,minneconjous kill an ,assiniboine named ,red-,feather4 ,major ,bush agrees with ,mato ,sapa4 ,it is to be noted that there is no allusion to the great ,minnesota massacre1 which commenced in ,august1 #ahfb1 and in which many of the ,dakotas belonging to the tribes familiar with these charts1 were engaged4 ,little-,crow was the leader4 ,he escaped to the ,british possessions1 but was killed in ,july1 #ahfc4 ,perhaps the reason of the omission of any character to designate the massacre1 was the terrible retribution that followed it1 beginning with the rout by ,colonel ,sibley1 on ,september #bc1 #ahfb4 ,the ,indian captives amounted in all to about eighteen hundred4 ,a military commission sentenced three hundred and three to be hanged and eighteen to imprisonment for life4 ,thirty-eight were actually hanged1 ,december #bf1 #ahfb1 at ,camp ,lincoln4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xxx #ahfc-'fd4 #ahfd-'fe4 #ahfe-'ff4 ,,the ,,dakota ,,winter ,,counts4 #ahfc-'fd4--,no4 ,i4 ,crows kill eight ,dakotas on the ,yellowstone4 ,no4 ,,ii4 ,eight ,dakotas were killed4 ,again the short parallel black lines united by a long stroke4 ,in this year ,sitting ,bull fought ,general ,sully in the ,black ,hills4 ,interpreter ,lavary says ,general ,sully killed seven or eight ,crows at ,the-,place-,they-,shot-,the-,deer1 ,ta-cha-con-t1 about #ij miles southwest of ,fort ,rice1 ,dakota4 ,mulligan says that ,general ,sully fought the ,yanktonnais and the ,santees at that place4 ,no4 ,,iii4 ,eight ,minneconjou ,dakotas killed by ,crow ,indians4 ,see ,corbusier ,winter ,counts for same year1 page #add4 #ahfd-'fe4--,no4 ,i4 ,four ,crows caught stealing horses from the ,dakotas were tortured to death4 ,shoulders shown4 ,no4 ,,ii4 ,the ,dakotas killed four ,crows4 ,four of the same rounded objects1 like several heads1 shown in #ahbe-'bf1 but these are bloody1 thus distinguishing them from the cases of drowning4 ,no4 ,,iii4 ,four ,crow ,indians killed by the ,minneconjou ,dakotas4 ,necks shown4 #ahfe-'ff4--,no4 ,i4 ,many horses died4 ,no4 ,,ii4 ,many horses died for want of grass4 ,the horse here drawn is sufficiently distinct from all others in the chart4 ,no4 ,,iii4 ,dakotas lost many horses in the snow4 ,see ,corbusier's ,winter ,counts1 ,no4 ,,ii for same year1 page #add4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xxxi #ahff-'fg4 #ahfg-'fh4 #ahfh-'fi4 ,,the ,,dakota ,,winter ,,counts4 #ahff-'fg4--,no4 ,i4 ,little ,swan1 a great warrior4 ,no4 ,,ii4 ,swan1 father of ,swan1 chief of the ,minneconjous in #ahgg1 died4 ,with the assistance of the name the object intended for his totem may be recognized as a swan swimming on the water4 ,no4 ,,iii4 ,minneconjou ,dakota chief1 named ,swan1 died4 ,mato ,sapa's record has a better representation of a swan4 ,interpreter ,lavary says3 ,little-,swan died in this year on ,cherry ,creek1 #ge miles northwest of ,fort ,sully4 ,major ,bush says this is historically correct4 #ahfg-'fh4--,no4 ,i4 ,much medicine made4 ,no4 ,,ii4 ,many flags were given them by the ,peace ,commission4 ,the flag refers to the visit of the ,peace ,commissioners1 among whom were ,generals ,sherman1 ,terry1 and other prominent military and civil officers4 ,their report appears in the ,annual ,report of the ,commissioner of ,indian ,affairs for #ahfh4 ,they met at ,fort ,leavenworth1 ,august #ac1 #ahfg1 and between ,august #cj and ,september #ac held councils with the various bands of the ,dakota ,indians at ,forts ,sully and ,thompson1 and also at the ,yankton1 ,ponka1 and ,santee ,reservations4 ,these resulted in the great ,dakota treaty of #ahfh4 ,no4 ,,iii4 ,made peace with ,general ,sherman and others at ,fort ,laramie4 ,mato ,sapa says3 ,made peace with ,general ,sherman and others at ,fort ,laramie4 ,major ,bush agrees with ,mato ,sapa4 ,see ,corbusier's ,winter ,counts1 ,no4 ,,ii1 page #add4 #ahfh-'fi4--,no4 ,i4 ,first issue of beef by ,government to ,indians4 ,no4 ,,ii4 ,texas cattle were brought into the country4 ,this was done by ,mr4 ,william ,a4 ,paxton1 a well-known business man1 resident in ,dakota in #ahgg4 ,no4 ,,iii4 ,dakotas had plenty of white men's cattle 7the result of the peace74 ,mato ,sapa agrees with ,no4 ,,iii4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xxxii #ahfi-'gj4 #ahgj-'ga4 ,,the ,,dakota ,,winter ,,counts4 #ahfi-'gj4--,no4 ,i4 ,eclipse of the moon4 ,no4 ,,ii4 ,an eclipse of the sun4 ,this was the solar eclipse of ,august #g1 #ahfi1 which was central and total on a line drawn through the ,dakota country4 ,this device has been criticised because the ,indians believe an eclipse to be occasioned by a dragon or aerial monster swallowing the sun1 and it is contended that they would so represent it4 ,an answer is that the design is objectively good1 the sun being painted black1 as concealed1 while the stars come out red1 i4 e41 bright1 and graphic illustration prevails throughout the charts where it is possible to employ it4 ,in addition1 it is learned that ,prof4 ,cleveland ,abb1 who was famed as an astronomer before he became so as a meteorologist1 was at ,sioux ,falls1 with a corps of assistants1 to observe this very eclipse1 and explained the subject to a large number of ,indians there at that time1 so that their attention was not only directed specially to that eclipse1 but also to the white men as interested in it1 and to its real appearance as apart from their old superstition4 ,in addition to this fact1 ,dr4 ,washington ,matthews1 assistant surgeon ,united ,states ,army1 communicates the statement that the ,indians had numberless other opportunities all over their country of receiving the same information4 ,he was at ,fort ,rice during the eclipse and remembers that long before the eclipse occurred the officers1 men1 and citizens around the post told the ,indians of the coming event and discussed it with them so much that they were on the tip-toe of expectancy when the day came4 ,two-,bears and his band were then encamped at ,fort ,rice1 and he and several of his leading men watched the eclipse along with the whites and through their smoked glass1 and then and there the phenomenon was thoroughly explained to them over and over again4 ,there is no doubt that similar explanations were made at all the numerous posts and agencies along the river that day4 ,the path of the eclipse coincided nearly with the course of the ,missouri for over a thousand miles4 ,the duration of totality at ,fort ,rice was nearly two minutes 7#am #dhs47 ,no4 ,,iii4 ,dakotas witnessed eclipse of the sun2 frightened terribly4 ,it is remarkable that the ,corbusier ,winter ,counts do not mention this eclipse4 #ahgj-'ga4--,no4 ,i4 ,the-,flame's son killed by ,rees4 ,the recorder1 ,the-,flame1 evidently considered his family misfortune to be of more importance than the battle referred to by the other recorders4 ,no4 ,,ii4 ,the ,uncpapas had a battle with the ,crows1 the former losing1 it is said1 #ad and killing #bi out of #cj of the latter1 though nothing appears to show those numbers4 ,the central object in the symbol is not a circle denoting multitude1 but an irregularly rounded object1 clearly intended for one of the wooden inclosures or forts frequently erected by the ,indians1 and especially the ,crows4 ,the ,crow fort is shown as nearly surrounded1 and bullets1 not arrows or lances1 are flying4 ,this is the first instance in which any combat or killing is portrayed where guns explicitly appear to be used by ,indians1 though nothing in the chart is at variance with the fact that the ,dakotas had for a number of years been familiar with fire arms4 ,the most recent indications of any weapon were those of the arrows piercing the ,crow squaw in #aheg-'eh and ,brave-,bear in #ahed-'ee1 while the last one before them was the lance used in #ahdh-'di1 and those arms might well have been employed in all the cases selected for the calendar1 although rifles and muskets were common4 ,there is also an obvious practical difficulty in picturing by a single character killing with a bullet1 not arising as to arrows1 lances1 dirks1 and hatchets1 all of which can be and are in the chart shown projecting from the wounds made by them4 ,pictographs in the possession of the ,bureau of ,ethnology show battles in which bullets are denoted by continuous dotted lines1 the spots at which they take effect being sometimes indicated4 ,it is1 however1 to be noted that the bloody wound on the ,ree's shoulder 7#ahjf-'jg7 is without any protruding weapon1 as if made by a bullet4 ,no4 ,,iii4 ,a ,crow war party of #cj were surprised and surrounded in the ,black ,hills by the ,dakotas and killed4 ,fourteen of the ,dakotas were killed in the engagement4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xxxiii #ahga-'gb4 #ahgb-'gc4 #ahgc-'gd4 #ahgd-'ge4 #ahge-'gf4 #ahgf-'gg4 ,,the ,,dakota ,,winter ,,counts4 #ahga-'gb4--,no4 ,i4 ,the-,flame's second son killed by ,rees4 #ahgb-'gc4--,no4 ,i4 ,sans-,arc-,john killed by ,rees4 #ahgc-'gd4--,no4 ,i4 ,bruls kill a number of ,pawnees4 ,cloud-,shield says they killed many ,pawnees on the ,republican ,river4 #ahgd-'ge4--,no4 ,i4 ,a ,dakota kills one ,ree4 #ahge-'gf4--,no4 ,i4 ,council at ,spotted ,tail ,agency4 #ahgf-'gg4--,no4 ,i4 ,horses taken by ,united ,states ,government4 ,white-,cow-,killer calls it 8,general-,mackenzie-took-the-,red-,clou d-,indians'-horses-away-from-them winter40 ,in the account of ,lone-,dog's chart1 published in #ahgg1 as above mentioned1 the present writer1 on the subject of the recorder's selection of events1 remarked as follows3 8,the year #ahgf has furnished good store of events for his choice1 and it will be interesting to learn whether he has selected as the distinguishing event the victory over ,custer1 or1 as of still greater interest1 the general seizure of ponies1 whereat the tribes1 imitating ,rachel1 weep and will not be comforted1 because they are not40 ,it now appears that two of the counts have selected the event of the seizure of the ponies1 and none of them yet seen make any allusion to the defeat of ,custer4 ,after examination of the three charts it will be conceded that1 as above stated1 the design is not narrative1 the noting of events being subordinated to the marking of the years by them1 and the pictographic serial arrangements of sometimes trivial1 though generally notorious1 incidents1 being with special adaptation for use as a calendar4 ,that in a few instances small personal events1 such as the birth or death of the recorder or members of his family1 are set forth1 may be regarded as in the line of interpolations in or unauthorized additions to the charts4 ,if they had exhibited a complete national or tribal history for the years embraced in them1 their discovery would have been1 in some respects1 more valuable1 but they are the more interesting to ethnologists because they show an attempt1 before unsuspected among the tribes of ,american ,indians1 to form a system of chronology4 ,,the ,,corbusier ,,winter ,,counts4 ,while the present paper was in preparation1 a valuable and elaborate communication was received from ,dr4 ,william ,h4 ,corbusier1 assistant surgeon1 ,united ,state ,army1 styled by him the ,dakota ,winter ,counts1 which title was adopted for the whole subject-matter1 including the charts with their interpretations which had before been known to the present writer1 and those from ,dr4 ,corbusier1 which furnish a different system1 are distinguished by his name4 ,it is necessary to explain that all references in the text to colors1 other than black1 must be understood as applicable to the originals4 ,other colors could not be reproduced in the plates without an expense disproportionate to the importance of the colors for significance and comprehension4 ,a more important explanation is due on account of the necessity to omit from ,dr4 ,corbusier's contribution the figures of ,battiste ,good's count and their interpretation4 ,this count is in some respects the most important of all those yet made known4 ,as set down by ,battiste ,good1 it begins in a peculiar cyclic computation with the year ,a4 ,d4 #ijj1 and in thirteen figures includes the time to ,a4,d4 #agjj1 all these figures being connected with legends and myths1 some of which indicate ,european influence4 ,from #agjj-'ja to #ahgi-'hj a separate character for each year is given1 with its interpretation1 in a manner generally similar to those in the other charts4 ,unfortunately all of these figures are colored1 either in whole or in large part1 five colors being used besides black1 and the drawing is so rude that without the colors it is in many cases unintelligible4 ,the presentation at this time of so large a number of colored figures--in all one hundred and ninety-three--in addition to the other illustrations of the present paper1 involved too great expense4 ,it is hoped that this count can be so far revised1 with the elimination of unessential coloration and with more precision in the outlines1 as to allow of its publication4 ,several of its characters1 with references also to its interpretation when compared with that of other counts1 are given in various parts of the present paper4 ,where it was important to specify their coloration the heraldic scheme has been used4 ,the pages immediately following contain the contribution of ,dr4 ,corbusier1 diminished by the extraction of the parts comprising ,battiste ,good's count4 ,its necessary omission1 as above explained1 is much regretted1 not only on account of its intrinsic value1 but because without it the work of ,dr4 ,corbusier does not appear to all the advantage merited by his zeal and industry4 99 99 99 99 99 ,the ,dakotas reckon time by winters1 and apply names to them instead of numbering them from an era4 ,each name refers to some notable occurrence of the winter or year to which it belongs1 and has been agreed upon in council on the expiration of the winter4 ,separate bands have often fixed upon different events1 and it thus happens that the names are not uniform throughout the nation4 ,ideographic records of these occurrences have been kept in several bands for many years1 and they constitute the ,dakota ,winter-,counts 7wanyetu wwapi7 or ,counts ,back 7hkta yawapi74 ,they are used in computing time1 and to aid the memory in recalling the names and events of the different years1 their places in the count1 and their order of succession4 ,the enumeration of the winters is begun at the one last recorded and carried backward4 ,notches on sticks1 war-shirts1 pipes1 arrows1 and other devices also serve a mnemonic purpose4 ,the ,counts were formerly executed in colors on the hides of animals1 but the present recorders make use of paper1 books1 pens1 pencils1 and paints obtained from the whites4 ,the alignment of the ideographs depends to some extent upon the material on which they are depicted4 ,on robes it is spiral from right to left and from the center outward1 each year being added to the coil as the snail adds to its whorl4 ,the spiral line1 frequently seen in etchings on rocks1 has been explained to me as indicating a snail shell4 ,on paper they are sometimes carried from right to left1 sometimes from left to right1 and again the two methods are combined as in ,battiste ,good's winter-count1 which begins at the back of the book and is carried forward1 i4 e41 from right to left1 but in which the alignment on each page is from left to right4 ,the direction from right to left is that followed in many of their ceremonies1 as when tobacco is smoked as incense to the sun and the pipe is passed around1 and when the devotees in the dance to the sun enter and leave the consecrated lodge in which they fulfill their vows4 ,among the ,ogllas and the ,bruls there are at least five of these counts kept by as many different men1 each man seeming to be the recorder for his branch of the tribe4 ,i obtained copies of three of them in #ahgi and #ahhj1 while stationed at ,camp ,sheridan1 ,nebraska1 near the ,pine ,ridge ,agency1 ,dakota4 ,one winter count was made for me by ,battiste ,good1 a ,brul ,dakota1 at the ,rosebud ,agency1 ,dakota1 being a copy of the one of which he is the recorder4 ,he explained the meaning of the pictographs to the ,rev4 ,william ,j4 ,cleveland1 of the ,rosebud ,agency1 to whom ,i am indebted for rendering his explanations into ,english4 ,several ,indians and half-breeds had informed me that his count formerly embraced about the same number of years as the other two1 but that ,battiste ,good gathered the names of many years from the old people and placed them in chronological order as far back as he was able to learn them4 ,another winter count is a copy of the one in the possession of ,american-,horse1 an ,oglla ,dakota1 at the ,pine ,ridge ,agency1 who asserts that his grandfather began it1 and that it is the production of his grandfather1 his father1 and himself4 ,i received the explanations from ,american-,horse through an interpreter4 ,a third winter count is a copy of one kept by ,cloud-,shield4 ,he is also an ,oglla ,dakota at the ,pine ,ridge ,agency1 but of a different band from ,american-,horse4 ,i also received his explanations through an interpreter4 ,the last two counts embrace nearly the same number of years4 ,i have added the dates to both of them1 beginning at the last year1 the date of which was known1 and carrying them back4 ,two dates belong to each figure1 as a ,dakota year covers a portion of two of our calendar years4 ,i have seen copies of a fourth winter count which is kept by ,white-,cow-,killer at the ,pine ,ridge ,agency4 ,i did not obtain a copy of it1 but learned most of the names given to the winters4 ,on comparing the winter counts1 it is found that they often correspond1 but more frequently differ4 ,in a few instances the differences are in the succession of the events1 but in most instances they are due to an omission or to the selection of another event4 ,when a year has the same name in all of them1 the bands were probably encamped together or else the event fixed upon was of general interest2 and1 when the name is different1 the bands were scattered or nothing of general interest occurred4 ,differences in the succession may be due to the loss of a record and the depiction of another from memory1 or to errors in copying an old one4 ,the explanations of the counts are far from complete1 as the recorders who furnished them could in many instances recall nothing except the name of the year1 and in others were loth to speak of the events or else their explanations were vague and unsatisfactory1 and1 again1 the interpreters were sometimes at fault4 ,many of the recent events are fresh in the memory of the people1 as the warriors who strive to make their exploits a part of the tribal traditions proclaim them on all occasions of ceremony--count their coups1 as it is called4 ,declarations of this kind partake of the nature of affirmations made in the presence of ,god4 ,war-shirts on which scores of the enemies killed are kept1 and which are carefully transmitted from one generation to another1 help to refresh their memories in regard to some of the events4 ,by testing many ,indians ,i learned that but few could interpret the significance of the figures2 some of them could point out the year of their birth and that of some members of their families2 others could not do so1 or pretended that they could not1 but named the year and asked me to point it out and tell their age4 ,in the following explanation of the winter counts1 figured on ,plates ,,xxxiv-,,li1 ,no4 ,i refers to that of ,american-,horse and ,no4 ,,ii to that of ,cloud-,shield4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xxxiv #agge-'gf4 #aggf-'gg4 #aggg-'gh4 #aggh-'gi4 #aggi-'hj4 #aghj-'ha4 ,,the ,,corbusier ,,winter ,,counts4 #agge-'gf4--,no4 ,i4 ,standing-,bull1 the great-grandfather of the present ,standing-,bull1 discovered the ,black ,hills4 ,he carried home with him a pine tree of a species he had never seen before4 7,in this count the ,dakotas are usually distinguished by the braided scalp-lock and the feather they wear at the crown of the head1 or by the manner in which they brush back and tie the hair4 ,it will be noticed that the profile of most of the faces is given1 whereas ,battiste ,good gives the full face4 ,the ,dakotas have of late years claimed the ,black ,hills1 probably by right of discovery in #agge-'gf2 but the ,crows were the former possessors47 ,this is also the first winter of ,white-,cow-,killer's count and is called 8,two-warriors-killed winter40 #aggf-'gg4--,no4 ,i4 ,many of their horses were killed by some of their own people1 who were jealous because they were fatter than their own4 #aggg-'gh4--,no4 ,i4 ,it was an intensely cold winter1 and the ,man-who-has-no-skin-on-his-penis froze to death4 ,the sign for snow or winter1 i4 e41 a cloud with snow falling from it1 is above his head4 ,a haka-stick1 which1 in playing that game1 they cast after a ring1 is represented in front of him4 ,battiste ,good's record is that a ,dakota named ,skinned-,penis was killed in a fight with the ,pawnees1 and his companions left his body where they supposed it would not be found1 but the ,pawnees found it1 and as it was frozen stiff1 they dragged it into their camp and played haka with it4 ,no4 ,,ii4 ,a war party brought in the lone pine tree from the enemy's country4 ,they met no enemies while out4 ,this event is also the first in ,no4 ,i1 in which it marks the winter of #agge-'gf4 #aggh-'gi4--,no4 ,i4 ,the ,ponkas came and attacked a village1 notwithstanding peace had just been made with them4 ,the people repulsed and followed them1 killing sixty4 ,some elk-hair and a feather represent ,ponka4 ,horse tracks are used for horses4 ,attack is indicated by signs which were said to represent bullet marks1 and which convey the idea that the bullet struck4 ,the sign seems to be derived from the gesture-sign for 8it struck40 ,no4 ,,ii4 ,many of their horses were killed1 but by whom is not known4 ,the same event is recorded in ,no4 ,i1 #aggf-'gg4 #aggi-'hj4--,no4 ,i4 ,long-,pine was killed in a fight with the ,crows4 ,the absence of his scalp denotes that he was killed by an enemy4 ,the wound was made with the bow and arrow4 ,no4 ,,ii4 ,skinned-his-penis was used in the ring-and-pole game4 #aghj-'ha4--,no4 ,i4 ,many died of small-pox4 ,no4 ,,ii4 8,the policeman0 was killed by the enemy4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xxxv #agha-'hb4 #aghb-'hc4 #aghc-'hd4 #aghd-'he4 #aghe-'hf4 #aghf-'hg4 ,,the ,,corbusier ,,winter ,,counts4 #agha-'hb--,no4 ,i4 ,many died of small-pox4 ,no4 ,,ii4 ,many people died of small-pox4 ,they all record two successive winters of small-pox1 but ,no4 ,i makes the first year of the epidemic one year later than that of ,battiste ,good1 and ,no4 ,,ii makes it two years later4 #aghb-'hc4--,no4 ,i4 ,a ,dakota named ,stabber froze to death4 ,the sign for winter is the same as before4 ,no4 ,,ii4 ,many people died of small-pox again4 #aghc-'hd--,no4 ,i4 ,the ,mandans and ,rees made a charge on a ,dakota village4 ,the ,dakotas drove them back1 killed twenty five of them1 and captured a boy4 ,an eagle's tail1 which is worn on the head1 stands for ,mandan and ,ree4 ,no4 ,,ii4 ,the-,stabber froze to death4 ,the man's name is suggested by the spear in the body over his head1 which is connected with his mouth by a line4 ,white-,cow-,killer calls it 8,big-fire winter10 possibly because big fires were required to keep them warm4 #aghd-'he4--,no4 ,i4 ,a young man who was afflicted with the small-pox1 and was in his tipi1 off by himself1 sang his death-song and shot himself4 ,suicide is more common among ,indians than is generally suspected1 and even boys sometimes take their own lives4 ,a ,dakota boy at one of the agencies shot himself rather than face his companions after his mother had whipped him1 and a ,pai-,ute boy at ,camp ,mc,dermit1 ,nevada1 tried to poison himself with the wild parsnip because he was not well and strong like the other boys4 ,the ,pai-,utes usually eat the wild parsnip when bent on suicide4 ,no4 ,,ii4 ,an ,omaha woman who was living with the ,ogllas attempted to run away from them1 and they killed her4 ,a war between the two tribes was the result4 #aghe-'hf4--,no4 ,i4 ,bear's-,ears1 a ,brul1 was killed in an ,oglla village by the ,crows4 ,no4 ,,ii4 ,the ,ogllas killed three lodges of ,omahas4 #aghf-'hg4--,no4 ,i4 ,broken-,leg-,duck1 an ,oglla1 went to a ,crow village to steal horses and was killed4 ,a line connects the name with the mouth4 ,no4 ,,ii4 ,long-,hair was killed4 ,to what tribe he belonged is not known4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xxxvi #aghg-'hh4 #aghh-'hi4 #aghi-'ij4 #agij-'ia4 #agia-'ib4 #agib-'ic4 ,,the ,,corbusier ,,winter ,,counts4 #aghg-'hh4--,no4 ,i4 ,they went out in search of the ,crows in order to avenge the death of ,broken-,leg-,duck4 ,they did not find any ,crows1 but1 chancing on a ,mandan village1 captured it and killed all the people in it4 ,no4 ,,ii4 ,a year of famine4 ,they lived on roots1 which are represented in front of the tipi4 #aghh-'hi4--,no4 ,i4 ,last-,badger1 an ,oglla1 was killed by the ,rees4 ,no4 ,,ii4 ,the winter was so cold that many crows froze to death4 ,white-,cow-,killer calls #aghg-'hh 8,many-black-crows-died winter40 #aghi-'ij4--,no4 ,i4 ,the cold was so intense that crows froze in the air and dropped dead near the lodges4 ,no4 ,,ii4 ,white-,goose was killed in an attack made by some enemies4 ,white-,cow-,killer calls it 8,goose-,feather-killed winter40 #agij-'ia4--,no4 ,i4 ,they could not hunt on account of the deep snow1 and were compelled to subsist on anything they could get1 as herbs 7pzi7 and roots4 ,no4 ,,ii4 ,picket-,pin went against the ,cheyennes4 ,a picket-pin is represented in front of him and is connected with his mouth by the usual line4 ,the black band across his face denotes that he was brave and had killed enemies4 ,the cross is the symbol for ,cheyenne4 ,the mark used for ,cheyenne stands for the scars on their arms1 or stripes on their sleeves1 which also gave rise to the gesture sign for this tribe1 given in ,sign ,language among the ,north ,american ,indians1 etc41 ,first ,annual ,report of the ,bureau of ,ethnology1 p4 #dfe1 viz43 ,draw the extended right index1 or the inner edge of the open right hand1 several times across the base of the extended left index or across the left forearm at different heights4 ,white-,cow-,killer calls it 8,all-the-,indians-see-the-flag winter40 #agia-'ib4--,no4 ,i4 ,glue1 an ,oglla1 froze to death on his way to a ,brul village4 ,a glue-stick is represented back of his head4 ,glue1 made from the hoofs of buffalo1 is used to fasten arrow-heads on1 and is carried about on sticks4 ,no4 ,,ii4 ,the ,dakotas and ,omahas made peace4 #agib-'ic4--,no4 ,i4 ,many women died in child-birth4 ,no4 ,,ii4 ,the ,dakotas camped on the ,missouri ,river near the ,gros ,ventres and fought with them a long time4 ,the ,dakota tipi and the ,gros ,ventre lodge are shown in the figure4 ,white-,cow-,killer calls it 8,rees-house-winter40 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xxxvii #agic-'id4 #agid-'ie4 #agie-'if4 #agif-'ig4 #agig-'ih4 #agih-'ii4 ,,the ,,corbusier ,,winter ,,counts4 #agic-'id4--,no4 ,i4 ,a ,ponka who was captured when a boy by the ,ogllas was killed while outside the village by a war party of ,ponkas4 ,no4 ,,ii4 ,bear's-,ears was killed in a fight with the ,rees4 ,white-,cow-,killer calls it 8,little-,face-killed winter40 #agid-'ie4--,no4 ,i4 ,the-,good-,white-,man came with two other white men4 ,he promised that if they would let him and his companions go undisturbed he would return and bring with him weapons with which they could kill game with but little labor4 ,they gave them buffalo robes and dogs to pack them on and sent the party off4 ,the sign for white man is a hat1 either by itself or on a head1 and the gesture-sign indicates one who wears a hat4 ,draw the open right hand horizontally from left to right across the forehead a little above the eyebrows1 the back of the hand to be upward and the fingers pointing toward the left1 or draw the index across the forehead in the same manner4 ,no4 ,,ii4 ,bad-,face1 a ,dakota1 was shot in the face4 ,white-,cow-,killer calls it 8,long-,hair-killed winter40 #agie-'if4--,no4 ,i4 ,the-,man-,who-,owns-the-,flute was killed by the ,cheyennes4 ,his flute is represented in front of him with sounds coming from it4 ,a bullet mark is on his neck4 ,no4 ,,ii4 ,the ,dakotas camped near the ,rees and fought with them4 ,white-,cow-,killer calls it 8,water-,stomach-killed winter40 #agif-'ig4--,no4 ,i4 ,they killed the long-haired man in a fight with the ,cheyennes while on an expedition to avenge the death of ,the-,man-,who-,owns-the-,flute1 who was killed by the ,cheyennes the year before4 ,no4 ,,ii4 ,badger1 a ,dakota1 was killed by enemies1 as shown by the absence of his scalp4 ,white-,cow-,killer calls it 8,war-,bonnet-killed winter40 #agig-'ih4--,no4 ,i4 ,little-,beaver and three other white men came to trade1 having been sent by the ,good-,white-,man4 ,their goods were loaded on three sleds1 each drawn by six dogs4 ,no4 ,,ii4 ,the-,wise-,man was killed by enemies4 ,white-,cow-,killer calls it 8,caught-the-medicine-god-woman winter40 #agih-'ii4--,no4 ,i4 ,owns-the-,pole1 the leader of an ,oglla war party1 brought home many ,cheyenne scalps4 ,the cross stands for ,cheyenne4 ,no4 ,,ii4 ,many women died in child-birth4 ,white-,cow-,killer says1 8,many-squaws-died winter40 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xxxviii #agii-ahjj4 #ahjj-'ja4 #ahja-'jb4 #ahjb-'jc4 #ahjc-'jd4 #ahjd-'je4 ,,the ,,corbusier ,,winter ,,counts4 #agii-ahjj4--,no4 ,i4 ,the-,good-,white-,man returned and gave guns to the ,dakotas4 ,the circle of marks represents the people sitting around him1 the flint-lock musket the guns4 ,no4 ,,ii4 ,a woman who had been given to a white man by the ,dakotas was killed because she ran away from him4 ,see ,no4 ,i1 #ahjd-'je4 ,white-,cow-,killer says1 8,the-,good-,white-,man-came winter40 #ahjj-'ja4--,no4 ,i4 ,nine white men came to trade with them4 ,the covered head with short hair stands for a white man and also intimates that the eight dots over it are for white men4 ,according to this count the first whites came in #agid-'ie4 ,no4 ,,ii4 ,the ,good-,white-,man came4 ,he was the first white man to trade and live with the ,dakotas4 ,white-,cow-,killer calls it 8,don't-,eat-,heart-makes-a-god-house winter40 #ahja-'jb4--,no4 ,i4 ,the ,ogllas1 ,bruls1 ,minneconjous1 ,sans ,arcs1 and ,cheyennes united in an expedition against the ,crows4 ,they surprised and captured a village of thirty lodges1 killed all the men1 and took the women and children prisoners4 ,the three tipis stand for thirty2 the red spots are for blood4 ,no4 ,,ii4 ,a trader brought them their first guns4 ,white-,cow-,killer says1 8,all-sick-winter40 #ahjb-'jc4--,no4 ,i4 ,the ,ponkas attacked two lodges of ,ogllas1 killed some of the people1 and made the rest prisoners4 ,the ,ogllas went to the ,ponka village a short time afterward and took their people from the ,ponkas4 ,in the figure an ,oglla has a prisoner by the arm leading him away4 ,the arrow indicates that they were ready to fight4 ,no4 ,,ii4 ,the ,omahas made an assault on a ,dakota village4 ,arrows and bullets are flying back and forth4 ,white-,cow-,killer calls it 8,brought-in-horse-shoes winter40 #ahjc-'jd--,no4 ,i4 ,they made peace with the ,gros ,ventres4 ,no4 ,,ii4 ,little-,beaver1 a white trader1 came4 ,white-,cow-,killer calls it 8,plenty-of-woolly-horses winter40 #ahjd-'je4--,no4 ,i4 ,an ,indian woman who had been unfaithful to a white man to whom she was married was killed by an ,indian named ,ponka4 ,the symbol for ,ponka indicates the name4 ,no4 ,,ii4 ,the ,omahas came and made peace to get their people1 whom the ,dakotas held as prisoners4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xxxix #ahje-'jf4 #ahjf-'jg4 #ahjg-'jh4 #ahjh-'ji4 #ahji-'aj4 #ahaj-'aa4 ,,the ,,corbusier ,,winter ,,counts4 #ahje-'jf4--,no4 ,i4 ,the ,dakotas had a council with the whites on the ,missouri ,river1 below the ,cheyenne ,agency1 near the mouth of ,bad ,creek 7the ,lewis and ,clarke ,expedition874 ,they had many flags1 which the ,good-,white-,man gave them with their guns1 and they erected them on poles to show their friendly feelings4 ,the curved line is to represent the council lodge1 which they made by opening several tipis and uniting them at their sides to form a semicircle4 ,the marks are for the people4 ,american-,horse's father was born this year4 ,no4 ,,ii4 ,nine white men came to trade4 ,the three covered heads represent the white men4 ,white-,cow-,killer calls it 8,eight-,dakotas-killed winter40 #ahjf-'jg4--,no4 ,i4 ,black-,rock1 a ,dakota1 was killed by the ,crows4 ,a rock is represented above his head4 ,he was killed with a bow and arrow and was scalped4 ,no4 ,,ii4 ,the ,dakotas killed an ,omaha in the night4 ,white-,cow-,killer calls it 8,killed-while-hunting-eagles winter40 #ahjg-'jh4--,no4 ,i4 ,broken-,leg was killed by the ,pawnees4 ,his leg had been broken by a bullet in a previous fight with the ,pawnees4 ,no4 ,,ii4 ,many people camped together and had many flags flying4 ,white-,cow-,killer calls it 8,red-shirt-killed ,winter40 #ahjh-'ji4--,no4 ,i4 ,little-,beaver's trading house was burned down4 ,no4 ,,ii4 ,a ,brul was found dead under a tree which had fallen on him4 ,white-,cow-,killer calls it 8,blue-,blanket's-father-dead winter40 #ahji-'aj4--,no4 ,i4 ,black-,rock was killed by the ,crows4 ,his brother1 whose name he had taken1 was killed by the ,crows three years before4 ,no4 ,,ii4 ,little-,beaver's house was burned4 ,white-,cow-,killer says1 8,little-,beaver's 7the white man7 house-burned-down winter40 #ahaj-'aa4--,no4 ,i4 ,red-,shirt1 a ,dakota1 was killed by the ,crows while looking for his ponies near ,old ,woman's ,fork4 ,no4 ,,ii4 ,they brought in a fine horse with feathers tied to his tail4 ,white-,cow-,killer calls it 8,came-with-medicine-on-horse's-tail winter40 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xl #ahaa-'ab4 #ahab-'ac4 #ahac-'ad4 #ahad-'ae4 #ahae-'af4 #ahaf-'ag4 ,,the ,,corbusier ,,winter ,,counts4 #ahaa-'ab4--,no4 ,i4 ,they caught many wild horses south of the ,platte ,river4 ,no4 ,,ii4 ,they had very little buffalo meat1 as the empty drying pole indicates1 but plenty of ducks in the fall4 ,white-,cow-,killer calls it 8,catching-wild-horses winter40 #ahab-'ac4--,no4 ,i4 ,big-,waist's father killed4 ,no4 ,,ii4 ,big-,owl killed4 ,white-,cow-,killer calls it 8,big-,belly's-father-killed winter40 #ahac-'ad4--,no4 ,i4 ,many had the whooping-cough4 ,the cough is represented by the lines issuing from the man's mouth4 ,no4 ,,ii4 ,food was very scarce and they had to live on acorns4 ,the tree is intended for an oak and the marks beneath it for acorns4 ,white-,cow-,killer calls it 8,six-,rees-killed winter40 #ahad-'ae4--,no4 ,i4 ,the ,dakotas went to a ,kaiowa village1 about #f miles from ,scott's ,bluff1 and near the mouth of ,horse ,creek1 to treat for peace2 but their intentions were frustrated by one of their number1 who drove his hatchet into a ,kaiowa's head4 ,no4 ,,ii4 ,they made peace with the ,pawnees4 ,the man with the blue forehead is a ,pawnee1 the other is a ,dakota1 whose body is smeared with clay4 ,the four arrows show that they had been at war1 and the clasped hands denote peace4 ,white-,cow-,killer calls it 8,kaiowa-hit-on-head-with-axe winter40 ,young-,man's-,horses-,afraid1 i4 e41 whose horses are afraid1 was born this year4 ,he is now called 8,old-,man-afraid-of-his-,horses0 by the whites1 and his son1 the present chief of the ,ogllas1 is known as 8,young-,man-afraid-of-his-,horses40 ,the present writer has heard another interpretation about 8afraid-of-his-horses10 i4 e41 that the man valued his horses so much that he was afraid of losing them4 ,the present representative of the name1 however1 stated to the writer that the true meaning was 8,the-young-man-whose-horses-they-fear40 #ahae-'af4--,no4 ,i4 ,the figure is intended to represent a white man's house4 ,no4 ,,ii4 ,some of the ,dakotas built a large house and lived in it during the winter4 ,white-,cow-,killer calls it 8,made-a-house winter40 #ahaf-'ag4--,no4 ,i4 ,they made peace with the ,crows at ,pine ,bluff4 ,the arrow shows they had been at war4 ,no4 ,,ii4 ,they lived in the same house that they did last winter4 ,white-,cow-,killer calls it 8,made-a-house winter40 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xli #ahag-'ah4 #ahah-'ai4 #ahai-'bj4 #ahbj-'ba4 #ahba-'bb4 #ahbb-'bc4 ,,the ,,corbusier ,,winter ,,counts4 #ahag-'ah4--,no4 ,i4 ,the ,ogllas had an abundance of buffalo meat and shared it with the ,bruls1 who were short of food4 ,the buffalo hide hung on the drying pole1 with the buffalo head above it1 indicates an abundance of meat4 ,no4 ,,ii4 ,the-,brave-,man was killed in a great fight4 ,the fight is shown by the arrows flying to and from him4 ,having been killed by an enemy1 he is scalped4 ,white-,cow-,killer calls it 8,plenty-of-meat winter40 #ahah-'ai4--,no4 ,i4 ,a large house was built4 ,no4 ,,ii4 ,many died of the small-pox4 ,white-,cow-,killer calls it 8,little-small-pox winter40 #ahai-'bj4--,no4 ,i4 ,another house was built4 ,the ,dakotas made medicine in it4 ,no4 ,,ii4 ,in an engagement with the ,crows1 both sides expended all of their arrows1 and then threw dirt at each other4 ,a ,crow is represented on the right1 and is distinguished by the manner in which the hair is worn4 ,white-,cow-,killer calls it 8,made-a-house-of-old-wood winter40 #ahbj-'ba4--,no4 ,i4 ,the ,dakotas assaulted and took a ,crow village of a hundred lodges4 ,they killed many and took many prisoners4 ,no4 ,,ii4 ,a ,dakota1 named ,glue1 froze to death4 ,white-,cow-,killer calls it 8,two-arrows-made-a-war-bonnet winter40 #ahba-'bb4--,no4 ,i4 ,they had all the mini wakan 7spirit water or whisky7 they could drink4 ,they never had any before4 ,a barrel with a waved or spiral line running from it represents the whisky1 the waved line signifying spirit4 ,no4 ,,ii4 ,a large roaring star fell4 ,it came from the east1 and shot out sparks of fire along its course4 ,its track and the sparks are shown in the figure4 ,see also page #aaa4 ,white-,cow-,killer says1 8,one-star-made-a-great-noise winter40 ,battiste ,good1 alias ,wa-po-ctan-qi 7,brown-,hat71 historian and chief1 designated this year as that of his birth4 ,omaha bullets were whizzing through the village and striking and piercing his mother's lodge as she brought him forth4 ,red-,cloud also was born4 #ahbb-'bc4--,no4 ,i4 ,dog1 an ,oglla1 stole seventy horses from the ,crows4 ,each of the seven tracks stands for ten horses4 ,a lariat1 which serves the purpose of a long whip1 and is usually allowed to trail on the ground1 is shown in the man's hand4 ,no4 ,,ii4 ,a ,brul1 who had left the village the night before1 was found dead in the morning outside the village1 and the dogs were eating his body4 ,the black spot on the upper part of the thigh shows he was a ,brul4 ,white-,cow-,killer says1 8,white-man-peels-the-stick-in-his-hand- broke-his-leg winter40 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xlii #ahbc-'bd4 #ahbd-'be4 #ahbe-'bf4 #ahbf-'bg4 #ahbg-'bh4 #ahbh-'bi4 ,,the ,,corbusier ,,winter ,,counts4 #ahbc-'bd4--,no4 ,i4 ,they had an abundance of corn1 which they got at the ,ree villages4 ,no4 ,,ii4 ,they joined the whites in an expedition up the ,missouri ,river against the ,rees4 ,white-,cow-,killer calls it 8,old-corn-plenty winter40 ,for further explanation of the record of this year1 see page #aaa4 #ahbd-'be4--,no4 ,i4 ,cloud-,bear1 a ,dakota1 killed a ,dakota1 who was a long distance off1 by throwing a bullet from his hand and striking him in the heart4 ,the spiral line is again used for wakan4 ,the gesture-sign for wakan 7holy1 supernatural7 is3 ,with its index-finger extended and pointing upward1 or all the fingers extended1 back of hand outward1 move the right hand from just in front of the forehead spirally upward nearly to arm's length from left to right4 ,see 8,sign ,language ,n4 ,a4 ,indians10 p4 #chj1 by the present writer1 in the ,first ,annual ,report of the ,bureau of ,ethnology4 ,no4 ,,ii4 ,cat-,owner was killed with a spider-web thrown at him by a ,dakota4 ,the spider-web is shown reaching to his heart from the hand of the man who threw it4 ,the blood issuing from his mouth and nose indicates that he bled to death4 ,it is a common belief among them that certain medicine men possess the power of taking life by shooting needles1 straws1 spider-webs1 bullets1 and other objects1 however distant the person may be against whom they are directed4 ,white-,cow-,killer calls it 8,killed-the-women-picking-cherries winter40 #ahbe-'bf4--,no4 ,i4 ,some of the ,dakotas were living on the bottom-lands of the ,missouri ,river1 below the ,whetstone1 when the river1 which was filled with broken ice1 unexpectedly rose and flooded their village4 ,many were drowned or else killed by the floating ice4 ,many of those that escaped climbed on cakes of ice or into trees4 ,no4 ,,ii4 ,many of the ,dakotas were drowned in a flood caused by a rise of the ,missouri ,river1 in a bend of which they were camped4 ,the curved line is the bend in the river2 the waved line is the water1 above which the tops of the tipis are shown4 ,white-,cow-,killer calls it 8,great-flood-and-many-,indians-drowned winter40 ,see page #aac4 #ahbf-'bg4--,no4 ,i4 ,the brother of the ,good-,white-,man came4 ,no4 ,,ii4 ,held a commemoration of the dead4 ,the pipe-stem and the skull indicate this4 ,white-,cow-,killer calls it 8,long-,whistle-sick winter40 #ahbg-'bh4--,no4 ,i4 ,the snow was very deep4 ,no4 ,,ii4 ,in a fight with the ,mandans1 ,crier was shot in the head with a gun4 ,white-,cow-,killer calls it 8,snow-shoe-making winter40 #ahbh-'bi4--,no4 ,i4 ,they provided themselves with a large supply of antelope meat by driving antelope into a corral1 in which they were easily killed4 ,no4 ,,ii4 ,they drove many antelope into a corral and then killed them4 ,white-,cow-,killer calls it 8,many-,rees-killed winter40 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xliii #ahbi-'cj4 #ahcj-'ca4 #ahca-'cb4 #ahcb-'cc4 #ahcc-'cd4 #ahcd-'ce4 ,,the ,,corbusier ,,winter ,,counts4 #ahbi-'cj4--,no4 ,i4 ,striped-,face stabbed and killed his son-in-law for whipping his wife4 ,no4 ,,ii4 ,spotted-,face stabs his son-in-law for whipping his wife4 ,white-,cow-,killer calls it 8,spotted-,face-held-on-long winter40 #ahcj-'ca4--,no4 ,i4 ,they saw wagons for the first time4 ,red-,lake1 a white trader1 brought his goods in them4 ,no4 ,,ii4 ,the ,crows were approaching a village at a time when there was a great deal of snow on the ground and intended to surprise it1 but some herders discovering them the ,dakotas went out1 laid in wait for the ,crows1 surprised them1 and killed many4 ,a ,crow's head is represented in the figure4 ,white-,cow-,killer calls it 8,killed-many-white-buffalo winter40 #ahca-'cb4--,no4 ,i4 ,red-,lake's house1 which he had recently built1 was destroyed by fire1 and he was killed by the accidental explosion of some powder4 ,no4 ,,ii4 ,a white man1 whom they called ,gray-,eyes1 shot and killed a man who was working for him4 #ahcb-'cc4--,no4 ,i4 ,they killed many ,gros ,ventres in a village which they assaulted4 ,no4 ,,ii4 ,all of ,standing-,bull's horses were killed1 but by whom is unknown4 ,hoof-prints1 blood-stains1 and arrows are shown under the horse4 ,white-,cow-,killer calls it 8,one-,horn's-leg-broken winter40 #ahcc-'cd4--,no4 ,i4 ,the stars moved around4 ,no4 ,,ii4 ,it rained stars4 ,white ,cow-,killer calls it 8,plenty-stars winter40 ,the records see page #aaf all undoubtedly refer to the magnificent meteoric display of the morning of ,november #acth1 #ahcc1 which was witnessed throughout ,north ,america1 and which they have correctly assigned to the winter corresponding with that of #ahcc-'cd4 ,all of them represent stars as having four points4 #ahcd-'ce4--,no4 ,i4 ,they were at war with the ,cheyennes4 ,the ,cheyenne is the one with the stripes on his arm4 ,no4 ,,ii4 ,they fought with the ,cheyennes4 ,the stripes on the arm are for ,cheyenne as before4 ,white-,cow-,killer calls it 8,cheyennes-came-and-one-killed winter40 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xliv #ahce-'cf4 #ahcf-'cg4 #ahcg-'ch4 #ahch-'ci4 #ahci-'dj4 #ahdj-'da4 ,,the ,,corbusier ,,winter ,,counts4 #ahce-'cf4--,no4 ,i4 ,they killed a very fat buffalo bull4 ,no4 ,,ii4 ,they killed a very fat buffalo bull4 ,white-,cow-,killer calls it 8,two warriors-killed winter40 #ahcf-'cg4--,no4 ,i4 ,the ,dakotas and the ,pawnees fought on the ice on the ,north ,platte ,river4 ,the former were on the north side1 the right-hand side in the figure1 the latter on the south side1 the left in the figure4 ,horsemen and footmen on the right are opposed to footmen on the left4 ,both sides have guns and bows1 as shown by the bullet-marks and the arrows4 ,the red marks are for blood-stains on the ice4 ,no4 ,,ii4 ,they fought the ,pawnees across the ice on the ,north ,platte4 ,the man on the left is a ,pawnee4 ,white-,cow-,killer calls it 8,fight-on-ice winter40 #ahcg-'ch4--,no4 ,i4 ,paints-,his-,cheeks-,red and his family1 who were camping by themselves1 were killed by ,pawnees4 ,no4 ,,ii4 ,paints-,his-,face-,red1 a ,dakota1 was killed in his tipi by the ,pawnees4 ,white-,cow-,killer calls it 8,five-,fingers-died winter40 #ahch-'ci4--,no4 ,i4 ,spotted-,horse carried the pipe around and took the war path against the ,pawnees1 to avenge the death of his uncle1 ,paints-,his-,cheeks-,red4 ,no4 ,,ii4 ,crazy-,dog1 a ,dakota1 carried the pipe around and took the war path4 ,the waved or spiral lines denote crazy4 ,white-,cow-,killer says1 8,paints-his-,chin's-lodge-all-killed winter40 ,when a warrior desires to make up a war party he visits his friends and offers them a filled pipe1 as an invitation to follow him1 and those who are willing to go accept the invitation by lighting and smoking it4 ,any man whose courage has been proved may become the leader of a war party4 ,among the ,arapahos the would-be leader does not invite any one to accompany him1 but publicly announces his intention of going to war4 ,he fixes the day for his departure and states where he will camp the first night1 naming some place not far off4 ,the morning on which he starts1 and before leaving the village1 he invokes the aid of the sun1 his guardian by day1 and often1 to propitiate him1 secretly vows to undergo penance1 or offer a sacrifice on his return4 ,he rides off alone1 carrying his bare pipe in his hand1 with the bowl carefully tied to the stem to prevent it from slipping off4 ,if the bowl should at any time accidentally fall to the ground1 he considers it an evil omen1 and immediately returns to the village1 and nothing could induce him to proceed1 as he thinks that only misfortune would attend him if he did4 ,sometimes he ties eagle or hawk plumes to the stem of his pipe1 and1 after quitting the village1 repairs to the top of some hill and makes an offering of them to the sun1 taking them from his pipe and tying them to a pole1 which he erects in a pile of stones4 7,some of the stone-heaps seen on the hills in the ,arapaho country originated in this way1 but most of them were made by dreamers1 who withdraw from their people to devote themselves in solitude to contemplation1 fasting1 and prayer1 in order to work themselves into a state of rapture1 hoping to have visions and receive messages from spirits47 ,those who intend to follow him usually join him at the first camp1 equipped for the expedition2 but often there are some who do not join him until he has gone further on4 ,he eats nothing before leaving the village1 nor as long as the sun is up2 but breaks his fast at his first camp1 after the sun sets4 ,the next morning he begins another fast1 to be continued until sunset4 ,he counts his party1 saddles his horse1 names some place six or seven miles ahead1 where he says he will halt for awhile1 and again rides off alone with his pipe in his hand4 ,after awhile the party follow him in single file4 ,when they have reached his halting place he tells them to dismount and let their horses graze4 ,they all then seat themselves on the ground on the left of the leader1 forming a semicircle1 facing the sun4 ,the leader fills his pipe1 all bow their heads1 and1 pointing the stem of the pipe upward1 he prays to the sun1 asking that they may find an abundance of game1 that dead-shots may be made1 so that their ammunition will not be wasted1 but reserved for their enemies2 that they may easily find their enemies and kill them2 that they may be preserved from wounds and death4 ,he makes his petition four times1 then lights his pipe1 and after sending a few whiffs of smoke skyward as incense to the sun1 hands the pipe to his neighbor1 who smokes and passes it on to the next4 ,it is passed from one to another1 toward the left1 until all have smoked1 the leader refilling it as often as necessary4 ,they then proceed to their next camp1 where probably others join them4 ,the same programme is carried out for three or four days before the party is prepared for action4 #ahci-'dj4--,no4 ,i4 ,left-,handed-,big-,nose was killed by the ,shoshoni4 ,his left arm is represented extended1 and his nose is very conspicuous4 ,american-,horse was born in the spring of #ahdj4 ,no4 ,,ii4 ,they killed a ,crow and his squaw1 who were found on a trail4 ,white-,cow-,killer calls it 8,large-war-party-hungry-eat-,pawnee-hor ses winter40 #ahdj-'da4--,no4 ,i4 ,sitting-,bear1 ,american-,horse's father1 and others1 stole two hundred horses from the ,flat ,heads4 ,a trailing lariat is in the man's hand4 ,no4 ,,ii4 ,they stole one hundred 7many7 horses from the ,snakes4 ,white-,cow-,killer calls it 8,little-,thunder's-brothers-killed winter40 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xlv #ahda-'db4 #ahdb-'dc4 #ahdc-'dd4 #ahdd-'de4 #ahde-'df4 #ahdf-'dg4 ,,the ,,corbusier ,,winter ,,counts4 #ahda-'db4--,no4 ,i4 ,the ,ogllas engaged in a drunken brawl1 which resulted in a division of the tribe1 the ,kiyuksas 7,cut-,offs7 separating from the others4 ,no4 ,,ii4 ,the ,ogllas got drunk on ,chug ,creek1 and engaged in a quarrel among themselves1 in which ,red-,cloud's brother was killed1 and ,red-,cloud killed three men4 ,cloud-,shield 7,mahpiya-,wahacanka7 was born4 #ahdb-'dc4--,no4 ,i4 ,feather-,ear-,rings was killed by the ,shoshoni4 ,the four lodges and the many blood-stains intimate that he was killed at the time the four lodges of ,shoshoni were killed4 ,no4 ,,ii4 ,lone-,feather said his prayers1 and took the war path to avenge the death of some relatives4 ,white-,cow-,killer calls it 8,crane's-son-killed winter40 #ahdc-'dd4--,no4 ,i4 ,the great medicine arrow was taken from the ,pawnees by the ,ogllas and ,bruls1 and returned to the ,cheyennes1 to whom it rightly belonged4 ,no4 ,,ii4 ,in a great fight with the ,pawnees they captured the great medicine arrow which had been taken from the ,cheyennes1 who made it1 by the ,pawnees4 ,the head of the arrow projects from the bag which contains it4 ,the delicate waved lines 7intended probably for spiral lines7 show that it is sacred4 ,white-,cow-,killer calls it 8,the ,great-medicine-arrow-comes-in winter40 ,battiste ,good's record gives the following for the same year3 8,brought-home-the-magic-arrow winter4 ,this arrow originally belonged to the ,cheyennes1 from whom the ,pawnees stole it4 ,the ,dakotas captured it this winter from the ,pawnees1 and the ,cheyennes then redeemed it for one hundred horses40 ,his sign for the year is somewhat different1 as shown in ,figure #df4 ,as before mentioned1 an attempt is made to distinguish colors by the heraldic scheme1 which in this instance may require explanation4 ,the upper part of the body is sable or black1 the feathers on the arrow are azure or blue1 and the shaft1 gules or red4 ,the remainder of the figure is of an undecided color not requiring specification4 ,illustration3 ,,fig4 #df4--,magic arrow4 #ahdd-'de4--,no4 ,i4 ,male-,crow1 an ,oglla1 was killed by the ,shoshoni4 ,no4 ,,ii4 ,crazy-,horse says his prayers and goes on the war path4 ,the waved lines are used again for crazy4 ,white-,cow-,killer calls it 8,white-,buffalo-,bull-killed by-the-,crows winter40 #ahde-'df4--,no4 ,i4 ,white-,bull and thirty other ,ogllas were killed by the ,crows and ,shoshoni4 ,no4 ,,ii4 ,white-,bull and many others were killed in a fight with the ,shoshoni4 ,white-,cow-,killer calls it 8,many-sick winter40 #ahdf-'dg4--,no4 ,i4 ,big-,crow and ,conquering-,bear had a great feast and gave many presents4 ,no4 ,,ii4 ,long-,pine1 a ,dakota1 was killed by ,dakotas4 ,he was not killed by an enemy1 as he has not lost his scalp4 ,white-,cow-,killer calls it 8,diver's-neck-broken winter40 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xlvi #ahdg-'dh4 #ahdh-'di4 #ahdi-'ej4 #ahej-'ea4 #ahea-'eb4 #aheb-'ec4 ,,the ,,corbusier ,,winter ,,counts4 #ahdg-'dh4--,no4 ,i4 ,there were a great many accidents and some legs were broken1 the ground being covered with ice4 ,no4 ,,ii4 ,many were thrown from their horses while surrounding buffalo in the deep snow1 and some had their legs-broken4 ,white-,cow-,killer calls it 8,many-legs-broken winter40 #ahdh-'di4--,no4 ,i4 ,american-,horse's father captured a ,crow who was dressed as a woman1 but who was found to be an hermaphrodite and was killed4 ,no4 ,,ii4 ,american-,horse's father captured a ,crow woman and gave her to the young men1 who discovered that she was an hermaphrodite and killed her4 ,white-,cow-,killer calls it 8,half-man-and-half-woman-killed winter40 ,it is probable that this was one of those men1 not uncommon among the ,indian tribes1 who adopt the dress and occupation of women4 ,this is sometimes compulsory1 e4 g41 on account of failure to pass an ordeal4 #ahdi-'ej4--,no4 ,i4 ,many died of the cramps4 ,the cramps were those of ,asiatic cholera1 which was epidemic in the ,united ,states at that time1 and was carried to the plains by the ,california and ,oregon emigrants4 ,the position of the man is very suggestive of cholera4 ,no4 ,,ii4 ,making-the-,hole stole many horses from a ,crow tipi4 ,the index points to the hole1 which is suggestive of the man's name4 ,white-,cow-,killer calls it 8,the-people-had-the-cramps winter40 #ahej-'ea4--,no4 ,i4 ,wolf-,robe was killed by the ,pawnees4 ,no4 ,,ii4 ,many died of the small-pox4 ,white-,cow-,killer calls it 8,all-the-time-sick-with-the-big-small-p ox winter40 #ahea-'eb4--,no4 ,i4 ,they received their first annuities at the mouth of ,horse ,creek4 ,a one-point blanket is depicted and denotes dry-goods4 ,it is surrounded by a circle of marks which represent the people4 ,no4 ,,ii4 ,many goods were issued to them at ,fort ,laramie4 ,they were the first they received4 ,the blanket which is represented stands for the goods4 ,white-,cow-,killer calls it 8,large-issue-of-goods-on-the-,platte-,r iver winter40 #aheb-'ec4--,no4 ,i4 ,the ,cheyennes carry the pipe around to invite all the tribes to unite with them in a war against the ,pawnees4 ,no4 ,,ii4 ,a white man made medicine over the skull of ,crazy-,horse's brother4 ,he holds a pipe-stem in his hand4 ,this probably refers to the custom of gathering the bones of the dead that have been placed on scaffolds and burying them4 ,white-,cow-,killer calls it 8,great-snow winter40 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xlvii #ahec-'ed4 #ahed-'ee4 #ahee-'ef4 #ahef-'eg4 #aheg-'eh4 #aheh-'ei4 ,,the ,,corbusier ,,winter ,,counts4 #ahec-'ed4--,no4 ,i4 ,antelope-,dung broke his neck while surrounding buffalo4 ,no4 ,,ii4 ,antelope-,dung broke his neck while running antelope4 ,his severed head is the only part of his body that is shown4 ,white-,cow-,killer calls it 8,oak-wood-house winter40 #ahed-'ee4--,no4 ,i4 ,conquering-,bear was killed by white soldiers1 and thirty white soldiers were killed by the ,dakotas #i miles below ,fort ,laramie4 ,the thirty black dots in three lines stand for the soldiers1 and the red stains for killed4 ,the head covered with a fatigue-cap further shows they were white soldiers4 ,indian soldiers are usually represented in a circle or semicircle4 ,the gesture-sign for soldier means all in line1 and is made by placing the nearly closed hands with palms forward1 and thumbs near together1 in front of the body and then separating them laterally about two feet4 ,no4 ,,ii4 ,brave-,bear was killed in a quarrel over a calf4 ,he was killed by enemies2 hence his scalp is gone4 ,white-,cow-,killer says1 8,mato-wayuhi 7or ,conquering-,bear7 killed-by-white-soldiers winter40 #ahee-'ef4--,no4 ,i4 ,a war party of ,ogllas killed one ,pawnee--his scalp is on the pole--and on their way home froze their feet4 ,no4 ,,ii4 ,torn-,belly and his wife were killed by some of their own people in a quarrel4 ,white-,cow-,killer calls it 8,a-medicine-man-made-buffalo-medicine winter40 #ahef-'eg4--,no4 ,i4 ,they received annuities at ,raw-,hide ,butte4 ,the house and the blanket represent the agency and the goods4 ,no4 ,,ii4 ,they have an abundance of buffalo meat4 ,this is shown by the full drying pole4 ,white-,cow-,killer calls it 8,white-hill-house winter40 #aheg-'eh4--,no4 ,i4 ,little-,gay1 a white trader1 was killed by the explosion of a can of gunpowder4 ,he was measuring out powder from the can in his wagon while smoking his pipe4 ,no4 ,,ii4 ,they surrounded and killed ten ,crows4 ,white-,cow-,killer calls it 8,bull-hunting winter40 #aheh-'ei4--,no4 ,i4 ,they made peace with the ,pawnees4 ,the one on the left is a ,pawnee4 ,no4 ,,ii4 ,they bought ,mexican blankets of ,john ,richard1 who bought many wagon-loads of the ,mexicans4 ,white-,cow-,killer calls it 8,yellow-blanket-killed winter40 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xlviii #ahei-'fj4 #ahfj-'fa4 #ahfa-'fb4 #ahfb-'fc4 #ahfc-'fd4 #ahfd-'fe4 ,,the ,,corbusier ,,winter ,,counts4 #ahei-'fj4--,no4 ,i4 ,broken-,arrow fell from his horse while running buffalo and broke his neck4 ,no4 ,,ii4 ,black-,shield says prayers and takes the war path to avenge the death of two of his sons who had been killed by the ,crows4 ,white-,cow-,killer calls it 8,black-,shield's-two boys-go-hunting-and-are-killed-by-the-,c rows winter40 #ahfj-'fa4--,no4 ,i4 ,two-,face1 an ,oglla1 was badly burnt by the explosion of his powder-horn4 ,no4 ,,ii4 ,they capture a great many antelope by driving them into a pen4 ,white-,cow-,killer calls it 8,babies-all-sick-and-many-die winter40 #ahfa-'fb4--,no4 ,i4 ,spider was killed 7stabbed7 in a fight with the ,pawnees4 ,no4 ,,ii4 ,young-,rabbit1 a ,crow1 was killed in battle by ,red-,cloud4 ,white-,cow-,killer calls it 8,crow-,indian-,spotted-,horse-stole-man y-horses-and-was-killed winter40 #ahfb-'fc4--,no4 ,i4 ,the ,crows scalped an ,oglla boy alive4 ,no4 ,,ii4 ,some ,crows came to their camp and scalped a boy4 ,white-,cow-,killer calls it 8,crows-scalp-boy winter40 #ahfc-'fd4--,no4 ,i4 ,the ,ogllas and ,minneconjous took the war path against the ,crows and stole three hundred ,crow horses4 ,the ,crows followed them and killed eight of the party4 ,no4 ,,ii4 ,eight ,dakotas were killed by the ,crows4 ,here eight long marks represent the number killed4 ,white-,cow-,killer calls it 8,dakotas-and-,crows-have-a-big-fight-ei ght-,dakotas-killed winter40 #ahfd-'fe4--,no4 ,i4 ,bird1 a white trader1 went to ,powder ,river to trade with the ,cheyennes4 ,they killed him and appropriated his goods4 ,no4 ,,ii4 ,bird1 a white trader1 was burned to death by the ,cheyennes4 ,he is surrounded by flames in the picture4 ,white-,cow-,killer calls it 8,big-,lips-died-suddenly winter40 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,xlix #ahfe-'ff4 #ahff-'fg4 #ahfg-'fh4 #ahfh-'fi4 #ahfi-'gj4 #ahgj-'ga4 ,,the ,,corbusier ,,winter ,,counts4 #ahfe-'ff4--,no4 ,i4 ,general ,maynadier made peace with the ,ogllas and ,bruls4 ,his name1 the sound of which resembles the words 8many deer10 is indicated by the two deers' heads connected with his mouth by the lines4 ,no4 ,,ii4 ,many horses were lost by starvation1 as the snow was so deep they couldn't get at the grass4 #ahff-'fg4--,no4 ,i4 ,they killed one hundred white men at ,fort ,phil4 ,kearny4 ,the hats and the cap-covered head represent the whites2 the red spots1 the killed2 the circle of characters around them1 rifle or arrow shots2 the black strokes1 ,dakota footmen2 and the hoof-prints1 ,dakota horsemen4 ,the ,phil4 ,kearny massacre occurred ,december #ba1 #ahff1 and eighty-two whites were killed1 including officers1 citizens1 and enlisted men4 ,capt4 ,w4 ,j4 ,fetterman was in command of the party4 ,no4 ,,ii4 ,lone-,bear was killed in battle4 ,white-,cow-,killer calls it 8,one-hundred-white-men-killed winter40 #ahfg-'fh4--,no4 ,i4 ,they captured a train of wagons near ,tongue ,river4 ,the men who were with it got away4 ,the blanket represents the goods found in the wagons4 ,no4 ,,ii4 ,blankets were issued to them at ,fort ,laramie4 ,white-,cow-,killer calls it 8,seven-,pawnees-killed winter40 #ahfh-'fi4--,no4 ,i4 ,they were compelled to sell many mules and horses to enable them to procure food1 as they were in a starving condition4 ,they willingly gave a mule for a sack of flour4 ,the mule's halter is attached to two sacks of flour4 ,no4 ,,ii4 ,they had to sell many mules and horses to get food1 as they were starving4 ,white-,cow-,killer calls it 8,mules-sold-by-hungry-,sioux winter40 #ahfi-'gj4--,no4 ,i4 ,tall-,bull was killed by white soldiers and ,pawnees on the south side of the ,south ,platte ,river4 ,no4 ,,ii4 ,john ,richard shot a white soldier at ,fort ,fetterman1 ,wyoming1 and fled north1 joining ,red-,cloud4 ,white-,cow-,killer calls it 8,tree-fell-on-woman-who-was-cutting-woo d-and-killed-her winter40 #ahgj-'ga4--,no4 ,i4 ,high-,back-,bone1 a very brave ,oglla1 was killed by the ,shoshoni4 ,they also shot another man1 who died after he reached home4 ,no4 ,,ii4 ,high-,back-,bone was killed in a fight with the ,snakes 7,shoshoni74 ,white-,cow-,killer calls it 8,high-,back-,bone-killed-by-,snake-,ind ians winter40 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,l #ahga-'gb4 #ahgb-'gc4 #ahgc-'gd4 #ahgd-'ge4 #ahge-'gf4 #ahgf-'gg4 ,,the ,,corbusier ,,winter ,,counts4 #ahga-'gb4--,no4 ,i4 ,john ,richard shot and killed an ,oglla named ,yellow-,bear1 and the ,ogllas killed ,richard before he could get out of the lodge4 ,this occurred in the spring of #ahgb4 ,as the white man was killed after the ,indian1 he is placed behind him in the figure4 ,no4 ,,ii4 ,adobe houses were built by ,maj4 ,j4 ,w4 ,wham1 ,indian agent 7now paymaster1 ,united ,states ,army71 on the ,platte ,river1 about #cj miles below ,fort ,laramie4 ,white-,cow-,killer calls it 8,major-,wham's-house-built-on-,platte-, river winter40 #ahgb-'gc4--,no4 ,i4 ,whistler1 also named ,little-,bull1 and two other ,ogllas1 were killed by white hunters on the ,republican ,river4 ,no4 ,,ii4 ,antoine ,janis's two boys were killed by ,joe 7,john87 ,richard4 ,white ,cow-,killer calls it 8,stay-at-plenty-ash-wood winter40 #ahgc-'gd4--,no4 ,i4 ,the ,ogllas killed the ,indian agent's 7,seville's7 clerk inside the stockade of the ,red ,cloud ,agency1 at ,fort ,robinson1 ,nebraska4 ,no4 ,,ii4 ,they killed many ,pawnees on the ,republican ,river4 #ahgd-'ge4--,no4 ,i4 ,the ,ogllas at the ,red ,cloud ,agency1 near ,fort ,robinson1 ,nebraska1 cut to pieces the flag staff which their agent had had cut and hauled1 but which they would not allow him to erect1 as they did not wish to have a flag flying over their agency4 ,this was in #ahgd4 ,the flag which the agent intended to hoist is now at the ,pine ,ridge ,agency1 ,dakota4 ,no4 ,,ii4 ,the ,utes stole all of the ,brul horses4 #ahge-'gf4--,no4 ,i4 ,the first stock cattle were issued to them4 ,the figure represents a cow or spotted buffalo1 surrounded by people4 ,the gesture-sign also signifies spotted buffalo4 ,no4 ,,ii4 ,seven of ,red-,cloud's band were killed by the ,crows4 ,white-,cow-,killer calls it 8,five-,dakotas-killed winter40 #ahgf-'gg4--,no4 ,i4 ,the ,ogllas helped ,general ,mackenzie to whip the ,cheyennes4 ,the ,indian's head represents the man who was the first to enter the ,cheyenne village4 ,the white man holding up three fingers is ,general ,mackenzie1 who is placed upon the head of the ,dakota to indicate that the ,dakotas backed or assisted him4 ,the other white man is ,general ,crook1 or ,three ,stars1 as indicated by the three stars above him4 ,this designation might be suggested from the uniform1 but ,general ,crook did not probably wear during the year mentioned or for a long time before it the uniform either of his rank as major-general of volunteers or as brevet major-general in the ,army1 and by either of those ranks he was entitled to but two stars on his shoulder-straps4 ,no4 ,,ii4 ,three-,stars 7,general ,crook7 took ,red-,cloud's young men to help him fight the ,cheyennes4 ,a red cloud1 indicating the chief's name1 is represented above his head4 ,white-,cow-,killer calls it 8,general-,mackenzie-took-the-,red-,clou d-,indians'-horses-away-from-them winter40 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,li #ahgg-'gh4 #ahgh-'gi4 ,,the ,,corbusier ,,winter ,,counts4 #ahgg-'gh4--,no4 ,i4 ,a soldier ran a bayonet into ,crazy-,horse1 and killed him in the guard-house1 at ,fort ,robinson1 ,nebraska 7,september #e1 #ahgg74 ,no4 ,,ii4 ,crazy-,horse's band left the ,spotted ,tail ,agency 7at ,camp ,sheridan1 ,nebraska71 and went north1 after ,crazy-,horse was killed at ,fort ,robinson1 ,nebraska4 ,hoof-prints and lodge-pole tracks run northward from the house1 which represents the ,agency4 ,that the horse is crazy is shown by the waved or spiral lines on his body1 running from his nose1 foot1 and forehead4 ,white-,cow-,killer calls it 8,crazy-,horse-killed winter40 #ahgh-'gi4--,no4 ,i4 ,wagons were given to them4 ,no4 ,,ii4 ,the ,cheyenne who boasted that he was bullet and arrow proof was killed by white soldiers1 near ,fort ,robinson1 ,nebraska1 in the intrenchments behind which the ,cheyennes were defending themselves after they had escaped from the fort4 ,white-,cow-,killer calls it 8,wagons-given-to-the-,dakota-,indians winter40 ,,notification4 ,this is an important division of the purposes for which pictographs are used4 ,the pictographs and the objective devices antecedent to pictographs under this head that have come immediately to the writer's attention1 may be grouped as follows3 #ast4 ,notice of departure1 direction1 etc4 #b;d4 ,notice of condition1 suffering1 etc4 #c;d4 ,warning and guidance4 #dth4 ,charts of geographic features4 #eth4 ,claim or demand4 #fth4 ,messages or communications4 #gth4 ,record of expedition4 ,,notice ,,of ,,departure ,,and ,,direction4 ,illustration3 ,,fig4 #dg4--;,alaskan notice of hunt4 ,dr4 ,w4 ,j4 ,hoffman obtained the original of the accompanying drawing1 ,fig4 #dg1 from ,naumoff an ,alaskan native1 in ,san ,francisco1 ,california1 in #ahhb1 also the interpretation1 with text in the ,kiatexamut dialect of the ,innuit language4 ,the drawing was in imitation of similar ones made by the natives1 to inform their visitors or friends of their departure for a certain purpose4 ,they are depicted upon strips of wood which are placed in conspicuous places near the doors of the habitations4 ,dr4 ,hoffman has published a brief account of this drawing as well as the succeeding one1 in the ,trans4 ,anthrop4 ,soc4 ,washington1 ,,ii1 #ahhc1 p4 #acd1 ,fig4 #c1 and p4 #acb1 ,fig #b4 ,the spelling adopted in the ,innuit text1 following in each case the explanation of characters1 is in accordance with the system now used by the ,bureau of ,ethnology4 ,the following is the explanation of the characters3 #a4 ,the speaker1 with the right hand indicating himself1 and with the left pointing in the direction to be taken4 #b4 ,holding a boat paddle--going by boat4 #c4 ,the right hand to the side of the head1 to denote sleep1 and the left elevated with one finger elevated to signify one--one night4 #d4 ,a circle with two marks in the middle1 signifying an island with huts upon it4 #e4 ,same as ,no4 #a4 #f4 ,a circle to denote another island4 #g4 ,same as ,no4 #c1 with an additional finger elevated1 signifying two--two nights4 #h4 ,the speaker with his harpoon1 making the sign of a sea lion with the left hand4 ,the flat hand is held edgewise with the thumb elevated1 then pushed outward from the body in a slightly downward curve4 #i4 ,a sea lion4 #aj4 ,shooting with bow and arrow4 #aa4 ,the boat with two persons in it1 the paddles projecting downward4 #ab4 ,the winter1 or permanent habitation of the speaker4 ,the following is the text in the ,aigaluxamut dialect1 with an interlinear translation3 ,hui ta-w-ut ai-w-xa-na kui-g-qta-mn a-xi-l-mk ka-w-xa-l-a1 ,i there go 7with boat7 that island one sleep there1 7to that place7 tca-l hui ai-w-lu-a a-x-mn kui-g-qta-mn1 ta-w-ni ma-l-qnk then ,i go another that island1 there two 7indicated7 ka-w-xa-l-a1 hui p-ql-a a-x-l-mk' wi-na-mk tca-l a-ni-xl-a sleeps ,i catch one sea lion then return 7nights7 n-nan m'nun4 7to7 place mine4 ,the following is of a similar nature1 and was obtained under circumstances similar to the preceding4 ,illustration3 ,,fig4 #dh4--;,alaskan notice of departure4 ,the explanation of the above characters is as follows3 #a1 #c1 #e1 #g1 represent the person spoken to4 #b4 ,indicates the speaker with his right hand to the side or breast1 indicating self1 the left hand pointing in the direction in which he is going4 #d4 ,both hands elevated1 with fingers and thumbs signifies many1 according to the informant4 ,when the hands are thus held up1 in sign-language1 it signifies ten1 but when they are brought toward and backward from one another1 many4 #f4 ,the right hand is placed to the head to denote sleep--many sleeps1 or1 in other words1 many nights and days2 the left hand points downward1 at that place4 #h4 ,the right hand is directed toward the starting point1 while the left is brought upward toward the head--to go home1 or whence he came4 ,the following is the text in the same dialect last mentioned1 with1 translation3 ,hui a-qtc-kua a-xl mn nu-n-mn1 am-li-ka-m-ik ha-w-xa-lu-a1 ,i go 7to7 another place1 many sleeps 7settlement7 7nights7 ta-w-n1 tca-l hui a-ni-ql-a4 there1 then ,i return4 ,the drawing presented in ,figure #di was made by a native ,alaskan1 and represents information to the effect that the artist contemplates making a journey to hunt deer4 ,the drawing is made upon a narrow strip of wood1 and placed somewhere about the door of the house1 where visitors will readily perceive it4 ,illustration3 ,,fig4 #di4--;,alaskan notice of hunt4 #a4 ,represents the contour lines of the country and mountain peaks4 #b4 ,native going away from home4 #c4 ,stick placed on hill-top1 with bunch of grass attached1 pointing in the direction he has taken4 #d4 ,native of another settlement1 with whom the traveler remained over night4 #e4 ,lodge4 #f4 ,line representing the end of the first day1 i4 e41 the time between two days2 rest4 #g4 ,traveler again on the way4 #h4 ,making signal that on second day 7right hand raised with two extended fingers7 he saw game 7deer1 #i7 on a hill-top1 which he secured1 so terminating his journey4 #i4 ,deer4 ,figures #ej1 #ea1 and #eb were drawn by ,naumoff1 under the circumstances above mentioned1 and signify 8,have gone home40 ,illustration3 ,,fig4 #ej4--;,alaskan notice of direction4 ,his explanation of ,figure #ej is as follows3 ,when one of a hunting party is about to return home and wishes to inform his companions that he has set out on such return1 he ascends the hill-top nearest to which they became separated1 where he ties a bunch of grass or other light colored material to the top of a long stick or pole4 ,the lower end of the stick is placed firmly in the ground1 leaning in the direction taken4 ,when another hill is ascended1 another stick with similar attachment is erected1 again leaning in the direction to be taken4 ,these sticks are placed at proper intervals until the village is sighted4 ,this device is employed by ,southern ,alaskan ,indians4 ,illustration3 ,,fig4 #ea4--;,alaskan notice of direction4 ,he also explained ,figure #ea as follows3 ,seal hunters adopt the following method of informing their comrades that they have returned to the settlement4 ,the first to return to the regular landing place sometimes sticks a piece of wood into the ground1 leaning toward the village1 upon which is drawn or scratched the out-line of a baidarka1 or skin canoe1 heading toward one or more outlines of lodges1 signifying that the occupants of the boat have gone toward their homes4 ,this is resorted to when the voyage has been a dangerous one1 and is intended to inform their companions of the safe arrival of some of the party4 ,this device is used by coast natives of ,southern ,alaska and ,kadiak4 ,illustration3 ,,fig4 #eb4--;,alaskan notice of direction4 ,he also explained ,figure #eb as follows3 ,when hunters become separated1 the one first returning to the forks of the trail puts a piece of wood in the ground1 on the top of which he makes an incision1 into which a short piece of wood is secured horizontally1 so as to point in the direction taken by the individual4 ,the following instance is taken from the ,narrative of an ,expedition to the ,source of ,st4 ,peter's ,river1 99 99 under the command of ,stephen ,h4 ,long1 major ,u4 ,s4 ,top4 ,eng4 commonly known as ,keating's ,long's ,expedition4 ,philadelphia1 #ahbd4 ,vol4 ,i1 p4 #bag4 ,when we stopped1 says ,major ,long1 to dine1 ,white ,thunder1 7the ,winnebago chief that accompanied me17 suspecting that the rest of his party were in the neighborhood1 requested a piece of paper1 pen and ink1 to communicate to them the intelligence of his having come up with me4 ,he then seated himself and drew three rude figures1 which at my request he explained to me4 ,the first represented my boat with a mast and flag1 with three benches of oars and a helmsman2 to show that we were ,americans1 our heads were represented by a rude cross1 indicating that we wore hats4 ,the representation of himself was a rude figure of a bear over a kind of cypher representing a hunting ground4 ,the second figure was designed to show that his wife was with him2 the device was a boat with a squaw seated in it2 over her head lines were drawn in a zigzag direction1 indicating that she was the wife of ,white ,thunder4 ,the third was a boat with a bear sitting at the helm1 showing that an ,indian of that name had been seen on his way up the river1 and had given intelligence where the party were4 ,this paper he set up at the mouth of ,kickapoo ,creek1 up which the party had gone on a hunting trip4 ,the following is extracted from an ,account of an ,expedition from ,pittsburgh to the ,rocky ,mountains1 99 99 under the command of ,major ,stephen ,h4 ,long commonly known as ,james' ,long's ,expedition4 ,philadelphia1 #ahbc4 ,vol4 ,i1 p4 #dgh4 ,at a little distance on the bank of the ,platte ,river1 in front of the entrance of this breastwork1 was a semicircular row of sixteen bison skulls1 with their noses pointing down the river4 ,near the center of the circle which this row would describe1 if continued1 was another skull marked with a number of red lines4 ,our interpreter informed us that this arrangement of skulls and other marks here discovered1 were designed to communicate the following information1 namely1 that the camp had been occupied by a war party of the ,skeeree or ,pawnee ,loup ,indians1 who had lately come from an excursion against the ,cumancias1 ,ietans1 or some of the western tribes4 ,the number of red lines traced on the painted skull indicated the number of the party to have been thirty-six2 the position in which the skulls were placed1 that they were on their return to their own country4 ,two small rods stuck in the ground1 with a few hairs tied in two parcels to the end of each1 signified that four scalps had been taken4 ,when a hunting party of the ,hidatsa has arrived at any temporary camping ground1 from which point a portion of the members might leave on a short reconnoitering expedition1 the remainder1 upon leaving for a time1 will erect a pole and cause it to lean in the direction taken4 ,at the foot of this pole a buffalo shoulder-blade or other flat bone is placed1 upon which is depicted the object causing departure4 ,for instance1 should buffalo or antelope be discovered1 an animal of the character sighted is rudely drawn with a piece of charred wood or red lead1 the latter being a substance in the possession of nearly every warrior to use in facial decoration1 etc4 ,when a ,hidatsa party has gone on the war path1 and a certain number is detailed to take another direction1 the point of separation is taken as the rendezvous4 ,after the return of the first party to the rendezvous1 should the second not come up in a reasonable length of time1 they will set sticks in the ground leaning in the direction to be taken1 and notches are cut into the upper ends of the sticks to represent the number of nights spent there by the waiting party4 ,a party of ,hidatsa who may be away from home for any purpose whatever often appoint a rendezvous1 from which point they return to their respective lodges4 ,should an individual return to the rendezvous before any others and wish to make a special trip for game or plunder1 he will1 for the information of the others1 place a stick of about #c or #d feet in length in the ground1 upon the upper end of which a notch is cut1 or perhaps split1 for the reception of a thinner piece of twig or branch having a length of about a foot4 ,this horizontal top piece is inserted at one end1 so that the whole may point in the direction to be taken4 ,should the person wish to say that the trail would turn at a right angle1 to either side1 at about one-half the distance of the whole journey in prospect1 the horizontal branch is either bent in that direction or a naturally-curved branch is selected having the turn at the middle of its entire length1 thus corresponding to the turn in the trail4 ,any direction can be indicated by curves in the top branch4 ,,notice ,,of ,,condition4 ,according to ,masta1 chief of the ,abnaki1 members of that tribe remove the bark of trees in prominent places to denote that the inhabitants of the nearest lodge are in a starving condition4 ,the ,ottawa and the ,potawatomi ,indians indicate hunger and starvation by drawing a black line across the breast or stomach of the figure of a man4 7,see ,fig4 #ade1 page #bba47 ,this drawing is placed upon a piece of wood1 either incised or with a mixture of powdered charcoal and glue water1 or red ocher4 ,this is then attached to a tree or fastened to a piece of wood1 and erected near the lodge on a trail1 where it will be observed by passers by1 who are expected to alleviate the sufferings of the native who erected the notice4 ,figure #ec illustrates information with regard to distress in another village1 which occasioned the departure of the party giving the notification4 ,the drawing was made for ,dr4 ,w4 ,j4 ,hoffman1 in #ahhb1 by ,naumoff1 in imitation of drawings prepared by ,alaska natives4 ,the designs are traced upon a strip of wood1 which is then stuck upon the roof of the house belonging to the recorder4 ,illustration3 ,,fig4 #ec4--;,alaskan notice of distress4 #a4 ,the summer habitation1 showing a stick leaning in the direction to be taken4 #b4 ,the baidarka1 containing the residents of the house4 ,the first person is observed pointing forward1 indicating that they 8go by boat to the other settlement40 #c4 ,a grave stick1 indicating a death in the settlement4 #d1 #e4 ,summer and winter habitations1 denoting a village4 ,the drawing1 ,figure #ed1 made for ,dr4 ,hoffman in #ahhb1 by a native1 in imitation of originals in ,alaska1 is intended to be placed in a conspicuous portion of a settlement which has been attacked by a hostile force and finally deserted4 ,the last one to leave prepares the drawing upon a strip of wood to inform friends of the resort of the survivors4 ,illustration3 ,,fig4 #ed4--;,alaskan notice of departure and refuge4 #a4 ,represents three hills or ranges1 signifying that the course taken would carry them beyond that number of hills or mountains4 #b4 ,the recorder1 indicating the direction1 with the left hand pointing to the ground1 one hill1 and the right hand indicating the number two1 the number still to be crossed4 #c4 ,a circular piece of wood or leather1 with the representation of a face1 placed upon a pole and facing the direction to be taken from the settlement4 ,in this instance the drawing of the character denotes a hostile attack upon the town1 for which misfortune such devices are sometimes erected4 #d1 #e4 ,winter and summer habitations4 #f4 ,store-house1 erected upon upright poles4 ,this device is used by ,alaska coast natives generally4 ,in connection with these figures reference may be made to a paper by the present writer in the ,first ,annual ,report of the ,bureau of ,ethnology1 p4 #cfi1 showing the devices of the ,abnaki4 ,dr4 ,george ,gibbs 7,contributions to ,n4 ,a4 ,ethnology1 ,vol4 ,i1 p4 #bbb7 says of 8symbolic writing0 of the northwest tribes3 ,i am not aware how far this may be carried among the ,sound tribes4 ,probably there is no great essential difference between them and their neighbors of the plains in this art4 ,it may perhaps be best explained by an example given me by a veteran mountaineer1 ,dr4 ,robert ,newell1 of ,champoeg4 ,a party of ,snakes are going to hunt strayed horses4 ,a figure of a man1 with a long queue1 or scalp lock1 reaching to his heels1 denoted ,shoshonee2 that tribe being in the habit of braiding horse- or other hair into their own in that manner4 ,a number of marks follow1 signifying the strength of the party4 ,a foot-print1 pointed in the direction they take1 shows their course1 and a hoof-mark turned backward1 that they expect to return with animals4 ,if well armed1 and expecting a possible attack1 a little powder mixed with sand tells that they are ready1 or a square dotted about the figures indicates that they have fortified4 ,the design shown in ,figure #ee is in imitation of etchings made by natives of ,southern ,alaska to convey to the observer the information that the recorder had gone away to another settlement the inhabitants of which were in distress4 ,the drawings were put on a strip of wood and placed at the door of the house where it might be seen by visitors or inquirers4 ,illustration3 ,,fig4 #ee4--,notice of departure to relieve distress4 ,alaska4 ,naumoff gave the following explanation3 #a4 ,a native making the gesture of indicating self with the right hand1 and with the left indicating direction and going4 #b4 ,the native's habitation4 #c4 ,scaffold used for drying fish4 ,upon the top of the pole is placed a piece of wood tied so that the longest end points in the direction to be taken by the recorder4 #d4 ,the baidarka conveying the recorder4 #e4 ,a native of the settlement to be visited4 #f4 ,summer habitation4 #g4 8,shaman stick0 or grave stick1 erected to the memory of a recently deceased person1 the cause of which has necessitated the journey of the recorder4 #h4 ,winter habitation4 ,this1 together with ,no4 #f1 indicates a settlement4 ,fig4 #ef1 also drawn by ,naumoff1 means 8ammunition wanted40 ,illustration3 ,,fig4 #ef4--;,ammunition wanted4 ,alaska4 ,when a hunter is tracking game1 and exhausts his ammunition1 he returns to the nearest and most conspicuous part of the trail and sticks his ihnk in the ground1 the top leaning in the direction taken4 ,the ihnk is the pair of sticks arranged like the letter ,a1 used as a gun-rest4 ,this method of transmitting the request to the first passer is resorted to by the greater number of coast natives of ,southern ,alaska4 ,fig4 #eg1 also drawn by ,naumoff1 means 8discovery of bear2 assistance wanted40 ,illustration3 ,,fig4 #eg4--;,assistance wanted in hunt4 ,alaska4 ,when a hunter discovers a bear1 and requires assistance1 he ties together a bunch of grass1 or other fibrous matter1 in the form of an animal with legs1 and places it upon a long stick or pole which is erected at a conspicuous point to attract attention4 ,the head of the effigy is directed toward the locality where the animal was last seen4 ,this device is also used at times by most of the ,southern ,alaskan ,indians4 ,figure #eh was also drawn by ,naumoff1 and signifies 8starving hunters40 ,illustration3 ,,fig4 #eh4--,starving hunters4 ,alaska4 ,hunters who have been unfortunate1 and are suffering from hunger1 scratch or draw upon a piece of wood characters similar to those figured1 and place the lower end of the stick in the ground on the trail where the greatest chance of its discovery occurs4 ,the stick is inclined toward the locality of the habitation4 ,the accompanying explanation will serve to illustrate more fully the information contained in the drawing4 #a4 ,a horizontal line denoting a canoe1 showing the persons to be fishermen4 #b4 ,an individual with both arms extended signifying nothing1 corresponding with the gesture for negation4 #c4 ,a person with the right hand to the mouth1 signifying to eat1 the left hand pointing to the house occupied by the hunters4 #d4 ,the habitation4 ,the whole signifies that there is nothing to eat in the house4 ,this is used by natives of ,southern ,alaska4 ,illustration3 ,,fig4 #ei4--,starving hunters4 ,alaska4 ,figure #ei1 with the same signification1 and from the same hand1 is similar to the preceding in general design4 ,this is placed in the ground near the landing place of the canoemen1 so that the top points toward the lodge4 ,the following is the explanation of the characters3 #a4 ,baidarka1 showing double projections at bow1 as well as the two individuals1 owners1 in the boat4 #b4 ,a man making the gesture for nothing4 7,see in this connection ,figure #aee1 page #bce47 #c4 ,gesture drawn1 denoting to eat1 with the right hand1 while the left points to the lodge4 #d4 ,a winter habitation4 ,this is used by the ,alaskan coast natives4 ,,warning ,,and ,,guidance4 ,an amusing instance of the notice or warning of 8,no thoroughfare0 is given on page #chc of the present writer's paper1 ,sign ,language among ,north ,american ,indians1 in the ,first ,annual ,report of the ,bureau of ,ethnology4 ,it was taken from a rock-etching in ,caon de ,chelly1 ,new ,mexico4 ,a graphic warning against trespass appears in ,schoolcraft1 ,vol4 ,i1 ,plate #dh1 ,figure ,b1 op4 page #cch4 ,during his connection with the geographic surveys west of the one hundredth meridian under the direction of ,capt4 ,g4 ,m4 ,wheeler1 ,u4 ,s4 ,army1 ,dr4 ,hoffman observed a practice which prevailed among the ,tivtikai ,shoshoni1 of ,nevada1 in which heaps of stones were erected along or near trails to indicate the direction to be taken and followed to reach springs of water4 ,upon slight elevations of ground1 or at points where a trail branched into two or more directions1 or at the intersection of two trails1 a heap of stones would be placed1 varying from #a to #b or more feet in height1 according to the necessity of the case1 to attract attention4 ,upon the top of this would be fixed an elongated piece of rock so placed that the most conspicuous point projected and pointed in the course to be followed4 ,this was continued sometimes at intervals of several miles unless indistinct portions of a trail or intersections demanded a repetition at shorter distances4 ,a knowledge of the prevalence of this custom proved very beneficial to the early prospectors and pioneers4 ,stone circles and stone heaps of irregular form were also met with1 which to a casual observer might be misleading4 ,these resulted from previous deposits of edible pine nuts1 which had been heaped upon the ground and covered over with stones1 grass1 and earth to prevent their destruction by birds and rodents4 ,these deposits were placed along the trails in the timbered regions to afford sustenance to ,indians who had failed in the hunt1 or who might not reach camp in time to prevent suffering from hunger4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxxx ,,rock ,,paintings ,,in ,,azuza ,,ca,,on1 ,,california4 ,plate ,,lxxx 7,a1 ,b1 ,c7 represents colored pictographs found by ,dr4 ,hoffman in #ahhd on the ,north ,fork of the ,san ,gabriel ,river1 also known as the ,azuza ,caon1 ,los ,angeles ,county1 ,california4 ,its description is as follows3 ,a and ,b are copies1 one-sixteenth natural size1 of rock painting found in the ,azuza ,caon1 #cj miles northeast of ,los ,angeles1 ,california4 ,the bowlder upon which the paintings occur measures #h feet long1 about #d feet high1 and the same in width4 ,the figures occur on the eastern side of the rock1 so that the left arm of the human figure on the right points toward the north4 ,the map 7,c7 at the bottom of the plate presents the topography of the immediate vicinity and the relative positions of the rocks bearing the two illustrations4 ,the map is drawn on a scale of #a1jjj yards to the inch4 ,the stream is the ,north ,fork of the ,san ,gabriel ,river1 and is hemmed in by precipitous mountains1 with the exception of two points marked c1 c1 over which the old ,indian trail passed in going from the ,mojave ,desert on the north to the ,san ,gabriel ,valley below1 this course being the nearest for reaching the mission settlements at ,san ,gabriel and ,los ,angeles4 ,in attempting to follow the water-course the distance would be greatly increased and a rougher trail encountered4 ,the pictograph ,a1 painted on the rock marked b on the map ,c1 shows characters in pale yellow1 upon a bowlder of almost white granite1 which are partly obliterated by weathering and annual floods1 though still enough remains to indicate that the right-hand figure is directing the observer to the northeast1 although upon taking that course it would be necessary to round the point a short distance to the west4 ,it may have been placed as a notification of direction to those ,indians who might have come up the caon instead of on the regular trail4 ,farther west1 at the spot marked a on the map1 is a granite bowlder bearing a large number of paintings part of which have become almost obliterated4 ,these were drawn with red ocher 7ferric oxide74 ,a selection of these is shown in ,b on the plate4 ,this is on the western face of the rock1 almost vertical4 ,this also appears to refer to the course of the trail1 which might readily be lost on account of the numerous mountain ridges and spurs4 ,the left-hand figure appears to place the left hand upon a series of ridges1 as if showing pantomimically the rough and ridged country over the mountains4 ,the middle figure represents gesture1 which in its present connection may indicate direction1 of the trail1 i4 e41 toward the left1 or northward in an up-hill course1 as indicated by the arm and leg1 and southward1 or downward1 as suggested by the lower inclination of the leg1 and lower forearm and hand on the right of the illustration4 ,the right-hand figure1 although similar in manner of delineating gesture and general resemblance to the ,shoshonian method1 is not yet determined in that connection4 ,these illustrations1 as well as other pictographs on the same rock1 not at present submitted1 bear remarkable resemblance to the general type of ,shoshonian drawing1 and from such evidence as is now attainable it appears more than probable that they are of ,chemehuevi origin1 as that tribe at one time ranged thus far west1 though north of the mountains1 and also visited the valley and settlements at ,los ,angeles at stated intervals to trade4 ,it is also known that the ,mojaves came at stated periods to ,los ,angeles as late as #ahde1 and the trail indicated at point a of the map would appear to have been their most practicable and convenient route4 ,there is strong evidence that the ,mokis sometimes visited the ,pacific coast and might readily have taken this same course1 marking the important portion of the route by drawings in the nature of guide boards4 ,,charts ,,of ,,geographic ,,features4 ,dr4 ,w4 ,j4 ,hoffman states that when at ,grapevine ,springs1 ,nevada1 in #ahga1 the ,pai-,uta living at that locality informed the party of the exact location of ,las ,vegas1 the objective point4 ,the ,indian sat upon the sand1 and with the palms of his hands formed an oblong ridge to represent ,spring ,mountain1 and southeast of this ridge another gradual slope1 terminating on the eastern side more abruptly2 over the latter he passed his fingers to represent the side valleys running eastward4 ,he then took a stick and showed the direction of the old ,spanish trail running east and west over the lower portion of the last-named ridge4 ,when this was completed the ,indian looked at the members of the party1 and with a mixture of ,english1 ,spanish1 ,pai-,uta1 and gesture signs1 told them that from where they were now they would have to go southward1 east of ,spring ,mountain1 to the camp of ,pai-,uta ,charlie1 where they would have to sleep2 then indicating a line southeastward to another spring 7,stump's7 to complete the second day2 then he followed the line representing the ,spanish trail to the east of the divide of the second ridge above named1 where he left it1 and passing northward to the first valley1 he thrust the short stick into the ground and said1 8,las ,vegas40 ,it is needless to say that the information was found to be correct and of considerable value to the party4 ,schoolcraft 7,vol4 ,i1 p4 #ccd1 ,pl4 #dg1 ,fig4 ,b7 mentions that the discovery1 on one of the tributaries of the ,susquehanna ,river1 8of an ,indian map drawn on stone1 with intermixed devices1 a copy of which appears in the first volume of the collections of the ,historical ,committee of the ,american ,philosophical ,society1 ,philadelphia1 proves1 although it is thus far isolated1 that stone was also employed in that branch of inscription4 ,this discovery was in the area occupied by the ,lenapees1 who are known to have practiced the art1 which they called ,ola ,walum40 ,the ,tegua ,pueblos1 of ,new ,mexico1 8traced upon the ground a sketch of their country1 with the names and locations of the pueblos occupied in ,new ,mexico10 a copy of which1 8somewhat improved10 is given in ,vol4 ,,iii1 ,pacific ,r4 ,r4 ,explorations1 #ahef1 ,part ,,iii1 pp4 #i1 #aj4 ,a ,yuma map of the ,colorado ,river1 with the names and locations of tribes within its valley1 is also figured in the last mentioned volume1 page #ai4 ,the map was originally traced upon the ground4 ,a ,pai-,uta map of the ,colorado ,river is also figured in the same connection1 which was obtained by ,lieutenant ,whipple and party4 ,illustration3 ,,fig4 #fj4--,lean-,wolf's map4 ,hidatsa4 ,lean-,wolf1 of the ,hidatsa1 who drew the picture of which ,figure #fj is a fac-simile1 made a trip on foot from ,fort ,berthold to ,fort ,buford1 ,dakota1 to steal a horse from the ,dakotas encamped there4 ,the returning horse tracks show that he attained the object in view1 and that he rode home4 ,the following explanation of characters was made to ,dr4 ,hoffman1 at ,fort ,berthold1 in #ahha3 #a4 ,lean-,wolf1 the head only of a man to which is attached the outline of a wolf4 #b4 ,hidatsa earth lodges1 circular in form1 the spots representing the pillars supporting the roof4 ,indian village at ,fort ,berthold1 ,dakota4 #c4 ,human footprints2 the course taken by the recorder4 #d4 ,the ,government buildings at ,fort ,buford 7square74 #e4 ,several ,hidatsa lodges 7round71 the occupants of which had inter-married with the ,dakotas4 #f4 ,dakota lodges4 #g4 ,a small square--a white man's house--with a cross marked upon it1 to represent a ,dakota lodge4 ,this denotes that the owner1 a white man1 had married a ,dakota woman who dwelt there4 #h4 ,horse tracks returning to ,fort ,berthold4 #i4 ,the ,missouri ,river4 #aj4 ,tule ,creek4 #aa4 ,little ,knife ,river4 #ab4 ,white ,earth ,river4 #ac4 ,muddy ,creek4 #ad4 ,yellowstone ,river4 #ae4 ,little ,missouri ,river4 #af4 ,dancing ,beard ,creek4 ,,claim ,,or ,,demand4 ,stephen ,powers states that the ,nishinam of ,california have a curious way of collecting debts4 8,when an ,indian owes another1 it is held to be in bad taste1 if not positively insulting1 for the creditor to dun the debtor1 as the brutal ,saxon does2 so he devises a more subtle method4 ,he prepares a certain number of little sticks1 according to the amount of the debt1 and paints a ring around the end of each4 ,these he carries and tosses into the delinquent's wigwam without a word and goes his way2 whereupon the other generally takes the hint1 pays the debt1 and destroys the sticks40 ,see ,contrib4 to ,n4 ,a4 ,ethnology1 ,vol4 ,,iii1 #cba4 ,dr4 ,w4 ,j4 ,hoffman says1 8,when a patient has neglected to remunerate the ,shaman ,wktcmn of the ,yoktsan linguistic division for his services1 the latter prepares short sticks of wood1 with bands of colored porcupine quills wrapped around them1 at one end only1 and every time he passes the delinquent's lodge a certain number of them are thrown in as a reminder of the indebtedness40 ,see ,san ,francisco 7,cal47 ,western ,lancet1 ,,xi1 #ahhb1 p4 #ddc4 ,,messages ,,and ,,communications4 ,illustration3 ,,fig4 #fa4--,letter to ,little-,man from his father4 ,cheyenne4 ,figure #fa is a letter sent by mail from a ,southern ,cheyenne1 named ,turtle-following-his-,wife1 at the ,cheyenne and ,arapaho ,agency1 ,indian ,territory1 to his son1 ,little-,man1 at the ,pine ,ridge ,agency1 ,dakota ,territory4 ,it was drawn on a half-sheet of ordinary writing paper1 without a word written4 ,it was inclosed in an envelope1 which was addressed to 8,little-,man1 ,cheyenne1 ,pine ,ridge ,agency10 in the ordinary manner1 written by some one at the first-named agency4 ,the letter was evidently understood by ,little-,man1 as he immediately called upon ,dr4 ,v4 ,t4 ,mc,gillycuddy1 ,indian agent at ,pine ,ridge ,agency1 and was aware that the sum of #ec had been placed to his credit for the purpose of enabling him to pay his expenses in going the long journey to his father's home in ,indian ,territory4 ,dr4 ,mc,gillycuddy had1 by the same mail1 received a letter from ,agent ,dyer1 inclosing #ec1 and explaining the reason for its being sent1 which enabled him also to understand the pictographic letter4 ,with the above explanation it very clearly shows1 over the head of the figure to the left1 the turtle following the turtle's wife united with the head of the figure by a line1 and over the head of the other figure1 also united by a line to it1 is a little man4 ,also over the right arm of the last-mentioned figure is another little man in the act of springing or advancing toward ,turtle-following-his-,wife1 from whose mouth proceed two lines1 curved or hooked at the end1 as if drawing the little figure towards him4 ,it is suggested that the last-mentioned part of the pictograph is the substance of the communication1 i4 e41 8come to me10 the larger figures with their name totems being the persons addressed and addressing4 ,between and above the two large figures are fifty-three round objects intended for dollars4 ,both the ,indian figures have on breech-cloths1 corresponding with the information given concerning them1 which is that they are ,cheyennes who are not all civilized or educated4 ,the illustration1 ,figure #fb1 was made by a native ,alaskan1 and represents a native of the ,teninahs making a smoke signal to the people of the village on the opposite shore of a lake1 so that a boat may be sent to carry the signalist across4 ,the ,k'niqamt band of the ,tenina have no boats1 as they live inland1 and therefore resort to signaling with smoke when desiring transportation4 ,on account of this custom they are termed 8,signal ,people40 ,if the pictograph could be transmitted in advance of the necessity1 the actual use of the smoke signal1 with consequent delay in obtaining the boat1 would be avoided4 ,illustration3 ,,fig4 #fb4--;,drawing of smoke signal4 ,alaska4 #a4 ,represents the mountain contour of the country4 #b4 ,a ,tenina ,indian4 #c4 ,column of smoke4 #d4 ,bird's-eye view of the lake4 #e4 ,the settlement on opposite shore of lake4 #f4 ,boat crossing for the signalist4 ,under this head of messages and communications may be included the material objects sent as messages1 many accounts of which are published4 ,it is to be expected that graphic representations of the same or similar objects1 with corresponding arrangement1 should have similar significance4 ,among the ,indians painted arrows1 bearing messages when discharged1 are familiar4 ,the ,turkish ,selam1 or flower letters1 are in the same category4 ,the following account of a 8diplomatic packet0 is extracted from ,schoolcraft1 ,vol4 ,,iii1 p4 #cjf1 et seq43 ,in the month of ,august1 #aheb1 a message reached the ,president of the ,united ,states1 by a delegation of the ,pueblos of ,tesuque in ,new ,mexico1 offering him friendship and intercommunication2 and opening1 symbolically1 a road from the ,moqui country to ,washington4 99 99 99 ,this unique diplomatic packet consists of several articles of symbolic import4 ,the first is the official and ceremonial offer of the peace-pipe4 ,this is symbolized by a joint of the maize1 five and a half inches long1 and half an inch in diameter4 ,the hollow of the tube is filled by leaves of a plant which represents tobacco4 ,it is stopped to secure the weed from falling out1 by the downy yellow under plumage of some small bird4 ,externally1 around the center of the stalk1 is a tie of white cotton twisted string of four strands1 7not twisted by the distaff17 holding1 at its end1 a small tuft of the before-mentioned downy yellow feathers1 and a small wiry feather of the same species4 ,the interpreter has written on this1 8,the pipe to be smoked by the ,president40 99 99 ,the object is represented in the cut1 ,a1 represented in ,figure #fc4 ,illustration3 ,,fig4 #fc4--,part of diplomatic packet4 ,the second symbol consists of two small columnar round pieces of wood1 four and a half inches long1 and four-tenths in diameter1 terminating in a cone4 ,the cone is one and a half inches long1 and is colored black2 the rest of the pieces are blue2 a peace color among the ,indians south1 it seems1 as well as north4 ,this color has the appearance of being produced by the carbonate of copper mixed with aluminous earth2 and reminds one strongly of the blue clays of the ,dacotahs4 ,the wood1 when cut1 is white1 compact1 and of a peculiar species4 ,a notch is cut at one end of one of the pieces1 and colored yellow4 ,a shuck of the maize1 one end of which1 rolled in the shape of a cone1 is bound up by cotton strings1 with a small bird's feather1 in the manner of the symbolic pipe4 ,there is also tied up with the symbolic sticks1 one of the secondary feathers and bits of down of a bird of dingy color4 ,the feather is naturally tipped with white4 ,together with this1 the tie holds a couple of sticks of a native plant or small seed of the prairie grass1 perhaps4 ,it may1 together with the husk of the maize1 be emblematic of their cultivation4 ,the whole of the tie represents the ,moquis4 ,the following cut1 ,b1 reproduced in ,figure #fd1 represents this symbol3 ,illustration3 ,,fig4 #fd4--,part of diplomatic packet4 ,illustration3 ,,fig4 #fe4--,part of diplomatic packet4 ,the third object is1 in every respect1 like ,b1 reproduced in ,figure #fd1 and symbolizes the ,president of the ,united ,states4 ,a colored cotton cord1 four feet long1 unites these symbols4 ,six inches of this cord is small and white4 ,at the point of its being tied to the long colored cord there is a bunch of small bird's feathers4 ,this bunch1 which symbolizes the geographical position of the ,navajoes1 with respect to ,washington1 consists of the feathers of six species1 the colors which are pure white1 blue1 brown1 mottled1 yellow1 and dark1 like the pigeon-hawk1 and white1 tipped with brown4 7,see the preceding cut1 ,c47 ,the interpreter appends to these material effigies or devices which are arranged as in ,d1 reproduced in ,figure #ff the following remarks4 ,illustration3 ,,fig4 #ff4--,part of diplomatic packet4 8,these two figures represent the ,moqui people and the ,president2 the cord is the road which separates them2 the feather tied to the cord is the meeting point2 that part of the cord which is white is intended to signify the distance between the ,president and the place of meeting2 and that part which is stained is the distance between the ,moqui and the same point4 ,your ,excellency will perceive that the distance between the ,moqui and place of meeting is short1 while the other is very long4 8,the last object of this communication from the high plains of ,new ,mexico1 is the most curious1 and the most strongly indicative of the wild1 superstitious notions of the ,moqui mind4 ,it consists of a small quantity of wild honey1 wrapped up in a wrapper or inner fold of the husk of the maize1 as represented in ,e1 reproduced in ,figure #fg4 ,it is accompanied by these remarks3 8,a charm to call down rain from heaven4--,to produce the effect desired1 the ,president must take a piece of the shuck which contains the wild honey1 chew it1 and spit it upon the ground which needs rain2 and the ,moquis assure him that it will come40 ,illustration3 ,,fig4 #fg4--,part of diplomatic packet4 ,the ,maori used a kind of hieroglyphical or symbolical way of communication2 a chief inviting another to join in a war party sent a tattooed potato and a fig of tobacco bound up together1 which was interpreted to mean that the enemy was a ,maori and not ,european by the tattoo1 and by the tobacco that it represented smoke2 he therefore roasted the one and eat it1 and smoked the other1 to show he accepted the invitation1 and would join him with his guns and powder4 ,another sent a water-proof coat with the sleeves made of patchwork1 red1 blue1 yellow1 and green1 intimating that they must wait until all the tribes were united before their force would be water-proof1 i4 e41 able to encounter the ,european4 ,another chief sent a large pipe1 which would hold a pound of tobacco1 which was lighted in a large assembly1 the emissary taking the first whiff1 and then passing it round2 whoever smoked it showed that he joined in the war4 ,see ,te ,ika a ,maui1 by ,rev4 ,richard ,taylor1 ,london1 #ahgj4 ,,record ,,of ,,expedition4 ,under this head1 many illustrations of which might be given besides several in this paper1 see account of colored pictographs in ,santa ,barbara ,county1 ,california1 page #cd et seq41 ,plates ,i and ,,ii1 also ,lean-,wolf's trip1 ,figure #fj1 page #aeh4 ,also1 ,figures #ace and #acf1 pages #bad and #bae4 ,,totemic4 ,this is one of the most striking of the special uses to which pictography has been applied by the ,north ,american ,indians4 ,for convenience1 the characters may be divided into3 ,first1 tribal2 ,second1 gentile2 and ,third1 personal designations4 ,,tribal ,,designations4 ,a large number of these graphic distinctions are to be found in the ,dakota ,winter ,counts4 ,rev4 ,j4 ,owen ,dorsey reports that the ,tsicu side of the ,osage tribe1 when on a war party1 have the face painted red1 with mud upon the cheek1 below the left eye1 as wide as two or more fingers4 ,the ,haka side of the tribe paint the face red1 with a spot of mud upon the right cheek1 below the eye1 as wide as two or more fingers4 ,for an ingenious method of indicating by variation of incisions on trees1 the tribal use of paint by the ,absaroka and ,dakota respectively1 see page #fb4 ,figure #fh shows the tribal designation of the ,kaiowa by the ,dakota1 taken from the winter count of ,battiste ,good1 #ahad-'ae4 ,he calls the winter 8,smashed-a-,kaiowa's-head-in winter40 ,the tomahawk with which it was done is in contact with the ,kaiowa's head4 ,illustration3 ,,fig4 #fh4--,kaiowa4 ,the sign for ,kaiowa is made by passing the hands--naturally extended--in short horizontal circles on either side of the head1 and the picture is probably drawn to represent the man in the attitude of making this gesture1 and not the involuntary raising of the hands upon receiving the blow1 such attitudes not appearing in ,battiste ,good's system4 ,figure #fi is the tribal sign of the ,arikara made by the ,dakotas1 taken from the winter count of ,battiste ,good for the year #ahbc-'bd1 which he calls 8,general- ---- -first-appeared-and-the-,dakotas-aided-i n-an-attack-on-the-,rees winter02 also 8,much-corn winter40 ,illustration3 ,,fig4 #fi4--;,arikara4 ,the gun and the arrow in contact with the ear of corn show that both whites and ,indians fought the ,rees4 ,the ear of corn signifies 8,ree0 or ,arikara ,indians1 who are designated in gesture language as 8,corn ,shellers40 ,figure #gj is the tribal designation of the ,omahas by the ,dakotas1 taken from the winter count of ,battiste ,good4 ,illustration3 ,,fig4 #gj4 ,omaha4 ,a human head with cropped hair and red cheeks signifies ,omaha4 ,this tribe cuts the hair short and uses red paint upon the cheeks very extensively4 ,this character is of frequent occurrence in ,battiste ,good's count4 ,figure #ga is the tribal designation of the ,pani by the ,dakotas1 taken from ,battiste ,good's winter count for the year #agjd-'je4 ,illustration3 ,,fig4 #ga4--,pani4 ,he says3 ,the lower legs are ornamented with slight projections resembling the marks on the bottom of an ear of corn husks1 and signifies ,pani4 ,a pictograph for ,cheyenne is given in ,figure #gh1 page #agc1 with some remarks4 ,figure #gb is the tribal designation for ,assiniboine by the ,dakotas from winter count of ,battiste ,good for the year #agji-'aj4 ,illustration3 ,,fig4 #gb4--;,assiniboine4 ,the ,dakota pictorial sign for ,assiniboine or ,hohe1 which means the voice1 or1 as some say1 the voice of the musk-ox1 is the outline of the vocal organs1 as they conceive them1 and represents the upper lip and roof of the mouth1 the tongue1 the lower lip1 and chin and neck4 ,the view is lateral1 and resembles the sectional aspect of the mouth and tongue4 ,figure #gc is the tribal designation of the ,gros ,ventres1 by the same tribe and on the same authority4 ,illustration3 ,,fig4 #gc4--;,gros ,ventre4 ,two ,gros ,ventres were killed on the ice by the ,dakotas in #aghi-'ij4 ,the two are designated by two spots of blood on the ice1 and killed is expressed by the blood-tipped arrow against the figure of the man above4 ,the long hair1 with the red forehead1 denotes the ,gros ,ventre4 ,the red forehead illustrates the manner of applying war paint1 and applies1 also1 to the ,arikara and ,absaroka ,indians1 in other ,dakota records4 ,the horizontal blue band signifies ice4 ,stephen ,powers says 7,contrib4 to ,n4 ,a4 ,ethnology1 ,,iii1 p4 #aji7 the ,mattoal1 of ,california1 differ from other tribes in that the men tattoo4 8,their distinctive mark is a round blue spot in the center of the forehead40 ,he adds3 ,among the ,mattoal-- ,the women tattoo pretty much1 all over their faces4 ,in respect to this matter of tattooing there is a theory entertained by some old pioneers which may be worth the mention4 ,they hold that the reason why the women alone tattoo in all other tribes is that in case they are taken captives their own people may be able to recognize them when there comes an opportunity of ransom4 ,there are two facts which give some color of probability to this reasoning4 ,one is that the ,california ,indians are rent into such infinitesimal divisions1 any one of which may be arrayed in deadly feud against another at any moment1 that the slight differences in their dialects would not suffice to distinguish the captive squaws4 ,a second is that the squaws almost never attempt any ornamental tattooing1 but adhere closely to the plain regulation mark of the tribe4 ,paul ,marcoy1 in ,travels in ,south ,america1 ,n4 ,y41 #ahge1 ,vol4 ,,ii1 page #cec1 says of the ,passs1 ,yuris1 ,barrs1 and ,chumanas1 of ,brazil1 that they mark their faces 7in tattoo7 with the totem or emblem of the nation to which they belong4 ,it is possible at a few steps distant to distinguish one nation from another4 ,,gentile ,,or ,,clan ,,designations4 ,rev4 ,j4 ,owen ,dorsey reports of the ,osages that all the old men who have been distinguished in war are painted with the decorations of their respective gentes4 ,that of the ,tsicu wactake is as follows3 ,the face is first whitened all over with white clay2 then a red spot is made on the forehead1 and the lower part of the face is reddened2 then with the fingers the man scrapes off the white clay1 forming the dark figures1 by letting the natural color of the face show through4 ,in ,schoolcraft1 ,v1 #gc1 #gd1 it is stated that by totemic marks the various families of the ,ojibwa denote their affiliation4 ,a guardian spirit has been selected by the progenitor of a family from some object in the zoological chain4 ,the representative device of this is called the totem4 ,a warrior's totem never wants honors in their reminiscences1 and the mark is put on his grave-post1 or adjedatig1 when he is dead4 ,in his funeral pictograph he invariably sinks his personal name in that of his totem or family name4 ,these marks are1 in one sense1 the surname of the clan4 ,the personal name is not indicative of an ,indian's totem4 ,the same custom1 according to ,rev4 ,j4 ,owen ,dorsey1 prevails among the ,omahas2 and with the exception of that portion which relates to the drawing of the totemic mark upon the grave post the above remarks apply also to the ,dakotas1 of ,northern ,dakota1 according to the observations of ,dr4 ,hoffman4 ,the ,pueblos1 remarked ,mr4 ,james ,stevenson in a conversation with the writer1 depict the gens totems upon their various forms and styles of ceramic manufacture4 ,the peculiar forms of secondary decoration also permit the article to be traced to any particular family by which it may have been produced4 ,,personal ,,designations4 ,this head may be divided into 7#a7 ,insignia1 or tokens of authority4 7#b7 ,connected with personal name4 7#c7 ,property marks4 7#d7 ,status of the individual4 7#e7 ,signs of particular achievement4 ,,insignia ,,or ,,tokens ,,of ,,authority4 ,a large number of examples are presented in connection with other divisions of this paper4 ,many more are noted in ,schoolcraft1 especially in ,vol4 ,i1 plates #eh and #ei1 following page #djh4 ,in addition the following may be mentioned3 ,figure #gd is a copy of a drawing made by ,lean-,wolf1 second chief of the ,hidatsa1 to represent himself4 ,the horns on his head-dress show that he is a chief4 ,the eagle feathers on his war-bonnet1 arranged in the special manner portrayed1 also show high distinction as a warrior4 ,his authority as 8partisan10 or leader of a war party is represented by the elevated pipe4 ,his name is also added with the usual line drawn from the head4 ,he explained the outline character of the wolf1 having a white body with the mouth unfinished1 to show that it was hollow1 nothing there1 i4 e41 lean4 ,the animal's tail is drawn in detail and dark to distinguish it from the body4 ,illustration3 ,,fig4 #gd4--,lean-,wolf4 ,partisan4 ,the character for 8partisan0 is also shown in the ,dakota winter counts for the year #ahdb-'dc4 ,see ,plate ,,xxiii4 ,figure #ge 7extracted from the ,first ,annual ,report ,bureau of ,ethnology1 ,fig4 #bbg71 drawn and explained by an ,oglala ,dakota1 exhibits four erect pipes to show that he had led four war parties4 ,illustration3 ,,fig4 #ge4--,two-,strike as ,partisan4 ,,personal ,,name4 ,the names of ,indians as formerly adopted or bestowed among themselves were and still remain connotive1 when not subjected to white influence4 ,they very often refer to some animal1 predicating an attribute or position of that animal4 ,on account of their objective1 or at least ideographic1 character1 they almost invariably admit of being expressed in sign-language2 and for the same reason they can with the same ease be portrayed in pictographs4 ,abundant proof of this is given in two collections infra1 viz41 the ,ogalala ,roster and the ,red-,cloud ,census4 ,the device generally adopted by the ,dakotas to signify that an object drawn in connection with a human head or figure was a name totem or a personal name of the individual1 is to connect that object with the figure by a line drawn to the head or more frequently to the mouth of the latter4 ,the same tribes make a distinction in manifesting that the gesture-sign for the object gestured is intended to be the name of an individual1 by passing the index forward from the mouth in a direct line after the conclusion of the sign for the object4 ,this signifies1 8that is his name10--the name of the person referred to4 ,a similar designation of an object as a name by means of a connected line is mentioned in ,kingsborough's ,mexico1 ,vol4 ,i1 ,plate #cc1 part #d1 and text1 ,vol4 ,,vi1 page #aej4 ,pedro de ,alvarado1 one of the companions of ,cortez1 was red-headed4 ,because of this the ,mexicans called him ,tonatihu1 the 8,sun10 and in their picture-writing his name was represented by a picture of that luminary attached to his person by a line4 ,as a general rule ,indians are named at first according to a clan or gentile system1 but in later life one generally acquires a new name1 or perhaps several names in succession1 from some special exploits or adventures4 ,frequently a sobriquet is given which is not complimentary4 ,all of the names subsequently acquired as well as the original names are so connected with material objects or with substantive actions as to be expressible in a graphic picture1 and also in a pictorial sign4 ,the determination to use names of this connotive character is shown by the objective translation1 whenever possible1 of such ,european names as it became necessary for them to introduce frequently into their speech4 ,william ,penn was called ,onas1 that being the word for feather-quill in the ,mohawk dialect4 ,the name of the second ,french governor of ,canada was ,montmagny1 erroneously translated to be 8great mountain10 which words were correctly translated by the ,iroquois into ,onontio1 and this expression becoming associated with the title has been applied to all successive ,canadian governors1 though the origin having been generally forgotten1 it has been considered to be a metaphorical compliment4 ,governor ,fletcher was named by the ,iroquois ,cajenquiragoe1 8the great swift arrow10 not because of his speedy arrival at a critical time1 as has been supposed1 but because they had somehow been informed of the etymology of his name1 8arrow-maker0 7,fr4 flchier74 ,a notable example of the adoption of a graphic illustration from a similarity in the sound of the name to known ,english words is given in the present paper in the ,winter ,count of ,american-,horse for the year #ahfe-'ff1 page #add1 where ,general ,maynadier is made to figure as 8many deer40 ,while1 as before said1 some tribes give names to children from considerations of birth and kinship according to a fixed rule1 others confer them after solemn deliberation4 ,they are not necessarily permanent4 ,a diminutive form is frequently bestowed by the affection of the parent4 ,on initiation a warrior always assumes or receives a name4 ,until this is established he is liable to change his name after every fight or hunt4 ,he will generally only acknowledge the name he has himself assumed1 perhaps from a dream or vision1 though he may be habitually called by an entirely different name4 ,from that reason the same man is sometimes known under several different epithets4 ,personal peculiarity1 deformity1 or accident is sure to fix a name1 against which it is vain to struggle4 ,girls do not habitually change names bestowed in their childhood4 ,it may also be remarked that the same precise name is often given to different individuals in the same tribe1 but not so frequently in the same band1 whereby the inconvenience would be increased4 ,for this reason it is often necessary to specify the band1 sometimes also the father4 ,for instance1 when the writer asked an ,indian who ,black-,stone1 a chief mentioned in the ,dakota winter counts1 was1 the ,indian asked1 first1 what tribe was he2 then1 what band2 then1 who was his father2 and1 except in the case of very noted persons1 the identity is not proved without an answer to these questions4 ,a striking instance of this plurality of names among the ,dakotas was connected with the name ,sitting-,bull1 belonging to the leader of the hostile band1 while one of that name was almost equally noted as being the head soldier of the friendly ,dakotas at ,red-,cloud ,agency4 ,the present writer also found a number of ,dakotas named ,lone-,dog when in search of the recorder of the winter count above explained4 ,the case may be illustrated by christian names among civilized people4 ,at the time when a former ,president of the ,united ,states was the leading topic of conversation1 nearly any one being asked who bore the name of ,ulysses would be able to refer to ,general ,grant1 but few other christian names would convey any recognized identity4 ,indeed1 the surname may be added and multiplicity with confusion still remain4 ,very few men have names so peculiar as not to find them with exact literation in the directories of the large cities4 ,among the many peculiarities connected with ,indian personal names1 far too many for discussion here1 is their avoidance of them in direct address1 terms of kinship or relative age taking their place4 ,major ,j4 ,w4 ,powell1 in some remarks before the ,anthropological ,society of ,washington1 on the functions performed by kinship terms among ,indian tribes1 stated that at one time he had the ,kaibab ,indians1 a small tribe of northern ,arizona1 traveling with him4 ,the young chief was called by white men 8,frank40 ,for several weeks he refused to give his ,indian name1 and ,major ,powell endeavored to discover it by noticing the term by which he was addressed by the other ,indians2 but invariably some kinship term was employed4 ,one day in a quarrel his wife called him 8,chuarumpik 7,yucca-heart470 ,subsequently ,major ,powell questioned the young chief about the matter1 who explained and apologized for the great insult which his wife had given him by stating that she was excused by great provocation4 ,the insult consisted in calling the man by his real name4 ,the following is quoted for comparison with the name-system of the ,indians of ,guiana1 from ,everard ,f4 im ,thurn1 op4 cit41 p4 #bai1 et seq43 ,the system under which the ,indians have their personal names is intricate1 and difficult to explain4 ,in the first place1 a name1 which may be called the proper name1 is always given to a young child soon after birth4 ,it is said to be proper that the peaiman1 or medicine-man1 should choose and give this name2 but1 at any rate now1 the naming seems more often left to the parents4 ,the word selected is generally the name of some plant1 bird1 or other natural object4 ,among ,arawak proper names may be mentioned ,yambenassi 7night-monkey7 and ,yuri-tokoro 7tobacco-flower71 and among ,macusi names ,ti-ti 7owl71 ,cheripung 7star871 and ,simiri 7locust-tree74 ,but these names seem of little use1 in that owners have a very strong objection to telling or using them1 apparently on the ground that the name is part of the man1 and that he who knows the name has part of the owner of that name in his power4 ,to avoid any danger of spreading knowledge of their names1 one ,indian1 therefore1 generally addresses another only according to the relationship of the caller and the called1 as brother1 sister1 father1 mother1 and so on2 or1 when there is no relationship1 as boy1 girl1 companion1 and so on4 ,these terms1 therefore1 practically form the names actually used by ,indians amongst themselves4 ,but an ,indian is just as unwilling to tell his proper name to a white man as to an ,indian2 and1 of course1 between the ,indian and the white man there is no relationship the term for which can serve as a proper name4 ,an ,indian1 therefore1 when he has to do with a ,european1 asks the latter to give him a name1 and if one is given to him1 always afterwards uses this4 ,the names given in this way are generally simple enough--,john1 ,peter1 ,thomas1 and so on4 ,but sometimes they are not sufficiently simple to be comprehended and remembered by their ,indian owners1 who therefore1 having induced the donor to write the name on a piece of paper1 preserve this ever after most carefully1 and whenever asked for their name by another ,european1 exhibit the document as the only way of answering4 ,sometimes1 however1 an ,indian1 though he cannot pronounce his ,english names1 makes it possible by corruption4 ,for instance1 a certain ,macusi ,indian was known to me for a long time as ,shassapoon1 which ,i thought was his proper name1 until it accidentally appeared that it was his #8,english name1' he having been named by and after one ,charles ,appun1 a ,german traveler4 ,the original of ,figure #gf was made by ,lean-,wolf1 second chief of the ,hidatsa1 for ,dr4 ,w4 ,j4 ,hoffman in #ahha1 and represents the method which this ,indian has employed to designate himself for many years past4 ,during his boyhood he had another name4 ,this is a current1 or perhaps it may be called cursive1 form of the name1 which is given more elaborately in ,figure #gd4 ,illustration3 ,,fig4 #gf4--,lean-wolf4 ,figure #gg is taken from the winter count of ,battiste ,good for the year #ahda-'db4 ,he calls the year 8,pointer-made-a-commemoration-of-the-de ad winter40 ,also 8,deep-snow winter40 ,illustration3 ,,fig4 #gg4--,pointer4 ,the extended index denotes the man's name1 8,pointer10 the ring and spots1 deep snow4 ,the spots denoting snow occur also in other portions of this count1 and the circle1 denoting quantity1 is also attached in ,figure #ada1 p4 #bai1 to a forked stick and incloses a buffalo head to signify much meat4 ,that the circle is intended to signify quantity is probable1 as the gesture for 8much0 or 8quantity0 is made by passing the hands upward from both sides and together before the body1 describing the upper half of a circle1 i4 e41 showing a heap4 ,figure #gh is also from the winter count of ,battiste ,good for the year #aghe-'hf4 ,this year he calls 8,the-,cheyennes-killed-,shadow's-father winter40 ,illustration3 ,,fig4 #gh4--,shadow4 ,the umbrella signifies ,shadow2 the three marks under the arrow1 ,cheyenne2 the blood-stained arrow in the man's body1 killed2 ,shadow's name and the umbrella in the figure intimates that he was the first ,dakota to carry an umbrella4 ,the advantages of the umbrella were soon recognized by the ,dakotas1 and the first they obtained from the whites were highly prized4 ,in the record prepared by ,battiste ,good this is the only instance where the short vertical lines below the arrow signify ,cheyenne4 ,in all others these marks are numerical1 and denote the number of persons killed4 ,that these short lines signify ,cheyenne may be attributable to a practice of that tribe1 to make transverse cuts in the forearm after or before going into a conflict1 as an offering or vow to the ,great ,spirit for success4 ,cheyennes are thus represented in the winter count of ,cloud-,shield for #ahcd-'ce 7see page #aci7 and #ahgh-'gi 7see page #adf47 ,mr4 ,p4 ,w4 ,norris has presented a buffalo robe containing a record of exploits1 which was drawn by ,black-,crow1 a ,dakota warrior1 several years ago4 ,the peculiarity of the drawings is1 that the warrior is represented in each instance in an upright position1 the accompanying figure being always in a recumbent posture1 representing the enemy who was slain4 ,instead of depicting the personal name above the fallen personage with a line connecting the two1 the name of the enemy is placed above the head of the victor in each instance1 a line extending between the character and the speaker or warrior whose exploits the characters represent4 ,the latter seems to proclaim the name of his victim4 ,a pipe is also figured between the victor and the vanquished1 showing that he is entitled to smoke a pipe of celebration4 ,a copy of the whole record was shown to the ,mdewakantawan ,dakotas1 near ,fort ,snelling1 ,minnesota1 in #ahhc1 and the character reproduced in ,figure #gi1 about which there was the most doubt1 was explained as signifying 8many tongues10 i4 e41 ,loud-,talker1 being the name of the person killed4 ,illustration3 ,,fig4 #gi4--,loud-,talker4 ,the circle at the end of the line running from the mouth contains a number of lanceolate forms1 the half of each of which is black1 the other white4 ,they have the appearance of feathers4 ,these figures signify voice1 the sounds as issuing from the mouth1 and correspond in some respect to those drawn by the ,mexicans with that significance4 ,the considerable number of these figures1 signifying intensity1 denotes loud voice1 or1 as given literally1 8loud talker10 that being the name of the victim4 ,it is however to be noted that 8,shield10 an ,oglala ,dakota1 says the character signifies ,feather-,shield1 the name of a warrior formerly living at the ,pine ,ridge ,agency1 ,dakota4 ,,an ,,ogalala ,,roster4 ,plates ,,lii to ,,lviii represent a pictorial roster of the heads of families1 eighty-four in number1 in the band or perhaps clan of ,chief ,big-,road1 and were obtained by ,rev4 ,s4 ,d4 ,hinman at ,standing ,rock ,agency1 ,dakota1 in #ahhc1 from the ,united ,states ,indian agent1 ,major ,mc,laughlin1 to whom the original was submitted by ,chief ,big-,road when brought to that agency and required to give an account of his followers4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lii ,,an ,,ogalala ,,roster--8,,big-,,road0 ,,and ,,band ,chief ,big-,road and his people belong to the ,northern ,ogalala 7accurately ,oglala71 and were lately hostile1 having been associated with ,sitting-,bull in various depredations and hostilities against both settlers and the ,united ,states authorities4 ,mr4 ,hinman states that the translations of the names were made by the agency interpreter1 and although not as complete as might be1 are1 in the whole1 satisfactory4 ,chief ,big-,road 8is a man of fifty years and upwards1 and is as ignorant and uncompromising a savage1 in mind and appearance1 as one could well find at this late date40 ,the drawings in the original are on a single sheet of foolscap paper1 made with black and colored pencils1 and a few characters are in yellow ocher--water-color paint4 ,on each of the seven plates1 into which the original is here divided from the requirements of the mode of publication1 the first figure in the upper left-hand corner represents1 as stated1 the chief of the sub-band1 or perhaps1 8family0 in the ,indian sense4 ,on five of the plates the chief has before him a decorated pipe and pouch1 the design of each being distinct from the others4 ,on ,plates ,,liv and ,,lv the upper left hand figure does not have a pipe1 which leads to the suspicion that1 contrary to the information so far received1 the whole of the figures from ,nos4 #aa to #de inclusive1 on ,plates ,,liii1 ,,liv1 and ,,lv1 constitute one band under the same chief1 viz41 ,no4 #aa4 ,in that case ,nos4 #bc and #cf would appear to be leaders of subordinate divisions of that band4 ,each of the five chiefs has at least three transverse bands on the cheek1 with differentiation of the pattern4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,liii ,,an ,,ogalala ,,roster--8,,low-,,dog0 ,,and ,,band ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,liv ,,an ,,ogalala ,,roster--8,,the-,,bear-,,spares-,,him0 ,,and ,,band ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lv ,,an ,,ogalala ,,roster--8,,has-,a-,,war-,,club0 ,,and ,,band ,it will be noticed that each figure throughout the plates1 which carries before it a war club1 is decorated with three red transverse bands1 but that of ,no4 #cj1 on ,plate ,,liv1 and ,no4 #dh on ,plate ,,lvi1 have the three bands without a war club4 ,the other male figures seem in some instances to have each but a single red band2 in others two bands1 red and blue1 but the drawing is so indistinct as to render this uncertain4 ,it will be observed1 also1 that in four instances 7,nos4 #ad1 #dd1 #de1 and #gb7 women are depicted as the surviving heads of families4 ,their figures do not have the transverse bands on the cheek4 ,also that the five chiefs do not have the war club1 their rank being shown by pipe and pouch4 ,those men who are armed with war clubs1 which are held vertically before the person1 indicate 7in accordance with a similar custom among other branches of the ,dakota ,nation1 in which1 however1 the pipe is held instead of the club7 that the man has at some time led war parties on his own account4 ,see pages #aah and #aci4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lvi ,,an ,,ogalala ,,roster--8,,wall-,,dog0 ,,and ,,band ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lvii ,,an ,,ogalala ,,roster--8,,iron-,,crow0 ,,and ,,band ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lviii ,,an ,,ogalala ,,roster--8,,little-,,hawk0 ,,and ,,band ,english names of the figures in the ,ogalala ,roster4 ,no4 #a4 ,big-road4 #b4 ,bear-looking-behind4 #c4 ,brings-back-plenty4 #d4 ,white buffalo4 #e4 ,the-real-hawk4 #f4 ,shield-boy4 #g4 ,the-bear-stops4 #h4 ,wears-the-feather4 #i4 ,dog-eagle4 #aj4 ,red-horn-bull4 #aa4 ,low-dog4 #ab4 ,charging-hawk4 #ac4 ,white-tail4 #ad4 ,blue-cloud 7woman74 #ae4 ,shield4 #af4 ,little-eagle4 #ag4 ,spotted-skunk4 #ah4 ,white-bear4 #ai4 ,white-hair4 #bj4 ,his-fight4 #ba4 ,center-feather4 #bb4 ,kills-,crows 7,indians74 #bc4 ,the-bear-spares-him4 #bd4 ,white-plume4 #be4 ,fears-nothing4 #bf4 ,red-crow4 #bg4 ,the-last-bear4 #bh4 ,bird-man4 #bi4 ,horse-with-horns4 #cj4 ,fast-elk4 #ca4 ,chief-boy4 #cb4 ,spotted-elk4 #cc4 ,carries-the-badger4 #cd4 ,red-earth-woman4 #ce4 ,eagle-clothing4 #cf4 ,has-a-war-club4 #cg4 ,little-buffalo4 #ch4 ,has-a-point 7weapon47 #ci4 ,returning-scout4 #dj4 ,little-killer4 #da4 ,whistler4 #db4 ,tongue4 #dc4 ,black-elk4 #dd4 ,lone-woman4 #de4 ,deaf-woman4 #df4 ,long-dog4 ,erroneously printed ,wall dog on ,plate ,,lvi4 #dg4 ,iron-hawk4 #dh4 ,pretty-weasel4 #di4 ,short-buffalo4 #ej4 ,bull-with-bad-heart4 #ea4 ,four-crows4 #eb4 ,tall-white-man4 #ec4 ,eagle-hawk4 #ed4 ,lone-man4 #ee4 ,causes-trouble-ahead4 #ef4 ,makes-dirt 78foul074 #eg4 ,black-road4 #eh4 ,shot-close4 #ei4 ,iron-crow4 #fj4 ,running-horse4 #fa4 ,owns-an-animal-with-horns4 #fb4 ,blue-cloud-man4 #fc4 ,fingers4 #fd4 ,sacred-teeth4 #fe4 ,searching-cloud4 #ff4 ,female-elk-boy4 #fg4 ,little-owl4 #fh4 ,pretty-horse4 #fi4 ,running-eagle4 #gj4 ,makes-enemy4 #ga4 ,prairie-chicken4 #gb4 ,red-flute-woman4 #gc4 ,little-hawk4 #gd4 ,standing-buffalo4 #ge4 ,standing-bear4 #gf4 ,iron-white-man4 #gg4 ,bear-whirlwind4 #gh4 ,sacred-crow4 #gi4 ,blue-hawk4 #hj4 ,hard-to-kill4 #ha4 ,iron-boy4 #hb4 ,painted-rock4 #hc4 ,yellow-wolf4 #hd4 ,made-an-enemy4 ,the information yet obtained from the author of the pictograph concerning its details is meager1 and as it will probably be procured no unimportant conjectures are now hazarded4 ,it is presented for the ideography shown1 which may in most cases be understood from the translation of the several names into ,english as given in the preceding list4 ,a few remarks of explanation1 occurring to the writer1 may be added3 ,no4 #cd1 on plate ,,liv1 with the translation ,red-earth-woman1 appears from the scalp-lock and the warrior's necklace to be a man1 and ,red-earth-woman to be his name4 ,no4 #fb on ,plate ,,lvii1 probably refers to an ,ogalala who was called ,arapaho1 the interpretation1 as well as the blue cloud1 being in the ,dakota language 8,blue cloud10 a term by which the ,arapaho ,indians are known to the ,dakotas1 as several times mentioned in this paper4 ,in ,no4 #fe1 ,plate ,,lvii1 the cloud is drawn in blue1 the searching being derived from the expression of that idea in gesture by passing the extended index of one hand 7or both7 forward from the eye1 then from right to left1 as if indicating various uncertain localities before the person1 i4 e41 searching for something4 ,the lines from the eyes are in imitation of this gesture4 ,in ,no4 #gg1 ,plate ,,lviii1 is a reproduction of the character given in ,red-,cloud's ,census1 ,no4 #acc4 ,see ,plate ,,lxvii4 ,the figure appears1 according to the explanation given by several ,ogalala ,dakota ,indians1 to signify the course of a whirlwind1 with the transverse lines in imitation of the circular movement of the air1 dirt1 leaves1 etc41 observed during such arial disturbances4 ,in ,no4 #gh of the same plate the lines above the bird's head again appear to signify sacred1 mystic1 usually termed 8medicine0 in other records4 ,similar lines are in ,no4 #fd1 ,plate ,,lvii4 ,,red-,,cloud',s ,,census4 ,the pictorial census1 shown in ,plates ,,lix to ,,lxxix1 was prepared under the direction of ,red-,cloud1 chief of the ,dakota at ,pine ,ridge ,agency1 ,dakota ,territory1 about two years ago4 ,the individuals referred to and enumerated are the adherents of ,red-,cloud1 and do not represent all the ,indians at that ,agency4 ,owing to some disagreement the agent refused to acknowledge that chief as head of the ,indians at the agency1 and named another as the official chief4 ,the ,indians under ,red-,cloud exhibited their allegiance to him by attaching1 or having their names attached1 to seven sheets of ordinary manilla paper1 which were sent to ,washington and1 while in the custody of ,dr4 ,t4 ,a4 ,bland1 of that city1 were kindly loaned by him to the ,bureau of ,ethnology to be copied by photography4 ,the different sheets were apparently drawn by different persons1 as the drawings of human heads vary enough to indicate individuality4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lix ,,red-,,cloud',s ,,census4--,,red-,,cloud',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lx ,,red-,,cloud',s ,,census4--,,red-,,cloud',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxi ,,red-,,cloud',s ,,census4--,,red-,,cloud',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxii ,,red-,,cloud',s ,,census4--,,red-,,cloud',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxiii ,,red-,,cloud',s ,,census4--,,red-,,cloud',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxiv ,,red-,,cloud',s ,,census4--,,red-,,cloud',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxv ,,red-,,cloud',s ,,census4--,,red-,,cloud',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxvi ,,red-,,cloud',s ,,census4--,,red-,,cloud',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxvii ,,red-,,cloud',s ,,census4--,,red-,,shirt',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxviii ,,red-,,cloud',s ,,census4--,,red-,,shirt',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxix ,,red-,,cloud',s ,,census4--,,red-,,shirt',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxx ,,red-,,cloud',s ,,census4--,,black-,,deer',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxxi ,,red-,,cloud',s ,,census4--,,black-,,deer',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxxii ,,red-,,cloud',s ,,census4--,,black-,,deer',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxxiii ,,red-,,cloud',s ,,census4--,,red-,,hawk',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxxiv ,,red-,,cloud',s ,,census4--,,red-,,hawk',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxxv ,,red-,,cloud',s ,,census4--,,high-,,wolf',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxxvi ,,red-,,cloud',s ,,census4--,,high-,,wolf',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxxvii ,,red-,,cloud',s ,,census4--,,gun',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxxviii ,,red-,,cloud',s ,,census4--,,gun',s ,,band4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxxix ,,red-,,cloud',s ,,census4--,,second ,,black-,,deer',s ,,band4 ,the first sheet of the original series contains in the present series of plates ,nos4 #a-acj2 the second sheet1 ,nos4 #aca-agd2 third sheet1 ,nos4 #age-baj2 fourth sheet1 ,nos4 #baa-bce2 fifth sheet1 ,nos4 #bcf-bec2 sixth sheet1 ,nos4 #bed-bgg2 seventh sheet1 ,nos4 #bgh-bhi4 ,this arrangement seems to imply seven bands or1 perhaps1 gentes4 ,dr4 ,v4 ,t4 ,mc,gillycuddy1 ,indian agent at ,pine ,ridge ,agency1 ,dakota1 in correspondence1 gives the impression that the several pictographs1 representing names1 were attached as signatures by the several individuals to a subscription list for ,dr4 ,t4 ,a4 ,bland1 before mentioned1 the editor of ,the ,council ,fire1 in support of that publication1 and with an agreement that each should give twenty-five cents4 ,the subscribers were1 in fact1 the adherents of ,red-,cloud4 ,the motive for the collection of pictured names is of little consequence1 its interest1 as that of the foregoing ,ogalala ,roster1 being in the mode of their portrayal1 together with the assurance that they were the spontaneous and genuine work of the ,indians concerned4 ,many suggestions regarding the origin of heraldry and that of proper names can be obtained from this and the preceding series of plates4 ,the translation of the names corresponding with the figures is as follows3 ,english names of the figures in ,red-,cloud's census4 ,no4 #a4 ,chief ,red-,cloud4 #b4 ,top-,man4 #c4 ,slow-,bear4 #d4 ,he-,dog4 #e4 ,little ,chief4 #f4 ,red-,shirt4 #g4 ,white-,hawk4 #h4 ,cloud ,shield4 #i4 ,good-,weasel4 #aj4 ,afraid-,eagle4 #aa4 ,bear-,brains4 #ab4 ,war-,bonnet4 #ac4 ,little-,soldier4 #ad4 ,little-,dog4 #ae4 ,call-for4 #af4 ,short-,bull4 #ag4 ,white-,bird4 #ah4 ,painted-,face4 #ai4 ,iron-,beaver4 #bj4 ,big-,leggings4 #ba4 ,only-,man4 #bb4 ,mad-,hearted-,bull4 #bc4 ,running-,eagle4 #bd4 ,ring-,cloud4 #be4 ,white-,bird4 #bf4 ,arapaho4 #bg4 ,steals-,horses4 #bh4 ,kills-by-the-,camp4 #bi4 ,iron-,hawk4 #cj4 ,knock-a-hole-in-the-head4 #ca4 ,runs-around4 #cb4 ,kills-in-tight-place4 #cc4 ,scratch-the-,belly4 #cd4 ,singer4 #ce4 ,walking-,bull-,track4 #cf4 ,war-,eagle4 #cg4 ,tree-in-the-,face4 #ch4 ,kills-the-,enemy-at-,night4 #ci4 ,wears-the-,bonnet4 #dj4 ,war-,bonnet4 #da4 ,shot-in-front-the-,lodge4 #db4 ,kills-in-,lodge4 #dc4 ,kills-at-,night4 #dd4 ,tall-,white-,man4 #de4 ,strike-,first4 #df4 ,smoking-,bear4 #dg4 ,hump4 #dh4 ,shot-,close4 #di4 ,blue-,horse4 #ej4 ,red-,elk4 #ea4 ,only-,man4 #eb4 ,bear-comes-out4 #ec4 ,poor-,elk4 #ed4 ,blue-,handle4 #ee4 ,bad-,yellow-,hair4 #ef4 ,runs-by-the-,enemy4 #eg4 ,torn-,belly4 #eh4 ,roman-,nose4 #ei4 ,old-,cloud4 #fj4 ,high-,cloud4 #fa4 ,bear-,looks-,back4 #fb4 ,shield-,bear4 #fc4 ,sees-the-,enemy4 #fd4 ,biting-,bear4 #fe4 ,cut-,through4 #ff4 ,red-,owl4 #fg4 ,good-,bird4 #fh4 ,red-,fly4 #fi4 ,kills-,enemy-at-,night4 #gj4 ,flat-,iron4 #ga4 ,white-,horse4 #gb4 ,cheyenne-,butcher4 #gc4 ,red-,eagle4 #gd4 ,kills-,back4 #ge4 ,red-,bear4 #gf4 ,poor-,bear4 #gg4 ,runs-off-the-,horse4 #gh4 ,bald-,eagle4 #gi4 ,shot-at4 #hj4 ,little-,ring4 #ha4 ,runs-off-the-,horses4 #hb4 ,hard-,ground4 #hc4 ,shot-at-his-horse4 #hd4 ,red-,deer4 #he4 ,yellow-,fox4 #hf4 ,feather-on-his-head4 #hg4 ,little-,bear4 #hh4 ,spotted-,horse4 #hi4 ,takes-the-,gun4 #ij4 ,spotted-,face4 #ia4 ,got-there-first4 #ib4 ,leaves4 #ic4 ,big-,voice4 #id4 ,poor-,dog4 #ie4 ,goes-through-the-,camp4 #if4 ,big-,road4 #ig4 ,brings-lots-of-horses4 #ih4 ,little-,shell4 #ii4 ,gap4 #ajj4 ,fills-the-,pipe4 #aja4 ,lodge-,roll4 #ajb4 ,red-,bull4 #ajc4 ,runs-his-,horse4 #ajd4 ,licks-with-his-tongue4 #aje4 ,old-,horse4 #ajf4 ,tracks4 #ajg4 ,bob-tail-,horse4 #ajh4 ,white-,elk4 #aji4 ,little-,sun4 #aaj4 ,keeps-the-,battle4 #aaa4 ,high-,cloud4 #aab4 ,bone-,necklace4 #aac4 ,goes-,walking4 #aad4 ,iron-,horse4 #aae4 ,blue-,hatchet4 #aaf4 ,eagle-,bird4 #aag4 ,iron-,bird4 #aah4 ,long-,panther4 #aai4 ,bull-,lance4 #abj4 ,black-,horse4 #aba4 ,pook-,skunk4 #abb4 ,own-the-,arrows4 #abc4 ,shot4 #abd4 ,red-,boy4 #abe4 ,bear-,head4 #abf4 ,hard4 #abg4 ,eagle-,horse4 #abh4 ,blue-,bird4 #abi4 ,good-,bird4 #acj4 ,caught-the-,enemy4 #aca4 ,leafing4 #acb4 ,horned-,horse4 #acc4 ,white-,whirlwind4 #acd4 ,wolf-,ear4 #ace4 ,afraid-of-,elk4 #acf4 ,feathers4 #acg4 ,tall-,man4 #ach4 ,elk-,head4 #aci4 ,ring-,owl4 #adj4 ,standing-,bear4 #ada4 ,small-,ring4 #adb4 ,charging-,hawk4 #adc4 ,afraid-of-,bull4 #add4 ,medicine-,horse4 #ade4 ,two-,eagles4 #adf4 ,red-,shirt4 #adg4 ,bear-,nostrils4 #adh4 ,spotted-,horse4 #adi4 ,afraid-of-,bear4 #aej4 ,little-,bull4 #aea4 ,red-,hawk4 #aeb4 ,bear-,paw4 #aec4 ,eagle-,horse4 #aed4 ,red-,beaver4 #aee4 ,spotted-,eagle4 #aef4 ,little-,crow4 #aeg4 ,black-,horse4 #aeh4 ,mouse4 #aei4 ,count-the-,nights4 #afj4 ,white-,eagle4 #afa4 ,five-,thunders4 #afb4 ,white-,horse4 #afc4 ,killed-,first4 #afd4 ,scout4 #afe4 ,yellow-,horse4 #aff4 ,charge-,after4 #afg4 ,black-,bear4 #afh4 ,kills-the-,enemy4 #afi4 ,wolf-stands on-a-,hill4 #agj4 ,eagle-,bear4 #aga4 ,little-,wolf4 #agb4 ,spotted-,elk4 #agc4 ,elk-walking-with-his-,voice4 #agd4 ,weasel-,bear4 #age4 ,black-,elk4 #agf4 ,takes-,enemy4 #agg4 ,poor-,bull4 #agh4 ,eagle-,elk4 #agi4 ,thunder-,pipe4 #ahj4 ,horse-comes-out4 #aha4 ,old-,mexican4 #ahb4 ,shield4 #ahc4 ,keeps-the-,battle4 #ahd4 ,wolf-stands on-,hill4 #ahe4 ,bear-,comes-,out4 #ahf4 ,good-,bull4 #ahg4 ,fog4 #ahh4 ,bear-that-growls4 #ahi4 ,drags-the-rope4 #aij4 ,white-tail4 #aia4 ,feathers4 #aib4 ,fighting-,cuss4 #aic4 ,horned-,horse4 #aid4 ,enemies-hit-him4 #aie4 ,black-,bear4 #aif4 ,red-,war-,bonnet4 #aig4 ,black-,weasel4 #aih4 ,smokes-at-,night4 #aii4 ,little-,cloud4 #bjj4 ,good-,bull4 #bja4 ,medicine4 #bjb4 ,stone-,necklace4 #bjc4 ,bad-,horn4 #bjd4 ,high-,eagle4 #bje4 ,black-,bull4 #bjf4 ,man-with-heart4 #bjg4 ,little-,ring4 #bjh4 ,goes-in-,front4 #bji4 ,little-,fighter4 #baj4 ,mean-,boy4 #baa4 ,red-,hawk4 #bab4 ,white-,bear4 #bac4 ,many-,shells4 #bad4 ,yellow-,knife4 #bae4 ,crazy-,head4 #baf4 ,shoots-the-,animal4 #bag4 ,kills-two4 #bah4 ,fast-,horse4 #bai4 ,big-,turnip4 #bbj4 ,yellow-,owl4 #bba4 ,red-,bull4 #bbb4 ,garter4 #bbc4 ,black-,fox4 #bbd4 ,kills-two4 #bbe4 ,grasp4 #bbf4 ,medicine4 #bbg4 ,leaves4 #bbh4 ,big-,hand4 #bbi4 ,gun4 #bcj4 ,bad-,boy4 #bca4 ,warrior4 #bcb4 ,afraid-of-,him4 #bcc4 ,cloud-,ring4 #bcd4 ,kills-the-,bear4 #bce4 ,comes-in-,sight4 #bcf4 ,sits-like-a-,woman4 #bcg4 ,surrounds-them4 #bch4 ,high-,bear4 #bci4 ,don't-turn4 #bdj4 ,black-,bird4 #bda4 ,swallow4 #bdb4 ,little-,elk4 #bdc4 ,little-,bird4 #bdd4 ,bear-,back4 #bde4 ,little-,back4 #bdf4 ,buffalo-,horn4 #bdg4 ,iron-,bird4 #bdh4 ,bull4 #bdi4 ,eagle-,track4 #bej4 ,medicine-,bird4 #bea4 ,fox4 #beb4 ,white-,bear4 #bec4 ,tall-,panther4 #bed4 ,gun4 #bee4 ,ring4 #bef4 ,beads4 #beg4 ,wolf4 #beh4 ,black-,horse4 #bei4 ,white-,horse4 #bfj4 ,spotted-,owl4 #bfa4 ,don't-turn4 #bfb4 ,red-,star4 #bfc4 ,big-,voiced-,eagle4 #bfd4 ,white-,elk4 #bfe4 ,porcupine4 #bff4 ,noon4 #bfg4 ,warrior4 #bfh4 ,eagle-,feather4 #bfi4 ,round4 #bgj4 ,big-,thunder4 #bga4 ,shot-,his-,horse4 #bgb4 ,red-,bear4 #bgc4 ,little-,moon4 #bgd4 ,feather-,necklace4 #bge4 ,fast-,elk4 #bgf4 ,black-,bull4 #bgg4 ,light4 #bgh4 ,black-,deer4 #bgi4 ,white-,cow-,man4 #bhj4 ,horse----the-,clothing4 #bha4 ,stabber4 #bhb4 ,eagle-,swallow4 #bhc4 ,afraid-of-him4 #bhd4 ,red-,boy4 #bhe4 ,dog-with-good-voice4 #bhf4 ,tall-,pine4 #bhg4 ,pipe4 #bhh4 ,few-,tails4 #bhi4 ,medicine-man4 ,the remark made above 7page #agf7 in connection with the ,ogalala ,roster1 acknowledging the paucity of direct information as to details while presenting the pictographs as sufficiently interpreted for the present purposes by the translation of the personal names1 may be here repeated4 ,the following notes are1 however1 subjoined as of some assistance to the reader3 ,no4 #b4 ,top-man1 or more properly 8man above10 is drawn a short distance above a curved line1 which represents the character for sky inverted4 ,the gesture for sky is sometimes made by passing the hand from east to west describing an arc4 ,the ,ojibwa pictograph for the same occurs in ,plate ,,iv1 ,no4 #a1 beneath which a bird appears4 ,no4 #i4 ,the character is represented with two waving lines passing upward from the mouth1 in imitation of the gesture-sign good talk1 spiritual talk1 as made by passing two extended and separated fingers 7or all fingers separated7 upward and forward from the mouth4 ,this gesture is made when referring either to a shaman or to a christian clergyman1 or to a house of worship1 and the name seems to have been translated here as 8good10 without sufficient emphasis1 being probably more with the idea of 8mystic40 ,no4 #ae4 ,the gesture for come or to call to one's self is shown in this figure4 ,no4 #bd4 ,the semicircle for cloud is the reverse in conception to that shown above in ,no4 #b4 ,no4 #bf4 ,arapaho1 in ,dakota1 magpiyato--blue cloud--is here shown by a circular cloud1 drawn in blue in the original1 inclosing the head of a man4 ,no4 #ch4 ,night appears to be indicated by the black circle around the head1 suggested by the covering over with darkness1 as shown in the gesture for night by passing both flat hands from their respective sides inwards and downwards before the body4 ,the sign for kill is denoted here by the bow in contact with the head1 a custom in practice among the ,dakota of striking the dead enemy with the bow or coup stick4 ,see also ,figure #acj1 page #baa4 ,no4 #dc4 ,night is here shown by the curve for sky1 and the suspension1 beneath it1 of a star1 or more properly in ,dakota signification1 a night sun--the moon4 ,no4 #ei4 ,cloud is drawn in blue in the original2 old is signified by drawing a staff in the hand of the man4 ,the gesture for old is made in imitation of walking with a staff4 ,no4 #fi4 ,this drawing is similar to ,no4 #ch4 ,the differentiation is sufficient to allow of a distinction between the two characters1 each representing the same name1 though two different men4 ,no4 #aca4 ,the uppermost character is said to be drawn in imitation of a number of fallen leaves lying against one another1 and has reference to the season when leaves fall--autumn4 ,no4 #afa4 ,the thunder-bird is here drawn with five lines--voices--issuing from the mouth4 ,no4 #bja4 ,the waving lines above the head signify sacred1 and are made in gesture in a similar manner as that for prayer and voice in ,no4 #i4 ,no4 #bcf4 ,this person is also portrayed in a recent ,dakota record1 where the character is represented by the 8woman seated0 only4 ,the name of this man is not 8,sits-like-a-,woman10 but ,high-,wolf--,shnka mnita wangtia4 ,this is an instance of giving one name in a pictograph and retaining another by which the man is known in camp to his companions4 ,no4 #bej4 ,the word medicine is in the ,indian sense1 before explained1 and would be more correctly expressed by the word sacred1 or mystic1 as is also indicated by the waving lines issuing from the mouth4 ,no4 #bhi4 ,the character for sacred again appears1 attached to the end of the line issuing from the mouth4 ,,property ,,marks4 ,the ,serrano ,indians in the vicinity of ,los ,angeles1 ,california1 formerly practiced a method of marking trees to indicate the corner boundaries of patches of land4 ,according to ,hon4 ,a4 ,f4 ,coronel1 of the above-named city1 the ,indians owning areas of territory of whatever size would cut lines upon the bark of the tree corresponding to certain cheek lines drawn on their own faces1 i4 e41 lines running outward and downward over the cheeks or perhaps over the chin only1 tattooed in color4 ,these lines were made on the trees on the side facing the property1 and were understandingly recognized by all4 ,the marks were personal and distinctive1 and when adopted by land owners could not be used by any other person4 ,this custom still prevailed when ,mr4 ,coronel first located in ,southern ,california1 about the year #ahdc4 ,so is the account1 but it may be remarked that the land was probably owned or claimed by a gens rather than by individuals1 the individual ownership of land not belonging to the stage of culture of any ,north ,american ,indians4 ,perhaps some of the leading members of the gens were noted in connection with the occupancy of the land1 and their tattoo marks were the same as those on the trees4 ,the correspondence of these marks is of special importance4 ,it is also noteworthy that the designations common to the men and the trees were understood and respected4 ,illustration3 ,,fig4 #hj4--;,boat paddle4 ,arikara4 ,among the ,arikara ,indians a custom prevails of drawing upon the blade of a canoe or bull-boat paddle such designs as are worn by the chief and owner to suggest his personal exploits4 ,this has to great extent been adopted by the ,hidatsa and the ,mandans4 ,the marks are chiefly horseshoes and crosses 7see ,figure #hj71 referring to the capture of the enemy's ponies and to coups in warfare or defense against enemies4 ,the squaws being the persons who generally use the boats during the course of their labors in collecting wood along the river banks1 or in ferrying their warriors across the water1 have need of this illustration of their husbands' prowess as a matter of social status1 it being also a matter of pride4 ,the entire tribe being intimately acquainted with the courage and bravery of any individual1 imposition and fraud in the delineation of any character are not attempted1 as such would surely be detected and the impostor would be ridiculed if not ostracised4 ,see in connection with the design last figured1 others under the heading of ,signs of ,particular ,achievements1 page #ahf4 ,the brands upon cattle in ,texas and other regions of the ,united ,states where ranches are common1 illustrate the modern use of property marks4 ,a collection of these brands made by the writer compares unfavorably for individuality and ideography with the marks of ,indians for similar purposes4 ,the following translation from ,kunst and ,witz der ,neger 7,art and ,ingenuity of the ,negro7 is inserted for the purpose of comparison between ,africa and ,america4 ,the article was published at ,munich1 ,bavaria1 in ,das ,ausland1 #ahhd1 ,no4 #a1 p4 #ab4 8,whenever a pumpkin of surprisingly fine appearance is growing1 which promises to furnish a desirable water-vase1 the proprietor hurries to distinguish it by cutting into it some special mark with his knife1 and probably superstitious feelings may co-operate in this act4 ,i have reproduced herewith the best types of such property marks which ,i have been able to discover40 ,these property marks are reproduced in ,figure #ha4 ,illustration3 ,,fig4 #ha4--;,african property mark4 ,,status ,,of ,,the ,,individual4 ,several notices of pictographs under this head appear in other parts of this paper2 among others1 designations of chiefs1 sub-chiefs1 partisans1 medicine men or shamans1 horse thieves1 and squaw men1 are shown in the ,winter ,counts and in the ,ogalala ,roster4 ,see also ,figure #abj1 page #bjd4 ,captives are drawn in ,figure #ahj1 page #bdb4 ,with reference to the status of women as married or single see pages #fd and #bcb4 ,for widow1 see page #aig4 ,marks for higher and lower classes are mentioned on page #fd4 ,to these may be added the following1 contributed by ,mr4 ,gatschet3 ,half-breed girls among the ,klamaths of ,oregon appear to have but one perpendicular line tattooed down over the chin1 while the full-blood women have four perpendicular lines on the chin4 ,tattooing1 when practiced at this day1 is performed with needles1 the color being prepared from charcoal4 ,,signs ,,of ,,particular ,,achievements4 ,eagle feathers are worn by the ,hidatsa ,indians to denote acts of courage or success in war4 ,the various markings have different significations1 as is shown in the following account1 which1 with sketches of the features made from the original objects1 were obtained by ,dr4 ,hoffman from the ,hidatsa at ,fort ,berthold1 ,dakota1 during #ahha4 ,illustration3 ,,fig4 #hb4--;,first to strike enemy4 ,hidatsa4 ,a feather1 to the tip of which is attached a tuft of down or several strands of horse-hair1 dyed red1 denotes that the wearer has killed an enemy and that he was the first to touch or strike him with the coup stick4 ,figure #hb4 ,illustration3 ,,fig4 #hc4--,second to strike enemy4 ,hidatsa4 ,a feather bearing one red bar1 made with vermilion1 signifies the wearer to have been the second person to strike the fallen enemy with the coup stick4 ,figure #hc4 ,illustration3 ,,fig4 #hd4--,third to strike enemy4 ,hidatsa4 ,a feather bearing two red bars signifies that the wearer was the third person to strike the body4 ,figure #hd4 ,illustration3 ,,fig4 #he4--;,fourth to strike enemy4 ,hidatsa4 ,a feather with three bars signifies that the wearer was the fourth to strike the fallen enemy4 ,figure #he4 ,beyond this number honors are not counted4 ,illustration3 ,,fig4 #hf4--,wounded by an enemy4 ,hidatsa4 ,a red feather denotes that the wearer was wounded in an encounter with an enemy4 ,figure #hf4 ,illustration3 ,,fig4 #hg4--,killed a woman4 ,hidatsa4 ,a narrow strip of rawhide or buckskin is wrapped from end to end with porcupine quills dyed red1 though sometimes a few white ones are inserted to break the monotony of color2 this strip is attached to the inner surface of the rib or shaft of the quill by means of very thin fibers of sinew4 ,this signifies that the wearer killed a woman belonging to a hostile tribe4 ,the figure so decorated is shown in ,figure #hg4 ,in very fine specimens it will be found that the quills are directly applied to the shaft without resorting to the strap of leather4 ,illustration3 ,,fig4 #hh4--,killed an enemy4 ,dakota4 ,the following scheme1 used by the ,dakotas1 is taken from ,dahcotah1 or ,life and ,legends of the ,sioux around ,fort ,snelling1 by ,mrs4 ,mary ,eastman4 ,new ,york1 #ahdi4 ,colors are not given1 but red undoubtedly predominates1 as is known from personal observation4 ,a spot upon the larger web denotes that the wearer has killed an enemy4 ,figure #hh4 ,illustration3 ,,fig4 #hi4--;,cut throat and scalped4 ,dakota4 ,figure #hi denotes that the wearer has cut the throat of his enemy1 and taken his scalp4 ,illustration3 ,,fig4 #ij4--;,cut enemy's throat4 ,dakota4 ,figure #ij denotes that the wearer has cut the throat of his enemy4 ,illustration3 ,,fig4 #ia4--,third to strike4 ,dakota4 ,figure #ia denotes that the wearer was the third that touched the body of his enemy after he was killed4 ,illustration3 ,,fig4 #ib4--;,fourth to strike4 ,dakota4 ,figure #ib denotes that the wearer was the fourth that touched the body of his enemy after he was killed4 ,illustration3 ,,fig4 #ic4--;,fifth to strike4 ,dakota4 ,figure #ic denotes that the wearer was the fifth that touched the body of his enemy after he was killed4 ,figure #id denotes the wearer has been wounded in many places by his enemy4 ,illustration3 ,,fig4 #id4--,many wounds4 ,dakota4 ,the following variations in the scheme were noticed in #ahhc among the ,mdewakantawan ,dakotas near ,fort ,snelling1 ,minnesota4 ,in personal ornamentation1 and for marks of distinction in war1 feathers of the eagle are used as among the other bands of ,dakotas4 ,a plain feather is used to signify that the wearer has killed an enemy1 without regard to the manner in which he was slain4 ,when the end is clipped transversely1 and the edge colored red1 it signifies that the throat of the enemy was cut4 ,a black feather denotes that an ,ojibwa woman was killed4 ,enemies are considered as ,ojibwas1 the latter being the tribe with whom the ,mdewakantawan ,dakotas have had most to do4 ,when a warrior has been wounded a red spot is painted upon the broad side of a feather4 ,if the wearer has been shot in the body1 arms1 or legs1 a similar spot1 in red1 is painted upon his clothing or blanket1 immediately over the locality4 ,these red spots are sometimes worked in porcupine quills1 or in cotton fiber as obtained from the traders4 ,marks denoting similar exploits are used by the ,hidatsa1 ,mandan1 and ,arikara ,indians4 ,the ,hidatsa claim to have been the originators of the devices1 which were subsequently adopted by the ,arikara with slight variation4 ,all of the information with reference to the following figures1 #ie to #ajc1 was obtained by ,dr4 ,w4 ,j4 ,hoffman1 from chiefs of the several tribes at ,fort ,berthold1 ,dakota1 during the summer of #ahha4 ,the following characters are marked upon robes and blankets1 usually in red or blue colors1 and often upon the boat paddles4 ,frequently an ,indian may be seen who has them even painted upon his thighs1 though this is generally resorted to only on festal occasions1 or for dancing3 ,illustration3 ,,fig4 #ie4--,successful defense4 ,hidatsa1 etc4 ,figure #ie denotes that the wearer successfully defended himself against the enemy by throwing up a ridge of earth or sand to protect the body4 ,illustration3 ,,fig4 #if4--,two successful defenses4 ,hidatsa1 etc4 ,figure #if signifies that the wearer has upon two different occasions defended himself by hiding his body within low earthworks4 ,the character is merely a compound of two of the preceding marks placed together4 ,figure #ig signifies that the one who carries this mark upon his blanket1 leggings1 boat paddle1 or any other property1 or his person1 has distinguished himself by capturing a horse belonging to a hostile tribe4 ,illustration3 ,,fig4 #ig4--;,captured a horse4 ,hidatsa1 etc4 ,illustration3 ,,fig4 #ih4--;,first to strike an enemy4 ,hidatsa4 ,figure #ih signifies among the ,hidatsa and ,mandans that the wearer was the first person to strike a fallen enemy with a coup stick4 ,it signifies among the ,arikara simply that the wearer killed an enemy4 ,illustration3 ,,fig4 #ii4--,second to strike an enemy4 ,hidatsa4 ,figure #ii represents among the ,hidatsa and ,mandans the second person to strike a fallen enemy4 ,it represents among the ,arikara the first person to strike the fallen enemy4 ,illustration3 ,,fig4 #ajj4--,third to strike an enemy4 ,hidatsa4 ,figure #ajj denotes the third person to strike the enemy1 according to the ,hidatsa and ,mandan2 the second person to strike him1 according to the ,arikara4 ,illustration3 ,,fig4 #aja4--;,fourth to strike an enemy4 ,hidatsa4 ,figure #aja shows among the ,hidatsa and ,mandan the fourth person to strike the fallen enemy4 ,this is the highest and last number2 the fifth person to risk the danger is considered brave for venturing so near the ground held by the enemy1 but has no right to wear the mark4 ,the same mark among the ,arikara represents the person to be the third to strike the enemy4 ,illustration3 ,,fig4 #ajb4--;,fifth to strike an enemy4 ,hidatsa4 ,figure #ajb1 according to the ,arikara1 represents the fourth person to strike the enemy4 ,illustration3 ,,fig4 #ajc4--,struck four enemies4 ,hidatsa4 ,according to the ,hidatsa1 the wearer of the accompanying mark1 ,figure #ajc1 would have figured in four encounters2 in the two lateral ones1 each1 he was the second to strike the fallen enemy1 and in the upper and lower spaces it would signify that he was the third person upon two occasions4 ,the mark of a black hand1 sometimes made by the impress of an actually blackened palm1 or drawn natural size or less1 was found upon articles of ,ojibwa manufacture in the possession of ,hidatsa and ,arikara ,indians at ,fort ,berthold1 ,dakota1 in #ahha4 ,these ,indians say it is an old custom1 and signifies that the person authorized to wear the mark has killed an enemy4 ,the articles upon which the designs occurred came from ,red ,lake ,reservation1 ,minnesota1 the ,indians of the latter locality frequently going west to ,fort ,berthold to trade bead and other work for horses4 ,further signs of particular achievements are given in ,figures #agd1 #age1 #agf1 #agg1 and #agi1 and others may be noticed frequently in the ,dakota ,winter ,counts4 ,,religious4 ,under this head pictographs already known may be divided into those relating to-- #a4 ,mythic personages4 #b4 ,shamanism4 #c4 ,dances and ceremonies4 #d4 ,mortuary practices4 #e4 ,charms and fetiches4 ,,mythic ,,personages4 ,reference may be made to the considerable number of pictographs of this character in ,schoolcraft1 more particularly in his first volume2 also to the ,walum-,olum or ,bark-,record of the ,lenni-,lenape1 which was published in ,beach's 8,indian ,miscellany10 ,albany1 #ahgg2 and since in ,the ,lenp and their ,legends3 ,by ,dr4 ,d4 ,g4 ,brinton4 ,several examples are also to be found in other parts of the present paper4 ,some forms of the ,thunder-,bird are here presented1 as follows3 ,illustration3 ,,fig4 #ajd4--,thunder-,bird4 ,dakota4 ,illustration3 ,,fig4 #aje4--,thunder-bird4 ,dakota4 ,figures #ajd and #aje are forms of the thunder-bird found in #ahhc among the ,dakotas near ,fort ,snelling1 drawn and interpreted by themselves4 ,they are both winged and have waving lines extending from the mouth downward1 signifying lightning4 ,it is noticeable that ,figure #aje placed vertically1 then appearing roughly as an upright human figure1 is almost identically the same as some of the ,ojibwa meda or spirit figures represented in ,schoolcraft1 and also on a bark ,ojibwa record in the possession of the writer4 ,figure #ajf is another and more cursive form of the thunder-bird obtained at the same place and time as those immediately preceding4 ,it is wingless1 and1 with changed position or point of view1 would suggest a headless human figure4 ,illustration3 ,,fig4 #ajf4--,thunder-,bird4 ,wingless4 ,dakota4 ,the blue thunder-bird1 ,figure #ajg1 with red breast and tail1 is a copy of one worked in beads1 found at ,mendota1 ,minnesota4 ,at that place stories were told of several ,indians who had presentiments that the thunder-bird was coming to kill them1 when they would so state the case to their friends that they might retire to a place of safety1 while the victim of superstition would go out to an elevated point of land or upon the prairie to await his expected doom4 ,illustration3 ,,fig4 #ajg4--,thunder-bird4 ,dakota4 ,frequently1 no doubt on account of the isolated and elevated position of the person in a thunder storm1 accidents of this kind do occur1 thus giving notoriety to the presentiment above mentioned4 ,a still different form of the ,dakota thunder-bird is reproduced in ,mrs4 ,eastman's ,dahcotah1 op4 cit41 page #bfb4 ,see also page #aha supra4 ,figure #ajh is 8,skam-son10 the thunder-bird1 a tattoo mark copied from the back of an ,indian belonging to the ,laskeek village of the ,haida tribe1 ,queen ,charlotte's ,island1 by ,mr4 ,james ,g4 ,swan4 ,illustration3 ,,fig4 #ajh4--,thunder-bird4 ,haida4 ,figure #aji is a ,twana thunder-bird1 as reported by ,rev4 ,m4 ,eells in ,bull4 ,u4 ,s4 ,geol4 and ,geog4 ,survey1 ,,iii1 p4 #aab4 ,illustration3 ,,fig4 #aji4--,thunder-bird4 ,twana4 ,there is at ,eneti1 on the reservation ,washington ,territory1 an irregular basaltic rock1 about #c feet by #c feet and #d inches1 and a foot and a half high4 ,on one side there has been hammered a face1 said to be the representation of the face of the thunder bird1 which could also cause storms4 ,the two eyes are about #f inches in diameter and #d inches apart and the nose about #i inches long4 ,it is said to have been made by some man a long time ago1 who felt very badly1 and went and sat on the rock1 and with another stone hammered out the eyes and nose4 ,for a long time they believed that if the rock was shaken it would cause rain1 probably because the thunder bird was angry4 ,graphic representations of ,atotarko and of the ,great ,heads are shown in ,mrs4 ,erminnie ,a4 ,smith's ,myths of the ,iroquois1 in the ,second ,annual ,report of the ,bureau of ,ethnology4 ,mythic ,personages are also presented in aboriginal drawing by ,mr4 ,charles ,g4 ,leland in his work1 the ,algonquin ,legends of ,new ,england1 etc4 ,boston1 #ahhd4 ,,shamanism4 ,the term ,shamanism is a corrupted form of the ,sanscrit word for ascetic4 ,its original application was to the religion of certain tribes of northern ,asia1 but in general it expresses the worship of spirits with magic arts and fetich-practices4 ,the ,shaman or priest pretends to control by incantations and ceremonies the evil spirits to whom death1 sickness1 and other misfortunes are ascribed4 ,this form or stage of religion is so prevalent among the ,north ,american ,indians that the adoption of the term ,shaman here is substantially correct1 and it avoids both the stupid expression 8medicine-man0 of current literature and the indefinite title priest1 the associations with which are not appropriate to the ,indian religious practitioner4 ,the statement that the ,indians worship one 8,great ,spirit0 or single overruling personal god is erroneous4 ,that philosophical conception is beyond the stage of culture reached by them and was not found in any tribe previous to missionary influence4 ,their actual philosophy can be expressed far more objectively and therefore pictorially4 ,many instances of the 8,making ,medicine0 are shown in the ,dakota ,winter ,counts2 also graphic expressions regarding magic4 ,especial reference may be made to ,american-,horse's count for the years #ahbd-'be and #ahdc-'dd1 in the ,corbusier ,winter ,counts4 ,figure #aaj was copied from a piece of walrus ivory in the museum of the ,alaska ,commercial ,company1 of ,san ,francisco1 ,california1 by ,dr4 ,hoffman1 and the interpretation is as obtained from an ,alaskan native4 ,illustration3 ,,fig4 #aaj4--,shaman exorcising ,demon4 ,alaska4 #a1 #b4 ,the ,shaman's summer habitations1 trees growing in the vicinity4 #c4 ,the ,shaman1 who is represented in the act of holding one of his 8demons40 ,these 8evil spirits0 are considered as under the control of the ,shaman1 who employs them to drive other 8evil beings0 out of the bodies of sick men4 #d4 ,the demon or aid4 #e4 ,the same ,shaman exorcising the demons causing the sickness4 #f1 #g4 ,sick men1 who have been under treatment1 and from whose bodies the 8evil beings0 or sickness has been expelled4 #h4 ,two 8evil spirits0 which have left the bodies of ,nos4 #f and #g4 ,fig4 #aaa represents a record of a ,shamanistic nature1 and was copied by ,dr4 ,hoffman from an ivory bow in the museum of the ,alaska ,commercial ,company in #ahhb4 ,the interpretation was also obtained at the same time from an ,alaskan native1 with text in the ,kiatexamut dialect of the ,innuit language4 ,the rod of the bow upon which the characters occur is here represented in three sections1 ,a1 ,b1 and ,c4 ,a bears the beginning of the narrative1 extending over only one-half of the length of the rod4 ,the course of the inscription is then continued on the adjacent side of the rod at the middle1 and reading in both directions 7section ,b and ,c71 towards the two files of approaching animals4 ,b and ,c occupy the whole of one side4 ,illustration3 ,,fig4 #aaa4--,supplication for success4 ,alaska4 ,the following is the explanation of the characters4 ,a4 ,no4 #a4 ,baidarka or skin boat resting on poles4 #b4 ,winter habitation4 #c4 ,tree4 #d4 ,winter habitations4 #e4 ,store-house4 #f4 ,tree4 ,between this and the store-house is placed a piece of timber1 from which are suspended fish for drying4 #g4 ,store-house4 ,from #a to #g represents an accumulation of dwellings1 which signifies a settlement1 the home of the person to whom the history relates4 #h4 ,the hunter sitting on the ground1 asking for aid1 and making the gesture for supplication4 #i4 ,the ,shaman to whom application is made by the hunter desiring success in the chase4 ,the ,shaman has just finished his incantations1 and while still retaining his left arm in the position for that ceremony1 holds the right toward the hunter1 giving him the success requested4 #aj4 ,the ,shaman's winter lodge4 #aa4 ,trees4 #ab4 ,summer habitation of the ,shaman4 #ac4 ,trees in vicinity of the ,shaman's residence4 ,b4 ,no4 #ad4 ,tree4 #ae4 ,a ,shaman standing upon his lodge1 driving back game which had approached a dangerous locality4 ,to this ,shaman the hunter had also made application for success in the chase1 but was denied1 hence the act of the ,shaman4 #af4 ,deer leaving at the ,shaman's order4 #ag4 ,horns of a deer swimming a river4 #ah4 ,young deer1 apparently1 from the smaller size of the body and unusually long legs4 ,c4 ,no4 #ai4 ,a tree4 #bj4 ,the lodge of the hunter 7,a4 #h71 who1 after having been granted the request for success1 placed his totem upon the lodge as a mark of gratification and to insure greater luck in his undertaking4 #ba4 ,the hunter in the act of shooting4 #bb-bc4 ,the game killed1 consisting of five deer4 #bd4 ,the demon sent out by the ,shaman 7,a4 #i7 to drive the game in the way of the hunter4 #be-bh4 ,the demon's assistants4 ,the original text above mentioned with interlinear translation1 is as follows3 ,nu-nm-cu-a u-xl-qa1 pi-c-qi-a k da ku-l-ni1 ka-x-qa-lk4 ,settlement man came1 hunting go wanted 7to71 7and7 ,shaman 7he7 asked4 ,k-xa-qlm mi-n-qa lu-q ta-xl-mu-nk tu-d-ia-nk4 ,k-xl-lk ,shaman gave to him five deer4 ,shaman -qli-ni un-i-lum ka-na-nn ka-x-hu pi-g1 -u-n went to lodge 7where71 standing spirits incantations devil the top 7winter habitation7 on top made he1 of a-qkua-glu-hu t-itc-lu-g t xle-mn tun d-ia-gt1 ta-na-ck sent to him brought to him five deer1 same man the hunter 7and7 pi-xlu-n ta-xl-mu-nk tun-du-a-xa-nk t-gu-xl-u-qi4 ,a-xl-lum he caught five deer killed4 ,another secured ,k-xla-qlm tu-m-qtcu-g4 ,shaman not gave them4 7,to whom application had been made previously47 ,,dances ,,and ,,ceremonies4 ,plate ,,lxxxi exhibits drawings of various masks used in dancing1 the characters of which were obtained by ,mr4 ,g4 ,k4 ,gilbert from rocks at ,oakley ,springs1 and were explained to him by ,tubi1 the chief of the ,oraibi ,pueblos4 ,they probably are in imitation of masks1 as used by the ,moki1 ,zui1 and ,rio ,grande ,pueblos4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxxxi ,,moki ,,masks ,,etched ,,on ,,rocks4 ,,arizona4 ,many examples of masks1 dance ornaments1 and fetiches used in ceremonies are reported and illustrated in the several papers of ,messrs4 ,cushing1 ,holmes1 and ,stevenson in the ,second ,annual ,report of the ,bureau of ,ethnology4 ,paintings or drawings of many of them have been found on pottery1 on shells1 and on rocks4 ,in this connection the following extract from a letter dated ,port ,townsend1 ,washington1 ,june #a1 #ahhc1 from ,mr4 ,james ,g4 ,swan1 will be acceptable3 8,you may remember my calling your attention about a year since to the fact that a gentleman who had been employed on a preliminary survey for the ,mexican ,national ,construction ,company had called on me and was astonished at the striking similarity between the wooden-carved images of the ,haida ,indians and the terra-cotta images he had found in the railroad excavations in ,mexico4 8,i have long entertained the belief that the coast tribes originated among the ,aztecs1 and have made it a subject of careful study for many years4 ,i received unexpected aid by the plates in ,habel's ,investigations in ,central and ,south ,america4 ,i have shown them to ,indians of various coast tribes at various times1 and they all recognize certain of those pictures4 ,no4 #a1 ,plate #a1 represents a priest cutting off the head of his victim with his stone knife4 ,they recognize this1 because they always cut off the heads of their enemies slain in battle2 they never scalp4 ,the bird of the sun is recognized by all who have seen the picture as the thunder bird of the coast tribes4 ,but the most singular evidence ,i have seen is in ,cushing's description of the ,zui ,indian1 as published in the ,century ,magazine4 ,the ,haidas recognize the scenes1 particularly the masquerade scenes in the ,february #ahhc number1 as similar to their own tomanawos ceremonies4 ,i have had at least a dozen ,haida men and women at one time looking at those pictures and talk and explain to each other their meaning4 ,one chief who speaks ,english said to me after he had for a long time examined the pictures1 #8,those are our people2 they do as we do4 ,if you wish1 ,i will make you just such masks as those in the pictures4' 8,these ,indians know nothing1 and recognize nothing in the ,hebrew or ,egyptian1 the ,chinese or ,japanese pictures1 but when ,i show them any ,central or ,south ,american scenes1 if they do not understand them they recognize that they are #8their people4'0 ,according to ,stephen ,powers 7in ,contrib4 to ,n4 ,a4 ,ethnol4 ,,iii1 p4 #adj71 there is at the head of ,potter ,valley1 ,california1 8a singular knoll of red earth which the ,ttu or ,hchnom believe to have furnished the material for the creation of the original coyote-man4 ,they mix this red earth into their acorn bread1 and employ it for painting their bodies on divers mystic occasions40 ,mr4 ,powers supposed this to be a ceremonial performance1 but having found the custom to extend to other tribes he was induced to believe the statements of the ,indians 8that it made the bread sweeter and go further40 ,see also the mnemonic devices relative to ,songs1 page #hb1 and to ,traditions1 page #hd2 also page #bcg4 ,plate ,,lxxxii represents stone heaps surmounted by buffalo skulls found near the junction of the ,yellowstone and ,missouri ,rivers by ,prince ,maximilian zu ,wied1 and described in his ,reise in das ,innere ,nord-,america4 ,coblenz1 #ahda1 ,,ii1 p4 #dce4 ,atlas plate #bi4 ,the description by him1 as translated in the ,london edition1 is as follows3 8,from the highest points of this ridge of hills1 curious signals are perceived at certain distances from one another1 consisting of large stones and granite blocks1 piled up by the ,assiniboins1 on the summits of each of which are placed ,buffalo skulls1 and which were erected by the ,indians1 as alleged1 for the purpose of attracting the ,bison herds1 and to have a successful hunt40 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxxxii ,,buffalo-,,head ,,monument4 ,this objective monument is to be compared with the pictographs above1 8making buffalo medicine10 frequent in the ,dakota ,winter ,counts4 ,descriptions of ceremonies in medicine lodges and in the initiation of candidates to secret associations have been published with and without illustrations4 ,the most striking of these are graphic ceremonial charts made by the ,indians themselves4 ,figure #ch1 on page #hf1 is connected with this subject1 as is also ,no4 #g of ,figure #abb1 page #bje4 ,a good illustration is to be found in ,mrs4 ,eastman's ,dahcotah1 or ,life and ,legends of the ,sioux1 page #bjf4 ,sketches1 with descriptions of drawings used in the ceremonials of the ,zui and ,navajo1 have been made by ,messrs4 ,cushing and ,stevenson and ,dr4 ,matthews1 but cannot be published here4 ,figure #aaa;a was drawn and interpreted by ,naumoff1 a ,kadiak native1 in ,san ,francisco1 ,california1 in #ahhb4 ,it represents the ground plan of a ,shaman's lodge with the ,shaman curing a sick man4 ,the following is the explanation3 ,illustration3 ,,fig4 #aaa;a4 ,shaman's lodge4 ,alaska4 ,no4 #a4 ,the entrance to the lodge4 ,no4 #b4 ,the fire place4 ,no4 #c4 ,a4 vertical piece of wood upon which is placed a cross-piece1 upon each end of which is a lamp4 ,no4 #d4 ,the musicians seated upon the raised seats furnishing drumming and music to the movements of the ,shaman during his incantations in exorcising the 8evil spirit0 supposed to have possession of the patient4 ,no4 #e4 ,visitors and friends of the afflicted seated around the walls of the lodge4 ,no4 #f4 ,the ,shaman represented in making his incantations4 ,no4 #g4 ,the patient seated upon the floor of the lodge4 ,no4 #h4 ,represents the ,shaman in another stage of the ceremonies1 driving out of the patient the 8evil being40 ,no4 #i4 ,another figure of the patient2 from his head is seen to issue a line connecting it with ,no4 #aj4 ,no4 #aj4 ,the 8evil spirit0 causing the sickness4 ,no4 #aa4 ,the ,shaman in the act of driving the 8evil being0 out of the room4 ,in his hands are sacred objects1 his personal fetish1 in which the power lies4 ,no4 #ab4 ,the flying 8evil one40 ,nos4 #ac1 #ad4 ,are assistants to the ,shaman1 stationed at the entrance to hit and hasten the departure of the evil being4 ,a chart of this character appears to have been seen among the natives of ,new ,holland by ,mr4 ,james ,manning1 but not copied or fully described in his ,notes on the ,aborigines of ,new ,holland 7,jour4 of ,royal ,society1 ,new ,south ,wales1 ,vol4 ,,xvi1 p4 #afg74 ,he mentions it in connection with a corrobery or solemn religious ceremony among adults1 as follows3 8,it has for its form the most curious painting upon a sheet of bark1 done in various colors of red1 yellow1 and white ochre1 which is exhibited by the priest40 ,such objects would be highly important for comparison1 and their existence being known they should be sought for4 ,,mortuary ,,practices4 ,several devices indicating death are presented under other headings of this paper4 ,see1 for example1 page #ajc and the illustrations in connection with the text4 ,according to ,powers1 8,a ,yokaia widow's style of mourning is peculiar4 ,in addition to the usual evidences of grief she mingles the ashes of her dead husband with pitch1 making a white tar or unguent1 with which she smears a band about #b inches wide all around the edge of the hair 7which is previously cut off close to the head71 so that at a little distance she appears to be wearing a white chaplet40 7,see ,contrib4 to ,n4 ,a4 ,ethnol41 ,,iii1 p4 #aff47 ,mr4 ,dorsey reports that mud is used by a mourner in the sacred-bag war party among the ,osages4 ,many objective modes of showing mourning by styles of paint and markings are known1 the significance of which are apparent when discovered in pictographs4 ,figure #aab is copied from a piece of ivory in the museum of the ,alaska ,commercial ,company1 ,san ,francisco1 ,california1 and was interpreted by an ,alaskan native in ,san ,francisco in #ahhb4 ,illustration3 ,,fig4 #aab4--,votive offering4 ,alaska4 ,no4 #a4 ,is a votive offering or 8,shaman stick10 erected to the memory of one departed4 ,the 8bird0 carvings are considered typical of 8good spirits10 and the above was erected by the remorse-stricken individual1 ,no4 #c1 who had killed the person shown in ,no4 #b4 ,no4 #b4 ,the headless body represents the man who was killed4 ,in this respect the ,ojibwa manner of drawing a person 8killed0 is similar4 ,no4 #c4 ,the individual who killed ,no4 #b1 and who erected the 8grave-post0 or 8sacred stick40 ,the arm is thrown earthward1 resembling the ,blackfeet and ,dakota gesture for 8kill40 ,the following is the text in ,agalxamut3 ,nu-n-mu-quk -x'l-xik a-ba-li to-qg-qlu g n-hu tcuk nac-qu ,place two quarrel7with7 one another1 7one7 killed large knife took head him 7the other7 7with a7 qlu-g1 i-n-qtclu-gu2 ,ka-s-ha-lik na-bn ca-g-lk a-g-n-qua-qlu-h'4 off1 laid him down2 ,shaman stick bird to set 7or place7 7buried7 7offering7 7wooden7 on the top of 7over74 ,that portion of the ,kauvuya tribe of ,indians in ,southern ,california known as the ,playsanos1 or lowlanders1 formerly inscribed characters upon the gravestones of their dead1 relating to the pursuits or good qualities of the deceased4 ,dr4 ,w4 ,j4 ,hoffman obtained several pieces or slabs of finely-grained sandstone near ,los ,angeles1 ,california1 during the summer of #ahhd1 which had been used for this purpose4 ,upon these were the drawings1 in incised lines1 of the ,fin-back whale1 with figures of men pursuing them with harpoons4 ,around the etchings were close parallel lines with cross lines similar to the drawings made on ivory by the southern ,innuit of ,alaska4 ,,grave-,,posts4 ,figures #aac and #aad were procured from a native ,alaskan1 by ,dr4 ,hoffman in #ahhb1 and explained to him to be drawings made upon grave-posts4 ,drawings similar to these are made on slabs of wood by devoted friends1 or relatives1 to present and perpetuate the good qualities of a deceased native4 ,the occupation is usually referred to1 as well as articles of importance of which the departed one was the possessor4 ,illustration3 ,,fig4 #aac4--;,grave-post4 ,alaska4 ,figure #aac refers to a hunter1 as land animals are shown as the chief pursuit4 ,the following is the explanation of the characters3 #a4 ,the baidarka1 or boat1 holding two persons2 the occupants are shown1 as are also the paddles1 which project below the horizontal body of the vessel4 #b4 ,a rack for drying skins and fish4 ,a pole is added above it1 from which are seen floating streamers of calico or cloth4 #c4 ,a fox4 #d4 ,a land otter4 #e4 ,the hunter's summer habitations4 ,these are temporary dwellings and usually constructed at a distance from home4 ,this also indicates the profession of a skin-hunter1 as the permanent lodges1 indicated as winter houses1 i4 e41 with round or dome-like roof1 are located near the sea-shore1 and summer houses are only needed when at some distance from home1 where a considerable length of time is spent4 ,illustration3 ,,fig4 #aad4--;,grave-post4 ,alaska4 ,the following is the explanation of ,figure #aad4 ,it is another design for a grave-post1 but refers to a fisherman3 #a4 ,the double-seated baidarka1 or skin canoe4 #b4 ,a bow used in shooting seal and other marine animals4 #c4 ,a seal4 #d4 ,a whale4 ,the summer lodge is absent in this1 as the fisherman did not leave the sea-shore in the pursuit of game on land4 ,figure #aae is a native drawing of a village and neighboring burial-ground1 prepared by an ,alaskan native in imitation of originals seen by him among the natives of the mainland of ,alaska1 especially the ,aigalqamut4 ,carvings are generally on walrus ivory2 sometimes on wooden slats4 ,in the figure1 ,no4 #g is a representation of a grave-post in position1 bearing an inscription similar in general character to those in the last two preceding figures4 ,illustration3 ,,fig4 #aae4--,village and burial-grounds4 ,alaska4 ,the details are explained as follows3 ,no4 #a1 #b1 #c1 #d4 ,various styles of habitations1 representing a settlement4 #e4 ,an elevated structure used for the storage of food4 #f4 ,a box with wrappings1 containing the corpse of a child4 ,the small lines1 with ball attached1 are ornamented appendages consisting of strips of cloth or skin1 with charms1 or1 sometimes1 tassels4 #g4 ,grave-post1 bearing rude illustrations of the weapons or implements used by a person during his life4 #h4 ,a grave scaffold1 containing adult4 ,besides the ornamental appendages1 as in the preceding1 there is a 8,shaman stick0 erected over the box containing the corpse as a mark of good wishes of a sorrowing survivor4 ,see object ,no4 #a1 in ,figure #aab4 ,the following extract from ,schoolcraft 7,hist4 ,indian ,tribes of the ,united ,states1 #ahea1 ,vol4 ,i1 p4 #cef1 ,fig4 #df7 relates to the burial posts used by the ,sioux and ,chippewas4 ,plate ,,lxxxiii is after the illustration given by this author in connection with the account quoted3 ,among the ,sioux and ,western ,chippewas1 after the body has been wrapped in its best clothes and ornaments1 it is then placed on a scafford1 or in a tree1 where it remains until the flesh is entirely decayed2 after which the bones are buried1 and the grave-posts fixed4 ,at the head of the grave a tabular piece of cedar1 or other wood1 called the adjedatig1 is set4 ,this grave-board contains the symbolic or representative figure which records1 if it be a warrior1 his totem2 that is to say1 the symbol of his family1 or surname1 and such arithmetical or other devices as serve to denote how many times the deceased has been in war parties1 and how many scalps he had taken from the enemy2 two facts from which his reputation is essentially to be derived4 ,it is seldom that more is attempted in the way of inscription4 ,often1 however1 distinguished chiefs have their war-flag1 or1 in modern days1 a small ensign of ,american fabric1 displayed on a standard at the head of their graves1 which is left to fly over the deceased till it is wasted by the elements4 ,scalps of their enemies1 feathers of the bald and black eagle1 the swallow-tailed falcon1 or some carnivorous bird1 are also placed1 in such instances1 on the adjedatig1 or suspended1 with offerings of various kinds1 on a separate staff4 ,but the latter are super-additions of a religious character1 and belong to the class of the ke-ke-wa-o-win-an-tig4 ,the building of a funeral fire on recent graves1 is also a rite which belongs to the consideration of their religious faith4 ,illustration3 ,,bureau ,,of ,,ethnology ,,fourth ,,annual ,,report ,,pl4 ,,lxxxiii ,,ojibwa ,,grave-,,posts4 ,the following quotations and illustrations are taken from ,dr4 ,ferdinand von ,hochstetter's ,new ,zealand1 before cited4 ,that author says on page #dcg et seq43 ,the carved ,maori-figures1 which are met with on the road1 are the memorials of chiefs1 who1 while journeying to the restorative baths of ,rotorua1 succumbed to their ills on the road4 ,some of the figures are decked out with pieces of clothing or kerchiefs2 and the most remarkable feature in them is the close imitation of the tattooing of the deceased1 by which the ,maoris are able to recognize for whom the monument has been erected4 ,certain lines are peculiar to the tribe1 others to the family1 and again others to the individual4 ,a close imitation of the tattooing of the face1 therefore1 is to the ,maori the same as to us a photographic likeness2 it does not require any description of name4 ,a representation of one of these carved posts is given in ,figure #aaf4 ,illustration3 ,,fig4 #aaf4--,new ,zealand grave effigy4 ,another carved post of like character is represented in ,figure #aag1 concerning which the same author says1 page #cch3 ,illustration3 ,,fig4 #aag4--,new ,zealand grave-post4 8,beside my tent1 at ,tahuahu1 on the right bank of the ,mangapu1 there stood an odd half decomposed figure carved of wood2 it was designated to me by the natives as a ,tiki1 marking the tomb of a chief40 ,the same author states1 page #dbc3 8,the dwellings of the chiefs at ,ohinemutu are surrounded with inclosures of pole-fences2 and the ,whares and ,wharepunis1 some of them exhibiting very fine specimens of the ,maori order of architecture1 are ornamented with grotesque wood-carvings4 ,the annexed wood-cut here reproduced as ,figure #aah is intended as an illustration of some of them4 ,the gable figure1 with the lizard having six feet and two heads1 is very remarkable4 ,the human figures are not idols1 but are intended to represent departed sires of the present generation40 ,illustration3 ,,fig4 #aah4--,new ,zealand house posts4 ,,charms ,,and ,,fetiches4 ,the use of objects as charms and fetiches is well known4 ,their graphic representation is not so well understood1 although in the attempted interpretation of pictographs it is to be supposed that objects of this character would be pictorially represented4 ,the following is an instance where the use in action of a charm or fetich was certainly portrayed in a pictograph4 ,figure #aai1 drawn by the ,dakota ,indians near ,fort ,snelling1 ,minnesota1 exhibits the use for a fetichistic purpose of an instrument which is usually included among war clubs1 though this particular object is more adapted to defense than to offense4 ,illustration3 ,,fig4 #aai4--,mdewakantawan ,fetich4 ,the head of the fetich is a grooved stone hammer of moderate size1 measuring from an inch and a half to as much as #e inches in length4 ,a withe is tied about the middle of the hammer in the groove provided for the purpose1 having a handle of from #b to #d feet in length4 ,the latter is frequently wrapped with buckskin or raw-hide to strengthen it1 as well as for ornamental purposes4 ,feathers attached bear mnemonic marks or designs1 indicating marks of distinction1 perhaps fetichistic devices not understood4 ,these objects are believed to possess the peculiar charm of warding off an enemy's missiles when held upright before the body4 ,in the pictograph made by the ,dakota ,indian1 the manner of holding it1 as well as the act of shooting an arrow by an enemy1 is shown with considerable clearness4 ,the interpretation was explained by the draftsman himself4 ,properties are attributed to this instrument similar to those of the small bags prepared by the ,shaman1 which are carried suspended from the neck by means of string or buckskin cords4 ,subject-matter connected with this heading appears in several parts of this paper1 e4 g41 ,figure #df1 on page #ada1 and the characters for #ahbd-'be on plate ,,xlii4 ,,customs4 ,pictographs in the writer's possession1 to be classed under this very general heading1 in addition to those that are more intimately connected with other headings1 and therefore arranged in other parts of this paper1 may be divided into those relating to ,associations and those exhibiting details of daily life and habits4 ,,associations4 ,it is well known that voluntary associations1 generally of a religious character1 have existed among the ,indians1 the members of which are designated by special paintings and marks entirely distinct from those relating to their clan-totems and name-totems4 ,this topic requires too minute details to be entered upon in this paper after the space taken by other divisions4 ,that it may become a feature in the interpretation of pictographs is shown by the following account3 ,dr4 ,w4 ,j4 ,hoffman obtained a copy of drawings on a pipe-stem1 which had been made and used by ,ottawa ,indians4 ,both of the flat surfaces bore incisions of figures1 which are represented in ,figure #abj4 ,on each side are four spaces1 upon each of which are various characters1 three spaces on one side being reserved for the delineation of human figures1 each having diverging lines from the head upward1 denoting their social status as chiefs or warriors and medicine-men4 ,illustration3 ,,fig4 #abj4--,ottawa pipe-stem4 ,upon the space nearest the mouth is the drawing of a fire1 the flames passing upward from the horizontal surface beneath them4 ,the blue cross-bands are raised portions of the wood 7ash7 of which the pipe-stem is made2 these show peculiarly shaped openings which pass entirely through the stem1 though not interfering with the tube necessary for the passage of the smoke4 ,this indicates considerable mechanical skill4 ,upon each side of the stem are spaces corresponding in length and position to those upon the opposite side4 ,in the lower space of the stem is a drawing of a bear1 indicating that the two persons in the corresponding space on the opposite side belong to the ,bear gens4 ,the next upper figure is that of a beaver1 showing the three human figures to belong to the ,beaver gens1 while the next to this1 the eagle1 indicates the opposite persons to be members of the ,eagle gens4 ,the upper figure is that of a lodge1 the lodge containing a council fire1 shown on the opposite side4 ,the signification of the whole is that two members of the ,bear gens1 three members of the ,beaver gens1 and three members of the ,eagle gens have united and constitute a society living in one lodge1 around one fire1 and smoke through the same pipe4 ,,daily ,,life ,,and ,,habits4 ,examples of daily life and habits are given in ,figures #aba and #abb3 ,illustration3 ,,fig4 #aba4--,walrus hunter4 ,alaska4 ,figure #aba represents an ,alaskan native in the water killing a walrus4 ,the illustration was obtained from a slab of walrus ivory in the museum of the ,alaska ,commercial ,company1 of ,san ,francisco1 ,california1 and interpreted by a native4 ,illustration3 ,,fig4 #abb4--;,ivory carving with records4 ,alaska4 ,the carving1 ,figure #abb1 made of a piece of walrus tusk1 was copied from the original in the museum of the ,alaska ,commercial ,company1 ,san ,francisco1 ,california1 during the summer of #ahhb4 ,interpretations were verified by ,naumoff1 a ,kadiak half-breed1 in ,san ,francisco at the time4 ,the special purport of some of the characters and etchings is not apparent4 ,in ,no4 #a is a native whose left hand is resting against the house1 while the right hangs toward the ground4 ,the character to his right represents a 8,shaman stick0 surmounted by the emblem of a bird1 a 8good spirit10 in memory of some departed friend4 ,it was suggested that the grave stick had been erected to the memory of his wife4 ,no4 #b4 ,represents a reindeer1 but the special import in this drawing is unknown4 ,no4 #c4 ,signifies that one man1 the recorder1 shot and killed another with an arrow4 ,no4 #d4 ,denotes that the narrator has made trading expeditions with a dog-sledge4 ,no4 #e4 ,is a sail-boat1 although the elevated paddle signifies that that was the manner in which the voyage was best made4 ,no4 #f4 ,a dog-sled1 with the animal hitched up for a journey4 ,the radiating lines in the upper left hand corner1 over the head of the man1 is a representation of the sun4 ,no4 #g4 ,a sacred lodge4 ,the four figures at the outer corners of the square represent the young men placed on guard1 armed with bows and arrows1 to keep away those not members of the band1 who are depicted as holding a dance4 ,the small square in the center of the lodge represents the fire-place4 ,the angular lines extending from the right side of the lodge to the vertical partition line are an outline of the subterranean entrance to the lodge4 ,no4 #h4 ,a pine tree1 upon which a porcupine is crawling upward4 ,no4 #i4 ,a pine tree1 from which a bird 7woodpecker7 is extracting larv for food4 ,no4 #aj4 ,a bear4 ,no4 #aa4 ,the recorder in his boat1 holding aloft his double-bladed paddle to drive fish into a net4 ,no4 #ab4 ,an assistant fisherman driving fish into the net4 ,no4 #ac4 ,the net4 ,the figure over the man 7,no4 #ab7 represents a whale1 with harpoon and line attached1 caught by the narrator4 99 99 99 99 99 ,it will be understood that all personal customs1 such1 for instance1 as the peculiar arrangement of hair in any tribe1 are embodied in their pictorial designation by other tribes and perhaps by themselves4 ,see in this connection1 page #bcj4 ,among the many customs susceptible of graphic portrayal which do not happen to be illustrated in this paper1 an example may be given in the mode in several tribes 7e4 g41 ,apache1 ,muskoki1 ,dakota and ,miztec71 of punishing the infidelity of wives1 namely1 by cutting off the nose4 ,the picture of a noseless woman would1 therefore1 when made by those tribes1 have distinct meaning4 ,the unfaithful wife mentioned on page #acd is drawn with a nose1 but in her case the greater punishment of death was inflicted4 ,,tribal ,,history4 ,it is very difficult1 if not impossible1 to distinguish in pictographs1 or1 indeed1 orally1 between historical and traditional accounts obtained from ,indians1 so that this heading may be connected with one before presented1 having relation to ,traditions as mnemonically pictured4 ,see page #hd4 ,the ,walum-,olum1 or ,bark ,record of the ,lenni-,lenap1 before mentioned1 as also some of ,schoolcraft's pictographic illustrations1 may be1 in accordance with the judgment of the reader1 more or less properly connected with history4 ,the ,dakota ,winter ,counts1 including the ,corbusier ,winter ,counts1 in the present paper1 while having their chief value as calendars1 contain some material that is absolute and veritable tribal history1 though seldom of more than local and transient interest4 ,an example from ,battiste ,good's count for the year #ahfb-'fc1 is given in addition1 explaining the origin of the title 8,brul0 ,dakota4 ,he calls the year 8,the-people-were-burnt winter10 and adds3 ,they were living somewhere east of their present country1 when a prairie fire destroyed their entire village4 ,many of their children and a man and his wife1 who were on foot some distance away from the village1 were burned to death4 ,many of their horses were also burned to death4 ,all the people that could get to a long lake which was near by saved themselves by jumping into it4 ,many of these were badly burned about the thighs and legs1 and this circumstance gave rise to the name1 si-can gu1 translated as ,burnt ,thigh1 and ,brul1 by which they have since been known4 ,battiste ,good's character for the year is here given as ,figure #abc4 ,illustration3 ,,fig4 #abc4--,origin of ,brul4 ,dakota4 ,this is of later date than the mythical times1 even among ,indians1 and1 being verified as it is1 must be accepted as historical4 ,,biographic4 ,the pictographs under this head that have come to the writer's notice have been grouped as1 ,first1 a continuous account of the chief events in the life of the subject of the sketch2 ,second1 separate accounts of some particular exploit or event in the life of the person referred to4 ,pictographs of both of these descriptions are very common4 ,,continuous ,,record ,,of ,,events ,,in ,,life4 ,an example of a continuous record is the following 8autobiography0 of ,running-,antelope3 ,the accompanying illustrations1 ,figures #abd to #acd are copied from a record of eleven drawings prepared by ,running-,antelope1 chief of the ,uncpapa ,dakota1 at ,grand ,river1 ,dakota1 in #ahgc4 ,the sketches were painted in a large drawing-book by means of water colors1 and were made for ,dr4 ,w4 ,j4 ,hoffman1 to whom the following interpretations were given by the artist3 ,the record comprises the most important events in the life of ,running-,antelope as a warrior4 ,although frequently more than one person is represented as slain1 it is not to be inferred that all were killed in one day1 but during the duration of one expedition1 of which the recorder was a member or chief4 ,the bird 7,falco cooperi87 upon the shield refers to the clan or band totem1 while the antelope drawn beneath the horses1 in the act of running1 signifies the personal name4 ,figure #abd4 ,killed two ,arikara ,indians in one day4 ,the lance held in the hand1 thrusting at the foremost of the enemy1 signifies that he killed the person with that weapon2 the left-hand figure was shot1 as is shown1 by the discharging gun1 and afterwards struck with the lance4 ,this occurred in #ahec4 ,illustration3 ,,fig4 #abd4--,killed an ,arikara4 ,figure #abe4 ,shot and scalped an ,arikara ,indian in #ahec4 ,it appears that the ,arikara attempted to inform ,running-,antelope of his being unarmed1 as the right hand is thrown outward with distended fingers1 in imitation of making the gesture for negation1 having nothing4 ,illustration3 ,,fig4 #abe4--,shot and scalped an ,arikara4 ,figure #abf4 ,shot and killed an ,arikara in #ahec4 ,illustration3 ,,fig4 #abf4--,shot an ,arikara4 ,figure #abg4 ,killed two warriors on one day in #ahed4 ,illustration3 ,,fig4 #abg4--,killed two warriors4 ,figure #abh4 ,killed ten men and three squaws in #ahef4 ,the grouping of persons strongly resembles the ancient ,egyptian method of drawing4 ,illustration3 ,,fig4 #abh4--,killed ten men and three women4 ,figure #abi4 ,killed two ,arikara chiefs in #ahef4 ,their rank is shown by the appendages to the sleeves1 which consist of white weasel skins4 ,the arrow in the left thigh of the recorder shows that he was wounded4 ,the scars are still distinct upon the person of ,running-,antelope1 showing that the arrow passed through the thigh4 ,illustration3 ,,fig4 #abi4--,killed two chiefs4 ,figure #acj4 ,killed one ,arikara in #aheg4 ,striking the enemy with a bow is considered the greatest insult that can be offered to another4 ,the act of so doing also entitles the warrior to count one coup when relating his exploits in the council chamber4 ,illustration3 ,,fig4 #acj4--,killed one ,arikara4 ,figure #aca4 ,killed an ,arikara in #ahei and captured a horse4 ,illustration3 ,,fig4 #aca4--,killed one ,arikara4 ,figure #acb4 ,killed two ,arikara hunters in #ahei4 ,both were shot1 as is indicated by the figure of a gun in contact with each ,indian4 ,the cluster of lines drawn across the body of each victim represents the discharge of the gun1 and shows where the ball took effect4 ,the upper one of the two figures was in the act of shooting an arrow when he was killed4 ,illustration3 ,,fig4 #acb4--,killed two ,arikara hunters4 ,figure #acc4 ,killed five ,arikara in one day in #ahfc4 ,the dotted line indicates the trail which ,running-,antelope followed1 and when the ,indians discovered that they were pursued1 they took shelter in an isolated copse of shrubbery1 where they were killed at leisure4 ,the five guns within the inclosure represent the five persons armed4 ,illustration3 ,,fig4 #acc4--,killed five ,arikara4 ,figure #acd4 ,an ,arikara killed in #ahfe4 ,illustration3 ,,fig4 #acd4--,killed an ,arikara4 ,the ,arikara are delineated in the above1 in nearly all instances1 wearing the top-knot of hair1 a custom similar to that practiced by the ,absaroka1 though as the latter were the most inveterate enemies of the ,sioux1 and as the word ,pallni for ,arikara is applied to all enemies1 the ,crow custom may have been depicted as a generic mark4 ,the practice of painting the forehead red1 also an ,absaroka custom1 serves to distinguish the pictures as individuals of one of the two tribes4 ,,particular ,,exploits ,,and ,,events4 ,a record on ivory shown as ,figure #ace1 was obtained by ,dr4 ,w4 ,j4 ,hoffman in ,san ,francisco1 ,california1 in #ahhb1 and was interpreted to him by an ,alaskan native4 ,the story represents the success of a hunt2 the animals desired are shown1 as well as those which were secured4 ,illustration3 ,,fig4 #ace4--,record of hunt4 ,alaska4 ,the following is the explanation of the characters3 #a1 #b4 ,deer4 #c4 ,porcupine4 #d4 ,winter1 or permanent1 habitation4 ,the cross-piece resting upon two vertical poles constitutes the rack1 used for drying fish4 #e4 ,one of the natives occupying the same lodge with the recorder4 #f4 ,the hunter whose exploits are narrated4 #g1 #h1 #i4 ,beavers4 #aj-ad4 ,martens4 #ae4 ,a weasel1 according to the interpretation1 although there are no specific characters to identify it as different from the preceding4 #af4 ,land otter4 #ag4 ,a bear4 #ah4 ,a fox4 #ai4 ,a walrus4 #bj4 ,a seal4 #ba4 ,a wolf4 ,by reference to the illustration it will be observed that all the animals secured are turned toward the house of the speaker1 while the heads of those animals desired1 but not captured1 are turned away from it4 ,the following is the text in the ,kiatexamut dialect of the ,innuit language as dictated by the ,alaskan1 with his own literal translation into ,english3 ,hu-nu-n-ga hu-pu-qt-a pi-c-qu-l-a mus-qu-l-qnut4 ,pa-m-qtu-lt ,i1 7from7 my place4 ,i went hunting 7for7 skins4 martens 7settlement47 7animals7 ta-q-mn1 a-m-da-duk a-xla-luk1 -qui--muk pi-q-a a-xla-luk2 five1 weasel one1 land otter caught one2 ku-q-lu-h-nu-mk wolf a-xla-luk1 tun-du-muk t-gu-ql-u-g me-l-ga-nuk1 p-luk one1 deer 7,i7 killed two1 beaver pi-na-u-nuk1 n-nuk pit-qu-n1 ma-klak-muk pit-qu-n1 a-c-a-na-muk three1 porcupine 7,i7 caught none1 seal 7,i7 caught none1 walrus pit-qu-ni1 ua-q-la-muk pit-qu-n1 ta-g-xa-muk pit-qu-n4 7,i7 caught none1 fox 7,i7 caught none1 bear 7,i7 caught none4 ,the following narrative of personal exploit was given to ,dr4 ,w4 ,j4 ,hoffman by 8,pete10 a ,shoshoni chief1 during a visit of the latter to ,washington1 in #ahhj4 ,the sketch1 ,figure #acf1 was drawn by the narrator1 and the following explanation of characters will be sufficient interpretation to render the figures intelligible4 ,illustration3 ,,fig4 #acf4--,shoshoni horse raid4 a4 ,pete1 a ,shoshoni chief4 b4 ,a ,nez ,percs ,indian1 one of the party from whom the horses were stampeded1 and who wounded ,pete in the side with an arrow4 c4 ,hoof marks1 showing course of stampede4 d4 ,lance1 which was captured from the ,nez ,percs4 e1 e1 e4 ,saddles captured4 f4 ,bridle captured4 g4 ,lariat captured4 h4 ,saddle-blanket captured4 i4 ,body-blanket captured4 j4 ,pair of leggings captured4 k4 ,three single legs of leggings captured4 ,figure #acg1 copied from ,schoolcraft1 ,,iv1 p4 #bec1 ,pl4 #cb1 is taken from the shoulder-blade of a buffalo1 found on the plains in the ,comanche country of ,texas4 ,no4 #e is a symbol showing the strife for the buffalo existing between the ,indian and white races4 ,the ,indian 7#a71 presented on horseback1 protected by his ornamented shield and armed with a lance1 kills a ,spaniard 7#c71 the latter being armed with a gun1 after a circuitous chase 7#f74 ,his companion 7#d71 armed with a lance1 shares the same fate4 ,illustration3 ,,fig4 #acg4--;,comanche drawing on shoulder-blade4 ,figure #ach is taken from the winter count of ,battiste ,good for the year #ahec-'ed4 ,he calls the year ,cross-,bear-died-on-the-hunt winter4 ,illustration3 ,,fig4 #ach4--;,cross-,bear's death4 ,the 8travail0 means1 they moved2 the buffalo1 to hunt buffalo2 the bear with mouth open and paw advanced1 cross-bear4 ,the involute character frequently repeated in ,battiste's record signifies pain in the stomach and intestines1 resulting in death4 ,in this group of characters there is not only the brief story1 an obituary notice1 but an ideographic mark for a particular kind of death1 a noticeable name-totem1 and a presentation of the ,indian mode of transportation4 ,the word 8travail0 appearing above1 as given by the interpreter1 requires explanation4 ,it refers to the peculiar sledge which is used by many tribes of ,indians for the purpose of transportation4 ,it is used on the surface of the ground when not covered with snow1 even more than when snow prevails4 ,the word is more generally found in print in the plural1 where it is spelled 8travaux0 and sometimes 8travois40 ,the etymology of this word1 which has not yet been found in any ,indian language1 has been the subject of considerable discussion4 ,the present writer considers it to be one of the class of words which descended in corrupted form from the language of the ,canadian voyageurs1 and that it was originally the ,french word 8traineau10 with its meaning of sledge4 ,figure #aci is taken from a roll of birch bark obtained from the ,ojibwa ,indians at ,red ,lake1 ,minnesota1 in #ahhb1 known to be more than seventy years old4 ,the interpretation was given by an ,indian from that reservation1 although he did not know the author nor the history of the record4 ,with one exception1 all of the characters were understood and interpreted to ,dr4 ,hoffman1 in #ahhc by ,ottawa ,indians at ,harbor ,springs1 ,michigan4 ,this tribe at one time habitually used similar methods of recording historic and mythologic data4 ,illustration3 ,,fig4 #aci4--;,bark record from ,red ,lake1 ,minnesota4 ,no4 #a4 ,represents the person who visited a country supposed to have been near one of the great lakes4 ,he has a scalp in his hand which he obtained from the head of an enemy1 after having killed him4 ,the line from the head to the small circle denotes the name of the person1 and the line from the mouth to the same circle signifies 7in the ,dakota method71 8,that is it10 having reference to proper names4 ,no4 #b4 ,the person killed4 ,he was a man who held a position of some consequence in his tribe1 as is indicated by the horns1 marks used by the ,ojibwas among themselves for ,shaman1 ,wabeno1 etc4 ,it has been suggested that the object held in the hand of this figure is a rattle1 though the ,indians1 to whom the record was submitted for examination1 are in doubt1 the character being indistinct4 ,no4 #c4 ,three disks connected by short lines signify1 in the present instance1 three nights1 i4 e41 three black suns4 ,three days from home was the distance the person in ,no4 #a traveled to reach the country for which started4 ,no4 #d4 ,represents a shell1 and denotes the primary object of the journey4 ,shells were needed for making ornaments and to trade4 ,no4 #e4 ,two parallel lines are here inserted to mark the end of the present record and the beginning of another4 ,,ideographs4 ,the number of instances in this paper in which the picture has been expressive of an idea1 and not a mere portraiture of an object1 and has amounted sometimes to a graphic representation of an abstract idea1 is so great as to render cross-references superfluous4 ,as examples1 attention may be invited to ,figure #gb1 page #aff1 for the idea of 8voice10 ,figure #agi1 page #bda1 for that of 8war10 and the ,corbusier winter counts for the year #ahgf-'gg--,no4 ,i1 page #adf1 for that of 8support40 ,in addition to them1 however1 for convenience of grouping under this special heading1 the following illustrations 7some of which would as properly appear under the head of ,conventionalizing7 are presented4 ,,abstract ,,ideas4 ,figure #adj is taken from the winter count of ,battiste ,good1 and is drawn to represent the sign for pipe1 which it is intended to signify4 ,the sign is made by placing the right hand near the upper portion of the breast1 the left farther forward1 and both held so that the index and thumb approximate a circle1 as if holding a pipe-stem4 ,the remaining fingers are closed4 ,illustration3 ,,fig4 #adj4--,sign for pipe4 ,dakota4 ,the point of interest in this character is that instead of drawing a pipe the artist drew a human figure making the sign for pipe1 showing the intimate connection between gesture-signs and pictographs4 ,the pipe1 in this instance1 was the symbol of peace4 ,figure #ada1 taken from the winter count of ,battiste ,good for the year #agjc-'jd1 signifies plenty of buffalo meat4 ,illustration3 ,,fig4 #ada4--,plenty ,buffalo meat4 ,dakota4 ,the forked stick being one of the supports of a drying-pole or scaffold1 indicates meat4 ,the circle may represent a pit or 8cache0 in which buffalo meat was placed during the winter of #agjc-'jd1 or it may mean 8heap0--i4 e41 large quantity1 buffalo having been very plentiful that year4 ,the buffalo head denotes the kind of meat stored4 ,this is an abbreviated form of the device immediately following1 and being fully understood affords a suggestive comparison with some ,egyptian hieroglyphs and ,chinese letters1 both in their full pictographic origin and in their abbreviation4 ,figure #adb is taken from the same count for the year #agde-'df1 in which the drying-pole is supported by two forked sticks or poles1 only one of which1 without the drying-pole1 was indicated in the preceding figure1 which is an abbreviated or conventionalized form of the objective representation in the pre-present figure1 viz41 a scaffold or pole upon which buffalo meat was placed for drying4 ,buffalo were very plentiful during the winter of #agde-'df1 and the kind of meat is denoted by the buffalo head placed above the pole1 from which meat appears suspended4 ,illustration3 ,,fig4 #adb4--,plenty ,buffalo meat4 ,dakota4 ,figure #adc is taken from ,prince ,maximilian's ,travels1 op4 cit4 p4 #ceb4 ,the cross signifies1 ,i will barter or trade4 ,three animals are drawn on the right hand of the cross2 one is a buffalo 7probably albino72 the two others1 a weasel 7,mustela ,canadensis7 and an otter4 ,the pictographer offers in exchange for the skins of these animals the articles which he has drawn on the left side of the cross4 ,he has there1 in the first place1 depicted a beaver very plainly1 behind which there is a gun2 to the left of the beaver are thirty strokes1 each ten separated by a longer line2 this means3 ,i will give thirty beaver skins and a gun for the skins of the three animals on the right hand of the cross4 ,illustration3 ,,fig4 #adc4--,pictograph for trade4 ,dakota4 ,the ideographic character of the design consists in the use of the cross--being a drawing of the gesture-sign for 8trade0--the arms being in position interchanged4 ,of the two things each one is put in the place before occupied by the other thing--the idea of exchange4 ,figure #add1 from the record of ,battiste ,good for the year #agbj-'ba1 signifies starvation1 denoted by the bare ribs4 ,illustration3 ,,fig4 #add4--,starvation4 ,dakota4 ,this design survives among the ,ottawa and ,pottawatomi ,indians of ,northern ,michigan1 but among the latter a single line only is drawn across the breast1 shown in ,figure #ade4 ,this corresponds1 also1 with one of the gesture-signs for the same idea4 ,illustration3 ,,fig4 #ade4--,starvation4 ,ottawa and ,pottawatomi4 ,figure #adf1 from the record of ,battiste ,good for the year #ahbf-'bg1 signifies 8pain40 ,he calls the year 8,ate-a-whistle-and-died winter10 and explains that six ,dakotas1 on the war path1 had nearly perished with hunger when they found and ate the rotting carcass of an old buffalo1 on which the wolves had been feeding4 ,they were seized soon after with pains in the stomach1 their bellies swelled1 and gas poured from the mouth and the anus1 and they died of a whistle1 or from eating a whistle4 ,the sound of gas escaping from the mouth is illustrated in the figure4 ,the character on the abdomen and on its right may be considered to be the ideograph for pain in that part of the body4 ,illustration3 ,,fig4 #adf4--,pain4 ,died of 8whistle40 ,dakota4 ,,symbolism4 ,the writer has1 in a former publication1 suggested the distinction to be made between a pictorial sign1 an emblem1 and a symbol2 but it is not easy to preserve the discrimination in reference to ideographic characters which have often become conventionalized4 ,to partly express the distinction1 nearly all of the characters in the ,dakota ,winter ,counts are regarded as pictorial signs1 and the class represented by tribal signs1 personal insignia1 etc41 is considered to belong to the category of emblems4 ,there is no doubt1 however1 that true symbols exist among the ,indians1 as they must exist to some extent among all peoples not devoid of poetic imagination4 ,some of them are shown in this paper4 ,the pipe is generally a symbol of peace1 although in certain positions and connections it sometimes signifies preparation for war1 and again subsequent victory4 ,the hatchet is a common symbol for war1 and closed hands or approaching palms denote friendship4 ,the tortoise has been clearly used as a symbol for land1 and many other examples can be admitted4 ,if ,schoolcraft is to be taken as uncontroverted authority1 the symbolism of the ,ojibwa rivalled that of the ,egyptians1 and the recent unpublished accounts of the ,zui1 ,moki1 and ,navajo before mentioned indicate the frequent employment of symbolic devices by those tribes which are notably devoted to mystic ceremonies4 ,nevertheless1 the writer's personal experience is1 that often when he has at first supposed a character to be a genuine symbol it has resulted1 with better means of understanding1 in being not even an ideograph but a mere objective representation4 ,in this connection1 the remarks on the circle on page #ajg1 and those on ,figure #bjf1 on page #bdf1 may be in point4 ,another case for consideration occurs4 ,the impression1 real or represented1 of a human hand is used in several regions in the world with symbolic significance4 ,for instance1 in ,jerusalem a rough representation of a hand is reported by ,lieutenant ,conder 7,palestine ,exploration ,fund1 ,january1 #ahgc1 p4 #af7 to be marked on the wall of every house whilst in building by the native races4 ,some authorities connect it with the five names of ,god1 and it is generally considered to avert the evil eye4 ,the ,moors generally1 and especially the ,arabs in ,kairwan1 employ the marks on their houses as prophylactics4 ,similar hand prints are found in the ruins of ,el ,baird1 near ,petra4 ,some of the quaint symbolism connected with horns is supposed to originate from such hand marks4 ,among the ,north ,american ,indians the mark so readily applied is of frequent occurrence1 an instance1 with its ascertained significance1 being given on page #ahg1 supra4 ,it has been recently ascertained that the figure of a hand1 with extended fingers1 is very common in the vicinity of ruins in ,arizona as a rock-etching1 and is also frequently seen daubed on the rocks with colored pigments or white clay4 ,this coincidence would seem at first to assure symbolic significance and possibly to connect the symbolism of the two hemispheres4 ,but ,mr4 ,thomas ,v4 ,keam explains the ,arizona etchings of hands1 on the authority of the living ,moki1 as follows3 8,these are vestiges of the test formerly practiced among young men who aspired for admission to the fraternity of ,salyko4 ,the ,salyko is a trinity of two women and a woman from whom the ,hopitus ,moki first obtained corn4 ,only those were chosen as novices1 the imprints of whose hands had dried on the instant40 ,while the subject-matter is1 therefore1 ceremonial1 there is absolutely no symbolism connected with it4 ,the etchings either simply perpetuate the marks made in the several tests or imitate them4 ,in the present stage of the study no more can be suggested than that symbolic interpretations should be accepted with caution4 ,with regard to the symbolic use of material objects1 which would probably be extended into graphic portrayal1 the following remarks maybe given3 ,the ,prince of ,wied mentions 7op4 cit41 ,vol4 ,i1 p4 #bdd7 that in the ,sac and ,fox tribes the rattle of a rattlesnake attached to the end of the feather worn on the head signifies a good horse stealer4 ,the stealthy approach of the serpent1 accompanied with latent power1 is here clearly indicated4 ,mr4 ,schoolcraft says of the ,dakotas that 8some of the chiefs had the skins of skunks tied to their heels to symbolize that they never ran1 as that animal is noted for its slow and self-possessed movements40 ,see ,personal ,memoirs of a ,residence of ,thirty ,years with the ,indian ,tribes on the ,american ,frontier1 etc41 ,philadelphia1 #ahea1 p4 #bad4 ,this is one of the many customs to be remembered in the attempted interpretations of pictographs4 ,the present writer does not know that a skunk skin1 or a strip of skin which might be supposed to be a skunk skin1 attached to a human heel1 has ever been used pictorially as the ideograph of courage or steadfastness1 but with the knowledge of this objective use of the skins1 if they were found so represented pictorially1 as might well be expected1 the interpretation would be suggested1 without any direct explanation from ,indians4 ,,identification ,,of ,,the ,,pictographers4 ,the first point in the examination of a pictograph is to determine by what body of people it was made4 ,this is not only because the marks or devices made by the artists of one tribe1 or perhaps of one linguistic stock if not disintegrated into separated divisions distant from each other1 may have a different significance from figures virtually the same produced by another tribe or stock1 but because the value of the record is greatly enhanced when the recorders are known4 ,in arriving at the identification mentioned it is advisable to study3 #ast4 ,the general style or type4 #b;d4 ,the presence of characteristic objects4 #c;d4 ,the apparent subject-matter4 #dth4 ,the localities with reference to the known habitat of tribes4 ,,general ,,style ,,or ,,type4 ,although the collection of pictographs1 particularly of petroglyphs1 is not complete1 and their study1 therefore1 is only commenced1 it is possible to present some of the varieties in general style and type4 ,figure #adg is presented as a type of the ,eastern ,algonkian pictographs4 ,it was copied by ,messrs4 ,j4 ,sutton ,wall and ,william ,arison1 in #ahhb1 from a rock opposite ,millsborough1 in ,fayette ,county1 ,pennsylvania1 and is mentioned on page #bj1 supra1 in connection with the local distribution of petroglyphs4 ,the locality is within the area once occupied by the tribes of the ,algonkian linguistic family1 and there is apparent a general similarity to the well-known ,dighton ,rock inscription4 ,illustration3 ,,fig4 #adg4--;,algonkian petroglyph4 ,millsborough1 ,pennsylvania4 ,mr4 ,j4 ,sutton ,wall1 of ,monongahela ,city1 ,pennsylvania1 who has kindly furnished the drawing of the etchings1 states that the outlines of figures are formed by grooves carved or cut in the rock from an inch to a mere trace in depth4 ,the footprints are carved depressions4 ,the character marked ,z 7near the lower left-hand corner7 is a circular cavity #g inches deep4 ,the rock is sandstone1 of the ,waynesburg series4 ,mr4 ,wall has also contributed a copy of the 8,hamilton ,picture ,rock10 of which ,figure #adh is an illustration4 ,the etchings are on a sandstone rock1 on the ,hamilton farm1 #f miles southeast from ,morgantown1 ,west ,virginia4 ,the turnpike passes over the south edge of the rock4 ,illustration3 ,,fig4 #adh4--;,algonkian petroglyph4 ,hamilton ,farm1 ,west ,virginia4 ,mr4 ,wall furnishes the following interpretation of the figures3 ,a4 ,outline of a turkey4 ,b4 ,outline of a panther4 ,c4 ,outline of a rattlesnake4 ,d4 ,outline of a human form4 ,e4 ,a 8spiral or volute40 ,f4 ,impression of a horse foot4 ,g4 ,impression of a human foot4 ,h4 ,outline of the top portion of a tree or branch4 ,i4 ,impression of a human hand4 ,j4 ,impression of a bear's forefoot1 but lacks the proper number of toe marks4 ,k4 ,impression of two turkey tracks4 ,l4 ,has some appearance of a hare or rabbit1 but lacks the corresponding length of ears4 ,m4 ,impression of a bear's hindfoot1 but lacks the proper number of toe marks4 ,n4 ,outline of infant human form1 with two arrows in the right hand4 ,o1 ,p4 ,two cup-shaped depressions4 ,q4 ,outline of the hind part of an animal4 ,r4 ,might be taken to represent the impression of a horse's foot were it not for the line bisecting the outer curved line4 ,s4 ,represent buffalo and deer tracks4 ,the turkey ,a1 the rattlesnake ,c1 the rabbit ,l1 and the 8footprints0 ,j1 ,m1 and ,q1 are specially noticeable as typical characters in ,algonkian pictography4 ,mr4 ,p4 ,w4 ,sheafer furnishes in his ,historical ,map of ,pennsylvania1 ,philadelphia1 #ahge1 a sketch of a pictograph on the ,susquehanna ,river1 ,pennsylvania1 below the dam at ,safe ,harbor1 part of which is reproduced in ,figure #adi4 ,this appears to be purely ,algonkian1 and has more resemblance to ,ojibwa characters than any other petroglyph yet noted from the ,eastern ,united ,states4 ,illustration3 ,,fig4 #adi4--;,algonkian petroglyph4 ,safe ,harbor1 ,pennsylvania4 ,the best type of ,western ,algonkian petroglyphs known to the writer is reported as discovered by members of the party of ,capt4 ,william ,a4 ,jones1 ,united ,states ,army1 in #ahgc1 and published in his report on ,northwestern ,wyoming1 including the ,yellowstone ,national ,park1 ,washington1 #ahge1 p4 #bfg1 et seq41 ,fig4 #ej1 reproduced in this paper by ,figure #aej1 in which the greater number of the characters are shown about one-fifth of their size4 ,illustration3 ,,fig4 #aej4--;,algonkian petroglyph4 ,wyoming4 ,an abstract of his description is as follows3 99 99 ,upon a nearly vertical wall of the yellow sandstones just back of ,murphy's ranch1 a number of rude figures had been chiseled1 apparently at a period not very recent1 as they had become much worn4 99 99 99 ,no certain clue to the connected meaning of this record was obtained1 although ,pnatsi attempted to explain it when the sketch was shown to him some days later by ,mr4 ,f4 ,w4 ,bond1 who copied the inscriptions from the rocks4 ,the figure on the left1 in the upper row1 somewhat resembles the design commonly used to represent a shield1 with the greater part of the ornamental fringe omitted1 perhaps worn away in the inscription4 ,we shall possibly be justified in regarding the whole as an attempt to record the particulars of a fight or battle which once occurred in this neighborhood4 ,pnatsi's remarks conveyed the idea to ,mr4 ,bond that he understood the figure the second in the upper line to signify cavalry1 and the six figures three in the middle of the upper line1 as also the three to the left of the lower line1 to mean infantry1 but he did not appear to recognize the hieroglyphs as the copy of any record with which he was familiar4 ,several years ago ,dr4 ,w4 ,j4 ,hoffman showed these 7as well as other pictographs from the same locality7 to several prominent ,shoshoni ,indians from near that locality1 who at once pronounced them the work of the ,pawkees 7,satsika1 or ,blackfeet71 who formerly occupied that country4 ,the general resemblance of many of the drawings from this area of country is similar to many of the ,eastern ,algonkin records4 ,the ,satsika are part of the great ,algonkian stock4 ,throughout the ,wind ,river country of ,wyoming many pictographic records have been found1 and others reported by the ,shoshoni ,indians4 ,these are said1 by the latter1 to be the work of the 8,pawkees10 as they call the ,blackfeet1 or more properly ,satsika1 and the general style of many of the figures bears strong resemblance to similar carvings found in the eastern portion of the ,united ,states1 in regions known to have been occupied by other tribes of the same linguistic stock1 viz41 the ,algonkian4 ,the four specimens of ,algonkian petroglyphs presented above in ,figures #adg-aej show gradations in type4 ,in connection with them reference may be made to the ,ojibwa bark record1 ,figure #aci1 page #bah2 the ,ojibwa grave-posts1 ,plate ,,lxxxiii2 the ,ottawa pipe-stem1 ,figure #abj1 page #bjd1 in this paper2 and to ,schoolcraft's numerous ,ojibwa pictographs2 and they may be contrasted with the many ,dakota and ,innuit drawings in this paper4 ,mr4 ,g4 ,k4 ,gilbert has furnished a small collection of drawings of ,shoshonian petroglyphs1 from ,oneida1 ,idaho1 shown in ,figure #aea4 ,some of them appear to be totemic characters1 and to record the names of visitors to the locality4 ,illustration3 ,,fig4 #aea4--,shoshonian petroglyph4 ,idaho4 ,five miles northwest from this locality1 and one-half mile east from ,marsh ,creek1 is another group of characters1 on basalt bowlders1 apparently totemic1 and by ,shoshoni4 ,a copy of these1 also contributed by ,mr4 ,gilbert1 is given in ,figure #aeb4 ,illustration3 ,,fig4 #aeb4--,shoshonian petroglyph4 ,idaho4 ,all of these drawings resemble the petroglyphs found at ,partridge ,creek1 northern ,arizona1 and in ,temple ,creek ,caon1 southeastern ,utah1 mentioned ante1 pages #cj and #bf respectively4 ,mr4 ,i4 ,c4 ,russell1 of the ,united ,states ,geological ,survey1 has furnished drawings of rude pictographs at ,black ,rock ,spring1 ,utah1 represented in ,figure #aec4 ,some of the other characters not represented in the figure consist of several horizontal lines1 placed one above another1 above which are a number of spots1 the whole appearing like a numerical record having reference to the figure alongside1 which resembles1 to a slight extent1 a melon with tortuous vines and stems4 ,the left-hand upper figure suggests the masks shown on ,plate ,,lxxxi4 ,illustration3 ,,fig4 #aec4--,shoshonian petroglyph4 ,utah4 ,mr4 ,gilbert ,thompson1 of the ,united ,states ,geological ,survey1 has discovered pictographs at ,fool ,creek ,caon1 ,utah1 shown in ,figure #aed1 which strongly resemble those still made by the ,moki of ,arizona4 ,several characters are identical with those last mentioned1 and represent human figures1 one of which is drawn to represent a man1 shown by a cross1 the upper arm of which is attached to the perinum4 ,these are all drawn in red color and were executed at three different periods4 ,other neighboring pictographs are pecked and unpainted1 while others are both pecked and painted4 ,illustration3 ,,fig4 #aed4--,shoshonian rock-painting4 ,utah4 ,both of these pictographs from ,utah may be compared with the ,moki pictographs from ,oakley ,springs1 ,arizona1 copied in ,figure #a1 page #cj4 ,dr4 ,g4 ,w4 ,barnes1 of ,san ,diego1 ,california1 has kindly furnished sketches of pictographs prepared for him by ,mrs4 ,f4 ,a4 ,kimball1 of ,national ,city1 ,california1 which were copied from records #be miles northeast of the former city4 ,many of them found upon the faces of large rocks are almost obliterated1 though sufficient remains to permit tracing4 ,the only color used appears to be red ocher4 ,many of the characters1 as noticed upon the drawings1 closely resemble those in ,new ,mexico1 at ,ojo de ,benado1 south of ,zui1 and in the caon leading from the caon at ,stewart's ranch1 to the ,kanab ,creek ,caon1 ,utah4 ,this is an indication of the habitat of the ,shoshonian stock apart from the linguistic evidence with which it agrees4 ,the power of determining the authorship of pictographs made on materials other than rocks1 by means of their general style and type1 can be estimated by a comparison of those of the ,ojibwa1 ,dakota1 ,haida1 and ,innuit of ,alaska presented in various parts of this paper4 ,,presence ,,of ,,characteristic ,,objects4 ,with regard to the study of the individual characters themselves to identify the delineators of pictographs1 the various considerations of fauna1 religion1 customs1 tribal signs1 indeed1 most of the headings of this paper will be applicable4 ,it is impracticable now to give further details in this immediate connection1 except to add to similar particulars before presented the following notes with regard to the arrangement of hair and display of paint in identification4 ,a custom obtains among the ,absaroka1 which1 when depicted in pictographs1 as is frequently done1 serves greatly to facilitate identification of the principal actors in events recorded4 ,this consists in wearing false hair1 attached to the back of the head and allowed to hang down over the back4 ,horse hair1 taken from the tail1 is arranged in #h or #aj strands1 each about as thick as a finger1 and laid parallel with spaces between them of the width of a single strand4 ,pine gum is then mixed with red ocher1 or vermilion1 when the individual can afford the expense1 and by means of other hair1 or fibers of any kind laid cross-wise1 the strands are secured1 and around each intersection of hair a ball of gum is plastered to hold it in place4 ,about #d inches further down1 a similar row of gum balls and cross strings are placed1 and so on down to the end4 ,the top of the tail ornament is then secured to the hair on the back of the head4 ,the ,indians frequently incorporate the false hair with their own so as to lengthen the latter without any marked evidence of the deception4 ,nevertheless the transverse fastenings with their gum attachments are present4 ,the ,arikara have adopted this custom of late1 and they have obtained it from the ,hidatsa1 who1 in turn1 learned it of the ,absaroka4 ,in picture-writing this is shown upon the figure of a man by the presence of parallel lines drawn downward from the back of the head1 with cross lines1 the whole appearing like small squares or a piece of net4 ,dr4 ,george ,gibbs mentions a pictograph made by one of the ,northwestern tribes 7of ,oregon and ,washington7 upon which 8the figure of a man1 with a long queue1 or scalp-lock1 reached to his heels1 denoted a ,shoshonee1 that tribe being in the habit of braiding horse- or other hair into their own in that manner40 ,see ,contrib4 to ,n4 ,a4 ,ethnol41 ,vol4 ,i1 p4 #bbb4 ,this may have reference to the ,shoshoni ,indians among the extreme ,northwestern tribes1 but it can by no means be positively affirmed that the mark of identification could be based upon the custom of braiding with their own hair that of animals to increase the length and appearance of the queue1 as this custom also prevails among the ,absaroka and ,arikara ,indians of ,montana and ,dakota1 respectively1 as above described4 ,pictures drawn by some of the northern tribes of the ,dakota1 the ,titon1 for instance1 show the characteristic and distinctive features for a ,crow ,indian to be the distribution of the red war paint1 which covers the forehead4 ,a ,dakota upon the same picture is designated by painting the face red from the eyes down to the end of the chin4 ,again1 the ,crow is designated by a top-knot of hair extending upward from the forehead1 that lock of hair being actually worn by that tribe and brushed upward and slightly backward4 ,see the seated figure in the record of ,running-,antelope in ,fig4 #abg1 page #baj4 ,the ,pueblos generally1 when accurate and particular in delineation1 designate the women of that tribe by a huge coil of hair over either ear4 ,this custom prevails also among the ,coyotro ,apaches1 the women wearing the hair in a coil to denote a virgin or an unmarried person1 while the coil is absent in the case of a married woman4 ,the following remarks are extracted from the unpublished 8,catalogue of the ,relics of the ,ancient ,builders of the ,southwest ,tablelands10 by ,mr4 ,thomas ,v4 ,keam3 8,the ,maltese cross is the emblem of a virgin2 still so recognized by the ,mokis4 ,it is a conventional development of a more common emblem of maidenhood1 the form in which the maidens wear their hair arranged as a disk of three or four inches in diameter upon each side of the head4 ,this discoidal arrangement of their hair is typical of the emblem of fructification1 worn by the maiden in the ,muingwa festival4 ,sometimes the hair1 instead of being worn in the complete discoid form1 is dressed from two curved twigs1 and presents the form of two semi-circles upon each side of the head4 ,the partition of these is sometimes horizontal and sometimes vertical4 ,a combination of both of these styles presents the form from which the ,maltese cross was conventionalized4 ,the brim decorations are of ornamental locks of hair which a maiden trains to grow upon the sides of the forehead40 ,this strongly marked form of ,maltese cross1 the origin of which is above explained1 appears frequently in the pottery1 and also in the petroglyphs of the ,moki4 99 99 99 99 99 ,regarding the apparent subject matter of pictographs an obvious distinction may be made between hunting and land scenes such as would be familiar to interior tribes and those showing fishing and water transportation common to seaboard and lacustrine peoples4 ,similar and more perspicuous modes of discrimination are available4 ,the general scope of known history1 traditions1 and myths may also serve in identification4 99 99 99 99 99 ,knowledge of the priscan homes and of the migrations of tribes necessary to ascertain their former habitat in connection with the probable age of rock-etchings or paintings is manifestly desirable4 ,,modes ,,of ,,interpretation4 ,it is obvious that before attempting the interpretation of pictographs1 concerning which no direct information is to be obtained1 there should be a full collection of known characters1 in order that through them the unknown may be learned4 ,when any considerable number of objects in a pictograph are actually known1 the remainder may be ascertained by the context1 the relation1 and the position of the several designs1 and sometimes by the recognized principles of the art4 ,the ,bureau of ,ethnology has been engaged1 therefore1 for a considerable time in collating a large number of characters in a card-catalogue arranged primarily by similarity in forms1 and in attaching to each character any significance ascertained or suggested4 ,as before explained1 the interpretation upon which reliance is mainly based is that which has been made known by direct information from ,indians who themselves were actually makers of pictographs at the time of giving the interpretation4 ,apart from the comparisons obtained by this collation1 the only mode of ascertaining the meaning of the characters1 in other words1 the only key yet discovered1 is in the study of the gesture-sign included in many of them4 ,the writer several years ago suggested that among people where a system of ideographic gesture-signs prevailed1 it would be expected that their form would appear in any mode of artistic representation made by the same people with the object of conveying ideas or recording facts4 ,when a gesture-sign had been established and it became necessary or desirable to draw a character or design to convey the same ideas1 nothing could be more natural than to use the graphic form or delineation which was known and used in the gesture-sign4 ,it was but one more step1 and an easy one1 to fasten upon bark1 skins1 or rocks the evanescent air pictures of the signs4 ,the industrious research of ,dr4 ,d4 ,g4 ,brinton1 whose recent work1 ,the ,lenp and their ,legends1 before mentioned1 is received as this paper passes through the press1 has discovered passages in ,rafinesque's generally neglected and perhaps unduly discredited volumes1 by which that eccentric but acute writer seems to have announced the general proposition that the graphic signs of the ,indians correspond to their manual signs4 ,he also asserted that he had collected a large number of them1 though the statement is not clear1 for if all ,indian pictographs are1 in a very general sense1 8based upon their language of signs10 all of those pictographs might be included in his alleged collection1 without an ascertained specific relation between any pictograph and any sign4 ,it is probable1 however1 that ,rafinesque actually had at least valuable notes on the subject1 the loss of which is greatly to be regretted4 ,in the paper 8,sign ,language among the ,north ,american ,indians10 published in the ,first ,annual ,report of the ,bureau of ,ethnology1 a large number of instances were given of the reproduction of gesture lines in the pictographs made by the ,north ,american ,indians1 and they appeared to be most frequent when there was an attempt to convey subjective ideas4 ,these were beyond the range of an artistic skill limited to the rough presentation of objects in outline4 ,it was suggested1 therefore1 that the part of pictographs which is the most difficult of interpretation in the absence of positive knowledge1 was the one in the elucidation of which the study of sign-language would assist4 ,many pictographs in the present paper1 the meaning of which is definitely known from direct sources1 are noted in connection with the gesture-signs corresponding with the same idea1 which signs are also understood from independent evidence4 ,so numerous and conclusive are these examples1 that it is not necessary to add to them save by presenting the pictograph copied in ,figure #aee1 as one of special importance in this connection4 ,during the summer of #ahhb ,dr4 ,w4 ,j4 ,hoffman visited the ,tule ,river ,agency1 ,california1 where he found a large rock painting1 of which ,figure #aee is a copy made by him1 the following being his description3 ,the agency is located upon the western side of the ,sierra ,nevada in the headwater caons of the branches of the south fork of ,tule ,river4 ,the country is at present occupied by several tribes of the ,yokuts linguistic stock1 and the only answer received to inquiries respecting the age or origin of the record was1 that it was found there when the ancestors of the present tribes arrived4 ,the local migrations of the various ,indian tribes of this part of ,california are not yet known with sufficient certainty to determine to whom the records may be credited1 but all appearances with respect to the weathering and disintegration of the rock upon which the record is etched1 the appearance of the coloring matter subsequently applied1 and the condition of the small depressions made at the time for mixing the pigments with a viscous substance would indicate that the work had been performed about a century ago4 ,the ,tulare ,indians have been residents of that part of the ,state for at least one hundred years1 and the oldest now living state that the records were found by their ancestors1 though whether more than two generations ago could not be ascertained4 ,illustration3 ,,fig4 #aee4--,rock-painting4 ,tule ,river1 ,california4 ,the drawings were outlined by pecking with a piece of quartz or other silicious rock1 to the depth of from a mere visible depression to a third of an inch4 ,having thus satisfactorily depicted the several ideas1 colors were applied which upon examination appear to have penetrated the slight interstices between the crystalline particles of the rock1 which had been bruised and slightly fractured by hammering with a piece of stone4 ,it appears probable1 too1 that the hammering was repeated after application of the colors to insure better results4 ,upon a small bowlder1 under the natural archway formed by the breaking of the large rock1 small depressions were found which had been used as mortars for grinding and mixing the colors4 ,these depressions average #b inches in diameter and about #a inch in depth4 ,traces of color still remain1 mixed with a thin layer of a shining substance resembling a coating of varnish1 though of a flinty hardness4 ,this coating is so thin that it cannot be removed with a steel instrument1 and appears to have become part of the rock itself4 ,from the animals depicted upon the ceiling it seems that both beaver and deer were found in the country1 and as the beaver tail and the hoofs of deer and antelope are boiled to procure glue1 it is probable that the tribe which made these pictographs was as far advanced in respect to the making of glue and preparing of paints as other tribes throughout the ,united ,states4 ,examination shows that the dull red color is red ocher1 found in various places in the valley1 while the yellow was an ocherous clay1 also found there4 ,the white color was probably obtained there1 and is evidently earthy1 though of what nature can only be surmised1 not sufficient being obtainable from the rock picture to make satisfactory analysis with the blow pipe4 ,the composition of the black is not known1 unless it was made by mixing clay and powdered charcoal from the embers4 ,the latter is a preparation common at this day among other tribes4 ,an immense granite bowlder1 about #bj feet in thickness and #cj in length1 is so broken that a lower quarter is removed1 leaving a large square passageway through its entire diameter almost northwest and southeast4 ,upon the western wall of this passageway is a collection of the colored sketches of which ,figure #aee is a reduced copy4 ,the entire face of the rock upon which the pictograph occurs measures about #ab or #ae feet in width and #h in height4 ,the ceiling also contains many characters of birds1 quadrupeds1 etc4 ,no4 #a in the figure measures #f feet in height1 from the end of the toes to the top of the head1 the others being in proportion as represented4 ,the attempt at reproducing gestures is admirably portrayed1 and the following explanations are based upon such natural gestures as are almost universally in use3 ,no4 #a represents a person weeping4 ,the eyes have lines running down to the breast1 below the ends of which are three short lines on either side4 ,the arms and hands are in the exact position for making the gesture for rain4 ,it was evidently the intention of the artist to show that the hands in this gesture should be passed downward over the face1 as probably suggested by the short lines upon the lower end of the tears4 ,this is a noticeable illustration of the general term used by ,indians when making the gesture for weeping2 i4 e41 8eye-rain40 ,it is evident that sorrow is portrayed in this illustration1 grief based upon the sufferings of others who are shown in connection therewith4 ,nos4 #b1 #c1 #d4 ,six individuals apparently making the gesture for 8hunger10 by passing the hands towards and backward from the sides of the body1 denoting a 8gnawing sensation10 as expressed by ,indians4 ,no4 #d occupying a horizontal position1 may possibly denote a 8dead man10 dead of starvation1 this position being adopted by the ,ojibwa1 ,blackfeet1 and others as a common way of representing a dead person4 ,the varying lengths of head ornaments denote different degrees of position as warriors or chiefs4 ,nos4 #e1 #f1 #g1 #h1 #i are individuals in various shapes making gestures for negation1 or more specifically nothing1 nothing here1 a natural and universal gesture made by throwing one or both hands outward toward either side of the body4 ,the hands are extended also1 and1 to make the action apparently more emphatic1 the extended toes are also shown on ,nos4 #e1 #f1 #g1 and #i4 ,the several lines upon the leg of ,no4 #i refer evidently to trimmings upon the leggings4 ,no4 #aj is strikingly similar to the ,alaskan pictographs 7see ,no4 #a of ,figure #ee1 page #aec7 indicating self with the right hand1 and the left pointing away1 signifying to go4 ,no4 #aa is an ornamented head with body and legs1 and is unintelligible4 ,this may probably refer to a ,shaman1 the head being similar to like personages as represented by the ,ojibwa and ,iroquois4 ,similar drawings occur at a distance of about #aj miles southeast of this locality1 as well as at other places toward the northwest1 and it appears probable that the present record was made by a portion of a tribe which had advanced for the purpose of selecting a new camping place1 but failing to find the necessary quantities of food for sustenance1 this notice was erected to advise their successors of their misfortune and ultimate departure toward the northwest4 ,it is noticeable1 also1 that the picture is so placed upon the rock that the extended arm of ,no4 #aj points toward the north4 ,the foregoing description is substantially the same as published by ,dr4 ,hoffman in ,transactions of the ,anthropological ,society1 ,washington1 ,,ii1 #ahhc1 pages #abh-acb4 ,the limits of this paper do not allow of presenting a list of the characters in the pictographs which have become known4 ,it may be properly demanded1 however1 that some of the characters in the petroglyph1 ,figure #a1 should be explained4 ,the following is a list of those which were interpreted to ,mr4 ,gilbert1 as mentioned on page #bi supra4 ,illustration3 ,,fig4 #aef4 ,illustration3 ,,fig4 #aeg4 ,figure #aef is an inclosure1 or pen1 in which ceremonial dances are performed4 ,figure #aeg is a head-dress used in ceremonial dances4 ,illustration3 ,,fig4 #aeh4 ,figure #aeh shows different representations of houses4 ,illustration3 ,,fig4 #aei4 ,illustration3 ,,fig4 #afj4 ,figure #aei sketches the frames or sticks used in carrying wood on the back4 ,figure #afj shows different forms of arrows4 ,illustration3 ,,fig4 #afa4 ,figure #afa represents the blossoms of melons1 squashes1 etc4 ,illustration3 ,,fig4 #afb4 ,illustration3 ,,fig4 #afc4 ,figure #afb shows three ways in which lightning is represented4 ,figure #afc represents clouds4 ,illustration3 ,,fig4 #afd4 ,figure #afd represents clouds with rain descending4 ,illustration3 ,,fig4 #afe4 ,figure #afe shows various forms of stars4 ,illustration3 ,,fig4 #aff4 ,figure #aff shows various representations of the sun4 ,illustration3 ,,fig4 #afg4 ,figure #afg shows various representations of sunrise4 ,it is of interest in this connection that in the pictorial notation of the ,laplanders the sun bears its usual figure of a man's head1 rayed1 as reported in ,schoolcraft1 op4 cit4 ,i1 #dbf4 ,see drawings in ,scheffer's ,hist4 of ,lapland1 ,london ed41 #agjd4 ,it may be desirable also to note1 to avoid misconception1 that where1 through this paper1 mention is made of particulars under the headings of ,customs1 ,religious1 etc41 which might be made the subject of graphic illustration in pictographs1 and for that reason should be known as preliminary to the attempted interpretation of the latter1 the suggestion is not given as a mere hypothesis4 ,such objective marks and conceptions of the character indicated which can readily be made objective1 are in fact frequently found in pictographs and have been understood by means of the preliminary information to which reference is made4 ,when interpretations obtained through this line of study are properly verified they can take places in the card-catalogue little inferior to those of interpretations derived directly from aboriginal pictographers4 ,,homomorphs ,,and ,,symmorphs4 ,it has been already mentioned that characters substantially the same1 or homomorphs1 made by one set of people1 have a different signification among others4 ,differing forms for the same general conception or idea are also noticed4 ,these may be termed symmorphs4 ,some examples under these titles are noted as follows1 not for the purpose of giving an even approximately complete list1 but merely to show the manner in which they may be compared and sometimes confused with similar characters1 some of which appear in other parts of this paper4 ,illustration3 ,,fig4 #afh4 ,figure #afh represents ,dakota lodges as drawn by the ,hidatsa4 ,these characters when carelessly or rudely drawn can only be distinguished from personal marks by their position and their relation to other characters4 ,illustration3 ,,fig4 #afi4 ,figure #afi signifies earth lodges among the ,hidatsa4 ,the circles resemble the ground plan of the lodges1 while the central markings are intended to represent the upright poles1 which support the roof on the interior4 ,some of these are similar to the ,kadiak drawing for island1 ,figure #dg1 page #adg4 ,illustration3 ,,fig4 #agj4 ,figure #agj represents buildings erected by white men2 the character is generally used by the ,hidatsa to designate ,government buildings and traders' stores4 ,illustration3 ,,fig4 #aga4 ,figure #aga is the ,hidatsati1 the home of the ,hidatsa4 ,inclosure with earth lodges within4 ,the ,arikara sometimes simply mark dots or spots to signify men2 when in connection with small crescents to denote horses4 ,the numerical strength of a war party is sometimes shown in this manner1 as in ,figure #agb4 ,illustration3 ,,fig4 #agb4 ,figure #agc was drawn for dead man by the ,arikara4 ,cf4 8nothing there10 page #afh4 ,illustration3 ,,fig4 #agc4 ,figure #agd4 ,in records of personal events the two lines above the head of the fallen enemy denote among the ,hidatsa that the person to whom the exploit refers was the second to strike the body4 ,illustration3 ,,fig4 #agd4 ,figure #age shows the third person to strike the enemy1 as drawn by the ,hidatsa4 ,illustration3 ,,fig4 #age4 ,figure #agf means a scalp taken4 ,hidatsa4 ,illustration3 ,,fig4 #agf4 ,figure #agg signifies1 in ,hidatsa drawing1 the man who struck the enemy1 and who took his gun4 ,illustration3 ,,fig4 #agg4 ,the following specimens from the writer's card collection are presented as having some individual interest3 ,figure #agh was drawn by a ,dakota ,indian1 at ,mendota1 ,minnesota1 and represents a man holding a scalp in one hand1 while in the other is the gun1 the weapon used in the destruction of the enemy4 ,the short vertical lines below the periphery of the scalp indicate hair4 ,the line crossing the leg of the ,indian is only an indication of the ground upon which the figure is supposed to stand4 ,illustration3 ,,fig4 #agh4 ,figure #agi is taken from the winter count of ,battiste ,good for the year #ahdj-'da4 ,he names it 8,came-and-killed-five-of-,little-,thund er's-brothers winter0 and 8,battiste-alone-returns winter40 ,he explains that the five were killed in an encounter with the ,panis4 ,battiste ,good was the only one of the party to escape4 ,the capote is shown1 and signifies war1 as in several other instances of the same record4 ,the five short vertical lines below the arrow signify that five were killed4 ,illustration3 ,,fig4 #agi4 ,figure #ahj is taken from ,mrs4 ,eastman's ,dahcotah1 or ,life and ,legends of the ,sioux1 ,new ,york1 #ahdi1 p4 xxvii1 and shows a ,dakota method of recording the taking of prisoners4 ,nos4 #a and #c are the prisoners2 ,no4 #a being a female1 as denoted by the presence of mamm1 and ,no4 #c a male4 ,no4 #b is the person making the capture4 ,it is also noted that the prisoners are without hands1 to signify their helplessness4 ,illustration3 ,,fig4 #ahj4 ,in this connection the following quotation is taken from the ,historical ,collections of ,louisiana1 ,part ,,iii1 #ahea1 p4 #abd1 describing a pictograph1 as follows3 8,there were two figures of men without heads and some entire4 ,the first denoted the dead and the second the prisoners4 ,one of my conductors told me on this occasion that when there are any ,french among either1 they set their arms akimbo1 or their hands upon their hips1 to distinguish them from the savages1 whom they represent with their arms hanging down4 ,this distinction is not purely arbitrary2 it proceeds from these people having observed that the ,french often put themselves in this posture1 which is not used among them40 ,illustration3 ,,fig4 #aha4--;,circle of men4 ,dakota4 ,figure #aha is taken from the winter count of ,battiste ,good for the year #ahea-'eb4 ,in the year #ahea-'eb1 the first issue of goods was made to the ,indians1 and the character represents a blanket surrounded by a circle to show how the ,indians sat awaiting the distribution4 ,the people are represented by small lines running at right angles to the circle4 ,illustration3 ,,fig4 #ahb4--,shooting from river banks4 ,dakota4 ,figure #ahb is also from ,battiste ,good4 ,an encounter is represented between two tribes1 each on the banks of a river1 from which arrows were fired across the water at the opposing party4 ,the vertical lines represent the banks1 while the opposing arrows denote a fight or an encounter4 ,illustration3 ,,fig4 #ahc4--,panther4 ,haida4 ,the drawing1 ,figure #ahc1 was made by ,mr4 ,j4 ,g4 ,swan while on a visit to the ,prince of ,wales ,archipelago1 where he found two carved figures with panthers' heads1 and claws upon the fore feet1 and human feet attached to the hind legs4 ,these mythical animals were placed upon either side of a corpse which was lying in state1 awaiting burial4 ,this union of the human figure with that of other animals is of interest in comparison with the well-known forms of similar character in the art of ,egypt and ,assyria4 ,illustration3 ,,fig4 #ahd4--,wolf head4 ,haida4 ,the feet of the accompanying ,figure #ahd cannot be seen1 being hidden in the head of the figure beneath4 ,it is squatting1 with its hands on its knees1 and has a wolf's head4 ,arms1 legs1 mouth1 jaws1 nostrils1 and ear-holes are scarlet2 eyebrows1 irises1 and edges of the ears black4 ,the figure is reproduced from ,the ,northwest ,coast of ,america1 being results of recent ethnological researches from the collections of the ,royal ,museums at ,berlin4 7,trans4 from ,german47 ,new ,york1 ,pl4 #g1 ,fig4 #c4 ,the accompanying illustration1 ,figure #ahe1 represents a knife from ,africa1 which bears upon both sides of the blade incised characters of the human form1 strikingly similar to those found among the ,ojibwa4 ,the lines running upward from the head are identical with an ,ojibwa form of representing a meda1 or ,shaman1 while the hour-glass form of body is also frequently found1 though generally used to designate a woman1 the lower part of the body representing the skirt4 ,in the present instance1 it may have allusion to the peculiar skirt-like dress often worn by the men among the tribes of ,northern ,africa4 ,illustration3 ,,fig4 #ahe4--;,drawings on an ,african knife4 ,the lines extending from the middle of the body downward to below the skirt and terminating in an irregular knob somewhat resemble the ,pueblo method of designating sex1 the male being shown by a small cross1 and the female by a simple1 short1 vertical line attached to the perinum4 ,the upper character1 in ,b1 in addition to the line and circle extending downward from the lower extremity1 shows a bird's leg and toes at either side4 ,this is also1 according to ,schoolcraft1 an ,ojibwa method of depicting a person or being who is endowed with the power of flight into the upper regions1 hence one of superior knowledge4 ,the history of the knife here figured is received from ,mr4 ,thomas ,m4 ,chatard1 of the ,national ,museum1 who in turn obtained it from his father1 ,mr4 ,f4 ,e4 ,chatard1 ,baltimore1 ,maryland1 who writes that it was obtained at ,cape ,mesurado1 ,africa1 in ,november1 #ahbb1 where the natives had attacked a recently established colony4 ,the ,africans were repulsed1 and the knife was subsequently picked up on the battle-field and brought to ,america by the late ,william ,seton1 an officer of the ,united ,states ,navy4 ,,conventionalizing4 ,the course of conventionalizing is noticeable in pictographs as well as in gesture-signs1 on the one hand1 and1 on the other1 as it appears in all forms of graphic art4 ,the analysis of such conventions in form could be pursued at great length with regard to the pictographs now known in the same manner as has been done with success by ,dr4 ,harrison ,allen in his work 8,an analysis of the ,life-form in ,art10 ,philadelphia1 #ahge4 ,some suggestions may be obtained from the present paper1 especially from examples given under the headings of ,ideographs1 page #bai1 and ,homomorphs and ,symmorphs1 page #bci4 ,see also conventionalized sign for ,ponka in ,winter ,count ,no4 ,i for #aggh-gi1 on page #aca1 and for ,mandan in the same count for #aghc-hd1 on the same page2 also the conventional sign for ,cheyenne1 ,figure #gh1 page #agc2 also the device for starvation1 ,figure #add1 page #bbj1 as conventionalized in ,figure #ade1 page #bba4 ,the limits of this paper will only allow of submitting in addition the following conventionalized forms of the human figure1 in some cases being merely marks arbitrarily used to represent humanity3 ,illustration3 ,,fig4 #ahf4 ,figure #ahf signifies men among the ,arikara4 ,the characters are used in connection with horse-shoes1 to denote 8mounted men40 ,in other pictographs such spots or dots are merely numerical4 ,illustration3 ,,fig4 #ahg4 ,figure #ahg is drawn by the ,kiatxamut branch of the ,innuits for man4 ,it is an abbreviated form and rare4 ,illustration3 ,,fig4 #ahh4 ,figure #ahh1 drawn by the ,blackfeet1 signifies 8,man--dead40 ,this is from a pictograph in ,wind ,river ,mountains4 ,see ,jones's ,northwestern ,wyoming1 etc41 op4 cit4 ,illustration3 ,,fig4 #ahi4 ,figure #ahi is the ,kiatxamut ,innuit drawing for man4 ,this figure is armless2 generally represents the person addressed4 ,illustration3 ,,fig4 #aij4 ,figure #aij is also a ,kiatxamut ,innuit drawing for man4 ,the figure makes the gesture for negation4 ,illustration3 ,,fig4 #aia4 ,figure #aia1 from a ,californian pictograph1 is a man1 also gesturing negation4 ,illustration3 ,,fig4 #aib4 ,figure #aib is another ,californian pictograph for man1 making the same gesture4 ,illustration3 ,,fig4 #aic4 ,figure #aic1 from ,schoolcraft1 ,i1 ,pl4 #ei1 ,no4 #ia1 is the ,ojibwa 8symbol0 for disabled man4 ,illustration3 ,,fig4 #aid4 ,figure #aid is the ,kiatxamut ,innuit drawing for ,shaman4 ,illustration3 ,,fig4 #aie4 ,figure #aie1 used by the ,kiatxamut ,innuit1 represents man supplicating4 ,the five figures1 #aif to #bjj1 are reproduced from ,schoolcraft1 ,vol4 ,i1 ,pl4 #eh1 opp4 p4 #djh4 ,the ,numbers attached are those given by that author3 ,illustration3 ,,fig4 #aif4 ,figure #aif1 ,no4 #f1 is the ,ojibwa representative figure for man4 ,illustration3 ,,fig4 #aig4 ,figure #aig1 ,no4 #aj1 is used by the ,ojibwa to denote a spirit or man enlightened from on high1 having the head of the sun4 ,illustration3 ,,fig4 #aih4 ,figure #aih1 ,no4 #bj1 is drawn by the ,ojibwa for a 8wabeno0 or ,shaman4 ,illustration3 ,,fig4 #aii4 ,figure #aii1 ,no4 #cj1 is the ,ojibwa 8symbol0 for an evil or one-sided 8meda0 or higher grade ,shaman4 ,illustration3 ,,fig4 #bjj4 ,figure #bjj1 ,no4 #bi1 is the ,ojibwa general 8symbol0 for a meda4 ,illustration3 ,,fig4 #bja4 ,figure #bja is drawn by the ,hidatsa for man4 ,illustration3 ,,fig4 #bjb4 ,figure #bjb1 from ,schoolcraft1 ,i1 ,pl4 #eh1 ,no4 #c1 is an ,ojibwa drawing of a headless body4 ,illustration3 ,,fig4 #bjc4 ,figure #bjc1 from ,schoolcraft1 ,i1 ,pl4 #eh1 ,no4 #b1 is another ,ojibwa figure for a headless body1 perhaps female4 ,illustration3 ,,fig4 #bjd4 ,figure #bjd1 contributed by ,mr4 ,gilbert ,thompson1 is a drawing for man1 made by the ,moki in ,arizona4 ,illustration3 ,,fig4 #bje4 ,figure #bje1 reproduced from ,schoolcraft1 ,i1 ,pl4 #fd1 opposite page #dbd1 is a drawing from the banks of the ,river ,yenesei1 ,siberia1 by ,von ,strahlenberg1 in his historical and geographical description of the northern and eastern parts of ,europe1 ,asia1 etc4 ,london1 #agch4 ,the similarity to characters on ,figure #ahe is obvious4 ,illustration3 ,,fig4 #bjf4 ,figure #bjf1 also from ,strahlenberg1 and quoted in ,schoolcraft1 ,vol4 ,i1 ,pl4 #ff1 ,fig4 #d1 opp4 p4 #cdb1 was found in ,siberia1 and is identical with the character which1 according to ,schoolcraft1 is drawn by the ,ojibwa to represent speed and the power of superior knowledge by exaltation to the regions of the air1 being1 in his opinion1 a combination of bird and man4 ,it is to be noticed that some ,ojibwa recently examined regard the character merely as a human figure with outstretched arms1 and fringes pendant therefrom4 ,it has1 also1 a strong resemblance to some of the figures in the ,dakota ,winter ,counts 7those for #ahed-'ee and #ahff-'fg1 pages #aba and #abd1 respectively71 in which there is no attempt understood to signify any thing more than a war-dress4 ,illustration3 ,,fig4 #bjg4 ,figure #bjg1 according to ,schoolcraft1 ,vol4 ,i1 ,pl4 #eh1 ,no4 #eh1 is the ,ojibwa drawing symbolic for an ,american4 ,,errors ,,and ,,frauds4 ,no large amount of space need be occupied in the mention of recognized pictographic frauds1 their importance being small1 but much more than is now allowed would be required for the discussion of controverted cases4 ,there is little inducement1 beyond a disposition to hoax1 to commit actual frauds in the fabrication of rock-carvings4 ,the instances where inscribed stones from mounds have been ascertained to be forgeries or fictitious drawings have been about equally divided between simple mischief and an attempt either to increase the marketable value of some real estate1 supposed to contain more1 or to sell the specimens4 ,with regard to the much more familiar and more portable material of engraved pipes1 painted robes and like curios1 it is well known to all recent travelers in the ,west who have had former experience that the fancy prices paid by amateurs for those decorations have stimulated their wholesale manufacture by ,indians at agencies 7locally termed 8coffee-coolers071 who make a business of sketching upon ordinary robes or plain pipes the characters in common use by them1 without regard to any real event or person1 and selling them as curious records4 ,this pictorial forgery would seem to show a gratifying advance of the ,indians in civilization1 but it is feared that the credit of the invention is chiefly due to some enterprising traders who have been known to furnish the unstained robes1 plain pipes1 paints1 and other materials for the purpose1 and simply pay a skillful ,indian for his work1 when the fresh antique or imaginary chronicle is delivered4 ,six inscribed copper plates were said to have been found in a mound near ,kinderhook1 ,pike ,county1 ,illinois1 which were reported to bear a close resemblance to ,chinese4 ,this resemblance seemed not to be so extraordinary when it was ascertained that the plate had been engraved by the village blacksmith1 copied from the lid of a ,chinese tea-chest4 ,mica plates were found in a mound at ,lower ,sandusky1 ,ohio1 which1 after some attempts at interpretation1 proved to belong to the material known as graphic or hieroglyphic mica1 the discolorations having been caused by the infiltration of mineral solution between the lamin4 ,the following recent notice of a case of alleged fraud is quoted from ,science1 ,vol4 ,,iii1 ,no4 #eh1 ,march #ad1 #ahhd1 page #ccd3 ,dr4 ,n4 ,roe ,bradner exhibited at the ,academy of ,natural ,sciences1 ,philadelphia1 ,pennsylvania1 an inscribed stone found inside a skull taken from one of the ancient mounds at ,newark1 ,ohio1 in #ahfe4 ,an exploration of the region had been undertaken in consequence of the finding of stones bearing markings somewhat resembling ,hebrew letters1 in the hope of finding other specimens of a like character4 ,the exploration was supposed to have been entirely unproductive of such objects until ,dr4 ,bradner had found the engraved stone1 now exhibited1 in a skull which had been given to him4 ,this was supplemented by an editorial note in ,no4 #fb of the same publication1 page #dfg1 as follows3 ,a correspondent from ,newark1 ,ohio1 warns us that any inscribed stones said to originate from that locality may be looked upon as spurious4 ,years ago certain parties in that place made a business of manufacturing and burying inscribed stones and other objects in the autumn1 and exhuming them the following spring in the presence of innocent witnesses4 ,some of the parties to these frauds afterwards confessed to them2 and no such objects1 except such as were spurious1 have ever been known from that region4 ,the correspondent of ,science probably remembered the operations of ,david ,wyrick1 of ,newark1 who1 to prove his theory that the ,hebrews were the mound-builders1 discovered in #ahfj a tablet bearing on one side a truculent 8likeness0 of ,moses with his name in ,hebrew1 and on the other a ,hebrew abridgment of the ten commandments4 ,a ,hebrew bible afterwards found in ,mr4 ,wyrick's private room threw some light on the inscribed characters4 ,as the business of making and selling archological frauds has become so extensive in ,egypt and ,palestine1 it can be no matter of surprise that it has been attempted by the enterprising people of the ,united ,states4 ,the ,bureau of ,ethnology has discovered several centers of that fraudulent industry4 ,without further pursuing the subject of mercenary frauds1 an example may be mentioned which was brought forth during the researches of the present writer and his assistant1 ,dr4 ,hoffman1 which is probably as good a case of a modern antique in this line as can be presented4 ,figure #bjh is a copy of a drawing taken from an ,ojibwa pipe-stem1 obtained by ,dr4 ,hoffman from an officer of the ,united ,states ,army1 who had procured it from an ,indian in ,saint ,paul1 ,minnesota4 ,on a later and more minute examination1 it appeared that the pipe-stem had been purchased at a store in ,saint ,paul1 which had furnished a large number of similar objects1 so large as to awaken suspicion that they were in the course of daily manufacture4 ,the figures and characters on the pipe-stem were drawn in colors4 ,in the present figure1 which is without colors1 the horizontal lines represent blue and the vertical red1 according to the heraldic scheme several times used in this paper4 ,the outlines were drawn in a dark neutral tint1 in some lines approaching black2 the triangular characters1 representing lodges1 being also in a neutral tint1 or an ashen hue1 and approaching black in several instances4 ,the explanation of the figures1 made before there was any suspicion of their real character1 is as follows3 ,illustration3 ,,fig4 #bjh4--,specimen of imitated pictograph4 ,the first figure is that of a bear1 representing the individual to whom the record pertains4 ,the three hearts above the line1 according to an expression in gesture language1 signifies a brave heart2 increased numbers indicating much or many1 i4 e41 a large brave heart4 ,the second figure1 a circle inclosing a triradiate character1 refers to the personal totem4 ,the character in the middle resembles1 to some extent1 the pictograph sometimes found to represent stars1 though in the latter the lines center upon the disks and not at a common point4 ,the seven triangular characters represent the lodges of a village to which the individual to whom reference is made belongs4 ,the serpentine line immediately below these signifies a stream or river1 near which the village is located4 ,the two persons holding guns in their left hands1 together with another having a spear1 appear to be the companions of the speaker1 all of whom are members of the turtle gens1 as shown by that reptile4 ,the curve from left to right is a representation of the sky1 the sun having appeared upon the left or eastern horizon when the transaction below mentioned was enacted4 ,in an explanation by gesture1 or by pictograph1 the speaker always faces the south1 or conducts himself as if he did so1 and begins on the left side to convey the idea of morning1 if day2 the hand1 or line1 is drawn all the way from the eastern horizon to the western4 ,the above1 then1 represents the morning when a female--headless body of a woman--a member of the crane gens1 was killed4 ,the figure of a bear below is the same apparently as number one1 though turned to the right4 ,the heart is reversed to denote sadness1 grief1 remorse1 as expressed in gesture-language1 and to atone for the misdeed committed in the proceeding the pipe is brought and offering made to the 8,great ,spirit40 ,altogether1 the act depicted appears to have been accidental1 the woman belonging to the same tribe1 as can be learned from the gens of which she was a member4 ,the regret or sorrow signified in the bear1 next to the last figure1 corresponds with that supposition1 as such feelings would not be congruous to the ,indian in the case of an enemy4 ,the point of interest in this pictograph is1 that the figures are very skillfully copied from the numerous characters of the same kind representing ,ojibwa pictographs1 and given by ,schoolcraft4 ,the arrangement of these copied characters is precisely that which would be natural in the similar work of ,indians4 ,in fact1 the groups constitute a thoroughly genuine pictograph1 and afford a good illustration of the manner in which a record can be made4 ,the fact that it was made and sold under false representations is its objectionable feature4 ,an inscribed stone found in ,grave ,creek ,mound1 near the ,ohio ,river1 in #ahch1 has been the subject of much linguistic contention among those who admitted its authenticity4 ,twenty-four characters on it have been considered to be alphabetic and one is a supposed hieroglyphic sign4 ,mr4 ,schoolcraft says that twenty-two of the characters are alphabetic1 but there has been a difference of opinion with regard to their origin4 ,one scholar finds among them four characters which he claims are ancient ,greek2 another claims that four are ,etruscan2 five have been said to be ,runic2 six1 ancient ,gaelic2 seven1 old ,erse2 ten1 ,phnician2 fourteen1 old ,british2 and sixteen1 ,celteberic4 ,m4 ,levy ,bing reported at the ,congress of ,americanists at ,nancy1 in #ahge1 that he found in the inscription twenty-three ,canaanite letters1 and translated it3 8,what thou sayest1 thou dost impose it1 thou shinest in thy impetuous clan and rapid chamois40767 ,m4 ,maurice ,schwab in #aheg rendered it3 8,the ,chief of ,emigration who reached these places 7or this island7 has fixed these statutes forever40 ,m4 ,oppert1 however1 gave additional variety by the translation1 so that all tastes can be suited3 8,the grave of one who was assassinated here4 ,may ,god to avenge him strike his murderer1 cutting off the hand of his existence40 ,for further particulars on this topic reference may be made to ,colonel ,charles ,whittlesey's ,archological ,frauds1 in several tracts1 and to ,the ,mound ,builders1 by ,j4 ,p4 ,mac,lean1 ,cincinnati1 #ahgi1 p4 #ij1 et seq4 ,from considerations mentioned in the introduction of this paper1 and others that are obvious1 any inscriptions purporting to be pre-,columbian showing apparent use of alphabetic characters1 signs of the zodiac1 or other evidences of a culture higher than that known among the ,north ,american ,indians1 must be received with caution1 but the pictographs may be altogether genuine1 and their erroneous interpretation be the sole ground of their being discredited4 ,in this connection some allusion may be made to the learned discussions upon the ,dighton rock before mentioned4 ,the originally ,algonkian characters were translated by a ,scandinavian antiquary as an account of the party of ,thorfinn1 the ,hopeful4 ,a distinguished ,orientalist made out clearly the word melek 7king74 ,another scholar triumphantly established the characters to be ,scythian1 and still another made them ,phnician4 ,but this inscription has been so manipulated that it is difficult now to determine the original details4 ,the course above explained1 viz41 to attempt the interpretation of all unknown ,american pictographs by the aid of actual pictographers among the living ,indians1 should be adopted regarding all remarkable 8finds40 ,this course was pursued by ,mr4 ,horatio ,n4 ,rust1 of ,pasadena1 ,california1 regarding the much-discussed ,davenport ,tablets1 in the genuineness of which he believes1 and which is not here placed in question4 ,mr4 ,rust exhibited the drawings to ,dakotas1 with the result made public at the late ,montreal meeting of the ,american ,association for the ,advancement of ,science1 and also in a letter1 an extract from which is as follows3 ,as ,i made the acquaintance of several of the older and more intelligent members of the tribe1 ,i took the opportunity to show them the drawings4 ,explaining that they were pictures copied from stones found in a mound1 ,i asked what they meant4 ,they readily gave me the same interpretation 7and in no instance did either interpreter know that another had seen the pictures1 so there could be no collusion74 ,in ,plate ,i1 of the ,davenport ,inscribed ,tablets so numbered in the ,proceedings of the ,davenport ,academy1 ,vol4 ,,ii1 the lower central figure represents a dome-shaped lodge1 with smoke issuing from the top1 behind and to either side of which appears a number of individuals with hands joined1 while three persons are depicted as lying upon the ground4 ,upon the right and left central margins are the sun and moon1 the whole surmounted by three arched lines1 between each of which1 as well as above them1 are numerous unintelligible characters4 99 99 99 ,the central figure1 which has been supposed by some to represent a funeral pile1 was simply the picture of a dirt lodge4 ,the irregular markings apparently upon the side and to the left of the lodge represent a fence made of sticks and brush set in the ground4 ,the same style of fence may be seen now in any ,sioux village4 ,the lines of human figures standing hand-in-hand indicate that a dance was being conducted in the lodge4 ,the three prostrate forms at right and left sides of the lodge represent two men and a woman who1 being overcome by the excitement and fatigue of the dance1 had been carried out in the air to recover4 ,the difference in the shape of the prostrate forms indicates the different sexes4 ,the curling figures or rings above the lodge represent smoke1 and indicates that the dance was held in winter1 when fire was used4 ,an example of forced interpretation of a genuine petroglyph is given by ,lieutenant ,j4 ,w4 ,gunnison1 ,u4 ,s4 ,top4 ,engineers1 in his work entitled ,the ,mormons1 or1 ,latter-day ,saints1 in the ,valley of the ,great ,salt ,lake1 etc41 ,philadelphia1 #aheb1 pp4 #fb1 #fc4 ,he furnishes two illustrations of petroglyphs taken from the cliff in ,sam ,pete ,valley1 ,utah1 not reproduced in this paper1 which resemble the general type of the ,shoshonian system4 ,on account of various coincidences which have occurred to strikingly keep alive in the mountain brethren their idea of being the chosen of the ,lord1 these etchings confirm them in the belief of the inspiration of the ,book of ,mormon4 ,one of their ,regents has translated one of them as follows3 ,i1 ,mahanti1 the #bnd ,king of the ,lamanites1 in five valleys in the mountains1 make this record in the #ab hundredth year since we came out of ,jerusalem4 ,and ,i have three sons gone to the ,south country to live by hunting antelope and deer4 ,among the curiosities of literature in connection with the interpretation of pictographs may be mentioned ,la ,vrit sur le ,livre des ,sauvages1 par ,l',abb ,em4 ,domenech1 ,paris1 #ahfa1 and ,researches into the ,lost ,histories of ,america1 by ,w4 ,s4 ,blacket1 ,london and ,philadelphia1 #ahhd4 ,under the head of errors some of the most marked have arisen from the determination of enthusiastic symbolists to discover something mystical in the form of the cross wherever found4 ,the following quotation is taken from a work by ,gabriel de ,mortillet1 entitled ,le ,signe de la ,croix avant le ,christianisme 7,paris1 ,reinwald1 #ahff71 p4 #agc3 ,on voit qu'il ne peut plus y avoir de doute sur l'emploi de la ,croix comme signe religieux1 bien longtemps avant le christianisme4 ,le culte de la ,croix1 rpandu en ,gaule avant la conqute1 existait dj dans l'milie l'poque du bronze1 plus de mille aus avant ,jsus-,christ4 ,c'est surtout dans les spultures de ,golasecca o ce culte s'est rvl de la manire la plus complte2 et l1 chose trange1 on a trouv un vase portant le monogramme ancien du ,christ1 figure #aag reproduced in the present paper by ,figure #bji2 the right-hand figure being from the vase1 and that on the left the recognized monogram of ,christ1 dessin peut-tre mille ans avant la venue de ,jsus-,christ4 ,la prsence isole de ce monogramme du ,christ au milieu de nombreuses ,croix est-elle un fait accidentel entirement fortuit8 ,des recherches plus compltes peuvent seules permettre de rpondre cette question4 ,un autre fait fort curieux1 trs-intressant constater1 c'est que ce grand dveloppement du culte de la ,croix1 avant la venue du ,christ1 semble toujours concider avec l'absence d'idoles et mme de toute reprsentation d'objets vivants4 ,ds que ces objets se montrent1 on dirait que les ,croix deviennent plus rares et finissent mme par disparatre4 ,la ,croix a donc t1 dans la haute antiquit1 bien longtemps avant la venue de ,jsus-,christ1 l'emblme sacr d'une secte religieuse qui repoussait l'idoltrie666 ,illustration3 ,,fig4 #bji4--,symbols of the cross4 ,the author1 with considerable naivet1 has evidently determined that the form of the cross was significant of a high state of religious culture1 and that its being succeeded by effigies1 which he calls idols1 showed a lapse into idolatry4 ,the fact is simply that1 next to one straight line1 the combination of two straight lines forming a cross is the easiest figure to draw1 and its use before art could attain to the drawing of animal forms1 or their representation in plastic material1 is merely an evidence of crudeness or imperfection in designing4 ,it is worthy of remark that ,dr4 ,schliemann1 in his 8,troja10 page #ajg1 presents as ,fig4 #ch a much more distinct cross than that given by ,m4 ,mortillet1 with the simple remark that it is 8a geometrical ornamentation40 ,an anecdote told by ,dr4 ,robert ,fletcher1 ,u4 ,s4 ,army1 in connection with his exhaustive paper on ,tattooing ,among ,civilized ,people1 published in the ,transactions of the ,anthropological ,society of ,washington1 ,vol4 ,,ii1 page #dj1 is also in point4 ,some savants were much excited over the form of the cross found in tattoo marks on an ,arab boy1 but on inquiry of the mother as to why the cross had been placed there1 she simply answered 8because it looked pretty40 ,the present writer will add to the literature on the subject a reference to the cross as shown upon the arm of a ,cheyenne in ,cloud-,shield's winter count for the year #agij-'ia1 page #acb1 ante4 7,see also page #agc47 ,this is explained fully by one of the common gestures for the tribal sign1 ,cheyenne4 8,the extended index1 palm upward1 is drawn across the forefinger of the left hand1 palm inward1 several times1 left hand stationary2 right hand is drawn toward the body until the index is drawn clear off2 then repeat4 ,some ,cheyennes believe this to have reference to the former custom of cutting the arm as offerings to spirits1 while others think that it refers to a more ancient custom1 the cutting of the enemy's fingers for necklaces40 ,the pictograph is simply a graphic representation of this gesture sign4 ,see also the ,moki use of the ,maltese cross1 page #bcb1 the form of which in a rock-painting appears in x on ,plate ,,ii1 page #ce4 ,there is no doubt that among the ,egyptians and several of the peoples of the eastern hemisphere1 ancient and modern1 the form of the cross was used symbolically1 and there is no more doubt that it was employed in a similar manner by many ,american tribes with reference to the points of the compass1 or rather the four winds4 ,it was also used with many differing significations4 ,see in this paper ,figure #fj1 page #aeh1 ,figure #adc1 page #bbj1 ,figure #aed1 page #bcj1 ,figure #afe1 page #bch1 and ,figure #afh1 page #bdj4 ,the ease with which the design was made would tend to its early adoption as a sign1 an emblem1 or a symbol4 ,rev4 ,s4 ,d4 ,hinman states that among the ,dakota1 symbolic crosses always have the members equal1 or of the 8,greek0 pattern1 and are always worn resting on one foot1 not two as in the ,st4 ,andrew's cross4 ,they represent the four winds issuing from the four caverns in which the souls of men existed before embodiment4 ,the top of the cross is the cold1 all-conquering giant1 the north wind4 ,as worn on the body it is nearest the head1 the seat of intelligence4 ,the top arm1 covering the heart1 is the east wind1 coming from the seat of life and love4 ,the foot is the burning south wind1 indicating as it is worn the seat of passion and fiery lust4 ,the right is the gentle west wind1 blowing from the spirit land1 covering the lungs1 from which at last the breath goes out4 ,the center of the cross is the earth and man1 sometimes indicated at that point by a circle surrounding a dot4 ,on the upper arm an arrow is sometimes drawn1 on the left a heart1 on the right a star1 and on the lower a sun4 ,,suggestions ,,to ,,collaborators4 ,the present writer hopes to receive contributions from travelers and observers1 not only in ,north ,america1 but in other parts of the world4 ,such collaboration will always receive due credit1 and when practicable will be reproduced in the language of the collaborator4 ,the number and the importance of the contributions received upon the collateral branch of sign-language encourages the hope of similar success in this application for assistance in the monograph on pictographs now in preparation4 ,the main object of the classification both of the text and of the illustrations in the present paper has been to stimulate the research and assist the collaboration invited1 so that reference to the various preceding headings is unnecessary4 ,some practical suggestions may1 however1 be offered as follows3 ,as a small drawing of large rock inscriptions may give an exaggerated idea of the degree of finish or fineness of the subject1 it is desirable1 in every instance1 to affix the scale of the drawing1 or to give a principal dimension that may serve as a guide4 ,a convenient scale for ordinary petroglyphs is one-sixteenth of full size4 ,the drawing should be sufficiently close and accurate to show the character of the work4 ,it is desirable to note the lithologic character of the rock or bowlder used2 whether the drawing has been etched into the face of the rock1 or pecked in more deeply with a sharp implement1 and the depth of such pecking2 whether the design is merely outlined1 or the whole body of the figures pecked out1 and whether paint has been applied to the pecked surface1 or the design executed with paint only4 ,the composition of paint should be ascertained when possible4 ,the amount of weathering or erosion1 together with the exposure1 or any other feature bearing on the question of antiquity1 would prove important4 ,if actual colors are not accessible for representation the ordinary heraldic scheme of colors can be used4 ,that sketches even by fair artists1 are of not high value in accuracy1 is shown by the discrepant copies of some of the most carefully-studied pictographs1 which discrepancies sometimes leave in uncertainty the points most needed for interpretation4 ,sketches1 or still better1 photographs are desirable to present a connected and general view of the characters and the surface upon which they are found4 ,for accuracy of details 8squeezes0 should be obtained when practicable4 ,a simple method of obtaining squeezes of petroglyphs1 when the lines are sufficiently deep to receive an impression1 is to take ordinary manilla paper of loose texture1 and to spread the sheet1 after being thoroughly wetted1 over the surface desired1 commencing at the top4 ,the top edge may be temporarily secured by a small streak of starch or flour paste4 ,the paper is then pressed upon the surface of the rock by means of a soft bristle brush1 so that its texture is gently forced into every depression4 ,torn portions of the paper may be supplied by applying small patches of wet paper until every opening is thoroughly covered4 ,a coating of ordinary paste1 as above mentioned1 is now applied to the entire surface1 and a new sheet of paper1 similarly softened by water1 is laid over this and pressed down with the brush4 ,this process is continued until three or four thicknesses of paper have been used4 ,upon drying1 the entire mold will usually fall off by contraction4 ,the edge at the top1 if previously pasted to the rock1 should be cut4 ,the entire sheet can then be rolled up1 or if inconveniently large can be cut in sections and properly marked for future purposes4 ,this process yields the negative4 ,to obtain the positive the inner coating of the negative may be oiled1 and the former process renewed upon the cast4 ,pictographs1 when of bright colors and upon a light-colored surface1 may readily be traced upon tracing linen1 such as is employed by topographers4 ,should the rock be of a dark color1 and the characters indistinct1 a simple process is to first follow the pictographic characters in outline with colored crayons1 red chalk1 or dry colors mixed with water and applied with a brush1 after which a piece of muslin is placed over the surface and pressed so as to receive sufficient coloring matter to indicate the general form and relative positions of the characters4 ,after these impressions are touched up the true position may be obtained by painting the lines upon the back of the sheet of muslin1 or by making a true tracing of the negative4 ,a mode of securing the outline once adopted was to clear out the channels of the intaglios1 then1 after painting them heavily1 to press a sheet of muslin into the freshly-painted depressions4 ,the objection to this method is the obvious damage inflicted on the inscription4 ,before such treatment1 if the only one practicable1 all particulars of the work to be covered by paint should be carefully recorded4 ,the locality should be reported with detail of ,state 7or ,territory71 county1 township1 and distance and direction from the nearest post-office1 railway station or country road4 ,in addition the name of any contiguous stream1 hill1 bluff1 or other remarkable natural feature should be given4 ,the name of the owner of the land is of some secondary value1 but that indication is liable to frequent changes4 ,the site or station should be particularly described with reference to the surrounding country and to the natural circumstances and geological history of the location4 ,when numbers and groups of petroglyphs or rock paintings occur1 their relation to each other1 to the points of the compass1 or to topographical features should be noted1 if possible1 by an accurate survey1 otherwise by numeration and sketching4 ,the following details should be carefully noted3 ,the direction of the face of the rock4 ,the presence of probable trails and gaps which may have been used in shortening distances in travel4 ,localities of mounds and caves1 if any1 in the vicinity4 ,ancient camping grounds1 indicated by fragments of pottery1 flint chips1 etc4 ,existence of aboriginal relics1 particularly flints which may have been used in pecking2 these may be found at the base of the rocks upon which petroglyphs occur4 ,the presence of small mortar-holes which may have served in the preparation of colors4 ,with reference to pictographs on other objects than rock the material upon which they appear and the substances used in their execution should be reported1 as indicated in another part of this paper4 ,with reference to all kinds of pictographs1 it should be noted that mere descriptions without reproduction are of little value4 ,probable age and origin and traditions relating to them should be ascertained4 ,their interpretation by natives of the locality who themselves make pictographs or who belong to people who have lately made pictographs is most valuable1 especially in reference to such designs as do not represent objects of nature1 and which may be either conventional or connected with lines of gesture-signs4 ,index ,a ,abbe1 ,prof4 ,cleveland1 explained eclipse to ,indians #abe ,abnaki devices #aeb1 #aec ,absaroka1 customs #ee1 #aff1 #bcj ,abstract ideas pictured #bcc ,achievements1 ,signs of individual #ahc-ahg ,adams1 ,william ,a41 on rock carvings #bb ,african carved knife #bdc ,african property mark #ahb ,aigaluxamut dialect #adh1 #aih1 #aii ,ainos of ,gazo tattoo #gh ,alaska ,commercial ,company1 ivory pictographs #aia-aid ,alaska tattooing #ff-gc ,alaskan pictographs #ei1 #adg-aej1 #aeb-aee1 #afa1 #aia-aid1 #aig-aii1 #bad ,algonkian linguistic stock #ai ,algonkin family #aah ,algonkin petroglyph #bj1 #bbd-bbe1 #bbg ,algonkin tribe #ajh ,algonquin characters #bej ,algonquin legends of ,new ,england #aij ,alleghany ,river1 ,pictographs on #bj1 #ba ,allen1 ,dr4 ,harrison1 on conventionalized forms #bdd ,alphabets #ac ,american ,horse chart or ,winter count1 7see ,corbusier ,winter counts7 #ie1 #abi-adf ,american ,naturalist on tattooing #gf ,amherst1 ,ohio1 ,rock carvings at #ba ,analysis of the life form in art1 ,an #bdd ,andree1 ,dr4 ,r41 criticism on pictographs #ad-ae ,animal mounds in ,wisconsin #fa ,anthropological ,society1 ,washington1 cited #ag ,antiquities of the ,southern ,indians1 ,jones1 quoted #bb-bc1 #df ,arab symbols #bbb ,arapahoes1 ,algonkin #ajh1 #aji ,arapahoes1 called ,blue ,cloud #agf ,arapahoes1 formation of war party #aci ,arch ,spring1 ,pictographs at #bh ,archological frauds1 ,whittlesey's1 cited #bej ,arickara 7see ,arikara7 #ajj1 #aja ,arikara at war with ,dakotas and ,united ,states #aaa-aab ,arikara pictography #dh1 #ej1 #ei1 #ahf1 #ahg1 #bdj ,arikara property marks #ahb ,arikara ,symbol of #fj1 #bac-bad1 #bca ,arikaras1 a branch of the ,pawnee or ,pani #aje ,arikaras1 killed #bji-bad ,arikaree2 ,corrupt form of ,arikara #ajj ,arison1 ,william1 copied petroglyph #bbe ,arizona1 pictographs on person #fa ,rock carvings in #bh-cj1 #bbb1 #bbh1 #bde ,army ,medical ,museum1 ,tattooed heads in #ge ,arrows in declaration of war #hg1 #hh ,ashley1 ,gen4 ,william ,h41 attacked by ,arickara #aaa ,assiniboine #aaf1 #aai1 #abd ,association pictographs #bjc-bjf ,atsina #ajh ,australian tattooing #gf ,authors quoted by ,bancroft #ff ,avoidance of personal name by ,indians #aga ,aztec writing #ad ,azuza ,caon pictographs #cg1 #aef ,b ,babylonian use of color #ed ,bancroft1 ,h4 ,h41 on pictography #fd1 #fe1 #ff1 #gc1 #gh1 #hh ,barnes1 ,dr4 ,g4 ,w41 ,california pictographs #bbi ,barnesville1 ,ohio1 ,bock carvings at #ba ,bark1 ,pictographs on #ei ,bark record of ,lenni ,lenape #bjg ,barrs totem mark #afg ,basketry suggesting ornament #eg ,beach's ,indian ,miscellany1 cited #ahh ,beale wagon road #cj ,beaver ,creek1 ,pictographs on #bg ,beef first issued to ,dakotas #abe ,belmont ,county1 ,ohio1 ,rock carvings in #ba ,beltrami1 ,j4 ,c41 on ,dakotas #ajd-aje ,bendire1 ,capt4 ,charles1 on petrographs #bf ,benton1 ,cal41 ,petrographs at #ca1 #cb ,berthond1 ,capt4 ,e4 ,l41 on pictographs #bg ,bible on war symbols #hh ,big ,horse ,creek1 ,rock carvings on #bb ,big ,road's roster #agd-agf ,biographic pictographs #bjh-bah ,black ,bear or ,mato ,sapa's chart #id1 #ii-abg ,black ,hills discovered #acj ,black ,late ,valley1 ,pictographs at #ca ,black ,rock ,springs1 ,pictographs at #bg ,blacket1 ,w4 ,s41 cited #bea ,blackfoot #ajb1 #ajd1 #ajf1 #aad1 #aba1 #abb1 #bbg ,blackfoot defined #ig ,blackfoot1 ,rock carvings of #bd ,bland1 ,dr4 ,t4 ,a41 loaned ,red ,cloud census #agf1 #agg ,blodgett1 ,james ,h41 on pictographs #cc ,blue ,cloud1 a name for ,arapaho #aag1 #aah1 #agf ,boats ornamented #gb1 #gh ,bo-i-de1 or ,the ,flame1 ,time chart of #ic ,bone1 ,pictographs on #ei ,bone tattooed #gc-gd ,book cliff1 ,pictographs of #bg ,bourke1 ,capt4 ,john ,g41 on ,moki colors #ef ,bow-drill1 used by ,innuit #dh ,brauns1 ,professor1 on tattooing #gh ,brazil1 ,petroglyphs in #dd1 #de ,brazil1 ,totem marks in #afg ,brinton1 ,dr4 ,d4 ,g41 ,research of #hd1 #ahh1 #bcc ,british ,guiana1 ,pictographs in #dj-dd ,brown1 ,charles ,b41 on pictographs in ,guiana #dj1 #dc1 #dd ,brul #ajh1 #aji1 #aai1 #abj1 #abb1 #abg1 #acb1 #acd1 #ace1 #acf1 #acg1 #ada ,brul defined #ih1 #bjg ,brul ,winter counts #abi ,bureau of ,ethnology1 system of spelling #adg ,burning ,spring1 ,w4 ,va41 ,pictographs at #bb ,bush1 ,maj4 ,joseph1 on time charts #id1 #ii-abg ,c ,calendar #abg ,calendar1 of the ,dakota ,nation1 ,a #hi ,calhoun1 ,j4 ,c41 ,report cited on attack of soldiers and ,dakotas on ,arikaras #aaa1 #aab ,california claim symbols #aei ,california grass weavers #gh ,california mnemonic device #hj1 #ha ,california pictographic land-marks #fa ,california petrographs #cj-cc ,california1 ,pictographs in #cd1 #ei1 #aef-aeg1 #ahb1 #aie1 #aih1 #bbi1 #bcd1 #bde ,california tattooing #fd ,california war challenge #hh ,calumet pipe #ajd ,campbell's ,creek1 ,west ,virginia1 ,pictographs on #bb ,caon de ,chelly1 ,petroglyphs in #bh1 #cg1 #aee ,cape ,mesurado1 ,african knife from #bdc ,caribbean ,sea1 ,pictographs of #dj ,carisa ,plain1 ,pictographs of the #cf ,carson ,desert1 ,nevada1 ,rock-carvings in #bd ,carver1 ,capt4 ,j41 on ,indians #ih1 #ii1 #ajd1 #aac ,catlin on ,indians #aja1 #aad1 #aae1 #aaf ,catlinite #bc ,cattle-brands #ahb-ahc ,ceremonial chart1 ,new ,holland #aig ,ceremonial chart pictographs #aid-aig ,chadron builds house #aad ,challenge to war #hh ,charms #bja-bjb ,chart1 ,tattooed #hf ,charts 7see ,winter counts74 ,charts ,of geographic features #aeg ,chatard1 ,f4 ,e41 ,african knife #bdc ,chatard1 ,t4 ,m41 ,african knife #bdc ,chelan ,lake1 ,pictographs at #bf ,cherokee pictographs #cc ,cheyenne ,agency1 ,charts at #id ,cheyenne ,agency1 ,fight near #ajb ,cheyenne cross #beb ,cheyenne pictograph letter #afj-afa ,cheyenne1 ,symbol for #abc1 #aff1 #agb-agc ,cheyenne war with ,general ,mackenzie #adf ,cheyennes #aja1 #aae1 #aah1 #acb1 #acc1 #acd1 #aci1 #ada1 #adb1 #add ,chippewa grave posts #aii-bjj ,chippewayan tattooing #fe ,cholera among ,indians #adb ,christy1 ,henry1 on symbols #hb ,chronology attempted by ,indians1 ,system of #abg ,chumanas totem mark #afg ,claim or demand pictograph #aei ,clan designation #afg ,clment1 ,basil1 7interpreter7 on ,winter count #ij1 #ia1 #aac1 #aac1 #abj1 #abb ,clement1 ,clara ,erskine2 ,handbook of ,legendary and ,mythological ,art #ed ,cleveland1 ,rev4 ,william ,j41 cited #abi ,cliff-dwellers #bjb ,cloud ,shield1 chart or ,winter count 7see ,corbusier ,winter counts7 #ie1 #abi-adf ,coale1 ,charles ,b41 on pictographs #cc ,collaborators1 ,suggestions to #bed-bef ,colorado1 ,rock carvings in #bg ,collections of the ,historical ,committee of the ,american ,philosophical ,society1 cited #aeh ,color materials #bce1 #bcf ,colorado maps #aeh ,colors1 ,significance of #ec-eg ,colors used by ,indians #ej1 #ea ,columbia ,river1 ,pictographs on #bf ,columbiana ,county1 ,ohio1 ,rock carvings in #ba ,commercial fraud in relics #bdh ,communication by pictographs #afj-afd ,conder1 ,lieutenant1 on symbol at ,jerusalem #bbb ,contributions to ,north ,american ethnology #aec1 #aff1 #aie1 #bca ,conventionalizing #ac1 #ae1 #bdd ,copper-plate frauds #bdg ,corbusier1 ,dr4 ,w4 ,h41 on pictographs #fj ,corbusier1 ,dr4 ,w4 ,h41 on rock carvings #bd ,corbusier1 ,dr4 ,w4 ,h41 on time symbols #hh ,corbusier ,winter counts1 ,the #ie1 #aah1 #aai1 #aba1 #abd1 #abg-adf ,coronel1 ,hon4 ,a4 ,f41 collection of herders' notched sticks #ha-hb ,coronel1 ,hon4 ,a4 ,f41 on pictographs #ce1 #cf ,coronel1 ,hon4 ,a4 ,f41 on ,serrano land-marks #ahb ,cosninos #cj ,crook1 ,general1 ,designation for #adf ,cross in pictography #beb ,crow4 7,see ,absaroka47 ,crow1 ,distinctive mark of #bca ,crow ,indians mode of painting #ed ,crows #ajc1 #ajd1 #aje1 #ajg1 #aad1 #aae1 #aah1 #abj1 #aba1 #abb1 #abc1 #abd1 #abf1 #abg1 #acj1 #acb1 #acd1 #ace1 #acf1 #ach1 #adj1 #ada1 #adb1 #adc1 #add1 #adf ,cuyahoga ,county1 ,ohio1 ,rock carvings in #ba ,d ,dahcotah1 or ,life and legend of the ,sioux around ,fort ,snelling cited #ahd1 #ahi1 #aie1 #bda ,dakota defined #ig ,dakota notched sticks #ha ,dakota pictographs #ee1 #fj1 #ahc ,dakota picture message at ,fort ,rice #ih ,dakota pipe-stone quarries #ag ,dakota time symbols #hh ,dakota totem #afg ,dakota treaty #ahfh #abe ,dakota war with ,rees #aaa ,dakota ,winter counts #ah1 #hi-abg1 #afh ,dakotas drowned in flood of ,missouri ,river #aac ,dall1 ,william ,h41 on colors used in ,alaska #ea ,dalles of the ,columbia1 ,petroglyphs in the #be ,dance pictographs #aid-aig ,das ,ausland cited on marks #ahc ,davenport tablets #bea ,designs on pottery #gh ,dighton rock inscriptions #bj1 #ba1 #bej ,diplomatic packets #afa-afd ,distribution of petroglyphs in ,north ,america #ai ,domenech1 ,l',abb1 cited #bea ,dorsey1 ,rev4 ,j4 ,owen1 on ,indian customs #eb1 #hd-hf1 #afe1 #afg1 #aig ,dropsy among ,indians #aac ,dyer1 ,agent1 ,letter of #afj-afa ,e ,eagles1 how caught #aje ,eastman1 ,mrs4 ,mary 78,dahkotah07 cited #ahd1 #ahi1 #aie1 #bda ,eclipse1 ,indian idea of #abe ,eells1 ,rev4 ,m41 on ,thunder-bird #ahi ,eells1 ,rev4 ,m41 on ,twana tattooing #di1 #fd ,effigy mounds1 ,wisconsin #fa ,egyptian tattooing #gh ,egyptian use of cross #bec ,egyptian writing #ac1 #ad ,el ,moro1 ,pictographs at #bh ,enchanted ,mountain1 ,georgia1 ,rock carvings on #bc ,errors in pictography #bdg-bec ,eskimo tattooing #fd ,expedition1 ,record of #afd ,explanation of ,haida tattooing #fg-gb ,explanation of ,osage mnemonic chart #hd-hf ,explanation of pictographs passim #a-bef ,explanation of ,san ,gabriel notched sticks #ha-hb ,explanation of symbols for songs #hb-hd ,f ,fayette ,county1 ,pennsylvania1 ,pictographs in #hj1 #bbd ,feather pictographs #fj ,featherman cited #gh ,fetiches #bja ,fetterman1 ,capt4 ,w4 ,j4 #add ,fielder1 ,interpreter1 cited #aag ,fletcher1 ,dr4 ,e41 cited #beb ,flood in ,missouri ,river recorded #acg-ach ,florida ,indian war symbols #hh ,fool ,creek ,caon1 ,pictographs in #bg1 #bbi ,forsyth ,county1 ,georgia1 ,rock carvings in #bc ,fort ,berthold1 ,indian fight near #ajc ,fort ,berthold1 ,indian painting at #ee ,fort ,berthold1 ,notched sticks at #ha ,fort ,berthold1 ,pictographs at #ahc1 #ahf1 #ahg ,fort ,buford1 ,indian fight near #ajc ,fort ,laramie1 ,battle between whites and ,indians near #adc ,fort ,laramie1 ,first goods issued to ,indians at #adb ,fort ,laramie treaty #aba1 #abe ,fort ,leavenworth councils #abe ,fort ,o',kinakane #bf ,fort ,phil4 ,kearny1 ,whites massacred at #add ,fort ,fort ,pierre1 ,treaty at #abb ,fort ,rice1 ,eclipse seen at #abf ,fort ,rice1 ,picture message at #ih ,fort ,rice1 ,winter counts at #hi1 #ij1 #ia ,fort ,robinson1 ,events at #adf ,fort ,snelling1 ,dakotas near #bjb ,fort ,union1 ,indian fight near #ajc ,fort ,washakie1 ,wyoming1 ,rock carvings near #bd ,frauds in ,indian relics #bdg-bec ,french explorers observed pictographs #cc ,g ,gallatin cited on ,indian names #ih ,gaston1 ,oreg41 ,rock etchings at #be ,gatschet1 ,a4 ,s41 on ,indian customs #be1 #ea1 #fc1 #ahc ,geneskelos1 decorator of great canoe for ,centennial ,exposition #gb ,gentile designation #afg ,geographic pictographs #aeg ,gesture pictured #bcf ,gibbon1 ,a4 ,s41 on sacred stone of ,oraibi #eh ,gibbs1 ,dr4 ,george1 on ,oregon pictographs #bca ,gibbs1 ,dr4 ,george1 quoted on symbols of ,northwest tribes #aec ,gila pottery #bai ,gila ,river1 ,pictographs on the #bh ,gilbert1 ,g4 ,k41 on pictographs #be1 #cj1 #df1 #bbh1 #bcg ,gilbert1 ,g4 ,k41 on sacred stone of ,oraibi #eh ,glue made by ,indians #bce ,good ,battiste chart or ,winter count4 7,see ,corbusier ,winter counts74 #hh1 #ie1 #ii-adf1 #afe1 #aff1 #agb1 #bai1 #bbj1 #bda1 #bdb ,gourds1 ,pictographs on #fj ,gozzadini1 ,conte ,giovanni1 cited #fb ,grant on tattooing #ff ,grapevine ,springs1 ,pictographs at #aeg ,grass baskets #gh ,grave ,creek ,mound stone #bej ,grave posts #aih ,great ,spirit of ,indians an error #aia ,gros ,ventre1 ,symbol for #aff ,gros ,ventres #aja1 #ajc1 #ajg1 #ajh1 #aad1 #acc1 #acd1 #ach ,ground1 ,pictographs on the #fj ,guiana ,indian name system #aga-agb ,guiana1 ,pictographs in #dj-dd1 #fa ,guidance and warning pictographs #aee-aeg ,gunnison1 ,lieut4 ,j4 ,w41 on forced interpretation #bea ,h ,habel1 ,dr ,s41 ,investigations in ,central ,south ,america1 cited #gc1 #hj1 #aid ,haida boundaries #fj ,hale cited on ,indian names #ih ,hamilton ,pictured ,rock #bbe-bbj ,harney1 ,general1 cited #aba1 #abc ,haywood1 ,john1 on pictographs #bb1 #cc ,head in bronze1 ,italy #fb ,hebrew tattooing #gh ,heralds challenging to war #hh ,herders' notched sticks #ha ,hervey group tattooing #gf ,hidatsa1 ,siouan #ajh ,hidatsa1 map #aeh ,hides1 ,pictographs on #fj ,hinman1 ,rev4 ,s4 ,d41 obtained ,ogalala roster #agd ,hinman1 on the cross as a symbol among ,dakotas #bec ,historical map of ,pennsylvania pictographs #bbf ,history of ,indian tribes 7,schoolcraft7 quoted #bj1 #aii ,hochstetter1 ,dr4 ,ferd4 von1 quoted #bjj1 #bja ,hoffman1 ,dr4 ,w4 ,j41 ,aid of #ah ,holmes1 ,w4 ,h4 on pictography #fj1 #hg1 #aid ,holston1 ,pictographs on the #cc ,homomorphs and symmorphs #bci ,hongi tattooing #ge ,horse-hair pictographs #fj1 #bac1 #bca ,horses taken by the ,united ,states from ,dakotas #abg ,hortsman1 ,nicholas1 on pictographs #ci ,hualpai pictograph on person #fa ,humboldt1 ,a4 von1 on petroglyph #ch ,hunger1 ,petroglyphs for #aeb ,hunt1 ,pictographs of the #bad ,hup tattooing #fd ,i ,idaho1 ,rock carvings in #bd1 #bbh1 ,pictographs in #cg ,identification of the pictographs #bbd-bcb ,identity of drawings in each tribal system #ag ,ideographs #ad1 #bai-bbc ,illinois1 ,pictographs in #cc ,independence1 ,ohio1 ,rock carvings at #ba ,indian ,miscellany quoted #ahh ,indians1 ,pictographs of the ,north ,american 7,garrick ,mallery7 #c-bef ,influence of civilization on pictographs #df ,innuit language #adg1 #aia1 #bad-bae ,innuit pictographs #aih ,innuit tattooing #fc ,innuit use bow-drill #dh ,inscription rock1 ,el ,moro #bh ,insignia of authority #afh ,instruments used in pictography #dh ,interpretation of picture signs2 how obtained #af ,iowa1 ,pictographs in #cd1 ,iowa1 ,rock carvings in #bc ,iron1 ,pictures on #aia-aid1 #aig1 #bje-bjf1 #bad ,j ,james' ,long's exploration quoted #aea ,johnson1 ,sir ,william2 wampum belts #hf1 #hg ,jones1 ,capt4 ,william ,a41 discussed petroglyphs in ,wyoming #bd1 #bbg1 #bdd ,jones1 ,prof4 ,c4 ,c41 on pictographs #bb1 #bc ,jones's ,antiquities of the ,southern ,indians quoted #bb1 #bc1 #dg ,k ,kadiak notice of direction #aej ,kaibab ,indian name #aga ,kaiowa #ace ,kaiowa symbol #afe ,kanawha ,river1 ,pictographs on #bb ,kern ,county1 ,california1 ,pictographs in #cj ,kiatexamut dialect #adg-adh1 #aia-aid1 #bad-bae ,kimball1 ,mrs4 ,f4 ,a41 on ,california pictography #bbi ,kinderhook1 ,ill41 fraudulent copper plates #bdg ,kingsborough's ,mexico cited #afi ,klamath #di1 #ea1 #fc1 #ahc ,l ,ladley1 ,lieut4 ,o4 ,d41 loaned time chart #id ,la ,hontan1 ,baron de1 cited #aac ,lake ,chelan1 ,pictographs at #bf ,landmarks by pictographs #fa1 #ahb ,lapland pictographs #bci ,lartet1 ,edouard1 referred to #hb ,lasso first used by ,dakotas #ajh ,laudonnire1 ,captain1 on ,florida symbol of war #hh ,lavary1 ,a4 7interpreter71 cited on time charts #ic1 #abj1 #abc1 #abd1 #abe ,lean ,wolf map #aeh-aei ,lean ,wolf name symbol #agb ,lean ,wolf pictograph #afh ,leavenworth1 ,col41 ,h41 attacked ,rees #aab ,legend of animal swallowing human beings #abj ,leland1 ,charles1 cited #aij ,lenape and their legends1 ,the1 referred to #hd1 #ahh1 #bcc ,lenni ,lenape record #aeh1 #bjg ,licking ,county1 ,ohio1 ,rock carvings in #ba ,little ,coal ,river1 ,rock carvings on #bb ,little ,popo-,agie1 ,pictographs on #bd ,little-,man letter #afj ,loew1 ,dr4 ,oscar1 on pictographs #ca ,lone ,butte1 ,nev41 ,rock carvings on #bd ,lone ,dog ,winter count system discussed #ij1 #ii-abg ,lone-,horn's fate #aae-aaf ,long1 ,j41 cited #hg ,long1 ,maj4 ,stephen ,h41 quoted #aej1 #aea ,lorain ,county1 ,ohio1 ,rock carvings in #ba ,los ,angeles1 ,cal41 ,pictographs at #ce1 #cf1 #fa1 #aef-aeg1 #ahb1 #aih ,louisiana1 ,pictographs in #bda ,m ,mc,gillycuddy1 ,dr4 ,v4 ,t41 on pictographs #afj1 #agg ,mackenzie1 ,general1 whipped ,cheyennes #adf ,mac,lean1 ,j4 ,p41 cited #bej ,mc,laughlin1 ,major2 ,ogalala roster #agd ,maiden ,spring1 ,virginia1 ,pictographs at #cc ,mallery1 ,garrick2 ,pictographs of the ,north ,american ,indians #c-bef ,mandan property marks #ahb ,mandans #aja1 #ajb1 #ajg1 #aad1 #aai1 #aca1 #ahf ,manning1 ,james1 cited #aig ,maori customs #hh1 #afd1 #bjj ,marcoy1 ,paul1 on tattooing #di1 #ec ,marcoy1 ,paul on1 totem marks #afg ,massacre at ,fort ,phil4 ,kearny #add ,masta1 ,abnaki1 chief1 cited #aeb ,materials used for pictographs #cf ,mato ,sapa or ,black ,bear's chart #id1 #ii-abg ,matthews1 ,dr4 ,w41 cited #fj1 #abf1 #aie ,mattoal1 ,symbol for #afg ,mans1 ,lieutenant1 obtained interpretation of time chart #ic ,maya writing #ad ,maynadier1 ,general1 as 8many deer0 #add1 #agj ,maynadier1 ,general1 made peace with ,indians #add ,mdewakantawan #agc1 #ahf ,measles among ,dakotas #aaj ,meda songs #hb-hd ,medicine men defined #ajf1 #ajg ,mendota1 ,minn41 ,pictograph at #ahi ,merriam1 ,col4 ,henry1 discovered pictographs #bf ,messages by pictographs #afj-afd ,meteors recorded #aaa1 #aaf1 #acf-acg1 #ach-aci ,mexican pictographs #ch1 #afi ,mica plate frauds #bdg ,miles1 ,gen41 destroyed ,indian village #aag ,milford1 ,utah1 ,pictographs at #bg ,millsborough1 ,pa41 ,petroglyphs at #bj1 #bbd ,minneconjou ,dakotas #id1 #if ,minneconjou defined #ih ,minnesota pictographs #cc ,minnesota relic frauds #bdh-bej ,minnesota rock carvings #bc ,minnetari #ajh ,mississippi ,river pictographs #cc1 #cd ,mississippi ,river rock carvings #bc ,missouri ,river flood recorded #aac ,mnemonic devices #gi-adf ,mnemonic pictographs #gi-ha1 #afa ,mode of counting1 ,dakota #ajg ,mode of making pictographs #bcd ,mode of weaving horse hair #bcj-bca ,modes of interpretation #bcc-bdc ,modoc tattooing #fc ,mojave pigments #eb ,moki distinctive marks #bcb ,moki pictographs #af1 #be1 #bi1 #cf1 #df1 #aeg1 #aid1 #bbb1 #bbi ,monongahela ,river1 ,pictographs on #ba ,month names #ii ,montmagny1 ,great ,mountain name for #agj ,moors1 ,symbols of #bbb ,mormons or ,latter ,day ,saints1 by ,lieut4 ,j4 ,w4 ,gunnison1 cited #bea ,mortillet1 ,gabriel de1 quoted #beb ,mortuary practices #aig-bjb ,motive to frauds #dg ,mount ,pleasant1 ,w4 ,va41 ,rock carvings at #bb ,mourning #aig ,muskingum ,river1 ,rock carvings on #bb ,musselshell river1 ,pictographs on #fb ,myths of the ,iroquois #aij ,myths and songs from the ,south ,pacific1 cited on tattooing #gf ,n ,najowe ,pass1 ,pictographs at #cf ,name systems of ,indians #afi-agc ,narrative of an expedition to the ,saint ,peter's ,river1 quoted #aej ,native races4 7,h4 ,h4 ,bancroft7 #fd1 #fe1 #ff1 #gc1 #gh1 #hh ,natural and ,aboriginal ,history of ,tennessee #ba1 #cc ,naumoff ,drawings and interpretations of #adg-aej1 #aeb1 #aec1 #aed1 #aee1 #aie1 #bje1 #bjf ,nevada pictographs #bd1 #be1 #fj1 #aeg ,new ,albin1 ,iowa1 ,rock carvings at #bc1 #cd ,new ,england1 ,rock carvings in #ai ,new ,holland ceremonial chart #aig ,new ,mexico1 ,pictographs in #bh1 #cd1 #cg1 #aeh1 #bbi ,new ,zealand1 ,red in #ef ,new ,zealand grave effigy #bjj1 #bja ,new ,zealand tattooing #gc1 #ge1 #gf ,newark1 ,ohio1 ,rock carvings at #ba ,nez ,percs1 named by error #aba ,nicaragua1 ,pictographs in #dj ,nichols ,county1 ,west ,virginia1 ,pictographs in #bb ,nishinam claim symbols #aei ,norris1 ,p4 ,w41 on pictographs #bb1 #bc1 #cc1 #cd1 #agc ,north ,american ,indians1 ,pictographs of #c-bef ,notched sticks as mnemonic aids #ha ,notices by pictographs #adg-aee ,o ,oakley ,springs1 ,arizona1 ,pictographs at #ag1 #bi1 #cj1 #df-dg1 #aid ,objects represented in pictographs #df-dg ,ogalala1 ,ogalalla1 ,oglala #acb1 #acc1 #acd1 #acf1 #acg1 #adj1 #ada1 #adc1 #add1 #ade1 #adf ,oglala defined #ih ,oglala roster #afi1 #agd-agf ,oglala ,winter counts #abi ,ohio mica plate frauds #bdg ,ohio1 ,rock carvings in #ba ,ojibwa pictographs #ag1 #fi1 #ahf1 #bag-bah1 #bbg1 #bbh1 #bdc1 #bde1 #bdf ,ojibwa pipe stone #bdh-bej ,ojibwa song device #hb-hd ,ojo ,pescado pictographs #bh ,o',kinakane1 ,fort #bf ,ola ,walum #hd1 #aeh1 #ahh1 #bjg ,omaha1 ,symbol for #ff1 #afg ,omahas #aja1 #acb1 #acc1 #acd1 #ace ,oncpapas #abb ,oneida1 ,idaho1 ,pictographs at #cg ,oraibi sacred stone #eh ,oraibi chief1 ,tubi #bi1 #df1 #aid ,oregon1 ,rock carvings in #be ,origin of ,dakota name of the ,deity #ajc ,origin of the ,winter counts #ia1 #ib ,osage mnemonic chart explained #hd-hf ,osage tribal designation #afe ,ottawa pictographs #bjc1 #bag-bah1 #bbj ,owen's ,valley pictographs #ca ,p ,pacific islands1 ,tattooing in the #gc-gg ,paddles ornamented #gh ,painted pottery #beb ,painting1 ,manner of #dh ,paint ,lick ,mountain1 ,va #cc ,pai-,ute attempt at suicide #acb ,pai-,ute ,creek1 ,pictographs on #cc ,pai-,ute pictographs #fa1 #aeh ,pani 7see ,pawnees7 #aff1 #bda ,particular exploits and events #bad-bah ,partridge ,creek1 ,rock carvings on #cj ,passs totem mark #afg ,patrick1 ,dr4 ,john ,b41 sent time chart #ic ,patten's ,valley1 ,origin of rock etchings in #be1 #bf ,pawkees #bbg ,pawnees 7,pani7 #ajb1 #abg1 #aca1 #ace1 #aci1 #ada1 #adb1 #adc1 #add ,paxton1 ,william ,a41 brought first ,texas cattle to ,dakota #abe ,pennsylvania1 ,petrographs in #bj1 #aeh1 #bbd-bbe1 #bbf-bbg ,peoria ,bottom1 ,dakota1 ,sans ,arc dirt lodges at #aji ,person1 ,pictures on the #fa-gh ,personal designations #afh ,personal name pictographs #aji-agc ,peru1 ,pictographs in #de ,petroglyphs in ,north ,america #ai ,pictograph defined #ac ,pictographs1 ,identification of #bbd-bcf ,pictographs of the ,north ,american ,indians #c-bef ,pictography influenced by civilization #df ,piedra ,pintada ,creek #bg ,pilgrimage1 ,beltrami's1 cited on ,dakota #ajd ,pinart1 ,alphonse1 on pictographs #cj1 #dj ,pine ,ridge ,agency1 pictograph letter #afj-afa ,pine ,ridge ,agency1 pictographs #agf ,pipe-stone quarry #bc1 #cc ,pomme blanche defined #ajb ,ponio war symbols #hh ,ponka ,reservation #abe ,ponkas #aca1 #acc1 #acd ,pottawatomi #bbj ,pottery1 how colored #ej1 #ea ,powell1 ,maj4 ,j4 ,w41 learned real name of ,indian #aga ,powell1 ,maj4 ,j4 ,w41 on classification of ,indiana #ig ,powers1 ,stephen1 on ,indian customs #di1 #fd1 #aie1 #aig ,premeau1 ,jean1 interpreted time chart #id ,prince of ,wales ,archipelago tattooing #fg-gc ,prince ,maximilian zu ,wied1 cited #ajg1 #aie1 #bbj1 #bbb ,property marks #ahb ,pueblo totem marks #afg ,pyramid ,lake1 ,nevada1 ,rock carvings near #bd ,q ,queen ,charlotte ,islands' tattooing #ff-gc1 #ahi ,quipu of ,peru1 ,the #gi ,r ,rafinesque1 cited #bcc ,rau1 ,dr4 ,charles1 cited #ic ,red ,cloud census #afi1 #agf-aha ,red ,lake ,reservation1 ,designs from #ahg ,ree1 ,derivation of #ajj ,reed1 ,lieut4 ,h4 ,t41 on ,dakota time chart winter count #hi-ij1 #ic ,rees 7see ,arikara7 ,rees1 ,symbol for #aff ,relic frauds #bdg-bec ,religious pictographs #ahh ,reveille1 ,nev41 ,pictographs at #be ,riggs1 on ,indian names #ig1 #ih1 #aji ,rio del ,norte1 ,pictographs on the #bg ,rio ,verde1 ,rock etchings on the #cj ,robb1 ,james ,c41 time chart #id ,rock carvings #af1 #bj-cc ,rocks1 ,paintings on #eh ,rocky ,dell ,creek1 ,n4 ,mex41 ,pictographs on #cc ,russell1 ,i4 ,c41 on pictographs #bg1 #bbi ,russell1 ,i4 ,c41 on tattooing in ,new ,zealand #gc1 #ge1 #gf ,rust1 ,horatio ,n41 on ,davenport tablets #bea ,s ,sage ,creek1 ,wyoming1 ,rock carvings on #bd ,samoa 7,rev4 ,george ,turner71 quoted #gg ,san ,antonio ,springs1 ,pictographs at #cd ,san ,bernardino1 ,rock carvings at #cj ,san ,diego1 ,pictographs at #cg ,san ,gabriel herders' notched sticks #ha-hb ,san ,gabriel ,river1 ,pictographs on #ef-eg ,san ,juan1 ,pictographs on the #cd ,san ,marcos ,pass1 ,pictographs at #cf ,sans ,arc #ic1 #id1 #aji1 #aah1 #abb1 #acd ,sans ,arc defined #ih ,santa ,barbara1 ,pictographs at #ce1 #cf1 #cg ,santa ,ynez ,mountains1 ,pictographs on #cd1 #cf ,santee defined #hh ,santees #abd ,satsika petrograph #bbg ,scheffer's ,history of ,lapland1 cited #bci ,schliemann1 ,dr4 ,henry1 cited #fc1 #beb ,schomburgk1 quoted by ,humboldt on pictographs #ci ,schoolcraft1 ,h4 ,h41 quoted on ,indian pictographs and devices #ag1 #bj1 #ba1 #ei1 #hb1 #aee1 #aeh1 #afa-afd ,schoolcraft1 ,h4 ,h41 cited #afg1 #afh1 #ahh1 #ahi1 #aii1 #bjj1 #baf1 #bbb1 #bci1 #bdc1 #bde1 #bdf ,science1 quoted on relic frauds #bdg ,scott ,county1 ,iowa1 ,pottery from4 7,see ,davenport74 ,sculptures of ,san ,lucia1 ,cosumalwhuapa 7,habel71 quoted #hj ,serrano ,indian land-marks #fa1 #ahb ,seton1 ,william1 ,u4 ,s4 ,n41 ,african knife #bdc ,shaman #aij-aid1 #aie1 #bcg1 #bdc ,shamanism #ajj1 #aid1 #bjb ,sheafer1 ,p4 ,w41 ,pictographs of ,pennsylvania #bbj-ebg ,shells1 ,pictographs on #fj ,sherman1 ,general ,w4 ,t4 #abe ,shinumo rock carvings #be1 #bbh ,shoshoni #adj1 #ada1 #bbi ,shoshoni petroglyphs #bbg1 #bbh ,shoshoni pictographs #be1 #aee1 #bae1 #baf1 #bca ,shumeia war symbols #hh ,siberia1 ,pictographs in #bde1 #bdf ,sibley1 ,colonel #abd ,sierra ,nevada1 ,pictographs of the #ca ,sign language among ,north ,american ,indians1 cited #bd1 #acb1 #acg1 #aee1 #bcd ,significance of color #ed ,signs of particular achievements #ahc ,simpson1 ,lieut4 ,j4 ,h41 on pictographs #bh ,siouan adopted as family term #ig1 #ajh1 #aad ,sioux #aja1 #aji1 #abb ,sioux defined #ig ,sioux ,falls #abe ,small-pox among ,dakotas #aaj1 #acf ,smith1 ,capt4 ,john1 on tattooing #fc ,smith1 ,mrs4 ,e4 ,a41 ,myths of the ,iroquois #aij ,social status pictographs #ahc ,soldiers fight ,rees #aaa-aab ,songs of the ,meda #hb ,south ,america1 ,petroglyphs in #ch ,spanish blankets introduced among ,dakotas #aba ,sproat1 cited #fg ,standing ,rock ,agency #agd ,starvation symbol #aed1 #aee ,status pictographs #ahc ,stephenson1 ,dr4 ,m4 ,f41 on rock carvings #bc ,stevenson1 ,james1 on pictographs #fj1 #afg1 #aid ,stock cattle first issued to ,dakotas #ade ,stones1 ,paintings on #eh ,suggestions to collaborators #baa-bef ,suicide among ,indians #aca-acb ,sully1 ,general #abd ,susquehanna1 ,pictographs on the #aeh ,swan1 ,james ,g41 on ,haida tattooing #ef1 #ff-gc1 #ahi1 #aid-aie1 #bdb ,syllabaries #ac ,symbolism #aed1 #bba ,symmorphs #bci ,system of chronology attempted by ,indians #abg ,system of spelling of ,bureau of ,ethnology #ag ,t ,tattooing #di1 #fc-gh1 #hf1 #ahc1 #beb ,taylor1 ,rev4 ,richard1 on ,new ,zealand #di1 #ej1 #gd1 #gf1 #hh1 #afd ,tazewell ,county1 ,virginia1 ,pictographs in #cc ,te ,ika a ,maui or ,new ,zealand 7,rev4 ,r4 ,taylor7 #di1 #ef1 #eg1 #gd1 #gf1 #hh1 #ajd ,tegua map #aeh ,temple ,creek ,caon1 ,pictographs in #bf1 #cg ,tenina #afa ,tennessee1 ,pictographs in #cc ,terry1 ,general #abe ,teton defined #ih ,textile construction limited and governed ,pueblo pottery ornament #fj ,the ,flame1 or ,bo-i-de1 ,time chart of #ic1 #ii-abg ,the ,swan's chart #ic1 #ii-abg ,thlinkit pictographs #gh ,thompson1 ,gilbert1 on pictographs #bg1 #cc1 #cd1 #bbi1 #bde ,three ,stars1 an ,indian name for ,general ,crook #adf ,thunder ,bird #ahh ,thurn1 ,everard ,f4 im1 on name system of ,guiana ,indians #aga-agb ,thurn1 ,everard ,f4 im1 on ,indian customs in ,guiana #dj1 #ec1 #fa1 #gg ,tillamuk #bf ,time symbols #hh-adf ,tokens of authority #afh ,tomanawos ceremonies #gj1 #gc ,totem post #fh ,totemic names1 ,dakota and ,west ,virginia #ag ,totemic pictographs #aje1 #bca ,totems #ih1 #afg ,trading-house built #aji1 #aaj1 #aaa ,traditions #hd-hf 8,travail0 explained #bag ,treaties #hf-hg ,trees1 ,pictographs on #ei ,tribal symbolic designation #afe ,tribal historical pictographs #bjg ,troja cited #fc1 #beb ,trumbull1 ,dr4 ,j4 ,hammond1 cited #ig ,tschudi1 ,dr4 ,j4 ,j4 von1 on pictographs #de ,tschudi1 ,dr4 ,j4 ,j4 von1 on the ,quipu of the ,peruvians #gi-hj ,tulati ,indian rock etchings #be1 #bf ,tubi1 ,oraibi chief1 quoted #bi1 #df1 #aid ,tulare ,indians #bcd ,tule ,river ,agency1 ,weaving grass figures at #gh ,tule ,river ,agency1 ,yokuts at #eb1 #gh ,tule ,river1 ,pictographs on #ca1 #cc1 #cg1 #bcd ,turner1 ,rev4 ,george1 quoted on tattooing #gg ,twana thunder-bird #ahi ,two ,kettles #ic1 #id1 #aje1 #aac1 #aag1 #abb ,two ,kettles defined #ig ,u ,uncpapa #ajj1 #ajc1 #ajd1 #ajf1 #aaf1 #abb1 #abf ,uncpapa defined #ih ,union ,county1 ,georgia1 ,rock carvings in #bc ,united ,states forces attack ,arikaras #aaa-aab ,utah1 ,pictographs in #cg1 #bbi ,utah1 ,rock carvings in #bf1 #bea ,utes #ajh1 #ade ,v ,venango ,county1 ,pennsylvania1 ,rock carvings in #bj ,venezuela1 ,pictographs in #dj ,vermillion cliff1 ,rock carvings on #bf1 #bi ,virginia ,indians tattooing #fc ,virginia1 ,pictographs in #cc ,von ,strahlenberg on pictographs in ,liberia #bde1 #bdf ,w ,wall1 ,j4 ,sutton1 on pictographs in ,pennsylvania #bj-ba1 #bbe ,walker ,lake1 ,nevada1 ,rock carvings near #bd 8,walum ,olum0 in ,the ,lenape and their ,legends #hd1 #aeh1 #ahh1 #bjg ,wampum belts #hf-hg ,war party1 how made up #aci-adj ,war symbols #hg-hh ,ward1 ,james ,w41 on rock carvings in ,ohio #ba ,warning and guidance pictographs #aee-aeg ,washington1 ,rock carvings in #be ,watterson's ,ranch petroglyphs #ca1 #cb ,wellsville1 ,ohio1 ,rock carvings at #ba ,west1 ,dr4 ,w41 copied ,dakota time chart #ic-id ,west ,virginia1 ,rock carvings in #bb1 #bbe ,west ,virginia totem marks #ag ,western ,lancet cited on claim symbols #aei ,wham1 ,maj4 ,j4 ,w41 built adobe houses #ade ,whipple1 ,lieutenant1 on pictographs #bh1 #bi1 #cc1 #ach ,whistle sickness #aad1 #ach1 #bba ,white-cow-killer ,winter count chart 7,see ,corbusier ,winter counts47 #ie1 #ii-abg1 #abi-acj ,whitfield1 ,j41 on pictographs in ,brazil #dd-de ,whittlesey1 ,col4 ,charles1 cited #bej ,whooping-cough among ,indians #ajh ,wild horses first caught by ,dakotas #ajh ,williamson1 ,rev4 ,dr41 cited #aai ,williams ,river1 ,rock carvings on #bi ,wind ,river ,mountains1 ,rock carvings near #bd ,winter counts #hh-adh1 #aia1 #bjg ,wintn tattooing #fd ,wisconsin effigy mounds #fa ,wood1 ,paintings on #ei ,woodthorp1 ,lt4 ,col41 on war symbols #hh ,wright1 ,charles ,d41 on pictographs #cd ,wyoming1 ,rock carvings in #bd1 #bbg ,wyrick ,david1 fraudulent ,hebrew inscription #bdh ,y ,yampais ,springs1 ,pictographs at #bi ,yankton defined #ig ,yankton ,reservation #abe ,yanktons #aab1 #abb ,yanktonnais #abb1 #abd ,yokuts1 ,color used by #eb ,yokuts weave grass figures #gh ,young1 ,john ,w41 on sacred stone of ,oraibi #fh ,yuki1 ,color used by #eb ,yuki tattooing #di ,yukon ,river tattooing #fe ,yuma paintings #fj1 #aeh ,yuris totem mark #afg ,z ,zui #aid1 #aie ,zui pictographs #af1 #bh1 #fj ,zui pottery #gh ,transcriber's ,note ,illustrations have been moved next to the text to which they refer4 ,page numbers in the text or the list of ,illustrations may not match their locations in the e,book4 ,the following apparent errors have been corrected3 p4 #f ,seggestions changed to ,suggestions p4 #aa ,cerimonial changed to ,ceremonial p4 #ai proposed with with changed to proposed with p4 #ba standstone changed to sandstone p4 #bb ,virginia1 changed to ,virginia4 p4 #dd reason changed to season p4 #ee et4 seq4 changed to et seq4 p4 #ef signifes changed to signifies p4 #fj ,plate ,,iv changed to ,plate ,,vi p4 #fa ,,person changed to ,,person4 p4 #fg neck on changed to neck1 on p4 #ga octupus changed to octopus p4 #gb sqid changed to squid p4 #gb frog in changed to frog on p4 #hf 7,pleiades7 changed to 7,pleiades7 p4 #id interpetation changed to interpretation p4 #ajb -,no4 #a4 ,a ,mandan changed to -,no4 ,i4 ,a ,mandan p4 #ajf ,ree ,indians4 dians4 changed to ,ree ,indians4 p4 #aaj ,lone ,dog's changed to ,lone-,dog's p4 #aac #ahbd-'be changed to #ahbd-'be4 p4 #abc extremity of of changed to extremity of p4 #acc woman-winter4 changed to woman winter4 p4 #aee ,bureau of1 ,ethnology4 changed to ,bureau of ,ethnology4 p4 #age ,painted-rock changed to ,painted-rock4 p4 #ahf ,mdewakantanwan changed to ,mdewakantawan p4 #aie page #cf changed to page #hf p4 #aif ,fig1 #aaa;a changed to ,,fig4 #aaa;a p4 #bjj seq changed to seq4 p4 #bjf ,miztec changed to ,miztec7 p4 #bdf ,,fig4 #bjg changed to ,,fig4 #bjg4 7index7 cited on ,indina changed to cited on ,indian 7index7 ,hupa changed to ,hup 7index7 ,laudonniere changed to ,laudonnire 7index7 ,mc,gillicuddy changed to ,mc,gillycuddy 7index7 ,mac,kenzie changed to ,mackenzie 7index7 ,maclean changed to ,mac,lean 7index7 ,mottellet changed to ,mortillet 7index7 ,mussellshell changed to ,musselshell 7index7 ,weid changed to ,wied 7index7 ,schlieman changed to ,schliemann 7index7 ,schomburgh changed to ,schomburgk 7index7 ,everard ,f4 im4 changed to ,everard ,f4 im 7index7 ,tomanawas changed to ,tomanawos 7index7 ,waterson's changed to ,watterson's 7index7 ,wintun changed to ,wintn ,inconsistent or dubious spelling and punctuation have otherwise been left as printed4 ,the captions on plates have been regularised4 ,the following are inconsistently used in the text3 arial and aerial ,aigaluxamut and ,agalxamut arrowheads and arrow-heads ,cottontail and ,cotton-tail cottonwood and cotton-wood footprint and foot-print ,haka and ,hanka headwaters and head-waters horseshoes and horse-shoes ,kiatexamut and ,kiatxamut ,lenni-,lenape and ,lenni-,lenap ,oglala and ,oglla outline and out-line rawhide and raw-hide sandstone and sand-stone sculpin and skulpin subchiefs and sub-chiefs ,wacace and ,wacace warpath and war-path widespread and wide-spread ,zuni and ,zui ,on pp4 #ha-hb1 -shaped1 v-shaped and -shape were printed with special symbols4