No. 6. A dog-sled, with the animal hitched up for a journey. The radiating lines in the upper left hand corner, over the head of the man, is a representation of the sun.
No. 7. A sacred lodge. The four figures at the outer corners of the square represent the young men placed on guard, armed with bows and arrows, to keep away those not members of the band, who are depicted as holding a dance. The small square in the center of the lodge represents the fire-place. 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 lodge.
No. 8. A pine tree, upon which a porcupine is crawling upward.
No. 9. A pine tree, from which a bird (woodpecker) is extracting larvæ for food.
No. 11. The recorder in his boat, holding aloft his double-bladed paddle to drive fish into a net.
No. 12. An assistant fisherman driving fish into the net.
The figure over the man (No. 12) represents a whale, with harpoon and line attached, caught by the narrator.
It will be understood that all personal customs, such, for instance, as the peculiar arrangement of hair in any tribe, are embodied in their pictorial designation by other tribes and perhaps by themselves. See in this connection, page 230.
Among the many customs susceptible of graphic portrayal which do not happen to be illustrated in this paper, an example may be given in the mode in several tribes (_e. g._, Apache, Muskoki, Dakota and Miztec), of punishing the infidelity of wives, namely, by cutting off the nose. The picture of a noseless woman would, therefore, when made by those tribes, have distinct meaning. The unfaithful wife mentioned on page 134 is drawn with a nose, but in her case the greater punishment of death was inflicted.
It is very difficult, if not impossible, to distinguish in pictographs, or, indeed, orally, between historical and traditional accounts obtained from Indians, so that this heading may be connected with one before presented, having relation to Traditions as mnemonically pictured. See page 84.
The Walum-Olum, or Bark Record of the Lenni-Lenapè, before mentioned, as also some of Schoolcraft’s pictographic illustrations, may be, in accordance with the judgment of the reader, more or less properly connected with history. The Dakota Winter Counts, including the Corbusier Winter Counts, in the present paper, while having their chief value as calendars, contain some material that is absolute and veritable tribal history, though seldom of more than local and transient interest. An example from Battiste Good’s count for the year 1862-’63, is given in addition, explaining the origin of the title “Brulé” Dakota.