GRAPHIC ART OF THE ESKIMOS. 907 



Fig. 128 represents hunters who have been unfortunate and are 

 sufiteriiig" from hunger. The figures are scratched or drawn upon a 

 piece of wood, and placed where there is tlie greatest chance of its dis- 

 covery by passers. The stick bearing tlie devices is stuck in the 

 ground and inclined to- 

 ward the shelter of the 

 suflerers. The folio win g 

 is the interpretation of 

 the record: 



iSTo. 1 is a horizontal 

 line, and denotes a-canoe, 



indicating that the persons are fishermen; No. 2, a man with both arms 

 extended, signifying in gesture language nothing^ corresponding to the 

 ordinary gesture for negation ; Ko. 3 is a companion with the right hand 

 placed to the mouth, signifying to cat, the left pointing to the house 

 occupied by the hunters, and indicating at that idace there is nothing 

 to eat; No. 4 represents the shelter occupied by the sufferers. 



The record in fig. 129 is similar to the preceding and is used for a 



Fig. 128. 



STARVING HUNTERS. 



Fig. 129. 

 STARVING HUNTERS. 



like purpose. No. 1 represents the baidarka, showing double projec- 

 tions at the bow in imitation of some forms of the canoe, the two strokes 

 at the other end representing the occupants of the boat. No. 2 repre- 

 sents a man making the gesture for nothing, both hands thrown hori- 

 zontally outward toward either side. No. 3 has his right hand placed 

 to the mouth to denote to eat, the left jiointing to the habitation, No. 4, 

 indicating that there is nothing to eat in that house. 



^^-iT-^h^ ^^/f^^ 



Fig. 130. 

 HUNTING SCENE. 



This is used by the Alaskan coast natives generally. 



The record portrayed in fig. 130, refers to the success of the hunter 

 shown in No. 3. As elsewhere stated with reference to the position or 

 attitude of animals, it will be perceived that the two deer, represented 

 in Nos. 1 and 2, were secured by shooting, the gun being indicated in 

 No. 3. No. 4 represents a man with a gun held transversely above the 

 head, this being a signal to denote come, or apin-oach, while the indi- 

 viduals in Nos. 5, G, and 7 are in various attitudes with extended arms 



