HOMOMORPHS AND SYMMORPHS. 



241 



Figure 17") shows the third person to strike the enemy, as drawn by 

 the Hidatsa, 



Figure 17<> means a sculp taken. Hidatsa. 



Figure 177 signifies, in Hidatsa drawing, the man who struck the 

 enemy, and who took his gun. 



The following specimens from the writer's card collection are pre 

 seuted as having some individual interest: 



Figure 178 was drawn by a Dakota 

 Indian, at Mendota, Minnesota, and 

 represents a man holding a scalp in 

 one hand, while in the other is the gun, 

 the weapon used in the destruction of 

 the enemy. The short vertical lines 

 below the periphery of the scalp indi- 

 cate hair. The line crossing the leg 

 of the Indian is only an indication of 

 the ground upon which the figure is 

 supposed to stand. 



Figure 179 is taken from the winter 

 count of Battiste Good for the year 

 1840-'41. He names it "Carne-and- 

 killed-fiveofLittle-Tbuuders-brotheis 



winter 1 ' and " Battiste-aloue-returns winter." He explains that the 

 live were killed in an encounter with the Panis. Battiste Good was the 

 only one of the party to escape. The capote is shown, 

 and signifies war, as in several other instances of 

 the same record. The five short vertical lines below 

 the arrow signify that five were killed. 



Figure 180 is taken from Mrs. Eastman's Dahcotah, 

 or Life and Legends of the Sioux, New York, 1849, 

 p. xxvii, and shows a Dakota method of recording 

 the taking of prisoners. Nos. 1 and 3 are the pris- 

 oners ; No. 1 being a female, as denoted by the pres- 

 ence of mammae, and No. 3 a male. No. 2 is the per- 

 sou making the capture. It is also noted that the 

 prisoners are without hands, to signify their help- 

 lessness. 



lu this connection the following quotation is taken from the Historical 

 Collections of Louisiana, Part III, 1851, p. 124, describing a pictograph, 

 as follows : " There were two figures of men without heads and soaie 

 entire. The first denoted the dead and the second the prisoners. One 

 of my conductors told 'me on this occasion that when there are any 

 French among either, they set their arms akimbo, or their hands upon 

 their hips, to distinguish them from the savages, whom they represent 

 with their arms hanging down. This distinction is not purely arbitrary ; 

 4 E'l'H 10' 



