MALLERY. ] ORDER OF SONGS. Bol 
In the same work, p. 119, is a description of a wampum belt that 
recorded the first treaty between the Ojibwa and the Six Nations of 
the Iroquois confederacy. It has the figure of a dish or bowl at its 
middle to represent that the Ojibwa and the Six Nations were all to 
eat out of the same dish, meaning, ideographically, that all the game 
in the region should be for their common use. 
Mr. W. H. Holmes (¢) gives an illustration of the well-known Penn 
wampum belt, reproduced here as Fig. 164, with remarks condensed as 
follows: 
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 Schackamaxon in 1682. 
Up to the year 1857 this belt remained in the keeping of the Pennfamily. In March, 
1857, it was presented to the Pennsylvania Historical Society by Granville John 
Penn, a great-grandson of William Penn. Mr. Penn, in his speech on this occasion, 
states that there can be no doubt that this is the identical belt used at the treaty, 
and presents his views in the following language: 
“Tn the first place, its dimensions are greater than of those used on more ordinary 
occasions, of which we have one stiil in our possession—this belt being composed of 
18 strings of wampum, which is a proof that it was the record of some very impor- 
tant negotiation. In the next place, in the center of the belt, which is of white 
wampum, are delineated in dark-colored beads, in a rude, but graphic style, 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 costume wearing a hat, which 
can only be interpreted as having reference to the treaty of peace and friendship 
which was then concluded between William Penn and the Indians, and recorded by 
them in their own. simple but descriptive mode of expressing their meaning by the 
employment of hieroglyphics.” 
SECTION 4. 
ORDER OF SONGS. 
The Indian songs or, more accurately, chants, with which pictography 
is connected, have been preserved in their integrity by the use of 
pictured characters. They are in general connected with religious 
ceremonies, and are chiefly used in the initiation of neophytes to secret 
religious orders. Some of them, however, are used in social meetings 
or ceremonies of cult societies, though the distinction between social or 
any other general associations and those to be classified as religious is 
not easily defined. Religion was the real life of the tribes, permeating 
all their activities and institutions. 
The words of these songs are invariable, even to the extent that by 
their use for generations many of them have become archaic and form 
no part of the colloquial language. Indeed, they are not always un- 
derstood by the best of the shaman songsters, which fact recalls the 
oriental memorization of the Veda ritual through generations by the 
priests, who thus, without intent, preserved a language. The sounds 
were memorized, although the characters designating or, more cor- 
rectly, recalling them, were not representations of sound, but of idea. 
Practically, the words—or sounds, understood or not, which passed 
