MALLERY. ] CEREMONIES. 513 
ing a dance, while the third group represents the same solar disk and the sacrifice 
accompanied by music performed in its honor. There are also vases of different 
forms containing, probably, the sacred drink, and the officiator approaching one hand 
to one of the great urns, while with the other he holds the vase or the bowl from 
which he is about to drink the chica consecrated to the sun. The princely person- 
ages who have the right to approach the sun wear casques with royal plumes, chemi- 
settes extending below the middle, and ornaments at the lower part of the legs and 
on the feet. The musicians, four in number (two of whom play upon the pandean 
pipes and two upon the henna), are distinguished by bonnets without feathers and 
by a kind of cloak tied around the neck by a band which floats behind them. 
Finally, the priests, one of whom is an officiator, and the other dancers in the suite 
of the princely personages, wear bonnets like that of the musicians (who very proba- 
bly belong to the same class). They have their faces painted. 
A. W. Howitt, in MS. Notes on Australian Pictographs, contributes 
the following: 
Among the most interesting of the pictorial markings used by the aborigines are 
those which are made in connection with the ceremonies of initiation. I now take 
as an instance the Murring tribe of the southern coast of New South Wales, whose 
ceremonies I have described elsewhere. The humming instrument, which is known 
in England as a child’s toy called the bull roarer, has a sacred character with all 
the Australian tribes. The Murring call it Midji, and the loud roaring sound made 
when it is swung around at the end of a cord is considered to be the voice of Dara- 
Fic. 720.—Peruvian ceremony. 
milin, the great supernatural being by whom, according to their tradition, these 
ceremonies were first instituted. 
On this instrument there are marked two notches, one at each end, representing 
the gap left in the upper jaw of-the novice after his teeth have been knocked out 
during the rites; there is also figured on it the rude representations of Daramuliin. 
A similar rude outline of a man in the attitude of the magie dance, being also 
Daramulin, is cut by the old men (wizards) at the ceremonies, upon the bark of a 
tree at the spot where one of them knocks out the tooth of the novice. This picto- 
graph is then carefully cut out and obliterated after the ceremonies are over. 
At a subsequent stage of the proceedings a similar figure is molded on the ground 
in clay, and is sutrounded by the native weapons which Caramulin is said to have 
invented. This figure, after having been exhibited to the novice, is also destroyed, 
and they are strictly forbidden under pain of death to make them known in any man- 
ner to “women or children; ” that is to say, to the aninitiated. 
The Miidji is not destroved, but is carefully and secretly preserved by the principal 
headman who had caused the ceremonies to be held. 
The ceremonies of the Wirajuri tribe in New South Wales are substantially the 
same as those of the Murring, although the tribes are several hundred miles apart. 
The details, however, differ in some respects. 
For instance, at one part of the ceremonies certain carvings are made upon the 
tree adjoining the place of the ceremonies and upon the ground, as follows: 
(1) A piece of bark is stripped off the tree from the branches spirally down the 
bole to the ground. This represents the path along which Daramulin is supposed 
to descend from the sky to the place where the initiation is held, 
10 ETH 30 
