514 PICTURE-WRITING OF THE AMERICAN INDIANS. 
(2) The figure of Daramuliin is eut upon the ground, resembling that which the 
Murring cut upon the tree at the place where in their ceremonies the tooth is knocked 
out. The figure represents a naked black fellow dancing, his arms being slightly 
extended and the legs somewhat bent outwards (sideways) at the knee, as in the 
well known “ corroboree” attitude. 
(3) The representation of his tomahawk cut on the ground, where he let it fall on 
reaching the earth. 
(4) The footsteps of an emu of which Daramulin was in chase. 
(5) The figure of the emu extended on the ground where it fell when struck down 
by Daramulin. 
The same author (f) remarks as follows: 
Speaking generally, it may be asserted with safety that initiation ceremonies of 
some kind or other, and all having a certain fundamental identity, are practiced by 
the aboriginal tribes over the whole of the Australian continent. * * * 
Here, then, the novices for the first time witness the actual exhibition of those 
magical powers of the old men of which they have heard since their earliest years. 
They have been told how these men can produce from within themselves certain 
deadly things which they are then able to project invisibly into those whom they 
desire to injure or to kill; and now the boys see during the impressive magical 
dances these very things, as they express it, ‘‘ pulled out of themselves” by the 
wizards. 
Figs. 721, 722, and 723 are copies of the designs upon Tartar and 
Mongol drums, taken from G. N. Potanin (b). They are used in reli- 
gious ceremonies with the belief that the sounds emanating from the 
surface upon which the designs are made, or, to carry the concept a 
little further, the sounds coming from the designs themselves, produce 
special influences or powers. Some of these designs are notably simi- 
lar to some of those found in America and reproduced in the present 
paper. 
The upper left-hand design (a) in Fig. 721, on the outside of the drum, 
represents the sun and the moon in the form of circles with a central 
dot. Below the crossbar were two other such figures with central 
dot. Besides, were represented below, on the left side, two shamans, 
and under them a wild goat and serpent in the form of wavy lines; on 
the right side three shamans and a deer. 
The upper right-hand design ()) on the same figure is a group repre- 
senting the bringing of a horse to sacrifice. Under a rainbow, dots 
represent stars, and two heavenly maidens who the shamans said were 
the daughters of Ulgen and who were playing. They come down to the 
mountains and rise up to the skies. 
A bow with a knob at each end is made to represent a rainbow in 
the lower part of a shaman’s drum. 
The lower left-hand design (¢c) on the same figure on a drum of the 
telengit shaman is the external delineation of a head without eyes and - 
nose. The lower end of the line coming from the head represents a bifur- 
cation. Under the head is a short horizontal line like an extended arm. 
Above a line extending from side to side of the drum are two circles, 
and below six circles, all empty. According to the owner of the drum 
