MLALERY.] KNOWN CHARACTERS. TAT 
instance where an object of that character is found among a multitude 
of others not liable to such suspicion is in the heart surmounted by a 
cross, in the upper line of Fig. 437. This suggests missionary teach- 
ing and corresponding date. 
Maximilian of Wied (9) says: 
Another mode of painting their robes by the Dakotas is to represent the number 
of valuable presents they have made, By these presents, which are often of great 
value, they acquire reputation and respect among theircountrymen. On such robes 
we observed long red figures with a black circle at the termination placed close to 
each other in transverse rows; they represent whips, indicating the number of 
horses given, because the whip belonging to the horse is always bestowed with the 
animal. Red or dark-blue transverse figures indicate cloth or blankets given; 
parallel transverse stripes represent firearms, the outlines of which are pretty cor- 
rectly drawn. 
It may be desirable also to note, to avoid misconception, that where, 
throughout this work, mention is made of particulars under the head- 
ings of customs, religion, ete., which might be made the subject of 
graphic illustration in pictographs, and for that reason should be known 
as preliminary to the attempted interpretation of the latter, the sug- 
gestion is not given as amere hypothesis. Such objective marks and 
conceptions of the character indicated which can readily be made 
objective, are in fact frequently found in pictographs and have been 
understood by means of the preliminary information to which reference 
is made. When interpretations obtained through this line of study 
are properly verified, they can take places in the card catalogue little 
inferior to those of interpretations derived directly from aboriginal 
pictographers. 
The interpretation by means of gesture-signs has already been dis- 
cussed, Chap. Xvi, See. 4. 
Capt. Carver (b) describes how an Ojibwa drew the emblem of his 
own tribe as a deer, a Sioux as a man dressed in skins, an Englishman 
as a human figure with a hat on his head, and a Frenchman as a man 
with a handkerchief tied around his head. 
In this connection is the quotation from the Historical Collections 
of Louisiana, Part 111, 1851, p. 124, describing a pictograph, as follows: 
“here were two figures of men without heads, and some entire. The 
first denoted the dead and the second the prisoners. One of my con- 
ductors 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 arbirary; it 
proceeds from these people having observed that the French often put 
themselves in this posture, which is not used among them.” 
It is also said suggestively, by C. H. Read (f) in Jour. of the Anthrop. 
Inst. of Gr. Br. and I., that in the carvings of the West African negroes, 
the typical white man is constantly figured with a brandy bottle in one 
hand and a large glass in the other. 
