Part 18

1. The speaker, with the right hand indicating himself, and with the left pointing in the direction to be taken.

2. Holding a boat paddle--going by boat.

3. The right hand to the side of the head, to denote _sleep_, and the left elevated with one finger elevated to signify _one_--one night.

4. A circle with two marks in the middle, signifying an island with huts upon it.

5. Same as No. 1.

6. A circle to denote another island.

7. Same as No. 3, with an additional finger elevated, signifying _two_--two nights.

8. The speaker with his harpoon, making the sign of a sea lion with the left hand. The flat hand is held edgewise with the thumb elevated, then pushed outward from the body in a slightly downward curve.

9. A sea lion.

10. Shooting with bow and arrow.

11. The boat with two persons in it, the paddles projecting downward.

12. The winter, or permanent habitation of the speaker.

The following is the text in the Aigaluxamut dialect, with an interlinear translation:

Hui ta-wá-ut ai-wí-xa-na kui-gí-qta-mŭn a-xi-lú-mŭk ka-wá-xa-lú-a, I there go (with boat) that island one sleep there, (to that place)

tca-lí hui ai-wí-lu-a a-xá-mŭn kui-gí-qta-mŭn, ta-wá-ni ma-lú-qnŭk then I go another that island, there two (indicated)

ka-wá-xa-lú-a, hui pĭ-qlú-a a-xĭ-lú-mŭk’ wi-na-mŭk tca-lí a-ni-xlú-a sleeps I catch one sea lion then return (nights)

nú-nan m’nun. (to) place mine.

The following is of a similar nature, and was obtained under circumstances similar to the preceding.

The explanation of the above characters is as follows:

1, 3, 5, 7, represent the person spoken to.

2. Indicates the speaker with his right hand to the side or breast, indicating _self_, the left hand pointing in the direction in which he is going.

4. Both hands elevated, with fingers and thumbs signifies many, according to the informant. When the hands are thus held up, in sign-language, it signifies _ten_, but when they are brought toward and backward from one another, _many_.

6. The right hand is placed to the head to denote sleep--_many sleeps_, or, in other words, _many nights and days_; the left hand points downward, _at that place_.

8. The right hand is directed toward the starting point, while the left is brought upward toward the head--_to go home, or whence he came_.

The following is the text in the same dialect last mentioned, with, translation:

Hui a-qtcí-kua a-xlá mŭn nu-ná-mŭn, am-lić-ka-mŭ´-ik ha-wá-xa-lu-a, I go (to) another place, many sleeps (settlement) (nights)

ta-wá-nĭ, tca-lĭ´ hui a-ni-qlú-a. there, then I return.

The drawing presented in Figure 49 was made by a native Alaskan, and represents information to the effect that the artist contemplates making a journey to hunt deer. The drawing is made upon a narrow strip of wood, and placed somewhere about the door of the house, where visitors will readily perceive it.

1. Represents the contour lines of the country and mountain peaks.

2. Native going away from home.

3. Stick placed on hill-top, with bunch of grass attached, pointing in the direction he has taken.

4. Native of another settlement, with whom the traveler remained over night.

5. Lodge.

6. Line representing the end of the first day, _i. e._, the time between two days; rest.

7. Traveler again on the way.

8. Making signal that on second day (right hand raised with two extended fingers) he saw game (deer, 9) on a hill-top, which he secured, so terminating his journey.

9. Deer.

Figures 50, 51, and 52 were drawn by Naumoff, under the circumstances above mentioned, and signify “Have gone home.”

His explanation of Figure 50 is as follows:

When one of a hunting party is about to return home and wishes to inform his companions that he has set out on such return, he ascends the hill-top nearest to which they became separated, where he ties a bunch of grass or other light colored material to the top of a long stick or pole. The lower end of the stick is placed firmly in the ground, leaning in the direction taken. When another hill is ascended, another stick with similar attachment is erected, again leaning in the direction to be taken. These sticks are placed at proper intervals until the village is sighted. This device is employed by Southern Alaskan Indians.

He also explained Figure 51 as follows:

Seal hunters adopt the following method of informing their comrades that they have returned to the settlement. The first to return to the regular landing place sometimes sticks a piece of wood into the ground, leaning toward the village, upon which is drawn or scratched the out-line of a baidarka, or skin canoe, heading toward one or more outlines of lodges, signifying that the occupants of the boat have gone toward their homes. This is resorted to when the voyage has been a dangerous one, and is intended to inform their companions of the safe arrival of some of the party.

This device is used by coast natives of Southern Alaska and Kadiak.

He also explained Figure 52 as follows:

When hunters become separated, the one first returning to the forks of the trail puts a piece of wood in the ground, on the top of which he makes an incision, into which a short piece of wood is secured horizontally, so as to point in the direction taken by the individual.

The following instance is taken from the Narrative of an Expedition to the Source of St. Peter’s River, * * under the command of Stephen H. Long, major U. S. Top. Eng. [commonly known as Keating’s Long’s Expedition]. Philadelphia, 1824. Vol. I, p. 217.

When we stopped, says Major Long, to dine, White Thunder, (the Winnebago chief that accompanied me,) suspecting that the rest of his party were in the neighborhood, requested a piece of paper, pen and ink, to communicate to them the intelligence of his having come up with me. He then seated himself and drew three rude figures, which at my request he explained to me. The first represented my boat with a mast and flag, with three benches of oars and a helmsman; to show that we were Americans, our heads were represented by a rude cross, indicating that we wore hats.

The representation of himself was a rude figure of a bear over a kind of cypher representing a hunting ground. The second figure was designed to show that his wife was with him; the device was a boat with a squaw seated in it; over her head lines were drawn in a zigzag direction, indicating that she was the wife of White Thunder. The third was a boat with a bear sitting at the helm, showing that an Indian of that name had been seen on his way up the river, and had given intelligence where the party were. This paper he set up at the mouth of Kickapoo Creek, up which the party had gone on a hunting trip.

The following is extracted from an Account of an Expedition from Pittsburgh to the Rocky Mountains, * * under the command of Major Stephen H. Long [commonly known as James’ Long’s Expedition]. Philadelphia, 1823. Vol. I, p. 478.

At a little distance [on the bank of the Platte River], in front of the entrance of this breastwork, was a semicircular row of sixteen bison skulls, with their noses pointing down the river. Near the center of the circle which this row would describe, if continued, was another skull marked with a number of red lines.

Our interpreter informed us that this arrangement of skulls and other marks here discovered, were designed to communicate the following information, namely, that the camp had been occupied by a war party of the Skeeree or Pawnee Loup Indians, who had lately come from an excursion against the Cumancias, Ietans, or some of the western tribes. The number of red lines traced on the painted skull indicated the number of the party to have been thirty-six; the position in which the skulls were placed, that they were on their return to their own country. Two small rods stuck in the ground, with a few hairs tied in two parcels to the end of each, signified that four scalps had been taken.

When a hunting party of the Hidatsa has arrived at any temporary camping ground, from which point a portion of the members might leave on a short reconnoitering expedition, the remainder, upon leaving for a time, will erect a pole and cause it to lean in the direction taken. At the foot of this pole a buffalo shoulder-blade or other flat bone is placed, upon which is depicted the object causing departure. For instance, should buffalo or antelope be discovered, an animal of the character sighted is rudely drawn with a piece of charred wood or red lead, the latter being a substance in the possession of nearly every warrior to use in facial decoration, etc.

When a Hidatsa party has gone on the war path, and a certain number is detailed to take another direction, the point of separation is taken as the rendezvous. After the return of the first party to the rendezvous, should the second not come up in a reasonable length of time, they will set sticks in the ground leaning in the direction to be taken, and notches are cut into the upper ends of the sticks to represent the number of nights spent there by the waiting party.

A party of Hidatsa who may be away from home for any purpose whatever often appoint a rendezvous, from which point they return to their respective lodges. Should an individual return to the rendezvous before any others and wish to make a special trip for game or plunder, he will, for the information of the others, place a stick of about 3 or 4 feet in length in the ground, upon the upper end of which a notch is cut, or perhaps split, for the reception of a thinner piece of twig or branch having a length of about a foot. This horizontal top piece is inserted at one end, so that the whole may point in the direction to be taken. Should the person wish to say that the trail would turn at a right angle, to either side, at about one-half the distance of the whole journey in prospect, the horizontal branch is either bent in that direction or a naturally-curved branch is selected having the turn at the middle of its entire length, thus corresponding to the turn in the trail. Any direction can be indicated by curves in the top branch.

NOTICE OF CONDITION.

According to Masta, chief of the Abnaki, members of that tribe remove the bark of trees in prominent places to denote that the inhabitants of the nearest lodge are in a starving condition.

The Ottawa and the Potawatomi Indians indicate hunger and starvation by drawing a black line across the breast or stomach of the figure of a man. (See Fig. 145, page 221.) This drawing is placed upon a piece of wood, either incised or with a mixture of powdered charcoal and glue water, or red ocher. This is then attached to a tree or fastened to a piece of wood, and erected near the lodge on a trail, where it will be observed by passers by, who are expected to alleviate the sufferings of the native who erected the notice.

Figure 53 illustrates information with regard to distress in another village, which occasioned the departure of the party giving the notification. The drawing was made for Dr. W. J. Hoffman, in 1882, by Naumoff, in imitation of drawings prepared by Alaska natives. The designs are traced upon a strip of wood, which is then stuck upon the roof of the house belonging to the recorder.

1. The summer habitation, showing a stick leaning in the direction to be taken.

2. The baidarka, containing the residents of the house. The first person is observed pointing forward, indicating that they “go by boat to the other settlement.”

3. A grave stick, indicating a death in the settlement.

4, 5. Summer and winter habitations, denoting a village.

The drawing, Figure 54, made for Dr. Hoffman in 1882, by a native, in imitation of originals in Alaska, is intended to be placed in a conspicuous portion of a settlement which has been attacked by a hostile force and finally deserted. The last one to leave prepares the drawing upon a strip of wood to inform friends of the resort of the survivors.

1. Represents three hills or ranges, signifying that the course taken would carry them beyond that number of hills or mountains.

2. The recorder, indicating the direction, with the left hand pointing to the ground, _one_ hill, and the right hand indicating the number _two_, the number still to be crossed.

3. A circular piece of wood or leather, with the representation of a face, placed upon a pole and facing the direction to be taken from the settlement. In this instance the drawing of the character denotes a hostile attack upon the town, for which misfortune such devices are sometimes erected.

4, 5. Winter and summer habitations.

6. Store-house, erected upon upright poles.

This device is used by Alaska coast natives generally.

In connection with these figures reference may be made to a paper by the present writer in the First Annual Report of the Bureau of Ethnology, p. 369, showing the devices of the Abnaki.

Dr. George Gibbs (Contributions to N. A. Ethnology, Vol. I, p. 222) says of “symbolic writing” of the northwest tribes:

I am not aware how far this may be carried among the Sound tribes. Probably there is no great essential difference between them and their neighbors of the plains in this art. It may perhaps be best explained by an example given me by a veteran mountaineer, Dr. Robert Newell, of Champoeg. A party of Snakes are going to hunt strayed horses. A figure of a man, with a long queue, or scalp lock, reaching to his heels, denoted Shoshonee; that tribe being in the habit of braiding horse- or other hair into their own in that manner. A number of marks follow, signifying the strength of the party. A foot-print, pointed in the direction they take, shows their course, and a hoof-mark turned backward, that they expect to return with animals. If well armed, and expecting a possible attack, a little powder mixed with sand tells that they are ready, or a square dotted about the figures indicates that they have fortified.

The design shown in Figure 55 is in imitation of etchings made by natives of Southern Alaska to convey to the observer the information that the recorder had gone away to another settlement the inhabitants of which were in distress. The drawings were put on a strip of wood and placed at the door of the house where it might be seen by visitors or inquirers.

Naumoff gave the following explanation:

1. A native making the gesture of indicating _self_ with the right hand, and with the left indicating direction and _going_.

2. The native’s habitation.

3. Scaffold used for drying fish. Upon the top of the pole is placed a piece of wood tied so that the longest end points in the direction to be taken by the recorder.

4. The baidarka conveying the recorder.

5. A native of the settlement to be visited.

6. Summer habitation.

7. “Shaman stick” or grave stick, erected to the memory of a recently deceased person, the cause of which has necessitated the journey of the recorder.

8. Winter habitation. This, together with No. 6, indicates a settlement.

Fig. 56, also drawn by Naumoff, means “ammunition wanted.”

When a hunter is tracking game, and exhausts his ammunition, he returns to the nearest and most conspicuous part of the trail and sticks his ihú^nŭk in the ground, the top leaning in the direction taken. The ihú^nŭk is the pair of sticks arranged like the letter A, used as a gun-rest. This method of transmitting the request to the first passer is resorted to by the greater number of coast natives of Southern Alaska.

Fig. 57, also drawn by Naumoff, means “discovery of bear; assistance wanted.”

When a hunter discovers a bear, and requires assistance, he ties together a bunch of grass, or other fibrous matter, in the form of an animal with legs, and places it upon a long stick or pole which is erected at a conspicuous point to attract attention. The head of the effigy is directed toward the locality where the animal was last seen.

This device is also used at times by most of the Southern Alaskan Indians.

Figure 58 was also drawn by Naumoff, and signifies “starving hunters.”

Hunters who have been unfortunate, and are suffering from hunger, scratch or draw upon a piece of wood characters similar to those figured, and place the lower end of the stick in the ground on the trail where the greatest chance of its discovery occurs. The stick is inclined toward the locality of the habitation. The accompanying explanation will serve to illustrate more fully the information contained in the drawing.

1. A horizontal line denoting a canoe, showing the persons to be fishermen.

2. An individual with both arms extended signifying _nothing_, corresponding with the gesture for negation.

3. A person with the right hand to the mouth, signifying _to eat_, the left hand pointing to the house occupied by the hunters.

4. The habitation.

The whole signifies that there is _nothing to eat_ in the _house_. This is used by natives of Southern Alaska.

Figure 59, with the same signification, and from the same hand, is similar to the preceding in general design. This is placed in the ground near the landing place of the canoemen, so that the top points toward the lodge.

The following is the explanation of the characters:

1. Baidarka, showing double projections at bow, as well as the two individuals, owners, in the boat.

2. A man making the gesture for _nothing_. (See in this connection Figure 155, page 235.)

3. Gesture drawn, denoting _to eat_, with the right hand, while the left points to the lodge.

4. A winter habitation.

This is used by the Alaskan coast natives.

WARNING AND GUIDANCE.

An amusing instance of the notice or warning of “No thoroughfare” is given on page 383 of the present writer’s paper, Sign Language among North American Indians, in the First Annual Report of the Bureau of Ethnology. It was taken from a rock-etching in Cañon de Chelly, New Mexico. A graphic warning against trespass appears in Schoolcraft, Vol. I, Plate 48, Figure B, op. page 338.

During his connection with the geographic surveys west of the one hundredth meridian under the direction of Capt. G. M. Wheeler, U. S. Army, Dr. Hoffman observed a practice which prevailed among the Tivátikai Shoshoni, of Nevada, in which heaps of stones were erected along or near trails to indicate the direction to be taken and followed to reach springs of water.

Upon slight elevations of ground, or at points where a trail branched into two or more directions, or at the intersection of two trails, a heap of stones would be placed, varying from 1 to 2 or more feet in height, according to the necessity of the case, to attract attention. Upon the top of this would be fixed an elongated piece of rock so placed that the most conspicuous point projected and pointed in the course to be followed. This was continued sometimes at intervals of several miles unless indistinct portions of a trail or intersections demanded a repetition at shorter distances.

A knowledge of the prevalence of this custom proved very beneficial to the early prospectors and pioneers.

Stone circles and stone heaps of irregular form were also met with, which to a casual observer might be misleading. These resulted from previous deposits of edible pine nuts, which had been heaped upon the ground and covered over with stones, grass, and earth to prevent their destruction by birds and rodents. These deposits were placed along the trails in the timbered regions to afford sustenance to Indians who had failed in the hunt, or who might not reach camp in time to prevent suffering from hunger.

Plate LXXX (A, B, C) represents colored pictographs found by Dr. Hoffman in 1884 on the North Fork of the San Gabriel River, also known as the Azuza Cañon, Los Angeles County, California. Its description is as follows:

A and B are copies, one-sixteenth natural size, of rock painting found in the Azuza Cañon, 30 miles northeast of Los Angeles, California.

The bowlder upon which the paintings occur measures 8 feet long, about 4 feet high, and the same in width. The figures occur on the eastern side of the rock, so that the left arm of the human figure on the right points toward the north.

The map (C) at the bottom of the plate presents the topography of the immediate vicinity and the relative positions of the rocks bearing the two illustrations. The map is drawn on a scale of 1,000 yards to the inch.

The stream is the North Fork of the San Gabriel River, and is hemmed in by precipitous mountains, with the exception of two points marked _c_, _c_, over which the old Indian trail passed in going from the Mojave Desert on the north to the San Gabriel Valley below, this course being the nearest for reaching the mission settlements at San Gabriel and Los Angeles. In attempting to follow the water-course the distance would be greatly increased and a rougher trail encountered. The pictograph A, painted on the rock marked _b_ on the map C, shows characters in pale yellow, upon a bowlder of almost white granite, which are partly obliterated by weathering and annual floods, though still enough remains to indicate that the right-hand figure is directing the observer to the northeast, although upon taking that course it would be necessary to round the point a short distance to the west. It may have been placed as a notification of direction to those Indians who might have come up the cañon instead of on the regular trail. Farther west, at the spot marked _a_ on the map, is a granite bowlder bearing a large number of paintings part of which have become almost obliterated. These were drawn with red ocher (ferric oxide). A selection of these is shown in B on the plate. This is on the western face of the rock, almost vertical. This also appears to refer to the course of the trail, which might readily be lost on account of the numerous mountain ridges and spurs. The left-hand figure appears to place the left hand upon a series of ridges, as if showing pantomimically the rough and ridged country over the mountains.

The middle figure represents gesture, which in its present connection may indicate direction, of the trail, _i. e._, toward the left, or northward in an up-hill course, as indicated by the arm and leg, and southward, or downward, as suggested by the lower inclination of the leg, and lower forearm and hand on the right of the illustration.

The right-hand figure, although similar in manner of delineating gesture and general resemblance to the Shoshonian method, is not yet determined in that connection.