(5) Walam Olum (p. 18): The name signifies "red score," from the Delaware walam, "painted," more particularly "painted red," and olum, "a score, tally-mark." The Walam Olum was first published in 1836 in a work entitled "The American Nations," by Constantine Samuel Rafinesque, a versatile and voluminous, but very erratic, French scholar, who spent the latter half of his life in this country, dying in Philadelphia in 1840. He asserted that it was a translation of a manuscript in the Delaware language, which was an interpretation of an ancient sacred metrical legend of the Delawares, recorded in pictographs cut upon wood, obtained in 1820 by a medical friend of his among the Delawares then living in central Indiana. He says himself: "These actual olum were first obtained in 1820 as a reward for a medical cure, deemed a curiosity, and were unexplicable. In 1822 were obtained from another individual the songs annexed thereto in the original language, but no one could be found by me able to translate them. I had therefore to learn the language since, by the help of Zeisberger, Heckewelder, and a manuscript dictionary, on purpose to translate them, which I only accomplished in 1833." On account of the unique character of the alleged Indian record and Rafinesque's own lack of standing among his scientific contemporaries, but little attention was paid to the discovery until Brinton took up the subject a few years ago. After a critical sifting of the evidence from every point of view he arrived at the conclusion that the work is a genuine native production, although the manuscript rendering is faulty, partly from the white scribe's ignorance of the language and partly from the Indian narrator's ignorance of the meaning of the archaic forms. Brinton's edition (q. v.), published from Rafinesque's manuscript, gives the legend in triplicate form--pictograph, Delaware, and English translation, with notes and glossary, and a valuable ethnologic introduction by Brinton himself. It is not known that any of the original woodcut pictographs of the Walam Olum are now in existence, although a statement of Rafinesque implies that he had seen them. As evidence of the truth of his statement, however, we have the fact that precisely similar pictographic series cut upon birch bark, each pictograph representing a line or couplet of a sacred metrical recitation, are now known to be common among the Ojibwa, Menomini, and other northern tribes. In 1762 a Delaware prophet recorded his visions in hieroglyphics cut upon a wooden stick, and about the year 1827 a Kickapoo reformer adopted the same method to propagate a new religion among the tribes. One of these "prayer sticks" is now in the National Museum, being all that remains of a large basketful delivered to a missionary in Indiana by a party of Kickapoo Indians in 1830 (see plate and description, pp. 665, 697 et seq. in the author's Ghost-dance Religion, Fourteenth Annual Report of the Bureau of Ethnology).