Pictures drawn by some of the northern tribes of the Dakota, the Titon, for instance, show the characteristic and distinctive features for a Crow Indian to be the distribution of the red war paint, which covers the forehead. A Dakota upon the same picture is designated by painting the face red from the eyes down to the end of the chin. Again, the Crow is designated by a top-knot of hair extending upward from the forehead, that lock of hair being actually worn by that tribe and brushed upward and slightly backward. See the seated figure in the record of Running-Antelope in Fig. 127, page 210. The Pueblos generally, when accurate and particular in delineation, designate the women of that tribe by a huge coil of hair over either ear. This custom prevails also among the Coyotèro Apaches, the women wearing the hair in a coil to denote a virgin or an unmarried person, while the coil is absent in the case of a married woman. The following remarks are extracted from the unpublished “Catalogue of the Relics of the Ancient Builders of the Southwest Tablelands,” by Mr. Thomas V. Keam: “The Maltese cross is the emblem of a virgin; still so recognized by the Mokis. It is a conventional development of a more common emblem of maidenhood, the form in which the maidens wear their hair arranged as a disk of three or four inches in diameter upon each side of the head. This discoidal arrangement of their hair is typical of the emblem of fructification, worn by the maiden in the Muingwa festival. Sometimes the hair, instead of being worn in the complete discoid form, is dressed from two curved twigs, and presents the form of two semi-circles upon each side of the head. The partition of these is sometimes horizontal and sometimes vertical. A combination of both of these styles presents the form from which the Maltese cross was conventionalized. The brim decorations are of ornamental locks of hair which a maiden trains to grow upon the sides of the forehead.” This strongly marked form of Maltese cross, the origin of which is above explained, appears frequently in the pottery, and also in the petroglyphs of the Moki. * * * * * Regarding the apparent subject matter of pictographs an obvious distinction may be made between hunting and land scenes such as would be familiar to interior tribes and those showing fishing and water transportation common to seaboard and lacustrine peoples. Similar and more perspicuous modes of discrimination are available. The general scope of known history, traditions, and myths may also serve in identification. * * * * * Knowledge of the priscan homes and of the migrations of tribes necessary to ascertain their former habitat in connection with the probable age of rock-etchings or paintings is manifestly desirable. MODES OF INTERPRETATION.