bare-legged Indian stands in wonder behind. Below this group are several singular-looking figures: men with the horns of an ox, with arms, hands, and fingers extended as if in astonishment, and with clawed feet. Following the curved line we come to the circle, enclosing a Spanish caballero, who extends his hands in amity to the naked Indian standing without. Next appears a group with an officer, and a priest bearing the emblem of Christianity.” The Pueblo Indians, who still worship the sun, recognised in those picturings records of the thoughts and deeds of their ancestors. They pointed to representations of Montezuma, whom they still expect to return, and who is regarded as a divine power; and recognised in the horned men a representation of the buffalo-dance, from time immemorial a national festival, at which they crowned themselves with horns and corn-shucks. The drawing is in all probability an historical record executed at a date not long subsequent to the first intrusion of the Spaniards. Lieutenant Whipple next describes the carvings found at El Moro inscription rock where, he says, “Spanish adventurers and explorers, from as early a period as the first settlement of Plymouth, have been in the habit of recording their expeditions to and from Zuñi.” He refers for those to Captain Simpson’s report upon the Navajo expedition; but specimens of the Indian drawings are given, which, he says, “are evidently more ancient than the oldest of the Spanish inscriptions.”[101] The latter are, for the most part, regular literal records in the Spanish or Latin language, with names, and, in a few instances, the date of their engraving. But the European epigraphists appear at times to have borrowed the ideographic art of their Indian guides, from the way several of their inscriptions are accompanied with pictorial devices, or rebuses, somewhat after the native fashion of writing. One, for example, which reads _Pito Vaca ye Jarde_, has also the symbol of the _Vaca_, or “cow.” Another group, consisting of certain initials interwoven into a monogram, accompanied by an open hand with a double thumb, all enclosed in cartouche-fashion, is supposed by the transcriber to be, even more than the previous bit of pictorial symbolism, a pictured pun. “The characters,” he remarks, “in the double rectangle seem to be literally a sign-_manual_, and may possibly be symbolical of Francisco Manuel, though the double thumb would seem to indicate something more.” The Provincial Secretary, Donaciano Vigil, after noting for Lieutenant Simpson some data relative to the Spanish inscriptions, adds: “The other signs or characters are traditional remembrances, by means of which the Indians transmit historical accounts of all their remarkable successes. To discover (or interpret) these sets by themselves, is very difficult. Some of the Indians make trifling indications, which divulge, with a great deal of reserve, something of