Headless figures are the symbols of the dead; scalps represent his own special victims; and in like manner incidents of the chase, or feats against the buffalo or grizzly bear, are recorded in graphic picturings, which are as intelligible as any monumental inscription of ancient or modern times. The description in Longfellow’s Indian epic of the celestial and terrestrial symbols, in actual use as Algonkin and other aboriginal hieroglyphics, would answer, with slight modification, for those still to be seen on the walls of Egyptian temples and catacombs:— For the earth he drew a straight line, For the sky a bow above it; White the span between for day-time, Filled with little stars for night-time; On the left a point for sunrise, On the right a point for sunset, On the top a point for noontide; And for rain and cloudy weather Waving lines descending from it. The picture-writing of the Aztecs, though greatly improved in execution, and simplified by abbreviations, was the same in principle as that of the rude northern tribes. The recognised signs of the months and days of their calendar are not greatly in advance of Indian symbolism; while some of their pictorial records are as definite pieces of literal representation as the battle of the reindeer from the Dordogne cave, or the peaceful grazing scene recovered from a Swiss grotto near Thayingen. One example of such a pictorial chronicling of an important event has been repeatedly described, and aptly illustrates its practical application. When Cortez held his first interview with the emissaries of Montezuma, one of the attendants of Teuhtlile, the chief Aztec noble, was observed sketching the novel visitors, their peculiar costumes and arms, their horses and ships; and by such means a report of all that pertained to the strange invaders of his dominion was transmitted to the Aztec sovereign. The skill with which every object was delineated excited the admiration of the Spaniards. But however superior this may have been as a piece of art, it was manifestly no advance on the principle of Indian picture-writing; nor can we be in much doubt as to its style of execution, since Lord Kingsborough’s elaborate work furnishes many facsimiles of nearly contemporary Mexican drawings. In the majority of these, the totemic symbols, and the representations of individuals by means of their animal or other cognomens, are abundantly apparent. The specific aim of the artist has to be kept in view. The figures are for the most part grotesque, from the necessity of giving predominance to the special feature in which the symbol is embodied. To the generation for which such were produced, the connection between the sign, and the person or thing signified, would be manifest; and as a mnemonic aid, supplemented by verbal descriptions of the trained official registrars, the record would be ample. But a brief interval suffices to render such abbreviated symbols obscure, if not wholly