Fig. 12 shows the dead warrior's totem, a tortoise, and beside it a headless man, which is a common symbol of death among Indian tribes. Below the trunk are three marks of honour. The next and more elaborated figure (13) records the achievements of Shingabawassin, a celebrated chief of the St. Mary's band. His totem, the crane, is shown reversed. The three marks on the left of the totem represent important general treaties of peace to which he had been a party; the six strokes on the right probably indicate the number of big battles which he fought. The pipe appears to be a symbol of peace, and the hatchet a symbol of war. In like manner head-boards erected over a woman have the various articles used by her in life, as cutting and sewing instruments and weaving utensils, depicted upon them. The third example (14) represents the _adjedatig_ or tomb-board of Wabojeeg, a celebrated war chief, who died on Lake Superior about 1793. His totem, the reindeer, is reversed, and his own name, which means the White Fisher, is not recorded. The seven strokes note the seven war parties whom he led; the three upright strokes as many wounds received in battle. The horned head tells of a desperate fight with a moose. [Illustration: Fig. 14.--Tomb-board of Indian Chief] [Illustration: Fig. 15.--Hunter's Grave-post] Fig. 15 is a reduced copy (Hoffman) of the grave-board of an Innuit hunter. The vocation of the dead man is shown in the _baidarka_, or boat, in which he is depicted as rowing with a companion. The object beneath represents a rack for drying fish and skins. Next to this are figures of a fox and a land otter, and the network drawing at the bottom is a copy of the hunter's summer dwelling. These temporary structures denote the abode of a skin-hunter, those used by fishermen being dome-shaped. Hoffman adds that "this differentiation in the shape of roofs of habitations applies to their pictorial representation and not to their actual form." In close connection with these mortuary boards there is the ornamentation of door-posts which we find among British Columbian, Polynesian, and Maori tribes; also the carvings on canoes and other personal effects to mark ownership or to identify the property with the totem. But to pursue this would take us into the domain of savage art generally, reference to which is warranted here only in its mnemonic uses as keeping alive knowledge of events which would otherwise perish. Obviously, the examples given above can fulfil only a limited purpose, because only the initiated can know their meaning. As Dr. Tylor remarks, such mode of record "may be compared to the elliptical forms of expression current in all societies whose attention is given specially to some narrow subject of interest, and where, as all men's minds have the same framework set up in them, it is not necessary to go into an elaborate description of the whole state of things; but one or two details are enough to enable the hearer to understand the whole.