Fig. 653: a is an Ojibwa pictograph taken from Schoolcraft representing “medicine man,” “meda.” With these horns and spiral may be collated b in the same figure, which portrays the ram-headed Egyptian god Knuphis, or Chnum, the spirit, in a shrine on the boat of the sun, canopied by the serpent goddess Ranno, who is also seen facing him inside the shrine. This is reproduced from Cooper’s Serpent Myths (a). The same deity is represented in Champollion (a) as reproduced in Fig. 653, c.
d is an Ojibwa pictograph found in Schoolcraft (i) and given as “power.” It corresponds with the Absaroka sign for “medicine man” made by passing the extended and separated index and second finger of the right hand upward from the forehead, spirally, and is considered to indicate “superior knowledge.” Among the Otos, as part of the sign with the same meaning, both hands are raised to the side of the head and the extended indices pressing the temples.
e is also an Ojibwa pictograph from Schoolcraft, same volume, Pl. 59, and is said to signify Meda’s power. It corresponds with another sign made for “medicine man” by the Absaroka and Comanche, viz, the hand passed upward before the forehead, with index loosely extended. Combined with the sign for “sky” it means knowledge of superior matters, spiritual power.
In many parts of the United States and Canada rocks and large stones are found which generally were decorated with paint and were regarded as possessing supernatural power, yet, so far as ascertained, were not directly connected with any special personage of Indian mythology. One of the earliest accounts of these painted stones was made by the Abbé de Gallinée and is published in Margry (d). The Abbé, with La Salle’s party in 1669, found on the Detroit river, six leagues above Lake Erie, a large stone remotely resembling a human figure and painted, the face made with red paint. All the Indians of the region—Algonquian and Iroquoian—believed that the rock-image could give safety in the passage of the lake, if properly placated, and they never ventured on the passage without offering to it presents of skins, food, tobacco, or like sacrifices. La Salle’s party, which had met with misfortune, seems to have been so much impressed with the evil powers of the image that they broke it into pieces.
Keating’s Long (e) tells:
At one of the landing places of the St. Peters river, in the Sioux country, we observed a block of granite of about eighty pounds weight; it was painted red and covered with a grass fillet, in which were placed twists of tobacco offered up in sacrifice. Feathers were stuck in the ground all round the stone.
Mrs. Eastman (a) also describes a stone painted red, which the Dakotas called grandfather, in reverence, at or near which they placed as offerings their most valuable articles. They also killed dogs and horses before it as sacrifices.
In “A study of Pueblo Architecture,” by Victor Mindeleff, in the Eighth Annual Report of the Bureau of Ethnology, is an account of the cosmology of the Pueblos as symbolized in their architecture and figured devices, as follows:
In the beginning all men lived together in the lowest depths, in a region of darkness and moisture; their bodies were misshapen and horrible and they suffered great misery, moaning and bewailing continually. Through the intervention of Myuingwa (a vague conception known as the god of the interior) and of Baholikonga (a crested serpent of enormous size, the genius of water) “the old man” obtained a seed from which sprang a magic growth of cane. It penetrated through a crevice in the roof overhead and mankind climbed to a higher plane. A dim light appeared in this stage and vegetation was produced. Another magic growth of cane afforded the means of rising to a still higher plane, on which the light was brighter; vegetation was reproduced and the animal kingdom was created. The final ascent to this present or fourth plane was effected by similar magic growths and was led by mythic twins, according to some of the myths, by climbing a great pine tree, in others by climbing the cane, Phragmites communis, the alternate leaves of which afforded steps as of a ladder, and in still others it is said to have been a rush, through the interior of which the people passed up to the surface. The twins sang as they pulled the people out, and when their song was ended no more were allowed to come, and hence many more were left below than were permitted to come above; but the outlet through which mankind came has never been closed, and Myuingwa sends through it the germs of all living things. It is still symbolized by the peculiar construction of the hatchway of the kiva and in the designs on the sand altars in these underground chambers, by the unconnected circle painted on pottery, and by devices on basketry and other textile fabrics.