LIST OF FIGURES IN THE TEXT
| No. | Page | |
| 1. | Map of Australia showing geographical distribution of tribes | [4] |
| 2. | Peculiar “hand-like” feet of Berringin tribesman | [11] |
| 3. | Berringin women netting fish | [130] |
| 4. | Two Arunndta carvings of scenes in a dagger-duel | [172] |
| 5. | Types of spears | [191] |
| 6. | Sacred sun-design of the “Ilpalinja” ceremony | [266] |
| 7. | Stone phallus, Northern Kimberleys, Western Australia | [284] |
| 8. | Ochre drawing of “Kukadja” men, north of Wickham River, Northern Territory | [286] |
| 9. | Charcoal drawing of a Kukadja man named “Mongarrapungja” dancing at a sacred fire with an ancestral female, Pigeon Hole, Victoria River | [293] |
| 10. | Rock carvings at Port Hedland | [300] |
| 11. | Rock carvings at Port Hedland | [301] |
| 12. | Rock carvings at Port Hedland | [301] |
| 13. | Sketch of reconstructed manus of Diprotodon compared with tracing of carving of supposed Diprotodon track at Yunta | [307] |
| 14. | Carved grave posts of Melville and Bathurst Islanders | [310] |
| 15. | Ochre drawing, Glenelg River, Western Australia | [312] |
| 16. | Carved crocodile design on boabab nut, Derby district, Western Australia | [313] |
| 17. | “Dangorra,” the great emu in the southern sky | [315] |
| 18. | Boomerang with a number of emu designs carved upon it, Pidunga tribe, Broome | [317] |
| 19. | Charcoal sketch of crows, Pigeon Hole, Victoria River | [319] |
| 20. | Pipe-clay cave-drawings of dancing figures, Humbert River, Northern Territory | [320] |
| 21. | Charcoal drawing of hopping kangaroos, Pigeon Hole, Victoria River | [321] |
| 22. | Bark-drawing depicting an eagle-hawk clawing and tearing the carcass of a wallaby, Port Darwin | [323] |
| 23. | Pipe-clay drawing of man and dogs, Humbert River | [324] |
| 24. | Charcoal sketch of native hunting buffalo, Pigeon Hole, Victoria River | [325] |
| 25. | Charcoal sketch of native spearing kangaroo, Pigeon Hole, Victoria River | [326] |
| 26. | Carving depicting a quarrel between a man and his gin, Arunndta tribe | [328] |
| 27. | Ochre-drawing of spear-boomerang duel, Arunndta tribe | [330] |
| 28. | Charcoal sketch of ceremonial dance, Pigeon Hole, Victoria River | [332] |
| 29. | Remarkable cave drawing, Glenelg River, N.W. Australia | [333] |
| 30. | Pictograph of lizard, natural and conventional form | [334] |
| 31. | Normal, conventional, and emblematic representations of turtle | [335] |
| 32. | Normal, conventional, and emblematic representations of frog | [335] |
| 33. | Normal, conventional, and emblematic representations of echidna | [336] |
| 34. | Conventionalized “Ladjia” or yam tjuringa pattern | [337] |
| 35. | A dog track | [338] |
| 36. | A kangaroo track | [338] |
| 37. | A rabbit track | [339] |
| 38. | Emu tracks | [339] |
| 39. | Pictographic representation of nesting emu | [340] |
| 40. | A lizard track | [340] |
| 41. | A snake or snake track | [341] |
| 42. | Human foot-prints and trail | [342] |
| 43. | “A man is tracking a rabbit.” Simple example of pictography | [344] |
| 44. | Pictographic representation of emu hunt | [344] |
| 45. | Flying fox pattern | [345] |
| 46. | Conventional representation of hopping kangaroo | [346] |
| 47. | Crossed boomerangs, the symbolic representation of a fight | [347] |
| 48. | Witchedy grub tjuringa, Arunndta tribe | [348] |
| 49. | Symbolic pictograph of kangaroo tjuringa, Arunndta tribe | [349] |
| 50. | Symbolic pictograph of caterpillar tjuringa, Arunndta tribe | [350] |
| 51. | Symbolic drawing of “native-pear totem,” Arunndta tribe | [351] |
| 52. | Ochre drawing and tree-carving of man with shield, Humbert River | [352] |
| 53. | Human chain-pattern | [353] |
| 54. | Camps consisting of a man and his wife, and of eight men | [353] |
| 55. | Anthropomorphous designs, carved on spear-throwers | [354] |
| 56. | Anthropomorphous design, carved on pearl-shell, Sunday Island | [355] |
| 57. | Sign language of Arunndta tribe | [391] |
CHAPTER I
INTRODUCTION TO AN AUSTRALIAN TRIBE
The lonely bush of Australia—The silence is broken—A mysterious call-note—A human figure in the distance—Coo-ee!—A voluntary but cautious escort—The official approach and salutation—Friendship established—Tribal introductions.
Let us imagine that we are travelling with a caravan over a lonely tract of ground, in a remote district of the Australian bush, which has not been contaminated by any disturbing influence of our civilization. In consequence of the serenity and the deserted aspect of the scene around us, we would be wondering whether the place holds any mortal creatures but our party. We might even have resigned ourselves to the inevitable desolation.
Suddenly the spell is broken by a faint sound falling upon our ears—a long-drawn, shrill, yet melodious note—then all is silent again.
What could it have been? We are in doubt as to whether this was the call of a bird or animal, or a phenomenon unknown to us; being so far away from any centre of industry, a locomotive or factory whistle is quite out of the question. Eagerly we wait for a possible repetition of the singular sound.
Soon, indeed, it comes again; and, with the attentiveness our expectation has solicited, we now recognize the human character of the note. Presently it is repeated, then again, and yet again. But where does it come from? So far we know not.