Filled with curiosity, the boy opened it with trembling fingers, to find, just as he had anticipated, that it was covered with a series of queer characters, painted after the Indian fashion and representing men and animals.
“It’s Indian picture writing, you see, Roger!” Dick declared, “and must be meant for us, or else this brave would not give it over. He has been sent here from the far-away Sioux village to find us, and deliver a message.”
“Yes,” added Roger, excitedly. “And look, Dick, there is what seems to be the awkward but plain picture of a beaver at the end of the message. It must have been sent by our good friend, the chief of the Sioux.”
“You are right that far, Roger, for it is meant to be the signature of Beaver Tail, himself. Now to see if we can make out what it says!”
CHAPTER V
WHAT THE PICTURE WRITING TOLD
It was with the utmost eagerness that the two boys studied the strange characters depicted on the strip of bark. The hand that had drawn them there must have been accustomed to the task, and doubtless the story the message was meant to tell could have been easily read by the eyes of any Indian.
Dick and his cousin had seen samples of this queer picture writing before that time, and understood how the Indians depend on the natural sagacity of a woodsman, whether red or white, to decipher the meaning of the various characters. ([Note 3].)
“What can it all stand for?” demanded Roger, as he gazed blankly at the several lines of characters. “Perhaps we may have to call on some of the Mandans in the village to explain it to us.”