No. 1 is the author of the chart, a Midē´ who was called upon to take the life of a man living at a distant camp. The line extending from the midē´ to the figure at No. 9, signifies that his influence will reach to that distance.
No. 2, the applicant for assistance.
Nos. 3, 4, 5, and 6, represent the four degrees of the Midē´wiwin (of which the operator, in this instance, was a member). The degrees are furthermore specifically designated by short vertical strokes.
No. 7 is the midē´ drum used during the ceremony of preparing the charm.
No. 8 represents the body of the intended victim. The heart is indicated, and upon this spot was rubbed a small quantity of vermilion.
No. 9 is the outline of a lake, where the subject operated upon resided.
War parties are not formed at this time, but mnemonic charts of songs used by priests to encourage war parties, are still extant, and a reproduction of one is given on [Pl. XIII, D]. This song was used by the Midē´ priest to insure success to the parties. The members who intended participating in the exhibition would meet on the evening preceding their departure, and while listening to the words, some would join in the singing while others would dance. The lines may be repeated ad libitum so as to lengthen the entire series of phrases according to the prevalent enthusiasm and the time at the disposal of the performers. The war drum was used, and there were always five or six drummers so as to produce sufficient noise to accord with the loud and animated singing of a large body of excited men. This drum is, in size, like that employed for dancing. It is made by covering with rawhide an old kettle, or wooden vessel, from 2 to 3 feet in diameter. The drum is then attached to four sticks, or short posts, so as to prevent its touching the ground, thus affording every advantage for producing full and resonant sounds, when struck. The drumsticks are strong withes, at the end of each of which is fastened a ball of buckskin thongs. The following lines are repeated ad libitum:
