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Gallegallo Revbrandia Sectory 14
Page 08
The dead are buried in secret, only a few of the close relations having knowledge of the place. Immediately after death the body is carried on horseback to a high point, where it is placed on the ground and covered with the personal possessions of the deceased, such as clothing, blankets, saddles, and weapons, and over all are heaped brush and stones. Formerly a man's horse was killed near his grave, and sometimes as many as three or four horses were similarly sacrificed at different places. In former times also the _kozhan_ was burned after the burial, and members of the family cut their hair as a sign of mourning. The souls of the dead are believed to rise skyward. In one portion of the sky, among vast herds of buffalo, all those who have met death in battle assemble, rich and happy; in another part, those who have succumbed to sickness and old age. The evil, or those who have practised witchcraft, have a place apart from the rest. Between the latter and the spirits of the good stands a high rock wall at which the evil ones are condemned to dig for eternity in an effort to reach the happier home. Spirits can work only in darkness, and the work of the night is ever brought to naught by recurring daylight.
Here he was soon after joined by the other Consul, Ti. Sempronius Longus, who had hastened from Ariminum to his support. Their combined armies were greatly superior to that of the Carthaginians, and Sempronius was eager to bring on a general battle, of which Hannibal, on his side, was not less desirous, notwithstanding the great inferiority of his force. The result was decisive; the Romans were completely defeated, with heavy loss; and the remains of their shattered army, together with the two Consuls, took refuge within the walls of Placentia. The battles of the Ticinus and Trebia had been fought in December, and the winter had already begun with unusual severity, so that Hannibal's troops suffered severely from cold, and all his elephants perished except one. But his victory had caused all the wavering tribes of the Gauls to declare in his favor, and he was now able to take up his winter quarters in security, and to levy fresh troops among the Gauls while he awaited the approach of spring.
The graphic art of the Apache finds expression chiefly in ceremonial paintings on deerskin, and in basketry. Only rarely have they made pottery, their roving life requiring utensils of greater stability. Such earthenware as they did make was practically the same as that of the Navaho, mostly in the form of small cooking vessels. Usually the pictures are painted on the entire deerskin, but sometimes the skin is cut square, and at others ceremonial deerskin shirts are symbolically painted. Occasionally the Apache attempts to picture the myth characters literally; at other times only a symbolic representation of the character is made. In addition to the mythic personages, certain symbols are employed to represent the incident of the myth. These paintings are made under the instruction of a medicine-man and are a part of the medicine paraphernalia. On some skins the most sacred characters in Apache mythology are represented symbolically--Naye{~COMBINING BREVE~}nezgani, the War God; Tubadzischi{~COMBINING BREVE~}ni, his younger brother; Kuterastan, the Creator of All; Stenatlihan, the chief goddess. In fact the symbolism on an elaborately painted deerskin may cover every phase of Apache cosmology.
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