[Illustration: Fig. 20.--"Owl," from Squier and Davis.]
The erroneous identification of the manatee, the toucan, and of several
other animals having been pointed out, it may be well to glance at
certain others of the sculptured animal forms, the identification of
which by Squier and Davis has passed without dispute, with a view to
determining how far the accuracy of these authors in this particular
line is to be trusted, and how successful they have been in interpreting
the much lauded "fidelity to nature" of the mound sculptures.
Fig. 20 (Squier and Davis, Ancient Monuments of the Mississippi Valley,
p. 225, Fig. 123) represents a tube of steatite, upon which is carved,
as is stated, "in high relief this figure of an owl, attached with its
back to the tube." This carving, the authors state, is "remarkably bold
and spirited, and represents the bird with its claws contracted and
drawn up, and head and beak elevated as if in an attitude of defense and
defiance."
[Illustration: Fig. 21.--"Grouse," from Squier and Davis.]
This carving differs markedly from any of the avian sculptures, and
probably was not intended to represent a bird at all. The absence of
feather etchings and the peculiar shape of the wing are especially
noticeable. It more nearly resembles, if it can be said to resemble
anything, a bat, with the features very much distorted.
Fig. 21 (Fig. 170 from Squier and Davis) it is stated, "will readily be
recognized as intended to represent the head of the grouse."
The cere and plainly notched bill of this carving clearly indicate a
hawk, of what species it would be impossible to say.
[Illustration: Fig. 22.--"Turkey Buzzard," from Squier and
Davis.]
Fig. 22 (Fig. 171 from Squier and Davis) was, it is said, "probably
intended to represent a turkey buzzard." If so, the suggestion is a very
vague one. The notches cut in the mandibles, as in the case of the
carving of the wood duck (Fig. 168, Ancient Monuments), are perhaps
meant for serrations, of which there is no trace in the bill of the
buzzard. As suggested by Mr. Ridgway, it is perhaps nearer the cormorant
than anything else, although not executed with the detail necessary for
its satisfactory recognition.
[Illustration: Fig. 23.--"Cherry-bird," from Squier and Davis.]
Fig. 23 (Fig. 173 from Squier and Davis) it is claimed "much resembles
the tufted cherry-bird," which is by no means the case, as the bill
bears witness. It may pass, however, as a badly executed likeness of the
tufted cardinal grosbeak or red-bird. The same is true of Figs. 174 and
175, which are also said to be "cherry-birds."
Fig. 24 (Fig. 179 from Squier and Davis), of which Squier and Davis say
it is uncertain what bird it is intended to represent, is an
unmistakable likeness of a woodpecker, and is one of the best executed
of the series of bird carvings. To undertake to name the species would
be the merest guess-work.
[Illustration: Fig. 24.--Woodpecker, from Squier and Davis.]
The heads shown in Fig. 25, which the authors assert "was probably
intended to represent the eagle" and "are far superior in point of
finish, spirit, and truthfulness to any miniature carving, ancient or
modern, which have fallen under the notice of the authors," cannot be
identified further than to say they are raptorial birds of some sort,
probably not eagles but hawks.
Fig. 26 (Fig. 180 from Squier and Davis), according to the authors,
"certainly represents the rattlesnake." It certainly represents a snake,
but there is no hint in it of the peculiarities of the rattlesnake;
which, indeed, it would be difficult to portray in a rude carving like
this without showing the rattle. This is done in another carving, Fig.
196.
[Illustration: Fig. 25.--"Eagle," from Squier and Davis.]
The extraordinary terms of praise bestowed by the authors on the heads
of the hawks just alluded to, as well as on many other of the sculptured
animals, suggest the question whether the illustrations given in the
Ancient Monuments afford any adequate idea of the beauty and artistic
excellence asserted for the carvings, and so whether they are fair
objects for criticism. While of course for the purpose of this paper an
examination of the originals would have been preferable, yet, in as much
as the Smithsonian Institution contains casts which attest the general
accuracy of the drawings given, and, as the illustrations by other
authors afford no higher idea of their artistic execution, it would seem
that any criticism applicable to these illustrations must in the main
apply to the originals. With reference to the casts in the Smithsonian
collection it may be stated that Dr. Rau, who had abundant opportunity
to acquaint himself with the originals while in the possession of Mr.
Davis, informs the writer that they accurately represent the carvings,
and for purposes of study are practically as good as the originals. The
latter are, as is well known, in the Blackmore Museum, England.
[Illustration: Fig. 26.--"Rattlesnake," from Squier and Davis.]
Without going into further detail the matter may be summed up as
follows: Of forty-five of the animal carvings, including a few of clay,
which are figured in Squier and Davis's work, eleven are left unnamed by
the authors as not being recognizable; nineteen are identified
correctly, in a general way, as of a wolf, bear, heron, toad, &c.;
sixteen are demonstrably wrongly identified, leaving but five of which
the species is correctly given.
From this showing it appears that either the above authors' zoological
knowledge was faulty in the extreme, or else the mound sculptors'
ability in animal carving has been amazingly overestimated. However just
the first supposition may be, the last is certainly true.