THE STONE AGE IN
NORTH AMERICA
[Illustration:
FIG. 223. (_S. 1–1._)
_Two grooved effigies and two celts, from the Bahama Islands, West
Indies. Reproduced in natural colors. B. W. Arnold’s collection,
Albany, New York._
]
THE STONE AGE IN NORTH AMERICA
AN ARCHÆOLOGICAL ENCYCLOPEDIA OF THE IMPLEMENTS, ORNAMENTS, WEAPONS,
UTENSILS, ETC., OF THE PREHISTORIC TRIBES OF NORTH AMERICA, WITH MORE
THAN THREE HUNDRED FULL-PAGE PLATES AND FOUR HUNDRED FIGURES
ILLUSTRATING OVER FOUR THOUSAND DIFFERENT OBJECTS
BY
WARREN K. MOOREHEAD, A.M.
CURATOR OF THE DEPARTMENT OF AMERICAN ARCHÆOLOGY, PHILLIPS ACADEMY,
MEMBER OF THE BOARD OF INDIAN COMMISSIONERS, ETC.
IN TWO VOLUMES
VOL. II
[Illustration: [Logo]]
BOSTON AND NEW YORK
HOUGHTON MIFFLIN COMPANY
=The Riverside Press Cambridge=
1910
COPYRIGHT, 1910, BY WARREN K. MOOREHEAD
ALL RIGHTS RESERVED
_Published December 1910_
CONTENTS
XXV. GROUND STONE 1
Effigies in stone and wood—bird-stones 1
Animal and human effigies 20
XXVI. GROUND STONE 29
Stone pipes 29
The classification of pipes 32
XXVII. GROUND STONE 95
Mortars and pestles 95
XXVIII. OBJECTS OF SHELL 117
XXIX. OBJECTS OF BONE 134
Mandan bone implements 149
XXX. OBJECTS OF COPPER 161
The native copper implements of Wisconsin 161
Fabrication 172
Distribution 174
Classes and functions 178
Axes 180
Chisels 184
Spuds 186
Gouges 188
Adzes 189
Spatulas 192
Knives 196
Arrow- and spear-points 198
Harpoon-points 214
Pikes and punches 216
Awls and drills 219
Spikes 220
Needles 221
Fish-hooks—peculiar implements 222
Banner-stones—beads 224
Bangles 225
Finger-rings—ear-rings 226
Ear-spools or ear-plugs—gorgets and pendants 227
Crescents 228
Other ornaments 230
XXXI. TEXTILE FABRICS 235
XXXII. POTTERY OF THE UNITED STATES 247
XXXIII. HEMATITE OBJECTS 295
XXXIV. MISCELLANEOUS OBJECTS 308
XXXV. THE STONE AGE IN EASTERN CANADA, UTAH, AND DAKOTA 330
Eastern Canada 330
The Plains of western and central Canada 333
The stone age in Utah 336
Objects made of wood 336
Textiles; feather objects; bone objects 337
Objects made from teeth; shell objects; stone objects;
pottery objects 338
The stone age in Dakota 339
Hide and bark 339
Objects made from deer antlers; bone objects; shell
objects 340
Stone objects 341
Objects of copper; of pottery; of unbaked clay 342
XXXVI. CONCLUSIONS 344
The population in prehistoric times 344
The stone age in historic times 348
The antiquity of man in America 350
Adaptation to conditions 354
Art in ancient times and modern art 355
XXXVII. CONCLUSIONS 357
The ancient culture-groups 357
The stone-age point of view 363
Field study needed 365
BIBLIOGRAPHY 369
INDEX 411
THE STONE AGE IN NORTH AMERICA
CHAPTER XXV
GROUND STONE
EFFIGIES IN STONE AND WOOD—BIRD-STONES
Aboriginal man traced all sorts of figures on the rocks and occasionally
on the surfaces of flat ornaments and ceremonials. Not only did he make
pictures on shell gorgets and on birch bark, but he also carved complete
figures.
I have not made a special chapter for pictographs and picture writings,
but have dismissed them from this work, save with here and there a
reference. However, they represent stone-age pictorial art. Dr. Fewkes,
Mr. Cushing, Dr. Garrick Mallory and others have given us numerous
papers on picture writings, pictographs, painted and sculptured symbols.
Garrick Mallory’s report on the sign language among the American Indians
was published in the Eleventh Annual Report of the Bureau of Ethnology
and covers four hundred pages. This treats extensively of picture
writings and pictographs. He portrayed the attempts of stone-age man at
expressing his thoughts. He had not arrived at a written language save
in Mexico and Central America. In North America he was in the advanced
stone age. But he was very skillful in his pictographs and in his
carvings of human, animal, bird, reptile, and fish figures. It has
occurred to me that he first made rude scratches on flat surfaces, on
wigwam sides, on trees, on rocks near trails.
[Illustration:
FIG. 399. (S. 2–3.) Unfinished bird-stones. Localities: Ohio, Indiana,
Michigan. Phillips Academy collection.
]
[Illustration:
FIG. 400. (S. 1–1.) Unfinished bird-stone. Collection of Emily
Fletcher, Westford, Massachusetts.
]
[Illustration:
FIG. 401. (S. 2–3.) Unfinished bird-stone. Phillips Academy
collection.
]
It is significant that the Plains tribes and all the natives who did not
construct mounds or earthworks, natives that had not reached the stage
of barbarism but were still savages, made no effigies of consequence.
The effigies carved in catlinite, and observed among tribes west of the
Mississippi during the historic period, seem to have been inspired by a
knowledge of the superior arts of the white people. We find that while
the roving tribes of the Plains painted various battle and hunting
scenes on their tents and shields, yet they were inferior in art as
compared with the Pueblo, the Cliff-Dweller, or the Mound-Building
peoples. It is also significant, and I shall speak of it at greater
length in my Conclusions, that the native American was so little
influenced in his art by some life-forms. I have never seen an effigy of
a mountain, a tree, a plant, or a flower. The modern Ojibwa Indians
design flowers in their bead-work. The ancient Ojibwa did not. The
native American did not seem to have been impressed by plant-life or
inanimate objects. Occasionally, he scratched a trail or a tipi on an
ornament, and some of the pictographs in various portions of the United
States show wigwams, trails, etc. But while there are numerous examples
of carvings in stone, shell, and bone of animals, birds, fish, and
reptile life, we search in vain for carvings of the other things I have
mentioned. The highest art is found where the largest villages, or the
most numerous mounds or cliff-houses, were located. In small mound
groups, or areas where the population was not sedentary, the art is very
crude. Throughout the areas where the culture is highest, notably
Alabama, Georgia, Wisconsin, Tennessee, Arkansas, Missouri, Ohio, and
Illinois, we find these large mound groups referred to, all of which
proves that the people lived long enough in one place to develop an art.
[Illustration:
FIG. 402. (S. 1–1.) Central Ontario, Canada. Provincial Museum
collection.
]
This art we see in the carved effigies. To study them in detail requires
more space than is available in this volume. The Nomenclature Committee
placed all effigies under one head—“Resemblances to known forms.” Under
that general head I have placed:
I. The bird-stone in its various forms.
(A) Plain bird-stones.
(B) With ears or eyes, or with expanding wings.
II. Effigies in stone other than pipes.
III. Human effigies in stone and wood, including idols.
The classification made is rendered difficult because there are effigies
in bone, shell, clay, and stone, not to omit copper. Such effigies as
were drilled and used as pipes are described under the chapter devoted
to pipes. The bone effigies are included in the chapter devoted to shell
and bone, while copper is separately treated. Yet there remains, after
treating more or less completely of these various divisions, a large
class of stone objects which are not pipes, or tools, or dishes, and
which I have thought best to include by themselves. The largest division
in effigies is the so-called bird- or saddle-stone which is found
between the following lines: Davenport, Iowa, to central Minnesota, east
to New Brunswick, south to the Atlantic Coast, and thence south down the
coast to Washington, thence west to Davenport. Few bird-stones occur
south of Kentucky, west of Davenport, or north of St. Paul. The other
effigies are of multitudinous kinds and are widely scattered throughout
the United States.
[Illustration:
FIG. 403. (S. 1–1 and 1–2.) These three problematical forms are from
the Provincial Museum collection, Ontario, Canada. The upper one is
from central Ontario. The base view of the lower specimen is also
shown.
]
[Illustration:
FIG. 404. (S. 1–2.) Andover collection.
]
[Illustration:
FIG. 405. (S. 1–4.) W. A. Holmes’s collection, Chicago.
]
Figs. 399, 400, 401, and the central object in Fig. 269 are all
unfinished bird-stones. It was difficult for me to procure these, but
after some years of correspondence they were obtained.
The specimens clearly show the work of the hand-hammer. Fig. 401 and the
upper right-hand specimen in Fig. 399 have been pecked into shape and
the grinding-polishing process was well under way when the specimen was
set aside, or lost.
[Illustration:
FIG. 406. (S. about 1–3.) Collection of Leslie W. Hills, Fort Wayne,
Indiana.
]
In collecting numbers of these unfinished bird-stones, my object was to
prove that these slender, delicate objects did not indicate European
knowledge or influence, but were wrought after much labor from ordinary
stone by prehistoric man. None of them show the marks of steel
cutting-tools. Fig. 400 is the roughest one and yet the ears or eyes
stand out in relief. Fig. 399 is interesting in that it shows three on
which the result of pecking and battering is in evidence. The one to the
left, lower row, has been pecked, and ground, and was in process of
being polished when the work ceased.
[Illustration:
FIG. 407. (S. 1–2.) Collection of Leslie W. Hills, Fort Wayne,
Indiana.
]
Fig. 401, Andover collection, found in Ohio, is a large bird-stone about
five inches in length. The marks of the flint cutting-tool or of the
hard grained rubbing-stone, which cut the softer surface of the slate,
are still apparent. Fig. 404 presents various bird-stones, both rare and
common forms, with and without ears. These are found long and slender,
short and thick, almost as low as the bar-amulet, and also so high that
they merge into other effigies. Six bird-stones from the collection of
Mr. Leslie W. Hills of Fort Wayne, Indiana, are shown in Fig. 407.
[Illustration:
FIG. 408. (S. 3–5.) “This specimen is from western New York. It is
made in the form of a bird which from the number of similar
specimens have given the name to this class. The eyes are
represented by great protuberances, which must have greatly
increased the difficulty of manufacture. It is made from a boulder
or large piece, and while the material is hard, it is not rough but
rather fragile. It could not be chipped like flint nor whittled like
soapstone, but must have been hammered or pecked into shape and
afterwards ground to its present form, then polished until it is as
smooth as glass. A consideration of the conditions demonstrates the
difficulty of making this object and the dexterity and the
experienced working required.”[1] Material: diorite with feldspar
crystals. Smithsonian collection. Otis M. Bigelow’s collection,
Baldwinsville.
]
The bird-stones with projection on either side, which by some are called
ears, and by others eyes, are quite frequently found in the eastern
United States, and Canada. An unusual one is illustrated in Fig. 402,
this having one button-shaped knob on the top of the head. Figs. 406 and
409 from the collection of Mr. Hills illustrate bird-stones about one
third size, from various portions of Indiana, Ohio, and Canada; an
unfinished one in Fig. 409 (number on its side 561) is interesting in
that the bill or nose is unusually long, the head high, and the body
quite short. One beautiful specimen owned by Mr. George Little of Xenia,
Ohio, is illustrated in Fig. 410, and the specimen is turned in Fig. 411
so that the perforations are visible. The neck of this is unusually
long. It will be observed that all of these bird-stones have flat bases;
none of the bases are round.
In Figs. 404 to 411 are presented bird-stones, Class I, divisions A and
B. Naturally, there are more of plain bird-stones (A) than those with
large projecting ears, or elaborate heads. It will be observed that the
width of the tail varies, being long and narrow in some, short and
slightly flaring in others, and in still others broad, or fan-shaped.
Sometimes the eye is very small, as in the lower left-hand specimen,
Fig. 405. Or it may be sunken, several of which are shown in Fig. 409.
But usually it is worked in high relief.
There are presented, all told, in this chapter, sixty bird-stones. It
would be possible for me to present ten times this number. There are
included in the series numbers of effigy-like objects that might not be
classed by other observers as bird-stones. For instance, the central
specimen, top row, of Fig. 405.
The bird-stones are very interesting and unique objects and the range in
them is considerable. Sometimes they are almost square, as is seen in
the central specimen, lower row, Fig. 405. Again, the head is a
prominent feature, as is observed in the lower one in Fig. 409, and the
body is of secondary consideration. A group of these stones from the
Andover collection is shown in Fig. 404. The very small bird-stone in
the upper row to the left is half size of the original, as are the
others. This is the smallest bird-stone, the genuineness of which is
beyond question, brought to my attention. Just below it is a peculiarly
straight effigy from Tennessee, which is almost bar-amulet in shape, and
marks the merging of the bird-stone into the bar-amulet. Fig. 408 is an
expanded-wing type of unusual beauty. Fig. 405, from the collection of
W. A. Holmes, Chicago, shows typical bird-stones, with an unusual one,
almost like a frog, and shown in the centre at the top. Next to it to
the left is a short stone, hardly bird-like in character, of which a few
have been found in the United States. Fig. 403, from the collection in
the Provincial Museum, Toronto, Ontario, Canada, presents at the top a
stone as much bar-amulet as bird in character, and also a stone at the
bottom in the centre of which is worked a projection or knob.
Fig. 412, from the Reverend William Beauchamp’s collection, is somewhat
different from ordinary bird-stones, although it is included under that
class. In 1899 I issued a bulletin, “The Bird-Stone Ceremonial,” which
is now out of print. It illustrated fifty-three bird-stones. Since that
time Mr. Charles E. Brown has published a study of bird-stones.[2] This
is an excellent review.
Dr. Thomas Wilson once made a statement[3] concerning bird-stones, and I
quote one of his paragraphs: “The United States National Museum
possesses many of these specimens. While they bear a greater resemblance
to birds than anything else, yet scarcely any two of them are alike and
they change in form through the whole gamut until it is difficult to
determine whether it is a bird, a lizard, or a turtle, and finally the
series ends in a straight bar without pretense of presenting any
animal.”
[Illustration:
FIG. 409. (S. about 1–3.) Collection of Mr. Leslie W. Hills, Fort
Wayne, Indiana.
]
The range of material is from Huronian slate or shale to red sandstone,
granite, and porphyry. Usually the stone from which they are made is
banded or contains spots of color. They are either red, gray, or brown,
with variations. Sometimes feldspathic granite, diorite, and
porphyritic-feldspar are made use of. Dr. William Beauchamp gives a very
good description of some fifteen bird-stones.[4] I have reproduced none
of the illustrations he gives, but as his text is timely, I quote at
length from his paper:—
[Illustration:
FIG. 410. (S. 1–1.) Collection of George Little, Xenia, Ohio.
]
“The theories about their use seem fanciful, as some certainly are. Two
writers assert that they were worn by married or pregnant women only,
and many have accepted this statement. Others think they were worn by
conjurors, or fixed on the prows of canoes. It is enough to say that
some of the perforations are not adapted to any of these uses. It seems
better to class them with the war and prey or hunting gods of the Zuñis,
some of which they resemble. In that case the holes, of whatever kind,
would have given a firm hold on the thongs which bound the arrows to the
amulet, a matter of importance in an irregular figure.
“These perforations form the most important feature. The amulet may be
but a simple bar, but to each end of the base is a sloping hole, bored
from the end and base and meeting. To this necessary feature may be
added a simple head or tail, and there may also be projecting ears. None
of these are essential. They are but appropriate or tasteful
accessories.
“Two notable collections contain a large number of amulets. In the
Canadian collection at Toronto there are about fifty bird-amulets.”
Dr. Beauchamp mentions Mr. Douglass’s seventy specimens in the American
Museum of Natural History collection, and also refers to the rarity of
bar-amulets in Western New York:—
“They were variable in material as well as form, although most commonly
made of striped slate. Perhaps full half have projecting ears, when of
the bird-form. In the wider forms, usually of harder materials, there
are often cross-bars on the under side, in which the perforations are
made. Occasionally these are not entirely enclosed, yet are without
signs of breakage. This seems to prove that these were not intended as
means of attaching them to any larger object, on which they would rest,
but rather for fastening articles upon them, as in the Zuñi amulets
already mentioned, and which were illustrated by Mr. Frank H. Cushing,
in the Second Report of the Bureau of Ethnology. On comparison a general
resemblance to these will be seen, and in a few cases it is quite
striking. That they were used in this way, rather than in those
suggested by others, is a reasonable conclusion which gains strength
with fuller study. As a class they belong to the St. Lawrence basin.”
[Illustration:
FIG. 411. (S. 1–1.) Side view of Fig. 410.
]
Mr. Gerard Fowke and Professor David Boyle should be quoted upon this
subject. Mr. Fowke says:[5]
[Illustration:
FIG. 412. (S. 1–1.) Rev. William Beauchamp’s collection. From
Michigan.
]
“Stone relics of bird-form are quite common north of the Ohio River, but
are exceedingly rare south of that stream. [He illustrates the same
specimen figured by Dr. Wilson.]
“According to Gilman,[6] the bird-shape stones were worn on the head by
the Indian women, but only after marriage. Abbott quotes Colonel
Whittlesey to the effect that they were worn by Indian women to denote
pregnancy, and from William Penn that when the squaws were ready to
marry they wore something on their heads to indicate the fact.
[Illustration:
FIG. 413. (S. 1–4.) Peabody Museum, Cambridge.
]
“Jones[7] quotes from De Bry that the conjurors among the Virginia
Indians wore a small black bird above one of their ears as a badge of
office.”
Professor Boyle[8] says: “Although for convenience known as
bird-amulets—most of them being apparently highly conventionalized
bird-forms—now and again one sees specimens that are not suggestive of
birds, whatever else they may have been intended to symbolize. In some
instances there has not been any attempt to imitate eyes even by means
of a depression, but in the majority of cases the eyes are enormously
exaggerated, and stand out like buttons on a short stalk, fully half an
inch beyond the side of the head. In every finished specimen the hole is
bored diagonally through the middle of each end of the base, upwards and
downwards. If merely for suspension when being carried, one hole would
be sufficient, but the probability is that these were intended for
fastening the ‘amulets’ to some other object, but what, or for what
purpose, is not known.
“It has been suggested that these articles ... were employed in playing
a game; that they are totems of tribes or clans; and that they were
talismans in some way connected with the hunt for waterfowl. They are,
at all events, among the most curious and highly finished specimens of
Indian handicraft in stone found in this part of America, and the
collection of them in the Provincial Archæological Museum is said to be
the best that has been made.”
[Illustration:
FIG. 414. (S. 3–8.) Effigy of a whale. Andover collection. This stone
was found near Fall River, Massachusetts. It appears to be an effigy
of a whale. Numbers of rude effigies, more or less whale-like in
character, are found along the Atlantic seaboard in Connecticut and
Massachusetts. Doubtless the whale would excite wonder in the minds
of aborigines—hence the effigies.
]
[Illustration:
FIG. 415. (S. 1–2.) Bear effigy. Found near the corner of Essex and
Boston Streets, Salem, Massachusetts, in 1830.
]
[Illustration:
FIG. 416. (S. 1–3.) Group of various objects from ruins near Phœnix,
Arizona. Phillips Academy collection.
]
Professor Boyle speaks of the bar-amulet after treating of bird-stones,
but he does not class them as the same kind of ceremonials.
Frank Hamilton Cushing illustrated bird-stones and flat tablets, and he
thought the bird-stones were tied on flat tablets and these worn on the
head. I inclined to that opinion when I published “The Bird-Stone
Ceremonial,” but now I do not believe this, for the reason that most
bird-stones could not be conveniently tied to flat tablets.
[Illustration:
FIG. 417. (S. 1–1.) Phillips Academy collection.
]
That they are found in regions where there are many mounds used to be
stated, but this is hardly correct. They have never been found in a
mound, and I do not know of an instance where they have been found in
graves. They occur more in northern Ohio, Canada, and New York State
than elsewhere except Michigan and Wisconsin. I firmly believe that they
were not made and used by mound-building tribes but antedate the
mound-building period. As to the exact purpose of these things I leave
others to judge.
ANIMAL AND HUMAN EFFIGIES
There are many crude effigies, many grotesque sculptures found in this
country. There are also stones that are in the border-lands between
highly developed problematical forms and effigies. Fig. 413 presents a
group of these from the Peabody Museum at Cambridge, Massachusetts. The
upper row appears to be whale effigies. In the lower row are small stone
bowls or paint-cups.
[Illustration:
FIG. 418. (S. 1–2.) shows four peculiar stones from the Salt River
Valley, Arizona. The one in the lower left-hand corner illustrates
an armadillo; in the upper right-hand corner, an owl. The others are
unknown effigies. These Arizona specimens are all of volcanic tufa,
and are typical of the region. Large numbers were found by Mr.
Cushing during his explorations of the ruins of the Salt River
Valley, and something like a hundred were dug up by me for Mr.
Peabody when I visited the region. The purpose of these is unknown.
]
[Illustration:
FIG. 419. (S. 1–1.) Front view of the “Owl Ornament,” found in a grave
at Fort Ancient, Ohio, 1882. Collection of the Ohio State
University. One of the first specimens collected by W. K. Moorehead
at Fort Ancient. Material, graphite slate.
Few finer problematical forms have been found. There are two grooves
on the face and back of this object. One runs from the top down
about an inch and one half, intersecting the other. In the angles
formed by these two grooves are two perforations extending through
the stone and drilled from each side. At the bottom is an
oval-shaped hole on the face extending through. This latter
perforation does not exhibit an oval shape from the rear, but
presents a round appearance. Around this oval-shaped depression are
fourteen holes, each drilled about one eighth of an inch deep. They
present the form of an arrow-head, or a heart. On the reverse side
are two holes above the oval perforations which are not drilled
through the stone, and which lie just under the horizontal groove.
The remarkable part of this stone is that the symbol, three, occurs
on it in three places—on the face twice and on the reverse once.
]
Quite a number of these whale and other effigies have been found in New
England; but effigy-work in stone, the making of art-forms from life,
was more general in the South and Southwest than in New England, where,
indeed, effigy animals are exceedingly rare.
Fig. 415 illustrates an effigy of a bear. This was found in Salem during
excavations for a cellar and is in the Peabody Museum of that city.
Mr. L. C. Deming, Ft. Wayne, Indiana, owns a peculiar effigy in stone
about six inches in height. Just what it represents I am unable to
state, as the ancient workman’s sculpture is crude.
[Illustration:
FIG. 420. (S. 1–1.) The “Owl Ornament,” rear view.
]
[Illustration:
FIG. 421. (S. 1–1.) Salem collection. This shows a grooved bar-like
object at the bottom, and a curious effigy pendant above.
]
[Illustration:
FIG. 422. (S. 1–3.) W. E. Bryan’s collection, Elmira, New York.
]
Fig. 416 shows a number of spindle-whorls to which reference has been
made elsewhere. These are made of clay, hard baked. In the lower centre
is a stone idol found in a large ruin at Mesa, Arizona. It is made of
hard redstone. There is a little depression in the top of the head half
an inch in depth. Near the top is a curious animal effigy with eight
legs. This is made of fine-grained lava and has a depression in the
centre about one and one half inches in diameter.
[Illustration:
FIG. 423. (S. 1–1.) From a mound near South Carrollton, Kentucky.
Presented to the Phillips Academy Museum, by F. G. Hilman, New
Bedford, Massachusetts.
]
Fig. 417 illustrates two effigies, full size, of black onyx, each
typifying a bird. These are very finely carved and were found in
southern Arizona in a ruin, by the expedition sent there by Mr. R. S.
Peabody, 1897–98.
The human form was frequently indicated in stone by the Indians. These
sculptures range from very crude delineations, which I have not shown,
to the first steps in more ambitious work, such as is exhibited in Fig.
422. This stone head was found near Elmira, New York, by Mr. Ward E.
Bryan. The original was seven or eight inches in length. It is cut out
of fine-grained sandstone. On the back are curious lines and dots as
shown in the figure. The face shown is much cruder than that in Fig.
423. That face is of the peculiar type known as “Mound-Builder.” I have
referred to this resemblance elsewhere. Inspection of Fig. 499 in the
pipe series, found by Professor Mills at Adena, in the Scioto Valley,
Ohio, and of the idol, Fig. 426, and some of the effigy pottery, will
acquaint readers with this curious, strongly marked, Mound-Builder type
of feature. Other examples are to be seen in books treating of American
archæology.
[Illustration:
FIG. 424. (S. 1–4.) An idol and three flutes. B. H. Young’s
collection.
The long flute at the top is made of slate. The head is an imitation
of a serpent’s head. It has five holes regularly spaced. It is
evident that a small block of wood was placed in the mouth to lessen
the wind space.
The central one is of stone, open at both ends, with four holes.
The smallest one, of bone, is open at both ends.
On each of these instruments from seven to nine different sounds can
be made.
The idol was found in Tennessee, near the Kentucky line. It is made of
dark steatite, and is unique in representing the full human form.
]
The idol presented in Fig. 426 is a remarkable effigy. Not a few of
these have been found near the Etowah Group of mounds in Georgia. All
such idols have either been found in graves or on the sites of Southern
villages, where population was considerable. I never knew of them being
found in a mound, although there may have been such discoveries.
[Illustration:
FIG. 425. (S. 1–3.) B. H. Young’s collection. Wooden image found many
years ago in Bell County, Kentucky, near Middlesboro, in a cave by a
turkey-hunter. It is made of yellow pine, and is of form similar to
the stone effigies found in Kentucky. The ears are pierced for
ear-rings, and the wrists grooved for bracelets.
]
[Illustration:
FIG. 426. (S. about 1–6.) Found in 1886 near the Etowah Group of
mounds, Cartersville, Georgia. Material, steatite. Height, 21
inches. Weight, 56½ pounds.
]