Decided traces of conventionalism also are to be found in many of the animal carvings, and the method of indicating the wings and feathers of birds, the scales of the serpent, &c., are almost precisely what is to be observed in modern Indian productions of a similar kind.

Few and faint as are these tendencies towards caricaturing and conventionalizing as compared with what may be noted in the artistic productions of the Haidahs, Chinooks, and other tribes of the Northwest, they are yet sufficient to show that in these particulars no hard and fast line can be drawn between the art of the Indian and of the Mound-Builder.

As showing how narrow is the line that separates the conventional and imitative methods of art, it is of interest to note that among the Esquimaux the two stages of art are found flourishing side by side. In their curious masks, carved into forms the most quaint and grotesque, and in many of their carvings of animals, partaking as they do of a half human, half animal character, we have abundant evidence of what authors have characterized as savage taste in sculpture. But the same tribes execute carvings of animals, as seals, sea-lions, whales, bears, &c., which, though generally wanting in the careful modeling necessary to constitute fine sculpture, and for absolute specific resemblance, are generally recognizable likenesses. Now and then indeed is to be found a carving which is noteworthy for spirited execution and faithful modeling. The best of them are far superior to the best executed carvings from the mounds, and, are much worthier objects for comparison with modern artistic work.

As deducible from the above premises it may be observed that, while the state of art among primitive peoples as exemplified by their artistic productions may be a useful index in determining their relative position in the scale of progress, unless used with caution and in connection with other and more reliable standards of measurement it will lead to very erroneous conclusions. If, for instance, skill and ingenuity in the art of carving and etching be accepted as affording a proper idea of a people's progress in general culture, the Esquimaux of Alaska should be placed in the front rank of American tribes, a position needless to say which cannot be accorded them from more general considerations. On the other hand, while the evidences of artistic skill left by the Iroquoian tribes are in no way comparable to the work produced by the Esquimaux, yet the former have usually been assigned a very advanced position as compared with other American tribes.

GENERAL CONCLUSIONS.

The more important conclusions reached in the foregoing paper may be briefly summed up as follows:

That of the carvings from the mounds which can be identified there are no representations of birds or animals not indigenous to the Mississippi Valley.

And consequently that the theories of origin for the Mound Builders suggested by the presence in the mounds of carvings of supposed foreign animals are without basis.

Second. That a large majority of the carvings, instead of being, as assumed, exact likenesses from nature, possess in reality only the most general resemblance to the birds and animals of the region which they were doubtless intended to represent.

Third. That there is no reason for believing that the masks and sculptures of human faces are more correct likenesses than are the animal carvings.

Fourth. That the state of art-culture reached by the Mound Builders, as illustrated by their carvings, has been greatly overestimated.



INDEX.

Animal carvings from mounds of the Mississippi Valley, by H. W. Henshaw, 117 Bat, Carving of the, 144 Birds domesticated by Indians, 138 Buzzard, Range of the, 142 Carvings, Animal, from mounds, 117 "Cherry Bird", Carving of the, 145 Cincinnati tablet, 133 Conch shell, Range of the, 143 Coues, Dr. E., on bird carvings from mounds, 148 Cougar, Range of the, 142 Crow, Carvings of the, 136 Cushing, F. H., on Zuni fetiches, 145 Dall, W. H., on the conch shell (Pyrula), 143 Eagle, Carvings of the, 146 "Elephant mound", 152 pipes, 155 "Grouce," Carving of the, 144 Henshaw, H. W., Animal Carvings from Mounds of the Miss. Valley, 117 Human sculptures, 160 Jaguar, Range of the, 142 Manatee, Sculptures of the, 125 Mound-builders' art vs. Indian art, 164 carvings, 117 skill in sculpture, 148 methods in art, 149 Mounds, Animal, 152 Otter, Carvings of the, 125 Owl, Carvings of the, 144 Panther, Range of the, 142 Paroquet, Carving of the, 139 , Range of the, 140 Pipe sculpture of the mounds builders, 124 Pipes, "Elephant", 155,157 Pyrula perversa, Range of the, 143 "Rattlesnake," Carving of the, 147 Skill in sculpture of the Mounds Builders, 148 Squirrel, Ground, Carving of the, 128 Totemism, 150 Tropical animals known to Mound Builders, 142 "Turkey" Buzzard, Carving of the, 145 White, C. A., Unios identified by, 129 Wilson on the conch shell (Pyrula), 143 carvings of tropical animals, 142 Woodpecker, Carvings of the, 146

THE END