The least interesting specimen perhaps in the French collection is (fig. 14) the very indistinct elephant's head, minus the tusks, discovered by the Marquis de Vibraye in the cave of Laugerie Basse, Dordogne, France. Another so-called prehistoric representation of the mammoth, though resembling that animal only in the trunk-like prolongation of its muzzle, is (fig. 15) a more modern bronze specimen from Siberia. The writer of the description in the "Matériaux," vol. iv., p. 197, prefers to consider it a fantastic cat, tiger, or lion.
Fig. 15.—Bronze figure supposed to represent the Mammoth. (Siberia.)
[PART II.]
Let us picture to ourselves, as it occurred in ancient times, and when his customs and traditions were as yet uncontaminated by civilization, one of the great religious feasts of the Indian—a dance, in honor, perhaps, of the sun, or pipe of peace, or of the green corn.
A wildly picturesque scene rises before us, as we read the descriptions of writers who have witnessed these ceremonies in later days; such a scene, as—in the language of Catlin: "not all the years allotted to mortal man could in the least deface or obliterate from the memory."
The tribe is assembled in the Indian village, or upon a bare hill-top, or perhaps in a lonely spot in the forest; a great bonfire burns in their midst, around which many mysterious rites have been performed. The rain perhaps was to be called down from heaven, sickness averted, evil spirits to be exorcised and driven away, or the deer or moose to be led in a state of charmed fatuity into the midst of the camp. With wild noises and gestures the warriors have danced around the fire, waving corn-stalks, or fiercely brandishing their weapons of war; the odor of burning tobacco or roasting dog's flesh fills the air, and the forest re-echoes with the cawings of the crow, the "gobble" of the wild turkey, or the growl of the bear, exactly imitated by the dancers. With a truthfulness born of their intense sympathy for nature, the moving figures mimic the spring of the panther or wild-cat, the start of the deer, and the sinuous motion of the snake.
At length a figure, half man half animal, approaches—the prophet or medicine-man. Nothing can be more strange than his appearance; his dress is hung with the skins of snakes, frogs, and bats, and adorned with the beaks, tails, and toes of birds, and the hoofs of the deer and antelope,—a diabolical embodiment of animal monstrosity.