McMahan Mound, Tennessee.
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After having examined this design so critically, it will be an easy matter to interpret that engraved upon the tablet illustrated in Plate LXXII. Although found in widely separated localities, and engraved in a somewhat different style, they are identical in type, and exhibit but slight differences in detail. At the top of the plate we have the two doubly conical perforations for suspension, but the double border line is not completed above, being interrupted by the plumes from the head. The head itself is decorated with the usual crown of radiating lines, a small circle with a central pit represents the eye, and below this is a well-defined mouth with a double row of teeth. Extending to the right from the mouth is an appendage consisting of one straight and two interrupted lines, which may be a part of the costume, or, since it issues from the mouth, may possibly symbolize speech. The body, which is short and straight, is divided vertically into three parts; the central space contains a large conical perforation, and is covered with a lace-work of lines; the lateral spaces are ornamented with rows of buttons or scales, which consist of meagerly outlined circles with central dots. The curiously folded arms have precisely the same relative positions as the corresponding members in the other specimen, and the fingers touch the bordering line on the right and left, the thumb being turned backward against the elbow. The legs are represented in a manner that suggests a sitting posture, the rounded knees coming in front of and joining the base of the body; in position and decoration they repeat the other specimen. The feet, or the rounded extremities that represent them, rest upon the border line, as in the case previously described, and terminate in upturned talons that are long, curved, and jointed, and terminate in square or blunt tips. Plume-like appendages are attached to the arms and legs, and fill the spaces not occupied by the members of the body; these plumes or pendants are always represented by folded bands or fillets which are ornamented on one side with dots. A plume attached to the left side of the head is represented by two curved lines, which reach to the edge of the shell. There are five perforations, two for suspension, two at the sides of the face, and one near the middle of the trunk. This specimen is in a very perfect state of preservation, the surface being smooth and but little stained. It is somewhat pear-shaped, resembling in this respect the mask-like gorgets previously described. It is about seven inches in height and five in width, and has been made from a very thick and compact shell, probably a Busycon. It was obtained from a mound in Meigs County, Tennessee, and is preserved in the Peabody Museum. In mechanical execution this specimen is much superior to the preceding one; the edges and surface of the shell are nicely dressed, although the lines of the design are indifferently cut.

PL. LXXII—SHELL GORGET—THE HUMAN FIGURE.

Mound, Tennessee.
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Another unique shell gorget is presented in Plate LXXIII. It was obtained from a mound in Southeastern Missouri, and is now in the possession of Professor Potter, of Saint Louis. The disk is about four and a half inches in diameter, and was originally nearly circular, but the edges are now much decayed and battered. A cut with a brief description is given by Mr. A. J. Conant in his recent work, "Foot-prints of Vanished Races," page 95. My cut is made from a photograph obtained from Professor Putnam, of the Peabody Museum. This is probably the same photograph used by Mr. Conant. The engraved design is of a totally distinct type from the last, and evinces a much higher grade of skill in the artist. It is encircled by six nearly parallel lines, which occupy about half an inch of the border of the disk. Portions of these still remain, the inner one being nearly entire. Between this and the second line are two perforations for suspension. The idea first suggested by a glance at the engraved design is that it strongly resembles the work of the ancient Mexicans, and the second idea of many archæologists will probably be that there may be a doubt of its genuineness. Setting this question aside for the present, let us examine the engraving in detail. Placing the plate so that the two perforations are at the left, we have the principal figure in an upright posture. This figure apparently represents a personage of some importance, as he is decked from head to foot with a profusion of ornaments and symbols. He is shown in profile with the arms extended in action, and the feet separated as if in the act of stepping forward. The head is large, occupying about one-third of the height of the design. The elaborate head-dress fills the upper part of the inclosed space, pendant plumes descend to the shoulders before and behind, and circular ornaments are attached to the hair and the ear. The conventionalized eye is lozenge or diamond shaped, with a small conical pit for the pupil.

The profile shows a full forehead, a strong nose, and a prominent chin. Two lines extend across the cheek from the bridge of the nose to the base of the ear. In and projecting from the mouth is a symbolic figure, the meaning of which can only be conjectured. The shoulders and body are but meagerly represented. From the waist a peculiar apron-like object is suspended, which reaches to the knees; it may be a part of the costume or a priestly symbol. The legs and feet are dwarfed, but quite well outlined. There are encircling bands at the knees and ankles, and a fan-like extension of the costume, somewhat resembling the tail of a bird, descends between the legs. Attached to the back, is a figure of a rather extraordinary character. Similar figures may be seen in some of the Mexican paintings, and seem to represent a contrivance for carrying burdens, in which at times elfish figures are accommodated. The right arm is extended forward, and the hand grasps a singular shaft, with which a blow is aimed at the severed head of a victim, which is held face downward by the left hand of the standing figure. The severed head still retains the plumed cap, from which a long pendant descends in front of the face. The eye is lozenge-shaped. A zigzag line crosses the cheek from the ear to the bridge of the nose, and a curious symbolic figure is represented as issuing from the mouth. The shaft held in the right hand seems to issue from a circular figure, doubtless of symbolic character, which occupies the space in front of the head of the standing figure. It is possible that the figure which issues from the mouth of the victim represents the point of this mystic shaft which has penetrated the head, although we should have to allow some inaccuracies in the drawing if this were the case. Any one at all familiar with the curious pictographic manuscripts of the ancient Mexicans will see at a glance that we have here a sacrificial scene, in which a priest seems to be engaged in the sacrifice of a human being. In the extraordinary manuscripts of the ancient Aztecs we have many parallels to this design. So closely does it approach the Aztec type that, although no duplicate can be found in any of the codices, there is not a single idea, a single member or ornament that has not its analogue in the Mexican manuscripts. To make this clear to every one I present, in Plate LXXV, Fig. 4, a single example for comparison. This one is selected from the manuscript of M. De Féjerváry, preserved at Budapest, Hungary.[154] Fortunately for the credit of this Missouri relic we do not find its duplicate—there are only family resemblances; there are similar plumes, with similar ornaments and pendants, similar costume and attitudes; there are similar features and similar symbols; but there is no absolute identity, except in motive and conception.

PL. LXXIII—SHELL GORGET—THE HUMAN FIGURE.

Missouri.
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