A Menhir of the Neolithic Period
A Carved Statue (“Menhir”) of the Neolithic Period—a Contrast to the Freedom and Vigour of Palæolithic Art.
A Reindeer Age Masterpiece
These late Palæolithic people not only drew remarkably well for our information, and with an increasing skill as the centuries passed, but they have also left us other information about their lives in their graves. They buried. They buried their dead, often with ornaments, weapons, and food; they used a lot of colour in the burial, and evidently painted the body. From that one may infer that they painted their bodies during life. Paint was a big fact in their lives. They were inveterate painters; they used black, brown, red, yellow, and white pigments, and the pigments they used endure to this day in the caves of France and Spain. Of all modern races, none have shown so pictorial a disposition; the nearest approach to it has been among the American Indians.
American Indian Picture-Writing
Specimens of American Indian picture-writing No. 1, painted on a rock on the shore of Lake Superior, records an expedition across the lake, in which five canoes took part. The upright strokes in each indicate the number of the crew, and the bird represents a chief, “The Kingfisher.” The three circles (suns) under the arch (of heaven) indicate that the voyage lasted three days, and the tortoise, a symbol of land, denotes a safe arrival. No. 2 is a petition sent to the United States Congress by a group of Indian tribes, asking for fishing rights in certain small lakes. The tribes are represented by their totems, martens, bear, manfish, and catfish, led by the crane. Lines running from the heart and eye of each animal to the heart and eye of the crane denote that they are all of one mind; and a line runs from the eye of the crane to the lakes, shown in the crude little “map” in the lower left-hand corner.
A Grazing Bison, Delicately and Carefully Drawn, Engraved on a Wall of the Altamira Cave, Northern Spain
This was the work of a Reindeer Man or Cromagnard, in the Upper or Post-Glacial Pleistocene, perhaps 25,000 years ago. Firelight must have been used in making these cave drawings and engravings.
The Queen's first baby
Drawn and Etched by Her Majesty the Queen. [Queen Victoria]
Bronze Cat
The Soul - back view
Statuette in wood 2
The Soul - front view
Statuette in wood
The lady Touî, statuette in wood
Pectoral in shape of a hawk with a ram’s head
Pectoral of Ramses II
Egyptian jewellery of the XIXTH dynasty
Gold pectoral inlaid with enamel
Statue of Rânofir
The Colossus of Ramses II emerging from the earth
Prehistoric carving
In short, the prehistoric carvings are from the hands of men who were neither beginners nor blunderers in their art. The practised skill of a modern wood engraver would scarcely exceed in firmness and decision, nor in evident rapidity of execution, the outline of the animals in the example which is here engraved.
Esquimaux carving
The first of these illustrations is perhaps the best, as it is certainly the most delicate and graceful of all the fragments yet discovered. It represents the profile of the head and shoulder of an ibex, carved in low relief upon a piece of the palm of a reindeer’s antler. So exact and well characterised is the sculpture, that naturalists have no hesitation in deciding the animal to be an ibex of the Alps, and not of the Pyrenees.
Group of reindeer drawn upon a piece of slate
Group of reindeer drawn upon a piece of slate
A miracle of Remigius 2
A miracle of Remigius
Baptism of Clovis
The Trumpeter
THE TRUMPETER.” (SIR JOHN GILBERT, R.A.) (Drawn in pen and ink, from his picture in the Royal Academy, 1883.) [Size of drawing, 5½ by 4¾ in. Photo-zinc process.]
Swans
Pen and Ink Drawing
Ashes of Roses
This careful drawing, from the painting by Mr. Boughton, in the Royal Academy, reproduced by the Dawson process, is interesting for variety of treatment and indication of textures in pen and ink. It is like the picture, but it has also the individuality of the draughtsman, as in line engraving. Size of drawing about 6½ x 3½ in
A Son of Pan
“A Son of Pan,” by William Padgett. Example of outline drawing, put in solidly with a brush. If this had been done with pencil or autographic chalk, much of the feeling and expression of the original would have been lost. The drawing has suffered slightly in reproduction, where (as in the shadows on the neck and hands) the lines were pale in the original. Size of drawing 11½ × 6½ in. Zinc process.
St. Christopher, with the date 1423, from a cut in the possession of Earl Spencer
This cut is much better designed than the generality of those which we find in books typographically executed from 1462, the date of the Bamberg Fables, to 1493, when the often-cited Nuremberg Chronicle was printed. Amongst the many coarse cuts which “illustrate” the latter, and which are announced in the book itselfII.11 as having been “got up” under the superintendence of Michael Wolgemuth, Albert Durer’s master, and William Pleydenwurff, both “most skilful in the art of painting,” I cannot find a single subject which either for spirit or feeling can be compared to the St. Christopher. In fact, the figure of the saint, and that of the youthful Christ whom he bears on his shoulders, are, with the exception of the extremities, designed in such a style, that they would scarcely discredit Albert Durer himself. To the left of the engraving the artist has introduced, with a noble disregard of perspective what Bewick would have called a “bit of Nature.” In the foreground a figure is seen driving an ass loaded with 48a sack towards a water-mill; while by a steep path a figure, perhaps intended for the miller, is seen carrying a full sack from the back-door of the mill towards a cottage. To the right is seen a hermit—known by the bell over the entrance of his dwelling—holding a large lantern to direct St. Christopher as he crosses the stream. The two verses at the foot of the cut, Cristofori faciem die quacunque tueris, Illa nempe die morte mala non morieris, may be translated as follows: Each day that thou the likeness of St. Christopher shalt see, That day no frightful form of death shall make an end of thee.
St. Bridget, from an old cut in the possession of Earl Spencer
The figure writing is that of St. Bridget of Sweden, who was born in 1302 and died in 1373. From the representation of the Virgin with the infant Christ in her arms we may suppose that the artist intended to show the pious widow writing an account of her visions or revelations, in which she was often favoured with the blessed Virgin’s appearance. The pilgrim’s hat, staff, and scrip may allude to her pilgrimage to Jerusalem, which she was induced to make in consequence of a vision. The letters S. P. Q. R. in a shield, are no doubt intended to denote the place, Rome, where she saw the vision, and where she died. The lion, the arms of Sweden, and the crown at her feet, are most likely intended to denote that she was a princess of the blood royal of that kingdom. The words above the figure of the saint are a brief invocation in the German language, “O Brigita bit Got für uns!” “O Bridget, pray to God for us!” At the foot of the desk at which St. Bridget is writing are the letters M. I. Chrs., an abbreviation probably of Mater Jesu Christi, or if German, Mutter Iesus Christus.
Ancient Egypt’s strange books and pictorial records, made of papyrus
Papyrus, a tall, graceful, sedgy plant, supplied the favourite writing material of the ancient world, and many priceless records of antiquity are preserved to us in papyri. The pith of the plant was pressed flat and thin and joined with others to form strips, on which records were written or painted. The above is a photograph of a piece of Egyptian papyrus, showing both hieroglyphics and picture-writing. The oldest piece of papyrus dates back to B.C. 3500.
Vivid scenes of ancient life depicted by contemporary artists
The walls of the tombs in Egypt form a great picture gallery of the vanished life of that country and are invaluable to the historian. This fragment from the British Museum shows how vividly the domestic figures were realised.
The first wanderers of the earth - Tribal migration in prehistoric times
From the painting of “Cain” by Ferdinand Cormon
Two Wolves
Two Wolves Black and White Ware. 11 by 5½ inches. Osborn Ruin.
Unidentified animal
Unidentified animal. Oldtown Ruin. (Osborn collection.) The presence of only two legs in this figure would seem to indicate that a bird was intended, but no bird has a tail like this figure; and the prehistoric potters of the Mimbres certainly knew how to draw a bird much better than this would imply. The exceptional features of this drawing, doubtless intentional, belong neither to flesh, fish, nor fowl, rendering its identification doubtful.
Bird A
The figure shown is represented by two designs, practically the same, repeated so far as appendages go, but quite different in the ornamentation of their bodies. One of these has the same geometrical figure on its body as on one of the quadruped pictures, the second has a different design. Both birds have wings outspread as if in flight, in which the feathers are well drawn in detail, especially the wing on the side turned toward the observer. That on the opposite side is simply uniformly black. The feathers of its companion on the other side of the bowl are indicated by parallel lines. The tail is long and forked at the extremity, suggesting a hawk, and is decorated for two-thirds of its length with cross-hatched and parallel lines.
Bird B
Bird B is painted on the interior of a food bowl of black and white ware, ten inches in diameter by five inches deep. Its body is oval, the head erect and undecorated, and the tail twisted from a horizontal into a vertical plane as is customary in representation of lateral views of birds from Pueblo ruins.
Bird C
Bird C occurs on a black and white bowl that measures ten inches in diameter, five and one-half inches in depth. The figure occupies the circular zone in the middle of the bowl and is enclosed by parallel lines which surround the bowl near the rim. The top of the head, which is globular, is white in color, the beak projecting and the eyes comparatively large. The body is likewise globular and is covered by a square geometrical design the details of which are considerably obscured by the hole in the middle of the jar. A number of parallel lines of unequal length, turned downward, hang from the rear of the body and form the tail. The long legs suggest a wading bird, and the widely extended claws point to the same identification.
Bird F
The bird shown is different from any of the above and is distinguished readily by the four curved lines on the head suggesting the quail. The pointed tail is marked above and below with dentations, formed by a series of rectangular figures which diminish in size from body attachment to tip. The body itself is marked posteriorly with parallel lines, rectangular and curved figures suggesting wings.
Dancing Figure
The well-drawn figure painted on a bowl from Oldtown ruin represents a man with knees extended and arms raised as if dancing. This picture has characteristic markings on the face, but otherwise is not distinctive.
Fawn
Fawn. Oldtown Ruin. Another figure referred to as an antelope appears to represent a young fawn, since, while it has all the characteristics of this animal, 34the horns are wanting. This specimen was found at Oldtown. The rectangular shape so often given to the bodies of animals drawn on Mimbres pottery is well shown in this specimen.
Fetish
Fetish. Byron Ranch. (Swope collection.) Length 6¾″
Fetish
Fetish. Byron Ranch. (Swope collection.) Length 5¾″.
Fish
Fish. Oldtown Ruin. Diam. 9″ One of the bowls from the Oldtown ruin has two fishes depicted on opposite sides of the inner surface. These fishes resemble trout and are of different colors, black and reddish brown figures painted on a white ground. They are represented as hanging from two parallel lines surrounding the rim of the bowl. These fishes are so well drawn that there is no doubt what animal was intended to be here represented.
Fishes
Fishes. Black and White ware. 11 by 4½ inches. The most problematical of all the life figures on the Mimbres pottery is shown. This figure occurs on a black and white food bowl, eleven inches in diameter, four and one-half inches in depth. In support of the theory that the two figures here depicted represent fishes, we have the pointed head without neck, the operculum as a white crescentic design, two fins (pectoral, ventral, and anal), the median (adipose?) dorsal fin unpaired, and a long tail bifurcated at the extremity. The resemblance of these figures to the undoubted fishes on bowls previously mentioned is conclusive evidence that they represent the same animal.
Frog
Frog. Diameter 10 inches. Osborn Ruin On another bowl there is depicted a frog very like that last mentioned. The frog being an amphibian was undoubtedly greatly reverenced by the ancient people of the Mimbres Valley.
Frog fetish
Frog fetish. Black Mountain Ruin. (Swope collection.) Length 3½″. These idols represent frogs, bears, mountain lions, and other quadrupeds, and have much the same form as those from ancient ruins in Arizona. On the backs of several of these stone idols are incised figures, like arrowheads tied to Zuñi fetishes, or possibly rain-cloud figures.
Frogs and Birds
Frogs and Birds. Black and White Ware. Diameter about 12 inches. Oldtown Ruin
Grasshopper
A figure on a bowl here represented is painted in "black or brown on a background of bluish wash over a yellow color." This bowl is eleven inches in diameter, five inches in depth. The figure is a remarkable one, having features of several animals, but none of these are more pronounced than its insectiform characters, among which may be mentioned the antennæ, three legs on one side (evidently three pairs of legs, for that in the back is simply introduced in violation of perspective), and an extended segmented abdomen attached to the thorax and terminating in a recurved tip. The character of the appendages to the thorax, or the wings, leaves no doubt that a flying animal was intended, and the legs and head being like an orthopterous insect, it may be provisionally identified as a "grasshopper."
Hunters
Hunters. Oldtown Ruin. (Osborn collection.) An instructive group of human figures is drawn on a deep red and white food bowl, which measures ten inches in diameter. It is evident that this design represents three hunters following the trail of a horned animal, probably a deer. This trail is represented on the surface of the bowl by a row of triangles, while the footprints of the hunters extend along its side. It may be noted that although there are three hunters, the trails of two only are represented, and that the hunters are barefoot. They have perhaps lost the trail and25 are looking the opposite way, while the animal has turned back on his path. The footprints of the deer in advance of the hunters are tortuous, showing want of decision on the part of the animal. The three hunters are dressed alike, wearing the close-fitting jacket probably made of strips of skin woven together like that found by Dr. Hough in a sacrificial cave at the head of the Tulerosa, New Mexico.
Man with curved stick
One of the most instructive food bowls found at Oldtown, now owned by Mr. Osborn, has on it a picture of two hunters, one on each side of an animal (fig. 15). One of these hunters carries in his hand a stick crooked at the end, its form suggesting a throwing stick. Both hunters have laid aside their quivers, bows, and arrows, which are shown behind them. The picture of an animal between them has been so mutilated by "killing" or breaking the bowl that it is impossible28 to identify it. From the end of this crook to the body of the animal there extend two parallel lines of dots indicating the pathway of a discharged weapon. Near the body of the animal these rows of dots take a new direction, as if the weapon had bounded away or changed its course. The rows of dots are supposed to represent lines of meal by which Pueblos are accustomed to symbolically indicate trails or "roads."
Mountain Sheep
Mountain Sheep.—It is evident from the form of the unbranched horns, the slender legs, and the head, that either a mountain sheep or mountain goat was intended to be represented. The markings on the body are symbolic, suggesting lightning, and it may be added that the Hopi depict the lightning on the artificial horns mounted on caps and worn by them in presentations of dances in which they personate mountain sheep.
Pictographs
Pictographs occur at several localities along the Mimbres. As these have a general likeness to each other and differ from those of other regions, they are supposed to be characteristic of the prehistoric people. They are generally pecked on the sides of boulders or on the face of the cliffs in the neighborhood of prehistoric sites of dwellings. Although there is only a remote likeness between these pictographs and figures on pottery, several animal forms are common to the two. The most important group of pictographs seen by the author are situated about nine miles from Deming in the western foot-hills of Cook's Peak.21 Some of the pictographs recall decorations on bowls from Pajarito Park.
Priest smoking
The third human figure, found on a black and white bowl from a Mimbres ruin, is duplicated by another of the same general character depicted on the opposite side of the bowl. These figures are evidently naked men with bands of white across the faces. The eyes are represented in the Egyptian fashion. In one hand each figure holds a tube, evidently a cloud-blower or a pipe, with feathers attached to one extremity, and in the other hand each carries a triangular object resembling a Hopi rattle or tinkler. The posture of these figures suggest sitting or squatting, but the objects in the extended left hand would indicate dancing. The figure is identified as a man performing a ceremonial smoke which accompanies ceremonial rites.
Problematic Animal
Problematic Animal Red Decoration Osborn Ruin It is difficult to tell exactly what animal was intended to be represented by that shown. Its head and mouth are not those of any of the horned animals already considered, although it has some anatomical features recalling a mountain sheep. The extension back of the body has a remote likeness to a fish, but may be a bird or simply a conventional design.
Problematical Animal
Problematical Animal (Unidentified animal) Black and White ware 15 by 6 inches Osborn Ruin
Rabbit
Rabbit. Oldtown Ruin. Diam. 7½″. The author excavated at Oldtown a food bowl, the figure on which was undoubtedly intended for a rabbit. The head, ears, body, legs, and tail are well made, leaving no question of the intention of the artist; but if there were any doubt of the identification it is dispelled by the representation of the mouth, on which the sensitive hairs or bristles are represented.
Serpent
Serpent. Osborn Ruin. (Osborn collection. E. D. O. Jr. del.) The head shown has a horn curving forward almost identical with that on the head of a horned serpent on a bowl from Casas Grandes in the Heye collection. Its gracefully sinuous body is decorated with alternating geometric figures, curves and 45straight lines.49 Accompanying the figure of a serpent is a well-drawn picture of a turtle which is decorated on the carapace with a rectangular area on which is painted a geometric figure recalling that on bodies of birds and some other animals.