dfocnell Httiocraitg SItbrarg Siifatu, Hem $ack CHARLES WILLIAM WASON COLLECTION CHINA AND THE CHINESE ' THE GIFT OF CHARLES WILLIAM WASON CLASS OF 1876 1918 Cornell University Library BL 604.S8W75 The swastika :the eaf li^st ,, known .SY™''''! 3 1924 023 008 067 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924023008067 SMITHSONIAN INSTITUTION. UNITED STATES NATIONAL MUSEUM. THE SWASTIKA, THE EARLIEST KNOWN SYMBOL, AND ITS MIGRATIONS; WITH OBSERVATIONS ON THE MIGRATION OF CERTAIN INDUSTRIES IN PRE- HISTORIC TIMES. THOMAS WILSON, Curator^ Department of Prehistoric Anthropology^ U. S. National Museum, From the Report of the U. S. National Museum for 1894, pages 757-1011, with plates 1-25 and figures 1-374. WASHINGTON : GOVERNMENT PRINTING OFFICE. 1896. THE SWASTIKA, THE EARLIEST KNOWN SYMBOL, AND ITS MIGRATIONS; WITH OBSERVATIONS ON THE MIGRATION OF CERTAIN INDUSTRIES IN PREHISTORIC TIMES. BY THOMAS WILSON, Curator, Department of rrehistoric Anthropology, U. S. National Museum. TABLE OF CONTENTS. ' Page. Preface 763 I. — Definitions, Description, and Origin. Different forms of the cross 765 Names and definitions of tlie Swastika 768 Symbolism and interpretation 770 Origin and habitat 791 II. — Dispersion of the Swastika. Extreme Orient 799 Japan 799 Korea 799 China 799 Tibet 802 ^ India 802 Classical Orient 806 Babylonia, Assyria, Chaldea, and Persia 806 Phenicia 807 Lyoaonia 807 Armenia 807 Caucasus 808 Asia Minor — Troy (Hissarlik) 809 First and Second Cities 810 The Third or Burnt City - 811 The Fourth City 813 The Fifth City '. 818 The Sixth and Seventh Cities 819 Leaden idol of Hissarlik . _ 829 Owl-shaped vases 830 The age of Trojan cities - 832 Africa 833 ^ Egypt 833 Naukratis 834 Coptos (Achniim-Panopolls) - 834 Algeria 838 Ashantee 838 Classical Occident — Mediterranean 839 Greece, Cyprus, Rhodes, Melos, and Thera 839 Greek fret and Egytian meandfer not the same as the Swastika 839 Swastika in panels ■- 845 Swastikas with four arms crossing at right angles, ends bent to the right 846 Swastikas with four arms crossing at right angles, ends bent to the left. 847 Swastikas with four arms crossing at other than right angles, the ends ogee and to the left 848 Meander pattern, with ends bent to the right and left 849 Swastikas of different kinds on the same obj ect 849 759 760 REPORT OF NATIONAL MUSEUM, 1894. Page. Europe 854 Bronze age 854 Etruria and Italy 855 Swiss lake dwellings 861 Germany and Austria 862 Belgium 863 Scandinavia 864 Scotland and Ireland 867 Gallo-Roman period - 869 France 869 Anglo-Saxon period 870 Britain 870 Swastika on ancient coins 871 Triskelion, Lycia 871 Triskeliou, Sicily 873 Triskelion, Isle of Man 874 Punch marks on Corinthian coins mistaken for Swastikas 875 Swastika on ancient Hindu coins 877 Swastika on coins in Mesembria and Gaza 878 Swastika on Danish gold bracteates 878 United States of America 879 Pre-Columbian times 879 Fains Island and Toco mounds, Tennessee 879 Hopewell Mound, Chillicothe, Ross County, Ohio 888 Mounds in Arkansas 893 North American Indians 894 Kansas ..- 894 Sacs 895 Pueblos 896 Navajoes 897 Pimas 901 Colonial patchwork 901 Central America 902 Nicaragua '. 902 Yucatan 902 Costa Rica 903 South America 903 Brazil 903 Paraguay 905 III. — FoKMs Allied to the Swastika. Meanders, ogees, and spirals, bent to the left as well as to the right 905 Aboriginal American engravings and paintings 906 Designs on shell '. 906 Ivory-billed woodpecker 907 The triskele, triskelion, or triquetrum 908 The spider '■_ 913 The rattlesnake 914 The human face and form 914 Designs on pottery 920 Designs on basketry 924 IV. — The Cross among the American Indians. Different forms 926 The cross on objects of shell and copper 926 The cross on pottery ...... ■ 931 THE SWASTIKA. 761 Page. Symbolic meanings of the cross 933 The four -winds ^ 934 Sun and star symbols 936 Dwellings 936 Dragon fly (Susbeca) 936 Mide', or Shamans 937 Flocks of birds 937 Human forms 938 Maidenhood 939 Shaman's spirit 939 Divers significations 939 Introduction of the cross iuto imerlcti, 944 Decorative forms not of the cross, but allied to the Swastika 946 Color stamps from Mexico and Venezuela 946 V. — SiGNIFICASrCK OF THE SWASTIKA 948 VI. — The Migration of Symbols. Migration of the Swastika 952 Migration of classic symbols 960 The sacred tree of the Assyrians 960 The sacred cone of Mesopotamia 960 The Crux dnsata, the key of life 961 The winged globe 961 The caducous 962 The trisula 962 The double-headed eagle on the escutcheon of Austria and Russia 963 The lion rampant of Belgium 963 Greek art and architecture 964 The Greek fret 965 YII. — Pkehistokio Objects Associated with the Swastika, found in Both Hemispheres, and Believed to have passed by Migkation. Spindle whorls 966 Europe '967 Switzerland — Lake dwellings 967 Italy - - 968 Wurtemburg 968 ^ France 968 /North America — pre-Columbian times 969 O Mexico 970 Central America 971 Nicaragua 971 South America - 972 Chiriqui 972 Colombia 972 Peru 972 Bobbins 975 Europe 975 United States 975 VIII. — Similar Prehistoric Arts, Industries, and Implements in Europe and America as Evidence of the Migration of Culture. 977 Conclusion 981 Bibliography - ^84 XiiST OF Illustrations 997 THE SWASTIKA, THE EARLIEST KNOWN SYMBOL, AND ITS MIGRATIONS; WITH OBSERVATIONS ON THE MIGRATION OP CERTAIN INDUSTRIES IN PREHISTORIC TIMES. By Thomas Wilson, Curator, Department of Prehistoric Anthropology, TX. S. National Museum. PREFACE. An English gentleman, versed in prehistoric archaeology, visited me in the summer of 1894, and during our conversation asked if we had the Swastika in America, I answered, " Yes," and showed him two or three specimens of it. He demanded if we had any literature on the subject. I cited him De Mortillet, De Morgan, and Zmigrodzki, and he said, " No, I mean English or American." I began a search which proved almost futile, as even the word Swastika did not appear in such works as Worcester's or Webster's dictionaries, the Encyclopsedio Dic- tionary, the Encyclopaedia Britannica, Johnson's Universal Cyclo- paedia, the People's Cyclopaedia, nor Smith's Dictionary of Greek and Eoman Antiquities, his Greek and Eoman Biography and Mythology, or his Classical Dictionary. I also searched, with the same results, Mollett's Dictionary of Art and Archaeology, Fairholt's Dictionary of Terms in Art, "L'Art Gothique," by Gouza, Perrot and Chipiez's exten- sive histories of Art in Egypt, in Ohaldea and Assyria, and in Phe- nicia; also "The Cross, Ancient and Modern," by W. W. Blake, "The History of the Cross," by John Ashton; and a reprint of a Dutch work by Wildener. In the American Encyclopaedia the description is errone- ous, while all the Century Dictionary says is, " Same as fylfot," and " Compare Grux Ansata and Oammadion.'" I thereupon concluded that this would be a good subject for presentation to the Smithsonian Insti- tution for "diffusion of knowledge among men." The principal object of this paper has been to gather and put in a compact form such information as is obtainable concerning the Swas- tika, leaving to others the task of adjustment of these facts and their 763 764 EEPOET OF NATIONAL MUSEUM, 1894. arrangement into an harmonious theory. The only conclusion sought to be deduced from the facts stated is as to the possible migration in prehistoric times of the Swastika and similar objects. No conclusion is attempted as to the time or place of origin, or the primitive meaning of the Swastika, because these are considered to be lost in antiquity. The straight line, the circle, the cross, the triangle, are simple forms, easily made, and might have been invented and re-invented in every age of primitive man and in every quarter of the globe, each time being an independent invention, meaning much or little, meaning diffei'ent things among different peoples or at different times among the same people; or they may have had no settled or definite meaning. But the Swastika was probably the first to be made with a definite intention and a continuous or consecutive meaning, the knowledge of which passed from i^erson to person, from tribe to tribe, from people to people, and from nation to nation, until, with possibly changed meanings, it has finally circled the globe. There are many disputable questions broached in this paper. The author is aware of the differences of opinion thereon among learned men, and he has not attempted to dispose of these questions in the few sentences employed in their announcement. He has been con- servative and has sought to avoid dogmatic decisions of controverted questions. The antiquity of man, the locality of his origin, the time of his dispersion and the course of his migration, the origin of bronze and the course of its migration, all of which may be more or less involved in a discussion of the Swastika, are questions not to be settled by the dogmatic aissertions of any individual. Much of the information in this paper is original, and relates to pre- historic more than to modern times, and extends to nearly all the coun- tries of the globe. It is evident that the author must depend on other discoverers; therefore, all books, travels, writers, and students have been laid under contribution without scruple. Due acknowledgment is hereby made for all quotations of text or figures wherever they occur. Quotations have been freely made, instead of sifting the evidence and giving the substance. The justification is that there has never been any sufficient marshaling of the evidence on the subject, and that the former deductions have been inconclusive; therefore, quotations of authors are given in their own words, to the end that the philosophers who propose to deal with the origin, meaning, and cause of migration of the Swastika will have all the evidence before them. Assumptions may appear as to antiquity, origin, and migration of the Swastika, but it is explained that many times these only reflect the opinion of the writers who are quoted, or are put forth as working hypotheses. The indulgence of the reader is asked, and it is hoped that he will endeavor to harmonize conflicting statements upon these disputed questions rather than antagonize them. THE SWASTIKA. 765 I. — Definitions, Description, and Origin. DIFFERENT FORMS OF THE CROSS. The simple cross made witli two sticks or marks belongs to prehistoric times. Its first appearance among men is lost in antiquity. One may theorize as to its origin, but there is no historical identification of it either in epoch or by country or people. The sign is itself so simple that it might have originated among any people, however primitive, and in any age, however remote. The meaning given to the earliest cross is equally unknown. Everything concerning its beginning is in the realm of speculation. But a diiferentiation grew up in early times among nations by which certain forms of the cross have been known under cer- tain names and with specific significations. Some of these,.such as the Maltese cross, are historic and can be well identified. The principal forms of the cross, known as symbols or ornaments, can be reduced to a few classes, though when combined with heraldry its use extends to 385 varieties.' 1 -vVO ig- (Cr 1. uximmissa). 1 ^ — \ ^y^ LATIN OKOSS ] GREI ''ig- :k c 2. ROSS. Fig. 3. ST. ANDREW'S CROSS {Orux decussata.) It is not the purpose of this paper to give a history of the cross, but the principal forms are shown by way of introduction to a study of the Swastika. The Latin cross, Crux immissa, (fig. 1) is found on coins, medals, and ornaments anterior to the Christian era. It was on this cross that Christ is said to have been crucified, and thus it became accepted as the Christian cross. The Greek cross (fig. 2) with arms of equal length crossing at right angles, is found on Assyrian and Persian monuments and tablets, Greek coins and statues. The St. Andrew's cross, Grux decussata, (fig. 3) is the same as the Greek cross, but turned to stand on two legs. _ 'William Berry, Encyolopsedia Heraldioa, 1828-1840. 766 REPOET OF NATIONAL MUSEUM, 1894. The Crux ansata (fig. 4) according to Egyptian mythology, was Ankh, the emblem of Ka, the spiritual double qf man. It was also said to indicate a union of Osiris and Isis. and was regarded as a symbol of the generative principle of nature. The Tau cross (fig. 5), so called from its resemblance to the Greek letter of that name, is of uncertain, though ancient, origin- In Scandinavian mythology it passed under the name of " Thor's hammer," being therein confounded with the Swastika. It was also called St, Anthony's cross for the Egyptian hermit of that name, and was always colored blue. Clarkson says this mark was received by the Mith- racists on their foreheads at the time of their initiation, C. W. King, in his work entitled "Early Christian Numis- matics" (p. 214), expresses the opinion that the Tau cross was placed on the foi'eheads of meu who cry after abomi- nations. (Ezekiel ix, 4.) It is spoken of as a, phallic emblem. Another variety of the cross appeared about the second century, composed of a union of the St. Andrew's cross and the letter P (fig. 6), being the first two letters of the Greek word XPI2Td2 (Christus). This, with another variety containing all the foregoing letters, passed as the monogram of Christ (fig. 6), As an instrument of execution, the cross, besides being the inter- section of two beams with four projecting arms, was frequently of compound forms as Y? on which the convicted person was fastened by the feet and hung head downward. Another form |~1, whereon he was U Fig. 4. EGYPTIAN CROSS (Crux ansata). The Key of Life. ll„, "., 1 "lN,'ll,:| 'S i| I ll \\ ';|// 11 ^ c 1 ^^J^ Fig. 5 Fig. 6. TAD OB CEOSS, 1 ST. ANT 'HOE HON 8 HAMMER, I'S CEOSS, MONOGEA Labarum c M OF CHRIST. f Constantine Fig. 7. MALTESE CEOSS. fastened by one foot and one hand at each upper corner; still another form "p, whereon his body was suspended on the central upright with his arms outstretched upon the cross beams. Fig. 7 represents the sign of the military order of the Knights of Malta. It is of medieval origin. Fig. 8 {a and ft) represents two styles of Celtic crosses. These belong chiefly to Ireland and Scotland, are usually of stone, and frequently set up at marked places on the road side. THE SWASTIKA. 767 Fig. 8. CELTIC CROSSES. Higgius, in his "Anacalypsis," a rare and costly work, almost an ency- clopedia of knowledge/ says, concerning the origin of the cross, that the official name of the governor of Tibet, Lama, comes from the ancient Tibetan word for the cross. The original spelling was L-a-m-h. This is cited with approval in Davenport's "Aphrodisiacs" (p. 13). Of the mauy forms of the cross, the Swastika is the most ancient. Despite the theories and speculations of students, its origin is unknown. It began before history, and is properly classed as prehistoric. Its descrip- tion is as follows: The bars of the normal Swastika (frontispiece and fig. 9) are straight, of equal thickness throughout, and cross each other at right augles, making four arms of equal size, length, and style. Their peculiarity is that all the ends are bent at right angles and in the same direction, right or left. Prof. Max MuUer makes the symbol different according as the arms are bent to the right or to the left. That bent to the right he denominates the true Swas- tika, that bent to the left he calls Suavastika (fig. 10), but he gives no authority for the state- ment, and the author has been unable to find, ex- cept in Buruouf, any justification for a difference of names. Professor Groodyear gives the title of "Meander" to that form of Swastika which bends two or more times (fig. 11). The Swastika is sometimes represented with dots or points in the corners of the intersections (fig. 12a), and occasionally the same when without bent ends (fig. 12&), to which Zmigrodzki gives S^ Fig. 9. NORMAL SWASTIKA. rig. 10. SUAVASTIKA. Fig. 11. SWASTIKA. Meander. L "1. b Fig. 12. CEOIX SWASTICALE (ZMIGRODZKI). the jjame of Croix Swasticale. Some Swastikas have three dots placed equidistant around each of the four ends (fig. 12c). 'Higgins, "Anacalypsis," London, 1836, i, p. 230. 768 REPORT OF NATIONAL MUSEUM, 1894. There are several varieties possibly related to the Swastika which have been found in almost every part of the globe, and though the relation may appear slight, and at first sight difficult to trace, yet it will appear more or less intimate as the examination is pursued through its ramifications. As this paper is an investigation into and report upon facts rather than conclusions to be drawn from them, it is deemed wise to give those forms bearing even possible relations to the Swas- tika. Certain of them have been accepted by the author as related to the Swastika, while others have been rejected-, but this rejection rig. 13a. Fig. 136. OGEE AND SPIRAL SWASTIKAS. SPIRAL AND VOLUTE. Tetrastelion (four-armed). Triskelion (three-armed). Fig. 13c. Fig. 13d. SPIRAL AND VOLUTE. OGEE SWASTIKA, WITH (Five or many armed.) circle. PECULIAR FORMS OF SWASTIKA. has been confined to cases where the known facts seemed to justify another origin for the symbol. Speculation has been avoided. NAMES AND DEFINITIONS OF THE SWASTIKA. The Swastika has been called by different names in different coun- tries, though nearly all countries have in later years accepted the ancient Sanskrit name of Swastika; and this name is recommended as the most definite and certain, being now the most general and, indeed, almost universal. It was formerly spelled s-v-a-s-t-i-c-a and s-u-a-s-t-i-k-a, but the later spelling, both Englisli and French, is s-w a-s-t-i-k-a. The definition and etymology of the word is thus given in Littre's French Dictionary : Svastika, or Swastika, a mystic figure used by several (East) Indian sects. It was equally well known to the Brahmins as to the Buddhists. Most of the rock lusoriptions in the Buddhist caverns in the west of India are preceded or followed by the holy (sacramentelle) sign of the Swastika. (Eug. Burnouf, " Le Lotus de la bonne loi." Paris, 1852, p. 625.) It was seen on the vases and pottery of Rhodes (Cyprus) and Etruria.. (F. Delaunay, .Jour. Off'., Nov. 18, 1873, p. 7024, 3d Col.) Etymology : A Sanskrit word signifying happiness, pleasure, good luck. It is com- posedof i'w (equivalent of Greek ev), "good," and aeli, "being," "good being," with the sufBx fca (Greek xa, Latin co). THE SWASTIKA. 7fi9 111 the "Eevue d'Etlinographie" (it, 1885, p. 329), Mr. Dnmoutier gives the following aiialysia of the Sanskrit swasUlca: Su, radical, signifying good, well, excellent, or suvidas, prosperity. Asti, tliird person, singular, indicative present of the verb as, to be, which is sum in Latin. Ka, sufSx forming the substantive. Professor Whitney in the Century Dictionary says, Swastika — [San- skrit, lit., "of good fortune." Svasti {Su. well, + asti, being), welfare.] Same as fylfot. Compare Crux ansata and' gammadion. In "Ilios" (p. 347), Max Miiller says : Ethnologically, svasUka is derived from srasU, and svasH from su, " well,'' and as, "to be.'' Svasti occurs frequently in the Veda, both as a nonn in a sense of happiness, and as an adverb in the sense of "well" or "hail!" It corresponds to the Greek evsdroo. The derivation Svasti-ka is of later date, and it always means an auspicious sign, such as are found most frequently among Buddhists and Jainas. M. Eugene Burnouf defines the mark Swastika as follows: A monogrammatic sigu of four branches, of which the ends are curved at right angles, the name signifying, literally, the sign of benediction or good augury. The foregoing explanations relate only to tile present accepted name "Swastika." The sign Swastika must have existed long before the name was given to it. It must have been in existence long before the Buddhist religion or the Sanskrit language. In Great Britain the common name given to the Swastika from Anglo- Saxon times by those who apparently had no knowledge Avhence it came, or that it came from any other than their own country, was Fylfot, said to have been derived from the Anglo-Saxon fower fot, meaning four- footed, or many-footed.'* George Waring, in his work entitled " Ceramic Art in Kemote Ages" (p. 10), says: The word [Fylfot] is Scandinavian and is oompounue_ of Old Norse /e7, equivalent to the Anglo-Saxon fela, German viel, many, and fotr, foot, the many-footed figure. * * * It is desirable to have some settled name by which to describe it- we will take the simplest and most descriptive, the "Fylfot." He thus transgresses one of the oldest and soundest rules of scien- tific nomenclature, and ignores the fact that the name Swastika has been employed for this sign in the Sanskrit language (the etymology of the word naturally gave it the name Svastika, sv — good or well, asti — to be or being, or it is) and that two thousand and more years of use iu Asia and Europe had sanctioned and sanctified that as its name. The use of Fylfot is confined to comparatively few persons in Great Britain ' "Des Sciences et Religion," p. 256. ^R. P. Greg, "The Fylfot and Swastika," Archaeologia, xlviii, part 2, 1885, p. 298; Goblet d'Alviella, "Migration des Symboles," p. 50. H. Mis. 90, pt. 2 49 770 EEPORT OF NATIONAL MUSEUM, 1894. and, possibly, Scandinavia. Outside of these countries it is scarcely known, used, or understood. ■■• The Swastika was occasionally called in the French language, in earlier times, Croix gammee or Oammadion, from its resemblance to a combination of four of the Greek letters of that name, and it is so named by Count Goblet d'Alviella in his late work, "La Migration des Symboles." It was also called Croix cramponnee, Croix pattee, Croix a crochet. But the consensus even of French etymologists favors the name Swastika. Some foreign authors have called it Thor's hammer, or Thor's hammer- mark, but the correctness of this has been disputed.' Waring, in his elaborate work, "Ceramic Art in Eemote Ages,"^ says: The |-]-' used to be vulgarly called in Scandinavia the hammer of Thor, and Thor's hammer-mark, or the hammer-mark, but this name properly belongs to the mark y . Ludwig Miiller gives it as his opinion that the Swastika has no connec- tion with the Thor hammer. The best Scandinavian authors report the "Thor hammer" to be the same as the Greek tau (fig. 5), the same form as the Eoman and English capital T. The Scandinavian name is Miol- ner or Mjolner, the crusher or mallet. The Greek, Latin, and Tau crosses are represented in Egyptian hiero- glyphics by a hammer or mallet, giving the idea of crushing, pounding, or striking, and so an instrument of justice, an avenger of wrong,' hence standing for Horns and other gods.* Similar symbolic meanings have been given to these crosses in ancient classic countries of the Orient.-' SYMBOLISM AND INTERPRETATION. Many theories have been presented concerning the symbolism of the Swastika, its relation to ancient deities and its representation of certain qualities. • In the estimation of certain wiiters it has been respectively the emblem of Zeus, of Baal, of the sun, of the sun-god, of the sun- chariot of Agni the fire-god, of Indra the rain-god, of the sky, the sky- god, and finally the deity of all deities, the great God, the Maker and Ruler of the Universe. It has also been held to symbolize light or the god of light, of the forked lightuing, and of water. It is believed by some to have been the oldest Aryan symbol. In the estimation of others it represents Brahma, Vishnu, and Siva, Creator, Preserver, Destroyer. It appears in the footprints of Buddha, engraved upon the 'Stephens, "Old Northern Eunic Monuments," part li, p. 509; Ludwig Miiller, quoted on p. 778 of this paper; Goblet d'Alviella, "La Migration des Symboles," p. 45; Haddon, "Evolution in Art," p. 288. =Page 12. = "La Migration des Symboles," pp. 21, 22. < "Le Culte de la Croix avant Jgsus-Christ," in the Correspondant, October 25, 1889, and in Science Catholique, February 15, 1890, p. 163. * Same authorities. THE SWASTIKA. 771 solid rock on the mountains of India (fig. 32). It stood for the Jupiter Tonans and Pluvius of the Latins, and the Thor of the Scandinavians. In the latter case it has been considered — erroneously, however — a vari- ety of the Thor hammer. In the opinion of at least one author it had an intimate relation to the Lotus sign of Egypt and Persia. Some authors have attributed a phallic meaning to it. Others have recog- nized it as representing the generative principle of mankind, making it the symbol of the female. Its appearance on the person of certain goddesses, Artemis, Hera, Demeter, Astarte, and the Chaldean Nana, the leaden goddess from Hissarlik (fig. 125), has caused it to be claimed as a sign of fecundity. In forming the foregoing theories their authors have been largely controlled by the alleged fact of the substitution and permutation of the Swastika sign on various objects with recognized symbols of these different deities. The claims of these theorists are somewhat clouded in obscurity and lost in the antiquity of the subject. What seems to have been at all times an attribute of the Swastika is its character as a charm or amulet, as a sign of benediction, blessing, long life, good fortune, good luck. This character has continued into med- ern times, and while the Swastika is recognized as a holy and sacred symbol by at least one Buddhistic religious sect, it is still used by the common people of India, China, and Japan as a sign of long life, good wisbes, and good fortune. Whatever else the sign Swastika may have stood for, and however many meanings it may have had, it was always ornamental. It may bave been used with any or all the above significations, but it was always ornamental as well. The Swastika sign had great extension and spread itself practically over the world, largely, if not entirely, in prehistoric times, though its use in some countries has continued into modern times. The elaboration of the meanings of the Swastika indicated above and its dispersion or migrations form the subject of this paper. Dr. Schliemann found many specimens of Swastika in his excava- tions at the site of ancient Troy on the hill of Hissarlik. They were mostly on spindle whorls, and will be described in due course. He appealed to Prof. Max Mtiller for an explanation, who, in reply, wrote an elaborate description, which Dr. Schliemann published in "Ilios."' He commences with a protest against the word Swastika being applied generally to the sign Swastika, because it may prejudice the reader or the public in favor of its Indian origin. He says: I do not like the use of the loord svastilca outside of ludia. It is a ivord of Indian origin and has its history aud definite meaning in India. * * » The occur- rence of such crosses in different parts of the world may or may not point to a com- mon origin, hut if they are once called Svastika the vulgus profanwm will at once ' Page 346, et seq. 772 REPORT OF NATIONAL MUSEUM, 1894. jump to the conclusion that they all come from India, and it -will take some time to weed ont such prejudice. Very little is known of Indian art before the third century B. C, the period when the Buddhist sovereigns began their public buildings.' The name Svastika, however, can be traced (in India) a little farther back. It occurs as the name of a particular sign in the old grammar of Panani, about a cen- tury earlier. Certain compounds are mentioned there in which the last word is Aai-Jifl, "ear." * » * One of the signs for marking cattle was the Svastika [fig. 41], and what PAnani teaches in his grammar is that when the compound is formed, svastijca-karva, i. e., "having the ear marked with the sign of a Svastika," the final a of Svastika is not to be lengthened, while it is lengthened in other compounds, such as datra-karna, i. e., "having the ear marked with the sign of a sickle." D'Alviella ^ reinforces Max Miiller's statement that Panini lived d uri n g the middle of the fourth century, B. C. Thus it is shown that the word Swastika had been in use at that early period long enough to form an integral part of the Sanskrit language and that it was employed to illustrate the particular sounds of the letter a in its grammar. Max Miiller continues his explanation:^ It [the Swastika] occurs often at the beginning of the Buddhist inscriptions, on Buddhist coins, and in Buddhist manuscripts. Historically, the Svastika is first attested on a coin of Krananda, supposing Krananda to be the same king as Xan- dramcs, the predecessor of Sandrokyptos, whose reigu came to an end in 315 B. C. (See Thomas on the Identity of Xandrames and Krananda.) The paleograpbic evi- dence, however, seems rather against so early a (Jate. In the footprints of Buddha the Buddhists recognize no less that sixty-five auspicious signs, the first of them being the Svastilca [see fig.. 32], (Eugene Burnouf, "Lotus de la bonne loi," p. 625); the fourth is the Saavastilca, or that with the arms turned to the left [see fig. 10] ; the third, the Nandydvaria [see fig. 14], is n mere development of the Svastilca. Among the Jainss the Svastika was the sign of their seventh Jina, Sup^rsva (Colebrooke " Miscellaneous Essays," ii, p. 188; Indian Antiquary, vol. 2, p, 135). In the later Sanskrit literature, Svastika retains the meaning of an auspicious mark; thus we see in the Ri'imiiyana (ed. Gorresio, ii, p. 348) that Bharata selects a ship marked with the sign of the Svastika. Varahamihira in the Brihat-samhitS. (Med. SiEC, vi,p. Ch.) mentions certain buildings called Svastika and NandyiXvarta (53.34, seq.), but their outline does not correspond very exactly with the form of the signs. Some SthCipas, however, are said to have been built on the plan of the Svastika. » * ■* Originally, svastika may have been intended for no more than two lines crossing each other, or a cross. Thus we fintl it us«d in later times refer- ring to a woman covering her breast with crossed arms (Bdlardm, 75.16), svahastas- vastika-stani, and likewise with reference to persons sitting crosslegged. Dr. Max Ohnefalsch-Eichter * speaking of the Swastika position, either of crossed legs or arms, among the Hindus,* suggests as a pos- sible explanation that these women bore the Swastikas ujwu their 'The native Buddhist monarchs ruled from about B. C. 500 to the conquest of Alexander, B. C. 330. See " The Swastika on ancient coins," Chapter ii of this paper, and Waring, "Ceramic Art In Remote Ages," p. 83. ^"La Migration des symboles," p. 104. ^"Ilios,"pp.347,348. ■■Bulletins de la Socifetb d'Anthropologie, ISS^, p. 678. ^Mr. Gandhi makes the same remark in hisletter on the Buddha sliell statue show^i in pi. 10 of this paper. THE SWASTIKA. 773, arms as did the goddess Aphrodite, iu fig. 8 of his writings, (see fig. 180 ill the iireseut paper), and when they assumed the position of arms crossed over their breast, the Swastikas being brought into prominent view, possibly gave the name to the position as being a representative of the sign. Max Miiller continues': Quite another question is, why the sign LXZ should have had an auspicious mean- ing, and why in Sanskrit it should have heen called Svastika. The similarity be- tween the group of letters sv in the ancient Indian alphabet and the sign of Svastika is not very striking, and seems purely accidental. A remark of yours [Schliemann] (Troy, p. 38) that the Svastika resembles a wheel in motion, the direction of the motion being indicated by the crampons, contains a useful hint, which has been eontirmed by some important observations of Mr. Thomas, the distinguished Oriental numismatist, who has called attention to the fact that in the long list of the recognized devices of the twenty-four Jaina Tirthankaras the sun is absent, but that while the eighth Tirthankara has the sign of the half-moon, the seventh Tirthankara is marked with the Svastika, i. e., the sun. Here, then, we have clear indications that the Svastika, with the hands pointing in the right direction, was originally a symbol of the sun, perhaps of the vernal sun as opposed to the autumnal sun, the Stiavastika, and, therefore, a natural symbol of light, life, health, and wealth. liut, while from these indications we are justified in supposing that among the Aryan nations the Svastika miiy have been an old emblem of the sun, there are other indications to show that iu other parts of the world the same or a similar emblem was used to indicate the earth. Mr. Beal " * * bas shown •< * * that the simple cross (-|-) occurs as a, sign for earth iu certain ideographic groups. It was probably intended to indicate the four quarters — north, south, east, west — or, it may he. more generally, extension in length and breadth. That the cross is used as a sign for "four" in the Bactro-Pali inscriptions (Max Miiller, "Chips from a German Workshop," Vol. ii, p. 298) is well known; but the fact that the same sign has the same power elsewhere, as, for instance, in the Hieratic numerals, does not prove by any means that the one figure was derived from the other. We forget too easily that what was possible in one place was possible also in other places ; and the more we extend our researches, the more we shall learn that tlie chapter of accidents is larger than we imagine. The "Suavastilva" which .MaxMiiller names and believes was applied to the Swastika sign, with the ends bent to the left (fig. 10), seems not to be reported with that meaning by any other author except Buruouf.^ Tlierefore ,the normal Swastika would seem to be that with the ends bent to the right. Burnouf says the word Suavastika may be a deriva- tive or development of the Svastikaya, and ought to signify "lie who, or, that which, bears or carries the Swastika or a species of Swastika." Oreg,' under the title Sdvastikaya, gives it as his opinion that there is no difference between it aiid the Swastika. Colonel Low * mentions the word Sawattheko, Ayhich, according to Burnouf^ is only a variation of i"Ilio8,"p.348. 2 "Lotus de la Bonne Loi," App. viii, p. 626, note 4. ' Archaeologia, p. 36. < Transacttons of the Royal Asiatic Society of Great Britain, ni, p. 120. 6 "Lotus de la Bonne Loi," App. viii, p. 625, note 2. / A y — ^ ^^ ,774 REPOET OF NATIONAL MUSEUM, 1894. the Pali word Sotthika or Suvatthika, the Pali'translation of the San- skrit Swastika. Burnouf translates it as Svastikaya. M. Eugene Burnouf ^ speaks of a third sign of the footprint of ^akya, called Nandavartaya, a good augury, the meaning being the "circle of fortune," which is the Swastika inclosed within a square with avenues radiating from the corners (fig. 14). Burnouf says the above sign has maTiy significations. It is a sacred temple or edifice, a species of laby- rinth, a garden of diamonds, a chain, a golden waist or shoulder belt, and a conique with spires turning to the right. Colonel Sykes^ concludes that, according to the Chinese authorities Fa-hian, Soung Young, Hiuan thsang, the "Doctors of reason, 'Tao-sse, or followers of the mystic cross ^ were diffused in China and ludia before the advent of Sakya in the sixth century B. C. (according to Chinese, Japanese, and Buddhist authorities, the eleventh century B. C), continuing until Fa-hian's time; and that they were professors of a qualified Buddhism, which, it is stated, was the universal religion of Tibet before Sakya's advent,^ and continued until the introduction of orthodox Buddhism in the ninth century A. D.^ Klaproth= calls attention to the frequent men- tion by Fa-hian, of the Tao-sse, sectaries of the. ^'^■^*- mystic cross "-Pi (Sanskrit Swastika), and to their NANDAV AETATA, A THIHD . . '%, -, l • ITT l-ll SIGN OF THE FOOTPRINT OP cxistcncc lu Central Asia and India; while he BnoDHA. gays they were diffused over the countries to the B„r,.ouf,^.L.ta d. la Bo„™ Loi,.' ^^^j. ^^^ gouthwcst of China, and came annually from all kingdoms and countries to adore Kassapo, Buddha's predecessor." Mr. James Burgess' mentions the Tirthanka- ras or Jainas as being sectarians of the Mystic Cross, the Swastika. The Cyclopaedia of India (title Swastika), coinciding with Prof. Max Muller, says: The Swastika symbol is Bot to be confounded with the Swastika sect in Tibet which took the symbol for its name as typical of the belief of its members. They render the Sanskrit Swastika as composed of su "well" and asti "it is,'' meaning, as Professor Wilson expresses it, "so be it," and implying complete resignation under all circumstances. They claimed the Swastika of Sanskrit as the auii of Pali, and that the Swastika cross was a combination of the two symbols sutii-suti. They are rationalists, holding that contentment and peace of mind should be the only objects of life. The sect has preserved its existence in different localities and under different names, Thirthankara, Ter, Musteg, Pon, the last name meaning purity, under which a remnant are still in the farthest parts o" the most eastern province of Tibet. '"Lotus de la Bonne Loi," p. 626. ^"Notes on the Religious, Moral, and Political state of India," Jouru. Asiatic Soo. Great Britain, vi, pp. 310-334. ' Low, Trans. Roy. Asiatic Soc. of Great Britain iii, pp. 334, 310. < Ibid., p. 299. 6 Ibid., p. 299. ^ Low, Trans. Royal Asiatic Soc. of Great Britain, iii, p. 310. ' Indian Antiquary, ii. May, 1873, p. 135. THE SWASTIKA. 775 General Cunniiigbam^ adds his assertion of the Swastika being the symbol used by the Buddhist sect of that name. He says in a note: The founder of this sect flourished about the year 604 to 523 B. C, aud that thb mystic cross is a symbol formed by the combination of the two Sanskrit syllables su and ti-suti. Waring^ proceeds to demolish these statements of a sect named Swastika as pure inventions, and " consulting Professor Wilson's inval- uable work on the Hindoo religious sects in the 'Asiatic Eesearches,' we find no account of any sect named Swastika." Mr. V. E. Gandhi, a learned legal gentleman of Bombay, a repre- sentative of the Jain sect of Buddhists to the World's Parliament of Religions at Chicago, 1893, denies that there is in either India or Tibet a sect of Buddhists named "Swastika." He suggests that these gen- tlemen probably mean the sects of Jains (of which Mr. Gandhi is a member), because this sect uses the Swastika as a sign of benediction and blessing. This will be treated further on. (See p. 804.) Zmigrodzki, commenting on the frequency of the Swastika on the objects found by Dr. Schliemann at Hissarlik, gives it as his opinion^ that these representations of the Swastika have relation to a human cult indicating a supreme being filled with goodness toward man. The sun, stars, etc., indicate him as a god of light. This, in connection with the idol of Venus, with' its triangular shield engraved with a Swastika (fig. 125), and the growing trees and palms, with their increas- ing and multiplying branches and leaves, represent to him the idea of fecundity, multiplication, increase, and hence the god of life as well as of light. The Swastika sign on funeral vases indicates to him a belief in a divine spirit in man which lives after death, and hence he con- cludes that the people of Hissarlik, in the "Burnt City" (the third of Schliemann), adored a supreme being, the god of light and of life, and believed in the immortality of the soul. E. P. Greg says :* Originally it [the Swastika] -would appear to hare been an early Aryan atmos- pheric device or symbol indicative of both rain and lightning, phenomena appertain- ing to the god Indra, subsequently or collaterally developing, possibly, into the Suastika, or sacred fire churn in India, and at a still later period in Greece, adopted rather as a solar symbol, or converted about B. C. 650 into the meander or key pattern. Waring, while he testifies to the extension of the Swastika both in time and area, says: ' But neither in the hideous jumble of Pantheism— the wild speculative thought, mystic fables, and perverted philosophy of life among the Buddhists— nor in the equally wild and false theosophy of the Brahmins, to whom this symbol, as distinc- '"BilsaTopes,"p. 17. '"'Ceramic Art in Eemote Ages," p. 12. 'Tenth Congress International d'Anthropologie et d'Archseologie Prehistoriques, Paris, 1889, p. 474. •* Archffiologia, XLVii, pt. 1, p. 159. ^ "Ceramic Art in Eemote Ages," p. 11. 776 REPORT OF NATIONAL MUSEUM, 1894. tive of the Vishnavas, sectarian devotees of Yishnu, is ascribed by Moor in his "Indian Pantheon," nor yet iu the tenets of the Jnins, ' do we find any decisive explanation of the meaning attached to this symbol, although its allegorical inten- tion is indubitable. He mentions the Swastika of the Buddhists, the cross, the circle, their combination, the three-foot y and adds: "They exhibit forms of those olden and widely spread pagan symbols of Deity and sanctity, eternal life and blessing." Professor Sayce says : '' The Cyprian vase figured iu Di Cesnola's "Cyprus," pi. XLV, fig. 36 [see fig. 156], -which associates the Swastika with the figure of au animal, is a striking analogue of the Trojan whorls on which it is associated with the figures of stags. The fact that it is drawn within the vulva of tho leaden image of the Asiatic goddess [see fig. 125] seems to show that it was a symbol of generation. I believe that it is identical with the Cyprian character Jff or '1' (ne), which has the form )[l in the inscription of Golgi, and also with the Hittite |f| or ||| which Dr. Hyde Ciarlre once suggested to me was intended to represent the organs of generation. Mr. Waller, in his work entitled "Monamental Crosses," describes the Swastika as having been known in India as a sacred symbol many centuries before our Lord, and used as the distinguishing badge of a rehgious sect calling themselves "Followers of the Mystic Cross." Subsequently^, he says, it was adopted by ihe followers of Buddha and was still later used by Christians at a very early i)eriod, being first introduced on Christian monuments in the sixth century. But Mr. Waring says that in this he is not correct, as it was found in some of the early paintings in the Eoman catacombs, particularly on the habit of a Fossor, or gravedigger, given by D'Agincourt. Pugin, in his "Glossary of Ornament," under the title "Fylfot," says that iu Tibet the Swastika was used as a representation of God crnci- fied for the human race, citing as his authority F. Augustini Antonii Georgii.^ He renmrks : From these accounts it would appear that the fylfot is a mystical ornament, not only adopted among Christians from primitive times, but used, as if prophetically, for centuries before the coming of our Lord. To descend to later times, we find it constantly introduced in ecclesiastical vestments, » » ** till the end of the fif- teenth century, a x>eriod marked by great departure from traditional symbolism. Its use was continued in Tibet into modern times, though its meaning is not given.'' (See p. 802.) The Rev. G. Cox, in his "Aryan My thology," says : Wo recognize the male and the female symbol in the trident of Poseidon, and in the fylfot or hammer of Thor, which assumes the form of a cross-pattf^e iu the vari- ous legends which turn on the rings of Freya, Holda, Venus, or Aphrodite. ' See explanation of the Swastika by Mr. Gandhi according to the Jain tenets, p. 804. = "Ilios,"p. 353. 3"Alphabetum Tibetarium," Rome, 1762, pp. 211, 460, 725. ■•Rockhill, "Diary of a Journey through Mongolia and Tibet," Smithsonian Insti- tution, Washington, 1894, .p. (37. THE SWASTIKA. 777 Htre again we find the fylfot aud cross-pattee spoken of as tlie same symbol, and as being emblematic of the reproductive principles, in ■which view of its meaning Dr. Inman, in his "Ancient Faiths Embodied in Ancient Names," concurs. Burnouf 1 recounts the myth of Agni (from which comes, through the Latiu ignis, the English word igneous), the god of Sacred Fire, as told in the Veda:^ Tlie young queen, the mother of Fire, carried the royal infant mysteriously con- cealed in her bosom. She was a woman of the. people, whose common name was "Aranir'— that is, the instrument of wood (the Swastika) from which fire was made or brought by rubbing. * » » The origin of the sign [Swastika] is now easy to recognize. It represents the two pieces of wood which compose I'arani, of which the extremities were bent to be retained by the four nails. At the junction of the two pieces of wood was a fossette or cup-like hole, and there they placed a piece of wood upright, in form of a lance (the Pramantha), violent rotation of which, by whipping (after the fashion of top-whipping), produced fire, as did Prometheus, the porteur dufeu, in Greece. And this myth was made, as have been others, probably by the priests and poets of succeeding times, to do duty for different philoso- phies. The Swastika was made to represent Arani (the female prin- ciple) ; the Pramantha or upright fire stake representing Agni, the fire god (the male) ; and so the myth served its part to account for the birth of fire. Burnouf hints that the myth grew out of the production of holy fire for the sacred altars by the use of the Pramantha and Swas- tika, after the manner of savages in all times. Zmigrodzki accepts this myth, and claims all specimens with dots or points — supi^osed nail holes — as Swastikas. The Count Goblet d'Alviella^ argues in opposition to the theory announced by Burnouf and by Zmigrodzki, that the Swastika or croix swasticale, when presenting dots or points, had relation to fire making. He denies that the points represent nails, or that nails were made or necessary either for the Swastika or the Arani, aud concludes that thereis no evidence to support the theory, and nothing to show the Swastika to have been used as a fire-making apparatus, whether with or witiiout the dots or points. Mr. Greg' opposes this entire theory, saying: The difficulty about the Swastika and its supposed connection with fire appears to me to lie in not knowing precisely what the old fire drill aud chark were like. * * * I much doubt whether the Swastika had originally any connection either with the fire-ohark or with the sun. * * * The best authorities consider Bur- nouf is in error as to the earlier use of the two lower cross pieces of wood and the four nails said to have been used to fix or steady the framework. He quotes from Tylor's description^ of the old fire drill used iu India ' "Des Sciences et Religion," pp. 252, 257. 2 Vol. XI. , 3 " La Migration des Symboles," pp. 61-63. , ■"Archseologia, XLvni, pt. 2, pp. 322, 323. 5 "Early History of Mankind," p. 257, note C. 778 REPORT OF NATIONAL MUSEUM, 1894. for kindling the sacrificial fire by the process called "churning," as it resembles tha;t in India by which butter is separated from milk. It consists in drilling one piece of Arani wood by pulling a cord with one hand while the other is slackened, and so, alternately (the strap drill), till the wood takes fire. Mr. Greg states that the Eskimos use similar means, and the ancient Greeks used the drill and cord, and he adds his conclusions: - There is nothing of the Swastika and four nails in connection with the fire-churn." Burton' also criticises Burnouf's theory: If used on sacriEcial altars to reproduce the holy fire, the practice is peculiar and not derived from everyday life ; for as early as Pliny they knew that the savages used two, and never three, fire sticks. Burnouf continues his discussion of myths concerning the origin of fire: According to Hymnes, the discoverer of fire was Atharan, whose name signifies fire, but Bhrigon it was who made the sacred fire, producing resplendent flames on the earthen altar. In theory of physics, Agni, who was the fire residing within the •"onction,'' (f) came from the milk of the cow, which, in its turn, came from the plants that had nourished her ; and these plants in their turn grew by receiving and appropriating the heat or fire of the sun. Therefore, the virtue of the "onction" came from the god. One of the Vedas says of Agni, the god of fire : ^ Agni, thou art a sage, a priest, a king. Protector, father of the sacrifice ; Commissioned by our meu thou dost ascend A messenger, conveying to the sky Our hymns and offerings, though thy origin Be three fold, now from air and now from water, Now from the mystic double Arani.' Count Goblet d'Alviella combats the hypothesis of Burnouf that the Swastika when turned to right or left, passed, the one for the male and the other for the female principle, and declares, on the authority of Sir George Bird wood, that it is, in modern India, a popular custom to name objects which appear in couples as having different sexes, so that to say "the male Swastika" and the "female Swastika," indicating them by the pronouns "he" or "she," would be expressed in the same manner when speaking of the hammer and the anvil or of any other objects used in pairs.* Ludwig Miiller, in his elaborate treatise, gives it as his opinion that the Swastika had no connection with the Tau cross or with the Crux ansata, or with the fire wheel, or with arani, or agni, or with the mystic or alpha- betic letters, nor with the so-called spokes of the solar wheel, nor the forked lightning, nor the hammer of Thor. He considers that the tris- ' " The Book of the Sword," p. 202, note 2. ^Burnouf, "Des Sciences et Religion," p. 18. 'The two pieces of wood of Ficus religioaa, used for kindling fire. ■"'La Migration des Symboles, " p. 63. THE SWASTIKA. 779 keliou might throw light on its origin, as indicating perpetual whirling or circular movemeut, which, in certain parts of southern Asia as the emblem of Zeus, was assimilated to that of Baal, an inference which he draws from certain Asiatic coins of 400 B. 0. Mr. R. P. Gregi opposes this theory and expresses the opinion that the Swastika is far older and wider spread as a symbol than the tris- kelion, as well as being a more purely Aryan symbol. Greg says that Ludwig Miiller attaches quite too much importance to the sun in con- nection with the early Aryans, and lays too great stress upon the sup- posed relation of the Swastika as a solar symbol. The Aryans, he says,^ were a race not given to sun worship; and, while he may agree with Miiller that the Swastika is an emblem of Zeus and Jupiter merely as the Supreme God, yet he believes that the origin of the Swastika had no reference to a movement of the sun through the heavens; and he prefers his own theory that it was a device suggested by the forked lightning as the chief weapon of the air god. Mr. Greg's paper is of great elaboration, and highly complicated.^ He devotes an entire page or plate (21) to a chart showing the older Aryan fire, water, and sun gods, according to the Brahmin or Buddhist system. The earliest was Dyaus, the bright sky or the air god; Adyti, the infinite expanse, mother of bright gods; Varuna, the covering of the shining firmament. Out of this trinity came another, Zeus, being the descendant of Dyaus, the sky god; Agni, the fire; Sulya, the sun, and Indra, the rain god. These in their turn formed the great Hindu trinity, Brahma, Vishnu, and Siva — creator, preserver, and destroyer; and, in his opinion, the Swastika was the symbol or ordinary device of Indra as well as of Zeus. He continues his table of descent from these gods, with their accompanying devices, to the sun, ligiituing, fire, and water, and makes almost a complete scheme of the mythology of that period, into which it is not possible to follow him. However, he declines to accept the theory of Max Mtiller of any difference of form or mean- ing between the Suavastika and the Swastika because the ends or arms turned to the right or to the left, and he thinks the two symbols to be substantially the same. He considers it to have been, in tlie first instance, exclusively of early Aryan origin and use, and that down ta about 600 B. G. it was the emblem or symbol of the supreme Aryan god ; that it so continued down through the various steps of descent (according to the chart mentioned) until it became the device and sym- bol of Brahma, and finally of Buddha. He thinks that it may have been the origin of the Greek fret or meander iiattern. Later still it was adopted even by the early Christians as a suitable variety of their cross, and became variously modified in form and was used as a charm, D'Alviella^ expresses his doubts concerning the theory advanced by Greg^ to the effect that the Swastika is to be interpreted as a symbol 'Archfeologia, XLiii, pt. 2, pp. 324, 325. ' "La Migration des Symboles/' p. 64. ■■"'Fylfot and Swastika," ArchsBologia, 1885, p. 293. 780 REPORT OF NATIONAL MUSEUM, 1894. of the air or of the god who dwells in the- air, operating sometimes to produce light, other times rain, then water, and so on, as is represented by the god Indra among the Hindus, Thor among the Germans and Scandinavians, Perkun among the Slavs, Zeus among the Pelasgi and Greeks, Jupiter Tonans, and Pluvius among the Latins. He disputes the theory that the association of the Swastika sign with various others on the same object proves its relationship with that object or sign. That it appears on vases or similar objects associated with what is evidently a solar disk is no evidence to him that the Swastika belongs to the sun, or when associated with the zigzags of lightning that it represents the god of lightning, nor the same with the god of heaven. The fact of its appearing either above or below any one of these is, in his opinion, of no importance and has no signification, either general or special. D'Alviella says' that the only example known to him of a Swastika upon a monument consecrated to Zeus or Jupiter is on a Gelto-Eoman altar, erected, according to all appearances, by the Daci during the time they were garrisoned at Ambloganna, in Britain. The altar bears the letters I. O, M., which have been thought to stand for Jupiter Optimus Maximus. The Swastika thereon is flanked by two disks or rouelles, with four rays, a sign which M. Gaidoz believes to have been a representative of the sun among the Gaulois.^ Dr. Briuton ^ considers the Swastika as being related to the cross and not to the circle, and asserts that the Ta Ki or Triskeles, the Swastika and the Gross, were originally of the same signification, or at least closely allied in meaning. Waring,* after citing his authorities, sums up his opinion thus : We have given remarks of the various writers on this symbol, and it vrill be seen that, though they are more or less vague, uncertain, and confused in their descrip- tion of it, still, with one exception, they all agree that it is a mystic symbol, pecul- iar to some deity or other, bearing a special signification, and generally believed to have some connection with one of the elements — water. Burton says : ^ The Svastika is apparently the simplest form of the Guilloche [scroll pattern or spiral]. According to Wilkinson (11, Chap. IX), the most complicated form of the Guilloche covered an Egyptian ceiling upward of a thousand years older than the objects found at Nineveh. The Svastika spread far and wide, everywhere assuming some fresh mythological and mysterious significance. In the north of Europe it became the Fylfot or Crutched cross. Count Goblet d'Alviella is of the opinion (p. 57) that the Swastika was " above all an amulet, talisman, or phylactere," while (p. 56) "it is incontestable that a great number of the Swastikas were simply motifs ' " La Migration des Symboles," p. 65. ' " Le Dieu gaulois du Soleil et le symbolisme de la roue," Paris, 1886. ^Proc. Amer. Philosoph. Soc, 1889, pp. 177-187. ■• "Ceramic Art in Remote Ages." 6 " The Book of the Sword," p. 202. THE SWASTIKA. 781 of ortiameatation, of coin marks, and marks of fabrics," but he agrees (p. 57) that there is no symbol that has given rise to so many interpre- tations, not even the tricula of the Buddhists, and " this is a great deal to say." Ludwig Miiller believes the Swastika to have been used as an ornament and as a charm and amulet, as well as a sacred symbol. Dr. H. Colley March, in his learned paper ou the " Fylfot and the Futhorc Tir," ' thinks the Swastika had no relation to fire or fire making or the fire god. His theory is that it symbolized axial motion and not merely gyration; that it represented the celestial pole, the axis of tlie heavens around which revolve the stars of the firmament. This appear- ance of rotation is most impressive in the constellation of the Great Bear. About four thousand years ago the apparent pivot of rotation was at a Draconis, much nearer the Great Bear than now, and at that time the rapid circular sweep must have been far more striking than at present. In addition to the name Ursa Major the Latins called this constellation Septentr tones, "the seven plowing oxen," that dragged the stars around the pole, and the Greeks called it tXiur/, from its vast spiral movement.^ In the opinion of Dr. March all these are repre- sented or symbolized by the Swastika. Prof. W. H. Goodyear, of New York, has lately (1891) published an elaborate quarto work entitled "The Grammar of the Lotus: A New History of Classic Ornament as a Development of Sun Worship."^ It comprises 408 pages, with 7G plates, and nearly a thousand figures. His theory develops the sun symbol from the lotus by a series of ingenious and complicated evolutions passing through the Ionic style of archi- tscture, the volutes and siiirals forming meanders or Greek frets, and from this to the Swastika. The result is attained by the following line of argument and illustrations : The lotus was a "fetish of immemorial antiquity and has been wor- shiped in many countries from Jai>an to the Straits^of Gibraltar;" it was a symbol of "fecundity," "life," "immortality," and of "resurrec- tion," and has a mortuary significance and use. But its elementary and most important signification was as a solar symbol.* He describes the Egyptian lotus and traces it through an innumer- able number of specimens and with great A'ariety of form. He men- tions many of the sacred animals of Egypt and seeks to maintain their relationship by or through the lotus, not only with each other but with solar circles and the sun worship.' Direct association of the solar disk and lotus are, according to him, common on the monuments and on Phenician and Assyrian seals; while the lotus and the sacred animals, as in cases cited of the goose representing Seb (solar god, and father of Osiris), also Osiris himself and Horns, the hawk and lotus, bull and ' Trans. Lancaster and Cheshire Antiq. Soc, 1886. 2 Haddon, " Evolution in Art," London, 1895, p 268. ' Sampson, Low, Marston & Co., London. ■• Goodyear, "The Grammar of the Lotus," pp. 4, 5. « Ibid., p. 6. 782 REPORT OF NATIONAL MUSEUM, 1894. lotus, the asp and lotus, tlie lion and lotus, the sphinx and lotus, the gryphon and lotus, the serpent and lotus, the ram and lotus — all of which animals, and with them the lotus, have, in his opinion, some related signification to the sun or some of his deities.' He is of the opinion that the lotus motif was the foundation of the Egyptian style of architecture, and that it appeared at an early date, say, the four- teenth century B. C. By intercommunication with the Greeks it formed the foundation of the Greek Ionic capital, which, he says,^ "offers no Fig. 15. TYPICAL LOTUS ON CYPRIAN VASES. From figiii Fljr. 16. TYPICAL LOTUS ON RHODIAK VASES. N in Goodyear'a " Grammar of the Lotus " p. 77, Pig. 17. TYPICAL LOTUS ON MELIAN VASES. Kg. 18. dated example of the earlier time than the sixth century B. C." He siipports this contention by authority, argument, and illustration. He shows ^ the transfer of the lotus motif to Greece, and its use as an ornament on the painted vases and on those from Cyprus, Ehodes, and jAIelos (figs. 15, 16, 17). Chantre'' notes the presence of spirals similar to those of fig. 17, in the terramares of northern Italy and up and down the Danube, and his fig. 186 (fig. 17) he says represents the decorat- ing motif, the most frequent in all that part of prehistoric Europe. He cites "Notes sur les torques ou ornaments spirals."' That the lotus had a foundation deep and wide in Egyptian mythology is not to be denied; that it was allied to and associated on the monuments and other objects with many sacred and mythologic characters in Egyptand after- wards in Greece is accepted. How far it extends in the direction con- tended for by Professor Goodyear, is no part of this investigation. It appears well established that in both countries it became highly cou; ventionalized, and it is quite sufficient for the purpose of this argument that it became thus associated with the Swastika. Figs, 18 and 19 'Goodyear, " The Grammar of the Lotus," pp. 7, 8. '-lhid.,j,.n. abid., pp. 74,77. ■■ "Age du Bronze," Deuxieme partie, p. 301. * Mat^riaux pour I'Histoire Primitive et Naturelle de I'Homme, 3d ser., Am, ]>. 6. DETAIL OF CYPKIAN VASE SHOWING LOTUSES WITH CUELINO SEPALS. Mttropolitan Museuni of Art, New York. Goodyear, " Grammar of the Lotus," pi. 47, fig. 1, THE SWASTIKA. 783 represent details of Cyprian vases and amphora belonging to tlie Ces- nola collection in tlie New York Metropolitan Museum of Art, showing Fig. 19. DETAIL OF CYPEIAN AMPHORA IN METEOPOLITAX MUSEUM Ol? AKT, NEW TOEK CITY. Lotus with curling sepals and different Swastikas. Goodyear, " Grammivr of the Lotus, ' pi. 47, figs. 2, 3. the lotus witli curling sepals among which are interspersed Swastikas of different forms. According to Professor Goodyear/ these bent sepals of the lotus were exaggerated and iinally became spir- als,* which, being projected at a VV"^ '^^V^O^*"'?^'^ tangent, made volutes, and, continu- V Q/ V Q/Q/QJ Fig. 20. THEOET OF THE EVOLUTION OF THE SPIRAL SCROLL FROM LOTUS. One volute. Goodyear, " Grammar of the Lotus," fig. 51. ing one after the other, as shown in fig. 20, formed bands of ornament; or,^ being connected to right and left, spread the ornament over an extended surface as in fig. 21. One of his paths of evolution closed these volutes and dropped the connecting tangent, when they formed the concentric rings of which we see so much. Several forms of Egyptian scarabaei, showing the evo- lution of concentric rings, are shown iu figs. 22, 23, and 24. By another path of the evolution of his the- ory, one has only to square the spiral volutes, and the result is the Greek fret shown in fig. 25.-' The Greek fret has only to be doubled, when it produces the Swastika shown in fig. 26.'' Thus we have, according to him, the origin of the Swastika, as shown in figs. 27 and 28.'' Professor Goodyear is authority for the state- ment that the earliest dated instances of tbe i.solated scroll is in the fifth dynasty of Egypt, and of the lotus and spiral is in the eleventh dynasty. The spiral of -fig. 19 (above) belongs to the twelfth dynasty.' Fig. 21. THEORY OF LOTUS RUDIMENTS IX SPIRAL. Toinb 33, Abd-el Konrneh, Thelies Goodyear, " Grammar of the Lotus," p. 96. ' "Grammar of the Lotus," pi. 8, p. 81. nbid., pp. 82-94. 'Ibid., p. 96. "Ibid., pi. X, figs. 7-9, p. 97. <> Ibid., p. 354. eibid., p. 353. 'Ibid, p. 354, fig. 174. 784 REPORT OF NATIONAL MUSEUM, 1894. Professor Goodyear devotes an eatire chapter to the Swastika. On pages 332, 353 he says : There is no proijosition iu archiwology -whicli can be so easily demonstrated as the assertion that the Swastika was ori;innlly f OF CONCBXTKIC RINGS. Fig. 22 CONCENTRIC KINGS CON- NECTED BY TANGENTS. From a fi^re in Patrie's " History of Scarabs." Fig. 23. CONCENTRIC RINGS WITH DIS- CONNECTED TANGENTS. Barringer collection, Metropolitan Mu- seum of Art, New York City. Goodyear, " Grammar of tlie Lotus," pi 8, fig. 23. -Fig. 24. CONCENTRIC RINGS WITHOUT CONNECTION. Farman collection, Metropolitan Mu- seum of Art, New York City. Goodyear, "Grammar of the Lotus," pi. 8, fig. 25. the meander and the Swastika has been long since suggested by Prof. A. S. Murray." Hindu specialists have suggested that the Swastika produced the meander. Birdwood'^ says: "I believe the Swastika to be the origin of the key pattern orna- ment of Greeli: and Chinese decorative art." Zmigrodzki, iu a recent publication,' has not only reproposed this derivation of the meander, but has oven connected the Mycenae spirals with this supposed development, and has proposed to change the name of the spiral ornament accordingly. * ^ » The equivalence of the Swastika witli the meander pattern is sug- gested, in the first instance, by its appearance in the shape of the meander on the Rhodian (pi. 28, fig. 7), Melian (pi. 60, fig. 8), archieic Greek (pi. 60, fig. 9, and pi. 61, fig. 12), and Greek geometric vases (pi. 56). The appearance in shape of the meander may be verified in the British Museum on one geometric vase of the oldest type, and it also occurs in the Louvre. Fig. 25. SPECIAL EGYPTIAN MEANDER. An illustration of the theory of de- rivation from the spiral. Goodyear, " Grammar of the Lotus," pi. 10, fig. 9. Oil page 354, Goodyear says : The solar significance of the Swastika is proven by the Hindu coins of the Jains. Its generative ' significance is proven by a leaden statuette from Troy. It is an equivalent of the lotus (pi. 47, figs. 1, 2, 3), of the solar diagram (pi. 57, fig. 12, and pi. 60, fig. 8), of the rosette (pi. 20, fig. 8), of concentric rings (pi. 47, fig. 11), of the spiral scroll (pi. 34, fig. 8, and pi. ' Cesnola, "Cyprus, its Ancient Cities, Tombs, and Temples, 2 "Industrial Arts of India," p. 107. » " Zur Geschichte der Swastika." p. 410. THE SWASTIKA. 785 Fig. 26. DETAIL OF GREEK VASE. Meander and Swastika. Goodyear, "Graminar of t!ie Lotus," fig, 174. 39, fig. 2), of the geometric boss (pi. 48, fig. 12), of the triangle (pi. 46, fig. 5), anil of the anthemion (pi. 28, flg. 7, andpl. 30, fig. 4). It appears -svilh the solar doer (pi. 60, figs. 1 and 2), with the solar antelope (pi. 37, fig. 9), -n-ith the symbolic fish (pi. 43, fig. 1), -with' the ibex (pi. 37, fig. 4), with the solar sphinx (pi. 34, fig. 8), with the solar lion (pi. 30, fig. 4), the solar ram (pi. 28, fig. 7), and the solar horse (pi. 61, figs. 1, 4, 5, and 12). Its most emphatic and constant association is with the solar bird (pi. 60, fig. 15; fig. 173). Count Goblet d'Alviella, following Ludwig Miiller, Percy Gardner, S. Beal, Edward Thomas, Max Mul- ler, H. Gaidoz, and other authors, accepts their theory that the Swas- tika was a symbolic representation of the sun or of a sun god, and argues it fully.' He starts with the propo- sition that most of the nations of the earth have represented the sun by a circle, although some of them, notably the Assyrians, Hindus, Greeks, and Celts, have repre- sented it by signs more or less cruciform. Examiuing his fig. 2, whereiu signs of the various peo- ple are set forth, it is to be re- marked til at there is no similarity or apparent relationship between the six symbols given, either with themselves or with the sun. Only one of them, that of Assyria, pre- tends to be a circle; and it may or may not stand for the sun. It lias no exterior rays. All the rest are crosses of dift'ereut kinds. Each of the six symbols is represented as being from a single nation of peo- ple. They are prehistoric or of high antiquity, and most of them appear to have no other evidence of their representation of the sun than is contained in the sign itself, so that the first objection is to the premises, to wit, that while his symbols may have some- times represented the sun, it is far from certain that they are used constantly or steadily as such. An objection is made to the theory or hypothesis presented by Count d'Alviella^ that it is not ' "La Migration des Symboles," chap. 2, pt. 3, p. 66. 'Ibid., p. 67. H. Mis. 90, pt. 2 50 Fig. 27. DETAIL OF GREEK GEOMETEIO VASE IN THE BEITISH MUSEUM. Swastika, right, "with solar geese. Goodyear, " Grammar of the Lotus," p. 3.'i3, fig. 173. Goodye Fig. 28. GItEEK GEOMETRIC VASE. Swastika with solar geese. r, " Grammar of the Lotus," p. 353, fig. 172. 786 EEPORT OF NATIONAL MUSEUM, 1894. the cross part of the Swastika which represents tlie sun, but its bent arms, which show the revolving motion, by which he says is evolved the tetraskelion or what in this paper is named the "Ogee Swastika." The author is more in accord with Dr. Brinton and others that the Swastika is defived from the cross and not from the wheel, that the bent arms do not represent rotary or gyratory motion, and that it had no association with, or relation to, the circle. This, if true, relieves the Swastika from all relation with the circle as a symbol of the sun. Besides, it is not believed that the symbol of the sun is one which required rotary or gyratory motion or was represented by it, but, as will be explained, in speaking of the Assyrian sun-god Shamash (p. 789), it is rather by a circle with pointed rays extending outward. D'Alviella^ presents several figures in support of his contention. The first {a) is on a fibula from Btruria (fig. 190 of this paper). His explanation is that the small circle of rays, bent at right angles, on the broad shield of the pin, represents graphically the rotary movement of the sun, and that the bent arms iu the Swastikas on the same object are taken from them. It seems curious that so momentous a subject as the existence of a symbol of a great god, the god of light, heat, and thus of life, should be made to depend upon an object of so small importance. This specimen (fig. 190) is a fibula or jiin, one of the commonest objects of Etruscan, Greek, or Eoman dress. The decorations invoked are on the broad end, which has been flattened to protect the point of the pin, where appears a semicircle of so-called rays, the two Swastikas and two possible crosses. There is nothing about this pin, nor indeed any of the other objects, to indicate any holy or sacred character, nor that any of them were used in any ceremony having relation to the sun, to any god, or to anything holy or sacred. His fig. b is fig. 88 in this paper. It shows a quadrant of the sphere found by Schliemann at His- sarlik. There is a slightly indefinite circle with rays from the outside, which are bent and crooked iu many directions. The sphere is of terra cotta; the marks that have been made on it are rough and ill formed. They were made by incision while the clay was soft and were done in the rudest manner. There are dozens more marks upon the same sijhere, none of which seem to have received any consideration in this regard. There is a Swastika upon the sphere, and it is the only mark or sign upon the entire object that seems to hiive been ma.de with care or precision. His third figure (c) is taken from a reliquaire of the thir- teenth century A. D. It has a greater resemblance to the acanthus plant than it has to any solar disk imaginable. The other two figures {d and e) are tetraskelions or ogee Swastikas from ancient coins. D'Alviella's next argument^ is that the triskelion, formed by the same process as the tetraskelion, is an "incontestable" representation of solar ' " La Migration des Symboles," p. 69. ^Ibid., p. 71. THE SWASTIKA. 787 movement. No evidence is submitted in support of this assertion, and the investigator of the present day is required, as in prehistoric objects, to depend entirely upon the object itself. The bent arms contain no innate evidence (even though they should be held to represent rotary or gyratory motion) representing the sun or sun gods. It is respect- fully suggested that in times of antiquity, as in modern times, the sun is not represented as having a rotary motion, but is rather represented by a circle with diminishing rays ijrojecting from the center or exterior. It seems unjustifiable, almost ridiculous, to transform the three flexed human legs, first appearing on the coins of Lycia, into a sun symbol, to make it the reliable evidence of sun worship, and give it a holy or sacred character as representing a god. It is surely pushing the argu- ment too far to say that this is an "incontestable" representation of the solar movement. The illustrations by d'Alviella on his page 71 are practically the same as figs. 224 to 220 of this paper. Count d'Alviella's further argument' is that symbols of the sun god being frequently associated, alternated with, and sometimes replaced by, the Swastika, proves it to have been a sun symbol. But this is doubted, and evidence to sustain the proposition is wanting. Undoubt- edly the Swastika was a symbol, was intentional, had a meaning and a degree of importance, and, while it may have been intended to repre- sent the sun and have a higher and holier character, yet these mere associations are not evidence of the fact. D'Alviella's plate 2, page 80, while divided into sections a and ft, is filled only with illustrations of Swastika associated with circles, dots, etc., introduced for the purpose of showing the association of the Swastika therewith, and that the permutation and replacing of these signs by the Swastika is evidence that the Swastika represented the sun. Most of the same illustrations are presented in this paper, and it is respectfully submitted that the evidence does not bear out his con- clusion. If it be established that these other symbols are representa- tives of the sun, how does that prove that the Swastika was itself a representative of the sun or the sun god ? D'Alviella himself argues^ against the proposition of equivalence of meaning because of associ- ation when applied to the Crux ansata, the circle, the crescent, the triskeliou, the lightning sign, and other symbolic figures. He denies that because the Swastika is found on objects associated with these signs therefore they became interchangeable in meaning, or that the Swastika stood for any of them. The Count ^ says that more likely the engraver added the Swastika to these iu the character of a talisman or phylactery. On page 56 he argues in the same line, that because it is found on au object of sacred character does not necessarily give it the signification of a sacred or holy symbol. He regards the Swastika as 1 " La Migration des Symboles," pp. 72, 75, 77. = Ibid., p. 61. 788 REPORT OF NATIONAL MUSEUM, 1894. a symbol of good fortune, and sees no reason why it may not be em- ployed as an invocation to a god of any name or kind on the principle, "Good Lord, good devil," quoting the ISTeapolitan proverb, that it will do no harm, and possibly may do good. Prof. Max MuUer ' refers to the discovery by Prof. Percy Gardner of one of the coins of Mesembria, whereon the Swastika replaces the last two syllables of the word, and he regards this as decisive that in Greece the meaning of the Swastika was equivalent to the sun. This word, Mesembria, being translated ville de midi, means town or city of the south, or the sun. He cites from Mr. Thomas's paper on the "Indian Swastika and its Western Counterparts"^ what he considers an equally decisive discovery made some years ago, wherein it was shown that the wheel, the emblem of the sun in motion, was replaced by the Swastika on certain coins; likewise on some of the Andhra coins and some punched gold coins noted by Sir Walter Elliott.^ Jn these cases the circle or wheel alleged to symbolize the sun was re- placed by the Swastika. The Swastika has been sometimes inscribed within the rings or normal circles representing what is said to be the four suns on Ujain patterns or coins (fig. 230). Otlier authorities have adopted the same view, and have extended it to include the lightning, the storm, the fire Avheel, the sun chariot, etc. (See Ohnefalsch Eichter, p. 790.) This appears to be a non sequitur. All these speculations may be correct, and all these meanings may have been given to the Swastika, but the evidence submitted does not prove the fact. There is in the case of the foregoing coins no evidence yet presented as to which sign, the wheel or the Swastika, preceded and which followed in point of time. The Swastika may have appeared first instead of last, and may not have been a substitution for the disk, but an original design. The disk employed, while possibly representing the sun in some ijlaces, may not have done so always nor in this particular case. It assumes too much to say that every time a small circle appears on an ancient object it represented the sun, and the same observation can be made with regard to symbols of the other elements. Until it shall have been satisfactorily established that the symbols represented these elements with practical unanimity, and that the Swastika actually and inten- tionally replaced »it as such, the theory remains undemonstrated, the burden rests on those who take the affirmative side; and until these points shall have been settled with some degree of probability the con- clusion is not warranted. As an illustration of the various significations possible, one has but' to turn to Chapter iv, on the various meanings given to the cross among American Indians, where it is shown that among these Indians the cross represented the four winds, the sun, stars, dwelhngs, the dragon 1 Athenaeum, August 20, 1892, p. 266. ^ Numismatic Chrouicle, 1880, xx, pp. 18-48. 3 Madras Journ. of Lit. and Sci., iii, pi. 9. THE SWASTIKA. 789 fly, mide' society, flocks of birds, human form,.maidenhooa, evil spirit, aud divers others. Mr. Edward Thomas, iu his work entitled " The Indian Swastika and its Western Counterparts," ' says : As far as I have been able to trace or connect the various manifestations of tliis emblem [the Swastika], they one and all resolve themselves into the primitive conception of solar motion, which was intuitively associated with the rolling or wheel-like projection of the sun through the upper or visible arc of the heavens, as understood and accepted iu the crude astronomy of the ancients. The earliest phase of astronomical science we are at present iu position to refer to, with the still extant aid of indigenous diagrams, is the Chaldean. The representation of the sun in this system commences with a simple ring or outline circle, which is speedily advanced toward the impression of onward revolving motion by the insertion of a cross or four wheel-like spokes within the circumference of the normal ring. As the original Chaldean emblem of the sun was typified by a single, ring, so the Indian mind adopted a similar definition, which remains to this day as the ostensible device or cast-mark of the modern Sauras or sun worshipers. The same remarks are made iu "Ilios" (pp. 353, 354). The author will not presume to question, much less deny, the facts stated by this learned gentleman, but it is to be remarked that, on the theory of presumption, the circle might represent many other things than the sun, and unless the evidence in favor of the foregbing state- ment is susceptible of verification, the theory can hardly be accepted as conclusive. Why should not the circle represent other things than the sun ? Iu modern asti'onomy the full moon is represented by the plain circle, while the sun, at least in heraldry, is always represented a.s a circle with rays. It is believed that the "cross or four wheel- like spokes" in the Chaldean emblem of the sun will be found to be rays rather that cross or spokes. A cast is in the U. S. National Museum (Cat. No. 154766) of an original specimen from Mffer, now in the Eoyal Museum, Berlin, of Shamash, the Assyrian god of the sun. He is represented on this monument by a solar disk, 4 inches in diam- eter, with eight rays similar to those of stars, their bases on a faint circle at the center, and tapering outwards to a point, the whole sur- rounded by another faint circle. This is evidence that the sun symbol of Assyria required rays as well as a circle. A similar representatiou of the sun god is found on a tablet discovered in the temple of the Sun God at Abu-Habba.* Perrot and Chipiez' show a tablet from Sippara, of a king, Nabu- abal-iddin, 900 B. C, doing homage to the sun god (identified by tbe inscription), who is represented by bas-relief of a small circle in the center, with rays and lightning zigzags extending to an outer circle. In view of these authorities and others which might be cited, it is 'London, 1880. ^Rawlinson, "Cuneiform Inscriptions of Western Asia," v, pi. 60; Trans. Soo. Biblical Archaeology, viii, p. 165. » " History of Art in Chaldea and Assyria," i, p. 200, fig. 71. 790 REPORT OF NATIONAL MUSEUM, 1894. questionable whether the plain circle was continuously a representation of the sun in the Chaldean or Assyrian astronomy. It is also doubtful whether, if the circle did represent the sun, the insertion of the cross or the four wheel like spokes necessarily gave the impression of "onward revolving motion;" or whether any or all of the foregoing afford a satisfactory basis for the origin of the Swastika or for its relation to, or representation of, the sun or the sun god. Dr. Max Ohnefalsch-Richter ' announces as his opinion that the Swastika in Cyprus had nearly always a signification more or less religious and sacred, though it may have been used as an ornament to fill empty spaces. He attributes to the Croix swasticale — or, as he calls it, Croix cantonnee — the equivalence of the solar disk, zigzag lightning, and double hatchet; while to the Swststika proper he attributes the signification of rain, storm, lightning, sun, light, seasons, and also that it lends itself easily to the solar disk, the fire wheel, and the sun chariot. Greg ^ says: Consiilcretl finally, it may be asked if the fylfot or gammadion was an early sym- t)ol of the suu, or, if only an emblem of the solar revolutions or ni ovements across the heavens, why it was drawn square rather than curved : The i-j-J, even if used in a solar sense, mnst have implied something more than, or something distinct from, the sun, whose proper and almost universal symbol was the circle. It was evidently more connected with the cross —I— than with the circle ^j or solar disk. Dr. Brinton^ considers the Swastika as derived from the cross rather than from the circle, and the author agrees that, this is probable, although it may be impossible of demonstration either way. Several authors, among the rest d'Alviella, G-reg, and Thomas, have announced the theory of the evolution of the Swastika, beginning with the triskelion, thence to the tetraskelion, and so to the Swastika. A slight examination is sufficient to overturn this hypothesis. In tlie first place, the triskelion, which is the foundation of this hypothesis, made its first appearance on the coins of Lycia. But this appearance was within what is called the first period of coinage, to wit, between 700 and 480 B. C, and it did not become settled until the second, and even the third period, 280 to 240 B. C, when it migrated to Sicily. But the Swastika had already appeared in Armenia, on the hill of Hissarlik, in the terramares of northern Italy, and on the hut-urns of southern Italy many hundred, possibly a thousand or more, years prior to that time. Count d'Alviella, in his plate 3 (see Cliart I, p. 794), assigns it to a period of the fourteenth or thirteenth century B. C, with an unknown and indefinite past behind it. It is impossible that a sym- bol which first appeared in 480 B. C. could have been the ancestor of one which appeared in 1400 or 1300 B. C, nearly a thousand years before. ' Bull. Soc. d'Anthrop., Paris, 1888, pp. 674, 675. ^ Archaeologia, XLViii, pt. 2, p. 326. 'Proc. Amer. Philosoph. Soc, 1889, xxix, p. 180. THE SWASTIKA. 791 William Simpson' makes observations upon the latest discoveries regarding the Swastika and gives his conclusion : » » * » 'pjjg finding of i^^Q Swastika in America gives a very wide geograpbical' space that is included by the problem connected with it, but it is wider still, for the Swastika is found over the most of the habitable world, almost literally " from China to Peru," and it can bo traced back to a very early period. The latest idea formed regarding the Swastika is that it may be a form of the old wheel symbolism and that it represents a solar movement, or perhaps, in a wider sense, the whole celestial movement of the stars. The Dharmachakra, or Buddhist wheel, of which the so-called "praying wheel " of the Lamas of Thibet is only a variant, can now be shown to have represented the solar motion. It did not originate with the Bud- dhists ; they borrowed it from the Brahminical system to the Veda, where it is called " the wheel of the sun." I have lately collected a large amount of evidence on this subject, being engaged in writing upon it, and the numerous passages from the old Brahminical authorities leave no doubt in the matter. The late Mr. Edward Thomas " * * and Prof. Percy Gardner * * * declared that on some Andhra gold coins and one from Mesembria, Greece, the part of the word which means day, or when the sun shines, is represented by the Swastika. These details will be found in a letter published in the "Athena?um" of August 20, 1892, written by Prof. Max Miiller, who affirms that it "is decisive" as to the meaning of the symbol in Greece. This evidence may be "decisive" for India and Greece, but it does not make us quite cer- tain about other parts of the world. Still it raises a strong presumption that its meaning is likely to he somewhat similar whereA'er the symbol is found. It is now assumed that the Triskelion or Three Legs of the Isle of Man is only a variant of the Swastika. ♦ * » There are many variants besides this in which the legs, or limbs, differ in number, and they may all be classed as whorls, and were possibly all, more or less, forms intended originally to express circular motion. As the subject is too extensive to be fully treated here, andmany illustrations would be nec- essary, to those wishing for further details I would recommend a work just published entitled "The Migration of Symbols," by Count Goblet d'Alviella, with an intro- duction by Sir George Birdwood. The frontispiece of the book is a representation of Apollo, from a vase in the Kunsthistorisches Museum of Vienna, and on the mid- dle of Apollo's breast there is a large and prominent Swastika. In this we have another instance going far to show its solar significance. While accepting these new interpretations of the symbol, I am still inclined to the notion that the Swastika may, at the same time, have been looked upon in some cases as a cross — that is, a pre-Christian cross, which now finds acceptance by some authorities as representing the four cardinal points. The importance of the cardinal points in primitive sym- bolism appears to me to have been very great, and has not as yet been fully realized. This is too large a matter to deal with here. All I can state is, that the wheel in India was connected with the title of a Chakravartin — from Clialcra, a wheel — the title meaning a supreme ruler, or a universal monarch, who ruled the four quarters of the world, and on his coronation he had to drive his chariot, or wheel, to the four cardinal points to signify his conquest of them. Evidence of other ceremonies of the same kind in Europe can be produced. From instances such as these, I am inclined to assume that the Swastika, as a cross, represented the four quarters over which the solar power by its revolving motion carried its influence. ORIGIN AND HABITAT. Prehistoric archaeologists have found in Europe many specimens of ornamental sculpture and engraving belonging to the Paleolithic age, 1 Quarterly Statement of the Palestine Exploration Fund, January, 1895, pp. 84, 85. 792 EEPORT OF NATIONAL MUSEUM, 1894. but the cross is not known in any form, Swastika or other. lu the Neo- lithic age, which spread itself over nearly the entire world, with many geometric forms of decoration, no form of the cross appears in times of high antiquity as a symbol or as indicating any other than an orna- mental purpose. In the-age of bronze, however, the Swastika appears, intentionally used, as a symbol as well as an ornament. Whether its first appearance was in the Orient, and its spread thence throughout prehistoric Europe, or whether the reverse was true, may not now be determined with certainty. It is believed by some to be involved m that other warmly disputed and much-discussed question as to the local- ity of origin and the mode and routes of dispersion of Aryan peoples. There is evidence to show that it belongs to an earlier epoch than this, and relates to the similar problem concerning the locality of origin and the mode and routes of the dispersion of bronze. Was bronze discov- ered in eastern Asia and was its migration westward through Europe, or was it discovered on the Mediterranean, and its spread thence? The Swastika spread through the same countries as did the bronze, and there is every reason to believe them to have proceeded contempora- neously — whether at their beginning or not, is undeterminable. The first appearance of the Swastika was apparently in the Orient, precisely in what country it is impossible to say, but probably in central and southeastern Asia among the forerunners or predecessors of the Bramins and Buddhists. At all events, a religious and symbolic sig- nification was attributed to it by the earliest known peoples of these localities. M. Michael Zmigrodzki, a Polish scholar, public librarian at Sucha, near Cracow, prepared and sent to the World's Columbian Exposition at Chicago a manuscript chart in French, showing his opinion of the migration of the Swastika, which was displayed in the Woman's Building. It was arranged in groups: The prehistoric (or Pagan) and Christian. These were divided geographically and with an attempt at chronology, as follows : I. Prehistoric : 1. India and Bactria. 2. Cyprus, Eliodes. 3. Nortli Europe. 4. Central Europe. 5. South Europe. 6. Asia Minor. 7. Greek and Roman epoch — Numismatics. II. Christian: 8. Gaul — Numismatics. 9. Byzantine. 10. Merovingian and Carloviugian. 11. Germany. 12. Poland and Sweden. 13. Great Britain. Lastly he introduces a group of the Swastika in the nineteenth cen- tury. He presented figures of Swastikas from these localities and THE SWASTIKA.. 793 representing these epochs. He had a similar display at the Paris Expo- sition of 1889, which at its close was deposited in the St. Germain Pre- historic Museum. I met M. Zmigrodzki at the Tenth International Congress of Anthropology and Prehistoric Archaeology iu Paris, and beard him present the results of his investigations on the Swastika. I have since corresponded with him, and he has kindly sent me sepa- rates of his paper published in the Archives flir Ethnographic, with 26G illustrations of the Swastika; but on asking his permission to use some of the information in the chart at Chicago, he informed me he had already given the manuscript chart and the right to reproduce it to the Chicago Polk-Lore Society. The secretary of this society declined to permit it to pass out of its possession, though proffering inspection of it in Chicago. In his elaborate dissertation Count Goblet d'Alviella^ shows an ear- lier and prehistoric existence of the Swastika before its appearance on the hill of Hissarlik. From this earlier place of origin it, according to him, spread to the Bronze age terramares of northern Italy. All this was prior to the thirteenth century B. C. From the hill of Hissarlik it spread east and west; to the east into Lycaonia and Caucasus, to the west into MyceniE and Greece; first on the pottery and then on the coins. From Greece it also spread east and west; east to Asia Minor and west to Thrace and Macedonia. From the terramares he follows it through the Villanova epoch, through Etruria and Grand Greece, to Sicily, Gaul, Britain, Germany, Scandinavia, to all of which migration he assigns various dates down to the second century B. C. It devel- oped westward from Asia Minor to northern Africa and to Eome, with evidence in the Catacombs; on the eastward it goes into India, Persia, China, Tibet, and Japsm. All this can be made apparent upon exami- nation of the plate itself. It is introduced as Chart i, p. 794. The author enters into no discussion with Count d'Alviella over the correctness or completeness of the migrations set forth in his chart. It will be conceded, even by its author, to be largely theoretical and impossible to verify by positive proof. He will only contend that there !•< a probability of its correctness. It is doubted whether he can main- tain his proposition of the constant presence or continued appearance of the Swastika on altars, idols, priestly vestments, and sepulchral urns, and that this demonstrates the Swastika to have always possessed the attributes of a religious symbol. It appears to have been used more frequently upon the smaller and more insignificant things of every- day life — the household utensils, the arms, weapons, the dress, the fibuhe, and the pottery; and while this may be consonant with the attributes of the talisman or amulet or charm, it is still compatible with the theory of the Swastika being a sign or symbol for benediction, blessing, good fortune, or good luck; and that it was rather this than a religious symbol. "La Migration des Symboles," pi. 3. 794 EEPORT OF NATIONAL MUSEUM, 1894. 1-2 -= r-^ I O H 03 >M II 'S^ 5S .'S q. h2! ijM I I «l o o |2i u o M M HH o M M ^ TS M o t> o o f4 o l-i M fi t> fl 4 S 4 W h-l M THE SWASTIKA. 795 Count Goblet d'Alviella, in the fourth section of the second chapter' relating to the country of its origin, argues that the Swastika sign was employed by all the Aryans except the Persians. This omission he explains by showing that the Swastika in all other lands stood for the sun or for the sun-god, while the Aryans of Persia had other signs for the same thing — the Crux ansata and the winged globe. His conclusion is^ that there were two zones occupied with different symbols, the fron- tier between them being from Persia, through Cyprus, Ehodes, and Asia Minor, to Libya; that the first belonged to the Greek civilization, which employed the Swastika as a sun symbol; the second to the Egypto- Babylonian, which employed the Crnx ansata and the winged globe as siin symbols. Professor Sayce, in his preface to "Troja," says: ^ The same symbol [the Swastika], as is well known, occurs on the Archaic pottery of Cyprus * * * as well as upon the prehistoric antiquities of Athens and Mykfinae [same, "Ilios," p. 353], hut it was entirely unknown to Babylonia, to Assyria, to Phcenicia, and to Egypt. It must therefore either have originated in Europe and spread eastward through Asia Minor or have been disseminated west- ward from the primitive home of the Hittites. The latter alternative is the more probable; but whether it is so or not, the presence of the symbol in the land of the jEgean indicates a particular epoch and the influeuce of a pre- Phoenician culture. Dr. Schliemann* reports that "Eev. W. Brown Keer observed the Swastika innumerable times in the most ancient Hindu temples, espe- cially those of the Jainas." Max Muller cites the following paragraph by Professor Sayce :^ It is evident to me that the sign found at Hissarlik is identical with that found at Mycense and Athens, as well as on the preliistoric pottery of Cyprus (Di Cesuola, Cyprus, pis. 44 and 47), since the general artistic character of the objects with which this sign is associated In Cyprus and Greece agrees with that of the objects dis- covered in Troy. The Cyprian vase [flg. 156, this paper] figured in Di Cesuola's "Cyprus," pi. 45, which associates the Swastika with the figure of an animal, is a striking analogue of the Trojan whorls, on which it is associated with the figure of the stags. The fact that it is drawn within the vulva of the leaden image on the Asiatic goddess shovra in flg. 226 ("Ilios," fig. 125 this paper) seems to show that it was a symbol of generation. Count Goblet d'Alviella, '* citing Albert Dumont' and Perrot and Chipiez,^ says : The Swastika appears in Greece, as well as in Cyprus and Ehodes, first on the pot- tery, with geometric decorations, which form the second period in Greek ceramics. From that it passes to a later period, where the decoration is more artistic and the appearance of which coincides with the development of the Phoenician influences on the coasts of Greece. Dr. Ohhefalsch-Eichter, in a paper devoted to the consideration of 1 "La Migration des Symboles,'' p. 93. 2 Ibid., p. 107. 3 "Ilios.," p. XXI.'' Mbid, p.3.=i2. ^ Ibid, p. 353. « " La Migration des Symboles," p. 43. ' " Peintures ci^ramiques de la Grice propre," i, pi. x v, fig. 17. 8 "Histoire de I'art dans Tautiquit^," iii, figs. 513, 515, 518. 796 KEPORT OP NATIONAL MUSEUM, 1894. the Swastika ia Cyprus, ^ expresses the opinion that the emigrant or ■commercial Phenicians traveling in far eastern countries brought -the Swastika by the sea route of the Persian Gulf to Asia Minor and Cyprus, while, possibly, other people brought it by the overland route from central Asia, Asia Minor, and Hissarlik, and afterwards by migra- tion to Cyprus, Carthage, and the north of Africa. Professor Goodyear says : ^ The true home of the Swastika is the Greek geometric style, as will be immediately- obvious to every expert who examines the question through the study of that style. In seeking the home of a symbol, we should consider where it appears in the largest dimension and where it appears in the most formal and prominent way. The Greek geometric vases are the only monuments on which the Swastika systematically appears in panels exclusively assigned to it (pi. 60, fig. 13; and pi. 56, fig. 4). There are no other monuments on which the Swastika can be found iu a dimension taking Jip one-half t]je height of the entire object (pi. 56, fig. 4). The ordinary size of the Swastika, in very primitive times, is under a third of an inch in diameter. They are found in Greek geometric pottery 2 or 3 inches in diameter, but they a,lso appear in the informal scattering way (pi. 61, fig. 4) which characterizes the Swastika in other styles. » # « » * * ^ The Swastika dates from the earliest diffusion of the Egyptian meander in the t)asin of the Mediterranean, and it is a profound remark of De Morgan (Mission Scientiflque au Caucase) that the area of the Swastika appears to be coextensive with the area of bronze. In northern prehistoric Europe, where the Swastika has .attracted considerable attention, it is distinctly connected with the bronze culture derived from the south. When found on prehistoric pottery of the north, the southern home of its beginnings is equally clear. In seeking the home of a symbol, we should consider not only the nature of its appearance, but also where it is found in the largest amount, for this shows the ^;enter of vogue and power — that is to say, the center of diffusion. The vogue of the Swastika at Troy is not as great as its vogue in Cyprian Greek pottery (pi. 60, fig. 15) and Rhodian pottery (pi. 60, fig. 2). « * » It is well known to Meliau vases (pi. •60, tig. 8) and to archaic Greek vases (pi. 61, fig. 12), but its greatest prominence is on thepottery of the Greek geometric style (pi. 60, fig. 13; pi. 56, fig.4; pi. 61, figs. 1 and 4 ; and figs. 173 and 174) . * * * Aside from the Greek geometric style, our earliest reference for the Swastika, and "very possibly an earlier reference than the first, is its appearance on the "hut urns" of Italy. On such it appears rather as a fragment of the more complicated meander patterns, from which it is derived. My precise view is that the earliest and, conse- quently, imperfect, forms of the Swastika are on the hut urns of Italy, but that, as an independent and definitely shaped pattern, it first belongs to the Greek geometric fltyle. I do not assert that the Swastika is very common on hut urns, which are often undecorated. * » * Our present intermediate link with India for the Swastika lies in the Caucasus and in the adjacent territory of Koban. This last ancient center of the arts iu metal has lately attracted attention through the publi- cation of Virchow (Das GrJiberfeld von Koban). In the original Coban bronzes of the Prehistoric Museum of St. Germain there is abundant matter for study (p. 351). Mr. E. P. Greg, in " Fret or Key Ornamentation in Mexico and Peru," ' says: Both the Greek fret and the fylfot appear to have been unknown to the Semitic nations as an ornament or as a symbol. 'Bull. Soc. d'Anthrop., Paris, December 6, 1888, pp. 669, 679, 680. ^"Grammar of the Lotus," p. 348 et seq. 'Archteologia, XLVii, pt. 1, p. 159. THE SWASTIKA. 797 In Egypt the fylfot does not occur. It is, I believe, generally admitted or supposed that the fylfot is of early Aryan origin. Eastward toward India, Tibet, and China- It was adopted, in all probability, as a sacred symbol of Buddha; westward it may have spread in one form or another to Greece, Asia Minor, and even to Korth Germany , Cartailhac says : ' Modern Christian archaeologists have obstinately contended that the SVastika was- composed of four gamma, and so have called it the Croix GammiSe. But the Eama- yana placed it on the boat of the Eama long before they had any knowledge of Greek. It is found on a number of Buddhist edifices; the Sectarians of Vishutt placed it as a sign upon their foreheads. Burnouf says it is the Aryan sign par excellence. It was surely a religious emblem in use in India fifteen centuries before the Christian era, and thence it spread to every part. In Europe it appeared about the middle of the civilization of the bronze age, and we find it, pure or transformed, into a cross, on u, mass of objects in metal or pottery during the first age of iron. Sometimes its lines were rounded and given a, graceful curve instead of straight and square at its ends and angles. [See letter by Gandhi, pp. 803, 805.] M. Cartailhac notes ^ several facts concerning the associations of the Swastika found by him in Spain and Portugal and belonging to the first (prehistoric) age of iron : (1) The Swastika was associated with the silhouettes of the duck or bird, similar to those in Greece, noted by Goodyear; (J) the association (in his fig. 41) on a slab from the lake dwellings, of the Maltese cross and reproduction of the triskelion; (3) a tetraskelion, which he calls a Swastika " flamboyant," being the triskelion, but with four arms, the same shown on Lycian coins as being ancestors of the true triskelion (his fig. 412) ; (4) those objects were principally found in the ancient lake dwellings of Sambroso and Briteiros, supposedly dating from the eighth and ninth centuries B. 0, With them were found many ornaments, borders representing cords, spirals, meanders, etc., which had the same appearance as those found by Schliemann at Mycenae. Cartailhac says : ^ Without doubt Asiatic influences are evident in both cases; first appearing in the Troad, then in Greece, they were spread through Iberia and, possibly, who can tell, finally planted in a far-away Occident. A writer in the Edinburgh Review, in an extended discussion on " The pre-Christian cross," treats of the Swastika under the local name of " Fylfot," but in such an enigmatical and uncertain manner that it is difficult to distinguish it from other and commoner forms of the cross. Mr. Waring* criticises him somewhat severely for his errors: He states that it is found * * * in the sculptured stones of Scotland (but after careful search we can find only one or two imperfect representations of it, putting aside the Newton stone inscription, where it is probably a letter or numeral only); that it is carved on the temples and other edifices of Mexico and Central America (where again we have sought for it in vain) ; that it is found on the cinerary urns of the terramare of Parma and Vicenza, the date of which has been assigned by Italian antiquaries to 1000 B. C. (but there again we have found only the plain ' "Ages Prehistorique de I'Espagne et du Portugal," pp. 285-293. = Ibid.,p. 286. 3 Ibid., p. 293. ■• " Ceramic Art in Remote Ages," p. 13. 798 REPORT OF NATIONAL MUSEUM, 1894. cross, and not tlie fylfot), and, finally, he asserts that "it was the emblem of Libitlna or Persephone, the awful Queen of the Shades, aiid is therefore commonly found on the dress of the tumulorum fossor in the Roman catacombs," but we have only found one such example. "It is noteworthy, too," he continues, "in reference to its extreme popularity, or the superstitious veneration in which it has been also universally held, that the cross patt^e, or cruciform hammer (but we shall show these are dffferent symbols), was among the very last of purely pagan symbols which was religiously preserved in Europe long after the establishment of Christi- anity (not in Europe, but in Scandinavia and wherever the Scandinavians had pene- trated). * * * It may be seen upon the bells of many of our parish churches, as at Appleby, Mexborough, Haythersaye, Waddington, Bishop's Norton, West Bark- with, and other places, where it was placed as a magical sign to subdue the vicious spirit of the tempest;" and he subsequently points out its constant use in relation to water or rain. Mr. Waring continues: The Rev. C. Boutell, in "Notes and Queries," points out ihat it is to be found on many mediieval monuments and bells, and occurs — e. g., at Appleby in Lincolnshire (peopled by Northmen) — as an initial cross to the formula on the bell " Sta. Maria, o. p. n. and c." In these cases it has clearly been adopted as u, Christian symbol. In the same author's " Heraldry," he merely describes it as a mystic cross. Mr. Waring makes one statement which, being within his jurisdic- tion, should be given full credit. He says, on4)age 15: It [the Swastika] appears in Scotland and England only in those parts where Scandinavians penetrated and settled, but is not once found in any works of purely Irish or Franco-Celtic art. He qualifies this, however, by a note: . I believe it occurs twice on an " Ogam" stone in the Museum of the Royal Irish Academy, figured in Wilde's Catalogue (p. 136), but the fylfots are omitted in the wood cut. [See fig. 215.] Dr. Brinton,^ describing the normal Swastika, "with four arms of equal length, the hook usually pointing from left to right," says: "In this form it occurs in India and on very early (Keolithic) Grecian, Italic, and Iberian remains." Dr. Brinton is the only author who, writing at length or in a critical manner, attributes the Swastika to the Neolithic period in Europe, and in this, more than likely, he is correct. Professor Virchow's opinion as to the antiquity of the hill of Hissarlik, wherein Dr. Schliemann found so many Swastikas, should be consid- ered in this connection. (See p. 832, 833 of this paper.) Of course, its appearance among the aborigines of America, we can imagine, must have been within the Neolithic i^eriod. iProc. Amer. Philosoph. Soc, 1889, xxix, p. 179. THE SWASTIKA. 799 II. — DiSPEESION OP THE SWASTIKA. EXTREME ORIENT. JAPAN. The Swastika was iu use iu Japan iu ancient as well as modern times. Fig. 29 represents a bronze statue of Buddha, one-flfteenth natural size, from Japan, in the collection of M. Cernuschi, Paris. It has eight Swastikas on the pedestal, the ends all turned at right angles to the right. This specimen is shown byDe Mortillet' because it relates to prehistoric man. The image or statue holds a cane in the form of a ''tiiitin- nabulum," with movable rings arranged to make a jingling noise, and De Mortillet in- serted it in his volume to show the likeness of this work in Japan with a number of sim- ilar objects found in the Swiss lake dwell- ings in the prehistoric age of bronze (p. 806). The Swastika mark was employed by the Japanese on their porcelain. Sir Augustus W. Franks ^ shows one of these marks, a small Swastika turned to the left and in- closed in a circle (fig. 30). Pig. 9 also repre- sents a mark on Japanese bronzes.^ KOREA. The U. S. National Museum has a ladies' sedan or carryin g chair from Korea. It bears eight Swastika marks, cut by stencil in the brass-bound corners, two on each corner, one looking each way. The Swas- tika is normal, with arms cross- ing at right angles, the ends bent at right angles and to the right. It is quite plain ; the lines are all straight, heavy, of equal thickness, and the angles all at 90 degrees. In appearance it resembles the Swastika in fig. 9. CHINA. Fig. 30. JAPANESE POT- TER'SMABKON POKCELAIN. De Mortillet, " Mu- see Prehistorique," fig. IMS. Fjg. 29. BRONZE STATUE OF BUDDHA. Japan. Eight Swastikas on pedestal. Cane tintiunabuluin with six movable rings or bells. One fifteenth natural size. In the Chinese language the sign of the Swastika is pro- nounced wan (p. 801), and stands for " many," "a great number," "ten thousand," "infinity," and by a synecdoche is construed to mean "long 3M. ' "Mus^e Pr6histori(iue," fig. 1230; Bull. Soc. d'Anthrop., Paris., 1886, pp. 299, 313, * " Catalogue of Oriental Porcelain and Pottery," pi. 11, fig. 139. 'De Morgan, " Au Caucase," fig. 180. 800 REPORT OF NATIONAL MUSEUM, 1894. life, a multitude of blessings, great happiness," etc. ; as is said in French, "mille pardons," " mille remerciments," a thousand thanks, etc. During a visit to the Chinese legation in the city of Washington, while this paper was in progress, the author met one of the attaches, Mr. Chung, dressed in his robes of state; his outer garment was of moir6 silk. The pattern woven in the fabric consisted of a large circle with certain marks therein, prominent among which were two Swastikas, one turned to the right, the other to the left. The name given to the sign was as reported above, wan, and the signification was " longevity," " long life," " many years." Thus was shoxyn that in far as well as near countries, in modern as well as ancient times, this sign stood for blessing, good wishes, and, by a slight extension, for good luck. The author conferred with the Chinese minister, Yang Yu, with the request that he should furnish any appropriate information concerning the Swastika in China. In due course the author received the follow- ing letter and accompanying notes with drawings: ' " ' I have the pleasure to submit abstracts from historical and. literary works on the origin of the Swastika in China and the circumstances connected with it in Chinese ancient history. I have had this paper translated into English and illustrated by india-ink drawings. The Chinese copy is made by Mr. Ho Yen-Shing, the first secretary of the legation, translation by Mr. Chung, and drawings by Mr. Li. With assurance of my high esteem, 1 am, Very cordially, Yang Yu. Buddhist philosophers consider simple characters as half or incomplete characters and compound characters as complete characters, while the Swastika i-M is regarded as a natural formation. A Buddhist priest of the Tang Dynasty, Tao Shih by name, in a chapter of his work entitled Fa Yuen Chu Lin, on the original Buddha, describes him as having this ~[ I mark oh his breast and sitting on a high lily of innumerable petals. [PI. 1.] Empress Wu (684-704 A. D.), of the Tang Dynasty, invented a number of new forms for characters already in existence, amongst which (ttA was the word for sun, (Z) for moon, (^ for star, and so on. These characters were once very extensively used in ornamental writing, and even now the word (r-r-') sun may be found in many of the famous stone inscriptions of that age, which have been preserved to us up to the present day. [PL 2.] The history of the Tang Dynasty (620-906 A. D.), by Lni Hsu and others of the Tsin Dynasty, records a decree issued by Emperor Tai Tsung (763-779 A. D. ) forbid- ding the use of the Swastika on silk fabrics manufactured for any purpose. [PI. 3.] Fung Tse, of the Tang Dynasty, records a practice among the people of Loh-yang to endeavor, on the 7th of the 7th month of each year, to obtain spiders to weave the Swastika on their web. Knng Ping-Chung, of the Sung Dynasty, says that the people of Loh-yang believe it to be good luck to find the Swastika -w oven by spiders over fruits or melons. [PI. 4.] Sung Pai, of the Sung Dynasty, records an offering made to the Emperor by Li Yuen-su, a high official of the Tang Dynasty, of a buffalo with a Swastika on the forehead, iu return for which offering he was given a horse by the Emperor. [PI. 5.] The Ts'ing-I-Luh, by Tao Kuh, of the Sung Dynasty, records that an Empress in Report of National Museum, 1894 Wilson. Plate 1. ^- '«S»;w»:T^ ''-^■'^i'^^^^ Origin of Buddha according to Tao Shih, with Swastika Sign. From a drawing by Mr. Li, presented to the U. S. National Museum by Mr. Yang Yu, Chinese Minister, Washington, D. C. Report of National Museum, 1894.- Plate 2. 3 -^ A*, /a "^ 4. "-> ^^ j-^ -^ -fW" ^ -i 4t ^ '^ ^' A^ >k >-% ^ - -i Swastika Degreed by Empress Wu (684-704 A. D.) as a Sign for Sun in China. From a drawing by Mr. Li, presented to the U. S. National Miisenni by Mr. Yang Yii, Chinese Ministei', Washington, D. C. Report of National Museum, 1 894. — Wilson, Plate 3. '■^xiK9xaK'io«vixii^,--^yx^)r^-'ffi->'Yr^ Swastika Des.gn on Silk Fabrics. Thi-; use of the Swastika was forbidden in China hy Kinpeior Tai Triui^ (Til-'i-TIO A. D.). From a drawinjc hy Mr. Li, presenter! to the U. 8. National i^luseuni hj' Mr. Yanj^ Yu, t'hiiiese Minister, Washington. i>. L'. Report of National Museum, 1894 Wilson, Plate 4. f ^ ^^M Swastika in Spider Web over Fruit. (A good omen in China,) From a di-a\Ain^ by Mr. Li, presented to the U. S. National Mui^eum by I\Ir. Yang Yii, Chinese Minister, \Vashiu^''tou, D. C. Report ol National Museum, 1 894.— Wilson. Plate 5. ■f M ^- % ^'-^^i!^^'-^^ ^v;*; Buffalo with Swastika on Forehead. Presented to Emperor of Simg Dynasty. From a drawin, .y Mr. Li, Pre..n^au,n.^^^^.>^^u..n,. by Mr. Yang V., .Mne.e Report of National Museum, 1 894.— Wilsi Plate 6. ^ iNCENSE Burner with Swastika Decoration. Soittli Tan;;- Ilyiiasty. I-'roin ;i drawins,' hy I\Ir. Li. [H'eseDted to thn U. S National IMiisKuni by I\li-, Yan^ Yii, (liiiiese Minister, Wasliington D. C. Report of National Museum, 1 894. —Wilson. Plate 7. A ^ ^' ^ 13 1J5 «^i^ I House of Wu Tsung-Ch,h of Sin Shui, with Swastika in Railing From a drawing Iiy Mr. Li, presenter! ti» the I'. S. National ^[useum by Mr. Yang Yii, (.'liinese Minister, Washington, D. C. Report o( National Museum, 1894.— Wilsi Plate 8. yr. /g f ^i '"'7} '^^'^ -Aa Mountain or Wild Date.— Fruit Resembling the Swastika. From a clrawini^ by Mr. Li, presented to the U. S. National IMuseinrj by 3Ir. Yan^ Yli, Chinese Minister, Washington, D. C THE SWASTIKA. 801 the time of tlie South Tang Dynasty had au incense burner the external decoration of which had the Swaatil^a design on it. | PI. 6.] Chu I-Tsu, in his work entitled Ming Shih Tsung, says Wu Tsung-Chih, a learned man of Sin Shui, built a residence oiitside of the north gate of that town, which he named "Wan-Chai," from the Swastika decoration of the railings about the exterior of the house. [PI. 7.] An anonymous work, entitled the Tung Hsi Yang K'ao, described a fruit called shan-tsao-tse (mountain or wild date), whose leaves resemble those of the plum. The seed resembles the lichee, and the fruit, which ripens in the ninth month of the year, suggests a resemblance to the Swastika. [PI. 8.] The Swastika is one of the symbolic marks of the Chinese porcehiin. Prime' shows what he calls a "tablet of honor," which represents a Swastika inclosed in a lozenge with loops at the corners (fig. 31). This mark on a piece of porcelain signifies that it is an imperial gift. Major-General Grordon, controller of the Eoyal Arsenal at Woolwich, England, writes to Dr. Schliemann:^ "The Swastika is Chinese. On the breech chasing of a large gun lying outside my office, captured in the Taku fort, you will find this same sign." But Dumoutier-^ says this sign is nothing else than the ancient Chinese character c h e, which, according to D'Alviella,'' carries the idea of ris-si. perfection or excellence, and signifies the i'ot™r's mark on porcelain. renewal and perpetuity of life. And again,^ ciuna. ,,-r-.Ti n 1 ■!• 1 ' • j_ Tablet of Konor, witli Swastika. " Dr. Lockyer, formerly medical missionary to ^, „^ ,„ ,., tJ ' • t' tJ Prime, " Pottery and Porcelain," p. 254. China, says the sign |^ is thoroughly Chinese." The Swastika is found on Chinese musical instruments. The U. S. S"ational Museum possesses a Hu-Ch'in, a Yiolin with four strings, the body of which is a section of bamboo about 3^ inches in diameter. The septum of the joint has been cut away so as to leave a Swastika of normal form, the four arms of which are connected with the outer walls of the bamboo. Another, a Ti-Ch'in, a two- stringed violin, with a body of cocoanut, has a carving which is believed to have been a Swastika; but the central part has been broken out, so that the actual form is undetermined. Prof. George Frederick Wright, in an article entitled "Swastika,"^ quotes Eev. F. H. Chalfont, missionary at Chanting, China, as saying: "Same symbol in Chinese characters 'ouan,' or 'wan,' and is a favorite ornament with the Chinese," ' "Pottery and Porcelain," p. 254. s!"mos,"p. 352. 3"Le Swastika et la roue solaire en Chine," Revue d'Ethnographie, iv, pp. 319, 350. ■"'La Migration des Symboles," p. 55. 6 New York Independent, November 16, 1893; Science, March 23, 1894, p. 162. H. Mis. 90, pt. 2 51 802 REPORT OF NATIONAL MUSEUM, 1894. TIBET. Mr. William Woodville Eocthill,i speaking of the fair at Kumbum, says : 1 found tliere a number of Lh'asa Tibetans (they call tbem Gopa here) selling pulo, beads of yarious colors, saffron, medicines, peacock feathers, incense sticks, etc. I had a talk ■with these traders, several of "vrhom I had met here before in 1889. * * * One of them had a Swastika (yung-drung) tattooed on his hand, and I learned from this man that this is not an uncommon mode of ornamentation in his country. Gouiit D'Alviella says that the Swastika is continued among the Buddhists of Tibet; that the women ornament their petticoats with it, and that it is also placed upon the breasts of their dead.^ He also reports^ a Buddhist statue at the Musee Guimet with Swastikasaboutthebase. He does not state to what country it belongs, so the au- thor has no means of deter- mining if it is the same statue as is represented in fig. 29. INDIA. Burnouf^ says approvingly of the Swastika: Christian archseologists believe this "was the most ancient sign of the cross. ' * * It was used among the Brahmins from all an- tiquity. (Yoyez mot "Swastika" dans uotre dictionnaire Sanskrit.) Swastika, or Swasta, in India cor- responds to "benediction" among Christians. The same author, in his translation of the " Lotus de la Bonne Loi," one of the nine Dharmas or Canonical books of the Buddhists of the North, of 280 pages, adds an appendix of his own writing of 583 pages; and in one (No. 8) devoted to an enumeration and description of the sixty-five figures traced on the footprint of (^akya (fig. 32) commences as follows : 1. SvastVcaya: This is the familiar mystic figure of many Indian sects, represented ' "Diary of a Journey through Mongolia and Tibet in 1891-92," p. 67. 2 "La Migration des Symboles," p. 55, citing note I, Journ. Asiatiqiie, 2" S(5rie, iv, p. 245, and Pallas, " Sammlungen historischer Nachrichten liber die mongolischen Volkerschaften," i, p. 277.. ^Ibid., p. 55. ^ "Des Sciences et Religion," ji. 256. i^^^i^^^i ^"1 m^^m^m^^MmMS^^^ ^a iffi'BBBm pi B IjpJIMifK i l^^filij'Ji^uw nH iM^lff fl iiiilil! lit ra 1 lijttW fljrj lljl'i I HH H«l m gt^Tla ^B ^PHHilffliiS ^Sl«^^i 1 m l^^mMmiim®^^ ^» HliB^Wi B ^B B M \mw Hi' H ^^pM:^^^»i Fig. 32. FOOTPRINT OF BUDDHA WITH SWASTIKA, FROM AMAHAVATI TOPE. From a fifjure by Fergussou and SchlietnacD. THE SWASTIKA. 803 thus, ~r\! and whose name signifies, literally, "sign of benediction or of good angnry." (Egya tcli'er rol pa. Vol. 11, p. 110.) * ' * The sign of the Swastika was not less known to the Brahmins than to the Buddhists. "Eamayana," Vol. II, p. 348, ed. Gor., Chap. XCVII, st. 17, tells of vessels on the sea bearing this sign of fortune. This mark, of which the name and usage are certainly ancient, because it is found on the oldest Buddhist medals, may iave been used as frequently among the Brahmins as among the Buddhists. Most of the inscriptions on the Buddhist caverns in western India are either preceded or fol- lowed by the holy {sacramentelle) sign of the Swastika. It appears less common on the Brahmin monuments. Mr. W. Crooke (BeDgal Civil Service, director of Eth. Survey, North- west Provinces aud Oudh), says : ' The mystical emblem of the Swastika, which appears to represent the sun in his journey through the heavens, is of constant occurrence. The trader paints it on the flyleaf of his ledger, he who has young children or animals liable to the evil eye makes a representation of it on the wall beside his doorpost. It holds first place among the lucky marks of the Jainas. It is drawn on the shaven heads of children on the marriage day In Gujarat. A red circle with Swastika in the center is depicted on the place where the family gods are kept (Campbell, Notes, p. 70). In the Meerut division the worshiper of the village god Bhumiya constructs a rude model of it in the shrine by fixing up two crossed straws with a daub of plaster. It often occurs in folklore. In the drama of the Toy Cart the thief hesitates whether he shall make a hole in the wall of Charudatta's house in the form of a Swastika or of a water jar (Manning, Ancient India, 11, .160). Village shrines. — The outside (of the shrines) is often covered with rude representa- tions of the mystical Swastika. On page 250 lie continues thus : Charms. — The bazar merchant writes the words "Ram Earn" over his door, or makes an image of Genesa, the god of luck, or draws the mystical Swastika. The jand tree is reverenced as sacred by Khattris and Brahmins to avoid the evil eye in children. The child is brought at 3 years of age before a jand tree; a bough is cut with a sickle and planted at the foot of the tree. A Swastika symbol is made before it with the rice flour and sugar brought as an offering to the tree. Threads of string, used by women to tie up their hair, are cut in lengths and some deposited on the Swastika. Mr. Virchand E. Gandhi, a Hindu and Jain disciple from Bombay, India, a delegate to the World's Parliament of Eeligions at Chicago in 1893, remained for sometime in Washiiigton, D. C, proselyting among the Christians. He is a cultivated gentleman, devoted to the spread of his religion. I asked his advice and assistance, which he kindly gave, supervising my manuscript for the Swastika in the extreme Orient, and furnishing me the following additional information relative to the Swastika in India, and especially among the Jains: The Swastika is misinterpreted by so-called Western expounders of our ancient Jain philosophy. The original idea was very high, but later on some persons thought the cross represented only the combination of the male and the female principles. While we are on the physical plane and our propensities on the material line, we think it necessary to unite these (sexual) principles for our spiritual growth. On ' Introduction to Popular Eeligion and Folk Lore of North India," p. 58. 804 REPORT OF NATIONAL MUSEUM, 1894. the higher plane the soul is sexless, and those who wish to rise higher than the physical plane mnst eliminate the idea of sex. I explain the Jain Swastika hy the following illustration [fig. 33] : The horizontal and vertical lines crossing each other at right angles form the Greek cross. They represent spirit and matter. We add four other lines hy hending to the right each arm of the cross, then three circles and the crescent, and a circle within the crescent. The idea thus symbolized is that there are four grades of existence of souls in the material universe. The first is the lowest state — Archaic or protoplasmic life. The soul evolves from that state to the next— the earth with its plant and animal life. Then follows the third stage — the human ; then the fourth stage— the celestial. The word -'celestial" is here held to mean life in other worlds than our own. All these graduations are oomhinations of matter and soul on differ- ent scales. TKe spiritual plane is that in which the soul is entirely freed from the bonds of matter. In order to reach that plane, one must strive to possess the three jewels (represented by the three circles), right belief, right knowl- edge, right conduct. When a person has these, he will certainly go higher until he reaches the state of liberation, which is represented by the orescent. The crescent has the form of the rising moon and is always growing larger. The circle in the crescent represents the omniscient state of the soul when it has attained full consciousness, is liberated, and lives apart from matter. The interpretation, according to the Jain view of the cross, has nothing to do with the combination of the male and female principle. Worship of the male and female principles, ideas based upon sex, lowest even of the emotional plane, can never rise higher than the male and female. 2- Kg. 33. EXPLANATION OF THE JATN SWASTIKA, ACCOEDING TO GANDHI. (1) Archaic or protoplas- mic life; (2) Plant and animal life; (3) Human life; (4) Celestial life. M^^-^. M mm 4r- ^ rX>:-:'.'-':.~: ?m ^ifm^ i^isi^^m^smm J 'U -^ t 3 ■ - )" '% in 1 -^ Fig. 846 Fig. 34a. THE FOEMATION OF THE JAIN SWASTIKA— FIHST THE FOBMATION OF THE JAIN SWASTIKA— SECOND STAGE. STAGE. Handful of rice or meal, in circular form, thinner Eice or meal, as shown in preceding figure, with in center. finger marks, indicated at 1, 2, 3, 4. The Jains make the Swastika sign when we enter our temple of worship. This sign reminds us of the great principles represented by the three jewels and by which we are to reach the ultimate good. Those symbols intensify our thoughts and make them more permanent. THE SWASTIKA. 805 Mr. Gandhi says the Jains make the sign of the Swastika as fre- quently and deftly as the Eoman Catholics make the sign of the cross. It is not confined to the temple nor to the priests or monks. Whenever or wherever a benediction or blessing is given, the Swastika is used. Figs. 34 a, b, c form a series showing how it is made. A handful of rice, meal, flour, sugar, salt, or any similar substance, is spread over a ■circular space, say, 3 inches in diameter and one-eighth of an inch deep (fig. 34a), then commence at the outside of the circle (fig. 34&), on its upper or farther left-hand corner, and draw the finger through the meal just to the left of the center, halfway or more to the opposite or near edge of the circle (1), then again to the right (2), then upward (3), finally Fig. 34c. THE FORMATION OP THE JAIN SWASTIKA— THIRD STAGE. Bnds turned out, typifying animal, human, and celestial life, as shown in fig. 33. to the left where it joins with the first mark (4). The ends are swept •outward, the dots and crescent put in above, and the sign is complete . \*'' / tika, though present, was more rare. He found ^j ^^ it on the heads of two large bronze pins (tigs. bkonze pin-head feom 35 and 36) and on one piece of pottery (fig. 37) cheithanthagh. from the prehistoric tombs. The bent arms are i>= "»'«;«"," a,. ca„c.™," bj. i,r. all turned to the left, and would be the Suavastika of Prof. Max Miiller. ' "Det Saakaldte Hagebors," Copenhagen, 1877. 2 "La Migration des Symboles," pp. 51, 52. 3 Bull, de la Soc. d'Anthrop., December 6, 1888, xi, p. 671. ■> "La Migration des Symboles,'' p. 51. * " Histoire de I'Art dans I'Antiquiti^," iv. ^"Mission Scientifique au Caucase." 808 KEPORT OF NATIONAL MUSEUM, 1894. CAUCASUS. In Caucasus, M. E. Chautre' fouud the Swastika in great purity of form. Fig. 38 represents portions of a bronze plaque from that coun- try, used on a ceinture or belt. Another of slightly different style, but with square cross and arms bent at right angles, is repre- sented in his pi. 8, fig. 5. These belonged to the first age of iron, and much of the art was in- tricate.^ It represented animals as well as all ge- ometric forms, crosses, circles (concentric and otherwise), spirals, meanders, chevrons, herring bone, lozenges, etc. These were sometimes cast in the metal, at other times repouss^, and again were engraved, and occasionally these methods were employed together. ■ Fig. 39 shows another form, frequently employed and suggested as a possible evolution of the Swastika, from the same locality and same plate. Fig. 40 represents Kg. 36. BRONZE PIN-HEAD FROM AKTHALA. De Morgan, "Au Caiicase," fig. Fig. 37. SWASTIKA MARK ON BLACK POTTERY. Clieithan-tliagb. De Morgan, "Au Caucase," fig. 179. Fig. 38. FRAGMENT OF BRONZE CEINTURE. Swastika repousse. Necropolis of Koban, Caucasus. Chautre, " Le Caucaae," pi. 11, fig. 3. signs reported by Waring^ as from Asia Minor, which he credits, with- out explanation, to Ellis's "Antiquities of Heraldry." '■^Recherches Authropologiques dans le Caucase/' tome deuxieme, pdriode pxoto- liistoriqiie, Atlas, pi. 11, flg. 3. 2 Count Goblet d'AlvLella, "La Migration des Symboles," p. 51. ^ "Ceramic Art in Remote Ages," pi. 41, figs. 5 and 6. THE SWASTIKA. 809 The specimen showa in fig. 41 is reported by Waring,' quoting Rzewusky,^ as one of the several branding marks used on Circassian horses for identification. • Mr. Frederick Rem- ington, the celebrated artist and literateur, has an article, "Cracker Cow- boy in Florida," ' wherein he discourses of the for- gery of brands on cattle in that country. One of his genuine brands is a circle with a small cross in the center. The for- gery consists in elonga;t- ing each arm of the cross and turning it with a scroll, forming an ogee Swastika(flg.l3(Z), which, curiously enough, is prac- tically the same brand used on Circassian horses (fig. -11 Fig. 39. BRONZE AGRAFE OR BELT PLATE. Triskeliou in spiral. Kobau, Caucasus. Chantre, " Le CaucaSBj" pi. 11, fi^. 4. Kg. 40. SWASTIKA SIGXS FROM ASIA MINOR. "Waring, " Ceramic Art ii\ Remote Agea," pi. 41, figa. 5 and G. MaxOhnefalsch-Eichter^ says that instruments of copper (audumbaroasih) are rec- ommended in the Atharva-Veda to make the Swas- tika, which represents the figure 8; and thus .he attempts to account for the use of that mark branded on the cows in India (supra, p. 772), on the horses in Circassia (fig. 41), and said to have been iised in Arabia. ASIA MINOR — TROT (IIISSARLIK). Many specimens of the Swastika were found by Dr. Schliemann i)i the ruins of Troy, principally on spindle whorls, vases, and bijoux of precious metal. Zmig- rodzki^ made from Dr. Schliemann's great atlas the following classification of the objects found at Troy, ornamented with the Swastika and its related forms: Fifty-five of pure formj 114 crosses with the four dots Fig. 41. BRAND FOR HORSES IN CIRCASSIA. Ogee Swastika, tet- raskeliou. Waring, " Ceramic Art in Remole Ages," pi. 42, fig. 20c. points or alleged nail holes {Croix sumsticale) ; 102 with three branches or arms (triskelion) ; 86 with five branches or arms; G3 with six branches or arms; total, 420. Zmigrodzki continues his classification by adding those which have ' "Ceramic Art in Remote Ages/' pi. 42, iig. 20c. 3 "Mines de I'Orient," v. ' Harper's Magazine, August, 1895. ■•Bulletins de la Soc. d'Anthrop., 1888, ii, p. 678. *Dixi&me Congrfes International d'Anthropologie et d'Archoologie Prdhistorique, Paris, 1889, p. 474. 810 REPORT OF KATIONAL MUSEUM, 1894. relation to the Swastika thus : Eighty-two representing stars ; 70 rep- resenting suns ; 42 representing branches of trees or palms ; 15 animals non-ferocious, deer, antelope, hare, swan, etc.; total, 209 objects. Many of these were spindle whorls. Dr. Schliemann, in his works, "Troja" and "Ilios," describes at length his excavations of these cities and his discoveries of the Swastika on many objects. His reports are grouped under titles of the various cities, first, second, third, etc., up to the seventh city, counting always from the bottom, the first being deepest and oldest. The same system will be here pursued. The first and second cities were 45 to 52 feet (IS^ to 16 meters) deep; the third, 23 to 33 feet (7 to 10 meters) deep; the fourth city, 13 to 17.6 feet (4 to 5J meters) deep ; the fifth city, 7 to 13 f^et (2 to 4 meters) deep ; the sixth was the Lydian city of Troy, and the seventh city, the Greek Ilium, approached the surface. First and Second Cities. — But few whorls were found in the first and second cities' and none of these bore the Swastika mark, while thousands were found in the third,, fourth, and fifth cities, many of which bore the Swastika mark. Those of the first city, if unoriia- mented, have a uniform lustrous black color and are the shape of a cone (fig. 55) or of two cones joined at the base (figs. 52 and 71). Both kinds were found at 33 feet and deeper. Others from the same Fi-' 42 '^^^y "^^^^^ ornamented by incised lines rubbed in FEJ^MENT°oFLusTBous ^^^^ whitc chalk, lu wMch case they were flat.^ In BLACK POTTERY. thc sccoud clty the whorls were smaller than in Swastika, right. the first. They were all of a black color and their Depth, 23 feet. inciscd Ornamentation was practically the same as Schliemann, " Ilio,," %. 547. ^^^^^ ^^^^ ^^^ ^^^^^ CltieS.S Zmigrodzki congratulated himself on having discovered among Schliemaun's finds what he believed to be the oldest representation of the Swastika of which we had reliable knowledge. It was a frag- ment of a vase (fig. 42) of the lustrous black pottery peculiar to the whorls of the first and second cities. But Zmigrodzki was compelled to recede, which he did regretfully, when Schliemann, in a later edi- tion, inserted the footnote (p. 350) saying, that while he had found •this (with a companion piece) at a great depth in his excavations, and had attributed them to the first city, yet, on subsequent examination, he had become convinced that they belonged to the third city. The Swastika, turned both ways l-Pi and |^, was frequent in the third, fourth, and fifth cities. The following specimens bearing the Swastika mark are chosen, out of the many specimens in Schliemaun's great album, in order to make a fair representation of the various kinds, both of whorls and of Swas- 1 "Ilios," pp. 229, 350, note 1. « Ibid, figs. 63-70, p. 229. 3 Ibid, p. 303. THE SWASTIKA. 811 tikas. They are arranged in the order of cities, the depth being indi- cated in feet. The Third, or Burnt., Citij (23 to 33 feet deep).-The spindle-whorl shown in fig. 43 contains two Swastikas and two crosses.' Of the one Fig. 43. SPINDLE-WHORL WITH TWO SWASTIKAS AND TWO CROSSES. Depth, 23 feet. Srhliemaan, "Ilios," fig. I,s5S. Fig. 44. SPINDLE-WHORL WITH TWO SWASTIKAS. Depth, 23 feet. SchHemann, "Uios," fig. 1874. Fig. 45. SPINDLE-WHORL WITH TWO SWASTIKAS. Depth, 23 feet. Schliemann, "Ilios," fig. 1919. Swastika, two arms are bent to the right at right angles, while the other two are bent to the right in curves. The other Swastika has but two bends, one at right angles, the other curved, both to the right. The specimen shown in fig. 44 has two Swastikas, in one of which the four arms are bent at right angles to the left. The entire figure is traced in double lines, oue heavy and one light, as though to represent edges or shad- ows. The second Swastika has its ends bent at an obtuse angle to the left, and at the extremities the Fig. 46. lines taper to a point. SPINDLE-WHORL WITH TWO Tlic "whorl showu in SWASTIKAS. ^g_ 45 jg nearly spher- De.pth,28feet. j^^j ^-^^^ ^^^ g^^g_ SchlieiTi.inn, " IHos," fig. ISStJ, ., ti k as m the upper part. The ends of the four arms in both are bent at riglit angles, one to the right, the other to the left. Fig. 46 represents a spindle- whorl with two irregular Swastikas: but one arm is bent at right angles and all tlie arms and points are uncertain and of un- equal lengths. The rest of the field is covered with iDdeflnite and inex- plicable marks, of which the only ones noteworthy are points or dots, seven in number. In fig. 47 the top is surrounded by a line of zigzag 'All spindle- whorls from the hill of Hissarlik are represented one-half natural size. Fig. 47. SPINDLE-WHORLWITH THREE SWASTIKAS. Depth, 23 feet. SchljemaDn, "Ilios," fig. 1S51. 812 REPOET OF NATIONAL MUSEUM, 1894. Fig. 48 SPINDLE-WHORL WITH SWASTIKAS. Depth, 23 feet. Schllemauii, " llios," fig. 1982. or dog-tooth, ornameuts. Within this field, on the upper part and equidistant from the central hole, are three Swastikas, the ends of all of which turn to the left, and but one at right angles. All three have one or more ends bent, not at any an- gle, but in a curve or hook, making an ogee. Fig. 48 shows a large whorl with two or three Swas- tikas on its upper surface in connection with several indefi- nite marks appar- ently without mean- ing. The dots are interspersed over the field, the St^astikas all bent to the right, but with uncertain lines and at indefinite angles. In one of them the main line forming the cross is curved toward the central liole; in another, the ends are both bent in the same direction — that is, pointing to the periphery of the whorl. Fig. 49 shows a sphere or globe (see figs. 75, 88) divided by longitudinal lines into four segments, which are again divided by an equa- torial line. These segments contain marks or dots and circles, while one segment contains a normal Swastika turned to the left. This terra-cotta ball lias figured in a peculiar degree in the symbolic representation of the Swastika. Greg says of it : ' We see on one hemispliere the j-^ standing for Zeus ■(=Indra) the sky god, and on the other side a rude representation of a sacred {somma) tree ; a very interesting and curious ivestern perpetuation of the original idea and a strong indirect proof of the 3-1 standing for the emblem of the sky god. Fig. 50 represents one of the biconical spindle- whorls with various decorations on the two sides, longitudinal lines interspersed with dots, arcs of con- centric circles ar- ranged in three parallels, etc. On one of these sides is a normal Swastika, the arms crossing at right angles, the ends bent at right angles to the left. Kg. 49. SPHEKE DIVIDED INTO EIGHT SEGMENTS, ONE OF WHICH CONTAINS A SWASTIKA. Schlientauii, " llios," fig. 1999. Fig. 50. BICONICAL SPINDLE-WHOEL WITH SWASTIKA. Schliemann, "llios," fig. 1949. ' Archaeologia, XLViii, pt. 2, p. 322. THE SWASTIKA. 813 The specimen shown in fig. 51 contains four perfect Swastikas and two inchoate and uncertain. Both of the latter have been damaged by breaking the surface. The four Swastikas all have their arms bent to the right; some are greater than at right angles, and one arm is curved. Several ends are tapered to a point. Fig. 52 shows a whorl of biconical form. It contains two Swastikas, the main arms of which are ogee rig. 51. BICOHICAL SPINDLE-WHOKL WITH SIX SWASTIKAS. Depth, 33 feet. Schliemann, " Ilios," fig. 1859. Fig. 52. BICONICAL SPINDLE-WHOEL WITH TWO OGEE SWASTIKAS. Depth, 33 feet. Schliemann, "Ilios," fiff. 1876. forms, crossing each other at the center at nearly right angles, the ogee ends curving to the right. In fig. 53 the' entire field of the upper surface is filled with, or occupied by, a Greek cross, in the center of which is the centra* hole of the whorl, while on each of the four arms is represented a Swastika, the main arms all crossing at right angles, the ends all bent to the right at a slightly obtuse angle. Bach of these bent ends tapers to a point, some with slight.curves and a small flour- ish. (See figs. 33 and 34 for refer- ence to this flourish. ) The specimen shown in fig. 54 has a center field in its upper part, of which the decora- tion consists of incised parallel lines forming segments of circles, re- peated in each one of the four quar- ters of the field. The center hole is surrounded by two concentric rings of incised lines. In one of these spaces is a single Swastika; its main arms crossing at right angles, two of its ends bent to the left at right angles, the other two in the same direction and curved. The Fourth City (13.2 to 17.6 feet deep). — Schliemann says:^ We And among the successors of the burnt city the same triangular idols ; the same primitive bronze battle-axes ; the same terra-cotta vases, with or without tripod feet ; the same double -handled goblets {6iita a.ti depth of 26 feet, divided by in- (■ ^ cised lines into fifteen zones, of which two are ornamented with points aud the middle zone, the largest of all, with thirteen spec- imens of Lf, and 1^. Zmigrodzki says^ that there were found by Schliemann, at Hissarlik, fifty-five specimens of the Swas- tika "pure and simple" (pp. 809, 826). It will be perceived by exami- nation that the Swastika "pure and simple" comprised Swastikas of several forms ; those in which the four arms of the cross were at other angles besides right angles, those in which the ends bent at square and other angles to the right; then those to the left (Burnouf and Max Miiller's Suavastika) ; those in which the bends were, some to the right and some to the left, in the same design ; where the points tapered off and turned outward with a flourish; where the arms bent at no angle, but were In spirals each upon itself, and turned, some to the right, some to the left. We shall see other related forms, as where the arms turn spirally upon each other instead of upon them- selves. These will some- times have three, five, six, or more arms, instead of four (p. 768). The cross and the circle will also appear in connection with the Swastika; and other designs, as zigzags (lightning), burning altars, men, animals, and similar representations will be found associ- ated with the Swastika, and are only related to it by the association of similar objects from the same locality. A description of their pat- terns will include those already figured, together with Schliemann's ' Tenth Cougr. Inter. d'Anthrop. et d'Archseol. Prehist., Paris, 1889, p. 474. ■Fig. 75. TEREA-COTTA SPHERE WITH THIRTEEN SWASTIKAS, Third city. Depth, 26 feet. SchliemaDD, " IliOH," figs. 245, 246. 820 REPORT OF NATIONAL MUSEUM, 1894. comments as to signification and frequency. They become more impor- tant because these related forms will be found in distant countries and among distant peoples, notably among the prehistoric peoples of Amer- ica. Possiblythesedesignshave a signification, possibly not. Dr. Schliemann thought that in many cases they had. Professor Sayce supported him, strongly inclining toward an alphabetic or linguistic, perhaps ideo- graphic, signification. !N"o opin- ion is advanced by the author on these theories, but the de- signs are given in considerable numbers, to the end that the evidence may be fully reported, and future investigators, radi- cal and conservative, imaginative and unimaginative, theorists and agnostics, may have a fair knowledge of this mysterious sign, and an opportunity to indulge their respective talents at length. Possibly these associated designs may throw some light upon the origin or history of the Swastika or of some of its related forms. The specimen represented in fig. 76 is 4iot a spindle-whorl, as shown by the number and loca- tion of the holes. It bears a good representation of a Swastika the form of which has been noticed several times. The two main arms cross each other at nearly right angles. The ends of the arms all bend to the right at a slightly obtuse angle and turn outward with a flourish somewhat after the style of the Jain Swastika (fig. 34c). Fig. 77 represents a spindle- whorl with a Swastikaof the ogee style curved to the right. The center hole of the whorl forms the cen- Fig. 76. TEEBA-COTTA DISK WITH OXE SWASTIKA. Schliemami, " Ilios," fig. 1849. Fig. 77. SPINDLE- WHORL WITH OQEE SWASTIKA. Third city. Depth, 23 feet. Schliemann, " Ilioa," fig. 1822. Fig. 78. BIOONICAL SPINDLE-WHOEL WITH IBKEBULAK SWAS- TIKAS AND CKOSSES. Fourth city. Depth, 13.6 feet. ScbliemaDD, "Ilios," fig. 1871. Fig. 79. BICONICAL SPINDLE-WHOHL WITH CNCEETAIK AND MALFOKMED SWASTIKAS. Third city. Depth, 33 feet. Schliemaiin, "Ilios," fig. 1870. ter of the sign. The figure is of double lines, and in the interspaces are four dots, similar to those in figs. 96-98, and others which Dr. Schliemann THE SWASTIKA. 821 BICONICAL SPINDLE-WHORL WITH IKREGULAE AND PARTLY FORMED SWASTIKAS HAVIMQ LARGE DOT IN CENTER. Fourtli citj-. Depth, 23 feet. Schliemfinu, " Ilios," fig. 1S75. reports as common, aud to whicli lie attributes some special but unknown meaning. Swastikas and crosses of irregular shape and style are sliown in the field of fig. 78. Two fairly well formed Swastikas appear, both of the ogee style, with the ends curved to the right. One is of the style resembling the figure 8 (see figs. 60 and 64). Two others are crudely and irregularly formed, and would scarcely be recognized as Swastikas except for their associ- ation. Fig. 79 represents uncertain aud malformed Swastikas. The arms are bent in different directions in the same line. Two of the main arms are not bent. The inexplicable dots are present, and the field is more or less covered with unmeaning or, at least, unexplained marks. Fig. 80 also illustrates the indefinite and inchoate style of decoration. One unfinished Swastika appears which, unlike anything we have yet seen, has a circle with a dot in the center for the body of the Swastika at the crossing of the main arm^ Fig. 81 shows two Swastikas, both crossing their main arms at right angles and the ends bending also at right angles — one to the right, the other to the left. This specimen is inserted here because of the numerous decora- tions of apparently unmeaning, or, at least, unexplained, lines. Fig. 82 ghows four segmented cir- cles with an indefinite Swas- tika in one of the spaces. The ends are not well turned, only one being well attached to the main arms. One of the ends is not joined, one overruns and forms a sort of cross; the other has no bend. Fig. 83 contains an unmistakable Swastika, the main arms of which cross at right angles, turning to the left with an ogee curve. The peculiarity of this specimen is that the center of the sign is inclosed in a circle, thus showing the indifference Fig. 81. BICONICAL SPINDLE-WHORL, FLATTENED, WITH TWO SWASTIKAS AND INDEFINITE DECORATION. Schliemann, " Ilios," fig. 1947. Fig. 82. BICONICAL SPINDLE-WHORL WITH ONE SWASTIKA AND FOUR SEGMENTS OF CIRCLES. Third city. Deptli, 33 feet. Schliemann, " Ilios," fig. 198i). 822 EEPOKT OF NATIONAL MUSEUM, 1894. of the Swastika sign to otlier signs, whether cross or circle. The outer parts of the field are occupied with the parallel lines of the circle segment, 'as shown in many other specimens. The specimen shown in fig. 84 is similar in style to the last. The bodies of six Swastikas are formed by a circle and dot, while the arms of the cross start from the out- side of the circle, extending them- selves in curves, all of them to the right. (See fig. 13d.) It has no other ornamentation. The same remark is to be made about the indifferent use of the Swastika in association with cross or circle. We have seen many Swastikas composed of the crossed ogee lines or curves. Figs. 85 and 86 show the same ogee lines and curves not crossed; and thus, while it may be that neither of them are Swastikas, yet they show a relationship of form from which the derivation of a Swastika would be easy. Fig. 83. BICONICAIi SPINDLE-WHOBL, FLATTENED. Ogee Swastilia witla central circle. Third city. Depth, 23 feet. Schliemann, " Ilios," fig. 1987. Fig. 84. EICONICAL BPINDLE-WHOEL WITH SIX OGEE SWASTIKAS HAVING CENTRAL CIRCLE AND DOT. Third city. Depth, 23 feet. Schliemanp, "Ilios," fig. 1862. Fig. 85. SPHEEIOAL SPINDLE- WHORL WITH FLATTENED TOP AND OGEE LINES WHICH DO NOT FORM SWASTIKAS. Schliemann, " llioa," fig. 1890. Attention has been called to decorations comprising segments of the circles incised in these whorls, the periphery of which is toward their centers (figs. CO, 64, 65, 69, 70, 82 and 83). Also to the mysterious dots (tigs. 46, 56, 75, 76, 77, 79, 84, 92, 96 and 97). Fig. 87 shows a combination of the segments of three circles, the dots within each, and two Swastikas. Of the Swas- tikas, one is normal, turning to the right; the other turns to the right, but at an obtuse angle, with one end straight and the other irregularly curved. Fig. 88 represents two sections of a terra- cotta sphere divided similar to fig. 49. Each of these sections contains Fig. 86. BICOKICAL SPINDLE- WHORL WITH OGEE CURVES WHICH ARE NOT CROSSED TO FORM SWASTIKAS. Schliemann, " Ilios," fig. 1S89. THE SWASTIKA. 823 rig. 87. SPHERICAL SPINDLE-WHORL, FLATTENED. Two Swatikas combined with segments and dots. Schliemaun, " Ilios," fig. 1988. a figure like unto a Swastika and which may be related to it. It is a circle with arms springing from the periphery, which arms turn all to the left, as they do in the ogee Swastika. One has seven, the other nine, arms. One has regular, the other irregular, lines and intervals. Fig. 89 represents a spindle- whorl of terra cotta nearly spherical, witli decora- tion of a large central dot and lines springing thereout, almost like the spokes of a wheel, then all turning to the left as volutes. In some countries this has been called the sun symbol, but there is nothing to indicate that it had any signification at Hissarlik. One of the marks resembles the long-backed, four-legged animal (figs. 99 and 100).i Figs. 90, 91, 92, and 93 show a further adaptation .of the ogee curve develoi)ed into a Swastika, in which many arms start from the center circle around the central hole in the whorl, finally taking a spiral form. The relation of this to a sun symbol is only mentioned and not specified or declared. The inexplicable and constantly re- curring dots are seen in fig. 90. It is not contended that these are necessarily evolutions of the Swas- tika. We will see farther on many lines and forms' of decoration by incised lines on these Trojan whorls, which may have had no relation to the Swastika, but are inserted here because per-_ sons rich in theories and bril-^ liant in imagination have de-i clared that they could see a resemblance, a relation, in this or some other decoration. As objects belonging to the same culture, from the same locality, and intimately associated with unmistakable Swastikas, they were part of the res gestce, and as such entitled to admission as evi- dence in the case. The effect of their evidence is a legitimate subject for discussion and argument. To refuse these figures admission would Fig. SECTIONS OF TEERA-COTTA SPHERE.^ Central circles with extended arras turning to the left, ogee and zigzag. Schliemann, '* Ilios," fig. 199.3. Fig. 89. SPHERICAL SPINDLE- WHOEL. Large central dot with twelve arms, similar in form to the ogee Swastika. Schliemann, " Ilios," fig. 1346. '"Ilios" p. 418. ^Seep. 786 824 REPORT OF NATIONAL MUSEUM, 1894. SPINDLE -WHORL. Central dot "with ogeo arms radiating tliercfrom in different directions, but in the form of a Swastika. Third city. Depth, 29 feet. Scbllemanii, "Uios," fig. 1S30. is lost in antiquity. •Fig. 91. SPINDLE-WHOEL WITH CENTRAL HOLE AND BADIATIKO ARMS. Third city. Depth, 23 feet. SchlieuiaDQ, " Uios," fig. :S42. be to decide the case against tliis contention without giving the oppos- ing party an opportunity to see the evidence or to be heard in argu- ment. Therefore tlie objects are inserted. Specimens of other crosses are presented because the Swastika is considered to be a form of the cross. There may have been no evolution or rela- tionship between them; but no person is competent to decide from a mere inspection or by rea- son of dissimilarity that there was not. We have to plead ig- noramus as to the growth and evolution of both cross and Swas- tika, because the origin of both But all are fair subjects for discussion. There certainly is nothing improbable in the relationship and evolution between the Swastika and the cross. It may be almost assumed. Evidence leading to conviction may be found in associated contem- poraneous specimens. M. Montelius, an archaeologist of repute in the ISTational Museum at Stockholm, discovered eight stages of culture in the bronze age of that country, which discoA'^ery was based solely upon the foregoing principle applied to the fibulse found in prehistoric graves. In assorting his stock of fibulse, he was enaibled to lay out a series of eight styles, each different, but with many presentations. He arranged them seriatim, according to certain differences in size, style, elegance of workmanship, etc., No. 1 being the smallest, and No. 8 the largest and most elaborate. They were then classified according to locality and association, and he dis- covered that Nos. 1 and 2 belonged together, on the same body or in the same grave, and the same with Nos. 2 and 3, 3 and 4, and so on to No. 8, but that there was no general or indefinite intermix- ture; Nos. 1 and 3 or 2 and 4 were not found together and were not associated, and so on. Nos. 7 and 8 were associated, but not 6 and 8, nor 5 and 7, nor was there any association beyond ad- joining numbers in the series. Thus Montelius was able to deter- mine that each one or each two of the series formed a stage in the culture of these peoples. While the numbers of the series separated Fig. 92. SPINDLE-WHOEL WITH CENTRAL CIRCLE AND MANY ARMS. Fourth city. Depth, 19.8 feet. Schliemann, " Ilios," fig. 1837. SPINDLE-WHOEL WITH CEN- TRAL HOLE, LAEGB CIRCLE, AND MANY CURVED AEMS. Third city. Depth, 29 feet .Spbliemann, *' Uios," fig. 1833. THE SWASTIKA. 825 from each other, as 1, 5, 8, were never found associated, yet it was conclusively shown that they were related, were the same object, all served a similar purpose, and together formed an evolutionary series showing their common origin, derivative growth and continuous im- provement in art, always by com- munication be- tween their makers or owners. Thus it may be with the other forms of crosses, and thus it ap- pears to be with the circle and spiral Swastikas and those with ends bent in op- posite and differ- ent directions. Just what their relations are and at which end of the series the evolution began, is not argued. This is left for the theorists and imaginists, protesting, however, that they must not run wild nor push their theories beyond bounds. Fig. 94 represents four crosses, the main arms of which are at ri.alit angles, and each and all ends, instead of being turned at an angle which would make them Swastikas, are bifurcated and turn both Fig. 94. LARGE BICONICAL SPINDLB-WHOEL. Four crosses with bifurcated arms. Third city. Depth, 23 feet. Schliemann, " Ilios," fig. 1S5G. Fig. 95. SPINDLE- WHORL. Hole and large circle in center with broad arms of Greek cross. Third city. Depth, 26.1 feet. Schliemann, " Ilios," flg. 1821). Fig. 96. SPINDLE-WHORL. Hole and large circle in center. Eextended xiarallel arms with dots, forming a Greek cross. Third city. Depth, 23 feet. Schlieniann, "Ilios," fig. IS17. Fig. 97. SPINDLE- WHOEL. Greek cross. Tapering arms with dots. Third city. Depth, 23 feet. Scliliemann, *' ilios," fig. l.ylS. ways, thus forming a foliated cross similar to the Maya cross, the "Tree of life." Figs. 95, 96, and 97 show Greek crosses. The centers of the crosses are occupied by the central hole of the whorl, while the arms extend to the periphery. In the centers of the respective arms are the ubiquitous clots. The question might here be asked whether these holes, which represented circles, stood for the sun symbol or solar disk. The 826 REPORT OF NATIONAL MUSEUM, 1894. Kg. 98. SPINDLE- WHORL. Central liole and three arms with dots. Third city. Depth, 23 feet. Schliemanii, " IlioB," fig. 1819. Fig. 9!l. BICONICAL SPL\ULE-WHORL. Four animals are shown similar to those found associated with the Swastika. ■ Third city. Depth, 33 feet. Schlieinaiin, " Ilios," fig. 1W77. question carries its owu answer and is a refutation of those who fancy they can see mythology in everything. Fig. 98 is the same style of figure with the same dots, save that it has three instead of four arms. Figs. 99 and 100 each show four of the curious animals heretofore represented (fig. 56) in connec- tion with the Swastika. They are here inserted for comparison. They are all of the same form, and one description will serve. Back straight, tail drooping, four legs, round head show- ing eye on one side, and long ears resem- bling those of a rabbit or hare, which, in flg. 56, are called horns. The general remarks in respect to the propriety of inserting crosses and burn- ing altars (p. 834) apply with equal perti- nency to these animals and to the unexi)lained dots seen on so many specimens. Fig. 101 shows both ends of a spin die- whorl, and is here in- serted because it rei)resents one of the " burning altars " of Dr. Sclilie- mann, associated with a Swastika, as in figs. 61, 66, and 68, and even those of flgure-8 style (figs. 64 and 69). Dr. Schliemann found, during his ex- cavations on the hill of Hissarlik, no less than 1,800 spindle- whorls. A few were from the first and second cities; they were of somewhat peculiar form (figs. 7i3 and 74), but the greatest number were from the third city, thence upward in decreasing numbers. The Swastika pure and simple was found on 55 specimens, while its related or suggested forms were on 420 (pp. 809, 819). Many of the other whorls were decorated with almost every imaginable form of dot, dash, circle, star, lozenge, zigzag, with many indefinite and undescribable forms. Ill presenting the claims of the Swastika as an intentional sign, with intentional, though perhaps different, meanings, it might be unsatisfactory to the student to omit descriptions of these associated decorative forms. This description is impossible in words; therefore the author has deemed it wiser to insert Fig. 100. BICOXICAL SPINDLE-WHORL. Four animals are shown similar to those found associated with the Swastika. Fourth city. Depth, 19.6 feet. Schliemann, " Ilios," fig. 1867. Fig. 101. SPINDLE-WHORL WITH FIGURE-8 SWASTIEA(?) ANI> SIX "BURNING ALTARS." Fourth (lity. Depth, 19.6 feet. Schliemann, " Ilios," fig. IS^S. THE SWASTIKA. 827 figures of these decorations as they appeared on the spindle-whorls found at Troy, and associated with those heretofore given with the Swastika. It is not decided, however, that these have any relation to the Swastika, or that they had any connection with its manufacture or existence, either by evolution or otherwise, but they are here inserted to the end that the student and.reader may take due account of the associa- tion and make such comparison as will satisfy him. (Figs. 103 to 124.) 107. 112. Figs. 102-113. TROJAN SPINDLE-WHORLS. Schliemann, " Ilios." 828 REPORT OF NATIONAL MUSEUM, 1894. 118. 120. 121. Figa. 114-124. TROJAN SPINDLE-WHOELS. Schlietnaon, " Ilio5," THE SWASTIKA. 82? Leaden idol of Mssarlik.—Dv. Scliliemann, in his explorations on the hill of Hissarlik, at a depth of 23 feet, in the third, the burnt city, found a metal idol (flg. 125), which was determined on au analysis to be lead.' It was submitted to Professor Sayce who made the follow- ing report : ^ It is the Artemis Nana of Cbaldea, who became the chief deity of Carchemish, the Hittite capital, aud passed through Asia Minor to the shores and islands of the iEgean Sea. Characteristic figures of the goddess have been discovered at MyceniB as well as in Cyprus. In "Troja" Professor Sayce says: Precisely the same figure, with ringlets on either side of the head, but with a different ornament (dots instead of Swastika) sculptured on a piece of serpentine was recently found in Mfeonia, and published by M. Salmon Eeinach in Revue Archseologique. By the side of the goddess stands the Babylonian Bel, and among the Baby- lonian symbols that surround them is the representation of one of the terra-cotta whorls, of which Dr. Schlie- mann found such multitudes at Troy. The chief interest to us of Dr. Schliemann's description of the idol lies in the last paragraph :^ The vulva is represented by a large triangle, in the upper side of which we see three globular dots; we also see two lines of dots to the right and left of the vulva. The most curious ornament of the figure is a Swastika, which we see in the middle of the vulva. * * * So far as we know, the only figures to which the idol before us has any resemblance are the female figures of white marble found in tombs in Attica and in the Cyclades. Six of them, which are in the museum at Athens, * * « represent naked women. * * •* xhe vulva is repre- sented on the six figures by a large triangle. ' * » Similar white Parian marble figures, found in the Cy- clades, whereon the vulva is represented by a decorated triangle, are preserved in the British Museum. Lenor- ment, in " Les Antiquit^s de la Troade" (p. 46), says: "The statuettes of the Cyclades, in the form of a naked woman, appear to be rude copies made by the natives, at the dawn of their civilization, from the images of the Asiatic goddess which had been brought by PhoBnician merchants. They were found in the most ancient sepul- ohers of the Cyclades, in company with stone weapons, principally arrowheads of obsidian from Mile, and with polished pottery without paintings. Wc recognize in them the figures of the Asiatic Venus found in such large numbers from the banks of the Tigris to the island of Cyprus, through the whole extent of the Chaldeo-Assyrian, Aramasan, and Phojnician world. Their pro- totype is the Babylonian Zarpanit, or Zirbauit, so frequently represented on the cylinders and by terra-cotta idols, the fabrication of which begins in the most primitive time of Chaldea and continues among the Assyrians. '"Ilios,"fig. 226, p. 337. i'lbid, p. 694. 3 Ibid, p. 338. ■•Seep. 795. Fig. 125. LEADEN IDOL OF ARTEMIS NANA OF CHALDEA, WITH SWASTIKA.* Third city. Depth, 23 feet. Schliemann, " Ilios." fig. 126 l^tj natural size. 830 REPORT OF NATIONAL MUSEUM, 1894. It is to be remarked that tMs mark is not ou tlie vulva, as declared by ScUiemann, but rather ou a triangle shield which covers the mons ■veneris. Professor Sayce is of th6 opinion, from the evidence of this leaden idol, that the Swastika was, among the Trojans, a symbol of the generative power of man. An added interest centers in these specimens from the fact that terra- cotta shields of similar triangular form, fitted to the curvature of the body, were worn iu the same way in prehistoric times by the aboriginal women of Brazil. These pieces have small holes at the angles, appar- ently for suspension by cords. The U. S. National Museum has some of these, and they will be figured in the chapter relating to Brazil. The similarity between these distant objects is remarkable, whether they were related or not, and whether the knowledge or custom came over by migration or not. Owl-shaped vases. — It is also remarkable to note in this connec- tion the series of owl-shaped terracotta vases of the ruined cities of Hissarlik and their relation to the Swas- tika as a possible sym- bol of the generative power. These vases have rounded bot- toms, wide bellies, high shoulders (the height of which is emphasized by the form and position of the handles), the mouth narrow and somewhat bottle shaped, but not en- tirely so. What would be the neck is much larger than usual for a bottle, and more like the neck of a huaian figure, which the object in its entirety represents in a rude, but, nevertheless, definite, manner. At the top of the vase are the eyes, eyebrows, and the nose. It is true that the round eyes, the arched eyebrows, aiad the pointed nose give it somewhat au owlish face, but if we look at fig. 127, the human appearance of which is emphasized by the cover of the vase, which serves as a cap for the head and has the effect of enlarging it to respectable dimensions, we will see how nearly it represents a human being. The TJ. S. National Museum possesses one of these vases in the Schliemann collection (fig. 126). It has the face as described, while the other human organs are only indicated by small knobs. It and the three figures, 127, 128, and 129, form a series of which the one in the Museum would be the first, the others following in the order named. Elg 126 TEHEA-COTTA VASE WITH MAMELON. Fourth city. Depth, 16.5 feet. Cat. No. 149676, U. S. N. M. ^ natural size. Fig. 127. TEERA-COTTA VASE WITH CIECLE OR RING. Fourtli city. Depth, 20 feet. Schliemann, "Hios," fig, 988. ?3 natural size. THE SWASTIKA. 831 IsTo. 2 in the series has the female attributes indefinitely and rudely indicated, the lower organ being represented by a concentric ring. In No. 3 the mammae are well shown, while the other organ has the con- centric ring, the center of which is filled with a Greek cross with four dots, one, in each angle, the Croir swasticale of Zmigrodzki (fig. 12). No. 4 of the series is more perfect as a human, for the mouth is repre- sented by a circle, the mammae are present, while in the other locality appears a well-defined Swastika. The first three of these were found in the fourth city at 20 to 22 feet depth, respectively; the last was found in the fifth city at a depth of 10 feet. The leaden idol (fig. 125), with its Swastika mark on the triangle covering the private parts, may properly be considered as part of the series. When to this series is added the folium vitus of Brazil (pi. 18), the similarity becomes signifi- cant, if not mysterious. But, with all this significance and mystery, it rig- 128. Fig. 129. TERRACOTTA VASE WITH CIRCLE OB EINO TERRA-OOTTA VASE WITH OIBCLE OR AND CROIX SWASTICALE. EINO INCLOSING SWASTIKA. Schliemann, " Ilios," fig. 986. Schliemaiin, " TrO]a," fig. 101. J natural size. ^ Datural size. appears to the author that this sign, in its peculiar position, has an equal claim as a symbol of blessing, happiness, good fortune, as that it represents the generative power. From the earliest time of which we have knowledge of the thoughts or desires of man we know that the raising up "heirs of his body" constituted his greatest blessing and happiness, and their failure his greatest misery. The first and greatest command of God to man, as set forth in the Holy Bible, is to " Be fruitful, and multiply, and replen ish the earth," ' This was repeated after the Deluge,^ and when He pronounced the curse in the Garden, that upon the woman ^ was, "In sorrow thou shalt bring forth children." God's greatest blessing to Abraham, when He gave to him and his seed the land as far as he could see, was that his seed should be as the dust of the earth, "so that if a ' Genesis i, 28. "^ Genesis viii, 17 ; ix, 7. 3 Genesis iii, 16. 832 REPORT OF NATIONAL MUSEUM, 1894. man can number the dust of the earth, then shall thy seed also be numbered."' "Tell the stars, ifthou be able to number them * * # so shall thy seed be. * * * As the father of many nations," etc. We all know the story of Sarai, how, when she and Abraham had all riches and power on earth, it was as naught while they were childless, and how their greatest blessing was the Divine promise of an heir, and that their greatest happiness was over the birth of Isaac. This may be no proof of the symbolism of the Swastika, but it shows how, in high antiquity, man's happiness in his children was such as makes the Swastika mark, in the position indicated, equally a symbol of good fortune and blessing as it was when put on the spindle-whorls of Hissarlik, the vases of Greece, or the fibulae of Etruria. The age of the Trojan cities. — It may be well to consider for a moment the age or epoch of these prehistoric Trojan cities on the hill of His- sarlik. Professor Yirchow was appealed to by Schliemann for his opiinon. He says : ^ Other scholars have been inclined to ascribe the oldest cities of Hissarlik to the Neolithic age, because remarkable weapons and utensils of polished stone are found in them. » '» * This conception is unjustified and inadmissible. To the third century A. D. belongs the surface of the fortress hill of Hissarlik, which still lies aboTC the Macedonian wall; and the oldest "cities" — although not only polished stones.but also chipped flakes of chalcedony and obsidian occur in them — neverthe- less fall within the age of metals, for even in the first city utensils of copper, gold, and even silver were dug up. No stone people, properly so called, dwelt upon the fortress hill of Hissarlik, so far as it has been uncovered. Yirchow's opinion that none of the cities of Hissarlik were in the stone age may be correct, but the reason he gave is certainly doubtful. He says they come within the age of metals, for, or because, ^'utensils of copper, gold, and even silver were dug up among the ruins of the first city." That the metals, gold, silver, or copper, were used by the abo- rigines, is no evidence that they were in a metal age, as it has been assigned and understood by prehistoric archaeologists. The great prin- ciple upon which the names of the respective prehistoric ages — stone, bronze, and iron — were given, was that these materials were used for cutting and similar implements. The use of gold and silver or any metal for ornamental purposes has never been considered by archseol- ogists as synchronous with a metal age. Indeed, in the United States there are great numbers of aboriginal cutting implements of copper, of which the U. 8. liTational Museum possesses a collection of five or six hundred; yet they were not in sufBcient number to, and they did not, supersede the use of stone as the principal material for cutting implements, and so do not establish a copper age in America. In Paleolithic times bone was largely used as material for utensils and ornaments. Bone was habitually in use for one purpose or another, yet no one ever pretended that this establishes a bone age. In coun- tries and localities where stone is scarce and shell abundant, cutting ' Genesis xiii, 16; xv, 5. ^ "Ilios," preface, p. xi. THE SWASTIKA. 833 ini])lemeiits weie, in prehistoric times, made of shell; and chisels or hatchets of shell, corresponding to the polished stone hatchet, "were prevalent wherever the conditions were favorable, yet nobody ever called it an age of shell. So, in the mined cities of Hissarlik, the first five of them abounded in stone implements peculiar to the Neolithic age, and while there may have been large numbers of implements and utensils of other materials, yet tliis did not change it from the polished stone age. In any event, the reason given by Virchow — i. e., that the use, undisputed, of copper, gold, and silver by the inhabitants of these cities — is not evidence to change their culture status from that denominated as the polished stone age or period. Professor Virchow subsequently does sufiicient justice to the antiquity of Schliemann's discoveries and says^ while "it is impossible to assign these strata to the stone ago, yet they are indications of what is the oldest known settlement in Asia JMinor of a people of prehistoric times of some advance in civilization," and^ that "no place in Europe is known which could -be put in direct connection with any one of the six lower cities of Hissarlik." Professor Sayce also gives his opinion on the age of these ruins :^ The antiquities, therefore, unearthed by Dr. Schliemanu at Troy, acquire for lis a double interest. They carry us back to the later stone ages of the Aryan race. AFRICA. EGYPT. A consensus of the opinions of antiquarians is that the Swastika.had no foothold among the Egyptiajis. Prof. Max Muller is of this opinion, as is also Count Goblet d'Alviella.^ Waring^ says: The only sigu approaching the fylfot in Egyptian hieroglyphics that we have met is shown in fig. ,% pi. 41, where it forms one of the hieroglyphs of Isis, but is not very similar to our fylfot. Mr. Greg says:" "In Egypt the fylfot does not occur." 3Iany other authors say the same. Yet many specimens of the Swastika have been found in Egypt (figs. 130 to 136). Professor Good^year,'' says: The earliest dated Swastikas are of the third millenium B. C, and occur on the for- eign Cyprian and Carian ( ?) pottery fragments of the time of the twelfth dynasty (in Egypt), discovered by Mr. Flinders Petrie in 1889. (Kahun, Gurob, and Hawara, pi. 27, Nos. 162 and 173. ) i"Ilios,"app. 1. p. 685. 2-'Ibid.,"app. 6, p. 379. ■'"Troja,"p. xii. ■< "La Migration des Symboles," pp. 51, 52. ^ " Ceramic Art in Remote Ages," p. 82. 1^ Archfeologia, XLVii, pt. 1, p. 159. ' " Grammar of the Lotus," pi. 30, figs. 2 and 10, p. 356. H. Mis. 90, pt. -2- 53 834 REPORT OF NATIONAL MUSEUM, 1894. Ifaulratls.—Figs. 130 to 136, made after illustrations in Mr. W. Flinders Petrie's Third Memoir of tlie Egypt Exploration Fund (Pt. 1), found by him in Naukratis, all show unmistakable Swas- tikas. It should be explained that these are said to be Greek vases whicli have been imported into Egypt. Sothat,while found in Egypt and so classed geograph- ^'^•'"'- ically, they are not GHEEK 1 ASK SHOWING DEEK, GEESE, " ' , /-, AND SWASTIKAS. Egyptiau, but Greek. Naukratis, Ancient Egypt. Sixth GoptOS [Achmim- and fifth centuries, B. c. PanopoUs). — Within Petrie, Third Memoir, Egypt Exploration Fund, -*- p»rtl,pl.4,(ig.3,andGoodyear,"Grammar thO paSt feW yBBrS of the Lotus," pi. 60, tig. 2. j_ j • • „ „ great discoveries have been made in Upper Egypt, in Sakkarah, Fayum, and Achmim, the last of which was the ancient city of Panopolis. The inhabit- ants of Coptos and the surrounding or neigh- boring cities wei'c Christian Greeks, who mi- grated from their country during the first centuries of our era and settled in this land of Egypt. Strabo mentions these people and their ability as weavers and embroiderers. Discoveries have been made of their cemeteries, winding sheets, and grave clothes. These clothes have been subjected to analytic in- vestigation, and it is the conclusion of M. Gerspach, the administrator of the national manufactory of the Gobelin tai^estry, Paris,' that they were woven in the same way as the Gobelins, and that, except being smaller, they did not differ essentially from them. He adds : These Egyptian tapestries and those of the Gobelins are tie result of work -which Is identical except in some secondary details, so that I have been able, without difficulty, to reproduce these Coptic tapestries in the Gobelin manufactory. On one of these Coptic cloths, made of linen, reproduced in "Die Graber- und Textilfunde von Achmim-Panopolis," by E. Forrer, occurs << -5- -f # * rig. 130a. DETAIL OF VASE SHOWN IN THE PRECEDING FIGURE. 'Les Tapisseries Copies," sec. 4, pp. 5, 6. THE SWASTIKA. 835 a uormal Swastika embroidered or woven, tapestry fasLion, with woolen thread (fig. 136). It belongs to the first epoch, which includes Eig. i;i. POTTERY FRAGMENTS WITH TWO MEANDER SWASTIKAS. Naukratis, Ancient Egypt. Petrie, Third Memoir of the Egj-pt Exploration Fund, p.irt 1, pi. 5, figs. 15, 24. portions of the first and second centuries A. D. There were on these oloths an enormous amount of decoration, represei)ting many figures, Fig. 132. PBAGMENT OF QEEEK VaSE WITH LION AND THREE M3ANDER SWASTIKAS. Naukratis, Ancient Egypt. Petrie, Sixth Memoir of the Egypt Exploration Fuad, pirt 2, fig. 7, and Goodyear, " Grammar of the Lotus," pi. 30, fig 2. both natural and geometric. Among them was the Swastika variously apiilied and in different sizes, sometimes inserted in borders, and 836 REPORT OF XAT.TONAL MUSEUM, 1894. Fig. 133. PHAGMENT OP GREEK VASE DECORATED WITH FIGURES OF SAOEIJD ANIMALS AND SWASTIKAS, ASSOCIATED WITH GREEK FEET. Kaukratia, Ancient Egypt. Petrie, Sixth Memoir of the Egypt Exploration Fund, part 2, pi. 6, fig. 1. Fig. 134. PKAGMENT OF GREEK VASE WITH FIGURES OF AKIMALS, TWO MEANDER SWASTIKAS, AND GBE^K FRET. I^aukratis, Ancient Egypt. Petrie, Sixth Mfinnir of the Egyiit Exploration Ftinrl, part 9, pi. 8, fig. l.'ar.tl Goodyeiir, " Granunar of the Lotus," pi. 30, fifC ^^- THE SWASTIKA. 837 Tig. 135. GHKEK VASE WITH DEEB, AND MEANDER AND FIQURE-8 SWASTIKAS. Nankratis, Ancient Egypt. Petrie, Sixth Memoir of the Egypt Exploration Fimd, part 2, pi. 5, fig. 1, mmimmm^ lilii' Fig. 136. GREEK TAPESTRV. Coptoa, Egypt. First and second centuries, A. D. Forrer, " Die Griiber- iiiul Texlilfuiide von Achmin-Panopolia." 838 REPORT OF NATIONAL MUSEUM, 1894. sometimes adorning the corners of the tunics and togas as a large medallion, as shown in the figure.' ALGEKIA. • Waring, in his "Ceramic Art in Eemote Ages," discoursing upon the Swastika, which he calls fylfot, shows in pi. 43, lig. 2 (quoting from Dela- mare), the base of a col- umn from a ruined Eo- man building in Algeria (fig. 137), on the torus of which are engraved two Swastikas, the arms crossing at right angles, all ends bent at right angles to the left. There are other figures (five and six on the same plate) of Swastikas frqm a Eoman mosaic pave- meutinAlgeria. Instead of being square,however, or at right angles, as might ordinarily be ex- pected from mosaic, they are ogee. In one of the siiecimens the ogee ends finish in a point; in the other they finish in a spiral volute turning upon itself. The Swastika has been found on a tombstone in Algeria.* ASHANTEE. Mr. E. B.^neas McLeod, of Invergorden Castle, Eoss-shire, Scotland, reported^ that, on looking over some curious bronze ingots captured at Coomassee in 1874, during the late Ashantee war, by Captain Eden, in whose possession th ey were Fig. 137. TORUS OF COLUMN WITH SWASTIKAS. Koman ruins, Algeria. Waring, " Ceramic Art in Remote AgeR," pi. 4-'l, fig. 2, qnoting from Deliim: at Inverness, ho had found some marked with the Swas- tika sign (fig. 138). These specimens were claimed to be aboriginal, but whether the marks were cast or stamj^ed in the ingot is not stated. Pig. 138. BRONZE INGOTS BEARING SWASTIKAS. Comassee, Asbantee. ' Forrer, "Die Griiber- uud Textilfunde von Achmim-Pauopolis," ji. 20. ^Bull. Soc. Franfalse de mimisra. et d'archiSol., ii, pi. 3, p. 3. 3"Ilios,"p.353. THE SWASTIKA. 839 CLASSICAL OCCIDENT— MEDITERRANEAN. GREECE AND THE ISLANDS OP CYPRUS, RHODES, MELOS, AND THERA. The Swastika lias been discovered in Greece and in the islands of the Archipelago on objects of bronze and gold, bat the principal vehicle was pottery ; and of these the greatest number were the painted vases. It is remarkable that the vases on which the Swastika appears in the Kg. 139. VARIATION OF THE GREEK FRET. Continuous lines crossing eacli other at right angles forming figures resemhling the Swas- tiicas. Fig. UO. GREEK GEOMETRIC VASE IN THE LEYDEN MUSEUM, WITH FIGURES OF GEESE AND SWASTIKA IN PANEL.' Smyrna. Cun^p, "Aiifiinge," etc., Vienna, 1870, and Goodyeiir, " Grammar of the LotuB,"pl. 56, fig. 4. largest proportion should be the oldest, those belonging to the Archaic period. Those already shown as having been found at ]!^aukratis, in Egypt, are assigned by Mr. Flinders Petrie to the sixth and fifth cen- turies B. C, and their presence is accounted for by migrations from Greece. The Greelcfret and Egyptian mean der not the same as the Sicastika. — Pro- fessor Goodyear says:^ "There is no proposition in archaeology which can be so easily demon- strated as the assertion that the Swastika is originally a fragment of the Egyptian meander, provided Greek geo- metric vases are called in evidence." Egyptian meander here means the Greek fret. Despite the ease with which he says it can be demonstrated that the Swastika was originally a fragment of the Egyptian meander, and with all respect for the opinion of so profound a student of classic ornament, doubts must arise as to the existence of the evidence neces- sary to prove his proposition. ' See p. 84.^3. -' "Grammar of the Lotus," p. 352. Fig. 141. GREEK VASE WITH FIGURES OF HORSES, GEOMETRIC ORNAMENT'S AND SWASTIKAS IN PANELS. Athen.s. Dennis, "Etruria," I, p. cxiii. Fig. 142. GREEK VASE WITH SWASTIKAS IN PANELS, fonze, "Anfiinge," etc., and Goodyear, " Grammar of the Lotus," pi. fifl, hs. 13. 840 REPORT OF NATIONAL MUSEUM, 1894. Fig 143 DETAIL OF ARCHAIC GREEK VASE WITH FIGURE OF SOLAK GOOSE AND SWASTIKAS IN PANELS. British Museum. Waring, " Ceramic Art in Remote Ages," pi. 41, fig. ].■>. Professor Goodyear, and possibly otliers, ascribe tlic origin of the Swastika to the Greek fret; but this is doubtful and surely has not beau proved. It is difficult, if not impos- sible, to procure direct evidence on the proposition. Comparisons may be made between the two signs; but this is secondary or indirect evidence, and depends largely on argument. No man is so poor in expedients that he may not argue. Goldsmith's schoolmaster "e'entho' vanquished, he could argue still." The Greek fret, once established, might easily be doubled or crossed in some of its members, thus forming a figure simi- lar to the Swastika (fig. 139), which would serve as an ornament, but is without any of the characteristics of the Swastika as a symbol. The crossed lines in the Greek fret seem to have been altogether fortuitous. They gave it no symbolic charac- ter. It was simply a variation of the fret, and at best was rarely used, and like it, was employed only for or- nament and not with any signification — not a sign of benediction, blessing, or good luck, as was the Swastika. The foundation principle of the Greek fret, so far as we can see its use, is its adaptability to form an extended orna- mental band, consisting of doubled, bent, aiul sometimes crossed or in- terlaced lines, always con- tinuous and never ending, and running between two parallel border lines. Two interlacing lines can be used, crossing each other at certain places, both making continuous meanders and together forming the ornamental band (fig. 139). In the Greek fret the two lines meandered between the two borders back and forth, up and down, but always forming a continuous line. This seems to be the foundation principle of the Greek fret. In all this Fig. 144. CYPRIAN POTTERY PLAQUE WITH SWASTIKA IN PANEL. Metropolitan Museum of Art, New York City. Cesiiola, " Cyprus, its And'^nt Cities, Tombs, and Temples," jil. 47, tig. 4i) Fig. 145. DETAIL OF CITRIAN VASE WITH SWASTIKAS IX TRIANGLES. Goodyear," Grammar of the Lotus," pi. 1, tig. 11. Fig. 146. DETAIL OF ATTIC VASE WITH FIGURE OF ANTE- LOPE(!) AND SWASTIKA. Britisli Museum. Bohlau, Jahrbuch, 18S5, p. 50, and Goodyear, " Grammar oi! the Lotus," pi. 37, tig. 9.* THE SWASTIKA. 841 xequiremeut or foundation principle the Swastika fails. A row or band of Swastikas can not be made by continuous lines; each one is and must be separated from its fellows. The Swastika has four arms, each made by a single line which comes to an end in each quarter. This is more imperative with the meander Swastika than with the normal. If the lines be doubled on each other to be car- ried along to form another Swastika adjoining, in the at- tempt to make a band, it will be found impossible. The four Hues from each of the four arms can be projected, but each will be in a different direction, and no band can be made. It is somewhat' difficult to describe this, and possibly not of great need. An attempt to carry ont the project of Fig. 147. CYPRIAN VASE WITH SWASTIKAS. ' Cyprus, its Ancient Cities, Tombs, anil Temples," appendix by Murray, p. 404, fig. 15. Fig. 148. TERRA COTTA FIGURINE WITH SWASTIKAS IN maklug a band of Swastikas, to PANELS ., , , be connected with each other, <.esnc]a, ' Cyprus, its Ancient Cities, Tombs, and Temples," or to makc them travcl in any p. son, and Ohnefalsch-Rich- . T j.- ler, Bull. goo. d'Antiirop., giveu directiou With continuous Paris, ,888, p. 681. -^j^gg^ ^^jjj ^^ f^^^^^^^ impOSSiblC. Professor Goodyear attempts to show how this is done by his figure on page 96, in connection with pi. 10, flg. 9, also figs. 173 and 174 (pp. 353 - and 354). These fig- Fig. 150. BRONZE FIBULA WITH SWASTIKA AND REPRESENTATIONS OF A GOOSE AND A FISH. Bceotia, Greece. De Mortillet, " Musee Prtihistorique," fig. 1205. ures are given in this paper and are, respec- tively, Nos. 21, 25, 20, and 27. Excefition is taken to tlio pretended line of evolution in these figures : (1) There is nothing to show any actual relationship between them. There is no evidence that they agreed either in locality or time, or that there was any unity of thought or design in TERRA COTTA V.\SE WITH SWAS- TIKA AND FIGURE OF HORSE.' ■ Goodyear, "Gramriinr of tho Lotus," pi. 61, fig. 1. 842 EEPORT OF NATIONAL MUSEUM, 1894. the minds of tlieir respective artists. (2) Single specimens are uo evidence of custom. This is a principle of the common law which has Fig. 151. DETAIL OK GREEK VASE WITH SWASTIKAS AND FIGURES OF BIRDS. Waring. " Ceramic Art in Remote Ages," pi. 3.3, fig. 24, anil Goodyear, " Grammar of the Lotus," pi. 46, tig. .=>. still a good foundation, and was as applicable in those days as it is now. The transition from the spiral to the Greek fret and from the Fig. 162. DETAIL OF CYPEIAM VASE. Sunhawk, lotus, solar disk, and Swastikas. Bblilau, Jalirbuch, 1886, p], 8 ; Reinach Revue Archteologique, 1885, 11, p. 360 ; Porrct and Chipiez, "History of Art in Phenicia and Cyprns," II J Goodyear, " Grammar of the Lotus," pi. 46, fig. 3. Greek fret to the Swastika can be shown only by the existence of the custom or habit of the artist to make them both in the same or adjoiu- Kg. 153. DETAIL OF GREEK GEOMETRIC VASE WITH SWASTIKAS AND FIGURES OK HORSES. Thera. Ley den Museum. tioodyear, " Grammar of the Lotns," pi. Gl, fig. 4. ing epochs of time, and this is not proved by showing a single speci- men. (3) If a greater number of specimens were produced, the chain of THE SWASTIKA. 843 evideDce would still be incomplete, for the meauder of the Greek' fret will, as has just been said, be found impossible of transition into the mea.n- der Swastika. It (the Swastika) does not extend itself into a band, but if spread at all, it spreads in each of the four directions (figs. 21 and 25). The transition will be found much easier from the Greek meander fret to the normal Swastika and from that to the • meander Swastika than to proceed in the oppo- site direction. Anyone who doubts this has Kg. 154. BRONZE FIBULA WITH LARGE SWASTIKA ON SHIELD. Greece. Mua^e St. Germain. De Mortillet, " MusfiePr^historique," fij^. 1^(14. J^ natural size. Fig. 155. GREEK VASE, OINOCHOlj, WITH TWO PAINTED SWASTIKAS. De Mortillet, " Mus^e Prehiatorique," fip. 1244. ^ natural size. but to try to make the Swastika in a continuous or extended baud or line (flg. 26), similar to the Greek fret. Figs. 133 and 134, from N'aukratis, afford palpable evidence of the different origin of the Swastika and the Greek fret. Evidently Gre- cian vases, though found in Egypt, these specimens bear side by side examples of the fret and the Swastika used contemporaneously, and ^ ^ ^ ftL Fig. 166. CYPRIAN VASE WITH SWASTIKAS AND FIGURE OF ANIiaAL.' Ceanola, " f'yprus, ila Ancient Cities, Tombs, and Temples," pi. 46, tig. 36. Pig. 157. ARCHAIC GREEK POTTERY FRAGMENT. Santorin, Ancient Thera. Waring, " Ceramic Art in Remote Ages, " pi. 42, fig. 2. both of thera complete and perfect. If one had been parent of the other, they would have belonged to different generations and would not have appeared simultaneously on the same specimen. Another illustration of simultaneous use is in fig. 194, which represents an Etruscan vase^ ornamented with bronze nail heads in the form of ' See p. 795. ^ Jlateriaiix pour I'Histoire Primitive et Naturelle de I'Homme, xviii, p. 14. 844 REPORT OF NATIONAL MUSEUM, 1894. Swastikas, but associated with it is the design of the Greek fret, show- ing them to be of contemporaneous use, and therefore not, as Professor Fig. 158. CVPRIAN VASE WITH LOTUS AND SWASTIKAS AND FIGURE OP BIRD. Metropolitan Museum of Art, New York City. Goodyear, " Grammar of the Lotus, pi. 60, fig. 15. Goodyear believes, an evolution of one from the other. The specimen is in the Museum at Este, Italy. Fig. 159. CYPRIAN VASE WITH TWO SWASTIKAS. Ceauola CoUection, Metropolitan Museum of Art, Kew York City. Goodyear, " Grammar of the J>otuB," fig. 151. The Greek fret has been in common use in all ages and all countries adopting the Grecian civilization. Equally in all ages and countries has THE SWASTIKA. 845 Fig. 160. FRAGMENT OF TERRA COTTA VASE WITH SWASTIKAS, FROM EVINS OF TEMPLE AT PALEO-PAPHOS. Depth, 40 feet. Cesnola, "Cyprus, its Ancient Cities, Tombs, and Temples," p. 210. appeared the crossed lines which have been employed by every architect and decorator, most or many of whom had no knowledge of the Swastika either as an ornament or as a symbol.' ' Swastika in panels.— Professor Goodyear, in another place,2 argues in a mann er which tacitly admits the foregoing proposition, where, in his endeavor to establish t^he trne home of the Swastika to be in the Greek geometric style, he says we should seek it where it ap- pears in "the largest dimension" and in ' ' the most prominent way." In verification of this declaration, he says that in this style the Swastika systematically ap- pears in panels ex- clusively assigned to it. But he gives ouly two illustrations of the Swastika in panels. These have been copied, and are shown in flgs. 140 and 142. The author has added other speci- mens, flgs. 141 to 148, front Dennis's "Etru- ria," from Waring's "Oerarnic Art," and from Oesnola and Ohnefalsch-Eichter. It might be too much to say that these are the only Swastikas in Greece appearing in panels, but it is certain that the great majority of them do not thus appear. There- fore, Professor Good- year's theory is not sus- tained, for no one will pretend that four speci- mens found in panels will form a rule for the great number which did not thus appear. This argument of Professor Goodyear is destructive of his other proposition that the Swastika sign originated by evolution from the meander or Greek fret, for we have seen that the latter was always used in a band 'Athenic vases painted by Andokides, about 525 B. C, represent the dress of the goddess, omameuted with Swastika and Croix swasticale. . Am. Jonrn. Archicol. January-March, 1896, xi. No. 1, iigs. 9, 11. -" Grammar of the Lotus,"pp. 348, 353. Kg. 161. WOODEN BUTTON, CLASP, OR FIBULA COVERED WITH PLATES OF GOLD. Ogee Swastika, telraskelion in center. Schliemanii, " Mycenie," fig. 385. DETAIL Fig. 162. GREEK VASE WITH FIGCEE OF GOOSE, HONEVsUC KLE (ANTHEMION), AXD SPIRAL SWASTIKA. Thera. ' Monuinenti Inedite," Lxv, p. 2, and Goodyear, " Graminar of the Lotus," pi. 46, fig. 7. 846 REPORT OF NATIONAL MUSEUM, 1894. and never in panels. Althougli the Swastika and the Greek fret have a certain similarity of appearance in that they consist of straight lines bent at right angles, and this continued many times, yet the similarity =^^S~LS-L^EVS[VS1- Fig. 163. DETAIL OF GREEK VASE. Spliinx witli spiral scrolls, and two meander Swastikas (right). Melos. Eiihlaii, Jahrbnch, 1387, Mr, and Goodyear, "Griimmarof thi) Lotus," pi. 34, fig. 8, Fig. 164. DETAIL OF GREEK VASE. Ibex, scroll, and meander Swastika (right). Melos. Hohlaii, Jahrbuch, 1S87, xii,p. 121, and Goodyear, of the Lotus," pi, 39, fig. 2. "Gramiii is more apparent than real; for an analysis of the motifs of both show them to have been essentially different in their use, and so in their foundation and origin. Pig. 165. DETAIL OF A GBEEK VASE IN THE BRITISH MUSEUM. Ham, meander Swastika (left), circles, dots, and ci^osses. S.-i]znianii, " Nticropola de Cajnire," Li, and Goodyiiar, " Grammar of the Lotus," pi. 28, fig. 1. Swastikas ivithfour arms, crossing at right angles, with ends hent to the right. — The author has called this the normal Swastika. He has been at some trouble to gather such Swastikas from Greek vases as was THE SWASTIKA. 847 possible, and has divided them according to forms and peculiarities. The first group (figs. 140, 143, 146, 147, 148, and 150) shows the normal Swastika with four arms, all bent at right angles and to the right. In the aforesaid division no distinction has been made between specimens from different parts of Greece anl the islands of the Grecian Archi- Fig. 166. CYPRIAN VASE WITH SWASTIKAS AND FIGDBES OF BIRDS. Perrotaiid Chipiez, "History of Art in Phenicla and Cyprus," II, p. 300, fig. 237; Goodyear, "Grammar oE the Lotus," pi. 4S, figs. 6, 12; Ceanola, " Cyprus, its Ancient Cities, Tombs, and Temples," Appendix by Murray, p. 412, pi. 44, fig. 34. pelago, and these, with such specimens as have been found in Smyrna, have for this purpose all been treated as Greek. Swastikas ivithfour arms crossing at right angles, ends bent to the left. — Figs. 141, 142, 144, 149, 151, 152, 153, 154, 156, and 157 represent the normal Swastika with four arms, all bending at right angles, but to the left. The vases on which they liave been found are not de- scribed as to color or forjn. It would be difficult to do so cor- rectly; besides, these descrip- tions are not important in our study of the Swastika. Fig. 155 represents a vase or pitcher (oinochoe, Greek — oivos, wine, and j/a?, to pour) with painted Swastika, ends turned to the left. It is in the Museum of St. Germain, and is figured by M. De Mortillet in "Musde Pr^- historique." Fig; 156repi"esents a. Cyprian vase from Ormidia, Goodyear, "Grammar otth. Lotus," pi. 48, fig. S. in the New York Museum. It is described by Gesnola^ and by Perrot and Chipiez.^ Fig. 157 is taken from a fragment of archaic Greek pottery found in Santorin (Ancient Thera), an island in the ' " Cyprus, its Ancient Cities, Tombs, and Temples," pi. 45, fig. 36. '" History of Art in Pheriicia and Cyprus," ii, p. 302, fig. 239. Fig. 167. CYPRIAN VASE WITH LOTOS, BOSSES, BUDS, SEPALS, AND DIFFERENT SWASTIKAS. Cesiiola Collection, Metropolitan Museum of Art, New York City. 848 REPORT OF NATIONAL MUSEUM, 1894. Greek Arcliipelago; This island was first inhabited by the Pheni- cians, afterwards by tlie Greeks, a colony of whom founded Gyrene in Africa. This specimen is cited by Rochette and figured by Waring.' jSwastilcas with four arms crossing at other than right angles, the ends ogee and to the left. — Figs. 158, 159, and 160 show Swastikas with four arms crossing at other tlian right angles, many of them ogee, but turned to the left. Fig. IGl is a representation of a Avoodeu button or clasp, much resembling the later gold brooch of Sweden, class- ified by Montelins (p. 867), covered with xilates of gold, from Sepulcher iv, MycensB (Schliemann, Mycenae, fig. 385, p. 259). The ornament iu its center is one of the ogee Swastikas with four arms (tetraskelion) curved to the ''«s'5. jeft. It shows a dot in each cross similar to the Suavastika of Max rig. 168. , CYPRIAN VASE WITH BOSSES, LOTUS BUDS, AND DIFFERENT SWASTIKAS. Cesnola Collection, Metropolitan Museum of Art, New York City. Goodyear, " Granmiar of the Lotus," ]il. 48, fig. 15. of the four angles of the MtLller and the Croix sivasficale of Zmigrodzki, which Burnouf attrib- uted to the four nails which fastened the cross Arani (the female principle), while the Pramantha (the male), produced, by rotation, the holy fire from the sacred cross. An almost exact reproduction of this Swastika will be found on r^\T Xr03^^^^^^ the shield of the Pima Indians of 'Sew Mexico (fig. 258). Dr. Schliemann reports that the Swastika in its spiral form is rep- resented innumerable times in the sculptured ceiling of the Thalamos in the treasury at Orchomenos. (See figs. 21 and 25 ) He also reports^ that Swastikas (turned both ways) maybe seen in the Eoyal Museum at Berlin incised on a balustrade relief of the hall which surrounded the temple of Athene at Pergamos. Fig. 162 repre- sents a spiral Swastika with four arms crossing at right angles, the ends all turned to the left and each one forming a spiral. Fig. 169. DETAIL OF EARLY BCEOTIAN VASE. Figure of horse, solar diagram, Artemis with geese, and Swastikas (normal and meander, right and left). Goodyear, "Grammarof the Lotus," pi. 61, fig. 12. 1 " Ceramic Art in Remote Ages,'' pi. 42, fig. 2. 2"Troja/'p. 123. THE SWASTIKA. 849 Waring 1 figures and describes a Grecian oinochoe from Camirus, Ehodes, dating, as he says, from 700 to 500 B. C, on which is a band of decoration similar to fig. 130. It is about 10 inches high, of cream color, with ornamentation of dark brown. Two ibexes follow each other with an ogee spiral Swastika between the forelegs of one. Meander pattern, with ends bent to right and left.— Figs. 103, 104, and 165 show the Swastika in meander pattern. Fig. 163 shows two Swas- tikas, the arms of both bent to the right, one six, the other nine times. The Swastika shown in fig. 164 is bent to the right eight times. That shown in fig. 165 bends to the left eight times. Swastikas of different kinds on the same object. — The next group (figs. 167 to 176) is of importance in that it represents ob- jects which, bearing the normal Swastika, also show on the same object other styles of Swas- tika, those turned to the left at right angles, those at other than right angles, and those which are spiral or meander. The presence on a single object of different forms of Swastika is considered as evidence of their chronologic identity and their consequent relation to each other, showing them to be all the same sign — that is, they were all Swastikas, Kg. 170. DETAIL OF EHODIAN. VASE. Kgurea of geese, circles and dots, and Swastikas (rightand left). Eritish Museum. Waring, " Ceramic Art in Remote Ages," pi. 27, fig. fl. Fig. 171. DETAIL OF EHODIAN VASE. , Geese, lotus circles, and two Swastikas (right and left). Goodyear, "Grammar of the I-otuB," p. 271, fig. 145. whether the arms were bent to the right or to the left, ogee or in curves, at right angles or at other than right angles, in spirals or meanders. Many examples of vases similar to'fig. 173 are shown iu the London, Paris, and New York museums, and in other collections. (See figs. 149, 159.) Fig. 174 shows an Attic painted vase (Lebes) of the Archaic period, from Athens. It is a pale yellowish ground, probably the ' "Ceramic Art in Remote Ages," frontispiece, iBg. 3, and p. 115. H. Mis. 90, pt. 2 54 850 EEPOET OF NATIONAL MUSEUM, 1894. natural color, with figures in maroon. It belongs to tlie British Museum. It bears on the front side five Swastikas, all of dijfferent styles; three turn to the right, two to the left. The main arms cross at right angles, but the ends of four are bent at right angles, while one is curved (ogee). Three have the ends bent (at right angles) four times, making a meander form, while two make only one bend. They seem not to be placed with any reference to each other, or to any other object, and are Pig. 172. GBEEK VASE OF TYPICAL EHODIAN STYLE. Ibex, lotus, geese, ancT six Swastikas (normal, meander, ami ogee, all left). Goodyuar, " Grammar of the Lotus," p. 251, pi. 88.' scattered over the field as chance or luck might determine. A speci- men of Swastika interesting to prehistoric archaeologists is that on a vase from Cyprus (Mus^e St. Germain, No. 21557), on which is repre- sented an arrowhead, stemmed, barbed, and suspended by its points between the Swastika.^ Dr. Max Ohnefalsch-Eichter i)resented a paper before the Society ' Another Ehodian vase, similar in style, with Swastikas, is shown in the "Grammar of the Lotus," pi. 37, fig. 4. -Mat(5riauK pour I'Histoire Primiti-ve et Naturelle de THomme, 1881, xvi, p. 416 THE SWASTIKA. 851 d'Anthropologie iu Paris, December G, 1888, reported in the Bulletin of that year (pp. 668-681). It was entitled "La Croix gammc^e et la Croix cautonn6e en Chypre." (The Croix gammee is the Swastika, while the Croix cantonnee is the cross with dots, the Croix sivasticale of Zmigrodzki.) In this i)aper the author describes his finding the Swastika dur- ing his excavations into pre- historic Cyprus. On the first page of his paper the follow- ing statement appears : The Swastika comes from India as an ornament in form of a cone {conigue) of metal, gold, silver, or bronze gilt, worn on the ears (see G. Perrot : " Histoire de I'Art," iii, p. 562 et fig. 384), and nose-rings (see S. Eeinach : " Chronique d'Orient," 3" s^rie, t. iv, 1886). I was the first to make known the nose-ring worn by the god- dess Aphrodite-Astarte, even at Cyprus. In the Indies the women still wear these ornaments iu their nostrils and ears. The fellahiu of Egypt also wear similar jewelry ; but as Egyptian art gives us no example of the usage of these ornamentsin Fig. Ylo. DETAIL OF GREEK VASE- Deer, solar diagrams, and three Swastikas (single, double, and meander, right). Melos. Conze, " MeliOBclie ThongeKsse," and Goodyear, " Grammar of the LotuB," pi. CO, fig. 8. Fig. 174. ARCHAIC GREEK VASE WITH FIVE SWASTIKAS OF FOUR UIFFKKENT FORMS. Athens. Birch " History of Ancient Pottery," quoted by Waring in " Ceramic Art in Remote Ages," iil. 41, fig. 15 ; Dennis, " The Cities and Cemeteries of Etruria," i, p. 91. antiquitv it is only from the Indies that the Phenicians could have borrowed them. The nose-ring is unknown in the antiquity of all countries which surrounded the island of Cyprus. The first i)ages of his memoir are employed iu demonstrating that 852 REPORT OF NATIONAL MUSEUM, 1?94. Pig. 175. DETAIL OF AnCHAIO BCEOTIAN VASE. Serpents, crosses, and Swastilias (normal, right, left, and mean- der). Goodyear, " Grammar of the Lotus,'' pi. 60, fig. 9. tho specimens of the Swastika found in Cyprus, the most of which are set forth in this paper (figs. 177-182), show a Pheuician influence; and according to his theory demonstrate their mi- gration or importation. He does not specify the evidence on which he bases Ids assertioa of Phenician influence in Cyprus, except ia one or two par- ticulars. SiJeali- ing of the spec- imen shown in fig. 177 of the n'Wfi "^ H"" present paper, It represents tlie sacred palm under whieli Apollo, the god of liglit, was born. * * * At Cyprus the palm did not appear only -with the Phe- nicians ; it was not known prior to that time (p. 674). The design shown in fig. 178 he de- scribes as representing two birds in the attitude of adoration before a Swastika, j-jg ^g all being figured on a G-reek cup of the attic vase foe perfume, with okoixswas- „J- ■!„ T")ir)vlon ' TIOALE AND TWO FOHMS OF swastikas. J" i J "i'- Ohnefalacll-Richter, Bull. Soc. d'Authrop., Paris, 18S8, Dr. Ohnefalsch-Eichter adds : p- ora, fig. 4. On the vases of Dipylon the Swastikas are generally transformed into other orna- ments, mostly meanders. But this is not the rule in Cyprus. The Swastika disappeared from there as it came, in its sacred form, with the Pheuician influence, with the Phenician inscriptions on the vases, with the concentric circles without central points or tangents. He says^ that the Swastika as well as the "Croix cantonnee" (with iioiuts or dots), while possibly not always tlie equivalent of the solar disk, zigzag lightning, or the double hatchet, yet ■^'*'-^"' are employed together and are given detail of cypeian vase. ..„. ,„ 1 Swastikas with palm tree, sacred to Apollo, the samc Signification, and frequently citinm, Cyprus. replace cach othcr. It is his opinion' Obnefalsch-Rlchter, Bull, Soc. d'Authrop., Paris, 1888. p. iijjin i*-i*/-* -ii i c,3_fig.3. thattheSwastikaiu Cyprus had nearly 'G. Hirschfield, "Vasi archaici Ateniesi," Annali dell' Instituto di corrispondenza archaiologica, 1872, Tav. d'Ag. K. 6, 52. 2 Bull. Soc. d'Anthrop., Paris, 18R8, pp. 674-675. = Ihid.,p. 675. THE SWASTIKA. 853 Pig. 178. CYPEIAN VASE WITH FIOUEES OF BIRDS AND SWASTIKA IN PANEL. Mus6o St. Germain. Ohnufalach-rjchtcr, Bull. Soc. d'Anthrop., Triris, 1888, p. 074, fig. G. always a signification more or less religious, although it may have been used as an ornament to fill empty spaces. His interpretation of the Swastika in Cyprus is that it will signify tour a tour the storm, the light- ning, the sun, the light, the seasons — sometimes one, sometimes anotlier of these significations — and that its form lends itself easily (facilement) to the solar disk, to the fire wheel, and to the sun chariot. In support of this, he cites a figure (fig. 179) taken from Oesnola,' in which the "wheels of the chariot are decorated with four Swas- tikas displayed in each of the four quarters. The chief ijersonage on the car he identifies as the god of Apollo-Eesef, and the decoration on his shield represents the solar disk. He is at once the god of war and also the god of light, which identifies him with Helios. The other personage is Herakles- Mecquars, the right hand of Apollo, both of them heroes of the sun. The su- preme god- dess of the Isle of Cyprus was Aphrodite-Astarte,^ whose presence with a prepon- derating rhenician in- fluence can be traced back to the period of the age of iron, her images bearing bigns of the Swastika, being, accord- ing to Dr. Ohnefalsch- Ilichter, found in Cyprus. In fig. ISO the statue of tliis goddess is shown, which lie says was foumd by himself in L8S4 at Curium. It bears four Swastikas, two on the shoulders and two on the forearms. Fig. 181 represents a centaur found by him at the same time, on the right arm of which is a Swastika painted in black, as in the foregoing statue. Fig. 179. CHARIOT OF APOLLO-RESEF. Sun 8ymboI(?) on sliield and four Swastikas (two riglit and two left) on quadrants of chariot wheels. Ceanola, " Salaminia," p. 240, fig. 226, and Ohnefalach-Ilichtcr, Bull. Soc. d'Anthrop., Paris, 1888, p. 675, fiij. 7. rig. 180. TERRACOTTA STATUE OF THE GODDESS APHEODITE-ASTARTE WITH FOUR SWASTIKAS. ' Curium, Cyprus. Ohnefalsch-Richtcr, Bull. Soc. d'Antliro|i., Paris, 1888, p. C76, fig. 8. rig. isi. CVPRIAN CENTAim WITH ONE SWASTIIiA. Cesuola, "Salaminia," p. 24", fig. 230; Ohnefalsch-Richter, Bull. To. throp., Paris, 1888, p. 076, fig. d'An- ' "Salaminia," p. 240, fig. 226. ^ Aplirodite=Pheniciaii Ashtoretli, Ast;irte= Babylonian Ishtar. » See p. 773. 854 REPORT OF NATIONAL MUSEUM, 1894. We have found, in the course of this paper, many statues of human figures bearing the mark of the Swastika on some portion of their gar- ments. M. Ohnefalsch-Eichter, on page 677, gives the following expla- nation thereof: It appears to me that the priests and priestesses, also the boys who performed the services in the sacred places, were in the habit of burning or tattooing Swastikas upon their arms. * * * In 1885, among the votive offerings found in one of the sacred places dedicated to Aphrodite- Astoret, near Idalium, was a stone statuette, representing the young Adonis Kinyras in a squatting posture, with the Swastika tattooed or painted iu red color upon his naked arm. And, says Eichter, when, later on, the custom of tattooing had disappeared, they placed the Swastika on the sacerdotal garments. He has found in a Greek tomb iu 1885, near Polistis Chrysokon, two statuettes representing female dancers in the service of Aphrodite- Ariadne, one of which (fig. 182) bore six or more Swastikas. In other cases, says he (p. 678), the Croix cantonnee (the Croix sicasticale of Zmigrodzki) replaced the Swastika on the gar- ments, and he cites the statue of Hercules strangling the lion in the i)resence of Athena, whose robe is ornamented with the Croix cantonnee. He repeats that the two signs of the cross represent the idea of light, sun, sacrifice, rain, storm, and the seasons. EUROPE. Mg. 182. GHEEK STATUE OF APH- KODITE-ABIADNE. Six Swastikaa {four right and two left) . Polisti3 Chrj'aokoD. Ohnefalsch-Richter, Bull. Soc. d'Anthrop., Paris, 1888, p. 677, fig. 10. BRONZE AGE. Prehistoric archaeologists claim tliat bronze was introduced into Europe in prehistoric times from tbe extreme Orient. The tin mines of the peninsula of Burma and Siam, with their extension into China oa the north, Malacca and the islands of the archipelago on the south, are known to have been worked iu extremely ancient times and are believed to have furnished the tin for the first making of bronze. The latter may not be suscejjtible of proof, but everything is consistent therewith. After it became known that copper and tin would make bronze, the discovery of tin would be greatly extended, and in the course of time the tin mines of Spain, Britain, and Germany might be opened. A hundred and more prehistoric bronze foundries have been discovered in western Europe and tens of thousands of prehistoric bronze implements. If bronze came originally from the extreme Orient, and the Swastika belonged there also', and as objects of bronze belonging to prehistoric times and showing connection with the Orient, like the tintinnabulum (fig. 29) have been found in the Swiss lake dwellings of prehistoric times, it is a fair inference that the Swastika THE SWASTIKA. 855 mark found on the same objects came also from the Orient. This inference is strengthened by the manufacture and continuous use of the Swastika on both bronze and pottery, until it practically covered, and is to be found over, all Europe wherever the culture of bronze pre- vailed. Kearly all varieties of the Swastika came into use during the Bronze Age. The objects on which it was placed may have been different in different localities, and so also another variety of form may have prevailed in a given locality; but, subject to these exceptions, the Swastika came into general use throughout the countries wherein the Bronze Age prevailed. As we have seen, on the hill of Hissarlik the Swastika is found principally on the spindle- whorl; in Greece and Cyprus, on the pottery vases; in Germany, on the ceintures of bronze; in Scandinavia, on weapons and on toilet and dress ornaments. In Scotland and Ireland it was mostly on sculptured stones, which are many times themselves ancient Celtic crosses. In England, France, and Etruria, the Swastika appears on small bronze ornaments, princi- pally fibulae. Different forms of the Swastika, i. e., those to the right, left, square, ogee, curved, spiral and meander, triskelion and tetraske- lion, have been found on the same object, thereby showing their inter- relationship. Ko distinction is apparent between the arms bent to the right or to the left. This difference, noted by Prof. Max Miiller, seems to fail altogether. Greg says : ^ About 500 to 600 B. C, the fylfot, (Swastika) curio.usly enougli begins to dis- appear as a favorite device of early Greek art, and is rarely, if ever, seen on the regular Etruscan vase. This indicates that the period of the use of the Swastika during the Bronze Age in Europe lay back of the period of its disappearance in the time of early Greek art, and that it was of higher antiquity than would otherwise be suspected. Dr. Max Ohnefalsch-Eichter says:^ The Swastika makes absolute default in Cyprus during all the age of bronze and in all its separate divisions according as the vases were decorated with intaglio or relief, or were painted. Mruria and Italy. — The Etruscans were a prehistoric people. The country was occupied during the two ages of stone, Paleolithic and Neolithic, and during the Bronze Age. The Etruscans were probably the descendants of the Bronze Age people. The longest continued geographical discussion the world has heard was as to who were the Etruscans, and iclieiice or % what route did they come to their country? It was opened by Herodotus and Dionysius Halicarnassus in the fourth century B. C. ; while Dr. Brinton and the late President "Welling have made the latest contributions thereto. The culture of the Etruscans ' Archaeologia, XLViii, pt. 2, p. 305. 2 Bull. Soc. d'Anthrop., Paris, 1888, p. 679. 856 EEPORT OF NATIONAL MUSEUM, 1894. was somewliat similar to that of the Bronze Age peoples, and ma;iy of the implements had great resemblance, but with sufficient divergence to mark the diiierence between them. Tliere were difi'erent stages of culture among the Etruscans, as can be easily and certainly determined from their tombs, modes, of burial, pottery, etc. The Swastika appears to have been employed in all these epochs or stages. It was undoubtedly used during the Bronze Age, and in Italy it continued throughout the Etruscan and into the Roman and Christian periods. While it may be doubtful if any specimen of Swastika can be identi- fied as having belonged to the I^Teolithic Age in Europe, there can be no doubt that it was iu common use during the Bronze Age. Professor Goodyear gives it as his opinion, and in this he may be correct, that the earliest specimens of Swastika of which identification can be made are on the hut urns of central Italy. Tliese have been considered as belonging definitely to the Bronze Age in that country. Fig. 183 is a representation of one of these hut urns. It shows upon its roof several specimens of Swastika, as will be apparent from examina- tion. There are other figures, incised and in relief. One of them is the celebrated ''burn- ing altar'' mark of Dr. Schlie- mann. This specimen was found iu the Via Appla near Eome, and is exhibited ia the Vatican Museum. Similar specimens have been found in other parts of Etruria. The author saw iu the Municipal Museum at Corneto many of them, which had been exca- vated from the neighboring cemetery of the prehistoric city of Gorneto-Tarquiuii. They were of pottery, but made as if to represent rude huts of skin, stretched ou cross jioles, in general appear- ance not unlike the cane and rush conical cabins used to this day by the peasants around Eome. They belonged to the Bronze Age, and ante- dated the Etruscan civilization. This was demonstrated by the finds at Corneto-Tarquinii. Tombs to the number of about 300, containing them, were found, mostly in 1880-81, at a lower level tlian, and were superseded by, the Etruscan tombs. They contained the weapons, tools, and ornaments peculiar to the Bronze Age — swords, hatchets, pins, fibula', bronze and pottery vases, etc., the characteristics of which Fig. 183. HUT UBN IN THE VATICAN MUSEUM. 'Burning altar" nmrli associated with Swastiliaa. Etruria (Bronze Age). THE SWASTIKA. 857 were different from Etruscan objects of similar purpose, so they could be satisfactorily identified and segregated. The hut urns were recep- tacles for the ashes of the cremated deail, which, undisturbed, are to be seen in the museum. The vases forming part of this grave furni- ture bore the Swastika ,mark ; three have two Swastikas, one three, one four, and another no less than eight. Dennis figures a hnt urn from Alba Longa,i and another from the Alban Mount.^ He says (note 1): These remarkable urns were first found in 1817 at Montecuoco, near Marino, and at Monte Crescenzio, near the Lago de Castello, beneath a stratum o£ peperino (tufa) 18 inches thick. They were embedded in a yellowish volcanic ash and rested on a lower and earlier stratum of peperino.' Curiously enough, the three or four pronged mark, called "burning altar" by Dr. Schliemaun, is on both hut urns in Dennis's "Cities and Cemeteries of Etruria." Dr. Schliemann argues strongly in favor of the relationship bet\reen Swastika and the " burning altar '-' sign, but assigns no other reason than tlie similarity of the marks on the two objects. He appears unable, in " Hios," to cite any instance of the Swastika being found on the hut urns in connection with the " burning altar" sign, but he mentions the Swastika five times repeated on one of the hut urns in the Etruscan collection in the museum of the Vati- can at Eome.^ The photograph of the hut urn from the Vatican (fig. 183) supplies the missing link in Schliemann's evidence. The roof of the hat urn bears the " burning altar" mark (if it be a burning altar, as claimed), which is in high relief (as it is in the Dennis specimens), and was wrought iu the clay by the molder when the hut was made. Such of the other portions of the roof as are in sight show sundry incised lines which, being deciphered, are found to be Swastikas or parts of them. The i^arallelogram in the front contains a cross andhas the appearance of a labyrinth, but it is not. The other signs or marks, howevei', represent Swastikas, either in whole or in part. This speci- men completes the proof cited by Schliemann, and associates the Swastika with the "burning altar" sign in tlie Etruscan country, as well as on the hill of Hissarlik and in other localities. Dennis supposes the earliest Etruscan vases, called by many different names, to date from the twelfth century B. 0. to 540 B. C.,^ the latter being the epoch of Theodoros of Samos, whose improvements marked an epoch in the culture of the country. He says: These vases were adorned with annular bands, zigzag, waves, meanders, con- centric circles, hatched lines, Swastikas, and other geometric patterns. '"Cities and Cemeteries of Etruria," i, p. 69. nbid., II, p. 457. ^Annali dell' Institute, Rome, 1871, pp. 239-279; Bulletino Institute, Rome, 1871, pp. 34-52; Pigorini and Sir John Lubbock, "Notes on Hut Urns and other (jbjects from Marino," London, 1869; Virchow, "Die Huttenurnen von Marino," Berlin, 1883. ■'"Troja,"p. 122. s" Cities and Cemeteries of Etruria," i, p. Ixxxix. 858 REPORT OF NATIONAL MUSEUM, 1894. Fig. 184. FRAGMENT OF ARCHAIC GREEK POTTERY WITH THREE SWASTIICAS. Ciimas Italy. Waring, " Ceramic Art in Remote Ages," j»I. 4'J, tig. 1. A fragment of Archaic Greek pottery is reported by Kochette from the necropolis of Camre, in the campagna of Italy, and is shown in fig. 184. Eochette reports it as an exam- X)le of a very early period, believed by him to have been Phenician. When we consider the rarity of Phenician pottery in Italy compared with the great amount ot Greek pottery found there, and that the Phenicians are not known to have employed the Swas- tika, this, combined with the difficulty of determining the place of origin of such a fragment, renders it more likely to have been Greek than Phenician. A reason apparently moving Eochette to this decision was the zigzag orna- mentation, which he translated to be a Phenician sign for water; but this, pattern was used many times and in many places without having any such meaning, and is no proof of his proposition. Figs. 185 and 186 represent the oue- handled cinerary urns peculiar to the Bronze Age in Italy. They are be- lieved to have been contemporaneous with or immediately succeeding the hut urns just shown. The cinerary urn shown in flg. 185 was found at Marino, near Albano, in the same lo- cality and un- der the same condition as Fig 185 CINERARY URN WITH SWASTIKAS IN PANEI.S. Sau Marino, near Albano, Italy. CINERARY URN WI7H SWASTIKAS INCLOSED BY INCISED LINES IX INTAGLIO. the hut urns. Vatican Museum. The original is in the Vatican Museum and was figured by Pigorini in "Archaeologia," 18G0. Fig. 186 shows a one-handled urn of pottery with Swastika (left) in intaglio, placed In a band of incised squares around the body of tlie vessel below the shoulder. A 'small though good example of Etruscan work is shown in the gold fibula (flg. 187). It is ornamented on the outside with the fine gold filigree work peculiar Cervetri, Italy. "ConetJlJiliiie due DischI in Eroni flg. 2. a natural nize. ■■,.!.:;, THE SWASTIKA. 85^ GOLD FIBULA WITH SWASTIKAS (LEFT) Etruscan Museum, Vatican. Catalogue of the Etruscan Museum, part l,pl.36, fig. ^ natural size. Fig. 18 ETRUSCAN GOLD BULLA WITH SWASTIKA ON BOTTOM. Waring, "Ceramic Art in Re- mote Ages," pi. 49, fi;^, J a. to the best Etruscan art. On the inside are two Swastikas. It is in the Vatican Museum of Etruscan antiquities. Eig. 188 represents another specimen of Etruscan gold filigree work with a circle and Swastika. It is a "bulla," an ornament said to indicate the rank of the wearer among the Etruscan people. It is deco- rated witli a circle and Swastika inside. Theflgureis taken from '^■ ^'—rS^ <"^ "L'ArtpourTous," Fig. 187. and is reproduced by Waring. An ornamental Swastika (flg. 189) is found on a silver bowl from Oervetri (Csere), Etruria. It is furnished by Grifi, and reproduced by Waring. This specimen is to be remarked as having a small outward flourish from the extreme end of each arm, somewhat similar to that made by the Jains (fig. 33), or on the "Tablet of honor" of Chinese porcelain (fig. 31). Fig. 190 shows an Etruscan bronze fibula - with two Swastikas and two Maltese crosses in the pm shield. It is in the Museum of Copen- hagen, and is taken from the report of the Congr^s Internationale d'Anthropo- logie et d'Archfeologie Pre- historique, Copenhagen, 1875, page 486. This speci- men, by its rays or crotch- ets around the junction of the pin with the shield, fur- nishes the basis of the argument by Goblet d' Al- viella ^ that the Swastika was evolved from the circle and was a symbol of the sun or sun-god. (See p. 785.) Bologna was the site of th e Eoman city Bononia, and is supposed to have been that of Etruscan Felsina, Its Etruscan cemetery is extensive. Different names have been given to the excava- Fig. 189. ORNAMENTAL SWASTIKA ON ETKUSCAN SII.VEE BOWL. Cervetri (Cflere), Etruria. Waring, "Ceramic Art in Remote Ages," pi. 41, fig. 13. tions, sometimes from the owner of the land and Fig. 190. BRONZE FIBULA WITH TWO SWASTIKAS AND SUPPOPEU RAYS OF SUN. 2 Etruria. Copenhagen Museum. Goblet d'Aiviella, fig. 19 «, De .Mortillet, "Muaee Pr^historique," fig. 1211.3. hi natural size. . atother times from the names of excavators. The first cemetery opened was called Villanov;i . The culture was different from that of the other jiarts of Etruria. By some it is believed to be older, by others younger, than the rest of Etruria. The Swastika is found throughout the entire ' "La Migration des Symboles," p. 67. 2 See p. 786. 860 REPORT OF NATIONAL MUSEUM, 1894. Villanova epocli. Fig. 191 shows a ])ottery vase from the excavation Arnoaldi. It is peculiar in shape and decoration, but is typical of that epoch. The decoration was by stamps in the clay (intaglio) of a given subject rejDeated in the narrow bands around the body of the vase. Two of these bands were of small Swastikas with the ends all turned to the right. Fig. 193 shows a fragment of pottery from the Felsina necropolis, Bologna, orna- mented with a row of Swastikas stamped into the clay in a manner peculiar to the locality. Fig. 193 shows the end view of one of the bobbins from Bologna, Italy, in the posses- sion of Count (Tozzadini by whom it was collected. The decoration on the end, as shown by the figure, is the Swastika. The main arms are made up of three parallel lines, which intersect each other at right angles, and which all turn to the right at right angles. The lines are not incised, as is usual, but, like much of the decoration belong- ing to this culture, are made by little points consecutively placed, so as to give the appearance of a continuous line. Swastikas turning both ways are on one or both extremities of many terracotta cyl- inders found in the terramare at Coazze, province of Verona, de- posited in the National (Kircheriano) Museum at Eome. (See flgs. 380 and 381 for similar bobbins.) The museum at Este, Italy, contains an elegant pottery vase of large dimensions, represented in fig. 194, the decoration of which is the Greek fret around the neck and the Swastika around the body, done with small nail heads or similar disks inserted in the clay in the forms indicated. This association of the Swastika and the Greek fret on the same object is satisfactory evidence of their contemporaneous existence, aud is thus far evidence that the one was not derived from the other, espe- cially as the authorities who claim this derivation are at variance as to which was parent and which, child. (See fig. 133.) A Swastika of the curious half-spiral form turned to the left, such Fig. 191. POTTERY URN ORNAMENTED WITH SUC- CESSIVE BANDS IN INTAGLIO, TWO OF WHICH ARE COMPOSED OF SWAS- TIKAS. Necropolis Arnoaldi, Bolo^a. Museum of Bologna, 430zzHdini, " Scavl ArcLieoIogicI," ett;., pi. 4, fig. 8. Fig. 192. FRAGMENT OP POTTERY WITH ROW OF SWASTIKAS IN INTAGLIO. Necropole Felsmea, Italy. Museo Bologna. Gozzadiui, " Due Sepolcrl," elf., p. 7. ^ natural size. riS. 193. SWASTIKA SIGN ON CLAY BOBBIN. Type Villanova, Bologna. De MorLiUet, " Musee Pr^hiato- ■ ritjue," l!g. 1239. THE SWASTIKA. 861 Fig. 194. POTTERY VASE ORNAMENTED WITH BRONZE KAIL HEADS IN FORM OP SWASTIKA. Este, Italy. Materiaux pour I'Hiatoire Primiiiveet Na- turelle de I'Homine, 1884, p. l-I. as has been found in Scandinavia and also among the Pueblo Indians of the United States, is in the museum at Este. When in the early centuries of the Christian era the Huns made their irruption into. Europe, they apparently possessed a knowledge of the Swastika. They settled in certain towns of northern Italy, drove off" the inhabitants, and occupied the territory for themselves. On the death of Attila and the repulse of the Huns and their general return to their native country, many small tribes remained and gradually became assim^ ilated with the population. They have re- mained in northern Italy under the title of Longobards. In this Longobardian civiliza- tion or barbarism, whichever we may call it, and in their style of architecture and orna- ment, the Swastika found a prominent place, and is spoken of as Longobardian. Itis needless to multiply citations of the Swas- tika in Roman and Christian limes. It would would appear as though the sign had descended from the Etruscans and Samnites along the coastandhadcontinuedinuseduringRomantim.es. Schliemann says ' that it is found frequently in the wall paintings at Pompeii; even more than a hun- dred times in a house in the recently excavated street of Vesuvius. It may have contested with the Latin cross for the honor of being the Christian cross, for we know that the St. Andrew's cross in connection with the Greek letter P (fig. 6) did so, and for a Img time stood as the monogram of Christ and was the Labarum of Constantine. All three of these ariB on the base of the Archi- episcopal chair in the cathedral at Milan .^ Swiss lake dwellings. — Figs. 195 and 196 are interesting as giving an insight into the method of making the sign of the Swastika. Fig. 195 shows a fragment of pottery bearing a stamped intaglio Swastika (right), while fig. 196 repre- sents the stamp, also in pottery, with which the imprint was made. They are figured by Keller,' and are described on page 339, and by Chantre.'' They were found in the Swiss lake dwelling of Bourget (Savoy) by the Due de Chaulnes, and are credited to his Museum of Chamb^ry. Fig. 195. FRAGMENT OF POTTERY WITH SWASTIKA STAMPED IN RE- LIEF. Fig. 196. STAMP FOR MAKINU SWASTIKA SIGX ON PO,TTERY. Swiss lake dwelling of Bonrget, Savoy. Mu86e de Chambfiry. Chantre, *' Age du Bronze," figs. 53, 55, and Keller, " Lake Dwellings of Eu- rope," pi. 161, fig. 3. "'llios,"p. 352. 'There are bronze hatchets from Italy, with Swastikas in intaglio and in relief, iu Mus^e St. Germain. De Mortillet, "Mus^e Prdhistorique," figs. 1153, 1154. 3 " Lake Dwellings," pi. 161, figs. 3, 4. ■"'Age (111 Bronze," pt. 2, tigs. 53-55, p. 195. 862 REPORT OF NATIONAL MUSEUM, 1894. Fig. 197. FRAGMENT OF CEINTUBB FROM A TUMULTTS IN ALSACE. Thin bronze repouss6 -with Swastikas of various kinds. Bronze Age, Halstattien epoch. De Mortillet, " Mus^e Prehistorique," fig. ]255. Germany and Austria. — Pig. 197 represents a fragment of a cein- ture of thin bronze of the Halstattien epoch of the Bronze Age from a tumulus in Alsace. It is made after the style common to tliat period; the work is repouss^ and the design is laid off by diagonal lines which divide the Held into loz- enges, wherein the Swas- tika is represented in va- rious forms, some turned square to the right, others to the left, while one is in spiral and is turned to the left. Other forms of the cross also appear with dots in or about the corners, which Burnouf associates with the myth of Agni and lire making, and which Zmigrodzki calls the Croix swas- ticale. This specimen is in the collec- tion N"essel at Haguenau. Another ceinture was found at the same place and is displayed with it. It bears representations of the cross of different forms, one of which might be a Swastika with do tted cross lines, with the arms turned spirally to the left. Fig. 198 represents another fragment of a bronze ceinture from the same country and belonging to the same epoch. It is from the tumulus of Metzstetten, Wvirtemberg, and is in the Museum of Stuttgart. It is not re- pousse, but is cut in open- work of intricate pattern in which the Swastika is the principal motif. A bronze iibula (fig. 199j is in the museum at Mayence, the body of which has the form of the normal Swastika. The arms are turned to the right and the lower one is broken off. The hinge for the pin was attached at one side or arm of the Swastika and the retaining clasp for the point at the other. Fig. 200 represents a prehistoric seiiulchral urn with a large Swastika, the arms being indicated by three parallel lines, after the same manner as the Swastika on the clay bobbin from ,^ Fig. 198. FRAGMENT OF A CEINTURE FROM THE TUMU- Li:P OP METZSTETTEN, WURTEMBEBG. Tliiu bronze open work "with intricate Swas- tikas. Halstattien epoch. I>e Mortillet, " Miiste Prehistorique," tig. 1257, and Chantre, " Le Caucase," ii, p. 50, fig. 25. Pig. 199. BRONZE FIBULA, THE BODY OF "WHICH FORMS A SWASTIKA. Museum of ilay- ence. De Mortillet, " MuBfii Prehistorique," fig. 1866. Fig. 200. SEPULCHRAL URN WITH SWASTIKA. Nortli Germany. Waring, " Ceramic Art In Remote Ages," pi. 7, fig. 94, THE SWASTIKA. 863 Bologna (fig. 193). It is reported by Lisch and Scliroter, though the locality is not given. It is iigured by Waring. The form, appearance, and decoration are of the type Yillanova, thus identifying it with northern Italy. The Swastika sign is on one of the three pottery vases found on Bishops Island, near Konigswalde, on the light bank of the Oder, and on avdsefrom Eeichersdorf, near Guben; ' on a vase in tue county of Lip to, Hungary,^ and on pottery from the Cavern of Barathegy, Hungary.3 Fig. 201 represents a spearhead of iron from Brandenburg, North Germany. It bears the mark of the Swastika with the ends turned to the left, all being at right angles, the ends ornamented with three dots recalling -Zmigrodzki's Croix swasticale (figs. 12 and 13). By the side of this Swastika is a triskelion, or three armed ogee sign, with its ends also dec- orated with the same three dots. What relation there is between all these marks or signs and others similar to them, but separated by great distances of both time and space, it woi;i]d be mere speculation to divine. M. E. Ghantre reports his investigations in certain Halstattien cemeteries in Italy and Austria.'' At San Margarethen, on the road between Eudolfswerth and Kronau, Ba- varia, he encountered a group of tumuli. Many objects of the " bel age du bronze" were found; among others, a bronze pin (flg.202)witha short stem, but large, square, flat head, was found, with a normal Swastika engraved with small dots, pointille, such as has been seen in Italy, Austria, and Armenia. Belgium, — The Museum of Namnr, Belgium, possesses a small object of bone, both points of which have Fig. 20], SPEARHEAD WITH SWASTIKA (CROIX SWASTICALE) AND TRISKELION. Brandenburg, Germany. Waring, "Ceramic Art in Remote Ages," p!. 44, fig. 21, .and " Vilting Age, , fig- Fig. 202. BRONZE PIN WITH SWASTIKA, POINTILL6, FROM MOUND IN BAVABIA. Chantre, Materiaux pour I'Histoire Primitive et Nat- iirelje de I'Homme, 1884, pp. 14, 120. ' Zeitschrift fiir Ethnographie, Berlin, 1871 and 1876. 2 Coll. Majlnth Bela: Hampel, "Antiquities Prdhlstoriques >-c ^ JFig. 214. SCANDINAVIAN SWOED SCABBARD WITH NORMAL SWASTIKA. f Vimose bog find. in Scotland, the Newton stone, in tke grounds of tke Newton House, bears an Ogam inscription, the meaning of wkich kas no bearing upou 868 REPORT OP NATIONAL MUSEUM, 1894. rig. 215. SCULPTURED STONE. Greek cross in circle, normal Swastika in square, and ogee Swastika in quatrefoil. Ireland. the subject. But ou the upper part of one of its faces appears au inscription, boldly and deeply incised, df forty- four characters arranged horizontally in six lines. These are of so remarkable a type as to have puzzled every philologist and paleographer who has attempted their decipher- ment. The late Alexander Thomson, esq., of Bancbory, Scotland, circulated a pho- tograph and description of this monument among antiquarians with a re- quest for their decipher- ment of it. Various readings have been given by the learned gentle- men, who have reported it to be Hebrew, Phenician, Greek, Latin, Aryan, Irish, and Anglo Saxon respectively. Brash' gives his opinion that the inscription is in debased Roman letters of a type frequently- found in ancient inscriptions, its, peculiarities being much influenced by the hardness of tbe stone at the time of cutting and of the sub- sequent weather wear of ages. The interest of this monument to us is that the third character in the fourth line is a Swastika. It is indifferently made, the lines do not cross at right an- gles, two of the ends are curved, and the two others bent at a wider than .right angle. There are four characters in the line closely following each other. (See p. 797.) The Logic stone, in Aberdeenshire, Scot- land, bearing Ogam characters, contains a figure or mark reported by George M. Atkinson as a Swastika.^ On the Celtic crosses of Scotland certain marks appear which are elsewhere found asso- ciated with Swastika, and consequently have some relation therewith. The " Annam Stone" bears the mark of a Swastika (left) witMn three concentric circles, around the outside of which is a circle of dots.' Fig. 216. FRAGMENT OF THIK BRONZE EEPOU=S^. Ogee Swastika. Ireland. Muaro, " Lake Dwellingaof Europe," pi. 124, figs. 20-22. Kg. 217. FRAGMENT OF THIN BRONZE Triskelion. Ireland. Munro, " Lake Dwellings of Europe,' 384, pi. 124, figs. 20-22. rig. 218. BRONZE PIN WITH SMALL NORMAL SWASTIKA ON HEAD. Crannog of Lochlee, Tarbolton, Scotland. Munro, " Lake Dwellings o£ Europe," p. 417. ' " Ogam Inscribed Monuments," p. 359, pi. xlix. = Ibi(l., p. 358, pi. xlvlii. ^Greg, Archseologia, XLViii, pt. 2, pi. 19, fig. 27. THE SWASTIKA. 869 Ludwig Mliller reports the Swastika in Scotland and Ireland on Christian tombs, associated with Latin crosses.' A sculptured stone in Ireland (fig. 215) shows on the face three varieties of the cross, a Greek cross in a circle, a Swastika with square ends turned to the right, within a rectangle, and an ogee (tetraskelion) turned to the right, inclosed in a quatrefoil.^ An Irish bowl showed a Swastika thus A-- . Dr. E. Munro' reports from the Crannog of Lesnacroghera country, Antrim, Ireland) two pieces or disks of thin bronze, repousses (fig. 216), bearing the sign of the Swastika and having the four arms of the spirals turned to the leit. The similarity of this figure with those shown on the shields of the Pima Indians of "Sew Mexico and Ari- J^ona (figs. 257 and 258) is to be re- marked. Fig. 217 shows a triskelion of symmetric spi- Fig. 219. CARVED TEISKELION FOUND ON FRAG- MENT OF ASH WL'OD. Crannog of Lochlee, Tarbolton, Scot- land. Munro, "Lake Dwellings of Europe," p. 415. rals turned to the right. In the Crannog of Lochlee, near Tarbolton, a bronze pin was found (fig. 218), the head of which was inclosed iu a ring. On one side of the head was engraved a Greek cross, on the other was a normal Swas- tika turned to the right. The same crannog furnished a piece of ash wood five inches square, which had been jireserved, as were all the other objects, by the peat, on which was carved a triskelion (fig. 219) after the form and style of those on the Missouri mound pottery. Fig. 220. STONE ALTAB WITH SWASTIKA ON PEDESTAL. France. Museum of Toulouse. De MortiHet, " Mus^e Pr^historique," fig. 1267. GALLO ROMAN PERIOD. France. — The employment of the Swastika in France did not cease with tlis Bronze or Iron ages, but continued into the occujiation of Gaul by the Romans. Fig. 220 represents a stone altar erected iu the south of France among the Pyrenees about the time of the advent of the Eomans. It has a Swastika engraved on its pedestal. The upper arm has been carried beyond the body of the sign, whether by intention is not ' "La Migration des Symboles," p. 49. 'Zmigrodzki "Zur Geschichte der Suastika," taf. 6, fig. 248. 3 "Lake Dwellings of Europe," p. 384, pi. 124, figa. 20-22. 870 REPORT OF NATIONAL MUSEUM, 1894. apparent. Fig. 221 represents a pottery bottle with another specimen of Swastika belonging to the same (Gallo-Eoman) epoch, but coming from the extreme north of Gaul, the neighborhood of Eouen. It is to be remarked that the ends of this Swastika give the outward curve or flourish similar to that noticed by Dr. Schlie- mann on the spindle- whorl of Troy, and is yet employed in making the Jain Swastika (flg. 33). M. Alexander Bertrand^ speaks of the dis- covery at Velaux, in the department of Eouches- du-Rhone, of the headless statue of a crouching or squatting guard which has a row of Swas- tikas across his breast, while beneath is a range of crosses, Greek or Latin. The newest exam- ples of the Swastika belonging to this epoch have been found at Estinnes, Hainaut, and at Anthee, Namur, Belgium, on pieces of Eoman tile ; also on a tombstone in the Eoman or Belgo- Eoman cemetery of Juslenville near Pepinster.^ This is a Pagan tomb, as evidenced by the in- scriptions commenced ^^D.M.^^ (Diis Manibus).^ ANGLO-SAXON PERIOD. Fig 221. POTTERY BOTTLE OP DAKK GRAY WITH SWASTIKA AXD DECORA- TION IN WHITE EARBOTINE. Gallo-Eoruan Epoch. Museum of Rouen. De Mortillet, " Mus^e Prehistorique," ilg. '' Mus^e Prehistorique," 1246. Britain. — Greg reports'" a silver disk IJ inclies in diameter, with a triskelion made by punched dots, in the same style as the pin heads from Armenia (figs. 35 and 36). This was from grave 95 in an Anglo-Saxon ceme- tery at Sleafors, England, excavated by George W. Thomas and sold at Boston ; bought by A. W. Franks and given to the British Museum. Grave 143 had a large cruciform fibula of bronze, partly gilt, similar to those from Scandinavia, with a Swastika on the central ornament thus yV'. The slight curve or flourish on the outer end of the bent arm of this specimen resembles the Jain Swas- tika (flg. 33), though this bends to the left, while the Jain Swastikas bend to the right. Fig. 222 shows an Anglo-Saxon bronze gilt fibula with a peculiar form of Swastika leaving a square with dot and circle in its center. It was found in Long Wittenham, Berkshire, was reported in Archseologia," and is flgure'. M. wings on the copper and shell figures from the Etowah mound, Georgia (figs. 240, -!41, and 242)'. Behind the left-hand figure is an ornament resembling the spreading tail of an eagle which, with its feather arrange- ment and the detail of their mechanism, corresi^oud to a high degree with the eagle effigies in repouss6 copper (fig. 243) from the mound in ' Fifth Ann. Rep. Bureau of llthnology, 1883-84, pp. 96-106, figs. 42, 43, 45. 888 REPORT OF NATIONAL MUSEUM, 1894. TJuion County, 111., sbown in the Fifth Annual Eeport of the Bureau of Ethnology (p. 105) and in the Twelfth Annual Eeport (p. 309). Hopewell Mound, CJiillicothe, JRoss County, Ohio.^A later discovery of the Swastika belouging to the same period and the same general locality — that is, to the Ohio Valley — was that of Prof. Warren K. Moore- liead, in the fall and winter of 1891-92, in his excavations of the Hope- well mound, seven miles northwest of Chillicothe, Eoss County, Ohio.' The locality of this mound is well shown in Squier and Davis's work on the "Monuments of the Mississippi Valley" (pi. 10, p. 20), under the name of "Clark's Works," here reproduced as pi. 11. It is the large irregular unnumbered triple mound just within the arc of the circle shown in the center of the plan. The excava- tion contemplated the de- struction of the mound by cutting it down to the sur- rounding level and scat- tering the earth of which it was made over the sur- face; and this was done. Preparatory to this, a sur- vey and ground plan was made (pi. 12). I assisted at this survey and can vouch for the general cor- rectness. The mound was surrounded by parallel lines laid out at right an- gles and marked by stakes 50 feet apart. The mound was found to be 530 feet long and 250 feet wide. Squier and Davis reported its height at 32 feet, but the excavation of the trenches required but 18 > and 16 feet to the original surface on which the mound was built. It was too large to be cut down as a whole, and for convenience it Avas decided by Mr. Moorehead to cut it down in trenches, commencing on the north- east. l^Tothiug was found until, in opening trench 3, about five feet above the base of the mound, they struck a mass of thin worked copper objects, laid flat one atop the other, in a rectangular space, say three by four feet square. These objects are unique in American prehistoric archaeology. Some qf them bore a resemblance in form to the scallox^ed mica pieces found by Squier and Davis, and described by them in Fig. 2J2. ENGHAVED SHELL. . Triangular Ijreec.li-clout witli dots and circles. Entowab Mound, Georgia. Cat. N(.. 91443, U. S. N. M. ' These explorations were made for the Department of Ethnology at the World's Columbian Exposition, Chicago, 1893. Reportof National Museum, 1894. — Wilson. Plate 1 ' Report of National Museum, 1 894.— Wilson. Plate 12 Plan of Hopewell Mound, in which Aboriginal Copper Swastikas were Found, I:i )ss County, Ohi(->. Moorehead, " Primitive Man in Ohio, " PI. xxxiv. THE SWASTIKA. 889 / " COPPER PLATE SHOWIN(J FIGURE OF KAGLE. Eepouss6 work. Uuion County, 111. Cat. No. 91507, U. S. N. M. their "Ancient Monuments of the Mississippi Valley" (p. 240), and also those of the same material found by Professor Putnam in the Turner group of mounds iu the valley of the Little Miami. They had been apparently laid between two layers of bark, whether for preservation or mere convenience of deposit, can only be guessed. The following list of objects is given, to the end that the reader may see what was associated with these newly found copper Swastikas : Five Swastika crosses (fig. 244) ; a long mass of copper covered with wood on one side and with squares and five similar designs traceable on the re- verse; smaller mass of copper; eighteen single copper rings; a num- ber of double copper rings, one set of three and one set of two; five pan lids or hat-shaped rings; ten circular disks with holes in center, represented in fig. 245, orig- inally placed in a pile and now oxidized together; also large circular, stencil-like orna- ments, one (fig. 246) 7^ inches in diameter; another (fig. 247) somewhat in the shape of a St. Andrew's cross, the extreme length over the arms being 8f inches. About fiV^e feet below the deposit of sheet copper and 10 or 12 feet to the west, two skeletons lay together. They were covered with copper plates and fragments, copper hatchets, aod pearl beads, shown iu the list below, laid in rectangular form about seven feet in length and five feet in width, and so close as to frequently overlap. Fig. 244. SWASTIKA OKOSS Oil' THIN COPPEE. Hopewell Mound, Eoss County, Ohio. i^ natural size. I Fig. 246. STENCIL OENAMENT OP THIN COPPEK. Hopewell Mound, lioss County, Ohio. s natural size. Fig. 245. FLAT KING OF THIN COPPEB., Hopewell Mound, Koss County, Ohio. ■g natural size. 890 REPORT OF NATIONAL MUSEUM, 1894. Kg. 247. STENCIL ORNAMENT OF THIN COPPEK. Hopewell Mound, Eoss County, Ohio. ?4 natural size. riy. 248. FISH ORNAMENT OF THIN COPPEK. Hopewell Mound, Koss County, Ohio. Q natural size. There were also fouud sixty-six copper hatchets, ranging from 1^ to 22J inches in length; twenty-three copper plates and fragments j one copper eagle ; eleven semicircles, bars, etc. ; two spool-vshaped objects; four comb-shaped effigies f one wheel with peculiar circles and bars of copper; three long plates of copper; pearl and shell beads and teeth; a lot of extra fine pearls; a lot of wood, beads, and an unknown metal; a lot of bones; a hu- man jaw, very largo; a fragmentary fish resem- bling a sucker (fig. 248); one stool of copper with two legs ; broken copper plates; one broken shell; bear and panther tusks; mica plates ; forty fragmentary and entire copper stencils of squares, circles, diamonds, hearts, etc.; copper objects, saw-shaped; twenty ceremonial objects, rusted or oxidized copper; two diamond- shaped stencils, copper (fig. 249); four peculiar spool- shaped copper ornaments, I)erforated, showing re- pousse work (fig. 250). I made sketches of two or three of the bone carvings, for the purpose of showing the art of the people who constructed this monument, so that by comparison with thstt of other known peoples some knowledge may be ob- tained, or theory advanced, concerning the race or tribe to which they belonged and the epoch in which they lived. Fig. 251 shows an exquisite bone carving of a paroquet \yhich belongs much farther south and not found in that locality in modern times. The design shown iu fig. 252 suggests a Mississippi Kite, but the zoologists of the Museum, while unable to determine with exactitude its intended representation, chiefly from the mutilated condition of the fragment, report it more likely to be the rig. 249. I.OZENGE-SHAPED STENCIL OF THIN COPPER.V Hope-well Mound, Eoss County, Ohio. 3^ natural size. PLATE 1 3. Human Skull with Copper-covered Horns. Hop<^\veIl Mound, Knss LVunity, 390<**<»<1(*JOUOC fcO0000»ao»aciai»Q000c , CoooHooocfo'SoaSSDOOopor; ( nooooooooKiHOSaaoooooooc W88i W aooooooc ,, , O THE SWASTIKA. 8S7 Dr. Scblit^inaini reports :' We also see ji Swastika (tnrnetl to tlie left) scratched on two terra e'otta bowls of the Pueblo Indians of New Mexico, preserved in the ethnological section of the Royal Museum at Berlin. G. :N^ordeiiskiold,^ in the report of his excavations among the ruined pueblos of the Mesa Verde, made in southwestern Colorada during' the summer of 1891, tells of the finding of numerous specimens of the Swastika. In pi. 23, fig. 1, he represents a large, shallow bowl in the refuse heap at the " Step House." It was 50 centimeters in diameter, of rough execution, gray in color, and different in form and design from other vessels from the cliff houses. The Swastika sign (to the right) was in its center, and made by lines ot small dots. His pi. 27, fig. «, represents a bowl found in a grave {g on the plan) at " Step House." Its decoration inside was of the usual type, but the only decoration on the outside consisted of a Swastika, with arms crossing at right angles and ends bent at the right, similar to fig. 9. His pi. 18, fig. 1, represented a large bowl found in Mug House. Its decora- tion consisted in part of a Swastika similar in form and style to the Etruscan gold "bulla," fig. 188 in thife paper. Certain specimens of pottery from the pueblos of Santa Clara and St. Ildefonso, deposited in the U. S. National Museum (Department of Ethnology), bear Swas- tika marks, chiefly of the ogee form.^ The Navajoes.—Dr. Washington Matthews, U. S. A., than whom no one has done better, more original, nor more accurate anthropologic work in America, whether historic or prehistoric, has kindly referred me to his memoir in the Fifth Annual Report of the Biireau of Ethnology, comprising 82 pages, with 9 plates and 9 figures, entitled "The Moun- tain Chant; a Favajo ceremony." It is descriptive of one of a number of ceremonies practiced by the shamans or medicine men of the Navajo Indians, New Mexico. The ceremony is public, although it takes place during the night. It lasts for nine days and is called by the Indians ^^ dsilyidje qagal" — literally, "chant toward (a place) within the moun- tains." The word ^^dsilyp^ may allude to mountains in general, to the Carrizo Mountains in ijarticular, to the place in the mountains where the prophet (originator of these ceremonies) dwelt, or to his name, or to all of these combined. " QagaP^ means a sacred song or a collection of sacred songs. Dr. Matthews describes at length the myth which is the foundation of this ceremony, which must be read to be appreciated, but may be summarized thus: An Indian family, consisting of father, mother, two sons, and two daughters, dwelt in ancient times near the Carrizo Mountains. They lived by hunting and trapping; but the '"Troja,"p. 123. '"The Cliff Dwellers of the Mesa Verde, Southwestern Colorado," P. A. Norstedt & Son, Chicago, 1893. ^From letter of Mr. Walter Hough, Winslow, Ariz. "I send you two pieces of pottery [bearing many ogee Swastikas] from the ruins near here formerly inhabited by the Moki. Many of the bowls which we have found in this ruin had the Swastika as a major motif in the decoration." See also The Archajologist, III, No. 7, p. 248. H. Mis. 90, pt. 2 57 898 REPORT OP NATIONAL MUSEUM, 1894. place was desert, game scarce, and they moved up the rwev farther into the |nountains. The father made incantations to enable his two sons to capture and kill game; he sent them hunting each day, direct- ing them to go to the east, west, or north, but with the injunction not to tlie south. The elder son disobeyed this injunction, went to the south, was captured by a war j)arty of Utes and taken to their home far to the south. He escaped by the aid of Yayhichy {Qastceelgi) and divers supernatural beings. His adventures in returning home form the body of the ceremony Avhereiu these adventures are, in some degree, reproduced. Extensive preparations are made for the performance of the ceremony. Lodges are built and corrals made for the use of the performers and the convenience of their audience. The fete being- organized, stories are told, speeches made, and sacred songs are sung (the latter are given by Dr. Matthews as "songs of sequence," because they must be sung in a progressive series on four certain days of the ceremony). Mythological charts of dry sand of divers colors are made on the earth within the con^als after the manner of the Navajo and Pueblo Indians. These dry sand x^aintings are made after a given formula and intended to be repeated from year to year, although no copy is preserved, the artists depending only upon the memory of their shaman. One of these pictures or charts represents the fugitive's escape from the TJtes, his captors, down a piecipice into a den or cave in which burnt a fire "on which was no wood." Four pebbles lay on the ground together — a black pebble in the east, a blue one in the south, a yellow one in the west, and a white one in the north. From these flames issued. Around the fire lay four bears, colored and placed to correspond with the pebbles. When the strangers (Qastceelgi and the Navajo) approached the fire the bears asked them for tobacco, and when they replied they had none, the bears became angry and thrice more demanded it. When the Navajo fled from the Ute camp, he had furtively helped himself from one of the four bags of tobacco which the council was using. These, with a pipe, he had tied up in his skin rotse; so when the fourth demand was made he filled tbe pipe and lighted it at the fire. He handed the pipe to the black bear, who, taking but one whifi, passed it to the blue bear and immediately fell senseless. The blue bear took two whiffs and passed the pipe, when he too fell over unconscious. The yellow bear succumbed after the third whitt', and the white bear in the north after the fourth whifi'. Now the Navajo knocked the ashes and tobacco out of his pipe and rubbed the latter on the feet, legs, abdomen, chest, shoulders, forehead, and mouth of each of the bears in turn, and they were at once resuscitated. He replaced the pipe in the corner of his robe. When the bears recovered, they assigned to the N"avajo a place on the east side of the fire where he might lie all night, and they brought out their stores of corn meal, tciltcin, and other berries, offering them to him to eat: but Qastceelyi warned him not to touch the food, and disappeared. So, hungry as he was, the Indian lay down supperless to sleep. When he awoke in the Report of National Museum, 1 894. - Wilson, '*"— ""-"^ Navajo Dry Painting C Dr. Washington Matthews, "The Mountain Chant : A Navajo Ceremony Plate 1 7. ONTAiNiNG Swastikas. ," Fifth Annual Report of the Bureau of Ethnology, 1883-84, PI. xvii. THE SWASTIKA. 899 moiniug, the bears again oifered food, -wbicli lie again declined, saying lie was not hungry. Then they showed him how to make the bear kethuirns, or sticks, to be sacrificed to the bear gods, and they drew from one corner of the cave a great sheet of cloud, which they unrolled, and on it were painted the forms of the " yays" of the cultivated plants. In Dr. Matthews's memoir (marked third, but described on p. 447 as the second i)icture), is a representation of the painting which the prophet was believed to have seen at the home of the bears in the Canizo Mountains. This is here reproduced as pi. 17. In the center of the figure i.i a bowl of water covered with black powder; the edge of the bowl is garnished with sunbeams, while outside of it and forming a rectangle are the four cu'hltlol of sunbeam rafts on which seem to stand four gods, or "yays," with the plants under their special protection, which are painted the same color as the gods to which they belong. These plants are represented on their left hand, the hand being open and extended toward them. The body of the eastern god is white, so is thg stalk of corn at his left in the southeast; the body of the southern god is blue, so is the beanstalk beside him in the southwest; the body of the western god is yellow, so is his jiumpkin vine in the northwest; the body of the north god is black, so is the tobacco plant in the north- east. Each of the sacred plants grows from five white roots in the cen- tral waters and spreads outward to the periphery of the picture. The figures of the gods form a cross, the arms of which are directed to the four cardinal points; the plants form another cross, having a common center with the first, the arms extending to the intermediate xiolnts of the compass. The gods are shaped alike, but colored differently; they lie with their feet to the center and heads extended outward, one to each of the four cardinal points of the compass, the faces look forward, the arms half extended on either side, the hands raised to a level with the shoulders. They wear around their loins skirts of red sunlight adorned with sunbeams. They have ear pendants, bracelets, and arm- lets, blue and red, representing turquoise and coral, the prehistoric and emblematic jewels of the Navajo Indians. Their forearms and legs are black, showing in each a zigzag mark representing lightning on the black rain clouds. In the north god tliese colors are, for artistic rea- sons, reversed. The gods have, respectively, a rattle, a charm, and a basket, each attached to his right hand by strings. This basket, repre- sented by concentric lines with a Greek cross in the center, all of the proper color corresponding with the god to whom each belongs. Las extending from each of its quarters, arranged jierpendicularly at right angles to each other, in the form of a cross, four white plumes of equal length, which at equal distances from the center are bent, all to the left, and all of the same length. Thus are formed in this chart four specimens of the Swastika, with the cross and circle at the intersection of the arms. The plumes have a small black spot at the tip end of each. Dr. Matthews informs me that ho has no knowledge of any peculiar meaning attributed by these Indians to this Swastika symbol, and we 900 REPORT OF NATIONAL MUSEUM, 1894. Fig. 257. WAR SHIELD USED BY THE PIMA INDIANS. Ogee Swastika (tetraskelion) iu three colors : (1) blue, (2) red, (3) white. Cat. No. 27S99, U. S. N. j\l. Fig. 258. WAR SHIELD WITH CGEE SWAS'J'IKA IN CENTER. Pima Indinus The hole near the lower arm of tlie Swastika was made by an i Property of Mr. F. W. Hodge. THE SWASTIKA.. 901 know not whether it is intended as a religious symbol, a charm of bless- ing, or good luck, or whether it is only an ornament. Wo do not know whether it has any hidden, mysterious, or symbolic meaning; iftit there it is, a prehistoric or Oriental Swastika in all its purity and simplicity, appearing in one of the mystic ceremonies of the aborigines in the great American desert in the interior of the North American Continent. The Pimas. — The U. S. "National Museum i)ossesses a shield (Cat. No. 27829) of bull hide, made by the Pima Indians. It is about 20 inches in diameter, and bears upon its face an ogee Swastika (tetraskelion), the €nds bent to the right. The body and each arm is divided longitudi- Dally into three stripes or bands indicated by colors, blue, red, and white, arranged alternately. The exterior part of the shield has a white ground, while the interior or center has a blue ground. This f^hield (fig. 257) is almost an exact reproduction of the Swastika from Mycenae {fig. 161), from Ireland (flg. 21G), and from Scandinavia (figs. 209 and 210). Fig. 258 shows another Pima shield of the same type. Its Swastika is, however, painted with a single color or possibly a mixture of two, red and white. It is ogee, and the ends bend to the left. This shield is the property of Mr. F. W. Hodge, of the Bureau of Ethnology. He obtained it from a Pima Indian in Arizona, who assured him that the hole at the end Of the lower arm of the Swastika was made by an arrow shot at him by an Indian enemy. COLONIAL PATCHWOEK. In Scribner's Magazine for September, 1S94, under the title of "Tap- estry in the New "World," one of our popular writers has described, with many illustrations, the bedquilt patterns of our grandmothers' time. One of these she interprets as the Swastika. ' This is, however, believed to be forced. The pattern in question is made of p^itches in the form of rhomboids and right-angled triangles sewed and grouped somewhat in the form of the Swastika (fig. 259). It is an in- vented combination of. patch- work which formed a new pat- tern, and while it bears a slight resemblance to the Swastika, lacks its essential elements. It was not a symbol, and rep- rlsents no idea beyond that of a pretty pattern. It stood for nothing sacred, nor for benediction, blessing, nor good luck. It was but an ornamental pattern which fortuitously had the resem- blance of Swastika. It was not even in the form of a cross. The difference between it and the Swastika is about the same there would be between the idle and thoughtless boy who sporadically draws the Fig. 259. COLONIAL PATCHWORK WITH FIGURES EESEMBLI.N'G SWASTIKAS. Scribner's Magazine, September, 18H4. 902 EEPOKT OF NATIONAL MUSEUM, 1894. cross on bis slate, meaning nothing by it, or at most only to make an ornament, and tlie devout Obristian who makes the same sign on entering the church, or the Indian who thus represents the four winds of heaven. He who made the Swastika recognizes an occult power for good and against evil, and he thereby invokes the power to secure prosperity. She who made the quilt pattern apparently knew nothing of the old-time Swastika, and was not endeavoring to reproduce it or anything like it. She only sought to make Buch an arrangement of rhomboidal and triangular quilt patches as would produce a new orna- mental pattern. CENTRAL AMERICA. NICAEAGUA. The specimen shown in flg. 260 (Cat. No. 23726, U.S.N.M.) is, a frag- ment, the foot of a large stone metate from Zapatero, Granada, Nica- ragua. The metate was chiseled or pecked out of the solid. A sunken panel is surrounded by moldings, in the center of which ai)pears, from its outline, also by raised moldings, a figure, the outline of Avhich is a Greek cross, but whose exterior is a Swastika. Its form as such is perfect, except that one bent arm is separated from its stem by a shallow groove. " The Cross, An cient and Mod- ern," by W. W. Blake, shows, in its flg. 57, a Swastika pure and simple, and is cited by its author as representing a cross found by Squier in Central America. The Mexican enthu- siast, Orozco y Perra, claims at first glance that it shows Buddhist origin, but I have nob been able as yet to verify the quotation. Fig. 2S0. FEAGMENT OF THE FOOT OF A STONE METATE WITH FIGURE OF SWASTIKA. iNicaragua. f;it. Xo. 93726, IT. S.N. ^I. YUCATAN. Dr. Schliemann reports, in the Ethnological Museum at Berlin, a pottery bowl from Yucatan ornamented with a Swastika, SJie two main arms crossing at right angles, and he adds,' citing Lo Plon- geon, ^'Foailles an Yucatan, " that "during the last excavations in Yucatan this sign was found several times on ancient pottery." Le Plongeon discovered a fragment of a stone slab in the ancient Maya city of Mayapan, of which he published a description in the Pro- "Troja,"p. 122. THE SWASTIKA. 903 Kg. 261. J''HAGMENT OP STONE SLAD KROM THE ANCIENT MAYA CITY OF MAYAPAN. Ogee Swastika (tetraskelion). Proftitfdinga of the American Antiqimriaii Bociety, April Q1, 1881. ceedings of the American Antiquarian Society, It contains au ogee Swastika (tetraskelion), with ends curved to the left and au inverted L with a wheel (fig. 261). Le Plongeou believed it to be au Egyptian inscription, which he translated thus : The character, inverted U, stood for Ch or E; the wheel for the sun, Aa or Ra, and the Swastika for Ch or K, making the whole to be Ghach or KaTc, which, he says, is the word fire in the Maya language.' COSTA RICA. A fragment of a metate (Cat. No. 9693, U. S. K. M.) found on Lenipa Eiver, Costa Rica, by Capt. J. M. Dow, has on its bot- tom a Swastika similar to that on the metate from Nicaragua. Specimen No. 59182, U. S. M. N., is a fragment of a pot- tery vase from Las Huacas, Costa Eica, collected by Dr. J. F. Bransford. It is natural maroou body color, decorated with black paint. A baud two inches wide is around the belly of the vase divided into panels of solid black alternated with fanciful geometric figures, crosses, circles, etc. One of these panels contains a partial Swastika figure. The two main arms cross at right angles in Greek form. It is a partial Swastika iu thiit, while the two perpendicular arms bend at right angles, turning six times to the right; the two horizontal arms are solid black in color, as though the lines and spaces had run together. SOUTH AMERICA. BRAZIL. The leaden idol (fig. 125) (Artemis Nana^ of Ohaldea, Sayce; statuettes of the Oyclades, Lenormant") found by Dr. Schliemann iu the third, the burnt city of Hissarlik, Troy, was described (p. 829) with its Swastika on the triangular shield covering the pudendum, with the statement that it would be recalled iu the chapter on Brazil. The aboriginal women of Brazil wore a triangular shield or plaque over their private parts. These shields are made of terra cotta, quite thin, the edges rounded, and the whole piece rubbed smooth and pol- ished. It is supported in place by cords around the body, which are attached by small holes iu each angle of the triangle. The U. S. National Museum jiossesses several of these plaques from Brazil, aud several were shown at the Chicago Exposition. 'The presence of the Swastika is the ouly purpose of this citation. The correct- ness of the translation is not involved anil is not vouched for. ^Equivalent to Istar of Assyria and Babylon, Astarte of Phenicia, to the Greek Aphrodite, aud the Roman Venus. 904 REPORT OF NATIONAL MUSEUM, 1894. The consideration of the leaden idol of Hissarlik, with a Swastika, as thougli for good luck, recalled to the author similar plaques in his department from Brazil. Some are of common yellow ware, others were finer, were colored red and rubbed smooth and hard, but were without decoration. The specimen shown in pi. 18 (upper figure) was from Marajo, Brazil, collected by Mr. E. M. Brigham. It is of light gray, slip washed, and decorated with pale red or yellow paint in bands, liues, parallels, geometric figures. The specimen shown in the lower figure of the same jjlate, from the Caneotires Eiver, Brazil, was col- lected by Prof. J. B. Steere. The body color, clay, and the decoration paint are much the same as the former. The ornamentation is princi- pally by two light lines laid parallel and close so as to form a single line, and is of the same geometric character as the incised decoration ornament on other pieces from iMarajo Island. Midway from top to bottom, near the outside edges, are two Swastikas. They are about five-eighths of an inch in size, are turned at right angles, one to the right and the other to the left. These may have been a charm signifying good fortune in bearing children. (See pp. 830-832.) These specimens were submitted by the author to the Brazilian min- ister, Seuor Mendon^a, himself an archaeologist and philologist of no small capacity, who recognized these objects as in use in ancient times among the aborigines of his country. The name by which they are known in the aboriginal language is Tambeao or Tamatiatang, accord- ing to the dialects of different provinces. The later dialect name for apron is rex)orted as iunga, and the minister makes two remarks hav- ing a possible bearing on the migration of the race: (1) The similarity of tunga with the last syllable of the longer word, atang, and (2) that Umga is essentially an African word from the west coast. Whether this piece of dress so thoroughly savage, with a possible ceremonial meaning relating to sex or condition, with its wonderful similarity of names, might not have migrated in time of antiquity from the west coast of Africa to the promontory of Brazil on the east coast of America where the passage is narrowest, is one of those conundrums which the prehistoric anthropologist is constantly encountering and which he is usually irnable to solve. The iiurpose of these objects, beyond covering the private parts of the female sex, is not known. They may have been ceremonial, relat- ing, under certain circumstances, to particular conditions of the sex, or they may have been only variations of the somewhat similar covers used by the male aborigine. They bear some resemblance to the Cein- tures de Ghastete, specimens o/ which are privately shown at the Musee de Oluny at Paris. These are said to have been invented by Frangoise dc Carara, viguier imperial (provost) of Padua, Italj^, near the end of the fourteenth century. He applied it to all the women of his seraglio. He was beheaded A. D. 1405, by a decree of the Senate of Venice, for his many acts of cruelty. The j)alace of St. Mark contained for a long time a box or case of these ceintures with their locks Report of National Museum, 1 894.— Wilson. Plate 18. Folium Vitus ("Fig Leaves"). Terra-cotta covers, "Uinga.''' Aborigines of Brazil. Cat. Nos. 5908U and 3654ii, U. S. N. M. Report of National Museum, 1 894. — Wilson. THE SWASTIKA. 905' attached, -which were represented as des pieces de conviction of this monster,' Voltaire describes his hero "■qui tient sous la clef, la vertu de sa femme." PARAGUAY. Ur. Schliemauii reports that a traveler of the Berlin Ethnological Museum obtained a pumpkin bottle from the tribe of Lenguas in Para- guay which bore the imprint of the Swastika vscratched upon its sur- face, and that he had recently sent it to the Koyal Museum at Berlin. III. — Forms Allied to the Swastika. MEANDERS, OGEES, AND SPIRALS, BENT TO THE LEFT AS WELL AS TO THE RIGHT. There are certain forms related to the normal Swastika and greatly resembling it — meanders, ogees, the triskelion, tetraskelion, and five and six armed spirals or volutes. This has been mentioned above (page 708), and some of the varieties are shown in fig. 13. These related forms have been found in considerable numbers in America, and this investi- gation would be incomplete if they were omitted. It has been argued (p. 839) tbat the Swastika was not evolved from the meander, and this need not be reargued. The cross with the arms bent or twisted in a spiral is one of these related forms. It is certain that in ancient, if not prehistoric, times the cross with extended spiral arms was frequently employed. This form appeared in intimate asso- ciation with the square Swastikas which were turned indifferently to the right and left.* This asso- ciation of different yet '^' related forms was so inti- mate, andthey were used so indiscriminately as to justify the contention that the maker or designer recognized or admitted no perceptible or substantial dift'erence between the square and spiral forms, whether they turned to the right or left, or whether they made a single or many turns, and that he classed them as the same sign or its equivalent. A Oreek vase (tig. 174) shows five Swastikas, four of which are of dif- ferent form (fig. 262). Curiously enough, the desigu of this Greek vase is painted maroon'on a yellow ground, the style generally adopted in the vases from tlie mounds of Missouri and Arkansas, which mostly represent the spiral Swastika. In Ireland a standing stone (flg. 215) has two forms of Swastika side by side. In one tlie arms are bent square at the corners, the other has curved or spiral arms, both turned to the right. These examples are so, numerous that they would seem convincing in the absence of any other evidence (figs. 166 to 176). 'Cited in "Misson Voyage d'ltalie," tome 1, p. 217; Uulaure; "Histoire lies Dif- ferensCuUes,"li; Bran t6ne, "Dames Galantes"; Rabelais, "Pantagruel,"3, chap. 35. I L 1 1 J 1 1 r ^4:. DIFFERENT FOHMS OF SWASTIKA FOR COMPARISOX. 906 EEPOET OF NATIONAL MUSEUM, 1894. ABORIGINAL AMERICAN ENGRAVINGS AND PAINTINGS. These allied forms of Swastika appear on prehistoric objects from mounds aud Indian graves in difi'erent parts of the country and in times of high antiquity as well as among modern tribes. This paper contains the results of the investigations in this direction. DESIGNS ON RHKI.L. The Department of Prehistoric Anthropology in the U. S. Kational Museum, contains a considerable number of large shells of aboriginal Fig. 263. SHELL ROBGET. Cross, circle, sun's rays{ ?), aiHl heads cif four ivory-billed woodiie<-kHrs( ?) arraiii^ed to form a .Swa'^tika. Mississippi. workmanship. The shell most employed was that of the genus Fulgur, a marine shell found on the coast from Florida to the capes. The Uiiia was employed, as well as others. These marine shells were transported long distances inland. They have been found in mounds and Indian THE SWASTIKA. 907 graves a jbhousaucl uiiles from their original habitat. They served as In many specimens the whorl was cut Figs. 264. SHELL GOHGET FROM TENNESSEE. Square figure with ornamental corners and lieads of ivory billed woodpecker arranged to form a figure resembling' tbe Swastika. utensils as well as ornaments out, the shells otherwise left entire, and they served as vesselsfor hold- iiig or carrying liquids. When intended for or- naments, they were cut into the desired form and engraved with the. design; if to bo used as gorgets, holes were drilled for suspension. Frequently they wore smoothed on the outside and the design engraved thereon. The prefer- ence of the aborigines for the Fulgur shell may have been by reason of its larger size. Among the x>atterns employed for the decoration of these shells, the Swastika, in the form of spirals, volute.^, or otherwi.-^e, appeared, although many others, such as the rattlesnake, birds, spiders, and human masks were oin- ]Dloyed. No detailed descrip- tion of the patterns of this shellwork will be attempted, because figures will be re- quired to give the needed in- formation for the interpreta- tion of the Swastiku. Many of the cuts and some of the descriptions are taken from the annual reports of the Bureau of Ethnology and, so far as relates to shell, iiio.stly from Mr. Holmes's paper on "Art in Shell of the Ancient Americans." I desire to ex- press my tlianks for all cuts obtained from the Bnrean pub- lications. Ivory-hiUed Koodpeolter. — A Fig. 265. SHELL GORGET FP.OM TENNESSEE. Square figure with ornamental corners and heads of ivor}--biIled woodpecker arvanged to form a figure resembling the Swastika. series of gorgets in shell have been found ornamented with designs resembling the Swastika, which should be noticed. They combine 908 the square and the cross, while the head and bill of the bird form the gamma indicative of the Swastika. Pig. 263, taken from the Sec- ond Annual Report of the Bureau of Ethnology, 1880-81 (pi. 58), shows one of these shell gorgets from Mississippi, which "was, ia all probability, obtained from one of the multitude of ancient sepulchres that abound in the State of Mississippi." The design is engraved on the convex side, the i)erforatious are placed near the margin, and show much wear by the cord of suspension. In the center is a nearly sym- metrical Greek cross inclosed in a circle of 1^ inches. The spaces between the arms are emblazoned with radiating lines. Outside this circle are twelve small pointed or pyramidal rays. A square framework of four continuous parallel lines looped at the corners incloses this sym- bol ; projecting from the center of each side of this square, opposite the arms of the cross, are four heads of birds re]ire- senting the ivory-billed wood- pecker, the herou, or the swan. The long, slender, and straight mandibles give the Swastika form to the object. Mr. Holmes says (p. 282) that he has been able to find six of these speci- mens, all of the type described, varying only in detail, work- nianshii), and iinish. Pigs. 264, 265, and 266,i rep- resent three of these shell gor- gets. The first was obtained by Professor Putnam from a stone grave, Cumberland River, Ten- nessee. It is about 2^ inches in diameter and, like the former, it has a Greek cross in the center. The second was obtained by Mr. Cross from a stone grave near Nashville, Tenn. The third is from a stone grave near Oldtown, Tenn. All these have been drilled for suspension and are much worn. Tlie trislcele, trishelion, or triquetrum. — These are Greek and Latin terms for the spiral volute with three branches or arms. The coins of Lycia were in this form, made originally by the junction of three cocks' heads and necks. The arniorial bearings of the island of Sicily, in ancient times, consisted of three human legs joined at the thigh and flexed, sometimes booted and spurred (p. 873). Aboriginal shell gorgets have been found in the mounds of Tennes- see and the adjoining country, which were engraved with this design, though always in spiral form. There seems to have been no distinction Kg. 266. SHELL GORGET FROM TENNESSEE. Square figure Trith ornamental corners and lieads of ivory-billed woodpecker arranged to form a figure resembling the Swastika. Second Ann. Rep. Bureau of Ethnology, p. 59. THE SWASTIKA. 909 in the direction of the volutes, they turning indifferently to the right or to the left. Because of their possible relation to the Swastika it has been deemed proper to introduce them. Fig. 267 ' shows a Fulgur shell specircen obtained by Major Powell from a mound near Kashville, Tenn. It was found near the head of n . skeleton. Its substance is well preserved j the surface was once higlily polished, but now is pitted by erosion and discolored by age. The design is engraved on the concave siarface as usual, and the lines are Fig. 267. SCALLOPED SHELL DI6K (FCLGUH) FKOM A JtOUND NEAR NASHVILLE, TENN. Three spiral A-olutes {tri.skelion) . accurately drawn and clearly cut. The central circle is three-eightlis of an inch in diameter and is surrounded by a zone one-half an inch iu width, which contains a triskelion or triquetrum of three voluted lines beginning near the center of the shell on the circumference of the inner circle of three small equidistant perforations, and sweeping outward spi- rally to the left as shown in the iigure, making upward of half a revolu- tion. These lines are somewhat wider and more deejjly engraved than ' Secong;ee Swastika (tetraskelion) marked but not completed. Figs. 270 and 271. ENGRAVED SHELL DISK. Obverse and reverse. Three-armed volute (triskelion). 912 REPORT OF NATIONAL MUSEUM, 1894. Fig. 272. ENGRAVED SHELL DISK. Tennessee. Three-armefl volute (tristelion). this circle, and in their spiral form extend to the right across the field, increasing in size as they approach the periphcrj'. This is an inter- esting specimen of the tetraskelion or spiral Swastika, in that it is unfinished, the outline having been cut in the shell sufflcient to indicate the form, but not per- fected. Figs. 270 and 271 show obverse and reverse sides of the same shell. It comes from one of the stone graves of Tennessee, and is thus described by Dr. Joseph Jones, of IS'ew Orleans,' as a spec- imen of the deposit and original condition of these objects: In a carefully constructed stone sar- cophagus iu ■whicli the face of the skel- eton was looking toward the setting sun, a beantifnl shell ornament w.ts found resting upon the breastbone of the skeleton. This shell ornament is 4.4 inches in diameter, and it is orna- mented on its concave surface with a small circle in the center anvith ribbon fold. Charleston, Mo. Fig. 299. BASKETWOEK AVITII MANY-AEMED VOLUTES. Fourth Annual r.epnrt of the Bureau of Ethnology, fig. 485. 926 IV. — The Cross Among the American Indians. DIFFERENT FORMS. The foregoing specimens are sufficient evidence of tlie existence of the Swastika among the aboriginal North Americans during the mound- building period, and although there may be other specimens of the Swastika to be reported, yet we might properly continue this investi- gation for the purpose of determining if there be any related forms of the cross among the same peojiles. This ii> done without any argument Fig. 300. ENGEAVED SHELL GOEGBT. Greek cro.sa witli incised lines re-semblinw a Swastika. TTnion County, 111. as to the use of these designs beyond that attributed to them. The illustrations and descriptions are mainly collected from objects in and reports of the IJ . S. National Museum and the Bureau of Ethnology. THE CROSS ON OB.JECTS OF SHELL AND COPPER. The shell gorget presented in fig. 300 belongs to the collection of Mr. F. M. Perrine, and was obtained from a mound in Union County, 111. It is a little more than three inches in diameter and has been" ground to a iiniform thickness of about one-twelfth of an inch. The surfaces are smooth and the margin carefully rounded and polished. THE SWASTIKA. 927 Near the upper edge are two perforations, bpth well worn with cord- marks indicating suspension. The cross in the center of the concave face of the disk is quite simple and is made by four triangular perfora- tions which separate the arms. The face of the cross is ornamented with six carelessly drawn iucised lines interlacing in the center as shown in the figure, three extending along the arm to the right and three passing down the lower arm to the inclosing line. ITothing has been learned of the character of the interments with which this speci- Fig.aoi. ENGKAVED SHELi: GOBGET. Greek cross, Charleston, Mo. Second Annual Report o£ the Bureau o£ Ethnology, pi. I , fiB- 2- men was associated.^ The incised lines of the specimen indicate the possible intention of the artist to make the Swastika. The design is evidently a cross and apparently unfinished. The National Museum possesses a large shell cross (fig. 301) which, while quite plain as a cross, has been much damaged, the rim that formerly encircled it, as in the foregoing figure, having been broken away and lost. The perforations are still in evidence. The specimen 1 Second Ann. Rep. Bureau of Ethnology, 1880-81, p. 271, pi. 51, fig. 1. 928 EEPORT OF NATIONAL MUSEUM, 1894. Fig. 302. SHELL GORGET WITH ENGRAVING OF GREEK CROSS AND INCHOATE SWASTIKA. Second Annual Report of the Bureau of Ethnology, pi. Lii, fig. 3. is much decayed and came to the National Museum with a skull from a grave at Charleston, Mo. ; beyond this there is no record. The speci- men shown in fig. 302 is quoted as a "typical example of the cross of the mound-builder." It was obtained from a mound on Lick Creek, Tennesseej and is in the Peabody Museum, Cambridge, Mass. While an elaborate description is given of it and figures are mentioned as "devices probably signifi- cant," and "elementary or un- finished," and more of the same, yet nowhere is suggested any relationship to the Swastika, nor even the possibility of its existence in America. A large coi)per disk from an Ohio mound is represented in fig. 303. It is in the Natural History Museum of New York. It is eight inches in diameter, is very thin, and had suffered greatly from corro- sion. A symmetrical cross, the arms of which are five inches in length, has been cut out of the center. Two concentric lines have been impressed in the plate, one near the margin and the other touching the ends of the cross. Fig, 304 shows a shell gorget from a mound on Lick Creek, Tennessee. It is much corroded and broken, yet it shows the cross plainly. There are sundry pits or dots made irregularly over the surface, some of which have perfor- ated the shell. PI. 19 rep- resents a recapitulation of specimens of crosses, thir- teen in number, "most of which Tiave been obtained from the mounds or from ancient graves within the district occupied by the mound-builders. Eight are engraved upon shell gorgets, one is cut in stone, three are painted upon pottery, rig. 303. FRAGMENT OF COPPER DISK WITH GREEK CROSS IN INNER CIRCLE. ' Ohio. American Museum of Natural History, New York City. Second Annual Report of the Bureau of Ethnology, pi. Lii, fig. 4. EXPLANATION OF PLATE 19. 1 3 3 4 6 5 ( 8 9 10 11 12 13 Various Forms of Crosses in use among North American Indians, From Greek Cross TO Swastika. Fig. 1. Greek Cross. 2. Greek Cross. 3. Cross on Copper. 4. Cross on Shell. 5. Greek Cross. 6. Greek Cross. 7. Latin Cross (Copper) . Fig. 8. Greek Cross. 9. Latin Cross (Copper). 10. Swastika on Shell. 11. Swastika on Shell. 12. Swastika on Pottery. 13. Swastika on Pottery. Report of National Museum, 1894 Wilson. Plate 19. Various Forms of Crosses in use Among North American Indians, from Greek Cross TO Swastika. Second Annual Report of the Bureau of Ethnology, 1P80-81, PI. liii. THE SWASTIKA. 929 and four are executed upon copper. With two exceptions, they are inclosed in circles, und hence are symmetrical Greek crosses, the ends being rounded to con- form to a circle."' Figs. 7 and 9 of pi. 19 represent forms of the Latin cross, and are modern, having doubtless been introduced by European priests. Figs. 10 to 13 are representatives of the Swas- tika in some of its forms. TheU. S. National Museum possesses a small shell orna- ment (flg. 305) in the form of a cross, from Lenoir's burial place, Fort Defiance, Cald- well County, N. C, collected by Dr. Spainhour and Mr. Eogan, the latter being an employe of the Bureau of Ethnology. It is in the form of a (ireek cross, the four arms crossing at right angles and being of equal length. The arms are of the iilain shell, while they are brought to view by the field being cross-hatched. The speci- men has, unfortunately, been broken, and being fragile has been secured in a bed of plaster. This and the foregoing specimens have been introduced into this paper that the facts of their existence may be pre- sented for con- sideration, and to aid in the determination whether the cross had any peculiar or par- ticular meaning. The questions involuntarily arise. Was it a symbol with a hid- den meaning, religious or otherwise; was it the Fig. 304. ENGRAVED SHELL DISK GORGET. Kude cross with many dots. Lick Creek, Tenn. Second Annual Report o£ the Bureau of Ethnology, I>1. fiy, fig, 2, ENGRAVED Fig. 305. SHELL WITH FIGURE Of GREEK CROSS. Cald-weU County, N. C. Cal. No. 3:;16!1, U. S. Jv. M. Fig. 306. ENGRAVED SHELL WITH THREE- AHMED CROSS (TEISKELION). Lick Creek, Tenn. Cat. No. 83170, U. S. N. M. I Second Ann. Rep. Bureau of Ethnology, 1880-81, pp. 272, 273. H. Mis. 90, pt. ■59 930 REPORT OF NATIONAL MUSEUM, 1894. Kg. 307. DRILLED AND ENGRAVED SHELL OR "ItUKTEE." Dotted Grei?k cross and circle. Arizona. totem of a clan, the insignia of a ruler, the charm of a priesthood, or did it, witli all the associated shell engravings, belong to the category of trinkets? These questions maybe jjartially answered in the section on the meanings given to the cross by the North American Indians (p. 933). There is also introduced, as bearing on the question, another shell ornament (fig. 306), the style, design, and workmanship of which has such resemblance to the foregoing that if tbey had not been (as they were) found together we would be compelled to admit their identity of origin, yet the latter specimen has but three arms instead of four. This might take it out of the cat- egory of crosses as a symbol of any religion of which we have knowledge. Many of the art objects in shell heretofore cited were more or less closely associated; they came from the same neighborhood and were the results of the same excavations, conducted by the same excava- tors. In determining the culture status of their makers, they must be taken together. WLen we consider the variety of the designs which were apparently without meaning except for ornamentation, like the circles, meanders, zigzags, chev- rons, herringbones, ogees, frets, . etc., and the representations of anii^als such as were used to decorate the pipes of the aborigines, not alone the bear, wolf, eagle, and others which might be a totem and represent a given clan, but others which, according to our knowledge and imagination, havenever served for such a purpose, as the man- atee, beaver, wildcat, heron, finch, sparrow, crow, vaven, cormorant, duck, toucan, goose, turkey, buzzard, cardinal, xjarroquet, conies, lizard; when we further consider that the cross, whether Greek, Latin, or Swastika form, is utterly unlike any known or j)ossible totem of clan, insignia of ruler, or potent charm of priesthood; when we consider DRILLED AND ENGRAVED SHELL OE "BUNTEE." Dots and rings forming circle and Grreek cross. Ohio. Mg. 309. DRILLED AND ENGRAVED SHELL OK "RUNTEE." Dots and rings forming circle and Greek cross. Kew York. THE SWASTIKA. P31 these things, why should we feel ourselves compelled to accept these s:gns as symbols of a hidden meaning, simply because religious sects in different parts of tbe world and at different epochs of history have chosen them or some of them to represent their peculiar religious ideas? This question covers much space in geography and in time, as well as o;i paper. It is not answered here, because no answer can be given which would be accepted as satisfactory, but it may serve as a track or indication along which students and thinkers might pursue their investigations. The U. S. Jfational Museum possesses a necklace consisting of three shell ornaments, interspersed at regular intervals with about fifty small porcelain beads (fig. 307).' It was obtained by Capt. George M. Whipple from the Indians of New Mexico. These shell ornaments are similar to objects described by Beverly in his work on the "History of Virginia," page 145, as "runtees" and "made of the conch shell; only the shape is flat as a cheese and drilled edgewise." It is to be remarked that on its face as well as on figs. 308 and 309' appears a cross of the Greek form indicated by these peculiar indentations or drillings inclosed in a small circle. The specimen shown in fig. 308 is from an ancient grave in Upper Sandusky, Ohio, and that shown in fig. 309 from an Indian cemetery at Onondaga, KY. Similar specimens have been found in the same localities. THE CROSS ON POTTERY. Fig. 310 shows a small globular cup of dark ware from the vicinity of Fig. 310. Charleston, Mo.; height, 2J inches; poTTEEY JAR WITH CROSSES, ENciECLiNG RAYS width, 3J iuchcs. It has four largc nodes or projections, and between them, painted red, are four orna- mental circles, the outside one of which is scalloped or rayed, while the inside one bears the figure of a Greek cross. The specimen shown in fig. 311 (Gat. S"o. 47197, U.S.N.M.) is a medium-sized decorated olla with scalloped margin, from New Mexico, collected by Colonel Stevenson. It has two crosses — one Greek, the other Maltese — both inclosed iu circles and forming centers of an elaborate, fanciful, shield-like decora- tion. In fig. 312 (Cat. JSTo. 39518, U.S.N.M.) is shown a Cochiti painted water vessel, same collection, showing a Maltese cross. Dozens of other specimens are in the collections of the U. S. National Museum which would serve to illustrate the extended and extensive 'Schoolcraft, "History of tbe Indian Tribes," ill, pi. 25; Second Ann. Rep. Bureau of Ethnology, 1880-81, pi. 36. AND SCALLOPS. Third Annual Ruport of the Bureau of Kthnology, fig. Is 932 REPORT OF NATIONAL MUSEUM, 1894, Fig. 311. OLLA DECORATED WITH GREEK AND MALTESE CROSSES. Second Annual Report oE the Bureau of Ethnology, fig. 708. Fig. 312. POTTERY WATER VESSEL. jMaltese cross. Second Annual Report of the iJiircau "f Ethnology, fijj. 64'.*. Report of National Museum, 1894.— Wilson. Plate 20. Palenque Cross, Foliated. Smithsonian Contributions to Knowledge, Vol. xxii, flg. 7. THE SWASTIKA. 933 use of the cross in great variety of forms, so that no argument as to either the meaning or the extent of the cross can be based on the sup- position that these are the only specimens. Fig. 313 (Cat. ISTo. 132975, U.S.I^r.M.) shows a vase from Mexico, about 8 inches liigh, of fine red •ware, higMy polished, with an elaborate decoration. Its interest here is the Maltese cross represented on each side, with a point and concen- tric circles, from the ontside of which are projecting rays. This may be the f.ymbol of the sun, and if so, is shown in connection with the cross. This style of cross, with or without the sun symbol, is found in great numbers in Mexico — as, for example, the great cross, pi. 20, from the temple at Paleuque.' SYMBOLIC MEANINGS OF THE CROSS- It would be an excellent thing to dissect and analyze the Swastika material we have found ; to generalize and deduce from it a possible theory as to the origin, spread, and meaning of the Swastika and its re- lated forms, and endeavor, by examination of its associated works, to discover if these were religious symbols or charms or mere decorations; and, following this, determine if possible whether the spread of these objects, whatever their meaning, was the result of migration, contact, or communi- •cation. Were they the result of similar, but independent, operations of the human mind, or were they but duplicate inven- tions, the result of parallelism in human thought? This investigation must neces- sarily be theoretical and speculative. The most that the author proposes is to sug- gest probabilities and jioint the way for further investigation. He may theorize and speculate, but recognizes what many persons seem not able to do — that speculation and theory are not to be substituted for cold facts. He may do no more than propound questions from which other men, l)y study, exjjerience, philosophy, or psychology, may possibly evolve some general principle, or a theory pointing to a general i)rinciple, con- oerning the mode of extension and spread of culture among separate and independent peoples. When the facts shall have been gathered, marshaled, arranged side by side, and each aggregation of facts shall have been weighed, pro and con, and its fair value given "without Fig. 313. POTTEHY VASE FINELY- DECORATED IN BED AND ^VHITE GLAZE. Maltese cross -with sun symbol ( ?) . Cat. No. 13297.5, U. S. X. M. 1 Smithsoniau Contributions to Knowledge, p. 33, pi. 14, fig. 7. 934 REPORT OP NATIONAL MUSEUM, 1894. prejudice or preconceived opinion," then will be time enough to an- nounce the final conclusion, and even theti not dogmatically, but tenta- tively and subject to future discoveries. Throughout this paper the author has sought but little more than to prepare material on the Swastika which can be utilized by those who come after him in the determination of the difficult and abstruse prob- lems presented. It is rare in the study of archaeology and, indeed, in any science, that a person is able to assert a negative and say what does not exist. The present investigations are rendered much more comprehensive by the appearance of the extensive and valuable work of Col. Garrick Mallery in the Tenth Annual Report of the Bui^eau of Ethnology, on the subject of " Picture Writing of the American Indians." It is a work of about 800 pages, with 1,300 illustra- tions, and is the result of many years of laborious study. It purports to be a history, more or less complete, of the picture writing, signs, symbols, totems, marks, and messages of the American In- dian, whether pictographs or petroglyphs. A large portion of his work is devoted to ideography, con- 1^ ® ^ -^ff GREEK cRos?EEPRESENi™<, vcntioual slgus, sylkbarics and alphabets, homo- wiNDs FRosi CARDINAL Tophs aud syuimorophs, and thclr rcspcctive mcans- ^'nakotaindians. ^^ interpretation. Among these he deals, notspe- Tenth Annual Report of the Bureau cifically wlth the Swastika, but lu geueraltcrms ofEihnoiogy, fie. 1555. wlth thc cross. Thcrcfore, by lookiug at ColoucI Mallery's work upon this chapter (p. 724), one is able to say negatively what has not been found. Apropos of the meanings of the cross among the North American Indians Count Goblet d'Alviella says:' It is nevertheless incontestable that the pre-Columbian cross of America is a "rose des vents," representing the four directions whence comes the rain, or the cardi- nal points of the compass, etc., etc. Colonel Mallery's volume shows that it meant many other things as well. The four tcinds.—The Greek cross is the form found by Colonel Mallery to be most common among the ISTorth American aborigines,, possibly because it is the simplest. In this the four arms are equal in length, and the sign placed upright so that it stands ou one foot and not on two, as does the St. Andrew's cross. The Greek cross (fig. 314} represents, among the Dakotas, the four winds issuing out of the four caverns in which souls of men existed before the incarnation of the human body. All the medicine men— that is, conjurors and magi- cians—recollect their previous dreamy life in these places, and the instructions then received from the gods, demons, and sages; they recol- lect and describe thriv preexistent life, but only dream and speculate as to the future life beyond the grave. The top of the cross is the cold, ' "La Migration des Symboles," p. 18. THE SWASTIKA. 935 all-conquering giant, tlie North Wind, most powerful of all. It is worn on the body nearest the head, the seat of intelligence and conquering devipes. Tlie left arm covers the heart; it is the East Wind, coming from the seat of life and love. The foot is the melting, burning South ^ ^ ^ -0- ■rig. 315. THE CROSS IN CONNECTION WITH THE CIRCLE. Snn symbols (?). Tenlli Annual Report of the Bureau of Ethnology, figs. HIS, 1120, 112B. Wind, indicating, as it is worn, the seat of fiery passion. The right arm is the gentle West Wind, blowing from the spirit land, covering the lungs, from which the breath at last goes out gently, but into unknown night. The center of the cross is the earth and man, moved by the conflicting influences of gods and winds. o Fig. 316. FIGURES OF CIRCLES AND KAYS PROBABLY EEPRESENTINQ SUN SYMBOLS. Tenth Annual Rtport of the Eiireaii of Ethnology, figs. 1118-1121, 112:1. Eev. John McLain, in his work on the "Blackfoot Sun-dance," says: On the sacred pole of the suu lodge of the Blood Indian is a bundle of small brushwood taken from the birch tree, which is placed in the form of a cross. This was an ancient symbol evidently referring to the four winds. 936 REPORT OF NATIONAL MUSEUM, 1894. Sun and star symbols. — Great speculation has been made, both in Europe and America, over the relation between the Swastika and the sun, because the two signs have been associated by primitive peoples. X? 4- ® ^ +x <7 / I-ig. 317. FinUKES OV CttOB-ES AND CIRCLES REPRESENTING STAR SYMBOLS. Oakley Springs, Ariz. Tenth Annual Report of the Bureau of Ethnology, fi^. ]l-'i>. Fig. 318. STAR SYMBOL. Circle and rays without cross. Oakley Springs, Ariz. Teuth Annual Report of the Bureau of Eth- nology, fig. 1129. Colonel Mallery gives the Indian signs for the sun, stars, and light.' These have been segregated, and it will be seen that the cross and circle are used indiscriminately for one and the other, >^A/ and the fact of the two being found associated is no evi /YV" dence of relationship in religious ideas (figs. 315-319). Dwellings. — Among the Hidatsa, the cross and the circle represent neither the sun nor any religious ideas, but merely lodges, houses, or dwellings. The crosses in fig. 319 represent Dakota lodges; the small circles signify earth lodges, the points representing the supporting poles. Buildings erected by civilized people were rep- resented by small rectangular figures, while the circles with dots iu a square represent earth lodges, the home of the Hidatsa. Dragonfly (Susheca). — Among some of the Indian tribes, the Dakotas among others, the Latin cross is found, i. e., ujiright with three members of equal length, and thefourth, the foot, much longer. The use of this sym- bol antedates the discovery of Amer- V j^ ica, and is carried back in tradition and myth. This sign signifies the mosquito hawk or the dragon fly (flg. 320). It is called in that language the "Susbeca," and is a supernatural being gifted with speech, warning man of danger, approacliing his ear silent- ly and at right angles, saying, "Tci," "tci," "tci," an interjection equivalent to "Look out!" "You are surely going to destruction!" "Look out!" " Tci," " tci," " tci ! " The adoption of the dragon fly as a mysterious and t 1 +I-I- Fig. 319. FIGURES OF CROSSES, CIRCLES, AND SQUARES REPRESENTING LODGES Dakota Indians. Tenth Animal Report of the Bureau of Ethnology, fig. 13(13. fi a. Kg. 320. LATIN CROSSES REPRESENT- ING THE DRAGON FLY. Dakota Indians. Teutli Ann. Rep. Bureau of Etliuology, 1888-89, figs. 1118-1129. THE SWASTIKA. 937 t ^h + Fig. 322 TiaURES OF CROSSES AS USED BY THE ESKIMO TO REPRE- SENT FLOCKS OF BIRDS. TeDth Annual Report of the Bureau of Ethnology, fig. 1228. Cat. Nos. 44211 and 45ttyo, U.S.N'. M. Fig. 321. DOUBLE CROSS OF SIX ARMS REPRESENTING THE DRAGON FLY. Moki Indiana, Arizona. Tenth Annual Re- port of the Bureau of Ethnology, 1165. fig- supernaturnal being is on account of its sudden appearance in numbers. In the still of the evening, when the shades of darltness come, then is heard in the meadows a sound as of crickets or frogs, but indistiuct and prolonged; ou the morrow the Susbeca will be hovering over it. It is the sound of their coming, but whence no one knows. The cross not only represents the shape of the insect, but a,lso the angle of its approach. It is variously drawn, but usually as in fig. 3'20 a or h, and, in painting or embroidery. €, and sometimes d. Fig. 321 is described in Ream's MS. as follows: This is a conventional design of dragon flies, and is often found among rock etchings throughout the plateau [Arizona]. The dragon flies have always heen held in great veneration by the Mokis and their ancestors, as they have been often sent by Oman to reopen springs which Mumgwa had de- stroyed and to confer other henefits upon the i)eople. This form of the figure, with little vertical lines added to the transverse lines, connects the Batol- atci with the Ho-bo-ho emblems. The youth who was sacrificed and translated by Ho-bo-bo reap- peared a long time afterwards, during a season of great drought, in the form of a, gigantic dragon fly, who led the rain clouds over the lands of Ho-pi-tu, bringing plenteous rains. Mide' or Shamans. — Colonel Mallery (or Dr. Hoffman) tells us (p. 726) that among the Ojibways of northern Minnesota the cross is oue of the sacred symbols of the Society of Mide' or Shamans and has special reference to the fourth degree. The building in which the initia- tion is carried on has its opeti- ing toward the four cardinal points. The cross is made of saplings, the upright poles approaching the height of four to six feet, the transverse arms beiug some- what shorter, each being of the same length as the top; the upper parts are painted white or besmeared with white clay, over which are spread small spots of red, the latter suggest- ing the sacred shell of Mide', the symbol of the order. The lower arm of the pole is square, the side toward the east being painted white to denote the soui-ce of light and warmth ; the face ou the south is green, de- noting the source of the thunder bird which brings the rains and vegetation; the surface toward the west is covered with vermilion, relating to the land of the setting sua, the abode of the dead; the north is painted black, as the direction from which comes affliction, cold, and hunger. Flocks of birds.— Gronps of small crosses on the sides of Eskimo bow *!r Fig. 323. PETKOQLYPH FROM TULARE VAL- LEY, CALIFORNIA. Large wliite Greeli cross. Tenth Annual Report of the Diireau of lith- nology, tig. I'-'eg. 938 <2-, f Fig. 324. PETEOGLYPHS FEOM OWENS VALLEY, CALIFORNIA. (a, h) Greek crosses, (c) double Latin cross, ((i-/) Latin crosses representing human figures. Tenth Anmi.ll Report of the Biirejin of E;hnology, fig. 1230. drills represent flocks of birds (Oat. Ifos. 45020 and 44211, U.S.N.M.), They are reproduced in fig. 322, Colonel Mallery's fig. 28, page 67, represents a cross copied from the Naj owe Valley group of colored pic- tographs, 40 miles, west of Santa Barbara, Santa Barbara County, Cal. The cross measured 20 O inches in length, the inte- ^Bfc| I rior being painted black ^IS0 I whiletheborder isof adark 2, I red tint. This design, as well as others in close con- nection, is painted on the walls of a shallow cave or rock shelter in the lime- stone formation. Fourteen miles west of Santa Bar- bara, on the summit of the Santa Ynez Mountains, is a cavern having a large open- ing west and north, in which are crosses of the Greek type, the interior portion being painted a dull earthy red, while the outside line is a faded-black tint. The cross measures nearly a foot in extent. At the Tulare Indian Agency, Cal., is an immense bowlder of granite. It has been split, and one of the lower quarters has beeu moved sufficiently to leave a passageway six feet wide and nearly ten feet high. The interior walls are well covered with large painted figures, while upon the ceilings are numerous forms of animals, birds, and insects. Among this latter group is a white cross about 18 inches in length (fig. 323), present- ing a unique appearance, for the reason that it is the only petroglypli in that region to which the white coloring matter has been applied. An interesting example of rock sculpturing in groui^s is in Owens Valley, south of Benton, Cal. Among them are various forms of crosses, and circles containing crosses of simple and complex types, The most interesting in this connection are the groups in fig. 324, a and &, The larger one, ff, occurs upon a large bowlder of tracite IG miles south of Benton, at the "Chalk grave." The circle is a depression about one inch in depth, the cross being in high relief The small cross &, found three miles north from this is almost identical, the arms of the cross, however, extending to the rim of the circle. In this locality occurs also the cross, c, same figure, and some examples having more than two cross arms. Human forms. — Other simple crosses represent the human form. T Fig. 325. CROSS IN ZIGZAS LINES REPRESENT- ING THE HUMAN FORM. Nav.^j^ Indians. THE SWASTIKA. 939 Fig. 326. MALTESE 0BOSS( ?) REPRESENTING A- WOMAN. The figure in the^ center is in- tended to indi- cate the breath. Some of these are engraved or cut on the rocks of Owens Valley and are similar to those above described (fig. 324), but they have been eroded, so that beyond the mere cross they show slight relation to the human body (fig. 324, d, e, /). Col. James Stevenson, describing the Hasjelti ceremony of the Navajoes,' shows the form of a man drawn iu the sand (fig. 325). Describing the character shown in fig. 326, Keam says: "The figure represents a woman. The breath is displayed in the interior.''^ Maidenhood.— Gonceruing fig. 327 Keam, iu his manu- script, says the Maltesi^ cross was the emblem of a virgin, and is still so recognized by the Moki. It is a conven- tional development of the common emblem of maiden- hood, wherein the maidens wear their hair arranged as in a disk three or four inches in diam,eter on each side of the head (fig. 327 b). This discoidal arrangement of the hair is typical of the emblem of friictiflcation worn by the virgin in the Muingwa festival. Sometimes the hair, instead of being worn in the complete discoidal form, is dressed upon two curving twigs, and presents the form of two semicircles upon each side of the head. The partition of these is sometimes horizontal, sometimes vertical. The combination of these styles {fig. 327a and b) present the forms from which the Maltese cross was conventionalized.'^ Shaman's spirit. — Among the Kiat<§xamut and Innuit tribes, a cross placed on the head, as in fig. 328, signified a shaman's evil spirit or demon. This is an imaginary being under the control of the shaman to execute his wishes.'' Divers significations. — The fig- ure of the cross among the North American Indians, says Colonel Mallery,' has many differing sig- nifications. It appears "as the tribal sign for Cheyenne" (p. 383); "as Dakota lodges" (p. 582); "as a symbol for trade or exchange" (p. 613); "as a conventional sign for prisoners" (p. 227); "for personal exploits while elsewhei-e it is used in simple enumeration " (p. 348). Although this device is used for a variety of meanings when it is employed ceremonially or in elaborate pictograjjhs of the Indians both of North and South America, it represents the four winds. This view long ago was suggested as being the signification of inaiiy Mexican crosses, and it is K^ Fig. 327. MALTESE AND SAINT ANDREW'S CROSSES. ^ Emblems of maiclenhood. Molci Indians. Fig. 328. CROSS WITH BIFURCATED- FOOT. Used by the- InnuiU to represent a sbaman or evil spirit. ' Eighth Ann. Rep. Bureau of Ethnology, p. 283. •^ Tenth Ann. Kep. Bureau of Ethnology, 1888-89, fig. 1165. 'Ibid., fig. 1232. 'Ibid., fig. 1231. 6 Ibid., p. 729. 940 REPORT OF NATIONAL MUSEUM, 1894. sustained by Prof. Cyrus Thomas in Lis " Notes on Mayan Mexican Manuscript,"' where strong confirmatory evidence is produced by the arms of the crosses having the appearance of conventionalized wings similar to some representations of the thunder bird of the northern tribes; yet the same author, in his ])aper on the study of the "Troano Manuscript,"^ gives flg. 329 as a symbol for wood, thus further showing the manifold concepts attached to the general form of the cross. Ban- delier thinks that the cross so frequently used by the aborigines of Mexico and Central America were merely ornaments and not objects of worship, while the so-called crucifixes, like tbat on tlie Palenque tablet, were only the symbol of the "new fire," or the close of the period of fifty-two years. He believes them to be representations of the fire drills more or less ornamented. Zamacois^ says that the cross was used in the religion of various tribes of the peninsula of Yucatan, and that it represented the god of rain. It is a favorite theory with Major Powell, Director of the Bureau of Ethnology, thatthecross was an original inven- tion of the North Amer can Indian, possibly a sigu com- mon to all savages; that it represented, first, the four cardinal points, north, south, east, and west; and after- wards by accretion, seven points, north, south, east, west, '^■^"^' zenith, nadir, and here. '^I'^rr^'^ Capt. John G. Bourke, in his paper on the "Medicine CROSSES, USED ^ Til AS A SYMBOL Mcu of the Apache"* discourses on their symbolism of the FOR WOOD. cross. He says it is related to the cardinal points, to the Tenth Anuual Rcj-. .-. j. 'jti • i i • ponoEtheB.,™,, tour Winds, and is painted by warriors on their moccasins of jihnoiogy, «e. -^-jjen going through a strange district to keep them from getting on a wrong trail. He notes how he saw, in October, 188+, a procession of Apache men and women bearing two crosses, 4 feet 10 inches long, appropriately decorated "in honor of (Juzanutli to induce her to send rain." Dr. Brinton'' tells of the rain maker of the Lenni Lenape who first drew on the earth the figure of a cross. Captain Bourke quotes from Father Le Clerq" as to the veneration in which the cross was held by the Gaspesian Indians, also from Herrara to the same effect. Profes- sor Holmes'' makes some pertinent observations with regard to the meanings of the cross given by the American Indians: Some very ingenious theories have been elaborated in attempting to account for the cross .among American symbols. Brinton believes that the great importance attached to the points of the compass — the four quarters of the heavens — by savao-e ' Second Ann. Rep. Bureau of Ethnology, p. 61. ^Contrib. North American Ethnology, v, p. 144. ' " Historia de Mexico," i, p. 238. , ■•Ninth Ann. Rep. Bureau of Ethnology, 1887-88, p. 479. » "Myths of the New World," p. 96. 6 '-'Gaspesi," London, 1691, pp. 170, 172, 199. ' Second Ann. Rep. Bureau of Ethnology, 1880-81, p. 270. THE SWASTIKA. 941 . Fig. 330. GEAPHIO DELINEATION OF ALLIQATOK. From a Taae of the lost color group. Chiriqul. sixth Annual Report of the Bureau o£ Ethnology, fig. 257. peoples, has given rise to the sign of the cross. With others, the cross is a phallic symbol derived, by some obscure process of evolution, from the veneration accorded to the procreative principle in nature. It is also frequently associated with sun wor- ship, and is recognized as a symbol of the sun — the four arms being remaining rays after a gradual process of elimination. Whatever is finally determined in reference to the origin of the cross as a religious symbol iu America will probably result from exhaustive study of the history, language, and art of the ancient peoples, combined with a thorough knowledge of the religious conceptions of modern tribes, and when these sources of information are all exhausted it is probable that the writer who asserts more than a probability will overreach his proofs. * * * A study of the de- signs associated with the cross in these gorgets [figs. 302-304] is instructive, but does not lead to any definite result; in one case tlie cross is inscribed on the back of a great spider [figs. 275-278] ; in another it is surrounded by a rectangular frame- work of lines, looped at the corners and guarded by four mysterious birds [figs. 263- 266], while iu others it is without attendant characters, but the workmanship is purely aboriginal. I have not seen a single example of engraving upon the shell that suggested a foreign hand, or a design, with the exception of this one [a cross], that could claim a European derivation. * • * Such delineations of the cross as we find embodied in ancient aboriginal art, represent only the final stages of its evolution, and it is not to be expected that its origin can be traced through them. Continuing iuhis "Ancient Art in Chiriqui,"i presenting his " Series showing stages in the simplification of animal characters," and " deri- vation of the alligator," Professor Holmes elaborates the theory how the alligator was the original, and ont of it, by evolution, grew the cross. His langua'ge and accompanying figures are quoted : Of all the animal forms utilized by the Chiriquians, the alli- gator is the best suited to the purpose of this study, as it is presented most fre- quently and in the most varied forms. In figs. 257 and 258 [figs. 330 and 33 1 in the present paper] I reproduce drawings from the outer surface of a tripod bowl of the lost color group. Simple and formal as these figures are, the characteristic features of the creature— the sinnons body, the strong jaws, the upturned snout, the feet, and the scales— are forcibly expressed. It is not to be assumed that these examples represent the best delinea- tive skill of the Chiriquian artist. The native painter mus£ have executed very 1 Sixth Ann. Rep. Bureau of Ethnology, p. 173 et seq., figs. 257-278. Fig. 331. GEAPHIO DELINEATION OP ALLIGATOE. , From a vase of the lost color group. Chiriqni. Slitli Annual Report of the Bureau of Ethnology, fig. 268. 942 REPORT OF NATIONAL MUSEUM, 1-94. Fig. 332. CONVENTIONAL FIQUKB OF ALLISATOE. From a vessel of the lost color group. Chiriqui. Sixth Annual Report of the Bureau of Ethnology, fig. Ssy. much superior work upon the more usual delineating surfaces, such as hark and skins. The examples here shown have already experienced decided changes through the constraints of the ceramic art, hut are the. most graphic delineations preserved to us. They are free-hand products, executed hy mere decorators, perhaps hy women, who were servile copyists of the forms employed hy those skilled in sacred art. A third illustra- tion from the same group of ware, given in fig. 259 [fig. 332 of the present paper] shows, in some re- spects, a higher degree of conven- tion. * * * I shall now call attention to some important individ- ualized or well - defined agencies of convention. First, and most potent, may he mentioned the enforced limits of the spaces to he decorated, which spaces take shape independently of the suhject to be inserted. When the figures must occupy a narrow zone, they are elongated ; when they must occupy a square, they are restricted longitudinally, and when they occupy a circle, they are of necessity coiled up. Fig. 265 [fig. 333 of the present paper] illustrates the effect produced hy crowding the ohlong fig- ure into a short rectangular space. The head is turned hack over the hody and the tail is thrown down along the side of the space. In fig. 266 [fig. 334 of the present paper] the figure occupies a circle and is, in consequence, closely coiled up, giving the effect of a serpent rather than an alli- gator. * * " I present five series of figures designed to illus- ^^^^ trate the stages through ^^ *1^^V which life forms pass in de- f ti ^^ _ \ scending from the realistic to I Mut^^^ I l'is''ly specialized conven- l \V^#^ J tional shapes. In the first \ ^^^ ^ series (fig. 277) [fig. 335 of the present paper] we begin with a, ^^^^^,^r a meager hut graphic sketch of the alligator; the second figure, b, is hardly less characteristic, but is mucli simplified; in the third, c, we have still three leading features of the creature — the body line, the spots, and the stroke at the hack of the head ; and in the fourth, d, nothing remains hut a compound yoke-like curve, standing for the body of the creature, and a single dot. The figures of the second series (fig. 278) [fig. 336 of the present paper] are nearly all painted upon low, round uodes placed about the body of tlie alligator vases, aud hence are The animal figure in the first example is coiled up like a serpent [fig. 334], hut still preserves some of the well-known characters of the alligator. In the second example [fig. 336 6] we have a double hook near the center of the spaice which takes'the place of the hody, hut the dotted triangles are placed sepa- rately against the encircling line. In the next figure the body symbol is omitted and rig. 333. CONVENTIONAL FIGURE t)F ALLIGATOR CROWDED INTO A SMALL GEOMETRICAL FIGURE. Cliirlqui. Sixth Annual Report of the Bureau of KthnoIo.^y, tig. Fig. 334. CONVENTIONAL FIGUBE OF ALLIGAT OB CROWDED INTO A #111- CLE. Cbiriqui. Sixth Annual Report of the Bureau of Ethnology, fig. see. inclosed in circles. THE SWASTIKA. 943 the three triangles remain to represent the animal. In the fourth there are four trian- gles, and the body device being restored in red takes the form of a cross. In the fifth two of the inclosing triangles are omitted and the idea is preserved by the simple dots. In the sixth the dots are placed within the bars of the cross, the triangles becoming mere interspaces, and in the seventh the dots form a line between the two encircling lines. This series could be iilled up by other examples, thus showing by Kg. 335. SERIES OF FIGURES OF ALLIGATORS SHOWING STAGES OF SIMPLIFICATION. Chiriqui. Sixth Aniiual Report of the Bureau of Ethnology, fi^. '-'<'. what infinitesimal steps the transformations take place. * * *• We learn by the series of steps illustrated in the annexed cuts that the alligator radical, under peculiar restraints and influences, assumes conventional forms that merge imperceptibly into these classic devices. Professor Holmes's theory of the evolution of the cross from the alli- gator and its location in Chiriqui is opposed to th9,t of Professor Grood- •1 n i*\ y e / 9 Fig. 336. SERIES SHOWING STAGES IN THE SIMPLIFICATION OF ANIMAL CHARACTERS, BEGINNING WITH THE ALLI- GATOR AND ENDING WITH THE GREEK CROSS. Chiriq^ui. Sixth Annual Report of the Bureau oE Ethnology, lig. 27«. year, who, in his "Grammar of the Lotus," ascribes the origin of the cross to the lotus and locates it in Egypt. I file what in law would be an "interpleader" — I admit my want of knowledge of the subject under discussion, and leave the question to these gentlemen. 944 REPORT OF KATIONAL MUSEUM, 1894. INTRODUCTION OF THE CROSS INTO AMERICA. Professor Holmes is, in the judgment of the author, correct when he insists upon the aboriginal character of the cross in America. We all understa,n(l how it is stated that the Spanish missionaries sought to deny this and to connect the apparition of St. Thomas with the appear- ance of the cross. Professor Holmes^ says: The first explorers were accompanied by Christian zealots \(ho spared no effort to root out the native superstition and introduce a foreign religion of which the cross was the all-importaut symbol. This emblem was generally accepted by the savages as the only tangible feature of a new system of belief that was filled with subtleties too profound for their comprehension. As a result, the cross was at once introduced into the regalia of the natives, at first probably in a European form and material, attached to a string of beads in precisely the manner they had been accustomed to suspend their own trinkets and gorgets; but soon, no doubt, delineated or carved by their own hands upon tablets of stone and copper and shell in the place of their own peculiar conceptions. There is sufficient evidence, and to spare, of the aboriginal use of the cross in some of its forms, without resorting to the uncertain and forced explanation of its introduction by Christian missionaries. It is possi- ble that the priests And explorers were, like Colonel Mallery's mission- ary, mistaken as to the interpretation given to the cross by the Indians. Dr. Hoffman, in his paper on the "Mide'wiwin or Grand Medicine Society of the Ojibwa,"^ states the myth of the re-creation of the world "as thrown together in a mangled form by Hennepin." Dr, Hoffman observes : It is evident that the narrator has sufficiently distorted the traditions to make them conform as much as practicable to the Biblical story of the birth of Christ. And on the same page he quotes fromPere Marquette, who says: "I was very glad to see a great cross set up in the middle of the village, adorned with several white skins, red girdles, bows, and arrows, which that good people offered to the Great Manitou to return him their thanks for tlie care he had taken of them during the winter, and that he had granted them a prosperous hunting." Marquette [comments Dr. Hoffman] was, without doubt, ignorant of the fact that the cross is the sacred post, and the symbol of the fourth degree of the Mide'wiwin, as is fully explained in connection with that grade of society . The erroneous conclu- sion that the cross was erected as an evidence of the adoption of Christianity and, possibly as a compliment to the visitor was a natural one on the part of the priest, but this same symbol of the Mide' society had probably been erected and bedecked with barbaric emblems and weapons months before anything was known of him. Most aboriginal objects bearing crosses are from localities along the Ohio Eiver and through Kentucky and Tennessee, a locality which the early Christian missionaries never visited, and where the cross of Christ was rarely, if ever, displayed until after that territory became part of the United States. Per contra, the localities among the Indians in which the early missionaries most conducted their labors — that is to say, along the Great Lakes and throughout northern ' Second Ann. Rep. Bureau of Ethnology, p. 269. 2 Seventh Ann. Rep. Bureau of Ethnology, p. 155. THE SWASTIKA. 945 Illinois— produce the fewest number of aboriginal crosses. This was the country explored by Fathers Marquette, Lasalle, and Hennepin, and it was the scene of most of the Catholic missionary labors. Pro- fessor Holmes seems to have recognized this fact, for he says:' The cross was undoubtedly used as a symbol by the prehistoric uatious of the South, and, consequently, that it was probably also known in the Korth. A great majority of the relics associated with it in the ancient mounds and burial places are undoubtedly aboriginal. In the case of the shell gorgets, the tablets them- selves belong to an American type, and are highly characteristic of the art of the Mississippi Valley. A majority of the designs engraved upon them are also charac- teristic of the same district. The author agrees heartily with Professor Holmes's argument in this matter, and Ms conclusion, when he says of these objects (p. 270) : The workmanship is purely aboriginal. I have not seen a single example of engraving upon shell that suggested a foreign hand or a design, with the exception of one (cross), that could claim a European derivation. There have been numerous European or Catholic crosses, as well as many other objects of European manufacture or objects of civilized types, found among the Indians. There have been silver crosses found with images of the Virgin thereon, 'sv ith Latin inscriptions, or of Eoman letters; there have been glass beads, iron arrowheads, and divers other objects found in Indian graves which bore indubitable evidence of con- tact with the whites, and no one with "any archaeological experience need be deceived into the belief that these were aboriginal or pre- Qolumbian manufacture. As a general rule, the line of demarkation between objects of Indian manufacture and those made by the whites is definite, and no practicted eye will mistake the one for the other. There may be exceptions, as where the Indian has lived with the whites or a white man with the Indians, or where an object is made with intent to deceive. In such cases one may have more trouble in determining the origin of the object. There were many Indians who died and were buried within a century past, whose graves might contain many objects of white man's work. Black Hawk and Eed Jacket are examples, and, possibly. King Philip. Indian graves have been opened iii New England and New York con- taining the gun or firelock of the occupant of the grave buried with him, and that this was evidence of European contact there can be no doubt. So there have been hundreds, possibly thousands, of Indians buried since the Columbian discovery down to within the last decade whose graves contain white man's tools or implements. But no person with any archaeological experience need be deceived by these things. The theory that the Latin or G-reek crosses or Swastikas shown on these gorgets, disks, and pottery furnish evidence of contact by the aborigines with Europeans in post-Columbian times is without foun- dation and inadmissible. 1 Second Ann. Eep. Bureau of Ethnology, p. 269. H. Mis. 90, pt. 2 60 946 REPORT OF NATIONAL MUSEUM, 1894. DECORATIVE FORMS NOT OF THE CROSS, BUT ALLIED TO THE SWASTIKA. COLOR STAMPS PROM MEXICO AND VENEZUELA. The aborigines of Mexico and Central and South America employed terra-cotta color stamps, which, being made into the proper pattern in Kg. 341. Fig. 342. TBBBA-COTTA (JOLOB STAMPS WITH DESIGNS SIMILAR TO THE SWASTIKA. Mexico. Cat. Nob. 9i)124, 99127, 27887, 99116, 99118, 99i:'i, V. S. N. !\1, the soft clay, were burned hard ; then, being first coated with color, the stamp was pressed upon the object to be decorated, and so transferred THE SWASTIKA. 947 its color, as in the mechanical operation of printing, thus giving the intended decoration. Patterns of these stamps, are inserted in this paper in connection with the Swastika because of the resemblance — not in form, but in style. They are of geometric form, crosses, dots, circles (concentric and otherwise), lozenges, chevrons, fret, and labyrinth or meander. The style of this decoration lends itself easily to the Swas- tika; and yet, with the variety of patterns contained in the series of stamps belonging to the U. S. National Museum, shown in figs. 337 to 342, no Swastika appears; nor in the similar stamps belonging to other collections, notably that of Mr. A. E. Douglass, in the Metropolitan Museum of Natural History, Central Park, New York, are auy Swas- tikas shown. Of the foregoing figures, all are from Tlaltelolco, Mexico (Blake collec- tion), except fig. 339, which is from the Val- ley of Mexico, and was received from the Mu- seo Nacional of Mexico. Marcano says: ' The present Piaroas of Venezuela are in the habit of painting their bodies by a process difierent from that of the North American Indian. They make stamps of wood, which, being col- ored (as types are with ink ), they apply to their bodies. Fig. 982 shows examples of these stamps. [See fig. 343 of the present paper.] The designs are substantially the same as some petroglyphs. They either copied the models they found carved on the rocks by peoples who preceded them, or they knew the meaning and preserved the tradition. The former is the only tenable hypothesis. Painting is to the Piaroas both ornamentation and necessity. It serves, not only as a garment to protect them against insects, but becomes a fancy costume to grace their feasts and meetings. These designs are not presented as Swastikas nor of any evolution or derivation from one. They show a style common euouglrto Central and South America, to the Antilles and the Canary Islands,'* which might easily produce a Swastika. The aboriginal designer of these might, if we depend upon the theory of psychological similarity of cul- ture among all peoples, at his next attempt make a Swastika. Yet, with the hundreds of similar patterns made during the centuries Of aboriginal occupation and extending throughout the countries named, none of these seem ever to have produced a Swastika. 'Mem. Soo. d'Anthrop., Paris, 1890, p. 200. ^De Quatrefages, "Histoire G^n(5rale du Eaces Humaines,'' Introduction, p. 239, £g8. 185-191, 193-194. Fig. 343. TERRA-COTTA COLOB STAMPS WITH DESIGNS SIMILAR TO THE SWASTIKA. Piaroa Indiana, Venezuela. Tenth Annual Report of the Bureau of Ethnology, fig. 982. 948 REPORT OF NATIONAL MUSEUM, 1894. V. — Significance of the Swastika. The origin and early history of the Swastika are lost in antiquity. All the author has been able to find on these subjects is set forth in tlie preceding chapters. It is proposed to examine the possible uses of the Swastika in an endeavor to discover something of its significance. The Swastika might have served : I. As a symbol — 1> of a religion, 2, of a nation or people, 3, of a sect with peculiar tenets; II. As ail amulet or charm — 1, of good luck, or fortune, or long life, 2, of benediction, or blessing, 3, agaJDst the evil eye; III. As an ornament or decoration. It may have been (1) originally discovered or invented by a given people in a given country, and transmitted from one generation to the next, passing by migration from one country to another, and it may have been transmitted by communication to widely separated countries and among differently cultured peoples; or (2) it may have appeared in these latter countries by duplicate invention or by accident, and without contact or communication. Positive evidence concerning its origin and earliest migration is not obtainable, and in its absence we are driven to secondary and circum- stantial evidence. This will consist (1) ofcomparisnn of known facts directly concerning the subject; (2) of facts indirectly concerning it, and (3) reason, induced by argument, applied to these facts, presenting each truly, and giving to each its proper weight. The ijossible migrations of the Swastika, and its appearance in widely separated countries and among differently cultured peoples, afford the principal interest in this subject to archaeologists and anthropologists. The present or modern scientific interest in and investigation of the Swastika as a symbol or a charm alone are subsidiary to the greater question of the cause and manner of its appearance in different coun- tries, whether it was by migration and contact or by independent inven- tion. In arguing this question, we must keep continually in mind the rules of reason aud of logic, and neither force the facts nor seek to explain them by unknown, imaginary, or impossible methods. There must be no dogmatic assertions nor fanciful theories. If we assume certain migrations of the Swastika, we must consider those things which might have (or must have) migrated with it; and we must admit the means necessary to the assumed end. The history of the beginning and first appearance of any of the foims of the cross is also lost in antiquity, and it would be hazardous for any jjerson to announce positively their origin, either as to locality THE SWASTIKA. 949 or time. The Swastika was certainly i^rehistoric in its origin. ' It was in extensive use during the existence of the third, fourth, and fifth cities of the site of ancient Troy, of the hill of Hissarlik; so also in the Bronze Age, apparently during its entire existence, throughout -western Europe from the Mediterranean Sea to the Arctic Ocean. It continued in use in Europe during the Iron Age, and also among the Etruscans, Greeks, and Trojans. The name " Swastika," by which it is recognized to-day in all literature, is a Sanscrit word, and was in com- mon use among the Sanscrit peoples so long ago that it had a peculiar or individual pronunciation in Panini's grammar prior to tlie fourth century B. C. Some authorities are of the opinion that it was an Aryan symbol and used by the Aryan peoples before their dispersion through Asia and Europe. This is a fair subject for inquiry and might serve as an explanation how, either as a sacred symbol or charm, an amu- let, or token of good wishes or good fortune, the Swastika might have been carried to the different peoples and countries in which we now find it by the splitting up of the Aryan peoples and their migrations and establishment in the various parts of Europe. Professor Sayce is of the opinion that the Swastika was a Hittite symbol and passed by communication to the Aryans or some of their important branches Ijefore their final dispersion took place, but he agrees that it was nnknown in Assyria, Babylonia, Phenicia, or among the Egyjitians. Whether the Swastika was in use among the Chaldeans, Hittites, or the Aryans before or during their dispersion, or whether it was used by the Brahmins before the Buddhists came to India is, after all, but a matter of detail of its migrations; for it may be fairly contended that the Swastika was in use, more or less common among the people of the Bronze Age anterior to either the Chaldeans, Hittites, or the Aryans. The additional facts in this regard have been set forth in the chapter on this subject, and need not be repeated here. The question should, so far as possible, be divested of speculation, and the evidence accepted in its ordinary meaning "without prejudice or preconceived opinion." A consideration of the subject in the light of the material here col- lected develops the following questions : (1) Was the Swastika, in any of its forms, the symbol of an ancient religion or philosophy, or was it only the sign of a particular sect, tenet, faith, or idea; or was it both ? (2) Was it a charm or amulet to be used by anyone which derived its value from the signification given to it'^ (3) What lesson can be gathered from it concerning the early migra- tions of the races of man ? Examples illustrating these questions are to be found in history as -well as in everyday life. The Scaraba^us of Egypt and Etruria was a symbol of eternity. The golden hoop on the lady's finger represent- ing a snake swallowing its tail, is also a symbol of eternity. These 950 KEPORT OF NATIONAL MUSEUM, 1894. represent a sentiment, and are symbols of that sentiment witbout regard to sect or organized body. On the other hand, the Maltese cross was the symbol of the Knights, of Malta, and has become, in later years, that of the Masonic fraternity }. ■while the three linlis is the symbol of the Order of Odd Fellows. The Latin cross is a symbol of the Christian religion and, to a certain extent, of a Christian denomination. Upon the evidence submitted, we must accept the Swastika first as a symbol of that sect of Jains within the Buddhist Church originally in Tibet, which spread itself in the Asiatic country under the names of Tao-sse, Tirthankara, Ter, Musteg, and Pon or Ponpo, the last signifying purity (ante, p. 774). This sect, or these sects, adopted the Swastika as their symbol, giving it the translation su ''well," asti, "it is," the whole word meaning "it is well," or " so be it," implying resignation under all circumstances, the sect holding, in accordance with the mean- ing given to their symbol, that contentment and peace of mind were the chief objects of human life. In so far as it concerns this sect, the Swastika was a symbol of both kinds. It represented a religious or at least a moral and philosophic idea, and also the sect which held to this idea. Among the Buddhists proper, the Swastika seems to have been employed as a holy or sacred symbol; its occurrence as one of the signs in the footprint of Buddha, their founder, with some relation either to the mystery of his appearance as a leader, a missionary, or of the holy and sacred object of his mission, causes this to be inferred. Their use of it on the bronze statues of Baddha, and associating it with solemn inscriptions in the caves of India, leaves no doubt as to its use as a symbol more or less of this character. Again, the use in the early Christian times of dift'erent forms of the cross, coupled with the extensive use by the Christians of the "mono- gram of Christ" (fig. 6), shows how naturally there may have been a conflict of opinion in the selection of a cross which, should be a repre- sentative, while j^^e know from history that there was such discussion, and that different forms of the cross were suggested. Among other forms was the Swastika, but to what extent or with what idea the author is not informed. The Swastika was used, Burnouf says, a thousand times on Christians' tombs in the catacombs at Eome. This is evidence of its use to a certain extent in a sacred or solemn and funereal character, which would signify its use as the symbol of a religious idea. Beyond these instances the author is unable to find evidence of tne Swastika having served as a symbol of any religious or philosophic idea or of any sect or organization. Whether among the Bronze Age people of western Europe — among the Trojans, Greeks, or Etruscans — whether among the semicivilized peoples of South or Central America, or among the savages (mound- THE SWASTIKA. 951 builders) of North America, tliere is apparently no instance of the Swastika having been regarded as holy or used on a sacred object- that is, holy and sacred in the light of godliness, piety, or morality. It may have been or may yet be discovered that some of these wild men used the Swastika upon objects serving at ceremonies or festivals of their religion, or which had, in their eyes, a semi-sacred character. But it does not seem thab it was used as a representative of a holy idea or of any god or supernatural being who stood for such an idea. The meal used iu the Zuui ceremony may have been regarded as sacred, and it may, indeed must, have been made on a stone metate, yet neither the metate nor the stone thereby obtained any holy or sacred character. So, also, it may have been decorated with a fret, chevron, herringbone, or any of the numerous styles, none of which would receive any sacred character from such use. So it is believed to have been with the Swastika found on these objects; it was not holy or sacred because of this use. The author declines to discuss the possible relation of the Swastika to the sun or sun god, to the rain or rain god, the lightning, to Dyaus, Zeus or Agni, to Phebus or Apollo, or other of the mythological dei- ties. This question would be interesting if it could be determined with certainty, or if the determination would be accepted by any considera- ble number of persons. But this is left for some one more competent and more interested than the author. The most probable use of the Swastika among prehistoric peoples, or among Orientals other than the Buddhists, was as a charm or amulet signifying good fortune, good luck, long life, or benediction and bless- ing.i (See p. 780.) Looking over the, entire prehistoric world, we find the Swastika used on small and comparatively insignificant objects, those iu com- mon use, such as vases, pots, jugs, implements, tools, household goods and utensils, objects of the toilet, ornaments, etc., and infrequently on statues, altars, and the like. In Armenia it was found on bronze pins and buttons; in the Trojan cities on spindle- whorls; in Greece on pot- tery, on gold and bronze ornaments, and fibulae. In the Bronze Age in western Europe, including Etruria, it is found on the common objects of life, such as pottery, the bronze fibulae, ceintures, spindle- whorls, etc. In addition to the foregoing, there were peculiar uses of the Swastika in certain localities: In Italy on the hut urns in which the ashes of the dead are buried; iu the Swiss lakes stamped in the pottery; in Scandi- navia on the weapons, swords, etc., and in Scotland and Ireland o* the brooches and pins; in America on the metates for grinding corn; the Brazilian women wore it on the pottery fig leaf; the Pueblo Indian painted it on his dance rattle, while the North American Indian, at the epoch of the mound building in Arkansas and Missouri, painted it in spiral form on his pottery ; in Tennessee he engraved it on the shell, and ■ Goblet d'Alviella, "La Migration des Symboles," pp. 56, 57. 952 REPORT OF NATIONAL MUSEUM, 1894. in Ohio cut it in its plainest normal form out of sheets of copper. So also among the modern Indians we find it employed on occasions of ceremony, as in the mountain chant by the ISTaviijoes, and the war chant of the Kansas, on the necklace and ceremonial garters of the Sac woman, and on the war shields of the Pimas. As we do not iind it represented in America on aboriginal religious monuments, on ancient gods, idols, or other sacred or holy objects, we are justified in claiming that it was not here lised as a religious symbol; while, as it is found only on trinkets, shells, copper plaques, spindle- whorls, inetates, pottery bowls, jugs, bottles, or vases; as we find it sometimes square, sometimes spiral, now outside, now inside, of bowls and jars, etc. ; at one time a small rectangular figure and at another of extensive convolutions covering the side of the vase; as we find it on the tools of the workmen, the objects in everyday use, whether in the house or the shop, used indiscriminately by men and women, or on gaming implements or dance rattles, the contention seems justifiable that it was used as an ornament or as a charm for good luck and not as a religious symbol. Yet we know it was used on certain ceremonial occasions which may themselves have had more or less a sacred char- acter. Thus, after the fullest examination, we find the Swastika was confined to the commoner uses, implements, household utensils, and objects for the toilet and personal decoration. The specimens of this kind number a hundred to one of a sacred kind. With this preponderance in favor of the common use, it would seem that, except among the Buddhists and early Christians, and the more or less sacred ceremonies of the North American Indians, all pretense of the holy or sacred character of the Swastika should be given up, and it should (still with these exceptions) be considered as a charm, amulet, token of good luck or good fortune, or as an ornament and for decoration. YI. — The Migeation of Symbols. MIGRATION OF THE SWASTIKA. The question of the migration of the Swastika and of the objects on which it was marked, which furnished its only means of trajisportation, lemains to be considered. It is proposed to examine, in a cursory manner jjerhaps, not only the migration of the Swastika itself, but souif of these objects, spindle whorls especially, with a view to dis- co\ er by similarity or peculiarity of form or decoration any relationship they may have had with each other when found in distant countries and used by different peoples. Thus, we may be able to open the way to a consideration of the question whether this similarity of Swastikas or other decorations, or of the objects on which they were placed, resulted from the migration of or contact or communication between THE SWASTIKA. 953 distant peoples, or was it accidental and the result of independent dis- coveries and duplicate inventions — an evidence of the parallelism of human thought? Dr, Brinton, in a communication before the American Philosopliical Society,' starts out with a polemical discussion upon the subject of the migration of the Swastika and its possible American migration, as follows : My intention is to combat tbe opinion of those writers who, lilie Dr. Hamy, M. Beauvois, and many others, assert that because certain well-known Oriental sym- bols, as the Ta Ki, the Triskeles, the Svastika, and the cross, are found among the American aborigines, they are evidence of Mongolian, Buddhistic, Christian, or Aryan immigrations previous to the discovery by Columbus, and I shall also try tft show that the position is erroneous of those who, like William H. Holmes, of the Bureau of Ethnology, maintain "that it is impossible to give a satisfactory expla- nation of the religious significance of the cross as a religious symbol in America." In opposition to both these views, I propose to show that the primary significance of all these widely extended symbols is quite clear, and that they can be shown to have arisen from certain fixed relations of man to his environment, the same every- where, and hence suggesting the same graphic representations among tribes most divergent in location and race, and, therefore, that such symbols are of little value in tracing ethnic affinities or the currents of civilization. I am sorry to be compelled to differ with Dr. Brinton in these views. I may not attemj)t much argument upon this branch of the subject, but whatever argument is presented will be in opposition to this view, as not being borne out by the evidence. Of course, the largest portion of the discussion of this subject must consist of theory and argu- meut, but such facts as are known, when subjected to an analysis of reason, seem to produce a result contrary to that announced by Dr. Brinton. It is conceded that the duplication of the cross by different or distant peoples is no evidence of migrations of or contact between these peoples, however close their relations might have been. The sign of the cross itself was so simple, consisting of only two marks or pieces intersecting each other at a right or other angle, that we may easily suppose it to have been the result of independent invention. The same conclusion has been argued with regard to the Swastika. But this is a non sequitur. ^ First, I dispute the proposition of fact that the Swastika is, like the cross, a simple design— one which would come to the mind of any person and would be easy to make. For evidence of this, I cite the fact that it is not in common use, that it is almost unknown among Christian peoples, that it is not included in any of the designs for, nor mentioned in any of the modern European or American works on, decoration, nor is it known to or practiced by artists or decorators of either country .^ For the truth of this, I appeal to the experience of artists and decora- I Proc. Am. Philosoph. Soc, xsvi, p. 177. spor general lack of knowledge of Swastika in modern times, see Preface, p. 763. 954 REPORT OF NATIONAL MUSEUM, 1894. tors, and would put the question whether, of their own knowledge, by their own inventions, they have ever discovered or made Swastikas, or whether their brother artists have done so, and if they answer in the afiSrmative, I would ask whether those cases were not rare. It maybe granted that when the Swastika has been seen by an artist or decorator it is easily understood and not difficult to execute, but, nevertheless, I insist that its invention and use among artists and decorators during the centuries since the Kennaissance is rare. It is argued by Zmigrodzki that the Swastika on so many specimens, especially the Trojan spiudle-wliorls, having been made regularly, some- times turning one way, sometimes another, sometimes square, other times curved, goes to show the rapidity with which the sign was made, that it did not require an artist, that its use was so common that it had become a habit and was executed in a rapid and sketchy manner, as evi- denced by the appearance of the marks themselves upon the whorls. He likens this to the easy and unconsidered way which men have of signing their names, which they are able to do without attention. He likens it also to the sign of the cross made by Roman Catholics so rapidly as to be unnoticed by those who are unaware of its significance. With this line of argument, Zmigrodzki reasons that the Swastika was in its time confined to common use and thus he accounts for the num- ber of ill-formed specimens. This only accounts for the comparatively few ill formed specimens, but not for the great number, the mass of those well formed and well drawn. Instead of the Swastika being a sign easily made, the experience of the writer is the contrary. A simple cross like the Latin, Greek, St. Andrew's, and other. common forms may be very easy to make, but a really good specimen of the Swastika is diflicult to make. Any one who doubts this has only to make the experiment for himself, and make correctly such a specimen as fig. 9. While it may be easy enough to make the Greek cross with two lines of equal length intersecting each other at right angles, and while this forms a large proportion of the Swastikas, it is at its conclusion that the trouble of making a perfect Swastika begins. It will be found difiScult, requiring care and attention, to make the pro- jecting arms of equal length, to see that they are all at the same angle; and if it is bent again and again, two or three turns upon each other, the difficulty increases. If a person thinks that the Swastika, either in the square or the ogee curves or the spiral volutes, is easy to make, he has but to try it with paper and pencil, and, if that is his first attempt, he will soon be convinced of his error. The artist who drew the spirals for this paper pronounces them to be the most difficult of all; the curves are parabolic, no two portions of any one are in the same circle, the circle continually widens, and no two circles nor any two portions of the same circle have the same center. To keep these lines true and parallel, the curve regular, the distances the same, and at the same time sweeping outward in the spiral form, the artist pro- THE SWASTIKA. 955 nounces a most difficult work, requiring care, time, and atteutiou (fig. 295). Even the square and meander Swastikas (figs. 10, 11) require a rule and angle to make them exact. All this goes to show the intention of the artist to have been more or less deliberate; and that the object he made was for a special purpose, with a particular idea, either as a symbol, charm, or ornament, and not a meaningless figure to fill a vacant space. Yet it is practically this difficult form of the cioss which appears to have spread itself through the widest culture areas, extending almost to the uttermost parts of the earth. All this is foundation for the suggestion that the Swastika was not the result of duplicate invention or indepeadeut discovery, that it is not an ilhistration of parallelism in human thought, but that it was transmitted from person to person^ or passed from one country to another, either by the migi'ation of its people, by their contact or communication, or by the migration and transmission of the symbol and the sign itself. Pushing the argument of the difficulty of its making, to account for the rarity of the design, it is alleged that in modern times the Swastika is practically unknown among Christian peoples. It passed out of use among them nigh a thousand years ago and has been supplanted by every other imaginable geometric form. The fret, chevron, herringbone, crosses, and circles of every kind, spirals, volutes, ogees, moldings, etc., have all remained in use since neolithic times, but no Swastika. The latest use men- tioned in the literature upon this subject appears to have been in the arch-Episcopal chair in the cathedral at Milan, which bears the three aucient Christian crosses, the Latin cross, the monogram of Christ, and the Swastika, of which the first and last are carved in alternates around the pedestal of the chair. Yet the knowledge of the Swastika has been perpetuated in some countries and its use has riot died out all over the world ; therefore, examples of its use in modern times should be noted in order to prevent misapprehension and contradiction. The double Greek fret made with two continuous lines (fig. 13'.*) forms a psuedo Swastika at each intersection, although we have seen that this is not a real but only an apparent Swastika (p. 783). This is used in modern times by carpet and linen weavers as borders for carpets and tablecloths, and by tile makers in similar decoration. The Swastika mark has continued in use among the Orientals; the Theosophists have adopted it as a seal or insignia; the Japanese (fig. 30), the Koreans (p. 799), the Chinese (fig. 31), the Jains (figs. 33, 3i), and, among the North American Indians, the ISTavajo (pi. 17), and those of the Kansas Eeservation (pis. 15 and 16). It is not used by European peoples in modern times, except in Lapland and Finland. The ISTational Museum has lately received a collection of modern household and domestic utensils from Lapland, some of which bear the marks of the cross and one a churn, the lid of which bears a possible Swastika mark. Through the kindness of Professor Mason and Mr. Gushing, I have received a "956 REPORT OF NATIONAL MUSEUM, 1894. •drawing of this (fig. 344). Theodor Schviudt, in "Suomalaisia koris- teita,"' a book of standard national Fiunisli patterns for theembroid- •eries of the country, gives the Swastika among others; bat it is classed among "oblique designs" and no mention is made of it as a Swastika or of any character corresiDondirig to it. Its lines are always at angles of 45 degrees, and are continually referred to as "oblique designs." The Swastika ornaments Danish baptismal fonts, and according to Mr. J. A. Hjal- 1;aUn it " was used [in Iceland] a few years since as a magic sign, but with an -obscured or corrupted meaning." It arrived in that island in the ninth century A. D.2 The Swastika mark appears both in its normal and ogee form in the I'ersian carpets and rugs.^ While writing this memoir, I have found in the Persian rug in my own bedchamber sixteen figures of the Swas- tika. In the large rug in the chief clerk's ofSce of the I^ational Museum there are no less than twenty-seven figures of the Swastika. On a piece of imitation Persian carpet, with a heavy pile, made probably in London, I found also figures of the Swastika. All the foregoing fignres have been of the normal Swastika, the arms crossing eacli other and the ends turning at right angles, the lines being of equal thickness throughout. Some of them were bent to the right and some to the left. At the entrance of the Grand Opera House in Washing- ton I saw a large India rug containing a number of ogee Swastikas; while the arms crossed each other at right angles, they curved, some to the MODEiix CHURN LID WITH DK right aud somc to the left, but all the lines in- siGN RESEMBLING SWASTIKA, crcascd iu slzc, swelUug in the middle- of the Lapland. curve, but flni.shlug in a point. The modern r.s.N„io™„M„se„,n. japaucsc wlsteHa workbaskets for ladies have one or more Swastikas woven in their sides or covers. Thus, it appears that the use of the Swastika iu modern times is con- :fiued principally to Oriental and Scandinavian countries, countries which hold close relations to antiquity; that, in western Europe, where in ancient times the Swastika was most frequent, it has, during the last one or two thousand years, become extinct. And this iu the coun- tiies which have led the world in culture. If the Swastika was a symbol of a religion in India and migrated as such in times of antiquity to America, it was necessarily by human aid. The individuals who carried and taught it should have carried with it the religious idea it represented. To do this required a certain use of language, at least the name of the symbol. If the sign bore among the 'Finnische Ornamente. 1. Stichornsimente. Heft 1-4. Soumalaisen Kirjallis- nudeu Seura Helsingissa, 1894. i'Karl Blind, "Discovery of Odinic songs in Shetland," Nineteenth Century, June, 1879, p. 1098, cited by Alfred C. Haddon in "Evolution in Art," London, 1895, p. 285. ^Miss Fauny D. Bergen, in Scribner's Magazine, September, 1894. THE SWASTIKA. 957 aborigines in America the name it bore in India, Swastika, the evidence of contact and comniuiiication would be greatly strengthened. If the religion ib represented in India should be found in America, the chain of evidence might be considered complete. But in order to make it so it will be necessary to show the existence of these names and this religion in the same locality or among the same people or their descendants as IS found the sign. To find traces of the Buddhist religion associated with the sign of the Swastika among the Eskimo in Alaska might be no evidence of its prehistoric migration, for this might have occurred in modern times, as we know has hapj^ened with the Russian religion and the Christian cross. While to find the Buddhist religion and the Swastika symbol together in America, at a locality beyond the possi- bility of modern European or Asiatic contact, would be evidence of pre- historic migration yet it would seem to fix it at a period when, and from a country where, the two had been used together. If the Swastika and Buddhism migrated to America together it must have been since the establishment of the Buddhist religion, which is approximately fixed in the sixth century B. 0. But there has not been as yet in America, certainly not in the localities where the Swastika has been found, any trace discovered of the Buddhist religion, nor of its concomitants of language, art, or custom. Adopting the theory of migration of the Swastika, we may therefore conclude that if the Swastika came from India or Eastern Asia, it came earlier than the sixth century B. 0. If a given religion with a given symbol, both belonging to the Old World, should both be found associated in the New World, it would be strong evidence in favor of Old World migration — certainly of contact and communication. Is it not equally strong evidence of contact to find the same sign used in both countries as a charm, with the same significance in both countries ! The argument has been made, and it has proved satisfactory, at least to the author, that throughout Asia and Europe, with the exception of the Buddhists and early Christians, the Swastika was used habitually as a sign or mark or charm, implying good luck, good fortune, long life, much pleasure, great success, or something similar. The makers and users of the Swastika in South and Central America, and among the mound builders of the savages of Iforth America, having all passed away before the advent of history, it is not now, and never has been, possible for us to obtain from them a description of the meaning, use, or purpose fqr which the Swastika was employed by them. But, by the same line of reasoning that the proposition has been treated in the pre- historic countries of Europe and Asia, and which brought us to the conclusion that the Swastika was there used as a charm or token of good luck, or good fortune, or against the evil eye, we may surmise that the Swastika sign was used in America for much the same purpose. It was placed upon the same style of object in America as in Europe and Asia. It is not found on any of the ancient gods of America, nor 958 REPORT OP NATIONAL MUSEUM, 1894. on any of the statues, monuments, or altars, nor upon any sacred place or object, but rather upon such objects as indicate the common and everyday use, and on which the Swastika, as a charm for good luck, would be most appropriate, while for a sacred character it would be singularly inappropriate. The theory of independent invention has been invoked to account for the appearance of the Swastika iji widely separated countries, but the author is more inclined to rely upon migration and imitation as the explanation. When signs or symbols', myths or fables, habits or customs, utensils, implements or weapons, industries, tools or machinery, have been found in countries widely separated from each other, both in countries bearing characteristics so much alike as to make them practically the same objects or industries, and which are made in the same way, they present a question to which there are only two possible solutions: Either they are independent discoveries or inventions which, though analogous, have been separately conceived, or else they have been invented or discovered in one of the countries, and passed to the other by migration of the object or communication of the knowledge neces- sary to form it, or by contact between the two peoples. Of these inventions or discoveries said to have been made in duplicate, each of which is alleged to have sprung up in its own country as a character- istic of humanity and by virtue of a law of physics or psychology, it is but fair to say that in the opinion of the author the presumption is all against this. Duplicate inventions have been made and will be made again, but they are uncommon. They are not the rule, but rather the exception. The human intellect is formed on such unknown bases, is so uncertain in its methods, is swayed by such slight consid- erations, and arrives at so many different conclusions, that, with the manifold diversities of human needs and desires, the chances of dupli- cate invention by different jiersons in distant countries, without con- t,act or communication between them, are almost as one to infinity. The old adage or proverb says, "Many men of many minds," and it only emphasizes the differences between men in regard to the various phenomena mentioned. There are some things sure to happen, yet it is entirely uncertain as to the way they will hajipen. Nothing is more uncertain than the sex of a child yet to be born, yet every person has one chance out of two to foretell the result correctly. But of certain other premises, the chances of producing the same result are as one to infinity. Not only does the human intellect not produce the same con- clusion from the same premises in different persons, but it does not in the same person at different times. It is unnecessary to multiply words over this, but illustrations can be given that are satisfactory. A battle, a street fight, any event happening in the presence of many witnesses, will never be seen in the same way by all of them; it will be reported differently by each one; each witness will have a diffeient THE SWASTIKA. 959 story. The jurors in our country are choseu because of the absence of prejudice or bias. Their intellect or reason are intended to be subjected to precisely the same evidence and argument, and yet how many jurors disagree as to their verdict? We have but to consider the dissensions and differences developed in the jury room which are settled, sometimes by argument, by changfc of conviction, or by cpm promise. What would be the resources of obtaining justice if .we were to insist upon unanimity of decision of the jury upon their first ballot or the first expression of their opinion and without opportunity of change? Yet these jurors have been charged, tried, and sworn a true verdict to render according to the law and evidence as submitted to them. There is no doubt but that they are endeavoring to fulfill their duty in this regard, and while the same evidence as to fact, and charge as to law, are presented to all of them at the same time, what different impressions are made and what different conclusions are pro- duced in the minds of the different jurors. Illustrations of this exist in the decisions of our Supreme Court, wherein, after full argument and fair investigation, with ample opportunity for comparison of views, explanations, and arguments, all based upon the same state of facts, the same witnesses; yet, in how many cases do we find differences of ■opinion among the members of the court, and questions of the gravest import and of the most vital character settled for the whole nation by votes of 8 to 7 and 5 to 4? The author has examined, and in other places shown, the fallacy of the rule that like produces like. Like causes produce'like effects is a law of nature, but when the decision rests upon the judgment of man and depends upon his reason and his intellect, our common knowledge testifies that this law has no applica- tion. When the proiJosition to be determined has to be submitted to individuals of widely separated and distinct countries between whom there has been neither communication nor contact, and who have received no suggestion as to their respective ideas or needs, or the means of satisfying them, it seems to the author that no rule can be predicated upon the similarity of human condition, of human reason, or of human intellec?:, certainly none which ca.n be depended on to produce the same conclusion. Consideration of the facility with which symbols, signs, myths, fables, stories, history, etc., are transmitted from one people to another and from one country to another, should not be omitted in this discus- sion. It may have slight relation to the Swastika to mention the migrations of the present time, but it will give an idea of the possibil- ity of past times. In this regard we have but to consider tlie immense number of articles or objects in museums and collections, public and private, representing almost every country and people. We there find objects from all quarters of the globe, from the five continents, and all the islands of the sea. Some of them are of great antiquity, and it is a matter of wonderment how they should have made such long pas- 960 REPORT OP NATIONAL MUSEUM, 1894. sages and have been preserved from destruction by the vicissitudes of time and space. We have but to consider how money passes from hand to hand and is always preserved to be passed on to the next. Every collection of importance throughout the world possesses a greater or less number of Greek and Roman coins antedating the Christian era. We have an excellent illij|tratiou of these possibilities in the word '■ halloo," commonly rendered as " hello." A few years ago this word, was peculiar to the English language, yet an incident lately occurred in the city of Washington, within sight of my own residence, by which this word, " hello," has traveled the world around, has spread itself over land and sea, has attached itself to and become part of most every spoken language of civilization, and without much consideration as to its meaning; but being on the procrustean bed of imitation, there are people, foreigners, who believe that the telephone can be only made to respond when the demand is made "hello!" MIGRATION OF CLASSIC SYMBOLS. Count Goblet d'Alviella, in "La Migration des Symboles," traces many ancient symbols from what he believes to be their place of origin to their modern habitat. The idea he elucidates in his book is indi- cated in its title. The sacred tree of the Assyrians. — This he holds to be one of the old- est historic symbols; that it had its origin in Mesopotamia, one of the earliest civilized centers of the world. Beginning with its simplest form, the sacred tree grew into an ornate and highly Complex pattern, invariably associated with religious subjects. Two living creatures always stand on either side, facing it and each other. First they were monsters, like winged bulls or grifiins, and after became human or semihuman personages — priests or kings, usually in the attitude of devotion. The Count says the migration of both these types can be readily traced. The tree between the two monsters or animals passed from Mesopotamia to India, where it was employed by the Buddhists and Brahmins, and has continued in use in that country to the present time. It passed to the Phenicians, and from Asia*Minor to Greece. From the Persians it was introduced to the Byzantines, and during the early ages, into Christian symbolism in Sicily and Italy, and even penetrated to the west of France. The other type — that is, the tree between two semi-human personages — followed the same route into India, China, and eastern Asia, and, being found in the ancient Mexi- can and Maya codices, it forms part of the evidence cited by the Count as a pre-Columbian communication between the Old World and the ]^ew. He argues this out by similarity of the details of attitude and expression of the human figure, the arrangement of the branches of the sacred tree, etc. The sacred cone of Mesopotamia. — This was worshipped by the western Semites as their great goddess, under the image of a conical stone. THE SWASTIKA. 961 Its figurative representation is found alike on monuments, amulets, and coins. On some Phenician monuments there is to be seen, super- added to tbe cone, a borizontal crossbar on tbe middle of wbicb rests a handle. This shape bears a striking resemblance to the Grnx ansata (fig. 4), and, like it, was a symbol of life in its widest and most abstract meaning. The resemblance between them is supposed to have caused them to have been mistaken and employed one for the other in the same character of symbol and talisman. It is alleged that the Ephesian Artemis was but the sacred cone of Mesopotamia anthropomorphized, although, with the halo added to Artemis, the allegation of relationship has been made in respect of tbe Crux ansata. The Crux ansata, the key of life. — This is probably more widely known in modern times than any other Egyptian symbol. Its hieroglyphic name is Ankh, and its signification is "to live." As an emblem of life, representing the male and female principle united, it is always borne iu the hands of the gods, it is poured from a jar over the head of the king in a species of baptism, and it is laid symbolically on the lips of the mummy to revive it. From Egypt the Crux ansata spread first among the Pheniciaus, and then throughout the whole Semitic world, from Sardinia to Susiana. The winged globe. — This was a widely spread and highly venerated Egyptian symbol. From Egypt it spread, under various modifica- tions, throughout the Old World. It is formed by a combination of the representations of the sun that have prevailed in different locali- ties in Egypt, the mythology of which ended by becoming a solar drama. Two uraeus snakes or asps, with heads erect, are twisted round a globe-shaped disk, behind which are the outstretched wings of a hawk, and on its top the horns of a goat. It commemorates the victory of the principle of light and good over that of darkness and evil. It spread readily among the Phenicians, where it is found sus- pended over the sacred tree and the sacred cone, and was carried wheresoever their art was introduced — westward to Carthage, Sicily, Sardinia, and Cyprus, eastward to Western Asia. Very early it pene- trated on the north to the Hittites, and when it reached Mesopotamia, in the time of Sargonidie, the winged-circle assumed the shape'of the wheel or rosette, surmounted by a scroll with upcurled extremities and with a feathered tail opening out like a fan, or a human figure in an attitude sometimes of benediction, sometimes warlike, was inscribed within the disk. Then it was no longer exclusively a solar emblem, but served to express the general idea of divinity. From Mesopotamia it passed to Persia, principally in the anthropoid type. It was, however, never adopted by Greece, and it is nowhere met with in Europe, except, as before stated, in the, Mediterranean islands. When Greece took over from Asia symbolic combinations in which it was originally repre- sented, she replaced it by the thunderbolt. But the aureole, or halo, H. Mis. 90, pt. 2 Gl 962 REPORT OF NATIONAL MUSEUM, 1894. which encircles the heads of her divinities, and which Christian art has borrowed from the classic, was directly derived from it. The caduceus. — This is one of the interesting symbols of antiquity. It appears in many j)hases and is an excellent illustration of the migra- tion of symbols. Its classic type held in the hand of Mercury and used to day as a symbol of the healing art — a winged rod round which two serpents are symmetrically entwined — is due to the mythographers of later times, and is very remote from its primitive form. In the Homeric hymn it is called "the golden rod, three-petaled of happiness and wealth," which Phcebus gave to the youthful Hermes, but on early Greek monuments the three leaves are represented by a disk sur- mounted by an incomplete circle. In this shape it constantly appears on Pheniciaii monuments; and at Carthage, where it seems to have been essentially a solar emblem, it is nearly always associated with the sacred cone. It is found on Hittite monuments, where it assumes the form of a globe surmounted by horns. Numerous origins and manifold antecedents have been attributed to it, such as an equivalent of the thunderbolt, a form of the sacred tree, or a combination of the solar globe with the lunar crescent. Some examples seem to indicate a transition from the sacred tree surmounted by the solar disk, to the form of the caduceus of the Hittites. Our author believes it was employed originally as a religious or military standard or iJag, and that it was gradually modified by coming in contact with other symbols. Some Assyrian bas-reliefs display a military standard, sometimes con- sisting of a large ring placed upon a staff with two loose bandelets attached, sometimes of a winged globe similarly disposed. This Assyr- ian military standard may be the prototype of the labarum, which Constantine, after his conversion to Christianity, chose for his own standard, and which might equally well have been claimed by the sun worshipers. Under its latest transformation in Greece, a winged rod with two serpents twined round it, it has come down to our own times representing two of the functions of Hermes, more than ever in vogue among men, industry and commerce. It has survived in India under the form of two serpents entwined, probably introduced in the track of Alexander the Great. It was also met with in that country in earlier times in its simpler form, a disk surmounted by a crescent, resembling our astronomical sign for the planet Mercury. This earliest type of the caduceus, a disk surmounted by a crescent, appears at a remote date in India, and seems to have been confounded with the trisula. The trisula. — This form of the trident peculiar to the Buddhists was of great importance in the symbolism of the Hindus; but whether it was an imitation of the type of thunderbolt seen on Assyrian sculptures, or was devised by them spontaneously, is uncertain. Its simplest form, which is, however, rarely met with. Is an omicron (o) surmounted by an omega (t»). ITearly always the upper portion is flanked by two small circles, or by two horizontal strokes which often take the appearance of THE SWASTIKA. 963 leaves or small wings. The points of the omega are generally changed into small circles, leaveS, or trefoil; and the disk itself is placed on a pedestal. Prom its lower arc there fall two spires like serpents' tails with the ends curving, sometimes up and sometimes down. This is a very complex symbol. None of the Buddhist texts give any positive information in regard to its origin or meaning, and few symbols have given rise to more varied explanations. The upper part of the figure is frequently found separated frohi the lower; sometimes this is plainly a trident superposed upon a disk-shaped nucleus. The trident may possibly have symbolized the flash of lightning, as did Neptune's trident among the Greeks, but more probably it is the image of the solar radia- tion. Among the northern Buddhists it personifies the heaven of pure flame superposed upon the heaven of the sun. Though undoubtedly a Hindu emblem, its primitive shape seems to have early felt the influence of the caduceus, while its more complex forms exhibit a likeness to certain types of the winged globe. Still later the trisula was converted by Brahmanism into an anthropoid figure, and became the image of Jagenath. The vegetable kingdom was also laid under contribution, and the trisula came into a resemblance of the tree of knowledge. Although we have learned the probable signification of its factors in the creeds that preceded Buddhism, we know very little about its meaning in the religion that used it most, bat it is a symbol before which mil- lions have bowed in reverence. The plastic development of the trisula shows with what facility emblems of the most dissimilar origin may merge into each other when the opportunity of propinquity is given, and there is sufficient similarity in form and meaning. The double-headed eagle on the escutcheon of Austria and Russia. — Count D'Alviella tells the history of the migration of the symbol of the double-headed eagle on the escutcheon of Austria and Russia. It was originally the type of the Garuda bird of southern India, found on temple sculptures, in carved wood, on embroideries, printed and woven cloths, and on amulets. It first appears on the so-called Hittite sculp- tures at Eyuk, the ancient Pteria in Phrygia. In 1217 it appeared on the coins and standards of the Turkoman conquerors of Asia Minor. In 1227-28 the Emperor Frederick ii undertook the sixth crusade, landing at Acre in the latter year, and being crowned King of Jerusa- lem in 1229. Within thirty years from these dates the symbol appeared on the coins of certain Flemish princes, and in 1345 it replaced the single-headed eagle on the armorial bearing of the holy Eoman Empire. Thus, the historic evidence of the migration of this symbol, from the far east to the nations of the west by direct contact, would seem complete. The lion rampant of Belgium.^This lion was incorporated into the Percy or Northumberland escutcheon by the marriage of Joceline of Louvain, the second son of Godfrey, the Duke of Brabant, to Agnes, the sister and heir of all the Percys. The Counts of Flanders, Brabant, and Louvain bore as their coat of arms the lion rampant facing to the left, 964 REPORT OF liTATIONAL MUSEUM, 1894. which is the present coat of arms of the King of Belgium. The story- is thus told in Burke's " Peerage" (1895) : Ague*! ile Percy married Joee- line of Louvain, brother of Queen Adeliza, secoud wife of Henry I, and son of Godfrey Barbalus, Duke of Lower Brabant and Count of Brabant, who was descended from the Emperor Charlemagne. Her ladyship, it is stated, would only consent, however, to this great alliance upon con- dition that Joceline should adopt either the surname or arms of Percy, the former of which, says the old family tradition, he accordingly assumed, and retained his own paternal coat in order to perpetuate his claim to the principality of his father, should the elder line of the reigning duke become extinct. The matter is thus stated in the old pedigree at Sion House: "The ancient arms of Hainault this Lord Jocelyn retained, and gave his children the surname of Percy." The migration of this lion rampant is interesting. It was in the twelfth century the coat of arms of the King of Albania. Phillippe d'Alsace, the eldest son of Thierry d'Alsace, was Count of Flanders, sixteenth in succession, tracing his ancestry back to G21 A. D. The original and ancient coat of arms of the Counts of Flanders consisted ot a small shield in the center of a larger one, with a sunburst of six rays. Phillippe d'Alsace reigned as Count of Flanders and Brabant from 1168 to 1190 A. D. He held an important comn.and in two cru- sades to the Holy Land. During a battle in one of these crusades, he killed the King of Albania in a hand-to-hand coniiict, and ca.rried off his shield with its escutcheon of the lion rampant, which ' Phillippe transferred to his own shield, took as his own coat of arms, and it has been since that time the coat of arms of the Counts of Flanders and Brabant, and is now that of Belgium. The lion in the escutcheon can thus be traced by direct historic evidence through Iforthumberland, Flanders and Louvain back to its original owner, the King of Albania, in the twelfth century. Thus is the migration of the symbol traced by communication and contact, and thus are shown the possibilities in this regard which go far toward invalidating, if they do not destroy, the presumption of separate invention in those cases wherein, because of our ignorance of the facts, we have invoked the rule of separate invention . Greek art and architecture. — It has come to be almost a proverb in sci- entific investigation that we argue from the known to the unknown. We might argue from this proverb in favor of the migration of the Swastika symbol and its passage from one people to another by the illustration of the Greek fret, which is in appearance closely related to the Swastika; and, indeed, we might extend the illustration to all Greek architecture. It is a well-known fact, established by number- less historic evidences, that the Greek architecture of ancient times migrated — that is, passed by communication and contact of peoples, and by transfer of knowledge from one man to another, and from one generation to the succeeding generation, until it became known through- THE SWASTIKA. 965 out all western countries. The architects of Eome, Yicenza, Paris, London, Philadelphia, Washington, Chicago, and San Francisco derive their knowledge of Grecian architecture in its details of Doric, Ionic, and Corinthian styles by direct communication, either spoken, written or graphic, from the Greek architects who practiced, if they did not invent, these styles. The Greek fret. — This has migrated in the same manner. As to its invention or origin, we have little to do in the present argument. Whether the fret was the ancestor or the descendant of the Swastika is of no moment to our present question. It has been deoioiistrated in the early part of this paper that both it and the Swastika had a com- mon existence in early if not prehistoric Greece, and that both were employed in perfected form on the same specimen of Archaic Greek pottery. Figs. 133 and 134 demonstrate that these two signs migrated together from Greece to Egypt, for the particular specimen mentioned Avas found at Naukratis, Egypt. Prom this high antiguity the Greek fret has migrated to practically every country in the world, and has been employed during all historic time by the peoples of every civiliza- tion. The fret is known historically to have passed by means of teachers, either through speaking, writing, or drawing, and never yet a sugges- tion that its existence or appearance in distant countries depended npon separate invention or independent discovery. Why strain at the gnat of independent invention of the Swastika when we are compelled to swallow the camel of migration when applied to the Greek fret and architecture"? The same proposition of migra- tion applies to Greek art, whether of sculpture, engraving, or gem carving. These ancient Grecian arts are as well known in all quarters of the civilized globe at the present day as they were in their own country, and this was all done by communication between peoples either through speaking, writing, or drawing. So far from being separate inventions, the modern sculptor or engraver, with full historic knowl- edge of the origin or, at least, antiquity of these arts, and with an opportunity for inspection and study of the specimens, is still unable to reproduce them or to invent original works of so high an order. The imaginary and newly invented theory that culture is the result of the psychologic nature of man manifesting itself in all epochs and coun- tries, and among all peoples, by the evolution of some new discovery made to fit a human need— that as all human needs in a given stage are the same, therefore all human culture must, per se, pass through the same phases or stages— is a theory to which I refuse adhesion. It receives a hard blow when we take down the bars to the modern sculp- tor, requiring of him neither original invention nor independent discov- ery, but permitting him to use, study, adapt, and even servilely copy the great Greek art works, and we know that with all these opportuni- ties and advantages he can not attain to their excellence, nor reach their stage of art culture. 966 EEPORT OF NATIONAL MUSEUM, 1894. VII. — Prehistoric Objects associated with the Swastika, POUND IN BOTH HEMISPHERES, AND BELIEVED TO HAVE PASSED BY Migration. SPINDLE- WHORLS. Spindle-whorls are first to be considered. These are essentially pre- historic utensils, and are to be found iu every part of the world where 'the inhabitants were sufficiently cultured to make twisted threads or cords, whether for hunting or fishing, games, textile fabrics, or cover- ings, either for themselves, their tents, or other purposes. In western Asia, all of Europe, in the pueblos of ]!forth America, and among the aborigines — by whatever name they are called— of Mexico, Central America, and the north and west coast of South America, wherever the aborigines employed cord, cloth, or fiber, the spindle- whorl is found. Where they used skins for the coverings of themselves or their tents, the spindle-whorl may not be found. Thus, in the Eskimo land, and among certain of the North American savages, spindle- whorls are rarely if ever found. The spindle-whorl was equally in use in Europe and Asia during the Neolithic Age as in the Bronze Age. It continued in use among the peasants in remote aiid ontlying districts into modern timfes. During the Neolithic Age its materials were stone and terra cotta; during the Bronze Age they were almost exclusively terra cotta. They are found of both materials. Recently a Gallo-Iioman tomb was opened at Cler- mont-Ferrand and found to contain the skeleton of a young woman,, and with it her spindles and whorls.' The existence of spindle-whorls in distant and widely separated countries affords a certain amount of presumptive evidence of migra- tions of peoples from one country to another, or of contact or com- munication between them. If the people did not themselves migrate and settle the new country, taking the spindle-whorls and other objects with them, then the sinndle-whorl itself, or the knowledge of how to make and use it, must in some other way have gotten over to the new country. This argument of migration, contact, or communication does not rest solely on the similarity of the whorls in the distant countries, but equally on the fact of spinning thread from the fiber; and this argument is reenforced by the similai-ity of the operation and of the tool or machine with which it was done. It has been said elsewhere that the probability of communication between widely separated peoples by migration or contact depended for its value as evidence, iu some degree, upon the correspondence or similarity of the object con- sidered, and that this value increased with the number of items of corre- spondence, the closeness of similarity, the extent of the occurrence, and the difficulty of its performaTice. So we pass to the similarity in size, appearance, mode of manufacture, and, finally, the use of the whorls of the two continents. ' Bull. Soo. d'Antlirop., Paris, October, 1893, p. 600. THE SWASTIKA. 967 EUKOPE. Switzerland— Lalce dwellings.— Figs,. 345 and 346 show stone spindle- whorls from prehistoric Swiss lake dwellings. These are in the U. S. l!fational Museum, and with them are dozens of others of the same kind Figs. 345 and 346. STONE SPINDLE-WHOELS. Neolithic. Swiss lake dwellings. IT. S. Nation.il Museum. and style from all other parts of Europe. Fig. 347 shows a stone spindle- whorl from Lund, Sweden. It is in the U. S. l>rational Museum and was contributed by Professor Jillson. Figs. 348, 349, and 350 represent terra-cotta spindle-whorls from the Swiss lakes. These specimens were Fig. 347. STONE SPINDLE-WHORL. Xeolithic. Lund, Sweden. Cat. No. 5S8I, U. S. N. M. Fig. 348. TEEEA-COTTA SPIN.DLE-WHOEL. Neolithic or Bronze Age. Swiss lake dwellings. Cit. No. 100642, U. S. N. M. selected to show the different patterns, to illustrate their unlikeness instead of their likeness, to give an understanding of the various kinds of whorls rather than that they were all one kind, a fad which should be kept in mind during this argument. 968 EEPOET OF NATIONAL MUSEUM, 1894. Itah/.— Figs. 351, 352, and 353 show terracotta spindle-whorls from Orvieto, Italy, 78 miles north from Eome. Figs. 354 and 355 repn-sent Fig. 349. TERRA-COTTA SPINDLE- WHORL. Neolitliic or Bronze Age. Swiss lake dwellings^ Cat. No. 100042, U.-S. N. M. Fig. 350. TERRA COTTA SPINDLE- WHORLf Swiss lake dwellings. Cat. No. 100647, U. S. N. M. spindle-whorls from Oorneto, Italy, 63 miles north from Eome. As remarked above, they have been chosen to represen t the different kinds. There are thou- sands of these whorls found in Italy. In the Archreo logical Exjjosition at Tuiiu, 1884, the number was so great that they were twined about the columns, thereby i>roviding a place of storage as well as a place of display. Wurtemburg. — Dr. Charles Rau piocured for, and there is now in, the U. S. National Museum a spindle (fig. 356) with its whorl Avhich had been in use for spin- ning from 1860 to 1870, and which he obtained in Wurtemburg, G-ermany, from the woman who had used it. France. — The author has seen the French peasants in Brittany spiu- Flgs 3ol 352 md 353 PREHISTORIC TEIIRA-COTTA SPINDLE-WHORLS. Orvieto, Italy. Cat. Nob. 10167], 101672, U. S. N. M. Figs 3o4 and 355. PEEHISTOEIO SPINDLE- WHORLS. Cornelo, Italy. Cat. No. 101773, U. S. N. M. ning their thread in the same way, and once took a photograph of one in the hamlet of Pout-Aven, Morbihan, but it failed in development. Report of National Museum, 1 894,— Wilson. Plate 21 . Spindle-whorls of Modern Porcelain from Southern France. Cat. Nu. 109398, U. S. N, M. THE SWASTIKA 969 lu 1893 Mr. Harle purchased at St. Gerons, Ardeche, a merchant's entire stock of modern porcelain spindle whorls. The manufactory was located at Martres-Tolosane, and the trade extended throughout the Pyrenees. lie presented a series to the Socif^te d'An- thropologie at Paris, July, 1893.' The U. S. National Museuni has lately received, through the kindness of the lilcole d'Anthropologie, a series of nine of these porcelain whorls (pi. 21). The wheel and modern machines for spinning have pene- trated this corner of the world, and these whorls are the last emblem of an industry dating slightly after the advent of man on earth and already old in that locality when Eoland crossed the mountain pass near there and sounded his "Oliphant," calling for help from Charlemagne. These are the death chant of the industry of hand spinning in that country. NORTH AMEKICA — PRE-COLUMBIAN TIMES. The North American Indians employed rushes and animal skins as the i)rincipal coverings for tliem- selves and their tents. They used sinews and tbongs for thread and cord, and thus avoided largely the necessity for spinning fiber or making textiles; for these or possibly other rieasons, we find few spindle- whorls among them compared with the number found in Europe. Yet the North American Indians made and used textile fabrics, and there are pieces of woven cloth from mounds in Ohio now in the Department of Prehistoric Anthropology, U. S. National Mxiseum. The Pueblo Indians spun thread and wove cloth in pre-Columbian times, and those within the States of Colorado and Utah and the adjoining Territories of Arizona and New Mexico, particularly the Navajoes, have been long noted for their excellence in' producing textile fabrics. Specimens of their looms and thread are on dis- play in the National Museum and have been pub- lished in the reports. Si^ecial attention is called to that by Dr. Washington Matthews in the Third Annual Keport of the Bureau of Ethnology, 1881-82. Dr. Matthews is of the opinion that the work of the Pueblo Indians antedated that of the Navajoes, that the latter learned the art from the former since the advent of the Spaniards; and he re- marks that the pupils now excel their masters in the beauty and quality of their work. He declares that the art of weaving has been carried to greater ]ierfectiou among the Navajoes than among any native tribe in America north of the Mexican boundary; while with noneiu the entire continent lias it been less influenced by contact with Europeans. Fig. 356 MODERN SPINDLE AND WHORL USED FOR SPLV- NING THREAD. Wurtemburg, Germany. I Bull. Goc. fVAiithrop., Paris, pp. 461^62. 970 REPORT OF NATIONAL MUSEUM, 1894. The superiority of the Navajo to the Pueblo work results not only from a constant advance of the weavers' art among the former, but from a deterioration of it among the latter. This deterioration among the Pueblo Indiaus he attributes to their contact with the whites, their inclination being to purchase rather than to make woven fabrics, while these influences seem not to have aii'ected the ITavajoes. He repre- sents a I^avajo woman spinning (see pi. 22 of the present paper). She is seated, and apparently whorls the spindle by rubbing it on her leg. The spindle is of wood, as are all other spindles, but the whorl is also of wood. In this these people are pecul- iar and perhaps unique. The whorl, among most other savage or prehis- toric peoples, as we have already seen, was of stone or clay. These wooden Avhorls are thinner and larger, but otherwise they are the same. An inspection of the plate will show that with it the spinning^ apparatus forms the same machine, ac- complishes the same purpose, and does it in the same way. The sole difference is in the size an d ma- terial of the whorl. The diflPerence in material accounts for the difference in size. It is not im- probable that tbe Indian discovered that the wooden whorl would serve as well as a stone or pottery one, and that it was easier made. The machine in the hands of the woman, as shown in the figure, is larger than usual, which may be accounted for by the thread of wool fiber used by the Navajo being thicker and occupying more space than the flaxen thread of prehistoric times; so it may have been discovered that a large whorl of wood served their purpose better than a small one of stone. Stone whorls of large size might be too heavy. Thus may be explained the change from small stone or pottery whorls to large wooden ones. Mexico. — Fig. 357 represents the two sides and edge of a pottery terra- cotta spindle- whorl. It is the largest of a series of six (Cat. Nos. Fig. 357. TEEEA-COTTA SPIMDLE-WHOEL WITH DESIGN SIMILAE TO SWASTIKA. Valley of Mexico. Cat. No. 27875, U. S. N. M. Repoit of National Museum, 1 894 — Wilson. Plate 22. Navajo Woman Using Spindle and Whorl. Dr. Washington Matthews, Third Annual Keport of the Bureau of Ethnology, 18S1-82, PI. xxxiv. THE SWASTIKA. 971 27875-27880) from the valley of Mexico, sent to the U. S. National Museum by the Mexican National Museum in 1877. Fig. 358 also rep- resents one of a series from Mexico, obtained by W. W. Blake, July, 1886 (Oat. Nos. 99051-99059). The National Museum possesses hun- dreds of these from Mexico, as well as the small ones from Peru. Fig. 358. MEXICAN TEEKA-COTTA SPINDLE- WHOEL WITH DESIGN SIMILAK TO SWASTIKA. These specimens are chosen because they are the largest and most elaborately decorated. It will be perceived at a glance how the style of decoration lends itself to the Swastika. It consists mostly of geo- metric figures, chief of which is the Greek fret, the labyrinth, the circle, and the volute, but as in the color stamps (pj). 940-947) there is no Swnstika. CENTRAL AMERICA. Nicaragua. — The specimen shown in flg. 359, from Omotepe Island, Lake Nicaragua, is one of a series of pottery spindle-whorls, bearing, Figs. 359 and 360. TEERA-COTTA .SPINDLE-WHOELS. Omotepe Island, jjficaragua. Cat. Noa. 1, 28899, V. S. N. M. however, great resemblance to those of stone. Fig. 300 shows a speci- men from the same locality. It is of pottery and bears much reseni- 972 REPORT OF NATIONAL MUSEUM, 1894. blance in form to the earliest whorls found by Schliemann on the site of Troy on the hill of Hissarlik. Both these were collected by Dr. J. P. Bransford, and are in the U. S. National Museum. Fig. 361 shows a specimen from Granada, Nicaragua. It is of the common shape of the European prehistoric spindle- whorl. Its flat surface is jlecorated ^. ^. t ^^ \] Fig. 361. TERRA-COTTA ■ SPINDLE- WHOKL. Granada, Nicaragua. - Cat. Ko. S>3i?9B, u. S. N. M. Fig. 362. TEREA-COITA SPINDLE-WHOBL. Malacate, Nicaragua. Cut. Nn. 29009, U. S. N. M. with a Greek cross in incised lines, two quarters of which are filled with hatch marks. Fig. 362 shows a terracotta spindle-whorl from Malacate, Nicaragua. It is cone-shaped. Both these specimens were uollected by Dr. Earl Flint. SOUTH AMERICA. Chiriqui. — Figs. 36 5, 364, and 365 show terracotta spindle-whorls from Chiriqui, the most northern territory in South America and adjoining the Isthmus of Panama. fThey are engraved natural size, with ornamentation similar to that on the pottery of that country. Colombia. — Fig. 366 sliows a cone-shaped terra-cotta whorl from Manizales, Colombia, South America. It has a star-shaped design on the face and a three- line zigzag or chevron pattern. Peru. — Plate 23 represents a series of spin- dles and whorls from Peru. They were fur- nished to the U. S. National Museum by I. V. Norton, of Plain ville, N. Y. The whorls were originally/considered to be beads, and were without further description. The spindles were not inserted in them as at present. The spin- dles, as well as whorls, are exceedingly small. Some of the whorls are decora.ted by incised lines in the clay, and many of the spindles are decorated in the middle with paint in different colors, iu lines, scrolls, and chevrons. These are the only whorls from Peru which the U. S. National Museum has, though it possesses an extensive series of the spindles, several of which still have the spun thread wrai^ped upon them. There are certain distinguishing peculiarities to be remarked when BPINDLE-WHORf, MADE OF OKAY CLAY AND DECORATED WITH ANNULAR NODES. Chiriqui. Sixth Annuiil Report of the BureJi'.i of Eth- nology, fiy. 218. Report of National Museum, 1894 WiliOn, Plate 23, Series of Aboriginal Spindles and Whorls from Peru. Cat. No. 17510, U, S. N. M. THE SWASTIKA. 973 comparing the spindle-whorls from the Western Hemisjjhere with those from the Eastern Hemisphere. There is greater diversity in size, form, and decoration in the American than in the European wliorls. A series of European whorls from any given locality will afford a fair represen- Fig. 364. SPINDLE- WHORL OF GRAY CLAY WITH FIGtIRE;S OF ANIMALS. Cbiriqui. Sixth Annual Report of the Bureau of Ethnology, fig. 219. rig. 365. SPINDLE-WHORL OF DARK CLAY WITH PER- FORATIONS AND INCISED ORNAMENTS. Chiriqui. Sixth Annual R«port of the Bureau of Ethnology, fig. 230. tation of those from almost every other locality. But it is different with the American specimens. Each section in America has a differ- ent style, not only different from the European specimens, but different from those of neighboring sections. Among the eighteen thousand whorls found by Dr. Schliemann on the hill of Hissarlik, there is Fig. 366. TERRA-COTTA SPINDLE-WHORL. Manizales, Colombia. Cat. No. ]6fi3S, U. R. N. M. scarcely one so large as those here shown from Mexico, while, on the other hand, there were only a few as small as the largest of the series from Peru. The difference in size and material in the Pueblo whorls has already been noticed. The ornamentation- is also peculiar in that it adopts, not a particular style common to the utensil, but that it 974 REPORT OF NATIONAL MUSEUM, 1894. adopts the styles of the respective countries. The Mexican whorl has a Mexican style of ornamentation, etc. The Nicaragua specimens resemble the European more than any other from America in their forms and the almost entire absence of decoration. The foregoing are the differences; but with all the number and extent of these differences the fact remains that the whorls of the two hemi- spheres are practically the same, and the differences are insignificant. In style, shape, and manner of use tlicy are so similar in the two hemi- spheres as to be the same invention. The whorls, when put upon their spindles, form the same machine in both countries. They were intended for and they accomplish the same purpose, and the method of their performance is practically the same. While the similarity of the art of spinning and the mechanism [i. e., the spindle and whorl) by which it is accomplished may not prove conclusively that it migrated from the Eastern jemisphere, nor yet show positive connection or communica- tion between the two i^eoples, it goes a long way toward establishing such migration or communication. The similarity in the art and its mechanism appears to the author to show such resemblance with the like culture in the Eastern Hemisphere, and is so harmonious with tbe theory of migration or contact or communication, that if there shall be other objects found which either by their number or condition would prove to be a well-authenticated instance of migration from or contact or communication between the countries, the evidence of the similarity of the spindle- whorls would form a valuable addition to and largely increase the evidence to establish the main fact. Until that piece of well-authenticated evidence has been obtained, the question must, so far as concerns spindle-whorls, remain only a probability. The differ- ences between them are of manner, and not of matter; in size and degree, but not in kind, and are not other or greater than might easily arise from local adaptation of an imported invention. Compare the Navajo spindle (pi. 22) with that from Wurtemburg, Germany (fig. 356), and these with the spindles and whorls from Peru (pi. 23). These facts are entirely in harmony with the possibility that the spindle and whorl, as a machine for spinning, was a single invention, and that its slight differentiations resulted from its employment by different peoples — the result of its intertribal migrations. For purposes of comparison, and to show the similarity of these objects in Europe, the author has Intro- duced a series of spindle-whorls from Troy, Hissarlik (pis. 24 and 25). These belong to the D". S. National Museum, and form part of the valu- able collection from Mme. Schliemann, the gift by her talented husband to the people of the United States as a token of his remembrance and grateful feelings toward them. Report of National Museum, 1894. — Wilson. Plate 24. Selected Specimens of Spindle-whorls from the Third, Fourth, and Fifth Cities OF Troy. U. S. National Museum. Report of National Museum, 1 894.— Wilson. Plate 25. Selected Specimens of Spindle-whorls from the Third, Fourth, and Fifth Cities OF Troy. U. S. National Museum. THE SWASTIKA. 975 BOBBINS. Fig. 367. BOBBIN OR SPOOL FOR WINDING THREAD (? Type Villanova. Corneto, Italy. U. S. Nationiil Museum. EUROPE. We have already seen how an iucrease in the number of correspond- ences between objects from distant countries increases the weight of their evidence in favor of contact or communication between the peoples. If it should be found upon comparison that the bobbins on which thread is to be wound, as well a's the spindle-whorls with which it is made, had been in use during prehis- toric times in the two hemispheres, it would add to the evidence of contact or commu- nication. The U. S. National Museum possesses a series of these bobbins, as they are believed to have been, running from large to small, comprising about one dozen specimens from Italy, one from Corneto and the others from Bologna, in which places many prehistoric spindle whorls have been found (figs. 367 and 368). These are of the type Villanova. The end as well as the side view is rep- resented. The former is one of tlic largest, the latter of middle size, with others smaller forming a graduating series. The latter is engraved on the end by dotted incisions in three parallel lines arranged in the form of a Greek cross. A similar bobbin from Bologna bears the sign of the Swastika on its end (fig. 193).' It was found by Count Gozzadini and forms part of his collection in Bologna. UNITED STATES. The three following figures represent clay and stone bobbins, all from the State of Kentucky. Pig. 369 shows a bobbin elaborately dec- orated, from a mound near Maysville, Ky. It has a hole drilled longi- Fig. 368. TEHBA-COTTA BOBBIN OR SPOOL FOE WINDING THREAD { ?) . Type Villanova. Bologna, Italy. Cot. No. lonn, U.S. n. m. 'De Mortillet, "Mus^e Pr6hi8torique,"fig. 1239. 976 EEPOET OF NATIONAL MUSEUM, 1894. Fig. 369. BOBBIN (?) FROM A MOUND NEAR MAYSVILLB, KENTUCKY. Cit. No. 16-48, U. S. X. M. tudinally through the center. The end shows a cross of the Greek form with this hole in the center of the cross. Fig. 370 shows a sim- ilar object from Lexington, Ky., sent by the Kentucky University. It is of flne-grainecl sand- stone, is drilled longi- tudinally through the center and decorated as shown. The end view shows a series of con- centric circles with rows of dots in tjie intervals. Fig. 371 shows a simi- lar object of fine-grained sandstone from Lewis County, Ky. It is also drilled longitudinally, and is decorated with rows of zigzag lines as shown. The end view represents four con- secutive pentagons laid one on top of the other, which increase in size as they go outward, the hole through the bobbin being in the center of these i)entagons, while the outside line is decorated with spikes or rays ex- tending to the periphery of the bobbin, all of which is said to represent the sun. The specimen shown in fig. 372, of fine-grained sandstone, is from Maysville, Ky. The two ends are here represented because of the peculiarity of the decoration. In the center is the hole, next to it is a rude form of Greek cross which on one end is repeated as it goes farther from the center ; on the other, the dec- oration consists of three con- centric circles, one interval of which is divided by radiat- ing lines at regular intervals, each forming a rectangle. Be- tween the outer lines and the periphery are four radiating rays which, if completed all around, might form a sun symbol. Bobbins of clay have been lately discovered in Florida by Mr Clarence B. Moore and noted by Proiessor Holmes. Thus we find some of the same objects which in Europe were made BOBBIN ( ; Fig. 370. FROM LEXINGTON, KENTUCKY. Cat. No. Il)o9], T.. S. N. :M. Fig. 371. BOBBIN ( ?) OF FINE-GRAINED SANDSTONE. Lewis Connty, Kentucky. Cat. No. 596RI, U. S. N. M. THE SWASTIKA. 977 and used by prehistoric man and whicli bore the Swastika mark have migrated to America, also in preliistoric times, whore they were put to the same use and served the same purpose. This is certainly no incon- siderable testimony in favor of the migration of the sign. VIII. — Similar Prehistoric Arts, Industries, and Implements IN Europe and America as Evidence op the Migration of Culture. The prehistoric objects described in the foregoing chapter are not the only ones common to both Europe and America. Related to the spindle-whorls and bobbins is the art of weaving, and it is perfectly .susceptible of demonstration that this art was practiced in the two hemispheres in prehistoric times. Woven frabrics have been found Fig. 372. VIEW SHOWINa BOTH ENDS OP A BOEBIN( ?) OF FINE-GRAINED SANDSTONE. Maysville, Kentucky. Cat. No. 16747, U. S. N. M. in the Swiss lake dwellings, in Scandinavia, and in nearly all parts of Europe. They belonged to the Keolithic and Bronze ages. Figs. 373 and 374 illustrate textile fabrics in the Bronze Age. Both specimens are from Denmark, and the National Museum possesses another specimen (Cat. No. 136611) in all respects similar. While pre- historic looms may not have been found in Europe to be compared with the looms of modern savages in America,, yet these sljecimens of cloth, with the hundreds of others found in the Swiss lake dwellings, afford the most indubitable proof of the use of the looms in both countries during prehistoric times. Complementary to this, textile fabrics have been found in America, from the Pueblo country of Utah and Colorado, south through Mexico, Central and South America, and of necessity the looms with which they were made were there also. It is not meant to be said that the looms of the two hemispheres have been found, or that they or the textile fabrics are identical. The prehistoric looms have not been found in Europe, and those in America may have been affected by contact with the white man. Nor is it meant to be said that the textile fabrics of H. Mis. 90, pt. 2 62 978 REPORT OF NATIONAL MUSEUM, 1894. tlie two liemisplieres are alike in thread, stitch, or pattern. But these at best are oiilj' details. The great fact remains that the prehistoric man of the two hemispheres had the knowledge to spin fiber into thread, to wind it on bobbins, and to weave it into fabrics; and what- ever differences there may have been in pattern, thread, or cloth, they were finally and substantially the same art, and so are likely to have been the product of the same invention. While it is not the intention to continue this examination among the_ prehistoric objects of the two hemispheres in order to show their similarity and thus prove migra- tion, contact, or communication, yet it may be well to mention some of them, leaving the argument or proof to a future occasion. The polished stone hatchets of the two hemispheres are substan- tially the same. There are differ- ences of materia], of course, for in each country the workman was obliged to use such material as was obtainable. There are differences in form between the polished stone hatchets of the two hemispheres, but so there are differences between different localities in the same hem- isphere. Some hatchets are long, others short, some round, others flat, some have a jjointed end, others a square or nearly square or unfin- ished end; Fome are large, others small. But all these differences are to be found equally well pro- nounced within each hemisphere. Scrapers have also been found in both hemispheres and in all ages. There are the same differences in material, form, and appearance as in the jpolished stone hatchet. There is one difference to be mentioned of this utensil — i. e., in America the scraper has been sometimes made with a stem and with notches near the base, after the manner of arrow- rig. 373. WOOLEN DHESS EODND IN AN OAK COFFIN AT BORUM-ESHOI, DBNMABK. Brouze Age. Report of tile Sinithsouian Institution (U. S. National M 1892, pi. CI, fi{j. 9. THE SWASTIKA. 979 and spear-heads, evidently intended to aid, as in the arrow- and spear- head, iu fastening the tool in its handle. This peculiarity is not foand in Europe, or, if found, is extremely rare. It is cousidered that this may have been caused by the use of a broken arrow- or spear-head, which seems not to have been done in Europe. But this is still only a difference in detail, a difference slight and insignificant, one which occurs seldom and apparently growing out of peculiar and fortuitous conditions. The art of drilling in stone was known over an extended area in prehistoric times, and we find innumerable examples which must have been performed in both hemispheres substan- tially in the same manner and with the same machine. The art of sawing stone was alike practiced during prehistoric times in the two hemispheres. Many specimens have been found in the prehis- toric deposits of both. The aboriginal art of making pottery was also carried on in the same or a similar manner in both hemispheres. The examples of this art are as numerous as the leaves on the . trees. There were differences in the manixiulation and treatment, but the principal fact remains that the art was the same in both countries. Not only were the products greatly similar, but the same style of geometric decoration by incised lines is common to both. Greater progress in making pottery was made in the Western than in the Eastern Hemisphere during prehistoric times. The wheel was unknown in both hemisiiheres, and in both the manipulation of clay was by hand. ■ True, in the Western Hemisphere there was greater dexterity and a greater number of methods employed. For example, the vase might be built up with clay inside a basket, which served to give both form and decoration; it was coiled, the ■damp clay being made in a string and so built up by a circular move- ment, drawing the side in or out as the string of clay was laid thereon, until it reached the top ; it may have' been decorated by the pressure of a textile fabric, real or simulated, iuto the damp clay. A few years ago it would have been true to have said that pottery decorated in this manner was peculiar to the Western Hemisphere, and that it had never been found in the Eastern Hemisphere, but Prince Poutjatine has lately found on his pro])erty, Bologoje, in the province of Novgorod, midway between Moscow and St. Petersburg, many pieces of prehis- toric pottery which bear evidence of having been made in this manner, Mg. 374. DETAIL OF DRESS SHOWN IN THE PRECEDING FIGURE. 980 REPORT OF NATIONAL MUSEUM, 1894. and while it may be rare in the Eastern Hemisphere, it is similar in these respects to thousands of pieces of prehistoric pottery in l^Torth America. One of the great puzzles for arcliaeologists has been the prehistoric jade implements found, in both countries. The raw material of which these were made has never been found in sufficient quantities to justify anyone in saying that it is indigenous to one hemisphere and not to the other. It may have been found in either hemisphere and exported to the other. But of this we have no evidence except the discovery in both of implements made of the same material. This material is dense and hard. It is extremely difficult to work, yet the operations of saw- ing, drilling, carving, and polishing appear to have beeq conducted in both hemispheres with such similarity as that the result is practically the same. Prehistoric flint-chipping was also carried on in both hemispheres with such similarity of results, even when performing the most difficult and delicate operations, as to convince one that there must have been some communication between the two peoples who jjerformed them. The bow and arrow is fairly good evidence of prehistoric migration, because of the singularities of the form and the intricacies of the machinery, and because it is probably the earliest specimen of a machine of two separate parts, by the use of which a missile could be sent at a greater distance and with greater force than if thrown by hand. It is possible that the sling was invented as early as the bow and arrow, although both were prehistoric and their origin unknown. The bow and arrow was the greatest of all human inventions — greatest in that it marked man's first step in mechanics, greatest in adaptation of means to the end, and as an invented machine it manifested in the most practical and marked manner the intellectual and reasoning power of man and his superiority over the brute creation. It, more than any other weapon, demonstrated the triumph of man over the brute, recognizing the limitations of human physical capacity in con- tests with the brute. With this machine, man first successfully made up for his deficiency in his contests with his enemies and the capture of his game. It is useless to ask anything of history about the begin- nings of the bow and arrow; wherever history appears it records the prior existence, the almost universal presence, and the perfected r.so of the bow and arrow as a weapon. Yet this machine, so strange and curious, of such intricacy of manufacture and difficulty of successful performance, had with all its similarities and likenesses extended in prehistoric times almost throughout the then inhabited globe. It is useless to specify the time, for the bow and arrow existed earlier than any time of which we know; it is useless for us to specify places, for it was in use throughout the world wherever the world was occupied by neolithic man. Imitative creature as was man, and slow and painful as were his steps in progress and in invention during his infancy on earth, when THE SWASTIKA. 981 he knew nothing and had everything yet tolearu, it is sufficiently won- derful that he should have invented the bow and arrow as a projectile machine for his weapons; but it becomes doubly and trebly improba- ble that lie should have made duplicate and independent inventions thereof in the different hemispheres. If we are to suppose this, why should we be restricted to a separate invention for each heniisphere, and why may we not suppose that he made a separate invention for each country or each distant tribe within the hemisphere? Yet we are met with the astonishing but, nevertheless, true proposition that throughout the entire world the bow and arrow existed in the early times mentioned, and was substantially the same machine, made in the same way, and serving the same purpose. CONCLUSION. The argument in this paper on the migration of arts or symbols, and with them of peoples in prehistoric times, is not intended to be exhaust- ive. At best it is only suggestive. There is no direct evidence available by which the migration of sym- bols, arts, or peoples in prehistoric times can be proved, because the events are beyond the pale of history. Therefore we are, everybody is, driven to the secondary evidence of the similarity of conditions and products, and we can only subject them to our reason and at last deter- mine the truth from the probabilities. In i)roportion as the probabili- ties of migration increase, it more nearly becomes a demonstrated fact. It appears to the author that the probabiUties of the migration of the Swastilia to America from the Old World is infinitely greater than that it was an independent invention. The Swastika is found in America in such widely separated places, among such different civilizations, as much separated by time as by space, that if we have to depend on the theory of separate inventions to explain its introduction into America we must also depend upon the same theory for its introduction into the widely separated p.arts of America. The Swastika of the ancient mound builders of Ohio and Tennessee is similar in every respect, except material, to that of the modern Navajo and Pueblo Indian. Yet the Swastikas of Mississippi and Tennessee belong to the oldest civilization we know in America, while the Navajo and Pueblo Swastikas were made by men still living. A consideration of the conditions bring out these two curious facts : (1) That the Swastika had an existence in America prior to any historic knowledge we have of communication between the two hemispheres; but (2) we find it continued in America and used at the present day, while the knowledge of it has long since died out in Europe. The author is not unaware of the new theories concerning the paral- lelism of human development by which it is contended that absolute uniformity of man's thoughts and actions, aims and methods, is pro- duced when lie is in the same degree of development, no matter in what country or in what epoch he lives. This theory has been pushed 982 until it bas been said, nothing but geographical environment seems to modify the monotonous sameness of man's creations. The author does not accept this theory, yet he does not here controvert it. It may be true to a certain extent, but it surely has its limitations, and it is only applicable under special conditions. As a general proposition, it might apply to races and peoples but not to individuals. If it builds on the hereditary human instincts, it does not take into account the will, energy, and reasoning powers of man. Most of all, it leaves out the egoism of man and his selfish desire for power, improvement, and happi- ness, and all their effects, through the individual, on human progress. In the author's opinion the progress of peoples through consecutive stages of civilization is entirely compatible with his belief that knowl- edge of specific objects, the uses of material things, the performance of certain rites, the playing of certain games, the' possession of cer- tain myths and traditions, and the carrying on of certain industries, passed from one country to another by migration of their peoples, or by contact or communication between them ; and that the knowledge, by separate peoples, of the same things, within reasonable bounds of simi- ilarity of action and purpose, and with corresponding difficulty of per- formance, may well be treated as evidence of such migration, contact, or communication. Sir John Lubbock expresses the author's belief when he says,' " There can be no doubt but that man originally crept over the earth's surface, little by little, year by year, just, for instance, as the weeds of Europe are now gradually but surely creeping over the surface of Australia." The word migration has been used by the author in any sense that permitted the people, or any number thereof, to pass from one country to another country, or from one section of a country to another section of the same country, by any means or in any num- bers as ihey pleased or could. The theory (in opposition to the foregoing) is growing in the United States that any similarity of culture between the two hemispheres is held to be proof of migration of peoples. It appears to the author that these schools both run to excess in propagating their respective theories, and that the true condition of affairs lies midway between them. That is to say, there was certain communication between the two hemi- spheres, as indicated by the similarities in culture and industry, the objects of which could s6arcely have been the result of independent invention ; while there are too many dissimilar arts, habits, customs, and modes of life belonging to one hemisphere only, not common to both, to permit us to say there was continuous communication between them. These dissimilarities were inventions of each hemispheie inde- pendent of the other. An illustration of the migration to America is the culture of Greece. We know that Greek art and architecture enter into and form an important part of the culture of Americans of the present day; yet ' " Prehistoric Man," p. 601. THE SWASTIKA. 983 the people of America are not Greek, nor do they possess any consid- erable share of Greek culrnre or civilization. They have none of the blood of the Greeks, nor their physical traits, nor their manners, habits, customvS, dress, religion, nor, indeed, anything except their sculpture and architecture. 'Now, there was undoubtedly communication between ths two countries in so far as pertains to art and architecture; but it is equally true that there has been no migration of the other elements of civilization mentioned. The same thing may be true with regard to the migrations of pre- historic civilization. There may have been communication between the countries by which such objects as the polished stone hatcbet, the bow and arrow, the leaf shaped implement, chipped arrow- and spear-beads, scrapers, spindle-whorls, the arts of pottery making, of weaving, of drilling and sawing stone, etc., passed from one to the other, and the same of the Swastika; yet these may all have been brought over in spo- radic and isolated cases, importing simply the germ of their knowledge, leaving the industry to be independently worked out on this side. Cer- tain manifestations of culture, dissimilar to those of the Old World, are found in America; we have the rude notched ax, the grooved ax, stemmed scraper, perforator, mortar and pestle, pipes, tubes, tbe cere- monial objects which are found here in such infinite varieties of shape and form, the metate, the painted pottery, etc., all of which belong to the American Indian civilization, but have no prototype in the prehis- toric Old World. These things were never brought over by migration or otherwise. They are indigenous to America. Objects common to both hemispheres exist in such numbers, of such infinite detail and difficulty of manufacture, that the probabilities of their migration or passage from one country to another is infinitely greater than that they were the result of independent invention. These common objects are not restricted to isolated cases. They are great in number and extensive in area. They have been the common tools and utensils such as might have belonged to every man, and no reason is known why they might not have been used by, and so represent, the millions of prehistoric individuals in either hemisphere. This great number of correspondences between the two hemispheres, and their similarity as to means and results is good evidence of migration, con- tact, or communication between the peoples; while the extent to whicli the common industries were carried in the two continents, their delicacy and difficulty of operation, completes the proof and forces conviction. It is not to be understood in the few foregoing illustrations that the number is thereby exhausted, or that all Lave been noted which are within the knowledge of the author. These have been cited as illustra- tive of the proposition and indicating possibilities of the argument. If a completed argument in favor of prehistoric communication should be pre- pared, it woubl present many other illustrations. These could be found, not only among the objects of industry, utensils, etc., but in the modes of manufacture and of use which, owing to their number and the extent of territory which they cover, and the difQoulty of accomplishment, would add force to the argument. 984 EEPORT OF NATIONAL MUSEUM, 1894. BIBLIOGRAPHY OF THE SWASTIKA. ABBOTT, Charles C. Primitive Indus- try: I or I Illustrations of the Handi- work, I in stoue, bone and clay, | of the I Native Races | of | the Northern Atlantic Seaboard of America. | By Charles C, Abbott, M. D. | Cor. Mem- ber Boston Soc. Nat. Hist., | Fellow Royal Soc. | of Antiq. of the North. Copenhagen. etc., etc., | Salem|Mass. : | George A. Bates. | 1881. 8°, pp. v-Ti, 1-560, fig. 429. Grooved as, Pemberton, N. J. Inscription of Swastika denounced as a fraud, p. 32. ALLEN, E. A. The | Prehistoric World | or I Vanished Races | by | E. A. Al- len, I author of "The Golden Gems of Life." I Each of the Following well- known Scholars reviewed one or more | Chapters, and made valuable sugges- tions: I C. C. Abbott, M. D., | Prof. F. W. Putnam, | A. F. Bandelier, | Prof. Chas. Ran, | Alexander Winchell, LL. D., I Cyrus Thomas, Ph. D. [ G. F. Wright. I Cincinnati : | Central Pub- lishing House. I 1885. 8°, pp. i-vi, 1-820. Swastika rejrarded as an ornament in the Bronze Age, p. 233. AMERICAN ANTIQUARIAN and Ori- ental Journal. Vol. VI, Jan., 1884, p. C2. Swastika found in a tessellated Mosaic paA^e- nient of Roman ruins at "Wivelescombe, Eng- land ; reported by Cornelius iNicliolson, F. G. S., -cited in Mnnro's ^'Ancient Scottisli Lake Dwellings," note, p. 132. AMERICAN ENCYCLOPEDIA. Title, Cross. AMERICAN JOURNAL of Archasology and of the History of Fine Arts. Vol. .XI, No. 1, Jan.-Marcli, 1896, p. 11, fig. 10. Andokides, a Greek vase painter (525 B. C.), depicted Athena on an amphora with her dress decorated with many ogee and meander Swas- tikas. The specimen is in the Berlin Museum. ANDERSON, Joseph. Scotland in Early Christian Times. The Swastika, though of Pagan origin, became a Christian symbol from the fourth to the four- teenth century, A. D. Vol. ii, p. 218. Cited in "Munro's Ancient Scottish Lake Dwellings,'' note, p. 132. BALFOUR, EnwAKD. Cyclopajdia of India | and of | Eastern and Southern Asia, I Commercial, Industrial, and Scientific : | Products of the | Mineral, Vegetable and Animal Kingdoms, | Useful Arts and Manufactures; | edited by I Edward Balfour, L. R. C. S. E., | Inspector General of Hospitals, Madras Medical Department, | Fellow of the University of Madras, | Corresponding Member of the Imperial Geologic Insti- tute, Vienna. | Secoud Edition. | Vol. V. I Madras: | Printed at the Law- rence and Adelphi Presses, | 1873. | Copyright. 8°, pp. 1-966. Title, Swastika, p. 656. BARING-GOULD, S. Curious Myths | of I the Middle Ages. | By | S. Baring- Gould, M. A., I New York : | Hurst & Co., Publishers, ( No. 122 Nassau street. 12°, pp. 1-272. Title, "Legends of the Cross," pp. 159-185. BERLIN SOCIETY for Anthropology, Ethnology, and Prehistoric Researches, Sessional report of — . m, 1871 ; VIII, July 15, 1876, p. 9.' BLAKE, WiLLSON W. The Cross, | An- cient and Modern. | By ( Willsou W. Blake. | (Design) | New Y'ork: | Anson D. F. Randolph and Company. | 1888. 8°, pp. 1-52. BRASH, RiCHAKu RoLT. The | Ogam Inscribed Monnmeuts | of the | Gaed- hil I in the | British Islands | with a dissertation on the Ogam character, &c. ] Illustrated with fifty Photo- lithographic plates I by the late | Richard Rolt Brash, M. R. I. A., F. S. A. Scot. I Fellow of the Royal Society of | Ireland; and author of "The Ecclesi- astical I Architecture of Ireland." | Edited by George M. Atkinson | Lon- don : I George Bell & Sons, Y'ork street, Covent Garden | 1879. 4°, pp. i-xvi, 1^25. Swastikas on Ogam stone at Aglish (Ireland), pi. XXIV, pp. 187-189; on Newton stone Aber- deenshire, (Scot.),pl. XLix, p. 359; Logic stone, (Scot.), pi. XLvm, p. 358; Bressay, (Scot.), pi. XLVII. BIBLIOGRAPHY OF THE SWASTIKA. 985 BRINTON, Daniel G. The Ta Ki, tlie Swastika, and tlie Cross iu America. Proceedinjj American Philosophical Society, XXVI, 1889, pp. 177-187. The I Myths of the New World : | A treatise | on the | Symholism and My- thology I of the I Red Race of America. I By I Daniel G. Brinton. A. M.,M.D., I Member of the Historical Society of Pennsylvania, of the Nnmismatio | and Antiquarian Society of Philadelphia; Corresponding Member | of the Ameri- can Ethnological Society; Author of "Notes I on the Floridian Peninsula," etc. I (Design) | New York: | Leypoldt & Holt. I 1868. 8°, pp. i-viii, 1-307. The cross of Mexico, pp. 95-97, 183-188. American | Hero-Myths. | A study of the Native Religions | of the Western Continent. | By | Daniel 6. Brinton, M.D., I Member of the American Philo- sophical Society ; the American | Anti- quarian Society; the Numismatic and Antiquarian | Society of Phila., etc. ; Author of "The Myths of | the New World ;" "The Religious Senti- | ment," etc. I Philadelphia: | H. C. Watts it- Co., I 506 Minor Street, [1882. 8°, pp. i-xvi, 1-251. Symbol of the cross iu Mexico. The rain god, tlie tree of life, and the god of .strcngtli, p. 122; in Palenqiie, tlie four rain gods, p. 155 ; tbe Muscayas, light, sun, j). 222. BROWNE, 6. F. Basket-work figures of men on sculptured stones. Trique- tra. Archwologia, Vol. L, 1887, pt. 2, ji. 291, pi. XXU!, fig. 7. BURGESS, James. Archa'ological Sur- vey of Western India. Vol. iv. | Re- port I on the I Buddhist Cave Tem- ples I and I Their Inscriptions I Being Part of I Tlie Results of the Fourth, Fifth, and Sixth Seasons' Operations of the Archaeological Survey of West- ern India, | 1876-77, 1877-78, 1878-79. 1 Supplementary to the Volume on "Cave Temples of India.'' | By | Jas. Burgess, LL. D., F. R. G. S., I Member of the Royal Asiatic Society, of the Soci^tS Asiatique, &c. | Archseological Sur- veyor and Reporter to Government! for Western aud Southern India, I Lon- BURGESS, James — continued. don: I Trubner & Co., Ludgate Hill. | 1883. I (All rights reserved.) Folio, pp. 140. Inscriptions with Swastika, vol. iv, pis. XLiv, XLVI, XLVn, XLIX, L, LU. LV; VOl. V, pi. LI. The I Indian Antiquary, | A Journal of Oriental Research ) in | Archaeology, History, Literature, Languages, Folk- Lore, &o., &c., | Edited by | Jas. Bur- gess, M. R. A. S., F. R. G. S. I 3 vols., 1872-74, I Bombay: | Printed at the "Times of India'' Offlce. | London: Trubner & Co. Paris: E. Leroux. Berlin: Asher & Co. Leipzig: F. A. Brockhaus. | New York: Westermann & Co. Bombay : Thacker,Vining & Co. 4°, Vols, i-iii. Twenty-four Jain Saints, Suparsva, son of Pratishtha by Prithoi, one of which signs was the Swastika. Vol. II, p. 135. BURNOUF, Emile. Le | Lotus de la Bonne Loi, | Traduit du Sanscrit, | Accompagn6 d'un Commentaire | et de Vingt et un M(Smoires Relatifs au Buddhisme, | par M. E. Burnouf, | Secr(5taire PerjiiStael de I'Acad^mie des Inscriptions et Belles Lettres. | (Pic- ture) I Paris. I Imprim^ par Autorisa- tion du Gouvernement | h I'lmprimerie Natioualc. | MDCCCLII. Folio, pp. 1-807. Svastikaya, Append, viii, p. 625. Nandavartaya, p. C26. The I Science of Religions | by Emile Burnouf | Translated by Julie Liebe | with a preface by | E. J. Rapson, M. A., M.R. A. S. I Fellow of St. John's College, Cambridge | London | Swan, Sonnenschein, Lowrey & Co., | Pater- noster Square. | 1888. Swastika, Its reLition to the niytli of Agni. tlie god of Hie, and its alleged identity with tbe tire- cross, pp. 165, 253-256, 257. BURTON, Richard F. The | Book of the Sword I by | Richard F. Burton | Mal- tre d'Armes (Brevette) | (Design) | With Numerous Illustrations | Lon- don I Chalto and Windus, Piccadilly | 1884 I (All rights reserved). 4°, pp. 299. Swastika sect, p. 202, note 2. CARNAC, H. Rivet r. Memorandum on Clay Disks called "Spindle-whorls" and votive Seals found at Sankisa, 986 REPORT OF NATIONAL MUSEUM, 1894. CAENAC, H. RiVETT — continued. Behar, and other Buddhist ruins in the Northwestern provinces of India. (With three plates). Journal Asiatic Society of Bengal, Vol. XLix, pt. 1, 1880, pp. 127-137. CAETAILHAC, Emile. E^sultats d'Une Mission Scientififiue | du | MinistSre de I'Instruction Publique | Les | i\ges Pr^historiques | de | I'Espagne et du Portugal I par | M. fimileCartailhac, | Directenr des MatiSriaux pour I'Histoire primitive de I'homme | Preface par M. A. De Quatrefages, de I'lnstitut | Avec Quatre Cent Cinquante Gravures et Quatre Planches | Paris | Ch. Eein- wald, Libraire | 15, Eue des Saints Pferes, 15 1886 | Tous droits r^serv^s. 4°, pp. i-xxxv, 1-347. Swastika, p. 285. Triakelion, p. 286. Tetrasbellon, p. 286. Swastika" in Mycenai and Saijraao. — Are they of tlie same antiquity?, p. 293. CENTUEY DICTIONAEY. Titles, Swastika, Fylfot. CESNOLA, Louis Palma Di. Cyprus : | Its Ancient Cities, Tombs, and Tem- ples. I A Narrative of Researches and Excavations During | Ten Years' Eesi- dence in that Island. | By | General Louis Palma Di Cesnola, | * * *• | « * | With Maps and lUustratious. * * | New York: | Harper Brothers, Pub- lishers, I Franklin Square. | 1877. 8°, pp. 1-456. Swastika on Cyprian pottery, pp. 210, 300, 404, pis. XLIV, XLV, XL VII. CHAILLU, Paul B. Du. The Viking Age I The Early History | Manners and Customs of the Ancestors | of the En- glish-Speaking Nations | Illustrated from I The Antiquities Discovered in Mounds, Cairns, and Bogs, | As Well as from the Ancient Sagas and Eddas. | By I Paul B. Du Chaillu | Author of "Explorations in Equatorial Africa," "Land of the Midnight Sun," *tc. | With 1366 Illustrations and Map. | In Two Volumes ' * | New York : | Charles Scribner's Sons. | 1889. 8°, I, pp. i-xx, 1-591 ; II, pp. i-viii, 1-562. Swastika in Scandinavia. Swastika and tris- kelion. Vol. I, p. 100, and note 1; Vol. ii, p. 343. Swastika, Cinerary urn, Bornholm, Vol. i, fig. 210, p. 138. Spearheads with runes. Swastika CHAILLU, Paul B. Du— continued, and Triakelion, Torcello, Venice, fig. 335, p. 191. Tetraskelion on silver fibula, Vol. i, fig. 567, p. 257, and Vol. ii, fig. 1311, p. 342. Bracteates with Groix swasticale, Vol. ii, p. 337, fig. 1292. CHANTRE, Eknbst. fitudes Pal^oeth- nologiques | dans le Bassin du Eh6ne | Age du Bronze | Eecherches | sur I'Ori- gine de la M^tallnrgie en Fraiice | Par I Ernest Chautre | Premifere Par- tie I Industrie de I'Age du Bronze | Paris, I Librairie Polytechniquo de J. Baudry | 15, Rue Des Saints-Pferes, 15 | MDCCCLXXV. Folio, pp. 1-258. Denxifeme Partie. Gisements d& I'Age du Bronze, pp. 321. Troisifeme Partie. Statistique. pp. 245. Swastika migration, p. 206. Oriental origin of the prehistoric Sistres or tintinnabula f(^und in Swiss lake dwellings. Vol. i, p. 206. Spirals, Vol. II, fig. 186, p. 301. Notes Anthropologiques : De I'Ori- gine Orientale de la M^tallurgie. In-8, avec planches. Lyon, 1879. — — Notes Anthropologiques. Relations entre les Sistres Bouddhiques et cer- tains Objets Lacustres de I'Age du Bronze. In-8. Lyon, 1879. L'Age de la Pierre et I'Age du Bronze en Troade et en Grfece. In-8. Lyon, 1874. L'Age de la Pierre et I'Age du Bronze dans I'Asie Occidentale. (Bull. Soc. Anth., Lyon, t. I, fasc. 2, 1882.) Prehistoric Cemeteries in Caucasus. (N^cropoles pr^historiques du Caucase, renferment des cranes macrocephales.) Materiaux, seizi6me ann^e (16), 2« serie, XII, 1881. Swastika, p. 166. • CHAVERO, D. ALFREDO. Mexico | A Travis de los Slglos | Historia General y Completa del Desenvolvimiento So- cial, I Politico, Eeligioso, Militar, Artis- tico, Cieutifico, y Literario de Mexico desde la AntigUedad | M^s Remota hasta la fipoca Actual | "* * | Publicada bajo la Direccito del General | D. Vi- cente Eiva Palacio | " | * | * I * I * I Tomo Primero | Historia Antigua y de laConqaista | EscritaporelLicenciado I D. Alfredo Chavero. I Mexico I Bal- BIBLIOGRAPHY OF THE SWASTIKA. 987 CHAVERO, D. ALFREDO— continned. lesca y Comp.", Editores | i, Amor de Dios, 4. Folio pp. i-lx, 1-926. Ciclo de 52 anos. (Atlas del P. Diego Duran, p. 386.) Swastika worked on shell- (Fains Island), '^labrado con los cuatro puntos del Naliui Ollin." p. 676. CLAVIGERO, C. F. Storia Antica del Messioo. Cesena, 1780. Swastika, ii, p. 192, fig. A. Cited in Hamy's Decades Aitnerieance, Premiere Livraison, 1884, p. 67. CONDER, Maj. C. R. Notes ou Herr Schick's paper od the Jerusalem Crpss. Palestine Exploration Fund, Quarterly State- ment, London, Jnly, 1894, pp. 205, 206. CROOKE, W. An Introduction | to the I Popular Religion and Folk-lore | of I Northern India | By W. Crooke, B. A. I Bengal Civil Service. | Honor- ary Director of the Ethnographical Survey, Northwestern | Provinces and Oudh I Allahabad | Government Press I 1894. 8°, pp. i-ii, 1-420. Swasti ka, pp. 7, 58, 104, 250. f^^S^The. The Masculine Cross, or ' History of Ancient and Modern Crosses, and their Connection with the Mys- teries of Sex Worship ; also an account of the Kindred Phases of Phallic Faiths and Practices. In Cat. 105 of Ed. Howell, Church street, Liverpool. D'ALVIELLA,LE CoMTB Goblet. La | Migration des Symboles | par | Le Comte Goblet d'Alviella, | Professeur d'Histoire des Religions k I'Universit^ de Bruxelles, | Membre de I'Acad^mie Eoyale de Belgique, 1 President de la Soci^t6 d'Arch^ologie de Bruxelles ) (Design, Footprint of Buddha) | Paris | Ernest Leroux, Editeur | Rue Bona- parte, 28 I 1891. 8°, pp. 1-343. Cross, pp. 16, 110, 113, 104, 250, 264, 330, 332. Crux ansata, pp. 22, 106, 107, 114, 186, 221, 229, 250, 265, 332. Cross of St. Andrew, p. 125. Swastika cross, Cap. II, passim, pp. 41-108, 110, 111, 225, 271, 339. Tetraskelion. Same references. Triskele, triskelion, or triquetrum, pp. 27, 28, 61, 71, 72, 83, 90, 100, 221-225, 271, 339, Reviewed in Athentmcm, No. 3381, Aug. 13, 1892, p. 217. D'ALVIELLA,LE Comte Goblet— cont'd. Favorably criticised in Eeliquary Illustrated Arohseologist (Lond.), "Vol. i, Ko. 2, Apr. 1895, p. 107. DAVENPORT. Aphrodisiacs. The author approves Higgins' views of tlie Cross and its Eelation to the Lama of Tibet. DENNIS, G. The | Cities and Cemeter- ies I of I Etruria. | Parva Tyrrhenum per aequor vela darem. Horat. | (Pic- ture) I By George DenDis. | Third Edition. | In two volumes | * * ' | With maps, plans, and illustrations. | 4 London : | John Murray, Albemarle Street. | 1883. 8°, two'vols.: (1), pp. i-cxxviii, 1-501; {2) pp. i-xv, 1-579. Archaic Greek vase, British Museum. Four different styles of Swastikas together on one specimen. Vol. i, p. xci. Swastika, common form of decoration, p. Ixxxix. Primitive Greek Lebes, with Swastika in panel, left, p. cxiii, fig. 31. Swastika on bronze objects in Bologna foun- dry. Vol. n, p. 537. D'EICHTAL, G. Etudes sur les origines bouddhiques de la civilization am^ri- caine, 1'" partie. Paris, Didier, 1862. Swastika, p. 36 et suiv. Cited in Hamy's Decades Americance, Premiere Livraison, 1884, p. 59. DICTIONNAIRE DES SCIENCES An- THROPOLOGIQUES. Anatomie, Craniolo- gie, Arch^ologie Pr^historique, Ethno- graphic (Mosurs, Arts, Industrie), D6- mographie, Langues, Religions. Paris, Octave Doin, Editeur, 8, Place de rOd^on, Marpon et Flammarion, Li- braires 1 a 7, Galeries de I'OdiJou. 4°, pp. 1-1128. Title, Swastika, Philippe Salmon, p. 1032. DORSET, J. Owen. Swastika, Ogee (tetraskelion), symbol for wind-song on Sacred Chart of Kansa Indians. Ain. Naturalist, xix (1885), p. 670, pi, xx, fig. 4. DULAURE, J, A. Histoire Abr^gde | de I Difffirens Cultes. | Des Cultes | qui out pr^c^d(5 et amen(5 I'ldolatrie | ou | 1' Adoration des figures humaines | par ,J. A. Dulaure; seconde Mition | revue, corrig^e et augme'nt^e | Paris | Guil- laume, Libraire-Editeur | rue Ilaute- feuille 14'. | 1825. Two vols.: (1), pp.i-x, 11-558; (2), pp.i-xvi, 17-464. 988 REPORT OF NATIONAL MUSEUM, 1894. DULAURE, J. A.— continued. Origin of symbols, works of art and not nat- ural things, Vol. I, pp. 25, 26. Another result of a combination of ideas, p. 45. The cross represents the phallus, Vol. II, pp. 58, 59, 167,. 1G8. DUMOUTIER, GusTAVB Le. Swastika et la roue Solaire en Chine. Jievue d'Ethnographie, Paris, IV, 1885, pp. 327-329. He-view by G. De Mortillet, Mat6riaux pour I'Histoiro Primitive etNatarelledeL'Homme, II, p. 730. EMERSON, Ellkn Russell. Indian Myths I or | Legends, Traditions, and Symbols of the | Aborigines of Amer- ica I Compared with those of other Countries, iucludingHindostan, Egypt, Persia | Assyria and China | hy Ellen Russell Emerson | Member of the Soci- 6t6 Am^rioaine de France | illustrated I Second Edition | London | Triibner & Company | Ludgate Hill | Printed in the U. S. A. 8°, pp. i-x, 1-425. ENCYCLOPAEDIC DICTIONARY. Titles, Ansated Cross (Crux ansata), p. 230, Vol. I; Cross, p. 1362, Vol. II; Crux, p. 1378, Vol. II; Fylfot, p. 2240, Vol. II; Gammadion, p. 2256, Vol. II. ENCYCLOPEDIA BRITANNICA. Title, Cross. 4°, pp. 639-542. ENGLEHARDT, C. Influence Classique sur I le Nord Pendant I'Antiquitd | par I C. Englehardt. | Traduit par | E. BeauTois. | Copenhague, | Imprimerie de Thiele. | 1876. 8°, pp. 199-318. Solar disks, fig. 44, p. 240. Crosses, iigs. 64, 65, p. 252. ETHNOLOGY, Reports of the Bureau of. Second Annual Report, 1880-81. Art in Shell of the Ancient Americans, by "W". H. Holmes, pp. 179-305, pLs. xxi-Lxxvii. Collections made in ^New Mexico and Arizona in 1879, by James Stevenson, pp. 307-422, figs. 347-697. Third Annual Report, 1881-82. Catalogue of Collections made in 1881, by "W. H. Holmes, pp. 427-510, figs. 116-200. Fourth Annual Report, 1882-83. Ancient Pottery of the Mississippi Valley, by "W". H. Holmes, pp. 361-436, figs. 361-463. Fifth Annual Report, 1883-84. Burial Mounds of iN'orthern Sections of the United States, by Cyrus Thomas, pp. 3-119, pis. I-VI, figs. 1-49. The Mountain Chant, by Washington Mat- thews, pp. 379^67, pis. X-XVIII, figs. 50-59. ETHNOLOGY, Reports of the Bureau of — continued. Sixth Annual Report, 1884-85. Ancient Art in the Province of Chiriqui, by W. H. Holmes pp. 3-187, pi. I, figs. 1-285. Tenth Annual Report, 1888-89. Picture writing of the American Indians, by Garrick Mallery. pp. .3-807, pis. I-Liv, figs. 1-1290. Twelfth Annual Report, 1890-91. Mound Explorations, by Cyrus Thomas.' pp. 3-730, pis. I-XLII, figs. 1-344. EVANS, John. The Ancient | Bronze Implements, | Weapons, and Orna- ments, I of I Great Britain | and | Ireland. | By | John Evans, D. C. L., LL. D., F. R. S., I F. S. A., F. G. S., Pres. Num. Soc, &c., | London: | Longmans, Green & Co. | 1881. | (All rights reserved. ) 8°, pp. i-xix, 1-509. The Ancient | Stone Implements, | Weapons, and Ornaments, | of | Great Britain, | by | John Evans, F. R. S., F. S. A. I Honorary Secretary of the Geological and Numismatic Societies of I London, etc., etc., etc. | London: | Longmans, Green, Reader, and Dyer. | 1872. I (All rights reserved.) 8°, pp. 1-xvi, 1-640. FAIRHOLT, F. W. A Dictionary | of | Terms iu Art. | Edited and Illustrated by I F. W. Fairholfc, F. S. A. | with | Five Hundred Engravings | On Wood I (Design) | Daldy, Isbister & Co. | 56, Ludgate Hill, London. 12° pp. i-vi, 1-474. Titles, Cross, Tret, ITylfot, Symbolism. FERGUSSON, James. Rude Stone Mon- uments I in I All Countries; | Their Ages and Uses. | By James Fergusson, D. C. L., F. R. S, I y. P. R. A. S., F. R. I. B. A., &c. I (Picture.) | With Two Hundred and Thirty- four Illustrations. I London : | John Murray, Albemarle Street. | 1872. | The Right of transla- tion is reserved. 8°, pp. i-xix, 1-559. Crosses, Celtic and Scottish, pp. 270-273. f6rREE, R. Die | Graeber- und Textil- funde I von | Achmim-Panopolis | von I R. Forrer | mit 16 Tafeln: 250 Abbildungen ] in Photographic, Auto- graphic, Farbeiidruck und theilweisem BIBLIOGRAPHY OF THE SWASTIKA. 989 FOTJEER, K.— continued. Handcolorit, nebst Clincli^--Al)bildun- gen I im Text; Text und Tafeln auf Cartonpapier. | Nur in wenigeu num- merirtenExemplarenliergestellt. | (De- sign.) I Strassburg, 1891 | Drueli von EmilBirkhiiuser, Basel. | Pbotographie vonMathiasGerschcl, Strassburg. | Au- tographie und Farbendruck von R. Fretz, ZUricli. | Nicht im Buchbaudel. Tolio, pp. 1-27. Swastika, ornaraent at Achmin-Pauopolis, Egypt, p. 20, pi. XI, fig. 3. FRANKLIN, Colonel. [Swastika an em- blem used in the worship of specified sects in India.] The Jeyrees and Boodhists, p. 49, cited in "Ogam Monuments," by Brash, p. 189. FRANKSj Augustus W. Horje ferales. PI. 30, fig. 19. GARDNER, Ernest A. Naukratis. Part II. I By | Ernest A. Gardner, M. A., I Fellow of Gonville and Caius College, Craven student and formerly Worts student of the University of Cambridge; | Director of the British SchoolofArchseology at Athens. | With an Appendix | by | F. L.L. Griffith, B. A., I of the British Museum, formerly student of the Egyptian Exploration Fund. I Sixth Memoir of | the Egypt Exploration Fund. | Published by or- der of the committee. | London : etc. Folio, pis. 1-24, pp. 1-92. Swastika in Egypt, Pottery, Aphrodite. PI. v, figs. 1, 7; pl.vi, flg. 1; pi. vra, flg. 1. GREG, P. E. Fret or Key Ornamenta- tion in Mexico and Peru. Archceologia, Vol. xLvn, 1882, pt. ],pp. 157- 160, pi. VI. Meaning and Origin of Fylfot and Swastika. Archceologia, Vol. XLVIII, 1885, pt. 2, pp. 293, 326, pis. XIX, XX, XXI. GOODYEAEj William H The Gram- ^maTof I the Lotus | A new History of Classic Ornament | as a | development of Sun Worship | with Observations on the Bronze Culture of Prehistoric Europe as derived | from Egypt ; based on the study of Patterns | by | Wm. H. Goodyear, M. A. (Yale, 1867) | Curator Department of Fine Arts in the Brooklyn Institute of Arts and GOODYEAR, WilliaiM H.— continued. Sciences | * « * | Loudon : | Samp- son, Low, Marstou & Company | Lim- ited I St. Dunstan's House, Fitter Lane, Fleet Street, E. C, | 1891. Chapters on Lotus and Swastika. GOULD, S. C. The Master's Mallet or the Hammer of Thor. Notes and Queries, (Manchester, K. H.), Vol. Ill (1886), pp. 93-108. HADDON, Alfred C. Evolution in Art : I As Illustrated by the | Life-His- tories of Designs. | By | Alfred C.Had- dou, I Professor of Zoology, RoyalCol- lege of Science, Corresponding | Mem- ber of the Italian Society of Anthro- pology, etc. I With 8 Plates, and 130 Figures in the Text. | Loudon : | Wal- ter Scott, Ltd., Paternoster Square. | Charles Scribner's Sons, | 153-157 Fifth Avenue, New York. | 1895. The meaning and distribution of the Fylfot, pp. 282-399. HAMPEL, Joseph. Antiquit^s prdhis- toriques de la Hongrie ; Erstegom, 1877. No. 3, pi. XX. Catalogue de I'Exposition prdhis- torique des Musses de Province ; Buda- pest, 1876, p. 17. HAMY, Dr. E. T. Decades AmiSricanse | M^moires | d'Arch^ologio et d'Ethuo- graphio | Am^rioaines | par | le Dr. E.- T. Hamy | Conservateur du Mus^e d'Ethuographie du Trocad(5ro. | Pre- miere Livraison | (Picture) | Paris | Ernest Leroux, Editeur | Librairedela Soci^td Asiatique | de I'ficole des Lan- gues drientales Vivantes, etc. | 28, Rue Bonaparte, 28 | 1884. 8°, pp. 1-67. Le Svastika et la roue solaire^ en Am6rique, pp. 59-67. HEAD, Barclay V. Synopsis of the Contents | of the | British Museum. | Department of | Coins and Medals. | A Guide | to the principal gold and sil- ver I Coinsof the Ancients, | from circa B. C. 700 to A. D. 1. I With 70 Plates. | By I Barclay V. Head, Assistant Keeper of Coins. I Second Edition. | London: | Printed by order of the Trustees. | Longmans & Co., Paternoster Row; B. Quaritch, 15, Piccadilly ; | A. Asher & Co., 13, Bedford Street, Convent Gar- 990 REPORT OF NATIONAL MUSEUM, 1894. HEAD, Barclay V. — continued. den, and at Berlin; | Trubner & Co., 57 and 59, Lndgate Hill. | C. RoUin & Feuardent, 61, Great Russell Street, and 4, Rue de Louvois, Paris. | 1881. 8°, pp. i-viii, 1-128, pi. 70. Triskelion, (Lycian coins), three cocks' heads, pi. 3, flg. 35. Punch-marks on ancient coins representing squares, etc., and not Swastika. PI. 1, figs. 1, 3 ; pi. 4, flg. 24 ; pi. 4, figs. 7, 8, 10 ; pi. 5, fig. IB ; pi. 6, figs. 30, 31 J pi. 12, figs. 1, 3, 6. HIGGJNS, Godfrey. Anacalypsis | or | attempts to draw aside the veil | of | the Saitiolsis | or, | aninquiry into the origin | of | Languages, Nations, and Religions | by | Godfrey Higgins, Esq. I F. S. A., F. R. Asiat. Soc, F. R. Ast. S. I of Skellow Grange, near Doncaster. | London | Longman, &o., &c.. Paternoster Row | 1836. Vols. I, II. Origin of the Cross, Lambh or Lama; oificial name for Governor is Ancient Tibetan for Cross. Vol. I, p. 230. HIRSCHFELD, G. Vasi arcaici Ateniesi. Roma, 1872. Tav. xxxix and xi. HOLMES, W. H. Art in Shell of the Ancient Americans. Second Ann. Hep. Bureau of Ethnology 1880-81. The cross, pis. xsxvi, Lii, Liii. Spirals, pis. Liv, LV, LVI. Swastika, (shell gorget, the bird,) pis. LViii, Lix. Spider, pi. Lxi, Serpent, pis. Lxill, LXIV. Human face, pi. LXix. Human figure, pis. Lxxi, lxxii, lxxiii. Fighting fig- urea, pi. LXXIV. Catalogue of Bureau Collections made in 1881. Third Ann. Hep. Bureau of Ethnology^ 1881-82. Fighting figures, fig. 128, p. 452. Swastika in'shell, from Fains Island, fig. 140, p. 466. Spider, same, fig. 141. Spirals on pottery vase, fig. 165, p. 484. Ancient Pottery of the Mississippi V.alley. Fourth Ann.Itep.Bureauof Ethnology, 1882-83. Spirals on pottery, figs. 402, p. 396 ; 413, p. 403 ; 415, 416, p. 404; 435, p. 416; 442, p. 421; in hasketry, fig. 485, p. 462. Maltese cross, fig. 458, p. 430. Ancient Art in the Province of Chiriqui. Sixth Ann. Rep. Bureau of Ethnology, 1884-85. Conventional alligator, series of derivations showing stages of simplification of animal characters, flgs. 257 to 528, pp. 173-181. Spindle- whorls, Chiriqui, figs. 218-220, p. 149. HOLMES, W. H.— continued. The Cross used as a Symbol by the Ancient Americans. Trans. Anthrop. Soc, Washington, D. C, ii, 1883. HUMPHREYS, H. Noel. The i Coin Collector's Manual, | or guide to the numismatic student in the formation of I A Cabinet of Coins : | Comprising ( An Historical and Critical Account of the Origin and Progress | of Coinage from the Earliest Period to the | Fall of the Roman Empire; | with | Some Account of the Coinages of Modern Europe, | More especially of Great Britain. | By H. Noel Humphreys, | Author of "The Coins of England," "Ancient Coins and Medals," | etc., etc. I With above one hundred and fifty illustrations | on Wood and Steel. | In two volumes. | London: | H. G. Bohn, York Street, Convent Garden. | 1853. 12°, (l),pp. i-xxiv, 1-352; (2), pp. 353-726. Punch-marks on ancient coins. Vol. i. pis. 2, 3, 4. Triquetrum, triskele or triskelion on coins of Sicily, Vol. i, p. 57, and note. KELLER, Ferdinand. The | Lake Dwellings | of | Switzerland and Other Parts of Europe. | By | Dr. Ferdinand Keller | President of the Antiquarian Association of Ziirich | Second Edition, Greatly Enlarged | Translated and Arranged | by | John Edward Lee, F. S. A., F. G. S. I Author of Isca Silurum etc. I In Two Volumes | Vol. I. (Vol. II) I London | Longmans, Green and Co. I 1878 I All rights reserved. 8°, Vol. I, text, pp. 1-xv, 1-696 ; Vol. II, pis. covi. Swastika, Lake Bourget, pattern-stamp and pottery imprint, p. 339. note 1, pi. CLXI, figs. 3, 4. LAN6D0N, Arthur G. Ornaments of Early Crosses of Cornwall. Koyal Institute of Cornwall, Vol. x, pt. 1, May, 1890, pp. 33-96. LE PLONGEON. Augustus.1 Sacred Mys- teries I Among I the Mayas and the Quiches, | 11,500 Years Ago. | Their Relation to the Sacred Mysteries | of Egypt, Greece, Chaldea and India. | Free Masonry | In Times Anterior to The Templeof Solomon. | Illustrated.- | By Augustus Le Plongeon, | Author of "Essay on | the Causes of Earth- quakes;" "Religion of Jesus Compared BIBLIOGRAPHY OF THE SWASTIKA. 991 LE PLONGEON, Augustus— continued, witli the I Teachings of the Church;" " The Monuments of Mayas and | their Historical Teachings." | New York: | Robert Macoy, i Barclay Street. | 1886. 8°, pp. 163. Cr033 aud Crux ansata, p. 128. Mayapan aud Maya Inscriptions. Proc. Am. Antiq. Soc, Worcester, Mass., April 21, 1881. Also printed as a separate. See pp. 15, 17, a^d figs. 7, 13, and frontispiece. LITTRfi'S FRENCH DICTIONARY. Title, Svastilta. McADAMS, William. Records | of | Ancient Races | in the | Mississippi ^ Valley; | Being an account of some of the Pictographs, sculptured | hiero- glyphics, symbolic devices, emblems, and tra- | ditions of the prehistoric races of America, with | some sugges- tions as to their origin. | With cuts and views illustrating over three hundred objects I and symbolic devices. | By Wm. McAdams, | Author of * | * | * | * I * I St. Louis: I C. R. Barns Pub- lishing Co. I 1887. 40, pp. i_xii, 1-120. Mound vessels with painted symbols, sun symbols, cross symbols, cross with bent arms (Swastika), etc., Cbap. xv, pp. 62-68. Cites Lord Kinsborougb, "Antiquities of Mexico, "for certain forms of the cross, of wbicb tbe first is the Swastika and the third the N^ndavariiaya Cbap. xvii, pp. 62-68. MACRICHIE, David. Ancient | and | Modern Britons : | A Retrospect. | London: | Kegan Paul, Trench & Co., I 1 Paternoster Square. | 1884. Two vols., 8°. (1), pp. i-viii, 1-401; (2), i-viii, 1-449. Sculptured stones of Scotland (p. 115), the Newton stone, a compound of Oriental and western languages (pp. 117-11 8) . Ethnologic re- semblances between old and new world peoples considered. Yol. 11 (app.). MALLERY, Garrick. Picture writing of the American Indians. Tenth Ann. Bep. Bicreau of Ethnology, 1883-89, pp. 1-807, pis. I-LIV, figs. 1-1290. Sun and star symbols, figs. 1118-1129, pp. 694:- 697. Human form (cross) symbols, figs. 1164- 1173, pp. 705-709. Cross symbols, figs. 1225- 1234, pp. 724-730-. Piaroa color stamps, fret pattern, fig. 982, p. 621. MARCH, H. Cqlley. The Fylfot and the Futhorc Tir. Cited in Transactions of the Lancashire and Cheshire Antiquarian Society, 1886. MASSON, . [The Swastika found on large rock near Karachi.] Balochistan, Yol. iv, p. 8, cited in Ogam Mon- uments, by Brash, p. 189. MATfiRIAUX pour I'Histoire Primitive et Naturelle de I'Homme. Revue men- suelle illustr^e. (Fondle par M. G. De Mortillet, 1865 k 1868. ) DirigiSe par M. Emile Cartailhac. » " * Swastika, Vol. XVI, 1881. Prehistoric Cemeteries in Caucasus, by E. Chantre, pp. 154-166. Excavations at Cyprus, by General di Ces- nola, p. 416. Signification of the Swastika, by M. Girard de Eeale, p. 548. Swastika, Vol. xvm, 1884. ]5tude aur quelques N6oropoles Halstatti- ennes de I'Autriche et de I'ltalie. By Ernest Chantre, Swastika on Archaic Vase, fig. 5, p. 8. Croix Gamm6e, figs. 12 and 13, p. 14. Cross, p. 122. Swastika, pp. 137-139. Swastika sculpt6 sur pierre, Briteros, Portugal, fig. 133, p. 294. Necropolis of Halstatt, pp. 13, 14 ; p. 139, fig. 84 ; p. 280, Report of spearhead with Swastika and runic inscription, found at Torcello, near Venice, by Undset. Swastika, Vol. XX, 1886. Erontispiece of January number. Swastika from Museum, Mayence. MATTHEWS, Washington. The Moun- tain Chant. Fifth Ann. Jtep. Bureau of Ethnology, lSSS-8i, pp. 379-467, pis. X-XVIII, figs. 60-59. Swastika in Navajo Mountain Chant. Sec- ond (?) Dry Painting, pi. xvii, jip. 450, 451. MONTELIUS, Oscar. The | Civilization of Sweden | in Heathen Times | by | Oscar Montelius, Ph. D. | Professor at the National Historical Museum, Stock- holm. I Translated from the Second Swedish Edition | Revised and en- larged for the author | by | Rev. F. H. Woods, B. D. I Vicar of Chalfont St. Peter. | With Map and Two Hundred and Five Illustrations. | London | Mac- millan and Co. | and New York. | 1888. pp. i-xvi. 1-214. The wheel with cross on many monuments of the Bronze Age became almost unknown dur- ing the Age of Iron (in Scandinavia) . It was the contrary with the Swastika. Compte- Eendu, Cong. Inter. d'Antbrop. et d'Arch. Pr6- historique. 7"" session, 1874, i, pp. 439, 460 992 EEPORT OP NATIONAL MUSEUM, 1894. MOOREHEAD, Warren K. Primitive Man I In Ohio | by | Warrea K. Moore- heacl I Fellow of the American Associa- tion for the Advancement of Science | Author of "Fort Ancient, the Great Prehistoric | Earthwork ofOhio,'' etc. | G. P. Putnam's Sons | The Knicker- bocker Press, I 1892. pp. i-xii, 1-246. Discoveries in Hopewell Mound, Chillicothe, Euse County, Ohio, pp. 184-196. Swastika, p. 193. MORGAN, J. De. Mission Scientifique | au Caucase | Etudes | Archseologiques et Historiques | par | J. De Morgan | Tome Premier | Les Premiers Ages Des M^taux I Dans l'Arm. ill .. 868 219. Carved triskelion found on fragment of ash wood. Crannog of Loch- lee, Tarbolton, Scotland. 'ilhmTO, Lake Dwellings of Europe, -p. i\^.. 869 220. Stone altar with Swastika on pedestal. France. Museum of Tou- louse. De Mortillet, Mus4e Pr^Mstorique, fig. 1267 869 221. Pottery bottle of dark gray with Swastika, and decoration in white barbotine. Gallo-Roman epoch. Museum of Rouen. De Mortillet, Masie Fr^Mstorique, fig. 1246 870 222. Anglo-Saxon bronze gilt fibula, simulation of Swastika. Long Wit- tenham, Berkshire 870 223. Pottery urn with band of twenty Swastikas made by hand. "White on blackish ground. Shropham, Norfolk. British Museujn. War- ing, Ceramic Art, etc., pi. in, fig. 50 871 224. Lycian coin, triskelion, with three arms representing cocks' heads and necks 871 225. 226. Lycian coins, triskelions, with central dots and circles, 480 B. C. Waring, Ceramic Art, etc., pi. XLii, figs. 12 and 13 871 227. Sicilian coin with quadriga and triskelion, 336-280 B. C. Coins of the Ancients, Brit. Mus., pi. xxxv, fig. 28 873 228. Warrior's shield, from a Greek vase, Achilles audi Hector, Agrigen- tum, Sicily. Waring, Ceramic Art, etc., pi. XLii, fig. 24 873 229. Corinthian coin with punch mark resembling Swastika. Obverse and reverse 876 230. Ancient Hindu coin. A cross with Swastika on extremity of each arm. Cunningham, Waring, Ceramic Art, etc., pi. XLi, fig. 18 877 231. 232, 233, 234. Ancient Hindu coins with Swastikas, normal and ogee. Cunningham, Waring, Ceramic Art, etc., pi. XLi, figs. 20, 21, 22, 23. . 877 235. Ancient coin with Swastika. Gaza, Palestine. Waring, Ceramic Art, etc., pi. XLII, fig. 6 878 THE SWASTIKA. 1007 Page, pig. 236. Gold bracteate with Jain Swastika. Denmark. Tliomsou, Jtlas, Table vii. Waring, Ceramic Art, etc., pi. i, fig. 9 878 237. Shell gorget with engraved Swastika, circles, and dots. Mound on Fains Island, Tennessee. Cat. No. 62928, U.S.N.M 880 238. Engraved shell with Swastika, circles, and dots. Toco Mound, Mon- roe County, Tenn. Cat. No. 115624, U.S.N.M 880 239. Shell gorget. Two lighting figures, triangular breech-clout, dots and circles, three garters and anklets. From mound ou Fains Island; associated with fig. 237. Cat. No. 62930, U.S.N.M. Third Ann. Eep. Bur. Eihnol., 1881-82, p. 452, fig. 128 885 240. Copper plate. Etowah Mound, Georgia. Cat. No. 91113, U.S.N.M. Fifth Ann. Eep. Bur. Ethnol., 1883-84 886 241. Copper plate. Eepouss6 work. Etowah Mound, Georgia. Cat. No. 91117, U.S.N.M 887 242. Engraved shell. Triangular breech-clout, with dots and circles. Etowah Mound, Georgia. Cat. No. 91443, U.S.N.M 888 243. Copper plate repouss6 (eagle). Mound in Union County, 111. Cat. No. 91507, U.S.N.M 889 244. Swastika cross of thin copper. Hopewell Mound, Eoss County, Ohio. One-fourth natural size 889 245. Flat ring of thin copper. Hopewell Mound, Eoss County, Ohio. One- fifth natural size 889 246. Stencil ornament of thin copper. Hopewell Mound, Eoss County, Ohio. One-eighth natural size 889 247. Stencil ornament of thin copper. Hopewell Mound, Eoss County, Ohio. One-fourth natural size 890 248. Fish ornament of thin copper. Hopewell' Mound, Eoss County, Ohio. One-sixth natural size 890 249. Lozenge-shaped stencil of thin copper. Hopewell Mound, Eoss County, Ohio. Three-fourths natural size 890 250. Spool-shaped object of copper. EepousscS and intaglio decoration. Hopewell Mound, Eoss County, Ohio. Natural size 891 251. Fragment of engraved bone representing a paroquet. Hopewell Mound, Eoss County, Ohio. Natural size 892 252. Fragment of engraved bone probably representing a Mississippi kite or leather-back turtle. Hopewell Mound, Eoss County, Ohio. Nat- ural size 892 253. Fragment of engraved bone probably representing an otter with a fish in his mouth. Hopewell Mound, Eoss County, Ohio. Natural size 893 254. Water jug, red on yellow, Swastika in center. Poinsett County, Ark. Cat. No. 91230, U.S.N.M 893 255. Kansa Indian war chart. Swastika, sign for winds and wind songs. J. Owen Dorsey, Am. Naturalist, July, 1885, p. 670 894 256. Dance rattle, small gourd in black, white, and red, ogee Swastika on each side. Cat. No. 42042, U.S.N.M. Second Ann. Sep. Bur. Efhnol., 1880-81, fig. 562 896 257. Pima Indian war shield with ogee Swastika (tetraskelion) in three stripes of color, (1) blue, (2) red, (3) white. Cat. No. 27829, U.S.N.M 900 258. Pima Indian war shield with ogee Swastika. The hole near the lower arm of the Swastika was made by an arrow shot. (Prop- erty of F. W. Hodge) 900 259. Colonial patchwork with pattern resembling Swastika. Scrihner's Magazine, September, 1894 901 1008 REPORT OF NATIONAL MUSEUM, 1894. Page Fig. 260. Fragment of tbe foot of a stone metate with Swastika. Nicaragua. Cat. No. 23726, U.S.N.M 902 261. Fragment of stone slab with ogee Swastika (tetraskelion) from an- cient Maya city of Mayapan. Inscription translated as "fire" by Lo Plongeon. Proc. Amer. Antiq. Soc, April 21, 1881 903 262. Different forms of Swastika placed together for comparison 905 263. Shell gorget, cross, circle, sun rays ( f), and the heads of four ivory- billed woodpeckers (?) arranged to form a Swastika. Missis- sippi 906 264. Shell gorget from Tennessee i 907 265. Shell gorget from Tennessee 907 266. Shell gorget from Tennessee 908 267. Scalloped shell disk (Fulgur), with three spiral volutes (triskelion). From mound near Nashville, Tenn 909 268. Scalloped shell disk with circles, dots, and fonr spiral volutes (tetra- skelion). Mound near Nashville, Tenn 910 869. Shell disk, unfinished engraving, dot and cirelu in center, and ogee Swastika (tetraskelion) marked, but not completed. Brakebill mound, near Knoxville, Tenn 911 270,271. Engraved shell disk (obverse and reverse) with three-armed volutes (triskelion) 911 272. Engraved shell disk with three-armed volute or spiral Swastika (triskelion). From mounds in Tennessee 912 273. Engraved shell disk. Three-armed volute (triskelion). Tennessee.. 912 274. Engraved shell disk. Three-armed volute (triskelion). Tennessee.- 913 275. 276, 277, 278. Engraved shell gorgets {Fulgur) representing the spider, with circles and Greek crosses. From stone graves and mounds in Illinois and Tennessee 913, 914, 915 279. Engraved shell gorget (Fulgur) representing rattlesnake. From McMahon mound, Tennessee. Second Ann. Bep. Bur. Ethnol., 1880-81, pi. Lxni.' 915 280, 281, 282, 283, 284, 285. Engraved sheils {Fulgur) with representations of the iiuman face. (For comparison.) From Tennessee and Vir- ginia 916,917 286. Engraved shell (Fulgur). Human figure. McMahon mound, Ten- nessee. (For comparison.) Second Ann. Bep. Bur. Ethnol., 1880-81, pi. Lxxi 917 287. Engraved shell (i^wZpfM)-). Humanfigure. (Forcomijarison.) Mound in Tennessee. Second Ann. Bep. Bur. Ethnol., 1880-81, pi. Lxxii.. . 918 288. Engraved shell gorget (J?'hJ9«)'). Humanfigure. (For comparison.) Missouri. Second Ann. Bep. Bur. Ethnol., 1880-81, pi. Lxxiii 919 289. Pottery vessel, with four-armed volute, ogee Swastika (tetraskelion). Arkansas. One-third natural size 920 290. Pottery vessel, four volutes resembling Swastika. Pecan Point,- Ark. One-third natural size 920 291. Pottery vessel, animal shaped, volutes, nine arms. Pecan Point, Ark. One-third natural size 920 292. Pottery bowl, volutes with many arms. Arkansas. One-third nat- ural size 921 293. Pottery vase, volutes. Arkansas 921 294. Tripod pottery vase, four-armed volutes making spiral Swastika. Arkansas. One- third natural size 922 295. Pottery bowl with-spiral Swastikii^ five arms, in bottom. Poinsett County, Ark. Cat. No. 114035, U.S.N.M. Two views, top and side. 923 296. Vessel of black ware, spiral scroll. Arkansas 924 THE SWASTIKA. lOOf Fig. 297. Pottery bowl, bird shaped witli three parallel incised lines with ribbon fold. Charleston, Mo 924 298. Pottery bottle with three parallel incised lines turning with ribbon fold. Charleston, Mo 92? 299. Basket work with many armed volutes. Fourth Ann. Hep. Bur. Fihnol., 1882-83, fig. 485 921. 300. Engraved shell gorget disk. Greek cross resembling Swastika, in- cised lines. Mound, Union County, 111 92f 301. Engraved shell gorget with Greek cross. Charleston, Mo. Second Ann. Rep. Bur. Eihnol., 1880-81, pi. Li, fig. 2 92'i 302. Engraved shell gorget disk. Greek cross, inchoate Swastika. Sec- ond Ann. Sep. Bur. Eihnol., 1880-81, PI. Lii, fig. 3 928 303. Fragment of copper disk. Greek cross in center circle. Ohio. Am. Mus. Nat. Hist., N.Y. Second Ann. Eep. Bur. Eihnol., 1880-81, pi. LII, fig. 4 928 304. Engraved shell disk gorget, rude cross with many dots. Lick Creek, Tenn. Second Ann. Bep. Bur. Eihnol., 1880-81, pi. lii, fig. 2 929 305. Engraved shell, Greek cross, hatched. Caldwell County, N. C. Cat. No. 83169, U.S.N.M 929 306. Engraved shell three-armed (triskelion). Lick Creek, Tenn. Cat. No. 83170, U.S.N.M 929 307. Drilled and engraved shell or "runtee" with dotted Greek cross in circle. Arizona ■. 930 308. Drilled aud engraved shell or "runtee," dots and rings forming circle and Greek cross. Ohio 930 309. Drilled and engraved shell or "runtee," dots and rings forming circle and Greek cross. New York 930 310. Pottery jar with crosses, encircling rays and scallops. Third Ann. Eep. Bur. Eihnol., 1881-82, fig. 188 931 311. 011a, decorated with Greek and Maltese crosses. Second Ann. Eep. Bur. Eihnol., 1880-81, fig. 708 932 312. Pottery water vessel, Maltese cross. Second Ann. Bep. Bur. Ethnol., 1880-81, fig. 642 ■ 932 313. Pottery vase finely decorated in red and white glaze. Mexico. Mal- tese cross with sun symbol (?). Cat. No. 132975, U.S.N.M 933 314. Greek cross representing winds from cardinal points. Dakota Indians. Tenth Ann. Eep. Bur. Eihnol., 1888-89, fig. 1225 934 315. The cross in connection with circle. Sun symbols (?). Petroglyphs a to /, Hopi iTidians, Oakley Springs, Ariz. ;