,transcriber's note3 ,text enclosed by underscores is in italics 7italics74 ,text enclosed by curly braces is in superscript 7example3 #gme74 ,the original text contains a few letters with diacritical marks that are not represented in this text version4 ,the original text includes ,greek characters4 ,for this text version these letters have been replaced with transliterations4 ,the following symbols are used in this text version to represent symbols that can not be presented in any other way4 ,s represents a ,swastika with left-bar facing up4 ,z represents a ,swastika with left-bar facing down4 ,z circle represents a ,swastika inside a circle4 cross represents a simple cross 7plus-sign form74 circle represents a circle4 ,u represents a large ,u4 ,v represents a large ,v4 ,y represents a large ,y4 symbol represents various symbols4 ,in the ,bibliography section the reader will encounter numerous vertical bars or pipes 7 74 ,these were present in the original book4 ,the reason for their presence is uncertain4 ,mismatched_/unmatched quotation marks are as in the original4 ,smithsonian ,institution4 ,united ,states ,national ,museum4 ,,the ,,swastika1 ,the ,earliest ,known ,symbol1 and ,its ,migrations2 with ,observations on the ,migration of ,certain ,industries in ,prehistoric ,times4 by ,,thomas ,,wilson1 ,curator1 ,department of ,prehistoric ,anthropology1 ,u4 ,s4 ,national ,museum4 ,from the ,report of the ,u4 ,s4 ,national ,museum for #ahid1 pages #geg-ajaa1 with plates #a-be and ,figures #a-cgd4 ,washington3 ,government ,printing ,office4 #ahif4 ,,table ,,of ,,contents4 ,page4 ,preface #gfc ,i4--,,definitions1 ,,description1 ,,and ,,origin4 ,different forms of the cross #gfe ,names and definitions of the ,swastika #gfh ,symbolism and interpretation #ggj ,origin and habitat #gia ,,ii4--,,dispersion ,,of ,,the ,,swastika4 ,extreme ,orient #gii ,japan #gii ,korea #gii ,china #gii ,tibet #hjb ,india #hjb ,classical ,orient #hjf ,babylonia1 ,assyria1 ,chaldea1 and ,persia #hjf ,phenicia #hjg ,lycaonia #hjg ,armenia #hjg ,caucasus #hjh ,asia ,minor--,troy 7,hissarlik7 #hji ,first and ,second ,cities #haj ,the ,third or ,burnt ,city #haa ,the ,fourth ,city #hac ,the ,fifth ,city #hah ,the ,sixth and ,seventh ,cities #hai ,leaden idol of ,hissarlik #hbi ,owl-shaped vases #hcj ,the age of ,trojan cities #hcb ,africa #hcc ,egypt #hcc ,naukratis #hcd ,coptos 7,achmim-,panopolis7 #hcd ,algeria #hch ,ashantee #hch ,classical ,occident--,mediterranean #hci ,greece1 ,cyprus1 ,rhodes1 ,melos1 and ,thera #hci ,greek fret and ,egyptian meander not the same as the ,swastika #hci ,swastika in panels #hde ,swastikas with four arms crossing at right angles1 ends bent to the right #hdf ,swastikas with four arms crossing at right angles1 ends bent to the left #hdg ,swastikas with four arms crossing at other than right angles1 the ends ogee and to the left #hdh ,meander pattern1 with ends bent to the right and left #hdi ,swastikas of different kinds on the same object #hdi ,europe #hed ,bronze age #hed ,etruria and ,italy #hee ,swiss lake dwellings #hfa ,germany and ,austria #hfb ,belgium #hfc ,scandinavia #hfd ,scotland and ,ireland #hfg ,gallo-,roman period #hfi ,france #hfi ,anglo-,saxon period #hgj ,britain #hgj ,swastika on ancient coins #hga ,triskelion1 ,lycia #hga ,triskelion1 ,sicily #hgc ,triskelion1 ,isle of ,man #hgd ,punch marks on ,corinthian coins mistaken for ,swastikas #hge ,swastika on ancient ,hindu coins #hgg ,swastika on coins in ,mesembria and ,gaza #hgh ,swastika on ,danish gold bracteates #hgh ,united ,states of ,america #hgi ,pre-,columbian times #hgi ,fains ,island and ,toco mounds1 ,tennessee #hgi ,hopewell ,mound1 ,chillicothe1 ,ross ,county1 ,ohio #hhh ,mounds in ,arkansas #hic ,north ,american ,indians #hid ,kansas #hid ,sacs #hie ,pueblos #hif ,navajoes #hig ,pimas #ija ,colonial patchwork #ija ,central ,america #ijb ,nicaragua #ijb ,yucatan #ijb ,costa ,rica #ijc ,south ,america #ijc ,brazil #ijc ,paraguay #ije ,,iii4--,,forms ,,allied ,,to ,,the ,,swastika4 ,meanders1 ogees1 and spirals1 bent to the left as well as to the right #ije ,aboriginal ,american engravings and paintings #ijf ,designs on shell #ijf ,ivory-billed woodpecker #ijg ,the triskele1 triskelion1 or triquetrum #ijh ,the spider #iac ,the rattlesnake #iad ,the human face and form #iad ,designs on pottery #ibj ,designs on basketry #ibd ,,iv4--,,the ,,cross ,,among ,,the ,,american ,,indians4 ,different forms #ibf ,the cross on objects of shell and copper #ibf ,the cross on pottery #ica ,symbolic meanings of the cross #icc ,the four winds #icd ,sun and star symbols #icf ,dwellings #icf ,dragon fly 7,susbeca7 #icf ,mide'1 or ,shamans #icg ,flocks of birds #icg ,human forms #ich ,maidenhood #ici ,shaman's spirit #ici ,divers significations #ici ,introduction of the cross into ,america #idd ,decorative forms not of the cross1 but allied to the ,swastika #idf ,color stamps from ,mexico and ,venezuela #idf ,v4--,,significance ,,of ,,the ,,swastika4 #idh ,,vi4--,,the ,,migration ,,of ,,symbols4 ,migration of the ,swastika #ieb ,migration of classic symbols #ifj ,the sacred tree of the ,assyrians #ifj ,the sacred cone of ,mesopotamia #ifj ,the ,crux ansata1 the key of life #ifa ,the winged globe #ifa ,the caduceus #ifb ,the trisula #ifc ,the double-headed eagle on the escutcheon of ,austria and ,russia #ifc ,the lion rampant of ,belgium #ifc ,greek art and architecture #ifd ,the ,greek fret #ife ,,vii4--,,prehistoric ,,objects ,,associated ,,with ,,the ,,swastika1 ,,found ,,in ,,both ,,hemispheres1 ,,and ,,believed ,,to ,,have ,,passed ,,by ,,migration4 ,spindle whorls #iff ,europe #ifg ,switzerland--,lake dwellings #ifg ,italy #ifh ,wurtemburg #ifh ,france #ifh ,north ,america--pre-,columbian times #ifi ,mexico #igj ,central ,america #iga ,nicaragua #iga ,south ,america #igb ,chiriqui #igb ,colombia #igb ,peru #igb ,bobbins #ige ,europe #ige ,united ,states #ige ,,viii4--,,similar ,,prehistoric ,,arts1 ,,industries1 ,,and ,,implements ,,in ,,europe ,,and ,,america ,,as ,,evidence ,,of ,,the ,,migration ,,of ,,culture4 #igg ,,conclusion #iha ,,bibliography #ihd ,,list ,,of ,,illustrations #iig ,,the ,,swastika1 ,,the ,,earliest ,,known ,,symbol1 ,,and ,,its ,,migrations2 ,,with ,,observations ,,on ,,the ,,migration ,,of ,,certain ,,industries ,,in ,,prehistoric ,,times4 ,illustration ,by ,,thomas ,,wilson1 ,curator1 ,department of ,prehistoric ,anthropology1 ,u4 ,s4 ,national ,museum4 ,,preface4 ,an ,english gentleman1 versed in prehistoric archology1 visited me in the summer of #ahid1 and during our conversation asked if we had the ,swastika in ,america4 ,i answered1 ,yes1 and showed him two or three specimens of it4 ,he demanded if we had any literature on the subject4 ,i cited him ,de ,mortillet1 ,de ,morgan1 and ,zmigrodzki1 and he said1 ,no1 ,i mean ,english or ,american4 ,i began a search which proved almost futile1 as even the word ,swastika did not appear in such works as ,worcester's or ,webster's dictionaries1 the ,encyclopdic ,dictionary1 the ,encyclopdia ,britannica1 ,johnson's ,universal ,cyclopdia1 the ,people's ,cyclopdia1 nor ,smith's ,dictionary of ,greek and ,roman ,antiquities1 his ,greek and ,roman ,biography and ,mythology1 or his ,classical ,dictionary4 ,i also searched1 with the same results1 ,mollett's ,dictionary of ,art and ,archology1 ,fairholt's ,dictionary of ,terms in ,art1 ,l',art ,gothique1 by ,gonza1 ,perrot and ,chipiez's extensive histories of ,art in ,egypt1 in ,chaldea and ,assyria1 and in ,phenicia2 also ,the ,cross1 ,ancient and ,modern1 by ,w4 ,w4 ,blake1 ,the ,history of the ,cross1 by ,john ,ashton2 and a reprint of a ,dutch work by ,wildener4 ,in the ,american ,encyclopdia the description is erroneous1 while all the ,century ,dictionary says is1 ,same as fylfot1 and ,compare ,crux ,ansata and ,gammadion4 ,i thereupon concluded that this would be a good subject for presentation to the ,smithsonian ,institution for diffusion of knowledge among men4 ,the principal object of this paper has been to gather and put in a compact form such information as is obtainable concerning the ,swastika1 leaving to others the task of adjustment of these facts and their arrangement into an harmonious theory4 ,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 objects4 ,no conclusion is attempted as to the time or place of origin1 or the primitive meaning of the ,swastika1 because these are considered to be lost in antiquity4 ,the straight line1 the circle1 the cross1 the triangle1 are simple forms1 easily made1 and might have been invented and re-invented in every age of primitive man and in every quarter of the globe1 each time being an independent invention1 meaning much or little1 meaning different things among different peoples or at different times among the same people2 or they may have had no settled or definite meaning4 ,but the ,swastika was probably the first to be made with a definite intention and a continuous or consecutive meaning1 the knowledge of which passed from person to person1 from tribe to tribe1 from people to people1 and from nation to nation1 until1 with possibly changed meanings1 it has finally circled the globe4 ,there are many disputable questions broached in this paper4 ,the author is aware of the differences of opinion thereon among learned men1 and he has not attempted to dispose of these questions in the few sentences employed in their announcement4 ,he has been conservative and has sought to avoid dogmatic decisions of controverted questions4 ,the antiquity of man1 the locality of his origin1 the time of his dispersion and the course of his migration1 the origin of bronze and the course of its migration1 all of which may be more or less involved in a discussion of the ,swastika1 are questions not to be settled by the dogmatic assertions of any individual4 ,much of the information in this paper is original1 and relates to prehistoric more than to modern times1 and extends to nearly all the countries of the globe4 ,it is evident that the author must depend on other discoverers2 therefore1 all books1 travels1 writers1 and students have been laid under contribution without scruple4 ,due acknowledgment is hereby made for all quotations of text or figures wherever they occur4 ,quotations have been freely made1 instead of sifting the evidence and giving the substance4 ,the justification is that there has never been any sufficient marshaling of the evidence on the subject1 and that the former deductions have been inconclusive2 therefore1 quotations of authors are given in their own words1 to the end that the philosophers who propose to deal with the origin1 meaning1 and cause of migration of the ,swastika will have all the evidence before them4 ,assumptions may appear as to antiquity1 origin1 and migration of the ,swastika1 but it is explained that many times these only reflect the opinion of the writers who are quoted1 or are put forth as working hypotheses4 ,the indulgence of the reader is asked1 and it is hoped that he will endeavor to harmonize conflicting statements upon these disputed questions rather than antagonize them4 ,i4--,,definitions1 ,,description1 ,,and ,,origin4 ,,different ,,forms ,,of ,,the ,,cross4 ,the simple cross made with two sticks or marks belongs to prehistoric times4 ,its first appearance among men is lost in antiquity4 ,one may theorize as to its origin1 but there is no historical identification of it either in epoch or by country or people4 ,the sign is itself so simple that it might have originated among any people1 however primitive1 and in any age1 however remote4 ,the meaning given to the earliest cross is equally unknown4 ,everything concerning its beginning is in the realm of speculation4 ,but a differentiation grew up in early times among nations by which certain forms of the cross have been known under certain names and with specific significations4 ,some of these1 such as the ,maltese cross1 are historic and can be well identified4 ,the principal forms of the cross1 known as symbols or ornaments1 can be reduced to a few classes1 though when combined with heraldry its use extends to #che varieties4#a ,illustration3 ,fig4 #a4 ,,latin ,,cross 7,crux immissa74 ,illustration3 ,fig4 #b4 ,,greek ,,cross4 ,illustration3 ,fig4 #c4 ,,st4 ,,andrew',s ,,cross 7,crux decussata74 ,it is not the purpose of this paper to give a history of the cross1 but the principal forms are shown by way of introduction to a study of the ,swastika4 ,the ,latin cross1 ,crux immissa1 7fig4 #a7 is found on coins1 medals1 and ornaments anterior to the ,christian era4 ,it was on this cross that ,christ is said to have been crucified1 and thus it became accepted as the ,christian cross4 ,the ,greek cross 7fig4 #b7 with arms of equal length crossing at right angles1 is found on ,assyrian and ,persian monuments and tablets1 ,greek coins and statues4 ,the ,st4 ,andrew's cross1 ,crux decussata1 7fig4 #c7 is the same as the ,greek cross1 but turned to stand on two legs4 ,the ,crux ansata 7fig4 #d7 according to ,egyptian mythology1 was ,ankh1 the emblem of ,ka1 the spiritual double of man4 ,it was also said to indicate a union of ,osiris and ,isis1 and was regarded as a symbol of the generative principle of nature4 ,illustration3 ,fig4 #d4 ,,egyptian ,,cross4 7,crux ansata74 ,the ,key of ,life4 ,the ,tau cross 7fig4 #e71 so called from its resemblance to the ,greek letter of that name1 is of uncertain1 though ancient1 origin4 ,in ,scandinavian mythology it passed under the name of ,thor's hammer1 being therein confounded with the ,swastika4 ,it was also called ,st4 ,anthony's cross for the ,egyptian hermit of that name1 and was always colored blue4 ,clarkson says this mark was received by the ,mithracists on their foreheads at the time of their initiation4 ,c4 ,w4 ,king1 in his work entitled ,early ,christian ,numismatics 7p4 #bad71 expresses the opinion that the ,tau cross was placed on the foreheads of men who cry after abominations4 7,ezekiel ix1 #d47 ,it is spoken of as a phallic emblem4 ,another variety of the cross appeared about the second century1 composed of a union of the ,st4 ,andrew's cross and the letter ,p 7fig4 #f71 being the first two letters of the ,greek word ,greek3 ,,christos 7,christus74 ,this1 with another variety containing all the foregoing letters1 passed as the monogram of ,christ 7fig4 #f74 ,illustration3 ,fig4 #e4 ,,tau ,,cross1 ,,thor',s ,,hammer1 ,,or ,,st4 ,,anthony',s ,,cross4 ,illustration3 ,fig4 #f4 ,,monogram ,,of ,,christ4 ,labarum of ,constantine4 ,illustration3 ,fig4 #g4 ,,maltese ,,cross4 ,as an instrument of execution1 the cross1 besides being the intersection of two beams with four projecting arms1 was frequently of compound forms as ,y1 on which the convicted person was fastened by the feet and hung head downward4 ,another form symbol1 whereon he was fastened by one foot and one hand at each upper corner2 still another form symbol1 whereon his body was suspended on the central upright with his arms outstretched upon the cross beams4 ,fig4 #g represents the sign of the military order of the ,knights of ,malta4 ,it is of medieval origin4 ,fig4 #h 7a and b7 represents two styles of ,celtic crosses4 ,these belong chiefly to ,ireland and ,scotland1 are usually of stone1 and frequently set up at marked places on the road side4 ,higgins1 in his ,anacalypsis1 a rare and costly work1 almost an encyclopedia of knowledge1#b says1 concerning the origin of the cross1 that the official name of the governor of ,tibet1 ,lama1 comes from the ancient ,tibetan word for the cross4 ,the original spelling was ,l-a-m-h4 ,this is cited with approval in ,davenport's ,aphrodisiacs 7p4 #ac74 ,illustration3 ,fig4 #h4 ,,celtic ,,crosses4 ,illustration3 ,fig4 #i4 ,,normal ,,swastika4 ,illustration3 ,fig4 #aj4 ,,suavastika4 ,illustration3 ,fig4 #aa4 ,,swastika4 ,meander4 ,of the many forms of the cross1 the ,swastika is the most ancient4 ,despite the theories and speculations of students1 its origin is unknown4 ,it began before history1 and is properly classed as prehistoric4 ,its description is as follows3 ,the bars of the normal ,swastika 7frontispiece and fig4 #i7 are straight1 of equal thickness throughout1 and cross each other at right angles1 making four arms of equal size1 length1 and style4 ,their peculiarity is that all the ends are bent at right angles and in the same direction1 right or left4 ,prof4 ,max ,mller makes the symbol different according as the arms are bent to the right or to the left4 ,that bent to the right he denominates the true ,swastika1 that bent to the left he calls ,suavastika 7fig4 #aj71 but he gives no authority for the statement1 and the author has been unable to find1 except in ,burnouf1 any justification for a difference of names4 ,professor ,goodyear gives the title of ,meander to that form of ,swastika which bends two or more times 7fig4 #aa74 ,the ,swastika is sometimes represented with dots or points in the corners of the intersections 7fig4 #ab;a71 and occasionally the same when without bent ends 7fig4 #ab;b71 to which ,zmigrodzki gives the name of ,croix ,swasticale4 ,some ,swastikas have three dots placed equidistant around each of the four ends 7fig4 #ab;c74 ,illustration3 ,fig4 #ab4 ,,croix ,,swasticale 7,,zmigrodzki74 ,there are several varieties possibly related to the ,swastika which have been found in almost every part of the globe1 and though the relation may appear slight1 and at first sight difficult to trace1 yet it will appear more or less intimate as the examination is pursued through its ramifications4 ,as this paper is an investigation into and report upon facts rather than conclusions to be drawn from them1 it is deemed wise to give those forms bearing even possible relations to the ,swastika4 ,certain of them have been accepted by the author as related to the ,swastika1 while others have been rejected2 but this rejection has been confined to cases where the known facts seemed to justify another origin for the symbol4 ,speculation has been avoided4 ,illustration3 ,,peculiar ,,forms ,,of ,,swastika4 ,fig4 #ac;a4 ,,ogee ,,and ,,spiral ,,swastikas4 ,tetraskelion 7four-armed74 ,fig4 #ac;b4 ,,spiral ,,and ,,volute4 ,triskelion 7three-armed74 ,fig4 #ac;c4 ,,spiral ,,and ,,volute4 7,five or many armed47 ,fig4 #ac;d4 ,,ogee ,,swastika1 ,,with ,,circle4 ,,names ,,and ,,definitions ,,of ,,the ,,swastika4 ,the ,swastika has been called by different names in different countries1 though nearly all countries have in later years accepted the ancient ,sanskrit name of ,swastika2 and this name is recommended as the most definite and certain1 being now the most general and1 indeed1 almost universal4 ,it was formerly spelled s-v-a-s-t-i-c-a and s-u-a-s-t-i-k-a1 but the later spelling1 both ,english and ,french1 is s-w-a-s-t-i-k-a4 ,the definition and etymology of the word is thus given in ,littre's ,french ,dictionary3 ,svastika1 or ,swastika1 a mystic figure used by several 7,east7 ,indian sects4 ,it was equally well known to the ,brahmins as to the ,buddhists4 ,most of the rock inscriptions in the ,buddhist caverns in the west of ,india are preceded or followed by the holy 7sacramentelle7 sign of the ,swastika4 7,eug4 ,burnouf1 ,le ,lotus de la bonne loi4 ,paris1 #aheb1 p4 #fbe47 ,it was seen on the vases and pottery of ,rhodes 7,cyprus7 and ,etruria4 7,f4 ,delaunay1 ,jour4 ,off41 ,nov4 #ah1 #ahgc1 p4 #gjbd1 #c;d ,col47 ,etymology3 ,a ,sanskrit word signifying happiness1 pleasure1 good luck4 ,it is composed of ,su 7equivalent of ,greek ,greek3 eu71 good1 and asti1 being1 good being1 with the suffix ka 7,greek ,greek3 ka1 ,latin co74 ,in the ,revue d',ethnographie 7,,iv1 #ahhe1 p4 #cbi71 ,mr4 ,dumoutier gives the following analysis of the ,sanskrit swastika3 ,su1 radical1 signifying good1 well1 excellent1 or suvidas1 prosperity4 ,asti1 third person1 singular1 indicative present of the verb as1 to be1 which is sum in ,latin4 ,ka1 suffix forming the substantive4 ,professor ,whitney in the ,century ,dictionary says1 ,swastika--,sanskrit1 lit41 of good fortune4 ,svasti 7,su1 well1 asti1 being71 welfare4 ,same as fylfot4 ,compare ,crux ansata and gammadion4 ,in ,ilios 7p4 #cdg71 ,max ,mller says3 ,ethnologically1 svastika is derived from svasti1 and svasti from su1 well1 and as1 to be4 ,svasti occurs frequently in the ,veda1 both as a noun in a sense of happiness1 and as an adverb in the sense of well or hail6 ,it corresponds to the ,greek ,greek3 euest4 ,the derivation ,svasti-ka is of later date1 and it always means an auspicious sign1 such as are found most frequently among ,buddhists and ,jainas4 ,m4 ,eugene ,burnouf#c defines the mark ,swastika as follows3 ,a monogrammatic sign of four branches1 of which the ends are curved at right angles1 the name signifying1 literally1 the sign of benediction or good augury4 ,the foregoing explanations relate only to the present accepted name ,swastika4 ,the sign ,swastika must have existed long before the name was given to it4 ,it must have been in existence long before the ,buddhist religion or the ,sanskrit language4 ,in ,great ,britain the common name given to the ,swastika1 from ,anglo-,saxon times by those who apparently had no knowledge whence it came1 or that it came from any other than their own country1 was ,fylfot1 said to have been derived from the ,anglo-,saxon fower fot1 meaning four-footed1 or many-footed4#d ,george ,waring1 in his work entitled ,ceramic ,art in ,remote ,ages 7p4 #aj71 says3 ,the word ,fylfot is ,scandinavian and is compounded of ,old ,norse fil1 equivalent to the ,anglo-,saxon fela1 ,german viel1 many1 and fotr1 foot1 the many-footed figure4 99 99 99 ,it is desirable to have some settled name by which to describe it2 we will take the simplest and most descriptive1 the ,fylfot4 ,he thus transgresses one of the oldest and soundest rules of scientific nomenclature1 and ignores the fact that the name ,swastika has been employed for this sign in the ,sanskrit language 7the etymology of the word naturally gave it the name ,svastika1 sv--good or well1 asti--to be or being1 or it is7 and that two thousand and more years of use in ,asia and ,europe had sanctioned and sanctified that as its name4 ,the use of ,fylfot is confined to comparatively few persons in ,great ,britain and1 possibly1 ,scandinavia4 ,outside of these countries it is scarcely known1 used1 or understood4 ,the ,swastika was occasionally called in the ,french language1 in earlier times1 ,croix gamme or ,gammadion1 from its resemblance to a combination of four of the ,greek letters of that name1 and it is so named by ,count ,goblet d',alviella in his late work1 ,la ,migration des ,symboles4 ,it was also called ,croix cramponne1 ,croix patte1 ,croix crochet4 ,but the consensus even of ,french etymologists favors the name ,swastika4 ,some foreign authors have called it ,thor's hammer1 or ,thor's hammer-mark1 but the correctness of this has been disputed4#e ,waring1 in his elaborate work1 ,ceramic ,art in ,remote ,ages1#f says3 ,the ,z used to be vulgarly called in ,scandinavia the hammer of ,thor1 and ,thor's hammer-mark1 or the hammer-mark1 but this name properly belongs to the mark ,y4 ,ludwig ,mller gives it as his opinion that the ,swastika has no connection with the ,thor hammer4 ,the best ,scandinavian authors report the ,thor hammer to be the same as the ,greek tau 7fig4 #e71 the same form as the ,roman and ,english capital ,t4 ,the ,scandinavian name is ,milner or ,mjolner1 the crusher or mallet4 ,the ,greek1 ,latin1 and ,tau crosses are represented in ,egyptian hieroglyphics by a hammer or mallet1 giving the idea of crushing1 pounding1 or striking1 and so an instrument of justice1 an avenger of wrong1#g hence standing for ,horus and other gods4#h ,similar symbolic meanings have been given to these crosses in ancient classic countries of the ,orient4#i ,,symbolism ,,and ,,interpretation4 ,many theories have been presented concerning the symbolism of the ,swastika1 its relation to ancient deities and its representation of certain qualities4 ,in the estimation of certain writers it has been respectively the emblem of ,zeus1 of ,baal1 of the sun1 of the sun-god1 of the sun-chariot of ,agni the fire-god1 of ,indra the rain-god1 of the sky1 the sky-god1 and finally the deity of all deities1 the great ,god1 the ,maker and ,ruler of the ,universe4 ,it has also been held to symbolize light or the god of light1 of the forked lightning1 and of water4 ,it is believed by some to have been the oldest ,aryan symbol4 ,in the estimation of others it represents ,brahma1 ,vishnu1 and ,siva1 ,creator1 ,preserver1 ,destroyer4 ,it appears in the footprints of ,buddha1 engraved upon the solid rock on the mountains of ,india 7fig4 #cb74 ,it stood for the ,jupiter ,tonans and ,pluvius of the ,latins1 and the ,thor of the ,scandinavians4 ,in the latter case it has been considered--erroneously1 however--a variety of the ,thor hammer4 ,in the opinion of at least one author it had an intimate relation to the ,lotus sign of ,egypt and ,persia4 ,some authors have attributed a phallic meaning to it4 ,others have recognized it as representing the generative principle of mankind1 making it the symbol of the female4 ,its appearance on the person of certain goddesses1 ,artemis1 ,hera1 ,demeter1 ,astarte1 and the ,chaldean ,nana1 the leaden goddess from ,hissarlik 7fig4 #abe71 has caused it to be claimed as a sign of fecundity4 ,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 deities4 ,the claims of these theorists are somewhat clouded in obscurity and lost in the antiquity of the subject4 ,what seems to have been at all times an attribute of the ,swastika is its character as a charm or amulet1 as a sign of benediction1 blessing1 long life1 good fortune1 good luck4 ,this character has continued into modern times1 and while the ,swastika is recognized as a holy and sacred symbol by at least one ,buddhistic religious sect1 it is still used by the common people of ,india1 ,china1 and ,japan as a sign of long life1 good wishes1 and good fortune4 ,whatever else the sign ,swastika may have stood for1 and however many meanings it may have had1 it was always ornamental4 ,it may have been used with any or all the above significations1 but it was always ornamental as well4 ,the ,swastika sign had great extension and spread itself practically over the world1 largely1 if not entirely1 in prehistoric times1 though its use in some countries has continued into modern times4 ,the elaboration of the meanings of the ,swastika indicated above and its dispersion or migrations form the subject of this paper4 ,dr4 ,schliemann found many specimens of ,swastika in his excavations at the site of ancient ,troy on the hill of ,hissarlik4 ,they were mostly on spindle whorls1 and will be described in due course4 ,he appealed to ,prof4 ,max ,mller for an explanation1 who1 in reply1 wrote an elaborate description1 which ,dr4 ,schliemann published in ,ilios4#aj ,he commences with a protest against the word ,swastika being applied generally to the sign ,swastika1 because it may prejudice the reader or the public in favor of its ,indian origin4 ,he says3 ,i do not like the use of the word svastika outside of ,india4 ,it is a word of ,indian origin and has its history and definite meaning in ,india4 99 99 99 ,the occurrence of such crosses in different parts of the world may or may not point to a common origin1 but if they are once called ,svastika the vulgus profanum will at once jump to the conclusion that they all come from ,india1 and it will take some time to weed out such prejudice4 ,very little is known of ,indian art before the third century ,b4 ,c41 the period when the ,buddhist sovereigns began their public buildings4#aa ,the name ,svastika1 however1 can be traced 7in ,india7 a little farther back4 ,it occurs as the name of a particular sign in the old grammar of ,pnani1 about a century earlier4 ,certain compounds are mentioned there in which the last word is karna1 ear4 99 99 99 ,one of the signs for marking cattle was the ,svastika fig4 #da1 and what ,pnani teaches in his grammar is that when the compound is formed1 svastika-karna1 i4 e41 having the ear marked with the sign of a ,svastika1 the final a of ,svastika is not to be lengthened1 while it is lengthened in other compounds1 such as datra-karna1 i4 e41 having the ear marked with the sign of a sickle4 ,d',alviella#ab reinforces ,max ,mller's statement that ,panini lived during the middle of the fourth century1 ,b4 ,c4 ,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 grammar4 ,max ,mller continues his explanation3#ac ,it the ,swastika occurs often at the beginning of the ,buddhist inscriptions1 on ,buddhist coins1 and in ,buddhist manuscripts4 ,historically1 the ,svastika is first attested on a coin of ,krananda1 supposing ,krananda to be the same king as ,xandrames1 the predecessor of ,sandrokyptos1 whose reign came to an end in #cae ,b4 ,c4 7,see ,thomas on the ,identity of ,xandrames and ,krananda47 ,the paleographic evidence1 however1 seems rather against so early a date4 ,in the footprints of ,buddha the ,buddhists recognize no less that sixty-five auspicious signs1 the first of them being the ,svastika see fig4 #cb1 7,eugene ,burnouf1 ,lotus de la bonne loi1 p4 #fbe72 the fourth is the ,suavastika1 or that with the arms turned to the left see fig4 #aj2 the third1 the ,nandyvarta see fig4 #ad1 is a mere development of the ,svastika4 ,among the ,jainas the ,svastika was the sign of their seventh ,jina1 ,suprsva 7,colebrooke ,miscellaneous ,essays1 ,,ii1 p4 #ahh2 ,indian ,antiquary1 vol4 #b1 p4 #ace74 ,in the later ,sanskrit literature1 ,svastika retains the meaning of an auspicious mark2 thus we see in the ,rmyana 7ed4 ,gorresio1 ,,ii1 p4 #cah7 that ,bharata selects a ship marked with the sign of the ,svastika4 ,varhamihira in the ,brihat-samhit 7,mod4 ,sc41 ,,vi1 p4 ,ch47 mentions certain buildings called ,svastika and ,nandyvarta 7#ec4cd1 seq471 but their outline does not correspond very exactly with the form of the signs4 ,some ,sthpas1 however1 are said to have been built on the plan of the ,svastika4 99 99 99 ,originally1 svastika may have been intended for no more than two lines crossing each other1 or a cross4 ,thus we find it used in later times referring to a woman covering her breast with crossed arms 7,blarm1 #ge4af71 svahastas-vastika-stani1 and likewise with reference to persons sitting crosslegged4 ,dr4 ,max ,ohnefalsch-,richter#ad speaking of the ,swastika position1 either of crossed legs or arms1 among the ,hindus1#ae suggests as a possible explanation that these women bore the ,swastikas upon their arms as did the goddess ,aphrodite1 in fig4 #h of his writings1 7see fig4 #ahj in the present paper71 and when they assumed the position of arms crossed over their breast1 the ,swastikas being brought into prominent view1 possibly gave the name to the position as being a representative of the sign4 ,max ,mller continues3#af ,quite another question is1 why the sign ,s should have had an auspicious meaning1 and why in ,sanskrit it should have been called ,svastika4 ,the similarity between the group of letters sv in the ancient ,indian alphabet and the sign of ,svastika is not very striking1 and seems purely accidental4 ,a remark of yours ,schliemann 7,troy1 p4 #ch47 that the ,svastika resembles a wheel in motion1 the direction of the motion being indicated by the crampons1 contains a useful hint1 which has been confirmed by some important observations of ,mr4 ,thomas1 the distinguished ,oriental numismatist1 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 absent1 but that while the eighth ,tirthankara has the sign of the half-moon1 the seventh ,tirthankara is marked with the ,svastika1 i4 e41 the sun4 ,here1 then1 we have clear indications that the ,svastika1 with the hands pointing in the right direction1 was originally a symbol of the sun1 perhaps of the vernal sun as opposed to the autumnal sun1 the ,suavastika1 and1 therefore1 a natural symbol of light1 life1 health1 and wealth4 ,but1 while from these indications we are justified in supposing that among the ,aryan nations the ,svastika may have been an old emblem of the sun1 there are other indications to show that in other parts of the world the same or a similar emblem was used to indicate the earth4 ,mr4 ,beal 99 99 99 has shown 99 99 99 that the simple cross 7cross7 occurs as a sign for earth in certain ideographic groups4 ,it was probably intended to indicate the four quarters--north1 south1 east1 west--or1 it may be1 more generally1 extension in length and breadth4 ,that the cross is used as a sign for four in the ,bactro-,pali inscriptions 7,max ,mller1 ,chips from a ,german ,workshop1 ,vol4 ,,ii1 p4 #bih7 is well known2 but the fact that the same sign has the same power elsewhere1 as1 for instance1 in the ,hieratic numerals1 does not prove by any means that the one figure was derived from the other4 ,we forget too easily that what was possible in one place was possible also in other places2 and the more we extend our researches1 the more we shall learn that the chapter of accidents is larger than we imagine4 ,the ,suavastika which ,max ,mller names and believes was applied to the ,swastika sign1 with the ends bent to the left 7fig4 #aj71 seems not to be reported with that meaning by any other author except ,burnouf4#ag ,therefore the normal ,swastika would seem to be that with the ends bent to the right4 ,burnouf says the word ,suavastika may be a derivative or development of the ,svastikaya1 and ought to signify he who1 or1 that which1 bears or carries the ,swastika or a species of ,swastika4 ,greg1#ah under the title ,svastikaya1 gives it as his opinion that there is no difference between it and the ,swastika4 ,colonel ,low#ai mentions the word ,sawattheko1 which1 according to ,burnouf#bj is only a variation of the ,pali word ,sotthika or ,suvatthika1 the ,pali translation of the ,sanskrit ,swastika4 ,burnouf translates it as ,svastikaya4 ,m4 ,eugene ,burnouf#ba speaks of a third sign of the footprint of akya1 called ,nandvartaya1 a good augury1 the meaning being the circle of fortune1 which is the ,swastika inclosed within a square with avenues radiating from the corners 7fig4 #ad74 ,burnouf says the above sign has many significations4 ,it is a sacred temple or edifice1 a species of labyrinth1 a garden of diamonds1 a chain1 a golden waist or shoulder belt1 and a conique with spires turning to the right4 ,colonel ,sykes#bb concludes that1 according to the ,chinese authorities ,fa-hian1 ,soung ,young1 ,hiuan thsang1 the ,doctors of reason1 ,tao-sse1 or followers of the mystic cross ,s were diffused in ,china and ,india before the advent of ,sakya in the sixth century ,b4 ,c4 7according to ,chinese1 ,japanese1 and ,buddhist authorities1 the eleventh century ,b4 ,c471 continuing until ,fa-hian's time2 and that they were professors of a qualified ,buddhism1 which1 it is stated1 was the universal religion of ,tibet before ,sakya's advent1#bc and continued until the introduction of orthodox ,buddhism in the ninth century ,a4 ,d4#bd ,illustration3 ,fig4 #ad4 ,,nand,,vartaya1 ,a ,,third ,,sign ,,of ,,the ,,footprint ,,of ,,buddha4 ,burnouf1 ,lotus de la ,bonne ,loi1 ,paris1 #aheb1 p4 #fif4 ,klaproth#be calls attention to the frequent mention by ,fa-hian1 of the ,tao-sse1 sectaries of the mystic cross ,s 7,sanskrit ,swastika71 and to their existence in ,central ,asia and ,india2 while he says they were diffused over the countries to the west and southwest of ,china1 and came annually from all kingdoms and countries to adore ,kassapo1 ,buddha's predecessor4#bf ,mr4 ,james ,burgess#bg mentions the ,tirthankaras or ,jainas as being sectarians of the ,mystic ,cross1 the ,swastika4 ,the ,cyclopdia of ,india 7title ,swastika71 coinciding with ,prof4 ,max ,mller1 says3 ,the ,swastika symbol is not to be confounded with the ,swastika sect in ,tibet which took the symbol for its name as typical of the belief of its members4 ,they render the ,sanskrit ,swastika as composed of su well and asti it is1 meaning1 as ,professor ,wilson expresses it1 so be it1 and implying complete resignation under all circumstances4 ,they claimed the ,swastika of ,sanskrit as the suti of ,pali1 and that the ,swastika cross was a combination of the two symbols sutti-suti4 ,they are rationalists1 holding that contentment and peace of mind should be the only objects of life4 ,the sect has preserved its existence in different localities and under different names1 ,thirthankara1 ,tor1 ,musteg1 ,pon1 the last name meaning purity1 under which a remnant are still in the farthest parts of the most eastern province of ,tibet4 ,general ,cunningham#bh adds his assertion of the ,swastika being the symbol used by the ,buddhist sect of that name4 ,he says in a note3 ,the founder of this sect flourished about the year #fjd to #ebc ,b4 ,c41 and that the mystic cross is a symbol formed by the combination of the two ,sanskrit syllables su and ti-suti4 ,waring#bi proceeds to demolish these statements of a sect named ,swastika as pure inventions1 and consulting ,professor ,wilson's invaluable work on the ,hindoo religious sects in the ',asiatic ,researches1' we find no account of any sect named ,swastika4 ,mr4 ,v4 ,r4 ,gandhi1 a learned legal gentleman of ,bombay1 a representative of the ,jain sect of ,buddhists to the ,world's ,parliament of ,religions at ,chicago1 #ahic1 denies that there is in either ,india or ,tibet a sect of ,buddhists named ,swastika4 ,he suggests that these gentlemen probably mean the sects of ,jains 7of which ,mr4 ,gandhi is a member71 because this sect uses the ,swastika as a sign of benediction and blessing4 ,this will be treated further on4 7,see p4 #hjd47 ,zmigrodzki1 commenting on the frequency of the ,swastika on the objects found by ,dr4 ,schliemann at ,hissarlik1 gives it as his opinion#cj that these representations of the ,swastika have relation to a human cult indicating a supreme being filled with goodness toward man4 ,the sun1 stars1 etc41 indicate him as a god of light4 ,this1 in connection with the idol of ,venus1 with its triangular shield engraved with a ,swastika 7fig4 #abe71 and the growing trees and palms1 with their increasing and multiplying branches and leaves1 represent to him the idea of fecundity1 multiplication1 increase1 and hence the god of life as well as of light4 ,the ,swastika sign on funeral vases indicates to him a belief in a divine spirit in man which lives after death1 and hence he concludes that the people of ,hissarlik1 in the ,burnt ,city 7the third of ,schliemann71 adored a supreme being1 the god of light and of life1 and believed in the immortality of the soul4 ,r4 ,p4 ,greg says3#ca ,originally it the ,swastika would appear to have been an early ,aryan atmospheric device or symbol indicative of both rain and lightning1 phenomena appertaining to the god ,indra1 subsequently or collaterally developing1 possibly1 into the ,suastika1 or sacred fire churn in ,india1 and at a still later period in ,greece1 adopted rather as a solar symbol1 or converted about ,b4 ,c4 #fej into the meander or key pattern4 ,waring1 while he testifies to the extension of the ,swastika both in time and area1 says3#cb ,but neither in the hideous jumble of ,pantheism--the wild speculative thought1 mystic fables1 and perverted philosophy of life among the ,buddhists--nor in the equally wild and false theosophy of the ,brahmins1 to whom this symbol1 as distinctive of the ,vishnavas1 sectarian devotees of ,vishnu1 is ascribed by ,moor in his ,indian ,pantheon1 nor yet in the tenets of the ,jains1#cc do we find any decisive explanation of the meaning attached to this symbol1 although its allegorical intention is indubitable4 ,he mentions the ,swastika of the ,buddhists1 the cross1 the circle1 their combination1 the three-foot ,y and adds3 ,they exhibit forms of those olden and widely spread pagan symbols of ,deity and sanctity1 eternal life and blessing4 ,professor ,sayce says3#cd ,the ,cyprian vase figured in ,di ,cesnola's ,cyprus1 pl4 ,,xlv1 fig4 #cf see fig4 #aef1 which associates the ,swastika with the figure of an animal1 is a striking analogue of the ,trojan whorls on which it is associated with the figures of stags4 ,the fact that it is drawn within the vulva of the leaden image of the ,asiatic goddess see fig4 #abe seems to show that it was a symbol of generation4 ,i believe that it is identical with the ,cyprian character symbol or symbol 7ne71 which has the form symbol in the inscription of ,golgi1 and also with the ,hittite symbol or symbol which ,dr4 ,hyde ,clarke once suggested to me was intended to represent the organs of generation4 ,mr4 ,waller1 in his work entitled ,monumental ,crosses1 describes the ,swastika as having been known in ,india as a sacred symbol many centuries before our ,lord1 and used as the distinguishing badge of a religious sect calling themselves ,followers of the ,mystic ,cross4 ,subsequently1 he says1 it was adopted by the followers of ,buddha and was still later used by ,christians at a very early period1 being first introduced on ,christian monuments in the sixth century4 ,but ,mr4 ,waring says that in this he is not correct1 as it was found in some of the early paintings in the ,roman catacombs1 particularly on the habit of a ,fossor1 or gravedigger1 given by ,d',agincourt4 ,pugin1 in his ,glossary of ,ornament1 under the title ,fylfot1 says that in ,tibet the ,swastika was used as a representation of ,god crucified for the human race1 citing as his authority ,f4 ,augustini ,antonii ,georgii4#ce ,he remarks3 ,from these accounts it would appear that the fylfot is a mystical ornament1 not only adopted among ,christians from primitive times1 but used1 as if prophetically1 for centuries before the coming of our ,lord4 ,to descend to later times1 we find it constantly introduced in ecclesiastical vestments1 99 99 99 till the end of the fifteenth century1 a period marked by great departure from traditional symbolism4 ,its use was continued in ,tibet into modern times1 though its meaning is not given4#cf 7,see p4 #hjb47 ,the ,rev4 ,g4 ,cox1 in his ,aryan ,mythology1 says3 ,we recognize the male and the female symbol in the trident of ,poseidon1 and in the fylfot or hammer of ,thor1 which assumes the form of a cross-patte in the various legends which turn on the rings of ,freya1 ,holda1 ,venus1 or ,aphrodite4 ,here again we find the fylfot and cross-patte spoken of as the same symbol1 and as being emblematic of the reproductive principles1 in which view of its meaning ,dr4 ,inman1 in his ,ancient ,faiths ,embodied in ,ancient ,names1 concurs4 ,burnouf#cg recounts the myth of ,agni 7from which comes1 through the ,latin ignis1 the ,english word igneous71 the god of ,sacred ,fire1 as told in the ,veda3#ch ,the young queen1 the mother of ,fire1 carried the royal infant mysteriously concealed in her bosom4 ,she was a woman of the people1 whose common name was ,arani--that is1 the instrument of wood 7the ,swastika7 from which fire was made or brought by rubbing4 99 99 99 ,the origin of the sign ,swastika is now easy to recognize4 ,it represents the two pieces of wood which compose l'arani1 of which the extremities were bent to be retained by the four nails4 ,at the junction of the two pieces of wood was a fossette or cup-like hole1 and there they placed a piece of wood upright1 in form of a lance 7the ,pramantha71 violent rotation of which1 by whipping 7after the fashion of top-whipping71 produced fire1 as did ,prometheus1 the porteur du feu1 in ,greece4 ,and this myth was made1 as have been others1 probably by the priests and poets of succeeding times1 to do duty for different philosophies4 ,the ,swastika was made to represent ,arani 7the female principle72 the ,pramantha or upright fire stake representing ,agni1 the fire god 7the male72 and so the myth served its part to account for the birth of fire4 ,burnouf hints that the myth grew out of the production of holy fire for the sacred altars by the use of the ,pramantha and ,swastika1 after the manner of savages in all times4 ,zmigrodzki accepts this myth1 and claims all specimens with dots or points--supposed nail holes--as ,swastikas4 ,the ,count ,goblet d',alviella#ci argues in opposition to the theory announced by ,burnouf and by ,zmigrodzki1 that the ,swastika or croix swasticale1 when presenting dots or points1 had relation to fire making4 ,he denies that the points represent nails1 or that nails were made or necessary either for the ,swastika or the ,arani1 and concludes that there is no evidence to support the theory1 and nothing to show the ,swastika to have been used as a fire-making apparatus1 whether with or without the dots or points4 ,mr4 ,greg#dj opposes this entire theory1 saying3 ,the difficulty about the ,swastika and its supposed connection with fire appears to me to be in not knowing precisely what the old fire drill and chark were like4 99 99 99 ,i much doubt whether the ,swastika had originally any connection either with the fire-chark or with the sun4 99 99 99 ,the best authorities consider ,burnouf 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 framework4 ,he quotes from ,tylor's description#da of the old fire drill used in ,india for kindling the sacrificial fire by the process called churning1 as it resembles that in ,india by which butter is separated from milk4 ,it consists in drilling one piece of ,arani wood by pulling a cord with one hand while the other is slackened1 and so1 alternately 7the strap drill71 till the wood takes fire4 ,mr4 ,greg states that the ,eskimos use similar means1 and the ancient ,greeks used the drill and cord1 and he adds his conclusions3 ,there is nothing of the ,swastika and four nails in connection with the fire-churn4 ,burton#db also criticises ,burnouf's theory3 ,if used on sacrificial altars to reproduce the holy fire1 the practice is peculiar and not derived from everyday life2 for as early as ,pliny they know that the savages used two1 and never three1 fire sticks4 ,burnouf continues his discussion of myths concerning the origin of fire3 ,according to ,hymnes1 the discoverer of fire was ,atharan1 whoso name signifies fire1 but ,bhrigon it was who made the sacred fire1 producing resplendent flames on the earthen altar4 ,in theory of physics1 ,agni1 who was the fire residing within the onction1 787 came from the milk of the cow1 which1 in its turn1 came from the plants that had nourished her2 and these plants in their turn grew by receiving and appropriating the heat or fire of the sun4 ,therefore1 the virtue of the onction came from the god4 ,one of the ,vedas says of ,agni1 the god of fire3#dc ,agni1 thou art a sage1 a priest1 a king1 ,protector1 father of the sacrifice2 ,commissioned by our men thou dost ascend ,a messenger1 conveying to the sky ,our hymns and offerings1 though thy origin ,be three fold1 now from air and now from water1 ,now from the mystic double ,arani4#dd ,count ,goblet d',alviella combats the hypothesis of ,burnouf that the ,swastika when turned to right or left1 passed1 the one for the male and the other for the female principle1 and declares1 on the authority of ,sir ,george ,birdwood1 that it is1 in modern ,india1 a popular custom to name objects which appear in couples as having different sexes1 so that to say the male ,swastika and the female ,swastika1 indicating them by the pronouns he or she1 would be expressed in the same manner when speaking of the hammer and the anvil or of any other objects used in pairs4#de ,ludwig ,mller1 in his elaborate treatise1 gives it as his opinion that the ,swastika had no connection with the ,tau cross or with the ,crux ansata1 or with the fire wheel1 or with arani1 or agni1 or with the mystic or alphabetic letters1 nor with the so-called spokes of the solar wheel1 nor the forked lightning1 nor the hammer of ,thor4 ,he considers that the triskelion might throw light on its origin1 as indicating perpetual whirling or circular movement1 which1 in certain parts of southern ,asia as the emblem of ,zeus1 was assimilated to that of ,baal1 an inference which he draws from certain ,asiatic coins of #djj ,b4 ,c4 ,mr4 ,r4 ,p4 ,greg#df opposes this theory and expresses the opinion that the ,swastika is far older and wider spread as a symbol than the triskelion1 as well as being a more purely ,aryan symbol4 ,greg says that ,ludwig ,mller attaches quite too much importance to the sun in connection with the early ,aryans1 and lays too great stress upon the supposed relation of the ,swastika as a solar symbol4 ,the ,aryans1 he says1 were a race not given to sun worship2 and1 while he may agree with ,mller that the ,swastika is an emblem of ,zeus and ,jupiter merely as the ,supreme ,god1 yet he believes that the origin of the ,swastika had no reference to a movement of the sun through the heavens2 and he prefers his own theory that it was a device suggested by the forked lightning as the chief weapon of the air god4 ,mr4 ,greg's paper is of great elaboration1 and highly complicated4 ,he devotes an entire page or plate 7#ba7 to a chart showing the older ,aryan fire1 water1 and sun gods1 according to the ,brahmin or ,buddhist system4 ,the earliest was ,dyaus1 the bright sky or the air god2 ,adyti1 the infinite expanse1 mother of bright gods2 ,varuna1 the covering of the shining firmament4 ,out of this trinity came another1 ,zeus1 being the descendant of ,dyaus1 the sky god2 ,agni1 the fire2 ,sulya1 the sun1 and ,indra1 the rain god4 ,these in their turn formed the great ,hindu trinity1 ,brahma1 ,vishnu1 and ,siva--creator1 preserver1 and destroyer2 and1 in his opinion1 the ,swastika was the symbol or ordinary device of ,indra as well as of ,zeus4 ,he continues his table of descent from these gods1 with their accompanying devices1 to the sun1 lightning1 fire1 and water1 and makes almost a complete scheme of the mythology of that period1 into which it is not possible to follow him4 ,however1 he declines to accept the theory of ,max ,mller of any difference of form or meaning between the ,suavastika and the ,swastika because the ends or arms turned to the right or to the left1 and he thinks the two symbols to be substantially the same4 ,he considers it to have been1 in the first instance1 exclusively of early ,aryan origin and use1 and that down to about #fjj ,b4 ,c4 it was the emblem or symbol of the supreme ,aryan god2 that it so continued down through the various steps of descent 7according to the chart mentioned7 until it became the device and symbol of ,brahma1 and finally of ,buddha4 ,he thinks that it may have been the origin of the ,greek fret or meander pattern4 ,later still it was adopted even by the early ,christians as a suitable variety of their cross1 and became variously modified in form and was used as a charm4 ,d',alviella#dg expresses his doubts concerning the theory advanced by ,greg#dh to the effect that the ,swastika is to be interpreted as a symbol of the air or of the god who dwells in the air1 operating sometimes to produce light1 other times rain1 then water1 and so on1 as is represented by the god ,indra among the ,hindus1 ,thor among the ,germans and ,scandinavians1 ,perkun among the ,slavs1 ,zeus among the ,pelasgi and ,greeks1 ,jupiter ,tonans1 and ,pluvius among the ,latins4 ,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 sign4 ,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 sun1 or when associated with the zigzags of lightning that it represents the god of lightning1 nor the same with the god of heaven4 ,the fact of its appearing either above or below any one of these is1 in his opinion1 of no importance and has no signification1 either general or special4 ,d',alviella says#di that the only example known to him of a ,swastika upon a monument consecrated to ,zeus or ,jupiter is on a ,celto-,roman altar1 erected1 according to all appearances1 by the ,daci during the time they were garrisoned at ,ambloganna1 in ,britain4 ,the altar bears the letters ,i4 ,o4 ,m41 which have been thought to stand for ,jupiter ,optimus ,maximus4 ,the ,swastika thereon is flanked by two disks or rouelles1 with four rays1 a sign which ,m4 ,gaidoz believes to have been a representative of the sun among the ,gaulois4#ej ,dr4 ,brinton#ea considers the ,swastika as being related to the cross and not to the circle1 and asserts that the ,ta ,ki or ,triskeles1 the ,swastika and the ,cross1 were originally of the same signification1 or at least closely allied in meaning4 ,waring1#eb after citing his authorities1 sums up his opinion thus3 ,we have given remarks of the various writers on this symbol1 and it will be seen that1 though they are more or less vague1 uncertain1 and confused in their description of it1 still1 with one exception1 they all agree that it is a mystic symbol1 peculiar to some deity or other1 bearing a special signification1 and generally believed to have some connection with one of the elements--water4 ,burton says3#ec ,the ,svastika is apparently the simplest form of the ,guilloche scroll pattern or spiral4 ,according to ,wilkinson 7#aa1 ,chap4 ,,ix71 the most complicated form of the ,guilloche covered an ,egyptian ceiling upward of a thousand years older than the objects found at ,nineveh4 ,the ,svastika spread far and wide1 everywhere assuming some fresh mythological and mysterious significance4 ,in the north of ,europe it became the ,fylfot or ,crutched cross4 ,count ,goblet d',alviella is of the opinion 7p4 #eg7 that the ,swastika was above all an amulet1 talisman1 or phylactere1 while 7p4 #ef7 it is incontestable that a great number of the ,swastikas were simply motifs of ornamentation1 of coin marks1 and marks of fabrics1 but he agrees 7p4 #eg7 that there is no symbol that has given rise to so many interpretations1 not even the tricula of the ,buddhists1 and this is a great deal to say4 ,ludwig ,mller believes the ,swastika to have been used as an ornament and as a charm and amulet1 as well as a sacred symbol4 ,dr4 ,h4 ,colley ,march1 in his learned paper on the ,fylfot and the ,futhore ,tir1#ed thinks the ,swastika had no relation to fire or fire making or the fire god4 ,his theory is that it symbolized axial motion and not merely gyration2 that it represented the celestial pole1 the axis of the heavens around which revolve the stars of the firmament4 ,this appearance of rotation is most impressive in the constellation of the ,great ,bear4 ,about four thousand years ago the apparent pivot of rotation was at ,greek3 a ,draconis1 much nearer the ,great ,bear than now1 and at that time the rapid circular sweep must have been far more striking than at present4 ,in addition to the name ,ursa ,major the ,latins called this constellation ,septentriones1 the seven plowing oxen1 that dragged the stars around the pole1 and the ,greeks called it ,greek3 elik1 from its vast spiral movement4#ee ,in the opinion of ,dr4 ,march all these are represented or symbolized by the ,swastika4 ,prof4 ,w4 ,h4 ,goodyear1 of ,new ,york1 has lately 7#ahia7 published an elaborate quarto work entitled ,the ,grammar of the ,lotus3 ,a ,new ,history of ,classic ,ornament as a ,development of ,sun ,worship4#ef ,it comprises #djh pages1 with #gf plates1 and nearly a thousand figures4 ,his theory develops the sun symbol from the lotus by a series of ingenious and complicated evolutions passing through the ,ionic style of architecture1 the volutes and spirals forming meanders or ,greek frets1 and from this to the ,swastika4 ,the result is attained by the following line of argument and illustrations3 ,the lotus was a fetish of immemorial antiquity and has been worshiped in many countries from ,japan to the ,straits of ,gibraltar2 it was a symbol of fecundity1 life1 immortality1 and of resurrection1 and has a mortuary significance and use4 ,but its elementary and most important signification was as a solar symbol4#eg ,he describes the ,egyptian lotus and traces it through an innumerable number of specimens and with great variety of form4 ,he mentions many of the sacred animals of ,egypt and seeks to maintain their relationship by or through the lotus1 not only with each other but with solar circles and the sun worship4#eh ,direct association of the solar disk and lotus are1 according to him1 common on the monuments and on ,phenician and ,assyrian seals2 while the lotus and the sacred animals1 as in cases cited of the goose representing ,seb 7solar god1 and father of ,osiris71 also ,osiris himself and ,horus1 the hawk and lotus1 bull and lotus1 the asp and lotus1 the lion and lotus1 the sphinx and lotus1 the gryphon and lotus1 the serpent and lotus1 the ram and lotus--all of which animals1 and with them the lotus1 have1 in his opinion1 some related signification to the sun or some of his deities4#ei ,he is of the opinion that the lotus motif was the foundation of the ,egyptian style of architecture1 and that it appeared at an early date1 say1 the fourteenth century ,b4 ,c4 ,by intercommunication with the ,greeks it formed the foundation of the ,greek ,ionic capital1 which1 he says1#fj offers no dated example of the earlier time than the sixth century ,b4 ,c4 ,he supports this contention by authority1 argument1 and illustration4 ,illustration3 ,from figures in ,goodyear's ,grammar of the ,lotus1 p4 #bg4 ,fig4 #ae4 ,,typical ,,lotus ,,on ,,cyprian ,,vases4 ,fig4 #af4 ,,typical ,,lotus ,,on ,,rhodian ,,vases4 ,fig4 #ag4 ,,typical ,,lotus ,,on ,,melian ,,vases4 ,he shows#fa the transfer of the lotus motif to ,greece1 and its use as an ornament on the painted vases and on those from ,cyprus1 ,rhodes1 and ,melos 7figs4 #ae1 #af1 #ag74 ,illustration3 ,fig4 #ah4 ,,detail ,,of ,,cyprian ,,vase ,,showing ,,lotuses ,,with ,,curling ,,sepals4 ,metropolitan ,museum of ,art1 ,new ,york4 ,goodyear1 ,grammar of the ,lotus1 pl4 #dg1 fig4 #a4 ,chantre#fb notes the presence of spirals similar to those of fig4 #ag1 in the terramares of northern ,italy and up and down the ,danube1 and his fig4 #ahf 7fig4 #ag7 he says represents the decorating motif1 the most frequent in all that part of prehistoric ,europe4 ,he cites ,notes sur les torques ou ornaments spirals4#fc ,that the lotus had a foundation deep and wide in ,egyptian mythology is not to be denied2 that it was allied to and associated on the monuments and other objects with many sacred and mythologic characters in ,egypt and afterwards in ,greece is accepted4 ,how far it extends in the direction contended for by ,professor ,goodyear1 is no part of this investigation4 ,it appears well established that in both countries it became highly conventionalized1 and it is quite sufficient for the purpose of this argument that it became thus associated with the ,swastika4 ,figs4 #ah and #ai represent details of ,cyprian vases and amphora belonging to the ,cesnola collection in the ,new ,york ,metropolitan ,museum of ,art1 showing the lotus with curling sepals among which are interspersed ,swastikas of different forms4 ,illustration3 ,fig4 #ai4 ,,detail ,,of ,,cyprian ,,amphora ,,in ,,metropolitan ,,museum ,,of ,,art1 ,,new ,,york ,,city4 ,lotus with curling sepals and different ,swastikas4 ,goodyear1 ,grammar of the ,lotus1 pl4 #dg1 figs4 #b1 #c4 ,illustration3 ,fig4 #bj4 ,,theory ,,of ,,the ,,evolution ,,of ,,the ,,spiral ,,scroll ,,from ,,lotus4 ,one ,volute4 ,goodyear1 ,grammar of the ,lotus1 fig4 #ba4 ,according to ,professor ,goodyear1#fd these bent sepals of the lotus were exaggerated and finally became spirals1#fe which1 being projected at a tangent1 made volutes1 and1 continuing one after the other1 as shown in fig4 #bj1 formed bands of ornament2 or1#ff being connected to right and left1 spread the ornament over an extended surface as in fig4 #ba4 ,one of his paths of evolution closed these volutes and dropped the connecting tangent1 when they formed the concentric rings of which we see so much4 ,several forms of ,egyptian scarabi1 showing the evolution of concentric rings1 are shown in figs4 #bb1 #bc1 and #bd4 ,illustration3 ,fig4 #ba4 ,,theory ,,of ,,lotus ,,rudiments ,,in ,,spiral4 ,tomb #cc1 ,abd-el ,kourneh1 ,thebes4 ,goodyear1 ,grammar of the ,lotus1 p4 #if4 ,by another path of the evolution of his theory1 one has only to square the spiral volutes1 and the result is the ,greek fret shown in fig4 #be4fg ,the ,greek fret has only to be doubled1 when it produces the ,swastika shown in fig4 #bf4fh ,thus we have1 according to him1 the origin of the ,swastika1 as shown in figs4 #bg and #bh4fi ,professor ,goodyear is authority for the statement that the earliest dated instances of the isolated scroll is in the fifth dynasty of ,egypt1 and of the lotus and spiral is in the eleventh dynasty4 ,the spiral of fig4 #ai 7above7 belongs to the twelfth dynasty4#gj ,illustration3 ,,egyptian ,,scarab,i ,,showing ,,evolution ,,of ,,concentric ,,rings4 ,fig4 #bb4 ,,concentric ,,rings ,,connected ,,by ,,tangents4 ,from a figure in ,petrie's ,history of ,scarabs4 ,fig4 #bc4 ,,concentric ,,rings ,,with ,,disconnected ,,tangents4 ,barringer collection1 ,metropolitan ,museum of ,art1 ,new ,york ,city4 ,goodyear1 ,grammar of the ,lotus1 pl4 #h1 fig4 #ic4 ,fig4 #bd4 ,,concentric ,,rings ,,without ,,connection4 ,farman collection1 ,metropolitan ,museum of ,art1 ,new ,york ,city4 ,goodyear1 ,grammar of the ,lotus1 pl4 #h1 fig4 #ie4 ,illustration3 ,fig4 #be4 ,,special ,,egyptian ,,meander4 ,an illustration of the theory of derivation from the spiral4 ,goodyear1 ,grammar of the ,lotus1 pl4 #aj1 fig4 #i4 ,professor ,goodyear devotes an entire chapter to the ,swastika4 ,on pages #ceb1 #cec he says3 ,there is no proposition in archology which can be so easily demonstrated as the assertion that the ,swastika was originally a fragment of the ,egyptian meander1 provided ,greek geometric vases are called in evidence4 ,the connection between the meander and the ,swastika has been long since suggested by ,prof4 ,a4 ,s4 ,murray4#ga ,hindu specialists have suggested that the ,swastika produced the meander4 ,birdwood#gb says3 ,i believe the ,swastika to be the origin of the key pattern ornament of ,greek and ,chinese decorative art4 ,zmigrodzki1 in a recent publication1#gc has not only reproposed this derivation of the meander1 but has even connected the ,mycen spirals with this supposed development1 and has proposed to change the name of the spiral ornament accordingly4 99 99 99 ,the equivalence of the ,swastika with the meander pattern is suggested1 in the first instance1 by its appearance in the shape of the meander on the ,rhodian 7pl4 #bh1 fig4 #g71 ,melian 7pl4 #fj1 fig4 #h71 archic ,greek 7pl4 #fj1 fig4 #i1 and pl4 #fa1 fig4 #ab71 and ,greek geometric vases 7pl4 #ef74 ,the appearance1 in shape of the meander may be verified in the ,british ,museum on one geometric vase of the oldest type1 and it also occurs in the ,louvre4 ,on page #ced1 ,goodyear says3 ,the solar significance of the ,swastika is proven by the ,hindu coins of the ,jains4 ,its generative significance is proven by a leaden statuette from ,troy4 ,it is an equivalent of the lotus 7pl4 #dg1 figs4 #a1 #b1 #c71 of the solar diagram 7pl4 #eg1 fig4 #ab1 and pl4 #fj1 fig4 #h71 of the rosette 7pl4 #bj1 fig4 #h71 of concentric rings 7pl4 #dg1 fig4 #aa71 of the spiral scroll 7pl4 #cd1 fig4 #h1 and pl4 #ci1 fig4 #b71 of the geometric boss 7pl4 #dh1 fig4 #ab71 of the triangle 7pl4 #df1 fig4 #e71 and of the anthemion 7pl4 #bh1 fig4 #g1 and pl4 #cj1 fig4 #d74 ,it appears with the solar deer 7pl4 #fj1 figs4 #a and #b71 with the solar antelope 7pl4 #cg1 fig4 #i71 with the symbolic fish 7pl4 #db1 fig4 #a71 with the ibex 7pl4 #cg1 fig4 #d71 with the solar sphinx 7pl4 #cd1 fig4 #h71 with the solar lion 7pl4 #cj1 fig4 #d71 the solar ram 7pl4 #bh1 fig4 #g71 and the solar horse 7pl4 #fa1 figs4 #a1 #d1 #e1 and #ab74 ,its most emphatic and constant association is with the solar bird 7pl4 #fj1 fig4 #ae2 fig4 #agc74 ,illustration3 ,fig4 #bf4 ,,detail ,,of ,,greek ,,vase4 ,meander and ,swastika4 ,goodyear1 ,grammar of the ,lotus1 fig4 #aga4 ,illustration3 ,fig4 #bg4 ,,detail ,,of ,,greek ,,geometric ,,vase ,,in ,,the ,,british ,,museum4 ,swastika1 right1 with solar geese4 ,goodyear1 ,grammar of the ,lotus1 pl4 #cec1 fig4 #agc4 ,illustration3 ,fig4 #bh4 ,,greek ,,geometric ,,vase4 ,swastika with solar geese4 ,goodyear1 ,grammar of the ,lotus1 pl4 #cec1 fig4 #agb4 ,count ,goblet d',alviella1 following ,ludwig ,mller1 ,percy ,gardner1 ,s4 ,beal1 ,edward ,thomas1 ,max ,mller1 ,h4 ,gaidoz1 and other authors1 accepts their theory that the ,swastika was a symbolic representation of the sun or of a sun god1 and argues it fully4#gd ,he starts with the proposition that most of the nations of the earth have represented the sun by a circle1 although some of them1 notably the ,assyrians1 ,hindus1 ,greeks1 and ,celts1 have represented it by signs more or less cruciform4 ,examining his fig4 #b1 wherein signs of the various people are set forth1 it is to be remarked that there is no similarity or apparent relationship between the six symbols given1 either with themselves or with the sun4 ,only one of them1 that of ,assyria1 pretends to be a circle2 and it may or may not stand for the sun4 ,it has no exterior rays4 ,all the rest are crosses of different kinds4 ,each of the six symbols is represented as being from a single nation of people4 ,they are prehistoric or of high antiquity1 and most of them appear to have no other evidence of their representation of the sun than is contained in the sign itself1 so that the first objection is to the premises1 to wit1 that while his symbols may have sometimes represented the sun1 it is far from certain that they are used constantly or steadily as such4 ,an objection is made to the theory or hypothesis presented by ,count d',alviella#ge that it is not the cross part of the ,swastika which represents the sun1 but its bent arms1 which show the revolving motion1 by which he says is evolved the tetraskelion or what in this paper is named the ,ogee ,swastika4 ,the author is more in accord with ,dr4 ,brinton and others that the ,swastika is derived from the cross and not from the wheel1 that the bent arms do not represent rotary or gyratory motion1 and that it had no association with1 or relation to1 the circle4 ,this1 if true1 relieves the ,swastika from all relation with the circle as a symbol of the sun4 ,besides1 it is not believed that the symbol of the sun is one which required rotary or gyratory motion or was represented by it1 but1 as will be explained1 in speaking of the ,assyrian sun-god ,shamash 7p4 #ghi71 it is rather by a circle with pointed rays extending outward4 ,d',alviella#gf presents several figures in support of his contention4 ,the first 7a7 is on a fibula from ,etruria 7fig4 #aij of this paper74 ,his explanation is that the small circle of rays1 bent at right angles1 on the broad shield of the pin1 represents graphically the rotary movement of the sun1 and that the bent arms in the ,swastikas on the same object are taken from them4 ,it seems curious that so momentous a subject as the existence of a symbol of a great god1 the god of light1 heat1 and thus of life1 should be made to depend upon an object of so small importance4 ,this specimen 7fig4 #aij7 is a fibula or pin1 one of the commonest objects of ,etruscan1 ,greek1 or ,roman dress4 ,the decorations invoked are on the broad end1 which has been flattened to protect the point of the pin1 where appears a semicircle of so-called rays1 the two ,swastikas and two possible crosses4 ,there is nothing about this pin1 nor indeed any of the other objects1 to indicate any holy or sacred character1 nor that any of them were used in any ceremony having relation to the sun1 to any god1 or to anything holy or sacred4 ,his fig4 b is fig4 #hh in this paper4 ,it shows a quadrant of the sphere found by ,schliemann at ,hissarlik4 ,there is a slightly indefinite circle with rays from the outside1 which are bent and crooked in many directions4 ,the sphere is of terra cotta2 the marks that have been made on it are rough and ill formed4 ,they were made by incision while the clay was soft and were done in the rudest manner4 ,there are dozens more marks upon the same sphere1 none of which seem to have received any consideration in this regard4 ,there is a ,swastika upon the sphere1 and it is the only mark or sign upon the entire object that seems to have been made with care or precision4 ,his third figure 7c7 is taken from a reliquaire of the thirteenth century ,a4 ,d4 ,it has a greater resemblance to the acanthus plant than it has to any solar disk imaginable4 ,the other two figures 7d and e7 are tetraskelions or ogee ,swastikas from ancient coins4 ,d',alviella's next argument#gg is that the triskelion1 formed by the same process as the tetraskelion1 is an incontestable representation of solar movement4 ,no evidence is submitted in support of this assertion1 and the investigator of the present day is required1 as in prehistoric objects1 to depend entirely upon the object itself4 ,the bent arms contain no innate evidence 7even though they should be held to represent rotary or gyratory motion7 representing the sun or sun gods4 ,it is respectfully suggested that in times of antiquity1 as in modern times1 the sun is not represented as having a rotary motion1 but is rather represented by a circle with diminishing rays projecting from the center or exterior4 ,it seems unjustifiable1 almost ridiculous1 to transform the three flexed human legs1 first appearing on the coins of ,lycia1 into a sun symbol1 to make it the reliable evidence of sun worship1 and give it a holy or sacred character as representing a god4 ,it is surely pushing the argument too far to say that this is an incontestable representation of the solar movement4 ,the illustrations by d',alviella on his page #ga are practically the same as figs4 #bbd to #bbf of this paper4 ,count d',alviella's further argument#gh is that symbols of the sun god being frequently associated1 alternated with1 and sometimes replaced by1 the ,swastika1 proves it to have been a sun symbol4 ,but this is doubted1 and evidence to sustain the proposition is wanting4 ,undoubtedly the ,swastika was a symbol1 was intentional1 had a meaning and a degree of importance1 and1 while it may have been intended to represent the sun and have a higher and holier character1 yet these mere associations are not evidence of the fact4 ,d',alviella's plate #b1 page #hj1 while divided into sections a and b1 is filled only with illustrations of ,swastika associated with circles1 dots1 etc41 introduced for the purpose of showing the association of the ,swastika therewith1 and that the permutation and replacing of these signs by the ,swastika is evidence that the ,swastika represented the sun4 ,most of the same illustrations are presented in this paper1 and it is respectfully submitted that the evidence does not bear out his conclusion4 ,if it be established that these other symbols are representatives of the sun1 how does that prove that the ,swastika was itself a representative of the sun or the sun god8 ,d',alviella himself argues#gi against the proposition of equivalence of meaning because of association when applied to the ,crux ansata1 the circle1 the crescent1 the triskelion1 the lightning sign1 and other symbolic figures4 ,he denies that because the ,swastika is found on objects associated with these signs therefore they became interchangeable in meaning1 or that the ,swastika stood for any of them4 ,the ,count#gi says that more likely the engraver added the ,swastika to these in the character of a talisman or phylactery4 ,on page #ef he argues in the same line1 that because it is found on an object of sacred character does not necessarily give it the signification of a sacred or holy symbol4 ,he regards the ,swastika as a symbol of good fortune1 and sees no reason why it may not be employed as an invocation to a god of any name or kind on the principle1 ,good ,lord1 good devil1 quoting the ,neapolitan proverb1 that it will do no harm1 and possibly may do good4 ,prof4 ,max ,mller#hj refers to the discovery by ,prof4 ,percy ,gardner of one of the coins of ,mesembria1 whereon the ,swastika replaces the last two syllables of the word1 and he regards this as decisive that in ,greece the meaning of the ,swastika was equivalent to the sun4 ,this word1 ,mesembria1 being translated ville de midi1 means town or city of the south1 or the sun4 ,he cites from ,mr4 ,thomas's paper on the ,indian ,swastika and its ,western ,counterparts#ha what he considers an equally decisive discovery made some years ago1 wherein it was shown that the wheel1 the emblem of the sun in motion1 was replaced by the ,swastika on certain coins2 likewise on some of the ,andhra coins and some punched gold coins noted by ,sir ,walter ,elliott4#hb ,in these cases the circle or wheel alleged to symbolize the sun was replaced by the ,swastika4 ,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 7fig4 #bcj74 ,other authorities have adopted the same view1 and have extended it to include the lightning1 the storm1 the fire wheel1 the sun chariot1 etc4 7,see ,ohnefalsch-,richter1 p4 #gij47 ,this appears to be a non sequitur4 ,all these speculations may be correct1 and all these meanings may have been given to the ,swastika1 but the evidence submitted does not prove the fact4 ,there is in the case of the foregoing coins no evidence yet presented as to which sign1 the wheel or the ,swastika1 preceded and which followed in point of time4 ,the ,swastika may have appeared first instead of last1 and may not have been a substitution for the disk1 but an original design4 ,the disk employed1 while possibly representing the sun in some places1 may not have done so always nor in this particular case4 ,it assumes too much to say that every time a small circle appears on an ancient object it represented the sun1 and the same observation can be made with regard to symbols of the other elements4 ,until it shall have been satisfactorily established that the symbols represented these elements with practical unanimity1 and that the ,swastika actually and intentionally replaced it as such1 the theory remains undemonstrated1 the burden rests on those who take the affirmative side2 and until these points shall have been settled with some degree of probability the conclusion is not warranted4 ,as an illustration of the various significations possible1 one has but to turn to ,chapter ,,iv1 on the various meanings given to the cross among ,american ,indians1 where it is shown that among these ,indians the cross represented the four winds1 the sun1 stars1 dwellings1 the dragon fly1 mide' society1 flocks of birds1 human form1 maidenhood1 evil spirit1 and divers others4 ,mr4 ,edward ,thomas1 in his work entitled ,the ,indian ,swastika and its ,western ,counterparts1#hc says3 ,as far as ,i have been able to trace or connect the various manifestations of this emblem the ,swastika1 they one and all resolve themselves into the primitive conception of solar motion1 which was intuitively associated with the rolling or wheel-like projection of the sun through the upper or visible arc of the heavens1 as understood and accepted in the crude astronomy of the ancients4 ,the earliest phase of astronomical science we are at present in position to refer to1 with the still extant aid of indigenous diagrams1 is the ,chaldean4 ,the representation of the sun in this system commences with a simple ring or outline circle1 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 ring4 ,as the original ,chaldean emblem of the sun was typified by a single ring1 so the ,indian mind adopted a similar definition1 which remains to this day as the ostensible device or cast-mark of the modern ,sauras or sun worshipers4 ,the same remarks are made in ,ilios 7pp4 #cec1 #ced74 ,the author will not presume to question1 much less deny1 the facts stated by this learned gentleman1 but it is to be remarked that1 on the theory of presumption1 the circle might represent many other things than the sun1 and unless the evidence in favor of the foregoing statement is susceptible of verification1 the theory can hardly be accepted as conclusive4 ,why should not the circle represent other things than the sun8 ,in modern astronomy the full moon is represented by the plain circle1 while the sun1 at least in heraldry1 is always represented as a circle with rays4 ,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 than cross or spokes4 ,a cast is in the ,u4 ,s4 ,national ,museum 7,cat4 ,no4 #aedgff7 of an original specimen from ,niffer1 now in the ,royal ,museum1 ,berlin1 of ,shamash1 the ,assyrian god of the sun4 ,he is represented on this monument by a solar disk1 #d inches in diameter1 with eight rays similar to those of stars1 their bases on a faint circle at the center1 and tapering outwards to a point1 the whole surrounded by another faint circle4 ,this is evidence that the sun symbol of ,assyria required rays as well as a circle4 ,a similar representation of the sun god is found on a tablet discovered in the temple of the ,sun ,god at ,abu-,habba4#hd ,perrot and ,chipiez#he show a tablet from ,sippara1 of a king1 ,nabu-abal-iddin1 #ijj ,b4 ,c41 doing homage to the sun god 7identified by the inscription71 who is represented by bas-relief of a small circle in the center1 with rays and lightning zigzags extending to an outer circle4 ,in view of these authorities and others which might be cited1 it is questionable whether the plain circle was continuously a representation of the sun in the ,chaldean or ,assyrian astronomy4 ,it is also doubtful whether1 if the circle did represent the sun1 the insertion of the cross or the four wheel-like spokes necessarily gave the impression of onward revolving motion2 or whether any or all of the foregoing afford a satisfactory basis for the origin of the ,swastika or for its relation to1 or representation of1 the sun or the sun god4 ,dr4 ,max ,ohnefalsch-,richter#hf announces as his opinion that the ,swastika in ,cyprus had nearly always a signification more or less religious and sacred1 though it may have been used as an ornament to fill empty spaces4 ,he attributes to the ,croix swasticale--or1 as he calls it1 ,croix cantonne--the equivalence of the solar disk1 zigzag lightning1 and double hatchet2 while to the ,swastika proper he attributes the signification of rain1 storm1 lightning1 sun1 light1 seasons1 and also that it lends itself easily to the solar disk1 the fire wheel1 and the sun chariot4 ,greg#hg says3 ,considered finally1 it may be asked if the fylfot or gammadion was an early symbol of the sun1 or1 if only an emblem of the solar revolutions or in movements across the heavens1 why it was drawn square rather than curved3 ,the ,z1 even if used in a solar sense1 must have implied something more than1 or something distinct from1 the sun1 whose proper and almost universal symbol was the circle4 ,it was evidently more connected with the cross cross than with the circle circle or solar disk4 ,dr4 ,brinton#hh considers the ,swastika as derived from the cross rather than from the circle1 and the author agrees that this is probable1 although it may be impossible of demonstration either way4 ,several authors1 among the rest d',alviella1 ,greg1 and ,thomas1 have announced the theory of the evolution of the ,swastika1 beginning with the triskelion1 thence to the tetraskelion1 and so to the ,swastika4 ,a slight examination is sufficient to overturn this hypothesis4 ,in the first place1 the triskelion1 which is the foundation of this hypothesis1 made its first appearance on the coins of ,lycia4 ,but this appearance was within what is called the first period of coinage1 to wit1 between #gjj and #dhj ,b4 ,c41 and it did not become settled until the second1 and even the third period1 #bhj to #bdj ,b4 ,c41 when it migrated to ,sicily4 ,but the ,swastika had already appeared in ,armenia1 on the hill of ,hissarlik1 in the terramares of northern ,italy1 and on the hut-urns of southern ,italy many hundred1 possibly a thousand or more1 years prior to that time4 ,count d',alviella1 in his plate #c 7see ,chart ,i1 p4 #gid71 assigns it to a period of the fourteenth or thirteenth century ,b4 ,c41 with an unknown and indefinite past behind it4 ,it is impossible that a symbol which first appeared in #dhj ,b4 ,c4 could have been the ancestor of one which appeared in #adjj or #acjj ,b4 ,c41 nearly a thousand years before4 ,william ,simpson#hi makes observations upon the latest discoveries regarding the ,swastika and gives his conclusion3 99 99 99 ,the finding of the ,swastika in ,america gives a very wide geographical space that is included by the problem connected with it1 but it is wider still1 for the ,swastika is found over the most of the habitable world1 almost literally from ,china to ,peru1 and it can be traced back to a very early period4 ,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 movement1 or perhaps1 in a wider sense1 the whole celestial movement of the stars4 ,the ,dharmachakra1 or ,buddhist wheel1 of which the so-called praying wheel of the ,lamas of ,thibet is only a variant1 can now be shown to have represented the solar motion4 ,it did not originate with the ,buddhists2 they borrowed it from the ,brahminical system to the ,veda1 where it is called the wheel of the sun4 ,i have lately collected a large amount of evidence on this subject1 being engaged in writing upon it1 and the numerous passages from the old ,brahminical authorities leave no doubt in the matter4 ,the late ,mr4 ,edward ,thomas 99 99 99 and ,prof4 ,percy ,gardner 99 99 99 declared that on some ,andhra gold coins and one from ,mesembria1 ,greece1 the part of the word which means day1 or when the sun shines1 is represented by the ,swastika4 ,these details will be found in a letter published in the ,athenum of ,august #bj1 #ahib1 written by ,prof4 ,max ,mller1 who affirms that it is decisive as to the meaning of the symbol in ,greece4 ,this evidence may be decisive for ,india and ,greece1 but it does not make us quite certain about other parts of the world4 ,still it raises a strong presumption that its meaning is likely to be somewhat similar wherever the symbol is found4 ,it is now assumed that the ,triskelion or ,three ,legs of the ,isle of ,man is only a variant of the ,swastika4 99 99 99 ,there are many variants besides this in which the legs1 or limbs1 differ in number1 and they may all be classed as whorls1 and were possibly all1 more or less1 forms intended originally to express circular motion4 ,as the subject is too extensive to be fully treated here1 and many illustrations would be necessary1 to those wishing for further details ,i would recommend a work just published entitled ,the ,migration of ,symbols1 by ,count ,goblet d',alviella1 with an introduction by ,sir ,george ,birdwood4 ,the frontispiece of the book is a representation of ,apollo1 from a vase in the ,kunsthistorisches ,museum of ,vienna1 and on the middle of ,apollo's breast there is a large and prominent ,swastika4 ,in this we have another instance going far to show its solar significance4 ,while accepting these new interpretations of the symbol1 ,i am still inclined to the notion that the ,swastika may1 at the same time1 have been looked upon in some cases as a cross--that is1 a pre-,christian cross1 which now finds acceptance by some authorities as representing the four cardinal points4 ,the importance of the cardinal points in primitive symbolism appears to me to have been very great1 and has not as yet been fully realized4 ,this is too large a matter to deal with here4 ,all ,i can state is1 that the wheel in ,india was connected with the title of a ,chakravartin--from ,chakra1 a wheel--the title meaning a supreme ruler1 or a universal monarch1 who ruled the four quarters of the world1 and on his coronation he had to drive his chariot1 or wheel1 to the four cardinal points to signify his conquest of them4 ,evidence of other ceremonies of the same kind in ,europe can be produced4 ,from instances such as these1 ,i am inclined to assume that the ,swastika1 as a cross1 represented the four quarters over which the solar power by its revolving motion carried its influence4 ,,origin ,,and ,,habitat4 ,prehistoric archologists have found in ,europe many specimens of ornamental sculpture and engraving belonging to the ,paleolithic age1 but the cross is not known in any form1 ,swastika or other4 ,in the ,neolithic age1 which spread itself over nearly the entire world1 with many geometric forms of decoration1 no form of the cross appears in times of high antiquity as a symbol or as indicating any other than an ornamental purpose4 ,in the age of bronze1 however1 the ,swastika appears1 intentionally used1 as a symbol as well as an ornament4 ,whether its first appearance was in the ,orient1 and its spread thence throughout prehistoric ,europe1 or whether the reverse was true1 may not now be determined with certainty4 ,it is believed by some to be involved in that other warmly disputed and much-discussed question as to the locality of origin and the mode and routes of dispersion of ,aryan peoples4 ,there is evidence to show that it belongs to an earlier epoch than this1 and relates to the similar problem concerning the locality of origin and the mode and routes of the dispersion of bronze4 ,was bronze discovered in eastern ,asia and was its migration westward through ,europe1 or was it discovered on the ,mediterranean1 and its spread thence8 ,the ,swastika spread through the same countries as did the bronze1 and there is every reason to believe them to have proceeded contemporaneously--whether at their beginning or not1 is undeterminable4 ,the first appearance of the ,swastika was apparently in the ,orient1 precisely in what country it is impossible to say1 but probably in central and southeastern ,asia among the forerunners or predecessors of the ,bramins and ,buddhists4 ,at all events1 a religious and symbolic signification was attributed to it by the earliest known peoples of these localities4 ,m4 ,michael ,zmigrodzki1 a ,polish scholar1 public librarian at ,sucha1 near ,cracow1 prepared and sent to the ,world's ,columbian ,exposition at ,chicago a manuscript chart in ,french1 showing his opinion of the migration of the ,swastika1 which was displayed in the ,woman's ,building4 ,it was arranged in groups3 ,the prehistoric 7or ,pagan7 and ,christian4 ,these were divided geographically and with an attempt at chronology1 as follows3 ,i4 ,prehistoric3 #a4 ,india and ,bactria4 #b4 ,cyprus1 ,rhodes4 #c4 ,north ,europe4 #d4 ,central ,europe4 #e4 ,south ,europe4 #f4 ,asia ,minor4 #g4 ,greek and ,roman epoch--,numismatics4 ,,ii4 ,christian3 #h4 ,gaul--,numismatics4 #i4 ,byzantine4 #aj4 ,merovingian and ,carlovingian4 #aa4 ,germany4 #ab4 ,poland and ,sweden4 #ac4 ,great ,britain4 ,lastly he introduces a group of the ,swastika in the nineteenth century4 ,he presented figures of ,swastikas from these localities and representing these epochs4 ,he had a similar display at the ,paris ,exposition of #ahhi1 which at its close was deposited in the ,st4 ,germain ,prehistoric ,museum4 ,i met ,m4 ,zmigrodzki at the ,tenth ,international ,congress of ,anthropology and ,prehistoric ,archology in ,paris1 and heard him present the results of his investigations on the ,swastika4 ,i have since corresponded with him1 and he has kindly sent me separates of his paper published in the ,archives fr ,ethnographie1 with #bff illustrations of the ,swastika2 but on asking his permission to use some of the information in the chart at ,chicago1 he informed me he had already given the manuscript chart and the right to reproduce it to the ,chicago ,folk-,lore ,society4 ,the secretary of this society declined to permit it to pass out of its possession1 though proffering inspection of it in ,chicago4 ,in his elaborate dissertation ,count ,goblet d',alviella#ij shows an earlier and prehistoric existence of the ,swastika before its appearance on the hill of ,hissarlik4 ,from this earlier place of origin it1 according to him1 spread to the ,bronze age terramares of northern ,italy4 ,all this was prior to the thirteenth century ,b4 ,c4 ,from the hill of ,hissarlik it spread east and west2 to the east into ,lycaonia and ,caucasus1 to the west into ,mycen and ,greece2 first on the pottery and then on the coins4 ,from ,greece it also spread east and west2 east to ,asia ,minor and west to ,thrace and ,macedonia4 ,from the terramares he follows it through the ,villanova epoch1 through ,etruria and ,grand ,greece1 to ,sicily1 ,gaul1 ,britain1 ,germany1 ,scandinavia1 to all of which migration he assigns various dates down to the second century ,b4 ,c4 ,it developed westward from ,asia ,minor to northern ,africa and to ,rome1 with evidence in the ,catacombs2 on the eastward it goes into ,india1 ,persia1 ,china1 ,tibet1 and ,japan4 ,all this can be made apparent upon examination of the plate itself4 ,it is introduced as ,chart ,i1 p4 #gid4 ,the author enters into no discussion with ,count d',alviella over the correctness or completeness of the migrations set forth in his chart4 ,it will be conceded1 even by its author1 to be largely theoretical and impossible to verify by positive proof4 ,he will only contend that there is a probability of its correctness4 ,it is doubted whether he can maintain his proposition of the constant presence or continued appearance of the ,swastika on altars1 idols1 priestly vestments1 and sepulchral urns1 and that this demonstrates the ,swastika to have always possessed the attributes of a religious symbol4 ,it appears to have been used more frequently upon the smaller and more insignificant things of everyday life--the household utensils1 the arms1 weapons1 the dress1 the fibul1 and the pottery2 and while this may be consonant with the attributes of the talisman or amulet or charm1 it is still compatible with the theory of the ,swastika being a sign or symbol for benediction1 blessing1 good fortune1 or good luck2 and that it was rather this than a religious symbol4 ,illustration3 ,,chart ,i4--,probable introduction of the ,swastika into different countries1 according to ,count ,goblet d',alviella4 ,la ,migration des ,symboles1 pl4 #c4 ,count ,goblet d',alviella1 in the fourth section of the second chapter#ia relating to the country of its origin1 argues that the ,swastika sign was employed by all the ,aryans except the ,persians4 ,this omission he explains by showing that the ,swastika in all other lands stood for the sun or for the sun-god1 while the ,aryans of ,persia had other signs for the same thing--the ,crux ansata and the winged globe4 ,his conclusion is#ib that there were two zones occupied with different symbols1 the frontier between them being from ,persia1 through ,cyprus1 ,rhodes1 and ,asia ,minor1 to ,libya2 that the first belonged to the ,greek civilization1 which employed the ,swastika as a sun symbol2 the second to the ,egypto-,babylonian1 which employed the ,crux ansata and the winged globe as sun symbols4 ,professor ,sayce1 in his preface to ,troja1 says3#ic ,the same symbol the ,swastika1 as is well known1 occurs on the ,archaic pottery of ,cyprus 99 99 99 as well as upon the prehistoric antiquities of ,athens and ,mykn same1 ,ilios1 p4 #cec1 but it was entirely unknown to ,babylonia1 to ,assyria1 to ,phoenicia1 and to ,egypt4 ,it must therefore either have originated in ,europe and spread eastward through ,asia ,minor or have been disseminated westward from the primitive home of the ,hittites4 ,the latter alternative is the more probable2 but whether it is so or not1 the presence of the symbol in the land of the gean indicates a particular epoch and the influence of a pre-,phoenician culture4 ,dr4 ,schliemann#id reports that ,rev4 ,w4 ,brown ,keer observed the ,swastika innumerable times in the most ancient ,hindu temples1 especially those of the ,jainas4 ,max ,mller cites the following paragraph by ,professor ,sayce3#ie ,it is evident to me that the sign found at ,hissarlik is identical with that found at ,mycen and ,athens1 as well as on the prehistoric pottery of ,cyprus 7,di ,cesnola1 ,cyprus1 pls4 #dd and #dg71 since the general artistic character of the objects with which this sign is associated in ,cyprus and ,greece agrees with that of the objects discovered in ,troy4 ,the ,cyprian vase fig4 #aef1 this paper figured in ,di ,cesnola's ,cyprus1 pl4 #de1 which associates the ,swastika with the figure of an animal1 is a striking analogue of the ,trojan whorls1 on which it is associated with the figure of the stags4 ,the fact that it is drawn within the vulva of the leaden image on the ,asiatic goddess shown in fig4 #bbf 7,ilios1 fig4 #abe this paper7 seems to show that it was a symbol of generation4 ,count ,goblet d',alviella1#if citing ,albert ,dumont#ig and ,perrot and ,chipiez1#ih says3 ,the ,swastika appears in ,greece1 as well as in ,cyprus and ,rhodes1 first on the pottery1 with geometric decorations1 which form the second period in ,greek ceramics4 ,from that it passes to a later period1 where the decoration is more artistic and the appearance of which coincides with the development of the ,phoenician influences on the coasts of ,greece4 ,dr4 ,ohnefalsch-,richter1 in a paper devoted to the consideration of the ,swastika in ,cyprus1#ii 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 ,cyprus1 while1 possibly1 other people1 brought it by the overland route from central ,asia1 ,asia ,minor1 and ,hissarlik1 and afterwards by migration to ,cyprus1 ,carthage1 and the north of ,africa4 ,professor ,goodyear says3#ajj ,the true home of the ,swastika is the ,greek geometric style1 as will be immediately obvious to every expert who examines the question through the study of that style4 ,in seeking the home of a symbol1 we should consider where it appears in the largest dimension and where it appears in the most formal and prominent way4 ,the ,greek geometric vases are the only monuments on which the ,swastika systematically appears in panels exclusively assigned to it 7pl4 #fj1 fig4 #ac2 and pl4 #ef1 fig4 #d74 ,there are no other monuments on which the ,swastika can be found in a dimension taking up one-half the height of the entire object 7pl4 #ef1 fig4 #d74 ,the ordinary size of the ,swastika1 in very primitive times1 is under a third of an inch in diameter4 ,they are found in ,greek geometric pottery #b or #c inches in diameter1 but they also appear in the informal scattering way 7pl4 #fa1 fig4 #d7 which characterizes the ,swastika in other styles4 99 99 99 99 99 ,the ,swastika dates from the earliest diffusion of the ,egyptian meander in the basin of the ,mediterranean1 and it is a profound remark of ,de ,morgan 7,mission ,scientifique au ,caucase7 that the area of the ,swastika appears to be coextensive with the area of bronze4 ,in northern prehistoric ,europe1 where the ,swastika has attracted considerable attention1 it is distinctly connected with the bronze culture derived from the south4 ,when found on prehistoric pottery of the north1 the southern home of its beginnings is equally clear4 ,in seeking the home of a symbol1 we should consider not only the nature of its appearance1 but also where it is found in the largest amount1 for this shows the center of vogue and power--that is to say1 the center of diffusion4 ,the vogue of the ,swastika at ,troy is not as great as its vogue in ,cyprian ,greek pottery 7pl4 #fj1 fig4 #ae7 and ,rhodian pottery 7pl4 #fj1 fig4 #b74 99 99 99 ,it is well known to ,melian vases 7pl4 #fj1 fig4 #h7 and to archaic ,greek vases 7pl4 #fa1 fig4 #ab71 but its greatest prominence is on the pottery of the ,greek geometric style 7pl4 #fj1 fig4 #ac2 pl4 #ef1 fig4 #d2 pl4 #fa1 figs4 #a and #d2 and figs4 #agc and #aga74 99 99 99 ,aside from the ,greek geometric style1 our earliest reference for the ,swastika1 and very possibly an earlier reference than the first1 is its appearance on the hut urns of ,italy4 ,on such it appears rather as a fragment of the more complicated meander patterns1 from which it is derived4 ,my precise view is that the earliest and1 consequently1 imperfect1 forms of the ,swastika are on the hut urns of ,italy1 but that1 as an independent and definitely shaped pattern1 it first belongs to the ,greek geometric style4 ,i do not assert that the ,swastika is very common on hut urns1 which are often undecorated4 99 99 99 ,our present intermediate link with ,india for the ,swastika lies in the ,caucasus and in the adjacent territory of ,koban4 ,this last ancient center of the arts in metal has lately attracted attention through the publication of ,virchow 7,das ,grberfeld von ,koban74 ,in the original ,coban bronzes of the ,prehistoric ,museum of ,st4 ,germain there is abundant matter for study 7p4 #cea74 ,mr4 ,r4 ,p4 ,greg1 in ,fret or ,key ,ornamentation in ,mexico and ,peru1#aja says3 ,both the ,greek fret and the fylfot appear to have been unknown to the ,semitic nations as an ornament or as a symbol4 ,in ,egypt the fylfot does not occur4 ,it is1 ,i believe1 generally admitted or supposed that the fylfot is of early ,aryan origin4 ,eastward toward ,india1 ,tibet1 and ,china it was adopted1 in all probability1 as a sacred symbol of ,buddha2 westward it may have spread in one form or another to ,greece1 ,asia ,minor1 and even to ,north ,germany4 ,cartailhac says3#ajb ,modern ,christian archologists have obstinately contended that the ,swastika was composed of four gamma1 and so have called it the ,croix ,gamme4 ,but the ,ramyana placed it on the boat of the ,rama long before they had any knowledge of ,greek4 ,it is found on a number of ,buddhist edifices2 the ,sectarians of ,vishnu placed it as a sign upon their foreheads4 ,burnouf says it is the ,aryan sign par excellence4 ,it was surely a religious emblem in use in ,india fifteen centuries before the ,christian era1 and thence it spread to every part4 ,in ,europe it appeared about the middle of the civilization of the bronze age1 and we find it1 pure or transformed into a cross1 on a mass of objects in metal or pottery during the first age of iron4 ,sometimes its lines were rounded and given a graceful curve instead of straight and square at its ends and angles4 ,see letter by ,gandhi1 pp4 #hjc1 #hje4 ,m4 ,cartailhac notes#ajc several facts concerning the associations of the ,swastika found by him in ,spain and ,portugal and belonging to the first 7prehistoric7 age of iron3 7#a7 ,the ,swastika was associated with the silhouettes of the duck1 or bird1 similar to those in ,greece1 noted by ,goodyear2 7#b7 the association 7in his fig4 #da7 on a slab from the lake dwellings1 of the ,maltese cross and reproduction of the triskelion2 7#c7 a tetraskelion1 which he calls a ,swastika flamboyant1 being the triskelion1 but with four arms1 the same shown on ,lycian coins as being ancestors of the true triskelion 7his fig4 #dab72 7#d7 those objects were principally found in the ancient lake dwellings of ,sambroso and ,briteiros1 supposedly dating from the eighth and ninth centuries ,b4 ,c4 ,with them were found many ornaments1 borders representing cords1 spirals1 meanders1 etc41 which had the same appearance as those found by ,schliemann at ,mycen4 ,cartailhac says3#ajd ,without doubt ,asiatic influences are evident in both cases2 first appearing in the ,troad1 then in ,greece1 they were spread through ,iberia and1 possibly1 who can tell1 finally planted in a far-away ,occident4 ,a writer in the ,edinburgh ,review1 in an extended discussion on ,the pre-,christian cross1 treats of the ,swastika under the local name of ,fylfot1 but in such an enigmatical and uncertain manner that it is difficult to distinguish it from other and commoner forms of the cross4 ,mr4 ,waring#aje criticises him somewhat severely for his errors3 ,he states that it is found 99 99 99 in the sculptured stones of ,scotland 7but after careful search we can find only one or two imperfect representations of it1 putting aside the ,newton stone inscription1 where it is probably a letter or numeral only72 that it is carved on the temples and other edifices of ,mexico and ,central ,america 7where again we have sought for it in vain72 that it is found on the cinerary urns of the terramare of ,parma and ,vicenza1 the date of which has been assigned by ,italian antiquaries to #ajjj ,b4 ,c4 7but there again we have found only the plain cross1 and not the fylfot71 and1 finally1 he asserts that it was the emblem of ,libitina or ,persephone1 the awful ,queen of the ,shades1 and is therefore commonly found on the dress of the tumulorum fossor in the ,roman catacombs1 but we have only found one such example4 ,it is noteworthy1 too1 he continues1 in reference to its extreme popularity1 or the superstitious veneration in which it has been also universally held1 that the cross patte1 or cruciform hammer 7but we shall show these are different symbols71 was among the very last of purely pagan symbols which was religiously preserved in ,europe long after the establishment of ,christianity 7not in ,europe1 but in ,scandinavia and wherever the ,scandinavians had penetrated74 99 99 99 ,it may be seen upon the bells of many of our parish churches1 as at ,appleby1 ,mexborough1 ,haythersaye1 ,waddington1 ,bishop's ,norton1 ,west ,barkwith1 and other places1 where it was placed as a magical sign to subdue the vicious spirit of the tempest2 and he subsequently points out its constant use in relation to water or rain4 ,mr4 ,waring continues3 ,the ,rev4 ,c4 ,boutell1 in ,notes and ,queries1 points out that it is to be found on many medival monuments and bells1 and occurs--e4 g41 at ,appleby in ,lincolnshire 7peopled by ,northmen7--as an initial cross to the formula on the bell ,sta4 ,maria1 o4 p4 n4 and c4 ,in these cases it has clearly been adopted as a ,christian symbol4 ,in the same author's ,heraldry1 he merely describes it as a mystic cross4 ,mr4 ,waring makes one statement which1 being within his jurisdiction1 should be given full credit4 ,he says1 on page #ae3 ,it the ,swastika appears in ,scotland and ,england only in those parts where ,scandinavians penetrated and settled1 but is not once found in any works of purely ,irish or ,franco-,celtic art4 ,he qualifies this1 however1 by a note3 ,i believe it occurs twice on an ,ogam stone in the ,museum of the ,royal ,irish ,academy1 figured in ,wilde's ,catalogue 7p4 #acf71 but the fylfots are omitted in the wood cut4 ,see fig4 #bae4 ,dr4 ,brinton1#ajf describing the normal ,swastika1 with four arms of equal length1 the hook usually pointing from left to right1 says3 ,in this form it occurs in ,india and on very early 7,neolithic7 ,grecian1 ,italic1 and ,iberian remains4 ,dr4 ,brinton is the only author who1 writing at length or in a critical manner1 attributes the ,swastika to the ,neolithic period in ,europe1 and in this1 more than likely1 he is correct4 ,professor ,virchow's opinion as to the antiquity of the hill of ,hissarlik1 wherein ,dr4 ,schliemann found so many ,swastikas1 should be considered in this connection4 7,see p4 #hcb1 #hcc of this paper47 ,of course1 its appearance among the aborigines of ,america1 we can imagine1 must have been within the ,neolithic period4 ,,ii4--,,dispersion ,,of ,,the ,,swastika4 ,,extreme ,,orient4 ,,japan4 ,illustration3 ,fig4 #bi4 ,,bronze ,,statue ,,of ,,buddha4 ,japan4 ,eight swastikas on pedestal4 ,cane tintinnabulum with six movable rings or bells4 ,one-fifteenth natural size4 ,the ,swastika was in use in ,japan in ancient as well as modern times4 ,fig4 #bi represents a bronze statue of ,buddha1 one-fifteenth natural size1 from ,japan1 in the collection of ,m4 ,cernuschi1 ,paris4 ,it has eight ,swastikas on the pedestal1 the ends all turned at right angles to the right4 ,this specimen is shown by ,de ,mortillet#ajg because it relates to prehistoric man4 ,the image or statue holds a cane in the form of a tintinnabulum1 with movable rings arranged to make a jingling noise1 and ,de ,mortillet inserted it in his volume to show the likeness of this work in ,japan with a number of similar objects found in the ,swiss lake dwellings in the prehistoric age of bronze 7p4 #hjf74 ,the ,swastika mark was employed by the ,japanese on their porcelain4 ,sir ,augustus ,w4 ,franks#ajh shows one of these marks1 a small ,swastika turned to the left and inclosed in a circle 7fig4 #cj74 ,fig4 #i also represents a mark on ,japanese bronzes4#aji ,illustration3 ,fig4 #cj4 ,,japanese ,,potter',s ,,mark ,,on ,,porcelain4 ,de ,mortillet1 ,muse ,prhistorique1 ,fig4 #abdh4 ,,korea4 ,the ,u4 ,s4 ,national ,museum has a ladies' sedan or carrying chair from ,korea4 ,it bears eight ,swastika marks1 cut by stencil in the brass-bound corners1 two on each corner1 one looking each way4 ,the ,swastika is normal1 with arms crossing at right angles1 the ends bent at right angles and to the right4 ,it is quite plain2 the lines are all straight1 heavy1 of equal thickness1 and the angles all at #ij degrees4 ,in appearance it resembles the ,swastika in fig4 #i4 ,,china4 ,in the ,chinese language the sign of the ,swastika is pronounced wan 7p4 #hja71 and stands for many1 a great number1 ten thousand1 infinity1 and by a synecdoche is construed to mean long life1 a multitude of blessings1 great happiness1 etc42 as is said in ,french1 mille pardons1 mille remercments1 a thousand thanks1 etc4 ,during a visit to the ,chinese legation in the city of ,washington1 while this paper was in progress1 the author met one of the attachs1 ,mr4 ,chung1 dressed in his robes of state2 his outer garment was of moir silk4 ,the pattern woven in the fabric consisted of a large circle with certain marks therein1 prominent among which were two ,swastikas1 one turned to the right1 the other to the left4 ,the name given to the sign was as reported above1 wan1 and the signification was longevity1 long life1 many years4 ,thus was shown that in far as well as near countries1 in modern as well as ancient times1 this sign stood for blessing1 good wishes1 and1 by a slight extension1 for good luck4 ,the author conferred with the ,chinese minister1 ,yang ,yu1 with the request that he should furnish any appropriate information concerning the ,swastika in ,china4 ,in due course the author received the following letter and accompanying notes with drawings3 99 99 99 ,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 history4 ,i have had this paper translated into ,english and illustrated by india-ink drawings4 ,the ,chinese copy is made by ,mr4 ,ho ,yen-,shing1 the first secretary of the legation1 translation by ,mr4 ,chung1 and drawings by ,mr4 ,li4 ,with assurance of my high esteem1 ,i am1 ,very cordially1 ,,yang ,,yu4 ,buddhist philosophers consider simple characters as half or incomplete characters and compound characters as complete characters1 while the ,swastika ,z is regarded as a natural formation4 ,a ,buddhist priest of the ,tang ,dynasty1 ,tao ,shih by name1 in a chapter of his work entitled ,fa ,yuen ,chu ,lin1 on the original ,buddha1 describes him as having this ,z mark on his breast and sitting on a high lily of innumerable petals4 ,pl4 #a4 ,empress ,wu 7#fhd-gjd ,a4 ,d471 of the ,tang ,dynasty1 invented a number of new forms for characters already in existence1 amongst which ,z circle was the word for sun1 symbol for moon1 circle for star1 and so on4 ,these characters were once very extensively used in ornamental writing1 and even now the word ,z circle sun may be found in many of the famous stone inscriptions of that age1 which have been preserved to us up to the present day4 ,pl4 #b4 ,the history of the ,tang ,dynasty 7#fbj-ijf ,a4 ,d471 by ,lui ,hsu and others of the ,tsin ,dynasty1 records a decree issued by ,emperor ,tai ,tsung 7#gfc-ggi ,a4 ,d47 forbidding the use of the ,swastika on silk fabrics manufactured for any purpose4 ,pl4 #c4 ,fung ,tse1 of the ,tang ,dynasty1 records a practice among the people of ,loh-yang to endeavor1 on the #gth of the #gth month of each year1 to obtain spiders to weave the ,swastika on their web4 ,kung ,ping-,chung1 of the ,sung ,dynasty1 says that the people of ,loh-yang believe it to be good luck to find the ,swastika woven by spiders over fruits or melons4 ,pl4 #d4 ,sung ,pai1 of the ,sung ,dynasty1 records an offering made to the ,emperor by ,li ,yuen-su1 a high official of the ,tang ,dynasty1 of a buffalo with a ,swastika on the forehead1 in return for which offering he was given a horse by the ,emperor4 ,pl4 #e4 ,the ,ts'ing-,i-,luh1 by ,tao ,kuh1 of the ,sung ,dynasty1 records that an ,empress in the time of the ,south ,tang ,dynasty had an incense burner the external decoration of which had the ,swastika design on it4 ,pl4 #f4 ,chu ,i-,tsu1 in his work entitled ,ming ,shih ,tsung1 says ,wu ,tsung-,chih1 a learned man of ,sin ,shui1 built a residence outside of the north gate of that town1 which he named ,wan-,chai1 from the ,swastika decoration of the railings about the exterior of the house4 ,pl4 #g4 ,an anonymous work1 entitled the ,tung ,hsi ,yang ,k'ao1 described a fruit called shan-tsao-tse 7mountain or wild date71 whose leaves resemble those of the plum4 ,the seed resembles the lichee1 and the fruit1 which ripens in the ninth month of the year1 suggests a resemblance to the ,swastika4 ,pl4 #h4 ,illustration3 ,,plate #a4 ,,origin ,,of ,,buddha ,,according ,,to ,,tao ,,shih1 ,,with ,,swastika ,,sign4 ,from a drawing by ,mr4 ,li1 presented to the ,u4 ,s4 ,national ,museum by ,mr4 ,yang ,y1 ,chinese ,minister1 ,washington1 ,d4 ,c4 ,illustration3 ,,plate #b4 ,,swastika ,,decreed ,,by ,,empress ,,wu 7#fhd-gjd ,a4 ,d47 ,,as ,a ,,sign ,,for ,,sun ,,in ,,china4 ,from a drawing by ,mr4 ,li1 presented to the ,u4 ,s4 ,national ,museum by ,mr4 ,yang ,y1 ,chinese ,minister1 ,washington1 ,d4 ,c4 ,illustration3 ,,plate #c4 ,,swastika ,,design ,,on ,,silk ,,fabrics4 ,this use of the ,swastika was forbidden in ,china by ,emperor ,tai ,tsung 7#gfc-ggi ,a4 ,d474 ,from a drawing by ,mr4 ,li1 presented to the ,u4 ,s4 ,national ,museum by ,mr4 ,yang ,y1 ,chinese ,minister1 ,washington1 ,d4 ,c4 ,illustration3 ,,plate #d4 ,,swastika ,,in ,,spider ,,web ,,over ,,fruit4 7,a good omen in ,china47 ,from a drawing by ,mr4 ,li1 presented to the ,u4 ,s4 ,national ,museum by ,mr4 ,yang ,y1 ,chinese ,minister1 ,washington1 ,d4 ,c4 ,illustration3 ,,plate #e4 ,,buffalo ,,with ,,swastika ,,on ,,forehead4 ,presented to ,emperor of ,sung ,dynasty4 ,from a drawing by ,mr4 ,li1 presented to the ,u4 ,s4 ,national ,museum by ,mr4 ,yang ,y1 ,chinese ,minister1 ,washington1 ,d4 ,c4 ,illustration3 ,,plate #f4 ,,incense ,,burner ,,with ,,swastika ,,decoration4 ,south ,tang ,dynasty4 ,from a drawing by ,mr4 ,li1 presented to the ,u4 ,s ,national ,museum ,mr4 ,yang ,y1 ,chinese ,minister1 ,washington1 ,d4 ,c4 ,illustration3 ,,plate #g4 ,,house ,,of ,,wu ,,tsung-,,chih ,,of ,,sin ,,shui1 ,,with ,,swastika ,,in ,,railing4 ,from a drawing by ,mr4 ,li1 presented to the ,u4 ,s4 ,national ,museum by ,mr4 ,yang ,y1 ,chinese ,minister1 ,washington1 ,d4 ,c4 ,illustration3 ,,plate #h4 ,,mountain ,,or ,,wild ,,date4--,,fruit ,,resembling ,,the ,,swastika4 ,from a drawing by ,mr4 ,li1 presented to the ,u4 ,s4 ,national ,museum by ,mr4 ,yang ,y1 ,chinese ,minister1 ,washington1 ,d4 ,c4 ,illustration3 ,fig4 #ca4 ,,potter',s ,,mark ,,on ,,porcelain4 ,china4 ,tablet of honor1 with ,swastika4 ,prime1 ,pottery and ,porcelain1 p4 #bed4 ,the ,swastika is one of the symbolic marks of the ,chinese porcelain4 ,prime#aaj shows what he calls a tablet of honor1 which represents a ,swastika inclosed in a lozenge with loops at the corners 7fig4 #ca74 ,this mark on a piece of porcelain signifies that it is an imperial gift4 ,major-,general ,gordon1 controller of the ,royal ,arsenal at ,woolwich1 ,england1 writes to ,dr4 ,schliemann3#aaa ,the ,swastika is ,chinese4 ,on the breech chasing of a large gun lying outside my office1 captured in the ,taku fort1 you will find this same sign4 ,but ,dumoutier#aab says this sign is nothing else than the ancient ,chinese character c h e1 which1 according to ,d',alviella1#aac carries the idea of perfection or excellence1 and signifies the renewal and perpetuity of life4 ,and again1#aaa ,dr4 ,lockyer1 formerly medical missionary to ,china1 says the sign ,z is thoroughly ,chinese4 ,the ,swastika is found on ,chinese musical instruments4 ,the ,u4 ,s4 ,national ,museum possesses a ,hu-,ch'in1 a violin with four strings1 the body of which is a section of bamboo about #c-a_/b inches in diameter4 ,the septum of the joint has been cut away so as to leave a ,swastika of normal form1 the four arms of which are connected with the outer walls of the bamboo4 ,another1 a ,ti-,ch'in1 a two-stringed violin1 with a body of cocoanut1 has a carving which is believed to have been a ,swastika2 but the central part has been broken out1 so that the actual form is undetermined4 ,prof4 ,george ,frederick ,wright1 in an article entitled ,swastika1#aad quotes ,rev4 ,f4 ,h4 ,chalfont1 missionary at ,chanting1 ,china1 as saying3 ,same symbol in ,chinese characters 'ouan1' or 'wan1' and is a favorite ornament with the ,chinese4 ,,tibet4 ,mr4 ,william ,woodville ,rockhill1#aae speaking of the fair at ,kumbum1 says3 ,i found there a number of ,lh'asa ,tibetans 7they call them ,gopa here7 selling pulo1 beads of various colors1 saffron1 medicines1 peacock feathers1 incense sticks1 etc4 ,i had a talk with these traders1 several of whom ,i had met here before in #ahhi4 99 99 99 ,one of them had a ,swastika 7yung-drung7 tattooed on his hand1 and ,i learned from this man that this is not an uncommon mode of ornamentation in his country4 ,count ,d',alviella says that the ,swastika is continued among the ,buddhists of ,tibet2 that the women ornament their petticoats with it1 and that it is also placed upon the breasts of their dead4#aaf ,he also reports#aag a ,buddhist statue at the ,muse ,guimet with ,swastikas about the base4 ,he does not state to what country it belongs1 so the author has no means of determining if it is the same statue as is represented in fig4 #bi4 ,,india4 ,burnouf#aah says approvingly of the ,swastika3 ,christian archologists believe this was the most ancient sign of the cross4 99 99 99 ,it was used among the ,brahmins from all antiquity4 7,voyez mot ,swastika dans notre dictionnaire sanskrit47 ,swastika1 or ,swasta1 in ,india corresponds to benediction among ,christians4 ,illustration3 ,fig4 #cb4 ,,footprint ,,of ,,buddha ,,with ,,swastika1 ,,from ,,amaravati ,,tope4 ,from a figure by ,fergusson and ,schliemann4 ,the same author1 in his translation of the ,lotus de la ,bonne ,loi1 one of the nine ,dharmas or ,canonical books of the ,buddhists of the ,north1 of #bhj pages1 adds an appendix of his own writing of #ehc pages2 and in one 7,no4 #h7 devoted to an enumeration and description of the sixty-five figures traced on the footprint of akya 7fig4 #cb7 commences as follows3 #a4 ,svastikaya3 ,this is the familiar mystic figure of many ,indian sects1 represented thus1 ,s1 and whose name signifies1 literally1 sign of benediction or of good augury4 7,rgya tch'er rol pa1 ,vol4 #aa1 p4 #aaj47 99 99 99 ,the sign of the ,swastika was not less known to the ,brahmins than to the ,buddhists4 ,ramayana1 ,vol4 ,,ii1 p4 #cdh1 ed4 ,gor41 ,chap4 ,,xcvii1 st4 #ag1 tells of vessels on the sea bearing this sign of fortune4 ,this mark1 of which the name and usage are certainly ancient1 because it is found on the oldest ,buddhist medals1 may have been used as frequently among the ,brahmins as among the ,buddhists4 ,most of the inscriptions on the ,buddhist caverns in western ,india are either preceded or followed by the holy 7sacramentelle7 sign of the ,swastika4 ,it appears less common on the ,brahmin monuments4 ,mr4 ,w4 ,crooke 7,bengal ,civil ,service1 director of ,eth4 ,survey1 ,northwest ,provinces and ,oudh71 says3#aai ,the mystical emblem of the ,swastika1 which appears to represent the sun in his journey through the heavens1 is of constant occurrence4 ,the trader paints it on the flyleaf of his ledger1 he who has young children or animals liable to the evil eye makes a representation of it on the wall beside his doorpost4 ,it holds first place among the lucky marks of the ,jainas4 ,it is drawn on the shaven heads of children on the marriage day in ,gujarat4 ,a red circle with ,swastika in the center is depicted on the place where the family gods are kept 7,campbell1 ,notes1 p4 #gj74 ,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 plaster4 ,it often occurs in folklore4 ,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 7,manning1 ,ancient ,india1 #aa1 #ajj74 ,village shrines4--,the outside 7of the shrines7 is often covered with rude representations of the mystical ,swastika4 ,on page #bej he continues thus3 ,charms4--,the bazar merchant writes the words ,ram ,ram over his door1 or makes an image of ,genesa1 the god of luck1 or draws the mystical ,swastika4 ,the jand tree is reverenced as sacred by ,khattris and ,brahmins to avoid the evil eye in children4 ,the child is brought at #c years of age before a jand tree2 a bough is cut with a sickle and planted at the foot of the tree4 ,a ,swastika symbol is made before it with the rice flour and sugar brought as an offering to the tree4 ,threads of string1 used by women to tie up their hair1 are cut in lengths and some deposited on the ,swastika4 ,mr4 ,virchand ,r4 ,gandhi1 a ,hindu and ,jain disciple from ,bombay1 ,india1 a delegate to the ,world's ,parliament of ,religions at ,chicago in #ahic1 remained for some time in ,washington1 ,d4 ,c41 proselyting among the ,christians4 ,he is a cultivated gentleman1 devoted to the spread of his religion4 ,i asked his advice and assistance1 which he kindly gave1 supervising my manuscript for the ,swastika in the extreme ,orient1 and furnishing me the following additional information relative to the ,swastika in ,india1 and especially among the ,jains3 ,the ,swastika is misinterpreted by so-called ,western expounders of our ancient ,jain philosophy4 ,the original idea was very high1 but later on some persons thought the cross represented only the combination of the male and the female principles4 ,while we are on the physical plane and our propensities on the material line1 we think it necessary to unite these 7sexual7 principles for our spiritual growth4 ,on the higher plane the soul is sexless1 and those who wish to rise higher than the physical plane must eliminate the idea of sex4 ,i explain the ,jain ,swastika by the following illustration fig4 #cc3 ,the horizontal and vertical lines crossing each other at right angles form the ,greek cross4 ,they represent spirit and matter4 ,we add four other lines by bending to the right each arm of the cross1 then three circles and the crescent1 and a circle within the crescent4 ,the idea thus symbolized is that there are four grades of existence of souls in the material universe4 ,the first is the lowest state--,archaic or protoplasmic life4 ,the soul evolves from that state to the next--the earth with its plant and animal life4 ,then follows the third stage--the human2 then the fourth stage--the celestial4 ,the word celestial is here held to mean life in other worlds than our own4 ,all these graduations are combinations of matter and soul on different scales4 ,the spiritual plane is that in which the soul is entirely freed from the bonds of matter4 ,in order to reach that plane1 one must strive to possess the three jewels 7represented by the three circles71 right belief1 right knowledge1 right conduct4 ,when a person has those1 he will certainly go higher until he reaches the state of liberation1 which is represented by the crescent4 ,the crescent has the form of the rising moon and is always growing larger4 ,the circle in the crescent represents the omniscient state of the soul when it has attained full consciousness1 is liberated1 and lives apart from matter4 ,the interpretation1 according to the ,jain view of the cross1 has nothing to do with the combination of the male and female principle4 ,worship of the male and female principles1 ideas based upon sex1 lowest even of the emotional plane1 can never rise higher than the male and female4 ,the ,jains make the ,swastika sign when we enter our temple of worship4 ,this sign reminds us of the great principles represented by the three jewels and by which we are to reach the ultimate good4 ,those symbols intensify our thoughts and make them more permanent4 ,illustration3 ,fig4 #cc4 ,,explanation ,,of ,,the ,,jain ,,swastika1 ,,according ,,to ,,gandhi4 7#a7 ,archaic or protoplasmic life2 7#b7 ,plant and animal life2 7#c7 ,human life2 7#d7 ,celestial life4 ,illustration3 ,fig4 #cd;a4 ,,the ,,formation ,,of ,,the ,,jain ,,swastika--,,first ,,stage4 ,handful of rice or meal1 in circular form1 thinner in center4 ,illustration3 ,fig4 #cd;b4 ,,the ,,formation ,,of ,,the ,,jain ,,swastika--,,second ,,stage4 ,rice or meal1 as shown in preceding figure1 with finger marks1 indicated at #a1 #b1 #c1 #d4 ,illustration3 ,fig4 #cd;c4 ,,the ,,formation ,,of ,,the ,,jain ,,swastika--,,third ,,stage4 ,ends turned out1 typifying animal1 human1 and celestial life1 as shown in fig4 #cc4 ,mr4 ,gandhi says the ,jains make the sign of the ,swastika as frequently and deftly as the ,roman ,catholics make the sign of the cross4 ,it is not confined to the temple nor to the priests or monks4 ,whenever or wherever a benediction or blessing is given1 the ,swastika is used4 ,figs4 #cd a1 b1 c form a series showing how it is made4 ,a handful of rice1 meal1 flour1 sugar1 salt1 or any similar substance1 is spread over a circular space1 say1 #c inches in diameter and one-eighth of an inch deep 7fig4 #cd;a71 then commence at the outside of the circle 7fig4 #cd;b71 on its upper or farther left-hand corner1 and draw the finger through the meal just to the left of the center1 halfway or more to the opposite or near edge of the circle 7#a71 then again to the right 7#b71 then upward 7#c71 finally to the left where it joins with the first mark 7#d74 ,the ends are swept outward1 the dots and crescent put in above1 and the sign is complete 7fig4 #cd;c74 ,the sign of the ,swastika is reported in great numbers1 by hundreds if not by thousands1 in the inscriptions on the rock walls of the ,buddhist caves in ,india4 ,it is needless to copy them1 but is enough to say that they are the same size as the letters forming the inscription2 that they all have four arms and the ends turn at right angles1 or nearly so1 indifferently to the right or to the left4 ,the following list of inscriptions1 containing the ,swastikas1 is taken from the first book coming to hand--the ,report of ,dr4 ,james ,burgess on the ,buddhist ,cave ,temples and their ,inscriptions1 ,being a ,part of the ,result of the ,fourth1 ,fifth1 and ,sixth ,seasons' ,operations of the ,archological ,survey of ,western ,india1 #ahgf1 #ahgg1 #ahgh1 #ahgi3abj ---------------------------------------- ---------- ,inscription ,direction ,plate4 number4 in which ends are bent4 ---------------------------------------- ------- ,bhaja ,,xliv #b ,to right4 ,kuda ,,xlvi #bf ,do4 ,do ,,xlvi #bg ,to left4 ,kol ,,xlvi #e ,to right4 ,karle ,,xlvii #a ,do4 ,do ,,xlvii #c ,do4 ,junnar ,,xlix #e ,do4 ,do ,,xlix #f ,to left4 ,do ,,xlix #g ,to right4 ,do ,,xlix #h ,to left4 ,do ,,xlix #i ,to right4 ,do ,,xlix #aj ,do4 ,do ,,xlix #aa 787 ,do4 ,do ,,xlix #ab ,do4 ,do ,,xlix #ac 787 ,do4 ,do ,,xlix #ac 787 ,to left4 ,do ,,xlix #ad ,do4 ,do ,l #ag ,to right4 ,do ,l #ai ,do4 ,nasik ,,lii #e ,do4 ,do ,,lv 7,nasik #ba7 #e 787 ,do4 ,do ,,lv 7,nasik #bd7 #h 787 ,do4 ---------------------------------------- ---------- ,chantre#aba says3 ,i remind you that the 7,east7 ,indians1 ,chinese1 and ,japanese employ the ,swastika1 not only as a religious emblem but as a simple ornament in painting on pottery and elsewhere1 the same as we employ the ,greek fret1 lozenges1 and similar motifs in our ornamentation4 ,sistres the staff with jingling bells1 held in the hand of ,buddha1 on whose base is engraved a row of ,swastikas1 fig4 #bi of present paper of similar form and style have been found in prehistoric ,swiss lake dwellings of the bronze age4 ,thus the sistres and the ,swastika are brought into relation with each other4 ,the sistres possibly relate to an ancient religion1 as they did in the ,orient2 the ,swastika may have had a similar distinction4 ,de ,mortillet and others hold the same opinion4#abb ,,classical ,,orient4 ,,babylonia1 ,,assyria1 ,,chaldea1 ,,and ,,persia4 ,waring#abc says1 ,in ,babylonian and ,assyrian remains we search for it the ,swastika in vain4 ,max ,mller and ,count ,goblet d',alviella are of the same opinion4#abd ,of ,persia1 ,d',alviella 7p4 #ea71 citing ,ludwig ,mller1#abe says that the ,swastika is manifested only by its presence on certain coins of the ,arsacides and the ,sassanides4 ,,phenicia4 ,it is reported by various authors that the ,swastika has never been found in ,phenicia1 e4 g4 ,max ,mller1 ,j4 ,b4 ,waring1 ,count ,goblet d',alviella4#abf ,ohnefalsch-,richter#abg says that the ,swastika is not found in ,phenicia1 yet he is of the opinion that their emigrant and commercial travelers brought it from the far east and introduced it into ,cyprus1 ,carthage1 and the north of ,africa4 7,see p4 #gif47 ,,lycaonia4 ,lempriere1 in his ,classical ,dictionary1 under the above title1 gives the following3 ,a district of ,asia ,minor forming the southwestern quarter of ,phrygia4 ,the origin of its name and inhabitants1 the ,lycaones1 is lost in obscurity4 99 99 99 ,our first acquaintance with this region is in the relation of the expedition of the younger ,cyprus4 ,its limits varied at different times4 ,at first it extended eastward from ,iconium #bc geographical miles1 and was separated from ,cilicia on the south by the range of ,mount ,taurus1 comprehending a large portion of what in later times was termed ,cataonia4 ,count ,goblet d',alviella1#abh quoting ,perrot and ,chipiez1#abi states that the ,hittites introduced the ,swastika on a bas-relief of ,ibriz1 ,lycaonia1 where it forms a border of the robe of a king or priest offering a sacrifice to a god4 ,,armenia4 ,illustration3 ,fig4 #ce4 ,,bronze ,,pin-,,head ,,from ,,cheithan-,,thagh4 ,de ,morgan1 ,au ,caucase1 fig4 #agg4 ,m4 ,j4 de ,morgan 7the present director of the ,gizeh ,museum at ,cairo71 under the direction of the ,french ,government1 made extensive excavations and studies into the prehistoric antiquities and archology of ,russian ,armenia4 ,his report is entitled ,le ,premier ge de ,mtaux dans l',armnie ,russe4#acj ,he excavated a number of prehistoric cemeteries1 and found therein various forms of crosses engraved on ceintures1 vases1 and medallions4 ,the ,swastika1 though present1 was more rare4 ,he found it on the heads of two large bronze pins 7figs4 #ce and #cf7 and on one piece of pottery 7fig4 #cg7 from the prehistoric tombs4 ,the bent arms are all turned to the left1 and would be the ,suavastika of ,prof4 ,max ,mller4 ,,caucasus4 ,illustration3 ,fig4 #cf4 ,,bronze ,,pin-,,head ,,from ,,akthala4 ,de ,morgan1 ,au ,caucase1 fig4 #agh4 ,illustration3 ,fig4 #cg4 ,,swastika ,,mark ,,on ,,black ,,pottery4 ,cheithan-thagh4 ,de ,morgan1 ,au ,caucase1 fig4 #agi4 ,illustration3 ,fig4 #ch4 ,,fragment ,,of ,,bronze ,,ceinture4 ,swastika repouss4 ,necropolis of ,koban1 ,caucasus4 ,chantre1 ,le ,caucase1 pl4 #aa1 fig4 #c4 ,in ,caucasus1 ,m4 ,e4 ,chantre#aca found the ,swastika in great purity of form4 ,fig4 #ch represents portions of a bronze plaque from that country1 used on a ceinture or belt4 ,another of slightly different style1 but with square cross and arms bent at right angles1 is represented in his pl4 #h1 fig4 #e4 ,these belonged to the first age of iron1 and much of the art was intricate4#acb ,it represented animals as well as all geometric forms1 crosses1 circles 7concentric and otherwise71 spirals1 meanders1 chevrons1 herring bone1 lozenges1 etc4 ,these were sometimes cast in the metal1 at other times repouss1 and again were engraved1 and occasionally these methods were employed together4 ,fig4 #ci shows another form1 frequently employed and suggested as a possible evolution of the ,swastika1 from the same locality and same plate4 ,fig4 #dj represents signs reported by ,waring#acc as from ,asia ,minor1 which he credits1 without explanation1 to ,ellis's ,antiquities of ,heraldry4 ,the specimen shown in fig4 #da is reported by ,waring1#acd quoting ,rzewusky1#ace as one of the several branding marks used on ,circassian horses for identification4 ,illustration3 ,fig4 #ci4 ,,bronze ,,agrafe ,,or ,,belt ,,plate4 ,triskelion in spiral4 ,koban1 ,caucasus4 ,chantre1 ,le ,caucase1 pl4 #aa1 fig4 #d4 ,mr4 ,frederick ,remington1 the celebrated artist and literateur1 has an article1 ,cracker ,cowboy in ,florida1#acf wherein he discourses of the forgery of brands on cattle in that country4 ,one of his genuine brands is a circle with a small cross in the center4 ,the forgery consists in elongating each arm of the cross and turning it with a scroll1 forming an ogee ,swastika 7fig4 #ac;d71 which1 curiously enough1 is practically the same brand used on ,circassian horses 7fig4 #da74 ,max ,ohnefalsch-,richter#acg says that instruments of copper 7audumbaroasih7 are recommended in the ,atharva-,veda to make the ,swastika1 which represents the figure #h2 and thus he attempts to account for the use of that mark branded on the cows in ,india 7supra1 p4 #ggb71 on the horses in ,circassia 7fig4 #da71 and said to have been used in ,arabia4 ,illustration3 ,fig4 #dj4 ,,swastika ,,signs ,,from ,,asia ,,minor4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #da1 figs4 #e and #f4 ,illustration3 ,fig4 #da4 ,,brand ,,for ,,horses ,,in ,,circassia4 ,ogee ,swastika1 tetraskelion4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #db1 fig4 #bj;c4 ,,asia ,,minor--,,troy 7,,hissarlik74 ,many specimens of the ,swastika were found by ,dr4 ,schliemann in the ruins of ,troy1 principally on spindle whorls1 vases1 and bijoux of precious metal4 ,zmigrodzki#ach made from ,dr4 ,schliemann's great atlas the following classification of the objects found at ,troy1 ornamented with the ,swastika and its related forms3 ,fifty-five of pure form2 #aad crosses with the four dots1 points or alleged nail holes 7,croix swasticale72 #ajb with three branches or arms 7triskelion72 #hf with five branches or arms2 #fc with six branches or arms2 total1 #dbj4 ,zmigrodzki continues his classification by adding those which have relation to the ,swastika thus3 ,eighty-two representing stars2 #gj representing suns2 #db representing branches of trees or palms2 #ae animals non-ferocious1 deer1 antelope1 hare1 swan1 etc42 total1 #bji objects4 ,many of these were spindle whorls4 ,dr4 ,schliemann1 in his works1 ,troja and ,ilios1 describes at length his excavations of these cities and his discoveries of the ,swastika on many objects4 ,his reports are grouped under titles of the various cities1 first1 second1 third1 etc41 up to the seventh city1 counting always from the bottom1 the first being deepest and oldest4 ,the same system will be here pursued4 ,the first and second cities were #de to #eb feet 7#ac to #af meters7 deep2 the third1 #bc to #cc feet 7#g to #aj meters7 deep2 the fourth city1 #ac to #ag4f feet 7#d to #e-a_/b meters7 deep2 the fifth city1 #g to #ac feet 7#b to #d meters7 deep2 the sixth was the ,lydian city of ,troy1 and the seventh city1 the ,greek ,ilium1 approached the surface4 ,illustration3 ,fig4 #db4 ,,fragment ,,of ,,lustrous ,,black ,,pottery4 ,swastika1 right4 ,depth1 #bc feet4 ,schliemann1 ,ilios1 fig4 #bdg4 ,first and ,second ,cities4--,but few whorls were found in the first and second cities#aci and none of these bore the ,swastika mark1 while thousands were found in the third1 fourth1 and fifth cities1 many of which bore the ,swastika mark4 ,those of the first city1 if unornamented1 have a uniform lustrous black color and are the shape of a cone 7fig4 #ee7 or of two cones joined at the base 7figs4 #eb and #ga74 ,both kinds were found at #cc feet and deeper4 ,others from the same city were ornamented by incised lines rubbed in with white chalk1 in which case they were flat4#adj ,in the second city the whorls were smaller than in the first4 ,they were all of a black color and their incised ornamentation was practically the same as those from the upper cities4#ada ,zmigrodzki congratulated himself on having discovered among ,schliemann's finds what he believed to be the oldest representation of the ,swastika of which we had reliable knowledge4 ,it was a fragment of a vase 7fig4 #db7 of the lustrous black pottery peculiar to the whorls of the first and second cities4 ,but ,zmigrodzki was compelled to recede1 which he did regretfully1 when ,schliemann1 in a later edition1 inserted the footnote 7p4 #cej7 saying1 that while he had found this 7with a companion piece7 at a great depth in his excavations1 and had attributed them to the first city1 yet1 on subsequent examination1 he had become convinced that they belonged to the third city4 ,the ,swastika1 turned both ways ,s and ,z1 was frequent in the third1 fourth1 and fifth cities4 ,the following specimens bearing the ,swastika mark are chosen1 out of the many specimens in ,schliemann's great album1 in order to make a fair representation of the various kinds1 both of whorls and of ,swastikas4 ,they are arranged in the order of cities1 the depth being indicated in feet4 ,illustration3 ,fig4 #dc4 ,,spindle-,,whorl ,,with ,,two ,,swastikas ,,and ,,two ,,crosses4 ,depth1 #bc feet4 ,schliemann1 ,ilios1 fig4 #aheh4 ,illustration3 ,fig4 #dd4 ,,spindle-,,whorl ,,with ,,two ,,swastikas4 ,depth1 #bc feet4 ,schliemann1 ,ilios1 fig4 #ahgd4 ,illustration3 ,fig4 #de4 ,,spindle-,,whorl ,,with ,,two ,,swastikas4 ,depth1 #bc feet4 ,schliemann1 ,ilios1 fig4 #aiai4 ,illustration3 ,fig4 #df4 ,,spindle-,,whorl ,,with ,,two ,,swastikas4 ,depth1 #bh feet4 ,schliemann1 ,ilios1 fig4 #ahbf4 ,illustration3 ,fig4 #dg4 ,,spindle-,,whorl ,,with ,,three ,,swastikas4 ,depth1 #bc feet4 ,schliemann1 ,ilios1 fig4 #ahea4 ,the ,third1 or ,burnt1 ,city 7#bc to #cc feet deep74--,the spindle-whorl shown in fig4 #dc contains two ,swastikas and two crosses4#adb ,of the one ,swastika1 two arms are bent to the right at right angles1 while the other two are bent to the right in curves4 ,the other ,swastika has but two bends1 one at right angles1 the other curved1 both to the right4 ,the specimen shown in fig4 #dd has two ,swastikas1 in one of which the four arms are bent at right angles to the left4 ,the entire figure is traced in double lines1 one heavy and one light1 as though to represent edges or shadows4 ,the second ,swastika has its ends bent at an obtuse angle to the left1 and at the extremities the lines taper to a point4 ,the whorl shown in fig4 #de is nearly spherical1 with two ,swastikas in the upper part4 ,the ends of the four arms in both are bent at right angles1 one to the right1 the other to the left4 ,fig4 #df represents a spindle-whorl with two irregular ,swastikas2 but one arm is bent at right angles and all the arms and points are uncertain and of unequal lengths4 ,the rest of the field is covered with indefinite and inexplicable marks1 of which the only ones noteworthy are points or dots1 seven in number4 ,in fig4 #dg the top is surrounded by a line of zigzag or dog-tooth ornaments4 ,within this field1 on the upper part and equidistant from the central hole1 are three ,swastikas1 the ends of all of which turn to the left1 and but one at right angles4 ,all three have one or more ends bent1 not at any angle1 but in a curve or hook1 making an ogee4 ,fig4 #dh shows a large whorl with two or three ,swastikas on its upper surface in connection with several indefinite marks apparently without meaning4 ,the dots are interspersed over the field1 the ,swastikas all bent to the right1 but with uncertain lines and at indefinite angles4 ,in one of them the main line forming the cross is curved toward the central hole2 in another1 the ends are both bent in the same direction--that is1 pointing to the periphery of the whorl4 ,fig4 #di shows a sphere or globe 7see figs4 #ge1 #hh7 divided by longitudinal lines into four segments1 which are again divided by an equatorial line4 ,these segments contain marks or dots and circles1 while one segment contains a normal ,swastika turned to the left4 ,this terra-cotta ball has figured in a peculiar degree in the symbolic representation of the ,swastika4 ,greg says of it3#adc ,we see on one hemisphere the ,z standing for ,zeus 7 ,indra7 the sky god1 and on the other side a rude representation of a sacred 7somma7 tree2 a very interesting and curious western perpetuation of the original idea and a strong indirect proof of the ,z standing for the emblem of the sky god4 ,illustration3 ,fig4 #dh4 ,,spindle-,,whorl ,,with ,,swastikas4 ,depth1 #bc feet4 ,schliemann1 ,ilios1 fig4 #aihb4 ,illustration3 ,fig4 #di4 ,,sphere ,,divided ,,into ,,eight ,,segments1 ,,one ,,of ,,which ,,contains ,a ,,swastika4 ,schliemann1 ,ilios1 fig4 #aiii4 ,illustration3 ,fig4 #ej4 ,,biconical ,,spindle-,,whorl ,,with ,,swastika4 ,schliemann1 ,ilios1 ,fig4 #aidi4 ,fig4 #ej represents one of the biconical spindle-whorls with various decorations on the two sides1 longitudinal lines interspersed with dots1 arcs of concentric circles arranged in three parallels1 etc4 ,on one of these sides is a normal ,swastika1 the arms crossing at right angles1 the ends bent at right angles to the left4 ,the specimen shown in fig4 #ea contains four perfect ,swastikas and two inchoate and uncertain4 ,both of the latter have been damaged by breaking the surface4 ,the four ,swastikas all have their arms bent to the right2 some are greater than at right angles1 and one arm is curved4 ,several ends are tapered to a point4 ,fig4 #eb shows a whorl of biconical form4 ,it contains two ,swastikas1 the main arms of which are ogee forms1 crossing each other at the center at nearly right angles1 the ogee ends curving to the right4 ,in fig4 #ec the entire field of the upper surface is filled with1 or occupied by1 a ,greek cross1 in the center of which is the central hole of the whorl1 while on each of the four arms is represented a ,swastika1 the main arms all crossing at right angles1 the ends all bent to the right at a slightly obtuse angle4 ,each of these bent ends tapers to a point1 some with slight curves and a small flourish4 7,see figs4 #cc and #cd for reference to this flourish47 ,the specimen shown in fig4 #ed has a center field in its upper part1 of which the decoration consists of incised parallel lines forming segments of circles1 repeated in each one of the four quarters of the field4 ,the center hole is surrounded by two concentric rings of incised lines4 ,in one of these spaces is a single ,swastika2 its main arms crossing at right angles1 two of its ends bent to the left at right angles1 the other two in the same direction and curved4 ,illustration3 ,fig4 #ea4 ,,biconical ,,spindle-,,whorl ,,with ,,six ,,swastikas4 ,depth1 #cc feet4 ,schliemann1 ,ilios1 fig4 #ahei4 ,illustration3 ,fig4 #eb4 ,,biconical ,,spindle-,,whorl ,,with ,,two ,,ogee ,,swastikas4 ,depth1 #cc feet4 ,schliemann1 ,ilios1 fig4 #ahgf4 ,illustration3 ,fig4 #ec4 ,,spindle-,,whorl ,,with ,,four ,,swastikas4 ,depth1 #cc feet4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abdj4 ,illustration3 ,fig4 #ed4 ,,spindle-,,whorl ,,with ,,one ,,swastika4 ,depth1 #cc feet4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abda4 ,the ,fourth ,city 7#ac4b to #ag4f feet deep74--,schliemann says3#add ,we find among the successors of the burnt city the same triangular idols2 the same primitive bronze battle-axes2 the same terra-cotta vases1 with or without tripod feet2 the same double-handled goblets 7,greek3 sepa amphikupella72 the same battle-axes of jade1 porphyry1 and diorite2 the same rude stone hammers1 and saddle querns of trachyte4 99 99 99 ,the number of rude stone hammers and polished stone axes are fully thrice as large as in the third city1 while the masses of shells and cockles accumulated in the dbris of the houses are so stupendous that they baffle all description4 ,the pottery is coarser and of a ruder fabric than in the third city4 99 99 99 ,there were also found in the fourth city many needles of bone for female handiwork1 boar tusks1 spit rests of mica schist1 whetstones of slate1 porphyry1 etc41 of the usual form1 hundreds of small silex saws1 and some knives of obsidian4 ,stone whorls1 which are so abundant at ,mycen1 are but rarely found here2 all of those which occur are1 according to ,mr4 ,davis1 of steatite4 ,on the other hand1 terra-cotta whorls1 with or without incised ornamentation1 are found by thousands2 their forms hardly vary from those in the third 7the burnt7 city1 and the same may be generally said of their incised ornamentation4 99 99 99 ,the same representation of specimens of whorls are given as in the third city1 and the same observations apply4 ,illustration3 ,fig4 #ee4 ,,conical ,,spindle-,,whorl ,,with ,,three ,,ogee ,,swastikas4 ,depth #ac-a_/b feet4 ,schliemann1 ,ilios1 fig4 #ahej4 ,illustration3 ,fig4 #ef4 ,,conical ,,spindle-,,whorl ,,with ,,four ,,swastikas ,,of ,,various ,,kinds4 ,depth #ac-a_/b feet4 ,schliemann1 ,ilios1 fig4 #ahgi4 ,illustration3 ,fig4 #eg4 ,,conical ,,spindle-,,whorl ,,with ,,swastikas4 ,depth4 #ac-a_/c feet4 ,schliemann1 ,ilios1 fig4 #ahid4 ,illustration3 ,fig4 #eh4 ,,biconical ,,spindle-,,whorl ,,with ,,one ,,swastika4 ,depth1 #ac-a_/b feet4 ,schliemann1 ,ilios1 fig4 #aihc4 ,illustration3 ,fig4 #ei4 ,,biconical ,,spindle-,,whorl ,,with ,,three ,,ogee ,,swastikas4 ,depth1 #ac-a_/b feet4 ,schliemann1 ,ilios1 fig4 #aiij4 ,illustration3 ,fig4 #fj4 ,,biconical ,,spindle-,,whorl ,,with ,,two ,,swastikas4 ,depth1 #af-a_/b feet4 ,schliemann1 ,ilios1 fig4 #ahfc4 ,fig4 #ee shows a simple cone1 the upper surface being flat and without other decoration than three ,swastikas equidistant from the hole and from each other1 all made by the two crossed ogee lines with ends curved to the right4 ,this specimen is much like that of ,fig4 #ga 7,madam ,schliemann collection in the ,u4 ,s4 ,national ,museum1 ,cat4 ,no4 #adigjd74 ,fig4 #ef shows a remarkable spindle-whorl4 ,its marks greatly excited the interest of ,dr4 ,schliemann1 and he devoted much space to the discussion of these and similar characters4 ,the whorl is in the form of a cone4 ,it bears upon its conical surface four ,swastikas1 the ends of three of which bend to the right and one to the left4 ,there are but two of these ends which bend at right angles4 ,most of them are at an obtuse angle1 while the ends of two are curved4 ,some taper to a point and finish with a slight flourish4 ,the other marks which so interested ,dr4 ,schliemann were the chevron ornament 7zigzag71 drawn in parallel lines1 which1 he strongly argued1 and fortified with many authorities1 represented lightning4 ,the second series of marks he called a burning altar4 ,this assertion he also fortified with authorities and with illustrations of a similar sign from different countries4 7,see fig4 #aja47 ,the third series of marks represented an animal1 name and character unknown1 with a head or tusks with two large branching horns or ears1 a straight back1 a stiff but drooping tail1 four legs1 and two rows of the remarkable dots--seven in one1 six in the other--placed over the back of the animal4 7,see figs4 #ii and #ajj47 ,fig4 #eg represents another cone-shaped whorl1 the flat surface of which is engraved with one perfect ,swastika1 the two arms crossing each other at right angles and the two ends bending at right angles to the right2 the other two are curved1 also to the right4 ,two of the other figures ,dr4 ,schliemann calls ,swastikas1 although they are uncertain in some of their arms and angles4 ,the fourth character he imagined to be an inchoate or attempted ,swastika4 ,fig4 #eh shows a biconical whorl with curious and inexplicable characters4 ,one of them forms a crude ,swastika1 which1 while the main arms cross at right angles the ends are bent at uncertain angles1 three to the left and one to the right4 ,these characters are so undetermined that it is doubtful if they could have had any signification1 either ornamental or otherwise4 ,fig4 #ei is almost conical1 the flat surface thereof being only slightly raised at the center4 ,it is much the same form as the whorls shown in figs4 #ee and #ga4 ,the nearly flat surface is the top1 and on it1 equidistant from the center hole and from each other1 are three ogee ,swastikas of double lines1 with their ends all curved to the right4 ,in the alternate spaces are small incised circles1 with dots in the centers4 ,in fig4 #fj a biconical whorl is shown4 ,it has three of the circle segments marked in equilateral positions1 with three or four parallel lines1 after the style shown in ,fig4 #ed4 ,in the spaces are two ,swastikas1 in both of which the two main arms cross at right angles4 ,some of the ends bend at a right1 and others at an obtuse1 angle4 ,in one of the ,swastikas the bent ends turn toward each other1 forming a rude figure #h4 ,the specimen shown in fig4 #fa is biconical1 but much flattened2 it contains five ogee ,swastikas1 of which the ends of four bend to the right and one to the left4 ,in an interval between them is one of the burning altars4 ,fig4 #fb shows three ,swastikas with double parallel lines4 ,the main arms cross each other at right angles2 the ends are bent at nearly right angles1 one to the left1 one to the right1 and the other both ways4 ,fig4 #fc represents a spindle-whorl with a cup-shaped depression around the central hole1 which is surrounded by three lines in concentric circles1 while on the field1 at #ij degrees from each other1 are four ogee ,swastikas 7tetraskelions71 the arms all turning to the left and spirally each upon itself4 ,the specimen shown in fig4 #fd is biconical1 though1 as usual1 the upper cone is the smallest4 ,there are parallel lines1 three in a set1 forming the segments of three circles1 in one space of which appears a ,swastika of a curious and unique form1 similar to that shown in fig4 #fj4 ,the two main arms cross each other at very nearly right angles and the ends also bend at right angles toward and approaching each other1 so that if continued slightly farther they would close and form a decorative figure #h4 ,the specimen shown in fig4 #fe is decorated with parallel lines1 three in number1 arranged in segments of three circles1 the periphery of which is toward the center1 as in figs4 #fj and #fd4 ,in one of the spaces is a ,swastika of curious form2 the main arms cross each other at right angles1 but the four ends represent different styles--two are bent square to the left1 one square to the right1 and the fourth curves to the left at no angle4 ,fig4 #ff shows a biconical whorl1 and its top is decorated to represent three ,swastikas and three burning altars4 ,the ends of the arms of the ,swastikas all bend to the left1 some are at right angles and some at obtuse angles1 while two or three are curved2 two of them show corrections1 the marks at the ends having been changed in one case at a different angle and in another from a straight line to a curve4 ,fig4 #fg shows four specimens of ,swastika1 the main arms of all of which cross at right angles4 ,the ends all bend to the right1 at nearly right angles1 tapering to a point and finishing with the slight flourish noted in the ,jain ,swastika 7fig4 #cd;c74 ,they are alternated with a chevron decoration4 ,fig4 #fh shows three ,swastikas1 the ends of the arms of which are all bent to the left4 ,one ,swastika is composed of two ogee lines4 ,two arms of another are curved1 but all others are bent at right angles1 some of them tapering to points1 finishing with a little flourish 7figs4 #fg and #cd;c74 ,one of these ends1 like that in fig4 #ff1 has been corrected by the maker4 ,fig4 #fi represents one ,swastika in which the main arms cross at nearly right angles4 ,both ends of one arm turn to the left and those of the other arm turn to the right in figure #h style4 ,one of the ends is curved1 the others bent at different angles4 ,fig4 #gj shows the parallel lines representing segments of a circle similar to figs4 #fj1 #fd1 #fe1 and #fi1 except that it has four instead of three4 ,it has one ,swastika2 the main arms 7of double lines7 cross at right angles1 the ends all curving to the left with a slight ogee4 ,illustration3 ,fig4 #fa4 ,,biconical ,,spindle-,,whorl ,,with ,,five ,,ogee ,,swastikas4 ,depth1 #ah feet4 ,schliemann1 ,ilios1 fig4 #aije4 ,illustration3 ,fig4 #fb4 ,,spindle-,,whorl ,,with ,,three ,,swastikas4 ,depth1 #ai4h feet4 ,schliemann1 ,ilios1 fig4 #ahee4 ,illustration3 ,fig4 #fc4 ,,spindle-,,whorl ,,having ,,four ,,ogee ,,swastikas ,,with ,,spiral ,,volutes4 ,depth1 #ah feet4 ,schliemann1 ,ilios1 fig4 #ahfh4 ,illustration3 ,fig4 #fd4 ,,biconical ,,spindle-,,whorl ,,with ,,one ,,swastika4 ,depth1 #ai4h feet4 ,schliemann1 ,ilios1 fig4 #ahfe4 ,illustration3 ,fig4 #fe4 ,,biconical ,,spindle-,,whorl ,,with ,,one ,,swastika4 ,depth1 #ai4h feet4 ,schliemann1 ,ilios1 fig4 #ahff4 ,illustration3 ,fig4 #ff4 ,,biconical ,,spindle-,,whorl ,,with ,,three ,,swastikas ,,and ,,three ,,burning ,,altars4 ,depth1 #ai4h feet4 ,schliemann1 ,ilios1 fig4 #ahgb4 ,illustration3 ,fig4 #fg4 ,,biconical ,,spindle-,,whorl ,,with ,,four ,,swastikas4 ,depth1 #ai4h feet4 ,schliemann1 ,ilios1 fig4 #ahgc4 ,illustration3 ,fig4 #fh4 ,,biconical ,,spindle-,,whorl ,,with ,,three ,,swastikas ,,of ,,different ,,styles4 ,depth1 #ai4h feet4 ,schliemann1 ,ilios1 fig4 #aiaa4 ,illustration3 ,fig4 #fi4 ,,biconical ,,spindle-,,whorl ,,with ,,one ,,swastika ,,of ,,the ,,figure-#h ,,style4 ,depth1 #ai4h feet4 ,schliemann1 ,ilios1 fig4 #ahfa4 ,illustration3 ,fig4 #gj4 ,,biconical ,,spindle-,,whorl ,,with ,,one ,,swastika1 ,,slight ,,ogee4 ,depth1 #ai4h feet4 ,schliemann1 ,ilios1 fig4 #ahfd4 ,illustration3 ,fig4 #ga4 ,,conical ,,spindle-,,whorl ,,with ,,three ,,ogee ,,swastikas4 ,depth1 #ac4e feet4 ,gift of ,madame ,schliemann1 ,cat4 ,no4 #adigjd1 ,u4 ,s4 ,n4 ,m4 ,the ,u4 ,s4 ,national ,museum was1 during #ahic1 the fortunate recipient of a collection of objects from ,madame ,schliemann1 which her husband1 before his death1 had signified should be given to the ,united ,states as a token of his remembrance of and regard for his adopted country4 ,he never forgot that he was an ,american citizen1 and1 preparing for death1 made his acknowledgments in the manner mentioned4 ,the collection consisted of #agh objects1 all from ancient ,troy1 and they made a fair representation of his general finds4 ,this collection is in the ,department of ,prehistoric ,anthropology4 ,in this collection is a spindle-whorl1 found at #ac-a_/b feet 7#d meters7 depth and belonging to the fourth city4 ,it had three ,swastikas upon its face1 and is here shown as fig4 #ga4ade ,the ,fifth ,city4--,schliemann says3#adf ,the rude stone hammers found in enormous quantities in the fourth city are no longer found in this stratum1 nor did the stone axes1 which are so very abundant there1 occur again here4 ,instead of the hundreds of axes ,i gathered in the fourth city1 ,i collected in all only two here4 99 99 99 ,the forms of the terra-cotta whorls1 too1 are in innumerable instances different here4 ,these objects are of a much inferior fabric1 and become elongated and pointed4 ,forms of whorls like ,nos4 #ahja1 #ahjb1 and #ahjc see figs4 #gb1 #gc1 and #gd1 which were never found before1 are here plentiful4 ,the ,sixth and ,seventh ,cities4--,the sixth city is described in ,ilios1 page #ehg1 and the seventh on pages #fjh and #fah4 ,both cities contained occasional whorls of clay1 all thoroughly baked1 without incised or painted ornamentation1 and shed no further light on the ,swastika4 ,illustration3 ,figs4 #gb1 #gc1 #gd4 ,,forms ,,of ,,whorls ,,from ,,the ,,fifth ,,buried ,,city ,,of ,,hissarlik1 ,,for ,,comparison4 ,schliemann1 ,ilios1 figs4 #ahja1 #ahjb1 #ahjc4 ,illustration3 ,fig4 #ge4 ,,terra-,,cotta ,,sphere ,,with ,,thirteen ,,swastikas4 ,third city4 ,depth1 #bf feet4 ,schliemann1 ,ilios1 figs4 #bde1 #bdf4 ,fig4 #ge represents the opposite hemispheres of a terra-cotta ball1 found at a depth of #bf feet1 divided by incised lines into fifteen zones1 of which two are ornamented with points and the middle zone1 the largest of all1 with thirteen specimens of ,s and ,z4 ,zmigrodzki says#adg that there were found by ,schliemann1 at ,hissarlik1 fifty-five specimens of the ,swastika pure and simple 7pp4 #hji1 #hbf74 ,it will be perceived by examination that the ,swastika pure and simple comprised ,swastikas of several forms2 those in which the four arms of the cross were at other angles besides right angles2 those in which the ends bent at square and other angles to the right2 then those to the left 7,burnouf and ,max ,mller's ,suavastika72 those in which the bends were1 some to the right and some to the left1 in the same design2 where the points tapered off and turned outward with a flourish2 where the arms bent at no angle1 but were in spirals each upon itself1 and turned1 some to the right1 some to the left4 ,we shall see other related forms1 as where the arms turn spirally upon each other instead of upon themselves4 ,these will sometimes have three1 five1 six1 or more arms1 instead of four 7p4 #gfh74 ,the cross and the circle will also appear in connection with the ,swastika2 and other designs1 as zigzags 7lightning71 burning altars1 men1 animals1 and similar representations will be found associated with the ,swastika1 and are only related to it by the association of similar objects from the same locality4 ,a description of their patterns will include those already figured1 together with ,schliemann's comments as to signification and frequency4 ,they become more important because these related forms will be found in distant countries and among distant peoples1 notably among the prehistoric peoples of ,america4 ,possibly these designs have a signification1 possibly not4 ,dr4 ,schliemann thought that in many cases they had4 ,professor ,sayce supported him1 strongly inclining toward an alphabetic or linguistic1 perhaps ideographic1 signification4 ,no opinion is advanced by the author on these theories1 but the designs are given in considerable numbers1 to the end that the evidence may be fully reported1 and future investigators1 radical and conservative1 imaginative and unimaginative1 theorists and agnostics1 may have a fair knowledge of this mysterious sign1 and an opportunity to indulge their respective talents at length4 ,possibly these associated designs may throw some light upon the origin or history of the ,swastika or of some of its related forms4 ,illustration3 ,fig4 #gf4 ,,terra-,,cotta ,,disk ,,with ,,one ,,swastika4 ,schliemann1 ,ilios1 fig4 #ahdi4 ,illustration3 ,fig4 #gg4 ,,spindle-,,whorl ,,with ,,ogee ,,swastika4 ,third city4 ,depth1 #bc feet4 ,schliemann1 ,ilios1 fig4 #ahbb4 ,illustration3 ,fig4 #gh4 ,,biconical ,,spindle-,,whorl ,,with ,,irregular ,,swastikas ,,and ,,crosses4 ,fourth city4 ,depth1 #ac4f feet4 ,schliemann1 ,ilios1 fig4 #ahga4 ,illustration3 ,fig4 #gi4 ,,biconical ,,spindle-,,whorl ,,with ,,uncertain ,,and ,,malformed ,,swastikas4 ,third city4 ,depth1 #cc feet4 ,schliemann1 ,ilios1 fig4 #ahgj4 ,illustration3 ,fig4 #hj4 ,,biconical ,,spindle-,,whorl ,,with ,,irregular ,,and ,,partly ,,formed ,,swastikas ,,having ,,large ,,dot ,,in ,,center4 ,fourth city4 ,depth1 #bc feet4 ,schliemann1 ,ilios1 fig4 #ahge4 ,illustration3 ,fig4 #ha4 ,,biconical ,,spindle-,,whorl1 ,,flattened1 ,,with ,,two ,,swastikas ,,and ,,indefinite ,,decoration4 ,schliemann1 ,ilios1 fig4 #aidg4 ,illustration3 ,fig4 #hb4 ,,biconical ,,spindle-,,whorl ,,with ,,one ,,swastika ,,and ,,four ,,segments ,,of ,,circles4 ,third city4 ,depth1 #cc feet4 ,schliemann1 ,ilios1 fig4 #aihi4 ,the specimen represented in fig4 #gf is not a spindle-whorl1 as shown by the number and location of the holes4 ,it bears a good representation of a ,swastika the form of which has been noticed several times4 ,the two main arms cross each other at nearly right angles4 ,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 7fig4 #cd;c74 ,fig4 #gg represents a spindle-whorl with a ,swastika of the ogee style curved to the right4 ,the center hole of the whorl forms the center of the sign4 ,the figure is of double lines1 and in the interspaces are four dots1 similar to those in figs4 #if-ih1 and others which ,dr4 ,schliemann reports as common1 and to which he attributes some special but unknown meaning4 ,swastikas and crosses of irregular shape and style are shown in the field of fig4 #gh4 ,two fairly well formed ,swastikas appear1 both of the ogee style1 with the ends curved to the right4 ,one is of the style resembling the figure #h 7see figs4 #fj and #fd74 ,two others are crudely and irregularly formed1 and would scarcely be recognized as ,swastikas except for their association4 ,fig4 #gi represents uncertain and malformed ,swastikas4 ,the arms are bent in different directions in the same line4 ,two of the main arms are not bent4 ,the inexplicable dots are present1 and the field is more or less covered with unmeaning or1 at least1 unexplained marks4 ,fig4 #hj also illustrates the indefinite and inchoate style of decoration4 ,one unfinished ,swastika appears which1 unlike anything we have yet seen1 has a circle with a dot in the center for the body of the ,swastika at the crossing of the main arms4 ,fig4 #ha shows two ,swastikas1 both crossing their main arms at right angles and the ends bending also at right angles--one to the right1 the other to the left4 ,this specimen is inserted here because of the numerous decorations of apparently unmeaning1 or1 at least1 unexplained1 lines4 ,fig4 #hb shows four segmented circles with an indefinite ,swastika in one of the spaces4 ,the ends are not well turned1 only one being well attached to the main arms4 ,one of the ends is not joined1 one overruns and forms a sort of cross2 the other has no bend4 ,fig4 #hc contains an unmistakable ,swastika1 the main arms of which cross at right angles1 turning to the left with an ogee curve4 ,the peculiarity of this specimen is that the center of the sign is inclosed in a circle1 thus showing the indifference of the ,swastika sign to other signs1 whether cross or circle4 ,the outer parts of the field are occupied with the parallel lines of the circle segment1 as shown in many other specimens4 ,the specimen shown in fig4 #hd is similar in style to the last4 ,the bodies of six ,swastikas are formed by a circle and dot1 while the arms of the cross start from the outside of the circle1 extending themselves in curves1 all of them to the right4 7,see fig4 #ac;d47 ,it has no other ornamentation4 ,the same remark is to be made about the indifferent use of the ,swastika in association with cross or circle4 ,we have seen many ,swastikas composed of the crossed ogee lines or curves4 ,figs4 #he and #hf show the same ogee lines and curves not crossed2 and thus1 while it may be that neither of them are ,swastikas1 yet they show a relationship of form from which the derivation of a ,swastika would be easy4 ,illustration3 ,fig4 #hc4 ,,biconical ,,spindle-,,whorl1 ,,flattened4 ,ogee ,swastika with central circle4 ,third city4 ,depth1 #bc feet4 ,schliemann1 ,ilios1 fig4 #aihg4 ,illustration3 ,fig4 #hd4 ,,biconical ,,spindle-,,whorl ,,with ,,six ,,ogee ,,swastikas ,,having ,,central ,,circle ,,and ,,dot4 ,third city4 ,depth1 #bc feet4 ,schliemann1 ,ilios1 fig4 #ahfb4 ,illustration3 ,fig4 #he4 ,,spherical ,,spindle-,,whorl ,,with ,,flattened ,,top ,,and ,,ogee ,,lines ,,which ,,do ,,not ,,form ,,swastikas4 ,schliemann1 ,ilios1 fig4 #ahij4 ,illustration3 ,fig4 #hf4 ,,biconical ,,spindle-,,whorl ,,with ,,ogee ,,curves ,,which ,,are ,,not ,,crossed ,,to ,,form ,,swastikas4 ,schliemann1 ,ilios1 fig4 #ahhi4 ,attention has been called to decorations comprising segments of the circles incised in these whorls1 the periphery of which is toward their centers 7figs4 #fj1 #fd1 #fe1 #fi1 #gj1 #hb and #hc74 ,also to the mysterious dots 7figs4 #df1 #ef1 #ge1 #gf1 #gg1 #gi1 #hd1 #ib1 #if and #ig74 ,fig4 #hg shows a combination of the segments of three circles1 the dots within each1 and two ,swastikas4 ,of the ,swastikas1 one is normal1 turning to the right2 the other turns to the right1 but at an obtuse angle1 with one end straight and the other irregularly curved4 ,fig4 #hh represents two sections of a terra-cotta sphere divided similar to fig4 #di4 ,each of these sections contains a figure like unto a ,swastika and which may be related to it4 ,it is a circle with arms springing from the periphery1 which arms turn all to the left1 as they do in the ogee ,swastika4 ,one has seven1 the other nine1 arms4 ,one has regular1 the other irregular1 lines and intervals4 ,fig4 #hi represents a spindle-whorl of terra cotta nearly spherical1 with decoration of a large central dot and lines springing thereout1 almost like the spokes of a wheel1 then all turning to the left as volutes4 ,in some countries this has been called the sun symbol1 but there is nothing to indicate that it had any signification at ,hissarlik4 ,one of the marks resembles the long-backed1 four-legged animal 7figs4 #ii and #ajj74adh ,figs4 #ij1 #ia1 #ib1 and #ic show a further adaptation of the ogee curve developed into a ,swastika1 in which many arms start from the center circle around the central hole in the whorl1 finally taking a spiral form4 ,the relation of this to a sun symbol is only mentioned and not specified or declared4 ,the inexplicable and constantly recurring dots are seen in fig4 #ij4 ,illustration3 ,fig4 #hg4 ,,spherical ,,spindle-,,whorl1 ,,flattened4 ,two ,swastikas combined with segments and dots4 ,schliemann1 ,ilios1 fig4 #aihh4 ,illustration3 ,fig4 #hh4 ,,sections ,,of ,,terra-,,cotta ,,sphere4#adi ,central circles with extended arms turning to the left1 ogee and zigzag4 ,schliemann1 ,ilios1 fig4 #aiic4 ,illustration3 ,fig4 #hi4 ,,spherical ,,spindle-,,whorl4 ,large central dot with twelve arms1 similar in form to the ogee ,swastika4 ,schliemann1 ,ilios1 fig4 #aidf4 ,it is not contended that these are necessarily evolutions of the ,swastika4 ,we will see farther on many lines and forms of decoration by incised lines on these ,trojan whorls1 which may have had no relation to the ,swastika1 but are inserted here because persons rich in theories and brilliant in imagination have declared that they could see a resemblance1 a relation1 in this or some other decoration4 ,as objects belonging to the same culture1 from the same locality1 and intimately associated with unmistakable ,swastikas1 they were part of the res gest1 and as such entitled to admission as evidence in the case4 ,the effect of their evidence is a legitimate subject for discussion and argument4 ,to refuse these figures admission would be to decide the case against this contention without giving the opposing party an opportunity to see the evidence or to be heard in argument4 ,therefore the objects are inserted4 ,illustration3 ,fig4 #ij4 ,,spindle-,,whorl4 ,central dot with ogee arms radiating therefrom in different directions1 but in the form of a ,swastika4 ,third ,city4 ,depth1 #bi feet4 ,schliemann1 ,ilios1 fig4 #ahcj4 ,illustration3 ,fig4 #ia4 ,,spindle-,,whorl ,,with ,,central ,,hole ,,and ,,radiating ,,arms4 ,third city4 ,depth1 #bc feet4 ,schliemann1 ,ilios1 fig4 #ahdb4 ,specimens of other crosses are presented because the ,swastika is considered to be a form of the cross4 ,there may have been no evolution or relationship between them2 but no person is competent to decide from a mere inspection or by reason of dissimilarity that there was not4 ,we have to plead ignoramus as to the growth and evolution of both cross and ,swastika1 because the origin of both is lost in antiquity4 ,but all are fair subjects for discussion4 ,there certainly is nothing improbable in the relationship and evolution between the ,swastika and the cross4 ,it may be almost assumed4 ,illustration3 ,fig4 #ib4 ,,spindle-,,whorl ,,with ,,central ,,circle ,,and ,,many ,,arms4 ,fourth city4 ,depth1 #ai4h feet4 ,schliemann1 ,ilios1 fig4 #ahcg4 ,illustration3 ,fig4 #ic4 ,,spindle-,,whorl ,,with ,,central ,,hole1 ,,large ,,circle1 ,,and ,,many ,,curved ,,arms4 ,third city4 ,depth1 #bi feet4 ,schliemann1 ,ilios1 fig4 #ahcc4 ,evidence leading to conviction may be found in associated contemporaneous specimens4 ,m4 ,montelius1 an archologist of repute in the ,national ,museum at ,stockholm1 discovered eight stages of culture in the bronze age of that country1 which discovery was based solely upon the foregoing principle applied to the fibul found in prehistoric graves4 ,in assorting his stock of fibul1 he was enabled to lay out a series of eight styles1 each different1 but with many presentations4 ,he arranged them seriatim1 according to certain differences in size1 style1 elegance of workmanship1 etc41 ,no4 #a being the smallest1 and ,no4 #h the largest and most elaborate4 ,they were then classified according to locality and association1 and he discovered that ,nos4 #a and #b belonged together1 on the same body or in the same grave1 and the same with ,nos4 #b and #c1 #c and #d1 and so on to ,no4 #h1 but that there was no general or indefinite intermixture2 ,nos4 #a and #c or #b and #d were not found together and were not associated1 and so on4 ,nos4 #g and #h were associated1 but not #f and #h1 nor #e and #g1 nor was there any association beyond adjoining numbers in the series4 ,thus ,montelius was able to determine that each one or each two of the series formed a stage in the culture of these peoples4 ,while the numbers of the series separated from each other1 as #a1 #e1 #h1 were never found associated1 yet it was conclusively shown that they were related1 were the same object1 all served a similar purpose1 and together formed an evolutionary series showing their common origin1 derivative growth and continuous improvement in art1 always by communication between their makers or owners4 ,illustration3 ,fig4 #id4 ,,large ,,biconical ,,spindle-,,whorl4 ,four crosses with bifurcated arms4 ,third city4 ,depth1 #bc feet4 ,schliemann1 ,ilios1 fig4 #ahee4 ,illustration3 ,fig4 #ie4 ,,spindle-,,whorl4 ,hole and large circle in center with broad arms of ,greek cross4 ,third city4 ,depth1 #bf4d feet4 ,schliemann1 ,ilios1 fig4 #ahbj4 ,illustration3 ,fig4 #if4 ,,spindle-,,whorl4 ,hole and large circle in center4 ,extended parallel arms with dots1 forming a ,greek ,cross4 ,third city4 ,depth1 #bc feet4 ,schliemann1 ,ilios1 fig4 #ahag4 ,illustration3 ,fig4 #ig4 ,,spindle-,,whorl4 ,greek cross4 ,tapering arms with dots4 ,third city4 ,depth1 #bc feet4 ,schliemann1 ,ilios1 fig4 #ahah4 ,thus it may be with the other forms of crosses1 and thus it appears to be with the circle and spiral ,swastikas and those with ends bent in opposite and different directions4 ,just what their relations are and at which end of the series the evolution began1 is not argued4 ,this is left for the theorists and imaginists1 protesting1 however1 that they must not run wild nor push their theories beyond bounds4 ,fig4 #id represents four crosses1 the main arms of which are at right angles1 and each and all ends1 instead of being turned at an angle which would make them ,swastikas1 are bifurcated and turn both ways1 thus forming a foliated cross similar to the ,maya cross1 the ,tree of life4 ,figs4 #ie1 #if1 and #ig show ,greek crosses4 ,the centers of the crosses are occupied by the central hole of the whorl1 while the arms extend to the periphery4 ,in the centers of the respective arms are the ubiquitous dots4 ,the question might here be asked whether these holes1 which represented circles1 stood for the sun symbol or solar disk4 ,the question carries its own answer and is a refutation of those who fancy they can see mythology in everything4 ,fig4 #ih is the same style of figure with the same dots1 save that it has three instead of four arms4 ,figs4 #ii and #ajj each show four of the curious animals heretofore represented 7fig4 #ef7 in connection with the ,swastika4 ,they are here inserted for comparison4 ,they are all of the same form1 and one description will serve4 ,back straight1 tail drooping1 four legs1 round head showing eye on one side1 and long ears resembling those of a rabbit or hare1 which1 in fig4 #ef1 are called horns4 ,the general remarks in respect to the propriety of inserting crosses and burning altars 7p4 #hbd7 apply with equal pertinency to these animals and to the unexplained dots seen on so many specimens4 ,fig4 #aja shows both ends of a spindle-whorl1 and is here inserted because it represents one of the burning altars of ,dr4 ,schliemann1 associated with a ,swastika1 as in figs4 #fa1 #ff1 and #fh1 and even those of figure-#h style 7figs4 #fd and #fi74 ,illustration3 ,fig4 #ih4 ,,spindle-,,whorl4 ,central hole and three arms with dots4 ,third city4 ,depth1 #bc feet4 ,schliemann1 ,ilios1 fig4 #ahai4 ,illustration3 ,fig4 #ii4 ,,biconical ,,spindle-,,whorl4 ,four animals are shown similar to those found associated with the ,swastika4 ,third city4 ,depth1 #cc feet4 ,schliemann1 ,ilios1 fig4 #ahgg4 ,illustration3 ,fig4 #ajj4 ,,biconical ,,spindle-,,whorl4 ,four animals are shown similar to those found associated with the ,swastika4 ,fourth city4 ,depth1 #ai4f feet4 ,schliemann1 ,ilios1 fig4 #ahfg4 ,illustration3 ,fig4 #aja4 ,,spindle-,,whorl ,,with ,,figure-#h ,,swastika 787 ,,and ,,six ,,burning ,,altars4 ,fourth city4 ,depth1 #ai4f feet4 ,schliemann1 ,ilios1 fig4 #ahch4 ,dr4 ,schliemann found1 during his excavations on the hill of ,hissarlik1 no less than #a1hjj spindle-whorls4 ,a few were from the first and second cities2 they were of somewhat peculiar form 7figs4 #gb and #gd71 but the greatest number were from the third city1 thence upward in decreasing numbers4 ,the ,swastika pure and simple was found on #ee specimens1 while its related or suggested forms were on #dbj 7pp4 #hji1 #hai74 ,many of the other whorls were decorated with almost every imaginable form of dot1 dash1 circle1 star1 lozenge1 zigzag1 with many indefinite and undescribable forms4 ,in presenting the claims of the ,swastika as an intentional sign1 with intentional1 though perhaps different1 meanings1 it might be unsatisfactory to the student to omit descriptions of these associated decorative forms4 ,this description is impossible in words2 therefore the author has deemed it wiser to insert figures of these decorations as they appeared on the spindle-whorls found at ,troy1 and associated with those heretofore given with the ,swastika4 ,it is not decided1 however1 that these have any relation to the ,swastika1 or that they had any connection with its manufacture or existence1 either by evolution or otherwise1 but they are here inserted to the end that the student and reader may take due account of the association and make such comparison as will satisfy him4 7,figs4 #ajb to #abd47 ,illustration3 ,figs4 #ajb-aac4 ,,trojan ,,spindle-,,whorls4 ,schliemann1 ,ilios4 ,illustration3 ,figs4 #aad-abd4 ,,trojan ,,spindle-,,whorls4 ,schliemann1 ,ilios4 ,leaden idol of ,hissarlik4--,dr4 ,schliemann1 in his explorations on the hill of ,hissarlik1 at a depth of #bc feet1 in the third1 the burnt city1 found a metal idol 7fig4 #abe71 which was determined on an analysis to be lead4#aej ,it was submitted to ,professor ,sayce who made the following report3#aea ,it is the ,artemis ,nana of ,chaldea1 who became the chief deity of ,carchemish1 the ,hittite capital1 and passed through ,asia ,minor to the shores and islands of the gean ,sea4 ,characteristic figures of the goddess have been discovered at ,mycen as well as in ,cyprus4 ,in ,troja ,professor ,sayce says3 ,precisely the same figure1 with ringlets on either side of the head1 but with a different ornament 7dots instead of ,swastika7 sculptured on a piece of serpentine was recently found in ,monia1 and published by ,m4 ,salmon ,reinach in ,revue ,archologique4 ,by the side of the goddess stands the ,babylonian ,bel1 and among the ,babylonian symbols that surround them is the representation of one of the terra-cotta whorls1 of which ,dr4 ,schliemann found such multitudes at ,troy4 ,the chief interest to us of ,dr4 ,schliemann's description of the idol lies in the last paragraph3#aeb ,the vulva is represented by a large triangle1 in the upper side of which we see three globular dots2 we also see two lines of dots to the right and left of the vulva4 ,the most curious ornament of the figure is a ,swastika1 which we see in the middle of the vulva4 99 99 99 ,so far as we know1 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 ,cyclades4 ,six of them1 which are in the museum at ,athens1 99 99 99 represent naked women4 99 99 99 ,the vulva is represented on the six figures by a large triangle4 99 99 99 ,similar white ,parian marble figures1 found in the ,cyclades1 whereon the vulva is represented by a decorated triangle1 are preserved in the ,british ,museum4 ,lenorment1 in ,les ,antiquits de la ,troade 7p4 #df71 says3 ,the statuettes of the ,cyclades1 in the form of a naked woman1 appear to be rude copies made by the natives1 at the dawn of their civilization1 from the images of the ,asiatic goddess which had been brought by ,phoenician merchants4 ,they were found in the most ancient sepulchers of the ,cyclades1 in company with stone weapons1 principally arrowheads of obsidian from ,milo1 and with polished pottery without paintings4 ,we recognize in them the figures of the ,asiatic ,venus found in such large numbers from the banks of the ,tigris to the island of ,cyprus1 through the whole extent of the ,chaldeo-,assyrian1 ,araman1 and ,phoenician world4 ,their prototype is the ,babylonian ,zarpanit1 or ,zirbanit1 so frequently represented on the cylinders and by terra-cotta idols1 the fabrication of which begins in the most primitive time of ,chaldea and continues among the ,assyrians4 ,illustration3 ,fig4 #abe4 ,,leaden ,,idol ,,of ,,artemis ,,nana ,,of ,,chaldea1 ,,with ,,swastika4#aec ,third city4 ,depth1 #bc feet4 ,schliemann1 ,ilios1 fig4 #abf4 #a-a_/c natural size4 ,it is to be remarked that this mark is not on the vulva1 as declared by ,schliemann1 but rather on a triangle shield which covers the mons veneris4 ,professor ,sayce is of the opinion1 from the evidence of this leaden idol1 that the ,swastika was1 among the ,trojans1 a symbol of the generative power of man4 ,an added interest centers in these specimens from the fact that terra-cotta shields of similar triangular form1 fitted to the curvature of the body1 were worn in the same way in prehistoric times by the aboriginal women of ,brazil4 ,these pieces have small holes at the angles1 apparently for suspension by cords4 ,the ,u4 ,s4 ,national ,museum has some of these1 and they will be figured in the chapter relating to ,brazil4 ,the similarity between these distant objects is remarkable1 whether they were related or not1 and whether the knowledge or custom came over by migration or not4 ,illustration3 ,fig4 #abf4 ,,terra-,,cotta ,,vase ,,with ,,mamelon4 ,fourth city4 ,depth1 #af4e feet4 ,cat4 ,no4 #adifgf1 ,u4 ,s4 ,n4 ,m4 #a_/c natural size4 ,illustration3 ,fig4 #abg4 ,,terra-,,cotta ,,vase ,,with ,,circle ,,or ,,ring4 ,fourth city4 ,depth1 #bj feet4 ,schliemann1 ,ilios1 fig4 #ihh4 #a_/c natural size4 ,owl-shaped vases4--,it is also remarkable to note in this connection the series of owl-shaped terra-cotta vases of the ruined cities of ,hissarlik and their relation to the ,swastika as a possible symbol of the generative power4 ,these vases have rounded bottoms1 wide bellies1 high shoulders 7the height of which is emphasized by the form and position of the handles71 the mouth narrow and somewhat bottle-shaped1 but not entirely so4 ,what would be the neck is much larger than usual for a bottle1 and more like the neck of a human figure1 which the object in its entirety represents in a rude1 but1 nevertheless1 definite1 manner4 ,at the top of the vase are the eyes1 eyebrows1 and the nose4 ,it is true that the round eyes1 the arched eyebrows1 and the pointed nose give it somewhat an owlish face1 but if we look at fig4 #abg1 the human appearance of which is emphasized by the cover of the vase1 which serves as a cap for the head and has the effect of enlarging it to respectable dimensions1 we will see how nearly it represents a human being4 ,the ,u4 ,s4 ,national ,museum possesses one of these vases in the ,schliemann collection 7fig4 #abf74 ,it has the face as described1 while the other human organs are only indicated by small knobs4 ,it and the three figures1 #abg1 #abh1 and #abi1 form a series of which the one in the ,museum would be the first1 the others following in the order named4 ,no4 #b in the series has the female attributes indefinitely and rudely indicated1 the lower organ being represented by a concentric ring4 ,in ,no4 #c the mamm are well shown1 while the other organ has the concentric ring1 the center of which is filled with a ,greek cross with four dots1 one in each angle1 the ,croix swasticale of ,zmigrodzki 7fig4 #ab74 ,no4 #d of the series is more perfect as a human1 for the mouth is represented by a circle1 the mamm are present1 while in the other locality appears a well-defined ,swastika4 ,the first three of these were found in the fourth city at #bj to #bb feet depth1 respectively2 the last was found in the fifth city at a depth of #aj feet4 ,the leaden idol 7fig4 #abe71 with its ,swastika mark on the triangle covering the private parts1 may properly be considered as part of the series4 ,when to this series is added the folium vitus of ,brazil 7pl4 #ah71 the similarity becomes significant1 if not mysterious4 ,but1 with all this significance and mystery1 it appears to the author that this sign1 in its peculiar position1 has an equal claim as a symbol of blessing1 happiness1 good fortune1 as that it represents the generative power4 ,illustration3 ,fig4 #abh4 ,,terra-,,cotta ,,vase ,,with ,,circle ,,or ,,ring ,,and ,,croix ,,swasticale4 ,schliemann1 ,ilios1 fig4 #ihf4 #a_/f natural size4 ,illustration3 ,fig4 #abi4 ,,terra-,,cotta ,,vase ,,with ,,circle ,,or ,,ring ,,inclosing ,,swastika4 ,schliemann1 ,troja1 fig4 #aja4 #b_/e natural size4 ,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 happiness1 and their failure his greatest misery4 ,the first and greatest command of ,god to man1 as set forth in the ,holy ,bible1 is to ,be fruitful1 and multiply1 and replenish the earth4#aed ,this was repeated after the ,deluge1#aee and when ,he pronounced the curse in the ,garden1 that upon the woman#aef was1 ,in sorrow thou shalt bring forth children4 ,god's greatest blessing to ,abraham1 when ,he gave to him and his seed the land as far as he could see1 was that his seed should be as the dust of the earth1 so that if a man can number the dust of the earth1 then shall thy seed also be numbered4#aeg ,tell the stars1 if thou be able to number them 99 99 99 so shall thy seed be4 99 99 99 ,as the father of many nations1 etc4 ,we all know the story of ,sarai1 how1 when she and ,abraham had all riches and power on earth1 it was as naught while they were childless1 and how their greatest blessing was the ,divine promise of an heir1 and that their greatest happiness was over the birth of ,isaac4 ,this may be no proof of the symbolism of the ,swastika1 but it shows how1 in high antiquity1 man's happiness in his children was such as makes the ,swastika mark1 in the position indicated1 equally a symbol of good fortune and blessing as it was when put on the spindle-whorls of ,hissarlik1 the vases of ,greece1 or the fibul of ,etruria4 ,the age of the ,trojan cities4--,it may be well to consider for a moment the age or epoch of these prehistoric ,trojan cities on the hill of ,hissarlik4 ,professor ,virchow was appealed to by ,schliemann for his opinion4 ,he says3#aeh ,other scholars have been inclined to ascribe the oldest cities of ,hissarlik to the ,neolithic age1 because remarkable weapons and utensils of polished stone are found in them4 99 99 99 ,this conception is unjustified and inadmissible4 ,to the third century ,a4 ,d4 belongs the surface of the fortress hill of ,hissarlik1 which still lies above the ,macedonian wall2 and the oldest cities--although not only polished stones but also chipped flakes of chalcedony and obsidian occur in them--nevertheless fall within the age of metals1 for even in the first city utensils of copper1 gold1 and even silver were dug up4 ,no stone people1 properly so called1 dwelt upon the fortress hill of ,hissarlik1 so far as it has been uncovered4 ,virchow's opinion that none of the cities of ,hissarlik were in the stone age may be correct1 but the reason he gave is certainly doubtful4 ,he says they come within the age of metals1 for1 or because1 utensils of copper1 gold1 and even silver were dug up among the ruins of the first city4 ,that the metals1 gold1 silver1 or copper1 were used by the aborigines1 is no evidence that they were in a metal age1 as it has been assigned and understood by prehistoric archologists4 ,the great principle upon which the names of the respective prehistoric ages--stone1 bronze1 and iron--were given1 was that these materials were used for cutting and similar implements4 ,the use of gold and silver or any metal for ornamental purposes has never been considered by archologists as synchronous with a metal age4 ,indeed1 in the ,united ,states there are great numbers of aboriginal cutting implements of copper1 of which the ,u4 ,s4 ,national ,museum possesses a collection of five or six hundred2 yet they were not in sufficient number to1 and they did not1 supersede the use of stone as the principal material for cutting implements1 and so do not establish a copper age in ,america4 ,in ,paleolithic times bone was largely used as material for utensils and ornaments4 ,bone was habitually in use for one purpose or another1 yet no one ever pretended that this establishes a bone age4 ,in countries and localities where stone is scarce and shell abundant1 cutting implements were1 in prehistoric times1 made of shell2 and chisels or hatchets of shell1 corresponding to the polished stone hatchet1 were prevalent wherever the conditions were favorable1 yet nobody ever called it an age of shell4 ,so1 in the ruined cities of ,hissarlik1 the first five of them abounded in stone implements peculiar to the ,neolithic age1 and while there may have been large numbers of implements and utensils of other materials1 yet this did not change it from the polished stone age4 ,in any event1 the reason given by ,virchow--i4 e41 that the use1 undisputed1 of copper1 gold1 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 period4 ,professor ,virchow subsequently does sufficient justice to the antiquity of ,schliemann's discoveries and says#aei while it is impossible to assign these strata to the stone age1 yet they are indications of what is the oldest known settlement in ,asia ,minor of a people of prehistoric times of some advance in civilization1 and#afj that no place in ,europe is known which could be put in direct connection with any one of the six lower cities of ,hissarlik4 ,professor ,sayce also gives his opinion on the age of these ruins3#afa ,the antiquities1 therefore1 unearthed by ,dr4 ,schliemann at ,troy1 acquire for us a double interest4 ,they carry us back to the later stone ages of the ,aryan race4 ,,africa4 ,,egypt4 ,a consensus of the opinions of antiquarians is that the ,swastika had no foothold among the ,egyptians4 ,prof4 ,max ,mller is of this opinion1 as is also ,count ,goblet d',alviella4#afb ,waring#afc says3 ,the only sign approaching the fylfot in ,egyptian hieroglyphics that we have met is shown in fig4 #c1 pl4 #da1 where it forms one of the hieroglyphs of ,isis1 but is not very similar to our fylfot4 ,mr4 ,greg says3#afd ,in ,egypt the fylfot does not occur4 ,many other authors say the same4 ,yet many specimens of the ,swastika have been found in ,egypt 7figs4 #acj to #acf74 ,professor ,goodyear#afe says3 ,the earliest dated ,swastikas are of the third millenium ,b4 ,c41 and occur on the foreign ,cyprian and ,carian 787 pottery fragments of the time of the twelfth dynasty 7in ,egypt71 discovered by ,mr4 ,flinders ,petrie in #ahhi4 7,kahun1 ,gurob1 and ,hawara1 pl4 #bg1 ,nos4 #afb and #agc47 ,illustration3 ,fig4 #acj4 ,,greek ,,vase ,,showing ,,deer1 ,,geese1 ,,and ,,swastikas4 ,naukratis1 ,ancient ,egypt4 ,sixth and fifth centuries1 ,b4 ,c4 ,petrie1 ,third ,memoir1 ,egypt ,exploration ,fund1 part #a1 pl4 #d1 fig4 #c1 and ,goodyear1 ,grammar of the ,lotus1 pl4 #fj1 fig4 #b4 ,illustration3 ,fig4 #acj;a4 ,,detail ,,of ,,vase ,,shown ,,in ,,the ,,preceding ,,figure4 ,naukratis4--,figs4 #acj to #ace1 made after illustrations in ,mr4 ,w4 ,flinders ,petrie's ,third ,memoir of the ,egypt ,exploration ,fund 7,pt4 #a71 found by him in ,naukratis1 all show unmistakable ,swastikas4 ,it should be explained that these are said to be ,greek vases which have been imported into ,egypt4 ,so that1 while found in ,egypt and so classed geographically1 they are not ,egyptian1 but ,greek4 ,coptos 7,achmim-,panopolis74--,within the past few years great discoveries have been made in ,upper ,egypt1 in ,sakkarah1 ,fayum1 and ,achmim1 the last of which was the ancient city of ,panopolis4 ,the inhabitants of ,coptos and the surrounding or neighboring cities were ,christian ,greeks1 who migrated from their country during the first centuries of our era and settled in this land of ,egypt4 ,strabo mentions these people and their ability as weavers and embroiderers4 ,discoveries have been made of their cemeteries1 winding sheets1 and grave clothes4 ,these clothes have been subjected to analytic investigation1 and it is the conclusion of ,m4 ,gerspach1 the administrator of the national manufactory of the ,gobelin tapestry1 ,paris1#aff that they were woven in the same way as the ,gobelins1 and that1 except being smaller1 they did not differ essentially from them4 ,he adds3 ,these ,egyptian tapestries and those of the ,gobelins are the result of work which is identical except in some secondary details1 so that ,i have been able1 without difficulty1 to reproduce these ,coptic tapestries in the ,gobelin manufactory4 ,illustration3 ,fig4 #aca4 ,,pottery ,,fragments ,,with ,,two ,,meander ,,swastikas4 ,naukratis1 ,ancient ,egypt4 ,petrie1 ,third ,memoir of the ,egyptian ,exploration ,fund1 part #a1 pl4 #e1 figs4 #ae1 #bd4 ,illustration3 ,fig4 #acb4 ,,fragment ,,of ,,greek ,,vase ,,with ,,lion ,,and ,,three ,,meander ,,swastikas4 ,naukratis1 ,ancient ,egypt4 ,petrie1 ,sixth ,memoir of the ,egypt ,exploration ,fund1 part #b1 fig4 #g1 and ,goodyear1 ,grammar of the ,lotus1 pl4 #cj1 fig4 #b4 ,on one of these ,coptic cloths1 made of linen1 reproduced in ,die ,grber- und ,textilfunde von ,achmim-,panopolis1 by ,r4 ,forrer1 occurs a normal ,swastika embroidered or woven1 tapestry fashion1 with woolen thread 7fig4 #acf74 ,it belongs to the first epoch1 which includes portions of the first and second centuries ,a4 ,d4 ,there were on these cloths an enormous amount of decoration1 representing many figures1 both natural and geometric4 ,among them was the ,swastika variously applied and in different sizes1 sometimes inserted in borders1 and sometimes adorning the corners of the tunics and togas as a large medallion1 as shown in the figure4#afg ,illustration3 ,fig4 #acc4 ,,fragment ,,of ,,greek ,,vase ,,decorated ,,with ,,figures ,,of ,,sacred ,,animals ,,and ,,swastikas1 ,,associated ,,with ,,greek ,,fret4 ,naukratis1 ,ancient ,egypt4 ,petrie1 ,sixth ,memoir of the ,egypt ,exploration ,fund1 part #b1 pl4 #f1 fig4 #a4 ,illustration3 ,fig4 #acd4 ,,fragment ,,of ,,greek ,,vase ,,with ,,figures ,,of ,,animals1 ,,two ,,meander ,,swastikas1 ,,and ,,greek ,,fret4 ,naukratis1 ,ancient ,egypt4 ,petrie1 ,sixth ,memoir of the ,egypt ,exploration ,fund1 part #b1 pl4 #h1 fig4 #a1 and ,goodyear1 ,grammar of the ,lotus1 pl4 #cj1 fig4 #aj4 ,illustration3 ,fig4 #ace4 ,,greek ,,vase ,,with ,,deer1 ,,and ,,meander ,,and ,,figure-#h ,,swastikas4 ,naukratis1 ,ancient ,egypt4 ,petrie1 ,sixth ,memoir of the ,egypt ,exploration ,fund1 part #b1 pl4 #e1 fig4 #a4 ,illustration3 ,fig4 #acf4 ,,greek ,,tapestry4 ,coptos1 ,egypt4 ,first and second centuries1 ,a4 ,d4 ,forrer1 ,die ,grber- und ,textilfunde von ,achmin-,panopolis4 ,,algeria4 ,illustration3 ,fig4 #acg4 ,,torus ,,of ,,column ,,with ,,swastikas4 ,roman ruins1 ,algeria4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #dc1 fig4 #b1 quoting from ,delamare4 ,waring1 in his ,ceramic ,art in ,remote ,ages1 discoursing upon the ,swastika1 which he calls fylfot1 shows in pl4 #dc1 fig4 #b 7quoting from ,delamare71 the base of a column from a ruined ,roman building in ,algeria 7fig4 #acg71 on the torus of which are engraved two ,swastikas1 the arms crossing at right angles1 all ends bent at right angles to the left4 ,there are other figures 7five and six on the same plate7 of ,swastikas from a ,roman mosaic pavement in ,algeria4 ,instead of being square1 however1 or at right angles1 as might ordinarily be expected from mosaic1 they are ogee4 ,in one of the specimens the ogee ends finish in a point2 in the other they finish in a spiral volute turning upon itself4 ,the ,swastika has been found on a tombstone in ,algeria4#afh ,,ashantee4 ,illustration3 ,fig4 #ach4 ,,bronze ,,ingots ,,bearing ,,swastikas4 ,coomassee1 ,ashantee4 ,mr4 ,r4 ,b4 neas ,mc,leod1 of ,invergordon ,castle1 ,ross-shire1 ,scotland1 reported#afi that1 on looking over some curious bronze ingots captured at ,coomassee in #ahgd1 during the late ,ashantee war1 by ,captain ,eden1 in whose possession they were at ,inverness1 he had found some marked with the ,swastika sign 7fig4 #ach74 ,these specimens were claimed to be aboriginal1 but whether the marks were cast or stamped in the ingot is not stated4 ,,classical ,,occident--,,mediterranean4 ,,greece ,,and ,,the ,,islands ,,of ,,cyprus1 ,,rhodes1 ,,melos1 ,,and ,,thera4 ,the ,swastika has been discovered in ,greece and in the islands of the ,archipelago on objects of bronze and gold1 but the principal vehicle was pottery2 and of these the greatest number were the painted vases4 ,it is remarkable that the vases on which the ,swastika appears in the largest proportion should be the oldest1 those belonging to the ,archaic period4 ,those already shown as having been found at ,naukratis1 in ,egypt1 are assigned by ,mr4 ,flinders ,petrie to the sixth and fifth centuries ,b4 ,c41 and their presence is accounted for by migrations from ,greece4 ,illustration3 ,fig4 #aci4 ,,variation ,,of ,,the ,,greek ,,fret4 ,continuous lines crossing each other at right angles forming figures resembling the ,swastikas4 ,illustration3 ,fig4 #adj4 ,,greek ,,geometric ,,vase ,,in ,,the ,,leyden ,,museum1 ,,with ,,figures ,,of ,,geese ,,and ,,swastika ,,in ,,panel4#agj ,smyrna4 ,conze1 ,anfnge1 etc41 ,vienna1 #ahgj1 and ,goodyear1 ,grammar of the ,lotus1 pl4 #ef1 fig4 #d4 ,illustration3 ,fig4 #ada4 ,,greek ,,vase ,,with ,,figures ,,of ,,horses1 ,,geometric ,,ornaments ,,and ,,swastikas ,,in ,,panels4 ,athens4 ,dennis1 ,etruria1 #a1 p4 cxiii4 ,illustration3 ,fig4 #adb4 ,,greek ,,vase ,,with ,,swastikas ,,in ,,panels4 ,conze1 ,anfnge1 etc41 and ,goodyear1 ,grammar of the ,lotus1 pl4 #fj1 fig4 #ac4 ,the ,greek fret and ,egyptian meander not the same as the ,swastika4--,professor ,goodyear says3#aga ,there is no proposition in archology which can be so easily demonstrated as the assertion that the ,swastika is originally a fragment of the ,egyptian meander1 provided ,greek geometric vases are called in evidence4 ,egyptian meander here means the ,greek fret4 ,despite the ease with which he says it can be demonstrated that the ,swastika was originally a fragment of the ,egyptian meander1 and with all respect for the opinion of so profound a student of classic ornament1 doubts must arise as to the existence of the evidence necessary to prove his proposition4 ,illustration3 ,fig4 #adc4 ,,detail ,,of ,,archaic ,,greek ,,vase ,,with ,,figure ,,of ,,solar ,,goose ,,and ,,swastikas ,,in ,,panels4 ,british ,museum4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #da1 fig4 #ae4 ,illustration3 ,fig4 #add4 ,,cyprian ,,pottery ,,plaque ,,with ,,swastika ,,in ,,panel4 ,metropolitan ,museum of ,art1 ,new ,york ,city4 ,cesnola1 ,cyprus1 its ,ancient ,cities1 ,tombs1 and ,temples1 pl4 #dg1 fig4 #dj4 ,illustration3 ,fig4 #ade4 ,,detail ,,of ,,cyprian ,,vase ,,with ,,swastikas ,,in ,,triangles4 ,goodyear1 ,grammar of the ,lotus1 pl4 #a1 fig4 #aa4 ,illustration3 ,fig4 #adf4 ,,detail ,,of ,,attic ,,vase ,,with ,,figure ,,of ,,antelope 787 ,,and ,,swastika4 ,british ,museum4 ,bhlau1 ,jahrbuch1 #ahhe1 p4 #ej1 and ,goodyear1 ,grammar of the ,lotus1 pl4 #cg1 fig4 #i4 ,illustration3 ,fig4 #adg4 ,,cyprian ,,vase ,,with ,,swastikas4 ,cesnola1 ,cyprus1 its ,ancient ,cities1 ,tombs1 and ,temples1 appendix by ,murray1 p4 #djd1 fig4 #ae4 ,illustration3 ,fig4 #adh4 ,,terra ,,cotta ,,figurine ,,with ,,swastikas ,,in ,,panels4 ,cesnola1 ,cyprus1 its ,ancient ,cities1 ,tombs1 and ,temples1 p4 #cjj1 and ,ohnefalsch-,richter1 ,bull4 ,soc4 d',anthrop41 ,paris1 #ahhh1 p4 #fia4 ,illustration3 ,fig4 #adi4 ,,terra ,,cotta ,,vase ,,with ,,swastika ,,and ,,figure ,,of ,,horse4#agb ,illustration3 ,fig4 #aej4 ,,bronze ,,fibula ,,with ,,swastika ,,and ,,representations ,,of ,a ,,goose ,,and ,a ,,fish4 ,boeotia1 ,greece4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abfe4 ,professor ,goodyear1 and possibly others1 ascribe the origin of the ,swastika to the ,greek fret2 but this is doubtful and surely has not been proved4 ,it is difficult1 if not impossible1 to procure direct evidence on the proposition4 ,comparisons may be made between the two signs2 but this is secondary or indirect evidence1 and depends largely on argument4 ,no man is so poor in expedients that he may not argue4 ,goldsmith's schoolmaster e'en tho' vanquished1 he could argue still4 ,the ,greek fret1 once established1 might easily be doubled or crossed in some of its members1 thus forming a figure similar to the ,swastika 7fig4 #aci71 which would serve as an ornament1 but is without any of the characteristics of the ,swastika as a symbol4 ,the crossed lines in the ,greek fret seem to have been altogether fortuitous4 ,they gave it no symbolic character4 ,it was simply a variation of the fret1 and at best was rarely used1 and like it1 was employed only for ornament and not with any signification--not a sign of benediction1 blessing1 or good luck1 as was the ,swastika4 ,the foundation principle of the ,greek fret1 so far as we can see its use1 is its adaptability to form an extended ornamental band1 consisting of doubled1 bent1 and sometimes crossed or interlaced lines1 always continuous and never ending1 and running between two parallel border lines4 ,two interlacing lines can be used1 crossing each other at certain places1 both making continuous meanders and together forming the ornamental band 7fig4 #aci74 ,in the ,greek fret the two lines meandered between the two borders back and forth1 up and down1 but always forming a continuous line4 ,this seems to be the foundation principle of the ,greek fret4 ,in all this requirement or foundation principle the ,swastika fails4 ,a row or band of ,swastikas can not be made by continuous lines2 each one is and must be separated from its fellows4 ,the ,swastika has four arms1 each made by a single line which comes to an end in each quarter4 ,this is more imperative with the meander ,swastika than with the normal4 ,if the lines be doubled on each other to be carried along to form another ,swastika adjoining1 in the attempt to make a band1 it will be found impossible4 ,the four lines from each of the four arms can be projected1 but each will be in a different direction1 and no band can be made4 ,it is somewhat difficult to describe this1 and possibly not of great need4 ,an attempt to carry out the project of making a band of ,swastikas1 to be connected with each other1 or to make them travel in any given direction with continuous lines1 will be found impossible4 ,professor ,goodyear attempts to show how this is done by his figure on page #if1 in connection with pl4 #aj1 fig4 #i1 also figs4 #agc and #agd 7pp4 #cec and #ced74 ,these figures are given in this paper and are1 respectively1 ,nos4 #ba1 #be1 #bf1 and #bg4 ,exception is taken to the pretended line of evolution in these figures3 7#a7 ,there is nothing to show any actual relationship between them4 ,there is no evidence that they agreed either in locality or time1 or that there was any unity of thought or design in the minds of their respective artists4 7#b7 ,single specimens are no evidence of custom4 ,this is a principle of the common law which has still a good foundation1 and was as applicable in those days as it is now4 ,the transition from the spiral to the ,greek fret and from the ,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 adjoining epochs of time1 and this is not proved by showing a single specimen4 7#c7 ,if a greater number of specimens were produced1 the chain of evidence would still be incomplete1 for the meander of the ,greek fret will1 as has just been said1 be found impossible of transition into the meander ,swastika4 ,it 7the ,swastika7 does not extend itself into a band1 but if spread at all1 it spreads in each of the four directions 7figs4 #ba and #be74 ,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 opposite direction4 ,anyone who doubts this has but to try to make the ,swastika in a continuous or extended band or line 7fig4 #bf71 similar to the ,greek fret4 ,illustration3 ,fig4 #aea4 ,,detail ,,of ,,greek ,,vase ,,with ,,swastikas ,,and ,,figures ,,of ,,birds4 ,waring1 ,ceramic ,art ,in ,remote ,ages1 pl4 #cc1 fig4 #bd1 and ,goodyear1 ,grammar of the ,lotus1 pl4 #df1 fig4 #e4 ,illustration3 ,fig4 #aeb4 ,,detail ,,of ,,cyprian ,,vase4 ,sunhawk1 lotus1 solar disk1 and ,swastikas4 ,bhlau1 ,jahrbuch1 #ahhf1 pl4 #h2 ,reinach1 ,revue ,archologique1 #ahhe1 ,,ii1 p4 #cfj2 ,perrot and ,chipiez1 ,history of ,art in ,phenicia and ,cyprus1 ,,ii2 ,goodyear1 ,grammar of the ,lotus1 pl4 #de1 fig4 #c4 ,illustration3 ,fig4 #aec4 ,,detail ,,of ,,greek ,,geometric ,,vase ,,with ,,swastikas ,,and ,,figures ,,of ,,horses4 ,thera4 ,leyden ,museum4 ,goodyear1 ,grammar of the ,lotus1 pl4 #fa1 fig4 #d4 ,illustration3 ,fig4 #aed4 ,,bronze ,,fibula ,,with ,,large ,,swastika ,,on ,,shield4 ,greece4 ,muse ,st4 ,germain4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abfd4 #a_/b natural size4 ,illustration3 ,fig4 #aee4 ,,greek ,,vase1 ,,oinocho1 ,,with ,,two ,,painted ,,swastikas4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abdd4 #a_/d natural size4 ,illustration3 ,fig4 #aef4 ,,cyprian ,,vase ,,with ,,swastikas ,,and ,,figure ,,of ,,animal4#agc ,cesnola1 ,cyprus1 its ,ancient ,cities1 ,tombs1 and ,temples1 pl4 #de1 fig4 #cf4 ,illustration3 ,fig4 #aeg4 ,,archaic ,,greek ,,pottery ,,fragment4 ,santorin1 ,ancient ,thera4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #db fig4 #b4 ,figs4 #acc and #acd1 from ,naukratis1 afford palpable evidence of the different origin of the ,swastika and the ,greek fret4 ,evidently ,grecian vases1 though found in ,egypt1 these specimens bear side by side examples of the fret and the ,swastika1 used contemporaneously1 and both of them complete and perfect4 ,if one had been parent of the other1 they would have belonged to different generations and would not have appeared simultaneously on the same specimen4 ,another illustration of simultaneous use is in fig4 #aid1 which represents an ,etruscan vase#agd ornamented with bronze nail heads in the form of ,swastikas1 but associated with it is the design of the ,greek fret1 showing them to be of contemporaneous use1 and therefore not1 as ,professor ,goodyear believes1 an evolution of one from the other4 ,the specimen is in the ,museum at ,este1 ,italy4 ,illustration3 ,fig4 #aeh4 ,,cyprian ,,vase ,,with ,,lotus ,,and ,,swastikas ,,and ,,figure ,,of ,,bird4 ,metropolitan ,museum of ,art1 ,new ,york ,city4 ,goodyear1 ,grammar of the ,lotus1 pl4 #fj1 fig4 #ae4 ,illustration3 ,fig4 #aei4 ,,cyprian ,,vase ,,with ,,two ,,swastikas4 ,cesnola ,collection1 ,metropolitan ,museum of ,art1 ,new ,york ,city4 ,goodyear1 ,grammar of the ,lotus1 fig4 #aea4 ,the ,greek fret has been in common use in all ages and all countries adopting the ,grecian civilization4 ,equally in all ages and countries has appeared the crossed lines which have been employed by every architect and decorator1 most or many of whom had no knowledge of the ,swastika1 either as an ornament or as a symbol4#age ,illustration3 ,fig4 #afj4 ,,fragment ,,of ,,terra ,,cotta ,,vase ,,with ,,swastikas1 ,,from ,,ruins ,,of ,,temple ,,at ,,paleo-,,paphos4 ,depth1 #dj feet4 ,cesnola1 ,cyprus1 its ,ancient ,cities1 ,tombs1 and ,temples1 p4 #baj4 ,illustration3 ,fig4 #afa4 ,,wooden ,,button1 ,,clasp1 ,,or ,,fibula ,,covered ,,with ,,plates ,,of ,,gold4 ,ogee ,swastika1 tetraskelion in center4 ,schliemann1 ,mycen1 fig4 #che4 ,illustration3 ,fig4 #afb4 ,,detail ,,of ,,greek ,,vase ,,with ,,figure ,,of ,,goose1 ,,honeysuckle 7,,anthemion71 ,,and ,,spiral ,,swastika4 ,thera4 ,monumenti ,inedite1 ,,lxv1 p4 #b1 and ,goodyear1 ,grammar of the ,lotus1 pl4 #df1 fig4 #g4 ,swastika in panels4--,professor ,goodyear1 in another place1#agf argues in a manner which tacitly admits the foregoing proposition1 where1 in his endeavor to establish the true home of the ,swastika to be in the ,greek geometric style1 he says we should seek it where it appears in the largest dimension and in the most prominent way4 ,in verification of this declaration1 he says that in this style the ,swastika systematically appears in panels exclusively assigned to it4 ,but he gives only two illustrations of the ,swastika in panels4 ,these have been copied1 and are shown in figs4 #adj and #adb4 ,the author has added other specimens1 figs4 #ada to #adh1 from ,dennis's ,etruria1 from ,waring's ,ceramic ,art1 and from ,cesnola and ,ohnefalsch-,richter4 ,it might be too much to say that these are the only ,swastikas in ,greece appearing in panels1 but it is certain that the great majority of them do not thus appear4 ,therefore1 ,professor ,goodyear's theory is not sustained1 for no one will pretend that four specimens found in panels will form a rule for the great number which did not thus appear4 ,this argument of ,professor ,goodyear is destructive of his other proposition that the ,swastika sign originated by evolution from the meander or ,greek fret1 for we have seen that the latter was always used in a band and never in panels4 ,although the ,swastika and the ,greek fret have a certain similarity of appearance in that they consist of straight lines bent at right angles1 and this continued many times1 yet the similarity is more apparent than real2 for an analysis of the motifs of both show them to have been essentially different in their use1 and so in their foundation and origin4 ,illustration3 ,fig4 #afc4 ,,detail ,,of ,,greek ,,vase4 ,sphinx with spiral scrolls1 and two meander ,swastikas 7right74 ,melos4 ,bhlau1 ,jahrbuch1 #ahhg1 ,,xii1 and ,goodyear1 ,grammar of the ,lotus1 pl4 #cd1 fig4 #h4 ,illustration3 ,fig4 #afd4 ,,detail ,,of ,,greek ,,vase4 ,ibex1 scroll1 and meander ,swastika 7right74 ,melos4 ,bhlau1 ,jahrbuch1 #ahhg1 ,,xii1 p4 #aba1 and ,goodyear1 ,grammar of the ,lotus1 pl4 #ci1 fig4 #b4 ,illustration3 ,fig4 #afe4 ,,detail ,,of ,a ,,greek ,,vase ,,in ,,the ,,british ,,museum4 ,ram1 meander ,swastika 7left71 circles1 dots1 and crosses4 ,salzmann1 ,necropole de ,camire1 ,,li1 and ,goodyear1 ,grammar of the ,lotus1 pl4 #bh1 fig4 #g4 ,swastikas with four arms1 crossing at right angles1 with ends bent to the right4--,the author has called this the normal ,swastika4 ,he has been at some trouble to gather such ,swastikas from ,greek vases as was possible1 and has divided them according to forms and peculiarities4 ,the first group 7figs4 #adj1 #adc1 #adf1 #adg1 #adh1 and #aej7 shows the normal ,swastika with four arms1 all bent at right angles and to the right4 ,in the aforesaid division no distinction has been made between specimens from different parts of ,greece and the islands of the ,grecian ,archipelago1 and these1 with such specimens as have been found in ,smyrna1 have for this purpose all been treated as ,greek4 ,illustration3 ,fig4 #aff4 ,,cyprian ,,vase ,,with ,,swastikas ,,and ,,figures ,,of ,,birds4 ,perrot and ,chipiez1 ,history of ,art in ,phenicia and ,cyprus1 ,,ii1 p4 #cjj1 fig4 #bcg2 ,goodyear1 ,grammar of the ,lotus1 pl4 #dh1 figs4 #f1 #ab2 ,cesnola1 ,cyprus1 its ,ancient ,cities1 ,tombs1 and ,temples1 ,appendix by ,murray1 p4 #dab1 pl4 #dd1 fig4 #cd4 ,illustration3 ,fig4 #afg4 ,,cyprian ,,vase ,,with ,,lotus1 ,,bosses1 ,,buds1 ,,sepals1 ,,and ,,different ,,swastikas4 ,cesnola ,collection1 ,metropolitan ,museum of ,art1 ,new ,york ,city4 ,goodyear1 ,grammar of the ,lotus1 pl4 #dh1 fig4 #c4 ,swastikas with four arms crossing at right angles1 ends bent to the left4--,figs4 #ada1 #adb1 #add1 #adi1 #aea1 #aeb1 #aec1 #aed1 #aef1 and #aeg represent the normal ,swastika with four arms1 all bending at right angles1 but to the left4 ,the vases on which they have been found are not described as to color or form4 ,it would be difficult to do so correctly2 besides1 these descriptions are not important in our study of the ,swastika4 ,fig4 #aee represents a vase or pitcher 7oinocho1 ,greek--,greek3 oinos1 wine1 and ,greek3 che1 to pour7 with painted ,swastika1 ends turned to the left4 ,it is in the ,museum of ,st4 ,germain1 and is figured by ,m4 ,de ,mortillet in ,muse ,prhistorique4 ,fig4 #aef represents a ,cyprian vase from ,ormidia1 in the ,new ,york ,museum4 ,it is described by ,cesnola#agg and by ,perrot and ,chipiez4#agh ,fig4 #aeg is taken from a fragment of archaic ,greek pottery found in ,santorin 7,ancient ,thera71 an island in the ,greek ,archipelago4 ,this island was first inhabited by the ,phenicians1 afterwards by the ,greeks1 a colony of whom founded ,cyrene in ,africa4 ,this specimen is cited by ,rochette and figured by ,waring4#agi ,illustration3 ,fig4 #afh4 ,,cyprian ,,vase ,,with ,,bosses1 ,,lotus ,,buds1 ,,and ,,different ,,swastikas4 ,cesnola ,collection1 ,metropolitan ,museum of ,art1 ,new ,york ,city4 ,goodyear1 ,grammar of the ,lotus1 pl4 #dh1 fig4 #ae4 ,swastikas with four arms crossing at other than right angles1 the ends ogee and to the left4--,figs4 #aeh1 #aei1 and #afj show ,swastikas with four arms crossing at other than right angles1 many of them ogee1 but turned to the left4 ,fig4 #afa is a representation of a wooden button or clasp1 much resembling the later gold brooch of ,sweden1 classified by ,montelius 7p4 #hfg71 covered with plates of gold1 from ,sepulcher ,,iv1 ,mycen 7,schliemann1 ,mycen1 fig4 #che1 p4 #bei74 ,the ornament in its center is one of the ogee ,swastikas with four arms 7tetraskelion7 curved to the left4 ,it shows a dot in each of the four angles of the cross similar to the ,suavastika of ,max ,mller and the ,croix swasticale of ,zmigrodzki1 which ,burnouf attributed to the four nails which fastened the cross ,arani 7the female principle71 while the ,pramantha 7the male71 produced1 by rotation1 the holy fire from the sacred cross4 ,an almost exact reproduction of this ,swastika will be found on the shield of the ,pima ,indians of ,new ,mexico 7fig4 #beh74 ,dr4 ,schliemann reports that the ,swastika in its spiral form is represented innumerable times in the sculptured ceiling of the ,thalamos in the treasury at ,orchomenos4 7,see figs4 #ba and #be47 ,illustration3 ,fig4 #afi4 ,,detail ,,of ,,early ,,boeotian ,,vase4 ,figure of horse1 solar diagram1 ,artemis with geese1 and ,swastikas 7normal and meander1 right and left74 ,goodyear1 ,grammar of the ,lotus1 pl4 #fa1 fig4 #ab4 ,he also reports#ahj that ,swastikas 7turned both ways7 may be seen in the ,royal ,museum at ,berlin incised on a balustrade relief of the hall which surrounded the temple of ,athene at ,pergamos4 ,fig4 #afb represents a spiral ,swastika with four arms crossing at right angles1 the ends all turned to the left and each one forming a spiral4 ,waring#aha figures and describes a ,grecian oinocho from ,camirus1 ,rhodes1 dating1 as he says1 from #gjj to #ejj ,b4 ,c41 on which is a band of decoration similar to fig4 #acj4 ,it is about #aj inches high1 of cream color1 with ornamentation of dark brown4 ,two ibexes follow each other with an ogee spiral ,swastika between the forelegs of one4 ,meander pattern1 with ends bent to right and left4--,figs4 #afc1 #afd1 and #afe show the ,swastika in meander pattern4 ,fig4 #afc shows two ,swastikas1 the arms of both bent to the right1 one six1 the other nine times4 ,the ,swastika shown in fig4 #afd is bent to the right eight times4 ,that shown in fig4 #afe bends to the left eight times4 ,swastikas of different kinds on the same object4--,the next group 7figs4 #afg to #agf7 is of importance in that it represents objects which1 bearing the normal ,swastika1 also show on the same object other styles of ,swastika1 those turned to the left at right angles1 those at other than right angles1 and those which are spiral or meander4 ,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 other1 showing them to be all the same sign--that is1 they were all ,swastikas1 whether the arms were bent to the right or to the left1 ogee or in curves1 at right angles or at other than right angles1 in spirals or meanders4 ,illustration3 ,fig4 #agj4 ,,detail ,,of ,,rhodian ,,vase4 ,figures of geese1 circles and dots1 and ,swastikas 7right and left74 ,british ,museum4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #bg1 fig4 #i4 ,illustration3 ,fig4 #aga4 ,,detail ,,of ,,rhodian ,,vase4 ,geese1 lotus circles1 and two ,swastikas 7right and left74 ,goodyear1 ,grammar of the ,lotus1 p4 #bga1 fig4 #ade4 ,many examples of vases similar to fig4 #agb are shown in the ,london1 ,paris1 and ,new ,york museums1 and in other collections4 7,see figs4 #adi1 #aei47 ,fig4 #agd shows an ,attic painted vase 7,lebes7 of the ,archaic period1 from ,athens4 ,it is a pale yellowish ground1 probably the natural color1 with figures in maroon4 ,it belongs to the ,british ,museum4 ,it bears on the front side five ,swastikas1 all of different styles2 three turn to the right1 two to the left4 ,the main arms cross at right angles1 but the ends of four are bent at right angles1 while one is curved 7ogee74 ,three have the ends bent 7at right angles7 four times1 making a meander form1 while two make only one bend4 ,they seem not to be placed with any reference to each other1 or to any other object1 and are scattered over the field as chance or luck might determine4 ,a specimen of ,swastika interesting to prehistoric archologists is that on a vase from ,cyprus 7,muse ,st4 ,germain1 ,no4 #baecg71 on which is represented an arrowhead1 stemmed1 barbed1 and suspended by its points between the ,swastika4#ahb ,illustration3 ,fig4 #agb4 ,,greek ,,vase ,,of ,,typical ,,rhodian ,,style4 ,ibex1 lotus1 geese1 and six ,swastikas 7normal1 meander1 and ogee1 all left74 ,goodyear1 ,grammar of the ,lotus1 p4 #bea1 pl4 #ci4ahc ,illustration3 ,fig4 #agc4 ,,detail ,,of ,,greek ,,vase4 ,deer1 solar diagrams1 and three ,swastikas 7single1 double1 and meander1 right74 ,melos4 ,conze1 ,meliosche ,thongefsse1 and ,goodyear1 ,grammar of the ,lotus1 pl4 #fj1 fig4 #h4 ,dr4 ,max ,ohnefalsch-,richter presented a paper before the ,socit d',anthropologie in ,paris1 ,december #f1 #ahhh1 reported in the ,bulletin of that year 7pp4 #ffh-fha74 ,it was entitled ,la ,croix gamme et la ,croix cantonne en ,chypre4 7,the ,croix gamme is the ,swastika1 while the ,croix cantonne is the cross with dots1 the ,croix swasticale of ,zmigrodzki47 ,in this paper the author describes his finding the ,swastika during his excavations into prehistoric ,cyprus4 ,on the first page of his paper the following statement appears3 ,the ,swastika comes from ,india as an ornament in form of a cone 7conique7 of metal1 gold1 silver1 or bronze gilt1 worn on the ears 7see ,g4 ,perrot3 ,histoire de l',art1 ,,iii1 p4 #efb et fig4 #chd71 and nose-rings 7see ,s4 ,reinach3 ,chronique d',orient1 #c;e srie1 t4 ,,iv1 #ahhf74 ,i was the first to make known the nose-ring worn by the goddess ,aphrodite-,astarte1 even at ,cyprus4 ,in the ,indies the women still wear these ornaments in their nostrils and ears4 ,the fellahin of ,egypt also wear similar jewelry2 but as ,egyptian art gives us no example of the usage of these ornaments in antiquity1 it is only from the ,indies that the ,phenicians could have borrowed them4 ,the nose-ring is unknown in the antiquity of all countries which surrounded the island of ,cyprus4 ,illustration3 ,fig4 #agd4 ,,archaic ,,greek ,,vase ,,with ,,five ,,swastikas ,,of ,,four ,,different ,,forms4 ,athens4 ,birch1 ,history of ,ancient ,pottery1 quoted by ,waring in ,ceramic ,art in ,remote ,ages1 pl4 #da1 fig4 #ae2 ,dennis1 ,the ,cities and ,cemeteries of ,etruria1 ,i1 p4 #ia4 ,illustration3 ,fig4 #age4 ,,detail ,,of ,,archaic ,,boeotian ,,vase4 ,serpents1 crosses1 and ,swastikas 7normal1 right1 left1 and meander74 ,goodyear1 ,grammar of the ,lotus1 pl4 #fj1 fig4 #i4 ,the first pages of his memoir are employed in demonstrating that the specimens of the ,swastika found in ,cyprus1 the most of which are set forth in this paper 7figs4 #agg-ahb71 show a ,phenician influence2 and according to his theory demonstrate their migration or importation4 ,he does not specify the evidence on which he bases his assertion of ,phenician influence in ,cyprus1 except in one or two particulars4 ,speaking of the specimen shown in fig4 #agg of the present paper1 he says3 ,it represents the sacred palm under which ,apollo1 the god of light1 was born4 99 99 99 ,at ,cyprus the palm did not appear only with the ,phenicians2 it was not known prior to that time 7p4 #fgd74 ,illustration3 ,fig4 #agf4 ,,attic ,,vase ,,for ,,perfume1 ,,with ,,croix ,,swasticale ,,and ,,two ,,forms ,,of ,,swastikas4 ,ohnefalsch-,richter1 ,bull4 ,soc4 d',anthrop41 ,paris1 #ahhh1 p4 #fgc1 fig4 #d4 ,illustration3 ,fig4 #agg4 ,,detail ,,of ,,cyprian ,,vase4 ,swastikas with palm tree1 sacred to ,apollo4 ,citium1 ,cyprus4 ,ohnefalsch-,richter1 ,bull4 ,soc4 d',anthrop41 ,paris1 #ahhh1 p4 #fgc1 fig4 #c4 ,the design shown in fig4 #agh he describes as representing two birds in the attitude of adoration before a ,swastika1 all being figured on a ,greek cup of the style ,dipylon4#ahd ,dr4 ,ohnefalsch-,richter adds3 ,on the vases of ,dipylon the ,swastikas are generally transformed into other ornaments1 mostly meanders4 ,but this is not the rule in ,cyprus4 ,the ,swastika disappeared from there as it came1 in its sacred form1 with the ,phenician influence1 with the ,phenician inscriptions on the vases1 with the concentric circles without central points or tangents4 ,he says#ahe that the ,swastika as well as the ,croix cantonne 7with points or dots71 while possibly not always the equivalent of the solar disk1 zigzag lightning1 or the double hatchet1 yet are employed together and are given the same signification1 and frequently replace each other4 ,it is his opinion#ahf that the ,swastika in ,cyprus had nearly always a signification more or less religious1 although it may have been used as an ornament to fill empty spaces4 ,his interpretation of the ,swastika in ,cyprus is that it will signify tour tour the storm1 the lightning1 the sun1 the light1 the seasons--sometimes one1 sometimes another of these significations--and that its form lends itself easily 7facilement7 to the solar disk1 to the fire wheel1 and to the sun chariot4 ,in support of this1 he cites a figure 7fig4 #agi7 taken from ,cesnola1#ahg in which the wheels of the chariot are decorated with four ,swastikas displayed in each of the four quarters4 ,the chief personage on the car he identifies as the god of ,apollo-,resef1 and the decoration on his shield represents the solar disk4 ,he is at once the god of war and also the god of light1 which identifies him with ,helios4 ,the other personage is ,herakles-,mecquars1 the right hand of ,apollo1 both of them heroes of the sun4 ,illustration3 ,fig4 #agh4 ,,cyprian ,,vase ,,with ,,figures ,,of ,,birds ,,and ,,swastika ,,in ,,panel4 ,muse ,st4 ,germain4 ,ohnefalsch-,richter1 ,bull4 ,soc4 d',anthrop41 ,paris1 #ahhh1 p4 #fgd1 fig4 #f4 ,illustration3 ,fig4 #agi4 ,,chariot ,,of ,,apollo-,,resef4 ,sun symbol787 on shield and four ,swastikas 7two right and two left7 on quadrants of chariot wheels4 ,cesnola1 ,salaminia1 p4 #bdj1 fig4 #bbf1 and ,ohnefalsch-,richter1 ,bull4 ,soc4 d',anthrop41 ,paris1 #ahhh1 p4 #fge1 fig4 #g4 ,the supreme goddess of the ,isle of ,cyprus was ,aphrodite-,astarte1#ahh whose presence with a preponderating ,phenician influence can be traced back to the period of the age of iron1 her images bearing signs of the ,swastika1 being1 according to ,dr4 ,ohnefalsch-,richter1 found in ,cyprus4 ,in fig4 #ahj the statue of this goddess is shown1 which he says was found by himself in #ahhd at ,curium4 ,it bears four ,swastikas1 two on the shoulders and two on the forearms4 ,fig4 #aha represents a centaur found by him at the same time1 on the right arm of which is a ,swastika painted in black1 as in the foregoing statue4 ,illustration3 ,fig4 #ahj4 ,,terra-,,cotta ,,statue ,,of ,,the ,,goddess ,,aphrodite-,,astarte ,,with ,,four ,,swastikas4#ahi ,curium1 ,cyprus4 ,ohnefalsch-,richter1 ,bull4 ,soc4 d',anthrop41 ,paris1 #ahhh1 p4 #fgf1 fig4 #h4 ,illustration3 ,fig4 #aha4 ,,cyprian ,,centaur ,,with ,,one ,,swastika4 ,cesnola1 ,salaminia1 p4 #bdc1 fig4 #bcj2 ,ohnefalsch-,richter1 ,bull4 ,soc4 d',anthrop41 ,paris1 #ahhh1 p4 #fgf1 fig4 #i4 ,we have found1 in the course of this paper1 many statues of human figures bearing the mark of the ,swastika on some portion of their garments4 ,m4 ,ohnefalsch-,richter1 on page #fgg1 gives the following explanation thereof3 ,it appears to me that the priests and priestesses1 also the boys who performed the services in the sacred places1 were in the habit of burning or tattooing ,swastikas upon their arms4 99 99 99 ,in #ahhe1 among the votive offerings found in one of the sacred places dedicated to ,aphrodite-,astoret1 near ,idalium1 was a stone statuette1 representing the young ,adonis ,kinyras in a squatting posture1 with the ,swastika tattooed or painted in red color upon his naked arm4 ,illustration3 ,fig4 #ahb4 ,,greek ,,statue ,,of ,,aphrodite-,,ariadne4 ,six ,swastikas 7four right and two left74 ,polistis ,chrysokon4 ,ohnefalsch-,richter1 ,bull4 ,soc4 d',anthrop41 ,paris1 #ahhh1 p4 #fgg1 fig4 #aj4 ,and1 says ,richter1 when1 later on1 the custom of tattooing had disappeared1 they placed the ,swastika on the sacerdotal garments4 ,he has found in a ,greek tomb in #ahhe1 near ,polistis ,chrysokon1 two statuettes representing female dancers in the service of ,aphrodite-,ariadne1 one of which 7fig4 #ahb7 bore six or more ,swastikas4 ,in other cases1 says he 7p4 #fgh71 the ,croix cantonne 7the ,croix swasticale of ,zmigrodzki7 replaced the ,swastika on the garments1 and he cites the statue of ,hercules strangling the lion in the presence of ,athena1 whose robe is ornamented with the ,croix cantonne4 ,he repeats that the two signs of the cross represent the idea of light1 sun1 sacrifice1 rain1 storm1 and the seasons4 ,,europe4 ,,bronze ,,age4 ,prehistoric archologists claim that bronze was introduced into ,europe in prehistoric times from the extreme ,orient4 ,the tin mines of the peninsula of ,burma and ,siam1 with their extension into ,china on the north1 ,malacca and the islands of the archipelago on the south1 are known to have been worked in extremely ancient times and are believed to have furnished the tin for the first making of bronze4 ,the latter may not be susceptible of proof1 but everything is consistent therewith4 ,after it became known that copper and tin would make bronze1 the discovery of tin would be greatly extended1 and in the course of time the tin mines of ,spain1 ,britain1 and ,germany might be opened4 ,a hundred and more prehistoric bronze foundries have been discovered in western ,europe and tens of thousands of prehistoric bronze implements4 ,if bronze came originally from the extreme ,orient1 and the ,swastika belonged there also1 and as objects of bronze belonging to prehistoric times and showing connection with the ,orient1 like the tintinnabulum 7fig4 #bi7 have been found in the ,swiss lake dwellings of prehistoric times1 it is a fair inference that the ,swastika mark found on the same objects came also from the ,orient4 ,this inference is strengthened by the manufacture and continuous use of the ,swastika on both bronze and pottery1 until it practically covered1 and is to be found over1 all ,europe wherever the culture of bronze prevailed4 ,nearly all varieties of the ,swastika came into use during the ,bronze ,age4 ,the objects on which it was placed may have been different in different localities1 and so also another variety of form may have prevailed in a given locality2 but1 subject to these exceptions1 the ,swastika came into general use throughout the countries wherein the ,bronze ,age prevailed4 ,as we have seen1 on the hill of ,hissarlik the ,swastika is found principally on the spindle-whorl2 in ,greece and ,cyprus1 on the pottery vases2 in ,germany1 on the ceintures of bronze2 in ,scandinavia1 on weapons and on toilet and dress ornaments4 ,in ,scotland and ,ireland it was mostly on sculptured stones1 which are many times themselves ancient ,celtic crosses4 ,in ,england1 ,france1 and ,etruria1 the ,swastika appears on small bronze ornaments1 principally fibul4 ,different forms of the ,swastika1 i4 e41 those to the right1 left1 square1 ogee1 curved1 spiral and meander1 triskelion and tetraskelion1 have been found on the same object1 thereby showing their inter-relationship4 ,no distinction is apparent between the arms bent to the right or to the left4 ,this difference1 noted by ,prof4 ,max ,mller1 seems to fail altogether4 ,greg says3#aij ,about #ejj to #fjj ,b4 ,c41 the fylfot1 7,swastika7 curiously enough begins to disappear as a favorite device of early ,greek art1 and is rarely1 if ever1 seen on the regular ,etruscan vase4 ,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 art1 and that it was of higher antiquity than would otherwise be suspected4 ,dr4 ,max ,ohnefalsch-,richter says3#aia ,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 relief1 or were painted4 ,etruria and ,italy4--,the ,etruscans were a prehistoric people4 ,the country was occupied during the two ages of stone1 ,paleolithic and ,neolithic1 and during the ,bronze ,age4 ,the ,etruscans were probably the descendants of the ,bronze ,age people4 ,the longest continued geographical discussion the world has heard was as to who were the ,etruscans1 and whence or by what route did they come to their country8 ,it was opened by ,herodotus and ,dionysius ,halicarnassus in the fourth century ,b4 ,c42 while ,dr4 ,brinton and the late ,president ,welling have made the latest contributions thereto4 ,the culture of the ,etruscans was somewhat similar to that of the ,bronze ,age peoples1 and many of the implements had great resemblance1 but with sufficient divergence to mark the difference between them4 ,there were different stages of culture among the ,etruscans1 as can be easily and certainly determined from their tombs1 modes of burial1 pottery1 etc4 ,the ,swastika appears to have been employed in all these epochs or stages4 ,it was undoubtedly used during the ,bronze ,age1 and in ,italy it continued throughout the ,etruscan and into the ,roman and ,christian periods4 ,illustration3 ,fig4 #ahc4 ,,hut ,,urn ,,in ,,the ,,vatican ,,museum4 ,burning altar mark associated with ,swastikas4 ,etruria 7,bronze ,age74 ,while it may be doubtful if any specimen of ,swastika can be identified as having belonged to the ,neolithic ,age in ,europe1 there can be no doubt that it was in common use during the ,bronze ,age4 ,professor ,goodyear gives it as his opinion1 and in this he may be correct1 that the earliest specimens of ,swastika of which identification can be made are on the hut urns of central ,italy4 ,these have been considered as belonging definitely to the ,bronze ,age in that country4 ,fig4 #ahc is a representation of one of these hut urns4 ,it shows upon its roof several specimens of ,swastika1 as will be apparent from examination4 ,there are other figures1 incised and in relief4 ,one of them is the celebrated burning altar mark of ,dr4 ,schliemann4 ,this specimen was found in the ,via ,appia near ,rome1 and is exhibited in the ,vatican ,museum4 ,similar specimens have been found in other parts of ,etruria4 ,the author saw in the ,municipal ,museum at ,corneto many of them1 which had been excavated from the neighboring cemetery of the prehistoric city of ,corneto-,tarquinii4 ,they were of pottery1 but made as if to represent rude huts of skin1 stretched on cross poles1 in general appearance not unlike the cane and rush conical cabins used to this day by the peasants around ,rome4 ,they belonged to the ,bronze ,age1 and antedated the ,etruscan civilization4 ,this was demonstrated by the finds at ,corneto-,tarquinii4 ,tombs to the number of about #cjj1 containing them1 were found1 mostly in #ahhj-ha1 at a lower level than1 and were superseded by1 the ,etruscan tombs4 ,they contained the weapons1 tools1 and ornaments peculiar to the ,bronze ,age--swords1 hatchets1 pins1 fibul1 bronze and pottery vases1 etc41 the characteristics of which were different from ,etruscan objects of similar purpose1 so they could be satisfactorily identified and segregated4 ,the hut urns were receptacles for the ashes of the cremated dead1 which1 undisturbed1 are to be seen in the museum4 ,the vases forming part of this grave furniture bore the ,swastika mark2 three have two ,swastikas1 one three1 one four1 and another no less than eight4 ,dennis figures a hut urn from ,alba ,longa1#aib and another from the ,alban ,mount4#aic ,he says 7note #a73 ,these remarkable urns were first found in #ahag at ,montecucco1 near ,marino1 and at ,monte ,crescenzio1 near the ,lago de ,castello1 beneath a stratum of peperino 7tufa7 #ah inches thick4 ,they were embedded in a yellowish volcanic ash and rested on a lower and earlier stratum of peperino4#aid ,curiously enough1 the three or four pronged mark1 called burning altar by ,dr4 ,schliemann1 is on both hut urns in ,dennis's ,cities and ,cemeteries of ,etruria4 ,dr4 ,schliemann argues strongly in favor of the relationship between ,swastika and the burning altar sign1 but assigns no other reason than the similarity of the marks on the two objects4 ,he appears unable1 in ,ilios1 to cite any instance of the ,swastika being found on the hut urns in connection with the burning altar sign1 but he mentions the ,swastika five times repeated on one of the hut urns in the ,etruscan collection in the museum of the ,vatican at ,rome4#aie ,the photograph of the hut urn from the ,vatican 7fig4 #ahc7 supplies the missing link in ,schliemann's evidence4 ,the roof of the hut urn bears the burning altar mark 7if it be a burning altar1 as claimed71 which is in high relief 7as it is in the ,dennis specimens71 and was wrought in the clay by the molder when the hut was made4 ,such of the other portions of the roof as are in sight show sundry incised lines which1 being deciphered1 are found to be ,swastikas or parts of them4 ,the parallelogram in the front contains a cross and has the appearance of a labyrinth1 but it is not4 ,the other signs or marks1 however1 represent ,swastikas1 either in whole or in part4 ,this specimen completes the proof cited by ,schliemann1 and associates the ,swastika with the burning altar sign in the ,etruscan country1 as well as on the hill of ,hissarlik and in other localities4 ,dennis supposes the earliest ,etruscan vases1 called by many different names1 to date from the twelfth century ,b4 ,c4 to #edj ,b4 ,c41#aif the latter being the epoch of ,theodoros of ,samos1 whose improvements marked an epoch in the culture of the country4 ,he says3 ,these vases were adorned with annular bands1 zigzag1 waves1 meanders1 concentric circles1 hatched lines1 ,swastikas1 and other geometric patterns4 ,a fragment of ,archaic ,greek pottery is reported by ,rochette from the necropolis of ,cum1 in the campagna of ,italy1 and is shown in fig4 #ahd4 ,rochette reports it as an example of a very early period1 believed by him to have been ,phenician4 ,when we consider the rarity of ,phenician pottery in ,italy compared with the great amount of ,greek pottery found there1 and that the ,phenicians are not known to have employed the ,swastika1 this1 combined with the difficulty of determining the place of origin of such a fragment1 renders it more likely to have been ,greek than ,phenician4 ,a reason apparently moving ,rochette to this decision was the zigzag ornamentation1 which he translated to be a ,phenician sign for water2 but this pattern was used many times and in many places without having any such meaning1 and is no proof of his proposition4 ,illustration3 ,fig4 #ahd4 ,,fragment ,,of ,,archaic ,,greek ,,pottery ,,with ,,three ,,swastikas4 ,cum1 ,italy4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #db1 fig4 #a4 ,illustration3 ,fig4 #ahe4 ,,cinerary ,,urn ,,with ,,swastikas ,,in ,,panels4 ,san ,marino1 near ,albano1 ,italy4 ,vatican ,museum4 ,illustration3 ,fig4 #ahf4 ,,cinerary ,,urn ,,with ,,swastikas ,,inclosed ,,by ,,incised ,,lines ,,in ,,intaglio4 ,cervetri1 ,italy4 ,conestabile due ,dischi in ,bronzo1 pl4 #e1 fig4 #b4 #a_/f natural size4 ,figs4 #ahe and #ahf represent the one-handled cinerary urns peculiar to the ,bronze ,age in ,italy4 ,they are believed to have been contemporaneous with or immediately succeeding the hut urns just shown4 ,the cinerary urn shown in fig4 #ahe was found at ,marino1 near ,albano1 in the same locality and under the same condition as the hut urns4 ,the original is in the ,vatican ,museum and was figured by ,pigorini in ,archologia1 #ahfi4 ,fig4 #ahf shows a one-handled urn of pottery with ,swastika 7left7 in intaglio1 placed in a band of incised squares around the body of the vessel below the shoulder4 ,a small though good example of ,etruscan work is shown in the gold fibula 7fig4 #ahg74 ,it is ornamented on the outside with the fine gold filigree work peculiar to the best ,etruscan art4 ,on the inside are two ,swastikas4 ,it is in the ,vatican ,museum of ,etruscan antiquities4 ,fig4 #ahh represents another specimen of ,etruscan gold filigree work with a circle and ,swastika4 ,it is a bulla1 an ornament said to indicate the rank of the wearer among the ,etruscan people4 ,it is decorated with a circle and ,swastika inside4 ,the figure is taken from ,l',art pour ,tous1 and is reproduced by ,waring4 ,illustration3 ,fig4 #ahg4 ,,gold ,,fibula ,,with ,,swastikas 7,,left74 ,etruscan ,museum1 ,vatican4 ,catalogue of the ,etruscan ,museum1 part #a1 pl4 #bf1 fig4 #f4 #a_/b natural size4 ,illustration3 ,fig4 #ahh4 ,,etruscan ,,gold ,,bulla ,,with ,,swastika ,,on ,,bottom4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #db1 fig4 #d;a4 ,illustration3 ,fig4 #ahi4 ,,ornamental ,,swastika ,,on ,,etruscan ,,silver ,,bowl4 ,cervetri 7,cre71 ,etruria4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #da1 fig4 #ac4 ,an ornamental ,swastika 7fig4 #ahi7 is found on a silver bowl from ,cervetri 7,cre71 ,etruria4 ,it is furnished by ,grifi1 and reproduced by ,waring4 ,this specimen is to be remarked as having a small outward flourish from the extreme end of each arm1 somewhat similar to that made by the ,jains 7fig4 #cc71 or on the ,tablet of honor of ,chinese porcelain 7fig4 #ca74 ,fig4 #aij shows an ,etruscan bronze fibula with two ,swastikas and two ,maltese crosses in the pin shield4 ,it is in the ,museum of ,copenhagen1 and is taken from the report of the ,congrs ,internationale d',anthropologie et d',archologie ,prhistorique1 ,copenhagen1 #ahge1 page #dhf4 ,this specimen1 by its rays or crotchets around the junction of the pin with the shield1 furnishes the basis of the argument by ,goblet d',alviella#aig that the ,swastika was evolved from the circle and was a symbol of the sun or sun-god4 7,see p4 #ghe47 ,illustration3 ,fig4 #aij4 ,,bronze ,,fibula ,,with ,,two ,,swastikas ,,and ,,supposed ,,rays ,of ,,sun4#aih ,etruria4 ,copenhagen ,museum4 ,goblet d',alviella1 fig4 #ai;a1 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abfc4 #a_/d natural size4 ,bologna was the site of the ,roman city ,bononia1 and is supposed to have been that of ,etruscan ,felsina4 ,its ,etruscan cemetery is extensive4 ,different names have been given to the excavations1 sometimes from the owner of the land and at other times from the names of excavators4 ,the first cemetery opened was called ,villanova4 ,the culture was different from that of the other parts of ,etruria4 ,by some it is believed to be older1 by others younger1 than the rest of ,etruria4 ,the ,swastika is found throughout the entire ,villanova epoch4 ,fig4 #aia shows a pottery vase from the excavation ,arnoaldi4 ,it is peculiar in shape and decoration1 but is typical of that epoch4 ,the decoration was by stamps in the clay 7intaglio7 of a given subject repeated in the narrow bands around the body of the vase4 ,two of these bands were of small ,swastikas with the ends all turned to the right4 ,fig4 #aib shows a fragment of pottery from the ,felsina necropolis1 ,bologna1 ornamented with a row of ,swastikas stamped into the clay in a manner peculiar to the locality4 ,illustration3 ,fig4 #aia4 ,,pottery ,,urn ,,ornamented ,,with ,,successive ,,bands ,,in ,,intaglio1 ,,two ,,of ,,which ,,are ,,composed ,,of ,,swastikas4 ,necropolis ,arnoaldi1 ,bologna4 ,museum of ,bologna4 ,gozzadini1 ,scavi ,archologici1 etc41 pl4 #d1 fig4 #h4 ,illustration3 ,fig4 #aib4 ,,fragment ,,of ,,pottery ,,with ,,row ,,of ,,swastikas ,,in ,,intaglio4 ,necropole ,felsinea1 ,italy4 ,museo ,bologna4 ,gozzadini1 ,due ,sepolcri1 etc41 p4 #g4 #a_/b natural size4 ,illustration3 ,fig4 #aic4 ,,swastika ,,sign ,,on ,,clay ,,bobbin4 ,type ,villanova1 ,bologna4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abci4 ,fig4 #aic shows the end view of one of the bobbins from ,bologna1 ,italy1 in the possession of ,count ,gozzadini by whom it was collected4 ,the decoration on the end1 as shown by the figure1 is the ,swastika4 ,the main arms are made up of three parallel lines1 which intersect each other at right angles1 and which all turn to the right at right angles4 ,the lines are not incised1 as is usual1 but1 like much of the decoration belonging to this culture1 are made by little points consecutively placed1 so as to give the appearance of a continuous line4 ,swastikas turning both ways are on one or both extremities of many terra-cotta cylinders found in the terramare at ,coazze1 province of ,verona1 deposited in the ,national 7,kircheriano7 ,museum at ,rome4 7,see figs4 #chj and #cha for similar bobbins47 ,the museum at ,este1 ,italy1 contains an elegant pottery vase of large dimensions1 represented in fig4 #aid1 the decoration of which is the ,greek fret around the neck and the ,swastika around the body1 done with small nail heads or similar disks inserted in the clay in the forms indicated4 ,this association of the ,swastika and the ,greek fret on the same object is satisfactory evidence of their contemporaneous existence1 and is thus far evidence that the one was not derived from the other1 especially as the authorities who claim this derivation are at variance as to which was parent and which1 child4 7,see fig4 #acc47 ,a ,swastika of the curious half-spiral form turned to the left1 such as has been found in ,scandinavia and also among the ,pueblo ,indians of the ,united ,states1 is in the museum at ,este4 ,illustration3 ,fig4 #aid4 ,,pottery ,,vase ,,ornamented ,,with ,,bronzed ,,nail ,,heads ,,in ,,form ,,of ,,swastika4 ,este1 ,italy4 ,matriaux pour l',histoire ,primitive et ,naturelle de l',homme1 #ahhd1 p4 #ad4 ,illustration3 ,fig4 #aie4 ,,fragment ,,of ,,pottery ,,with ,,swastika ,,stamped ,,in ,,relief4 ,illustration3 ,fig4 #aif4 ,,stamp ,,for ,,making ,,swastika ,,sign ,,on ,,pottery4 ,swiss lake dwelling of ,bourget1 ,savoy4 ,muse de ,chambry4 ,chantre1 ,age du ,bronze1 figs4 #ec1 #ee1 and ,keller1 ,lake ,dwellings of ,europe1 pl4 #afa1 fig4 #c4 ,when in the early centuries of the ,christian era the ,huns made their irruption into ,europe1 they apparently possessed a knowledge of the ,swastika4 ,they settled in certain towns of northern ,italy1 drove off the inhabitants1 and occupied the territory for themselves4 ,on the death of ,attila and the repulse of the ,huns and their general return to their native country1 many small tribes remained and gradually became assimilated with the population4 ,they have remained in northern ,italy under the title of ,longobards4 ,in this ,longobardian civilization or barbarism1 whichever we may call it1 and in their style of architecture and ornament1 the ,swastika found a prominent place1 and is spoken of as ,longobardian4 ,it is needless to multiply citations of the ,swastika in ,roman and ,christian times4 ,it would appear as though the sign had descended from the ,etruscans and ,samnites along the coast and had continued in use during ,roman times4 ,schliemann says#aii that it is found frequently in the wall paintings at ,pompeii2 even more than a hundred times in a house in the recently excavated street of ,vesuvius4 ,it may have contested with the ,latin cross for the honor of being the ,christian cross1 for we know that the ,st4 ,andrew's cross in connection with the ,greek letter ,p 7fig4 #f7 did so1 and for a long time stood as the monogram of ,christ and was the ,labarum of ,constantine4 ,all three of these are on the base of the ,archiepiscopal chair in the cathedral at ,milan4#bjj ,swiss lake dwellings4--,figs4 #aie and #aif are interesting as giving an insight into the method of making the sign of the ,swastika4 ,fig4 #aie shows a fragment of pottery bearing a stamped intaglio ,swastika 7right71 while fig4 #aif represents the stamp1 also in pottery1 with which the imprint was made4 ,they are figured by ,keller1#bja and are described on page #cci1 and by ,chantre4#bjb ,they were found in the ,swiss lake dwelling of ,bourget 7,savoy7 by the ,duc de ,chaulnes1 and are credited to his ,museum of ,chambry4 ,illustration3 ,fig4 #aig4 ,,fragment ,,of ,,ceinture ,,from ,a ,,tumulus ,,in ,,alsace4 ,thin bronze repouss with ,swastikas of various kinds4 ,bronze ,age1 ,halstattien epoch4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abee4 ,illustration3 ,fig4 #aih4 ,,fragment ,,of ,a ,,ceinture ,,from ,,the ,,tumulus ,,of ,,metzstetten1 ,w,,rtemberg4 ,thin bronze open-work with intricate ,swastikas4 ,halstattien epoch4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abeg1 and ,chantre1 ,le ,caucase1 ,,ii1 p4 #ej1 fig4 #be4 ,illustration3 ,fig4 #aii4 ,,bronze ,,fibula1 ,,the ,,body ,,of ,,which ,,forms ,a ,,swastika4 ,museum of ,mayence4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abff4 ,illustration3 ,fig4 #bjj4 ,,sepulchral ,,urn ,,with ,,swastika4 ,north ,germany4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #g1 fig4 #id4 ,germany and ,austria4--,fig4 #aig represents a fragment of a ceinture of thin bronze of the ,halstattien epoch of the ,bronze ,age from a tumulus in ,alsace4 ,it is made after the style common to that period2 the work is repouss and the design is laid off by diagonal lines which divide the field into lozenges1 wherein the ,swastika is represented in various forms1 some turned square to the right1 others to the left1 while one is in spiral and is turned to the left4 ,other forms of the cross also appear with dots in or about the corners1 which ,burnouf associates with the myth of ,agni and fire making1 and which ,zmigrodzki calls the ,croix swasticale4 ,this specimen is in the collection ,nessel at ,haguenau4 ,another ceinture was found at the same place and is displayed with it4 ,it bears representations of the cross of different forms1 one of which might be a ,swastika with dotted cross lines1 with the arms turned spirally to the left4 ,fig4 #aih represents another fragment of a bronze ceinture from the same country and belonging to the same epoch4 ,it is from the tumulus of ,metzstetten1 ,wrtemberg1 and is in the ,museum of ,stuttgart4 ,it is not repouss1 but is cut in openwork of intricate pattern in which the ,swastika is the principal motif4 ,a bronze fibula 7fig4 #aii7 is in the museum at ,mayence1 the body of which has the form of the normal ,swastika4 ,the arms are turned to the right and the lower one is broken off4 ,the hinge for the pin was attached at one side or arm of the ,swastika and the retaining clasp for the point at the other4 ,fig4 #bjj represents a prehistoric sepulchral urn with a large ,swastika1 the arms being indicated by three parallel lines1 after the same manner as the ,swastika on the clay bobbin from ,bologna 7fig4 #aic74 ,it is reported by ,lisch and ,schrter1 though the locality is not given4 ,it is figured by ,waring4 ,the form1 appearance1 and decoration are of the type ,villanova1 thus identifying it with northern ,italy4 ,illustration3 ,fig4 #bja4 ,,spearhead ,,with ,,swastika 7,,croix ,,swasticale7 ,,and ,,triskelion4 ,brandenburg1 ,germany4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #dd1 fig4 #ba1 and ,viking ,age1 ,i1 fig4 #ccf4 ,illustration3 ,fig4 #bjb4 ,,bronze ,,pin ,,with ,,swastika1 ,,pointill1 ,,from ,,mound ,,in ,,bavaria4 ,chantre1 ,matriaux pour l',histoire ,primitive et ,naturelle de l',homme1 #ahed1 pp4 #ad1 #abj4 ,the ,swastika sign is on one of the three pottery vases found on ,bishops ,island1 near ,knigswalde1 on the right bank of the ,oder1 and on a vase from ,reichersdorf1 near ,guben2#bjc on a vase in the county of ,lipto1 ,hungary1#bjd and on pottery from the ,cavern of ,barathegy1 ,hungary4#bje ,fig4 #bja represents a spearhead of iron from ,brandenburg1 ,north ,germany4 ,it bears the mark of the ,swastika with the ends turned to the left1 all being at right angles1 the ends ornamented with three dots recalling ,zmigrodzki's ,croix swasticale 7figs4 #ab and #ac74 ,by the side of this ,swastika is a triskelion1 or three-armed ogee sign1 with its ends also decorated with the same three dots4 ,what relation there is between all these marks or signs and others similar to them1 but separated by great distances of both time and space1 it would be mere speculation to divine4 ,m4 ,e4 ,chantre reports his investigations in certain ,halstattien cemeteries in ,italy and ,austria4#bjf ,at ,san ,margarethen1 on the road between ,rudolfswerth and ,kronau1 ,bavaria1 he encountered a group of tumuli4 ,many objects of the bel age du bronze were found2 among others1 a bronze pin 7fig4 #bjb7 with a short stem1 but large1 square1 flat head1 was found1 with a normal ,swastika engraved with small dots1 pointill1 such as has been seen in ,italy1 ,austria1 and ,armenia4 ,belgium4--,the ,museum of ,namur1 ,belgium1 possesses a small object of bone1 both points of which have been broken2 its use is somewhat indeterminable1 but it is believed by the curator of that museum and others to have been an arrowhead or spearhead4 ,in form it belongs to ,class ,a of stemmed implements1 is lozenge-shaped1 without shoulder or barb4 ,it is a little more than two inches long1 five-eighths of an inch wide1 is flat and thin4 ,on one side it bears two oblique or ,st4 ,andrew's crosses scratched in the bone2 on the other1 a figure resembling the ,swastika4 ,it is not the normal ,swastika1 but a variation therefrom4 ,it is a cross about three-eighths of an inch square4 ,the main stem lines cross each other at right angles2 the ends of each of these arms are joined by two incised lines1 which gives it the appearance of two turns to the right1 but the junction is not well made1 for the lines of the cross extend in every case slightly farther than the bent end4 ,the variation from the normal ,swastika consists of the variation produced by this second line4 ,this object was lately found by ,m4 ,dupont1 of ,brussels1 in the prehistoric cavern of ,sinsin1 near ,namur4 ,most1 or many1 of these caverns belong to ,paleolithic times1 and one1 the ,grotte de ,spy1 has furnished the most celebrated specimens of the skeletons of ,paleolithic man4 ,but the cavern of ,sinsin was determined1 from the objects found therein1 to belong to the ,bronze ,age4 ,scandinavia4--,the evidences of prehistoric culture have great resemblance throughout ,denmark1 ,sweden1 and ,norway2 so it is believed that during the prehistoric ages their peoples had the same culture1 and the countries have been classed together as ,scandinavia4 ,illustration3 ,fig4 #bjc4 ,,runic ,,inscription ,,containing ,a ,,swastika4 ,inlaid with silver on a bronze sword4 ,saebo1 ,norway4 ,illustration3 ,du ,chaillu1 ,viking ,age1 ,i1 fig4 #cce4 ,fig4 #bjd;a4 ,,swastika ,,with ,,dots4 ,torcello1 ,italy4 ,fig4 #bjd;b4 ,,runic ,,inscription ,,on ,,spearhead4 ,torcello1 ,italy4 ,illustration3 ,fig4 #bje4 ,,redding ,,comb ,,with ,,swastika4 ,scandinavia4 ,a bronze sword is reported by ,mr4 ,george ,stephens#bjg as having been found at ,sbo1 ,norway1 with runes and a ,swastika inlaid with silver4 ,this specimen 7fig4 #bjc7 was the subject of discussion before the ,international ,congress of ,anthropology and ,prehistoric ,archology1#bjh at ,budapest1 #ahgf4 ,its runes were translated by ,stephens1 and being read from right to left1 ,,oh ,,thurmuth1 or owns me ,thurmuth4 ,but on the same page he gives another sign for ,thu and renders ,s as ,odin or 7,w7oden4 ,in the discussion before the congress it seems to have been agreed that the sign ,s stood for blessing1 good luck1 or some beneficent charm or benediction4 ,a spearhead has been for years displayed in the museum at ,torcello1 near ,venice1 ,italy1 with a ,swastika sign 7fig4 #bjd;a7 prominent as an engraved sign4#bji ,associated with it1 but not a part of it1 was an inscription 7fig4 #bjd;b71 which has always been attributed to the ,etruscans4 ,mr4 ,i4 ,undset1 an archologist in the museum of ,christiania1 made an extended visit through ,italy in #ahhc1 and on seeing this spearhead recognized the inscription as runic and belonging to ,scandinavia4 ,the arms of the ,swastika turned to the left1 and the ends were finished with three dots of the same style as those described employed in the ,croix swasticale 7fig4 #ab74 ,figs4 #bje and #bjf represent articles of dress or toilet1 and bear the ,swastika4 ,the first shows a redding comb1 the ,swastika on which turns to the right4 ,it was probably of bone or horn1 as are those of modern times4 ,fig4 #bjf shows a brooch1 the interior decoration of which is a combination of ,swastikas more or less interlaced4 ,it is of bronze and was used as a dress ornament4 ,fig4 #bjg shows a large brooch1 the bodies and bar of which are almost covered with the tetraskelion style of ,swastika4 ,there are six of the four-armed ,swastikas1 four of which turn to the left and two to the right4 ,another is a triskelion1 the arms of which turn to the right4 ,illustration3 ,fig4 #bjf4 ,,bronze ,,brooch ,,or ,,fibula ,,with ,,combination ,,of ,,swastikas4 ,scandinavia4 ,illustration3 ,fig4 #bjg4 ,,bronze ,,brooch ,,with ,,swastikas4 ,tetraskelions 7right and left71 triskelion 7left74 ,scandinavia4 ,illustration3 ,fig4 #bjh4 ,,placque ,,for ,,ceinture1 ,,with ,,buckle4 ,two ogee ,swastikas 7tetraskelions74 ,illustration3 ,fig4 #bji4 ,,scandinavian ,,sword ,,scabbard4 ,two ogee ,swastikas 7tetraskelions71 right and left4 ,illustration3 ,fig4 #baj4 ,,scandinavian ,,sword ,,scabbard4 ,ogee ,swastika4 ,illustration3 ,fig4 #baa4 ,,scandinavian ,,sword ,,scabbard4 ,two triskelions1 right and left4 ,in ,scandinavia more than in other countries the ,swastika took the form of a rectangular body with arms projecting from each corner and bending in a spiral form1 sometimes to the right1 sometimes to the left4 ,these are found more frequently on fibul or brooches and on swords and scabbards4 ,in fig4 #bjh is shown a placque for a ceinture or belt1 with a buckle to receive the thong4 ,it contains two ogee ,swastikas 7tetraskelions74 ,in this and fig4 #bjg the border and accessory decoration consist largely of ogee curves1 which1 here represented separate1 would1 if placed together as a cross1 form the same style of ,swastika as those mentioned4 ,figs4 #bji and #baj show sword scabbards1 with ,swastikas turned both ways4 ,fig4 #baa shows two triskelions4 ,fig4 #bab represents a gold brooch from a grave at ,fyen1 reported by ,worsaae and figured by ,waring4#baj ,the brooch with ogee ,swastika bears internal evidence of ,scandinavian workmanship4 ,there are other ,swastikas of the same general form and style in distant localities1 and this specimen serves to emphasize the extent of possible communication between distant peoples in prehistoric times4 ,fig4 #bac represents a piece of horse-gear of bronze1 silver plated and ornamented with ,swastikas4 ,two of these are normal1 the ends bent at right angles to the left1 while the other is fancifully made1 the only specimen yet found of that pattern4#baa ,it is not seen that these fanciful additions serve any purpose other than decoration4 ,they do not appear to have changed the symbolic meaning of the ,swastika4 ,fig4 #bad represents a sword scabbard belonging to the ,vimose find1 with a normal ,swastika4 ,ludwig ,mller reproduces a ,swastika cross from a runic stone in ,sweden4 ,in an ancient church in ,denmark1 the baptismal font is decorated with ,swastikas1 showing its use in early ,christian times4 7,see p4 #hgh for continuation of ,swastika on ,scandinavian or ,danish gold bracteates47 ,illustration3 ,fig4 #bab4 ,,gold ,,brooch ,,with ,,ogee ,,swastika4 ,island of ,fyen4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #dc1 fig4 #aa4 ,illustration3 ,fig4 #bac4 ,,scandinavian ,,horse-,,gear4 ,silver plated on bronze4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #dd1 fig4 #af2 ,du ,chaillu1 ,viking ,age1 ,i1 fig4 #cgi4 ,mr4 ,paul du ,chaillu1 in his ,viking ,age1 mentions many specimens of ,scandinavian and ,norse antiquities bearing ,swastika marks of divers styles3 ,bronze vessels 7vol4 #a1 p4 #ajj1 note #a72 iron spear point with runes and ,swastika inlaid with silver1 discovered in a tumulus with burnt bones1 ,muncheburg1 fig4 #ccf2 another of the same1 ,volhynia1 ,russia1 fig4 #ccg2 pottery vessel containing burnt bones1 pointed iron knife1 bronze needle1 and melted glass beads1 ,bornholm1 fig4 #baj2 iron spearhead1 ,vimose bog find1 7p4 #bjg72 border of finely woven silk cloth with gold and silver threads1 from a mound 7vol4 #b1 p4 #bhi1 fig4 #aaej74 ,scotland and ,ireland4--,specimens of the ,swastika have been found on the ,ogam stones in ,scotland and ,ireland 7p4 #gig74 ,in the churchyard of ,aglish1 county ,kerry1 ,ireland1 stand two stones bearing ,ogam inscriptions4 ,at the top of one is an ancient ,celtic cross inclosed in a circle similar to fig4 #g2 immediately under it are two ,swastika marks of four arms crossing at right angles1 each arm bent to the right also at right angles4 ,on two corners of the stone are inscriptions of the usual ,ogam characters4 ,the translation may be given1 but seems to be unimportant and without apparent bearing upon this question4 ,they are somewhat obliterated and their reading difficult4 ,so far as made out1 they are as follows3 ,maqimaqa and ,apiloggo4 ,illustration3 ,fig4 #bad4 ,,scandinavian ,,sword ,,scabbard ,,with ,,normal ,,swastika4 ,vimose bog find4 ,in ,scotland1 the ,newton stone1 in the grounds of the ,newton ,house1 bears an ,ogam inscription1 the meaning of which has no bearing upon the subject4 ,but on the upper part of one of its faces appears an inscription1 boldly and deeply incised1 of forty-four characters arranged horizontally in six lines4 ,these are of so remarkable a type as to have puzzled every philologist and paleographer who has attempted their decipherment4 ,the late ,alexander ,thomson1 esq41 of ,banchory1 ,scotland1 circulated a photograph and description of this monument among antiquarians with a request for their decipherment of it4 ,various readings have been given by the learned gentlemen1 who have reported it to be ,hebrew1 ,phenician1 ,greek1 ,latin1 ,aryan1 ,irish1 and ,anglo-,saxon respectively4 ,brash#bab gives his opinion that the inscription is in debased ,roman letters of a type frequently found in ancient inscriptions1 its peculiarities being much influenced by the hardness of the stone at the time of cutting and of the subsequent weather wear of ages4 ,the interest of this monument to us is that the third character in the fourth line is a ,swastika4 ,it is indifferently made1 the lines do not cross at right angles1 two of the ends are curved1 and the two others bent at a wider than right angle4 ,there are four characters in the line closely following each other1 7see p4 #gig47 ,illustration3 ,fig4 #bae4 ,,sculptured ,,stone4 ,greek cross in circle1 normal ,swastika in square1 and ogee ,swastika in quatrefoil4 ,ireland4 ,illustration3 ,fig4 #baf4 ,,fragment ,,of ,,thin ,,bronze ,,repouss4 ,ogee ,swastika4 ,ireland4 ,munro1 ,lake ,dwellings of ,europe1 pl4 #abd1 figs4 #bj-bb4 ,illustration3 ,fig4 #bag4 ,,fragment ,,of ,,thin ,,bronze4 ,triskelion4 ,ireland4 ,munro1 ,lake ,dwellings of ,europe1 p4 #chd1 pl4 #abd1 figs4 #bj-bb4 ,illustration3 ,fig4 #bah4 ,,bronze ,,pin ,,with ,,small ,,normal ,,swastika ,,on ,,head4 ,crannog of ,lochlee1 ,tarbolton1 ,scotland4 ,munro1 ,lake ,dwellings of ,europe1 p4 #dag4 ,the ,logie stone1 in ,aberdeenshire1 ,scotland1 bearing ,ogam characters1 contains a figure or mark reported by ,george ,m4 ,atkinson as a ,swastika4#bac ,on the ,celtic crosses of ,scotland certain marks appear which are elsewhere found associated with ,swastika1 and consequently have some relation therewith4 ,the ,annam ,stone bears the mark of a ,swastika 7left7 within three concentric circles1 around the outside of which is a circle of dots4#bad ,ludwig ,mller reports the ,swastika in ,scotland and ,ireland on ,christian tombs1 associated with ,latin crosses4#bae ,a sculptured stone in ,ireland 7fig4 #bae7 shows on the face three varieties of the cross1 a ,greek cross in a circle1 a ,swastika with square ends turned to the right1 within a rectangle1 and an ogee 7tetraskelion7 turned to the right1 inclosed in a quatrefoil4#baf ,illustration3 ,fig4 #bai4 ,,carved ,,triskelion ,,found ,,on ,,fragment ,,of ,,ash ,,wood4 ,crannog of ,lochlee1 ,tarbolton1 ,scotland4 ,munro1 ,lake ,dwellings of ,europe1 p4 #dae4 ,an ,irish bowl showed a ,swastika thus symbol4 ,dr4 ,r4 ,munro#bag reports from the ,crannog of ,lesnacroghera country1 ,antrim1 ,ireland1 two pieces or disks of thin bronze1 repousss 7fig4 #baf71 bearing the sign of the ,swastika and having the four arms of the spirals turned to the left4 ,the similarity of this figure with those shown on the shields of the ,pima ,indians of ,new ,mexico and ,arizona 7figs4 #beg and #beh7 is to be remarked4 ,fig4 #bag shows a triskelion of symmetric spirals turned to the right4 ,in the ,crannog of ,lochlee1 near ,tarbolton1 a bronze pin was found 7fig4 #bah71 the head of which was inclosed in a ring4 ,on one side of the head was engraved a ,greek cross1 on the other was a normal ,swastika turned to the right4 ,the same crannog furnished a piece of ash wood five inches square1 which had been preserved1 as were all the other objects1 by the peat1 on which was carved a triskelion 7fig4 #bai7 after the form and style of those on the ,missouri mound pottery4 ,,gallo ,,roman ,,period4 ,france4--,the employment of the ,swastika in ,france did not cease with the ,bronze or ,iron ages1 but continued into the occupation of ,gaul by the ,romans4 ,illustration3 ,fig4 #bbj4 ,,stone ,,altar ,,with ,,swastika ,,on ,,pedestal4 ,france4 ,museum of ,toulouse4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abfg4 ,fig4 #bbj represents a stone altar erected in the south of ,france among the ,pyrenees about the time of the advent of the ,romans4 ,it has a ,swastika engraved on its pedestal4 ,the upper arm has been carried beyond the body of the sign1 whether by intention is not apparent4 ,fig4 #bba represents a pottery bottle with another specimen of ,swastika belonging to the same 7,gallo-,roman7 epoch1 but coming from the extreme north of ,gaul1 the neighborhood of ,rouen4 ,it is to be remarked that the ends of this ,swastika give the outward curve or flourish similar to that noticed by ,dr4 ,schliemann on the spindle-whorl of ,troy1 and is yet employed in making the ,jain ,swastika 7fig4 #cc74 ,illustration3 ,fig4 #bba4 ,,pottery ,,bottle ,,of ,,dark ,,gray ,,with ,,swastika ,,and ,,decoration ,,in ,,white ,,barbotine4 ,gallo-,roman ,epoch4 ,museum of ,rouen4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abdf4 ,m4 ,alexander ,bertrand#bah speaks of the discovery at ,velaux1 in the department of ,bouches-du-,rhne1 of the headless statue of a crouching or squatting guard which has a row of ,swastikas across his breast1 while beneath is a range of crosses1 ,greek or ,latin4 ,the newest examples of the ,swastika1 belonging to this epoch have been found at ,estinnes1 ,hainaut1 and at ,anthe1 ,namur1 ,belgium1 on pieces of ,roman tile2 also on a tombstone in the ,roman or ,belgo-,roman cemetery of ,juslenville near ,pepinster4#bai ,this is a ,pagan tomb1 as evidenced by the inscriptions commenced ,d4 ,m4 7,diis ,manibus74#bbj ,,anglo-,,saxon ,,period4 ,illustration3 ,fig4 #bbb4 ,,anglo-,,saxon ,,bronze ,,gilt ,,fibula4#bba ,simulation of ,swastika4 ,long ,wittenham1 ,berkshire1 ,england4 ,illustration3 ,fig4 #bbc4 ,,pottery ,,urn4 ,band of twenty hand-made ,swastikas1 white1 on blackish ground4 ,shropham1 ,norfolk1 ,england4 ,british ,museum4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #c1 fig4 #ej4 ,britain4--,greg reports#bbb a silver disk #a-a_/b inches in diameter1 with a triskelion made by punched dots1 in the same style as the pin heads from ,armenia 7figs4 #ce and #cf74 ,this was from grave #ie in an ,anglo-,saxon cemetery at ,sleafors1 ,england1 excavated by ,george ,w4 ,thomas and sold at ,boston2 bought by ,a4 ,w4 ,franks and given to the ,british ,museum4 ,grave #adc had a large cruciform fibula of bronze1 partly gilt1 similar to those from ,scandinavia1 with a ,swastika on the central ornament thus symbol4 ,the slight curve or flourish on the outer end of the bent arm of this specimen resembles the ,jain ,swastika 7fig4 #cc71 though this bends to the left1 while the ,jain ,swastikas bend to the right4 ,fig4 #bbb shows an ,anglo-,saxon bronze gilt fibula with a peculiar form of ,swastika leaving a square with dot and circle in its center4 ,it was found in ,long ,wittenham1 ,berkshire1 was reported in ,archologia1#bbc and is figured by ,waring4#bbd ,a figure having great similarity to this1 even in its peculiarities and called a ,swastika1 was found on a shell in ,toco ,mound1 ,tennessee 7fig4 #bch74 ,fig4 #bbc represents an ,anglo-,saxon urn from ,shropham1 ,norfolk4 ,its decorations consist of isolated figures like crosses1 etc41 arranged in horizontal bands around the vessel1 and separated by moldings4 ,the lower row consists of ,swastikas of small size stamped into the clay and arranged in isolated squares4 ,there are twenty ,swastikas in the band2 though they all turn to the right1 they are not repetitions4 ,they were made by hand and not with the stamp4 ,they are white on a blackish ground4 ,the original1 which is in the ,british ,museum1 is cited by ,kemble and figured by ,waring4#bbe ,,the ,,swastika ,,on ,,ancient ,,coins4 ,there has been much ink and imagination used1 most of which has been wasted1 in the discussion of this branch of this subject4 ,the opinion has been expressed by many persons that the triskelion which formed the armorial emblem of the island of ,sicily1 and also of the ,isle of ,man1 is but an evolution from or modification of the ,swastika4 ,in the judgment of the author this is based rather upon the similarity of the designs than upon any likeness in their origin and history4 ,the acceptance by modern writers of this theory as a fact is only justified from its long-continued repetition4 ,illustration3 ,fig4 #bbd4bbf ,,lycian ,,coin4 ,triskelion with three arms representing cocks' heads and necks4 ,illustration3 ,figs4 #bbe and #bbf4bbf ,,lycian ,,coins4 ,triskelions with central dots and circles4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #db1 figs4 #ab1 #ac4 ,triskelion1 ,lycia4--,the triskelion on ancient coins first appears on the coins of ,lycia1 in ,asia ,minor1 about ,b4 ,c4 #dhj4 ,it was adopted for ,sicily by ,agathocles1 ,b4 ,c4 #cag to #cjg4 ,the coins of ,lycia were first three cocks' heads and necks joined together equidistant in the center of the field1 as shown in fig4 #bbd1 while figs4 #bbe and #bbf bear a center dot and circle4 ,this forms a hub and axle4 ,out of this hub spring three arms or rays1 practically equidistant1 the outer ends being bent to the left4 ,they increase in size as they progress outward and are largest at the outer ends4 ,in fig4 #bbf there is a mint mark or counter mark of the same design as the triskelion1 except that it has but two arms or rays 7diskelion74 ,perrot and ,chipiez1#bbg speaking of ,lycia1 say3 ,the device of many of her coins is the triskelis or so-called triquetra 7literally1 three-cornered1 triangular71 a name derived from three serpents' heads1 which usually figure in the field1 much after the fashion of those supporting the famous tripod at ,delphi1#bbh consecrated by the ,greeks to ,apollo after the battle of ,plata4 ,the number of heads is not constant1 some coins having as many as four1 tetraskelis1 while others have but two1 diskelis4#bbi ,the ,greeks connected the symbol with the cult of ,apollo1 which they represented as very popular and of hoary antiquity in ,lycia4 ,the three-rayed design appears to have gained the victory over the others1 and came into commoner use4 ,it is found on ,assyrian coins1 and also as a countermark on coins of ,alexander1 ,b4 ,c4 #ccc to #cbc4 ,a comparison of these designs with the ,swastika will1 it is believed1 show their dissimilarity1 and the non-existence of relationship4 ,in the ,lycian designs1 whether with two1 three1 or four rays1 there is a central hub out of which the spokes spring4 ,in the center of the hub is the small circle and dot which might represent the axle on which the machine revolved4 ,in fact1 the ,lycian design is a fair representation of the modern screw propeller1 and gives the idea of a whirling motion4 ,compare these peculiarities with the ,swastika4 ,the ,swastika is almost always square1 is always a cross at right angles or near it1 and whatever may become of the ends or arms of the cross1 whether they be left straight1 bent at right angles1 or in a curve1 it still gives the idea of a cross4 ,there is no center except such as is made by the crossing of the two arms4 ,there is not1 as in these triskelions1 a central hub4 ,there is no dot or point around which the design or machine could be made to revolve1 as in these ,lycian triskelions2 nothing of the central boss1 cup1 or nave1 which forms what the ,germans call the ,rad-,kreuz1 wheel cross1 as distinguished from the square cross4 ,in this regard ,greg says3 ,if ,r4 ,brown's lunar and ,semitic or ,asiatic origin of the triquetra1 however1 should be established1 then the entire argument of the triquetra being derived from the fylfot1 or vice versa1 falls to the ground4 99 99 99 ,that the device arose out of the triskele and triquetra ,i do not think can be proved4 ,it is clear the ,s was a far older and more widely spread symbol than the triskele1 as well as a more purely ,aryan one4 ,waring1 explaining the tetraskelion 7four-armed71 declares it to have preceded the triskelion 7three-armed71 and he explains its meaning1#bcj citing ,sir ,charles ,fellows1 as being a harpago1 a grappling iron1 a canting sign for ,harpagus1 who conquered ,lycia for ,cyrus1 circa1 #efd ,b4 ,c4 ,this1 with the statement of ,perrot and ,chipiez 7p4 #hgb of this paper71 is a step in explanation of the adoption of the triskelion1 and together they suggest strongly that it had no relation to the ,swastika4 ,at the date of the appearance of the triskelion on the ,lycian coins the ,swastika was well known throughout the ,trojan peninsula and the gean ,sea1 and the difference between them was so well recognized that one could not possibly have been mistaken for the other4 ,illustration3 ,fig4 #bbg4 ,,sicilian ,,coin ,,with ,,quadriga ,,and ,,triskelion4 ,british ,museum4 ,barclay ,head1 ,coins of the ,ancients1 etc41 pl4 #ce1 fig4 #bh4 ,illustration3 ,fig4 #bbh4 ,,warrior',s ,,shield4 ,from a ,greek vase1 representing ,achilles and ,hector4 ,agrigentum1 ,sicily4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #db1 fig4 #bd4 ,triskelion1 ,sicily4--,now we pass to the consideration of the triskelion of ,sicily4 ,fig4 #bbg represents a coin of ,sicily4 ,on the obverse the head of ,persephone1 on the reverse the quadriga1 and above1 the triskelion4 ,other specimens of the same kind1 bearing the same triskelion1 are seen in ,barclay ,head's work on the ,coinage of ,syracuse and his ,guide to the ,ancient ,coins in the ,british ,museum4 ,they belong to the early part of the reign of ,agathocles1 ,b4 ,c4 #cag to #caj4 ,in these specimens the triskelion is quite small2 but as the coins belong to the period of the finest engraving and die-sinking of ,greece1 the representation1 however minute1 is capable of decipherment4 ,fig4 #bbh is taken from the shield of a warrior on a ,greek vase representing ,achilles and ,hector1 in which the armorial emblem of ,sicily1 the triskelion1 occupies the entire field1#bca and represents plainly that it is three human legs1 conjoined at the thigh1 bent sharply at the knee1 with the foot and toes turned out4 ,some of these have been represented covered with mail armor and the foot and leg booted and spurred4 ,it is evident that these are human legs1 and so were not taken from the screw propeller of ,lycia1 while they have no possible relation to the crossed arms of the ,swastika1 and all this despite their similarity of appearance4 ,this is rendered clearer by ,waring1#bcb where the armorial emblem on a warrior's shield is a single human leg1 bent in the same manner1 instead of three4 ,apropos of ,swastikas on warriors' shields1 reference is made to figs4 #beg and #beh1 which represent two shields of ,pima ,indians1 ,new ,mexico1 both of which have been in battle and both have the four-armed ,swastika or tetraskelion4 ,there is not in the ,swastika1 nor was there ever1 any central part1 any hub1 any axis1 any revolution4 ,it is asserted that originally the triskelion of ,sicily1 possibly of ,lycia1 was a symbol of the sun1 morning1 midday1 and afternoon1 respectively4 ,but this was purely theoretical and without other foundation than the imagination of man1 and it accordingly gave way in due course4 ,pliny denies this theory and attributes the origin of the triskelion of ,sicily to the triangular form of the island1 ancient ,trinacria1 which consisted of three large capes equidistant from each other1 pointing in their respective directions1 the names of which were ,pelorus1 ,pachynus1 and ,lilybum4 ,this statement1 dating to so early a period1 accounting for the triskelion emblem of ,sicily1 is much more reasonable and ought to receive greater credit than that of its devolution from the ,swastika1 which theory is of later date and has none of these corroborations in its favor4 ,we should not forget in this argument that the ,swastika in its normal form had been for a long time known in ,greece and in the islands and countries about ,sicily4 ,among hundreds of patterns of the ,swastika belonging to both hemispheres and to all ages1 none of them have sought to represent anything else than just what they appear to be1 plain marks or lines4 ,there is no likeness between the plain lines of the ,swastika and the bent form of the human leg1 with the foot turned outward1 incased in chain armor and armed with spurs4 ,whenever or however the triskelion occurred1 by whom it was invented1 what it represented1 how it comes to have been perpetuated1 is all lost in antiquity and may never be known2 but there does not seem to be any reason for believing it to have been an evolution from the ,swastika4 ,triskelion1 ,isle of ,man4--,the triskelion of ,sicily is also the armorial emblem of the ,isle of ,man1 and the same contention has been made for it1 i4 e41 that it was a modification of the ,swastika4 ,but its migration direct from ,sicily to the ,isle of ,man can be traced through the pages of history1 and ,mr4 ,john ,newton1#bcc citing the ,manx ,note ,book for ,january1 #ahhf1 has given this history at length1 of which the following is a rsum3 ,prior to the thirteenth century the ,isle of ,man was under dominion of the ,norse ,vikings1 and its armorial emblems were theirs2 usually a ship under full sail4 ,two charters of ,harold1 ,king of ,man 7#abde1 #abdf in the ,cotton ,,mss471 bear seals with this device4 ,twenty years later1 after the conquest of the island by1 and its cession to1 ,alexander ,,iii of ,scotland1 ,a4 ,d4 #abff1 the ,norse emblems disappeared entirely1 and are replaced by the symbol of the three legs covered with chain armor and without spurs4 ,it appears then1 says ,newton1 almost certain1 though we possess no literary document recording the fact1 that to ,alexander ,,iii of ,scotland is due the introduction of the ',tre ,cassyn' as the distinguishing arms of the ,isle of ,man4 ,he then explains how this probably came about3 ,frederick ,,ii 7,a4 ,d4 #aaig-abej71 the ,norman ,king of ,sicily1 married ,isabella1 the daughter of ,henry ,,iii of ,england4 ,a quarrel between the ,king of ,sicily and the ,pope led the latter to offer the crown to ,henry ,,iii of ,england1 who accepted it for his son ,edmund 7the ,hunchback71 who thereupon took the title of ,king of ,sicily and quartered the ,sicilian arms with the ,royal arms of ,england4 ,the negotiations between ,henry and the ,pope progressed for several years 7#abee to #abei71 when ,henry1 finding that he could no longer make it an excuse for raising money1 allowed it to pass into the limbo of forgotten objects4 ,alexander ,,iii of ,scotland had married ,margaret1 the youngest daughter of ,henry ,,iii1 and thus was brother-in-law to ,edmund as well as to ,frederick4 ,in #abef1 and while these negotiations between ,henry and the ,pope concerning ,sicily were in progress1 ,alexander visited1 at ,london1 his royal father-in-law1 the ,king of ,england1 and his royal brother-in-law1 the ,king of ,sicily1 and was received with great honors4 ,about that time ,haco1 the ,norse king of the ,isle of ,man1 was defeated by ,alexander ,,iii of ,scotland1 and killed1 soon after which event 7#abff7 the ,isle of ,man was ceded to the latter4 ,the ,norse coat of arms disappeared from the escutcheon of the ,isle of ,man1 and1 being replaced by the three legs of ,sicily1 ,mr4 ,newton inquires3 ,what more likely than that the ,king 7,alexander ,,iii71 when he struck the ,norwegian flag1 should replace it by one bearing the picturesque and striking device of ,sicily1 an island having so many points of resemblance with that of ,man1 and over which his sister ruled as ,queen and her brother had been appointed as ,king8 ,however little we may know concerning the method of transfer of the coat of arms from ,sicily to the ,isle of ,man1 we are not left at all in doubt as to the fact of its accomplishment2 and the triskelion of ,sicily became then and has been ever since1 and is now1 the armorial emblem of the ,isle of ,man4 ,the ,duke of ,athol1 the last proprietary of the ,isle of ,man1 and who1 in #agfe1 sold his rights to the ,crown of ,england1 still bears the arms of ,man as the fifth quartering1 ,the three human legs in armor1 conjoined at the upper part of the thigh and flexed in triangle1 proper garnished1 being a perpetuation of the triskelion or triquetrum of ,sicily4#bcd ,the arms of the ,isle of ,man afford an excellent illustration of the migration of symbols as maintained in the work of ,count ,goblet d',alviella2 but the attempt made by others to show it to be an evolution from and migration of the ,swastika is a failure4 ,punch marks on ,corinthian coins mistaken for ,swastikas4--,but is the ,swastika really found on ancient coins8 ,the use of precious metals as money dates to an unknown time in antiquity4 ,gold was used in early ,bible times 7#aejj ,b4 ,c47 among nearly every people as money1 but it was by weight as a talent1 and not as minted coin4 ,the coinage of money began about #gjj ,b4 ,c4 in ,lydia4 ,lydia was a province on the western side of the peninsula of ,asia ,minor looking out toward ,greece1 while ,lycia1 its neighbor1 was a province on the southern side looking toward the island of ,rhodes4 ,the ,lydians began coinage by stamping with a punch each ingot or nugget of gold or silver1 or a mixture of them called ,electrum4 ,in the beginning these ingots were marked upon but one side1 the reverse showing plainly the fiber of the anvil on which the ingot was laid when struck with the punch4 ,but in a short time1 it may have been two hundred years1 this system was changed so as to use a die which would be reproduced on the coin when it was struck with a punch4 ,the lion1 bull1 boar1 dolphin1 and many other figures were employed as designs for these dies4 ,athens used an owl2 ,corinth1 ,pegasus2 ,metapontine1 a sheaf of wheat2 ,naples1 a human-headed bull4 ,the head and1 occasionally1 the entire form of the gods were employed4 ,during almost the entire first period of nigh three hundred years the punch was used1 and the punch marks show on the reverse side of the coins4 ,these punch marks were as various as the dies for the obverse of the coins1 but most of them took a variety of the square1 as it would present the greatest surface of resistance to the punch4 ,even the triskelion of the ,lycian coins is within an indented square 7figs4 #bbe and #bbf74 ,a series of these punch marks is given for demonstration on pl4 #i4 ,a favorite design was a square punch with a cross of two arms passing through the center1 dividing the field into four quarters4 ,most of the punch marks on the coins of that period were of this kind4 ,these punch marks and the method and machinery with which they were made are described in standard numismatic works4#bce ,illustration3 ,fig4 #bbi4 ,,corinthian ,,coins4 ,obverse and reverse4 ,punch mark resembling ,swastika4 ,it is believed by the author that the assertions as to the presence of the ,swastika on these ancient coins is based upon an erroneous interpretation of these punch marks4 ,fig4 #bbi shows the obverse and reverse of a coin from ,corinth4 ,it belonged to the first half of the sixth century ,b4 ,c4 ,the obverse represents a ,pegasus standing1 while the reverse is a punch mark1 said to have been a ,swastika2 but1 examining closely1 we will find there is no ,swastika in this punch mark4 ,the arms of the normal ,swastika consist of straight lines crossing each other4 ,in this case they do not cross4 ,the design consists of four gammas1 and each gamma is separated from its fellows1 all forming together very nearly the same design as hundreds of other punch marks of the same period4 ,if each outer arm of this mark is made slightly longer1 the ,swastika form disappears and the entire design resolves itself into the square habitually employed for that purpose4 ,if the punch mark on this ,corinthian coin be a ,swastika1 it depends upon the failure to make the extreme end of the bent arm an eighth of an inch longer4 ,this is too fine a point to be relied upon4 ,if this punch mark had these arms lengthened an eighth of an inch1 it would confessedly become a square4 ,illustration3 ,,plate #i4 ,,punch ,,marks ,,on ,,reverse ,,of ,,ancient ,,coins4 ,,explanation ,,of ,,plate #i4 #a #b #c #d #e #f #g #h #i #aj #aa #ab ,,punch ,,marks ,,on ,,reverse ,,of ,,ancient ,,coins4 ,fig4 #a4 ,,coin ,,of ,,lydia4 ,electrum4 ,oblong sinking between two squares4 ,babylonian stater4 ,the earliest known coinage4 ,circa #gjj ,b4 ,c4 #b4 ,,phenician ,,half ,,stater4 ,electrum4 ,incuse square with cruciform ornament4 #c4 ,,silver ,,coin ,,of ,,teos4 ,incuse square4 ,circa #edd ,b4 ,c4 #d4 ,,silver ,,coin ,,of ,,acanthus4 ,incuse square4 #e4 ,,silver ,,coin ,,of ,,mende4 ,incuse triangles4 #f4 ,,silver ,,coin ,,of ,,terone4 ,incuse square4 #g4 ,,coin ,,of ,,bisalt4#bcf ,incuse square4 ,octadrachm4 #h4 ,,silver ,,coin ,,of ,,orrescii4#bcf ,incuse square4 ,octadrachm4 #i4 ,,corinthian ,,silver ,,coin4 ,incuse square divided into eight triangular compartments4 ,the earliest coin of ,corinth1 dating ,b4 ,c4 #fbe to #ehe4 #aj4 ,,silver ,,coin ,,of ,,abdera4 ,incuse square4 #aa4 ,,silver ,,coin ,,of ,,byzantium4 ,incuse square1 granulated4 #ab4 ,,silver ,,coin ,,of ,,thrasos 7,,thrace74 ,incuse square4 ,swastika on ancient ,hindu coins4--,it is not to be inferred from this opposition that the ,swastika never appeared on ancient coins4 ,it did appear1 but seems to have been of a later date and to have belonged farther east among the ,hindus4 ,fig4 #bcj shows an ancient 7,hindu87 coin reported by ,waring1 who cites ,cunningham as authority for its having been found at ,ujain4 ,the design consists of a cross with independent circles on the outer end of each of the four arms1 the circles being large enough to intersect each other4 ,the field of each of these circles bears a ,swastika of normal form4 ,other coins are cited of the same style1 with small center dots and concentric circles in the stead of the ,swastika4 ,what meaning the ,swastika has here1 beyond the possible one of being a lucky penny1 is not suggested4 ,illustration3 ,fig4 #bcj4 ,,ancient ,,hindu ,,coin ,,in ,,the ,,form ,,of ,a ,,cross ,,with ,a ,,swastika ,,on ,,the ,,extremity ,,of ,,each ,,arm4#bcg ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #da1 fig4 #ac4 ,illustration3 ,figs4 #bca1 #bcb1 #bcc1 and #bcd4 ,,ancient ,,hindu ,,coins ,,with ,,swastikas1 ,,normal ,,and ,,ogee4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #da1 figs4 #bj-bd4 ,other ancient ,hindu coins bearing the ,swastika 7figs4 #bca-bcd7 are attributed to ,cunningham by ,waring4#bch ,these are said by ,waring to be ,buddhist coins found at ,behat near ,scharaupur4 ,mr4 ,e4 ,thomas1 in his article on the ,earliest ,indian ,coinage1#bci ascribes them to the reign of ,krananda1 a ,buddhist ,indian king contemporary with or prior to ,alexander1 about #ccj ,b4 ,c4 ,the coins of ,krananda1#bdj contemporary of ,alexander the ,great1#bda bear the ,swastika mark1 associated with the principal ,buddhist marks1 the trisula1 the stupha1 sacred tree1 sacred cone1 etc4 ,waring says#bdb that according to ,prinsep's ,engravings of ,hindu ,coins1 the ,swastika seems to disappear from them about #bjj ,b4 ,c41 nor is it found on the ,indo-,bactrian1 the ,indo-,sassanian1 or the later ,hindu or subsequent ,mohammedan1 and he gives in a note the approximate dates of these dynasties3 ,early native ,buddhist monarchs from about #ejj ,b4 ,c4 to the conquest of ,alexander1 about #ccj ,b4 ,c42 the ,indo-,bactrian or ,greek successors of ,alexander from about #cjj to #abf ,b4 ,c42 the ,indo-,parthian or ,scythic from about #abf ,b4 ,c42 the second ,hindu dynasty from about #ef ,b4 ,c42 the ,indo-,sassanian from ,a4 ,d4 #bjj to #fcf1 and subsequent to that the ,indo-,mohammedan from the eleventh to the close of the thirteenth century2 the ,afghan dynasty from ,a4 ,d4 #abij to #aebf1 and the ,mongol dynasty to the eighteenth century1 when it was destroyed by ,nadir ,shah4 7,see p4 #ggb47 ,illustration3 ,fig4 #bce4 ,,ancient ,,coin ,,with ,,swastika4 ,gaza1 ,palestine4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #db1 fig4 #f4 ,swastika on coins in ,mesembria and ,gaza4--,mr4 ,percy ,gardner1 in his article1 ,ares as a ,sun-god1#bdc finds the ,swastika on a coin of ,mesembria in ,thrace4 ,he explains that ,mesembria is simply the ,greek word for noon1 midday 7,greek3 mesmbria74 ,the coins of this city bear the inscription ,greek3 ,,mes,s1 which ,greg#bdd believes refers by a kind of pun to the name of the city1 and so to noon1 or the sun or solar light4 ,the answer to this is the same given throughout this paper1 that it may be true1 but there is no evidence in support of it4 ,max ,mller#bde argues that this specimen is decisive of the meaning of the sign ,swastika4 ,both these gentlemen place great stress upon the position which the ,swastika held in the field relative to other objects1 and so determine it to have represented the sun or sunlight2 but all this seems non sequitur4 ,a coin from ,gaza1 ,palestine1 ancient1 but date not given1 is attributed to ,r4 ,rochette1 and by him to ,munter 7fig4 #bce74 ,the ,swastika sign is not perfect1 only two arms of the cross being turned1 and not all four4 ,illustration3 ,fig4 #bcf4 ,,gold ,,bracteate ,,with ,,jain ,,swastika4 ,denmark4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 #a1 fig4 #i4 ,swastika on ,danish gold bracteates4--,fig4 #bcf represents a ,danish gold bracteate with a portrait head1 two serpents1 and a ,swastika with the outer ends finished with a curve or flourish similar to that of the ,jains 7fig4 #cc74 ,there are other bracteates with the ,swastika mark1 which belong to the ,scandinavian countries4#bdf ,some of them bear signs referring to ,christian civilization1 such as raising hands in prayer2 and from a determination of the dates afforded by the coins and other objects the ,swastika can be identified as having continued into the ,christian era4 ,the coinage of the ancient world is not a prolific field for the discovery of the ,swastika4 ,other specimens may possibly be found than those here given4 ,this search is not intended to be exhaustive4 ,their negative information is1 however1 valuable4 ,it shows1 first1 that some of the early stamps or designs on coins which have been claimed as ,swastikas were naught but the usual punch marks2 second1 it shows a limited use of the ,swastika on the coinage and that it came to an end in very early times4 ,numismatics afford great aid to archology from the facility and certainty with which it fixes dates4 ,using the dates furnished by the coinage of antiquity1 it is gravely to be questioned whether the prolific use of the ,swastika in ,asia ,minor 7of which we have such notable examples on specimens of pottery from the hill of ,hissarlik1 in ,greece7 did not terminate before coinage began1 or before #dhj ,b4 ,c41 when the period of finer engraving began1 and it became the custom to employ on coins the figures of gods1 of tutelary deities1 and of sacred animals4 ,thus the use of the ,swastika became relegated to objects of commoner use1 or those having greater relation to superstition and folklore wherein the possible value of the ,swastika as an amulet or sign with power to bring good luck could be better employed2 or1 as suggested by ,mr4 ,greg1 that the great gods which1 according to him1 had the ,swastika for a symbol1 fell into disrepute and it became changed to represent something else4 ,,united ,,states ,,of ,,america4 ,,pre-,,columbian ,,times4 ,fains ,island and ,toco ,mounds1 ,tennessee4--,that the ,swastika found its way to the ,western ,hemisphere in prehistoric times can not be doubted4 ,a specimen 7fig4 #bcg7 was taken by ,dr4 ,edward ,palmer in the year #ahha from an ancient mound opened by him on ,fains ,island1 #c miles from ,bainbridge1 ,jefferson ,county1 ,tenn4 ,it is figured and described in the ,third ,annual ,report of the ,bureau of ,ethnology1#bdg as follows3 ,a shell ornament1 on the convex surface of which a very curious ornamental design has been engraved4 ,the design1 inclosed by a circle1 represents a cross such as would be formed by two rectangular tablets or slips slit longitudinally and interlaced at right angles to each other4 ,the lines are neatly and deeply incised4 ,the edge of the ornament has been broken away nearly all around4 ,the incised lines of this design 7fig4 #bcg7 represent the ,swastika turned to the left 7though the description does not recognize it as such74 ,it has small circles with dots in the center1 a style of work that may become of peculiar value on further investigation1 but not to be confounded with the dots or points in what ,m4 ,zmigrodzki calls the ,croix swasticale4 ,the mound from which this specimen came1 and the objects associated with it1 show its antiquity and its manufacture by the aborigines untainted by contact with the whites4 ,the mound is on the east end of ,fains ,island4 ,it was #aj feet in height and about #ajj feet in circumference at the base4 ,in the bed of clay #d feet beneath the surface were found the remains of #cb human skeletons2 of these1 only #ag skulls could be preserved4 ,there had been no regularity in placing the bodies4 ,illustration3 ,fig4 #bcg4 ,,shell ,,gorget ,,with ,,engraved ,,swastika1 ,,circles1 ,,and ,,dots4 ,fains ,island1 ,tennessee4 ,cat4 ,no4 #fbibh1 ,u4 ,s4 ,n4 ,m4 ,the peculiar form of this ,swastika is duplicated by a ,runic ,swastika in ,sweden1 cited by ,ludwig ,mller and by ,count d',alviella4#bdh ,the following objects were found in the mound on ,fains ,island associated with the ,swastika shell 7fig4 #bcg7 and described1 and many of them figured3#bdi ,a gorget of the same ,fulgur shell 7fig4 #bci72 a second gorget of ,fulgur shell with an engraved spider 7fig4 #bgh72 a pottery vase with a figure of a frog2 three rude axes from four to seven inches in length1 of diorite and quartzite2 a pierced tablet of slate2 a disk of translucent quartz #a-c_/d inches in diameter and three-quarters of an inch in thickness2 a mass of pottery1 much of it in fragments1 and a number of bone implements1 including needles and paddle-shaped objects4 ,the shell objects 7in addition to the disks and gorgets mentioned7 were pins made from the columell of ,fulgur 7,busycon perversum87 of the usual form and about four inches in length4 ,there were also found shell beads1 cylindrical in form1 an inch in length and upward of an inch in diameter1 with other beads of various sizes and shapes made from marine shells1 and natural specimens of ,io spinosa1 ,unio probatus4 ,illustration3 ,fig4 #bch4 ,,engraved ,,shell ,,with ,,swastika1 ,,circles1 ,,and ,,dots4 ,toco ,mound1 ,monroe ,county1 ,tenn4 ,cat4 ,no4 #aaefbd1 ,u4 ,s4 ,n4 ,m4 ,illustration3 ,,plate #aj4 ,,engraved ,,fulgur787 ,,shell1 ,,resembling ,,statue ,,of ,,buddha4 ,toco ,mound1 ,tennessee4 ,cat4 ,no4 #aaeefj1 ,u4 ,s4 ,n4 ,m4 ,the specimen represented in fig4 #bch is a small shell from the ,big ,toco mound1 ,monroe ,county1 ,tenn41 found by ,mr4 ,emmert with skeleton ,no4 #di and is fig4 #bfb1 ,twelfth ,annual ,report of the ,bureau of ,ethnology1 #ahij-ia1 page #chc1 although it is not described4 ,this is a circular disk of ,fulgur shell1 much damaged around the edge1 #a-a_/b inches in diameter1 on which has been engraved a ,swastika4 ,it has a small circle and a dot in the center1 around which circle the arms of the ,swastika are interlaced4 ,there are also circles and central dots at each turn of the four arms4 ,the hatch work in the arc identifies this work with that of other crosses and a triskelion from the same general locality--figs4 #cjb1 #cje1 and #cjf1 the former being part of the same find by ,mr4 ,emmert4 ,fig4 #bbb1 a bronze gilt fibula from ,berkshire1 ,england1 bears a ,swastika of the same style as fig4 #bch from ,tennessee4 ,the circles and central dots of fig4 #bch have a similarity to ,peruvian ornamentation4 ,the form and style1 the broad arms1 the circles and central dots1 the lines of engravings1 show such similarity of form and work as mark this specimen as a congener of the ,swastika from ,fains ,island 7fig4 #bcg74 ,the other objects found in the mound associated with this ,swastika will be described farther on4 ,there can be no doubt of these figures being the genuine ,swastika1 and that they were of aboriginal workmanship4 ,their discovery immediately suggests investigation as to evidences of communication with the ,eastern ,hemisphere1 and naturally the first question would be1 ,are there any evidences of ,buddhism in the ,western ,hemisphere8 ,when ,i found1 a few days ago1 the two before-described representations of ,swastikas1 it was my belief that no reliable trace of ,buddha or the ,buddhist religion had ever been found among the aboriginal or prehistoric ,americans4 ,this statement was made1 as almost all other statements concerning prehistoric man should be1 with reserve1 and subject to future discoveries1 but without idea that a discovery of evidence on the subject was so near4 ,in searching the ,u4 ,s4 ,national ,museum for the objects described in the ,second ,annual ,report of the ,bureau of ,ethnology under the title of ,art in ,shell among the ,ancient ,americans1 the writer discovered a neglected specimen of a mutilated and damaged shell 7pl4 #aj71 marked as shown on the back1 found by ,mr4 ,emmert1 an employ of the ,bureau of ,ethnology1 in the year #ahhb4 ,its original field number was #bfg1 ,professor ,thomas's #fedb1 the ,museum number #aaeefb1 and it was found in the ,big ,toco mound1 ,monroe ,county1 ,tenn4 ,it is not figured nor mentioned in any of the ,bureau reports4 ,it is greatly to be regretted that this shell is so mutilated4 ,in its present condition no one can say positively what it is1 whether a statue of ,buddha or not2 but to all appearances it represents one of the ,buddhist divinities4 ,its material1 similar to the hundred others found in the neighborhood1 shows it to have been indigenous1 yet parts of its style are different from other aboriginal ,north ,american images4 ,attention is called to the slim waist1 the winged arms1 the crossed legs1 the long feet1 breadth of toes1 the many dots and circles shown over the body1 with triple lines of garters or anklets4 ,all these show a different dress from the ancient ,north ,american4 ,the girdle about the waist1 and the triangular dress which1 with its decorations and arrangement of dots and circles1 cover the lower part of the body1 are to be remarked4 ,while there are several specimens of aboriginal art from this part of the country which bear these peculiarities of costumes1 positions1 appearance1 and manner of work1 showing them to have been in use among a portion of the people1 yet they are not part of the usual art products4 ,there is a manifest difference between this and the ordinary statue of the ,indian or of the mound builder of that neighborhood or epoch4 ,it is not claimed that this shell proves the migration of ,buddhism from ,asia1 nor its presence among ,north ,american ,indians4 ,one swallow does not make a summer4 ,but this figure1 taken in connection with the ,swastika1 presents a set of circumstances corresponding with that possibility which goes a long distance in forming circumstantial evidence in its favor4 ,m4 ,gustave d',eichthal wrote a series of essays in the ,revue ,archologique1 #ahfd-fe1 in which he collated the evidence and favored the theory of ,buddhist influence in ancient ,america4 ,other writers have taken the same or similar views and have attributed all manner of foreign influence1 like the ,lost ,tribes of ,israel1 etc41 to the ,north ,american ,indian1#bej but all these theories have properly had but slight influence in turning public opinion in their direction4 ,mr4 ,v4 ,r4 ,gandhi1 in a recent letter to the author1 says of this specimen 7pl4 #aj73 ,while ,swastika technically means the cross with the arms bent to the right1 later on it came to signify anything which had the form of a cross2 for instance1 the posture in which a persons sits with his legs crossed is called the ,swastika posture2#bea also when a person keeps his arms crosswise over his chest1 or a woman covers her breast with her arms crossed1 that particular attitude1 is called the ,swastika attitude1 which has no connection1 however1 with the symbolic meaning of the ,swastika with four arms4 ,the figure pl4 #aj1 a photograph of which you gave me the other day1 has the same ,swastika posture4 ,in matters of concentration and meditation1 ,swastika posture is oftentimes prescribed1 which is also called ,sukhasana1 meaning a posture of ease and comfort4 ,in higher forms of concentration1 the posture is changed from ,sukhasana to ,padmasana1 the posture which is generally found in ,jain and ,buddhist images4 ,the band around the waist1 which goes from the navel lower on till it reaches the back part1 has a peculiar significance in the ,jain philosophy4 ,the ,shvetamber division of the ,jain community have always this kind of band in their images4 ,the object is twofold3 ,the first is that the generative parts ought not to be visible2 the second is that this band is considered a symbol of perfect chastity4 ,there can be no doubt of the authenticity of these objects1 nor any suspicion against their having been found as stated in the labels attached4 ,they are in the ,museum collection1 as are other specimens4 ,they come unheralded and with their peculiar character unknown4 ,they were obtained by excavations made by a competent and reliable investigator who had been engaged in mound exploration1 a regular employ of the ,bureau of ,ethnology1 under the direction of ,prof4 ,cyrus ,thomas during several years1 and always of good reputation and unblemished integrity4 ,they come with other objects1 labeled in the same way and forming one of a series of numbers among thousands4 ,its resemblance to ,buddhist statues was apparently undiscovered or unrecognized1 at least unmentioned1 by all those having charge of it1 and in its mutilated condition it was laid away among a score of other specimens of insufficient value to justify notice or publication1 and is now brought to light through accident1 no one having charge of it recognizing it as being different from any other of the half hundred engraved shells theretofore described4 ,the excavation of ,toco mound is described by ,professor ,thomas in the ,twelfth ,annual ,report of the ,bureau of ,ethnology1 pages #cgi-chd4 ,we can now be governed only by the record as to the objects associated with this shell 7pl4 #aj71 which shows it to have been found with skeleton ,no4 #h1 in ,big ,toco mound1 ,monroe ,county1 ,tenn41 while the ,swastika of figure #bch was found with skeleton ,no4 #di4 ,toco mound contained fifty-two skeletons1 or1 rather1 it contained buried objects reported as from that many skeletons4 ,those reported as with skeleton ,no4 #h were1 in addition to this gorget3 ,one polished stone hatchet1 one stone pipe1 and one bowl with scalloped rim4 ,toco mound seems to have been exceedingly rich1 having furnished #aih objects of considerable importance4 ,association of discovered objects is one of the important means of furnishing evidence in prehistoric archology4 ,it is deemed of sufficient importance in the present case to note objects from ,toco mound associated with the ,buddha statue4 ,they are given in list form1 segregated by skeletons3 ,skeleton ,no4 #d4 ,two polished stone hatchets1 one discoidal stone4 #e4 ,one polished stone hatchet4 #g4 ,two large seashells4 #h4 ,one stone pipe1 one polished stone hatchet1 one ornamented shell gorget 7the ,buddha statue1 pl4 #aj71 one ornamented bowl1 with scalloped rim4 #i4 ,two polished stone hatchets4 #ab4 ,a lot of small shell beads4 #ac4 ,four bone implements 7one ornamented71 one stone pipe1 two shell gorgets 7one ornamented71 one bear tooth4 #ag4 ,one polished stone hatchet4 #ah4 ,two polished stone hatchets1 one stone pipe1 one boat-shaped bowl 7ornamented71 one shell gorget 7ornamented71 one shell mask1 one shell pin1 one shell gorget1 one bear tooth1 lot of shell beads4 #bb4 ,two polished stone chisels1 one stone disk4 #bd4 ,one polished stone hatchet4 #bf4 ,two polished stone hatchets1 one waterworn stone1 two hammer stones4 #bg4 ,one polished stone hatchet4 #bh4 ,two polished stone hatchets1 one ornamented bowl4 #ca4 ,one polished stone hatchet1 one polished stone chisel4 #cc4 ,two polished stone hatchets1 one two-eared pot1 one small shell gorget1 three shell pins1 fragments of pottery4 #cd4 ,three polished stone hatchets4 #cf4 ,one discoidal stone4 #cg4 ,one polished stone chisel1 one stone pipe1 one shell mask 7ornamented74 #da4 ,one polished stone hatchet1 one stone pipe1 pottery vase with ears 7ornamented71 one shell mask1 one shell pin1 four arrowheads 7two with serrated edges71 two stone perforators4 #dc4 ,lot of shell beads4 #di4 ,one polished stone hatchet1 one spade-shaped stone ornament 7perforated71 one spear-head1 one stone pipe1 one pottery bowl with two handles1 two shell masks 7ornamented71 twenty-seven bone needles1 two beaver teeth1 one bone implement 7raccoon71 piece of mica1 lot of red paint1 two shell gorgets 7one ornamented with ,swastika1 fig4 #bch71 thirty-six arrow-heads1 lot of flint chips1 fragment of animal jaw and bones1 lot of large shells1 one image pot4 #ea4 ,one shell pin1 one shell mask1 one arrow-head1 two small shell beads4 #eb4 ,one shell mask1 one shell gorget1 one shell ornament4 ,these objects are now in the ,u4 ,s4 ,national ,museum and in my department4 ,the list is taken from the official catalogue1 and they number from #aaeeje to #aaefhd4 ,i have had the opportunity of comparing the objects with this description and find their general agreement4 ,dr4 ,palmer1 the finder1 was an employ of the ,bureau of ,ethnology1 is a man of the highest character1 of great zeal as an archologist and naturalist1 and has been for many years1 and is now1 in the employ of the ,bureau or ,museum1 always with satisfaction and confidence4 ,mr4 ,emmert was also an employ of the ,bureau for many years1 and equally reliable4 ,the specimens of shell in this and several other mounds1 some of which are herein figured1 were in an advanced stage of decay1 pitted1 discolored1 and crumbling1 requiring to be handled with the utmost care to prevent disintegration4 ,they were dried by the collector1 immersed in a weak solution of glue1 and forwarded immediately 7in #ahhe71 with other relics from the neighborhood1 to the ,bureau of ,ethnology and ,national ,museum at ,washington1 where they have remained ever since4 ,there is not the slightest suspicion concerning the genuineness or antiquity of this specimen or of those bearing the ,swastika as belonging to the mound-building epoch in the valley of the ,tennessee4 ,illustration3 ,fig4 #bci4 ,,shell ,,gorget4 ,two fighting figures with triangular breech-clout1 garters and anklets1 and dots and circles4 ,fains ,island1 ,tennessee4 ,third ,annual ,report of the ,bureau of ,ethnology1 p4 #deb1 fig4 #abh4 ,cat4 ,no4 #fbicj1 ,u4 ,s4 ,n4 ,m4 ,other figures of sufficient similarity to the ,swastika have been found among the aborigines of ,north ,america to show that these do not stand alone2 and there are also other human figures which show a style of work so similar and such resemblance in detail of design as to establish the practical identity of their art4 ,one of these was a remarkable specimen of engraved shell found in the same mound1 ,fains ,island1 which contained the first ,swastika 7fig4 #bcg74 ,it is described in the ,second ,annual ,report of the ,bureau of ,ethnology1 page #cja1 under the name of ,mc,mahon's mound4 ,it is a large polished ,fulgur shell disk which1 when entire1 has been nearly #e inches in diameter 7fig4 #bci74 ,a little more than one-third has crumbled away1 and the remaining portion has been preserved only by careful handling and immediate immersion in a solution of glue4 ,it had been engraved on the concave side4 ,the design represents two human figures plumed and winged1 armed with eagles' talons and engaged in mortal combat4 ,the design apparently covered the entire shell1 leaving no space for encircling lines4 ,the two figures are in profile and face each other in a fierce onset4 ,of the right-hand figure1 only the body1 one arm1 and one leg remain4 ,the left-hand figure is almost complete4 ,the outline of the face1 one arm1 and one foot is all that is affected4 ,the right hand is raised above the head in the act of brandishing a long knife pointed at both ends4 ,the other combatant1 clutching in his right hand a savage-looking blade with its point curved1 seems delivering a blow in the face of his antagonist4 ,of the visible portions of the figures1 the hands are vigorously drawn1 the thumbs press down upon the outside of the forefingers in a natural effort to tighten the grasp4 ,the body1 arms1 and legs are well defined and in proper proportion1 the joints are correctly placed1 the left knee is bent forward1 and the foot planted firmly on the ground1 while the right is thrown gracefully back against the rim at the left1 and the legs terminate in well-drawn eagles' feet armed with curved talons4 ,the head is decorated with a single plume which springs from a circular ornament placed over the ear2 an angular figure extends forward from the base of this plume1 and probably represents what is left of the headdress proper4 ,in front of this--on the very edge of the crumbling shell--is one-half of the lozenge-shaped eye1 the dot representing the pupil being almost obliterated4 ,the ankles and legs just below the knee and the wrists each have three lines representing bracelets or anklets4 ,it is uncertain whether the leg is covered or naked2 but between the waistband and the leggings1 over the abdomen1 is represented on both figures a highly decorated triangular garment1 or1 possibly coat of mail1 to which particular attention is called4#beb ,in the center1 at the top1 just under the waistband1 are four circles with dots in the center arranged in a square2 outside of this1 still at the top1 are two triangular pieces1 and outside of them are two more circles and dots2 while the lower part of the triangle1 with certain decorations of incised lines1 completes the garment4 ,this decoration is the same on both figures1 and corresponds exactly with the ,buddha figure4 ,an ornament is suspended on the breast which shows three more of the circles and dots4 ,the earring is still another4 ,the right-hand figure1 so far as it can be seen1 is a duplicate of the left1 and in the drawing it has1 where destroyed1 been indicated by dotted lines4 ,it is remarkable that the peculiar clothing or decoration of these two figures should be almost an exact reproduction of the ,buddha figure 7pl4 #aj74 ,another interesting feature of the design is the highly conventionalized wing which fills the space beneath the uplifted arm4 ,this wing is unlike the usual specimens of aboriginal art which have been found in such profusion in that neighborhood4 ,but it is again remarkable that this conventionalized wing and the bracelets1 anklets1 and garters should correspond in all their peculiarities of construction and design with the wings on the copper and shell figures from the ,etowah mound1 ,georgia 7figs4 #bdj1 #bda1 and #bdb7bec4 ,behind the left-hand figure is an ornament resembling the spreading tail of an eagle which1 with its feather arrangement and the detail of their mechanism1 correspond to a high degree with the eagle effigies in repouss copper 7fig4 #bdc7 from the mound in ,union ,county1 ,ill41 shown in the ,fifth ,annual ,report of the ,bureau of ,ethnology 7p4 #aje7 and in the ,twelfth ,annual ,report 7p4 #cji74 ,illustration3 ,fig4 #bdj4 ,,copper ,,plate4 ,entowah ,mound1 ,georgia4 ,fifth ,annual ,report of the ,bureau of ,ethnology1 fig4 #db4 ,cat4 ,no4 #iaaac1 ,u4 ,s4 ,n4 ,m4 ,illustration3 ,fig4 #bda4 ,,copper ,,plate4 ,repouss work4 ,entowah ,mound1 ,georgia4 ,cat4 ,no4 #iaaag1 ,u4 ,s4 ,n4 ,m4 ,illustration3 ,fig4 #bdb4 ,,engraved ,,shell4 ,triangular breech-clout with dots and circles4 ,entowah ,mound1 ,georgia4 ,cat4 ,no4 #iaddc1 ,u4 ,s4 ,n4 ,m4 ,hopewell ,mound1 ,chillicothe1 ,ross ,county1 ,ohio4--,a later discovery of the ,swastika belonging to the same period and the same general locality--that is1 to the ,ohio ,valley--was that of ,prof4 ,warren ,k4 ,moorehead1 in the fall and winter of #ahia-ib1 in his excavations of the ,hopewell mound1 seven miles northwest of ,chillicothe1 ,ross ,county1 ,ohio4#bed ,the locality of this mound is well shown in ,squier and ,davis's work on the ,monuments of the ,mississippi ,valley 7pl4 #aj1 p4 #bf71 under the name of ,clark's ,works1 here reproduced as pl4 #aa4 ,it is the large irregular unnumbered triple mound just within the arc of the circle shown in the center of the plan4 ,the excavation contemplated the destruction of the mound by cutting it down to the surrounding level and scattering the earth of which it was made over the surface2 and this was done4 ,preparatory to this1 a survey and ground plan was made 7pl4 #ab74 ,i assisted at this survey and can vouch for the general correctness4 ,the mound was surrounded by parallel lines laid out at right angles and marked by stakes #ej feet apart4 ,the mound was found to be #ecj feet long and #bej feet wide4 ,squier and ,davis reported its height at #cb feet1 but the excavation of the trenches required but #ah and #af feet to the original surface on which the mound was built4 ,it was too large to be cut down as a whole1 and for convenience it was decided by ,mr4 ,moorehead to cut it down in trenches1 commencing on the northeast4 ,nothing was found until1 in opening trench #c1 about five feet above the base of the mound1 they struck a mass of thin worked copper objects1 laid flat one atop the other1 in a rectangular space1 say three by four feet square4 ,these objects are unique in ,american prehistoric archology4 ,some of them bore a resemblance in form to the scalloped mica pieces found by ,squier and ,davis1 and described by them in their ,ancient ,monuments of the ,mississippi ,valley 7p4 #bdj71 and also those of the same material found by ,professor ,putnam in the ,turner group of mounds in the valley of the ,little ,miami4 ,they had been apparently laid between two layers of bark1 whether for preservation or mere convenience of deposit1 can only be guessed4 ,illustration3 ,,plate #aa4 ,,plan ,,of ,,north ,,fork 7,,hopewell7 ,,works4 ,ross ,county1 ,ohio4 ,smithsonian ,contributions to ,knowledge1 ,vol4 ,i1 ,pl4 ,x4 ,illustration3 ,,plate #ab4 ,,plan ,,of ,,hopewell ,,mound1 ,,in ,,which ,,aboriginal ,,copper ,,swastikas ,,were ,,found4 ,ross ,county1 ,ohio4 ,moorehead1 ,primitive ,man in ,ohio1 ,pl4 ,,xxxiv4 ,illustration3 ,fig4 #bdc4 ,,copper ,,plate ,,showing ,,figure ,,of ,,eagle4 ,repouss work4 ,union ,county1 ,ill4 ,cat4 ,no4 #iaejg1 ,u4 ,s4 ,n4 ,m4 ,illustration3 ,fig4 #bdd4 ,,swastika ,,cross ,,of ,,thin ,,copper4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 #a_/d natural size4 ,illustration3 ,fig4 #bde4 ,,flat ,,ring ,,of ,,thin ,,copper4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 #a_/e natural size4 ,illustration3 ,fig4 #bdf4 ,,stencil ,,ornament ,,of ,,thin ,,copper4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 #a_/h natural size4 ,the following list of objects is given1 to the end that the reader may see what was associated with these newly found copper ,swastikas3 ,five ,swastika crosses 7fig4 #bdd72 a long mass of copper covered with wood on one side and with squares and five similar designs traceable on the reverse2 smaller mass of copper2 eighteen single copper rings2 a number of double copper rings1 one set of three and one set of two2 five pan lids or hat-shaped rings2 ten circular disks with holes in center1 represented in fig4 #bde1 originally placed in a pile and now oxidized together2 also large circular1 stencil-like ornaments1 one 7fig4 #bdf7 #g-a_/b inches in diameter2 another 7fig4 #bdg7 somewhat in the shape of a ,st4 ,andrew's cross1 the extreme length over the arms being #h-c_/d inches4 ,about five feet below the deposit of sheet copper and #aj or #ab feet to the west1 two skeletons lay together4 ,they were covered with copper plates and fragments1 copper hatchets1 and pearl beads1 shown in the list below1 laid in rectangular form about seven feet in length and five feet in width1 and so close as to frequently overlap4 ,illustration3 ,fig4 #bdg4 ,,stencil ,,ornament ,,of ,,thin ,,copper4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 #a_/d natural size4 ,illustration3 ,fig4 #bdh4 ,,fish ,,ornament ,,of ,,thin ,,copper4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 #a_/f natural size4 ,illustration3 ,fig4 #bdi4 ,,lozenge-,,shaped ,,stencil ,,of ,,thin ,,copper4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 #a_/d natural size4 ,there were also found sixty-six copper hatchets1 ranging from #a-a_/b to #bb-a_/b inches in length2 twenty-three copper plates and fragments2 one copper eagle2 eleven semicircles1 bars1 etc42 two spool-shaped objects2 four comb-shaped effigies2 one wheel with peculiar circles and bars of copper2 three long plates of copper2 pearl and shell beads and teeth2 a lot of extra fine pearls2 a lot of wood1 beads1 and an unknown metal2 a lot of bones2 a human jaw1 very large2 a fragmentary fish resembling a sucker 7fig4 #bdh72 one stool of copper with two legs2 broken copper plates2 one broken shell2 bear and panther tusks2 mica plates2 forty fragmentary and entire copper stencils of squares1 circles1 diamonds1 hearts1 etc42 copper objects1 saw-shaped2 twenty ceremonial objects1 rusted or oxidized copper2 two diamond-shaped stencils1 copper 7fig4 #bdi72 four peculiar spool-shaped copper ornaments1 perforated1 showing repouss work 7fig4 #bej74 ,i made sketches of two or three of the bone carvings1 for the purpose of showing the art of the people who constructed this monument1 so that by comparison with that of other known peoples some knowledge may be obtained1 or theory advanced1 concerning the race or tribe to which they belonged and the epoch in which they lived4 ,fig4 #bea shows an exquisite bone carving of a paroquet which belongs much farther south and not found in that locality in modern times4 ,the design shown in fig4 #beb suggests a ,mississippi ,kite1 but the zoologists of the ,museum1 while unable to determine with exactitude its intended representation1 chiefly from the mutilated condition of the fragment1 report it more likely to be the head of the leather-back turtle4 ,fig4 #bec probably represents an otter with a fish in his mouth4 ,illustration3 ,,plate #ac4 ,,human ,,skull ,,with ,,copper-,,covered ,,horns4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 ,moorehead1 ,primitive ,man in ,ohio1 frontispiece4 ,illustration3 ,,plate #ad4 ,,prehistoric ,,altar4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 ,found near the copper ,swastika shown in fig4 #bdd4 ,moorehead1 ,primitive ,man in ,ohio1 ,fig4 ,,xxxvii4 ,cat4 ,no4 #adhffb1 ,u4 ,s4 ,n4 ,m4 ,in trench ,no4 #c1 #ae skeletons 7numbered #bfd to #bgh1 inclusive71 were found on the base line1 all extended4 ,objects of coal1 bone1 shell1 or stone1 had been placed with nearly all of them4 ,nos4 #bfe and #bff were laid on blocks of burnt earth #c inches higher than the base of the mound4 ,one of the skeletons in this mound 7,no4 #bdh7 is shown in pl4 #ac4 ,it was a most remarkable specimen1 and forms the frontispiece of ,prof4 ,w4 ,k4 ,moorehead's volume ,primitive ,man in ,ohio1 where it is described 7p4 #aie7 as follows3 ,at his head were imitation elk horns1 neatly made of wood and covered with sheet copper rolled into cylindrical forms over the prongs4 ,the antlers were #bb inches high and #ai inches across from prong to prong4 ,they fitted into a crown of copper bent to fit the head from occipital to upper jaw4 ,copper plates were upon the breast and stomach1 also on the back4 ,the copper preserved the bones and a few of the sinews4 ,it also preserved traces of cloth similar to coffee sacking in texture1 interwoven among the threads of which were #ijj beautiful pearl beads1 bear teeth split and cut1 and hundreds of other beads1 both pearl and shell4 ,copper spool-shaped objects and other implements covered the remains4 ,a pipe of granite and a spearhead of agate were near the right shoulder4 ,the pipe was of very fine workmanship and highly polished4 ,illustration3 ,fig4 #bej4 ,,spool-,,shaped ,,object ,,of ,,copper4 ,repouss and intaglio decoration4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 ,natural size4 ,while digging out skeletons #bhj to #bhd1 ,professor ,moorehead says they touched the edge of an altar 7pl4 #ad74 ,it was on the base line and #ae feet north of the copper find before described4 ,on the #eth of ,january1 #ahib1 the altar was uncovered1 and the earth1 charcoal1 and objects within it put into five soap boxes and transported to headquarters1 where the material was assorted in my presence and with my aid4 ,the mass on the altar had been charred throughout4 ,it contained1 in part1 mica ornaments1 beads1 spool-shaped objects1 whale1 bear1 and panther teeth1 flint knives1 carved effigies of bone and stone1 some of which were broken1 while others were whole4 ,there were stone tablets1 slate ornaments1 copper balls1 fragments of cloth1 rings of chlorite1 quartz crystals perforated and grooved1 and a few pieces of flint and obsidian1 with several thousand pearls drilled for suspension4 ,these objects were heaped in the cavity of the altar without any regularity4 ,all were affected by heat1 the copper being fused in many cases4 ,the teeth and tusks were charred1 split1 and calcined4 ,there were no ashes4 ,all the fuel was charcoal1 and from the appearance of the dbris1 especially the wood1 earth1 and bone1 one might suppose that after the fire had started it had not been allowed to burn to ashes as if in the open air1 but had been covered with earth1 and so had smoldered out as in a charcoal pit4 ,illustration3 ,fig4 #bea4 ,,fragment ,,of ,,engraved ,,bone ,,representing ,a ,,paroquet4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 ,natural size4 ,illustration3 ,fig4 #beb4 ,,fragment ,,of ,,engraved ,,bone ,,probably ,,representing ,a ,,mississippi ,,kite ,,or ,,leather-,,back ,,turtle4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 ,natural size4 ,evidence was found of an extended commerce with distant localities1 so that if the ,swastika existed in ,america it might be expected here4 ,the principal objects were as follows3 ,a number of large seashells 7,fulgur7 native to the southern ,atlantic ,coast #fjj miles distant1 many of them carved2 several thousand pieces of mica from the mountains of ,virginia or ,north ,carolina1 #bjj or more miles distant2 a thousand large blades of beautifully chipped objects in obsidian1 which could not have been found nearer than the ,rocky ,mountains1 #a1jjj or #a1bjj miles distant2 four hundred pieces of wrought copper1 believed to be from the ,lake ,superior region1 #aej miles distant2 fifty-three skeletons1 the copper headdress 7pl4 #ac7 made in semblance of elk horns1 #af inches high1 and other wonderful things4 ,those not described have no relation to the ,swastika4 ,illustration3 ,fig4 #bec4 ,,fragment ,,of ,,engraved ,,bone ,,probably ,,representing ,,an ,,otter ,,with ,a ,,fish ,,in ,,its ,,mouth4 ,natural size4 ,these objects were all prehistoric4 ,none of them bore the slightest evidence of contact with white civilization4 ,the commoner objects would compare favorably with those found in other mounds by the same and other investigators4 ,much of it may be undetermined4 ,it is strange to find so many objects brought such long distances1 and we may not be able to explain the problem presented2 but there is no authority for injecting any modern or ,european influence into it4 ,by what people were these made8 ,in what epoch8 ,for what purpose8 ,what did they represent8 ,how did this ancient1 curious1 and widespread sign1 a recognized symbol of religion of the ,orient1 find its way to the bottom of one of the mounds of antiquity in the ,scioto ,valley8 ,these are questions easy to ask but difficult to answer4 ,they form some of the riddles of the science of prehistoric anthropology4 ,illustration3 ,fig4 #bed4 ,,water ,,jug ,,with ,,figure ,,of ,,swastika4 ,decoration1 red on yellow ground4 ,poinsett ,county1 ,ark4 ,cat4 ,no4 #iabcj1 ,u4 ,s4 ,n4 ,m4 ,mounds in ,arkansas4--,a water jug in the collection of the ,u4 ,s4 ,national ,museum 7fig4 #bed7 was obtained in #ahhc by ,p4 ,w4 ,norris1 of the ,bureau of ,ethnology1 from a mound in ,poinsett ,county1 ,ark4 ,it is of yellow ground1 natural color of clay1 and decorated with light red paint4 ,the paint is represented in the cut by the darkened surfaces4 ,the four quarters of the jug are decorated alike1 one side of which is shown in the cut4 ,the center of the design is the ,swastika with the arm crossing at right angles1 the ends turned to the right1 the effect being produced by an enlargement on the right side of each arm until they all join the circle4 ,a similar water jug with a ,swastika mark of the same type as the foregoing decorates ,major ,powell's desk in the ,bureau of ,ethnology4 ,marquis ,nadaillac#bee describes and figures a grooved ax from ,pemberton1 ,n4 ,j41 on which some persons have recognized a ,swastika1 but which the ,marquis doubts1 while ,dr4 ,abbott#bef denounces the inscription as a fraud4 ,,north ,,american ,,indians4 ,illustration3 ,fig4 #bee4 ,,kansa ,,indian ,,war ,,chart4 ,swastika sign for winds and wind songs4 ,j4 ,owen ,dorsey1 ,american ,naturalist1 ,july1 #ahhe1 p4 #fgj4 ,the ,kansas4--,the ,rev4 ,j4 ,owen ,dorsey#beg describes the mourning customs of the ,kansas ,indians4 ,in the course of his description he tells of a council of ceremony held among these ,indians to decide if they should go on the warpath4 ,certain sacred songs were sung which had been arranged according to a chart1 which ,mr4 ,dorsey introduces as pl4 #bj1 page #fgf4 ,the outside edge of this chart bore twenty-seven ideographs1 which suggest or determine the song or speech required4 ,no4 #a was the sacred pipe2 ,no4 #b1 the maker of all songs2 ,no4 #c1 song of another old man who gives success to the hunters2 ,no4 #d 7fig4 #bee in the present paper7 is the ,swastika sign1 consisting of two ogee lines intersecting each other1 the ends curved to the left4 ,of it1 ,mr4 ,dorsey says only the following3 ,fig4 #d4 ,tadje wayun1 wind songs4 ,the winds are deities2 they are ,bazanta 7at the pines71 the east wind2 ,ak'a1 the south wind2 ,a'k'a jiga or ,a'k'uya1 the west wind2 and ,hnia 7toward the cold71 the north wind4 ,the warriors used to remove the hearts of slain foes1 putting them in the fire as a sacrifice to the winds4 ,in the ,eleventh ,annual ,report of the ,bureau of ,ethnology 7p4 #ebe7 ,mr4 ,dorsey repeats this statement concerning the names of the winds1 and shows how1 in their invocations1 the ,kansas began with the east wind and went around to the right in the order here given4 ,his fig4 #aie illustrates this1 but the cross has straight arms4 ,in response to my personal inquiry1 ,mr4 ,dorsey says the war chart#beh was drawn for him1 with the ,swastika as represented1 by ,pahanle-gaqle1 the war captain1 who had official charge of it and who copied it from one he had inherited from his father and his father's fathers2 and ,mr4 ,dorsey assured me that there can be no mistake or misapprehension about this ,indian's intention to make the sign as there represented4 ,asked if the sign was common and to be seen in other cases or places1 ,mr4 ,dorsey replied that the ,osage have a similar chart with the same and many other signs or pictographs--over a hundred--but except these1 he knows of no similar signs4 ,they are not in common use1 but the chart and all it contains are sacred objects1 the property of the two ,kansas gentes1 ,black ,eagle and ,chicken ,hawk1 and not to be talked of nor shown outside of the gentes of the council lodge4#bei ,illustration3 ,,plate #ae4 ,,ceremonial ,,bead ,,necklace ,,with ,,swastika ,,ornamentation4 ,sac ,indians1 ,cook ,county 7,kansas7 ,reservation4 ,the ,sac ,indians4--,miss ,mary ,a4 ,owen1 of ,st4 ,joseph1 ,mo41 sending some specimens of beadwork of the ,indians 7pl4 #ae7 from the ,kansas ,reservation1 two of which were garters and the third a necklace #ac inches long and #a inch wide1 in which the ,swastikas represented are an inch square1 writes1 ,february #b1 #ahie1 as follows3 ,the ,indians call it the ,swastika the luck1 or good luck4 ,it is used in necklaces and garters by the sun worshippers among the ,kickapoos1 ,sacs1 ,pottawatomies1 ,iowas1 and 7,i have been told7 by the ,winnebagoes4 ,i have never seen it on a ,winnebago4 ,the women use the real ,swastika and the ,greek key pattern1 in the silk patchwork of which they make sashes and skirt trimmings4 ,as for their thinking it an emblem of fire or deity1 ,i do not believe they entertain any such ideas1 as some ,swastika hunters have suggested to me4 ,they call it luck1 and say it is the same thing as two other patterns which ,i send in the mail with this4 ,they say they always made that pattern4 ,they must have made it for a long time1 for you can not get such beads as compose it1 in the stores of a city or in the supplies of the traders who import ,french beads for the red folk4 ,another thing4 ,beadwork is very strong1 and this is beginning to look tattered1 a sure sign that it has seen long service4 ,these sun worshippers--or1 if you please1 ,swastika wearers--believe in the ,great ,spirit1 who lives in the sun1 who creates all things1 and is the source of all power and beneficence4 ,the ancestors are a sort of company of animal saints1 who intercede for the people4 ,there are many malicious little demons who thwart the ancestors and lead away the people at times and fill them with diseases1 but no head devil4 ,black ,wolf and certain ghosts of the unburied are the worst4 ,everybody has a secret fetish or medicine1 besides such general lucks as ,swastikas1 bear skins1 and otter and squirrel tails4 ,of the other cult of the peoples ,i have mentioned1 those who worship the sun as the deity and not the habitation1 ,i know nothing4 ,they are secret1 suspicious1 and gloomy1 and do not wear the luck4 ,i have never seen old people wear the luck4 ,now1 ,i have told you all ,i know1 except that it the ,swastika used in ancient times to be made in quill embroidery on herb bags4 ,miss ,owen spoke of other garters with ,swastikas on them1 but she said they were sacred1 were used only during certain ceremonies1 and she knew not if she could be able to get or even see them4 ,during the prolongation of the preparation of this paper she wrote two or three times1 telling of the promises made to her by the two ,sac women who were the owners of these sacred garters1 and how each time they had failed4 ,yet she did not give up hope4 ,accordingly1 in the winter of #ahif1 the little box containing the sacred garters arrived4 ,miss ,owen says the husbands of these two ,sac women are ,pottawatomies on the ,cook ,county 7,kans47 ,reservation4 ,they are sun worshippers4 ,these garters have been sketched and figured in pl4 #af4 ,the ,pueblos4--,the ,pueblo country in ,colorado1 ,utah1 ,new ,mexico1 and ,arizona1 as is well known1 is inhabited by various tribes of ,indians speaking different languages1 separated from one another and from all other tribes by differences of language1 customs1 and habit1 but somewhat akin to each other in culture1 and many things different from other tribes are peculiar to them4 ,these have been called the ,pueblo ,indians because they live in pueblos or towns4 ,their present country includes the regions of the ancient cliff dwellers1 of whom they are supposed to be the descendants4 ,in those manifestations of culture wherein they are peculiar and different from other tribes they have come to be considered something superior4 ,any search for the ,swastika in ,america which omitted these ,indians would be fatally defective1 and so here it is found4 ,without speculating how the knowledge of the ,swastika came to them1 whether by independent invention or brought from distant lands1 it will be enough to show its knowledge among and its use by the peoples of this country4 ,illustration3 ,fig4 #bef4 ,,dance ,,rattle ,,made ,,of ,a ,,small ,,gourd ,,decorated ,,in ,,black1 ,,white1 ,,and ,,red4 ,ogee ,swastika on each side4 ,second ,annual ,report of the ,bureau of ,ethnology1 fig4 #ebf4 ,cat4 ,no4 #dbjdb1 ,u4 ,s4 ,n4 ,m4 ,in the ,annual ,report of the ,bureau of ,ethnology for the year #ahhj-ha 7p4 #cid1 fig4 #efb7 is described a dance rattle made from a small gourd1 ornamented in black1 white1 and red 7fig4 #bef74 ,the gourd has a ,swastika on each side1 with the ends bent1 not square1 but ogee 7the tetraskelion74 ,the ,u4 ,s4 ,national ,museum possesses a large number of these dance rattles with ,swastikas on their sides1 obtained from the ,pueblo ,indians of ,new ,mexico and ,arizona4 ,some of them have the natural neck for a handle1 as shown in the cut2 others are without neck1 and have a wooden stick inserted and passed through for a handle4 ,beans1 pebbles1 or similar objects are inside1 and the shaking of the machine makes a rattling noise which marks time for the dance4 ,the ,museum possesses a large series of pottery from the various pueblos of the ,southwest2 these are of the painted and decorated kind common to that civilization and country4 ,some of these pieces bear the ,swastika mark2 occasionally it is found outside1 occasionally inside4 ,it is more frequently of the ogee form1 similar to that on the rattle from the same country 7fig4 #bef74 ,the larger proportion of these specimens comes from the pueblos of ,santa ,clara and ,st4 ,ildefonso4 ,illustration3 ,,plate #af4 ,,ceremonial ,,bead ,,garters ,,with ,,swastikas4 ,sac ,indians1 ,cook ,county 7,kansas7 ,reservation4 ,dr4 ,schliemann reports3#bfj ,we also see a ,swastika 7turned to the left7 scratched on two terra cotta bowls of the ,pueblo ,indians of ,new ,mexico1 preserved in the ethnological section of the ,royal ,museum at ,berlin4 ,g4 ,nordenskild1#bfa in the report of his excavations among the ruined pueblos of the ,mesa ,verde1 made in southwestern ,colorado during the summer of #ahia1 tells of the finding of numerous specimens of the ,swastika4 ,in pl4 #bc1 fig4 #a1 he represents a large1 shallow bowl in the refuse heap at the ,step ,house4 ,it was #ej centimeters in diameter1 of rough execution1 gray in color1 and different in form and design from other vessels from the cliff houses4 ,the ,swastika sign 7to the right7 was in its center1 and made by lines of small dots4 ,his pl4 #bg1 fig4 #f1 represents a bowl found in a grave 7g on the plan7 at ,step ,house4 ,its decoration inside was of the usual type1 but the only decoration on the outside consisted of a ,swastika1 with arms crossing at right angles and ends bent at the right1 similar to fig4 #i4 ,his pl4 #ah1 fig4 #a1 represented a large bowl found in ,mug ,house4 ,its decoration consisted in part of a ,swastika similar in form and style to the ,etruscan gold bulla1 fig4 #ahh in this paper4 ,certain specimens of pottery from the pueblos of ,santa ,clara and ,st4 ,ildefonso1 deposited in the ,u4 ,s4 ,national ,museum 7,department of ,ethnology71 bear ,swastika marks1 chiefly of the ogee form4#bfb ,the ,navajoes4--,dr4 ,washington ,matthews1 ,u4 ,s4 ,a41 than whom no one has done better1 more original1 nor more accurate anthropologic work in ,america1 whether historic or prehistoric1 has kindly referred me to his memoir in the ,fifth ,annual ,report of the ,bureau of ,ethnology1 comprising #hb pages1 with #i plates and #i figures1 entitled ,the ,mountain ,chant2 a ,navajo ceremony4 ,it is descriptive of one of a number of ceremonies practiced by the shamans or medicine men of the ,navajo ,indians1 ,new ,mexico4 ,the ceremony is public1 although it takes place during the night4 ,it lasts for nine days and is called by the ,indians dsilydje qal--literally1 chant toward 7a place7 within the mountains4 ,the word dsilyi may allude to mountains in general1 to the ,carrizo ,mountains in particular1 to the place in the mountains where the prophet 7originator of these ceremonies7 dwelt1 or to his name1 or to all of these combined4 ,qal means a sacred song or a collection of sacred songs4 ,dr4 ,matthews describes at length the myth which is the foundation of this ceremony1 which must be read to be appreciated1 but may be summarized thus3 ,an ,indian family1 consisting of father1 mother1 two sons1 and two daughters1 dwelt in ancient times near the ,carrizo ,mountains4 ,they lived by hunting and trapping2 but the place was desert1 game scarce1 and they moved up the river farther into the mountains4 ,the father made incantations to enable his two sons to capture and kill game2 he sent them hunting each day1 directing them to go to the east1 west1 or north1 but with the injunction not to the south4 ,the elder son disobeyed this injunction1 went to the south1 was captured by a war party of ,utes and taken to their home far to the south4 ,he escaped by the aid of ,yybichy 7,qastcli7 and divers supernatural beings4 ,his adventures in returning home form the body of the ceremony wherein these adventures are1 in some degree1 reproduced4 ,extensive preparations are made for the performance of the ceremony4 ,lodges are built and corrals made for the use of the performers and the convenience of their audience4 ,the fte being organized1 stories are told1 speeches made1 and sacred songs are sung 7the latter are given by ,dr4 ,matthews as songs of sequence1 because they must be sung in a progressive series on four certain days of the ceremony74 ,mythological charts of dry sand of divers colors are made on the earth within the corrals after the manner of the ,navajo and ,pueblo ,indians4 ,these dry sand paintings are made after a given formula and intended to be repeated from year to year1 although no copy is preserved1 the artists depending only upon the memory of their shaman4 ,one of these pictures or charts represents the fugitive's escape from the ,utes1 his captors1 down a precipice into a den or cave in which burnt a fire on which was no wood4 ,four pebbles lay on the ground together--a black pebble in the east1 a blue one in the south1 a yellow one in the west1 and a white one in the north4 ,from these flames issued4 ,around the fire lay four bears1 colored and placed to correspond with the pebbles4 ,when the strangers 7,qastcli and the ,navajo7 approached the fire the bears asked them for tobacco1 and when they replied they had none1 the bears became angry and thrice more demanded it4 ,when the ,navajo fled from the ,ute camp1 he had furtively helped himself from one of the four bags of tobacco which the council was using4 ,these1 with a pipe1 he had tied up in his skin robe2 so when the fourth demand was made he filled the pipe and lighted it at the fire4 ,he handed the pipe to the black bear1 who1 taking but one whiff1 passed it to the blue bear and immediately fell senseless4 ,the blue bear took two whiffs and passed the pipe1 when he too fell over unconscious4 ,the yellow bear succumbed after the third whiff1 and the white bear in the north after the fourth whiff4 ,now the ,navajo knocked the ashes and tobacco out of his pipe and rubbed the latter on the feet1 legs1 abdomen1 chest1 shoulders1 forehead1 and mouth of each of the bears in turn1 and they were at once resuscitated4 ,he replaced the pipe in the corner of his robe4 ,when the bears recovered1 they assigned to the ,navajo a place on the east side of the fire where he might lie all night1 and they brought out their stores of corn meal1 tciltcin1 and other berries1 offering them to him to eat2 but ,qastcli warned him not to touch the food1 and disappeared4 ,so1 hungry as he was1 the ,indian lay down supperless to sleep4 ,when he awoke in the morning1 the bears again offered food1 which he again declined1 saying he was not hungry4 ,then they showed him how to make the bear kethwns1 or sticks1 to be sacrificed to the bear gods1 and they drew from one corner of the cave a great sheet of cloud1 which they unrolled1 and on it were painted the forms of the yays of the cultivated plants4 ,illustration3 ,,plate #ag4 ,,navajo ,,dry ,,painting ,,containing ,,swastikas4 ,dr4 ,washington ,matthews1 ,the ,mountain ,chant3 ,a ,navajo ,ceremony1 ,fifth ,annual ,report of the ,bureau of ,ethnology1 #ahhc-hd1 ,pl4 ,,xvii4 ,in ,dr4 ,matthews's memoir 7marked third1 but described on p4 #ddg as the second picture71 is a representation of the painting which the prophet was believed to have seen at the home of the bears in the ,carrizo ,mountains4 ,this is here reproduced as pl4 #ag4 ,in the center of the figure is a bowl of water covered with black powder2 the edge of the bowl is garnished with sunbeams1 while outside of it and forming a rectangle are the four ca'bitlol of sunbeam rafts on which seem to stand four gods1 or yays1 with the plants under their special protection1 which are painted the same color as the gods to which they belong4 ,these plants are represented on their left hand1 the hand being open and extended toward them4 ,the body of the eastern god is white1 so is the stalk of corn at his left in the southeast2 the body of the southern god is blue1 so is the beanstalk beside him in the southwest2 the body of the western god is yellow1 so is his pumpkin vine in the northwest2 the body of the north god is black1 so is the tobacco plant in the northeast4 ,each of the sacred plants grows from five white roots in the central waters and spreads outward to the periphery of the picture4 ,the figures of the gods form a cross1 the arms of which are directed to the four cardinal points2 the plants form another cross1 having a common center with the first1 the arms extending to the intermediate points of the compass4 ,the gods are shaped alike1 but colored differently2 they lie with their feet to the center and heads extended outward1 one to each of the four cardinal points of the compass1 the faces look forward1 the arms half extended on either side1 the hands raised to a level with the shoulders4 ,they wear around their loins skirts of red sunlight adorned with sunbeams4 ,they have ear pendants1 bracelets1 and armlets1 blue and red1 representing turquoise and coral1 the prehistoric and emblematic jewels of the ,navajo ,indians4 ,their forearms and legs are black1 showing in each a zigzag mark representing lightning on the black rain clouds4 ,in the north god these colors are1 for artistic reasons1 reversed4 ,the gods have1 respectively1 a rattle1 a charm1 and a basket1 each attached to his right hand by strings4 ,this basket1 represented by concentric lines with a ,greek cross in the center1 all of the proper color corresponding with the god to whom each belongs1 has extending from each of its quarters1 arranged perpendicularly at right angles to each other1 in the form of a cross1 four white plumes of equal length1 which at equal distances from the center are bent1 all to the left1 and all of the same length4 ,thus are formed in this chart four specimens of the ,swastika1 with the cross and circle at the intersection of the arms4 ,the plumes have a small black spot at the tip end of each4 ,illustration3 ,fig4 #beg4 ,,war ,,shield ,,used ,,by ,,the ,,pima ,,indians4 ,ogee ,swastika 7tetraskelion7 in three colors3 7#a7 blue1 7#b7 red1 7#c7 white4 ,cat4 ,no4 #bghbi1 ,u4 ,s4 ,n4 ,m4 ,illustration3 ,fig4 #beh4 ,,war ,,shield ,,with ,,ogee ,,swastika ,,in ,,center4 ,pima ,indians4 ,the hole near the lower arm of the ,swastika was made by an arrow4 ,property of ,mr4 ,f4 ,w4 ,hodge4 ,dr4 ,matthews informs me that he has no knowledge of any peculiar meaning attributed by these ,indians to this ,swastika symbol1 and we know not whether it is intended as a religious symbol1 a charm of blessing1 or good luck1 or whether it is only an ornament4 ,we do not know whether it has any hidden1 mysterious1 or symbolic meaning2 but there it is1 a prehistoric or ,oriental ,swastika in all its purity and simplicity1 appearing in one of the mystic ceremonies of the aborigines in the great ,american desert in the interior of the ,north ,american ,continent4 ,the ,pimas4--,the ,u4 ,s4 ,national ,museum possesses a shield 7,cat4 ,no4 #bghbi7 of bull hide1 made by the ,pima ,indians4 ,it is about #bj inches in diameter1 and bears upon its face an ogee ,swastika 7tetraskelion71 the ends bent to the right4 ,the body and each arm is divided longitudinally into three stripes or bands indicated by colors1 blue1 red1 and white1 arranged alternately4 ,the exterior part of the shield has a white ground1 while the interior or center has a blue ground4 ,this shield 7fig4 #beg7 is almost an exact reproduction of the ,swastika from ,mycen 7fig4 #afa71 from ,ireland 7fig4 #baf71 and from ,scandinavia 7figs4 #bji and #baj74 ,fig4 #beh shows another ,pima shield of the same type4 ,its ,swastika is1 however1 painted with a single color or possibly a mixture of two1 red and white4 ,it is ogee1 and the ends bend to the left4 ,this shield is the property of ,mr4 ,f4 ,w4 ,hodge1 of the ,bureau of ,ethnology4 ,he obtained it from a ,pima ,indian in ,arizona1 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 enemy4 ,,colonial ,,patchwork4 ,illustration3 ,fig4 #bei4 ,,colonial ,,patchwork ,,with ,,figures ,,resembling ,,swastikas4 ,scribner's ,magazine1 ,september1 #ahid4 ,in ,scribner's ,magazine for ,september1 #ahid1 under the title of ,tapestry in the ,new ,world1 one of our popular writers has described1 with many illustrations1 the bedquilt patterns of our grandmothers' time4 ,one of these she interprets as the ,swastika4 ,this is1 however1 believed to be forced4 ,the pattern in question is made of patches in the form of rhomboids and right-angled triangles sewed and grouped somewhat in the form of the ,swastika 7fig4 #bei74 ,it is an invented combination of patchwork which formed a new pattern1 and while it bears a slight resemblance to the ,swastika1 lacks its essential elements4 ,it was not a symbol1 and represents no idea beyond that of a pretty pattern4 ,it stood for nothing sacred1 nor for benediction1 blessing1 nor good luck4 ,it was but an ornamental pattern which fortuitously had the resemblance of ,swastika4 ,it was not even in the form of a cross4 ,the difference between it and the ,swastika is about the same there would be between the idle and thoughtless boy who sporadically draws the cross on his slate1 meaning nothing by it1 or at most only to make an ornament1 and the devout ,christian who makes the same sign on entering the church1 or the ,indian who thus represents the four winds of heaven4 ,he who made the ,swastika recognizes an occult power for good and against evil1 and he thereby invokes the power to secure prosperity4 ,she who made the quilt pattern apparently knew nothing of the old-time ,swastika1 and was not endeavoring to reproduce it or anything like it4 ,she only sought to make such an arrangement of rhomboidal and triangular quilt patches as would produce a new ornamental pattern4 ,,central ,,america4 ,,nicaragua4 ,the specimen shown in fig4 #bfj 7,cat4 ,no4 #bcgbf1 ,u4 ,s4 ,n4 ,m47 is a fragment1 the foot of a large stone metate from ,zapatero1 ,granada1 ,nicaragua4 ,the metate was chiseled or pecked out of the solid4 ,a sunken panel is surrounded by moldings1 in the center of which appears1 from its outline1 also by raised moldings1 a figure1 the outline of which is a ,greek cross1 but whose exterior is a ,swastika4 ,its form as such is perfect1 except that one bent arm is separated from its stem by a shallow groove4 ,illustration3 ,fig4 #bfj4 ,,fragment ,,of ,,the ,,foot ,,of ,a ,,stone ,,metate ,,with ,,figure ,,of ,,swastika4 ,nicaragua4 ,cat4 ,no4 #bcgbf1 ,u4 ,s4 ,n4 ,m4 ,the ,cross1 ,ancient and ,modern1 by ,w4 ,w4 ,blake1 shows1 in its fig4 #eg1 a ,swastika pure and simple1 and is cited by its author as representing a cross found by ,squier in ,central ,america4 ,the ,mexican enthusiast1 ,orozco y ,perra1 claims at first glance that it shows ,buddhist origin1 but ,i have not been able as yet to verify the quotation4 ,,yucatan4 ,dr4 ,schliemann reports1 in the ,ethnological ,museum at ,berlin1 a pottery bowl from ,yucatan ornamented with a ,swastika1 the two main arms crossing at right angles1 and he adds1#bfc citing ,le ,plongeon1 ,fouilles au ,yucatan1 that during the last excavations in ,yucatan this sign was found several times on ancient pottery4 ,le ,plongeon discovered a fragment of a stone slab in the ancient ,maya city of ,mayapan1 of which he published a description in the ,proceedings of the ,american ,antiquarian ,society4 ,it contains an ogee ,swastika 7tetraskelion71 with ends curved to the left and an inverted ,u with a wheel 7fig4 #bfa74 ,le ,plongeon believed it to be an ,egyptian inscription1 which he translated thus3 ,the character1 inverted ,u1 stood for ,ch or ,k2 the wheel for the sun1 ,aa or ,ra1 and the ,swastika for ,ch or ,k1 making the whole to be ,chach or ,kak1 which1 he says1 is the word fire in the ,maya language4#bfd ,illustration3 ,fig4 #bfa4 ,,fragment ,,of ,,stone ,,slab ,,from ,,the ,,ancient ,,maya ,,city ,,of ,,mayapan4 ,ogee ,swastika 7tetraskelion74 ,proceedings of the ,american ,antiquarian ,society1 ,april #ba1 #ahha4 ,,costa ,,rica4 ,a fragment of a metate 7,cat4 ,no4 #ific1 ,u4 ,s4 ,n4 ,m47 found on ,lempa ,river1 ,costa ,rica1 by ,capt4 ,j4 ,m4 ,dow1 has on its bottom a ,swastika similar to that on the metate from ,nicaragua4 ,specimen ,no4 #eiahb1 ,u4 ,s4 ,m4 ,n41 is a fragment of a pottery vase from ,las ,huacas1 ,costa ,rica1 collected by ,dr4 ,j4 ,f4 ,bransford4 ,it is natural maroon body color1 decorated with black paint4 ,a band two inches wide is around the belly of the vase divided into panels of solid black alternated with fanciful geometric figures1 crosses1 circles1 etc4 ,one of these panels contains a partial ,swastika figure4 ,the two main arms cross at right angles in ,greek form4 ,it is a partial ,swastika in that1 while the two perpendicular arms bend at right angles1 turning six times to the right2 the two horizontal arms are solid black in color1 as though the lines and spaces had run together4 ,,south ,,america4 ,,brazil4 ,the leaden idol 7fig4 #abe7 7,artemis ,nana#bfe of ,chaldea1 ,sayce2 statuettes of the ,cyclades1 ,lenormant7 found by ,dr4 ,schliemann in the third1 the burnt city of ,hissarlik1 ,troy1 was described 7p4 #hbi7 with its ,swastika on the triangular shield covering the pudendum1 with the statement that it would be recalled in the chapter on ,brazil4 ,the aboriginal women of ,brazil wore a triangular shield or plaque over their private parts4 ,these shields are made of terra cotta1 quite thin1 the edges rounded1 and the whole piece rubbed smooth and polished4 ,it is supported in place by cords around the body1 which are attached by small holes in each angle of the triangle4 ,the ,u4 ,s4 ,national ,museum possesses several of these plaques from ,brazil1 and several were shown at the ,chicago ,exposition4 ,the consideration of the leaden idol of ,hissarlik1 with a ,swastika1 as though for good luck1 recalled to the author similar plaques in his department from ,brazil4 ,some are of common yellow ware1 others were finer1 were colored red and rubbed smooth and hard1 but were without decoration4 ,the specimen shown in pl4 #ah 7upper figure7 was from ,marajo1 ,brazil1 collected by ,mr4 ,e4 ,m4 ,brigham4 ,it is of light gray1 slip washed1 and decorated with pale red or yellow paint in bands1 lines1 parallels1 geometric figures4 ,the specimen shown in the lower figure of the same plate1 from the ,caneotires ,river1 ,brazil1 was collected by ,prof4 ,j4 ,b4 ,steere4 ,the body color1 clay1 and the decoration paint are much the same as the former4 ,the ornamentation is principally by two light lines laid parallel and close so as to form a single line1 and is of the same geometric character as the incised decoration ornament on other pieces from ,marajo ,island4 ,midway from top to bottom1 near the outside edges1 are two ,swastikas4 ,they are about five-eighths of an inch in size1 are turned at right angles1 one to the right and the other to the left4 ,these may have been a charm signifying good fortune in bearing children4 7,see pp4 #hcj-hcb47 ,these specimens were submitted by the author to the ,brazilian minister1 ,seor ,mendona1 himself an archologist and philologist of no small capacity1 who recognized these objects as in use in ancient times among the aborigines of his country4 ,the name by which they are known in the aboriginal language is ,tambeao or ,tamatiatang1 according to the dialects of different provinces4 ,the later dialect name for apron is reported as tunga1 and the minister makes two remarks having a possible bearing on the migration of the race3 7#a7 ,the similarity of tunga with the last syllable of the longer word1 atang1 and 7#b7 that tunga is essentially an ,african word from the west coast4 ,whether this piece of dress so thoroughly savage1 with a possible ceremonial meaning relating to sex or condition1 with its wonderful similarity of names1 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 narrowest1 is one of those conundrums which the prehistoric anthropologist is constantly encountering and which he is usually unable to solve4 ,the purpose of these objects1 beyond covering the private parts of the female sex1 is not known4 ,they may have been ceremonial1 relating1 under certain circumstances1 to particular conditions of the sex1 or they may have been only variations of the somewhat similar covers used by the male aborigine4 ,they bear some resemblance to the ,ceintures de ,chastet1 specimens of which are privately shown at the ,muse de ,cluny at ,paris4 ,these are said to have been invented by ,franoise de ,carara1 viguier imperial 7provost7 of ,padua1 ,italy1 near the end of the fourteenth century4 ,he applied it to all the women of his seraglio4 ,he was beheaded ,a4 ,d4 #adje1 by a decree of the ,senate of ,venice1 for his many acts of cruelty4 ,the palace of ,st4 ,mark contained for a long time a box or case of these ceintures with their locks attached1 which were represented as des pieces de conviction of this monster4#bff ,voltaire describes his hero qui tient sous la clef1 la vertu de sa femme4 ,illustration3 ,,plate #ah4 ,,folium ,,vitus 7,,fig ,,leaves74 ,terra-cotta covers1 tunga4 ,aborigines of ,brazil4 ,cat4 ,nos4 #eijhi and #cfedb1 ,u4 ,s4 ,n4 ,m4 ,illustration3 ,,map ,,showing ,,distribution ,,of ,,the ,,swastika4 ,,paraguay4 ,dr4 ,schliemann reports that a traveler of the ,berlin ,ethnological ,museum obtained a pumpkin bottle from the tribe of ,lenguas in ,paraguay which bore the imprint of the ,swastika scratched upon its surface1 and that he had recently sent it to the ,royal ,museum at ,berlin4 ,,iii4--,,forms ,,allied ,,to ,,the ,,swastika4 ,,meanders1 ,,ogees1 ,,and ,,spirals1 ,,bent ,,to ,,the ,,left ,,as ,,well ,,as ,,to ,,the ,,right4 ,there are certain forms related to the normal ,swastika and greatly resembling it--meanders1 ogees1 the triskelion1 tetraskelion1 and five and six armed spirals or volutes4 ,this has been mentioned above 7page #gfh71 and some of the varieties are shown in fig4 #ac4 ,these related forms have been found in considerable numbers in ,america1 and this investigation would be incomplete if they were omitted4 ,it has been argued 7p4 #hci7 that the ,swastika was not evolved from the meander1 and this need not be reargued4 ,the cross with the arms bent or twisted in a spiral is one of these related forms4 ,it is certain that in ancient1 if not prehistoric1 times the cross with extended spiral arms was frequently employed4 ,this form appeared in intimate association with the square ,swastikas which were turned indifferently to the right and left4 ,this association of different yet related forms was so intimate1 and they were used so indiscriminately as to justify the contention that the maker or designer recognized or admitted no perceptible or substantial difference between the square and spiral forms1 whether they turned to the right or left1 or whether they made a single or many turns1 and that he classed them as the same sign or its equivalent4 ,a ,greek vase 7fig4 #agd7 shows five ,swastikas1 four of which are of different form 7fig4 #bfb74 ,curiously enough1 the design of this ,greek vase is painted maroon on a yellow ground1 the style generally adopted in the vases from the mounds of ,missouri and ,arkansas1 which mostly represent the spiral ,swastika4 ,illustration3 ,fig4 #bfb4 ,,different ,,forms ,,of ,,swastika ,,for ,,comparison4 ,in ,ireland a standing stone 7fig4 #bae7 has two forms of ,swastika side by side4 ,in one the arms are bent square at the corners1 the other has curved or spiral arms1 both turned to the right4 ,these examples are so numerous that they would seem convincing in the absence of any other evidence 7figs4 #aff to #agf74 ,,aboriginal ,,american ,,engravings ,,and ,,paintings4 ,these allied forms of ,swastika appear on prehistoric objects from mounds and ,indian graves in different parts of the country and in times of high antiquity as well as among modern tribes4 ,this paper contains the results of the investigations in this direction4 ,,designs ,,on ,,shell4 ,illustration3 ,fig4 #bfc4 ,,shell ,,gorget4 ,cross1 circle1 sun's rays7871 and heads of four ivory-billed woodpeckers787 arranged to form a ,swastika4 ,mississippi4 ,the ,department of ,prehistoric ,anthropology in the ,u4 ,s4 ,national ,museum1 contains a considerable number of large shells of aboriginal workmanship4 ,the shell most employed was that of the genus ,fulgur1 a marine shell found on the coast from ,florida to the capes4 ,the ,unio was employed1 as well as others4 ,these marine shells were transported long distances inland4 ,they have been found in mounds and ,indian graves a thousand miles from their original habitat4 ,they served as utensils as well as ornaments4 ,in many specimens the whorl was cut out1 the shells otherwise left entire1 and they served as vessels for holding or carrying liquids4 ,when intended for ornaments1 they were cut into the desired form and engraved with the design2 if to be used as gorgets1 holes were drilled for suspension4 ,frequently they were smoothed on the outside and the design engraved thereon4 ,the preference of the aborigines for the ,fulgur shell may have been by reason of its larger size4 ,among the patterns employed for the decoration of these shells1 the ,swastika1 in the form of spirals1 volutes1 or otherwise1 appeared1 although many others1 such as the rattlesnake1 birds1 spiders1 and human masks were employed4 ,no detailed description of the patterns of this shellwork will be attempted1 because figures will be required to give the needed information for the interpretation of the ,swastika4 ,many of the cuts and some of the descriptions are taken from the annual reports of the ,bureau of ,ethnology and1 so far as relates to shell1 mostly from ,mr4 ,holmes's paper on ,art in ,shell of the ,ancient ,americans4 ,i desire to express my thanks for all cuts obtained from the ,bureau publications4 ,illustration3 ,fig4 #bfd4 ,,shell ,,gorget ,,from ,,tennessee4 ,square figure with ornamental corners and heads of ivory-billed woodpecker arranged to form a figure resembling the ,swastika4 ,illustration3 ,fig4 #bfe4 ,,shell ,,gorget ,,from ,,tennessee4 ,square figure with ornamental corners and heads of ivory-billed woodpecker arranged to form a figure resembling the ,swastika4 ,ivory-billed woodpecker4--,a series of gorgets in shell have been found ornamented with designs resembling the ,swastika1 which should be noticed4 ,they combine the square and the cross1 while the head and bill of the bird form the gamma indicative of the ,swastika4 ,fig4 #bfc1 taken from the ,second ,annual ,report of the ,bureau of ,ethnology1 #ahhj-ha 7pl4 #eh71 shows one of these shell gorgets from ,mississippi1 which was1 in all probability1 obtained from one of the multitude of ancient sepulchres that abound in the ,state of ,mississippi4 ,the design is engraved on the convex side1 the perforations are placed near the margin1 and show much wear by the cord of suspension4 ,in the center is a nearly symmetrical ,greek cross inclosed in a circle of #a-a_/d inches4 ,the spaces between the arms are emblazoned with radiating lines4 ,outside this circle are twelve small pointed or pyramidal rays4 ,a square framework of four continuous parallel lines looped at the corners incloses this symbol2 projecting from the center of each side of this square1 opposite the arms of the cross1 are four heads of birds representing the ivory-billed woodpecker1 the heron1 or the swan4 ,the long1 slender1 and straight mandibles give the ,swastika form to the object4 ,mr4 ,holmes says 7p4 #bhb7 that he has been able to find six of these specimens1 all of the type described1 varying only in detail1 workmanship1 and finish4 ,illustration3 ,fig4 #bff4 ,,shell ,,gorget ,,from ,,tennessee4 ,square figure with ornamental corners and heads of ivory-billed woodpecker arranged to form a figure resembling the ,swastika4 ,figs4 #bfd1 #bfe1 and #bff1bfg represent three of these shell gorgets4 ,the first was obtained by ,professor ,putnam from a stone grave1 ,cumberland ,river1 ,tennessee4 ,it is about #b-a_/b inches in diameter and1 like the former1 it has a ,greek cross in the center4 ,the second was obtained by ,mr4 ,cross from a stone grave near ,nashville1 ,tenn4 ,the third is from a stone grave near ,oldtown1 ,tenn4 ,all these have been drilled for suspension and are much worn4 ,the triskele1 triskelion1 or triquetrum4--,these are ,greek and ,latin terms for the spiral volute with three branches or arms4 ,the coins of ,lycia were in this form1 made originally by the junction of three cocks' heads and necks4 ,the armorial bearings of the island of ,sicily1 in ancient times1 consisted of three human legs joined at the thigh and flexed1 sometimes booted and spurred 7p4 #hgc74 ,aboriginal shell gorgets have been found in the mounds of ,tennessee and the adjoining country1 which were engraved with this design1 though always in spiral form4 ,there seems to have been no distinction in the direction of the volutes1 they turning indifferently to the right or to the left4 ,because of their possible relation to the ,swastika it has been deemed proper to introduce them4 ,illustration3 ,fig4 #bfg4 ,,scalloped ,,shell ,,disk 7,,fulgur7 ,,from ,a ,,mound ,,near ,,nashville1 ,,tenn4 ,three spiral volutes 7triskelion74 ,fig4 #bfgbfh shows a ,fulgur shell specimen obtained by ,major ,powell from a mound near ,nashville1 ,tenn4 ,it was found near the head of a skeleton4 ,its substance is well preserved2 the surface was once highly polished1 but now is pitted by erosion and discolored by age4 ,the design is engraved on the concave surface as usual1 and the lines are accurately drawn and clearly cut4 ,the central circle is three-eighths of an inch in diameter and is surrounded by a zone one-half an inch in width1 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 perforations1 and sweeping outward spirally to the left as shown in the figure1 making upward of half a revolution4 ,these lines are somewhat wider and more deeply engraved than the other lines of the design4 ,in some specimens they are so deeply cut as to penetrate the disk1 producing crescent-shaped perforations4 ,two medium-sized perforations for suspension have been made near the inner margin of one of the bosses next the dotted zone2 these show abrasion by the cord of suspension4 ,these perforations1 as well as the three near the center1 have been bored mainly from the convex side of the disk4 ,illustration3 ,fig4 #bfh4 ,,scalloped ,,shell ,,disk ,,from ,a ,,mound ,,near ,,nashville1 ,,tenn4 ,circles and dots and four spiral volutes 7tetraskelion74 ,illustration3 ,fig4 #bfi4 ,,shell ,,disk ,,from ,,brakebill ,,mound1 ,,near ,,knoxville1 ,,tenn4 ,dot and circle in center and ogee ,swastika 7tetraskelion7 marked but not completed4 ,illustration3 ,figs4 #bgj and #bga4 ,,engraved ,,shell ,,disk4 ,obverse and reverse4 ,three-armed volute 7triskelion74 ,fig4 #bfhbfi represents a well-preserved disk with four volute arms forming the tetraskelion1 and thus allied to the ,swastika4 ,the volutes 7to the right7 are deeply cut and for about one-third their length penetrate the shell1 producing four crescent-shaped perforations which show on the opposite side4 ,this specimen is from a stone grave near ,nashville1 ,tenn41 and the original is in the ,peabody ,museum4 ,fig4 #bfibgj shows a specimen from the ,brakebill mound1 near ,knoxville1 ,tenn4 ,it has a dot in the center1 with a circle five-eighths of an inch in diameter4 ,there are four volute arms which start from the opposite sides of this circle1 and in their spiral form extend to the right across the field1 increasing in size as they approach the periphery4 ,this is an interesting specimen of the tetraskelion or spiral ,swastika1 in that it is unfinished1 the outline having been cut in the shell sufficient to indicate the form1 but not perfected4 ,figs4 #bgj and #bga show obverse and reverse sides of the same shell4 ,it comes from one of the stone graves of ,tennessee1 and is thus described by ,dr4 ,joseph ,jones1 of ,new ,orleans1#bga as a specimen of the deposit and original condition of these objects3 ,in a carefully constructed stone sarcophagus in which the face of the skeleton was looking toward the setting sun1 a beautiful shell ornament was found resting upon the breastbone of the skeleton4 ,this shell ornament is #d4d inches in diameter1 and it is ornamented on its concave surface with a small circle in the center and four concentric bands1 differently figured1 in relief4 ,the first band is filled up by a triple volute2 the second is plain1 while the third is dotted and has nine small round bosses carved at unequal distances upon it4 ,the outer band is made up of fourteen small elliptical bosses1 the outer edges of which give to the object a scalloped rim4 ,this ornament1 on its concave figured surface1 has been covered with red paint1 much of which is still visible4 ,the convex smooth surface is highly polished and plain1 with the exception of the three concentric marks4 ,the material out of which it is formed was evidently derived from a large flat seashell4 99 99 99 ,the form of the circles or suns carved upon the concave surface is similar to that of the paintings on the high rocky cliffs on the banks of the ,cumberland and ,harpeth rivers4 99 99 99 ,this ornament when found lay upon the breastbone with the concave surface uppermost1 as if it had been worn in this position suspended around the neck1 as the two holes for the thong or string were in that portion of the border which pointed directly to the chin or central portion of the jaw of the skeleton4 ,the marks of the thong by which it was suspended are manifest upon both the anterior and posterior surfaces1 and1 in addition to this1 the paint is worn off from the circular space bounded below by the two holes4 ,illustration3 ,fig4 #bgb4 ,,engraved ,,shell ,,disk4 ,tennessee4 ,three-armed volute 7triskelion74 ,illustration3 ,fig4 #bgc4 ,,engraved ,,shell ,,disk4 ,tennessee4 ,three-armed volute 7triskelion74 ,fig4 #bga represents the back or convex side of the disk shown in fig4 #bgj4 ,the long curved lines indicate the laminations of the shell1 and the three crescent-shaped figures near the center are perforations resulting from the deep engraving of the three lines of the volute on the concave side4 ,the stone grave in which this ornament was found occupied the summit of a mound on the banks of the ,cumberland ,river1 opposite ,nashville1 ,tenn4 ,illustration3 ,fig4 #bgd4 ,,engraved ,,shell ,,disk4 ,tennessee4 ,three-armed volute 7triskelion74 ,figs4 #bgb1 #bgc1 and #bgd are other representations of shell carved in spirals1 and may have greater or less relation to the ,swastika4#bgb ,they are inserted for comparison and without any expression of opinion4 ,they are drawn in outline1 and the spiral form is thus more easily seen4 ,mr4 ,holmes#bgc makes some observations upon these designs and gives his theory concerning their use3 ,i do not assume to interpret these designs2 they are not to be interpreted4 ,all ,i desire is to elevate these works from the category of trinkets to what ,i believe is their rightful place--the serious art of a people with great capacity for loftier works4 ,what the gorgets themselves were1 or of what particular value to their possessor1 aside from simple ornaments1 must be1 in a measure1 a matter of conjecture4 ,they were hardly less than the totems of clans1 the insignia of rulers1 or the potent charms of the priesthood4 ,illustration3 ,fig4 #bge4 ,,engraved ,,shell ,,gorget4 ,figure representing a spider2 circles and ,greek crosses4 ,the spider4--,the spider was represented on the shell gorgets4 ,figs4 #bge to #bghbgd present four of these gorgets1 of which figs4 #bge to #bgg display the ,greek cross in the center1 surrounded by two concentric incised lines forming a circle which is the body of a spider4 ,fig4 #bgf shows the same spider and circle1 and inside of it a cross much resembling the ,swastika1 in that the arms are turned at their extremities to the right and form1 in an inchoate manner1 the gamma4 ,fig4 #bgh represents the shell with the spider1 and1 though it contains no cross nor semblance of the ,swastika1 derives its value from having been taken from the same mound on ,fains ,island1 ,tennessee1 as was the true ,swastika4 7,see fig4 #bcg47 ,illustration3 ,fig4 #bgf4 ,,engraved ,,shell ,,gorget4 ,the rattlesnake4--,the rattlesnake was a favorite design on these gorgets1 affording1 as it did1 an opportunity for the aborigines to make a display of elegance of design1 and of accuracy and fineness in execution4 ,fig4 #bgi is a specimen in which the snake is represented coiled1 the head in the center1 the mouth ,v-shaped in strong lines1 the body in volute fashion2 on the outside of the circle the tail is shown by its rattle4 ,this specimen is represented three-fourths size1 and comes from ,mc,mahon mound1 ,tennessee4 ,four others of similar design are also from ,tennessee and the adjoining ,states1 but the locality is more restricted than is the case with other shell disk ornaments4 ,illustration3 ,fig4 #bgg4 ,,engraved ,,shell ,,gorget4 ,the human face and form4--,these were also carved and wrought upon shells in the same general locality4 ,the engraving is always on the convex side of the shell which has been reduced to a pear-shaped form4#bge ,illustration3 ,fig4 #bgh4 ,,engraved ,,shell ,,gorget4 ,fains ,island1 ,tennessee4 ,illustration3 ,fig4 #bgi4 ,,engraved ,,shell ,,gorget ,,representing ,a ,,rattlesnake4 ,mc,mahon ,mound1 ,tennessee4 ,second ,annual ,report of the ,bureau of ,ethnology1 pl4 ,,lxiii4 ,illustration3 ,figs4 #bhj and #bha4 ,,engraved ,,shells ,,with ,,representations ,,of ,,the ,,human ,,face4 ,mc,mahon ,mound1 ,tennessee4 ,second ,annual ,report of the ,bureau of ,ethnology1 pl4 ,,lxix4 ,illustration3 ,figs4 #bhb and #bhc4 ,,engraved ,,shells ,,with ,,representations ,,of ,,the ,,human ,,face4 ,tennessee4 ,second ,annual ,report of the ,bureau of ,ethnology1 pl4 ,,lxix4 ,illustration3 ,figs4 #bhd and #bhe4 ,,engraved ,,shells ,,with ,,representations ,,of ,,the ,,human ,,face4 ,virginia4 ,second ,annual ,report of the ,bureau of ,ethnology1 pl4 ,,lxix4 ,illustration3 ,fig4 #bhf4 ,,engraved ,,shell ,,with ,,representation ,,of ,a ,,human ,,figure4 ,mc,mahon ,mound1 ,tennessee4 ,second ,annual ,report of the ,bureau of ,ethnology1 pl4 ,,lxxi4 ,illustration3 ,fig4 #bhg4 ,,engraved ,,shell ,,with ,,representation ,,of ,a ,,human ,,figure4 ,tennessee4 ,second ,annual ,report of the ,bureau of ,ethnology1 pl4 ,,lxxii4 ,these human faces and forms 7figs4 #bhj-bhh71 as well as the others1 belong to the mound builders1 and are found with their remains in the mounds4 ,the figures are inserted1 as is the rattlesnake1 for comparison with the shell designs and work shown in the ,buddha figure 7pl4 #aj7 and its associates4 ,slight inspection will show two styles1 differing materially4 ,to decide which was foreign and which domestic1 which was imported and which indigenous1 would be to decide the entire question of migration1 and if done off-hand1 would be presumptuous4 ,to make a satisfactory decision will require a marshaling and consideration of evidence which belongs to the future4 ,the specimens shown in figs4 #bhj to #bhe are from ,tennessee and ,virginia4 ,they are all masks1 bearing representations of the human face4 ,the first two are from the ,mc,mahon mound1 ,tennessee2 that in fig4 #bhb from ,brakebill mound1 ,tennessee1 and that represented in fig4 #bhc from ,lick ,creek mound1 ,tennessee4 ,the shell shown in fig4 #bhd is from ,aquia ,creek1 ,virginia1 and that in fig4 #bhe is from a mound in ,ely ,county1 ,va4 ,the workmanship on these has no resemblance to that on the ,buddha figure 7pl4 #aj71 nor does its style compare in any manner therewith4 ,illustration3 ,fig4 #bhh4 ,,engraved ,,shell ,,gorget ,,with ,,representation ,,of ,a ,,human ,,figure4 ,missouri4 ,second ,annual ,report of the ,bureau of ,ethnology1 pl4 ,,lxxiii4 ,on the contrary1 figs4 #bhf to #bhh1 representing sketches 7unfinished7 of the human figure1 from mounds in ,tennessee and ,missouri1 have some resemblance in style of work1 though not in design1 to that of the ,buddha and ,swastika figures4 ,the first step in execution1 after the drawing by incised lines1 seems to have been to drill holes through the shell at each corner and intersection4 ,the work on the specimen shown in fig4 #bhf has progressed further than that on the specimens shown in figs4 #bhg and #bhh4 ,it has twenty-eight holes drilled1 all at corners or intersections4 ,this is similar to the procedure in the ,buddha statue 7pl4 #aj74 ,in fig4 #bhg the holes have not been drilled1 but each member of the figure has been marked out and indicated by dots in the center1 and circles or half circles incised around them in precisely the same manner as in both ,swastikas 7figs4 #bcg and #bch71 while fig4 #bhh continues the resemblance in style of drawing4 ,it has the same peculiar garters or bracelets as the ,buddha1 the hand is the same as in the fighting figures 7fig4 #bci71 and the implement he holds resembles closely those in the copper figures 7figs4 #bdj and #bda74 ,,designs ,,on ,,pottery4 ,illustration3 ,fig4 #bhi4 ,,pottery ,,vessel4 ,four-armed volute1 ogee ,swastika 7tetraskelion74 ,arkansas4 #a_/c natural size4 ,illustration3 ,fig4 #bij4 ,,pottery ,,vessel4 ,four volutes resembling ,swastika4 ,pecan ,point1 ,ark4 #a_/c natural size4 ,illustration3 ,fig4 #bia4 ,,pottery ,,vessel ,,made ,,in ,,the ,,form ,,of ,,an ,,animal4 ,spiral volutes1 nine arms4 ,pecan ,point1 ,ark4 #a_/c natural size4 ,spiral-volute designs resembling the ,swastika in general effect are found on aboriginal mound pottery from the ,mississippi ,valley4 ,the ,fourth ,annual ,report of the ,bureau of ,ethnology1 #ahhb-hc1bgf shows many of these4 ,fig4 #bhi represents a teapot-shaped vessel from ,arkansas1 on the side of which1 in incised lines1 is shown the small circle which we saw on the shell disks1 and springing from the four opposite sides are three incised lines1 twisting spirally to the right1 forming the four volutes of the ,swastika 7tetraskelion7 and covering the entire side of the vessel4 ,the same spiral form of the ,swastika is given in fig4 #bij1 a vessel of eccentric shape from ,pecan ,point1 ,ark4 ,the decoration is in the form of two lines crossing each other and each arm then twisting to the right1 forming volutes1 the incised lines of which1 though drawn close together and at equal distances1 gradually expand until the ornament covers the entire side of the vase4 ,it is questionable whether this or any of its kindred were ever intended to represent either the ,swastika or any other specific form of the cross4 ,one evidence of this is that these ornaments shade off indefinitely until they arrive at a form which was surely not intended to represent any form of the cross1 whether ,swastika or not4 ,the line of separation is not now suggested by the author4 ,an elaboration of the preceding forms1 both of the vessel and its ornamentation1 is shown by the vessel represented in fig4 #bia1 which is fashioned to represent some grotesque beast with horns1 expanding nostrils1 and grinning mouth1 yet which might serve as a teapot as well as the former two vessels4 ,the decoration upon its side has six incised lines crossing each other in the center and expanding in volutes until they cover the entire side of the vessel1 as in the other specimens4 ,fig4 #bib shows a pot from ,arkansas4 ,its body is decorated with incised lines arranged in much the same form as fig4 #bia1 except that the lines make no attempt to form a cross4 ,there are nine arms which spring from the central point and twist spirally about as volutes until they cover the field1 which is one-third the body of the bowl4 ,two other designs of the same kind complete the circuit of the pot and form the decoration all around4 ,fig4 #bicbgg represents these volutes in incised lines of considerable fineness1 close together1 and in great numbers1 forming a decoration on each of the sides of the vase1 separated by three nearly perpendicular lines4 ,illustration3 ,fig4 #bib4 ,,pottery ,,bowl ,,ornamented ,,with ,,many-,,armed ,,volutes4 ,arkansas4 #a_/c natural size4 ,illustration3 ,fig4 #bic4 ,,pottery ,,vase ,,ornamented ,,with ,,volutes4 ,arkansas4 ,illustration3 ,fig4 #bid4 ,,tripod ,,pottery ,,vase4 ,four-armed volutes making spiral ,swastika4 ,arkansas4 #a_/c natural size4 ,the spiral ,swastika form appears painted upon the pottery from ,arkansas4 ,the specimen shown in fig4 #bidbgh is a tripod bottle4 ,the decoration upon the side of the body consists of two lines forming the cross1 and the four arms expand in volutes until the ornament covers one-third of the vessel1 which1 with the other two similar ornaments1 extend around the circumference4 ,this decoration is painted in red and white colors on a gray or yellowish ground4 ,fig4 #bie shows a bowl from mound ,no4 #b1 ,thorn's farm1 ,taylor ,shanty group1 ,mark ,tree1 ,poinsett ,county1 ,ark4 ,it is ten inches wide and six inches high4 ,the clay of which it is made forms the body color--light gray4 ,it has been painted red or maroon on the outside without any decoration1 while on the inside is painted with the same color a five-armed cross1 spirally arranged in volutes turning to the right4 ,the center of the cross is at the bottom of the bowl1 and the painted spiral lines extend over the bottom and up the sides to the rim of the bowl1 the interior being entirely covered with the design4 ,another example of the same style of decoration is seen on the upper surface of an ancient vase from the province of ,cibola4#bgi ,illustration3 ,fig4 #bie4 ,,pottery ,,bowl ,,with ,,five-,,armed ,,spiral ,,swastika ,,on ,,the ,,bottom4 ,poinsett ,county1 ,ark4 ,cat4 ,no4 #aadjce1 ,u4 ,s4 ,n4 ,m4 ,the specimen shown in fig4 #bif is from the mound at ,arkansas ,post1 in the county and ,state of ,arkansas4#bhj ,it represents a vase of black ware1 painted a yellowish ground1 with a red spiral scroll4 ,its diameter is #e-a_/b inches4 ,these spiral figures are not uncommon in the localities heretofore indicated as showing the normal ,swastika4 ,figs4 #big and #bihbha show parallel incised lines of the same style as those forming the square in the bird gorgets already noted 7figs4 #bfc-bfg74 ,fig4 #big shows a bowl nine inches in diameter2 its rim is ornamented with the heart and tail of a conventional bird1 which probably served as handles4 ,on the outside1 just below the rim1 are the four incised parallel lines mentioned4 ,in the center of the side is represented a rolling under or twisting of the lines1 as though it represented a ribbon4 ,there are three on each quarter of the bowl1 that next the head being plain4 ,fig4 #bih represents a bottle #f-a_/b inches in diameter1 with parallel incised lines1 three in number1 with the same twisting or folding of the ribbon-like decoration4 ,this twists to the left1 while that of fig4 #big twists in the opposite direction4 ,both specimens are from the vicinity of ,charleston1 ,mo4 ,illustration3 ,fig4 #bif4 ,,vessel ,,of ,,black ,,ware4 ,spiral scroll4 ,arkansas4 ,illustration3 ,fig4 #big4 ,,bird-,,shaped ,,pottery ,,bowl4 ,three parallel incised lines with ribbon fold4 ,charleston1 ,mo4 ,,designs ,,on ,,basketry4 ,the volute form is particularly adapted to the decoration of basketry1 of which fig4 #bii is a specimen4 ,these motifs were favorites with the ,pueblo ,indians of ,new ,mexico and ,arizona4 ,illustration3 ,fig4 #bih4 ,,pottery ,,bowl4 ,three parallel incised lines with ribbon fold4 ,charleston1 ,mo4 ,illustration3 ,fig4 #bii4 ,,basketwork ,,with ,,many-,,armed ,,volutes4 ,fourth ,annual ,report of the ,bureau of ,ethnology1 fig4 #dhe4 ,,iv4--,,the ,,cross ,,among ,,the ,,american ,,indians4 ,,different ,,forms4 ,the foregoing specimens are sufficient evidence of the existence of the ,swastika among the aboriginal ,north ,americans during the mound-building period1 and although there may be other specimens of the ,swastika to be reported1 yet we might properly continue this investigation for the purpose of determining if there be any related forms of the cross among the same peoples4 ,this is done without any argument as to the use of these designs beyond that attributed to them4 ,the illustrations and descriptions are mainly collected from objects in and reports of the ,u4 ,s4 ,national ,museum and the ,bureau of ,ethnology4 ,,the ,,cross ,,on ,,objects ,,of ,,shell ,,and ,,copper4 ,illustration3 ,fig4 #cjj4 ,,engraved ,,shell ,,gorget4 ,greek cross with incised lines resembling a ,swastika4 ,union ,county1 ,ill4 ,the shell gorget presented in fig4 #cjj belongs to the collection of ,mr4 ,f4 ,m4 ,perrine1 and was obtained from a mound in ,union ,county1 ,ill4 ,it is a little more than three inches in diameter and has been ground to a uniform thickness of about one-twelfth of an inch4 ,the surfaces are smooth and the margin carefully rounded and polished4 ,near the upper edge are two perforations1 both well worn with cord-marks indicating suspension4 ,the cross in the center of the concave face of the disk is quite simple and is made by four triangular perforations which separate the arms4 ,the face of the cross is ornamented with six carelessly drawn incised lines interlacing in the center as shown in the figure1 three extending along the arm to the right and three passing down the lower arm to the inclosing line4 ,nothing has been learned of the character of the interments with which this specimen was associated4#bhb ,the incised lines of the specimen indicate the possible intention of the artist to make the ,swastika4 ,the design is evidently a cross and apparently unfinished4 ,illustration3 ,fig4 #cja4 ,,engraved ,,shell ,,gorget4 ,greek cross4 ,charleston1 ,mo4 ,second ,annual ,report of the ,bureau of ,ethnology1 pl4 ,,li1 fig4 #b4 ,the ,national ,museum possesses a large shell cross 7fig4 #cja7 which1 while quite plain as a cross1 has been much damaged1 the rim that formerly encircled it1 as in the foregoing figure1 having been broken away and lost4 ,the perforations are still in evidence4 ,the specimen is much decayed and came to the ,national ,museum with a skull from a grave at ,charleston1 ,mo42 beyond this there is no record4 ,the specimen shown in fig4 #cjb is quoted as a typical example of the cross of the mound-builder4 ,it was obtained from a mound on ,lick ,creek1 ,tennessee1 and is in the ,peabody ,museum1 ,cambridge1 ,mass4 ,while an elaborate description is given of it and figures are mentioned as devices probably significant1 and elementary or unfinished1 and more of the same1 yet nowhere is suggested any relationship to the ,swastika1 nor even the possibility of its existence in ,america4 ,illustration3 ,fig4 #cjb4 ,,shell ,,gorget ,,with ,,engraving ,,of ,,greek ,,cross ,,and ,,inchoate ,,swastika4 ,second ,annual ,report of the ,bureau of ,ethnology1 pl4 ,,lii1 fig4 #c4 ,illustration3 ,fig4 #cjc4 ,,fragment ,,of ,,copper ,,disk ,,with ,,greek ,,cross ,,in ,,inner ,,circle4 ,ohio4 ,american ,museum of ,natural ,history1 ,new ,york ,city4 ,second ,annual ,report of the ,bureau of ,ethnology1 pl4 ,,lii1 fig4 #d4 ,a large copper disk from an ,ohio mound is represented in fig4 #cjc4 ,it is in the ,natural ,history ,museum of ,new ,york4 ,it is eight inches in diameter1 is very thin1 and had suffered greatly from corrosion4 ,a symmetrical cross1 the arms of which are five inches in length1 has been cut out of the center4 ,two concentric lines have been impressed in the plate1 one near the margin and the other touching the ends of the cross4 ,fig4 #cjd shows a shell gorget from a mound on ,lick ,creek1 ,tennessee4 ,it is much corroded and broken1 yet it shows the cross plainly4 ,there are sundry pits or dots made irregularly over the surface1 some of which have perforated the shell4 ,pl4 #ai represents a recapitulation of specimens of crosses1 thirteen in number1 most of which have been obtained from the mounds or from ancient graves within the district occupied by the mound-builders4 ,eight are engraved upon shell gorgets1 one is cut in stone1 three are painted upon pottery1 and four are executed upon copper4 ,with two exceptions1 they are inclosed in circles1 and hence are symmetrical ,greek crosses1 the ends being rounded to conform to a circle4#bhc ,figs4 #g and #i of pl4 #ai represent forms of the ,latin cross1 and are modern1 having doubtless been introduced by ,european priests4 ,figs4 #aj to #ac are representatives of the ,swastika in some of its forms4 ,illustration3 ,,plate #ai4 ,,various ,,forms ,,of ,,crosses ,,in ,,use ,,among ,,north ,,american ,,indians1 ,,from ,,greek ,,cross ,,to ,,swastika4 ,second ,annual ,report of the ,bureau of ,ethnology1 #ahhj-ha1 ,pl4 ,,liii4 ,,explanation ,,of ,,plate #ai4 #a #b #c #d #e #f #g #i #h #aj #aa #ab #ac ,,various ,,forms ,,of ,,crosses ,,in ,,use ,,among ,,north ,,american ,,indians1 ,,from ,,greek ,,cross ,,to ,,swastika4 ,fig4 #a4 ,,greek ,,cross4 #b4 ,,greek ,,cross4 #c4 ,,cross ,,on ,,copper4 #d4 ,,cross ,,on ,,shell4 #e4 ,,greek ,,cross4 #f4 ,,greek ,,cross4 #g4 ,,latin ,,cross 7,copper74 #h4 ,,greek ,,cross4 #i4 ,,latin ,,cross 7,copper74 #aj4 ,,swastika ,,on ,,shell4 #aa4 ,,swastika ,,on ,,shell4 #ab4 ,,swastika ,,on ,,pottery4 #ac4 ,,swastika ,,on ,,pottery4 ,illustration3 ,fig4 #cjd4 ,,engraved ,,shell ,,disk ,,gorget4 ,rude cross with many dots4 ,lick ,creek1 ,tenn4 ,second ,annual ,report of the ,bureau of ,ethnology1 pl4 #eb1 fig4 #b4 ,illustration3 ,fig4 #cje4 ,,engraved ,,shell ,,with ,,figure ,,of ,,greek ,,cross4 ,caldwell ,county1 ,n4 ,c4 ,cat4 ,no4 #ccafi1 ,u4 ,s4 ,n4 ,m4 ,the ,u4 ,s4 ,national ,museum possesses a small shell ornament 7fig4 #cje7 in the form of a cross1 from ,lenoir's burial place1 ,fort ,defiance1 ,caldwell ,county1 ,n4 ,c41 collected by ,dr4 ,spainhour and ,mr4 ,rogan1 the latter being an employ of the ,bureau of ,ethnology4 ,it is in the form of a ,greek cross1 the four arms crossing at right angles and being of equal length4 ,the arms are of the plain shell1 while they are brought to view by the field being cross-hatched4 ,the specimen has1 unfortunately1 been broken1 and being fragile has been secured in a bed of plaster4 ,illustration3 ,fig4 #cjf4 ,,engraved ,,shell ,,with ,,three-,,armed ,,cross 7,,triskelion74 ,lick ,creek1 ,tenn4 ,cat4 ,no4 #hcagj1 ,u4 ,s4 ,n4 ,m4 ,this and the foregoing specimens have been introduced into this paper that the facts of their existence may be presented for consideration1 and to aid in the determination whether the cross had any peculiar or particular meaning4 ,the questions involuntarily arise1 ,was it a symbol with a hidden meaning1 religious or otherwise2 was it the totem of a clan1 the insignia of a ruler1 the charm of a priesthood1 or did it1 with all the associated shell engravings1 belong to the category of trinkets8 ,those questions may be partially answered in the section on the meanings given to the cross by the ,north ,american ,indians 7p4 #icc74 ,illustration3 ,fig4 #cjg4 ,,drilled ,,and ,,engraved ,,shell ,,or ,,runtee4 ,dotted ,greek cross and circle4 ,arizona4 ,illustration3 ,fig4 #cjh4 ,,drilled ,,and ,,engraved ,,shell ,,or ,,runtee4 ,dots and rings forming circle and ,greek cross4 ,ohio4 ,there is also introduced1 as bearing on the question1 another shell ornament 7fig4 #cjf71 the style1 design1 and workmanship of which has such resemblance to the foregoing that if they had not been 7as they were7 found together we would be compelled to admit their identity of origin1 yet the latter specimen has but three arms instead of four4 ,this might take it out of the category of crosses as a symbol of any religion of which we have knowledge4 ,many of the art objects in shell heretofore cited were more or less closely associated2 they came from the same neighborhood and were the results of the same excavations1 conducted by the same excavators4 ,in determining the culture status of their makers1 they must be taken together4 ,illustration3 ,fig4 #cji4 ,,drilled ,,and ,,engraved ,,shell ,,or ,,runtee4 ,dots and rings forming circle and ,greek cross4 ,new ,york4 ,when we consider the variety of the designs which were apparently without meaning except for ornamentation1 like the circles1 meanders1 zigzags1 chevrons1 herringbones1 ogees1 frets1 etc41 and the representations of animals such as were used to decorate the pipes of the aborigines1 not alone the bear1 wolf1 eagle1 and others which might be a totem and represent a given clan1 but others which1 according to our knowledge and imagination1 have never served for such a purpose1 as the manatee1 beaver1 wildcat1 heron1 finch1 sparrow1 crow1 raven1 cormorant1 duck1 toucan1 goose1 turkey1 buzzard1 cardinal1 parroquet1 conies1 lizard2 when we further consider that the cross1 whether ,greek1 ,latin1 or ,swastika form1 is utterly unlike any known or possible totem of clan1 insignia of ruler1 or potent charm of priesthood2 when we consider these things1 why should we feel ourselves compelled to accept those signs as symbols of a hidden meaning1 simply because religious sects in different parts of the world and at different epochs of history have chosen them or some of them to represent their peculiar religious ideas8 ,this question covers much space in geography and in time1 as well as on paper4 ,it is not answered here1 because no answer can be given which would be accepted as satisfactory1 but it may serve as a track or indication along which students and thinkers might pursue their investigations4 ,the ,u4 ,s4 ,national ,museum possesses a necklace consisting of three shell ornaments1 interspersed at regular intervals with about fifty small porcelain beads 7fig4 #cjg74bhd ,it was obtained by ,capt4 ,george ,m4 ,whipple from the ,indians of ,new ,mexico4 ,these shell ornaments are similar to objects described by ,beverly in his work on the ,history of ,virginia1 page #ade1 as runtees and made of the conch shell2 only the shape is flat as a cheese and drilled edgewise4 ,it is to be remarked that on its face as well as on figs4 #cjh and #cjibhd appears a cross of the ,greek form indicated by these peculiar indentations or drillings inclosed in a small circle4 ,the specimen shown in fig4 #cjh is from an ancient grave in ,upper ,sandusky1 ,ohio1 and that shown in fig4 #cji from an ,indian cemetery at ,onondaga1 ,n4 ,y4 ,similar specimens have been found in the same localities4 ,,the ,,cross ,,on ,,pottery4 ,illustration3 ,fig4 #caj4 ,,pottery ,,jar ,,with ,,crosses1 ,,encircling ,,rays ,,and ,,scallops4 ,third ,annual ,report of the ,bureau of ,ethnology1 fig4 #ahh4 ,fig4 #caj shows a small globular cup of dark ware from the vicinity of ,charleston1 ,mo42 height1 #b-a_/b inches2 width1 #c-a_/b inches4 ,it has four large nodes or projections1 and between them1 painted red1 are four ornamental circles1 the outside one of which is scalloped or rayed1 while the inside one bears the figure of a ,greek cross4 ,the specimen shown in fig4 #caa 7,cat4 ,no4 #dgaig1 ,u4 ,s4 ,n4 ,m47 is a medium-sized decorated olla with scalloped margin1 from ,new ,mexico1 collected by ,colonel ,stevenson4 ,it has two crosses--one ,greek1 the other ,maltese--both inclosed in circles and forming centers of an elaborate1 fanciful1 shield-like decoration4 ,in fig4 #cab 7,cat4 ,no4 #cieah1 ,u4 ,s4 ,n4 ,m47 is shown a ,cochiti painted water vessel1 same collection1 showing a ,maltese cross4 ,illustration3 ,fig4 #caa4 ,,olla ,,decorated ,,with ,,greek ,,and ,,maltese ,,crosses4 ,second ,annual ,report of the ,bureau of ,ethnology1 fig4 #gjh4 ,illustration3 ,fig4 #cab4 ,,pottery ,,water ,,vessel4 ,maltese cross4 ,second ,annual ,report of the ,bureau of ,ethnology1 fig4 #fdb4 ,illustration3 ,,plate #bj4 ,,palenque ,,cross1 ,,foliated4 ,smithsonian ,contributions to ,knowledge1 ,vol4 ,,xxii1 fig4 #g4 ,dozens of other specimens are in the collections of the ,u4 ,s4 ,national ,museum which would serve to illustrate the extended and extensive use of the cross in great variety of forms1 so that no argument as to either the meaning or the extent of the cross can be based on the supposition that these are the only specimens4 ,fig4 #cac 7,cat4 ,no4 #acbige1 ,u4 ,s4 ,n4 ,m47 shows a vase from ,mexico1 about #h inches high1 of fine red ware1 highly polished1 with an elaborate decoration4 ,its interest here is the ,maltese cross represented on each side1 with a point and concentric circles1 from the outside of which are projecting rays4 ,this may be the symbol of the sun1 and if so1 is shown in connection with the cross4 ,this style of cross1 with or without the sun symbol1 is found in great numbers in ,mexico--as1 for example1 the great cross1 pl4 #bj1 from the temple at ,palenque4#bhe ,,symbolic ,,meanings ,,of ,,the ,,cross4 ,it would be an excellent thing to dissect and analyze the ,swastika material we have found2 to generalize and deduce from it a possible theory as to the origin1 spread1 and meaning of the ,swastika and its related forms1 and endeavor1 by examination of its associated works1 to discover if these were religious symbols or charms or mere decorations2 and1 following this1 determine if possible whether the spread of these objects1 whatever their meaning1 was the result of migration1 contact1 or communication4 ,were they the result of similar1 but independent1 operations of the human mind1 or were they but duplicate inventions1 the result of parallelism in human thought8 ,this investigation must necessarily be theoretical and speculative4 ,the most that the author proposes is to suggest probabilities and point the way for further investigation4 ,he may theorize and speculate1 but recognizes what many persons seem not able to do--that speculation and theory are not to be substituted for cold facts4 ,he may do no more than propound questions from which other men1 by study1 experience1 philosophy1 or psychology1 may possibly evolve some general principle1 or a theory pointing to a general principle1 concerning the mode of extension and spread of culture among separate and independent peoples4 ,when the facts shall have been gathered1 marshaled1 arranged side by side1 and each aggregation of facts shall have been weighed1 pro and con1 and its fair value given without prejudice or preconceived opinion1 then will be time enough to announce the final conclusion1 and even then not dogmatically1 but tentatively and subject to future discoveries4 ,illustration3 ,fig4 #cac4 ,,pottery ,,vase ,,finely ,,decorated ,,in ,,red ,,and ,,white ,,glaze4 ,maltese cross with sun symbol 7874 ,cat4 ,no4 #acbige1 ,u4 ,s4 ,n4 ,m4 ,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 problems presented4 ,illustration3 ,fig4 #cad4 ,,greek ,,cross ,,representing ,,winds ,,from ,,cardinal ,,points4 ,dakota ,indians4 ,tenth ,annual ,report of the ,bureau of ,ethnology1 fig4 #abee4 ,it is rare in the study of archology and1 indeed1 in any science1 that a person is able to assert a negative and say what does not exist4 ,the present investigations are rendered much more comprehensive by the appearance of the extensive and valuable work of ,col4 ,garrick ,mallery in the ,tenth ,annual ,report of the ,bureau of ,ethnology1 on the subject of ,picture ,writing of the ,american ,indians4 ,it is a work of about #hjj pages1 with #a1cjj illustrations1 and is the result of many years of laborious study4 ,it purports to be a history1 more or less complete1 of the picture writing1 signs1 symbols1 totems1 marks1 and messages of the ,american ,indian1 whether pictographs or petroglyphs4 ,a large portion of his work is devoted to ideography1 conventional signs1 syllabaries and alphabets1 homorophs and symmorophs1 and their respective means of interpretation4 ,among these he deals1 not specifically with the ,swastika1 but in general terms with the cross4 ,therefore1 by looking at ,colonel ,mallery's work upon this chapter 7p4 #gbd71 one is able to say negatively what has not been found4 ,apropos of the meanings of the cross among the ,north ,american ,indians ,count ,goblet d',alviella says3#bhf ,it is nevertheless incontestable that the pre-,columbian cross of ,america is a rose des vents1 representing the four directions whence comes the rain1 or the cardinal points of the compass1 etc41 etc4 ,colonel ,mallery's volume shows that it meant many other things as well4 ,the four winds4--,the ,greek cross is the form found by ,colonel ,mallery to be most common among the ,north ,american aborigines1 possibly because it is the simplest4 ,in this the four arms are equal in length1 and the sign placed upright so that it stands on one foot and not on two1 as does the ,st4 ,andrew's cross4 ,the ,greek cross 7fig4 #cad7 represents1 among the ,dakotas1 the four winds issuing out of the four caverns in which souls of men existed before the incarnation of the human body4 ,all the medicine men--that is1 conjurors and magicians--recollect their previous dreamy life in these places1 and the instructions then received from the gods1 demons1 and sages2 they recollect and describe their preexistent life1 but only dream and speculate as to the future life beyond the grave4 ,the top of the cross is the cold1 all-conquering giant1 the ,north ,wind1 most powerful of all4 ,it is worn on the body nearest the head1 the seat of intelligence and conquering devices4 ,the left arm covers the heart2 it is the ,east ,wind1 coming from the seat of life and love4 ,the foot is the melting1 burning ,south ,wind1 indicating1 as it is worn1 the seat of fiery passion4 ,the right arm is the gentle ,west ,wind1 blowing from the spirit land1 covering the lungs1 from which the breath at last goes out gently1 but into unknown night4 ,the center of the cross is the earth and man1 moved by the conflicting influences of gods and winds4 ,illustration3 ,fig4 #cae4 ,,the ,,cross ,,in ,,connection ,,with ,,the ,,circle4 ,sun symbols 7874 ,tenth ,annual ,report of the ,bureau of ,ethnology1 fig4 #aaah1 #aabj1 #aabf4 ,illustration3 ,fig4 #caf4 ,,figures ,,of ,,circles ,,and ,,rays ,,probably ,,representing ,,sun ,,symbols4 ,tenth ,annual ,report of the ,bureau of ,ethnology1 figs4 #aaah-aaba1 #aabc4 ,rev4 ,john ,mc,lain1 in his work on the ,blackfoot ,sun-dance1 says3 ,on the sacred pole of the sun lodge of the ,blood ,indian is a bundle of small brushwood taken from the birch tree1 which is placed in the form of a cross4 ,this was an ancient symbol evidently referring to the four winds4 ,illustration3 ,fig4 #cag4 ,,figures ,,of ,,crosses ,,and ,,circles ,,representing ,,star ,,symbols4 ,oakley ,springs1 ,ariz4 ,tenth ,annual ,report of the ,bureau of ,ethnology1 fig4 #aabi4 ,illustration3 ,fig4 #cah4 ,,star ,,symbol4 ,circle and rays without cross4 ,oakley ,springs1 ,ariz4 ,tenth ,annual ,report of the ,bureau of ,ethnology1 fig4 #aabi4 ,illustration3 ,fig4 #cai4 ,,figures ,,of ,,crosses1 ,,circles1 ,,and ,,squares ,,representing ,,lodges4 ,dakota ,indians4 ,tenth ,annual ,report of the ,bureau of ,ethnology1 fig4 #abjc4 ,sun and star symbols4--,great speculation has been made1 both in ,europe and ,america1 over the relation between the ,swastika and the sun1 because the two signs have been associated by primitive peoples4 ,colonel ,mallery gives the ,indian signs for the sun1 stars1 and light4#bhg ,these have been segregated1 and it will be seen that the cross and circle are used indiscriminately for one and the other1 and the fact of the two being found associated is no evidence of relationship in religious ideas 7figs4 #cae-cai74 ,dwellings4--,among the ,hidatsa1 the cross and the circle represent neither the sun nor any religious ideas1 but merely lodges1 houses1 or dwellings4 ,the crosses in fig4 #cai represent ,dakota lodges2 the small circles signify earth lodges1 the points representing the supporting poles4 ,buildings erected by civilized people were represented by small rectangular figures1 while the circles with dots in a square represent earth lodges1 the home of the ,hidatsa4 ,illustration3 ,fig4 #cbj4 ,,latin ,,crosses ,,representing ,,the ,,dragon ,,fly4 ,dakota ,indians4 ,dragon fly 7,susbeca74--,among some of the ,indian tribes1 the ,dakotas among others1 the ,latin cross is found1 i4 e41 upright with three members of equal length1 and the fourth1 the foot1 much longer4 ,the use of this symbol antedates the discovery of ,america1 and is carried back in tradition and myth4 ,this sign signifies the mosquito hawk or the dragon fly 7fig4 #cbj74 ,it is called in that language the ,susbeca1 and is a supernatural being gifted with speech1 warning man of danger1 approaching his ear silently and at right angles1 saying1 ,tci1 tci1 tci1 an interjection equivalent to ,look out6 ,you are surely going to destruction6 ,look out6 ,tci1 tci1 tci6 ,the adoption of the dragon fly as a mysterious and supernatural being is on account of its sudden appearance in numbers4 ,in the still of the evening1 when the shades of darkness come1 then is heard in the meadows a sound as of crickets or frogs1 but indistinct and prolonged2 on the morrow the ,susbeca will be hovering over it4 ,it is the sound of their coming1 but whence no one knows4 ,the cross not only represents the shape of the insect1 but also the angle of its approach4 ,it is variously drawn1 but usually as in fig4 #cbj a or b1 and1 in painting or embroidery1 c1 and sometimes d4 ,illustration3 ,fig4 #cba4 ,,double ,,cross ,,of ,,six ,,arms ,,representing ,,the ,,dragon ,,fly4 ,moki ,indians1 ,arizona4 ,tenth ,annual ,report of the ,bureau of ,ethnology1 fig4 #aafe4 ,fig4 #cba is described in ,keam's ,,ms4 as follows3 ,this is a conventional design of dragon flies1 and is often found among rock etchings throughout the plateau ,arizona4 ,the dragon flies have always been held in great veneration by the ,mokis and their ancestors1 as they have been often sent by ,oman to reopen springs which ,muingwa had destroyed and to confer other benefits upon the people4 ,this form of the figure1 with little vertical lines added to the transverse lines1 connects the ,batolatci with the ,ho-bo-bo emblems4 ,the youth who was sacrificed and translated by ,ho-bo-bo reappeared a long time afterwards1 during a season of great drought1 in the form of a gigantic dragon fly1 who led the rain clouds over the lands of ,ho-pi-tu1 bringing plenteous rains4 ,illustration3 ,fig4 #cbb4 ,,figures ,,of ,,crosses ,,as ,,used ,,by ,,the ,,eskimo ,,to ,,represent ,,flocks ,,of ,,birds4 ,tenth ,annual ,report of the ,bureau of ,ethnology1 fig4 #abbh4 ,cat ,nos4 #ddbaa and #dejbj1 ,u4 ,s4 ,n4 ,m4 ,illustration3 ,fig4 #cbc4 ,,petroglyph ,,from ,,tulare ,,valley1 ,,california4 ,large white ,greek cross4 ,tenth ,annual ,report of the ,bureau of ,ethnology1 fig4 #abbi4 ,mide' or ,shamans4--,colonel ,mallery 7or ,dr4 ,hoffman7 tells us 7p4 #gbf7 that among the ,ojibways of northern ,minnesota the cross is one of the sacred symbols of the ,society of ,mide' or ,shamans and has special reference to the fourth degree4 ,the building in which the initiation is carried on has its opening toward the four cardinal points4 ,the cross is made of saplings1 the upright poles approaching the height of four to six feet1 the transverse arms being somewhat shorter1 each being of the same length as the top2 the upper parts are painted white or besmeared with white clay1 over which are spread small spots of red1 the latter suggesting the sacred shell of ,mide'1 the symbol of the order4 ,the lower arm of the pole is square1 the side toward the east being painted white to denote the source of light and warmth2 the face on the south is green1 denoting the source of the thunder bird which brings the rains and vegetation2 the surface toward the west is covered with vermilion1 relating to the land of the setting sun1 the abode of the dead2 the north is painted black1 as the direction from which comes affliction1 cold1 and hunger4 ,flocks of birds4--,groups of small crosses on the sides of ,eskimo bow drills represent flocks of birds 7,cat4 ,nos4 #dejbj and #ddbaa1 ,u4 ,s4 ,n4 ,m474 ,they are reproduced in fig4 #cbb4 ,colonel ,mallery's fig4 #bh1 page #fg1 represents a cross copied from the ,najowe ,valley group of colored pictographs1 #dj miles west of ,santa ,barbara1 ,santa ,barbara ,county1 ,cal4 ,the cross measured #bj inches in length1 the interior being painted black while the border is of a dark red tint4 ,this design1 as well as others in close connection1 is painted on the walls of a shallow cave or rock shelter in the limestone formation4 ,fourteen miles west of ,santa ,barbara1 on the summit of the ,santa ,ynez ,mountains1 is a cavern having a large opening west and north1 in which are crosses of the ,greek type1 the interior portion being painted a dull earthy red1 while the outside line is a faded-black tint4 ,the cross measures nearly a foot in extent4 ,at the ,tulare ,indian ,agency1 ,cal41 is an immense bowlder of granite4 ,it has been split1 and one of the lower quarters has been moved sufficiently to leave a passageway six feet wide and nearly ten feet high4 ,the interior walls are well covered with large painted figures1 while upon the ceilings are numerous forms of animals1 birds1 and insects4 ,among this latter group is a white cross about #ah inches in length 7fig4 #cbc71 presenting a unique appearance1 for the reason that it is the only petroglyph in that region to which the white coloring matter has been applied4 ,illustration3 ,fig4 #cbd4 ,,petroglyphs ,,from ,,owen',s ,,valley1 ,,california4 7a1 b7 ,greek crosses1 7c7 double ,latin cross1 7d-f7 ,latin crosses representing human figures4 ,tenth ,annual ,report of the ,bureau of ,ethnology1 fig4 #abcj4 ,an interesting example of rock sculpturing in groups is in ,owens ,valley1 south of ,benton1 ,cal4 ,among them are various forms of crosses1 and circles containing crosses of simple and complex types4 ,the most interesting in this connection are the groups in fig4 #cbd1 a and b4 ,the larger one1 a1 occurs upon a large bowlder of tracite #af miles south of ,benton1 at the ,chalk grave4 ,the circle is a depression about one inch in depth1 the cross being in high relief4 ,the small cross b1 found three miles north from this is almost identical1 the arms of the cross1 however1 extending to the rim of the circle4 ,in this locality occurs also the cross1 c1 same figure1 and some examples having more than two cross arms4 ,illustration3 ,fig4 #cbe4 ,,cross ,,in ,,zigzag ,,lines ,,representing ,,the ,,human ,,form4 ,navajo ,indians4 ,human forms4--,other simple crosses represent the human form4 ,some of these are engraved or cut on the rocks of ,owens ,valley and are similar to those above described 7fig4 #cbd71 but they have been eroded1 so that beyond the mere cross they show slight relation to the human body 7fig4 #cbd1 d1 e1 f74 ,col4 ,james ,stevenson1 describing the ,hasjelti ceremony of the ,navajoes1#bhh shows the form of a man drawn in the sand 7fig4 #cbe74 ,describing the character shown in fig4 #cbf1 ,keam says3 ,the figure represents a woman4 ,the breath is displayed in the interior4#bhi ,illustration3 ,fig4 #cbf4 ,,maltese ,,cross787 ,,representing ,a ,,woman4 ,the figure in the center is intended to indicate the breath4 ,illustration3 ,fig4 #cbg4 ,,maltese ,,and ,,saint ,,andrew',s ,,crosses4 ,emblems of maidenhood4 ,moki ,indians4 ,maidenhood4--,concerning fig4 #cbg ,keam1 in his manuscript1 says the ,maltese cross was the emblem of a virgin1 and is still so recognized by the ,moki4 ,it is a conventional development of the common emblem of maidenhood1 wherein the maidens wear their hair arranged as in a disk three or four inches in diameter on each side of the head 7fig4 #cbg;b74 ,this discoidal arrangement of the hair is typical of the emblem of fructification worn by the virgin in the ,muingwa festival4 ,sometimes the hair1 instead of being worn in the complete discoidal form1 is dressed upon two curving twigs1 and presents the form of two semicircles upon each side of the head4 ,the partition of these is sometimes horizontal1 sometimes vertical4 ,the combination of these styles 7fig4 #cbg a and b7 present the forms from which the ,maltese cross was conventionalized4#bij ,illustration3 ,fig4 #cbh4 ,,cross ,,with ,,bifurcated ,,foot4 ,used by the ,innuits to represent a shaman or evil spirit4 ,shaman's spirit4--,among the ,kiatxamut and ,innuit tribes1 a cross placed on the head1 as in fig4 #cbh1 signified a shaman's evil spirit or demon4 ,this is an imaginary being under the control of the shaman to execute his wishes4#bia ,divers significations4--,the figure of the cross among the ,north ,american ,indians1 says ,colonel ,mallery1#bib has many differing significations4 ,it appears as the tribal sign for ,cheyenne 7p4 #chc72 as ,dakota lodges 7p4 #ehb72 as a symbol for trade or exchange 7p4 #fac72 as a conventional sign for prisoners 7p4 #bbg72 for personal exploits while elsewhere it is used in simple enumeration 7p4 #cdh74 ,although this device is used for a variety of meanings when it is employed ceremonially or in elaborate pictographs of the ,indians both of ,north and ,south ,america1 it represents the four winds4 ,this view long ago was suggested as being the signification of many ,mexican crosses1 and it is sustained by ,prof4 ,cyrus ,thomas in his ,notes on ,mayan ,mexican ,manuscript1#bic 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 tribes2 yet the same author1 in his paper on the study of the ,troano ,manuscript1#bid gives fig4 #cbi as a symbol for wood1 thus further showing the manifold concepts attached to the general form of the cross4 ,bandelier thinks that the cross so frequently used by the aborigines of ,mexico and ,central ,america were merely ornaments and not objects of worship1 while the so-called crucifixes1 like that on the ,palenque tablet1 were only the symbol of the new fire1 or the close of the period of fifty-two years4 ,he believes them to be representations of the fire drills more or less ornamented4 ,zamacois#bie says that the cross was used in the religion of various tribes of the peninsula of ,yucatan1 and that it represented the god of rain4 ,illustration3 ,fig4 #cbi4 ,,st4 ,,andrew',s ,,crosses1 ,,used ,,as ,a ,,symbol ,,for ,,wood4 ,tenth ,annual ,report of the ,bureau of ,ethnology1 fig4 #abcc4 ,it is a favorite theory with ,major ,powell1 ,director of the ,bureau of ,ethnology1 that the cross was an original invention of the ,north ,american ,indian1 possibly a sign common to all savages2 that it represented1 first1 the four cardinal points1 north1 south1 east1 and west2 and afterwards by accretion1 seven points1 north1 south1 east1 west1 zenith1 nadir1 and here4 ,capt4 ,john ,g4 ,bourke1 in his paper on the ,medicine ,men of the ,apache#bif discourses on their symbolism of the cross4 ,he says it is related to the cardinal points1 to the four winds1 and is painted by warriors on their moccasins when going through a strange district to keep them from getting on a wrong trail4 ,he notes how he saw1 in ,october1 #ahhd1 a procession of ,apache men and women bearing two crosses1 #d feet #aj inches long1 appropriately decorated in honor of ,guzanutl to induce her to send rain4 ,dr4 ,brinton#big tells of the rain maker of the ,lenni ,lenape who first drew on the earth the figure of a cross4 ,captain ,bourke quotes from ,father ,le ,clerq#bih as to the veneration in which the cross was held by the ,gaspesian ,indians1 also from ,herrara to the same effect4 ,professor ,holmes#bii makes some pertinent observations with regard to the meanings of the cross given by the ,american ,indians3 ,some very ingenious theories have been elaborated in attempting to account for the cross among ,american symbols4 ,brinton believes that the great importance attached to the points of the compass--the four quarters of the heavens--by savage peoples1 has given rise to the sign of the cross4 ,with others1 the cross is a phallic symbol derived1 by some obscure process of evolution1 from the veneration accorded to the procreative principle in nature4 ,it is also frequently associated with sun worship1 and is recognized as a symbol of the sun--the four arms being remaining rays after a gradual process of elimination4 ,whatever is finally determined in reference to the origin of the cross as a religious symbol in ,america will probably result from exhaustive study of the history1 language1 and art of the ancient peoples1 combined with a thorough knowledge of the religious conceptions of modern tribes1 and when these sources of information are all exhausted it is probable that the writer who asserts more than a probability will overreach his proofs4 99 99 99 ,a study of the designs associated with the cross in these gorgets figs4 #cjb-cjd is instructive1 but does not lead to any definite result2 in one case the cross is inscribed on the back of a great spider figs4 #bge-bgh2 in another it is surrounded by a rectangular framework of lines1 looped at the corners and guarded by four mysterious birds figs4 #bfc-bff1 while in others it is without attendant characters1 but the workmanship is purely aboriginal4 ,i have not seen a single example of engraving upon the shell that suggested a foreign hand1 or a design1 with the exception of this one a cross1 that could claim a ,european derivation4 99 99 99 ,such delineations of the cross as we find embodied in ancient aboriginal art1 represent only the final stages of its evolution1 and it is not to be expected that its origin can be traced through them4 ,illustration3 ,fig4 #ccj4 ,,graphic ,,delineation ,,of ,,alligator4 ,from a vase of the lost color group4 ,chiriqui4 ,sixth ,annual ,report of the ,bureau of ,ethnology1 fig4 #beg4 ,illustration3 ,fig4 #cca4 ,,graphic ,,delineation ,,of ,,alligator4 ,from a vase of the lost color group4 ,chiriqui4 ,sixth ,annual ,report of the ,bureau of ,ethnology1 fig4 #beh4 ,continuing in his ,ancient ,art in ,chiriqui1#cjj presenting his ,series showing stages in the simplification of animal characters1 and derivation of the alligator1 ,professor ,holmes elaborates the theory how the alligator was the original1 and out of it1 by evolution1 grew the cross4 ,his language and accompanying figures are quoted3 ,of all the animal forms utilized by the ,chiriquians1 the alligator is the best suited to the purpose of this study1 as it is presented most frequently and in the most varied forms4 ,in figs4 #beg and #beh figs4 #ccj and #cca in the present paper ,i reproduce drawings from the outer surface of a tripod bowl of the lost color group4 ,simple and formal as these figures are1 the characteristic features of the creature--the sinuous body1 the strong jaws1 the upturned snout1 the feet1 and the scales--are forcibly expressed4 ,it is not to be assumed that these examples represent the best delineative skill of the ,chiriquian artist4 ,the native painter must have executed very much superior work upon the more usual delineating surfaces1 such as bark and skins4 ,the examples here shown have already experienced decided changes through the constraints of the ceramic art1 but are the most graphic delineations preserved to us4 ,they are free-hand products1 executed by mere decorators1 perhaps by women1 who were servile copyists of the forms employed by those skilled in sacred art4 ,a third illustration from the same group of ware1 given in fig4 #bei fig4 #ccb of the present paper shows1 in some respects1 a higher degree of convention4 99 99 99 ,i shall now call attention to some important individualized or well-defined agencies of convention4 ,first1 and most potent1 may be mentioned the enforced limits of the spaces to be decorated1 which spaces take shape independently of the subject to be inserted4 ,when the figures must occupy a narrow zone1 they are elongated2 when they must occupy a square1 they are restricted longitudinally1 and when they occupy a circle1 they are of necessity coiled up4 ,fig4 #bfe fig4 #ccc of the present paper illustrates the effect produced by crowding the oblong figure into a short rectangular space4 ,the head is turned back over the body and the tail is thrown down along the side of the space4 ,in fig4 #bff fig4 #ccd of the present paper the figure occupies a circle and is1 in consequence1 closely coiled up1 giving the effect of a serpent rather than an alligator4 99 99 99 ,illustration3 ,fig4 #ccb4 ,,conventional ,,figure ,,of ,,alligator4 ,from a vessel of the lost color group4 ,chiriqui4 ,sixth ,annual ,report of the ,bureau of ,ethnology1 fig4 #bei4 ,illustration3 ,fig4 #ccc4 ,,conventional ,,figure ,,of ,,alligator ,,crowded ,,into ,a ,,small ,,geometrical ,,figure4 ,chiriqui4 ,sixth ,annual ,report of the ,bureau of ,ethnology1 fig4 #bfe4 ,i present five series of figures designed to illustrate the stages through which life forms pass in descending from the realistic to highly specialized conventional shapes4 ,in the first series 7fig4 #bgg7 fig4 #cce of the present paper we begin with a1 a meager but graphic sketch of the alligator2 the second figure1 b1 is hardly less characteristic1 but is much simplified2 in the third1 c1 we have still three leading features of the creature--the body line1 the spots1 and the stroke at the back of the head2 and in the fourth1 d1 nothing remains but a compound yoke-like curve1 standing for the body of the creature1 and a single dot4 ,illustration3 ,fig4 #ccd4 ,,conventional ,,figure ,,of ,,alligator ,,crowded ,,into ,a ,,circle4 ,chiriqui4 ,sixth ,annual ,report of the ,bureau of ,ethnology1 fig4 #bff4 ,the figures of the second series 7fig4 #bgh7 fig4 #ccf of the present paper are nearly all painted upon low1 round nodes placed about the body of the alligator vases1 and hence are inclosed in circles4 ,the animal figure in the first example is coiled up like a serpent fig4 #ccd1 but still preserves some of the well-known characters of the alligator4 ,in the second example fig4 #ccf;b we have a double hook near the center of the space which takes the place of the body1 but the dotted triangles are placed separately against the encircling line4 ,in the next figure the body symbol is omitted and the three triangles remain to represent the animal4 ,in the fourth there are four triangles1 and the body device being restored in red takes the form of a cross4 ,in the fifth two of the inclosing triangles are omitted and the idea is preserved by the simple dots4 ,in the sixth the dots are placed within the bars of the cross1 the triangles becoming mere interspaces1 and in the seventh the dots form a line between the two encircling lines4 ,this series could be filled up by other examples1 thus showing by what infinitesimal steps the transformations take place4 99 99 99 ,we learn by the series of steps illustrated in the annexed cuts that the alligator radical1 under peculiar restraints and influences1 assumes conventional forms that merge imperceptibly into these classic devices4 ,illustration3 ,fig4 #cce4 ,,series ,,of ,,figures ,,of ,,alligators ,,showing ,,stages ,,of ,,simplification4 ,chiriqui4 ,sixth ,annual ,report of the ,bureau of ,ethnology1 fig4 #bgg4 ,illustration3 ,fig4 #ccf4 ,,series ,,showing ,,stages ,,in ,,the ,,simplification ,,of ,,animal ,,characters1 ,,beginning ,,with ,,the ,,alligator ,,and ,,ending ,,with ,,the ,,greek ,,cross4 ,chiriqui4 ,sixth ,annual ,report of the ,bureau of ,ethnology1 fig4 #bgh4 ,professor ,holmes's theory of the evolution of the cross from the alligator and its location in ,chiriqui is opposed to that of ,professor ,goodyear1 who1 in his ,grammar of the ,lotus1 ascribes the origin of the cross to the lotus and locates it in ,egypt4 ,i file what in law would be an interpleader--,i admit my want of knowledge of the subject under discussion1 and leave the question to these gentlemen4 ,,introduction ,,of ,,the ,,cross ,,into ,,america4 ,professor ,holmes is1 in the judgment of the author1 correct when he insists upon the aboriginal character of the cross in ,america4 ,we all understand how it is stated that the ,spanish missionaries sought to deny this and to connect the apparition of ,st4 ,thomas with the appearance of the cross4 ,professor ,holmes#cja says3 ,the first explorers were accompanied by ,christian zealots who spared no effort to root out the native superstition and introduce a foreign religion of which the cross was the all-important symbol4 ,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 comprehension4 ,as a result1 the cross was at once introduced into the regalia of the natives1 at first probably in a ,european form and material1 attached to a string of beads in precisely the manner they had been accustomed to suspend their own trinkets and gorgets2 but soon1 no doubt1 delineated or carved by their own hands upon tablets of stone and copper and shell in the place of their own peculiar conceptions4 ,there is sufficient evidence1 and to spare1 of the aboriginal use of the cross in some of its forms1 without resorting to the uncertain and forced explanation of its introduction by ,christian missionaries4 ,it is possible that the priests and explorers were1 like ,colonel ,mallery's missionary1 mistaken as to the interpretation given to the cross by the ,indians4 ,dr4 ,hoffman1 in his paper on the ,mide'wiwin or ,grand ,medicine ,society of the ,ojibwa1#cjb states the myth of the re-creation of the world as thrown together in a mangled form by ,hennepin4 ,dr4 ,hoffman observes3 ,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 ,christ4 ,and on the same page he quotes from ,pre ,marquette1 who says3 ,i was very glad to see a great cross set up in the middle of the village1 adorned with several white skins1 red girdles1 bows1 and arrows1 which that good people offered to the ,great ,manitou to return him their thanks for the care he had taken of them during the winter1 and that he had granted them a prosperous hunting4 ,marquette comments ,dr4 ,hoffman was1 without doubt1 ignorant of the fact that the cross is the sacred post1 and the symbol of the fourth degree of the ,mide'wiwin1 as is fully explained in connection with that grade of society4 ,the erroneous conclusion that the cross was erected as an evidence of the adoption of ,christianity and1 possibly as a compliment to the visitor was a natural one on the part of the priest1 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 him4 ,most aboriginal objects bearing crosses are from localities along the ,ohio ,river and through ,kentucky and ,tennessee1 a locality which the early ,christian missionaries never visited1 and where the cross of ,christ was rarely1 if ever1 displayed until after that territory became part of the ,united ,states4 ,per contra1 the localities among the ,indians in which the early missionaries most conducted their labors--that is to say1 along the ,great ,lakes and throughout northern ,illinois--produce the fewest number of aboriginal crosses4 ,this was the country explored by ,fathers ,marquette1 ,lasalle1 and ,hennepin1 and it was the scene of most of the ,catholic missionary labors4 ,professor ,holmes seems to have recognized this fact1 for he says3#cjc ,the cross was undoubtedly used as a symbol by the prehistoric nations of the ,south1 and1 consequently1 that it was probably also known in the ,north4 ,a great majority of the relics associated with it in the ancient mounds and burial places are undoubtedly aboriginal4 ,in the case of the shell gorgets1 the tablets themselves belong to an ,american type1 and are highly characteristic of the art of the ,mississippi ,valley4 ,a majority of the designs engraved upon them are also characteristic of the same district4 ,the author agrees heartily with ,professor ,holmes's argument in this matter1 and his conclusion1 when he says of these objects 7p4 #bgj73 ,the workmanship is purely aboriginal4 ,i have not seen a single example of engraving upon shell that suggested a foreign hand or a design1 with the exception of one 7cross71 that could claim a ,european derivation4 ,there have been numerous ,european or ,catholic crosses1 as well as many other objects of ,european manufacture or objects of civilized types1 found among the ,indians4 ,there have been silver crosses found with images of the ,virgin thereon1 with ,latin inscriptions1 or of ,roman letters2 there have been glass beads1 iron arrowheads1 and divers other objects found in ,indian graves which bore indubitable evidence of contact with the whites1 and no one with any archological experience need be deceived into the belief that these were aboriginal or pre-,columbian manufacture4 ,as a general rule1 the line of demarkation between objects of ,indian manufacture and those made by the whites is definite1 and no practiced eye will mistake the one for the other4 ,there may be exceptions1 as where the ,indian has lived with the whites or a white man with the ,indians1 or where an object is made with intent to deceive4 ,in such cases one may have more trouble in determining the origin of the object4 ,there were many ,indians who died and were buried within a century past1 whose graves might contain many objects of white man's work4 ,black ,hawk and ,red ,jacket are examples1 and1 possibly1 ,king ,philip4 ,indian graves have been opened in ,new ,england and ,new ,york containing the gun or firelock of the occupant of the grave buried with him1 and that this was evidence of ,european contact there can be no doubt4 ,so there have been hundreds1 possibly thousands1 of ,indians buried since the ,columbian discovery down to within the last decade whose graves contain white man's tools or implements4 ,but no person with any archological experience need be deceived by these things4 ,the theory that the ,latin or ,greek crosses or ,swastikas shown on these gorgets1 disks1 and pottery furnish evidence of contact by the aborigines with ,europeans in post-,columbian times is without foundation and inadmissible4 ,,decorative ,,forms ,,not ,,of ,,the ,,cross1 ,,but ,,allied ,,to ,,the ,,swastika4 ,,color ,,stamps ,,from ,,mexico ,,and ,,venezuela4 ,illustration3 ,figs4 #ccg1 #cch1 #cci1 #cdj1 #cda1 and #cdb4 ,,terra-,,cotta ,,color ,,stamps ,,with ,,designs ,,similar ,,to ,,the ,,swastika4 ,mexico4 ,cat4 ,nos4 #iiabd1 #iiabg1 #bghhg1 #iiaae1 #iiaah1 #iiabb1 ,u4 ,s4 ,n4 ,m4 ,the aborigines of ,mexico and ,central and ,south ,america employed terra-cotta color stamps1 which1 being made into the proper pattern in the soft clay1 were burned hard2 then1 being first coated with color1 the stamp was pressed upon the object to be decorated1 and so transferred its color1 as in the mechanical operation of printing1 thus giving the intended decoration4 ,patterns of these stamps are inserted in this paper in connection with the ,swastika because of the resemblance--not in form1 but in style4 ,they are of geometric form1 crosses1 dots1 circles 7concentric and otherwise71 lozenges1 chevrons1 fret1 and labyrinth or meander4 ,the style of this decoration lends itself easily to the ,swastika2 and yet1 with the variety of patterns contained in the series of stamps belonging to the ,u4 ,s4 ,national ,museum1 shown in figs4 #ccg to #cdb1 no ,swastika appears2 nor in the similar stamps belonging to other collections1 notably that of ,mr4 ,a4 ,e4 ,douglass1 in the ,metropolitan ,museum of ,natural ,history1 ,central ,park1 ,new ,york1 are any ,swastikas shown4 ,of the foregoing figures1 all are from ,tlaltelolco1 ,mexico 7,blake collection71 except fig4 #cci1 which is from the ,valley of ,mexico1 and was received from the ,museo ,nacional of ,mexico4 ,illustration3 ,fig4 #cdc4 ,,terra-,,cotta ,,color ,,stamps ,,with ,,designs ,,similar ,,to ,,the ,,swastika4 ,piaroa ,indians1 ,venezuela4 ,tenth ,annual ,report of the ,bureau of ,ethnology1 fig4 #ihb4 ,marcano says3#cjd ,the present ,piaroas of ,venezuela are in the habit of painting their bodies by a process different from that of the ,north ,american ,indian4 ,they make stamps of wood1 which1 being colored 7as types are with ink71 they apply to their bodies4 ,fig4 #ihb shows examples of these stamps4 ,see fig4 #cdc of the present paper4 ,the designs are substantially the same as some petroglyphs4 ,they either copied the models they found carved on the rocks by peoples who preceded them1 or they knew the meaning and preserved the tradition4 ,the former is the only tenable hypothesis4 ,painting is to the ,piaroas both ornamentation and necessity4 ,it serves1 not only as a garment to protect them against insects1 but becomes a fancy costume to grace their feasts and meetings4 ,these designs are not presented as ,swastikas nor of any evolution or derivation from one4 ,they show a style common enough to ,central and ,south ,america1 to the ,antilles and the ,canary ,islands1#cje which might easily produce a ,swastika4 ,the aboriginal designer of these might1 if we depend upon the theory of psychological similarity of culture among all peoples1 at his next attempt make a ,swastika4 ,yet1 with the hundreds of similar patterns made during the centuries of aboriginal occupation and extending throughout the countries named1 none of these seem ever to have produced a ,swastika4 ,v4--,,significance ,,of ,,the ,,swastika4 ,the origin and early history of the ,swastika are lost in antiquity4 ,all the author has been able to find on these subjects is set forth in the preceding chapters4 ,it is proposed to examine the possible uses of the ,swastika in an endeavor to discover something of its significance4 ,the ,swastika might have served3 ,i4 ,as a symbol-- #a1 of a religion1 #b1 of a nation or people1 #c1 of a sect with peculiar tenets2 ,,ii4 ,as an amulet or charm-- #a1 of good luck1 or fortune1 or long life1 #b1 of benediction1 or blessing1 #c1 against the evil eye2 ,,iii4 ,as an ornament or decoration4 ,it may have been 7#a7 originally discovered or invented by a given people in a given country1 and transmitted from one generation to the next1 passing by migration from one country to another1 and it may have been transmitted by communication to widely separated countries and among differently cultured peoples2 or 7#b7 it may have appeared in these latter countries by duplicate invention or by accident1 and without contact or communication4 ,positive evidence concerning its origin and earliest migration is not obtainable1 and in its absence we are driven to secondary and circumstantial evidence4 ,this will consist 7#a7 of comparison of known facts directly concerning the subject2 7#b7 of facts indirectly concerning it1 and 7#c7 reason1 induced by argument1 applied to these facts1 presenting each truly1 and giving to each its proper weight4 ,the possible migrations of the ,swastika1 and its appearance in widely separated countries and among differently cultured peoples1 afford the principal interest in this subject to archologists and anthropologists4 ,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 countries1 whether it was by migration and contact or by independent invention4 ,in arguing this question1 we must keep continually in mind the rules of reason and of logic1 and neither force the facts nor seek to explain them by unknown1 imaginary1 or impossible methods4 ,there must be no dogmatic assertions nor fanciful theories4 ,if we assume certain migrations of the ,swastika1 we must consider those things which might have 7or must have7 migrated with it2 and we must admit the means necessary to the assumed end4 ,the history of the beginning and first appearance of any of the forms of the cross is also lost in antiquity1 and it would be hazardous for any person to announce positively their origin1 either as to locality or time4 ,the ,swastika was certainly prehistoric in its origin4 ,it was in extensive use during the existence of the third1 fourth1 and fifth cities of the site of ancient ,troy1 of the hill of ,hissarlik2 so also in the ,bronze ,age1 apparently during its entire existence1 throughout western ,europe from the ,mediterranean ,sea to the ,arctic ,ocean4 ,it continued in use in ,europe during the ,iron ,age1 and also among the ,etruscans1 ,greeks1 and ,trojans4 ,the name ,swastika1 by which it is recognized to-day in all literature1 is a ,sanscrit word1 and was in common use among the ,sanscrit peoples so long ago that it had a peculiar or individual pronunciation in ,pnini's grammar prior to the fourth century ,b4 ,c4 ,some authorities are of the opinion that it was an ,aryan symbol and used by the ,aryan peoples before their dispersion through ,asia and ,europe4 ,this is a fair subject for inquiry and might serve as an explanation how1 either as a sacred symbol or charm1 an amulet1 or token of good wishes or good fortune1 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 ,europe4 ,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 before their final dispersion took place1 but he agrees that it was unknown in ,assyria1 ,babylonia1 ,phenicia1 or among the ,egyptians4 ,whether the ,swastika was in use among the ,chaldeans1 ,hittites1 or the ,aryans before or during their dispersion1 or whether it was used by the ,brahmins before the ,buddhists came to ,india is1 after all1 but a matter of detail of its migrations2 for it may be fairly contended that the ,swastika was in use1 more or less common among the people of the ,bronze ,age anterior to either the ,chaldeans1 ,hittites1 or the ,aryans4 ,the additional facts in this regard have been set forth in the chapter on this subject1 and need not be repeated here4 ,the question should1 so far as possible1 be divested of speculation1 and the evidence accepted in its ordinary meaning without prejudice or preconceived opinion4 ,a consideration of the subject in the light of the material here collected develops the following questions3 7#a7 ,was the ,swastika1 in any of its forms1 the symbol of an ancient religion or philosophy1 or was it only the sign of a particular sect1 tenet1 faith1 or idea2 or was it both8 7#b7 ,was it a charm or amulet to be used by anyone which derived its value from the signification given to it8 7#c7 ,what lesson can be gathered from it concerning the early migrations of the races of man8 ,examples illustrating these questions are to be found in history as well as in everyday life4 ,the ,scarabus of ,egypt and ,etruria was a symbol of eternity4 ,the golden hoop on the lady's finger representing a snake swallowing its tail1 is also a symbol of eternity4 ,these represent a sentiment1 and are symbols of that sentiment without regard to sect or organized body4 ,on the other hand1 the ,maltese cross was the symbol of the ,knights of ,malta1 and has become1 in later years1 that of the ,masonic fraternity2 while the three links is the symbol of the ,order of ,odd ,fellows4 ,the ,latin cross is a symbol of the ,christian religion and1 to a certain extent1 of a ,christian denomination4 ,upon the evidence submitted1 we must accept the ,swastika first as a symbol of that sect of ,jains within the ,buddhist ,church originally in ,tibet1 which spread itself in the ,asiatic country under the names of ,tao-sse1 ,tirthankara1 ,ter1 ,musteg1 and ,pon or ,pon-po1 the last signifying purity 7ante1 p4 #ggd74 ,this sect1 or these sects1 adopted the ,swastika as their symbol1 giving it the translation su well1 asti1 it is1 the whole word meaning it is well1 or so be it1 implying resignation under all circumstances1 the sect holding1 in accordance with the meaning given to their symbol1 that contentment and peace of mind were the chief objects of human life4 ,in so far as it concerns this sect1 the ,swastika was a symbol of both kinds4 ,it represented a religious or at least a moral and philosophic idea1 and also the sect which held to this idea4 ,among the ,buddhists proper1 the ,swastika seems to have been employed as a holy or sacred symbol2 its occurrence as one of the signs in the footprint of ,buddha1 their founder1 with some relation either to the mystery of his appearance as a leader1 a missionary1 or of the holy and sacred object of his mission1 causes this to be inferred4 ,their use of it on the bronze statues of ,buddha1 and associating it with solemn inscriptions in the caves of ,india1 leaves no doubt as to its use as a symbol more or less of this character4 ,again1 the use in the early ,christian times of different forms of the cross1 coupled with the extensive use by the ,christians of the monogram of ,christ 7fig4 #f71 shows how naturally there may have been a conflict of opinion in the selection of a cross which should be a representative1 while we know from history that there was such discussion1 and that different forms of the cross were suggested4 ,among other forms was the ,swastika1 but to what extent or with what idea the author is not informed4 ,the ,swastika was used1 ,burnouf says1 a thousand times on ,christians' tombs in the catacombs at ,rome4 ,this is evidence of its use to a certain extent in a sacred or solemn and funereal character1 which would signify its use as the symbol of a religious idea4 ,beyond these instances the author is unable to find evidence of the ,swastika having served as a symbol of any religious or philosophic idea or of any sect or organization4 ,whether among the ,bronze ,age people of western ,europe--among the ,trojans1 ,greeks1 or ,etruscans--whether among the semicivilized peoples of ,south or ,central ,america1 or among the savages 7mound-builders7 of ,north ,america1 there is apparently no instance of the ,swastika having been regarded as holy or used on a sacred object--that is1 holy and sacred in the light of godliness1 piety1 or morality4 ,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 religion1 or which had1 in their eyes1 a semi-sacred character4 ,but it does not seem that it was used as a representative of a holy idea or of any god or supernatural being who stood for such an idea4 ,the meal used in the ,zui ceremony may have been regarded as sacred1 and it may1 indeed must1 have been made on a stone metate1 yet neither the metate nor the stone thereby obtained any holy or sacred character4 ,so1 also1 it may have been decorated with a fret1 chevron1 herringbone1 or any of the numerous styles1 none of which would receive any sacred character from such use4 ,so it is believed to have been with the ,swastika found on these objects2 it was not holy or sacred because of this use4 ,the author declines to discuss the possible relation of the ,swastika to the sun or sun god1 to the rain or rain god1 the lightning1 to ,dyaus1 ,zeus or ,agni1 to ,phebus or ,apollo1 or other of the mythological deities4 ,this question would be interesting if it could be determined with certainty1 or if the determination would be accepted by any considerable number of persons4 ,but this is left for some one more competent and more interested than the author4 ,the most probable use of the ,swastika among prehistoric peoples1 or among ,orientals other than the ,buddhists1 was as a charm or amulet signifying good fortune1 good luck1 long life1 or benediction and blessing4#cjf 7,see p4 #ghj47 ,looking over the entire prehistoric world1 we find the ,swastika used on small and comparatively insignificant objects1 those in common use1 such as vases1 pots1 jugs1 implements1 tools1 household goods and utensils1 objects of the toilet1 ornaments1 etc41 and infrequently on statues1 altars1 and the like4 ,in ,armenia it was found on bronze pins and buttons2 in the ,trojan cities on spindle-whorls2 in ,greece on pottery1 on gold and bronze ornaments1 and fibul4 ,in the ,bronze ,age in western ,europe1 including ,etruria1 it is found on the common objects of life1 such as pottery1 the bronze fibul1 ceintures1 spindle-whorls1 etc4 ,in addition to the foregoing1 there were peculiar uses of the ,swastika in certain localities3 ,in ,italy on the hut urns in which the ashes of the dead are buried2 in the ,swiss lakes stamped in the pottery2 in ,scandinavia on the weapons1 swords1 etc41 and in ,scotland and ,ireland on the brooches and pins2 in ,america on the metates for grinding corn2 the ,brazilian women wore it on the pottery fig leaf2 the ,pueblo ,indian painted it on his dance rattle1 while the ,north ,american ,indian1 at the epoch of the mound building in ,arkansas and ,missouri1 painted it in spiral form on his pottery2 in ,tennessee he engraved it on the shell1 and in ,ohio cut it in its plainest normal form out of sheets of copper4 ,so also among the modern ,indians we find it employed on occasions of ceremony1 as in the mountain chant by the ,navajoes1 and the war chant of the ,kansas1 on the necklace and ceremonial garters of the ,sac woman1 and on the war shields of the ,pimas4 ,as we do not find it represented in ,america on aboriginal religious monuments1 on ancient gods1 idols1 or other sacred or holy objects1 we are justified in claiming that it was not here used as a religious symbol2 while1 as it is found only on trinkets1 shells1 copper plaques1 spindle-whorls1 metates1 pottery bowls1 jugs1 bottles1 or vases2 as we find it sometimes square1 sometimes spiral1 now outside1 now inside1 of bowls and jars1 etc42 at one time a small rectangular figure and at another of extensive convolutions covering the side of the vase2 as we find it on the tools of the workmen1 the objects in everyday use1 whether in the house or the shop1 used indiscriminately by men and women1 or on gaming implements or dance rattles1 the contention seems justifiable that it was used as an ornament or as a charm for good luck and not as a religious symbol4 ,yet we know it was used on certain ceremonial occasions which may themselves have had more or less a sacred character4 ,thus1 after the fullest examination1 we find the ,swastika was confined to the commoner uses1 implements1 household utensils1 and objects for the toilet and personal decoration4 ,the specimens of this kind number a hundred to one of a sacred kind4 ,with this preponderance in favor of the common use1 it would seem that1 except among the ,buddhists and early ,christians1 and the more or less sacred ceremonies of the ,north ,american ,indians1 all pretense of the holy or sacred character of the ,swastika should be given up1 and it should 7still with these exceptions7 be considered as a charm1 amulet1 token of good luck or good fortune1 or as an ornament and for decoration4 ,,vi4--,,the ,,migration ,,of ,,symbols4 ,,migration ,,of ,,the ,,swastika4 ,the question of the migration of the ,swastika and of the objects on which it was marked1 which furnished its only means of transportation1 remains to be considered4 ,it is proposed to examine1 in a cursory manner perhaps1 not only the migration of the ,swastika itself1 but some of these objects1 spindle whorls especially1 with a view to discover 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 peoples4 ,thus1 we may be able to open the way to a consideration of the question whether this similarity of ,swastikas or other decorations1 or of the objects on which they were placed1 resulted from the migration of or contact or communication between distant peoples1 or was it accidental and the result of independent discoveries and duplicate inventions--an evidence of the parallelism of human thought8 ,dr4 ,brinton1 in a communication before the ,american ,philosophical ,society1#cjg starts out with a polemical discussion upon the subject of the migration of the ,swastika and its possible ,american migration1 as follows3 ,my intention is to combat the opinion of those writers who1 like ,dr4 ,hamy1 ,m4 ,beauvois1 and many others1 assert that because certain well-known ,oriental symbols1 as the ,ta ,ki1 the ,triskeles1 the ,svastika1 and the cross1 are found among the ,american aborigines1 they are evidence of ,mongolian1 ,buddhistic1 ,christian1 or ,aryan immigrations previous to the discovery by ,columbus1 and ,i shall also try to show that the position is erroneous of those who1 like ,william ,h4 ,holmes1 of the ,bureau of ,ethnology1 maintain that it is impossible to give a satisfactory explanation of the religious significance of the cross as a religious symbol in ,america4 ,in opposition to both these views1 ,i propose to show that the primary significance of all these widely extended symbols is quite clear1 and that they can be shown to have arisen from certain fixed relations of man to his environment1 the same everywhere1 and hence suggesting the same graphic representations among tribes most divergent in location and race1 and1 therefore1 that such symbols are of little value in tracing ethnic affinities or the currents of civilization4 ,i am sorry to be compelled to differ with ,dr4 ,brinton in these views4 ,i may not attempt much argument upon this branch of the subject1 but whatever argument is presented will be in opposition to this view1 as not being borne out by the evidence4 ,of course1 the largest portion of the discussion of this subject must consist of theory and argument1 but such facts as are known1 when subjected to an analysis of reason1 seem to produce a result contrary to that announced by ,dr4 ,brinton4 ,it is conceded that the duplication of the cross by different or distant peoples is no evidence of migrations of or contact between these peoples1 however close their relations might have been4 ,the sign of the cross itself was so simple1 consisting of only two marks or pieces intersecting each other at a right or other angle1 that we may easily suppose it to have been the result of independent invention4 ,the same conclusion has been argued with regard to the ,swastika4 ,but this is a non sequitur4 ,first1 ,i dispute the proposition of fact that the ,swastika is1 like the cross1 a simple design--one which would come to the mind of any person and would be easy to make4 ,for evidence of this1 ,i cite the fact that it is not in common use1 that it is almost unknown among ,christian peoples1 that it is not included in any of the designs for1 nor mentioned in any of the modern ,european or ,american works on1 decoration1 nor is it known to or practiced by artists or decorators of either country4#cjh ,for the truth of this1 ,i appeal to the experience of artists and decorators1 and would put the question whether1 of their own knowledge1 by their own inventions1 they have ever discovered or made ,swastikas1 or whether their brother artists have done so1 and if they answer in the affirmative1 ,i would ask whether those cases were not rare4 ,it may be granted that when the ,swastika has been seen by an artist or decorator it is easily understood and not difficult to execute1 but1 nevertheless1 ,i insist that its invention and use among artists and decorators during the centuries since the ,rennaissance is rare4 ,it is argued by ,zmigrodzki that the ,swastika on so many specimens1 especially the ,trojan spindle-whorls1 having been made regularly1 sometimes turning one way1 sometimes another1 sometimes square1 other times curved1 goes to show the rapidity with which the sign was made1 that it did not require an artist1 that its use was so common that it had become a habit and was executed in a rapid and sketchy manner1 as evidenced by the appearance of the marks themselves upon the whorls4 ,he likens this to the easy and unconsidered way which men have of signing their names1 which they are able to do without attention4 ,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 significance4 ,with this line of argument1 ,zmigrodzki reasons that the ,swastika was in its time confined to common use and thus he accounts for the number of ill-formed specimens4 ,this only accounts for the comparatively few ill-formed specimens1 but not for the great number1 the mass of those well formed and well drawn4 ,instead of the ,swastika being a sign easily made1 the experience of the writer is the contrary4 ,a simple cross like the ,latin1 ,greek1 ,st4 ,andrew's1 and other common forms may be very easy to make1 but a really good specimen of the ,swastika is difficult to make4 ,any one who doubts this has only to make the experiment for himself1 and make correctly such a specimen as fig4 #i4 ,while it may be easy enough to make the ,greek cross with two lines of equal length intersecting each other at right angles1 and while this forms a large proportion of the ,swastikas1 it is at its conclusion that the trouble of making a perfect ,swastika begins4 ,it will be found difficult1 requiring care and attention1 to make the projecting arms of equal length1 to see that they are all at the same angle2 and if it is bent again and again1 two or three turns upon each other1 the difficulty increases4 ,if a person thinks that the ,swastika1 either in the square or the ogee curves or the spiral volutes1 is easy to make1 he has but to try it with paper and pencil1 and1 if that is his first attempt1 he will soon be convinced of his error4 ,the artist who drew the spirals for this paper pronounces them to be the most difficult of all2 the curves are parabolic1 no two portions of any one are in the same circle1 the circle continually widens1 and no two circles nor any two portions of the same circle have the same center4 ,to keep these lines true and parallel1 the curve regular1 the distances the same1 and at the same time sweeping outward in the spiral form1 the artist pronounces a most difficult work1 requiring care1 time1 and attention 7fig4 #bie74 ,even the square and meander ,swastikas 7figs4 #aj1 #aa7 require a rule and angle to make them exact4 ,all this goes to show the intention of the artist to have been more or less deliberate2 and that the object he made was for a special purpose1 with a particular idea1 either as a symbol1 charm1 or ornament1 and not a meaningless figure to fill a vacant space4 ,yet it is practically this difficult form of the cross which appears to have spread itself through the widest culture areas1 extending almost to the uttermost parts of the earth4 ,all this is foundation for the suggestion that the ,swastika was not the result of duplicate invention or independent discovery1 that it is not an illustration of parallelism in human thought1 but that it was transmitted from person to person1 or passed from one country to another1 either by the migration of its people1 by their contact or communication1 or by the migration and transmission of the symbol and the sign itself4 ,pushing the argument of the difficulty of its making1 to account for the rarity of the design1 it is alleged that in modern times the ,swastika is practically unknown among ,christian peoples4 ,it passed out of use among them nigh a thousand years ago and has been supplanted by every other imaginable geometric form4 ,the fret1 chevron1 herringbone1 crosses1 and circles of every kind1 spirals1 volutes1 ogees1 moldings1 etc41 have all remained in use since neolithic times1 but no ,swastika4 ,the latest use mentioned in the literature upon this subject appears to have been in the arch-,episcopal chair in the cathedral at ,milan1 which bears the three ancient ,christian crosses1 the ,latin cross1 the monogram of ,christ1 and the ,swastika1 of which the first and last are carved in alternates around the pedestal of the chair4 ,yet the knowledge of the ,swastika has been perpetuated in some countries and its use has not died out all over the world2 therefore1 examples of its use in modern times should be noted in order to prevent misapprehension and contradiction4 ,the double ,greek fret made with two continuous lines 7fig4 #aci7 forms a pseudo ,swastika at each intersection1 although we have seen that this is not a real but only an apparent ,swastika 7p4 #ghc74 ,this is used in modern times by carpet and linen weavers as borders for carpets and tablecloths1 and by tile makers in similar decoration4 ,the ,swastika mark has continued in use among the ,orientals2 the ,theosophists have adopted it as a seal or insignia2 the ,japanese 7fig4 #cj71 the ,koreans 7p4 #gii71 the ,chinese 7fig4 #ca71 the ,jains 7figs4 #cc1 #cd71 and1 among the ,north ,american ,indians1 the ,navajo 7pl4 #ag71 and those of the ,kansas ,reservation 7pls4 #ae and #af74 ,it is not used by ,european peoples in modern times1 except in ,lapland and ,finland4 ,the ,national ,museum has lately received a collection of modern household and domestic utensils from ,lapland1 some of which bear the marks of the cross and one a churn1 the lid of which bears a possible ,swastika mark4 ,through the kindness of ,professor ,mason and ,mr4 ,cushing1 ,i have received a drawing of this 7fig4 #cdd74 ,theodor ,schvindt1 in ,suomalaisia koristeita1#cji a book of standard national ,finnish patterns for the embroideries of the country1 gives the ,swastika among others2 but it is classed among oblique designs and no mention is made of it as a ,swastika or of any character corresponding to it4 ,its lines are always at angles of #de degrees1 and are continually referred to as oblique designs4 ,the ,swastika ornaments ,danish baptismal fonts1 and according to ,mr4 ,j4 ,a4 ,hjaltalin it was used in ,iceland a few years since as a magic sign1 but with an obscured or corrupted meaning4 ,it arrived in that island in the ninth century ,a4 ,d4#caj ,illustration3 ,fig4 #cdd4 ,,modern ,,churn ,,lid ,,with ,,design ,,resembling ,,swastika4 ,lapland4 ,u4 ,s4 ,national ,museum4 ,the ,swastika mark appears both in its normal and ogee form in the ,persian carpets and rugs4#caa ,while writing this memoir1 ,i have found in the ,persian rug in my own bedchamber sixteen figures of the ,swastika4 ,in the large rug in the chief clerk's office of the ,national ,museum there are no less than twenty-seven figures of the ,swastika4 ,on a piece of imitation ,persian carpet1 with a heavy pile1 made probably in ,london1 ,i found also figures of the ,swastika4 ,all the foregoing figures have been of the normal ,swastika1 the arms crossing each other and the ends turning at right angles1 the lines being of equal thickness throughout4 ,some of them were bent to the right and some to the left4 ,at the entrance of the ,grand ,opera ,house in ,washington ,i saw a large ,india rug containing a number of ogee ,swastikas2 while the arms crossed each other at right angles1 they curved1 some to the right and some to the left1 but all the lines increased in size1 swelling in the middle of the curve1 but finishing in a point4 ,the modern ,japanese wisteria workbaskets for ladies have one or more ,swastikas woven in their sides or covers4 ,thus1 it appears that the use of the ,swastika in modern times is confined principally to ,oriental and ,scandinavian countries1 countries which hold close relations to antiquity2 that1 in western ,europe1 where in ancient times the ,swastika was most frequent1 it has1 during the last one or two thousand years1 become extinct4 ,and this in the countries which have led the world in culture4 ,if the ,swastika was a symbol of a religion in ,india and migrated as such in times of antiquity to ,america1 it was necessarily by human aid4 ,the individuals who carried and taught it should have carried with it the religious idea it represented4 ,to do this required a certain use of language1 at least the name of the symbol4 ,if the sign bore among the aborigines in ,america the name it bore in ,india1 ,swastika1 the evidence of contact and communication would be greatly strengthened4 ,if the religion it represented in ,india should be found in ,america1 the chain of evidence might be considered complete4 ,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 sign4 ,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 migration1 for this might have occurred in modern times1 as we know has happened with the ,russian religion and the ,christian cross4 ,while to find the ,buddhist religion and the ,swastika symbol together in ,america1 at a locality beyond the possibility of modern ,european or ,asiatic contact1 would be evidence of prehistoric migration yet it would seem to fix it at a period when1 and from a country where1 the two had been used together4 ,if the ,swastika and ,buddhism migrated to ,america together it must have been since the establishment of the ,buddhist religion1 which is approximately fixed in the sixth century ,b4 ,c4 ,but there has not been as yet in ,america1 certainly not in the localities where the ,swastika has been found1 any trace discovered of the ,buddhist religion1 nor of its concomitants of language1 art1 or custom4 ,adopting the theory of migration of the ,swastika1 we may therefore conclude that if the ,swastika came from ,india or ,eastern ,asia1 it came earlier than the sixth century ,b4 ,c4 ,if a given religion with a given symbol1 both belonging to the ,old ,world1 should both be found associated in the ,new ,world1 it would be strong evidence in favor of ,old ,world migration--certainly of contact and communication4 ,is it not equally strong evidence of contact to find the same sign used in both countries as a charm1 with the same significance in both countries8 ,the argument has been made1 and it has proved satisfactory1 at least to the author1 that throughout ,asia and ,europe1 with the exception of the ,buddhists and early ,christians1 the ,swastika was used habitually as a sign or mark or charm1 implying good luck1 good fortune1 long life1 much pleasure1 great success1 or something similar4 ,the makers and users of the ,swastika in ,south and ,central ,america1 and among the mound builders of the savages of ,north ,america1 having all passed away before the advent of history1 it is not now1 and never has been1 possible for us to obtain from them a description of the meaning1 use1 or purpose for which the ,swastika was employed by them4 ,but1 by the same line of reasoning that the proposition has been treated in the prehistoric countries of ,europe and ,asia1 and which brought us to the conclusion that the ,swastika was there used as a charm or token of good luck1 or good fortune1 or against the evil eye1 we may surmise that the ,swastika sign was used in ,america for much the same purpose4 ,it was placed upon the same style of object in ,america as in ,europe and ,asia4 ,it is not found on any of the ancient gods of ,america1 nor on any of the statues1 monuments1 or altars1 nor upon any sacred place or object1 but rather upon such objects as indicate the common and everyday use1 and on which the ,swastika1 as a charm for good luck1 would be most appropriate1 while for a sacred character it would be singularly inappropriate4 ,the theory of independent invention has been invoked to account for the appearance of the ,swastika in widely separated countries1 but the author is more inclined to rely upon migration and imitation as the explanation4 ,when signs or symbols1 myths or fables1 habits or customs1 utensils1 implements or weapons1 industries1 tools or machinery1 have been found in countries widely separated from each other1 both in countries bearing characteristics so much alike as to make them practically the same objects or industries1 and which are made in the same way1 they present a question to which there are only two possible solutions3 ,either they are independent discoveries or inventions which1 though analogous1 have been separately conceived1 or else they have been invented or discovered in one of the countries1 and passed to the other by migration of the object or communication of the knowledge necessary to form it1 or by contact between the two peoples4 ,of these inventions or discoveries said to have been made in duplicate1 each of which is alleged to have sprung up in its own country as a characteristic of humanity and by virtue of a law of physics or psychology1 it is but fair to say that in the opinion of the author the presumption is all against this4 ,duplicate inventions have been made and will be made again1 but they are uncommon4 ,they are not the rule1 but rather the exception4 ,the human intellect is formed on such unknown bases1 is so uncertain in its methods1 is swayed by such slight considerations1 and arrives at so many different conclusions1 that1 with the manifold diversities of human needs and desires1 the chances of duplicate invention by different persons in distant countries1 without contact or communication between them1 are almost as one to infinity4 ,the old adage or proverb says1 ,many men of many minds1 and it only emphasizes the differences between men in regard to the various phenomena mentioned4 ,there are some things sure to happen1 yet it is entirely uncertain as to the way they will happen4 ,nothing is more uncertain than the sex of a child yet to be born1 yet every person has one chance out of two to foretell the result correctly4 ,but of certain other premises1 the chances of producing the same result are as one to infinity4 ,not only does the human intellect not produce the same conclusion from the same premises in different persons1 but it does not in the same person at different times4 ,it is unnecessary to multiply words over this1 but illustrations can be given that are satisfactory4 ,a battle1 a street fight1 any event happening in the presence of many witnesses1 will never be seen in the same way by all of them2 it will be reported differently by each one2 each witness will have a different story4 ,the jurors in our country are chosen because of the absence of prejudice or bias4 ,their intellect or reason are intended to be subjected to precisely the same evidence and argument1 and yet how many jurors disagree as to their verdict8 ,we have but to consider the dissensions and differences developed in the jury room which are settled1 sometimes by argument1 by change of conviction1 or by compromise4 ,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 change8 ,yet these jurors have been charged1 tried1 and sworn a true verdict to render according to the law and evidence as submitted to them4 ,there is no doubt but that they are endeavoring to fulfill their duty in this regard1 and while the same evidence as to fact1 and charge as to law1 are presented to all of them at the same time1 what different impressions are made and what different conclusions are produced in the minds of the different jurors4 ,illustrations of this exist in the decisions of our ,supreme ,court1 wherein1 after full argument and fair investigation1 with ample opportunity for comparison of views1 explanations1 and arguments1 all based upon the same state of facts1 the same witnesses2 yet1 in how many cases do we find differences of opinion among the members of the court1 and questions of the gravest import and of the most vital character settled for the whole nation by votes of #h to #g and #e to #d8 ,the author has examined1 and in other places shown1 the fallacy of the rule that like produces like4 ,like causes produce like effects is a law of nature1 but when the decision rests upon the judgment of man and depends upon his reason and his intellect1 our common knowledge testifies that this law has no application4 ,when the proposition to be determined has to be submitted to individuals of widely separated and distinct countries between whom there has been neither communication nor contact1 and who have received no suggestion as to their respective ideas or needs1 or the means of satisfying them1 it seems to the author that no rule can be predicated upon the similarity of human condition1 of human reason1 or of human intellect1 certainly none which can be depended on to produce the same conclusion4 ,consideration of the facility with which symbols1 signs1 myths1 fables1 stories1 history1 etc41 are transmitted from one people to another and from one country to another1 should not be omitted in this discussion4 ,it may have slight relation to the ,swastika to mention the migrations of the present time1 but it will give an idea of the possibility of past times4 ,in this regard we have but to consider the immense number of articles or objects in museums and collections1 public and private1 representing almost every country and people4 ,we there find objects from all quarters of the globe1 from the five continents1 and all the islands of the sea4 ,some of them are of great antiquity1 and it is a matter of wonderment how they should have made such long passages and have been preserved from destruction by the vicissitudes of time and space4 ,we have but to consider how money passes from hand to hand and is always preserved to be passed on to the next4 ,every collection of importance throughout the world possesses a greater or less number of ,greek and ,roman coins antedating the ,christian era4 ,we have an excellent illustration of those possibilities in the word halloo1 commonly rendered as hello4 ,a few years ago this word1 was peculiar to the ,english language1 yet an incident lately occurred in the city of ,washington1 within sight of my own residence1 by which this word1 hello1 has traveled the world around1 has spread itself over land and sea1 has attached itself to and become part of most every spoken language of civilization1 and without much consideration as to its meaning2 but being on the procrustean bed of imitation1 there are people1 foreigners1 who believe that the telephone can be only made to respond when the demand is made hello6 ,,migration ,,of ,,classic ,,symbols4 ,count ,goblet d',alviella1 in ,la ,migration des ,symboles1 traces many ancient symbols from what he believes to be their place of origin to their modern habitat4 ,the idea he elucidates in his book is indicated in its title4 ,the sacred tree of the ,assyrians4--,this he holds to be one of the oldest historic symbols2 that it had its origin in ,mesopotamia1 one of the earliest civilized centers of the world4 ,beginning with its simplest form1 the sacred tree grew into an ornate and highly complex pattern1 invariably associated with religious subjects4 ,two living creatures always stand on either side1 facing it and each other4 ,first they were monsters1 like winged bulls or griffins1 and after became human or semihuman personages--priests or kings1 usually in the attitude of devotion4 ,the ,count says the migration of both these types can be readily traced4 ,the tree between the two monsters or animals passed from ,mesopotamia to ,india1 where it was employed by the ,buddhists and ,brahmins1 and has continued in use in that country to the present time4 ,it passed to the ,phenicians1 and from ,asia ,minor to ,greece4 ,from the ,persians it was introduced to the ,byzantines1 and during the early ages1 into ,christian symbolism in ,sicily and ,italy1 and even penetrated to the west of ,france4 ,the other type--that is1 the tree between two semi-human personages--followed the same route into ,india1 ,china1 and eastern ,asia1 and1 being found in the ancient ,mexican and ,maya codices1 it forms part of the evidence cited by the ,count as a pre-,columbian communication between the ,old ,world and the ,new4 ,he argues this out by similarity of the details of attitude and expression of the human figure1 the arrangement of the branches of the sacred tree1 etc4 ,the sacred cone of ,mesopotamia4--,this was worshipped by the western ,semites as their great goddess1 under the image of a conical stone4 ,its figurative representation is found alike on monuments1 amulets1 and coins4 ,on some ,phenician monuments there is to be seen1 super-added to the cone1 a horizontal crossbar on the middle of which rests a handle4 ,this shape bears a striking resemblance to the ,crux ansata 7fig4 #d71 and1 like it1 was a symbol of life in its widest and most abstract meaning4 ,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 talisman4 ,it is alleged that the ,ephesian ,artemis was but the sacred cone of ,mesopotamia anthropomorphized1 although1 with the halo added to ,artemis1 the allegation of relationship has been made in respect of the ,crux ansata4 ,the ,crux ansata1 the key of life4--,this is probably more widely known in modern times than any other ,egyptian symbol4 ,its hieroglyphic name is ,ankh1 and its signification is to live4 ,as an emblem of life1 representing the male and female principle united1 it is always borne in the hands of the gods1 it is poured from a jar over the head of the king in a species of baptism1 and it is laid symbolically on the lips of the mummy to revive it4 ,from ,egypt the ,crux ansata spread first among the ,phenicians1 and then throughout the whole ,semitic world1 from ,sardinia to ,susiana4 ,the winged globe4--,this was a widely spread and highly venerated ,egyptian symbol4 ,from ,egypt it spread1 under various modifications1 throughout the ,old ,world4 ,it is formed by a combination of the representations of the sun that have prevailed in different localities in ,egypt1 the mythology of which ended by becoming a solar drama4 ,two urus snakes or asps1 with heads erect1 are twisted round a globe-shaped disk1 behind which are the outstretched wings of a hawk1 and on its top the horns of a goat4 ,it commemorates the victory of the principle of light and good over that of darkness and evil4 ,it spread readily among the ,phenicians1 where it is found suspended over the sacred tree and the sacred cone1 and was carried wheresoever their art was introduced--westward to ,carthage1 ,sicily1 ,sardinia1 and ,cyprus1 eastward to ,western ,asia4 ,very early it penetrated on the north to the ,hittites1 and when it reached ,mesopotamia1 in the time of ,sargonid1 the winged circle assumed the shape of the wheel or rosette1 surmounted by a scroll with upcurled extremities and with a feathered tail opening out like a fan1 or a human figure in an attitude sometimes of benediction1 sometimes warlike1 was inscribed within the disk4 ,then it was no longer exclusively a solar emblem1 but served to express the general idea of divinity4 ,from ,mesopotamia it passed to ,persia1 principally in the anthropoid type4 ,it was1 however1 never adopted by ,greece1 and it is nowhere met with in ,europe1 except1 as before stated1 in the ,mediterranean islands4 ,when ,greece took over from ,asia symbolic combinations in which it was originally represented1 she replaced it by the thunderbolt4 ,but the aureole1 or halo1 which encircles the heads of her divinities1 and which ,christian art has borrowed from the classic1 was directly derived from it4 ,the caduceus4--,this is one of the interesting symbols of antiquity4 ,it appears in many phases and is an excellent illustration of the migration of symbols4 ,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 times1 and is very remote from its primitive form4 ,in the ,homeric hymn it is called the golden rod1 three-petaled of happiness and wealth1 which ,phoebus gave to the youthful ,hermes1 but on early ,greek monuments the three leaves are represented by a disk surmounted by an incomplete circle4 ,in this shape it constantly appears on ,phenician monuments2 and at ,carthage1 where it seems to have been essentially a solar emblem1 it is nearly always associated with the sacred cone4 ,it is found on ,hittite monuments1 where it assumes the form of a globe surmounted by horns4 ,numerous origins and manifold antecedents have been attributed to it1 such as an equivalent of the thunderbolt1 a form of the sacred tree1 or a combination of the solar globe with the lunar crescent4 ,some examples seem to indicate a transition from the sacred tree surmounted by the solar disk1 to the form of the caduceus of the ,hittites4 ,our author believes it was employed originally as a religious or military standard or flag1 and that it was gradually modified by coming in contact with other symbols4 ,some ,assyrian bas-reliefs display a military standard1 sometimes consisting of a large ring placed upon a staff with two loose bandelets attached1 sometimes of a winged globe similarly disposed4 ,this ,assyrian military standard may be the prototype of the labarum1 which ,constantine1 after his conversion to ,christianity1 chose for his own standard1 and which might equally well have been claimed by the sun worshipers4 ,under its latest transformation in ,greece1 a winged rod with two serpents twined round it1 it has come down to our own times representing two of the functions of ,hermes1 more than ever in vogue among men1 industry and commerce4 ,it has survived in ,india under the form of two serpents entwined1 probably introduced in the track of ,alexander the ,great4 ,it was also met with in that country in earlier times in its simpler form1 a disk surmounted by a crescent1 resembling our astronomical sign for the planet ,mercury4 ,this earliest type of the caduceus1 a disk surmounted by a crescent1 appears at a remote date in ,india1 and seems to have been confounded with the trisula4 ,the trisula4--,this form of the trident peculiar to the ,buddhists was of great importance in the symbolism of the ,hindus2 but whether it was an imitation of the type of thunderbolt seen on ,assyrian sculptures1 or was devised by them spontaneously1 is uncertain4 ,its simplest form1 which is1 however1 rarely met with1 is an omicron 7,greek3 o7 surmounted by an omega 7,greek3 74 ,nearly always the upper portion is flanked by two small circles1 or by two horizontal strokes which often take the appearance of leaves or small wings4 ,the points of the omega are generally changed into small circles1 leaves1 or trefoil2 and the disk itself is placed on a pedestal4 ,from its lower arc there fall two spires like serpents' tails with the ends curving1 sometimes up and sometimes down4 ,this is a very complex symbol4 ,none of the ,buddhist texts give any positive information in regard to its origin or meaning1 and few symbols have given rise to more varied explanations4 ,the upper part of the figure is frequently found separated from the lower2 sometimes this is plainly a trident superposed upon a disk-shaped nucleus4 ,the trident may possibly have symbolized the flash of lightning1 as did ,neptune's trident among the ,greeks1 but more probably it is the image of the solar radiation4 ,among the northern ,buddhists it personifies the heaven of pure flame superposed upon the heaven of the sun4 ,though undoubtedly a ,hindu emblem1 its primitive shape seems to have early felt the influence of the caduceus1 while its more complex forms exhibit a likeness to certain types of the winged globe4 ,still later the trisula was converted by ,brahmanism into an anthropoid figure1 and became the image of ,jagenath4 ,the vegetable kingdom was also laid under contribution1 and the trisula came into a resemblance of the tree of knowledge4 ,although we have learned the probable signification of its factors in the creeds that preceded ,buddhism1 we know very little about its meaning in the religion that used it most1 but it is a symbol before which millions have bowed in reverence4 ,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 given1 and there is sufficient similarity in form and meaning4 ,the double-headed eagle on the escutcheon of ,austria and ,russia4--,count ,d',alviella tells the history of the migration of the symbol of the double-headed eagle on the escutcheon of ,austria and ,russia4 ,it was originally the type of the ,garuda bird of southern ,india1 found on temple sculptures1 in carved wood1 on embroideries1 printed and woven cloths1 and on amulets4 ,it first appears on the so-called ,hittite sculptures at ,eyuk1 the ancient ,pteria in ,phrygia4 ,in #abag it appeared on the coins and standards of the ,turkoman conquerors of ,asia ,minor4 ,in #abbg-bh the ,emperor ,frederick ,,ii undertook the sixth crusade1 landing at ,acre in the latter year1 and being crowned ,king of ,jerusalem in #abbi4 ,within thirty years from these dates the symbol appeared on the coins of certain ,flemish princes1 and in #acde it replaced the single-headed eagle on the armorial bearing of the holy ,roman ,empire4 ,thus1 the historic evidence of the migration of this symbol1 from the far east to the nations of the west by direct contact1 would seem complete4 ,the lion rampant of ,belgium4--,this lion was incorporated into the ,percy or ,northumberland escutcheon by the marriage of ,joceline of ,louvain1 the second son of ,godfrey1 the ,duke of ,brabant1 to ,agnes1 the sister and heir of all the ,percys4 ,the ,counts of ,flanders1 ,brabant1 and ,louvain bore as their coat of arms the lion rampant facing to the left1 which is the present coat of arms of the ,king of ,belgium4 ,the story is thus told in ,burke's ,peerage 7#ahie73 ,agnes de ,percy married ,joceline of ,louvain1 brother of ,queen ,adeliza1 second wife of ,henry ,i1 and son of ,godfrey ,barbalus1 ,duke of ,lower ,brabant and ,count of ,brabant1 who was descended from the ,emperor ,charlemagne4 ,her ladyship1 it is stated1 would only consent1 however1 to this great alliance upon condition that ,joceline should adopt either the surname or arms of ,percy1 the former of which1 says the old family tradition1 he accordingly assumed1 and retained his own paternal coat in order to perpetuate his claim to the principality of his father1 should the elder line of the reigning duke become extinct4 ,the matter is thus stated in the old pedigree at ,sion ,house3 ,the ancient arms of ,hainault this ,lord ,jocelyn retained1 and gave his children the surname of ,percy4 ,the migration of this lion rampant is interesting4 ,it was in the twelfth century the coat of arms of the ,king of ,albania4 ,phillippe d',alsace1 the eldest son of ,thierry d',alsace1 was ,count of ,flanders1 sixteenth in succession1 tracing his ancestry back to #fba ,a4 ,d4 ,the original and ancient coat of arms of the ,counts of ,flanders consisted of a small shield in the center of a larger one1 with a sunburst of six rays4 ,phillippe d',alsace reigned as ,count of ,flanders and ,brabant from #aafh to #aaij ,a4 ,d4 ,he held an important command in two crusades to the ,holy ,land4 ,during a battle in one of these crusades1 he killed the ,king of ,albania in a hand-to-hand conflict1 and carried off his shield with its escutcheon of the lion rampant1 which ,phillippe transferred to his own shield1 took as his own coat of arms1 and it has been since that time the coat of arms of the ,counts of ,flanders and ,brabant1 and is now that of ,belgium4 ,the lion in the escutcheon can thus be traced by direct historic evidence through ,northumberland1 ,flanders and ,louvain back to its original owner1 the ,king of ,albania1 in the twelfth century4 ,thus is the migration of the symbol traced by communication and contact1 and thus are shown the possibilities in this regard which go far toward invalidating1 if they do not destroy1 the presumption of separate invention in those cases wherein1 because of our ignorance of the facts1 we have invoked the rule of separate invention4 ,greek art and architecture4--,it has come to be almost a proverb in scientific investigation that we argue from the known to the unknown4 ,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 fret1 which is in appearance closely related to the ,swastika2 and1 indeed1 we might extend the illustration to all ,greek architecture4 ,it is a well-known fact1 established by numberless historic evidences1 that the ,greek architecture of ancient times migrated--that is1 passed by communication and contact of peoples1 and by transfer of knowledge from one man to another1 and from one generation to the succeeding generation1 until it became known throughout all western countries4 ,the architects of ,rome1 ,vicenza1 ,paris1 ,london1 ,philadelphia1 ,washington1 ,chicago1 and ,san ,francisco derive their knowledge of ,grecian architecture in its details of ,doric1 ,ionic1 and ,corinthian styles by direct communication1 either spoken1 written or graphic1 from the ,greek architects who practiced1 if they did not invent1 these styles4 ,the ,greek fret4--,this has migrated in the same manner4 ,as to its invention or origin1 we have little to do in the present argument4 ,whether the fret was the ancestor or the descendant of the ,swastika is of no moment to our present question4 ,it has been demonstrated in the early part of this paper that both it and the ,swastika had a common existence in early if not prehistoric ,greece1 and that both were employed in perfected form on the same specimen of ,archaic ,greek pottery4 ,figs4 #acc and #acd demonstrate that these two signs migrated together from ,greece to ,egypt1 for the particular specimen mentioned was found at ,naukratis1 ,egypt4 ,from this high antiquity the ,greek fret has migrated to practically every country in the world1 and has been employed during all historic time by the peoples of every civilization4 ,the fret is known historically to have passed by means of teachers1 either through speaking1 writing1 or drawing1 and never yet a suggestion that its existence or appearance in distant countries depended upon separate invention or independent discovery4 ,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 architecture8 ,the same proposition of migration applies to ,greek art1 whether of sculpture1 engraving1 or gem carving4 ,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 country1 and this was all done by communication between peoples either through speaking1 writing1 or drawing4 ,so far from being separate inventions1 the modern sculptor or engraver1 with full historic knowledge of the origin or1 at least1 antiquity of these arts1 and with an opportunity for inspection and study of the specimens1 is still unable to reproduce them or to invent original works of so high an order4 ,the imaginary and newly invented theory that culture is the result of the psychologic nature of man manifesting itself in all epochs and countries1 and among all peoples1 by the evolution of some new discovery made to fit a human need--that as all human needs in a given stage are the same1 therefore all human culture must1 per se1 pass through the same phases or stages--is a theory to which ,i refuse adhesion4 ,it receives a hard blow when we take down the bars to the modern sculptor1 requiring of him neither original invention nor independent discovery1 but permitting him to use1 study1 adapt1 and even servilely copy the great ,greek art works1 and we know that with all these opportunities and advantages he can not attain to their excellence1 nor reach their stage of art culture4 ,,vii4--,,prehistoric ,,objects ,,associated ,,with ,,the ,,swastika1 ,,found ,,in ,,both ,,hemispheres1 ,,and ,,believed ,,to ,,have ,,passed ,,by ,,migration4 ,,spindle-,,whorls4 ,spindle-whorls are first to be considered4 ,these are essentially prehistoric utensils1 and are to be found in every part of the world where the inhabitants were sufficiently cultured to make twisted threads or cords1 whether for hunting or fishing1 games1 textile fabrics1 or coverings1 either for themselves1 their tents1 or other purposes4 ,in western ,asia1 all of ,europe1 in the pueblos of ,north ,america1 and among the aborigines--by whatever name they are called--of ,mexico1 ,central ,america1 and the north and west coast of ,south ,america1 wherever the aborigines employed cord1 cloth1 or fiber1 the spindle-whorl is found4 ,where they used skins for the coverings of themselves or their tents1 the spindle-whorl may not be found4 ,thus1 in the ,eskimo land1 and among certain of the ,north ,american savages1 spindle-whorls are rarely if ever found4 ,the spindle-whorl was equally in use in ,europe and ,asia during the ,neolithic ,age as in the ,bronze ,age4 ,it continued in use among the peasants in remote and outlying districts into modern times4 ,during the ,neolithic ,age its materials were stone and terra cotta2 during the ,bronze ,age they were almost exclusively terra cotta4 ,they are found of both materials4 ,recently a ,gallo-,roman tomb was opened at ,clermont-,ferrand and found to contain the skeleton of a young woman1 and with it her spindles and whorls4#cab ,the existence of spindle-whorls in distant and widely separated countries affords a certain amount of presumptive evidence of migrations of peoples from one country to another1 or of contact or communication between them4 ,if the people did not themselves migrate and settle the new country1 taking the spindle-whorls and other objects with them1 then the spindle-whorl itself1 or the knowledge of how to make and use it1 must in some other way have gotten over to the new country4 ,this argument of migration1 contact1 or communication does not rest solely on the similarity of the whorls in the distant countries1 but equally on the fact of spinning thread from the fiber2 and this argument is reenforced by the similarity of the operation and of the tool or machine with which it was done4 ,it has been said elsewhere that the probability of communication between widely separated peoples by migration or contact depended for its value as evidence1 in some degree1 upon the correspondence or similarity of the object considered1 and that this value increased with the number of items of correspondence1 the closeness of similarity1 the extent of the occurrence1 and the difficulty of its performance4 ,so we pass to the similarity in size1 appearance1 mode of manufacture1 and1 finally1 the use of the whorls of the two continents4 ,,europe4 ,switzerland--,lake dwellings4--,figs4 #cde and #cdf show stone spindle-whorls from prehistoric ,swiss lake dwellings4 ,these are in the ,u4 ,s4 ,national ,museum1 and with them are dozens of others of the same kind and style from all other parts of ,europe4 ,fig4 #cdg shows a stone spindle-whorl from ,lund1 ,sweden4 ,it is in the ,u4 ,s4 ,national ,museum and was contributed by ,professor ,jillson4 ,figs4 #cdh1 #cdi1 and #cej represent terra-cotta spindle-whorls from the ,swiss lakes4 ,these specimens were selected to show the different patterns1 to illustrate their unlikeness instead of their likeness1 to give an understanding of the various kinds of whorls rather than that they were all one kind1 a fad which should be kept in mind during this argument4 ,illustration3 ,figs4 #cde and #cdf4 ,,stone ,,spindle-,,whorls4 ,neolithic4 ,swiss lake dwellings4 ,u4 ,s4 ,national ,museum4 ,illustration3 ,fig4 #cdg4 ,,stone ,,spindle-,,whorl4 ,neolithic4 ,lund1 ,sweden4 ,cat4 ,no4 #ebha1 ,u4 ,s4 ,n4 ,m4 ,illustration3 ,fig4 #cdh4 ,,terra-,,cotta ,,spindle-,,whorl4 ,neolithic or ,bronze ,age4 ,swiss lake dwellings4 ,cat4 ,no4 #ajjfdb1 ,u4 ,s4 ,n4 ,m4 ,illustration3 ,fig4 #cdi4 ,,terra-,,cotta ,,spindle-,,whorl4 ,neolithic or ,bronze ,age4 ,swiss lake dwellings4 ,cat4 ,no4 #aijfdb1 ,u4 ,s4 ,n4 ,m4 ,illustration3 ,fig4 #cej4 ,,terra-,,cotta ,,spindle-,,whorl4 ,swiss lake dwellings4 ,cat4 ,no4 #ajjfdg1 ,u4 ,s4 ,n4 ,m4 ,italy4--,figs4 #cea1 #ceb1 and #cec show terra-cotta spindle-whorls from ,orvieto1 ,italy1 #gh miles north from ,rome4 ,figs4 #ced and #cee represent spindle-whorls from ,corneto1 ,italy1 #fc miles north from ,rome4 ,as remarked above1 they have been chosen to represent the different kinds4 ,there are thousands of these whorls found in ,italy4 ,in the ,archological ,exposition at ,turin1 #ahhd1 the number was so great that they were twined about the columns1 thereby providing a place of storage as well as a place of display4 ,illustration3 ,figs4 #cea1 #ceb1 and #cec4 ,,prehistoric ,,terra-,,cotta ,,spindle-,,whorls4 ,orvieto1 ,italy4 ,cat4 ,nos4 #ajafga1 #ajafgb1 ,u4 ,s4 ,n4 ,m4 ,wurtemburg4--,dr4 ,charles ,rau procured for1 and there is now in1 the ,u4 ,s4 ,national ,museum a spindle 7fig4 #cef7 with its whorl which had been in use for spinning from #ahfj to #ahgj1 and which he obtained in ,wurtemburg1 ,germany1 from the woman who had used it4 ,illustration3 ,figs4 #ced and #cee4 ,,prehistoric ,,spindle-,,whorls4 ,corneto1 ,italy4 ,cat4 ,no4 #ajaggc1 ,u4 ,s4 ,n4 ,m4 ,france4--,the author has seen the ,french peasants in ,brittany spinning their thread in the same way1 and once took a photograph of one in the hamlet of ,pont-,aven1 ,morbihan1 but it failed in development4 ,in #ahic ,mr4 ,harle purchased at ,st4 ,gerons1 ,ardeche1 a merchant's entire stock of modern porcelain spindle-whorls4 ,the manufactory was located at ,martres-,tolosane1 and the trade extended throughout the ,pyrenees4 ,he presented a series to the ,socit d',anthropologie at ,paris1 ,july1 #ahic4cac ,illustration3 ,,plate #ba4 ,,spindle-,,whorls ,,of ,,modern ,,porcelain ,,from ,,southern ,,france4 ,cat4 ,no4 #afieih1 ,u4 ,s4 ,n4 ,m4 ,illustration3 ,fig4 #cef4 ,,modern ,,spindle ,,and ,,whorl ,,used ,,for ,,spinning ,,thread4 ,wurtemburg1 ,germany4 ,the ,u4 ,s4 ,national ,museum has lately received1 through the kindness of the cole d',anthropologie1 a series of nine of these porcelain whorls 7pl4 #ba74 ,the wheel and modern machines for spinning have penetrated this corner of the world1 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 ,roland crossed the mountain pass near there and sounded his ,oliphant1 calling for help from ,charlemagne4 ,these are the death chant of the industry of hand spinning in that country4 ,,north ,,america--,,pre-,,columbian ,,times4 ,the ,north ,american ,indians employed rushes and animal skins as the principal coverings for themselves and their tents4 ,they used sinews and thongs for thread and cord1 and thus avoided largely the necessity for spinning fiber or making textiles2 for these or possibly other reasons1 we find few spindle-whorls among them compared with the number found in ,europe4 ,yet the ,north ,american ,indians made and used textile fabrics1 and there are pieces of woven cloth from mounds in ,ohio now in the ,department of ,prehistoric ,anthropology1 ,u4 ,s4 ,national ,museum4 ,the ,pueblo ,indians spun thread and wove cloth in pre-,columbian times1 and those within the ,states of ,colorado and ,utah and the adjoining ,territories of ,arizona and ,new ,mexico1 particularly the ,navajoes1 have been long noted for their excellence in producing textile fabrics4 ,specimens of their looms and thread are on display in the ,national ,museum and have been published in the reports4 ,special attention is called to that by ,dr4 ,washington ,matthews in the ,third ,annual ,report of the ,bureau of ,ethnology1 #ahha-hb4 ,dr4 ,matthews is of the opinion that the work of the ,pueblo ,indians antedated that of the ,navajoes1 that the latter learned the art from the former since the advent of the ,spaniards2 and he remarks that the pupils now excel their masters in the beauty and quality of their work4 ,he declares that the art of weaving has been carried to greater perfection among the ,navajoes than among any native tribe in ,america north of the ,mexican boundary2 while with none in the entire continent has it been less influenced by contact with ,europeans4 ,the superiority of the ,navajo to the ,pueblo work results not only from a constant advance of the weavers' art among the former1 but from a deterioration of it among the latter4 ,this deterioration among the ,pueblo ,indians he attributes to their contact with the whites1 their inclination being to purchase rather than to make woven fabrics1 while these influences seem not to have affected the ,navajoes4 ,he represents a ,navajo woman spinning 7see pl4 #bb of the present paper74 ,she is seated1 and apparently whorls the spindle by rubbing it on her leg4 ,the spindle is of wood1 as are all other spindles1 but the whorl is also of wood4 ,in this these people are peculiar and perhaps unique4 ,the whorl1 among most other savage or prehistoric peoples1 as we have already seen1 was of stone or clay4 ,these wooden whorls are thinner and larger1 but otherwise they are the same4 ,an inspection of the plate will show that with it the spinning apparatus forms the same machine1 accomplishes the same purpose1 and does it in the same way4 ,the sole difference is in the size and material of the whorl4 ,the difference in material accounts for the difference in size4 ,it is not improbable that the ,indian discovered that the wooden whorl would serve as well as a stone or pottery one1 and that it was easier made4 ,the machine in the hands of the woman1 as shown in the figure1 is larger than usual1 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 times2 so it may have been discovered that a large whorl of wood served their purpose better than a small one of stone4 ,stone whorls of large size might be too heavy4 ,thus may be explained the change from small stone or pottery whorls to large wooden ones4 ,illustration3 ,fig4 #ceg4 ,,terra-,,cotta ,,spindle-,,whorl ,,with ,,design ,,similar ,,to ,,swastika4 ,valley of ,mexico4 ,cat4 ,no4 #bghge1 ,u4 ,s4 ,n4 ,m4 ,illustration3 ,,plate #bb4 ,,navajo ,,woman ,,using ,,spindle ,,and ,,whorl4 ,dr4 ,washington ,matthews1 ,third ,annual ,report of the ,bureau of ,ethnology1 #ahha-hb1 ,pl4 ,,xxxiv4 ,mexico4--,fig4 #ceg represents the two sides and edge of a pottery terra-cotta spindle-whorl4 ,it is the largest of a series of six 7,cat4 ,nos4 #bghge-bghhj7 from the valley of ,mexico1 sent to the ,u4 ,s4 ,national ,museum by the ,mexican ,national ,museum in #ahgg4 ,fig4 #ceh also represents one of a series from ,mexico1 obtained by ,w4 ,w4 ,blake1 ,july1 #ahhf 7,cat4 ,nos4 #iijea-iijei74 ,the ,national ,museum possesses hundreds of these from ,mexico1 as well as the small ones from ,peru4 ,illustration3 ,fig4 #ceh4 ,,mexican ,,terra-,,cotta ,,spindle-,,whorl ,,with ,,design ,,similar ,,to ,,swastika4 ,these specimens are chosen because they are the largest and most elaborately decorated4 ,it will be perceived at a glance how the style of decoration lends itself to the ,swastika4 ,it consists mostly of geometric figures1 chief of which is the ,greek fret1 the labyrinth1 the circle1 and the volute1 but as in the color stamps 7pp4 #idf-idg7 there is no ,swastika4 ,illustration3 ,figs4 #cei and #cfj4 ,,terra-,,cotta ,,spindle-,,whorls4 ,omotepe ,island1 ,nicaragua4 ,cat4 ,nos4 #bhhih1 #bhhii1 ,u4 ,s4 ,n4 ,m4 ,,central ,,america4 ,nicaragua4--,the specimen shown in fig4 #cei1 from ,omotepe ,island1 ,lake ,nicaragua1 is one of a series of pottery spindle-whorls1 bearing1 however1 great resemblance to those of stone4 ,fig4 #cfj shows a specimen from the same locality4 ,it is of pottery and bears much resemblance in form to the earliest whorls found by ,schliemann on the site of ,troy on the hill of ,hissarlik4 ,both these were collected by ,dr4 ,j4 ,f4 ,bransford1 and are in the ,u4 ,s4 ,national ,museum4 ,fig4 #cfa shows a specimen from ,granada1 ,nicaragua4 ,it is of the common shape of the ,european prehistoric spindle-whorl4 ,its flat surface is decorated with a ,greek cross in incised lines1 two quarters of which are filled with hatch marks4 ,fig4 #cfb shows a terra-cotta spindle-whorl from ,malacate1 ,nicaragua4 ,it is cone-shaped4 ,both these specimens were collected by ,dr4 ,earl ,flint4 ,illustration3 ,fig4 #cfa4 ,,terra-,,cotta ,,spindle-,,whorl4 ,granada1 ,nicaragua4 ,cat4 ,no4 #bcbie1 ,u4 ,s4 ,n4 ,m4 ,illustration3 ,fig4 #cfb4 ,,terra-,,cotta ,,spindle-,,whorl4 ,malacate1 ,nicaragua4 ,cat4 ,no4 #bijji1 ,u4 ,s4 ,n4 ,m4 ,,south ,,america4 ,chiriqui4--,figs4 #cfc1 #cfd1 and #cfe show terra-cotta spindle-whorls from ,chiriqui1 the most northern territory in ,south ,america and adjoining the ,isthmus of ,panama4 ,they are engraved natural size1 with ornamentation similar to that on the pottery of that country4 ,illustration3 ,fig4 #cfc4 ,,spindle-,,whorl ,,made ,,of ,,gray ,,clay ,,and ,,decorated ,,with ,,annular ,,nodes4 ,chiriqui4 ,sixth ,annual ,report of the ,bureau of ,ethnology1 fig4 #bah4 ,colombia4--,fig4 #cff shows a cone-shaped terra-cotta whorl from ,manizales1 ,colombia1 ,south ,america4 ,it has a star-shaped design on the face and a three-line zigzag or chevron pattern4 ,peru4--,plate #bc represents a series of spindles and whorls from ,peru4 ,they were furnished to the ,u4 ,s4 ,national ,museum by ,i4 ,v4 ,norton1 of ,plainville1 ,n4 ,y4 ,the whorls were originally considered to be beads1 and were without further description4 ,the spindles were not inserted in them as at present4 ,the spindles1 as well as whorls1 are exceedingly small4 ,some of the whorls are decorated by incised lines in the clay1 and many of the spindles are decorated in the middle with paint in different colors1 in lines1 scrolls1 and chevrons4 ,these are the only whorls from ,peru which the ,u4 ,s4 ,national ,museum has1 though it possesses an extensive series of the spindles1 several of which still have the spun thread wrapped upon them4 ,illustration3 ,,plate #bc4 ,,series ,,of ,,aboriginal ,,spindles ,,and ,,whorls ,,from ,,peru4 ,cat4 ,no4 #ageaj1 ,u4 ,s4 ,n4 ,m4 ,illustration3 ,fig4 #cfd4 ,,spindle-,,whorl ,,of ,,gray ,,clay ,,with ,,figures ,,of ,,animals4 ,chiriqui4 ,sixth ,annual ,report of the ,bureau of ,ethnology1 fig4 #bai4 ,illustration3 ,fig4 #cfe4 ,,spindle-,,whorl ,,of ,,dark ,,clay ,,with ,,perforations ,,and ,,incised ,,ornaments4 ,chiriqui4 ,sixth ,annual ,report of the ,bureau of ,ethnology1 fig4 #bbj4 ,illustration3 ,fig4 #cff4 ,,terra-,,cotta ,,spindle-,,whorl4 ,manizales1 ,colombia4 ,cat4 ,no4 #afhch1 ,u4 ,s4 ,n4 ,m4 ,there are certain distinguishing peculiarities to be remarked when comparing the spindle-whorls from the ,western ,hemisphere with those from the ,eastern ,hemisphere4 ,there is greater diversity in size1 form1 and decoration in the ,american than in the ,european whorls4 ,a series of ,european whorls from any given locality will afford a fair representation of those from almost every other locality4 ,but it is different with the ,american specimens4 ,each section in ,america has a different style1 not only different from the ,european specimens1 but different from those of neighboring sections4 ,among the eighteen thousand whorls found by ,dr4 ,schliemann on the hill of ,hissarlik1 there is scarcely one so large as those here shown from ,mexico1 while1 on the other hand1 there were only a few as small as the largest of the series from ,peru4 ,the difference in size and material in the ,pueblo whorls has already been noticed4 ,the ornamentation is also peculiar in that it adopts1 not a particular style common to the utensil1 but that it adopts the styles of the respective countries4 ,the ,mexican whorl has a ,mexican style of ornamentation1 etc4 ,the ,nicaragua specimens resemble the ,european more than any other from ,america in their forms and the almost entire absence of decoration4 ,the foregoing are the differences2 but with all the number and extent of these differences the fact remains that the whorls of the two hemispheres are practically the same1 and the differences are insignificant4 ,in style1 shape1 and manner of use they are so similar in the two hemispheres as to be the same invention4 ,the whorls1 when put upon their spindles1 form the same machine in both countries4 ,they were intended for and they accomplish the same purpose1 and the method of their performance is practically the same4 ,while the similarity of the art of spinning and the mechanism 7i4 e41 the spindle and whorl7 by which it is accomplished may not prove conclusively that it migrated from the ,eastern ,hemisphere1 nor yet show positive connection or communication between the two peoples1 it goes a long way toward establishing such migration or communication4 ,the similarity in the art and its mechanism appears to the author to show such resemblance with the like culture in the ,eastern ,hemisphere1 and is so harmonious with the theory of migration or contact or communication1 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 countries1 the evidence of the similarity of the spindle-whorls would form a valuable addition to and largely increase the evidence to establish the main fact4 ,until that piece of well-authenticated evidence has been obtained1 the question must1 so far as concerns spindle-whorls1 remain only a probability4 ,the differences between them are of manner1 and not of matter2 in size and degree1 but not in kind1 and are not other or greater than might easily arise from local adaptation of an imported invention4 ,compare the ,navajo spindle 7pl4 #bb7 with that from ,wurtemburg1 ,germany 7fig4 #cef71 and these with the spindles and whorls from ,peru 7pl4 #bc74 ,these facts are entirely in harmony with the possibility that the spindle and whorl1 as a machine for spinning1 was a single invention1 and that its slight differentiations resulted from its employment by different peoples--the result of its intertribal migrations4 ,for purposes of comparison1 and to show the similarity of these objects in ,europe1 the author has introduced a series of spindle-whorls from ,troy1 ,hissarlik 7pls4 #bd and #be74 ,these belong to the ,u4 ,s4 ,national ,museum1 and form part of the valuable collection from ,mme4 ,schliemann1 the gift by her talented husband to the people of the ,united ,states as a token of his remembrance and grateful feelings toward them4 ,illustration3 ,,plate #bd4 ,,selected ,,specimens ,,of ,,spindle-,,whorls ,,from ,,the ,,third1 ,,fourth1 ,,and ,,fifth ,,cities ,,of ,,troy4 ,u4 ,s4 ,national ,museum4 ,illustration3 ,,plate #be4 ,,selected ,,specimens ,,of ,,spindle-,,whorls ,,from ,,the ,,third1 ,,fourth1 ,,and ,,fifth ,,cities ,,of ,,troy4 ,u4 ,s4 ,national ,museum4 ,,bobbins4 ,,europe4 ,we have already seen how an increase in the number of correspondences between objects from distant countries increases the weight of their evidence in favor of contact or communication between the peoples4 ,if it should be found upon comparison that the bobbins on which thread is to be wound1 as well as the spindle-whorls with which it is made1 had been in use during prehistoric times in the two hemispheres1 it would add to the evidence of contact or communication4 ,the ,u4 ,s4 ,national ,museum possesses a series of these bobbins1 as they are believed to have been1 running from large to small1 comprising about one dozen specimens from ,italy1 one from ,corneto and the others from ,bologna1 in which places many prehistoric spindle whorls have been found 7figs4 #cfg and #cfh74 ,these are of the type ,villanova4 ,the end as well as the side view is represented4 ,the former is one of the largest1 the latter of middle size1 with others smaller forming a graduating series4 ,the latter is engraved on the end by dotted incisions in three parallel lines arranged in the form of a ,greek cross4 ,a similar bobbin from ,bologna bears the sign of the ,swastika on its end 7fig4 #aic74cad ,it was found by ,count ,gozzadini and forms part of his collection in ,bologna4 ,illustration3 ,fig4 #cfg4 ,,bobbin ,,or ,,spool ,,for ,,winding ,,thread 7874 ,type ,villanova4 ,corneto1 ,italy4 ,u4 ,s4 ,national ,museum4 ,illustration3 ,fig4 #cfh4 ,,terra-,,cotta ,,bobbin ,,or ,,spool ,,for ,,winding ,,thread 7874 ,type ,villanova4 ,bologna1 ,italy4 ,cat4 ,no4 #ajagga1 ,u4 ,s4 ,n4 ,m4 ,,united ,,states4 ,the three following figures represent clay and stone bobbins1 all from the ,state of ,kentucky4 ,fig4 #cfi shows a bobbin elaborately decorated1 from a mound near ,maysville1 ,ky4 ,it has a hole drilled longitudinally through the center4 ,the end shows a cross of the ,greek form with this hole in the center of the cross4 ,fig4 #cgj shows a similar object from ,lexington1 ,ky41 sent by the ,kentucky ,university4 ,it is of fine-grained sandstone1 is drilled longitudinally through the center and decorated as shown4 ,the end view shows a series of concentric circles with rows of dots in the intervals4 ,fig4 #cga shows a similar object of fine-grained sandstone from ,lewis ,county1 ,ky4 ,it is also drilled longitudinally1 and is decorated with rows of zigzag lines as shown4 ,the end view represents four consecutive pentagons laid one on top of the other1 which increase in size as they go outward1 the hole through the bobbin being in the center of these pentagons1 while the outside line is decorated with spikes or rays extending to the periphery of the bobbin1 all of which is said to represent the sun4 ,the specimen shown in fig4 #cgb1 of fine-grained sandstone1 is from ,maysville1 ,ky4 ,the two ends are here represented because of the peculiarity of the decoration4 ,in the center is the hole1 next to it is a rude form of ,greek cross which on one end is repeated as it goes farther from the center2 on the other1 the decoration consists of three concentric circles1 one interval of which is divided by radiating lines at regular intervals1 each forming a rectangle4 ,between the outer lines and the periphery are four radiating rays which1 if completed all around1 might form a sun symbol4 ,bobbins of clay have been lately discovered in ,florida by ,mr4 ,clarence ,b4 ,moore and noted by ,professor ,holmes4 ,illustration3 ,fig4 #cfi4 ,,bobbin 787 ,,from ,a ,,mound ,,near ,,maysville1 ,,kentucky4 ,cat4 ,no4 #afgdh1 ,u4 ,s4 ,n4 ,m4 ,illustration3 ,fig4 #cgj4 ,,bobbin 787 ,,from ,,lexington1 ,,kentucky4 ,cat4 ,no4 #affia1 ,u4 ,s4 ,n4 ,m4 ,illustration3 ,fig4 #cga4 ,,bobbin 787 ,,of ,,fine-,,grained ,,sandstone4 ,lewis ,county1 ,kentucky4 ,cat4 ,no4 #eifha1 ,u4 ,s4 ,n4 ,m4 ,thus we find some of the same objects which in ,europe were made and used by prehistoric man and which bore the ,swastika mark have migrated to ,america1 also in prehistoric times1 where they were put to the same use and served the same purpose4 ,this is certainly no inconsiderable testimony in favor of the migration of the sign4 ,,viii4--,,similar ,,prehistoric ,,arts1 ,,industries1 ,,and ,,implements ,,in ,,europe ,,and ,,america ,,as ,,evidence ,,of ,,the ,,migration ,,of ,,culture4 ,the prehistoric objects described in the foregoing chapter are not the only ones common to both ,europe and ,america4 ,related to the spindle-whorls and bobbins is the art of weaving1 and it is perfectly susceptible of demonstration that this art was practiced in the two hemispheres in prehistoric times4 ,woven fabrics have been found in the ,swiss lake dwellings1 in ,scandinavia1 and in nearly all parts of ,europe4 ,they belonged to the ,neolithic and ,bronze ages4 ,illustration3 ,fig4 #cgb4 ,,view ,,showing ,,both ,,ends ,,of ,a ,,bobbin787 ,,of ,,fine-,,grained ,,sandstone4 ,maysville1 ,kentucky4 ,cat4 ,no4 #afgdg1 ,u4 ,s4 ,n4 ,m4 ,figs4 #cgc and #cgd illustrate textile fabrics in the ,bronze ,age4 ,both specimens are from ,denmark1 and the ,national ,museum possesses another specimen 7,cat4 ,no4 #acffae7 in all respects similar4 ,while prehistoric looms may not have been found in ,europe to be compared with the looms of modern savages in ,america1 yet these specimens of cloth1 with the hundreds of others found in the ,swiss lake dwellings1 afford the most indubitable proof of the use of the looms in both countries during prehistoric times4 ,complementary to this1 textile fabrics have been found in ,america1 from the ,pueblo country of ,utah and ,colorado1 south through ,mexico1 ,central and ,south ,america1 and of necessity the looms with which they were made were there also4 ,it is not meant to be said that the looms of the two hemispheres have been found1 or that they or the textile fabrics are identical4 ,the prehistoric looms have not been found in ,europe1 and those in ,america may have been affected by contact with the white man4 ,nor is it meant to be said that the textile fabrics of the two hemispheres are alike in thread1 stitch1 or pattern4 ,but these at best are only details4 ,the great fact remains that the prehistoric man of the two hemispheres had the knowledge to spin fiber into thread1 to wind it on bobbins1 and to weave it into fabrics2 and whatever differences there may have been in pattern1 thread1 or cloth1 they were finally and substantially the same art1 and so are likely to have been the product of the same invention4 ,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 migration1 contact1 or communication1 yet it may be well to mention some of them1 leaving the argument or proof to a future occasion4 ,the polished stone hatchets of the two hemispheres are substantially the same4 ,there are differences of material1 of course1 for in each country the workman was obliged to use such material as was obtainable4 ,there are differences in form between the polished stone hatchets of the two hemispheres1 but so there are differences between different localities in the same hemisphere4 ,some hatchets are long1 others short1 some round1 others flat1 some have a pointed end1 others a square or nearly square or unfinished end2 some are large1 others small4 ,but all these differences are to be found equally well pronounced within each hemisphere4 ,illustration3 ,fig4 #cgc4 ,,woman',s ,,woolen ,,dress ,,found ,,in ,,an ,,oak ,,coffin ,,at ,,borum-,,eshoi1 ,,denmark4 ,bronze ,age4 ,report of the ,smithsonian ,institution 7,u4 ,s4 ,national ,museum71 #ahib1 pl4 ,,ci1 fig #b4 ,illustration3 ,fig4 #cgd4 ,,detail ,,of ,,dress ,,shown ,,in ,,the ,,preceding ,,figure4 ,scrapers have also been found in both hemispheres and in all ages4 ,there are the same differences in material1 form1 and appearance as in the polished stone hatchet4 ,there is one difference to be mentioned of this utensil--i4 e41 in ,america the scraper has been sometimes made with a stem and with notches near the base1 after the manner of arrow- and spear-heads1 evidently intended to aid1 as in the arrow- and spear-head1 in fastening the tool in its handle4 ,this peculiarity is not found in ,europe1 or1 if found1 is extremely rare4 ,it is considered that this may have been caused by the use of a broken arrow- or spear-head1 which seems not to have been done in ,europe4 ,but this is still only a difference in detail1 a difference slight and insignificant1 one which occurs seldom and apparently growing out of peculiar and fortuitous conditions4 ,the art of drilling in stone was known over an extended area in prehistoric times1 and we find innumerable examples which must have been performed in both hemispheres substantially in the same manner and with the same machine4 ,the art of sawing stone was alike practiced during prehistoric times in the two hemispheres4 ,many specimens have been found in the prehistoric deposits of both4 ,the aboriginal art of making pottery was also carried on in the same or a similar manner in both hemispheres4 ,the examples of this art are as numerous as the leaves on the trees4 ,there were differences in the manipulation and treatment1 but the principal fact remains that the art was the same in both countries4 ,not only were the products greatly similar1 but the same style of geometric decoration by incised lines is common to both4 ,greater progress in making pottery was made in the ,western than in the ,eastern ,hemisphere during prehistoric times4 ,the wheel was unknown in both hemispheres1 and in both the manipulation of clay was by hand4 ,true1 in the ,western ,hemisphere there was greater dexterity and a greater number of methods employed4 ,for example1 the vase might be built up with clay inside a basket1 which served to give both form and decoration2 it was coiled1 the damp clay being made in a string and so built up by a circular movement1 drawing the side in or out as the string of clay was laid thereon1 until it reached the top2 it may have been decorated by the pressure of a textile fabric1 real or simulated1 into the damp clay4 ,a few years ago it would have been true to have said that pottery decorated in this manner was peculiar to the ,western ,hemisphere1 and that it had never been found in the ,eastern ,hemisphere1 but ,prince ,poutjatine has lately found on his property1 ,bologoje1 in the province of ,novgorod1 midway between ,moscow and ,st4 ,petersburg1 many pieces of prehistoric pottery which bear evidence of having been made in this manner1 and while it may be rare in the ,eastern ,hemisphere1 it is similar in these respects to thousands of pieces of prehistoric pottery in ,north ,america4 ,one of the great puzzles for archologists has been the prehistoric jade implements found in both countries4 ,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 other4 ,it may have been found in either hemisphere and exported to the other4 ,but of this we have no evidence except the discovery in both of implements made of the same material4 ,this material is dense and hard4 ,it is extremely difficult to work1 yet the operations of sawing1 drilling1 carving1 and polishing appear to have been conducted in both hemispheres with such similarity as that the result is practically the same4 ,prehistoric flint-chipping was also carried on in both hemispheres with such similarity of results1 even when performing the most difficult and delicate operations1 as to convince one that there must have been some communication between the two peoples who performed them4 ,the bow and arrow is fairly good evidence of prehistoric migration1 because of the singularities of the form and the intricacies of the machinery1 and because it is probably the earliest specimen of a machine of two separate parts1 by the use of which a missile could be sent at a greater distance and with greater force than if thrown by hand4 ,it is possible that the sling was invented as early as the bow and arrow1 although both were prehistoric and their origin unknown4 ,the bow and arrow was the greatest of all human inventions--greatest in that it marked man's first step in mechanics1 greatest in adaptation of means to the end1 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 creation4 ,it1 more than any other weapon1 demonstrated the triumph of man over the brute1 recognizing the limitations of human physical capacity in contests with the brute4 ,with this machine1 man first successfully made up for his deficiency in his contests with his enemies and the capture of his game4 ,it is useless to ask anything of history about the beginnings of the bow and arrow2 wherever history appears it records the prior existence1 the almost universal presence1 and the perfected use of the bow and arrow as a weapon4 ,yet this machine1 so strange and curious1 of such intricacy of manufacture and difficulty of successful performance1 had with all its similarities and likenesses extended in prehistoric times almost throughout the then inhabited globe4 ,it is useless to specify the time1 for the bow and arrow existed earlier than any time of which we know2 it is useless for us to specify places1 for it was in use throughout the world wherever the world was occupied by neolithic man4 ,imitative creature as was man1 and slow and painful as were his steps in progress and in invention during his infancy on earth1 when he knew nothing and had everything yet to learn1 it is sufficiently wonderful that he should have invented the bow and arrow as a projectile machine for his weapons2 but it becomes doubly and trebly improbable that he should have made duplicate and independent inventions thereof in the different hemispheres4 ,if we are to suppose this1 why should we be restricted to a separate invention for each hemisphere1 and why may we not suppose that he made a separate invention for each country or each distant tribe within the hemisphere8 ,yet we are met with the astonishing but1 nevertheless1 true proposition that throughout the entire world the bow and arrow existed in the early times mentioned1 and was substantially the same machine1 made in the same way1 and serving the same purpose4 ,,conclusion4 ,the argument in this paper on the migration of arts or symbols1 and with them of peoples in prehistoric times1 is not intended to be exhaustive4 ,at best it is only suggestive4 ,there is no direct evidence available by which the migration of symbols1 arts1 or peoples in prehistoric times can be proved1 because the events are beyond the pale of history4 ,therefore we are1 everybody is1 driven to the secondary evidence of the similarity of conditions and products1 and we can only subject them to our reason and at last determine the truth from the probabilities4 ,in proportion as the probabilities of migration increase1 it more nearly becomes a demonstrated fact4 ,it appears to the author that the probabilities of the migration of the ,swastika to ,america from the ,old ,world is infinitely greater than that it was an independent invention4 ,the ,swastika is found in ,america in such widely separated places1 among such different civilizations1 as much separated by time as by space1 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 parts of ,america4 ,the ,swastika of the ancient mound builders of ,ohio and ,tennessee is similar in every respect1 except material1 to that of the modern ,navajo and ,pueblo ,indian4 ,yet the ,swastikas of ,mississippi and ,tennessee belong to the oldest civilization we know in ,america1 while the ,navajo and ,pueblo ,swastikas were made by men still living4 ,a consideration of the conditions bring out these two curious facts3 7#a7 ,that the ,swastika had an existence in ,america prior to any historic knowledge we have of communication between the two hemispheres2 but 7#b7 we find it continued in ,america and used at the present day1 while the knowledge of it has long since died out in ,europe4 ,the author is not unaware of the new theories concerning the parallelism of human development by which it is contended that absolute uniformity of man's thoughts and actions1 aims and methods1 is produced when he is in the same degree of development1 no matter in what country or in what epoch he lives4 ,this theory has been pushed until it has been said1 nothing but geographical environment seems to modify the monotonous sameness of man's creations4 ,the author does not accept this theory1 yet he does not here controvert it4 ,it may be true to a certain extent1 but it surely has its limitations1 and it is only applicable under special conditions4 ,as a general proposition1 it might apply to races and peoples but not to individuals4 ,if it builds on the hereditary human instincts1 it does not take into account the will1 energy1 and reasoning powers of man4 ,most of all1 it leaves out the egoism of man and his selfish desire for power1 improvement1 and happiness1 and all their effects1 through the individual1 on human progress4 ,in the author's opinion the progress of peoples through consecutive stages of civilization is entirely compatible with his belief that knowledge of specific objects1 the uses of material things1 the performance of certain rites1 the playing of certain games1 the possession of certain myths and traditions1 and the carrying on of certain industries1 passed from one country to another by migration of their peoples1 or by contact or communication between them2 and that the knowledge1 by separate peoples1 of the same things1 within reasonable bounds of similarity of action and purpose1 and with corresponding difficulty of performance1 may well be treated as evidence of such migration1 contact1 or communication4 ,sir ,john ,lubbock expresses the author's belief when he says1#cae ,there can be no doubt but that man originally crept over the earth's surface1 little by little1 year by year1 just1 for instance1 as the weeds of ,europe are now gradually but surely creeping over the surface of ,australia4 ,the word migration has been used by the author in any sense that permitted the people1 or any number thereof1 to pass from one country to another country1 or from one section of a country to another section of the same country1 by any means or in any numbers as they pleased or could4 ,the theory 7in opposition to the foregoing7 is growing in the ,united ,states that any similarity of culture between the two hemispheres is held to be proof of migration of peoples4 ,it appears to the author that these schools both run to excess in propagating their respective theories1 and that the true condition of affairs lies midway between them4 ,that is to say1 there was certain communication between the two hemispheres1 as indicated by the similarities in culture and industry1 the objects of which could scarcely have been the result of independent invention2 while there are too many dissimilar arts1 habits1 customs1 and modes of life belonging to one hemisphere only1 not common to both1 to permit us to say there was continuous communication between them4 ,these dissimilarities were inventions of each hemisphere independent of the other4 ,an illustration of the migration to ,america is the culture of ,greece4 ,we know that ,greek art and architecture enter into and form an important part of the culture of ,americans of the present day2 yet the people of ,america are not ,greek1 nor do they possess any considerable share of ,greek culture or civilization4 ,they have none of the blood of the ,greeks1 nor their physical traits1 nor their manners1 habits1 customs1 dress1 religion1 nor1 indeed1 anything except their sculpture and architecture4 ,now1 there was undoubtedly communication between the two countries in so far as pertains to art and architecture2 but it is equally true that there has been no migration of the other elements of civilization mentioned4 ,the same thing may be true with regard to the migrations of prehistoric civilization4 ,there may have been communication between the countries by which such objects as the polished stone hatchet1 the bow and arrow1 the leaf-shaped implement1 chipped arrow- and spear-heads1 scrapers1 spindle-whorls1 the arts of pottery making1 of weaving1 of drilling and sawing stone1 etc41 passed from one to the other1 and the same of the ,swastika2 yet these may all have been brought over in sporadic and isolated cases1 importing simply the germ of their knowledge1 leaving the industry to be independently worked out on this side4 ,certain manifestations of culture1 dissimilar to those of the ,old ,world1 are found in ,america2 we have the rude notched ax1 the grooved ax1 stemmed scraper1 perforator1 mortar and pestle1 pipes1 tubes1 the ceremonial objects which are found here in such infinite varieties of shape and form1 the metate1 the painted pottery1 etc41 all of which belong to the ,american ,indian civilization1 but have no prototype in the prehistoric ,old ,world4 ,these things were never brought over by migration or otherwise4 ,they are indigenous to ,america4 ,objects common to both hemispheres exist in such numbers1 of such infinite detail and difficulty of manufacture1 that the probabilities of their migration or passage from one country to another is infinitely greater than that they were the result of independent invention4 ,these common objects are not restricted to isolated cases4 ,they are great in number and extensive in area4 ,they have been the common tools and utensils such as might have belonged to every man1 and no reason is known why they might not have been used by1 and so represent1 the millions of prehistoric individuals in either hemisphere4 ,this great number of correspondences between the two hemispheres1 and their similarity as to means and results is good evidence of migration1 contact1 or communication between the peoples2 while the extent to which the common industries were carried in the two continents1 their delicacy and difficulty of operation1 completes the proof and forces conviction4 ,it is not to be understood in the few foregoing illustrations that the number is thereby exhausted1 or that all have been noted which are within the knowledge of the author4 ,these have been cited as illustrative of the proposition and indicating possibilities of the argument4 ,if a completed argument in favor of prehistoric communication should be prepared1 it would present many other illustrations4 ,these could be found1 not only among the objects of industry1 utensils1 etc41 but in the modes of manufacture and of use which1 owing to their number and the extent of territory which they cover1 and the difficulty of accomplishment1 would add force to the argument4 ,,bibliography ,,of ,,the ,,swastika4 ,,abbott1 ,,charles ,c4 ,primitive ,industry3 or ,illustrations of the ,handiwork1 in stone1 bone and clay1 of the ,native ,races of the ,northern ,atlantic ,seaboard of ,america4 ,by ,charles ,c4 ,abbott1 ,m4 ,d4 ,cor4 ,member ,boston ,soc4 ,nat4 ,hist41 ,fellow ,royal ,soc4 of ,antiq4 of the ,north4 ,copenhagen4 etc41 etc41 ,salem1 ,mass43 ,george ,a4 ,bates4 #ahha4 #h1 pp4 v-vi1 #a-efj1 fig4 #dbi4 ,grooved ax1 ,pemberton1 ,n4 ,j4 ,inscription of ,swastika denounced as a fraud1 p4 #cb4 ,,allen1 ,e4 ,a4 ,the ,prehistoric ,world or ,vanished ,races by ,e4 ,a4 ,allen1 author of ,the ,golden ,gems of ,life4 ,each of the ,following well-known ,scholars reviewed one or more ,chapters1 and made valuable suggestions3 ,c4 ,c4 ,abbott1 ,m4 ,d41 ,prof4 ,f4 ,w4 ,putnam1 ,a4 ,f4 ,bandelier1 ,prof4 ,chas4 ,rau1 ,alexander ,winchell1 ,,ll4 ,d41 ,cyrus ,thomas1 ,ph4 ,d4 ,g4 ,f4 ,wright4 ,cincinnati3 ,central ,publishing ,house4 #ahhe4 #h1 pp4 i-vi1 #a-hbj4 ,swastika regarded as an ornament in the ,bronze ,age1 p4 #bcc4 ,,american ,,antiquarian and ,oriental ,journal4 ,vol4 ,,vi1 ,jan41 #ahhd1 p4 #fb4 ,swastika found in a tessellated ,mosaic pavement of ,roman ruins at ,wivelescombe1 ,england2 reported by ,cornelius ,nicholson1 ,f4 ,g4 ,s41 cited in ,munro's ,ancient ,scottish ,lake ,dwellings1 note1 p4 #acb4 ,,american ,,encyclopedia4 ,title1 ,cross4 ,,american ,,journal of ,archology and of the ,history of ,fine ,arts4 ,vol4 ,,xi4 ,no4 #a1 ,jan4-,march1 #ahif1 p4 #aa1 fig4 #aj4 ,andokides1 a ,greek vase painter 7#ebe ,b4 ,c471 depicted ,athena on an amphora with her dress decorated with many ogee and meander ,swastikas4 ,the specimen is in the ,berlin ,museum4 ,,anderson1 ,,joseph4 ,scotland in ,early ,christian ,times4 ,the ,swastika1 though of ,pagan origin1 became a ,christian symbol from the fourth to the fourteenth century1 ,a4 ,d4 ,vol4 ,,ii1 p4 #bah4 ,cited in ,munro's ,ancient ,scottish ,lake ,dwellings1 note1 p4 #acb4 ,,balfour1 ,,edward4 ,cyclopdia of ,india and of ,eastern and ,southern ,asia1 ,commercial1 ,industrial1 and ,scientific3 ,products of the ,mineral1 ,vegetable and ,animal ,kingdoms1 ,useful ,arts and ,manufactures2 edited by ,edward ,balfour1 ,l4 ,r4 ,c4 ,s4 ,e41 ,inspector ,general of ,hospitals1 ,madras ,medical ,department1 ,fellow of the ,university of ,madras1 ,corresponding ,member of the ,imperial ,geologic ,institute1 ,vienna4 ,second ,edition4 ,vol4 ,v4 ,madras3 ,printed at the ,lawrence and ,adelphi ,presses1 #ahgc4 ,copyright4 #h1 pp4 #a-ief4 ,title1 ,swastika1 p4 #fef4 ,,baring-,,gould1 ,s4 ,curious ,myths of the ,middle ,ages4 ,by ,s4 ,baring-,gould1 ,m4 ,a41 ,new ,york3 ,hurst ,co41 ,publishers1 ,no4 #abb ,nassau street4 #ab1 pp4 #a-bgb4 ,title1 ,legends of the ,cross1 pp4 #aei-ahe4 ,,berlin ,,society for ,anthropology1 ,ethnology1 and ,prehistoric ,researches1 ,sessional report of--4 ,,iii1 #ahga2 ,,viii1 ,july #ae1 #ahgf1 p4 #i4 ,,blake1 ,,willson ,w4 ,the ,cross1 ,ancient and ,modern4 ,by ,willson ,w4 ,blake4 7,design7 ,new ,york3 ,anson ,d4 ,f4 ,randolph and ,company4 #ahhh4 #h1 pp4 #a-eb4 ,,brash1 ,,richard ,,rolt4 ,the ,ogam ,inscribed ,monuments of the ,gaedhil in the ,british ,islands with a dissertation on the ,ogam character1 c4 ,illustrated with fifty ,photolithographic plates by the late ,richard ,rolt ,brash1 ,m4 ,r4 ,i4 ,a41 ,f4 ,s4 ,a4 ,scot4 ,fellow of the ,royal ,society of ,ireland2 and author of ,the ,ecclesiastical ,architecture of ,ireland4 ,edited by ,george ,m4 ,atkinson ,london3 ,george ,bell ,sons1 ,york street1 ,covent ,garden #ahgi4 #d1 pp4 i-xvi1 #a-dbe4 ,swastikas on ,ogam stone at ,aglish 7,ireland71 pl4 ,,xxiv1 pp4 #ahg-ahi2 on ,newton stone ,aberdeenshire1 7,scot471 pl4 ,,xlix1 p4 #cei2 ,logie stone1 7,scot471 pl4 ,,xlviii1 p4 #ceh2 ,bressay1 7,scot471 pl4 ,,xlvii4 ,,brinton1 ,,daniel ,g4 ,the ,ta ,ki1 the ,swastika1 and the ,cross in ,america4 ,proceedings ,american ,philosophical ,society1 ,,xxvi1 #ahhi1 pp4 #agg-ahg4 ---- ,the ,myths of the ,new ,world3 ,a treatise on the ,symbolism and ,mythology of the ,red ,race of ,america4 ,by ,daniel ,g4 ,brinton1 ,a4 ,m41 ,m4 ,d41 ,member of the ,historical ,society of ,pennsylvania1 of the ,numismatic and ,antiquarian ,society of ,philadelphia2 ,corresponding ,member of the ,american ,ethnological ,society2 ,author of ,notes on the ,floridian ,peninsula1 etc4 7,design7 ,new ,york3 ,leypoldt ,holt4 #ahfh4 #h1 pp4 i-viii1 #a-cjg4 ,the cross of ,mexico1 pp4 #ie-ig1 #ahc-ahh4 ---- ,american ,hero-,myths4 ,a study of the ,native ,religions of the ,western ,continent4 ,by ,daniel ,g4 ,brinton1 ,m4 ,d41 ,member of the ,american ,philosophical ,society2 the ,american ,antiquarian ,society2 the ,numismatic and ,antiquarian ,society of ,phila41 etc42 ,author of ,the ,myths of the ,new ,world2 ,the ,religious ,senti- ment1 etc4 ,philadelphia3 ,h4 ,c4 ,watts ,co41 #ejf ,minor ,street1 #ahhb4 #h1 pp4 i-xvi1 #a-bea4 ,symbol of the cross in ,mexico4 ,the rain god1 the tree of life1 and the god of strength1 p4 #abb2 in ,palenque1 the four rain gods1 p4 #aee2 the ,muscayas1 light1 sun1 p4 #bbb4 ,,browne1 ,g4 ,f4 ,basket-work figures of men on sculptured stones4 ,triquetra4 ,archologia1 ,vol4 ,l1 #ahhg1 pt4 #b1 p4 #bia1 pl4 ,,xxiii1 fig4 #g4 ,,burgess1 ,,james4 ,archological ,survey of ,western ,india4 ,vol4 ,,iv4 ,report on the ,buddhist ,cave ,temples and ,their ,inscriptions ,being ,part of ,the ,results of the ,fourth1 ,fifth1 and ,sixth ,seasons' ,operations of the ,archological ,survey of ,western ,india1 #ahgf-gg1 #ahgg-gh1 #ahgh-gi4 ,supplementary to the ,volume on ,cave ,temples of ,india4 ,by ,jas4 ,burgess1 ,,ll4 ,d41 ,f4 ,r4 ,g4 ,s41 ,member of the ,royal ,asiatic ,society1 of the ,socit ,asiatique1 c4 ,archological ,surveyor and ,reporter to ,government for ,western and ,southern ,india1 ,london3 ,trbner ,co41 ,ludgate ,hill4 #ahhc4 7,all rights reserved47 ,folio1 pp4 #adj4 ,inscriptions with ,swastika1 vol4 ,,iv1 pls4 ,,xliv1 ,,xlvi1 ,,xlvii1 ,,xlix1 ,l1 ,,lii1 ,,lv2 vol4 ,v1 pl4 ,,li4 ---- ,the ,indian ,antiquary1 ,a ,journal of ,oriental ,research in ,archology1 ,history1 ,literature1 ,languages1 ,folk-,lore1 c41 c41 ,edited by ,jas4 ,burgess1 ,m4 ,r4 ,a4 ,s41 ,f4 ,r4 ,g4 ,s4 #c vols41 #ahgb-gd1 ,bombay3 ,printed at the ,times of ,india ,office4 ,london3 ,trbner ,co4 ,paris3 ,e4 ,leroux4 ,berlin3 ,asher ,co4 ,leipzig3 ,f4 ,a4 ,brockhaus4 ,new ,york3 ,westermann ,co4 ,bombay3 ,thacker1 ,vining ,co4 #d1 ,vols4 ,i-,,iii4 ,twenty-four ,jain ,saints1 ,suparsva1 son of ,pratishtha by ,prithoi1 one of which signs was the ,swastika4 ,vol4 ,,ii1 p4 #ace4 ,,burnouf1 ,,emile4 ,le ,lotus de la ,bonne ,loi1 ,traduit du ,sanscrit1 ,accompagn d'un ,commentaire et de ,vingt et un ,mmoires ,relatifs au ,buddhisme1 par ,m4 ,e4 ,burnouf1 ,secrtaire ,perptuel de l',acadmie des ,inscriptions et ,belles ,lettres4 7,picture7 ,paris4 ,imprim par ,autorisation du ,gouvernement l',imprimerie ,nationale4 ,,mdccclii4 ,folio1 pp4 #a-hig4 ,svastikaya1 ,append4 ,,viii1 p4 #fbe4 ,nandavartaya1 p4 #fbf4 ---- ,the ,science of ,religions by ,emile ,burnouf ,translated by ,julie ,liebe with a preface by ,e4 ,j4 ,rapson1 ,m4 ,a41 ,m4 ,r4 ,a4 ,s4 ,fellow of ,st4 ,john's ,college1 ,cambridge ,london ,swan1 ,sonnenschein1 ,lowrey ,co41 ,paternoster ,square4 #ahhh4 ,swastika1 its relation to the myth of ,agni1 the god of fire1 and its alleged identity with the fire-cross1 pp4 #afe1 #bec-bef1 #beg4 ,,burton1 ,,richard ,f4 ,the ,book of the ,sword by ,richard ,f4 ,burton ,matre d',armes 7,brevette7 7,design7 ,with ,numerous ,illustrations ,london ,chatto and ,windus1 ,piccadilly #ahhd 7,all rights reserved74 #d1 pp4 #bii4 ,swastika sect1 p4 #bjb1 note #b4 ,,carnac1 ,h4 ,,rivett4 ,memorandum on ,clay ,disks called ,spindle-whorls and votive ,seals found at ,sankisa1 ,behar1 and other ,buddhist ruins in the ,northwestern provinces of ,india4 7,with three plates74 ,journal ,asiatic ,society of ,bengal1 ,vol4 ,,xlix1 pt4 #a1 #ahhj1 pp4 #abg-acg4 ,,cartailhac1 ,,mile4 ,rsultats d',une ,mission ,scientifique du ,ministre de l',instruction ,publique ,les ges ,prhistoriques de l',espagne et du ,portugal par ,m4 mile ,cartailhac1 ,directeur des ,matriaux pour l',histoire primitive de l'homme ,prface par ,m4 ,a4 ,de ,quatrefages1 de l',institut ,avec ,quatre ,cent ,cinquante ,gravures et ,quatre ,planches ,paris ,ch4 ,reinwald1 ,libraire #ae1 ,rue des ,saints ,pres1 #ae #ahhf ,tous droits rservs4 #d1 pp4 i-xxxv1 #a-cdg4 ,swastika1 p4 #bhe4 ,triskelion1 p4 #bhf4 ,tetraskelion1 p4 #bhf4 ,swastika in ,mycen and ,sabraso4--,are they of the same antiquity81 p4 #bic4 ,,century ,,dictionary4 ,titles1 ,swastika1 ,fylfot4 ,,cesnola1 ,,louis ,,palma ,,di4 ,cyprus3 ,its ,ancient ,cities1 ,tombs1 and ,temples4 ,a ,narrative of ,researches and ,excavations ,during ,ten ,years' ,residence in that ,island4 ,by ,general ,louis ,palma ,di ,cesnola1 99 99 99 99 99 ,with ,maps and ,illustrations4 99 99 ,new ,york3 ,harper ,brothers1 ,publishers1 ,franklin ,square4 #ahgg4 #h1 pp4 #a-def4 ,swastika on ,cyprian pottery1 pp4 #baj1 #cjj1 #djd1 pls4 ,,xliv1 ,,xlv1 ,,xlvii4 ,,chaillu1 ,,paul ,b4 ,,du4 ,the ,viking ,age ,the ,early ,history ,manners and ,customs of the ,ancestors of the ,english-,speaking ,nations ,illustrated from ,the ,antiquities ,discovered in ,mounds1 ,cairns1 and ,bogs1 ,as ,well as from the ,ancient ,sagas and ,eddas4 ,by ,paul ,b4 ,du ,chaillu ,author of ,explorations in ,equatorial ,africa1 ,land of the ,midnight ,sun1 etc4 ,with #acff ,illustrations and ,map4 ,in ,two ,volumes 99 99 ,new ,york3 ,charles ,scribner's ,sons4 #ahhi4 #h1 ,i1 pp4 i-xx1 #a-eia2 ,,ii1 pp4 i-viii1 #a-efb4 ,swastika in ,scandinavia4 ,swastika and triskelion1 ,vol4 ,i1 p4 #ajj1 and note #a2 ,vol4 ,,ii1 p4 #cdc4 ,swastika1 ,cinerary urn1 ,bornholm1 ,vol4 ,i1 fig4 #baj1 p4 #ach4 ,spearheads with runes1 ,swastika and ,triskelion1 ,torcello1 ,venice1 fig4 #cce1 p4 #aia4 ,tetraskelion on silver fibula1 ,vol4 ,i1 fig4 #efg1 p4 #beg1 and ,vol4 ,,ii1 fig4 #acaa1 p4 #cdb4 ,bracteates with ,croix swasticale1 ,vol4 ,,ii1 p4 #ccg1 fig4 #abib4 ,,chantre1 ,,ernest4 tudes ,paloethnologiques dans le ,bassin du ,rhne ge du ,bronze ,recherches sur l',origine de la ,mtallurgie en ,france ,par ,ernest ,chantre ,premire ,partie ,industrie de l'ge du ,bronze ,paris1 ,librairie ,polytechnique de ,j4 ,baudry #ae1 ,rue ,des ,saints-,pres1 #ae ,,mdccclxxv4 ,folio1 pp4 #a-beh4 ---- ,deuxime ,partie4 ,gisements de l'ge du ,bronze4 pp4 #cba4 ---- ,troisime ,partie4 ,statistique4 pp4 #bde4 ,swastika migration1 p4 #bjf4 ,oriental origin of the prehistoric ,sistres or tintinnabula found in ,swiss lake dwellings1 ,vol4 ,i1 p4 #bjf4 ,spirals1 ,vol4 ,,ii1 fig4 #ahf1 p4 #cja4 ---- ,notes ,anthropologiques3 ,de l',origine ,orientale de la ,mtallurgie4 ,in-#h1 avec planches4 ,lyon1 #ahgi4 ---- ,notes ,anthropologiques4 ,relations entre les ,sistres ,bouddhiques et certains ,objets ,lacustres de l',age du ,bronze4 ,in-#h4 ,lyon1 #ahgi4 ---- ,l'ge de la ,pierre et l'ge du ,bronze en ,troade et en ,grce4 ,in-#h4 ,lyon1 #ahgd4 ---- ,l'ge de la ,pierre et l'ge du ,bronze dans l',asie ,occidentale4 7,bull4 ,soc4 ,anth41 ,lyon1 t4 ,i1 fasc4 #b1 #ahhb47 ---- ,prehistoric ,cemeteries in ,caucasus4 7,ncropoles prhistoriques du ,caucase1 renferment des crnes macrocphales47 ,matriaux1 seizime anne 7#af71 #b;e srie1 ,,xii1 #ahha4 ,swastika1 p4 #aff4 ,,chavero1 ,d4 ,,alfredo4 ,mexico ,a ,travs de los ,siglos ,historia ,general y ,completa del ,desenvolvimiento ,social1 ,poltico1 ,religioso1 ,militar1 ,artistico1 ,cientfico1 y ,literario de ,mxico desde la ,antigedad ,ms ,remota hasta la poca ,actual 99 99 ,publicada bajo la ,direccin del ,general ,d4 ,vicente ,riva ,palacio 99 99 99 99 99 ,tomo ,primero ,historia ,antigua y de la ,conquista ,escrita por el ,licenciado ,d4 ,alfredo ,chavero4 ,mxico ,ballesca y ,comp4a1 ,editores #d1 ,amor de ,dios1 #d4 ,folio1 pp4 i-lx1 #a-ibf4 ,ciclo de #eb aos4 7,atlas del ,p4 ,diego ,duran1 p4 #chf47 ,swastika worked on shell 7,fains ,island71 labrado con los cuatro puntos del ,nahui ,ollin4 p4 #fgf4 ,,clavigero1 ,c4 ,f4 ,storia ,antica del ,messico4 ,cesena1 #aghj4 ,swastika1 ,,ii1 p4 #aib1 fig4 ,a4 ,cited in ,hamy's ,decades ,amrican1 ,premire ,livraison1 #ahhd1 p4 #fg4 ,,conder1 ,maj4 ,c4 ,r4 ,notes on ,herr ,schick's paper on the ,jerusalem ,cross4 ,palestine ,exploration ,fund1 ,quarterly ,statement1 ,london1 ,july1 #ahid1 pp4 #bje1 #bjf4 ,,crooke1 ,w4 ,an ,introduction to the ,popular ,religion and ,folk-lore of ,northern ,india ,by ,w4 ,crooke1 ,b4 ,a4 ,bengal ,civil ,service4 ,honorary ,director of the ,ethnographical ,survey1 ,northwestern ,provinces and ,oudh ,allahabad ,government ,press #ahid4 #h1 pp4 i-ii1 #a-dbj4 ,swastika1 pp4 #g1 #eh1 #ajd1 #bej4 ,,cross1 ,the4 ,the ,masculine ,cross1 or ,history of ,ancient and ,modern ,crosses1 and their ,connection with the ,mysteries of ,sex ,worship2 also an account of the ,kindred ,phases of ,phallic ,faiths and ,practices4 ,in ,cat4 #aje of ,ed4 ,howell1 ,church street1 ,liverpool4 ,d',,alviella1 ,,le ,,comte ,,goblet4 ,la ,migration des ,symboles par ,le ,comte ,goblet d',alviella1 ,professeur d',histoire des ,religions l',universit de ,bruxelles1 ,membre de l',acadmie ,royale de ,belgique1 ,prsident de la ,socit d',archologie de ,bruxelles 7,design1 ,footprint of ,buddha7 ,paris ,ernest ,leroux1 ,editeur ,rue ,bonaparte1 #bh #ahia4 #h1 pp4 #a-cdc4 ,cross1 pp4 #af1 #aaj1 #aac1 #afd1 #bej1 #bfd1 #ccj1 #ccb4 ,crux ansata1 pp4 #bb1 #ajf1 #ajg1 #aad1 #ahf1 #bba1 #bbi1 #bej1 #bfe1 #ccb4 ,cross of ,st4 ,andrew1 p4 #abe4 ,swastika cross1 ,cap4 ,,ii1 passim1 pp4 #da-ajh1 #aaj1 #aaa1 #bbe1 #bga1 #cci4 ,tetraskelion4 ,same references4 ,triskele1 triskelion1 or triquetrum1 pp4 #bg1 #bh1 #fa1 #ga1 #gb1 #hc1 #ij1 #ajj1 #bba-bbe1 #bga1 #cci4 ,reviewed in ,athenum1 ,no4 #ccha1 ,aug4 #ac1 #ahib1 p4 #bag4 ,favorably criticised in ,reliquary ,illustrated ,archologist 7,lond471 ,vol4 ,i1 ,no4 #b1 ,apr4 #ahie1 p4 #ajg4 ,,davenport4----,aphrodisiacs4 ,the author approves ,higgins' views of the ,cross and its ,relation to the ,lama of ,tibet4 ,,dennis1 ,g4 ,the ,cities and ,cemeteries of ,etruria4 ,parva ,tyrrhenum per aequor vela darem4 ,horat4 7,picture7 ,by ,george ,dennis4 ,third ,edition4 ,in two volumes 99 99 99 ,with maps1 plans1 and illustrations4 ,london3 ,john ,murray1 ,albemarle ,street4 #ahhc4 #h1 two vols43 7#a71 pp4 i-cxxviii1 #a-eja2 7#b7 pp4 i-xv1 #a-egi4 ,archaic ,greek vase1 ,british ,museum4 ,four different styles of ,swastikas together on one specimen4 ,vol4 ,i1 p4 xci4 ,swastika1 common form of decoration1 p4 lxxxix4 ,primitive ,greek ,lebes1 with ,swastika in panel1 left1 p4 cxiii1 fig4 #ca4 ,swastika on bronze objects in ,bologna foundry4 ,vol4 ,,ii1 p4 #ecg4 ,d',,eichtal1 ,g4 ,etudes sur les origines bouddhiques de la civilization amricaine1 #are partie4 ,paris1 ,didier1 #ahfb4 ,swastika1 p4 #cf et suiv4 ,cited in ,hamy's ,decades ,amrican1 ,premire ,livraison1 #ahhd1 p4 #ei4 ,,dictionnaire ,,des ,,sciences ,,anthropologiques4 ,anatomie1 ,crniologie1 ,archologie ,prhistorique1 ,ethnographie 7,moeurs1 ,arts1 ,industrie71 ,dmographie1 ,langues1 ,religions4 ,paris1 ,octave ,doin1 diteur1 #h1 ,place de l',odon1 ,marpon et ,flammarion1 ,libraires #a #g1 ,galeries de l',odon4 #d1 pp4 #a-aabh4 ,title1 ,swastika1 ,philippe ,salmon1 p4 #ajcb4 ,,dorsey1 ,j4 ,,owen4 ,swastika1 ,ogee 7tetraskelion71 symbol for wind-song on ,sacred ,chart of ,kansa ,indians4 ,am4 ,naturalist1 ,,xix 7#ahhe71 p4 #fgf1 pl4 ,,xx1 fig4 #d4 ,,dulaure1 ,j4 ,a4 ,histoire ,abrge de ,diffrens ,cultes4 ,des ,cultes qui ont prcd et amen l',idolatrie ou l',adoration des figures humaines par ,j4 ,a4 ,dulaure2 seconde dition revue1 corrige et augmente ,paris ,guillaume1 ,libraire-,editeur rue ,hautefeuille #ad4 #ahbe4 ,two vols43 7#a71 pp4 i-x1 #aa-eeh2 7#b71 pp4 i-xvi1 #ag-dfd4 ,origin of symbols1 works of art and not natural things1 ,vol4 ,i1 pp4 #be1 #bf4 ,another result of a combination of ideas1 p4 #de4 ,the cross represents the phallus1 ,vol4 ,,ii1 pp4 #eh1 #ei1 #afg1 #afh4 ,,dumoutier1 ,,gustave ,,le4 ,swastika et la roue ,solaire en ,chine4 ,revue d' ,ethnographie1 ,paris1 ,,iv1 #ahhe1 pp4 #cbg-cbi4 ,review by ,g4 ,de ,mortillet1 ,matriaux pour l',histoire ,primitive et ,naturelle de ,l',homme1 ,,ii1 p4 #gcj4 ,,emerson1 ,,ellen ,,russell4 ,indian ,myths or ,legends1 ,traditions1 and ,symbols of the ,aborigines of ,america ,compared with those of other ,countries1 including ,hindostan1 ,egypt1 ,persia ,assyria and ,china by ,ellen ,russell ,emerson ,member of the ,socit ,amricaine de ,france illustrated ,second ,edition ,london ,trbner ,company ,ludgate ,hill ,printed in the ,u4 ,s4 ,a4 #h1 pp4 i-x1 #a-dbe4 ,,encyclop,,dic ,,dictionary4 ,titles1 ,ansated ,cross 7,crux ansata71 p4 #bcj1 ,vol4 ,i2 ,cross1 p4 #acjb1 ,vol4 ,,ii2 ,crux1 p4 #acgh1 ,vol4 ,,ii2 ,fylfot1 p4 #bbdj1 ,vol4 ,,ii2 ,gammadion1 p4 #bbef1 ,vol4 ,,ii4 ,,encyclopedia ,,britannica4 ,title1 ,cross1 #d1 pp4 #eci-edb4 ,,englehardt1 ,c4 ,influence ,classique sur le ,nord ,pendant l',antiquit par ,c4 ,englehardt4 ,traduit par ,e4 ,beauvois4 ,copenhague1 ,imprimerie de ,thiele4 #ahgf4 #h1 pp4 #aii-cah4 ,solar disks1 fig4 #dd1 p4 #bdj4 ,crosses1 figs4 #fd1 #fe1 p4 #beb4 ,,ethnology1 ,reports of the ,bureau of4 ,second ,annual ,report1 #ahhj-ha4 ,art in ,shell of the ,ancient ,americans1 by ,w4 ,h4 ,holmes4 pp4 #agi-cje1 pls4 ,,xxi-,,lxxvii4 ,collections made in ,new ,mexico and ,arizona in #ahgi1 by ,james ,stevenson4 pp4 #cjg-dbb1 figs4 #cdg-fig4 ,third ,annual ,report1 #ahha-hb4 ,catalogue of ,collections made in #ahha1 by ,w4 ,h4 ,holmes4 pp4 #dbg-eaj1 figs4 #aaf-bjj4 ,fourth ,annual ,report1 #ahhb-hc4 ,ancient ,pottery of the ,mississippi ,valley1 by ,w4 ,h4 ,holmes4 pp4 #cfa-dcf1 figs4 #cfa-dfc4 ,fifth ,annual ,report1 #ahhc-hd4 ,burial ,mounds of ,northern ,sections of the ,united ,states1 by ,cyrus ,thomas4 pp4 #c-aai1 pls4 ,i-,,vi1 figs4 #a-di4 ,the ,mountain ,chant1 by ,washington ,matthews4 pp4 #cgi-djg1 pls4 ,x-,,xviii1 figs4 #ej-ei4 ,sixth ,annual ,report1 #ahhd-he4 ,ancient ,art in the ,province of ,chiriqui1 by ,w4 ,h4 ,holmes4 pp4 #c-ahg1 pl4 ,i1 figs4 #a-bhe4 ,tenth ,annual ,report1 #ahhh-hi4 ,picture writing of the ,american ,indians1 by ,garrick ,mallery4 pp4 #c-hjg1 pls4 ,i-,,liv1 figs4 #a-abij4 ,twelfth ,annual ,report1 #ahij-ia4 ,mound ,explorations1 by ,cyrus ,thomas4 pp4 #c-gcj1 pls4 ,i-,,xlii1 figs4 #a-cdd4 ,,evans1 ,,john4 ,the ,ancient ,bronze ,implements1 ,weapons1 and ,ornaments1 of ,great ,britain and ,ireland4 ,by ,john ,evans1 ,d4 ,c4 ,l41 ,,ll4 ,d41 ,f4 ,r4 ,s41 ,f4 ,s4 ,a41 ,f4 ,g4 ,s41 ,pres4 ,num4 ,soc41 c41 ,london3 ,longmans1 ,green ,co4 #ahha4 7,all rights reserved47 #h1 pp4 i-xix4 #a-eji4 ---- ,the ,ancient ,stone ,implements1 ,weapons1 and ,ornaments1 of ,great ,britain1 by ,john ,evans1 ,f4 ,r4 ,s41 ,f4 ,s4 ,a4 ,honorary ,secretary of the ,geological and ,numismatic ,societies of ,london1 etc41 etc41 etc4 ,london3 ,longmans1 ,green1 ,reader1 and ,dyer4 #ahgb4 7,all rights reserved47 #h1 pp4 l-xvi1 #a-fdj4 ,,fairholt1 ,f4 ,w4 ,a ,dictionary of ,terms in ,art4 ,edited and ,illustrated by ,f4 ,w4 ,fairholt1 ,f4 ,s4 ,a4 with ,five ,hundred ,engravings ,on ,wood 7,design7 ,daldy1 ,isbister ,co4 #ef1 ,ludgate ,hill1 ,london4 #ab1 pp4 i-vi1 #a-dgd4 ,titles1 ,cross1 ,fret1 ,fylfot1 ,symbolism4 ,,fergusson1 ,,james4 ,rude ,stone ,monuments in ,all ,countries2 ,their ,ages and ,uses4 ,by ,james ,fergusson1 ,d4 ,c4 ,l41 ,f4 ,r4 ,s1 ,v4 ,p4 ,r4 ,a4 ,s41 ,f4 ,r4 ,i4 ,b4 ,a41 c4 7,picture47 ,with ,two ,hundred and ,thirty-four ,illustrations4 ,london3 ,john ,murray1 ,albemarle ,street4 #ahgb4 ,the ,right of translation reserved4 #h1 pp4 i-xix1 #a-eei4 ,crosses1 ,celtic and ,scottish1 pp4 #bgj-bgc4 ,,forrer1 ,r4 ,die ,graeber- und ,textilfunde von ,achmim-,panopolis von ,r4 ,forrer mit #af ,tafeln3 #bej ,abbildungen in ,photographie1 ,autographie1 ,farbendruck und theilweisem ,handcolorit1 nebst ,clinch-,abbildungen im ,text2 ,text und ,tafeln auf ,cartonpapier4 ,nur in wenigen nummerirten ,exemplaren hergestellt4 7,design47 ,strassburg1 #ahia ,druck von ,emil ,birkhuser1 ,basel4 ,photographie von ,mathias ,gerschel1 ,strassburg4 ,autographie und ,farbendruck von ,r4 ,fretz1 ,zrich4 ,nicht im ,buchhandel4 ,folio1 pp4 #a-bg4 ,swastika1 ornament at ,achmin-,panopolis1 ,egypt1 p4 #bj1 pl4 ,,xi1 fig4 #c4 ,,franklin1 ,colonel4 ,swastika an emblem used in the worship of specified sects in ,india4 ,the ,jeyrees and ,boodhists1 p4 #di1 cited in ,ogam ,monuments1 by ,brash1 p4 #ahi4 ,,franks1 ,,augustus ,w4 ,hor ferales4 ,pl4 #cj1 fig4 #ai4 ,,gardner1 ,,ernest ,a4 ,naukratis4 ,part ,,ii4 ,by ,ernest ,a4 ,gardner1 ,m4 ,a41 ,fellow of ,gonville and ,caius ,college1 ,craven student and formerly ,worts student of the ,university of ,cambridge2 ,director of the ,british ,school of ,archology at ,athens4 ,with an ,appendix by ,f4 ,l4 ,l4 ,griffith1 ,b4 ,a41 of the ,british ,museum1 formerly student of the ,egyptian ,exploration ,fund4 ,sixth ,memoir of the ,egypt ,exploration ,fund4 ,published by order of the committee4 ,london3 etc4 ,folio1 pls4 #a-bd1 pp4 #a-ib4 ,swastika in ,egypt1 ,pottery1 ,aphrodite4 ,pl4 ,v1 figs4 #a1 #g2 pl4 ,,vi1 fig4 #a2 pl4 ,,viii1 fig4 #a4 ,,greg1 ,p4 ,r4 ,fret or ,key ,ornamentation in ,mexico and ,peru4 ,archologia1 ,vol4 ,,xlvii1 #ahhb1 pt4 #a1 pp4 #aeg-afj1 pl4 ,,vi4 ---- ,meaning and ,origin of ,fylfot and ,swastika4 ,archologia1 ,vol4 ,,xlviii1 #ahhe1 pt4 #b1 pp4 #bic1 #cbf1 pls4 ,,xix1 ,,xx1 ,,xxi4 ,,goodyear1 ,,william ,h4 ,the ,grammar of 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 ,egypt2 based on the study of ,patterns by ,wm4 ,h4 ,goodyear1 ,m4 ,a4 7,yale1 #ahfg7 ,curator ,department of ,fine ,arts in the ,brooklyn ,institute of ,arts and ,sciences 99 99 99 ,london3 ,sampson1 ,low1 ,marston ,company ,limited ,st4 ,dunstan's ,house1 ,fitter ,lane1 ,fleet ,street1 ,e4 ,c41 #ahia4 ,chapters on ,lotus and ,swastika4 ,,gould1 ,s4 ,c4 ,the ,master's ,mallet or the ,hammer of ,thor4 ,notes and ,queries1 7,manchester1 ,n4 ,h471 ,vol4 ,,iii 7#ahhf71 pp4 #ic-ajh4 ,,haddon1 ,,alfred ,c4 ,evolution in ,art3 ,as ,illustrated by the ,life-,histories of ,designs4 ,by ,alfred ,c4 ,haddon1 ,professor of ,zoology1 ,royal ,college of ,science1 ,corresponding ,member of the ,italian ,society of ,anthropology1 etc4 ,with #h ,plates1 and #acj ,figures in the ,text4 ,london3 ,walter ,scott1 ,ltd41 ,paternoster ,square4 ,charles ,scribner's ,sons1 #aec-aeg ,fifth ,avenue1 ,new ,york4 #ahie4 ,the meaning and distribution of the ,fylfot1 pp4 #bhb-cii4 ,,hampel1 ,,joseph4 ,antiquits prhistoriques de la ,hongrie2 ,erstegom1 #ahgg4 ,no4 #c1 pl4 ,,xx4 ---- ,catalogue de l',exposition prhistorique des ,muses de ,province2 ,budapest1 #ahgf1 p4 #ag4 ,,hamy1 ,dr4 ,e4 ,t4 ,decades ,amrican ,mmoires d',archologie et d',ethnographie ,amricaines par le ,dr4 ,e4-,t4 ,hamy ,conservateur du ,muse d',ethnographie du ,trocadro4 ,premire ,livraison 7,picture7 ,paris ,ernest ,leroux1 ,editeur ,libraire de la ,socit ,asiatique de l'cole des ,langues ,orientales ,vivantes1 etc4 #bh1 ,rue ,bonaparte1 #bh #ahhd4 #h1 pp4 #a-fg4 ,le ,svastika et la roue solaire en ,amrique1 pp4 #ei-fg4 ,,head1 ,,barclay ,v4 ,synopsis of the ,contents of the ,british ,museum4 ,department of ,coins and ,medals4 ,a ,guide to the principal gold and silver ,coins of the ,ancients1 from circa ,b4 ,c4 #gjj to ,a4 ,d4 #a4 ,with #gj ,plates4 ,by ,barclay ,v4 ,head1 ,assistant ,keeper of ,coins4 ,second ,edition4 ,london3 ,printed by order of the ,trustees4 ,longmans ,co41 ,paternoster ,row2 ,b4 ,quaritch1 #ae1 ,piccadilly2 ,a4 ,asher ,co41 #ac1 ,bedford ,street1 ,convent ,garden1 and at ,berlin2 ,trbner ,co41 #eg and #ei1 ,ludgate ,hill4 ,c4 ,rollin ,feuardent1 #fa1 ,great ,russell ,street1 and #d1 ,rue de ,louvois1 ,paris4 #ahha4 #h1 pp4 i-viii1 #a-abh1 pl4 #gj4 ,triskelion1 7,lycian coins71 three cocks' heads1 pl4 #c1 fig4 #ce4 ,punch-marks on ancient coins representing squares1 etc41 and not ,swastika4 ,pl4 #a1 figs4 #a1 #c2 pl4 #d1 fig4 #bd2 pl4 #d1 figs4 #g1 #h1 #aj2 pl4 #e1 fig4 #af2 pl4 #f1 figs4 #cj1 #ca2 pl4 #ab1 figs4 #a1 #c1 #f4 ,,higgins1 ,,godfrey4 ,anacalypsis or attempts to draw aside the veil of the ,saitic ,isis or1 an inquiry into the origin of ,languages1 ,nations1 and ,religions by ,godfrey ,higgins1 ,esq4 ,f4 ,s4 ,a41 ,f4 ,r4 ,asiat4 ,soc41 ,f4 ,r4 ,ast4 ,s4 of ,skellow ,grange1 near ,doncaster4 ,london ,longman1 c41 c41 ,paternoster ,row #ahcf4 ,vols4 ,i1 ,,ii4 ,origin of the ,cross1 ,lambh or ,lama2 official name for ,governor is ,ancient ,tibetan for ,cross4 ,vol4 ,i1 p4 #bcj4 ,,hirschfeld1 ,g4 ,vasi arcaici ,ateniesi4 ,roma1 #ahgb4 ,tav4 ,,xxxix and ,,xl4 ,,holmes1 ,w4 ,h4 ,art in ,shell of the ,ancient ,americans4 ,second ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhj-ha4 ,the cross1 pls4 ,,xxxvi1 ,,lii1 ,,liii4 ,spirals1 pls4 ,,liv1 ,,lv1 ,,lvi4 ,swastika1 7shell gorget1 the bird17 pls4 ,,lviii1 ,,lix4 ,spider1 pl4 ,,lxi4 ,serpent1 pls4 ,,lxiii1 ,,lxiv4 ,human face1 pl4 ,,lxix4 ,human figure1 pls4 ,,lxxi1 ,,lxxii1 ,,lxxiii4 ,fighting figures1 pl4 ,,lxxiv4 ---- ,catalogue of ,bureau ,collections made in #ahha4 ,third ,ann4 ,rep4 ,bureau of ,ethnology1 #ahha-hb4 ,fighting figures1 fig4 #abh1 p4 #deb4 ,swastika in shell1 from ,fains ,island1 fig4 #adj1 p4 #dff4 ,spider1 same1 fig4 #ada4 ,spirals on pottery vase1 fig4 #afe1 p4 #dhd4 ---- ,ancient ,pottery of the ,mississippi ,valley4 ,fourth ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhb-hc4 ,spirals on pottery1 figs4 #djb1 p4 #cif2 #dac1 p4 #djc2 #dae1 #daf1 p4 #djd2 #dce1 p4 #daf2 #ddb1 p4 #dba2 in basketry1 fig4 #dhe1 p4 #dfb4 ,maltese cross1 fig4 #deh1 p4 #dcj4 ---- ,ancient ,art in the ,province of ,chiriqui4 ,sixth ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhd-he4 ,conventional alligator1 series of derivations showing stages of simplification of animal characters1 figs4 #beg to #ebh1 pp4 #agc-aha4 ,spindle-whorls1 ,chiriqui1 figs4 #bah-bbj1 p4 #adi4 ---- ,the ,cross used as a ,symbol by the ,ancient ,americans4 ,trans4 ,anthrop4 ,soc41 ,washington1 ,d4 ,c41 ,,ii1 #ahhc4 ,,humphreys1 ,h4 ,,noel4 ,the ,coin ,collector's ,manual1 or guide to the numismatic student in the formation of ,a ,cabinet of ,coins3 ,comprising ,an ,historical and ,critical ,account of the ,origin and ,progress of ,coinage from the ,earliest ,period to the ,fall of the ,roman ,empire2 with ,some ,account of the ,coinages of ,modern ,europe1 ,more especially of ,great ,britain4 ,by ,h4 ,noel ,humphreys1 ,author of ,the ,coins of ,england1 ,ancient ,coins and ,medals1 etc41 etc4 ,with above one hundred and fifty illustrations on ,wood and ,steel4 ,in two volumes4 ,london3 ,h4 ,g4 ,bohn1 ,york ,street1 ,convent ,garden4 #ahec4 #ab1 7#a71 pp4 i-xxiv1 #a-ceb2 7#b71 pp4 #cec-gbf4 ,punch-marks on ancient coins1 ,vol4 ,i4 pls4 #b1 #c1 #d4 ,triquetrum1 triskele or triskelion on coins of ,sicily1 ,vol4 ,i1 p4 #eg1 and note4 ,,keller1 ,,ferdinand4 ,the ,lake ,dwellings of ,switzerland and ,other ,parts of ,europe4 ,by ,dr4 ,ferdinand ,keller ,president of the ,antiquarian ,association of ,zrich ,second ,edition1 ,greatly ,enlarged ,translated and ,arranged by ,john ,edward ,leo1 ,f4 ,s4 ,a41 ,f4 ,g4 ,s4 ,author of ,isca ,silurum etc4 ,in ,two ,volumes ,vol4 ,i4 7,vol4 ,,ii7 ,london ,longmans1 ,green and ,co4 #ahgh ,all rights reserved4 #h1 ,vol4 ,i1 text1 pp4 i-xv1 #a-fif2 ,vol4 ,,ii1 pls4 ,,ccvi4 ,swastika1 ,lake ,bourget1 pattern-stamp and pottery imprint1 p4 #cci1 note #a1 pl4 ,,clxi1 figs4 #c1 #d4 ,,langdon1 ,,arthur ,g4 ,ornaments of ,early ,crosses of ,cornwall4 ,royal ,institute of ,cornwall1 ,vol4 ,x1 pt4 #a1 ,may1 #ahij1 pp4 #cc-if4 ,,le ,,plongeon1 ,,augustus4 ,sacred ,mysteries ,among the ,mayas and the ,quiches1 #aa1ejj ,years ,ago4 ,their ,relation to the ,sacred ,mysteries of ,egypt1 ,greece1 ,chaldea and ,india4 ,free ,masonry ,in ,times ,anterior to ,the ,temple of ,solomon4 ,illustrated4 ,by ,augustus ,le ,plongeon1 ,author of ,essay on the ,causes of ,earthquakes2 ,religion of ,jesus ,compared with the ,teachings of the ,church2 ,the ,monuments of ,mayas and their ,historical ,teachings4 ,new ,york3 ,robert ,macoy1 #d ,barclay ,street4 #ahhf4 #h1 pp4 #afc4 ,cross and ,crux ansata1 p4 #abh4 ---- ,mayapan and ,maya ,inscriptions4 ,proc4 ,am4 ,antiq4 ,soc41 ,worcester1 ,mass41 ,april #ba1 #ahha4 ,also printed as a separate4 ,see pp4 #ae1 #ag1 and figs4 #g1 #ac1 and frontispiece4 ,,littr',s ,,french ,,dictionary4 ,title1 ,svastika4 ,mc,a,d,a,m,s1 ,,william4 ,records of ,ancient ,races in the ,mississippi ,valley2 ,being an account of some of the ,pictographs1 sculptured hieroglyphics1 symbolic devices1 emblems1 and tra- ditions of the prehistoric races of ,america1 with some suggestions as to their origin4 ,with cuts and views illustrating over three hundred objects and symbolic devices4 ,by ,wm4 ,mc,adams1 ,author of 99 99 99 99 99 ,st4 ,louis3 ,c4 ,r4 ,barns ,publishing ,co4 #ahhg4 #d1 pp4 i-xii1 #a-abj4 ,mound vessels with painted symbols1 sun symbols1 cross symbols1 cross with bent arms 7,swastika71 etc41 ,chap4 ,,xv1 pp4 #fb-fh4 ,cites ,lord ,kinsborough1 ,antiquities of ,mexico1 for certain forms of the cross1 of which the first is the ,swastika and the third the ,nandavartaya ,chap4 xvii1 pp4 #fb-fh4 ,,macrichie1 ,,david4 ,ancient and ,modern ,britons3 ,a ,retrospect4 ,london3 ,kegan ,paul1 ,trench ,co41 #a ,paternoster ,square4 #ahhd4 ,two vols41 #h4 7#a71 pp4 i-viii1 #a-dja2 7#b71 i-viii1 #a-ddi4 ,sculptured stones of ,scotland 7p4 #aae71 the ,newton stone1 a compound of ,oriental and western languages 7pp4 #aag-aah74 ,ethnologic resemblances between old and new world peoples considered4 ,vol4 ,,ii 7app474 ,,mallery1 ,,garrick4 ,picture writing of the ,american ,indians4 ,tenth ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhh-hi1 pp4 #a-hjg1 pls4 ,i-,,liv1 figs4 #a-abij4 ,sun and star symbols1 figs4 #aaah-aabi1 pp4 #fid-fig4 ,human form 7cross7 symbols1 figs4 #aafd-aagc1 pp4 #gje-gji4 ,cross symbols1 figs4 #abbe-abcd1 pp4 #gbd-gcj4 ,piaroa color stamps1 fret pattern1 fig4 #ihb1 p4 #fba4 ,,march1 ,h4 ,,colley4 ,the ,fylfot and the ,futhore ,tir4 ,cited in ,transactions of the ,lancashire and ,cheshire ,antiquarian ,society1 #ahhf4 ,,masson1 ----4 ,the ,swastika found on large rock near ,karachi4 ,balochistan1 ,vol4 ,,iv1 p4 #h1 cited in ,ogam ,monuments1 by ,brash1 p4 #ahi4 ,,mat,,riaux pour l',histoire ,primitive et ,naturelle de l',homme4 ,revue mensuelle illustre4 7,fonde par ,m4 ,g4 ,de ,mortillet1 #ahfe #ahfh47 ,dirige par ,m4 mile ,cartailhac4 99 99 99 ,swastika1 ,vol4 ,,xvi1 #ahha4 ,prehistoric ,cemeteries in ,caucasus1 by ,e4 ,chantre1 pp4 #aed-aff4 ,excavations at ,cyprus1 by ,general di ,cesnola1 p4 #daf4 ,signification of the ,swastika1 by ,m4 ,girard de ,reale1 p4 #edh4 ,swastika1 ,vol4 ,,xviii1 #ahhd4 tude sur quelques ,ncropoles ,halstattiennes de l',autriche et de l',italie4 ,by ,ernest ,chantre1 ,swastika on ,archaic ,vase1 fig4 #e1 p4 #h4 ,croix ,gamme1 figs4 #ab and #ac1 p4 #ad4 ,cross1 p4 #abb4 ,swastika1 pp4 #acg-aci4 ,swastika sculpt sur pierre1 ,briteros1 ,portugal1 fig4 #acc1 p4 #bid4 ,necropolis of ,halstatt1 pp4 #ac1 #ad2 p4 #aci1 fig4 #hd2 p4 #bhj1 ,report of spearhead with ,swastika and runic inscription1 found at ,torcello1 near ,venice1 by ,undset4 ,swastika1 ,vol4 ,,xx1 #ahhf4 ,frontispiece of ,january number4 ,swastika from ,museum1 ,mayence4 ,,matthews1 ,,washington4 ,the ,mountain ,chant4 ,fifth ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhc-hd1 pp4 #cgi-dfg1 pls4 ,x-,,xviii1 figs4 #ej-ei4 ,swastika in ,navajo ,mountain ,chant4 ,second 787 ,dry ,painting1 pl4 ,,xvii1 pp4 #dej1 #dea4 ,,montelius1 ,,oscar4 ,the ,civilization of ,sweden in ,heathen ,times by ,oscar ,montelius1 ,ph4 ,d4 ,professor at the ,national ,historical ,museum1 ,stockholm4 ,translated from the ,second ,swedish ,edition ,revised and enlarged for the author by ,rev4 ,f4 ,h4 ,woods1 ,b4 ,d4 ,vicar of ,chalfont ,st4 ,peter4 ,with ,map and ,two ,hundred and ,five ,illustrations4 ,london ,macmillan and ,co4 and ,new ,york4 #ahhh4 pp4 i-xvi1 #a-bad4 ,the wheel with cross on many monuments of the ,bronze ,age became almost unknown during the ,age of ,iron 7in ,scandinavia74 ,it was the contrary with the ,swastika4 ,compte-,rendu1 ,cong4 ,inter4 d',anthrop4 et d',arch4 ,prhistorique4 #gme session1 #ahgd1 ,i1 pp4 #dci1 #dfj4 ,,moorehead1 ,,warren ,k4 ,primitive ,man ,in ,ohio by ,warren ,k4 ,moorehead ,fellow of the ,american ,association for the ,advancement of ,science ,author of ,fort ,ancient1 the ,great ,prehistoric ,earthwork of ,ohio1 etc4 ,g4 ,p4 ,putnam's ,sons ,the ,knickerbocker ,press1 #ahib4 pp4 i-xii1 #a-bdf4 ,discoveries in ,hopewell ,mound1 ,chillicothe1 ,rose ,county1 ,ohio1 pp4 #ahd-aif4 ,swastika1 p4 #aic4 ,,morgan1 ,j4 ,,de4 ,mission ,scientifique au ,caucase ,etudes ,archologiques et ,historiques par ,j4 ,de ,morgan ,tome ,premier ,les ,premiers ,ages ,des ,mtaux ,dans l',armnie ,russe ,paris ,ernest ,leroux1 diteur #bh1 ,rue ,bonaparte1 #bh #ahhi4 #h1 7#a71 pp4 i-iii1 #a-bca2 7#b71 pp4 i-iv1 #a-cje4 ,swastikas on bronze pin-heads from prehistoric ,armenian graves4 ,vol4 ,i1 p4 #afj1 figs4 #agg1 #agh1 #agi4 ,,mortillet1 ,,gabriel et ,,adrien ,,de4 ,muse ,prhistorique par ,gabriel et ,adrien de ,mortillet ,photogravures ,michelet ,paris ,c4 ,reinwald1 ,libraire-diteur #ae1 ,rue des ,saints-,pres1 #ae #ahha ,tous ,droits ,rservs4 #d4 ,planches ,c1 figs4 #abfi4 ,tintinnabulum and ,buddha with ,swastika1 pl4 ,,xcviii1 fig4 #abcj4 ,swiss ,lake pottery1 fig4 #abca4 ,swastika1 many representations1 pl4 ,,xcix1 figs4 #abcc1 #abcd1 #abce1 #abci1 #abdj1 #abda1 #abdd1 #abdf1 #abdg1 #abdh1 #abdi2 pl4 ,c1 figs4 #abee1 #abef1 #abeg1 #abfa1 #abfc1 #abfd1 #abfe1 #abff1 #abfg4 ,crosses--divers1 pl4 ,,xcix1 etc4 ,,mortillet1 ,,gabriel ,,de4 ,le ,prhistorique ,antiquit de l',homme par ,gabriel de ,mortillet ,professeur d'anthropologie prhistorique l'cole d'anthropologie de ,paris4 #fd figures intercales dans le texte4 ,paris ,c4 ,reinwald1 ,libraire-diteur #ae1 ,rue des ,saints-,pres1 #ae #ahhc ,tous droits rservs4 #ab1 pp4 #a-fdb4 ,communications between ,europe and ,america1 pp4 #ahf1 #ahg4 ---- ,le ,signe de la ,croix ,avant le ,christianisme par ,gabriel de ,mortillet ,directeur des ,matriaux pour l',histoire positive et philosophique de l'homme avec #aag gravures sur bois4 ,paris ,c4 ,reinwald1 ,libraire-diteur #ae1 rue des ,saints-,pre1 #ae #ahff ,tous droits rservs4 ,see p4 #ahb4 ,m,,ller1 ,f4 ,,max4 ,chips from ,a ,german ,workship4 ,by ,max ,mller1 ,m4 ,a41 ,fellow of ,all ,souls ,college1 ,oxford4 ,essays on 99 99 ,new ,york3 ,scribner1 ,armstrong ,co4 ,successors to ,charles ,scribner ,co4 ,essays on ,mythology1 ,traditions1 and ,customs4 ,svasti1 ,sanscrit1 meaning joy or happiness4 ,vol4 ,,ii1 p4 #bd4 ,swastika4 ,letter to ,dr4 ,schliemann1 ,ilios1 pp4 #cdf-cdi4 ,swastika1 ,review of1 ,athenum 7,lond471 ,no4 #cccb1 ,aug4 #bj1 #ahib1 p4 #bff4 ,m,,ller1 ,,ludwig4 ,swastika4 ,proc4 ,royal ,danish ,academy of ,science1 ,fifth series1 ,section of ,history and ,philosophy1 ,vol4 ,,iii1 p4 #ic4 ,,munro1 ,,robert4 ,ancient ,scottish ,lake ,dwellings or ,crannogs with a ,supplementary ,chapter on ,remains of ,lake ,dwellings in ,england by ,robert ,munro1 ,m4 ,a4 ,m4 ,d41 ,f4 ,s4 ,a4 ,scot4 7,design7 ,edinburgh3 ,david ,douglas #ahha ,all rights reserved4 #h1 pp4 i-xx1 #a-cbf4 ,swastika on pin and triskelion on plank1 crannog of ,lochlee1 figs4 #add and #adi1 pp4 #acj-acd4 ,note by ,montelius1 figs4 #aa and #ab1 p4 #aca4 ---- ,the ,lake ,dwellings of ,europe3 ,being the ,rhind ,lectures in ,archology for #ahhh4 ,by ,robert ,munro1 ,m4 ,a41 ,m4 ,d41 ,secretary of the ,society of ,antiquaries of ,scotland2 ,author of ,ancient ,scottish ,lake ,dwellings or ,crannogs4 ,cassell ,company1 ,limited3 ,london1 ,paris ,melbourne4 #ahij 7,all rights reserved74 #d1 pp4 i-xl1 #a-fjj4 ,swastika in ,lake ,bourget 7,savoy71 fig4 #aie1 ,nos4 #aa and #ab1 pp4 #ecb and #ech2 in ,lisnacroghera 7,ireland71 fig4 #abd1 ,no4 #bj2 triskele1 fig4 #abd1 ,no4 #bb1 pp4 #chc1 #ehe4 ,,nadaillac1 ,marquis de4 ,prehistoric ,america by the ,marquis de ,nadaillac ,translated by ,n4 ,d',anvers ,edited by ,w4 ,h4 ,dall 7,design of ,vase7 with #bai illustrations ,new ,york and ,london ,g4 ,p4 ,putnam's ,sons ,the ,knickerbocker ,press #ahhd4 #h1 pp4 i-vii1 #a-eff4 ,swastika 787 alleged to be on the ,pemberton hammer from ,new ,jersey1 pp4 #bb1 note #a1 citing ,professor ,haldeman1 ,sept4 #bg1 #ahgg1 ,rep4 ,peabody ,museum1 #ahgh1 p4 #bee4 ,dr4 ,abbott denounces this inscription as a fraud4 ,primitive ,industry1 p4 #cb4 ,,newton1 ,,john4 ,history of ,migration of the ,triskelion from ,sicily to the ,isle of ,man1 through ,henry ,,iii of ,england and ,alexander ,,iii of ,scotland4 ,athenum1 ,no4 #cche1 ,sept4 #aj1 #ahib1 pp4 #cec1 #ced4 ,,nicholson1 ,,cornelius4 ,report of ,swastika found in recently explored ,mosaic pavement in ,isle of ,wight1 ,munro's ,ancient ,scottish ,lake ,dwellings1 note1 p4 #acb4 ,,petrie1 ,w4 ,m4 ,,flinders4 ,naukratis 7,greek inscription74 ,part ,i1 #ahhd-he by ,w4 ,m4 ,flinders ,petrie4 ,with ,chapters by ,cecil ,smith2 ,ernest ,gardner1 ,b4 ,a42 and ,barclay ,v4 ,head4 7,design1 two sides of coin47 ,third ,memoir of ,the ,egypt ,exploration ,fund4 ,published by ,order of the ,committee4 ,london3 ,trbner ,co41 #eg #ei1 ,ludgate ,hill4 #ahhf4 ,folio1 pp4 #a-ajj1 pls4 #a-bh4 ,swastika in ,egypt1 fourth and fifth centuries ,b4 ,c41 pl4 ,,iv1 fig4 #c4 ,meander ,swastikas1 pl4 ,v1 figs4 #ae1 #bd4 ,,pr,,historische ,,bl,,tter4 ,von ,dr4 ,julius ,nan1 in ,mnchen4 ,,vi4 ,jahrg41 #ahid4 ,mnchen4 ,nr4 #e4 ,mit ,taf4 ,,xi-,,xv4 ,sderberg1 ,sven4 ,die ,thierornamentik der ,vlkerwanderungszeit4 ,mit ,tertabildungen und ,tafel ,,xi-,,xv4 ,lund1 ,sweden4 ,figs4 #ab1 #ac1 p4 #gc4 ,,prime1 ,,william ,c4 ,pottery and ,porcelain ,of ,all ,times ,and ,nations ,with ,tables of ,factory and ,artists' ,marks ,for the ,use of ,collectors by ,william ,c4 ,prime1 ,,ll4 ,d4 7,design7 ,new ,york ,harper ,brothers1 ,publishers ,franklin ,square #ahgh4 #h1 pp4 #a-eca4 ,symbolic marks on ,chinese porcelain4 ,tablet of honor inclosing ,swastika4 ,fig4 #aee1 p4 #bed2 fig4 #cc1 p4 #fa4 ,,queen ,,lace ,,book1 ,the4 ,a ,historical and ,descriptive ,account of the ,hand-,made ,antique ,laces of ,all ,countries4 99 99 with ,thirty ,illustrations of ,lace ,specimens1 and seven ,diagrams of ,lace ,stitches4 ,london3 ,the ,queen ,office1 #cdf1 ,strand1 ,w4 ,c4 #ahgd4 ,all rights reserved4 pp4 i-viii1 #a-ch4 ,swastika design in linen embroidery and cutwork 7,sixteenth ,century4 ,geometric ,style74 pl4 #a1 fig4 #b4 ,,rawlinson1 ,,george4 ,the ,religions of the ,ancient ,world4 ,by ,george ,rawlinson1 ,m4 ,a4 ,author of ,the ,seven ,great ,monarchies of the ,ancient ,eastern ,world1 etc4 ,new ,york3 ,hurst ,co41 ,publishers1 #abb ,nassau ,street4 #ab1 pp4 #a-ahj4 ,religion of the ,ancient ,sanscrit ,indians4 ,agni1 the god of ,fire1 described pp4 #hg1 #hi4 ,sun1 ,wind1 ,dyaus 7,heaven71 and ,prithivi 7,earth74 ,nothing said about ,swastika or ,solar circle4 ,,richter1 ,,max ,,ohnefalsch4 ,excavations in ,cyprus4 ,bull4 ,soc4 d',anthrop41 ,paris1 ,vol4 ,,xi 7ser4 ,,iii71 pp4 #ffi-fhb4 ,,robinson1 ,,david4 ,a ,tour through ,the ,isle of ,man3 ,to which is subjoined ,a ,review of the ,manx ,history4 ,by ,david ,robertson1 ,esq4 ,london3 ,printed for the ,author1 by ,e4 ,hodson1 ,bell-,yard1 ,temple-,bar4 ,sold by ,mr4 ,payne1 ,mews-,gate2 ,messrs4 ,egertons1 ,whitehall2 ,whites1 ,fleet ,street2 and ,deighton1 ,holborn4 #agid4 #d narrow1 pp4 #bce4 ,triskelion--,coat of arms of ,isle of ,man4 ,,rockhill1 ,,william ,,woodville4 ,diary of a ,journey through ,mongolia and ,tibet in #ahia and #ahib by ,william ,woodville ,rockhill ,gold ,medalist of the ,royal ,geographical ,society 7,design47 ,city of ,washington ,published by the ,smithsonian ,institution #ahid4 #d1 pp4 i-xx1 #a-dac4 ,swastika 7yung-drung7 tattooed on hand of native at ,kumbum1 p4 #fg4 ,,sacheverell1 ,,william4 ,an ,account of the ,isle of ,man1 its ,inhabitants1 ,language1 ,soil1 re- markable ,curiosities1 the ,succession of its ,kings and ,bishops1 down to the present ,time4 ,by way of ,essat4 ,with a ,voyage to ,i-,columb-kill4 ,by ,william ,sacheverell1 ,esq43 ,late ,governour of ,man4 ,to which is added1 ,a ,dissertation about the ,mona of ,csar and ,tacitus2 and an ,account of the ,antient ,druids1 c4 ,by ,mr4 ,thomas ,brown1 ,address'd in a ,letter to his ,learned ,friend ,mr4 ,a4 ,sellars4 ,london3 ,printed for ,j4 ,hartley1 next the ,king's ,head ,tavern4 ,r4 ,gibson in ,middle ,row1 and ,tho4 ,hodgson over a- gainst ,gray's-,inn ,gate in ,holborn1 #agjb4 #abmo1 pp4 #age4 ,triskelion--,coat of arms of ,isle of ,man4 ,,schick1 ,herr ,baurath ,,von4 ,the ,jerusalem ,cross4 ,palestine ,exploration ,fund1 ,quarterly ,statement1 ,july1 #ahid1 pp4 #ahc-ahh4 ,,schliemann1 ,,heinrich4 ,atlas ,trojanischer ,alterthmer4 ,photographische ,abbildungen zu dem ,berichte ber die ,ausgrabungen in ,troja von ,dr4 ,heinrich ,schliemann4 7,design7 ,leipzig3 ,in ,commission bei ,f4 ,a4 ,brockhaus4 #ahgd4 ,folio1 pp4 #a-eg1 plates1 #a-bag4 ,spindle whorls--passim4 ,swastikas on many specimens from fig4 ,no4 #adb to #cdfh4 ,no4 #bcg is in ,u4 ,s4 ,national ,museum as part of ,mme4 ,schliemann's collection4 ,,schliemann1 ,,henry4 ,ilios ,the ,city and ,country of the ,trojans ,the ,results of ,researches and ,discoveries on the ,site of ,troy and ,throughout the ,troad in the ,years #ahga-gb-gc-gh-gi ,including an ,autobiography of the ,author ,by ,dr4 ,henry ,schliemann ,f4 ,s4 ,a41 ,f4 ,r4 ,i4 ,british ,architects ,author of ,troy and ,its ,remains1 ,mycen1 etc4 ,with a ,preface1 ,appendices1 and ,notes ,by ,professors ,rudolf ,virchow1 ,max ,mller1 ,a4 ,h4 ,sayce1 ,j4 ,p4 ,mahaffy1 ,h4 ,brugsch-,bey1 ,p4 ,ascherson1 ,m4 ,a4 ,postolaccas1 ,m4 ,e4 ,burnouf1 ,mr4 ,f4 ,calvert1 and ,mr4 ,j4 ,a4 ,duffield4 7,greek ,verse7 ,with ,maps1 ,plans1 and ,about #a1hjj ,illustrations4 ,new ,york ,harper ,brothers1 ,franklin ,square #ahha4 #h1 pp4 i-xvi1 #a-hjj4 ,swastika3 ,introduction1 p4 xi1 and pp4 #bbi1 #bca1 #cjc1 #cdi1 #cec1 #daf1 #eah1 #ega1 #egc4 ,owl-faced 787 vases1 figs4 #bbg1 #abic1 #abid4 ,fig4 #ihf 7not owl1 but human1 ,virchow71 pp4 xiii1 xiv4 ,figures of ,swastika on spindle-whorls--passim--fig4 #ahej is in the ,u4 ,s4 ,national ,museum4 ---- ,mycen2 ,a ,narrative of ,researches and ,discoveries at ,mycen and ,tiryns4 ,by ,dr4 ,henry ,schliemann1 ,citizen of the ,united ,states of ,america1 ,author of ,troy and ,its ,remains1 ,ithaque1 ,le ,peloponnse et ,troie1 and ,la ,chine et le ,japon4 ,the ,preface ,by the ,right ,hon4 ,w4 ,e4 ,gladstone1 ,m4 ,p4 ,maps1 ,plans1 and ,other ,illustrations4 ,representing more than #g1jjj ,types of the ,objects ,found in the ,royal ,sepulchres of ,mycen and ,elsewhere ,in the ,excavations4 ,new ,york3 ,scribner1 ,armstrong ,company4 #ahgh4 7,all ,rights ,reserved47 #h1 pp4 i-lxviii1 #a-chd1 ,swastika1 pp4 #gg1 #afe1 #bei1 figs4 #chc1 #che1 and many others4 ---- ,troja ,results of the ,latest ,researches and ,discoveries on the ,site of ,homer's ,troy ,and in the ,heroic ,tumuli and ,other ,sites ,made in the ,year #ahhb and a ,narrative of a ,journey in the ,troad in #ahha by ,dr4 ,henry ,schliemann ,hon4 ,d4 ,c4 ,l41 ,oxon41 and ,hon4 ,fellow of ,queen's ,college1 ,oxford ,f4 ,s4 ,a41 ,f4 ,r4 ,i4 ,b4 ,a4 ,author of ,ilios1 ,troy and its ,remains1 and ,mycen and ,tiryns ,preface by ,prof4 ,a4 ,h4 ,sayce with #aej ,woodcuts and #d ,maps and ,plans 7,quotation in ,german from ,moltke3 ,wunderbuch1 p4 #ai1 ,berlin1 #ahgi7 ,new ,york ,harper ,brothers1 ,franklin ,square #ahhd4 #h1 pp4 #a-dcd4 ,swastika1 preface xviii1 xxi1 pp4 #abb1 #abd1 #abe1 #abf1 #abg1 #abh4 ,spiral form1 pp4 #abc4 ,lycian coins--triskelion1 pp4 #abc1 #abd4 ,,schvindt1 ,,theodor4 ,vihko #a-d ,suomalaisia koristeita4 #a4 ,ompelukoristeita4 ,finnische ,ornamente4 #a4 ,stickornamente4 ,heft #a-d ,suolalaisen ,kirjallisunden ,seura ,helsingissa4 #ahid4 ,description of ,finnish national ornamental embroidery in which the ,swastika appears as a pattern made by oblique stitches1 pp4 #ad1 #ae1 figs4 #aab-aba4 ,,simpson1 ,,william4 ,swastika4 ,palestine ,exploration ,fund1 ,quarterly ,statement1 ,january1 #ahie1 pp4 #hd1 #he4 ,,snowden1 ,,james ,,ross4 ,a ,description of ,ancient and ,modern ,coins1 in the ,cabinet ,collection at the ,mint of the ,united ,states4 ,prepared and arranged under the ,direction of ,james ,ross ,snowden1 ,director of the ,mint4 ,philadelphia3 ,j4 ,b4 ,lippincott ,co4 #ahfj4 #h1 pp4 i-xx1 #a-dab4 ,punch-marks on ancient coins1 and how they were made4 ,introduction1 pp4 ix-xiv1 and figures4 ,,squier1 ,e4 ,,george4 ,peru ,incidents of ,travel and ,exploration in the ,land of the ,incas ,by ,e4 ,george ,squier1 ,m4 ,a41 ,f4 ,s4 ,a4 ,late ,u4 ,s4 ,commissioner to ,peru1 ,author of ,nicaragua1 ,ancient ,monuments of ,mississippi ,valley1 etc41 etc4 7,design7 ,with ,illustrations ,new ,york ,harper ,brothers1 ,publishers ,franklin ,square #ahgg4 #h1 pp4 i-xx1 #a-eii4 ,mythologic representations of earth1 air1 and water4 ,the cross not mentioned as one1 p4 #ahd4 ,,stevens1 ,,george ,l4 ,the ,old ,northern ,runic ,monuments of ,scandinavia and ,england ,now first collected and deciphered by ,george ,stevens1 ,esq41 ,f4 ,s4 ,a4 ,knight of the ,northern ,star and other titles1 with many hundreds of fac-similes and illustrations partly in gold1 silver1 bronze and colors4 ,runic alphabets2 introductions2 appendices2 word-lists1 etc4 ,london1 ,john ,russell ,smith4 ,kobenhaven1 ,michaelsen and ,tillge4 ,printed by ,h4 ,h4 ,thiele1 #ahff-fg4 #h1 pp4 i-xi1 #a-fbe4 ,,stevenson1 ,,james4 ,collections made in ,new ,mexico and ,arizona1 #ahgi1 by ,james ,stevenson4 ,second ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhj-ha1 pp4 #cjg-dfe1 figs4 #cdg-fig4 ,spiral in basketry1 fig4 #edb4 ,swastika 7dance-rattle71 fig4 #efb1 p4 #cid4 ,maltese cross1 fig4 #fdb4 ,greek cross1 fig4 #gjh1 p4 #dec4 ,,sykes1 ,lieut4 ,col4 ,notes on the religious1 moral1 and political state of ,india before the ,mohammedan invasion1 chiefly founded on the travels of the ,chinese ,buddhist priest1 ,fa-,hian1 in ,india1 ,a4 ,d4 #cii1 and on the commentaries of ,messrs4 ,klaproth1 ,burnouf1 and ,landresse4 ,journal ,royal ,asiatic ,society of ,great ,britain and ,ireland1 ,vol4 ,,vi1 pp4 #bdh1 #bii1 #caj1 #ccd4 ,,thomas1 ,,cyrus4 ,burial ,mounds of ,northern ,sections of the ,united ,states4 ,fifth ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhc-hd1 pp4 #c-aai1 pls4 ,i-,,vi1 figs4 #a-di4 ,excavations in ,little ,etowah ,mounds4 ,human figures on copper plates1 repouss work1 figs4 #db1 #dc1 pp4 #ajj1 #aja4 ,eagle 7copper7 ,mound near ,bluff ,lake1 ,union ,county1 ,illinois1 fig4 #dh1 p4 #aje4 ---- ,report on the ,mound ,explorations of the ,bureau of ,ethnology4 ,twelfth ,ann4 ,rep4 ,bureau of ,ethnology1 #ahij-ia1 pp4 #a-gcj1 pls4 ,i-,,xlii1 figs4 #a-cdd4 ,human figures 7copper71 repouss work1 figs4 #ahf1 p4 #cjd2 #ahi1 p4 #cjf4 ,eagle ,mound in ,illinois1 fig4 #aib1 p4 #cji4 ,swastika on shell1 ,big ,toco ,mound1 ,tennessee1 fig4 #bfb1 p4 #chc4 ,,thomas1 ,g4 ,w4 ,excavations in ,anglo-,saxon ,cemetery1 ,sleaford1 ,lincolnshire4 ,swastika4 ,archologia1 ,vol4 ,l1 #ahhg1 pt4 #b1 p4 #chf1 pl4 ,,xxiv1 fig4 #b4 ,,tylor1 ,,edward ,b4 ,anthropology3 ,an ,introduction to the ,study of ,man and ,civilization4 ,by ,edward ,b4 ,taylor1 ,d4 ,c4 ,l41 ,f4 ,r4 ,s4 ,with ,illustrations4 ,new ,york3 ,d4 ,appleton and ,company1 #a1 #c1 and #e ,bond ,street4 #ahha4 #ab1 pp4 #a-ddh4 ,spinning and spindle whorls1 pp4 #bdg1 #bdh4 ---- ,primitive ,culture ,researches into the ,development of ,mythology1 ,philosophy1 ,religion1 ,language1 ,art and ,custom by ,edward ,e4 ,tylor1 ,,ll4 ,d41 ,f4 ,r4 ,s41 ,author of ,researches into the ,early ,history of ,mankind1 etc4 7,quotation in ,french7 ,first ,american1 from the ,second ,english ,edition ,in ,two ,volumes 7,design7 ,boston ,estes ,lauriat #adc ,washington ,street #ahgd4 #h1 7#a71 pp4 i-xii1 #a-ejb2 7#b71 pp4 i-viii1 #a-dgj4 ,,wake1 ,c4 ,s4 ,the ,swastika and ,allied ,symbols4 ,am4 ,antiquarian1 #ahid1 ,vol4 ,,xvi1 p4 #dac4 ,the writer cites ,prof4 ,alois ,raimond ,hein1 ,meander1 etc41 ,worbelornamente in ,amerika4 ,vienna1 #ahia4 ,,waring1 ,j4 ,b4 ,ceramic ,art in ,remote ,ages2 ,with ,essays on the ,symbols of the ,circle1 the ,cross and ,circle1 the ,circle and ,ray ,ornament1 the ,fylfot1 and the ,serpent1 ,showing their ,relation to the ,primitive ,forms of ,solar and ,nature ,worship1 by ,j4 ,b4 ,waring1 ,author of ,stone ,monuments1 ,tumuli1 and ,ornament of ,remote ,ages1 ,illustrations of ,architecture and ,ornament1 ,the ,art ,treasures of the ,united ,kingdom1 c41 c4 ,london3 ,printed and ,published by ,john ,b4 ,day1 ,savoy ,street1 ,strand #ahgd4 ,folio1 pp4 #a-abg1 pls4 #a-ee4 ,swastika2 ,triskelion2 ,ancient coins4 ,plates #b1 #c1 #g1 #bg1 #cc1 #da-dd4 ,,wiener1 ,,charles4 ,prou et ,bolivie ,rcit de ,voyage suivi d'tudes ,archologiques et ,ethnograhiques et de ,notes ,sur l'criture et les ,langues des ,populations ,indiennes par ,charles ,wiener ,ouvrage ,contenant #ajj ,gravures1 #bg cartes et #ah plans 7,design7 ,paris ,librairie ,hachette et ,cie4 #gi1 ,boulevard ,saint-,germain1 #gi #ahhj ,droits de ,proprit et de traduction rservs4 #h1 pp4 i-xi1 #a-gif4 ,christian cross in ,america4--,means used to implant it4 ,chap4 ,,vii1 pp4 #gaf-gcj4 ,,wood1 ,j4 ,g4 ,the ,natural ,history of ,man2 ,being an ,account of the ,manners and ,customs of the ,uncivilized ,races of ,men4 ,by the ,rev4 ,j4 ,g4 ,wood1 ,m4 ,a41 ,f4 ,l4 ,s4 etc41 etc4 ,with ,new ,designs by ,angas1 ,danby1 ,wolf1 ,zwecker1 etc41 etc4 ,engraved by the ,brothers ,dalziel4 ,london3 ,george ,routledge and ,sons1 ,the ,broadway1 ,ludgate4 ,new ,york3 #daf ,broome ,street4 #ahfh4 #b vols41 #h1 pp4 #ggd1 #hfd4 ,the ,gurani ,indians wear the queyu or bead apron2 ,vol4 ,,ii1 p4 #fbf1 but the ,waraus wear only a triangular bit of bark1 p4 #fbc4 ,,wright1 ,t4 ,f4 ,notes on the ,swastika4 ,palestine ,exploration ,fund1 ,quarterly ,statement1 ,london4 ,october1 #ahid1 p4 #cjj4 ,,zmigrodzki1 ,,michael ,v4 ,zur ,geschichte der ,swastika von ,michael ,v4 ,zmigrodzki ,mit ,vier ,figuren im ,text und ,vier ,tafeln4 ,braunschweig1 ,druck und ,verlag von ,friederich ,vieweg und ,sohn4 #ahij4 ---- ,histoire du ,suastika4 ,congrs ,international d',anthrop4 et ,archol4 ,prhist4 ,compte ,rendu de la dixime session ,paris1 #ahhi pp4 #dgc-dij4 ,,list ,,of ,,illustrations4 ,,plates4 ,facing page4 ,pl4 #a4 ,origin of ,buddha1 with ,swastika sign1 according to ,tao ,shih #hjj #b4 ,swastika decreed by ,empress ,wu 7#fhd-gjd ,a4 ,d47 as a sign for sun in ,china #hjj #c4 ,swastika design on silk fabrics #hjj #d4 ,swastika in spider web over fruit #hjj #e4 ,buffalo with ,swastika on forehead4 ,presented to ,emperor of ,sung ,dynasty #hjj #f4 ,incense burner with ,swastika decoration4 ,south ,tang ,dynasty #hjj #g4 ,house of ,wa ,tsung-,chih of ,sin ,shin1 with ,swastika in railing #hjj #h4 ,mountain or wild date--fruit resembling ,swastika4 ,china #hjj #i4 ,punch marks on reverse of ancient coins #hgf ,fig4 #a4 ,coin from ,lydia4 ,electrum4 ,reverse4 ,oblong sinking between two squares4 ,babylonic stater4 ,the earliest known coinage4 ,circa ,b4 ,c4 #gjj4 #b4 ,phenician half stater4 ,electrum4 ,reverse4 ,incuse square with cruciform ornament4 #c4 ,silver coin of ,teos4 ,reverse4 ,incuse square4 ,circa #edd ,b4 ,c4 #d4 ,silver coin of ,acanthus4 ,reverse4 ,incuse square4 #e4 ,silver coin of ,mende4 ,reverse4 ,incuse triangles4 #f4 ,silver coin of ,terone4 ,reverse4 ,incuse4 #g4 ,coin of ,bisalt4#caf ,reverse4 ,flat incuse square4 ,octadrachm4 #h4 ,silver coin of ,orrescii4#caf ,reverse4 ,incuse square4 ,octadrachm4 #i4 ,corinthian silver coin4 ,reverse4 ,incuse square divided into eight triangular compartments4 #aj4 ,silver coin of ,abdera4 ,reverse4 ,incuse square4 #aa4 ,silver coin of ,byzantium4 ,reverse4 ,incuse square1 granulated4 #ab4 ,silver coin of ,thrasos 7,thrace74 ,reverse4 ,incuse square4 #aj4 ,engraved ,fulgur 787 shell resembling statue of ,buddha4 ,toco mound1 ,tennessee4 ,cat4 ,no4 #aaeefj1 ,u4 ,s4 ,n4 ,m4 #hhj #aa4 ,plan of ,north ,fork 7,hopewell7 ,works1 ,ross ,county1 ,ohio4 ,smithsonian ,contrib4 to ,knowledge1 ,i1 pl4 ,x #hhh #ab4 ,plan of ,hopewell mound1 ,ross ,county1 ,ohio1 in which aboriginal copper ,swastikas were found4 ,primitive ,man in ,ohio1 pl4 ,,xxxiv #hhh #ac4 ,human skull1 with copper-covered horns1 probably of elk4 ,hopewell mound1 ,ross ,county1 ,ohio4 ,primitive ,man in ,ohio1 frontispiece #hij #ad4 ,altar1 ,hopewell mound1 ,ross ,county1 ,ohio4 ,found near the copper ,swastika shown in fig4 #bdd4 ,primitive ,man in ,ohio1 fig4 ,,xxxvii4 ,cat4 ,no4 #adhffb1 ,u4 ,s4 ,n4 ,m4 #hij #ae4 ,bead necklace and garters with ,swastika ornamentation4 ,sac ,indians #hid #af4 ,ceremonial bead garters with ,swastikas4 ,sac ,indians1 ,cook ,county 7,kansas7 ,reservation #hif #ag4 ,navajo ,mountain ,chant4 ,dr4 ,washington ,matthews4 ,fifth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhc-hd1 pl4 ,,xvii #hih #ah4 ,folium ,vitus 7fig leaves7--terra-cotta covers1 tunga1 used by aborigines of ,brazil4 ,cat4 ,nos4 #eijhi and #cfedb1 ,u4 ,s4 ,n4 ,m4 #ijd #ai4 ,various forms of crosses in use among ,north ,american ,indians1 from ,greek cross to ,swastika4 ,second ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhj-ha1 pl4 ,,liii #ibh ,fig4 #a4 ,greek cross4 #b4 ,greek cross4 #c4 ,cross on copper4 #d4 ,cross on shell4 #e4 ,greek cross4 #f4 ,greek cross4 #g4 ,latin cross1 copper4 #h4 ,greek cross4 #i4 ,latin cross1 copper4 #aj4 ,swastika on shell4 #aa4 ,swastika on shell4 #ab4 ,swastika on pottery4 #ac4 ,swastika on pottery4 #bj4 ,palenque cross1 foliated4 ,smithsonian ,contrib4 to ,knowledge1 ,,xxii1 fig4 #g1 p4 #cc #icb #ba4 ,modern porcelain spindle-whorls4 ,southern ,france4 ,cat4 ,no4 #afieih1 ,u4 ,s4 ,n4 ,m4 #ifh #bb4 ,navajo woman using spindle and whorl4 ,dr4 ,washington ,matthews1 ,third ,ann4 ,rep4 ,bur4 ,ethnol41 #ahha-hb1 pl4 ,,xxxiv #igj #bc4 ,series of aboriginal spindles and whorls from ,peru4 ,cat4 ,no4 #ageaj1 ,u4 ,s4 ,n4 ,m4 #igb #bd4 ,selected specimens of spindle-whorls from the ,third1 ,fourth1 and ,fifth cities of ,troy4 ,u4 ,s4 ,national ,museum #igd #be4 ,selected specimens of spindle-whorls from the ,third1 ,fourth1 and ,fifth cities of ,troy4 ,u4 ,s4 ,national ,museum #igd ,,text ,,figures4 ,page4 ,fig4 #a4 ,latin cross 7,crux immissa7 #gfe #b4 ,greek cross #gfe #c4 ,st4 ,andrew's cross 7,crux decussata7 #gfe #d4 ,egyptian cross 7,crux ansata71 the ,key of ,life #gff #e4 ,tan cross1 ,thor's hammer1 ,st4 ,anthony's cross #gff #f4 ,monogram of ,christ4 ,labarum of ,constantine #gff #g4 ,maltese cross #gff #h4 ,celtic crosses #gfg #i4 ,normal ,swastika4 ,arms crossing at right angles1 with ends bent to the right #gfg #aj4 ,suavastika4 ,arms bent to the left #gfg #aa4 ,swastika #gfg #ab4 ,croix swasticale 7,zmigrodzki7 #gfg #ac;a4 ,ogee and spiral ,swastikas4 ,tetraskelion 7four-armed7 #gfh #ac;b4 ,spiral and volute4 ,triskelion 7three-armed7 #gfh #ac;c4 ,spiral and volute 7five or many armed7 #gfh #ac;d4 ,ogee ,swastika with circle #gfh #ad4 ,nandvartaya1 a third sign of the footprint of ,buddha4 ,burnouf1 ,lotus de la ,bonne ,loi1 ,paris1 #aheb1 p4 #fbf #ggd #ae4 ,typical lotuses on ,cyprian vases4 ,goodyear1 ,grammar1 etc41 p4 #gg #ghb #af4 ,typical lotus on ,rhodian vases4 ,goodyear1 ,grammar1 etc4 #ghb #ag4 ,typical lotus on ,melian vases4 ,goodyear1 ,grammar of the ,lotus #ghb #ah4 ,detail of ,cyprian vase showing lotuses with curling sepals4 ,met4 ,mus4 of ,art1 ,n4 ,y4 ,goodyear1 ,grammar1 etc41 pl4 ,,xlvii1 fig4 #a #ghb #ai4 ,details of a ,cyprian amphora2 lotus with curling sepals1 and different ,swastikas4 ,met4 ,mus4 of ,art1 ,n4 ,y4 ,goodyear1 ,grammar1 etc41 pl4 ,,xlvii1 figs4 #b and #c #ghc #bj4 ,theory of the evolution of the spiral scroll from lotus4 ,one volute4 ,goodyear1 ,grammar1 etc41 fig4 #ea #ghc #ba4 ,theory of lotus rudiments in spiral4 ,tomb #cc1 ,abd-el-,kourneh1 ,thebes4 ,goodyear1 ,grammar1 etc41 p4 #if #ghc #bb4 ,concentric rings connected by tangents4 ,petrie1 ,history of ,scarabs4 #ghd #bc4 ,concentric rings with disconnected tangents4 ,barringer ,coll41 ,met4 ,mus4 of ,art1 ,n4 ,y4 ,goodyear1 ,grammar1 etc41 ,pl4 ,,viii1 fig4 #bc #ghd #bd4 ,concentric rings without connection4 ,goodyear1 ,grammar1 etc41 pl4 ,,viii1 fig4 #be4 ,farman ,coll41 ,met4 ,mus4 of ,art1 ,n4 ,y4 #ghd #be4 ,special ,egyptian meander4 ,an illustration of the theory of derivation from the spiral4 ,goodyear1 ,grammar1 etc41 pl4 ,x1 fig4 #i #ghd #bf4 ,detail of ,greek vase4 ,meander and ,swastika4 ,no4 #bhdc in ,polytechnic1 ,athens4 ,goodyear1 ,grammar1 etc41 fig4 #agd #ghe #bg4 ,detail of ,greek geometric vase in the ,british ,museum4 ,swastika1 right1 with solar geese4 ,goodyear1 ,grammar1 etc41 fig4 #agc1 p4 #cec #ghe #bh4 ,greek geometric vase4 ,swastika with solar geese4 ,goodyear1 ,grammar1 etc41 fig4 #agb1 p4 #cec #ghe #bi4 ,bronze statue of ,buddha4 ,japan4 ,eight ,swastikas on pedestal1 cane tintinnabulum with six movable rings or bells4 ,cernuschi ,coll4 ,one-fifteenth natural size #gii #cj4 ,japanese potter's mark on porcelain4 ,swastika1 left4 ,sir ,a4 ,w4 ,franks1 ,catalogue1 etc41 pl4 ,,xi1 fig4 #aci2 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abdh #gii #ca4 ,potter's mark on porcelain4 ,china4 ,tablet of ,honor1 with ,swastika4 ,prime1 ,pottery and ,porcelain1 p4 #bed #hja #cb4 ,footprint of ,buddha with ,swastika1 from ,amaravati ,tope4 ,from a figure by ,fergusson and ,schliemann #hjb #cc4 ,explanation of ,jain ,swastika1 according to ,gandhi #hjd 7#a7 ,archaic or protoplasmic life2 7#b7 plant and animal life2 7#c7 human life2 7#d7 celestial life4 #cd;a4 ,the formation of the ,jain ,swastika--,first stage #hjd #cd;b4 ,the formation of the ,jain ,swastika--,second stage #hjd #cd;c4 ,the formation of the ,jain ,swastika--,third stage #hje #ce4 ,bronze pin-head from ,cheithan-thagh4 ,de ,morgan1 ,au ,caucase1 fig4 #agg #hjg #cf4 ,bronze pin-head from ,akthala4 ,de ,morgan1 ,au ,caucase1 fig4 #agh #hjh #cg4 ,swastika mark on black pottery4 ,cheithan-thagh4 ,de ,morgan1 ,au ,caucase1 fig4 #agi #hjh #ch4 ,fragment of bronze ceinture4 ,necropolis of ,koban1 ,caucasus4 ,swastika repouss4 ,natural size4 ,chantre1 ,le ,caucase1 pl4 ,,xi1 fig4 #c #hjh #ci4 ,bronze agrafe or belt plate4 ,triskelion in spiral4 ,koban1 ,caucasus1 ,chantre1 ,le ,caucase1 pl4 ,,xi1 fig4 #d #hji #dj4 ,swastika signs from ,asia ,minor4 ,waring1 ,ceramic ,art in ,remote ,ages1 pl4 ,,xli1 figs4 #e and #f #hji #da4 ,brand for horses in ,circassia4 ,ogee ,swastika1 tetraskelion4 ,waring1 ,ceramic ,art1 etc41 pl4 ,,xlii1 fig4 #bj;c #hji #db4 ,fragment of lustrous black pottery4 ,swastika1 right4 ,schliemann1 ,ilios1 fig4 #bdg #haj #dc4 ,spindle-whorl with two ,swastikas and two crosses2 #bc feet depth4 ,schliemann1 ,ilios1 fig4 #aheh #haa #dd4 ,spindle-whorl1 two ,swastikas2 #bc feet depth4 ,schliemann1 ,ilios1 fig4 #ahgd #haa #de4 ,spindle-whorl1 two ,swastikas2 #bc feet depth4 ,schliemann1 ,ilios1 fig4 #aiai #haa #df4 ,spindle-whorl1 two ,swastikas2 #bc feet depth4 ,schliemann1 ,ilios1 fig4 #ahbf #haa #dg4 ,spindle-whorl1 three ,swastikas2 #bc feet depth4 ,schliemann1 ,ilios1 fig4 #ahea #haa #dh4 ,spindle-whorl1 ,swastikas2 #bc feet depth4 ,schliemann1 ,ilios1 fig4 #aihb #hab #di4 ,sphere1 eight segments1 one containing ,swastika4 ,schliemann1 ,ilios1 fig4 #aiii #hab #ej4 ,biconical spindle-whorl1 ,swastika4 ,schliemann1 ,ilios1 fig4 #aidi #hab #ea4 ,biconical spindle-whorl1 six ,swastikas2 #cc feet depth4 ,schliemann1 ,ilios1 fig4 #ahei #hac #eb4 ,biconical spindle-whorl1 two ogee ,swastikas2 #cc feet depth4 ,schliemann1 ,ilios1 fig4 #ahgf #hac #ec4 ,spindle-whorl1 four ,swastikas2 #cc feet depth4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abdj #hac #ed4 ,spindle-whorl1 one ,swastika2 #cc feet depth4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abda #hac #ee4 ,conical spindle-whorl1 three ogee ,swastikas2 #ac-a_/b feet depth4 ,schliemann1 ,ilios1 fig4 #ahej #had #ef4 ,conical spindle-whorl1 four ,swastikas1 various kinds2 #ac-a_/b feet depth4 ,schliemann1 ,ilios1 fig4 #ahgi #had #eg4 ,conical spindle-whorl1 ,swastikas2 #ac-a_/b feet depth4 ,schliemann1 ,ilios1 fig4 #ahid #had #eh4 ,biconical spindle-whorl1 one ,swastika2 #ac-a_/b feet depth4 ,schliemann1 ,ilios1 fig4 #aihc #hae #ei4 ,biconical spindle-whorl1 three ogee ,swastikas2 #ac-a_/b feet depth4 ,schliemann1 ,ilios1 fig4 #aiij #hae #fj4 ,biconical spindle-whorl1 two ,swastikas2 #af-a_/b feet depth4 ,schliemann1 ,ilios1 fig4 #ahfc #hae #fa4 ,biconical spindle-whorl1 five ogee ,swastikas2 #ah feet depth4 ,schliemann1 ,ilios1 fig4 #aije #haf #fb4 ,spindle-whorl1 three ,swastikas2 #ai4h feet depth4 ,schliemann1 ,ilios1 fig4 #ahee #haf #fc4 ,spindle-whorl1 four ogee ,swastikas1 with spiral volutes2 #ah feet depth4 ,schliemann1 ,ilios1 fig4 #ahfh #haf #fd4 ,biconical spindle-whorl1 one ,swastika2 #ai4h feet depth4 ,schliemann1 ,ilios1 fig4 #ahfe #haf #fe4 ,biconical spindle-whorl1 one ,swastika2 #ai4h feet depth4 ,schliemann1 ,ilios1 fig4 #ahff #hag #ff4 ,biconical spindle-whorl1 three ,swastikas and three burning altars2 #ai4h feet depth4 ,schliemann1 ,ilios1 fig4 #ahgb #hag #fg4 ,biconical spindle-whorl1 four ,swastikas of the ,jain style2 #ai4h feet depth4 ,schliemann1 ,ilios1 fig4 #ahgc #hag #fh4 ,biconical spindle-whorl1 three ,swastikas of different styles2 #ai4h feet depth4 ,schliemann1 ,ilios1 fig4 #aiab #hag #fi4 ,biconical spindle-whorl1 one ,swastika of the figure-#h style2 #ai4h feet depth4 ,schliemann1 ,ilios1 fig4 #ahfa #hah #gj4 ,biconical spindle-whorl1 one ,swastika slightly ogee2 #ai4h feet depth4 ,schliemann1 ,ilios1 fig4 #ahfd #hah #ga4 ,conical spindle-whorl1 three ogee ,swastikas2 #ac-a_/b feet depth4 ,schliemann1 ,ilios1 fig4 #aheb4 ,gift of ,mme4 ,schliemann4 ,cat4 ,no4 #adigjd1 ,u4 ,s4 ,n4 ,m4 #hah #gb1 #gc1 #gd4 ,forms of whorls from fifth buried city of ,hissarlik1 for comparison4 ,schliemann1 ,ilios1 figs4 #ahja1 #ahjb1 and #ahjc #hai #ge4 ,terra-cotta sphere1 thirteen ,swastikas4 ,third city2 #bf feet depth4 ,schliemann1 ,ilios1 figs4 #bde1 #bdf #hai #gf4 ,terra-cotta disk1 one ,swastika4 ,schliemann1 ,ilios1 fig4 #ahdi #hbj #gg4 ,spindle-whorl1 ogee ,swastika4 ,third city2 #bc feet depth4 ,schliemann1 ,ilios1 fig4 #ahbb #hbj #gh4 ,biconical spindle-whorl1 irregular ,swastikas and crosses4 ,fourth city2 #ac4f foot depth4 ,schliemann1 ,ilios1 fig4 #ahga #hbj #gi4 ,biconical spindle-whorl1 uncertain and malformed ,swastikas4 ,third city2 #cc feet depth4 ,schliemann1 ,ilios1 fig4 #ahgj #hbj #hj4 ,biconical spindle-whorl1 irregular and partly formed ,swastika with large dot in center4 ,fourth city2 #bc feet depth4 ,schliemann1 ,ilios1 fig4 #ahge #hba #ha4 ,biconical spindle-whorl1 flattened1 two ,swastikas with indefinite decoration4 ,schliemann1 ,ilios1 fig4 #aidg #hba #hb4 ,biconical spindle-whorl1 one ,swastika and four segments of circles4 ,third city2 #cc feet depth4 ,schliemann1 ,ilios1 fig4 #aihi #hba #hc4 ,biconical spindle-whorl1 flattened1 ogee ,swastika with center circle4 ,third city2 #bc feet depth4 ,schliemann1 ,ilios1 fig4 #aihg #hbb #hd4 ,biconical spindle-whorl1 six ogee ,swastikas1 with center circle and dot4 ,third city2 #bc feet depth4 ,schliemann1 ,ilios1 fig4 #ahfb #hbb #he4 ,spherical spindle-whorl1 flattened top1 ogee lines which do not form ,swastikas4 ,schliemann1 ,ilios1 fig4 #ahij #hbb #hf4 ,biconical spindle-whorl1 ogee curves not crossed to form ,swastikas4 ,fourth city2 #aj4f feet depth4 ,schliemann1 ,ilios1 fig4 #ahhi #hbb #hg4 ,spherical spindle-whorl flattened1 with two ,swastikas combined with segments and dots4 ,schliemann1 ,ilios1 fig4 #aihh #hbc #hh4 ,two sections of terra-cotta sphere1 central circle and many extended arms1 ogee and zigzag to the left4 ,schliemann1 ,ilios1 fig4 #aiic #hbc #hi4 ,spherical spindle-whorl1 large central dot with #ab arms1 in same form as ogee ,swastika4 ,schliemann1 ,ilios1 fig4 #aidf #hbc #ij4 ,spindle-whorl1 central dot with ogee arms radiating therefrom1 turning in different directions1 but in form of ,swastika4 ,third city2 #bi feet depth4 ,schliemann1 ,ilios1 fig4 #ahcj #hbd #ia4 ,spindle-whorl1 central hole with radiating arms4 ,third city2 #bc feet depth4 ,schliemann1 ,ilios1 fig4 #ahdb #hbd #ib4 ,spindle-whorl1 large central circle with many arms4 ,fourth city2 #ai4h feet depth4 ,schliemann1 ,ilios1 fig4 #ahcg #hbd #ic4 ,spindle-whorl1 central hole and large circle with many curved arms4 ,third city2 #bi feet depth4 ,schliemann1 ,ilios1 fig4 #ahcc #hbd #id4 ,large biconical spindle-whorl with four large crosses with bifurcated arms4 ,third city2 #bc feet depth4 ,schliemann1 ,ilios1 fig4 #ahef #hbe #ie4 ,spindle-whorl1 hole and large circle in center with broad arms of ,greek cross4 ,third city2 #bf4d feet depth4 ,schliemann1 ,ilios1 fig4 #ahbj #hbe #if4 ,spindle-whorl1 hole and large circle in center1 extended parallel arms of ,greek cross1 with dots4 ,third city2 #bc feet depth4 ,schliemann1 ,ilios1 fig4 #ahag #hbe #ig4 ,spindle-whorl1 arms of ,greek cross tapering1 with dots4 ,third city2 #bc feet depth4 ,schliemann1 ,ilios1 fig4 #ahah #hbe #ih4 ,spindle-whorl1 central hole1 three arms ornamented with dots4 ,third city2 #bc feet depth4 ,schliemann1 ,ilios1 fig4 #ahai #hbf #ii4 ,biconical spindle-whorl1 with four animals associated with the ,swastika4 ,third city2 #cc feet depth4 ,schliemann1 ,ilios1 fig4 #ahgg #hbf #ajj4 ,biconical spindle-whorl1 with four animals associated with the ,swastika4 ,fourth city2 #ai4f feet depth4 ,schliemann1 ,ilios1 fig4 #ahfg #hbf #aja4 ,spindle-whorl1 figure-#h ,swastika 787 with six burning altars4 ,fourth city2 #ai4f feet depth4 ,schliemann1 ,ilios1 fig4 #ahch #hbf #ajb to #aac4 ,trojan spindle-whorls4 ,schliemann1 ,ilios #hbg #aad to #abd4 ,trojan ,spindle-whorls4 ,schliemann1 ,ilios #hbh #abe4 ,leaden idol1 ,artemis ,nana of ,chaldea1 with ,swastika4 ,hissarlik1 #bc feet depth1 #a-a_/c natural size4 ,schliemann1 ,ilios1 fig4 #bbf #hbi #abf4 ,terra-cotta vase with mamelon4 ,fourth city2 #af-a_/b feet depth4 ,one-third natural size4 ,cat4 ,no4 #adifgf1 ,u4 ,s4 ,n4 ,m4 #hcj #abg4 ,terra-cotta vase with circle or ring4 ,fourth city2 #bj feet depth4 ,one-third natural size4 ,schliemann1 ,ilios1 fig4 #ihh #hcj #abh4 ,terra-cotta vase1 with circle or ring with ,croix swasticale4 ,fourth city2 #bj feet depth4 ,one-sixth natural size4 ,schliemann1 ,ilios1 fig4 #ihf #hca #abi4 ,terra-cotta vase1 with circle or ring inclosing ,swastika4 ,fifth city2 #aj feet depth4 ,two-fifths natural size4 ,schliemann1 ,troja1 fig4 #aja #hca #acj4 ,greek vase showing deer1 geese1 and three ,swastikas4 ,naukratis1 ancient ,egypt1 sixth and fifth centuries ,b4 ,c4 ,flinders ,petrie1 ,third ,mem4 ,egypt ,expl4 ,fund1 pt4 #a1 pl4 ,,iv1 fig4 #c2 and ,goodyear1 ,grammar1 etc41 pl4 ,,lx1 fig4 #b #hcd #acj;a4 ,detail of vase shown in the preceding figure #hcd #aca4 ,pottery fragments with two meander ,swastikas4 ,naukratis1 ancient ,egypt4 ,petrie1 ,third ,mem4 ,egypt ,expl4 ,fund1 pt4 #a1 pl4 ,v1 figs4 #bd and #ae #hce #acb4 ,fragments of ,greek vase with lion and three meander ,swastikas4 ,naukratis1 ancient ,egypt4 ,petrie1 ,sixth ,mem4 ,egypt ,expl4 ,fund1 pt4 #b1 pl4 ,v1 fig4 #g2 and ,goodyear1 ,grammar1 etc41 pl4 ,,xxx1 fig4 #b #hce #acc4 ,fragment of ,greek vase with figures of sacred animals and ,swastikas associated with ,greek fret4 ,naukratis1 ancient ,egypt4 ,petrie1 ,sixth ,mem4 ,egypt ,expl4 ,fund1 pt4 #b1 pl4 ,,vi1 fig4 #a #hcf #acd4 ,fragment of ,greek vase with figures of animals1 two meander ,swastikas1 and ,greek fret4 ,naukratis1 ancient ,egypt4 ,petrie1 ,sixth ,mem4 ,egypt ,expl4 ,fund1 pt4 #b1 pl4 ,,viii1 fig4 #a2 and ,goodyear1 ,grammar1 etc41 pl4 ,,xxx1 fig4 #aj #hcf #ace4 ,greek vase with deer and meander and figure-#h ,swastikas4 ,naukratis1 ancient ,egypt4 ,sixth ,mem4 ,egypt ,expl4 ,fund1 pl4 ,v1 fig4 #a #hcg #acf4 ,greek tapestry4 ,coptos1 ,egypt4 ,first and second centuries ,a4 ,d4 ,forrer1 ,achmim-,panopolis1 pl4 ,,ix1 fig4 #c #hcg #acg4 ,torus of column with ,swastikas4 ,roman ruins1 ,algeria4 ,delamare4 ,waring1 ,ceramic ,art1 etc41 pl4 ,,xliii1 fig4 #b #hch #ach4 ,bronze ingots captured at ,coomassee during ,ashantee war4 ,swastika on each #hch #aci4 ,variations of the ,greek fret4 ,the two continuous lines crossing each other give the appearance of ,swastikas #hci #adj4 ,greek geometric vase with goose and ,swastika 7panel74 ,smyrna4 ,leyden ,museum4 ,conze1 ,anfnge21 etc41 ,vienna1 #ahgj2 and ,goodyear1 ,grammar1 etc41 pl4 ,,lvi1 fig4 #d #hci #ada4 ,greek vase1 geometric ornament1 ,athens4 ,horses1 ,swastika 7panels74 ,dennis1 ,etruria1 vol4 ,i1 p4 cxiii #hci #adb4 ,greek vase with ,swastikas 7panels74 ,conze1 ,anfnge1 etc41 vol4 #d2 and ,goodyear1 ,grammar1 etc41 pl4 ,,lx1 fig4 #ac #hci #adc4 ,detail of ,archaic ,greek vase with solar goose and ,swastika 7panel74 ,british ,museum4 ,waring1 ,ceramic ,art1 etc41 pl4 ,,xli1 fig4 #ae #hdj #add4 ,cyprian pottery plaque with ,swastika 7panel74 ,met4 ,mus4 of ,art1 ,n4 ,y4 ,cesnola1 ,cyprus1 ,its ,ancient ,cities1 ,tombs1 and ,temples1 pl4 ,,xlvii1 fig4 #dj #hdj #ade4 ,detail from ,cyprian vase1 ,swastikas in triangles4 ,goodyear1 ,grammar1 etc41 pl4 ,i1 fig4 #aa #hdj #adf4 ,detail of ,attic vase with antelope 787 and ,swastika4 ,british ,museum4 ,bhlau1 ,jahrbuch1 #ahhe1 p4 #ej2 and ,goodyear1 ,grammar1 etc41 pl4 ,,xxxvii1 fig4 #i #hdj #adg4 ,cyprian vase with ,swastikas4 ,cesnola1 ,cyprus1 etc41 appendix by ,murray1 p4 #djd1 fig4 #ae #hda #adh4 ,terra-cotta figurine with ,swastikas 7panels74 ,cesnola1 ,cyprus1 p4 #cjj4 ,ohnefalsch-,richter1 ,bull4 ,soc4 d',anthrop41 ,paris1 #ahhh1 p4 #fha1 fig4 #aa #hda #adi4 ,terra-cotta vase1 ,swastika1 and figure of horse #hda #aej4 ,bronze fibula with ,swastika1 goose1 and fish1 ,boeotia1 ,greece1 one-half natural size4 ,ludwig ,mller4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abfe #hda #aea4 ,details of ,greek vase with birds and ,swastikas4 ,waring1 ,ceramic ,art1 etc41 pl4 ,,xxxiii1 fig4 #bd2 and ,goodyear1 ,grammar1 etc41 pl4 ,,xlvi1 fig4 #e #hdb #aeb4 ,detail of ,cyprian vase1 sun hawk1 lotus1 solar disk1 ,swastikas4 ,blau1 ,jahrbuch1 #ahhf1 pl4 ,,viii2 ,reinach1 ,revue ,archologique1 #ahhe1 ,,ii1 p4 #cfj2 ,chipiez ,perrot1 ,hist4 of ,art in ,antiq41 ,,iv1 p4 #efd2 ,goodyear1 ,grammar1 etc41 pl4 ,,xlv1 fig4 #c #hdb #aec4 ,detail of ,greek geometric vase with horses and ,swastika4 ,thera4 ,leyden ,museum4 ,goodyear1 ,grammar1 etc41 pl4 ,,lxi1 fig4 #d #hdb #aed4 ,bronze fibula with large ,swastika on shield4 ,greece4 ,muse ,st4 ,germain4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abfd4 ,one-half natural size #hdc #aee4 ,greek vase1 oinocho1 with two painted ,swastikas4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abdd4 ,one-quarter natural size #hdc #aef4 ,cyprian vase with animal and ,swastikas4 ,cesnola1 ,cyprus1 etc41 pl4 ,,xlv1 fig4 #cf #hdc #aeg4 ,archaic ,greek pottery fragment4 ,santorin1 ancient ,thera4 ,waring1 ,ceramic ,art1 etc41 pl4 ,,xlii1 fig4 #b #hdc #aeh4 ,cyprian vase with bird1 lotus1 and ,swastikas4 ,met4 ,mus4 of ,art1 ,n4 ,y4 ,goodyear1 ,grammar1 etc41 pl4 ,,lx1 fig4 #ae #hdd #aei4 ,cyprian vase with two ,swastikas4 ,cesnola ,coll41 ,met4 ,mus4 of ,art1 ,n4 ,y4 ,goodyear1 ,grammar1 etc41 fig4 #aea #hdd #afj4 ,fragment of terra-cotta vase with ,swastikas1 from ruins of temple at ,paleo-,paphos2 #dj feet depth4 ,cesnola1 ,cyprus1 etc41 p4 #baj #hde #afa4 ,wooden button1 clasp1 or fibula1 covered with plates of gold1 ogee ,swastika1 7tetraskelion7 in center4 ,schliemann1 ,mycen1 fig4 #che1 p4 #bei #hde #afb4 ,detail of ,greek vase with goose1 honeysuckle 7,anthemion71 spiral ,swastika4 ,thera4 ,monumenti ,inedite1 ,,lxv1 #b4 ,goodyear1 ,grammar1 etc41 pl4 ,,xlvi1 fig4 #g #hde #afc4 ,detail of ,greek vase1 ,sphynx with spiral scrolls1 two meander ,swastikas 7right74 ,melos4 ,bhlau1 ,jahrbuch1 #ahhg1 ,,xii2 ,goodyear1 ,grammar1 etc41 pl4 ,,xxxiv1 fig4 #h #hdf #afd4 ,detail of ,greek vase1 ibex and scroll1 meander ,swastika 7right74 ,melos4 ,bhlau1 ,jahrbuch1 #ahhg1 p4 #aba2 and ,goodyear1 ,grammar1 etc41 pl4 ,,xxxix1 fig4 #b #hdf #afe4 ,detail of ,greek vase with ram1 meander ,swastika 7left71 circles1 dots1 and crosses4 ,rhodian style4 ,british ,museum4 ,salzmann1 ,necropole de ,camire1 ,,li2 and ,goodyear1 ,grammar1 etc41 pl4 ,,xxviii1 fig4 #g #hdf #aff4 ,cyprian vase and details with birds and ,swastikas4 ,perrot ,chipiez1 ,chypre1 etc41 p4 #gjb2 ,goodyear1 ,grammar1 etc41 pl4 ,,xlviii1 figs4 #f and #ab2 ,cesnola1 ,cyprus1 etc41 appendix by ,murray1 pl4 ,,xliv1 fig4 #cd1 p4 #dab #hdg #afg4 ,cyprian vase with lotus1 bosses1 buds1 and sepals1 and different ,swastikas4 ,cesnola ,coll41 ,met4 ,mus4 of ,art41 ,n4 ,y4 ,goodyear1 ,grammar1 etc41 pl4 ,,xlviii1 fig4 #c #hdg #afh4 ,cyprian vase with bosses1 lotus buds1 and different ,swastikas4 ,cesnola ,coll41 ,met4 ,mus4 of ,art41 ,n4 ,y4 ,goodyear1 ,grammar1 etc41 pl4 ,,xlviii1 fig4 #ae #hdh #afi4 ,detail of early ,boeotian vase with horse1 solar diagram1 ,artemis with geese1 and ,swastikas 7normal and meander1 right and left74 ,goodyear1 ,grammar1 etc41 pl4 ,,lxi1 fig4 #ab #hdh #agj4 ,detail of ,rhodian vase with geese1 circles1 and dots1 ,swastikas 7right and left74 ,british ,museum4 ,waring1 ,ceramic ,art1 etc41 pl4 ,,xxvii1 fig4 #i #hdi #aga4 ,detail of ,rhodian vase with geese1 lotus1 circles1 and two ,swastikas 7right and left74 ,goodyear1 ,grammar1 etc41 fig4 #ade1 pl4 #bga #hdi #agb4 ,greek vase of typical ,rhodian style with ibex1 geese1 lotus1 six ,swastikas 7normal1 meander1 and ogee1 all left74 ,goodyear1 ,grammar1 etc41 pl4 ,,xxxviii1 p4 #bea #hej #agc4 ,detail of ,greek vase with deer1 solar diagrams1 three ,swastikas 7single1 double1 and meander1 right74 ,melos4 ,conze1 ,meliosche ,thongefsse2 ,goodyear ,grammar1 etc41 pl4 ,,lx1 fig4 #h #hea #agd4 ,archaic ,greek vase from ,athens with five ,swastikas1 of four styles1 ,british ,museum4 ,birch1 ,history of ,ancient ,pottery1 quoted in ,waring's ,ceramic ,art1 etc41 pl4 ,,xli1 fig4 #ae2 ,dennis1 ,etruria1 ,vol4 ,i1 p4 xci #hea #age4 ,detail of ,archaic ,boeotian vase with two serpents1 crosses1 eight ,swastikas 7normal1 right1 left1 and meander74 ,goodyear1 ,grammar1 etc41 pl4 ,,lx1 fig4 #i #heb #agf4 ,attic vase for perfume with ,swastikas of two kinds and ,croix swasticale4 ,ohnefalsch-,richter1 ,bull4 ,soc4 d',anthrop41 ,paris1 #ahhh1 p4 #fgd1 fig4 #f #heb #agg4 ,detail of ,cyprian vase1 ,swastika with palm tree1 sacred to ,apollo4 ,citium1 ,cyprus4 ,ohnefalsch-,richter1 ,bull4 ,soc4 d',anthrop41 ,paris1 #ahhh1 p4 #fgc1 fig4 #c #heb #agh4 ,cyprian vase1 birds1 ,swastika1 7panel74 ,muse ,st4 ,germain4 ,ohnefalsch-,richter1 ,bull4 ,soc4 d',anthrop41 ,paris1 #ahhh1 p4 #fgd1 fig4 #f #hec #agi4 ,chariot of ,apollo-,resef with sun symbol 787 on a shield2 four ,swastikas1 two right and two left1 on quadrants of chariot wheels4 ,cesnola1 ,salamania1 p4 #bdj1 fig4 #bbf2 and ,ohnefalsch-,richter1 ,bull4 ,soc4 d',anthrop41 ,paris #ahhh1 p4 #fge1 fig4 #g #hec #ahj4 ,terra-cotta statue of goddess1 ,aphrodite-,astarte1 with four ,swastikas4 ,curium1 ,cyprus4 ,ohnefalsch-,richter1 ,bull4 ,soc4 d',anthrop41 ,paris1 #ahhh1 p4 #fgf1 fig4 #h #hec #aha4 ,cyprian centaur with one ,swastika4 ,cesnola1 ,salamania1 p4 #bdc1 fig4 #bcj2 ,ohnefalsch-,richter1 ,bull4 ,soc4 d',anthrop41 ,paris1 #ahhh1 p4 #fgf1 fig4 #i #hec #ahb4 ,greek statue1 ,aphrodite-,ariadne1 with six ,swastikas1 four right1 and two left4 ,from ,polistis ,chrysokon4 ,ohnefalsch-,richter1 ,bull4 ,soc4 d',anthrop41 ,paris1 #ahhh1 p4 #fgg1 fig4 #aj #hed #ahc4 ,hut urn 7,bronze ,age71 ,etruria4 ,burning ,altar mark associated with ,swastikas4 ,vatican ,museum #hef #ahd4 ,fragment of ,archaic ,greek pottery with three ,swastikas4 ,cum1 ,campania1 ,italy4 ,rochette2 ,waring1 ,ceramic ,art1 etc41 pl4 ,,xlii1 fig4 #a #heh #ahe4 ,cinerary urn with ,swastikas in panels4 ,vatican ,museum4 ,san ,marino1 near ,albano4 ,pigorini1 ,archologia1 #ahfi #heh #ahf4 ,cinerary urn with ,swastikas inclosed in incised lines in intaglio 7panels74 ,cervetri1 ,italy4 ,conestabile due ,dischi in ,bronzo1 pl4 ,v1 fig4 #b1 one-sixth natural size #heh #ahg4 ,gold fibula with ,swastikas 7left74 ,etruscan ,museum1 ,vatican4 ,catalogue1 #ast pt41 pl4 ,,xxvi1 fig4 #f1 one-half natural size #hei #ahh4 ,etruscan gold bulla1 ,swastika on bottom4 ,waring1 ,ceramic ,art1 etc41 pl4 ,,xlii1 fig4 #d;a #hei #ahi4 ,ornamental ,swastika on ,etruscan silver bowl1 ,cervetri 7,cre71 ,etruria4 ,waring1 ,ceramic ,art1 etc41 pl4 ,,xli1 fig4 #ac #hei #aij4 ,bronze fibula with two ,swastikas 7supposed rays of sun71 ,etruria4 ,copenhagen ,museum4 ,goblet d',alviella4 ,one-fourth natural size4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abfc #hei #aia4 ,pottery urn ornamented with successive bands1 in intaglio1 two of which bands are ,swastikas4 ,necropolis ,arnoaldi1 ,italy1 ,museum of ,bologna4 ,gozzadini1 ,scavi ,archologici1 etc41 pl4 ,,iv1 fig4 #h #hfj #aib4 ,fragment of pottery1 row of ,swastikas in intaglio1 ,necropole ,felsinea1 ,italy1 ,museum of ,bologna4 ,gozzadini1 ,due ,sepolcri1 etc41 p4 #g1 one-half natural size #hfj #aic4 ,swastika sign on clay bobbin4 ,type ,villanova1 ,bologna4 ,gozzadini ,coll4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abci #hfj #aid4 ,pottery vase ornamented with bronze nail heads in form of ,swastika4 ,este1 ,italy4 ,matriaux1 etc41 #ahhd1 p4 #ad #hfa #aie4 ,fragment of pottery with ,swastika stamped in relief #hfa #aif4 ,stamp for making ,swastika sign on pottery4 ,swiss lake dwelling of ,bourget1 ,savoy1 ,muse de ,chambry4 ,chantre1 ,age du ,bronze1 figs4 #ec and #ee2 and ,keller1 ,lake ,dwellings of ,europe1 etc41 pl4 ,,clxi1 fig4 #c #hfa #aig4 ,fragment of ceinture1 thin bronze1 repouss1 with ,swastikas of various kinds2 ,tumulus ,alsace4 ,bronze ,age1 ,halstattien epoch4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abee #hfb #aih4 ,fragment of ceinture of thin bronze1 openwork with intricate ,swastikas2 ,tumulus of ,metzstetten1 ,wurtemburg4 ,museum of ,stuttgart1 ,halstattien epoch4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abeg1 and ,chantre1 ,caucasus1 etc41 vol4 ,,ii1 p4 #ej1 fig4 #be #hfb #aii4 ,bronze fibula1 the body of which forms a ,swastika4 ,museum of ,mayence4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abjf #hfb #bjj4 ,sepulchral urn with ,swastika4 ,north ,germany4 ,lisch ,schrter1 ,waring1 ,ceramic ,art1 etc41 pl4 ,,vii1 fig4 #id #hfb #bja4 ,spearhead with ,swastika1 ,croix swasticale and triskelion4 ,brandenburg1 ,germany4 ,waring1 ,ceramic ,art1 etc41 pl4 ,,xliv1 fig4 #ba4 ,viking ,age1 ,vol4 ,,ii1 fig4 #ccf #hfc #bjb4 ,bronze pin with ,swastika1 pointill1 from mound in ,bavaria4 ,chantre1 ,matriaux1 #ahhd1 pp4 #ad1 #abj #hfc #bjc4 ,runic inscription on bronze sword1 inlaid with silver4 ,saebo1 ,norway4 ,one of the characters is a ,swastika #hfd #bjd;a4 ,swastika with dots4 ,torcello1 ,italy4 ,du ,chaillu1 ,viking ,age1 vol4 ,,ii1 fig4 #cce #hfe #bjd;b4 ,runic inscription on spearhead4 ,torcello1 ,italy4 ,du ,chaillu1 ,viking ,age1 vol4 ,,ii1 fig4 #cce #hfe #bje4 ,redding comb with ,swastika4 ,scandinavia #hfe #bjf4 ,bronze brooch or fibula with combination of ,swastikas4 ,scandinavia #hfe #bjg4 ,bronze brooch with ,swastikas 7tetraskelions71 right and left2 triskelion1 left4 ,scandinavia #hff #bjh4 ,plaque for ceinture with buckle1 two ogee ,swastikas 7tetraskelions7 #hff #bji4 ,scandinavian sword scabbard with two ogee ,swastikas 7tetraskelions71 right and left #hff #baj4 ,scandinavian sword scabbard with ogee ,swastika #hff #baa4 ,scandinavian sword scabbard1 two triskelions1 right and left #hff #bab4 ,gold brooch with ogee ,swastika4 ,island of ,fyen4 ,waring1 ,ceramic ,art1 etc41 pl4 ,,xliii1 fig4 #aa #hfg #bac4 ,scandinavian bronze silver-plated horse gear with three ,swastikas1 one elaborate4 ,waring1 ,ceramic ,art1 etc41 pl4 ,,xliv1 fig4 #af #hfg #bad4 ,scandinavian sword scabbard with normal ,swastika4 ,vimose bog find #hfg #bae4 ,sculptured stone with ,greek cross in circle1 normal ,swastika in square1 and ogee ,swastika in quatrefoil #hfh #baf4 ,fragment of thin bronze1 repouss1 ogee ,swastika4 ,ireland4 ,dr4 ,r4 ,munro1 ,lake ,dwellings of ,europe1 pl4 #abd1 figs4 #bj-bb #hfh #bag4 ,fragment of thin bronze1 triskelion4 ,ireland4 ,munro1 ,lake ,dwellings of ,europe1 p4 #chd1 pl4 #abd1 figs4 #bj-bb #hfh #bah4 ,bronze pin with small normal ,swastika on head4 ,crannog of ,lochlee1 ,tarbolton1 ,scotland4 ,munro1 ,lake ,dwellings of ,europe1 p4 #dag #hfh #bai4 ,carved triskelion found on fragment of ash wood4 ,crannog of ,lochlee1 ,tarbolton1 ,scotland4 ,munro1 ,lake ,dwellings of ,europe1 p4 #dae #hfi #bbj4 ,stone altar with ,swastika on pedestal4 ,france4 ,museum of ,toulouse4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abfg #hfi #bba4 ,pottery bottle of dark gray with ,swastika1 and decoration in white barbotine4 ,gallo-,roman epoch4 ,museum of ,rouen4 ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abdf #hgj #bbb4 ,anglo-,saxon bronze gilt fibula1 simulation of ,swastika4 ,long ,wittenham1 ,berkshire #hgj #bbc4 ,pottery urn with band of twenty ,swastikas made by hand4 ,white on blackish ground4 ,shropham1 ,norfolk4 ,british ,museum4 ,waring1 ,ceramic ,art1 etc41 pl4 ,,iii1 fig4 #ej #hga #bbd4 ,lycian coin1 triskelion1 with three arms representing cocks' heads and necks #hga #bbe1 #bbf4 ,lycian coins1 triskelions1 with central dots and circles1 #dhj ,b4 ,c4 ,waring1 ,ceramic ,art1 etc41 pl4 ,,xlii1 figs4 #ab and #ac #hga #bbg4 ,sicilian coin with quadriga and triskelion1 #ccf-bhj ,b4 ,c4 ,coins of the ,ancients1 ,brit4 ,mus41 pl4 ,,xxxv1 fig4 #bh #hgc #bbh4 ,warrior's shield1 from a ,greek vase1 ,achilles and ,hector1 ,agrigentum1 ,sicily4 ,waring1 ,ceramic ,art1 etc41 pl4 ,,xlii1 fig4 #bd #hgc #bbi4 ,corinthian coin with punch mark resembling ,swastika4 ,obverse and reverse #hgf #bcj4 ,ancient ,hindu coin4 ,a cross with ,swastika on extremity of each arm4 ,cunningham1 ,waring1 ,ceramic ,art1 etc41 pl4 ,,xli1 fig4 #ah #hgg #bca1 #bcb1 #bcc1 #bcd4 ,ancient ,hindu coins with ,swastikas1 normal and ogee4 ,cunningham1 ,waring1 ,ceramic ,art1 etc41 pl4 ,,xli1 figs4 #bj1 #ba1 #bb1 #bc #hgg #bce4 ,ancient coin with ,swastika4 ,gaza1 ,palestine4 ,waring1 ,ceramic ,art1 etc41 pl4 ,,xlii1 fig4 #f #hgh #bcf4 ,gold bracteate with ,jain ,swastika4 ,denmark4 ,thomson1 ,atlas1 ,table ,,vii4 ,waring1 ,ceramic ,art1 etc41 pl4 ,i1 fig4 #i #hgh #bcg4 ,shell gorget with engraved ,swastika1 circles1 and dots4 ,mound on ,fains ,island1 ,tennessee4 ,cat4 ,no4 #fbibh1 ,u4 ,s4 ,n4 ,m #hhj #bch4 ,engraved shell with ,swastika1 circles1 and dots4 ,toco ,mound1 ,monroe ,county1 ,tenn4 ,cat4 ,no4 #aaefbd1 ,u4 ,s4 ,n4 ,m4 #hhj #bci4 ,shell gorget4 ,two fighting figures1 triangular breech-clout1 dots and circles1 three garters and anklets4 ,from mound on ,fains ,island2 associated with fig4 #bcg4 ,cat4 ,no4 #fbicj1 ,u4 ,s4 ,n4 ,m4 ,third ,ann4 ,rep4 ,bur4 ,ethnol41 #ahha-hb1 p4 #deb1 fig4 #abh #hhe #bdj4 ,copper plate4 ,etowah ,mound1 ,georgia4 ,cat4 ,no4 #iaaac1 ,u4 ,s4 ,n4 ,m4 ,fifth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhc-hd #hhf #bda4 ,copper plate4 ,repouss work4 ,etowah ,mound1 ,georgia4 ,cat4 ,no4 #iaaag1 ,u4 ,s4 ,n4 ,m4 #hhg #bdb4 ,engraved shell4 ,triangular breech-clout1 with dots and circles4 ,etowah ,mound1 ,georgia4 ,cat4 ,no4 #iaddc1 ,u4 ,s4 ,n4 ,m4 #hhh #bdc4 ,copper plate repouss 7eagle74 ,mound in ,union ,county1 ,ill4 ,cat4 ,no4 #iaejg1 ,u4 ,s4 ,n4 ,m4 #hhi #bdd4 ,swastika cross of thin copper4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 ,one-fourth natural size #hhi #bde4 ,flat ring of thin copper4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 ,one-fifth natural size #hhi #bdf4 ,stencil ornament of thin copper4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 ,one-eighth natural size #hhi #bdg4 ,stencil ornament of thin copper4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 ,one-fourth natural size #hij #bdh4 ,fish ornament of thin copper4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 ,one-sixth natural size #hij #bdi4 ,lozenge-shaped stencil of thin copper4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 ,three-fourths natural size #hij #bej4 ,spool-shaped object of copper4 ,repouss and intaglio decoration4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 ,natural size #hia #bea4 ,fragment of engraved bone representing a paroquet4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 ,natural size #hib #beb4 ,fragment of engraved bone probably representing a ,mississippi kite or leather-back turtle4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 ,natural size #hib #bec4 ,fragment of engraved bone probably representing an otter with a fish in his mouth4 ,hopewell ,mound1 ,ross ,county1 ,ohio4 ,natural size #hic #bed4 ,water jug1 red on yellow1 ,swastika in center4 ,poinsett ,county1 ,ark4 ,cat4 ,no4 #iabcj1 ,u4 ,s4 ,n4 ,m4 #hic #bee4 ,kansa ,indian war chart4 ,swastika1 sign for winds and wind songs4 ,j4 ,owen ,dorsey1 ,am4 ,naturalist1 ,july1 #ahhe1 p4 #fgj #hid #bef4 ,dance rattle1 small gourd in black1 white1 and red1 ogee ,swastika on each side4 ,cat4 ,no4 #dbjdb1 ,u4 ,s4 ,n4 ,m4 ,second ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhj-ha1 fig4 #efb #hif #beg4 ,pima ,indian war shield with ogee ,swastika 7tetraskelion7 in three stripes of color1 7#a7 blue1 7#b7 red1 7#c7 white4 ,cat4 ,no4 #bghbi1 ,u4 ,s4 ,n4 ,m4 #ijj #beh4 ,pima ,indian war shield with ogee ,swastika4 ,the hole near the lower arm of the ,swastika was made by an arrow shot4 7,property of ,f4 ,w4 ,hodge7 #ijj #bei4 ,colonial patchwork with pattern resembling ,swastika4 ,scribner's ,magazine1 ,september1 #ahid #ija #bfj4 ,fragment of the foot of a stone metate with ,swastika4 ,nicaragua4 ,cat4 ,no4 #bcgbf1 ,u4 ,s4 ,n4 ,m4 #ijb #bfa4 ,fragment of stone slab with ogee ,swastika 7tetraskelion7 from ancient ,maya city of ,mayapan4 ,inscription translated as fire by ,le ,plongeon4 ,proc4 ,amer4 ,antiq4 ,soc41 ,april #ba1 #ahha #ijc #bfb4 ,different forms of ,swastika1 placed together for comparison #ije #bfc4 ,shell gorget1 cross1 circle1 sun rays 7871 and the heads of four ivory-billed woodpeckers 787 arranged to form a ,swastika4 ,mississippi #ijf #bfd4 ,shell gorget from ,tennessee #ijg #bfe4 ,shell gorget from ,tennessee #ijg #bff4 ,shell gorget from ,tennessee #ijh #bfg4 ,scalloped shell disk 7,fulgur71 with three spiral volutes 7triskelion74 ,from mound near ,nashville1 ,tenn4 #iji #bfh4 ,scalloped shell disk with circles1 dots1 and four spiral volutes 7tetraskelion74 ,mound near ,nashville1 ,tenn4 #iaj #bfi4 ,shell disk1 unfinished engraving1 dot and circle in center1 and ogee ,swastika 7tetraskelion7 marked1 but not completed4 ,brakebill mound1 near ,knoxville1 ,tenn4 #iaa #bgj1 #bga4 ,engraved shell disk 7obverse and reverse7 with three-armed volutes 7triskelion7 #iaa #bgb4 ,engraved shell disk with three-armed volute or spiral ,swastika 7triskelion74 ,from mounds in ,tennessee #iab #bgc4 ,engraved shell disk4 ,three-armed volute 7triskelion74 ,tennessee #iab #bgd4 ,engraved shell disk4 ,three-armed volute 7triskelion74 ,tennessee #iac #bge1 #bgf1 #bgg1 #bgh4 ,engraved shell gorgets 7,fulgur7 representing the spider1 with circles and ,greek crosses4 ,from stone graves and mounds in ,illinois and ,tennessee #iac1 #iad1 #iae #bgi4 ,engraved shell gorget 7,fulgur7 representing rattlesnake4 ,from ,mc,mahon mound1 ,tennessee4 ,second ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhj-ha1 pl4 ,,lxiii #iae #bhj1 #bha1 #bhb1 #bhc1 #bhd1 #bhe4 ,engraved shells 7,fulgur7 with representations of the human face4 7,for comparison47 ,from ,tennessee and ,virginia #iaf1 #iag #bhf4 ,engraved shell 7,fulgur74 ,human figure4 ,mc,mahon mound1 ,tennessee4 7,for comparison47 ,second ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhj-ha1 pl4 ,,lxxi #iag #bhg4 ,engraved shell 7,fulgur74 ,human figure4 7,for comparison47 ,mound in ,tennessee4 ,second ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhj-ha1 pl4 ,,lxxii #iah #bhh4 ,engraved shell gorget 7,fulgur74 ,human figure4 7,for comparison47 ,missouri4 ,second ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhj-ha1 pl4 ,,lxxiii #iai #bhi4 ,pottery vessel1 with four-armed volute1 ogee ,swastika1 7tetraskelion74 ,arkansas4 ,one-third natural size #ibj #bij4 ,pottery vessel1 four volutes resembling ,swastika4 ,pecan ,point1 ,ark4 ,one-third natural size #ibj #bia4 ,pottery vessel1 animal shaped1 volutes1 nine arms4 ,pecan ,point1 ,ark4 ,one-third natural size #ibj #bib4 ,pottery bowl1 volutes with many arms4 ,arkansas4 ,one-third natural size #iba #bic4 ,pottery vase1 volutes4 ,arkansas #iba #bid4 ,tripod pottery vase1 four-armed volutes making spiral ,swastika4 ,arkansas4 ,one-third natural size #ibb #bie4 ,pottery bowl with spiral ,swastika1 five arms1 in bottom4 ,poinsett ,county1 ,ark4 ,cat4 ,no4 #aadjce1 ,u4 ,s4 ,n4 ,m4 ,two views1 top and side #ibc #bif4 ,vessel of black ware1 spiral scroll4 ,arkansas #ibd #big4 ,pottery bowl1 bird shaped with three parallel incised lines with ribbon fold4 ,charleston1 ,mo4 #ibd #bih4 ,pottery bottle with three parallel incised lines turning with ribbon fold4 ,charleston1 ,mo4 #ibe #bii4 ,basket work with many armed volutes4 ,fourth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhb-hc1 fig4 #dhe #ibe #cjj4 ,engraved shell gorget disk4 ,greek cross resembling ,swastika1 incised lines4 ,mound1 ,union ,county1 ,ill4 #ibf #cja4 ,engraved shell gorget with ,greek cross4 ,charleston1 ,mo4 ,second ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhj-ha1 pl4 ,,li1 fig4 #b #ibg #cjb4 ,engraved shell gorget disk4 ,greek cross1 inchoate ,swastika4 ,second ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhj-ha1 ,pl4 ,,lii1 fig4 #c #ibh #cjc4 ,fragment of copper disk4 ,greek cross in center circle4 ,ohio4 ,am4 ,mus4 ,nat4 ,hist41 ,n4 ,y4 ,second ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhj-ha1 pl4 ,,lii1 fig4 #d #ibh #cjd4 ,engraved shell disk gorget1 rude cross with many dots4 ,lick ,creek1 ,tenn4 ,second ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhj-ha1 pl4 ,,lii1 fig4 #b #ibi #cje4 ,engraved shell1 ,greek cross1 hatched4 ,caldwell ,county1 ,n4 ,c4 ,cat4 ,no4 #hcafi1 ,u4 ,s4 ,n4 ,m4 #ibi #cjf4 ,engraved shell three-armed 7triskelion74 ,lick ,creek1 ,tenn4 ,cat4 ,no4 #hcagj1 ,u4 ,s4 ,n4 ,m4 #ibi #cjg4 ,drilled and engraved shell or runtee with dotted ,greek cross in circle4 ,arizona #icj #cjh4 ,drilled and engraved shell or runtee1 dots and rings forming circle and ,greek cross4 ,ohio #icj #cji4 ,drilled and engraved shell or runtee1 dots and rings forming circle and ,greek cross4 ,new ,york #icj #caj4 ,pottery jar with crosses1 encircling rays and scallops4 ,third ,ann4 ,rep4 ,bur4 ,ethnol41 #ahha-hb1 fig4 #ahh #ica #caa4 ,olla1 decorated with ,greek and ,maltese crosses4 ,second ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhj-ha1 fig4 #gjh #icb #cab4 ,pottery water vessel1 ,maltese cross4 ,second ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhj-ha1 fig4 #fdb #icb #cac4 ,pottery vase finely decorated in red and white glaze4 ,mexico4 ,maltese cross with sun symbol 7874 ,cat4 ,no4 #acbige1 ,u4 ,s4 ,n4 ,m4 #icc #cad4 ,greek cross representing winds from cardinal points4 ,dakota ,indians4 ,tenth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhh-hi1 fig4 #abbe #icd #cae4 ,the cross in connection with circle4 ,sun symbols 7874 ,petroglyphs a to f1 ,hopi ,indians1 ,oakley ,springs1 ,ariz42 g1 ,maya ,indians4 ,tenth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhh-hi1 figs4 #aaah1 #aabj1 and #aabf #ice #caf4 ,circles and rays1 probably representing sun symbols4 a to f1 ,hopi ,indians1 ,oakley ,springs1 ,ariz42 g to k--,ojibways #ice #cag4 ,crosses with circles1 star symbols4 ,oakley ,springs1 ,ariz4 #icf #cah4 ,star symbol1 circle and rays without cross4 ,oakley ,springs1 ,ariz4 #icf #cai4 ,crosses1 circles1 and squares representing lodges4 ,dakota ,indians #icf #cbj4 ,latin cross representing dragon fly4 ,dakota ,indians #icf #cba4 ,double cross of six arms1 representing dragon fly4 ,moki ,indians1 ,arizona4 ,tenth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhh-hi1 fig4 #aafe #icg #cbb4 ,crosses representing flocks of birds1 ,eskimos4 ,cat4 ,nos4 #ddbaa and #dejbj1 ,u4 ,s4 ,n4 ,m4 ,tenth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhh-hi1 fig4 #abbh #icg #cbc4 ,large white ,greek cross1 petroglyph4 ,tulare ,valley1 ,california4 ,tenth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhh-hi1 fig4 #abbi #icg #cbd4 ,petroglyphs from ,owens ,valley1 ,california4 a1 b1 ,greek cross2 c1 double ,latin cross2 d to f1 ,latin crosses representing human figures4 ,tenth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhh-hi1 fig4 #abcj #ich #cbe4 ,cross in zigzag lines representing human form4 ,navajo ,indians #ich #cbf4 ,maltese cross 7871 representing a woman2 breath in the center #ici #cbg4 ,maltese and ,st4 ,andrew's crosses1 emblems of maidenhood4 ,moki ,indians #ici #cbh4 ,cross with bifurcated foot representing human form4 ,shaman1 ,innuits #ici #cbi4 ,st4 ,andrew's crosses1 symbol for wood4 ,tenth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhh-hi1 fig4 #abcc #idj #ccj4 ,graphic delineation of the alligator1 from a vase of the lost-color group4 ,chiriqui4 ,holmes1 ,sixth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhd-he1 fig4 #beg #ida #cca4 ,graphic delineation of the alligator1 from a vase of the lost-color group4 ,chiriqui4 ,holmes1 ,sixth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhd-he1 fig4 #beh #ida #ccb4 ,conventional figure of alligator1 from lost-color ware4 ,chiriqui4 ,holmes1 ,sixth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhd-he1 fig4 #bei #idb #ccc4 ,conventional figure of alligator crowded into a short rectangular space4 ,chiriqui4 ,holmes1 ,sixth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhd-he1 fig4 #bfe #idb #ccd4 ,conventional figure of alligator crowded into a circle4 ,chiriqui4 ,holmes1 ,sixth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhd-he1 fig4 #bff #idb #cce4 ,series of figures of alligators1 showing stages of simplification4 ,chiriqui4 ,holmes1 ,sixth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhd-he1 fig4 #bgg #idc #ccf4 ,series showing stages in the simplification of animal characters1 beginning with the alligator and ending with the ,greek cross4 ,chiriqui4 ,holmes1 ,sixth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhd-he1 fig4 #bgh #idc #ccg to #cdb4 ,terra-cotta color stamps1 ,mexico1 with designs similar to the ,swastika4 ,cat4 ,nos4 #iiabd1 #iiabg1 #bghhg1 #iiaae1 #iiaah1 and #iiabb1 ,u4 ,s4 ,n4 ,m4 #idf #cdc4 ,terra-cotta color stamps1 with designs similar to the ,swastika4 ,piaroa ,indians1 ,venezuela4 ,tenth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhh-hi1 fig4 #ihb1 p4 #fba #idg #cdd4 ,modern churn lid with design resembling ,swastika4 ,lapland #ief #cde4 ,stone spindle-whorl1 ,neolithic4 ,swiss lake dwelling4 ,cat4 ,no4 #ajjfda1 ,u4 ,s4 ,n4 ,m4 #ifg #cdf4 ,stone spindle-whorl1 ,neolithic4 ,swiss lake dwelling4 ,cat4 ,no4 #ajjfda1 ,u4 ,s4 ,n4 ,m4 #ifg #cdg4 ,stone spindle-whorl1 ,neolithic4 ,lund1 ,sweden4 ,cat4 ,no4 #ebha1 ,u4 ,s4 ,n4 ,m4 #ifg #cdh4 ,terra-cotta spindle-whorl1 ,neolithic or ,bronze ,age4 ,swiss lake dwelling4 ,cat4 ,no4 #ajjfdb1 ,u4 ,s4 ,n4 ,m4 #ifg #cdi4 ,terra-cotta spindle-whorl1 ,neolithic or ,bronze ,age4 ,swiss lake dwelling4 ,cat4 ,no4 #ajjfdb1 ,u4 ,s4 ,n4 ,m4 #ifh #cej4 ,terra-cotta spindle-whorl1 ,swiss lake dwelling4 ,cat4 ,no4 #ajjfdb1 ,u4 ,s4 ,n4 ,m4 #ifh #cea1 #ceb1 #cec4 ,prehistoric terra-cotta spindle-whorls4 ,orvieto1 ,italy4 ,cat4 ,no4 #ajafga1 #ajafgb1 ,u4 ,s4 ,n4 ,m4 #ifh #ced1 #cee4 ,prehistoric spindle-whorls4 ,corneto1 ,italy4 ,cat4 ,no4 #ajaggc1 ,u4 ,s4 ,n4 ,m4 #ifh #cef4 ,modern spindle and whorl used for spinning thread4 ,wrtemberg1 ,germany4 #ifi #ceg4 ,terra-cotta spindle-whorl design similar to ,swastika4 ,valley of ,mexico4 ,cat4 ,no4 #bghge1 ,u4 ,s4 ,n4 ,m4 #igj #ceh4 ,mexican terra-cotta spindle-whorl design similar to ,swastika4 #iga #cei4 ,terra-cotta spindle-whorl4 ,omotepe ,island1 ,nicaragua4 ,cat4 ,no4 #bhhii1 ,u4 ,s4 ,n4 ,m4 #iga #cfj4 ,terra-cotta spindle-whorl4 ,omotepe ,island1 ,nicaragua4 ,cat4 ,no4 #bhhih1 ,u4 ,s4 ,n4 ,m4 #iga #cfa4 ,terra-cotta spindle-whorl4 ,granada1 ,nicaragua4 ,cat4 ,no4 #bcbie1 ,u4 ,s4 ,n4 ,m4 #igb #cfb4 ,terra-cotta spindle-whorl4 ,malacate1 ,zapatera ,island1 ,nicaragua4 ,cat4 ,no4 #bijji1 ,u4 ,s4 ,n4 ,m4 #igb #cfc4 ,spindle-whorl1 gray clay decorated with annular nodes4 ,chiriqui4 ,holmes1 ,sixth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhd-he1 fig4 #bah #igb #cfd4 ,spindle-whorl of gray clay with animal figures4 ,chiriqui4 ,holmes1 ,sixth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhd-he1 fig4 #bai #igc #cfe4 ,spindle-whorl of dark clay with perforations and incised ornaments4 ,chiriqui4 ,holmes1 ,sixth ,ann4 ,rep4 ,bur4 ,ethnol41 #ahhd-he1 fig4 #bbj #igc #cff4 ,terra-cotta spindle-whorl4 ,manizales1 ,colombia1 ,south ,america4 ,cat4 ,no4 #afhch1 ,u4 ,s4 ,n4 ,m4 #igc #cfg4 ,bobbin or spool for winding thread 7874 ,type ,villanova1 ,corneto1 ,italy4 ,u4 ,s4 ,n4 ,m4 #ige #cfh4 ,terra-cotta bobbin or spool for winding thread 7874 ,type ,villanova1 ,bologna1 ,italy4 ,cat4 ,no4 #ajagga1 ,u4 ,s4 ,n4 ,m4 #ige #cfi4 ,bobbin 7874 ,mound near ,maysville1 ,ky4 ,cat4 ,no4 #afgdh1 ,u4 ,s4 ,n4 ,m4 #igf #cgj4 ,bobbin 7874 ,lexington1 ,ky4 ,cat4 ,no4 #affia1 ,u4 ,s4 ,n4 ,m4 #igf #cga4 ,bobbin 7874 ,lewis ,county1 ,ky4 ,fine-grained sandstone4 ,cat4 ,no4 #eifha1 ,u4 ,s4 ,n4 ,m4 #igf #cgb4 ,bobbin 7874 ,end views4 ,fine-grained sandstone4 ,maysville1 ,ky4 ,cat4 ,no4 #afgdg1 ,u4 ,s4 ,n4 ,m4 #igg #cgc4 ,woman's woolen dress found in oak coffin4 ,borum-,eshoi1 ,denmark4 ,rep4 ,smithsonian ,inst4 7,u4 ,s4 ,n4 ,m471 #ahib1 pl4 ,,ci1 fig4 #b #igh #cgd4 ,detail of woven cloth shown in the preceding figure4 ,denmark4 ,rep4 ,smithsonian ,inst4 7,u4 ,s4 ,n4 ,m471 pl4 ,,ci1 fig4 #c #igi ,,map4 ,facing page4 ,distribution of the ,swastika #ijd ,,chart4 ,page4 ,showing the probable introduction of the ,swastika into different countries #gid ,,footnotes3 #a ,william ,berry1 ,encyclopdia ,heraldica1 #ahbh-ahdj4 #b ,higgins1 ,anacalypsis1 ,london1 #ahcf1 ,i1 p4 #bcj4 #c ,des ,sciences et ,religion1 p4 #bef4 #d ,r4 ,p4 ,greg1 ,the ,fylfot and ,swastika1 ,archologia1 ,,xlviii1 part #b1 #ahhe1 p4 #bih2 ,goblet d',alviella1 ,migration des ,symboles1 p4 #ej #e ,stephens1 ,old ,northern ,runic ,monuments1 part ,,ii1 p4 #eji2 ,ludwig ,mller1 quoted on p4 #ggh of this paper2 ,goblet d',alviella1 ,la ,migration des ,symboles1 p4 #de2 ,haddon1 ,evolution in ,art1 p4 #bhh4 #f ,page #ab4 #g ,la ,migration des ,symboles1 pp4 #ba1 #bb4 #h ,le ,culte de la ,croix avant ,jsus-,christ1 in the ,correspondant1 ,october #be1 #ahhi1 and in ,science ,catholique1 ,february #ae1 #ahij1 p4 #afc4 #i ,same authorities4 #aj ,page #caf1 et seq4 #aa ,the native ,buddhist monarchs ruled from about ,b4 ,c4 #ejj to the conquest of ,alexander1 ,b4 ,c4 #ccj4 ,see ,the ,swastika on ancient coins1 ,chapter ,,ii of this paper1 and ,waring1 ,ceramic ,art in ,remote ,ages1 p4 #hc4 #ab ,la ,migration des symboles1 p4 #ajd4 #ac ,ilios1 pp4 #cdg1 #cdh4 #ad ,bulletins de la ,socit d',anthropologie1 #ahhh1 p4 #fgh4 #ae ,mr4 ,gandhi makes the same remark in his letter on the ,buddha shell statue shown in pl4 #aj of this paper4 #af ,ilios1 p4 #cdh4 #ag ,lotus de la ,bonne ,loi1 ,app4 ,,viii1 p4 #fbf1 note #d4 #ah ,archologia1 p4 #cf4 #ai ,transactions of the ,royal ,asiatic ,society of ,great ,britain1 ,,iii1 p4 #abj4 #bj ,lotus de la ,bonne ,loi1 ,app4 ,,viii1 p4 #fbe1 note #b4 #ba ,lotus de la ,bonne ,loi1 p4 #fbf4 #bb ,notes on the ,religious1 ,moral1 and ,political state of ,india1 ,journ4 ,asiatic ,soc4 ,great ,britain1 ,,vi1 pp4 #caj-ccd4 #bc ,low1 ,trans4 ,roy4 ,asiatic ,soc4 of ,great ,britain1 ,,iii1 pp4 #ccd1 #caj4 #bd ,ibid41 p4 #bii4 #be ,ibid41 p4 #bii4 #bf ,low1 ,trans4 ,royal ,asiatic ,soc4 of ,great ,britain1 ,,iii1 p4 #caj4 #bg ,indian ,antiquary1 ,,ii1 ,may1 #ahgc1 p4 #ace4 #bh ,bilsa ,topes1 p4 #ag4 #bi ,ceramic ,art in ,remote ,ages1 p4 #ab4 #cj ,tenth ,congress ,international d',anthropologie et d',archologie ,prehistoriques1 ,paris1 #ahhi1 p4 #dgd4 #ca ,archologia1 ,,xlvii1 pt4 #a1 p4 #aei4 #cb ,ceramic ,art in ,remote ,ages1 p4 #aa4 #cc ,see explanation of the ,swastika by ,mr4 ,gandhi according to the ,jain tenets1 p4 #hjd4 #cd ,ilios1 p4 #cec4 #ce ,alphabetum ,tibetarium1 ,rome1 #agfb1 pp4 #baa1 #dfj1 #gbe4 #cf ,rockhill1 ,diary of a ,journey through ,mongolia and ,tibet1 ,smithsonian ,institution1 ,washington1 #ahid1 p4 #fg4 #cg ,des ,sciences et ,religion1 pp4 #beb1 #beg4 #ch ,vol4 ,,xi4 #ci ,la ,migration des ,symboles1 pp4 #fa-fc4 #dj ,archologia1 ,,xlviii1 pt4 #b1 pp4 #cbb1 #cbc4 #da ,early ,history of ,mankind1 p4 #beg1 note ,c4 #db ,the ,book of the ,sword1 p4 #bjb1 note #b4 #dc ,burnouf1 ,des ,sciences et ,religion1 p4 #ah4 #dd ,the two pieces of wood of ,ficus religiosa1 used for kindling fire4 #de ,la ,migration des ,symboles1 p4 #fc4 #df ,archologia1 ,,xliii1 pt4 #b1 pp4 #cbd1 #cbe4 #dg ,la ,migration des ,symboles1 p4 #fd4 #dh ,fylfot and ,swastika1 ,archologia1 #ahhe1 p4 #bic4 #di ,la ,migration des ,symboles1 p4 #fe4 #ej ,le ,dieu gaulois du ,soleil et le symbolisme de la roue1 ,paris1 #ahhf4 #ea ,proc4 ,amer4 ,philosoph4 ,soc41 #ahhi1 pp4 #agg-ahg4 #eb ,ceramic ,art in ,remote ,ages4 #ec ,the ,book of the ,sword1 p4 #bjb4 #ed ,trans4 ,lancaster and ,cheshire ,antiq4 ,soc41 #ahhf4 #ee ,haddon1 ,evolution in ,art1 ,london1 #ahie1 p4 #bhh4 #ef ,sampson1 ,low1 ,marston ,co41 ,london4 #eg ,goodyear1 ,the ,grammar of the ,lotus1 pp4 #d1 #e4 #eh ,ibid41 p4 #f4 #ei ,goodyear1 ,the ,grammar of the ,lotus1 pp4 #g1 #h4 #fj ,ibid41 p4 #ga4 #fa ,ibid41 pp4 #gd1 #gg4 #fb ,age du ,bronze1 ,deuxieme partie1 p4 #cja4 #fc ,matriaux pour l',histoire ,primitive et ,naturelle de l',homme1 #c;d ser41 ,,viii1 p4 #f4 #fd ,grammar of the ,lotus1 pl4 #h1 p4 #ha4 #fe ,ibid41 pp4 #hb-id4 #ff ,ibid41 p4 #if4 #fg ,ibid41 pl4 ,x1 figs4 #g-i1 p4 #ig4 #fh ,ibid41 p4 #ced4 #fi ,ibid41 p4 #cec4 #gj ,ibid41 p4 #ced1 fig4 #agd4 #ga ,cesnola1 ,cyprus1 its ,ancient ,cities1 ,tombs1 and ,temples1 p4 #daj4 #gb ,industrial ,arts of ,india1 p4 #ajg4 #gc ,zur ,geschichte der ,swastika4 #gd ,la ,migration des ,symboles1 chap4 #b1 pt4 #c1 p4 #ff4 #ge ,ibid41 p4 #fg4 #gf ,la ,migration des ,symboles1 p4 #fi4 #gg ,ibid41 p4 #ga4 #gh ,la ,migration des ,symboles1 pp4 #gb1 #ge1 #gg4 #gi ,ibid41 p4 #fa4 #hj ,athenum1 ,august #bj1 #ahib1 p4 #bff4 #ha ,numismatic ,chronicle1 #ahhj1 ,,xx1 pp4 #ah-dh4 #hb ,madras ,journ4 of ,lit4 and ,sci41 ,,iii1 pl4 #i4 #hc ,london1 #ahhj4 #hd ,rawlinson1 ,cuneiform ,inscriptions of ,western ,asia1 ,v1 pl4 #fj2 ,trans4 ,soc4 ,biblical ,archology1 ,,viii1 p4 #afe4 #he ,history of ,art in ,chaldea and ,assyria1 ,i1 p4 #bjj1 fig4 #ga4 #hf ,bull4 ,soc4 d',anthrop41 ,paris1 #ahhh1 pp4 #fgd1 #fge4 #hg ,archologia1 ,,xlviii1 pt4 #b1 p4 #cbf4 #hh ,proc4 ,amer4 ,philosoph4 ,soc41 #ahhi1 ,,xxix1 p4 #ahj4 #hi ,quarterly ,statement of the ,palestine ,exploration ,fund1 ,january1 #ahie1 pp4 #ha1 #he4 #ij ,la ,migration des ,symboles1 pl4 #c4 #ia ,la ,migration des ,symboles1 p4 #ic4 #ib ,ibid41 p4 #ajg4 #ic ,ilios1 p4 ,,xxi4 #id ,ibid41 p4 #ceb4 #ie ,ibid41 p4 #cec4 #if ,la ,migration des ,symboles1 p4 #dc4 #ig ,peintures cramiques de la ,grce propre4 ,i1 pl4 ,,xv1 fig4 #ag4 #ih ,histoire de l'art dans l'antiquit1 ,,iii1 figs4 #eac1 #eae1 #eah4 #ii ,bull4 ,soc4 d',anthrop41 ,paris1 ,december #f1 #ahhh1 pp4 #ffi1 #fgi1 #fhj4 #ajj ,grammar of the ,lotus1 p4 #cah et seq4 #aja ,archologia1 ,,xlvii1 pt4 #a1 p4 #aei4 #ajb ,ages ,prehistorique de l',espagne et du ,portugal1 pp4 #bhe-bic4 #ajc ,ibid41 p4 #bhf4 #ajd ,ibid41 p4 #bic4 #aje ,ceramic ,art in ,remote ,ages1 p4 #ac4 #ajf ,proc4 ,amer4 ,philosoph4 ,soc41 #ahhi1 ,,xxix1 p4 #agi4 #ajg ,muse ,prhistorique1 fig4 #abcj2 ,bull4 ,soc4 d',anthrop41 ,paris1 #ahhf1 pp4 #bii1 #cac1 #cad4 #ajh ,catalogue of ,oriental ,porcelain and ,pottery1 pl4 #aa1 fig4 #aci4 #aji ,de ,morgan1 ,au ,caucase1 fig4 #ahj4 #aaj ,pottery and ,porcelain1 p4 #bed4 #aaa ,ilios1 p4 #ceb4 #aab ,le ,swastika et la roue solaire en ,chine1 ,revue d',ethnographie1 ,,iv1 pp4 #cai1 #cej4 #aac ,la ,migration des ,symboles1 p4 #ce4 #aad ,new ,york ,independent1 ,november #af1 #ahic2 ,science1 ,march #bc1 #ahid1 p4 #afb4 #aae ,diary of a ,journey through ,mongolia and ,tibet in #ahia-ib1 p4 #fg4 #aaf ,la ,migration des ,symboles1 p4 #ee1 citing note ,i1 ,journ4 ,asiatique1 #b;e srie1 ,,iv1 p4 #bde1 and ,pallas1 ,sammlungen historischer ,nachrichten ber die mongolischen ,vlkerschaften1 ,i1 p4 #bgg4 #aag ,ibid41 p4 #ee4 #aah ,des ,sciences et ,religion1 p4 #bef4 #aai ,introduction to ,popular ,religion and ,folk ,lore of ,north ,india1 p4 #eh4 #abj ,trubner ,co41 ,london1 #ahhc1 pp4 #adj1 pl4 #fj4 #aba ge du ,bronze1 pt4 #a1 p4 #bjf4 #abb ,muse ,prhistorique1 pl4 #ih2 ,notes de l',origine ,orientale de la ,mtallurgie1 ,lyon1 #ahgi2 ,l'ge de la ,pierre et du ,bronze dans l',asie ,occidentale1 ,bull4 ,soc4 d',anthrop41 ,lyon1 ,i1 fasc4 #b1 #ahhb2 ,bull4 ,soc4 d',anthrop4 de ,paris1 #ahhf1 pp4 #bii1 #cac1 and #cad4 #abc ,ceramic ,art in ,remote ,ages4 #abd ,la ,migration des ,symboles1 pp4 #ea1 #eb4 #abe ,det ,saakaldte ,hagebors1 ,copenhagen1 #ahgg4 #abf ,la ,migration des ,symboles1 pp4 #ea1 #eb4 #abg ,bull4 de la ,soc4 d',anthrop41 ,december #f1 #ahhh1 ,,xi1 p4 #fga4 #abh ,la ,migration des ,symboles1 p4 #ea4 #abi ,histoire de l',art dans l',antiquit1 ,,iv4 #acj ,mission ,scientifique au ,caucase4 #aca ,recherches ,anthropologiques dans le ,caucase1 tome deuxime1 priode protohistorique1 ,atlas1 pl4 #aa1 fig4 #c4 #acb ,count ,goblet d',alviella1 ,la ,migration des ,symboles1 p4 #ea4 #acc ,ceramic ,art in ,remote ,ages1 pl4 #da1 figs4 #e and #f4 #acd ,ceramic ,art in ,remote ,ages1 pl4 #db1 fig4 #bj;c4 #ace ,mines de l',orient1 ,v4 #acf ,harper's ,magazine1 ,august1 #ahie4 #acg ,bulletins de la ,soc4 d',anthrop41 #ahhh1 ,,ii1 p4 #fgh4 #ach ,dixime ,congrs ,international d',anthropologie et d',archologie ,prhistorique1 ,paris1 #ahhi1 p4 #dgd4 #aci ,ilios1 pp4 #bbi1 #cej1 note #a4 #adj ,ibid41 figs4 #fc-gj1 p4 #bbi4 #ada ,ibid41 p4 #cjc4 #adb ,all spindle-whorls from the hill of ,hissarlik are represented one-half natural size4 #adc ,archologia1 ,,xlviii1 pt4 #b1 p4 #cbb4 #add ,ilios1 pp4 #eah1 #ega4 #ade ,ilios1 fig4 #aheb4 #adf ,ibid41 p4 #egc4 #adg ,tenth ,congr4 ,inter4 d',anthrop4 et d',archol4 ,prehist41 ,paris1 #ahhi1 p4 #dgd4 #adh ,ilios1 p4 #dah4 #adi ,see p4 #ghf4 #aej ,ilios1 fig4 #bbf1 p4 #ccg4 #aea ,ibid41 p4 #fid4 #aeb ,ibid41 p4 #cch4 #aec ,see p4 #gie4 #aed ,genesis i1 #bh4 #aee ,genesis viii1 #ag2 ix1 #g4 #aef ,genesis iii1 #af4 #aeg ,genesis xiii1 #af2 xv1 #e4 #aeh ,ilios1 preface1 p4 xi4 #aei ,ilios1 app4 #a1 p4 #fhe4 #afj ,ibid41 app4 #f1 p4 #cgi4 #afa ,troja1 p4 xii4 #afb ,la ,migration des ,symboles1 pp4 #ea1 #eb4 #afc ,ceramic ,art in ,remote ,ages1 p4 #hb4 #afd ,archologia1 ,,xlvii1 pt4 #a1 p4 #aei4 #afe ,grammar of the ,lotus1 pl4 #cj1 figs4 #b and #aj1 p4 #cef4 #aff ,les ,tapisseries ,coptes1 sec4 #d1 pp4 #e1 #f4 #afg ,forrer1 ,die ,grber-und ,textilfunde von ,achmim-,panopolis1 p4 #bj4 #afh ,bull4 ,soc4 ,franaise de numism4 et d'archol41 ,,ii1 pl4 #c1 p4 #c4 #afi ,ilios1 p4 #cec4 #agj ,see p4 #hde4 #aga ,grammar of the ,lotus1 p4 #ceb4 #agb ,goodyear1 ,grammar of the ,lotus1 pl4 #fa1 fig4 #a4 #agc ,see p4 #gie4 #agd ,matriaux pour l',histoire ,primitive et ,naturelle de l',homme1 ,,xviii1 p4 #ad4 #age ,athenic vases painted by ,andokides1 about #ebe ,b4 ,c41 represent the dress of the goddess1 ornamented with ,swastika and ,croix swasticale4 ,am4 ,journ4 ,archol41 ,january-,march1 #ahif1 ,,xi1 ,no4 #a1 figs4 #i1 #aa4 #agf ,grammar of the ,lotus1 pp4 #cdh1 #cec4 #agg ,cyprus1 its ,ancient ,cities1 ,tombs1 and ,temples1 pl4 #de1 fig4 #cf4 #agh ,history of ,art in ,phenicia and ,cyprus1 ,,ii1 p4 #cjb1 fig4 #bci4 #agi ,ceramic ,art in ,remote ,ages1 pl4 #db1 fig4 #b4 #ahj ,troja1 p4 #abc4 #aha ,ceramic ,art in ,remote ,ages1 frontispiece1 fig4 #c1 and p4 #aae4 #ahb ,matriaux pour l',histoire ,primitive et ,naturelle de l',homme1 #ahha1 ,,xvi1 p4 #daf4 #ahc ,another ,rhodian vase1 similar in style1 with ,swastikas1 is shown in the ,grammar of the ,lotus1 pl4 #cg1 fig4 #d4 #ahd ,g4 ,hirschfield1 ,vasi archaici ,ateniesi1 ,annali dell' ,instituto di corrispondenza archologica1 #ahgb1 ,tav4 d',ag4 ,k4 #f1 #eb4 #ahe ,bull4 ,soc4 d',anthrop41 ,paris1 #ahhh1 pp4 #fgd-fge4 #ahf ,ibid41 p4 #fge4 #ahg ,salaminia1 p4 #bdj1 fig4 #bbf4 #ahh ,aphrodite ,phenician ,ashtoreth1 ,astarte ,babylonian ,ishtar4 #ahi ,see p4 #ggc4 #aij ,archologia1 ,,xlviii1 pt4 #b1 p4 #cje4 #aia ,bull4 ,soc4 d',anthrop41 ,paris1 #ahhh1 p4 #fgi4 #aib ,cities and ,cemeteries of ,etruria1 ,i1 p4 #fi4 #aic ,ibid41 ,,ii1 p4 #deg4 #aid ,annali dell' ,instituto1 ,rome1 #ahga1 pp4 #bci-bgi2 ,bulletino ,instituto1 ,rome1 #ahga1 pp4 #ca-eb2 ,pigorini and ,sir ,john ,lubbock1 ,notes on ,hut ,urns and other objects from ,marino1 ,london1 #ahfi2 ,virchow1 ,die ,huttenuruen von ,marino1 ,berlin1 #ahhc4 #aie ,troja1 p4 #abb4 #aif ,cities and ,cemeteries of ,etruria1 ,i1 p4 lxxxix4 #aig ,la ,migration des ,symboles1 p4 #fg4 #aih ,see p4 #ghf4 #aii ,ilios1 p4 #ceb4 #bjj ,there are bronze hatchets from ,italy1 with ,swastikas in intaglio and in relief1 in ,muse ,st4 ,germain4 ,de ,mortillet1 ,muse ,prhistorique1 figs4 #aaec1 #aaed4 #bja ,lake ,dwellings1 pl4 #afa1 figs4 #c1 #d4 #bjb ,age du ,bronze1 pt4 #b1 figs4 #ec-ee1 p4 #aie4 #bjc ,zeitschrift fr ,ethnographie1 ,berlin1 #ahga and #ahgf4 #bjd ,coll4 ,majlath ,bela2 ,hampel1 ,antiquits ,prhistoriques de la ,hongrie2 ,erztergom1 #ahgg1 pl4 #bj1 ,no4 #c4 #bje ,hampel1 ,catalogue de l',exposition des ,muses des ,provinces1 ,budapest1 #ahgf1 p4 #ag2 ,schliemann1 ,ilios1 p4 #ceb4 #bjf ,matriaux pour l',histoire ,primitive et ,naturelle de l',homme1 #ahhd1 pp4 #ad1 #abj4 #bjg ,old ,northern ,runic ,monuments1 pt4 #c1 p4 #djg4 #bjh ,proceedings of the ,eighth ,session1 ,i1 pp4 #deg-dfj4 #bji ,du ,chaillu1 ,viking ,age1 ,i1 fig4 #cce4 #baj ,ceramic ,art in ,remote ,ages1 pl4 #dc1 fig4 #aa2 ,viking ,age1 ,,ii1 fig4 #acaa2 ,englehardt1 ,l',ancien ,age de ,fer4 fig4 #bh4 #baa ,du ,chaillu1 ,viking ,age1 ,i1 fig4 #cgi4 #bab ,ogam ,inscribed ,monuments1 p4 #cei1 pl4 xlix4 #bac ,ibid41 p4 #ceh1 pl4 xlviii4 #bad ,greg1 ,archologia1 ,,xlviii1 pt4 #b1 pl4 #ai1 fig4 #bg4 #bae ,la ,migration des ,symboles1 p4 #di4 #baf ,zmigrodzki1 ,zur ,geschichte der ,suastika1 taf4 #f1 fig4 #bdh4 #bag ,lake ,dwellings of ,europe1 p4 #chd1 pl4 #abd1 figs4 #bj-bb4 #bah ,l',autel de ,saintes et les triades gauloises1 ,revue ,archol41 #ahhj1 ,,xxxix1 p4 #cdc4 #bai ,institut ,archologique ,ligeois1 ,x1 #ahgj1 p4 #ajf1 pl4 #ac4 #bbj ,la ,migration des ,symboles1 p4 #dg1 fig4 #ac4 #bba ,see fig4 #bch4 #bbb ,archologia1 ,l1 pt4 #b1 p4 #djf1 pl4 #bc1 fig4 #g4 #bbc ,archologia1 ,,xxxi4 #bbd ,ceramic ,art in ,remote ,ages1 pl4 #dc1 fig4 #aj4 #bbe ,ibid41 pl4 #c1 fig4 #ej4 #bbf ,see p4 #ghg4 #bbg ,history of ,art in ,phrygia1 ,lydia1 ,caria1 and ,lycia1 p4 #cia4 #bbh ,an unique cast of this tripod is in the ,u4 ,s4 ,national ,museum1 ,department of ,oriental ,antiquities4 #bbi ,the number of heads may have been regulated by the size of the coins in question1 probably answering to different values4 #bcj ,ceramic ,art in ,remote ,ages1 p4 #he4 #bca ,ceramic ,art in ,remote ,ages1 pl4 #ac1 fig4 #bd4 #bcb ,ibid41 pl4 #ac1 fig4 #ba4 #bcc ,athenum1 ,no4 #cche1 ,september #aj1 #ahib1 p4 #cec4 #bcd ,debrett's ,complete ,peerage of the ,united ,kingdom of ,great ,britain and ,ireland4 #bce ,snowden1 ,mint ,manual of ,coins of all ,nations1 ,introduction1 pp4 ix-xiv2 ,ackerman1 ,roman ,coins1 pl4 #ad4 #bcf ,the ,bisalt and ,orrescii were ,thracian tribes who dwelt in the valleys of the ,strymon and the ,angites1 to the north of the ,pangan ,range4 #bcg ,see p4 #ghh4 #bch ,ceramic ,art in ,remote ,ages1 pl4 #da1 figs4 #bj-bc4 #bci ,numismatic ,chron41 7new series71 ,,iv4 #bdj ,la ,migration des ,symboles1 figs4 #ag1 #abc4 #bda ,edward ,thomas1 ,journ4 ,royal ,asiatic ,soc4 7new series71 ,i1 p4 #dge4 #bdb ,ceramic ,art in ,remote ,ages1 p4 #hc4 #bdc ,numismatic ,chron41 pt4 ,i1 #ahhj4 ,see p4 #ghh of this paper4 #bdd ,archologia1 ,,xlviii1 pt4 ,,ii1 #ahhe1 p4 #cjf4 #bde ,athenum1 ,august #bj1 #ahib4 #bdf ,viking ,age1 ,,ii1 figs4 #acjg1 #acji4 #bdg ,page #dcf1 fig4 #adj4 #bdh ,proc4 ,royal ,danish ,acad4 ,sci41 #eth ser41 ,,iii1 p4 #id1 fig4 a2 ,la ,migration des ,symboles1 p4 #ej1 fig4 #af4 #bdi ,third ,ann4 ,rep4 ,bureau of ,ethnology1 #ahha-hb1 p4 #dfd et seq41 figs4 #aci-ada4 #bej ,this theory was first announced by ,antonio de ,montezinos and published by ,,manasseh ben ,,israel in ,amsterdam1 #afcf4 ,in ,leser ,library1 ,phil41 and ,cohen ,library1 ,balto4 ,catalogued by ,dr4 ,cyrus ,adler4 ,first ,english ,ed4 by ,moses ,wall1 ,london3 #afea1 republished by ,dr4 ,grossmann1 ,am4 ,jews' ,annual1 #ahhi1 p4 #hc4 #bea ,max ,mller and ,ohnefalsch-,richter agree with this4 ,see pp4 #ggb1 #ggc of this paper4 #beb ,cf4 ,ghandi1 p4 #hhb1 of this paper4 #bec ,fifth ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhc-hd1 pp4 #if-ajf1 figs4 #db1 #dc1 #de4 #bed ,these explorations were made for the ,department of ,ethnology at the ,world's ,columbian ,exposition1 ,chicago1 #ahic4 #bee ,prehistoric ,america1 p4 #bb1 note #bd1 fig4 #i4 #bef ,primitive ,industry1 p4 #cb4 #beg ,american ,naturalist1 ,,xix1 ,july1 #ahhe1 p4 #fgj4 #beh ,ibid41 pl4 #bj4 #bei ,this was the last time ,i ever saw ,mr4 ,dorsey4 ,he died within a month1 beloved and regretted by all who knew him4 #bfj ,troja1 p4 #abc4 #bfa ,the ,cliff ,dwellers of the ,mesa ,verde1 ,southwestern ,colorado1 ,p4 ,a4 ,norstedt ,son1 ,chicago1 #ahic4 #bfb ,from letter of ,mr4 ,walter ,hough1 ,winslow1 ,ariz4 ,i send you two pieces of pottery bearing many ogee ,swastikas from the ruins near here formerly inhabited by the ,moki4 ,many of the bowls which we have found in this ruin had the ,swastika as a major motif in the decoration4 ,see also ,the ,archologist1 ,,iii1 ,no4 #g1 p4 #bdh4 #bfc ,troja1 p4 #abb4 #bfd ,the presence of the ,swastika is the only purpose of this citation4 ,the correctness of the translation is not involved and is not vouched for4 #bfe ,equivalent to ,istar of ,assyria and ,babylon1 ,astarte of ,phenicia1 to the ,greek ,aphrodite1 and the ,roman ,venus4 #bff ,cited in ,misson ,voyage d',italie1 tome #a1 p4 #bag2 ,dulaure1 ,histoire des ,differens ,cultes1 ,,ii2 ,brantne1 ,dames ,galantes2 ,rabelais1 ,pantagruel1 #c1 chap4 #ce4 #bfg ,second ,ann4 ,rep4 ,bureau of ,ethnology1 p4 #ei4 #bfh ,second ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhj-ha1 p4 #bgc1 pl4 #ed4 #bfi ,second ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhj-ha1 pl4 #ee1 fig4 #a4 #bgj ,ibid41 pl4 #ee1 fig4 #b4 #bga ,second ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhj-ha1 p4 #bgf1 pl4 #ef1 figs4 #a1 #b4 #bgb ,op4 cit41 p4 #bgf1 pl4 #ef1 figs4 #c1 #e1 #f4 #bgc ,op4 cit41 p4 #bha4 #bgd ,second ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhj-ha1 pl4 #fa4 #bge ,second ,ann4 ,rep4 ,bureau of ,ethnology1 pls4 #fi-gc4 #bgf ,figs4 #djb1 #dac1 #dae1 #daf4 #bgg ,third ,ann4 ,rep4 ,bureau of ,ethnology1 fig4 #aeg4 #bgh ,fourth ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhb-hc1 fig4 #ddb4 #bgi ,fourth ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhb-hc1 p4 #cdc1 fig4 #cca4 #bhj ,third ,ann4 ,rep4 ,bureau of ,ethnology1 #ahha-hb1 fig4 #afe4 #bha ,ibid41 pp4 #ejb1 #ejc1 figs4 #ahf1 #ahi4 #bhb ,second ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhj-ha1 p4 #bga1 pl4 #ea1 fig4 #a4 #bhc ,second ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhj-ha1 pp4 #bgb1 #bgc4 #bhd ,schoolcraft1 ,history of the ,indian ,tribes1 ,,iii1 pl4 #be2 ,second ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhj-ha1 pl4 #cf4 #bhe ,smithsonian ,contributions to ,knowledge1 p4 #cc1 pl4 #ad1 fig4 #g4 #bhf ,la ,migration des ,symboles1 p4 #ah4 #bhg ,tenth ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhh-hi1 figs4 #aaah-aabi4 #bhh ,eighth ,ann4 ,rep4 ,bureau of ,ethnology1 p4 #bhc4 #bhi ,tenth ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhh-hi1 fig4 #aafe4 #bij ,ibid41 fig4 #abcb4 #bia ,ibid41 fig4 #abca4 #bib ,ibid41 p4 #gbi4 #bic ,second ,ann4 ,rep4 ,bureau of ,ethnology1 p4 #fa4 #bid ,contrib4 ,north ,american ,ethnology1 ,v1 p4 #add4 #bie ,historia de ,mexico1 ,i1 p4 #bch4 #bif ,ninth ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhg-hh1 p4 #dgi4 #big ,myths of the ,new ,world1 p4 #if4 #bih ,gaspesi1 ,london1 #afia1 pp4 #agj1 #agb1 #aii4 #bii ,second ,ann4 ,rep4 ,bureau of ,ethnology1 #ahhj-ha1 p4 #bgj4 #cjj ,sixth ,ann4 ,rep4 ,bureau of ,ethnology1 p4 #agc et seq41 figs4 #beg-bgh4 #cja ,second ,ann4 ,rep4 ,bureau of ,ethnology1 p4 #bfi4 #cjb ,seventh ,ann4 ,rep4 ,bureau of ,ethnology1 p4 #aee4 #cjc ,second ,ann4 ,rep4 ,bureau of ,ethnology1 p4 #bfi4 #cjd ,mem4 ,soc4 d',anthrop41 ,paris1 #ahij1 p4 #bjj4 #cje ,de ,quatrefages1 ,histoire ,gnrale du ,races ,humaines1 ,introduction1 p4 #bci1 figs4 #ahe-aia1 #aic-aid4 #cjf ,goblet d',alviella1 ,la ,migration des ,symboles1 pp4 #ef1 #eg4 #cjg ,proc4 ,am4 ,philosoph4 ,soc41 xxvi1 p4 #agg4 #cjh ,for general lack of knowledge of ,swastika in modern times1 see ,preface1 p4 #gfc4 #cji ,finnische ,ornamente4 #a4 ,stichornamente4 ,heft #a-d4 ,soumalaisen ,kirjallisuuden ,seura ,helsingiss1 #ahid4 #caj ,karl ,blind1 ,discovery of ,odinic songs in ,shetland1 ,nineteenth ,century1 ,june1 #ahgi1 p4 #ajih1 cited by ,alfred ,c4 ,haddon in ,evolution in ,art1 ,london1 #ahie1 p4 #bhe4 #caa ,miss ,fanny ,d4 ,bergen1 in ,scribner's ,magazine1 ,september1 #ahid4 #cab ,bull4 ,soc4 d',anthrop41 ,paris1 ,october1 #ahic1 p4 #fjj4 #cac ,bull4 ,soc4 d',anthrop41 ,paris1 pp4 #dfa-dfb4 #cad ,de ,mortillet1 ,muse ,prhistorique1 fig4 #abci4 #cae ,prehistoric ,man1 p4 #fja4 #caf ,the ,basalt and ,orrescii were ,thracian tribes who dwelt in the valleys of the ,strymon and the ,angites1 to the north of the ,pangan ,range4