NO.    I  ARCHEOLOGY    OF    ST.    LAWRENCE    ISLAND COLLINS  303 
ease  with  which  it  was  executed  must  have  been  largely  responsible  for  its 
supplanting  the  free-hand  figure. 
De  Lagiina  has  also  remarked  upon  the  similarity  between  the  Punuk 
design  of  dots  attached  to  the  ends  of  lines  and  the  same  design  as 
it  occurs  in  Solberg's  Iron  Age  site  in  East  Finmark,  Norway  (de 
Laguna,  1932-33,  p.  79).  There  is  no  mistaking  this  resemblance, 
and  although  the  designs  illustrated  by  Solberg  (1909,  figs.  86,  127, 
131,  148)  are  simpler  and  somewhat  more  uniform  than  those  of  the 
Punuk,  they  seem  to  provide  the  closest  approach  to  Punuk  composi- 
tion that  we  have  anywhere  outside  the  Bering  Sea  region. 
An  old  site  on  Kola  Bay,  northern  Russia,  excavated  by  A.  V. 
Schmidt,  has  yielded  certain  implement  types  identical  with  those  from 
East  Finmark,  and  has  provided  another  parallel  to  late  Punuk  art — 
bands  of  deeply  incised  parallel  lines  (Schmidt,  1930,  pi.  i,  figs.  4,  5; 
pI-4,  fig-3)- 
The  less  common  Punuk  design  of  connected  Y  figures   (pi.  65, 
fig.  7)  is  another  that  is  widespread  in  northern  Eurasia.  It  occurs 
in  simple  form  at  the  East  Finmark  site  (Solberg,  1909,  figs.  107,  131 ) 
and  in  more  developed  form  among  the  Vogul  and  Ostiak  (Ru- 
denko,  1929,  p.  16,  fig.  i ;  p.  17,  fig.  i  ;  p.  18,  figs.  5,  9-1 1)  and  the 
Yakut  (Karutz,  1925,  p.  75,  fig.  17). 
The  later  form  of  Punuk  art,  therefore,  shows  unmistakable  affini- 
ties with  that  of  the  existing  tribes  of  northern  Siberia  and  with  that 
which  existed  in  Iron  Age  times  in  northern  Europe.  The  earlier 
form  of  Punuk  art  seems  to  have  been  derived  directly  from  that 
of  the  Old  Bering  Sea,  and  like  the  latter,  is  definitely  limited  in  its 
distribution. 
Engraving  Tools 
The  small  engraving  tools  of  ivory  and  wood,  some  with  particles 
of  iron  still  adhering  to  the  points  (pi.  60,  figs.  10,  11;  pi.  81,  figs. 
17-20),  are  of  particular  significance  as  showing  definitely  that  the 
St.  Lawrence  Eskimos  of  the  Punuk  stage  knew  the  use  of  metal. 
It  has  been  apparent  for  some  time  that  the  designs  of  Punuk  art 
were  executed  with  metal  tools  (Collins,  1929,  pp.  20,  21,  27,  28; 
1932,  pp.  117,  118).  This  is  indicated  by  the  extreme  precision  and 
regularity  of  the  lines,  which  are  deeply  and  evenly  incised  in  con- 
trast to  the  more  delicate  and  variable  lines  of  Old  Bering  Sea  art, 
and  especially  by  the  perfectly  round  nucleated  circles,  which  could 
only  have  been  produced  by  metal  bits  or  compasses  and  which  are  so 
different  in  appearance  from  the  freehand  circles  and  ellipses  of  the 
older  art.   From  the  Gambell  finds  we  can  now  see  the  kind  of  imple- 
