MALLERY, ] WEST VIRGINIA CAVE. 475 
The third is the Ojibwa ‘*symbol” for an eyil or one-sided ‘“meda” 
or higher-grade shaman. 
The fourth is the Ojibwa general ““symbol” for a meda. 
Mr. William H. Holmes, of the Bureau of Ethnology, gives the fol- 
lowing account (condensed from the American Anthropologist, July, 
1890) of a West Virginia rock shelter (shown in Pl. xxx1). The copy 
is in two rows of figures, but in the original there is only one row, the 
parts marked « and @ being united: 
In Harrison county, West Virginia, a small stream, Two-Lick creek, heading near 
the Little Kanawha divide, descends into the west fork of the Monongahela about 
4 miles west of Lost Creek station, on the Clarksburg and Weston railroad. Asceud- 
ing the stream for a little more than 2 miles and turning to the right up a tributary 
called Campbells run, is a recess in the rocks, the result of local surface undermin- 
ing of an outcrop of sandstone assisted by roof degradation, which therefore is a 
typical rock shelter. At the opening it is abont 20 feet long and in the deepest part 
extends back 16 feet. 
The rock sculptures, of which simplified outlines are given in Pl. xxx1, occupy the 
greater part of the back wall of the recess, covering a space of some 20 feet long by 
about 4 feet in height. At the left the line of figures approaches the outer face of 
the rock, but at the right if terminates in the depths of the chamber, beyond which 
the space is too low and uneven to be utilized. There are indications that engray- 
ings have existed above and below those shown, but their traces are too indistinet 
to be followed. 
The more legible designs concprise three heads, resembling death’s-heads, one hu- 
man head or face, one obscure buman figure, three birds resembling cranes or turkeys 
(one with outspread wings), three mountain lions or beasts of like character, two 
rattlesnakes, one turtle, one turtle-like figure with bird’s hedd, parts of several un- 
identified creatures (one resembling a fish), and four conventional figures or devices 
resembling, one a hand, one a star, one the track of a horse, and the fourth the track 
of an elk, buffalo, deer, or domestic cow. 
The serpents, placed above and toward the right of the picture, are much larger 
than life, but the other subjects are represented somewhat nearly natural size. The 
animal figure facing the two death’s- heads is drawn with considerable vigor and 
very decidedly suggests the panther. A notable feature is the two back-curving 
spines or spine-like tufts seen upon its shoulder; it is possible that these represent 
some mythical character of the creature. Two of the animal figures, in accordance 
with a widespread Indian practice, exhibit the heart and the life line, the latter 
connecting the heart with the mouth; these features are, as usual, drawn in red. 
The human head or face is somewhat larger than life; it is neatly hollowed out to 
the nearly uniform depth of one-fourth of an inch, and is slightly polished over most 
of the surface. Ear lobes are seen at the right and left, and an arched line, possibly 
intended for a plume, rises from the left side of the head. A crescent-shaped band 
of red extends across the face, and within this the eyes are indistinctly marked. 
The mouth is encircled by a dark line and shows six teeth, the spaces between being 
filled in with red. 
Probably the most remarkable members of the series are the three death’s-heads 
seen near the middle of the line. That they are intended to represent skulls and 
not the living face or head is clear, and the treatment is decidedly suggestive of that 
exhibited in similar work of the more cultured southern nations. The eye spaces 
are large and deep, the cheek bones project, the nose is depressed, and the mouth is 
a mere node depressed in the center. 
All the figures are clearly and deeply engraved, and all save the serpents are in 
full intaglio, being excavated over the entire space within the outlines and to the 
