In Plate LXXV I have arranged a number of figures for convenience of comparison, Figs. 1, 3, 5, and 6, being outlines of the four examples just described. In regard to the restored part of the outline in Fig. 1, I wish to say that my only object in filling out the figure on the right was to secure as far as possible the full effect of the complete original. Observing that all that remains of the right hand figure--the arm, the body, the leg and foot, is a duplicate of the left, it is safe to conclude that the design has been approximately bi-symmetrical, slight discrepancies probably occurring in the details of head and arm, in the expression of face, or in the character of the weapon. It is much to be regretted that the faces are totally destroyed. In Fig. 2 I present a group of two figures from the so-called "sacrificial stone" found in the Plaza Mayor, city of Mexico. It seems to represent the submission of one warrior or ruler to his victorious opponent, and is one of many designs that might be presented to illustrate the analogies of the Tennessee relic with the interesting works of the far South. There is what might be called a family resemblance, a similarity in idea and action, but little analogy of detail. The northern work is by far the more spirited, and is apparently superior in all the essentials of artistic excellence. [Illustration: PL. LXXV--THE HUMAN FIGURE. 1. Shell gorget, McMahan Mound, Tenn. 2. Sculptured in stone, Mexico. 3. Shell gorget, mound, Missouri. 4. Figure from an Aztec painting. 5. Shell gorget, McMahan Mound, Tenn. 6. Shell gorget, Lick Creek Mound, Tenn.] In the composite character of the personages represented this picture finds no parallel. Composite figures are of frequent occurrence in Peruvian art, as in the running figures sculptured on the great monolith at Tiahuanuco, or the mythical combats of the gods of the earth and sea painted on the pottery of Chimu. They are also found in the manuscripts of the ancient Mexicans, as well as in the paintings of the modern Pueblos of New Mexico (Fig. 1, Plate LXXVI), and in the totemic art of the Haidahs (Fig. 2, Plate LXXVI). The most frequent combinations are of birds with men, the inspiration of the work in all cases being derived from the mythology of the people. The wearing of masks has doubtless given rise to many such conceptions, and where the head alone of the human creature has undergone metamorphosis, we may suspect that a mask has originated the conception; but the Tennessee example appears to be the only one in which wings are added independently of the arms or in which bird's feet are attached to the otherwise perfect human creature. [Illustration: PL. LXXVI--COMPOSITE FIGURES. 1. Design on Zuñi war-shield, painting. 2. Thunder-bird of the Haidahs, painting.]