Les anciens habitants de la Scandinavie et de la Calédonie devaient s’en servir, si l’on en juge par la forme de leurs crânes.”[79] Full-sized representations of the Juniper Green skull, and others of the same type, are given in _Crania Britannica_.[80] Bateman also, in his _Ten Years’ Diggings in Celtic and Saxon Gravehills_, concurs with earlier writers in ascribing to the use of the cradle-board the flattened occiput observed in skulls recovered from British barrows. The employment, indeed, of the cradle-board among prehistoric races of Northern Europe, and their nomad life of which it is so characteristic a feature, may now be considered as generally recognised. The implements and pottery recovered from graves of the period show their constructors to have been, for the most part, devoid of any knowledge of metals; or, at best, in the mere rudimentary stage of metallurgic arts. But the Juniper Green cist, that of the large Staffordshire barrow of Wotton Hill, that of Roundway Hill, North Wilts, another of Green Lowe, Derbyshire, and others described in the works above referred to, while all disclosing evidence of correspondence in habits and social condition between ancient races of the British Isles and the Indians of the New World, also furnished characteristic examples of their fictile ware; and here the analogy fails. There are, indeed, abundant specimens of broken Indian pottery on many of their deserted village sites, which might be mingled with the fragments of a like kind from early European grave mounds without attracting special attention. Simple chevron and saltier or herring-bone patterns, scratched with a pointed bone on the soft clay, are common to both; and many of the more elaborate linear and bead patterns of the primitive British potters reappear with slight variation on the Indian ware. But besides those, few ancient Indian village sites fail to yield fragments of pottery, including clay tobacco pipes, ornamented with more or less rude imitations of the human face and of familiar animals, such as the beaver, the bear, the lynx, and the deer. Before my first visit to the American continent, while still preoccupied with the arts of the ancient British savage, and the more graceful devices of the metallurgists of Europe’s Bronze period, I noted the prevalence of a conventional ornamentation, consisting mainly of improvements on what may be called the accidents of manufacture, or possibly of linear decorations borrowed from patterns of the plaiter or knitter.[81] No attempt appears to have been made by the old European decorator at such imitations of familiar natural objects as are now known to have been practised among the far more ancient cave-dwellers of Europe, the contemporaries of the mammoth and the woolly rhinoceros, and which are familiar to us in the primitive arts of the New World. Objects recovered from the mounds of the Ohio and the Mississippi valleys, as