Wilson’s original moon, however, passed through an evolution, for Anderson’s drawing in Speck is considerably simpler in design than those depicted for the Osage by Murphy, or photographed by the author for the Quapaw. An early version, apparently, is one collected from Henry Hunt (Wichita) near Anadarko. In this the crescent or “moon” is elongated to imitate the parted hair of an Indian, whose eyes are the two mounds of ashes between its horns; a line runs from the father-peyote to the east, terminating in a mound with five circles concentrically zoning it like a globe-map, with another line at right angles to this drawn from tip to tip of the crescent, making a cross, at the intersection of which is drawn a heart resembling a man’s nose. There is also a heart at the “parting” of the hair, on which the fetish peyote rests, and a third one on the top of the zoned mound at the east. This altar is said to symbolize Moonhead’s face, and indeed it much resembles one when seen from the eastern door. Speck says in confirmation of our conjecture that at first, he said, he made a small “Moon,” increasing its size day by day symbolical of his progress in spiritual knowledge. By the end of his sojourn amid spiritual environment, he came to make the so-called large “Moon,” the Wilson “Moon” which has become typical of his followers.[9] But Wilson, no doubt, made still later additions, for these early moons entirely lack the elaborate apron symbolism of the Osage and Quapaw altars.