Throughout the areas where the culture is highest, notably Alabama, Georgia, Wisconsin, Tennessee, Arkansas, Missouri, Ohio, and Illinois, we find these large mound groups referred to, all of which proves that the people lived long enough in one place to develop an art. [Illustration: FIG. 402. (S. 1–1.) Central Ontario, Canada. Provincial Museum collection. ] This art we see in the carved effigies. To study them in detail requires more space than is available in this volume. The Nomenclature Committee placed all effigies under one head—“Resemblances to known forms.” Under that general head I have placed: I. The bird-stone in its various forms. (A) Plain bird-stones. (B) With ears or eyes, or with expanding wings. II. Effigies in stone other than pipes. III. Human effigies in stone and wood, including idols. The classification made is rendered difficult because there are effigies in bone, shell, clay, and stone, not to omit copper. Such effigies as were drilled and used as pipes are described under the chapter devoted to pipes. The bone effigies are included in the chapter devoted to shell and bone, while copper is separately treated. Yet there remains, after treating more or less completely of these various divisions, a large class of stone objects which are not pipes, or tools, or dishes, and which I have thought best to include by themselves. The largest division in effigies is the so-called bird- or saddle-stone which is found between the following lines: Davenport, Iowa, to central Minnesota, east to New Brunswick, south to the Atlantic Coast, and thence south down the coast to Washington, thence west to Davenport. Few bird-stones occur south of Kentucky, west of Davenport, or north of St. Paul. The other effigies are of multitudinous kinds and are widely scattered throughout the United States. [Illustration: FIG. 403. (S. 1–1 and 1–2.) These three problematical forms are from the Provincial Museum collection, Ontario, Canada. The upper one is from central Ontario. The base view of the lower specimen is also shown. ] [Illustration: FIG. 404. (S. 1–2.) Andover collection. ] [Illustration: FIG. 405. (S. 1–4.) W. A. Holmes’s collection, Chicago. ] Figs. 399, 400, 401, and the central object in Fig. 269 are all unfinished bird-stones. It was difficult for me to procure these, but after some years of correspondence they were obtained. The specimens clearly show the work of the hand-hammer. Fig. 401 and the upper right-hand specimen in Fig. 399 have been pecked into shape and the grinding-polishing process was well under way when the specimen was set aside, or lost. [Illustration: FIG. 406. (S. about 1–3.) Collection of Leslie W. Hills, Fort Wayne, Indiana. ]