bannerstones

The Pottery Gorgets and Pendants of Tick Island

Mon, 15 Sep 2025 13:05:40 GMT

by John Baugh, Tampa Florida

Originally Published in the Central States Archaeological Journal , Vol.55, No.3, pg.131

Many of Florida’s early inhabitants lived along the St. Johns River in Volusia County. One of these ancient cultural groups resided on Tick Island during the transitional/St. John’s I period (500 BC — 800 AD), and produced unique pottery gorgets and pendants. I have enjoyed the privilege of collecting them over the last twenty-five years, and have always regarded their raw primal simplicity as their most attractive feature.

The distinctive pottery gorgets and pendants of this area were manufactured of local clay from freshwater sources and fired for hardness under low temperature heat. This unique clay contained natural inclusions of freshwater sponges, which acted to strengthen the objects without additional tempering agents and also produced the associated soft chalky surface commonly referred to as St. John’s Paste. This type of pottery is believed to have evolved from the Late Archaic Orange Pottery, a plant fiber tempered ceramic material found on the earliest ceramic sites here in Florida.

Examples of the Tick Island gorgets most commonly have two holes used for suspension, being most often rectangular, and occasionally ovoid or square in shape. Average width is approximately 3″, and about 1 1/2″ tall. Rare examples are punctated or incised, with most being undecorated. The pendants are predominantly round with a single central hole, averaging 2″in diameter, with infrequent examples being diamond shaped.

Each one is a rare treasure of Florida’s past. I have found them to be illusive, and scarcely existent in public or private collections, and have resolved to compile and preserve the specimens that have been placed in my guardianship over the years.

The Tick Island Mound and midden complex was destroyed in the 1960s for commercial purposes. It’s said that portions of the site could be scattered as far south as Palm Beach, the shell having been used to construct many of Florida’s road foundations. Little more than a vast pool of water remains today where a once thriving and vibrant early cultural complex once stood. All is gone except a small quantity of remaining items that include the pottery gorgets and pendants of Tick Island, Florida.”Used by Permission of the Author”

To learn more about or to join the Central States Archaeological Society, click here: CSASI.org

Gorgets and Pendants, Stone Ornaments

Mon, 15 Sep 2025 13:05:39 GMT

By James Tharpe, Plainfield, Indiana

Gorgets at first glance take on a similar appearance in shape to that of the undrilled bar type bannerstone. This form of artifact can vary greatly in form, but yet be so similar that it is possible to pass from one of one type to another of absolutely different type by steps so gradual that the transition seems quite natural. In this attempt to describe a gorget no fixed line can be drawn separating them from pendants on one side and bannerstones on the other. Its derivative may be linked through or with the Late Archaic Glacial Kame Culture. What is known is that the gorget dates from the Late Archaic time and continued through the Mound Builder and Woodland Cultures. Therefore the gorget may have coexisted with some forms of the bannerstone.

The name gorget is derived from the word “gorge” or throat, because many of these artifacts are believed to have been worn at the throat or upon the chest. However early explorers saw the Miami Indians wearing the gorget fastened to the hair. Today some women wear a similar object as a hair decoration. Today they are made of leather with a large hairpin positioned through two holes of the leather piece, while another similar object is made entirely of plastic.

While banded slate was greatly used for gorget manufacturing, a variety of other materials were also used. Examples of these are soapstone, limestone, shell, and granite; however, granite was rarely used.

Besides the flat pendant type of gorget, the long, thick, bar-shaped gorget includes the perforations of two or more drilled holes.

Special notice has been taken in regards to the Adena and Hopewell gorgets for their overall contour and shapely design. Adena forms range from the expanded center, quadriconcave, bi-concave, rectangular and semi-keeled shapes. Hopewell ranges from rectangular, expanded center (a different form of the Adena), and boat-shaped.

The drilling process with the Adena and Hopewell culture is from one side, that being the flat surface. All other forms of the gorget generally are drilled from both sides with a common meeting in the center of the artifact. The drill would be made from flint for its hardness and durability while perforating a given stone. During the drilling process a cone taper shape occurs, finally reaching a point where the stone is breached from one side or the other. Occasionally an unfinished gorget is found without the boring of the holes and those that have only one hole are considered to be pendants. Pendants were worn about the neck much in the same manner as gorgets.

Observed on the edges of some pendants and gorgets are notched cut marks called tally marks. These marks are not regularly placed on the stone and are not thought of being just decorative. It is conjectural that this may have served as a record of events.

The boat-shaped gorget of the Hopewell Culture has a flat surface and a elevated convex upper surface although some types of this group may only have a slight convex. The drilling is from the flat surface until the stone is breached through. Often a slight chamfering of the hole was done from the upper or convex side. These gorgets tapered from an expanded center to either pointed or squared tips.

Pendants and Gorgets

Mon, 15 Sep 2025 13:05:36 GMT

By Bill Koup, Albuquerque, New Mexico

Personal adornment has always been an important pursuit of mankind. The wearing of specialized adornments for the purpose of appearing more attractive or to signify an individual’s rank, wealth or status has been documented with great regularity throughout the entire scope of mans’ history. Even the scarification and tattooing of skin has frequently signified great wealth or high status with particular societies. The use of various forms of jewelry and other decorative embellishments to the body or clothing has long been and probably always will be a popular and significant form of personal expression for nearly all humankind.

The prehistoric peoples of North America were in no way different to other societies in this regard. Literally thousands of artifacts including pendants and gorgets have been recovered that have no apparent use other than to enhance the owner’s personal presence. Some of these artifacts are most certainly akin to jewelry. Many of these items were worn to please the owner and to perhaps impress others of their personal wealth or sexual attractiveness. Certainly, there were many other types of adornments other than pendants and gorgets made and worn for the express purpose of signifying status within their respective societies. Perhaps a good anology would be the various patches and insignias worn by military personnel to designate rank, service and prestige. Another anology would be pins, watches, money clips and other items that have been awarded to individuals for their distinguished service at their place of employment. Even designer clothing with specific logos may be considered late 20th century manifestations of the desire for people to adorn themselves in ways to exhibit wealth or status.

So, are pendants and gorgets merely items of personal adornment worn to impress others or to signify status or wealth? Although no one at this time can be absolutely certain of the specific meaning of pendants and gorgets, chances are pretty good that is exactly what they are. Unlike many other artifact types whose specific purpose and use is highly speculative, pendants and gorgets appear to have been used as items of status, societal affiliation and certainly for personal adornment. Indeed, there is a significant body of documented archaeological evidence illustrating the fact that pendants and gorgets were worn as items to be proudly displayed on the body or clothing of the owner.

Pendants and to a lesser degree gorgets, have been discovered in nearly all areas of North America and among nearly all prehistoric cultures. They have been located in controlled archaeological excavations and on the surface as isolated field finds. Although most areas of North America had at one time supported pendant and gorget producing people, the Midwest and South seem to be centers for the production of these interesting forms.

Indeed, the Glacial Kame, Adena, Hopewell, Ft. Ancient and Mississippian cultures from Ontario,Canada, throughout the Great Lakes areas down the Ohio and Mississippi River valleys all produced various distinctive pendant and gorget forms. So distinctive and stylistically similar are many of these forms that it has become relatively easy to identify them as having been produced by a specific culture. It is even possible to identify some types of gorgets and pendants as being either early, middle or late in the scope of a particular society’s existence.

The Atlatl: A Forgotten Weapon of the Past, Rediscovered

Mon, 15 Sep 2025 13:05:35 GMT

The atlatl is an ancient weapon that dates back thousands of years. Used by early humans for hunting and warfare, this tool played a significant role in human history. Today, the atlatl is experiencing a resurgence as people rediscover its effectiveness and unique appeal. In this guide, we will explore the history of the atlatl, its mechanics, and how it is being used in modern times.

What is an atlatl and its historical significance?

An atlatl is a spear-throwing device that was used by early humans for hunting and warfare. It consists of a handle or shaft with a hook or spur at the end, which holds the spear in place. By using leverage, the atlatl allows for greater force and accuracy when throwing a spear. This tool played a significant role in human history, as it allowed early humans to hunt larger and more dangerous prey, as well as defend themselves against enemies. The atlatl was eventually replaced by the bow and arrow, but its historical significance cannot be overlooked. It represents a crucial development in human technology and the advancement of hunting and warfare strategies.

How does an atlatl work and what advantages does it offer?

The atlatl works by extending the length of the thrower’s arm, allowing for greater leverage and force when launching a spear. The hook or spur at the end of the atlatl holds the spear in place, providing stability and control during the throw. This added length and stability result in increased accuracy and distance compared to throwing a spear by hand alone. The atlatl also allows for a quicker and more efficient throwing motion, making it easier to target moving prey or enemies. Overall, the atlatl offers significant advantages in terms of range, accuracy, and power, making it a formidable weapon in the hands of skilled users.

The revival of the atlatl in modern times.

In recent years, there has been a growing interest in ancient weapons and tools, leading to a revival of the atlatl. Archaeologists, historians, and enthusiasts have been studying and experimenting with this forgotten weapon, seeking to understand its capabilities and master its use. Today, there are even atlatl competitions and events where participants can showcase their skills and compete against each other. The revival of the atlatl not only provides a fascinating glimpse into our ancient past but also offers a unique and exciting recreational activity for those interested in history and primitive technology.

The atlatl in hunting and sport.

The atlatl, an ancient weapon used for hunting and warfare, is now making a comeback in the world of sport. With its long history and unique design, the atlatl offers a challenging and thrilling experience for those who want to test their skills in a traditional and primitive way. In atlatl competitions, participants use replicas of the ancient weapon to throw darts or spears at targets, aiming for accuracy and distance. This sport not only provides a fun and competitive activity but also allows individuals to connect with our ancient ancestors and appreciate their ingenuity and resourcefulness. Whether you’re a history buff or simply looking for a new and exciting hobby, exploring the world of atlatl hunting and sport can be a rewarding and enriching experience.

What Is A Bannerstone?

Mon, 15 Sep 2025 13:05:34 GMT

What is a bannerstone?

A bannerstone is a small stone artifact that has been found at archaeological sites around the world. These artifacts are typically made of stone, such as flint or slate, and are often intricately carved or shaped. The exact purpose of bannerstones is still a subject of debate among archaeologists, as there is limited evidence to suggest their specific function. However, they are believed to have held some significance in ancient cultures, possibly as ceremonial or symbolic objects. The study of bannerstones provides valuable insights into the beliefs and practices of ancient civilizations, and continues to intrigue archaeologists and historians alike.

The significance of bannerstones in archaeology.

Bannerstones hold great significance in the field of archaeology as they provide valuable insights into the beliefs and practices of ancient civilizations. While the exact purpose of these small stone artifacts is still debated among experts, they are believed to have had ceremonial or symbolic importance. The intricate carvings and shapes of bannerstones suggest that they were not simply utilitarian tools, but rather objects of cultural significance. By studying bannerstones, archaeologists are able to gain a deeper understanding of the ancient cultures that created them and the rituals or ceremonies in which they may have been used. The mystery surrounding bannerstones continues to captivate archaeologists and historians, making them an important area of research in the field of archaeology.

Examples of bannerstones from different archaeological sites.

Bannerstones have been discovered at various archaeological sites around the world, providing valuable insights into different ancient cultures. One notable example is the Cahokia site in present-day Illinois, USA. Excavations at Cahokia have uncovered numerous bannerstones, suggesting their significance in the religious and ceremonial practices of the Mississippian culture. These bannerstones often feature intricate carvings and unique shapes, indicating their importance in rituals and ceremonies. Another example comes from the ancient Mayan civilization in Mesoamerica. Archaeologists have found bannerstones in Mayan archaeological sites, such as Tikal and Copan. These bannerstones are often made from jade or other precious stones and are adorned with intricate carvings depicting Mayan deities and symbols. They are believed to have been used in religious ceremonies and may have held symbolic importance in Mayan society. In Europe, bannerstones have been discovered at various Neolithic sites, such as Stonehenge in England and Carnac in France. These bannerstones, made from materials like flint or stone, are often found in burial sites, suggesting their association with rituals and beliefs surrounding death and the afterlife. These examples highlight the diverse range of bannerstones found in different archaeological contexts, providing valuable clues about the beliefs and practices of ancient civilizations. By studying these artifacts, archaeologists are able to piece together the puzzle of the past and gain a deeper understanding of the cultural significance of bannerstones.

The role of bannerstones in understanding ancient societies.

Bannerstones play a crucial role in understanding ancient societies and their cultural practices. These artifacts provide valuable insights into the religious and ceremonial practices of different civilizations. The intricate carvings and unique shapes of bannerstones indicate their importance in rituals and ceremonies.

For example, at the Cahokia site in present-day Illinois, bannerstones have been found in abundance, suggesting their significance in the religious and ceremonial practices of the Mississippian culture. Similarly, in Mayan archaeological sites like Tikal and Copan, bannerstones made from precious stones like jade have been discovered, adorned with carvings depicting Mayan deities and symbols. These bannerstones are believed to have played a role in religious ceremonies and held symbolic importance in Mayan society.

In Europe, bannerstones found at Neolithic sites like Stonehenge and Carnac are often associated with burial sites, indicating their connection to rituals and beliefs surrounding death and the afterlife.

By studying these bannerstones, archaeologists are able to gain a deeper understanding of ancient societies and their cultural practices. These artifacts provide valuable clues about the beliefs, rituals, and symbolism of different civilizations, helping to piece together the puzzle of the past.

The Best Kept Secrets of Selling Native American Artifacts: Expert Insights and AdviceSave

Mon, 15 Sep 2025 13:05:33 GMT

For centuries, Native American artifacts have been treasured for their beauty, cultural significance, and historical value. From intricately woven baskets to intricately carved totem poles, these artifacts are a testament to the rich history and traditions of the indigenous peoples of America. However, if you are a collector or dealer of Native American artifacts, you know that selling them can be a tricky business. With so many regulations, laws, and ethical considerations to navigate, it can be difficult to know where to start. That’s where we come in. In this article, we’ll reveal the best-kept secrets of selling Native American artifacts, as shared by our team of expert collectors and dealers. From pricing strategies to legal requirements, we’ll provide you with the insights and advice you need to successfully sell your Native American artifacts and ensure they end up in the right hands. So, whether you’re a seasoned collector or just starting out, read on to discover the secrets of selling Native American artifacts like a pro.

The significance of Native American artifacts

Native American artifacts are an important part of American history. They are cultural symbols that represent the beliefs, values, and traditions of the indigenous people of America. For many people, collecting Native American artifacts is a way of preserving and celebrating the rich history of these people. Some collectors see it as a way of connecting with the past and learning about the lives of those who came before them.

However, it’s important to understand that Native American artifacts are not just objects to be bought and sold. They are an important part of the cultural heritage of Native American communities, and many of them are considered sacred. For this reason, it’s important to approach the buying and selling of Native American artifacts with respect and sensitivity.

Legal considerations when selling Native American artifacts

When it comes to selling Native American artifacts, there are a number of legal considerations to keep in mind. The first thing to understand is that many Native American artifacts are protected by law. This is because they are considered to be cultural property and are often tied to the identity and history of Native American communities.

The Native American Graves Protection and Repatriation Act (NAGPRA) is a federal law that requires institutions that receive federal funding to return Native American human remains, funerary objects, sacred objects, and objects of cultural patrimony to their rightful owners. This means that if you are in possession of an artifact that falls under any of these categories, you may be required to return it to the appropriate Native American tribe or group.

Additionally, some states have laws that regulate the buying and selling of Native American artifacts. For example, in Arizona, it is illegal to buy or sell any Native American artifact that was taken from public or private land without a permit. It’s important to research the laws in your state and ensure that you are in compliance before buying or selling any Native American artifacts.

Establishing authenticity of Native American artifacts

One of the most important aspects of selling Native American artifacts is establishing their authenticity. This is crucial both from a legal perspective and to ensure that you are getting a fair price for your artifact. There are a number of ways to establish the authenticity of a Native American artifact.

One of the most important things to look for is provenance. Provenance is the history of an artifact’s ownership and can help to establish its authenticity. If an artifact can be traced back to a specific Native American tribe or group, this can provide strong evidence of its authenticity.

Another important factor is the materials used to create the artifact. Many Native American artifacts were made using materials that were specific to certain regions or tribes. For example, Navajo rugs are often made from wool, while Hopi kachina dolls are traditionally made from cottonwood root.

Finally, it’s important to work with reputable dealers and collectors who have a track record of dealing in authentic Native American artifacts. These individuals will have the knowledge and expertise to help you establish the authenticity of your artifact and ensure that you get a fair price for it.

Pricing your Native American artifacts

When it comes to pricing your Native American artifacts, there are a number of factors to consider. The first thing to keep in mind is the rarity of the artifact. The more rare an artifact is, the more valuable it is likely to be. Additionally, the condition of the artifact will also impact its value. Artifacts that are in excellent condition are typically more valuable than those that show signs of wear and tear.

Another important factor to consider is the demand for the artifact. If there are many collectors looking for a particular type of artifact, this can drive up the price. On the other hand, if there is little demand for a particular type of artifact, this can make it more difficult to sell and may result in a lower price.

It’s also important to do your research and understand the market for Native American artifacts. This will help you to determine a fair price for your artifact and ensure that you are not overpricing or underpricing it.

Marketing and advertising your Native American artifacts

Once you have established the authenticity and value of your Native American artifact, it’s time to start marketing and advertising it to potential buyers. There are a number of ways to do this, including:

– Online marketplaces: There are a number of online marketplaces that specialize in Native American artifacts, such as eBay and Etsy. These platforms allow you to reach a large audience of potential buyers from all over the world.

– Auction houses: Auction houses can be a great way to sell high-value Native American artifacts. They have a built-in audience of collectors and often attract high prices.

– Native American art shows: There are a number of Native American art shows and events held throughout the year. These events can be a great way to showcase your artifacts and meet potential buyers in person.

When marketing and advertising your Native American artifacts, it’s important to provide accurate and detailed descriptions of the items. This will help potential buyers to understand the value and significance of the artifact.

The best places to sell your Native American artifacts

When it comes to selling your Native American artifacts, there are a number of options to consider. Some of the best places to sell Native American artifacts include:

– Online marketplaces: As mentioned earlier, online marketplaces can be a great way to reach a large audience of potential buyers.

– Auction houses: Auction houses can be a great option for high-value artifacts, as they often attract serious collectors and can result in high prices.

– Native American art galleries: Native American art galleries specialize in selling authentic Native American artifacts and can provide a great platform for selling your items.

– Private collectors: Finally, you may want to consider selling your Native American artifacts to private collectors. These individuals may be willing to pay top dollar for rare or unique artifacts.

Expert tips for selling Native American artifacts

To wrap up, here are some expert tips for selling Native American artifacts:

– Do your research: Before buying or selling any Native American artifacts, it’s important to do your research and understand the laws and regulations that apply.

– Work with reputable dealers and collectors: When buying or selling Native American artifacts, it’s important to work with individuals who have a track record of dealing in authentic artifacts.

– Establish authenticity: Establishing the authenticity of your Native American artifact is crucial both from a legal perspective and to ensure that you get a fair price for it.

– Be respectful: Native American artifacts are an important part of the cultural heritage of Native American communities. It’s important to approach the buying and selling of these artifacts with respect and sensitivity.

Common mistakes to avoid when selling Native American artifacts

Finally, here are some common mistakes to avoid when selling Native American artifacts:

– Failing to establish authenticity: Failing to establish the authenticity of your artifact can result in legal issues and may impact the price you are able to get for it.

– Overpricing or underpricing: It’s important to do your research and understand the market for Native American artifacts to ensure that you are pricing your items fairly.

– Lack of sensitivity: Native American artifacts are an important part of the cultural heritage of Native American communities. It’s important to approach the buying and selling of these artifacts with respect and sensitivity.

Conclusion

Selling Native American artifacts can be a challenging business, but with the right knowledge and expertise, it can also be a rewarding one. By understanding the legal considerations, establishing the authenticity of your artifacts, and pricing and marketing them effectively, you can ensure that your artifacts end up in the right hands and are appreciated for their beauty, cultural significance, and historical value.

Bannerstones of the North American Indian

Mon, 15 Sep 2025 13:05:32 GMT

Used with permission from Dr. Anna Blume

Attached below is a downloadable PDF of the entire text of Byron Knoblock’s 1939 Banner-stones of the North American Indian. This 595-page tome, now out of print and difficult to find, was the first rigorous, comprehensive study of bannerstones . In it, Knoblock includes hundreds of images of bannerstones in public and private collations. Also of great importance to the study of bannerstones is his careful morphology and hypotheses about where types originated and developed. It must be noted that many of Knoblock’s general comments and ideas about the makers of these stones are deeply problematic, and have been rightfully contested by subsequent scholars. Still, this text remains a crucial resource for the study of bannerstones .

Bannerstone Metrics

Mon, 15 Sep 2025 13:05:30 GMT

These metrics were established to further standardize the quantitative information we can gather regarding bannerstones ( established by A. Blume, 2017 ).

Recommendation for the Photographing of Bannerstones

Mon, 15 Sep 2025 13:05:26 GMT

Photographing bannerstones can reveal their shapes, surfaces, and conditions and can also engage both photographer and viewer in a meaningful relationship to these complex carved stones. In the fall of 2016 and spring of 2017, I selected and photographed 61 of 472 bannestones in the American Museum of Natural History (AMNH) collection. I chose these 61 stones based on how well they represented the range of materials that Archaic sculptors chose, the twenty-four types of bannerstones, and the various conditions of bannerstones within the collection. 580 photographs from that study are available for review and download on this ABP website. Based on my experience looking at these stones and thinking of ways to represent their materials, morphology, and current conditions, I have devised a set of recommendations for future scholars and museum photographers to consider when photographing bannerstones.

Note: For all images taken in the AMNH, I used a Canon 7D with a Canon Macro EF 100mm f/2.8 Macro lens (with the cropped sensor of the 7D this was the equivalent of a 160mm lens). Given the varying angles that I took of each bannerstone, I chose to hand hold the camera instead of placing it on a tripod. With high voltage strobe lighting, I could choose f-stop and aperture settings that were optimum without a tripod.

Bannerstone Typology

Mon, 15 Sep 2025 13:05:25 GMT

What is Bannerstone Typology?

Article and photos provided by Dr. Anna Blume, https://bannerstone.fitnyc.edu/typology

The Archaic Bannerstone Project (ABP) distinguishes 24 bannerstone types based on terms established by Byron Knoblock in his 1939 text Banner-stones of the North American Indian . Below, bannerstones can be browsed by these types and sub-types. As more collections are photographed and added to this ABP site we hope to include examples of all 24 types.

Anomalous1
Ball0
Ball, Fluted2
Bottle1
Bottle, Single-Faced0
Butterfly4
Butterfly, Double-Notched9
Butterfly, Quartz3
Butterfly, Single-Notched4
Crescent7
Crescent (miniature)1
Crescent, Double2
Crescent, Notched0
Double Bitted Axe0
Double Edged3
Geniculate3
Hinge0
Hourglass2
Humped0
Humped, Concave0
Lunate0
Lunate, Knobbed5
Ovate2
Ovate, Northern0
Ovate, Notched1
Ovate, Southern13
Panel0
Pick4
Pick, Curved4
Pick, Single-Pronged0
Pick, Straight0
Rectangular1
Rectangular Barreled2
Reel1
Saddleface0
Saddleface, Hooked0
Saddleface, Horned1
Shield4
Shuttle0
Triangular4
Tube, Oval2
Tube, Round0
Tube, Square0
Tube, Triangular0
Wisconsin Wing7

A Beginner’s Guide to Bannerstones and Their History

Mon, 15 Sep 2025 13:05:24 GMT

What are bannerstones?

Bannerstones are small, usually flat, stone artifacts that were created by ancient cultures. They are typically carved into unique shapes and often feature intricate designs. The exact purpose of bannerstones is still debated among archaeologists, but they are believed to have had ceremonial or symbolic significance. They were often attached to spears or other weapons, and their presence in burial sites suggests that they may have held spiritual or ritualistic importance. The study of bannerstones provides valuable insights into the beliefs and practices of ancient civilizations.

The origins and history of bannerstones.

The origins of bannerstones can be traced back to ancient cultures, with the earliest known examples dating back thousands of years. They were primarily found in North America, particularly in regions inhabited by Native American tribes. The exact techniques used to create bannerstones are still not fully understood, but it is believed that they were carved using stone tools and abrasive materials.

Bannerstones were not just decorative objects; they held great cultural and historical significance. They were often associated with hunting and warfare, as they were commonly attached to spears or other weapons. The unique shapes and designs of bannerstones suggest that they may have also had ceremonial or symbolic purposes.

The study of bannerstones has provided valuable insights into the beliefs and practices of ancient civilizations. They have been found in burial sites, indicating that they may have been used in funerary rituals or as offerings to the deceased. The presence of bannerstones in these contexts suggests that they held spiritual or ritualistic importance.

Overall, bannerstones are fascinating artifacts that offer a glimpse into the rich history and cultural practices of ancient civilizations. Their intricate designs and symbolic significance make them a valuable area of study for archaeologists and historians alike.

The various uses of bannerstones.

Bannerstones served a variety of purposes in ancient cultures. One of their main uses was as a weight or counterbalance on spears or atlatls (spear-throwing devices). The addition of a bannerstone to a weapon would have increased its accuracy and range. This would have been particularly important for hunting, as well as for warfare. In addition to their practical use, bannerstones also had symbolic and ceremonial significance.

The unique shapes and designs of bannerstones suggest that they may have been used in rituals or as symbols of status or power. They have been found in burial sites, indicating that they may have been used in funerary rituals or as offerings to the deceased. The study of bannerstones has provided valuable insights into the cultural practices and beliefs of ancient civilizations. They offer a tangible connection to the past and help us understand the importance of hunting, warfare, and spirituality in these societies.

Today, bannerstones are highly prized artifacts and are often displayed in museums or private collections. They continue to fascinate archaeologists, historians, and enthusiasts alike, as they provide a window into the lives and traditions of our ancestors.

The cultural significance of bannerstones.

Bannerstones hold great cultural significance in ancient civilizations . Their unique shapes and designs suggest that they were not only practical tools but also symbols of status and power. They were used in rituals and ceremonies, and their presence in burial sites indicates their importance in funerary practices. The study of bannerstones has allowed us to gain valuable insights into the cultural practices and beliefs of these ancient societies. Today, these artifacts are highly valued and continue to captivate the interest of archaeologists, historians, and enthusiasts, serving as a tangible link to our past.

How bannerstones have influenced art and archaeology.

The study of bannerstones has had a significant impact on the fields of art and archaeology. These artifacts have provided valuable insights into the artistic skills and techniques of ancient civilizations. The intricate designs and craftsmanship of bannerstones showcase the creativity and attention to detail of these ancient cultures. Additionally, the presence of bannerstones in burial sites has shed light on the religious and funerary practices of these societies. Archaeologists have been able to piece together the beliefs and rituals surrounding death and the afterlife through the examination of these artifacts. The study of bannerstones continues to contribute to our understanding of ancient civilizations and their cultural practices, making them an important area of research in the field of archaeology.

A Salute To David L. Lutz

Mon, 15 Sep 2025 13:05:23 GMT

Bannerstones exist both in art and anthropology. David L. Lutz, who has both a collector’s sensitivity and formal training in anthropology, knows this fact. Other longtime students of the subject also appreciate the fact and so, too, will careful readers of The Archaic Bannerstone. Although Lutz acknowledges a debt to earlier researchers such as Knoblock (1939), Webb (his many writings), and Kwas (1981), years of systematic inquiries and travel to document collections have earned him the right to speculate about what bannerstones meant to the ancient American societies who made and used them. Dave’s ideas command our attention.

In the space of 525 pages he presents thousands of superb photographs representing at least as many artifacts, which are the basis of his arguments. Lutz believes that bannerstones were not tools, but actual emblems of societal membership. In his opinion they were tangible manifestations of persons’ kinship or membership in clans. They may also have had economic value to clansmen, who conducted long-distance trade that brought shell from the Gulf of Mexico to the South (pp. 247, 431, and 510). The areas of distribution (p. 93) or exchange networks we assume, were larger than mere tribal territories. Bannerstones, as clan emblems, also endured for a much longer time than individual tribes or “nations” might be expected to persist.

Chronology, or the longevity and succession of the many forms of bannerstone through the centuries, is one of Dave Lutz’s primary concerns. His book has as many facts about dating as any one researcher might be expected to gather in a lifetime, and more than any reader might hope to assimilate during several sittings! Dave pays particular attention to co-occurrences of bannerstones and other artifact types useful for dating — such as projectile points. It is to the author’s lasting credit that he has crafted a work that presents so many critical facts relative to this topic.

Bannerstones have long been regarded as art — witness their places in books like Hothem’s Ancient Art of Ohio (1994), Brose et al.’s Ancient Art of the American Woodlands (1985), and Douglas and D’Harnoncourt’s Indian Art of the United States (1941) — to name a few. Dave Lutz is also aware of the strong visual impact that finely crafted bannerstones of choice raw materials have. He has illustrated many examples in full color within this volume. But to him even the use of certain stones has chronological value; he speculates as well that some raw materials were culturally, if not socially, expressive (for example, pp. 94 and 464).

Scattered throughout The Archaic Bannerstone are brief sections offering anecdotal and previously published information about famous discoveries, such as the Godar site (p. 321), and Dave’s own answers to often-asked questions, such as (p. 427) why were some bannerstones left undrilled when they were completed in every other way? His answers have the ring of credibility tempered in the fire of long familiarity. A book as impressive as Dave’s leaves one thirsting for more, and should it ever be reprinted, as researchers are sure to demand one day, both an Index and a Glossary should be added. His use of terminology assumes a reader’s familiarity with Knoblock’s Bannerstones of the North American Indian (1939). Although I have carefully leafed through this classic work, I never felt justified in paying the considerable price in order to own it. Other readers may be in the same position — therefore, the need for a glossary. Dave’s book deserves to stand all on its own, owing nothing, but perhaps inspiration itself, to earlier works.

Being a “married-in”, adoptive New Englander, who is familiar with the rich record of Archaic sites — both on the islands and estuaries of sea-girt “downeast” as well as along major waterways (like the Connecticut and Androscoggin) of the Interior — I would hope that a future expanded ver¬sion of The Archaic Bannerstone would picture some of the wonderfully delicate, impressive large bannerstones of this region. Many have exact provenience, and, yes, have been absolutely and relatively dated!

My real concern about The Archaic Bannerstone is that it will not be read by all the academic archaeologists who would stand to benefit from it. Truly, today certain fields of knowledge are better understood by astute North American artifact collectors and amateur scientists than they are by professionals with PhDs. This much I will admit myself. But Dave Lutz’s unique perspective on bannerstone-using Archaic groups cannot, and will not, be ignored for long by the audience who needs it most. There are scholars, who know a good thing when they read it, to bridge the gap.

Thank you, Dave. North Andover, Massachusetts December, 2001

The author of The Archaic Bannerstone is shown in his relic room admiring one of the Hooked bannerstones from the Rockport site cache.

“Three Atlatl Cache”, Rockport site bannerstone cache found by the Lutz family on April 20, 1977. These banners were found in a feature on the Rockport site, Spencer County, Indiana. All three were “ceremonially killed”. Two of these bannerstones are of the rare Hooked style, while the third is an Hourglass type. (David Lutz Collection, Newburgh, Indiana)

Terry McGuire And Ed Harvey Bannerstone Collections

Mon, 15 Sep 2025 13:05:21 GMT

Hardstone banners from upper left: horned with shaft flute, 2.8″, Illinois. green quartz horned 2.75″ Southern Illinois. granite horned 3.25″, Mercer Co., OH. Wisconsin winged 4″, St. Clair Co., IL. ferruginous quartz hourglass 2.4″, Holmes Co., OH. conglomerate granite shuttle 3.5″

Slate banners from the upper left: black glacial slate double-notched butterfly 7″, Michigan. Red claystone double-edged 4.2″, Madison Co. TN. reel 4.75″, Greene Co. IN; double-notched slate butterfly 5.5″, Dubois Co. IN. knobbed crescent 7.75″, Preble Co. OH; clipped wing 3.2″ Ohio, one of 4 known to exist.

Native American Hunting Technique

Mon, 15 Sep 2025 13:05:15 GMT

THE ATLATL HOOK AND WEIGHT

David Lutz Collection, Newburgh, Indiana

The atlatl hook and weight combination is not only a fascinating insight into the hunting technique that Native Americans used in the spear thrower, but also acts as a temporal maker. Webb (1939) first surmised from finds at Chiggerville, that the combination of hook and weight comprised an atlatl or spear thrower system. Through extensive research, Lutz (2000) has shown that atlatl hooks, like bannerstones, experienced stylistic changes through time.The earliest atlatl hook and weight system can be traced back to approximately 6500 B.P. There were four recognizable forms of the atlatl hook including “Eva”, “Black Earth”, “Indian Knoll”, and “Slotted” (Lutz 2000).

The atlatl system remained in use until the Woodland period (Lutz 2000). Temporal sequencing of these different types has proved difficult due to the lack of suitable preservation for organic remains such as antler. Because of this, well documented examples of atlatl hook and weight combinations are scarce and funtion as valuable temporal markers.

This atlatl hook and weight set was found at the Crib Mound, Spencer County, Indiana, by Don Champion in the 1960’s.

A Chronology Of Bannerstones

Mon, 15 Sep 2025 13:05:14 GMT

This is a subtitle for your new post

The body content of your post goes here. To edit this text, click on it and delete this default text and start typing your own or paste your own from a different source.

A Chronology Of Bannerstones

Mon, 15 Sep 2025 13:05:13 GMT

Our understanding of banner types of the late Archaic Period is much better than the previous period due to the larger number of sites excavated in Northern Alabama, Tennessee and Kentucky. My interest in this project began with an incredible find made by my father on a river bank near the town of Rockport in Spencer County, Indiana. A burial had been exposed due to the falling Ohio River that contained two hook bannerstones and one hourglass bi-face bottle type. They had all been ceremonially “killed”. From the years we have collected from the site, five other banners have been found on the beach. Represented are two humped types, two other bi-face has practically gone unnoticed by researchers should alert us to the role bannerstones played in this burial ceremonialism and that these different types are of the same temporal placement. There are also reports of three different types found in a burial such as the cremation burial (Dowd 1989:102) found at the Anderson Site in Tennessee which contained two different types of oval banners and a segmented shell type. I also know of a burial found in Harrison County, Indiana that contained a horn banner, a single- face bottle type and a triangular type which were found together only inches apart. A cremation burial at Crib Mound in Spencer County, Indiana contained three quartz butterfly types and three granite hinge type banners.

In the past, sites located along the Green River in Kentucky have been described as a single cultural unit with the artifacts lumped together and described as the Green River Phase. However, it has been recognized for some time that several different components are represented. These middens as the ones in Indiana and elsewhere date at different periods of the bannerstone making area and the components vary from site to site. These mid-dens are also difficult to analyze because the soil has the same color and texture and there seems to be no stratigraphic relationship between the artifacts. Hopefully in the future these different components of the late archaic can be identified and separated from this conglomeration of traits found throughout the journals.

The first is his use of primary forms which are represented by right basic forms that he states evolved into thirty-two ultimate designs or types. I suggest these primary forms are nothing more than blending forms in the evolutionary chart and their crude appearance may be due to specimens being made by poor craftsmen or specimens found at the fringe of the bannerstone making area. He also states that ultimate decisions which he placed at the end of the evolutionary chart, could not be classified as types unless they were made of the proper materials and this certainly is erroneous. I think they had a preference for certain materials and would probably go to extraordinary lengths to obtain it,but if itwasn’t available, they most certainly used a substitute. For example, I have found three broken geniculate pieces in Spencer County, Indiana and none were made of banded slate, the preferred material.

The last issue is whether an adjustment is needed in the typology to include new types. I am aware of several that should be included in the chronological chart as new types but what should be done about those specimens of different construction and different temporal periods that are identified by the same name. One example of this is the use of the type name hourglass to describe the single-face hourglass type such contradiction but unaware of the temporal difference when he stated (Knoblock 1939:129) “because these objects are nothing more than hourglass variations, there is no reason why they should be put into an independent group”. These same arguments can also be found among other types. The only work done on bannerstone chronology in a scientific manner was by Mary Kwas (1981). She has used the date from excavated sites where banners where found to loosely arrange their order of appearance. It is a very good report considering the data she was working with. I am having the same problems as she with poor descriptions and photos. She has limited her report to types found only in the Southeast and the temporal placement for these types is weak because researchers from which her material was gathered used broad temporal periods to describe units of culture that were obviously much smaller.

In concluding this paper I would like to impress upon the readers the enjoyment and satisfaction of this bannerstone study. It has ben very gratifying to make these small discoveries and slowly observe this chronological order unfolding.

I would also like to comment on the danger of misinterpreting the data. As one works with these specimens in trying to establish their chronological sequence, one has to be very cautious in his interpretations because the temptation is great to arrange them in an order that may seem very obvious with perceived evolutionary lines and planes but arranging these specimens without the advantage of stratigraphy could give erroneous results. This is a very complex problem and it will undoubtably require the excavation of new archaeological sites for more data. This may be a problem because it now appears that some universities are beginning to pull back from their field explorations due to pressure from certain Indian groups. The ideas expressed in this paper are mine alone and I take full responsibility for their content.

A Look At Butterfly and Winged Bannerstones

Mon, 15 Sep 2025 13:05:12 GMT

The Differing Variations

The Butterfly or Winged bannerstone of banded slate is probably the most popular and sought after form of bannerstone among collectors. Few other bannerstones attract as much attention as a beautiful ultimate-design Butterfly banner. Certainly there are many other bannerstone forms of remarkable design or of exotic material that are by far more rare, but for the average collector these forms are largely unobtainable. But, when one looks over a medium to large general collection of artifacts from Kentucky to Canada or New York to Iowa one will generally find an example of a Winged bannerstone. Obtaining a nice example of these interesting and beautiful bannerstones is usually a collectiong goal of those who have an interest in slate artifacts.

All of the bannerstones discussed and illustrated in this article may be termed a Winged banner-stone and some would call all of them Butterflies. In Bannerstones of the North American Indian, Byron Knoblock grouped all of them into the Notched Butterfly group and differentiated them by class A, B or C. However, in most instances collectors usually refer to those bannerstones with notches as Butterfly bannerstones and those without notches as Winged bannerstones. Perhaps they should be called one name or the other since the only major distinction amoung most of them is either the presence or absence of notches. For the purposes of this article both the names Butterfly and Winged will be used.

The popularity of Butterfly and Winged bannerstones among collectors is due largely to two related reasons. Design and Availability. The prehistoric Archaic people who made these banners obviously were very attracted to the design of winged bannerstones. The original popularity of this design spread over a huge geographic area encompassing a large part of the entire bannerstone making area. The Archaic people who made these beautiful bannerstones were very satisfied with these designs. Significant is the fact that characteristics changed very little from one side of this range to the opposite. A double nottched butterfly bannerstone found in Canada or upstate New York can be nearly identical in design characteristics, size, and material to one found in southern Illinois or western Kentucky. The same could be said about other variations of winged banners. This high incidence of usage over a huge geographic area is certainly a primary reason for their popularity among collectors today. The form is very pleasing to behold and specimens are frequently available in many areas through trade with other collectors, artifact auctions or estate auctions.

From what has been stated above, one might get the idea that Butterfly/Winged bannertones are common. No bannerstone is common. However, among bannerstones, the winged varieties seem to be fairly plentiful, but most of them are not the classic ultimate-design specimens. Superb examples of any size are rare. Many winged banners have been rather crudely manufactured having either a thick unrefined appearance or being assymetrical or both. These are plentiful and easy to collect. Better examples in the small to average size range are less common but still routinely available. But top authentic examples of clasic thin-winged bannerstones of larger than average size are exceptionally rare. They have not survived the ages very well and there were fewer of them made. These large banners are very thin and fragile. Many of them were broken in prehistoric times. Many more were broken by farm machinery. Still others have been broken by unfortunate finders and collectors.

Following is a brief description of the seven winged bannerstones in this writer’s collection. Collecting a top example of all the variations of this type of bannerstone has been a real challenge that has taken years to accomplish. These examples are well above the average in size and quality. The accompanying photogtaphs to this article illustrate the opposite side and end views of the same banners that are shown in color elsewhere in this journal.

Left column, top. This is an undrilled butterfly bannerstone which may be the most unique type among all bannerstone. It is the only type manufactured specifically to not be perforated. Instead it has a rather wide and shallow groove on both sides in which to facilitate exterior hafting (see end view photo, bottom banner). This type of butterfly banner is found almost exclusively in the state of Michigan. However, a few are known to have been found in northern Indiana and northern Ohio. This bannerstone was found in Michigan and first collected by Arthur Abraham from Davison, Michigan. It is pictured in Who’s Who Number 2 as part of the Hubert Wachtel collection. It is made from red-brown banded slate and is 6 1/4 inches in width. It was later collected by Hugh Huff and Ron Ammerman.

Left column, bottom. Although this banner is not a particularly large or fine example of a double-notched butterfly banner, it is a good example of those that are made in a thicker, heavier style.This writer has noted several of this type as being from northeast Indiana. They are often very symmetrical and well made but they are thick in profile in comparison to the classic thin winged examples. This banner is from DeKalb County Indiana and has a width of 4-3/4 inches. It was found by Dennis Poorman on his farm near Waterloo. It was then purchased from Poorman by Cameron Parks in 1940.

Right column, top. This is another example of the classic double notched butterfly banner. It was found in Cass County Indiana and has two sharp central ridges (see end view photo, third from bottom) and very deeply cut notches that have been noted on other banners found in the same general area as this example. This bannerstone is 5 inches wide and made from dark green banded slate. The earliest known collector was H. C. Wachtel of Dayton, Ohio. Later collectors were John Berner and Hugh Huff.

Right column, bottom. This single notched butterfly bannerstone from Miami County, Ohio illustrates the variation that is probably the rarest of the winged bannerstones. It is 5-3/8 inches wide and made from green highly banded and contrasting slate. It also has sharp central ridges parallel to the perforation (see end view photo, third from the top). This bannerstone was originally collected by V. E. Ladd of Toledo, Ohio and later by Randal Jones.

Another noteworthy observation on these seven bannerstones is the fact that four of them have significant white streaks or splotches in the material from which they were made. These particular pieces of slate were chosen for these banners due to the presence of these streaks. Many other very fine slate artifacts have been made from slate that contains these streaks.

Group of various forms of slate butterfly banners. Top row left to right, found near Angola, In., ex Archie Diller Collection, Pickaway Co., Ohio, from Stan Copeland. Middle row, left from five miles east of Kenton, Hardin Co., Ohio, ex Dana Baker Collection, right, provenience unknown, ex Bill Jenkins Collection. Bottom row, left, from Dekalb Co., In., ex Donald Boudeman and Cameron Parks Collections, pictured in Bannerstones of the North American Indian, pages 514 and 515, left a small example from Pickaway Co., Ohio, ex McKnight Brothers Collection. (Photograph by Charlie Wagers.)

Article used with permission by Bill Koup, Author

logical Society, click here: CSASI.org

The Unique Styles Of Mississippi Benton Phase Tubular Bannerstones

Mon, 15 Sep 2025 13:05:09 GMT

Originally Published in the Central States Archaeological Journal, Vol.55, No.1, pg.40

The tubular type bannerstone was a favorite of the Benton Culture. Many tubular type bannerstones have been found in the state of Mississippi, primarily within the geographical area known to have been occupied by Benton Peoples. The Benton phase in northeast Mississippi has been reliably dated to have occurred mostly between 3700 B.C. to 3200 B.C.

Lutz pictured a number of tubular bannerstones from North Mississippi, but did not differentiate them into the known distinctly different styles. Little information is currently known concerning the chronology of tubular bannerstone development within the Mississippi Benton phase.

The two tubular bannerstones pictured in Figure above A and B are examples of the most often observed style of Benton tube. Collectors often refer to this tubular bannerstone as a “Covered Wagon” style due to its similar shape profile to the Conestoga Wagon of pioneer days. This style Benton tube was most often made from mint-green claystone, that most likely had its geological origin in the Quachita Mountains of central Arkansas, and it was a favorite material used by Benton culture peoples for manufacturing both tubular and shuttle style bannerstones. This claystone often contained bands of a white material. The perforation, drilled through the long axis of tubular bannerstones, was most often parallel to these bands. Examples that exhibit bands that are perpendicular to the long axis of the bannerstone are rare. The “Covered Wagon” style bannerstone depicted in Figure IC is an example of this rare variant. The example depicted in Figure 1 B is made of a dark-brown claystone, found locally, that was often used to manufacture bannerstones. Higher developed examples of this style exhibit much more concavity of the top edge. However, both convex and straight top edge variants are known. The example depicted in Figure 1 D illustrates a slightly concave top edge with bilateral cane-drilled indentions. This variant with cane-drilled indentions is very rare. Also, solid-stick drilled indentions occur on some “Covered Wagon” style bannerstones. The example depicted in Figure 1 E was pictured earlier by both Knoblock and Lutz and it features bilateral solid-stick drilled indentions.

The example depicted in Figure 2 below is an example of a “Mississippi Crown” style Benton tube. This style is rectangular in shape with a well defined hump that is located in the middle of one side. The hump profile of highly developed examples resembles a three-prong crown. This style tube is only found in north Mississippi and most examples are made of mint-green claystone. Examples made of Limonite or a dark-brown claystone are known; cane drilled bilateral indentions occur on some examples of this style. The less developed examples are often made of Limonite and often exhibit cracking and sometimes exfoliation of the outer surface. Less developed examples are often found with caches of small preform biface blades made from Tuscaloosa gravel and small Benton biface points made from Tallahatta quartzite. The example illustrated in Figure 2 is a less developed style of a “Mississippi Crown” style banneerstone.

Another unique style Benton tubular bannerstone is depicted in Figure 2. This style Benton tube is called an “A-Frame” style by collectors. The geometric profile of highly developed examples are made of either a dark-brown claystone or Limonite. Most examples exhibit a fluted base with some having a purported shaft groove. Examples exhibiting a well defined paneling made by removal of the outer surface of each lateral side are known.

The rarest unique style of Benton tube is depicted in Figure 2. This unique Benton tubular bannerstone is called a “spool” style by collectors. Its geometric profile resembles a sewing machine thread spool. It is rounded in shape with the middle outer surface removed to create a paneling effect. Most examples have a fluted base and are made from mint-green claystone.”

Used by Permission of the Author”
To learn more about or to join the Central States Archaeological Society, click here: CSASI.org

Unique Bannerstone Finds

Mon, 15 Sep 2025 13:05:08 GMT

Originally Published in the Central States Archaeological Journal, Vol.56, No.4, pg.200

Originally Published in the Central States Archaeological Journal, Vol.57, No.2, pg.72

In 1978, I located to Asheville, North Carolina, where I still reside. Several stories from this time period are remembered. One of the most rare artifacts in this area is a complete bannerstone (atlatl weight). I have found numerous pieces, usually halves broken at the weakest point at the perforation. In my earliest artifact hunting trips in this new area I walked the fields along several streams in the area to locate sites. At times my wife would let me out on one side of a creek, cross the creek by road, and then parallel the creek on the only road, which was on the opposite side of the creek from the side I was hunting, and then cross back over the creek at the next perpendicular road to the creek and pick me up. On one occasion a farmer’s son accompanied me in checking out some fields on his father’s farm. During our walking my companion mentioned a “tomahawk” he had found. Further discussion indicated the artifact had a hole through it so I immediately suspected it was a bannerstone. When we finished hunting the boy retrieved the “tomahawk” and gave it to me. It was indeed a bannerstone (Figures 1-2, center). I reached into my billfold and gave the boy what paper money I had, in exchange for the bannerstone, which I think was $10. This was my first banner-stone. It appears to be an Early Archaic winged type dated at 5800 to 3800 B.C. It is 4 inches long, 1 7/8 inches wide and 1 1/8 inches thick. The perforation is 1/2 to 5/8 inch in diameter.

My first finding of a traditional bannerstone not broken in half occurred on May 22, 1994, on the sixth visit to a site in Buncombe County, North Carolina. I saw the perforation and could not believe my luck (figures 1,2 top). However, in turning it over I discovered it was broken but not broken completely through the perforation. I had about three fourths of the artifact, which I still considered a significant find. I believe it is a Middle Archaic Paneled bannerstone dated from 4300 to 3500 B.C. It is 2 3/4 inches long, 1 13/16 inches wide and 1 3/8 inches thick, and the perforation is 5/16 inch in diameter. I have found 89 artifacts on this site in seven visits from December 22, 1986, through May 11, 1997.

Then, on April 5, 1997, on my fourteenth visit to another site in Buncombe County I found my first complete traditional bannerstone (Figures 1-2 Bottom). The drilling was only just begun and not completed. Because of the difficulty of finding complete bannerstones in this area, I consider this one of my best finds. It is also considered a Paneled type bannerstone from the Middle Archaic period dated at 4300 to 3500 B.C. It is 3 inches long, 1 15/16 inches wide and 1 3/16 inches thick. The perforation is 3/8 inch in diameter. I have found 1,167 artifacts at this site in 27 visits from April 24, 1996, through July 13, 2000, including diagnostic points from all time periods except the Paleo and Late Mississippian.”

Used by Permission of the Author”
To learn more about or to join the Central States Archaeological Society, click here: CSASI.org

What Were Bannerstones Used For?

Mon, 15 Sep 2025 13:05:06 GMT

SO, what were Bannerstone used for?

Unfortunately, a definitive answer is not yet available. Over the years, numerous researchers have tackled the problem of Bannerstones , only to walk away from their efforts still not knowing for sure what they had been studying. People have long been fascinated by Bannerstones . Their greatest appeal is due to their desirability as an art form. Bannerstones were made in the Archaic period in a myriad of types and styles. Many of the ultimate-design specimens are true masterworks of non-representational art. We have a great desire for a better understanding of these fascinating stone creations with the mysterious drilled holes.

Bannerstone Theories:

In Gates P. Thurston’s 1890 Antiquities of Tennessee , he uses the term “Bannerstone” when he states “they were doubtless, used as ornaments or symbols upon occasions of ceremony”.
Warren K. Moorehead uses the term in his 1900 Prehistoric Implements and states, “most if not all appear to have been designed either as ornaments, or emblems, or insignia. By 1910, Moorehead was lumping Bannerstones and other unexplained objects under the heading of “problematical” which defined, very loosely, means–“I don’t know what it is?”
In 1921, John L Baer reported three crescent shaped slate Bannerstones found in North Carolina. All three banners were mounted on the ends of slate shafts which were approximately one foot long. This lends credence to the early theories that Bannerstones were ceremonial objects indicative of high rank.
In 1916, Clarence B. Moore published his findings from excavations done at Indian Knoll along the Green River in Ohio County, Kentucky. He found several Bannerstones in association with antler hooks. From his findings Moore surmised that the Bannerstones were net spacers and the hooks were netting needles.
Dr. George H. Pepper of the Heye Foundation suggested that the hooks and banner-stones were used in conjunction with each other as hair ornaments.
In 1938, William S. Webb returned to the Green River in Ohio County, Kentucky to conduct excavations. In burial 44, Webb found a butterfly bannerstone and an atlatl hook. Based on Moore’s work and his own work here and in Alabama, Webb proposed the theory that Bannerstones were used as atlatl (spear-thrower) weights placed between a handle and a bone or antler hook. However; In looking at Webb’s work at Indian Knoll Kwas found that out of the total of 880 burials only 43 contained any kind of atlatl object. Of these 43 burials, only 2 contained a bannerstone , hook and handle. One burial contained a bar weight, hook and handle. Kwas seems to be saying that Webb’s research should be considered more carefully and that his atlatl weight theory should not be taken as the ultimate answer to the usage of Bannerstones . 85 percent of the Bannerstones found at Archaic sites were in non-burial contexts, thus indicating that a burial with a bannerstone was a status burial including those of women and children. Howard Winters in 1968 and Nan Rothschild in 1975 reached similar conclusions that Bannerstones were status markers.
In 1939, Byron Knoblock published his monumental Bannerstones of the North American Indian . Knoblock stuck with the older theories on the usage of Bannerstones . He believed they were ornamental or ceremonial objects. His conclusions were based partly on the fact that certain forms of Bannerstones were usually made from exotic and beautiful material, such as ferruginous quartz or highly banded slate. He also felt that the time expended in making Bannerstones , coupled with their fragile nature, would certainly negate their usage as utilitarian objects.

Introduction To Bannerstones

Mon, 15 Sep 2025 13:05:05 GMT

This issue of Prehistoric American is dedicated to the bannerstone, a prehistoric artform which captures the imagination and love of most all artifact collectors. The bannerstone probably comes in a wider variety of forms and materials than any other prehistoric artifact type. They are found made from the most beautiful quartz to the most drab sandstone. Their from aries from their highly-developed double crescent to examples that are little more that a drilled pebble. From the number of salvaged examples and reworked froms, they were undoubtedly highly regarded by their owners.

Speculation has bounced around for years on what was their actual use. Moore was convinced that the examples found along the Green River in Kentucky were net spacers and that the hooks often found with them were hooks used in the manufacture of nets. Dr. W. S. Webb spoofed at this theory claiming they were spear thrower or atal atal weights. He based his theories upon excavations at Indian Knoll in Ohio County, Kentucky. It is interesting to note here that there was an example found at Indian Knoll which was a beautiful quartz saddle form on a necklace of shell beads. In this issue, Bill Koup and David Lutz present their thoughts and studies on the subject.

The writer speculates that the term “bannerstone” is applied to a form which had a variety of purposes and uses. There is little question in my mind that some were used for atal weights. It seems curious that so much effort would be placed into a beautiful quartz banner to use it on a tool as utilitarian as a spear thrower. It also seems curious that beautiful quartz examples are found which show no use and seem to have been made to be buried, yet have the same form and are found on the same sites as those associated with spear throwers. Likewise, this writer cannot believe that the highly developed slate forms like the double crescents, notched ovates, reels, and butterflies would have been used as a spear thrower weight. Further, I know of no situation in which these forms have been found with a hook or other association suggesting an atal atal weight. It is more probable that these forms were mounted for use as a sceptre or symbol of position.

Article used with permission by Bill Koup

Unveiling the Mysteries of a Gorget: Everything You Need to Know

Sat, 13 Sep 2025 13:05:41 GMT

This is a subtitle for your new post

Are you familiar with the intriguing world of gorgets? Whether you're an antique collector, a history buff, or simply curious about unique fashion accessories, this article is here to uncover the secrets of gorgets and provide you with everything you need to know about these fascinating adornments.

From their origins in medieval times to their continued significance in contemporary fashion, gorgets have captured the attention and fascination of many. But what exactly is a gorget? How were they used in the past and what role do they play today?

In this comprehensive guide, we will explore the history, symbolism, and various uses of gorgets. Delve into the different types of materials used, the intricate designs that showcase both craftsmanship and personal expression, and how to spot authentic gorgets in the market.

Join us as we unveil the mysteries of a gorget, shedding light on its cultural significance and offering insights into its enduring allure. Whether you're a seasoned collector or just starting to explore, this article is your trusted companion in unraveling the captivating world of gorgets.

History and Significance of Gorgets

Gorgets have a fascinating history that traces back to medieval times when they were worn as part of armor to protect the throat during battle. Over time, gorgets evolved from functional pieces into decorative accessories, symbolizing status, power, and elegance. In the 17th and 18th centuries, gorgets became popular among military officers and aristocrats, embellished with intricate designs and precious metals to showcase wealth and rank.

The significance of gorgets extended beyond mere fashion, with different styles and motifs representing various meanings. For example, a gorget adorned with floral patterns might symbolize beauty and nature, while one embellished with heraldic symbols could denote allegiance to a particular family or clan. Understanding the historical context and symbolism behind gorgets adds depth to their allure and makes them more than just ornamental pieces.

Gorgets have also played a role in ceremonial traditions, with some cultures using them as part of formal attire for special occasions or rituals. The intricate detailing and craftsmanship that goes into creating a gorget reflect the artisan's skill and dedication to producing a piece that is not only aesthetically pleasing but also carries cultural significance. As the world evolved, so did the styles and uses of gorgets, adapting to new trends while preserving their timeless appeal.

Different Types of Gorgets

There are various types of gorgets, each with its unique style and purpose. From the classic metal gorgets of the medieval era to the more contemporary fabric or beaded gorgets, these accessories come in a wide range of designs to suit different tastes and occasions. Metal gorgets, often made of silver or gold, are reminiscent of the armor pieces worn by knights and soldiers, exuding a sense of strength and tradition.

Fabric gorgets, on the other hand, offer a softer and more versatile option, allowing for intricate embroidery, beadwork, or embellishments that add a touch of elegance to any outfit. These fabric gorgets can be worn as standalone accessories or paired with other jewelry to create a layered look that is both stylish and sophisticated. Whether you prefer a bold statement piece or a subtle accent, there is a gorget style to suit every taste.

In addition to metal and fabric gorgets, there are also leather gorgets that offer a more rugged and contemporary aesthetic. Leather gorgets are popular among those who appreciate a fusion of traditional craftsmanship with modern design elements. The versatility of gorgets allows for endless creativity in how they are worn and styled, making them a favorite accessory for fashion enthusiasts and collectors alike.

Materials Used in Making Gorgets

The materials used in making gorgets play a crucial role in determining the overall look, feel, and quality of these accessories. Traditional metal gorgets are often crafted from materials like silver, gold, brass, or bronze, with intricate engravings and embellishments adding a touch of luxury and sophistication. These metal gorgets are prized for their durability and timeless appeal, making them valuable pieces for collectors and enthusiasts.

In contrast, fabric gorgets rely on a diverse range of materials, including silk, velvet, lace, or chiffon, to create intricate patterns and designs that evoke elegance and charm. Beaded gorgets, made with glass beads, pearls, or semi-precious stones, offer a dazzling display of color and texture, adding a touch of glamour to any outfit. The choice of materials used in making gorgets can vary depending on the desired style, from vintage-inspired pieces to modern and eclectic designs.

Leather gorgets introduce a more contemporary twist to traditional designs, with materials like cowhide, sheepskin, or suede lending a rugged and edgy look to these accessories. The versatility of leather allows for unique textures, finishes, and colors that appeal to those seeking a statement piece with a modern flair. Whether crafted from metal, fabric, or leather, gorgets showcase the artistry and creativity of skilled artisans who bring these accessories to life with meticulous attention to detail.

How Gorgets Are Worn

The versatility of gorgets allows for a myriad of styling options, making them a versatile accessory that can elevate any outfit. Depending on the design and material of the gorget, it can be worn in various ways to suit different occasions and personal preferences. Metal gorgets, with their bold and structured designs, are often worn as standalone pieces that make a statement on their own.

Fabric gorgets offer a softer and more romantic look, draping elegantly around the neck to add a touch of sophistication to both casual and formal ensembles. These fabric gorgets can be tied in different styles, such as a loose knot, a bow, or a simple drape, allowing for versatility in how they are worn. Beaded gorgets, with their intricate patterns and shimmering embellishments, are perfect for adding a touch of glamour to evening wear or special occasions.

Leather gorgets bring a touch of edge and modernity to any outfit, whether paired with a casual ensemble for a chic daytime look or layered with other jewelry for a bold and eclectic style. The key to wearing a gorget with confidence is to experiment with different styles and combinations to find what works best for your personal aesthetic. Whether you prefer a classic and understated look or a bold and avant-garde statement, gorgets offer endless possibilities for expressing your individuality through fashion.

Symbolism and Cultural Significance of Gorgets

Gorgets have long been associated with symbolism and cultural significance, reflecting the values, beliefs, and traditions of the societies in which they originated. From the intricate designs that adorn these accessories to the materials used in their creation, gorgets carry layers of meaning that go beyond mere adornment. Symbolism plays a crucial role in the design and wearing of gorgets, with each motif and pattern holding a specific significance.

In some cultures, gorgets are passed down from generation to generation, symbolizing heritage, lineage, and familial connections. The act of wearing a gorget can be a way to honor one's ancestors and carry on traditions that have been passed down through the ages. Additionally, gorgets have been used in various rituals and ceremonies to mark important milestones or events, serving as talismans of protection, prosperity, or love.

The cultural significance of gorgets extends to their role in storytelling and expression, with each piece embodying a narrative that speaks to the wearer's identity and experiences. Whether worn as a symbol of strength, beauty, or spirituality, gorgets serve as a form of self-expression that transcends fashion trends and societal norms. By understanding the symbolism and cultural significance of gorgets, we can appreciate the depth and complexity of these accessories as more than just decorative items, but as artifacts of history and tradition.

Collecting and Preserving Gorgets

For collectors and enthusiasts, gorgets hold a special allure that goes beyond their aesthetic appeal. Collecting gorgets allows individuals to delve into the rich history and craftsmanship of these accessories, acquiring pieces that tell stories of bygone eras and cultural traditions. Whether collecting vintage gorgets from specific time periods or seeking out contemporary designs that push the boundaries of fashion, the joy of collecting lies in uncovering unique pieces that resonate with personal tastes and interests.

When it comes to preserving gorgets, proper care and maintenance are essential to ensure these accessories retain their beauty and integrity over time. Metal gorgets should be stored in a dry, cool place to prevent tarnishing, while fabric gorgets should be kept away from moisture and excessive sunlight to avoid fading or damage. Beaded gorgets require gentle handling to prevent beads from becoming loose or falling off, while leather gorgets benefit from conditioning to maintain their suppleness and luster.

In addition to physical preservation, documenting the provenance and history of gorgets can add value to a collection, providing insight into the origins and significance of each piece. Whether collecting gorgets as a hobby or investment, the passion for these accessories lies in the stories they tell and the craftsmanship they embody. By preserving gorgets for future generations, collectors contribute to the legacy of these unique accessories and ensure their continued appreciation in the world of fashion and art.

Conclusion: Appreciating the Beauty and Craftsmanship of Gorgets

As we come to the end of our journey through the world of gorgets, we are reminded of the beauty and craftsmanship that make these accessories so special. From their origins in medieval armor to their evolution as fashion statements, gorgets have stood the test of time, captivating generations with their elegance and allure. Each gorget tells a story of tradition, culture, and individual expression, reflecting the values and beliefs of the wearers who adorn them.

By delving into the history, symbolism, and significance of gorgets, we gain a deeper appreciation for these accessories as more than just fashion adornments but as artifacts of human creativity and ingenuity. Whether collecting gorgets for their historical value, wearing them as a form of personal expression, or simply admiring their beauty, these accessories continue to enchant and inspire us with their timeless appeal. As we unveil the mysteries of a gorget, we are reminded of the enduring legacy and allure of these exquisite neck pieces that have captured the hearts and imaginations of people around the world.