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 applicable) in Square Feet” (2015), International Building
Code, copyright © 2015. Washington, DC: International
Code Council. Reproduced with permission. All rights
reserved. www.iccsafe.org).
Chapter 5
Figure 5.1 Means of egress components.
Figure 5.2 Means of egress in a typical building.
Figure 5.3 Typical clearances at doors.
Figure 5.4 Typical clearances at doorways.
Figure 5.5 Typical stair requirements: Treads and risers.
Figure 5.6 Typical stairway requirements: Clearances.
Figure 5.7 Typical handrail (Type I) and guard sections.
Figure 5.8 Typical handrail and guard requirements.
Figure 5.9 Typical ramp requirements.
Figure 5.10 International Building Code Table 1020.2,
“Minimum Corridor” (2015 International Building Code,
copyright © 2015. Washington, DC: International Code
Council. Reproduced with permission. All rights reserved.
www.iccsafe.org).
Figure 5.11 Typical corridor requirements.
Figure 5.12 Typical aisle and aisle accessway requirements:
Tables and chairs.
Figure 5.13 Horizontal exit examples.
Figure 5.14 Exit passageway examples.
Figure 5.15 Area of refuge examples.
Figure 5.16 International Building Code Table 1006.3.1,
“Minimum Number of Exits or Access to Exits per Story”
(2015 International Building Code, copyright © 2015.
Washington, DC: International Code Council, Washington,
DC: International Code Council. Reproduced with
permission. All rights reserved. www.iccsafe.org).
Figure 5.17 International Building Code, Table 1006.2.1,

8
 “Spaces with One Exit or Exit Access Doorway” and Table
1006.3.2(2), “Stories with One Exit or Access to One Exit for
Other Occupancies” (2015 International Building Code,
copyright © 2015. Washington, DC: International Code
Council. Reproduced with permission. All rights reserved.
www.iccsafe.org).
Figure 5.18 Number of exits: example (multi story
building).
Figure 5.19 Life Safety Code Table 7.3.3.1, “Capacity Factors”
(Reprinted with permission from NFPA 101®, Life Safety
Code®, Copyright © 2015, National Fire Protection
Association, Quincy, MA. This reprinted material is not the
complete and official position of the NFPA on the referenced
subject, which is represented only by the standard in its
entirety.)
Figure 5.20 Egress width for a mixed occupancy building
(nonsprinklered building).
Figure 5.21 Egress and aisle widths for movable tables and
chairs (sprinklered building, occupant load [OL] = 100).
Figure 5.22 Half diagonal rule example: Building.
Figure 5.23 Half diagonal rule example: Tenant and floor.
Figure 5.24 International Building Code Table 1017.2, “Exit
Access Travel Distancea” (2015 International Building Code,
copyright © 2015. Washington, DC: International Code
Council. Reproduced with permission. All rights reserved.
www.iccsafe.org).
Figure 5.25 Travel distance example: Tenant space
(sprinklered building).
Figure 5.26 Travel distance example: Building (hotel)
(sprinklered building).
Figure 5.27 Exit sign location example.
Chapter 6
Figure 6.2 International Building Code Table 706.4, “Fire
Wall Fire Resistance Ratings” (2015 International Building

9
Code, copyright © 2015. Washington, DC: International
Code Council. Reproduced with permission. All rights
reserved. www.iccsafe.org).
Figure 6.3 Fire barriers, horizontal assemblies, and fire
partitions.
Figure 6.4 Fire areas: Single floor and multiple floors.
Figure 6.5 International Building Code Table 707.3.10,
“Fire Resistance Rating Requirements for Fire Barrier
Assemblies or Horizontal Assemblies Between Fire Areas”
(2015 International Building Code, copyright © 2015.
Washington, DC: International Code Council. Reproduced
with permission. All rights reserved. www.iccsafe.org).
Figure 6.6 International Building Code Table 508.4,
“Required Separation of Occupancies (Hours)” (2015
International Building Code, copyright © 2015. Washington,
DC: International Code Council. Reproduced with
permission. All rights reserved. www.iccsafe.org).
Figure 6.7 Occupancy and dwelling unit separation
(nonsprinklered building).
Figure 6.8 International Building Code Table 509,
“Incidental Uses” (2015 International Building Code,
copyright © 2015. Washington, DC: International Code
Council. Reproduced with permission. All rights reserved.
www.iccsafe.org).
Figure 6.9 Rated building components (nonsprinklered
building).
Figure 6.10 Rated means of egress components
(nonsprinklered building).
Figure 6.11 International Building Code Table 1020.1,
“Corridor Fire Resistance Rating” (2015 International
Building Code, copyright © 2015. Washington, DC:
International Code Council. Reproduced with permission. All
rights reserved. www.iccsafe.org)
Figure 6.12 International Building Code Table 716.5,
“Opening Fire Protection Assemblies, Ratings and Markings”
(2015 International Building Code, copyright © 2015.

10
 Washington, DC: International Code Council. Reproduced
with permission. All rights reserved. www.iccsafe.org).
Figure 6.14 Typical label for a fire rated door assembly.
Reprinted with permission from Ceco Door Products.
Figure 6.15 International Building Code Table 716.6, “Fire
Window Assembly Fire Protection Ratings” (2015
International Building Code, copyright © 2015. Washington,
DC: International Code Council. Reproduced with
permission. All rights reserved. www.iccsafe.org).
Figure 6.16 International Building Code Table 717.3.2.1, “Fire
Damper Rating” (2015 International Building Code,
copyright © 2015. Washington, DC: International Code
Council. Reproduced with permission. All rights reserved.
www.iccsafe.org).
Figure 6.18 UL fire resistant assembly example (Reprinted
from the 2013 Fire Resistance Directory, Volume 1, with
permission from Underwriters Laboratories Inc. Copyright ©
2013 Underwriters Laboratories Inc.®).
Chapter 7
Figure 7.2 Typical manual fire alarm box mounting
requirements.
Figure 7.3 Example of travel distance to fire extinguishers.
Figure 7.4 Typical fire extinguisher and cabinet mounting
requirements.
Figure 7.5 Orientation of sprinkler heads (Line drawings
reprinted with permission from Viking Group.
www.vikingcorp.com).
Chapter 8
Figure 8.1 International Plumbing Code® (IPC®) Table
403.1, “Minimum Number of Required Plumbing Fixtures”
(2015 International Plumbing Code, copyright © 2015.
Washington, DC: International Code Council. Reproduced
with permission. All rights reserved. www.iccsafe.org).
Figure 8.2 Typical accessible plumbing fixture dimensions:

11
 Water closets and urinals.
Figure 8.3 Typical accessible plumbing fixture dimensions:
Lavatories, sinks, and drinking fountains.
Figure 8.4 Typical accessible plumbing fixture dimensions:
Bathtubs and showers.
Figure 8.5 Accessible single toilet facility: Out swinging
door example. (See also Figures 8.2, 8.3, 8.8, 8.9, and 8.10
for accessible fixture and accessory heights and Figure 8.2 for
vertical grab bar location.)
Figure 8.6 Accessible single toilet facility: In swinging
door examples. (See also Figures 8.2, 8.3, 8.8, 8.9, and 8.10
for accessible fixture and accessory heights and Figure 8.2 for
vertical grab bar location.)
Figure 8.7 Accessible multi toilet facility example. (See also
Figures 8.2, 8.3, and 8.10 for accessible fixture and accessory
heights and Figure 8.2 for vertical grab bar location.)
Figure 8.8 Accessible bathing facility examples: Bathtubs.
(See also Figures 8.2–8.4, and 8.10 for accessible fixture and
accessory heights and vertical grab bar locations. See Figure
8.5 for additional information on water closets and
lavatories.)
Figure 8.9 Accessible bathing facility examples: Showers.
(See also Figures 8.2–8.4, and 8.10 for accessible fixture and
accessory heights and vertical grab bar locations. See Figure
8.5 for additional information on water closets and
lavatories.)
Figure 8.10 Typical accessible toilet accessory heights.
Figure 8.11 Types of accessible signs for toilet and bathing
facilities. (Illustrations by APCO Graphics, Inc.
www.apcosigns.com).
Figure 8.12 Typical accessible tactile sign locations.
Figure 8.13 Mechanical/plumbing penetrations in a rated
wall assembly.
Chapter 9

12
 Figure 9.2 Electrical penetrations in a fire resistance rated
wall assembly.
Figure 9.3 Dwelling unit receptacle outlet location example.
Figure 9.4 Typical accessible electrical device and fixture
locations.
Figure 9.5 Required GFCI outlet location examples.
Figure 9.6 Typical lighting restrictions at bathtubs and
showers.
Figure 9.7 International Energy Conservation Code® Table
C405.5.2, “Interior Lighting Power Allowances” (2015
International Energy Conservation Code, copyright © 2015.
Washington, DC: International Code Council. Reproduced
with permission. All rights reserved. www.iccsafe.org).
Figure 9.10 Typical accessible communication device
locations.
Chapter 10
Figure 10.4 Steiner Tunnel Test apparatus.
Figure 10.5 Typical flame spread of common materials (2013
International Building Code, copyright © 2013. Washington,
DC: International Code Council. Reproduced with
permission. All rights reserved. www.iccsafe.org).
Figure 10.6 Radiant Panel Test apparatus.
Figure 10.7 Pill Test apparatus.
Figure 10.8 Vertical Flame Test apparatus.
Figure 10.9 Room Corner Test apparatus—Method A.
Figure 10.10 Smolder Resistance Test: Tester options.
Figure 10.11 Toxicity Test apparatus.
Figure 10.12 Upholstered seating test apparatus: Full scale.
Figure 10.13 Life Safety Code Table A.10.2.2, “Interior Finish
Classification Limitations” (Reprinted with permission from
NFPA 101®, Life Safety Code®, Copyright © 2017, National
Fire Protection Association, Quincy, MA. This reprinted

13
 material is not the complete and official position of the NFPA
on the referenced subject, which is represented only by the
standard in its entirety).
Figure 10.14 Finish selection example: High school,
nonsprinklered building.
Figure 10.15 Typical specifications for an upholstery finish
sample.
Figure 10.17 Accessible floor level change examples.
Figure 10.18 Accessible worksurface and furniture examples.
Chapter 11
Figure 11.1 Typical steps in the code process.
Figure 11.2 Summary interior project checklist.

14
THE CODES GUIDEBOOK FOR
INTERIORS
Seventh Edition

Katherine E. Kennon

Sharon K. Harmon

15
Copyright © 2018 by John Wiley & Sons, Inc. All rights reserved
Published by John Wiley & Sons, Inc., Hoboken, New Jersey
Published simultaneously in Canada
No part of this publication may be reproduced, stored in a retrieval system, or
transmitted in any form or by any means, electronic, mechanical, photocopying,
recording, scanning, or otherwise, except as permitted under Section 107 or 108 of
the 1976 United States Copyright Act, without either the prior written permission of
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(201) 748 6008, or online at www.wiley.com/go/permissions.
Limit of Liability/Disclaimer of Warranty: While the publisher and author have used
their best efforts in preparing this book, they make no representations or warranties
with respect to the accuracy or completeness of the contents of this book and
specifically disclaim any implied warranties of merchantability or fitness for a
particular purpose. No warranty may be created or extended by sales representatives
or written sales materials. The advice and strategies contained herein may not be
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Neither the publisher nor the author shall be liable for damages arising herefrom.
For general information about our other products and services, please contact our
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Wiley publishes in a variety of print and electronic formats and by print on
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products, visit www.wiley.com.
Library of Congress Cataloging in Publication Data:
Names: Kennon, Katherine E., author. | Harmon, Sharon K., author.
Title: The codes guidebook for interiors / by Katherine E. Kennon and Sharon K.
Harmon.
Description: Seventh edition. | Hoboken, New Jersey : John Wiley & Sons, Inc.,
[2018] | Includes index. |
Identifiers: LCCN 2017030433 (print) | LCCN 2017035571 (ebook) | ISBN
9781119451105 (pdf) | ISBN 9781119451136 (epub) | ISBN 9781119343196 (cloth)
Subjects: LCSH: Building laws—United States. | Buildings—Specifications—United
States. | Interior architecture—Specifications—United States.
Classification: LCC KF5701 (ebook) | LCC KF5701 .H37 2018 (print) | DDC
343.7307/8624—dc23
LC record available at https://lccn.loc.gov/2017030433
Cover Design: Wiley

16
Cover Image: © Kennon | Calhoun Workshop

About the International Code Council

The International Code Council is a member focused association. It is
dedicated to developing model codes and standards used in the design, build,
and compliance process to construct safe, sustainable, affordable, and resilient
structures. Most U.S. communities and many global markets choose the
International Codes. ICC Evaluation Service (ICC ES) is the industry leader in
performing technical evaluations for code compliance fostering safe and
sustainable design and construction.
500 New Jersey Avenue, NW, 6th Floor, Washington, DC 20001 2070
Regional Offices: Eastern: Birmingham, AL; Central: Chicago, IL; Western: Brea,
CA
1 888 422 7233
www.iccsafe.org

17
This book is dedicated to the special men in my life who have
encouraged and supported me in this continued endeavor:
James, Drake, and Noel. And not forgetting, Caleb and Toby.

18
INSET INDEX
Code and Standards Changes
ICC Evaluation Service
Codes and Standards in Other Countries
Testing Agencies and Certification
UL Labels
ADA ABA Accessibility Guidelines Development
Risk Factors and Hazards in Occupancies
Custodial Care versus Medical Care
Rooms and Spaces
Design Loads
Combustible Materials
Atriums and Mezzanines
Protected or Unprotected
High Rise Buildings
Elevators
Special Egress Strategies
Travel Distance Factors
Smoke and How It Travels
Carbon Monoxide Detection
Fire Technology
Integrated Alarms
Plumbing Systems
Mechanical Systems
Power and Electrical Systems
Low Voltage Cabling Systems

19
Building Automation Systems
Fire Development Stages
Industry Standards
CAL 133–Tested Products
Flame Retardant Treatments
Plastic Finishes
Administration Chapter
Knowing What Is New in the Code
Options in Codes
Performance Codes
ISO Standards for Sustainability
Federal Sustainability Certifications
The Red List

20
PREFACE
Codes and standards continue to change and evolve. Even federal
regulations are amended and updated. Why does this seem like a
never ending process? Because the many organizations and
individuals that develop the codes, standards, and federal
regulations strive to make the built environment as safe as possible:
we learn from recent events and apply this knowledge to our future
buildings and spaces.
A wide variety of factors are taken into consideration. Recent
building fires, natural disasters, and even acts of terrorism shed
light on how building safety can be improved. Industry trends, new
building products, and improved technology provide additional
options for addressing building safety. Instantaneous sharing of
information worldwide affects every aspect of our lives including
building safety. Changing concerns for safety and health in our
buildings and for our environment have catapulted sustainability,
energy efficiency, and green practices into the codes, standards, and
federal regulations—at a much faster rate than ever anticipated. All
of these influences continue to lead to new opportunities for
collaboration between various organizations and future changes to
the codes and standards. These ongoing changes challenge design
professionals to stay up to date.
This book concentrates on the interior of a building because the
codes, standards, and federal regulations affect projects on the
interior of a building as much as the building shell. And most
projects, whether new construction, renovation, or interior build
out, will have to consider the codes directed to the interior of a
building. The goal is to make the codes user friendly and to
provide a good overall understanding of the various codes,
standards, and federal regulations.
What sets this book apart is that it does more than just repeat the
code requirements; it explains how various requirements and
concepts work together to create building safety. This book
considers the requirements from more than one specific code. It
discusses the relationship of the various code publications and other
related documents and indicates how different requirements may

21
correlate in a project. Understanding the overall code process
creates safer buildings. When the objective of code research is clear,
the process can be more efficient, saving time and energy and
allowing more time to be spent on the design process. This seventh
edition of The Codes Guidebook for Interiors includes the most
recent changes and updates to the codes, standards, and federal
regulations. The following previews what is included.
Focuses on the most current and widely used building code, the
2015 International Building Code (IBC), as well as other related
International Code Council (ICC) codes, such as the 2015
International Fire Code.
Discusses how to use the NFPA's 2015 Life Safety Code (LSC) in
conjunction with the IBC regarding the various code topics
presented, ranging from selecting occupancy classifications to
determining means of egress and fire resistant assemblies.
Incorporates information on the many standards referenced by
the codes or used by the building and interior industry.
Discusses the relationship of the ICC accessibility standard (ICC
A117.1) and the 2010 ADA Standards and how to use them in
conjunction with the codes. The differences between the original
1991 Americans with Disabilities Act Accessibility Guidelines
(ADAAG) and the new 2010 ADA Standards are also explained.
Explains sustainability practices as they relate to the existing
codes and newly developed green codes and standards, including
the International Green Construction Code (IgCC) and the
ASHRAE/USGBC/IES 189.1, Standard for the Design of High
Performance Green Buildings Except Low Rise Residential
Buildings.
Describes the relationship between the energy codes, such as the
2015 International Energy Conservation Code (IECC),
sustainability codes, and federal energy regulations, and the IBC.
Includes interior related electrical code requirements based on
the 2014 and 2017 National Electrical Code (NEC).
Explains plumbing codes (and plumbing fixtures), using the
2015 International Plumbing Code, and mechanical codes as
they pertain to interior projects.

22
Discusses the newest information on finish and furniture
standards and testing, including the most current sustainability
and life safety issues.
Presents the role of alternative materials and methods and
performance codes to allow creative options for meeting
prescriptive code requirements.
Explains the terms, concepts, and requirements of the codes,
standards, and federal regulations in a simple, organized format
—explaining the differences, which codes to use, and how to use
them together.
Includes multiple examples and sample floor plans covering a
wide variety of building types and occupancy classifications.
Includes many diagrams combining code and accessibility
related requirements for items such as means of egress, toilet
and bathing rooms, and finish and furniture related items.
Includes the latest information on working with code officials
and documenting your projects using prescriptive, performance,
and/or sustainability codes.
Addresses a variety of building and project types, both large and
small, and includes information on existing buildings, historic
buildings, and single family homes.
In past editions, individual checklists were included at the end of
the chapter. New to this edition, access to a comprehensive code
checklist in digital format is provided with the purchase of this
book. This interactive checklist can be downloaded and used to
assist you in code research and documentation for projects.
If you are an instructor, student, or new professional, additional
information is available for the use of this book. For instructors,
PowerPoint presentations and suggestions for classroom
activities are available in the Instructor's Manual. If you are a
design student or new professional, flash cards and similar study
materials are available. These are available online with the
purchase of this book.
Supplementing the information in this book, a Study Guide is
also available. It is a valuable resource to test your
understanding of the terms, concepts, and requirements

23
 presented in the Guidebook.
I hope that this book is helpful to you.

Katherine E. Kennon, AIA

24
ACKNOWLEDGMENTS
I am often asked how I became interested and subsequently so
involved with building codes and accessibility issues. I always relate
it back to an event early in my professional career. It began with a
sign up sheet circulating around the office with an offer to attend a
code seminar compliments of the firm. At the time, not knowing a
whole lot about codes from the brief introduction in design school
and wanting to take advantage of the free education, I signed up.
Days later, my boss, Richard Butcosk, called me into his office. He
was wondering why I wanted to go to a code seminar, considering
that I had been hired to be part of the design team, not particularly
because of such pragmatic interests. My response was that if not
being familiar with code requirements could negatively affect my
designs, then I viewed them as critical design information. I was
allowed to attend, the first of many. Shortly after that, the
Americans with Disability Act was passed and again another series
of seminars. And so began an interest intertwined in my design
career.
Later, I taught a design studio class that integrated the teaching of
codes and accessibility as related to a commercial project. This led
to me meeting Sharon K. Harmon, who was the author of the
assigned text book. That book was the first edition of what was to
become this book. Beginning with the second edition, Sharon and I
became co authors of the book. She has now moved onto a
different emphasis in her career, and starting with the sixth edition,
the book has been my opportunity to continue to present codes and
accessibility issues to design students and designers (architects and
interior designers). The common thread continues to be the
importance of knowing code and accessibility requirements as we
design buildings, particularly their interior layout and components.
For the book to continue to be relevant and accurate, having
industry professionals give perspective on the content is essential. I
luckily find people willing to take the time to read, comment, and
make suggestions on sections and chapters within their professional
purview. For this edition, I want to thank David Garrett for his
contribution to the content of this edition. I appreciate your time

25
Exploring the Variety of Random
Documents with Different Content
corner of the state, crossing the line into California in
Modoc county, and leaving a string of samples clear across
the Madeline plains.
Eight miles below Belmont, in Nye county, Nevada, an
immense rock which at some time has fallen into the
canyon from the porphyry ledge above it has a patch of
marks nearly 20 feet square. It is so high that a man on
horseback can not reach the top.
A number at Reveillé, in the same county, are also
marked. On the road to Tybo every large rock is marked,
one of the figures being a semicircle with a short vertical
spoke within the curve. At Reno a heavy black rock a
couple of feet across is beautifully engraved to represent a
bull’s eye of 4 rings, an arrow with a very large feather,
and one which may mean a man. In a steep canyon 15
miles northeast of Reno, in Spanish Spring mountains,
several cliffs are well marked, and an exposed ledge,
where the Carson river has cut off the point of a hill below
Big Bend, is covered with rings and snakes by the
hundred. Several triangles, a well-formed square and
compass, a woman with outstretched arms holding an
olive branch, etc., are there.
Humboldt county has its share, the best being on a bluff
below the old Sheba mine. Ten miles south of Pioche are
about 50 figures cut into the rock, many of them designed
to represent mountain sheep. Eighty miles farther south,
near Kane’s Spring, the most numerous and perfect
specimens of this prehistoric art are found. Men on
horseback engaged in the pursuit of animals are among
the most numerous, best preserved, and carefully
executed.
The region I have gone over is of immense size, and must
impress everyone with the importance of a set of symbols
 which extends in broken lines from Arizona far into
Oregon.
Fig. 55 exhibits engravings at Reveillé, Nevada. Great numbers of
incised characters of various kinds are also reported from the walls
of rocks flanking Walker river, near Walker lake, Nevada. Waving
lines, rings, and what appear to be vegetable forms are of frequent
occurrence. The human form and footprints are also depicted.

Fig. 55.—Petroglyphs at Reveillé, Nevada.

Fig. 56 is a copy of a drawing made by Lieut. A. G. Tassin, Twelfth

U. S. Infantry, in 1877, of an ancient rock-carving at the base and in
the recesses of Dead mountain and the abode of dead bad Indians
according to the Mohave mythology. This drawing and its description
is from a manuscript report on the Mohave Indians, in the library of
the Bureau of Ethnology, prepared by Lieut. Tassin.

Fig. 56.—Petroglyphs at Dead mountain, Nevada.

He explains some of the characters as follows:

(a) Evidently the two different species of mesquite bean.
(b) Would seem to refer to the bite of the cidatus, and to
the use of a certain herb for its cure.
(c) Presumably the olla or water cooler of the Mohaves.
The whole of this series of petroglyphs is regarded as being Shinumo
or Moki. They show a general resemblance to drawings in Arizona,
known to have been made by the Moki Indians. The locality is within
the territory of the Shoshonean linguistic division, and the drawings
are in all probability the work of one or more of the numerous tribes
comprised within that division.

NEW MEXICO.

On the north wall of Canyon de Chelly, one-fourth of a mile east of

its mouth, are several groups of petroglyphs, consisting chiefly of
various grotesque forms of the human figure, and also numbers of
animals, circles, etc. A few of them are painted black, the greater
portion consisting of rather shallow lines, which are in some places
considerably weathered. Further up the canyon, in the vicinity of the
cliff dwellings, are numerous small groups of pictographic
characters, consisting of men and animals, waving or zigzag lines,
and other odd figures.
Lieut. James H. Simpson (a), in his Journal of a Military
Reconnoissance, etc., presents a number of plates bearing copies of
inscriptions on rocks in the northwestern part of New Mexico, among
which are those on the so-called “Inscription rock” at El Moro, here
reproduced as Fig. 57. The petroglyphs are selected from the south
face of the rock. Lieut. Simpson states that most of the characters
are no higher than a man’s head, and that some of them are
undoubtedly of Indian origin.

Fig. 57.—Inscription rock, New Mexico.

Among the many colored etchings and paintings on rock discovered

by the Pacific railroad expedition in 1853-’54, Lieut. Whipple (c)
notes those at Rocky dell creek, New Mexico, which were found
between the edge of the Llano Estacado and the Canadian river. The
stream flows through a gorge, upon one side of which a shelving
sandstone rock forms a sort of cave. The roof is covered with
paintings, some evidently ancient, and beneath are innumerable
carvings of footprints, animals, and symmetrical lines. He also
remarks (d) that figures cut upon a rock at Arch spring, near Zuñi,
present some faint similarity to those at Rocky dell creek.
Near Ojo Pescado, in the vicinity of the ruins, are petroglyphs, also
reported by Lieut. Whipple (d), which are very much weather-worn
and have “no trace of a modern hand about them.”
Mr. Edwin A. Hill, of Indianapolis, in a letter, notes petroglyphs on
the Denver and Rio Grande railroad, between Antonite and Espanola.
Below Tres Piedras and near Espanola are rude sculptures, lining the
valley on both sides of the road for a long distance, at least several
miles. The canyon has a slope of about 45° and contains many
bowlders, and on every available face pictographs are cut. Figures of
arrows, hatchets, circles, triangles, bows, spears, turtles, etc., are
outlined as if with some cutting-tool. The country had two years
before been occupied by Apaches, but far greater age is attributed
to the petroglyphs.
Other petroglyphs actually within the geographical area of New
Mexico are so near the border that they are treated of in connection
with those of Colorado.
Prof. E. D. Cope (a) gives a copy of figures which he found on the
side of a ravine near Abiquiu, on the river Chama. They are cut in
Jurassic sandstone of medium hardness, and are quite worn and
overgrown with the small lichen which is abundant on the face of the
rock.
Mr. Gilbert Thompson, of the U. S. Geological Survey, reports his
observation of petroglyphs at San Antonio springs, 30 miles east of
Fort Wingate, New Mexico. The human figure, in various forms,
occurs, as well as numerous other characters, strikingly similar to
those frequent in the country farther west occupied by the Moki
Indians. The peculiarity of these figures is that the outlines are
incised and that the depressions thus formed are filled with red, blue
or white pigments. The interior of the figures is simply painted with
one or more of the same colors.
Figs. 58 and 59 are reproductions of drawings of petroglyphs from
Ojo de Benado, south of Zuñi, New Mexico. The manuscripts which
once accompanied them, and which were forwarded to the Bureau
of Ethnology in the usual official manner, have become separated
from the sketches, and on those there are no indications of the
collectors’ names.

Fig. 58.—Petroglyphs at Ojo de Benado, New Mexico.

The characters are very like others from several localities in the
territory and in the adjacent region. The type is that of the Pueblos
generally.
Mr. Bandelier, in conversation, reported having seen and sketched a
petroglyph at Nambe, in a canyon about 2 miles east of the pueblo,
also another at Cueva Pintada, about 17 miles by the trail northwest
of Cochiti.

Fig. 59.—Petroglyphs at Ojo de Benado, New Mexico.

NEW YORK.
The following is extracted from Schoolcraft (c):
There is a pictographic Indian inscription [now obliterated]
in the valley of the Hudson, above the Highlands, which
from its antiquity and character appears to denote the era
of the introduction of firearms and gunpowder among the
aboriginal tribes of that valley. This era, from the well-
known historical events of the contemporaneous
settlement of New Netherlands and New France, may be
with general accuracy placed between the years 1609, the
date of Hudson’s ascent of that stream above the
Highlands, and the opening of the Indian trade with the
Iroquois at the present site of Albany, by the erection of
Fort Orange, in 1614. * * *
In a map published at Amsterdam, in Holland, in 1659,
the country, for some distance both above and below
Esopus creek, is delineated as inhabited by the
Waranawankongs, who were a totemic division or
enlarged family clan of the Mohikinder. They spoke a well-
characterized dialect of the Mohigan, and have left
numerous geographical names on the streams and
physical peculiarities of that part of the river coast quite to
and above Coxsackie. The language is Algonquin.
Esopus itself appears to be a word derived from Seepu,
the Minsi-Algonquin name for a river.
* * * The inscription may be supposed, if the era is
properly conjectured, to have been made with metallic
tools. The lines are deeply and plainly impressed. It is in
double lines. The plumes from the head denote a chief or
man skilled in the Indian medico-magical art. The gun is
held at rest in the right hand; the left appears to support
a wand. [The position of the arm may be merely a
gesture.]
The reproduction here as Fig. 60 is from a rock on the western bank
of the Hudson, at Esopus landing. It is presented mainly on account
of the frequent allusions to it in literature.

Fig. 60.—Petroglyph at Esopus, New

York.

NORTH CAROLINA.

Mr. James Mooney, of the Bureau of Ethnology, reports petroglyphs

upon a gray gneissoid rock, a short distance east of Caney river, on
the north side of the road from Asheville to Burnsville, North
Carolina. The face of the surface is at an angle of 30° toward the
south, and the sculptured area covers about 10 feet square. The
characters consist chiefly of cup-shaped depressions, some about 2
inches deep, some being also connected. There are a few markings
which appear to have been intended to represent footprints. The
characters resemble, to some extent, those at Trap Rock gap,
Georgia, and at the Juttaculla rock, North Carolina, on a branch of
the Tuckasegee river, above Webster.
The above-described sculptured rock is on the property of Ellis
Gardner, and is known as Gardner’s, or the “Garden rock.”
Mr. Mooney also reports that at Webster, North Carolina, there is one
large rock bearing numerous petroglyphs, rings, cup-shaped
depressions, fish-bone patterns, etc. He further states, upon the
authority of Dr. J. M. Spainhour, of Lenoir, that upon a light gray rock
measuring 4 feet by 30 are numerous cup-shaped petroglyphs, he
having counted 215. The rock is on the Yadkin river, 4 miles below
Wilkesboro, and is at times partly under water.
Dr. Hoffman, who in 1886 visited western North Carolina, gives the
following account of colored pictographs found there by him.
“The locality known as ‘Paint rock’ is situated on the east or right
bank of the French Broad river, about 100 yards above the
Tennessee and North Carolina state line. The limestone cliff, which
terminates abruptly near the river, measures about 100 feet in
height and covers an area from side to side of exposure of at least
100 yards. The accompanying view (Fig. 61), taken from across the
river, presents the wall of limestone rock and the position of the
petroglyph, which is delineated in proper proportion nearly in the
center of the illustration.
 Fig. 61.—Paint rock, North Carolina.

“The property belongs to Mr. J. W. Chockley, who has been living in

the vicinity for about fifteen years. He states that during this time
the pictograph has undergone some change on account of gradual
disintegration or fracture of the rock. The first knowledge of the
pictograph, according to local tradition, dates back about sixty years,
and no information as to its import could be learned, either from the
white residents, who are few in number, or the straggling Cherokee
Indians who visit the railway station at odd intervals.”
The pictograph is peculiar in design, no animal forms being apparent
but an indefinite number of short, straight lines at right angles to
one another, as shown in Fig. 62. One-thirty-sixth actual size.
 Fig. 62.—Petroglyphs on Paint rock, North Carolina.

The characters are in dark red, probably a ferrous oxide, quantities

of which are found in the neighborhood. The color appears to have
penetrated the softer portions of the limestone, though upon the
harder surfaces it has been removed by exposure to the elements.
The lowermost figure appears to resemble a rude outline of a human
form, with one arm lowered and reaching forward, though this is
only a suggestion.
Upon the face of the rock, a few yards to the right of the above, are
indistinct outlines of circles, several of which indicate central spots,
and one, at least, has a line extending from the center downward for
about 8 inches.
 OHIO.

A large number of petroglyphs are reported from this state. It is

sufficient to present the following examples extracted, with
reproduced illustrations and abbreviated descriptions, from the
Report of the Committee of the State Archæological Society,
published in the Report of the Ohio State Board of Centennial
Managers.
Fig. 63 is a copy of the petroglyph on the Newark Track rock.

Fig. 63.—Newark Track rock, Ohio.

It is described in the volume cited, pages 94, 95, as follows:

The inscriptions near Newark, in Licking county, Ohio,
originally covered a vertical face of conglomerate rock, 50
or 60 feet in length, by 6 and 8 feet in height. This rock is
soft and, therefore, the figures are easily erased * * *.
About the year 1800 it became a place where white men
sought to immortalize themselves by cutting their names
across the old inscription * * *.
On the rock faces and detached sandstone blocks of the
banks of the Ohio river there are numerous groups of
intaglios, but in them the style is quite different from
those to which I have referred, and which are located in
the interior. Those on the Ohio river resemble the
symbolical records of the North American Indians, such as
 the Kelley Island stone, described in Schoolcraft by Capt.
Eastman, the Dighton rock, the Big Indian rock of the
Susquehanna, and the “God rock” of the Allegheny river.
In those the supposed bird track is generally wanting. The
large sculptured rock near Wellsville, which is only visible
at low water of the Ohio, has among the figures one that
is prominent on the Barnesville stones. This is the fore
foot of the bear, with the outside toe distorted and set
outward at right angles.
Other sculptured rocks of a similar character have been
found in Fairfield, Belmont, Cuyahoga, and Lorain
counties.
That the ancient bird-track character belonged to the
mound-builders is evident from the fact that it is found
among their works, constructed of soil on a large scale.
One of these bird-track mounds occurs in the center of
the large circular inclosure near Newark, Ohio, now
standing in the Licking county fair grounds. Among the
characters will be noticed the human hand. In one
instance the hand is open, the palm facing the observer,
and in the other the hand is closed, except the index
finger which points downward to the base of the cliff. Of
the bird-track characters there are many varieties. There
is also a character resembling a cross and another bearing
some resemblance to an arrow.
Fig. 64 is an illustration of the Independence stone, which is
described in the same volume, pp. 98, 99, as follows:
 Fig. 64.—Independence stone, Ohio.

Great care has been taken to obtain a correct sketch of

what remains of this inscription. A very rude drawing of it
was published in Schoolcraft’s great work upon the Indian
tribes, in 1854.
The rock here described only contains a portion of the
inscription. The balance was destroyed in quarrying. The
markings on the portion of the rock preserved consist of
the human foot, clothed with something like a moccasin or
stocking; of the naked foot; of the open hand; of round
markings one in front of the great toe, of each
representation of the clothed foot; the figure of a serpent,
and a peculiar character which might be taken for a rude
representation of a crab or crawfish, but which bears a
closer resemblance to an old-fashioned spearhead used in
capturing fish.
Fig. 65 is a copy of the drawings on the Track rock, near Barnesville,
Belmont county, Ohio, the description of which is in the same
volume, pp. 89-93.
 Fig. 65.—Barnesville Track rock, Ohio.

The rude cuts of the human faces, part of the human feet, the rings,
stars, serpents, and some others, are evidently works of art, as in
the best of them the marks of the engraving instrument are to be
seen. In all cases, whether single or in groups, the relative
dimensions of the figures are preserved. The surface of this block is
8 by 11 feet.
At the south end of the petroglyphs occurs a figure of several
concentric rings, a design by no means confined to Ohio. The third
figure right of this resembles others in the same group, and
evidently indicates the footprints of the buffalo. Human footprints
are generally indicated by the pronounced toe marks, either
detached as slight depressions or attached to the foot, and are thus
recognized as different from bear tracks, which frequently have but
slight indications of toes or perhaps claw marks, and in which also
the foot is shorter or rounder. The arrow-shaped figures are no
doubt intended for turkey tracks, characters common to many
petroglyphs of the middle and eastern Algonquian area.
Fig. 66 gives several of the above characters enlarged from the
preceding figure.

Fig. 66.—Characters from Barnesville Track rock.

In Fig. 67, referring to another block mentioned in the same report,

lying 20 feet south of the one first mentioned, there is a duplication
of the characters before noted—human footprints, bear and turkey
tracks, and the indication of what may be intended to represent a
serpent.
 Fig. 67.—Barnesville Track rock, No. 2.

Fig. 68, from p. 105 of the same volume, gives copies of sketches
from the rocks near Wellsville, Ohio, with remarks as follows:

Fig. 68.—Petroglyphs, Wellsville, Ohio.

 On the Ohio side of the river, 1 mile above Wellsville, there
is a large group of sculptures on a flat sand rock of the
coal series, scarred by floating ice and flood wood. They
are only visible in low water, as they are only 2 or 3 feet
above the extreme low stage of the river. * * * They are
made in double outline and not by a single deep channel.
The outlines are a series of dots made with a round-
pointed instrument, seldom more than half an inch deep.
The upper design is a rattlesnake with a fancy head and
tail. Its length is 4½ feet, a very clumsy affair, but
intended for the common yellow rattlesnake of the West.
The head of the snake, which occupies a space 6 inches
square, is represented in the second character, which is
reduced from a tracing size of nature. It brings to mind
the horned snake of the Egyptians, which was an object of
worship by them.
The character at the left hand of the lower line may be an
uncouth representation of a demon or evil spirit. The
right-hand character is probably an otter carrying a vine or
string in his month.
It is more probable that the lines from the mouth of the animal
indicate magic or supernatural power, of which many examples
appear in this paper, as also of the device in the region of the
animal’s heart, from which a line extends to the mouth. These
characteristics connect the glyph with the Ojibwa drawings on bark.

OREGON.

Many bowlders and rock escarpments at and near the Dalles of the
Columbia river, Oregon, are covered with incised or pecked glyphs.
Some of them are representations of human figures, but characters
of other forms predominate.
Mr. Albert S. Gatschet, of the Bureau of Ethnology, reports the
discovery by him, in 1878, of rock etchings 4 miles from Gaston,
Oregon, and 2½ miles from the ancient settlement of the Tuálati (or
Atfálati) Indians. These etchings are about 100 feet above the valley
bottom on six rocks of soft sandstone, projecting from the grassy
hillside of Patten’s valley, opposite Darling Smith’s farm, and are
surrounded with timber on two sides.
This sandstone ledge extends for one-eighth of a mile horizontally
along the hillside, upon the projecting portions of which the
inscriptions are found. These rocks differ greatly in size, and slant
forward so that the inscribed portions are exposed to the frequent
rains of that region. The first rock, or that one nearest the mouth of
the canyon, consists of horizontal zigzag lines and a detached
straight line, also horizontal. On another side of the same rock is a
series of oblique parallel lines. Some of the most striking characters
found upon other exposed portions of the rock appear to be human
figures, i. e., circles to which radiating lines are attached, and bear
indications of eyes and mouth, long vertical lines running downward
as if to represent the body, and terminating in a furcation, as if
intended for legs, toes, etc. To the right of one figure is an arm and
three-fingered hand (similar to some of the Moki characters), bent
downward from the elbow, the humerus extending at a right angle
from the body. Horizontal rows of short vertical lines are placed
below and between some of the figures, probably numerical marks
of some kind.
Other characters occur of various forms, the most striking being an
arrow pointing upward, with two horizontal lines drawn across the
shaft, and with vertical lines having short oblique lines attached
thereto.
Mr. Gatschet remarks that the Tuálati tell a trivial story to explain the
origin of these pictures, the substance of which is as follows: The
Tillamuk warriors living on the Pacific coast were often at variance
with the several Kalapuya tribes. One day, passing through Patten’s
valley to invade the country of the Tuálati, they inquired of a woman
how far they were from their camp. The woman, desirous not to
betray her own countrymen, said they were yet at a distance of one
(or two?) days’ travel. This made them reflect over the intended
invasion, and, holding a council, they decided to withdraw. In
commemoration of this the inscription, with its numeration marks,
was incised by the Tuálati.
Dr. Charles Rau received from Dr. James S. Denison, physician at the
Klamath agency, Lake county, Oregon, a communication relative to
the practice of painting figures on rocks in the territory of the
Klamath Indians in Oregon. There are in that neighborhood many
rocks bearing painted figures; but Dr. Rau’s (b) description refers
specially to a single rock, called Ktá-i Tupákshi (standing rock),
situated about 50 yards north of Sprague river and 150 yards from
the junction of Sprague and Williamson rivers. It is about 10 feet
high, 14 feet long, and 12 or 14 feet deep. Fig. 69, drawn one-
twelfth of the natural size, illustrates the character of the paintings
seen on the smooth southern surface of this rock. The most frequent
designs are single or concentric circles, like Fig. 69, a, which consists
of a dark red circle surrounded by a white one, the center being
formed by a round red spot. Fig. 69, b, painted in dark red and
white colors, exhibits a somewhat Mahadeo-like shape; the straight
appendage of the circle is provided on each side with short
projecting lines, alternately red and white, and almost producing the
effect of the so-called herring-bone ornament.

Fig. 69.—Petroglyphs in Lake county, Oregon.

Fig. 69, c and d, executed in dark red, are other designs seen on the
standing rock above mentioned. The colors, which, as the informant
thinks, are rubbed in with grease, appear quite distinct on the dark
surface of the rock.

PENNSYLVANIA.

Along the river courses in northern and western Pennsylvania many

rocks are found bearing traces of carvings, though, on account of
the character of the geological formations, some of them are nearly
obliterated.
In 1875 Mr. P. W. Shafer published in a historical map of
Pennsylvania several groups of pictographs. These had before
appeared in a rude and crowded form in the Transactions of the
Anthropological Institute of New York, 1871-’72, page 66, where the
localities are mentioned as “Big” and “Little” Indian rocks,
respectively. One of these rocks is in the Susquehanna river, below
the dam at Safe harbor, and the drawing clearly shows its
Algonquian origin. The characters are nearly all either animals or
various forms of the human body. Birds, bird tracks, and serpents
also occur. A part of this pictograph is presented below, Fig. 1089.
Dr. W. J. Hoffman visited this place during the autumn of 1889 and
made sketches of the petroglyphs. The Algonquian type of
delineation of objects is manifest.
The rock known as “Big Indian rock” is in the Susquehanna river,
three-fourths of a mile below the mouth of Conestoga creek and
about 400 yards from the eastern bank of the Susquehanna. It is
one of many, but larger than any other in the immediate vicinity,
measuring about 60 feet in length, 30 feet in width, and an average
height of about 20 feet. The upper surface is uneven, though
smoothly worn, and upon this are pecked the characters, shown in
Fig. 70.
 Fig. 70.—Big Indian rock, Pennsylvania.

The characters, through exposure to the elements, are becoming

rather indistinct, though a few of them are pecked so deep that they
still present a depression of from one-fourth to one-half an inch in
depth. The most conspicuous objects consist of human figures,
thunder birds, and animals resembling the panther.
“Little Indian rock” is also situated in the Susquehanna river, one-
fourth of a mile from the eastern bank and a like distance below the
mouth of Conestoga creek. This rock, also of hard micaceous schist,
is not so large as the one above mentioned, but bears more
interesting characters, the most conspicuous being representations
of the thunder bird, serpents, deer and bird tracks, etc.
 Fig. 71.—Little Indian rock, Pennsylvania.

Prof. Persifor Frazer, jr., (b) remarks upon the gradual obliteration of
these pictographs, and adds:
In addition to these causes of obliteration it is a pity to
have to record another, which is the vandalism of some
visitors to the locality who have thought it an excellent
practical joke to cut spurious figures alongside of and
sometimes over those made by the Indians. It is not
unlikely, too, that the “fish pots” here, as in the case of
the Bald Friar’s inscriptions, a few miles below the
Maryland line, may have been constructed in great part
out of fragments of rock containing these hieroglyphics, so
that the parts of the connected story which they relate are
separated and the record thus destroyed.
Others have cut their initials or full names in these rocks,
thus for an obscure record whose unriddling would award
the antiquarian, substituting one, the correct deciphering
of which leads to obscurity itself.
At McCalls ferry, on the Susquehanna river, in Lancaster county, and
on the right shore near the water’s edge, is a gray gneissoid flat
rock, bearing petroglyphs that have been pecked upon the surface.
It is irregular in shape, measuring about 3½ by 4 feet in superficial
area, upon which is a circle covering nearly the entire surface, in the
middle of which is a smaller circle with a central point. On one side
of the inner space, between the outer and inner circles, are a
number of characters resembling human figures and others of
unintelligible form. The petroglyph is represented in Fig. 72.

Fig. 72.—Petroglyph at McCalls ferry, Pennsylvania.

The resemblance between these drawings and those on Dighton

rock is to be noted, as well as that between both of them and some
in Ohio. All those localities are within the area formerly occupied by
tribes of the Algonquian stock.
Near Washington, Lancaster county, Pennsylvania, on “Mill stream,”
one-fourth of a mile above its junction with the Susquehanna river, is
a large bowlder of gray sandstone (Fig. 73), the exposed portion of
which bears several deeply incised lines which appear to have served
as topographic indicators, as several others of like kind occur farther
downstream. The longest incision is about 28 inches in length, the
next one parallel to it, about 14 inches, while the third character is
V-shaped, one arm of which is about 10 inches in length and the
other 12. The apex of this character points in a southeast direction.
 Fig. 73.—Petroglyph near Washington, Pennsylvania.

One-eighth of a mile farther down is another bowlder, also near the

water, which bears shorter lines than the preceding, but in general
pointing almost southeast and northwest.
The workmanship is similar to that at Conowingo, Maryland, at the
site of the Bald Friar rocks. The marks appear to have been chipped
to a considerable depth and then rubbed with sand and some hard
substance so as to present a smooth and even surface, removing all
or nearly all of the pecked surface.
Mr. P. W. Shafer, on the same historical map of Pennsylvania before
mentioned, presents also a group of pictures copied from the
originals on the Alleghany river, in Venango county, 5 miles south of
Franklin, on what is known as the Indian God rock. There are but six
characters furnished in his copy, three of which are variations of the
human form, while the others are undetermined.
This rock was visited in 1886 by Dr. Hoffman, who made a number
of drawings of objects represented, of which only those in Fig. 74
are here reproduced. The face of the bowlder bearing the original
petroglyphs has been much disfigured by visitors who, in
endeavoring to display their skill by pecking upon the surface names,
dates, and other designs, have so injured it that it is difficult to trace
the original characters.

Fig. 74.—Petroglyphs on “Indian God rock.”

Fig. 74, a, represents, apparently, a panther. Above and beneath it

are markings resembling wolf tracks, while farther down is a turkey
track, and in the left-hand lower corner is a human form, such as is
usually found upon rocks in the areas represented by Shoshonian
tribes.
The design at b is much mutilated and eroded, and may originally
have been a character like a, the first of this series.
The characters at c and d are evidently human faces, the former
representing that of the sun, the latter being very much like a mask.
That at e is found upon other Algonquian rocks, notably those called
“Bald Friar,” Maryland, in the Susquehanna river, immediately below
the state line of Pennsylvania.
The bowlder upon which these petroglyphs are engraved lies at the
water’s edge, and during each freshet the lower half of the surface
and sometimes even more is under water. At these times floating
logs, impelled according to the curve in the river immediately above,
are directed toward this rock, which may explain the worn surface
and the eroded condition of the sculpture.
Mr. J. Sutton Wall, of Monongahela city, describes in correspondence
a rock bearing pictographs opposite the town of Millsboro, in Fayette
county, Pennsylvania. This rock is about 390 feet above the level of
the Monongahela river, and belongs to the Waynesburg stratum of
sandstone. It is detached and rests somewhat below its true horizon.
It is about 6 feet in thickness, and has vertical sides; only two
figures are carved on the sides, the principal inscriptions being on
the top, and all are now considerably worn. Mr. Wall mentions the
outlines of animals and some other figures formed by grooves or
channels cut from an inch to a mere trace in depth. No indications of
tool marks were discovered. The footprints are carved depressions.
The character marked z, near the lower left-hand corner, is a circular
cavity 7 inches deep. A copy of the inscription made in 1882 by Mr.
Wall and Mr. William Arison is reproduced as Fig. 75.
 Fig. 75.—Petroglyph at Millsboro, Pennsylvania.

Again the resemblance between these drawings, those on Dighton

rock, and some of those in Ohio, introduced above, is to be noted,
and the fact that all these localities are within the area formerly
occupied by tribes of the Algonquian stock.
Mr. Wall also contributes a group of glyphs on what is known as the
“Geneva Picture rock,” in the Monongahela valley, near Geneva.
These are footprints and other characters similar to those from
Hamilton farm, West Virginia, which are shown in Fig. 1088.
Mr. L. W. Brown, of Redstone, Fayette county, Pennsylvania,
mentions a rock near Layton, in that county, which measures about
15 by 25 feet in area, upon the surface of which occur a number of
petroglyphs consisting of the human figure, animals, and footprints,
some of which are difficult to trace. From a rough sketch reproduced
as Fig. 76, made by Mr. Brown, these appear to be Algonquian in
type.
 Fig. 76.—Petroglyphs near Layton, Pennsylvania.

Mr. Brown also submitted for examination two pieces of chocolate-

colored, smooth, fine grained slate, of hard texture, bearing upon
the several sides outlines of incised figures. The specimens were
found in Indian graves in Fayette county, Pennsylvania. The outline
of the incisions, although they are not strictly petroglyphs, are
reproduced in Figs. 77 and 78.
 Fig. 77.—Glyphs in Fayette county, Pennsylvania.

The designs are made in delicate lines, as if scratched with a sharply

pointed piece of quartz, or possibly metal. The character d on Fig.
78 is the representation of a fish, which has been accentuated by
additional cutting since found. The characters resemble the
Algonquian type, many of them being frequently found among those
tribes living along the Great Lakes.
 Fig. 78.—Glyphs in Fayette county, Pennsylvania.

RHODE ISLAND.

In C. C. Rafn’s Antiq. Amer. (c), is the following account:

Portsmouth rocks.—The rocks, for there are several of
them, are situated on the western side of the island of
Rhode Island, in the town of Portsmouth, on the shore,
about 7 miles from Newport, taking the western road, and
4 miles from Bristol ferry. * * * They are partially, if not
entirely, covered by water at high tide; and such was the
state of the tide and the lateness of the hour when the
location was ascertained, that I was unable to make a
 thorough examination of them. I saw sufficient, however,
to satisfy me that they were formerly well covered with
characters, although a large portion of them have become
obliterated by the action of air and moisture, and probably
still more by the attrition of masses of stone against them
in violent storms and gales, and by the ruthless ravages of
that most destructive power of all, the hand of man.
Tiverton rocks [op. cit. d].—Their situation may be thus
known: by tracing along the east side of the map of
Rhode Island until you strike Tiverton, and then following
along to the southwest extremity of that town, the Indian
name Puncoteast, also the English names Almy and High
Hill, will be seen. The inscriptions are on masses of
Graywacke. * * * We can only state they were occupied
with some kind of characters.
These two inscriptions are pictured, op. cit., Table xiii.

SOUTH DAKOTA.

Mr. T. H. Lewis (c), gives a description of Fig. 79 as follows:

This bowlder is on a high terrace on the west side of the
Minnesota river, 1½ miles south of Browns valley, and is in
Roberts county, South Dakota. It is oblong in form, being
3½ feet in length, 2 feet in width, and is firmly imbedded
in the ground.
Of the characters a and b are undoubtedly tortoises; c is
probably intended to represent a bird track; d represents a
man, and is similar to the one at Browns valley,
Minnesota, [Fig. 51, supra;] e is a nondescript of unusual
form; f is apparently intended to represent a headless
bird, in that respect greatly resembling certain earthen
effigies in the regions to the southeast.
 The figures are about one-fourth of an inch in depth and
very smooth, excepting along their edges, which
roughness is caused by a slight unevenness of the surface
of the bowlder.
The same authority, op. cit., describes Fig. 79, g.

Fig. 79.—Petroglyphs in Roberts county, South Dakota.

This bowlder, 4 miles northwest of Browns valley,

Minnesota, is in Roberts county, South Dakota.
The figures here represented are roughly pecked into the
stone, and were never finished; for the grooves that form
the pictograph on other bowlders in this region have been
rubbed until they are perfectly smooth. The face of the
bowlder upon which these occur is about 2 feet long and
1½ feet in width.

TENNESSEE.

Mr. John Haywood (a) gives the following account:

About 2 miles below the road which crosses the Harpeth
river from Nashville to Charlotte is a large mound 30 or 40
feet high. About 6 miles from it is a large rock, on the side
of the river, with a perpendicular face of 70 or 80 feet
altitude. On it, below the top some distance and on the
side, are painted the sun and moon in yellow colors, which
have not faded since the white people first knew it. The
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