unlocking the secrets of a delicate masterpiece. Knapping Phases of
The Classic Glass Ishi point.
Rough Draft By Ray Harwood,
. The purpose of this article is to document certain aspects of
the "lithic" reduction/ production sequences of a certain
protohistoric artifact anomaly, the glass Ishi, specifically those
crafted from man made colored bottle and clear window glass, by Ishi
at the museum 1911.
Flintknapping today is a part of the world lived in by a very few,
but at one time it was part of everyone's world to some degree. The
transition of these worlds was paved with horror and death. The man
named Ishi was at the end of that time and the start of this time.
Like Alice through the looking glass Ishi entered a new and strange
world, from his wilderness life to one with foolish devices and white
people running about like mad rodents. The new world was a dream like
circus, but a dream come true and a deliverance from the nightmare of
solitude .It was considered of the utmost importance not to
understate the importance of Ishi's background, the dark horror that
was the American holocaust. (see Kroeber 1961, Burrill 1990, Harwood,
R. 1999 , Harwood, J. 2000, Shackley 1996) The darkest hour is just
before the dawn and it was just the break of dawn, on a hot August
night, the 9th, of August 1911, some miles south of Red Bluff,
California, a down trodden, exhausted and fearful man was found in
the stable of the Charles Ward Slaughterhouse on Oro-Quincy Road .
The story ends with Ishi's lifeless brain being carved out of his
skull and sent to the Smithsonian. The ashes placed in a small black
jar. Ishi's remains have been repatriated under the provisions of the
National Museum of the American Indian Act of 1989, as amended, 20
U.S.C. 80q et seq. (see Rockafeller, 1999)
Today Ishi is well known for the arrowhead named after him, a
stylized side notch type, he commonly knapped at his museum home, In
this case, Ishi's short five-year stay at the Museum of Anthropology,
University of California, a legend born of an odessy that began
August the 9th, of August 1911 ending on Ishi's death March 25, 1916.
According to Nelson (1916) . Nothing gave Ishi, and the visiting
public, as much interest and satisfaction as his arrowhead chipping.
The Ishi Point type discussed, he made several varieties, is as
follows: The classic Ishi point is best known for its symmetrical
tear drop notches in the lower margin of the point. The notch enters
at less than a thirty-second on an inch at the entry point then
expand to an eighth of an inch wide or more in the body of the point.
The deep teardrop notches extend three eighths to a quarter of an
inch deep into the face of the basal region. This gives the neck
area, between the notches, a similar diameter of the prospective
arrow shaft creating the perfect haft.
The classic Ishi point has a blade edge that is either straight or
incurvate. The base is concave. The point has sharp angular ears
below the characteristic notches. The point has a triangular form
giving the point the overall delicate but deadly outline. The point
has diffuse diamond cross-section created by a medial ridge. Ishi
points have closed tear drop notches.
The medial section of the Ishi point has subtle oblique flaking
patterns, more pronounced on the elongated specimens. Oblique or
parallel flaking is done, according to Errett Callahan, to create an
extremely sharp edge, as oblique edges do not have delta flakes and
therefore less final retouch is necessary and the blade edge is razor
sharp. The blade edge on an Ishi point is usually incurvate, this a
result of the final pass of oblique medial flakes. The clear glass
material gives the point an ice crystal look, that combined with its'
oblique parallel pattern flakes and near perfect symmetry, transcends
all description of beauty. Ishi collector Charlie Shewey, relayed to
me that the last authentic Ishi point that sold at auction sold for a
cool $27,000.00.
To demonstrate the diversity of Ishi's points and existing specimen
data of Ishi's points(see Shackley , 1991, 1994, , 1996, 2000 ).
Unfortunately Ishi gave away and sold many of his points while doing
his demonstrations. But fortunately there are 120 specimens in
museums and 4 in private collections, some of which are now available
as castings. The "classic Glass Ishi" is an ornate Desert Side Notch,
and the style reflected in this paper, the totals of these specimens
is 49 and another 8 DSN with serrated edges, certainly not what most
of us see in our minds eye as a true "Ishi" yet he made them. 17 of
the specimens are corner notched, expanding stem points, with another
5 of these being the same form but serrated - again = certainly not
what most of us see in our minds eye as a true "Ishi" yet he made
them. 10 of the Ishi specimens are of the cottonwood triangular -
concave base-again = certainly not what most of us see in our minds
eye as a true "Ishi" yet he made them. 18 are basal notched with
contracting stem, 6 more are basal notched with contracting stem but
serrated-again = certainly not what most of us see in our minds eye
as a true "Ishi" yet he made them. Of the "classic Ishi" is a ornate
Desert Side Notch the bulk were made after , and during, 1911 at the
museum 49 in the museum collections, 4 in private collections for a
total of 53, 2 were excavated at Payne's Cave, TEH193 (see Shackley ,
1991, 1994, , 1996, 2000 ), 3 at Kingsley Cave, TEH-1, (again see
Shackley , 1991, 1994, , 1996, 2000 ). For a grant total of 53
classic Ishi points . The problem with crosstabulation for
statistical data is this, what if Ishi (or Kroeber) simply held on to
his best points, or his worst? this would have set a majority of "non
classic Ishi's into the public giveaways and left a disproportionate
number of the classic style in our data base. We can sit and think
were the cottonwoods preforms for "classic Ishi's?", saving preforms
for opportune times of concentration are best for advance notching.
and so on... After looking at all the Ishi's I see none that were not
very well crafted, despite the stage of reduction/production. The
medial oblique -parallel flaking on prepared platforms set and
abraded to perfection. Ishi's point style and form varied from one
setting to the next, his environment, necessity or public opinion
seems to have played a role in the point type he crafted at any one
time.
Many projectile points have a diagnostic element that may, or may
not, earmark some chronological period, region or cultural tradition.
A class of artifact sharing generalized, definable attributes is
known as a "type", the type may then intern be part of a larger
tradition. Within each tradition there are often several distinct
subtraditions. Subtraditions are most often characterized by
stylistic variations.
Projectile point typology has been a controversial subject, best
summarized by John C. Whitaker (1994) "Archaeologists are
occasionally accused , even today, of a pathological desire to
classify everything into neat little pigeonholes. While
classification can be carried to absurd extremes, there are a number
of good reasons why we are interested in typology, studying and
establishing schemes for classifying objects and phenomena." This
being established The Ishi point being discussed is actually a hybrid
of a classic western point type the Desert Side Notch Point, referred
to most often as the "Redding Subtype", mean weight = 2.99+- 0.98,
basal width/max. width ratio = 1.00 +- (Shackley, 2001). The Desert
Side Notch point is best known for its characteristic Isosceles
triangular, basic shape with side notches and concave base. The blade
edge is straight while other California area side notched points have
an excurvate blade edge. The average width to thickness ratio for
this point is 5/1. Some specimens have some basal grinding for the
haft. The average length of the Desert Side Notch is 2 to 4.5 cm. The
carbon 14 dates for this series suggest that it appeared sometime
after 1,100 A.D. and continued into the Historic era. An
archaeologist named Lyton found a Desert Side Notch point in
association with the charred bones of a domestic cow at Hanging Rock
Shelter, Northwest Nevada, therefore indicating use by historic
Northern Paute.
Smaller then the more stylized Ishi point, the Desert Side Notch
resembles the side notch Cahokia points from the Midwest and the Ishi
point resembles attributes of certain Basket Maker III points of
Colorado.
Not every man in the Yahi culture made and used arrowheads. Pope
(1913) stated that the flintknapping art was the special function of
the older and more skillful men. "Ishi seems to have been associated
with the medicine man of his tribe. Besides the usual customs, he
preserved many of the more highly developed arts and crafts of his
culture".
Kroeber's accounts (1961) of Ishi's practices collecting knapping
glass are quite vivid, and this particular passage captures the event
in detail: " Plate glass, brown glass from beer bottles and the blue
glass of "Milk of Magnesia bottles" were among Ishi's favorite lithic
materials. " As a final irony of the time of Ishi's concealment, Ishi
was cut off from trade to the north and south and Yana country had no
obsidian or flint. Painstakingly and silently, Ishi had visited the
length of Lassen Trail, every campsite of emigrant, hunter or camper,
up and down Deer Creek, and the cabin middens and ranch dumps of
whatever dwelling he could reach by light and return from by night,
combing them for the discarded bottles they were likely to contain.
Once back home, he shaped at his leisure, the pieces of glass into
his ammunition."
Glass knapping is more complex than it seems on first observance.
There are several techniques, some cultural and some based strictly
on the shape of the mass of glass to be reduced and subsequent unique
strategies that lend themselves strictly to shape of core materiel
(i.e.. Bottles, plate glass). The glass object, when collected, is
the basic core material.
The bottle is the first glass Ishi preform (Core ? )type I shall
discuss (see Nami, 1984 Harwood 1986, 2001)hen choosing a suitable
bottle there are two attributes you should consider: first, the
bottom of the bottle glass should be as close to flat at possible, no
deep concavity. Secondly, the thickness of the glass should be enough
to allow a good amount of flake reduction, about 3/16 of an inch or
better, in the bottom's center. I have knaped a substantial number of
glass arrowheads, and I have found that the best bottles for the
reduction have only a slight basal concavity, the upper face of the
bottle bottom as a slight convexity and in the center it is nearly
1/4 inch thick. According to Mark Moore (2000) "The methods used to
manufacture glass bottles at the turn of the last century were not
equal to the mechanized bottle-making innovations seen in the US
today, bottles in the older bottles were relatively thick (better for
knapping), compared to modern bottles".
The first step in the beer bottle knapping process is to detach the
only usable portion of the bottle, the bottom. The bottom is detached
with several diverse methods. The Ishi method is carried out with a
sandstone hammer stone, using one quick percussion impact downward at
a 45 degree angle just above the base.
Next, remove the vertical, jagged glass residue (Ishi method, see
also see Harwood 1986, 2001) with light taps with a small hammer
stone. Then abraid the margin with an abrasive stone. The next phase
involves the decortication, or cortex removal. The decortication
process renders the preform into a semi lenticulation in cross-
section. This process involves the setting up of striking or pressure
platforms with pressure and shearing. Platforms are important to
prevent premature flake termination, hinge fractures, and margin
collapse by crushing. Edge preparation and center plane alignment
remains of the utmost importance during the entire procedure, after
every sequence of flake removals this must be checked and corrected .
Both edge preparation and center plane manipulation can be easily and
quickly managed by the act of shearing (see Crabtree 1972, Callahan
1979, Harwood 1986, 2001 Whitaker 1994, Patten 1999) .Discussing
platforms in pressure flaking terms is a precarious undertaking at
best, as there are so many variables. It can be basically summed up
as an angles, rt. angle ( 90 degrees) down to the most acute angle
(less than 90 degrees) 45 degrees usually being ideal that is used to
apply the down and inward force necessary to detach a predetermined
and predictable flake. . Platforms are often isolated, an isolated
platform is an apex or faceted surface raised up by reduction of
adjacent material. Patten (1999) concludes that isolation of a
platform ensures that force is applied exactly in the right place and
is also concentrated to cause fracture to start easily. The isolated
platform may also be referred to as a nipple or spur, depending on
the relative sharpness (again see Crabtree 1972, Callahan 1979,
Harwood 1986, 2001 Whitaker 1994, Patten 1999) .
Next, in the glass-lithic reduction continuum is decordication-
removing of the shinny service, and lenticualation- creating a
lenticular cross-section . This is done by make use of and creating
new abraded platforms (isolated and or continuous) and pressing off
flakes . This method involves the abrading of the preform
(unfinished, unused form of the proposed artifact) margin, platform
preparation and basic shaping. The basic platform is crated with
short flake pressed of the margin through a process known as
shearing, which is facilitated by running the edge of and antler or
bone, in a shearing motion, along the margin of the lithic preform.
The margin is then abraded with an abrasive stone or carborendum like
material. The abaiding of the platform edge remedies the fact that
untreated edges are to sharp to obtain proper bite. The actual
pressure method (see Crabtree 1972, Callahan 1979, Harwood 1986, 2001
Whitaker 1994, Patten 1999))involves pressing off flakes, from the
prepared platform, using a deer antler tine. The pressure is forced
in at a 45% angle into the prepared platform on the margin of the
preform. In the case of Ishi the preform was held in the left hand,
protected by a thick leather pad, the antler pressure applied by the
right hand.
Staging the preforms:
I took Ishi's reduction stages and applied Dr. Errett Callahan's (
1979) biface staging methodologies for my experimental reduction and
manufacturing sequencing. Lithic reduction staging for bottle glass
projectile points. Aside from the classic staging documentation of
Callahan some most intriguing ethnohistoric and experimental data
comes from several sources discussed below.
Paul Schumacher (1877) documented actual calculated biface staging
observed among the stone workers of the Klamath River Yurok. Newcomer
(1971) identified reduction staging as it applied to aboriginal hand
ax manufacture. Muto (1971), though denying an actual distinct set of
rigid stages, did apply a sequence to the early stages of Clovis-like
bifaced artifacts. Sharock (1966) gave a five stages reduction
sequence to biface reduction sequencing. A stages sequence was
applied to bottle glass reduction by the author in 1983 and again in
1988. Nami adapted a variation of Callahan's staging to Argentine
lithic reduction in 1991. While the knapping sequence of the
traditional of lithic materials has been widely documented ( those
mentioned above to a lesser degree: Crabtree 1972 ,Callahan 1979.,
Whitaker, 1994 and Patten 1999 and others) , the study of glass
knapping technology has been, for the most part, restricted to a very
few (Harwood, 1983, 1988, 2001, Wellman and Ibarra 1978, 1988). Here
again I am further adapting the stage -sequencing theory to both
plate and bottle knapping strategies . According to Callahan biface
reduction is not a random and continual banging away at the edges,
but a structured reduction strategy, mindful of changing of width
thickness relationships and edge angles, this necessary to create a
predetermined form having proper features and attributes. This
structured thought process involves attaining stages within the
reduction continuum, I submit a similar scenario hold true for glass
knapping.
Bottle Glass Reduction Stages {Figure 10}
Stage 1 - Blank: Glass bottle of suitable form for the end product.
Unmodified, beyond vertical edge removal. Plano-convex with at least
3/16 inch thickness. Detachment achieved with percussion methodology.
Stage 2 - Rough out: Through percussion methodologies a rough outline
in created through the removal of excess raw material. Large
decordication flakes create a semi-lenticular cross-section. Flakes
are exacuted form both faces of the material , but focus on the outer
zone. The roughly centered, bi-convex edge should be neither too
sharp nor too blunt (ideally between 55-75 degrees). Plano-convexity
deminished, with flakes removed from the ventral side first.
Stage 3 - Primary Preform; Symmetrical handaxe-like outline,
lenticular cross-section and straight/centered, bi-convex edge with
edge-angles falling between 40 - 60 degrees. Percussion methods are
set aside and " power stroke" pressure is used. An antler tine, thick
bone or wooden pressure flaked or dulled wire or untempered nail was
used, according to Callahan (1999) Ishi's flaker (Ishi Stick) was a
piece of deer horn bound to a stick about a foot long A narrative of
Ishi's tools follows from Pope (1918) follows: "he used deer horn for
the heavier work, but while with us he chiefly employed a soft iron
rod three-sixteenths of an inch in diameter and eight inches long,
having a handle of padded cloth bound to it for a distance of sic
Inches. The tool must be a substance that will dent slightly and thus
engage the sharp edge of obsidian." Callahan reflects (1999),
pressure flakers, Ishi sticks to be precise, must have a flexible
main shaft or handle , a rigid handle made for increased trauma and
shorter flakes. " It has been found that a somewhat flexible shaft of
the long composite tool provides an extra kick that will send those
flakes flying". A leather or hide pad covers the left palm.
Stage 4 -Secondary Preform; Asymmetrical outline with, lenticular
cross-sections and a straight and centered, bi-convex edge. Edge
angles should fall between 25 - 45 degrees. For Ishi, an Isosceles
triangle. A sharper pressure tool tip is needed here and both Ishi
switched to a mounted wire pressure tool for glass work. Variant
angles were selected for desired flake patterns, (i.e. parallel-
oblique flakes directed diagonally across the surface of the biface
preform).
Stage 5 - is the finished preform , final retouch, notching ,
serration or pattern flaking is employed at this stage depending on
the anticipated final product. This process was carried out with
either a wire, nail mounted tool.
According to Nelson (1916) Ishi preferred to use untempered or
detempered iron flakers and notching tools with shape round or chisel
shaped points. Ishi's tools are still in the museum of Anthropology,
University of California,
The plate glass {Figure 11}
glass plates , or glass plank is the second to be discussed. Plate
glass is a prized lithic raw material both for its shape and its
knapping quality. While bottle bottoms must be knapped with the plano-
convex attribute in the forefront of one's mind, the plate glass is
symmetrical is cross-section from Stage 1 - Blank) , the selection of
the raw material. obtaining the glass blank. For fully functional
projectile points and knives the material must have a thickness of at
least 3/16 of an inch, and 1/4 inch is the preferred. After the plank
of plate glass has been trimmed or cut to a optimum shape and size,
through etching snapping , or bipolar splitting and shearing, the
edges are ground, but not rounded, (abraded) with an abrasive stone.
When the margin is white with abrasive scratches one can be sure no
slippage will occur while working the glass material. Again it must
be stressed, edge preparation and center plane alignment remains of
the utmost importance during the entire procedure, after every
sequence of flake removals this must be checked and corrected . Both
edge preparation and center plane manipulation can be easily and
quickly managed by the act of shearing .(see Crabtree 1972, Callahan
1979, Harwood 1986, 2001 Whitaker 1994, Patten 1999) .
At this time an alternate bevel around the circumference of the plank
is achieved, known as stage 2 (Rough out):in the process. Alternate
bevels are achieved by using pressure to remove short, stubby flakes,
alternately from the face of one edge and then flipping the plank
over and repeating the process, also known as turning the edge or
initial edging. The second bevel flake uses the declining edge of the
opposed flake as a platform for applied pressure and so on down the
margin. In this fashion the knapper is continually flipping the piece
from side to side as the bevel flakes are detached. (see alternate
flaking: Crabtree 1972, Callahan 1979, Harwood 1986, 2001 Whitaker
1994, Patten 1999) .
After the plank is fully alternately beveled, or turned, an
additional abrading is carried out to remove sharp brittle edges and
will cause crushing or splitting when heavy pressure is applied. Also
the abraded areas will need to hold the tip of the of the pressure
flaking tool long enough to detach a proper conchoidal thinning
flake.
Welman and Ibarra (1988) gives a proper account of stage 3 (Primary
Preform) of plank knapping to achieve the initial bifacing
attribute; "Remove flakes, starting at the potential tip ( or distal
end). Remove the flakes from each apex in sequence (In this, the apex
is the isolated platform). . Try to have the flakes meet half way
across the preform (important to create the medial ridge). Flip the
preform over and repeat the flaking process." Between flake
detachments the intermittent or delta flake must be lightly removed.
Following the face decordication process, the margins must be sheared
into proper contour and the edges, primary thinning. The Ishi power
stroke involves the following technique. The glass or lithic piece
rests is held in the left hand supported on the left inner thigh. The
pressure is applied inward steadily until maximum force, supplied by
the thigh, then a bust of force from the right shoulder into a
outward energy with a twist of the body, the power stroke often works
well as a substitute from percussion flaking on glass, where some
forms of percussion cause to much trauma to the delicate material.
This method often causes injury to the knappers back, shoulder and
wrist muscles. The flake scar on the face of the preform resembles
percussion scares, especially when delivered to an isolated platform.
Stage 4 (Secondary Preform) involves the shaping and sharpening of
the point, what flintknapper, Joe Dabil describes as oyster shelling
as the deep contouring conchoidal flakes that give the contour and
sharp edge resemble sea shells, this is a secondary thinning strategy
that gives the reproduction an authentic "Ishi look". Varient angles
were selected for desired flake patterns, (i.e. parallel-oblique
flakes directed diagonally across the surface of the biface preform.
This also removes delta flakes. This stage also necks in the tip and
gives the preform the pointed attribute.
Stage 5 (finished preform) gives the work subtle refinements such as
edge trimming, notching serration, notching and so on. {Figure 12}
Phases of The Notch (a secondary staging, within the primary final
stage)
Stage 1: (prepetory) Carefully supporting the biface in a padded left
palm, Ishi was right handed" "Usuing point of tool methodology" and
a "less sharp tool" , a retouch tool, take a prepetory (guiding/
thinning) flake at the location of the proposed notch. Flip over,
carefully calculate position of first notch location and repeat. Then
lightly shear or abraded margin and leading edge (above and below
where the notch will begin) of prepatoy flake scar for strength, so
the notch won't blow out later in the process. According to Nelson
(1916) and Pope (1918), Ishi preferred to use untempered or
detempered iron flakers and notching tools with sharp round or chisel
shaped points. Ishi's tools are still in the museum of Anthropology,
University of California. It is important to note (Harwood 2000,
Paten )1999 for an ideal notching environment a thin preform is best.
At the end of this stage results obtained are notch locations have
been selected thinned and prepped for stage 2, entering.
Stage 2: (Entering) Carefully supporting the biface, especially
around the notch, reducing bending fractures in a padded left palm,
or in some cases on a leather pad on a flat surface (Titmus, 1985)
Using the "side of tool" methodology, with the flat ended tool, the
first of a series of alternate crescent flakes are "snapped"
Important to calculate centerline on each of the proceeding
detachments, the centerline platform must be below 50% . The tool
must be very sharp and thin. It is imperative that the centerline
platform of the notch not exceed 1/4 of the margin centerline. The
centerline is your platform. The meat under the notch must stay thin,
if the platform rises the platform will crush and a slick wall will
present problematic scenarios. The inward and slightly downward
pressure and platform surface contact areas must not be extensive or
abrupt or end shock with snap off the base of the point or the notch
opening tang will blow off and open the closed end notch opening.
Blown open closed end notch openings and severed basal regions, from
end shock, are observed on several of the Ishi specimens. Notching
requires a steady hand and a steady build up of pressure with a
slight rocking motion, but a sliding in and down at release. Follow
this pattern and reach around under the center line at 75% when
obstacle mass impedes or binds the process, "slide away" methods to
abrade and prepare is sometime applied. Many knappers suggest the
notch should be made with two small flakes rather than one (see
Crabtree 1972, Callahan 1979, Harwood 2001, Whitaker 1994, Patten
1999) . This gives you a second chance should you crush a platform ,
At the end of this stage results obtained are notch locations have
been selected thinned and prepped, a deep and very thin notch has
been symmetrically achieved via the notch entering process, "closed
notch opening" intact.
Stage 3" (Tear dropping) Carefully supporting the biface, especially
around the notch, reducing bending fractures in a padded left palm,
Ishi was right handed, or in some cases on a leather pad on a flat
surface (Titmus, 1985) "Using point of tool methodology," the sharp
tool is utilized. The tip is very carefully is inserted of the inner
end of the thin elongated notch. The tool must be very sharp and
thin. The downward pressure and platform surface contact areas must
not be extensive or the very crescent flake that you desire
will "fallow the lip,"("toilet bowl effect", follows the rim)
encompass the notch opening tang and blow open the closed end notch
opening. Blown open closed end notch openings and severed basal
regions, from "the toilet bowl effect", are observed on several of
the Ishi specimens. To give extra control and minimize the excess
endshock trauma, and the toilet bowl effect, Ishi would wrap the left
thumb in soft leather and punch the notch in perpendicular to the
margin of the biface or from the corner while holding the object
between the left thumb and index finger (Nelson 1916, Titmus, 1985,
Shackley 2001). Once the notch has been entered, the knapper must
keep the tool tip away from the notch opening tangs a slight touch
from the metallic tip will cause a micro end shock and blow open the
closed end notch opening. The preform is horizontal and the tool is
vertical, but this is often modified to various degrees given the
many variables encountered. The wrist is cocked downward and inward
on the inner left thigh in an uncomfortable posture. Obtaining
contact at, or below, the center line slidaway toward the tip
(proximal end) of the preform, utilize alternate flake sequence to
insure correct centerline platform placement and utilization.. Repeat
this procedure on the other side for a symmetrical notched point. At
the end of this stage results obtained are notch locations have been
selected thinned and prepped, a deep and very thin notch has been
symmetrically achieved via the notch entering process, and an
interior teardrop or "keyhole" notch has been achieved "closed notch
opening" intact.
Stage 4 (Final retouch) Final retouch is conducted after the notches
are intact, as this is time and labor intensive and often fails as
the result of base snap. After the notches are complete , using the
sharp tool, point of tool methodology is used to clean, clarify and
obtain final sharpening. The base is shallowed and shape clarified at
this time. The outside of the notch opening of is in need of
clarification of symmetry at the end of this stage results obtained
are notch locations have been selected thinned and prepped, a deep
and very thin notch has been symmetrically achieved via the notch
entering process, and an interior teardrop or "keyhole" notch has
been achieved "closed notch opening" intact and the point is
finished.
Other Points of glass: Most lithic artifacts in America came from
weapons used prior to the arrival of the bow and arrow. In Australia
there was no arrival of the bow and arrow. On each continent the vast
majority of lithic projectile points were that of atlatl dart or
spear points. This is not true however with the glass projectile
points. In most of America the bow had fully replaced the altatl
technology . A projectile point is principally a devise used to kill
by introducing the tip, carried by a shaft into the flesh of the
prey. However, in Australia, and with Ishi at the Museum, the glass
points were quite often a trade item or collectable anomaly rather
than an actual field projectile point. There are other, less
documented, studies such as Dr. Hugo Nami's (1984) report on the
proto-historic use of glass in projectile point manufacture by the
Ona Indians of Tierra Del Fuego at least as late as 1910, the Bushmen
of Africa have been knapping manufactured glass for 250 years, and
the excavations of late show glass knapping technology among warriors
of the Great Planes and the African slaves of the deep south.
Ishi's friend Dr. Saxton Pope wrote this of Ishi when he died; "He
closes a chapter in history. He looked upon us as sophisticated
children, smart, but not wise....He knew nature which is always true.
His were the qualities of character that last forever. He was kind;
he had courage and self-restraint, and though all had been taken from
him, there was not bitterness in his heart. His soul was that of a
child, his mind that of a philosopher."
It seemed strange to me that Ishi's methods and way of posture and so
similar to most western modern knappers, not the southern table top
pressure, until I thought again of Crabtree, he worker with the
points - his fingerprints grace the cortex along with Kroeber's, -
Pope's, Nelson's and Shakley's.
BIBLIOGRAPHY
Burrill, Richard
1990 Ishi, America's Last Stone Age Indian. The Anthro
Company. Sacramento, CA.
Callahan, Errett
1979 The Basics of Biface Knapping In The Eastern Fluted Point
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Manual for Flintknappers And Lithic Analysts. Archaeology of Eastern
North America, Vol. 7. Pp. 1-180. ed. Brennan, New York.
Callahan, Errett
1999 Ishi Sticks, Iceman Picks and Good For Nothing Things. Bulletin
of Primitive
Technology No. 18 Pp. 60-68 .ed. Wescott, Idaho.
Crabtree, Donald
1972 An Introduction to Flintworking. Occasional Papers, Idaho
University
Museum.
Harwood, Joyce Ann
2000 Walking With Ishi. Bulletin of Primitive Technology (No. 20).Pp.
84-87 .ed. Wescott, Idaho.
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