We learn from a reliable source that $20,000 was offered on Saturday by a perfectly responsible party and in good faith, to two different persons holding interests in the stone giant, for one-quarter share of the stock in the wonderful statue, and the offer was promptly declined.
On Saturday last, Mathew, a son of Dr. Alexander Henderson, veterinary surgeon, of this city, while visiting the Cardiff giant, picked up from the surrounding debris thrown out of the excavated resting place of this huge work of stone something that seemed like a blackened scale of brass or a rusty old button. Thinking that it might have some affinity to the wonderful statue, the lad rubbed the dirt and rust from its surface between his finger and thumb, and burnishing it a little by rubbing it in the folds of his coat skirts, it showed evidence of being an old copper coin, and he accordingly placed it carefully in is pocket, and brought it home. Dr. Henderson, the lad's father, applied some acids to it, when an ancient coin, of nearly the eleventh century, revealed itself.
On the obverse side of the coin is the head of the Emperor Jestyn, with a full flowing beard from the chin, and the sacred heart strung from a rosary in the shape of a shield, or breast-plate, strung around the neck. Beneath the Emperor is the date, "1091," and around the edge of the coin is the following inscription— "JESTYN-AP-GURGAN, TYWYSOG-MORGANWG." The interpretation of this, as rendered by a competent Welshman, means, "Jestyn, son of Gurgan, Prince of Glanmorgan." On the reverse side is the figure of the Goddess of Commerce, seated on the wheel at her side, the pillar and ancient crown, wreathed with the national emblem, the oak, the shield and spear supported by the left hand, and the right hand pointing to a ship on the distant sea, with full sails set, which she seems intently gazing at. The inscription around the circle is in the Welch language, and reads as follows:—"Y. BRENAIN-AR- GYFRAITH," the interpretation of which is "The King and the Laws." The coin is 778 years old—over seven and a half centuries—and on the edge of the rim can be distinctly seen "Glenmorgan Half Penny," with representations of leaves intertwining. The denomination of the coin is imprinted in raised letters, and everything connected with it shows it to be a coin of the reign of the emperor whose name it bears. Further, in connection with the unearthing of the stone giant, its discovery in the loose dirt thrown up from the bed of the excavation where the statue was found, and yet lies, is certainly quite interesting, and seems to add to the general interest that attaches to this great and unexplained mystery of the Nineteenth Century.
Although there are still intelligent advocates of the petrifaction theory, the preponderating weight of opinion supports the view that the giant wonder is a work of art. We understand all the scientific gentlemen, who have been permitted to make thorough examination, to be agreed in this decision.
The next question is, How did it come to be where it was discovered? There is very little probability that it was carved on the spot where it was recently exhumed; the stone for that purpose was not likely to have been found there or to have been taken there; and the situation where it was discovered, a morass or water-bed, favors the theory that it was deposited there. Setting aside the belief, honestly entertained by many people in the immediate vicinity, that the statue was surreptitiously placed in the slough where it was dug up a few days since, there is tenable ground for the theory that it was taken there by some of the early white visitors to this section of country. This might have been done by transportation over the water-courses communicating with the locality, either through the River St. Lawrence, Lake Ontario, the Oswego River, Onondaga Lake and Onondaga Creek, or through the Hudson and Mohawk Rivers, Oneida Lake and River, Onondaga Lake and Onondaga Creek. These waters were early navigated, and within the memory of persons still living the principal means of transportation was by batteaux, which with considerable loads were propelled along these water-courses. The Onondaga Creek was in those days navigable for light-draft craft capable of conveying a much greater weight than this statue, at least as far up its waters as the place of this discovery.
The place of the discovery is not in the original channel of the creek, but in a detour from that channel. It is not unreasonable to suppose that for some reason—from alarm, or from a desire to secret the object,—the craft was run out of the main channel into this then open water-way, where the statue was deposited.
The early Jesuit visitors to this vicinity may have had this statue in their keeping. It may have been fashioned by some of their number. It is not impossible, that it may have been brought here, or even have been carved out at some place not far distant, by other of the early visitors to this region. We expect that light will be thrown upon these speculations, by the scientific investigations, which will determine the exact nature of the material of which the statue is composed, by which alone some hint of its place of origin may be derived. The intimations given us by Professor Hall, in our brief interview with him, impressed us that he looked upon the statue as of great antiquity, antedating the present geologic period, and equaling in interest and importance the discoveries made in Mexico of archaeological remains, indicating a high degree of civilization in the tenth, eleventh and twelfth centuries.
To the Editor of the Syracuse Journal:— If it would not be asking too much, I would beg leave to say a few words through the columns of your paper. In Saturday's issue of the Standard I notice a letter written by "Skeptic," which that paper calls "silly," and charges the writer with being "lacking in the upper story." This is a misfortune, truly; but I have taken some trouble to investigate these reports and find them vouched for by highly respectable parties. There are, to my mind, several reasons for the belief that this wonder has not occupied its present position longer than is intimated in the above mentioned letter.
The soil where it was found is soft, and an excavation large enough to admit the object could easily be made in an hour or two. The location is favorable for such purpose, being behind the buildings, and hidden by the abrupt bank; a little straw or other litter would cover all traces. Then, if the stone man be moulded from cement, it would not weigh near what it would if cut from stone, and could be handled with ease by three or four men. This idea that the curiosity was cast or moulded, is strengthened by the fact that it has no other support than the ground upon which it rests. Had it been the work of a sculptor it would have had a tablet for support. Now, you ask, perhaps, where was the pattern made, if moulded, and how could the parties making the cast escape detection? I would ask, who carved it, if a stone, and where did the sculptor bring out such a work without the knowledge of the fact being discovered?
It is said by those who ought to know something about our gypsum quarries, that there are no such slabs of stone found there out of which this object could be carved. Further, it is allowed by all who have examined this wonder, that the head appears to have been hollow. Now, if the head is hollow, it is either a moulding or else it must be what those interested claim for it: a veritable petrifaction. No sculptor would carve the head in that condition.
But I have used too much of your valuable time, so I will close.TULLY, Oct. 23d, 1869. CONE WILLIAMS
To the Editor of the Syracuse Journal:— In the discussions relating to the "Giant," I find there are many who favor the Grecian and Roman school of sculpture. The Greeks and Romans excelled the early Egyptians in one thing only, that is representing the human hair. Their male statues have flowing and bushy locks and a beard. On the Egyptian statue, the hair looks more like a skull cap on the back of the head, than hair, with no indication of beard. They had been so afflicted with plagues through the Israelites, that they would have nothing that was like them, or that reminded them of them. The Cardiff giant has no beard and nothing on the forehead to indicate hair; behind the ears running up to the crown, there seems to be something, that when he is raised, may show the Egyptian school of sculpture. As art goes from one country to another, the style changes somewhat to suit the taste of the people. In America, at first, our sculptors and painters copied from the French and Italian schools, but put on a little more drapery, as our people were modest and would not bear a true copy. Time, the destroyer of all things, has turned the drapery into dust, and we now have the original in all its glory and shame. W.
P.S.—A hard-shell brother at my elbow says he will go his bottom dollar that the Cardiff chap is the original "Poor Uncle Ned, who had no hair on the top of his head;" he has lain down there and got Klu-Kluxed. (Klu-Kluxed is a Greek word, and means petrified or dried up.) The only objection to his theory is, Uncle Ned's shin bone curved backward, this man's curves forward.
We herewith present a wood cut of the Giant. We have waited for an engraving from a photograph, in order to insure in every part of the pamphlet the utmost accuracy. The taking the photographs having been delayed, we present a sketch until their completion. The owners of the Giant furnish this publication alone with photographic copies—which will appear promptly on completion.
[[Wood cut here of giant and spectators]]
To the Editor of the Syracuse Journal:— Clark's "History of Onondaga," Vol. 1, page 43, near the bottom, says:—"The Quis-quis, or great hog, was another monster which gave the Onondagas great trouble, as did also the great bear, the horned water-serpent, the stone giants, and many other equally fabulous inventions, bordering so closely upon the truly marvelous, that the truth would suffer wrongfully if related in full; but nevertheless are found among the wild and unseemly traditions of the race." H.
The following letter from Prof. Henry A. Ward appears in the Rochester Democrat, and will be found to be well worthy of perusal. Prof. Ward takes high rank among the scientific men of the country, and an opinion from him is certainly entitled to respectful consideration:—
EDITOR DEMOCRAT—I have just returned from a hasty visit to the colossal statue, or "Fossil Giant," as many have called it, which is now causing so great an excitement in our sister city, Syracuse, and in all the country for many score of miles around.
This great archeological wonder is located in the Onondaga Valley, on the west side, about three-quarters of a mile from the village of Cardiff. The valley itself is one of erosion, dating its birth to the time when the gradual rise of our continent from beneath the ocean's waves had subjected all this portion of our State to the fierce furrowing and deep denuding action of violent currents of water, aided in their work by floating masses of ice and by rock debris carried by and often frozen into these masses. For about twelve miles south from Syracuse the valley is quite narrow, but here the hills recede on either side and sweep widely around in two high crescent-like ranges to meet again (or nearly so) at a point three or four miles higher up the stream. Within the sort of amphitheater thus formed, and at the foot of the western hill, is the farm of Mr. Newell. His house and outbuildings lie at the edge of the slope, and touching a low meadow which extends for a hundred yards or more to the bushy margin of a creek beyond. A smaller stream or a branch of this same appears at one time to have run close to the hill, leaving faint traces of its contour on the meadow, and one small elliptical swale or soft, boggy spot, a few yards across, near the lower corner of Mr. Newell's barn. It was while digging a shallow pit in this swale that the relic was found. It is a gigantic human figure lying on its back, with its head to the east and feet to the west. The head is in the position commonly given to a corpse; the right arm extends downwards, with the hand and fingers spread stiffly across the abdomen; the left arm bends down along the left side, with the hand quite under the middle line of the body; the left hip is raised a trifle, the thigh and leg more so, so as to bring the lower part of the left leg and foot obliquely across and over the same parts on the right. The posture is in all one that a dying body left to itself might naturally assume. The entire length of the figure is ten feet two and a half inches, and the other parts of the body are proportionately colossal.
Its head is of a very elongated type, but well shaped, and with a countenance full of solemn, dignified composure. The features are purely Caucasian, having neither the high cheek bones of the Indian, nor any other facial outlines which mark the type of other Aztec aborigines.
To describe the appearance of this great figure as being strange and impressive is saying too little.
Lying as it still does, in its original earthy bed, its grey massive form hardly yet still from the struggles by which it seems to have freed itself, and the face, body and limbs still damp with the ooze of its low sepulchre, it possesses the beholder with a feeling of extremest awe and profoundest wonder. To interrupt these emotions by speculations as to its personality, to approach this majestic figure with the calm processes of scrutinizing investigation, seems a sacrilege. All one's feelings persuade to accept it as a real human being, once instinct with life and activity, now a noble corpse. The proprietors of the giant figure, or statue, as we shall now call it, use all due effort to strengthen this feeling, and enlarge the belief that their wonderful discovery is really a petrified human being—a genuine" Fossil Man" preserved entire, with flesh and bones changed to stone in the very place where he fell at death, or possibly was buried by his coevals of an olden time. All opportunities of close examination are refused; indeed, the present throng of visitors would make such general permission impracticable. The little, darkened tent, and the pit shaded by a triple row of spectators, whose heads almost touch across it in their earnest efforts to see the body below, made it quite impossible for me to obtain that thorough acquaintance with the huge object which I would have liked. But I saw enough in the fifteen minutes (only) which are allowed to each set of visitors within the tent to fully satisfy myself of the true nature of the figure.
The "Onondaga Giant" is the work of the sculptor, and out of a single large block of the gypseous limestone (an upper member of the "Onondaga Salt Group") which forms large beds in the immediate vicinity. This stone is very strongly marked by lines of deposition, causing bands of different shades extending in horizontal layers, perfectly even and parallel through large quarry masses. In the present in stance these layers are so disposed—in the way the sculptor chose his block—as to cut lengthwise through the whole body, and to mark off different leads over the entire figure. Thus the left hip and left breast present (cameo-like) a layer different and higher than the one which forms the corresponding parts on the right side of the body. The head, too, with its different elevation of chin, nose and forehead, is very strongly marked in the same way. These linings are well-known peculiarities in the original deposition of a stratified rock, and are not features assumed in the petrifaction of any organic body. Further peculiarities of the Onondaga gypsum are very noticeable in the block, and among them is the peculiar style of decomposition by which the whole lower part of the figure is affected, as also one side of its head. Here the soluble earths, with any portions of carbonate of lime, have been dissolved away, and the pure granular sulphate (snowy gypsum) remains, standing up with ragged, uneven, cavernous surfaces, which is a feature very noticeable everywhere in weather-worn fragments of this rock. This decomposition or rotting of the lower side of the left leg gives a very vivid semblance to the corruption of actual flesh, and has doubtless had much to do with the ready reception which the "petrifaction" theory has found among the mass of visitors—even including many men of intelligence and general education. If such persons will refer to works which treat of petrifaction in all their various kinds of transformation and in all the thousand genera and species of fossil organisms, they will find that although bones, shells, and the hard parts of animals, changed to stone, yet preserving their original outlines, are of constant occurrence, yet there is not a single instance on record of fossil flesh; of the fat, muscle or sinew of man or beast changed into stone or into any substance resembling stone. To a person acquainted with the nature of petrifaction, the slow substitution of mineral for animal matter, particle by particle, the reason why humor of other flesh does not undergo the same change will be apparent. This is truly not entirely in accordance with popular belief, nor with the ever-recurring stories in our public journals. "A fish nearly a foot long, petrified to solid stone" has lately been cited in your columns as another instance of the petrifactions of the Onondaga Valley. I visited this yesterday at the Museum of the Onondaga Historical Society, at Syracuse, and found (what I had before surely surmised,) a simple, short, club-like fragment of limestone, worn by running water to a form like a little fish. "This it was and nothing more."
It is proposed—and very properly—that this Onondaga relic should be submitted to the examination of Professor Hall, Agassiz, Leidz, or some other of our geologists known to fame and infallible experts in these matters. This were well. But there is another court which I think, would pass quite as prompt a decision. I believe that a sculptor, in examining this most singular specimen, would at once recognize its artificial character. The devices for saving time or for adding strength, partially cutting out the figure, are sufficiently apparent in the object before us. The legs—with their heavy thigh, the swollen knee portion, the swollen calf and slender ankle, all touch on the outline length as they lie over each other, with no open space between, or no point where one folds down upon the other with a sharp line of contact of the two surfaces. The same thing, too, is noticeable in the arms and in the fingers of the hand, where the flesh, instead of sloping away— one rounded surface finely leaving another—is cut down square, as if some unnatural out growth of flesh had formed a uniting portion beneath the member. This is a too common device in the coarser grades of sculpture to escape notice here. Our sculptor would certainly find fault with the very constrained position of the body, its feet awkwardly crossed and its left arm twisted rather than laid backward under its body, certainly this is not the attitude in which a sculptor—a man of taste—would place his handiwork. Still, may it not be an admissable theory, that the oldtime artist was constrained in the form which he should give his statue, by the form and dimensions of his gypsum block. If there was not material sufficient to carve out both arms lying across the breast, he might find enough to make one of the arms below. If the lower left hand corner of the block were broken off, he might still bring out both feet by lapping one over the other, and letting vertical space atone for lateral want of it. If our sculptor, finally, will look sharply upon the legs and body in such parts as have escaped the considerable water-wearing which has smoothed most of the figure, I think that he will see plainly the marks of the graving tool of his ancient colleague. But, as he now has the figure in charge—I positively rejecting it as being no fossil—I will leave to him and the Archeologist to study and puzzle upon it. Dr. J.F. Boynton, of Syracuse, (to whom, by the way, belongs the credit of having first discerned and recorded in print that this is a statue), says, "I think that this piece of reclining statuary is not 300 years old, but is the work of the early Jesuit Fathers in this country, who are known to have frequented the Onondaga valley from 220 to 250 years ago; that it would probably bear a date in history corresponding with the monumental stone which was found at Pompey Hill in this county, and now deposited in the Academy at Albany. All these are points which Archaeologists and Ethnologists may yet determine. Will not Hon. Lewis H. Morgan leave Rochester by an early Monday train and see this most wonderful statue while it is still undisturbed in its bed. H. A. WARD. ROCHESTER, October 23, 1869.
To the editor of the Syracuse Journal:— This subject does not seem, even yet, to be exhausted, much as has been written in regard to it. Having spent an hour yesterday in the inspection of the great mystery, permit me hastily to give you the results of my observations.
For the benefit of the large number who will not be able to visit the locality, it may be well to define more fully and precisely the exact spot in which it was found. It is near the west line of the town of Lafayette, in the upper section of the valley of the Onondaga Creek, called Christian Hollow—a short two miles above the south line of the Reservation of the Onondaga Indians. The valley at this point is about half a mile in width, and there are two north and south roads running through it, directly at the foot of the hills on each side. The small village of Cardiff nestles under the eastern hills, about half a mile directly east of the locality in question, which is precisely at that point where the slope of the western hills meets the alluvial valley of the Onondaga Creek. This point is about one hundred feet east of the west road, and about two hundred feet west from the bank of the creek. On the west the ground rises moderately to the road, then more rapidly to the top of the western hills, some eight hundred feet above the valley below. On the east it is nearly or quite a dead level to the creek, the ground being evidently all alluvial. The valley is beautiful— thickly settled and under high cultivation.
The statue—for such I am sure it is—lies in a hole about twelve feet long, five feet wide at the top, and four at the bottom. The soil of the first three feet, or a trifle more or less, is the common alluvial soil of the Onondaga valley. The next foot is gravel, which rests on the solid clay. The ends of many pieces of wood project through the gravel and some are found in the soil above.
Those familiar with the frauds practised in other countries in the manufacture and sale of antiques, and perhaps others, would have a vague suspicion that this might furnish another instance, nearer home. My own mind was not free from such dreams. And notwithstanding the apparent impossibility of finding a place where such a stone might be obtained—of quarrying, working, transporting, and burying the same, and keeping it a profound secret, I still had my suspicions. But the first look at the statue dispels from the mind every thought of that nature. It has the marks of the ages stamped upon every limb and feature, in a manner and with a distinctness which no art can imitate. I have not seen the first person who entertained any doubt of its great antiquity, after looking at that most wonderful and inexplicable figure. The time spent in manufacturing and retailing the simple and absurd rumors which circulate through the community and find their way into the papers, is weakly and foolishly thrown away. It is a serious and most remarkable reality, and one which as yet have received no satisfactory explanation, and probably never will.
Serious doubts are really entertained on this subject, and it is elaborately discussed. I must confess that I have none whatever, and for the following reasons:
First—There is no satisfactory evidence that any one person ever lived in any age or country of this world, of the statue of ten feet, unless it be Goliah of Gath. I know very well what is claimed and said on this subject, but the evidence would not satisfy a jury of intelligent men.
Second—There is nothing in the general aspect, which leads any one to think it anything but stone. I venture to say, that were it in any other form, such a supposition would never have arisen.
Third—The stratification of the stone is perfectly visible, even to the imperfect observation now allowed. Mr. Calthrop's letter is full and satisfactory on this subject, but in addition to the places pointed out by him, the stratification may be seen on the left shoulder, and I think on the top of the head. That upon the left breast is, however, most clear, distinct and satisfactory.
Fourth—The whole statue, in all its parts, furnishes the most conclusive evidence, that it was all cut from one stone. It is quite clear that the stone has been cut away just far enough and only just far enough to show the legs, the arms and the fingers.
Fifth—The fracture of the stone along the left leg,, and especially on the heel of the left foot, which seems to be recent and fresh, is the fracture of our common gypsum, and leaves no doubt, so far as the eye can determine, that the material is stone.
It is said that on striking the head or the chest, it gives forth a sound indicating that the statue is hollow. Such evidence must in any event be very uncertain, and now no such experiments are permitted.
No one is permitted to touch the statue, but I was allowed to look at it with a powerful glass at my leisure.
I have carefully read the nine points made in the Standard of the 23d, to its being a statue. None of them are conclusive, nor, as it seems to be very strong, do they affect my belief on the subject. The marvelous has a great attraction for all of us, but we cannot afford to surrender our better judgment for the luxury of enjoying a belief in it.
In the meantime, why will not Mr. Newell run a dozen or twenty trenches from the locality of the giant, in every direction, down through the alluvial soil to the clay, and see if other discoveries may not be made, which will throw light on this one?
Very respectfully, E.W. LEAVENWORTH, SYRACUSEOct. 20th, 1869.
From the Syracuse Journal, Oct. 27th.
LETTER FROM PROFESSOR HALL, THE STATE GEOLOGISTALBANY, Oct. 26th, 1869.
Messrs. Truair & Smith, Publishers of the Syracuse Journal: GENTLEMEN:—I have just received your favor of the 25th instant, in relation to the "Stone Wonder," visited by us. There can be but one opinion about it, I think.
It is a statue, cut in gypsum, and intended to represent a human form of colossal size in a recumbent posture. As to its source or origin, I cannot conjecture. It is worn and dissolved by water to a degree that indicates long inhumation, and it is covered by an alluvial deposit of three feet or more in depth. The sculpture is of a high order and very different from those of Central America. I enclose you a few paragraphs* which I wrote in reference to a statement that I had not been permitted to examine the object in question. I do not see that we can say more at present. I am respectfully, your ob't servant, JAMES HALL.
*The same letter communicated to the Albany Argus of October 25th, under the signature "H." and printed on page—.
Speak out, O Giant! stiff, and stark, and grim,Open thy lips of stone, thy story tell;And by the wondering crowd who pay thee courtIn thy cold bed, and gaze with curious eyesOn thy prone form so huge, and still so human,Let now again be heard, that voice which onceThrough all old Onondaga's hills and valesProclaimed thy lineage from a Giant race,And claimed as subjects, all who trembling hearArt thou a son of old Polyphemus,Or brother to the Sphinx, now turned to stone—The mystery and riddle of the world?Did human passions stir within thy breastAnd move thy heart with human sympathies?Was life to thee, made up of joy and hope,Of love and hate, of suffering and pain,In fair proportions to thy Giant form?Did ever wife, by whatsoever nameOr tie of union, with her ministriesOf love, caress and cheer thy way through life?Were children in thy home, to climb thy kneeAnd pluck thy beard, secure, and dare thy powerOr, was thy nature as its substance now,Like stone—as cold and unimpressible?Over these hills, with spear like weaver's beam,Dids't thou pursue the chase and track thy foe,Holding all fear and danger in contempt?And, did at last, some fair DelliahOf thy race, hold thee in gentle dalliance,And with thy head upon her lap at rest,Wer't shorn of strength, and told too late, alas,"Thine enemies be upon thee?"Tell us the story of thy life, and whetherOf woman born—substance and spiritIn mysterious unon wed—or fashionedBy hand of man from stone, we bow in awe,And hail thee, GIANT OF ONONDAGA!
SYRACUSE, Oct. 20, 1869. D.P.P