A carved whale bone figure from a private collection in Santa Barbara was long considered by the author to be a child's doll; however, an account of Gabrielino shamanism by Hudson (1979) in a recent issue of the Journal has prompted re-evaluation of this object.

A cast bronze sword grip in the shape of a crouching lion was excavated from the north side of the creek at Smuggler's Cove (Site 138) by Ronald Olson during his 1928 excavations on Santa Cruz Island (Fig. 1). This unusual artifact came from "Pit K" at a depth of 18 inches. It is now housed at the Lowie Museum of Anthropology, Univ. of California, Berkeley.

The purpose of this paper is to describe the unusual variety of rock art associated with an inland Chumash village (CA-SBa-167), known historically as Soxtonocmu. The site is located in the eastern foothills of the Santa Inez Valley, Santa Barbara County, California. To the north is Zaca Peak; Figuroa Mountain is to the east. Birabent Creek, a perennial surface-flow stream, winds through the site.

This paper discusses the difficulty of distinguishing authentic versus fake effigy figures from coastal and island southern California, and the commotion caused among the scientific community as it attempted to deal with atypical effigies that were bought and sold by various dealers, individuals, and museums. Some of the individuals involved in these dealings were known pothunters. This fact compounds the problem of authenticating pieces that lack firm provenience.

A Survey and Analysis of Prehistoric Rock Art of the Warner Valley Region, Lake County, Oregon. Mary Frances Ricks. University of Nevada, Reno, Department of Anthropology Technical Report 96-1, 1996, 179 pp., 53 figs., 22 tables, 1 map, 4 appendices, bibliography, index. No price given (paper).

This paper examines the possibility that at least portions of a particular Chumash rock painting site were executed in historic times and may have been painted in an effort to activate supernatural forces against the Spanish-Mexican intruders. It describes the specific magico-religious elements of the rock art as well as the area in question and explores the possibility that the missions may have been the source for the unusual colors found at this site. These colors, which are atypical for the Chumash, are green, blue-green, and a true orange.' All of these colors exhibit opacity to some degree.

The rock paintings of the Chumash Indians have been a focus of interest for many years. However, the vanished behavioral context of these paintings is poorly understood. In this paper we attempt to establish a linkage between a rock art site described in historic ethnography and a known rock art site in the Sierra Madre Mountains.

In this paper we explore the use of rock art as an indicator of cultural interaction between neighboring tribal groups in south-central California. The are is of particular interest because of numerous shared cultural traits, including spectacular geometric polychrome painting tradition.

In this paper, it is our purpose to focus upon one of these celestial objects, the sun, particularly in terms of solstitial observations. We will examine the importance of solar observations among Native Californians, and describe the techniques used to determine the solstice. We will also describe archaeoastronomical sites and explore ideas for locating others. Because the subject is so new in California research, our conclusions must by necessity be general ones and, of course, subject to change with new data.