There are many proofs, however, of the authenticity of the objects themselves. It is asserted by a number of early writers that the American natives were, on the arrival of the Spaniards, highly accomplished in metallurgy; that they worked with blowpipes and cast in molds; that the objects produced exhibited a high order of skill; and that the native talent was directed with unusual force and uniformity toward the imitation of life forms. It is said that the conquerors were “struck with wonder” at their skill in this last respect. And a strong argument in favor of the genuineness of these objects is found in the fact that it is not at all probable that rich alloys of gold would have been used by Europeans for the base or foundation when copper or bronze, or even lead, would have served as well. We also observe that there is absolutely no trace of peculiarly European material or methods of manipulation, a condition hardly possible if the extensive reproductions were made by the whites. Neither are there traces of European ideas embodied in the shapes or in the decoration of the objects--a circumstance that argues strongly in favor of native origin. An equally convincing argument is found in the fact that all the alloys liable to corrosion exhibit marked evidences of decay, as if for a long period subject to the destructive agents of the soil. In many cases the copper alloy base crumbles into black powder, leaving only the flakes of the plating. Lastly and most important, the strange creatures represented are in many cases identical with those embodied in clay and in stone, and for these latter works no one will for a moment claim a foreign derivation.

Considering all these arguments, I arrive at the conclusion that the ornaments are, in the main, genuine antiquities, and that, if any deception at all has been practiced, it is to be laid at the door of modern goldsmiths and speculators, who, according to Mr. McNiel, are known in a few cases to have “doctored” alloyed objects with washes of gold with the view of selling them as pure gold.

Ancient art of the province of Chiriqui, Colombia — Part 23

I present the following specimens with a reasonable degree of confidence that all, or nearly all, are of purely American fabrication, and I sincerely hope that at no distant day competent archæologists may have the opportunity of making personal observations of similar relics in place.

Ancient art of the province of Chiriqui, Colombia — Part 23