Kenneth Burkett and Edward Kaufman

INTRODUCTION

The Parkers Landing Petroglyphs site (36CL1) was the first archaeological site to be recorded in Clarion County, Pennsylvania. While only 15 miles downstream from the much-documented Indian God Rock (36VE26) (Mallery 1886:21, Swauger 1974:72-76, Swauger 1977:1-14), the Parkers Landing Petroglyphs remained relatively unknown until first reported with a total of 16 figures at the site recognized by Dr. James Swauger (1966:1-11) as part of his early petroglyph studies. Visiting the locality in the summer of 1998, the authors observed a number of prehistoric figures that were apparently not previously recognized or recorded. Prompted by this discovery, an extensive resurvey and thorough documentation of the site was conducted during the summers of 1999 through 2002, with the assistance of a small grant provided by the Clarion County Historical Society.

LOCATION

Located on the east shore of the Allegheny River approximately 1.6 miles downstream from Parker City in Clarion County, Pennsylvania, the petroglyphs are almost directly across the river from the confluence of Bear Creek. This spot has become much more accessible since the time of Swauger’s initial explorations due to the disuse and removal of the then active railroad line that today serves as an unpaved roadway. The locality can be reached by turning onto Perryville Road just off the east end of the Route 368 Bridge for 0.10 mile and then following Riverview Road 1.3 miles along the riverbank. With the only hardship being the descent of a steep 30 foot embankment to the waters edge, public visitations have now become quite common.

The rock art is situated on a large flat bedrock outcropping of fine-grained sedimentary sandstone of the Pennsylvanian Period Burgoon formation that extends from the bank into the riverbed. When the river is at its lowest point, this exposure is 6 to 8 meters wide and extends 63 meters along the shore. Under normal conditions, the site is submerged under water. The site is visible only briefly each summer during periods of extremely low water levels at or below 2.4 feet, as reported by the US Geological Survey for the Allegheny River gauge at Parker. With several new figures discovered during an abnormally low drought level of 1.2 feet in summer of 2000, it is probable that other designs might still be found if the river ever attains an even lower stage.

Site Overview

METHODOLOGY

A total of 194 episodes of intentional engraving activities have been now recorded at Parkers Landing. In order to accurately tie recent work to the earlier studies, the authors attempted as closely as possible to re-establish Dr. Swauger’s (1966:4-5) original mapping grid through the use of his site map and photographs. Once verified, a stainless steel pin was permanently positioned into a rock crevasse at the sites A-1 coordinates, with mapping assignments reinstated using his alphabetical and numerical designations respectively for the north-south and east-west locations. Because some new figures were found north and west of the original datum, additional grid lines extending westward were digressed using double letters and northward as negative ascending numbers.

Site Layout with Figure Groups

Accurately recording the site was challenging. The rocks are always covered with a sediment layer of river scum, and only by scrubbing them clean could a thorough examination begin. Due to nearly constant submersion, much of the rock art is so badly eroded that only faint impressions remain and even the more recently executed names and dates quickly begin to exhibit a weathered patina. We discovered that the best method to distinguish many of the faint grooves and confidently identify all of the individual design elements was through the use of a flat wet sponge to highlight the dry rock surface. Due to their subtleness, photography of many of the figures in their natural state was practically impossible. After experimenting with variations in lighting and other effects, the authors decided to continue the somewhat controversial use of demarking the details of each design with a soft carpenters’ chalk which then permitted vivid accurate photographs. Each design was drawn on the field plot map and numbered, using Swauger’s original numbers (1966:4-8) whenever possible. Castings of the major figures were made utilizing a polyurethane material produced by the Synair Corporation in conjunction with an environmentally safe non-destructive release agent. These molds are now archived at the Clarion County Historical Society and are available for future study.

During the investigation, each figure was categorized by the authors as either “prehistoric”, “historic”, or “modern” using denominators such as the current state of preservation, method of manufacture, and general art form.

PREHISTORIC FIGURES

A total of 170 figures were classified as prehistoric due to their advanced state of weathering, apparent means of creation, and basic design structure. All of the prehistoric petroglyphs are stylistically similar and were created by a process of direct pecking and longitudinal grinding that produced rounded base grooves ranging from 0.8 cm to 1.8 cm in width. They are located across the length of the site and are definable as seven separate and distinct groupings which appear to have taken advantage of the best available surface areas.

In each group, the individual designs appear to be randomly placed without a decipherable interrelationship to each other, or with a notable geographic or celestial orientation. None of the designs directly overlap, which suggests that each was considered an important entity in its own right, not to be desecrated by other additions. A cumulative summary breakdown of the figures shows 14 bird forms that include 10 full figures and 4 wings or leg and track combinations, 40 bird tracks, 1 crustacean, 2 fish, 15 human forms which include 11 stylized full figures, 2 heads and 2 hands, 2 insects, 2 items (atlatl and spear), 8 mammals, 11 mammal tracks including 2 with toes and 9 hooves, 8 reptiles including 6 snakes and 2 turtles, and 67 abstract forms comprised of individual markings or combinations of circles, lines, dots and other geometric shapes.

Group 1

This northernmost upstream group is exposed only when the river reaches its lowest levels, which during the past five years of observation has occurred several times, but only briefly. It consists of three designs that include a possible human, a geometric oval and a humanlike face with prominent eyes, ears, mouth and four lines radiating outward from the top of the head. <

Figure 2: Group 1

Group 2 is badly eroded and contains three figures previously partially identified by Swauger (1966:5) as his designs #13, #14 and #15. These include an outlined spotted turtle, an abstract outlined fish with both an internal heartline and spirit bands, and an outlined bird form with outstretched wings, spread tail, and internal heartline. The other two designs include a turkey track that is adjacent to and appears associated with the bird and an abstract oval with an internal dot and extending upward curved lines.

Group 2

Group 3

Located nearly central to the site, this group contains the largest and most prominent figure, a 3.9 meter long outlined creature previously recorded by Swauger (1966:6) as his design #1 and described as a possible panther. Facing downstream, this design consists of a long slender body and tail which the authors believe more closely resembles an otter than a panther. During examination, the authors noted additional previously unrecorded attributes including an obvious eye, whiskers, lobed feet, genitalia, and 14 additional spirit bands crossing the body and tail. Probably also intended to be associated with this figure is a faint four-toed footprint located just beneath the head. In close proximity are an insect figure and two abstract designs.

Group 3

Group 4

Situated on a slightly elevated rock, Group 4 is comprised almost entirely of bird-associated designs and is the only Native American figures at the site to be intruded upon by modern graffiti. The most prominent design is a large outlined nearly oval bird-like form with head, legs, and spirit band that develops from a combination of Swauger’s (1966:7) figures #3 and #4. Also possibly associated with this figure are two curved lines that appear to extend from the head, while near the uncompleted circle that represents the body are a number of cupules, two curved lines, and a straight line. Nearby are other designs that include a possible human face and a bird leg/talon, which were represented by Swauger’s (1966:7) figures #2 and #5, respectfully. Other designs include two stick-like figures with outstretched wings, a design consisting of prominent curved wings, a pair of three-toed feet with extending legs and spurs, and an apparent outstretched wing. According to Swauger’s original site map (1966:4), his design #19 should have been located near this group. Unfortunately, this design appears to have been lost to heavy water erosion, as the authors were unable to locate it and signs of a blowout of sediment and bedrock were evident in the area.

Group 4

Group 5

Part of this research project included a search for possible buried petroglyphs. In 2001, this effort proved successful when a previously unknown large rock containing 28 new figures was discovered near the southern end of the site. This cluster, denoted as group 5, was exposed after the removal of approximately one meter of historically deposited non-stratified sediment that was homogeneous in content and contained large amounts of iron slag, broken glass, and brick and tile fragments. Modern over-pecking of two of the figures on this panel indicates that it had become buried naturally sometime after the late 19th century.

Group 5 consists of an upright standing heron or crane with its wings extended back, a possible crayfish, a horned quadruped possibly depicting an elk or deer, an insect like form, a probable human with upraised arms, two opposing handprints with a turkey track positioned between, a serpentine form, and a possible representation of a spear and atlatl combination. This last design is especially intriguing as the depiction of a spear and atlatl implies that this figure was created when this weapon was still in use, which at the latest would have been during the Middle Woodland Period.

Other representations in Group 5 include a series of straight and curved lines, ovals and undefined abstract designs, one of which resembles the two curved lines associated with the large bird in Group 4. Isolated at the other end of the slab is a standing human form depicted with an oval body, downward dangling arms, and stick-like legs with opposing feet.

Group 5

Group 6

By far the most intensively utilized petroglyph panel at Parkers Landing, Group 6 consists of a 3.5 m by 3.5 m slab containing 112 designs. The slab fractured at some time in the distant past, apparently after the figures were in place, as several designs overlap the broad weathered cracks. Occupying the most prominent position within this group, the 1.7 meter long panther, much described by Swauger (1966:9-10, 1974:50), is easily recognized by its bold outlined form with a full tail, heavily clawed feet, and markings that include spirit bands, internal heartline, and a stylized antlered headpiece.

Antlered Panther

Other animal designs here include a bird with its outlined elongated body, short rounded tail, extended neck and head with forward loping crest. Six other birds in Group 6 are abstract linear representations with outstretched wings and tails frequently depicted as forked or bulbous. A large outlined fish with prominent eye, fins and gill lines, and several reptiles including a small turtle and five undulating snake like designs complete the menagerie. Tracks also appear to be an important aspect of animal representations with 35 bird tracks, 7 sets of cloven hoof deer or tracks, and two-toed mammal tracks located randomly about the panel.

Five abstract human forms are mostly depicted in an upright outreaching open-handed stance with heads represented by oval cupules. Gender is inferred by the presence of a prominent phallus on one figure, while another may be a female as indicated by dress-like cross lines placed horizontally between the legs. A heavily incised male figure is depicted with a strangely lobed head or ornamental headpiece, outstretched arms and open upraised hands. His stance includes widely spread legs that are bent inward at the knees and inward pointing feet.

Finalizing the group are 47 abstract or geometric designs that include dots, circles, curves, spirals and other more complex forms whose intended identity or purpose remains unknown.

Group 6

Group 7

Group 7 is the southernmost group of prehistoric figures and is located on a large erratic boulder that is not part of the natural bedrock. This coarse rock was not especially favorable for pecking or grinding and the four small figures were obviously placed with difficulty. The panel contains two possible mammals one of which exhibits a long cat like tail, a bird track and a straight line.

Group 7

EARLY HISTORIC FIGURES

Situated between Group 2 and Group 3 is another cluster of designs that may have Native American origins, but are obviously more recent having been created with metal tools that left sharp narrow lines with V shaped grooves. These historic figures encircle a natural basin that is well away from and unassociated with the other prehistoric or modern figures. They are small, subtle, and so easily overlooked that they almost appear to have been designed with that intention, which is the exact opposite of the engravings of European descendents, which tend to be bold, deeply incised, and situated in highly noticeable locations. These historic figures include a possible powder horn (Swauger’s 1966 Fig. #16), a small turtle, 2 quadruped animal forms, and 4 geometric ovals. A short distance to the west is an isolated human figure that also falls into this category.

Early Historic Figures

MODERN ACTIVITIES

Beginning in the early 1800’s and until the railroad arrived in 1867, the Parkers Landing community was a stopover point for river commerce, associated first with lumber and then with the early oil boom. Today, large iron anchormans remain securely imbedded into many of the large rocks lining the nearby riverbank where lumber rafts and other water craft were moored to take in food, lodging, and some of the more promiscuous activities readily available in the area. The petroglyphs appear to have been recognized locally during this time, as at least 15 instances of engraved names, letters and dates occur, the most prevalent placed by various members of the Fry family between 1857 and 1878. Fortunately, few of these have impacted the Native American figures, but modern graffiti continues to be added, with the most recent addition appearing in 1991.

The only other noted intentional aspect of site disturbance is the over-pecking of four prehistoric figures by someone utilizing a metal pin or punch that created tool marks resembling some of the other modern initials and dates. The outline of the large otter in Group 3 was reworked, while the more subtle hash marks across the body and tail, eye, legs and whiskers were missed. The human face in Group 4 and the walking bird in Group 5 were completely reworked, while the Group 5 crayfish was only partially redone.

DISCUSSION

With at least 170 figures attributed to Native American origins, the Parkers Landing Petroglyphs site is by far the most intensively utilized rock art location known within the Upper Ohio basin. Why it was of such great importance remains an enigma. Similar settings certainly exist throughout the valley and other than the space for large campsites on the nearby terrace, the only notable aspect of this location is the outcrop, which when submerged, creates a sizable set of class III rapids that are otherwise unknown on this part of river. Access to the site appears to be naturally restricted. Rising abruptly to 300 feet above the stream, the nearly vertical ascent of this steep sided river valley would have naturally precluded the site’s direct relationship to any major overland trail and would have mostly limited the avenue of approach to the narrow riverbank or directly from the water. Although the petroglyphs are located atop low flat rocks that are impossible to see from passing watercraft, their presence may have made signaled, as either a warning or invitation, by erecting tall poles that would have been easily seen from the river. This theory is supported by the discovery of two possible permanent postholes, one each positioned at the downstream end of Group 2 and Group 5. Each measures 30 cm in diameter and one is 30 cm deep through the rock, while the other measures 34 cm deep to a flat bottom. Although water worn, both appear to have been formed by pecking into the rock. Natural kettles do not form in this type of sandstone and similar anomalies are otherwise absent at the site.

Events at Parkers Landing obviously occurred during the summer and early fall and probably coincided with a seasonal influx of people into the valley from the unglaciated upland sections of the eastern Allegheny basin. During this part of the year, when the river could be safely waded or traversed by canoe, groups could easily gather exposed glacial pebble cherts in outwash bars and make use of abundant aquatic food resources made more obtainable by the low water levels and higher underwater visibility. This annual convergence of interrelated populations probably served as an opportunity for cultural and ceremonial activities, some of which almost certainly involved the rock art. Artist Larry Smail’s painting of the Parkers Landing Petroglyph site illustrates how the site may have appeared during prehistoric times.

That the petroglyphs were open and accessible seems obvious, as visitation restrictions would have blocked the only easy passageway along this section of riverbank. Although we can only speculate how the designs were utilized, the large size of the highly visible figures may imply activities involving a group rather than only individuals. Frequent episodes of submersion would have dictated periodic re-cleaning of the designs, if they were to remain visible. Although any traces would have long been eroded away, it is plausible that pigment may have been used to enhance the appearance of the figures.

CONCLUSIONS

The considerable quantity, variable styles and assortment of figures at Parkers Landing suggests that the designs were created by multiple individuals over an extended period of time. The possible representation of the spear/atlatl combination may extend the site back at least into the Early or Middle Woodland periods, with a date between 1000 B.C. and 1000 A.D.

Possible Spear and Atlatl Representation

At the other end of the time spectrum, the possible historic period figures carved with metal implements may lengthen Native American visitations here well into the late 18th or early 19th century.

Rex Weeks (2002:83-84) has suggested that many of the petroglyph sites within the Upper Ohio Valley were created in reclusive places or possibly purposefully reburied to keep the location hidden from outsiders not participating in specific ceremonial activities. The swift river currents at Parkers Landing would have made it practically impossible to physically bury the site under soil and rock, however, the natural river submergence would have kept it inaccessible and protected for most of the year, while conveniently exposing the rock art during the season of visitation. Six other petroglyph sites within the Upper Ohio Valley are also noted by Swauger (1974) as being positioned on flat bedrock outcroppings in settings that would have provided similar submergence scenarios. Of these, only the New Geneva Petroglyphs (36FA7) on the east shore of the Monongahela River in Fayette County, Pennsylvania is occasionally still visible. The Dam No. 8 (33CO2), Babb’s Island (33CO3), and Smith’s Ferry (36BV7) petroglyph sites are permanently submerged as a result of the lock and dam system, and the Midland Petroglyphs (36BV98) and Browns Island site (46HK8) are reported as having been destroyed by 20th century dredging operations.

Smith's Ferry and New Geneva Petroglyph sites

In conclusion, the Parkers Landing Petroglyphs are perhaps the most significant of only a very few special places in northwestern Pennsylvania where evidence of prehistoric Native American activities still exists as part of the undisturbed natural landscape. The authors are hopeful that this project will facilitate future research and potential conservation activities, as well as serving as a baseline to help monitor natural destruction and incidents of vandalism. It is important to point out that efforts, both public and private, must be encouraged to promote awareness of this important part of our cultural heritage and to help ensure its protection for the future.

ACKNOWLEDGEMENTS The Authors wish to thank the Clarion County Historical Society for its continued support throughout the project. Also, we would like to thank Rex Weeks for reviewing this paper.

REFERENECES

Burkett, Kenneth and Edward Kaufman
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George, Richard L.
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Mallery, Garrick
1886 Pictographs of the North American Indians, a Preliminary Paper. Annual Report of the Bureau of American Ethnology, volume 4.

Richardson, James B. and James L. Swauger
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1974 Rock Art of the Upper Ohio Valley. Akademische Druck-und Verlagsanstalt, Graz, Austria.

1977 The Indian God Rock Petroglyph Site, 36VE26. Pennsylvania Archaeologist 47(1):1-14.

Weeks, W. Rex
2002 Discovering Monongahela Rock-Art: The Ancient Teaching Rocks of the Upper Ohio Valley. Pennsylvania Archaeologist 72(2):47-98.

Wellman, K. E.
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