for 10,000 years or more in said environment. Style In 1892, D.G. Brinton expressed the need to be suspicious of objects purported to have been made by aboriginal artists, listing the gorget and Lenape Stone as examples of such, citing the constant recurrence of frauds, and in 1893, after having examined the gorget and Lenape Stone, deemed both to have been recently made. Several people who have viewed the Holly Oak gorget have commented on how similar the drawing is to the La Madeleine tusk. Frederick Ward Putnam of the Peabody Museum, Thomas Wilson of the United States National Museum, Daniel Brinton of the University of Pennsylvania, and even Cresson himself, have all discussed the similarities present between the two objects. At the time the shell became public, there were less than a half-dozen depictions of a mammoth available, and of those the La Madeleine drawing is by far the clearest depiction. At the time of the Holly Oak pendant, as there were so few ways known of drawing a mammoth, the marked similarities between the two were not thought of as being unduly suspicious. David Meltzer lists several parallels between the two. They both have the same orientation and posture, and while most mammoths are shown with bulbous feet, the feet of both the Holly Oak and La Madeleine mammoths end abruptly; in La Madeleine's case, this was because part of the carving is missing, but there is room on the Holly Oak gorget where the ends of the feet could have been drawn. Furthermore, the contour of the back of the animal was drawn several times on the La Madeleine tusk, but only once on the Holly Oak gorget - the latter resembles more a modern elephant than a mammoth, which is consistent only with Charles Rau's drawing of the La Madeleine tusk, which was one of the few drawings available to the public. The trunk and tusks also more resemble those of a modern elephant than those of a mammoth, as if the artist misinterpreted the drawing. Kraft and Thomas, who believe that it is possible that the gorget may be authentic, do list this explanation among the possible theories for the artifact's existence. There is, in general, a consensus that the gorget was faked using the drawing by Rau as being the most logical explanation for the manufacture of the object. See also Archaeological forgery Calaveras