narrow sides. These creatures have been interpreted as a "cat-dragon" type of creature (by Tello) and as a cayman (by Rowe and Lathrop). The large artifact may portray a creation myth. Tenon heads are found throughout Chavín de Huántar and are one of the most well-known images associated with the Chavín civilization. Tenon heads are massive stone carvings of fanged jaguar heads which project from the tops of the interior walls. Possibly the most impressive artifact from Chavín de Huántar is the Lanzón. The Lanzón is a 4.53-meter-long carved granite shaft displayed in the temple. The shaft extends through an entire floor of the structure and the ceiling. It is carved with an image of a fanged deity, a recurring image throughout the Chavín civilization. The Lanzón is found in a gallery inside of the Old Temple. The sculpture is enhanced by the four openings of the chamber it lies in, making it so that it allows only partial and segmented views. In rollout drawings, the figures depicted are coherent to interpreters, but it's important to note that this is not how the Lanzón is meant to be seen. Sphere of influence The Chavín culture had a wide sphere of influence throughout surrounding civilizations, especially because of their location at a trade crossing point between the deserts and Amazon jungle. For example, Pacopampa, located north (about a 3-week trek) of Chavín de Huántar, has renovations on the main temple that are characteristic of Chavín culture. Caballo Muerto, a coastal site in the Moche Valley region, has an adobe structure created during renovation of the main temple, the adobe related to Chavín influence. Garagay, a site in the modern-day Lima region, has variations of the characteristic Chavín iconography, including a head with mucus coming from the nostrils. At the site of Cerro Blanco, in the Nepena valley, excavations revealed Chavín ceramics. Warfare does not seem to have been a significant element in Chavín culture. The archaeological evidence shows a lack of basic defensive structures in Chavín centres, and warriors are not depicted in art, in notable contrast to the earlier art at Cerro Sechín. Effective social control may have been exercised by religious pressure, and the ability to exclude dissidents from managed water resources. The climate and terrain of the neighbouring areas outside the managed land were a daunting option for farmers wishing to flee the culture. Evidence of warfare has