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+The Project Gutenberg EBook of Ancient art of the province of Chiriqui,
+Colombia, by William Henry Holmes
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Ancient art of the province of Chiriqui, Colombia
+       Sixth Annual Report of the Bureau of Ethnology to the
+       Secretary of the Smithsonian Institution, 1884-1885,
+       Government Printing Office, Washington, 1888, pages 3-188
+
+Author: William Henry Holmes
+
+Release Date: December 7, 2009 [EBook #30621]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ANCIENT ART--CHIRIQUI, COLOMBIA ***
+
+
+
+
+Produced by Louise Hope, PM for Bureau of American
+Ethnology, The Internet Archive: American Libraries and
+the Online Distributed Proofreading Team at
+https://www.pgdp.net (This file was produced from images
+generously made available by the Bibliothèque nationale
+de France (BnF/Gallica) at http://gallica.bnf.fr)
+
+
+
+
+
+
+[This e-text includes characters that require UTF-8 (Unicode) file
+encoding, mainly fractions used in illustration captions:
+
+  â…™ â…• â…” [all rare]
+  â…“      [1/3]
+
+If any of these characters do not display properly, or if the
+apostrophes and quotation marks in this paragraph appear as garbage,
+make sure your text reader’s “character set� or “file encoding� is set
+to Unicode (UTF-8). You may also need to change the default font.
+Depending on available fonts, some tables may not line up vertically.
+As a last resort, use the Latin-1 version of the file instead.]
+
+
+
+
+  ANCIENT ART
+
+  of the
+
+  PROVINCE OF CHIRIQUI, COLOMBIA.
+
+  by
+
+  WILLIAM H. HOLMES.
+
+
+
+
+CONTENTS.
+
+                                                        Page.
+  Introduction                                            13
+      Geography                                           13
+      Literature                                          14
+      Peoples                                             15
+      The cemeteries                                      16
+      The graves                                          17
+      Human remains                                       20
+      Placing of relics                                   21
+  Objects of art                                          21
+      Stone                                               21
+          Pictured rocks                                  21
+          Columns                                         22
+          Images                                          23
+          Mealing stones                                  25
+          Stools                                          27
+          Celts &c.                                       29
+          Spearheads                                      34
+          Arrowpoints                                     34
+          Ornaments                                       34
+      Metal                                               35
+        Gold and copper                                   35
+        Bronze                                            49
+      Clay: Pottery                                       53
+          Preliminary                                     53
+          How found                                       55
+          Material                                        55
+          Manufacture                                     56
+          Color                                           57
+          Use                                             57
+          Forms of vessels                                58
+          Decoration                                      62
+        Unpainted ware                                    66
+          Terra cotta group                               67
+          Black incised group                             80
+        Painted ware                                      84
+          Scarified group                                 87
+          Handled group                                   90
+          Tripod group                                    97
+          Maroon group                                   107
+          Red line group                                 109
+          White line group                               111
+          Lost color group                               113
+          Alligator group                                130
+          Polychrome group                               140
+          Unclassified                                   147
+      Clay: Miscellaneous objects                        149
+          Spindle whorls                                 149
+          Needlecases                                    150
+          Figurines                                      151
+          Stools                                         154
+          Musical instruments                            156
+              Rattles                                    156
+              Drums                                      157
+              Wind instruments                           160
+      Life forms in vase painting                        171
+  Résumé                                                 186
+  [Index]
+
+
+
+
+ILLUSTRATIONS.
+
+                                                                Page.
+PLATE I. Map of Chiriqui                                          13
+
+Fig.  1. Section of oval grave                                    17
+      2. Section of a quadrangular grave                          18
+      3. Grave with pillars                                       18
+      4. Compound cist                                            19
+      5. Southwest face of the pictured stone                     22
+      6. A goddess of the ancient Chiriquians                     23
+      7. A god of the ancient Chiriquians                         24
+      8. Fragmentary human figure in gray basaltic rock           25
+      9. Mealing stone with large tablet ornamented with
+           animal heads                                           26
+     10. Puma shaped metate                                       27
+     11. Stool shaped object                                      28
+     12. Stool with columnar base                                 28
+     13. Stool with perforated base                               29
+     14. Large partially polished celt                            30
+     15. Celt of hexagonal section                                31
+     16. Small wide bladed celt                                   31
+     17. Celt with heavy shaft                                    31
+     18. Celt or ax with constriction near the top                31
+     19. Flaked and partially polished celt                       32
+     20. Well polished celt                                       32
+     21. Narrow pointed celt                                      32
+     22. Narrow pointed celt                                      32
+     23. Cylindrical celt with narrow point                       33
+     24. Leaf shaped objects suggesting spearpoints               34
+     25. Arrowpoints                                              34
+     26. Human figure, formed of copper-gold alloy                41
+     27. Grotesque human figure in gold                           42
+     28. Rudely shaped human figure in gold                       42
+     29. Grotesque human figure in nearly pure copper             43
+     30. Grotesque human figure in nearly pure gold               43
+     31. Rudely executed image of a bird in gold                  44
+     32. Image of a bird in gold                                  45
+     33. Puma shaped figure in gold                               45
+     34. Puma shaped figure in base metal                         45
+     35. Quadruped with grotesque face in base metal              46
+     36. Figure of a fish in gold                                 46
+     37. Large figure of a frog, in base metal plated
+           with gold                                              47
+     38. Small figure of a frog, in base metal plated
+           with gold                                              47
+     39. Figure of an alligator in gold                           48
+     40. Animal figure, in base metal plated with gold            48
+     41. Bronze bells plated or washed with gold                  50
+     42. Bronze bell with human features                          50
+     43. Triple bell or rattle found on the Rio Grande            51
+     44. Ancient Mexican bell                                     51
+     45. Fundamental forms of vases--convex outlines              58
+     46. Fundamental forms of vases--angular outlines             59
+     47. Vases of complex outlines--exceptional forms             59
+     48. Vases of compound forms                                  59
+     49. Square lipped vessel                                     59
+     50. Variations in the forms of necks and rims                60
+     51. Arrangement of handles                                   60
+     52. Types of annular bases or feet                           61
+     53. Forms of legs                                            61
+     54. Grotesque figure forming the handle of
+           a small vase                                           63
+     55. Grotesque figure forming the handle of
+           a small vase                                           63
+     56. Grotesque figure forming the handle of
+           a small vase                                           63
+     57. Monstrous figure with serpent shaped extremities         63
+     58. Monstrous figure with serpent shaped extremities         63
+     59. Grotesque figure                                         64
+     60. Grotesque figure                                         64
+     61. Grotesque figure                                         64
+     62. Figure of a monkey                                       64
+     63. Figure of a monkey                                       64
+     64. Figure of a monkey                                       64
+     65. Animal forms exhibiting long proboscis                   65
+     66. Vase illustrating ornamental use of animal figures       65
+     67. Vase illustrating ornamental use of animal figures       65
+     68. Vase illustrating ornamental use of animal figures       66
+     69. Vase illustrating ornamental use of animal figures       66
+     70. Series of bowls and cups of unpainted ware               67
+     71. Vase of graceful form                                    68
+     72. Vase of graceful form                                    68
+     73. Vase of fine form, ornamented with grotesque heads       68
+     74. Vase of fine form, ornamented with grotesque heads       69
+     75. Vase with ornament of applied nodes and fillets          69
+     76. Vase with mantle covered with incised figures            70
+     77. Vase with frieze of grotesque heads                      70
+     78. Vases with flaring rims and varied ornament              71
+     79. Vases with complex outlines and varied ornament          71
+     80. Large vase with two mouths and neatly
+           decorated necks                                        72
+     81. Large vase with high handles                             72
+     82. Top view of high handled vase                            73
+     83. Handled vase                                             73
+     84. Handled vase                                             73
+     85. Handled vase                                             73
+     86. Small cup with single handle, ornamented with
+           grotesque figure                                       74
+     87. Small cup with single handle, ornamented with
+           grotesque figure                                       74
+     88. Vase of eccentric form                                   74
+     89. Vessel illustrating forms of legs                        75
+     90. Vessel illustrating forms of legs                        75
+     91. Vessel with large legs, decorated with stellar
+           punctures                                              75
+     92. Vases of varied form with plain and animal
+           shaped legs                                            75
+     93. Large vase of striking shape                             76
+     94. Cup with legs imitating animal forms                     76
+     95. Cup with legs imitating a grotesque animal form          77
+     96. Cup with legs imitating the armadillo                    77
+     97. Cup with legs imitating the armadillo                    77
+     98. Cup with frog shaped legs                                77
+     99. Cup with legs imitating an animal and its young          77
+    100. Cups supported by grotesque heads                        77
+    101. Large cup supported by two grotesque figures             78
+    102. Cup with two animal heads attached to the sides          78
+    103. Cup with two animal heads attached to the sides          78
+    104. Vase shaped to imitate an animal form                    79
+    105. Vase shaped to imitate an animal form                    79
+    106. Vase shaped to imitate an animal form                    79
+    107. Fish shaped vessel                                       79
+    108. Top view of a fish shaped vessel                         80
+    109. Cup with grotesque head attached to the rim              80
+    110. Black cup with incised reptilian figures                 81
+    111. Black cup with incised reptilian figures                 81
+    112. Black vase with conventional incised pattern             81
+    113. Small cup with conventional incised pattern              82
+    114. Small tripod cup with upright walls                      82
+    115. Vase with flaring rim and legs imitating
+           animal heads                                           82
+    116. Vase modeled to represent the head of an animal          83
+    117. Pattern upon the back of the vase                        83
+    118. Tripod bowl of red scarified ware                        87
+    119. Tripod bowl of red scarified ware                        87
+    120. Oblong basin with scarified design                       88
+    121. Large scarified bowl with handles imitating
+           animal heads                                           88
+    122. Jar with flat bottom and vertical bands
+           of incised ornament                                    89
+    123. Vase with stand and vertical incised bands               89
+    124. Vase with handles, legs, and vertical ribs               89
+    125. Tripod with owl-like heads at insertion of legs          90
+    126. Tripod with legs rudely suggesting animal forms          90
+    127. Heavy red vase with four mouths                          90
+    128. Vase with horizontally placed handles and
+           rude designs in red                                    91
+    129. Unpolished vase with heavy handles and coated
+           with soot                                              92
+    130. Round bodied vase with unique handles and incised
+           ornament                                               92
+    131. Vase with grotesque figures attached to the handles      93
+    132. Vase with upright handles and winged lip                 93
+    133. Top view of vase with winged lip                         94
+    134. Vase with grotesque animal shaped handles                94
+    135. Vase with handles representing strange animals           95
+    136. Vase with handles representing grotesque figures         95
+    137. Vase with handles representing animal heads              96
+    138. Vase with arched handles embellished with life forms
+           in high relief                                         96
+    139. Vase with arched handles embellished with life forms
+           in high relief                                         97
+    140. Tripod vase with shallow basin and eccentric handles     99
+    141. Tripod vase with shallow basin and eccentric handles     99
+    142. Tripod vase with shallow basin and eccentric handles     99
+    143. Tripod vase of graceful shape and neat finish           100
+    144. Heavy tripod vase with widely spreading feet            100
+    145. Neatly modeled vase embellished with life forms and
+           devices in red                                        101
+    146. High tripod vase with incised designs and
+           rude figures in red                                   101
+    147. Handsome tripod vase with scroll ornament               102
+    148. Vase with lizard shaped legs                            102
+    149. Vase with scroll ornament                               103
+    150. Large vase with flaring rim and widespreading legs      103
+    151. Fragment of a tripod vase embellished with figure
+           of an alligator                                       104
+    152. Vase supported by grotesque human figures               105
+    153. Round bodied vase embellished with figures
+           of monsters                                           106
+    154. Cup with incurved rim and life form ornamentation       107
+    155. Cup with widely expanded rim and constricted neck       107
+    156. Small tripod cup with animal features in high relief    108
+    157. Handsome vase supported by three grotesque figures      108
+    158. Vase decorated with figures of frogs and devices
+           in red                                                110
+    159. Vase of unique shape and life form ornamentation        110
+    160. Two-handled vase with life form and linear
+           decoration                                            110
+    161. Small tripod vase with animal figures in white          111
+    162. Shapely vase with designs in white paint                112
+    163. Small red bottle with horizontal bands of ornament      115
+    164. Small red bottle with encircling geometric devices      115
+    165. Bottle with zone occupied by geometric devices          116
+    166. Bottle with broad zone containing geometric figures     116
+    167. Bottle with decoration of meandered lines               117
+    168. Bottle with arched panels and geometric devices         117
+    169. Bottle with arched panels and elaborate devices         118
+    170. Vase with rosette-like panels                           118
+    170a. Ornament from preceding vase                           118
+    171. Vase with rosette-like panels                           119
+    172. Vase with rosette-like panels                           119
+    173. Theoretical origin of the arched panels                 120
+    174. Theoretical origin of the arched panels                 120
+    175. Theoretical origin of the arched panels                 120
+    176. Vase decorated with conventional figures
+           of alligators                                         120
+    177. Portion of decorated zone illustrating treatment
+           of life forms                                         121
+    178. Portion of decorated zone illustrating treatment
+           of life forms                                         121
+    179. Vase decorated with highly conventional life forms      121
+    179a. Design from preceding vase                             122
+    180. Vase decorated with highly conventional life forms      122
+    181. Vase decorated with highly conventional life forms      123
+    182. Decorated panel with devices resembling
+           vegetal growths                                       124
+    183. Vase of unusual shape                                   124
+    184. Vase of unusual shape                                   124
+    185. Vase of unusual shape                                   124
+    186. Double vessel with high arched handle                   125
+    187. Double vessel with arched handle                        125
+    188. Vase embellished with life forms in color
+           and in relief                                         126
+    189. Vase modeled to represent a peccary                     127
+    190. Under surface of peccary vase                           127
+    191. Small vessel with human figures in high relief          127
+    192. Tripod cup with figures of the alligator                128
+    193. Large shallow tripod vase with geometric decoration     129
+    194. Large bottle shaped vase with high tripod
+           and alligator design                                  130
+    195. Large bottle with narrow zone containing figures
+           of the alligator                                      132
+    196. Vase with decorated zone containing four
+           arched panels                                         133
+    197. Vase with four round nodes upon which are painted
+           animal devices                                        133
+    198. Vases of varied form and decoration                     134
+    199. Alligator vase with conventional markings               135
+    200. Alligator vase with figures of the alligator painted
+           on the sides                                          135
+    201. Vase with serpent ornamentation                         136
+    202. Vase representing a puma with alligator figures
+           painted on sides                                      137
+    203. Shallow vase with reptilian features in relief
+           and in color                                          137
+    204. Vase with funnel shaped mouth                           138
+    205. Top view of vase in Fig. 204                            139
+    206. End view of vase in Fig. 204                            139
+    207. Large vase with decorations in red and black            140
+    208. Devices of the decorated zone of vase in Fig. 207,
+           viewed from above                                     141
+    209. Handsome vase with four handles and decorations
+           in black, red, and purple                             142
+    210. Painted design of vase in Fig. 209,
+           viewed from above                                     143
+    211. Vase of unusual shape with decoration in black,
+           red, and purple                                       144
+    212. Ornament occupying the interior surface of
+           the basin of vase in Fig. 211                         144
+    213. Large vase of fine shape and simple decorations         145
+    214. Vase with extraordinary decorative designs              146
+    215. Painted design of vase in Fig. 214, viewed
+           from above                                             147
+    216. Vase of unique form and decoration                      148
+    217. Painted design of vase in Fig. 216                      148
+    218. Spindle whorl with annular nodes                        149
+    219. Spindle whorl decorated with animal figures             149
+    220. Spindle whorl with perforations and incised
+           ornament                                              149
+    221. Needlecase                                              150
+    222. Needlecase                                              150
+    223. Needlecase with painted geometric ornament              151
+    224. Needlecase with incised geometric ornament              151
+    225. Needlecase with incised geometric ornament              151
+    226. Statuette                                               152
+    227. Statuette                                               152
+    228. Statuette                                               152
+    229. Statuette                                               152
+    230. Stool of plain terra cotta                              154
+    281. Stool of plain clay, with grotesque figures             155
+    232. Stool of plain terra cotta                              155
+    233. Rattle                                                  157
+    234. Section of rattle                                       157
+    235. Rattle, with grotesque figures                          157
+    236. Drum of gray unpainted clay                             158
+    237. Drum with painted ornament                              159
+    238. Painted design of drum in Fig. 237                      159
+    239. Double whistle                                          161
+    240. Section of double whistle                               161
+    241. Tubular instrument with two finger holes                162
+    242. Section of whistle                                      162
+    243. Small animal shaped whistle                             162
+    244. Small animal shaped whistle                             162
+    245. Top shaped whistle                                      163
+    246. Section, top, and bottom views of whistle               164
+    247. Drum shaped whistle                                     165
+    248. Vase shaped whistle                                     165
+    249. Crab shaped whistle                                     166
+    250. Alligator shaped whistle                                166
+    251. Cat shaped whistle                                      167
+    252. Whistle with four ocelot-like heads                     168
+    253. Bird shaped whistle                                     169
+    254. Bird shaped whistle                                     169
+    255. Bird shaped whistle                                     170
+    256. Whistle in grotesque life form                          170
+    257. Conventional figure of the alligator                    173
+    258. Conventional figure of the alligator                    173
+    259. Conventional figure of the alligator                    174
+    260. Conventional figure of the alligator                    174
+    261. Conventional figure of the alligator                    174
+    262. Conventional figure of the alligator                    175
+    263. Conventional figure of the alligator                    175
+    264. Conventional figure of the alligator                    176
+    265. Conventional figure derived from the alligator          176
+    266. Conventional figure derived from the alligator          176
+    267. Conventional figure derived from the alligator          176
+    268. Conventional figure derived from the alligator          177
+    269. Conventional figure derived from the alligator          177
+    270. Conventional figure derived from the alligator          177
+    271. Conventional figure derived from the alligator          178
+    272. Conventional figure derived from the alligator          178
+    273. Conventional figure derived from the alligator          178
+    274. Conventional figures derived from the alligator         179
+    275. Conventional figure derived from the alligator          179
+    276. Conventional figure derived from the alligator          180
+    277. Conventional figures derived from the alligator         180
+    278. Conventional figures derived from the alligator         181
+    279. Conventional figures derived from the alligator         182
+    280. Conventional figures derived from the alligator         182
+    281. Conventional figures derived from the alligator         182
+    282. Conventional figures derived from the alligator         182
+    283. Conventional figures derived from the alligator         183
+    284. Vase with decorated zone containing
+           remarkable devices                                    185
+    285. Series of devices                                       185
+
+
+
+
+  [Illustration:
+  BUREAU OF ETHNOLOGY
+  SIXTH ANNUAL REPORT PL. I.]
+
+
+
+
+ANCIENT ART OF THE PROVINCE OF CHIRIQUI.
+
+By William H. Holmes.
+
+
+
+
+INTRODUCTION.
+
+
+GEOGRAPHY.
+
+Until comparatively recent times the province of Chiriqui has remained
+almost unknown to the world at large. The isthmus was traversed a number
+of times by the conquerors, who published accounts of their discoveries,
+but it was reserved for the period of railroad and canal exploration to
+furnish trustworthy accounts of its character and inhabitants. The
+situation of Chiriqui is unique. Forming, politically, a part of South
+America, it belongs in reality to the North American continent. It
+occupies a part of the great southern flexure of the isthmus at a point
+where the shore lines begin finally to turn toward the north.
+
+The map accompanying this paper (Plate I) conveys a clear idea of the
+position and the leading topographic features of the province. The
+boundaries separating it from Veragua on the east and Costa Rica on the
+west run nearly north and south. The Atlantic coast line has a northwest
+and southeast trend and is indented by the bay or lagoon of Chiriqui.
+The Bay of David extends into the land on the south and the Gulf of
+Dolce forms a part of the western boundary. A range of mountains,
+consisting principally of volcanic products, extends midway along the
+province, forming the continental watershed.[1] The drainage comprises
+two systems of short rivers that run, one to the north and the other to
+the south, into the opposing oceans. Belts of lowland border the shore
+lines. That on the south side is from twenty to thirty miles wide and
+rises gradually into a plateau two or three thousand feet in elevation,
+which is broken by hills and cut by cañons. This belt affords a natural
+thoroughfare for peoples migrating from continent to continent, and
+doubtless formed at all periods an attractive district for occupation.
+It is in the middle portion of this strip of lowland, especially in the
+drainage area of the Bay of David, that the most plentiful evidences of
+ancient occupation are found. Scattering remains have been discovered
+all along, however, connecting the art of Costa Rica with that of
+Veragua, Panama, and the South American continent. The islands of the
+coast furnish some fragmentary monuments and relics, and there is no
+doubt that a vast quantity of material yet remains within the province
+to reward the diligent search of future explorers.
+
+    [Footnote 1: For physical features, see report of Lieutenant
+    Norton (Report Chiriqui Commission, Ex. Doc. 41, 1860).]
+
+
+LITERATURE.
+
+The antiquarian literature of the province is extremely meager, being
+confined to brief sketches made by transient visitors or based for the
+most part upon the testimony of gold hunters and government explorers,
+who took but little note of the unpretentious relics of past ages. As
+there are few striking monuments, the attention of archæologists was not
+called to the history of primeval man in this region, and until recently
+the isthmus was supposed to have remained practically unoccupied by that
+group of cultured nations whose works in Peru and in Mexico excite the
+wonder of the world. But, little by little, it has been discovered that
+at some period of the past the province was thickly populated, and by
+races possessed of no mean culture.
+
+The most important contributions to the literature of this region, so
+far as they have come to my knowledge, are the following: A paper by Mr.
+Merritt, published by the American Ethnological Society;[2] a paper by
+Bollaert, published by the same society, and also a volume issued in
+London;[3] a valuable pamphlet, with photographic illustrations, by
+M. De Zeltner, French consul to Panama in 1860;[4] a short paper by
+Mr. A. L. Pinart, published in the Bulletin de la Société de Géographie
+(Paris, 1885, p. 433), in which he gives valuable information in regard
+to the peoples, ancient and modern; and casual notes by a number of
+other writers, some of which will be referred to in the following pages.
+A pretty full list of authorities is given by Mr. H. H. Bancroft in his
+Native Races, Vol. V, p. 16.
+
+One of the most important additions to our knowledge of the province and
+its archæologic treasures is furnished in the manuscript notes of Mr.
+J. A. McNiel, who made the greater part of the collection now deposited
+in the National Museum. This explorer has personally supervised the
+examination of many thousands of graves and has forwarded the bulk of
+his collections to the United States. His explorations have occupied a
+number of years, during which time he has undergone much privation and
+displayed great enthusiasm in pursuing the rather thorny pathways of
+scientific research. In the preparation of this paper his notes have
+been used as freely as their rather disconnected character warranted,
+and since Mr. McNiel’s return to the United States, in July, 1886,
+I have been favored with a series of interviews with him, and by this
+means much important information has been obtained.
+
+    [Footnote 2: J. King Merritt: “Report on the huacals or ancient
+    graveyards of Chiriqui.� Bulletin of the American Ethnological
+    Society, 1860.]
+
+    [Footnote 3: Bollaert: Antiquarian Researches in New Granada.
+    London, 1860.]
+
+    [Footnote 4: A. De Zeltner: Notes sur les sépultures indiennes
+    de département de Chiriqui.]
+
+
+PEOPLE.
+
+At the present time this district is inhabited chiefly by Indians and
+natives of mixed, blood, who follow grazing and agriculture to a limited
+extent, but subsist largely upon the natural products of the country.
+These peoples are generally thought to have no knowledge or trustworthy
+tradition of the ancient inhabitants and are said to care nothing for
+the curious cemeteries among which they dwell, except as a source of
+revenue. Mr. A. L. Pinart states, however, that certain tribes on both
+sides of the continental divide have traditions pointing toward the
+ancient grave builders as their ancestors. There is probably no valid
+reason for assigning the remains of this region to a very high
+antiquity. The highest stage of culture here may have been either
+earlier or later than the period of highest civilization in Mexico and
+South America or contemporaneous with it. There is really no reason for
+supposing that the tribes who built these graves were not in possession
+of the country, or parts of it, at the time of the conquest. As to the
+affinities of the ancient middle isthmian tribes with the peoples north
+and south of them we can learn nothing positive from the evidences of
+their art. So far as the art of pottery has come within my observation,
+it appears to indicate a somewhat closer relationship with the ancient
+Costa Rican peoples than with those of continental South America; yet,
+in their burial customs, in the lack of enduring houses and temples, and
+in their use of gold, they were like the ancient peoples of middle and
+southern New Granada.[5]
+
+The relics preserved in our museums would seem to indicate one principal
+period of occupation or culture only; but there has been no intelligent
+study of the contents of the soil in sections exposed in modern
+excavations, the exclusive aim of collectors having generally been to
+secure either gold or showy cabinet specimens. The relics of very
+primitive periods, if such are represented, have naturally passed
+unnoticed. Mr. McNiel mentions the occurrence of pottery in the soil in
+which the graves were dug, but, regarding it as identical with that
+contained in the graves, he neglected to preserve specimens.
+
+In one instance, while on a visit to Los Remedios, a pueblo near the
+eastern frontier of Chiriqui, he observed a cultivated field about which
+a ditch some 8 or 9 feet in depth had been dug. In walking through this
+he found a continuous exposure of broken pottery and stone implements.
+Some large urns had been cut across or broken to conform to the slope of
+the ditch, and were exposed in section.
+
+Although not apparently representing a very wide range of culture or
+distinctly separated periods of culture, the various groups of relics
+exhibit considerable diversity in conception and execution,
+attributable, no doubt, to variations in race and art inheritance.
+
+    [Footnote 5: R. B. White: Jour. Anthrop. Inst. Great Britain and
+    Ireland, p. 241. February, 1884.]
+
+
+THE CEMETERIES.
+
+The ancient cemeteries, or huacals, as they are called throughout
+Spanish America, are scattered over the greater part of the Pacific
+slope of Chiriqui. It is said by some that they are rarely found in the
+immediate vicinity of the sea, but they occur in the river valleys, on
+the hills, the plateaus, the mountains, and in the deepest forests. They
+are very numerous, but generally of small extent. The largest described
+is said to cover an area of about twelve acres. They were probably
+located in the immediate vicinity of villages, traces of which, however,
+are not described by explorers; but there can be no doubt that diligent
+search will bring to light the sites of dwellings and towns. The absence
+of traces of houses or monuments indicates either that the architecture
+of this region was then, as now, of destructible material, or, which is
+not likely, that so many ages have passed over them that all traces of
+unburied art, wood, stone, or clay, have yielded to the “gnawing tooth
+of time.�
+
+One of the most circumstantial accounts of these burial places is given
+by Mr. Merritt, who was also the first to make them known to science.[6]
+Mr. Merritt was director of a gold mine in Veragua, and in the summer of
+1859 spent several weeks in exploring the graves of Chiriqui; he
+therefore speaks from personal knowledge. In the autumn of 1858 two
+native farmers of the parish of Bugaba, or Bugava, discovered a golden
+image that had been exposed by the uprooting of a plant. They proceeded
+secretly to explore the graves, the existence of which had been known
+for years. In the following spring their operations became known to the
+people, and within a month more than a thousand persons were engaged in
+working these extraordinary gold mines. The fortunate discoverers
+succeeded in collecting about one hundred and thirty pounds weight of
+gold figures, most of which were more or less alloyed with copper. It is
+estimated that fifty thousand dollars’ worth in all was collected from
+this cemetery, which embraced an area of twelve acres.
+
+Although there are rarely surface indications to mark the position of
+the graves, long experience has rendered it comparatively easy to
+discover them. The grave hunter carries a light iron rod, which he runs
+into the ground, and thus, if any hard substance is present, discovers
+the existence of a burial. It is mentioned by one or two writers that
+the graves are in many cases marked by stones, either loose or set in
+the ground in rectangular and circular arrangements. The graves do not
+often seem to have had a uniform position in relation to one another or
+to the points of the compass. In some cases they are clustered about a
+central tomb, and then assume a somewhat radiate arrangement; again,
+according to Mr. McNiel, they are sometimes placed end to end, occupying
+long trenches.
+
+    [Footnote 6: J. King Merritt: Paper read before the American
+    Ethnological Society, 1860.]
+
+
+THE GRAVES.
+
+Graves of a particular form are said to occur sometimes in groups
+occupying distinct parts of the cemetery, but the observations are not
+sufficiently definite to be of value. The graves vary considerably in
+form, construction, and depth, and are classified variously by
+explorers. In the Bugaba cemetery Mr. Merritt found two well marked
+varieties, the oval and the quadrangular, reference being had to the
+horizontal section. The oval grave pits were from 4½ to 6 feet deep and
+from 3 to 4 feet in greatest diameter. A wall of rounded river stones 2½
+to 3 feet high lined the lower part of the pit, and from the top of this
+the entire space was closely packed with rounded stones. Within the
+faced up part of this cist the remains of the dead, the golden figures,
+pottery, and implements had been deposited. This form is illustrated in
+Fig. 1 by a vertical section constructed from the description given by
+Mr. Merritt.
+
+  [Illustration: Fig. 1. Section of oval grave.]
+
+The quadrangular graves were constructed in two somewhat distinct ways.
+One variety was identical in most respects with the oval form
+illustrated above. They were sometimes as much as 6 feet deep and
+frequently 4 by 7 feet in horizontal dimensions. In the other form a pit
+4 by 6½ feet in diameter was sunk to the depth of about 3 feet.
+Underneath this another pit some 2 feet in depth was sunk, leaving an
+offset or terrace 8 or 10 inches in width all around. The smaller pit
+was lined with flat stones placed on edge. In this cist the human
+remains and the relics were placed and covered over with flat stones,
+which rested upon the terrace and prevented the superincumbent mass,
+which consisted of closely packed river stones, from crushing the
+contents. A section of this tomb is given in Fig. 2, also drawn from the
+description given by Mr. Merritt.
+
+  [Illustration: Fig. 2. Section of a quadrangular grave, showing the
+  surface pack of river stories and the positions of the slabs and
+  objects of art.]
+
+  [Illustration: Fig. 3. Grave with pillars, described by De Zeltner.]
+
+  [Illustration: Fig. 4. Compound cist, described by De Zeltner.]
+
+Mr. Merritt and others mention that in some of the graves pillars are
+employed to support the roof of the cist. These pillars are mentioned
+briefly by De Zeltner, from whose account the following illustrations
+are drawn. This author does not state that he made any personal
+investigations, and if his accounts were obtained from the natives their
+entire trustworthiness may very properly be questioned. The first two
+forms mentioned by him are similar to those already given. The third is
+described as having at the corners square pillars of stone to support
+the covering, which, however, is not described. The fourth has four
+pillars, placed in the corners of the pit. These serve to support a
+vault of flagstones. The walls between the pillars are faced with
+pebbles, as in the cases previously described. Fig. 3 will make this
+form clear at a glance. The fifth variety described by De Zeltner is
+quite extraordinary in construction. His account is somewhat confusing
+in a number of respects, and the section given in Fig. 4 cannot claim
+more than approximate accuracy in details and measurements. Near the
+surface a paving, perhaps of river stones, was found covering an area of
+about 10 by 13 feet. This paving was apparently the surface of a pack
+about 2 feet thick, and covered the mouth of the main pit, which was
+some 6 or 7 feet deep. Pillars of cobble stones about 10 inches in
+diameter occupied the corners of the pit, and probably served in a
+measure to support the paving. In the bottom of this excavation a second
+pit was dug, the mouth of which was also covered by a paving 2½ by
+upwards of 3 feet in horizontal dimensions. This lower pit consisted of
+a shaft several feet in depth, by which descent was made into a chamber
+of inverted pyramidal shape. This chamber approximated 6 by 9 feet in
+horizontal dimensions and was some 4 or 5 feet deep. At the bottom of
+this cistern the human remains and most of the relics were deposited.
+The shaft was filled in with earth and the pavings described. The total
+depth, computed from the figures given, is about 18 feet, a most
+remarkable achievement for a barbarous people; yet this is equaled by
+the ancient tribes of the mainland of New Granada, where similar burial
+customs seem to have prevailed. Mr. White,[7] who traveled extensively
+in the northwestern part of the state, says:
+
+  A dry, elevated ridge, composed of easily excavated material, was
+  selected as the cemetery. A pit of only a yard or so in diameter was
+  sunk, sometimes vertically, sometimes at an angle, or sometimes it
+  varied from vertical to inclined. It was sunk to depths varying from
+  15 to 60 feet, and at the bottom a chamber was formed in the earth.
+  Here the dead was deposited, with his arms, tools, cooking utensils,
+  ornaments, and chattels generally, with maize and fermented liquor
+  made of maize. The chamber and passage were then rammed tightly full
+  of earth, and sometimes it would appear that peculiar earth, other
+  than that excavated on the spot, was used. One not unfrequently
+  detects a peculiar aromatic smell in the earth, and fragments of
+  charcoal are always found mixed with it in more or less quantity.
+
+M. De Zeltner describes other very simple graves which are filled in
+with earth, excepting a surface paving of pebbles.
+
+Mr. McNiel, who has examined more examples than any other white man, and
+over a wide district with David as a center, discredits the statements
+of De Zeltner in respect to the form illustrated in Fig. 4, and states
+that generally the graves do not differ greatly in shape and finish from
+the ordinary graves of to-day. He describes the pits as being oval and
+quadrangular and as having a depth ranging from a few feet to 18 feet.
+The paving or pack consists of earth and water worn stones, the latter
+pitched in without order and forming but a small percentage of the
+filling. He has never seen such stones used in facing the walls of the
+pit or in the construction of pillars. The flat stones which cover the
+cist are often 10 or 15 feet below the surface and are in some cases
+very heavy, weighing 300 pounds or more. A single stone is in cases
+large enough to cover the entire space, but more frequently two or more
+flat stones are laid side by side across the cavity. These are supported
+by river stones, a foot or more in length, set around the margin of the
+cist. He is of the opinion that both slabs and bowlders were in many
+cases carried long distances. No one of the pits examined was of the
+extraordinary form described in detail by De Zeltner and others.
+
+    [Footnote 7: B. B. White: Jour. Anthrop. Inst. Great Britain and
+    Ireland, p. 246. February, 1884.]
+
+
+HUMAN REMAINS.
+
+The almost total absence of human remains has frequently been remarked,
+and the theory is advanced that cremation must have been practiced. We
+have no evidence, however, of such a custom among the historic tribes of
+this region, and, besides, such elaborate tombs would hardly be
+constructed for the deposition of ashes. Yet, considering the depth of
+the graves, their remarkable construction, and the character of the soil
+selected for burial purposes, it is certainly wonderful that such meager
+traces of human remains are found. Pinart surmises, from the analogies
+of modern burial customs upon the north coast, that the bones only were
+deposited in the graves, the flesh having been allowed to decay by a
+long period of exposure in the open air. This, however, would probably
+not materially hasten the decay of the bones.
+
+Mr. Merritt states that human hair was obtained from graves at Bugaba,
+and that he has himself secured the enamel of a molar tooth from that
+locality. De Zeltner tells us that in three varieties of graves remains
+of skeletons are found, always, however, in a very fragile condition.
+One skull was obtained of sufficient stability to be cast in plaster,
+but De Zeltner is not certain that it belonged to the people who built
+the tombs.
+
+Mr. McNiel reports the occasional finding of bones, and a number of
+bundles of them are included in his collection. He reports that there
+are no crania and that nothing could be determined as to the position of
+the bodies when first buried.
+
+Pinart observes that in some cases the bodies or remnants of bodies were
+distributed about the margin of the pit bottom, with the various
+utensils in the center, and again that the remains were laid away in
+niches dug in the sides of the main pit.
+
+These scattering observations will serve to give a general idea of the
+modes of sepulture practiced in this region, but there must be a closer
+record of localities and a careful correlation of the varying phenomena
+of inhumation before either ethnology or archaeology can be greatly
+benefited.
+
+
+PLACING OF RELICS.
+
+The pieces of pottery, implements, and ornaments were probably buried
+with the dead, pretty much as are similar objects in other parts of
+America. The almost total disappearance of the human remains makes a
+determination of exact relative positions impossible. The universal
+testimony, however, is that all were not placed with the body, but that
+some were added as the grave was filled up, being placed in the crevices
+of the walls or pillars or thrown in upon the accumulating earth and
+pebbles of the surface pavement. The heavy implements of stone are
+rarely very far beneath the surface.
+
+
+
+
+OBJECTS OF ART.
+
+
+From the foregoing account it is apparent that our knowledge of the art
+of ancient Chiriqui must for the present be derived almost entirely from
+the contents of the tombs. The inhabitants were skillful in the
+employment and the manipulation of stone, clay, gold, and copper; and
+the perfection of their work in these materials, taken in connection
+with the construction of their remarkable tombs, indicates a culture of
+long standing and a capacity of no mean order.
+
+Of their architecture, agriculture, or textile art we can learn little
+or nothing.
+
+The relics represented in the collection of the National Museum consist
+chiefly of articles of stone, gold, copper, and clay.
+
+
+STONE.[8]
+
+Works executed in stone, excluding the tombs, may be arranged in the
+following classes: Pictured rocks, sculptured columns, images, mealing
+stones, stools, celts, arrowpoints, spearpoints (?), polishing stones,
+and ornaments.
+
+_Pictured rocks._--Our accounts of these objects are very meager. The
+only one definitely described is the “_piedra pintal_.� A few of the
+figures engraved upon it are given by Seemann, from whom I quote the
+following paragraph:
+
+  At Caldera, a few leagues [north] from the town of David, lies a
+  granite block known to the country people as the piedra pintal, or
+  painted stone. It is 15 feet high, nearly 50 feet in circumference,
+  and flat on the top. Every part, especially the eastern side, is
+  covered with figures. One represents a radiant sun; it is followed
+  by a series of heads, all, with some variation, scorpions and
+  fantastic figures. The top and the other side have signs of a
+  circular and oval form, crossed by lines. The sculpture is ascribed
+  to the Dorachos (or Dorasques), but to what purpose the stone was
+  applied no historical account or tradition reveals.[9]
+
+  [Illustration: Fig. 5. Southwest face of the pictured stone.]
+
+These inscriptions are irregularly placed and much scattered. They are
+thought to have been originally nearly an inch deep, but in places are
+almost effaced by weathering, thus giving a suggestion of great
+antiquity. I have seen tracings of these figures made recently by Mr.
+A. L. Pinart which show decided differences in detail, and Mr. McNiel
+gives still another transcript. I present in Fig. 5 Mr. McNiel’s sketch
+of the southwest face of the rock, as he has given considerably more
+detail than any other visitor. Mr. McNiel’s sketches show seventeen
+figures on the opposite side of the rock. Seemann gives only twelve,
+while Mr. Pinart’s tracings show upwards of forty upon the same face.
+These three copies would not be recognized as referring to the same
+original. That of Mr. Pinart seems to show the most careful study and is
+probably accurate. Good photographs would be of service in eliminating
+the inconvenient personal equation always present in the delineation of
+such subjects. These figures bear little resemblance to those painted
+upon the vases of this region.
+
+Other figures are said to be engraved upon the bowlders and stones used
+in constructing the burial cists. De Zeltner states that “one often
+meets with stones covered with rude allegorical designs, representing
+men, pumas (tigre?), and birds. It is particularly in such huacas as
+have pillars and a vault that these curious specimens of Indian art are
+found.�[10]
+
+_Columns._--A number of authors speak casually of sculptured stone
+columns, none of which have been found in place. Seemann says that they
+may be seen in David, where they are used for building purposes,[11] but
+this is not confirmed by others. The sculptures are said to be in
+relief, like those of Yucatan and Peru. Cullen says that columns are
+found on the Island of Muerto, Bay of David.[12] Others are mentioned as
+having been seen in Veragua.
+
+_Images._--Objects that may properly be classed as images or idols are
+of rather rare occurrence. Half a dozen specimens are found in the
+McNiel collections. The most important of these represents a full length
+female figure twenty-three inches in height. It is executed in the
+round, with considerable attempt at detail (Fig. 6). I may mention, as
+strong characteristics, the flattened crown, encircled by a narrow
+turban-like band, the rather angular face and prominent nose, and the
+formal pose of the arms and hands. Besides the head band, the only other
+suggestion of costume is a belt about the waist.
+
+  [Illustration: Fig. 6. A goddess of the ancient Chiriquians. Gray
+  basalt--â…™.]
+
+The material is a compact, slightly vesicular, olive gray, basaltic
+rock. I have seen a few additional examples of this figure, and from the
+identity in type and detail conclude that the personage represented was
+probably an important one in the mythology of the Chiriquians. In
+general style there is a rather close correspondence with the sculptures
+of the Central American States. Some of the plastic characters exhibited
+in this work appear also in the various objects of clay, gold, and
+copper described further on.
+
+There is also a smaller, rudely carved, half length, human figure done
+in the same style. Besides these figures there are two large flattish
+stones, on one of which a rude image of a monkey has been picked, while
+the other exhibits the figure of a reptile resembling a lizard or a
+crocodile. The work is extremely rude and has the appearance of being
+unfinished. It seems that all of these objects were found upon the
+surface of the ground.
+
+In Figs. 7 and 8 I present two specimens of sculpture also collected by
+Mr. McNiel, and now in the possession of Mr. J. B. Stearns, of Short
+Hills, N.J. The example shown in Fig. 7 was obtained near the Gulf of
+Dolce, 82° 55´ west. Three views are presented: profile, front, and
+back. It is carved from what appears to be a compact, grayish olive tufa
+or basalt, and represents a male personage, distinct in style from the
+female figure first presented. The head is rounded above, the arms are
+flattened against the sides, and the feet are folded in a novel position
+beneath the body. The height is 9 inches.
+
+  [Illustration: Fig. 7. A god of the ancient Chiriquians. Gray
+  volcanic rock--½.]
+
+The other specimen, Fig. 8, from near the same locality, is carved from
+a yellowish gray basalt which sparkles with numerous large crystals of
+hornblende. It is similar in style to the last, but more boldly
+sculptured, the features being prominent and the members of the body in
+higher relief. The legs are lost. Height, 5¼ inches.
+
+A remarkable figure of large size now in the National Museum was
+obtained from the Island of Cana or Cano by Mr. McNiel. It is nearly
+three feet in height and very heavy. The face has been mutilated. In
+general style it corresponds more closely to the sculpture of the
+Central American States than to that of Chiriqui.
+
+  [Illustration:
+  _a, b_
+  Fig. 8. Fragmentary human figure in gray basaltic rock--½.]
+
+_Mealing stones._--The metate, or hand mill, which consists of a concave
+tablet and a rubbing stone, was an important adjunct to the household
+appliances of nearly all the more cultured American nations. It is found
+not only in those plain substantial forms most suitable for use in
+grinding grain, seeds, and spices by manual means, but in many cases it
+has been elaborated into a work of art which required long and skilled
+labor for its production.
+
+In the province of Chiriqui these mills must have been numerous; but,
+since they are still in demand by the inhabitants of the region, many of
+the ancient specimens have been destroyed by use. It seems from all
+accounts that they were not very generally buried with the dead, but
+were left upon or near the surface of the ground, and were hence
+accessible to the modern tribes, who found it much easier to transport
+them to their homes than to make new ones.
+
+The metates of Chiriqui present a great diversity of form and possibly
+represent distinct peoples or different grades of culture. They are
+carved from volcanic rocks of a few closely related varieties, the
+texture of which is coarse and occasionally somewhat cellular, giving an
+uneven or pitted surface, well suited to the grinding of maize. Three
+classes, for convenience of description, may be distinguished, although
+certain characters are common to all and one form grades more or less
+completely into another. We have the plain slab or rudely hewn mass of
+rock, in the upper surface of which a shallow depression has been
+excavated; we have the carefully hewn oval slab supported by short legs
+of varied shape; and we have a large number of pieces elaborately
+sculptured in imitation of animal forms. The first variety is common to
+nearly all temperate and tropical America and does not require further
+attention here. The second variety exhibits considerable diversity in
+form. The tablet is oval, concave above, and of an even thickness. The
+periphery is often squared and is in many cases ornamented with carved
+figures, either geometric devices or rudely sculptured animal heads. The
+legs are generally three in number, but four is not unusual. They are
+mostly conical or cylindrical in shape and are rather short.
+
+The finest example of the second class has an oval plate 37 inches in
+length, 29 in width, and 2 inches thick, which is nearly symmetrical and
+rather deeply concave above. The central portions of the basin are worn
+quite smooth. Near the ends, within the basin, two pairs of small
+animal-like figures are carved, and ranged about the lower margin of the
+periphery are eighty-seven neatly sculptured heads of animals. There are
+four short cylindrical legs. This superb piece of work is shown in
+Fig. 9.
+
+  [Illustration: Fig. 9. Mealing stone with large tablet ornamented
+  with animal heads, from Gualaca--1/9.]
+
+Examples of the third class are all carved to imitate the puma or
+ocelot. The whole creature is often elaborately worked out in the round
+from a single massive block of stone. The thin tablet representing the
+body rests upon four legs. The head, which projects from one end of the
+tablet, is generally rather conventional in style, but is sculptured
+with sufficient vigor to recall the original quite vividly. The tail
+appears at the other end and curves downward, connecting with one of the
+hind feet, probably for greater security against mutilation. The head,
+the margin of the body, and the exterior surfaces of the legs are
+elaborately decorated with tasteful carving. The figures are geometric,
+and refer, no doubt, to the markings of the animal’s skin. Nearly
+identical specimens are obtained from Costa Rica and other parts of
+Central America.
+
+A fine example of medium size is given in Fig. 10. The material is gray,
+minutely cellular, basaltic rock. The upper surface of the plate is
+polished by use. The entire length is 17 inches.
+
+  [Illustration: Fig. 10. Puma shaped metate of gray andesite, from
+  Rio Joca--¼.]
+
+The largest specimen in the McNiel collection is 2 feet long, 18 inches
+wide, and 12 inches high. A similar piece has been illustrated by De
+Zeltner.
+
+The usual office of these metates is considered to be that of grinding
+corn, cocoa, and the like. The great elaboration observed in some
+examples suggests the idea that perhaps they were devoted exclusively to
+the preparation of material (meal or other substances) intended for
+sacred uses. A high degree of elaboration in art products results in
+many cases from their connection with superstitious usages.
+
+Speculating upon the use of these objects, De Zeltner mentions a mortar
+“whose pestle was nothing but a round stone, which still shows traces of
+gold here and there. It was evidently with the help of this rude
+instrument that the Indians reduced the gold to powder before fusing
+it.�[13]
+
+The implement or pestle used in connection with these mealing tablets in
+crushing and grinding is often a simple river worn pebble, as mentioned
+above, but is more usually a cylindrical mass of volcanic rock, worked
+into nearly symmetric shape.
+
+_Stools._--The stool-like appearance of some of the objects described as
+metates suggests the presentation in this place of a group of objects
+that must for the present be classed as stools or seats, although their
+true or entire function is unknown to me. They are distinguished from
+the mealing stones by their circular plate, their sharply defined,
+upright, marginal rim, and the absence of signs of use.
+
+  [Illustration: Fig. 11. Stool shaped object carved from gray,
+  minutely cellular basalt--â…“.]
+
+  [Illustration: Fig. 12. Stool with columnar base, carved from gray
+  basaltic rock--â…“.]
+
+Two of these objects are from the vicinity of David. The largest and
+most interesting is illustrated in Fig. 11. It is carved from a piece of
+vesicular basaltic tufa and is in a perfect state of preservation. The
+height is 6 inches and the diameter of the top 10 inches, that of the
+base being a little less. The slightly concave upper surface is
+depressed about half an inch below the upright marginal band. The
+periphery is a little more than an inch in width and is decorated with a
+simple guilloche-like ornament in relief. The disk-like cap is connected
+by open lattice-like work with the ring which forms the base. The
+interior is neatly hollowed out. The open work of the sides consists of
+two elaborately carved figures of monkeys, alternating with two sections
+of trellis work, very neatly executed. The other specimen is somewhat
+less elaborate in its sculptured ornament.
+
+Outlines of two additional examples of these objects are given in Figs.
+12 and 13. The tablets are round, thick, and slightly concave above and
+are margined with rows of sculptured heads. The supporting column in the
+first is a plain shaft and the base is narrow and somewhat concave
+underneath. In the second the column is hollowed out and perforated.
+
+  [Illustration: Fig. 13. Stool with perforated base, carved from gray
+  basaltic rock--â…“.]
+
+As bearing upon the possible use of these specimens it should be noticed
+that similar stool-like objects are made of clay, the softness and
+fragility of which would render them unsuitable for use as mealing
+plates or mortars, and it would also appear that they are rather fragile
+for use as stools. I would suggest that they may have served as supports
+for articles such as vases or idols employed in religious rites, or
+possibly as altars for offerings.
+
+_Celts._--The class of implements usually denominated celts is
+represented by several hundred specimens, nearly all of which are in a
+perfect state of preservation. They are thoroughly well made and
+beautifully finished, and leave the impression upon the mind that they
+must represent the very highest plane of Stone Age art.
+
+Although varying widely in form and finish there is great homogeneity of
+characters, the marked family resemblance suggesting a single people and
+a single period or stage of culture. They are found in the cists along
+with other relics and are very generally distributed, a limited number,
+rarely more than three, being found in a single grave. They may be
+classified by shape into a number of groups, each of which, however,
+will be found to grade more or less completely into the others. They
+display all degrees of finish from the freshly flaked to the evenly
+picked and wholly polished surface. The edges or points of nearly all
+show the contour and polish that come from long though careful use. All
+are made of compact, dark, volcanic tufa that resembles very closely a
+fine grained slate. The following illustrations include all the more
+important types of form. There are but few specimens of very large size.
+That shown in Fig. 14 is 8¼ inches long, 4 inches wide, and
+seven-eighths of an inch thick. The blade is broad at the edge, rounded
+in outline, and well polished. The upper end terminates in a rather
+sharp point that shows the rough flaked surface of the original blocking
+out. The middle portion exhibits an evenly picked surface. The rock is a
+dark slaty looking tufa, the surface of which displays ring or
+rosette-like markings, reminding one of the polished surface of a
+section of fossil coral. These markings probably come from the
+decomposition of the mineral constituents of the rock.
+
+  [Illustration: Fig. 14. Large partially polished celt of mottled
+  volcanic tufa--½.]
+
+The implement given in Fig. 15 may be taken as a type of a large class
+of beautifully finished celts. It also is made of the dark tufa, very
+fine grained and compact, resembling slate. The beveled surfaces of the
+blade are well polished, the remainder of the surface being evenly
+picked. The hexagonal section is characteristic of the class, but it is
+not so decided in this as in some other pieces in which the whole
+surface is freshly ground.
+
+The contraction of the lateral outline and the sudden expansion on
+reaching the cutting edge noticed in this specimen are more clearly
+marked in other examples. The small celt shown in Fig. 16 is narrow
+above and quite wide toward the edge. A wide, thick specimen is given in
+Fig. 17. A specimen quite exceptional in Chiriqui is shown in Fig. 18.
+Mr. McNiel states that in many years’ exploration this is the only piece
+seen that exhibits the constriction of outline characteristic of grooved
+axes.
+
+  [Illustration: Fig. 15. Celt of hexagonal section made of dark
+  compact tufa--½.]
+
+  [Illustration: Fig. 16. Small wide bladed celt made of dark
+  tufa--½.]
+
+  [Illustration: Fig. 17. Celt with heavy shaft made of dark speckled
+  tufa--½.]
+
+  [Illustration: Fig. 18. Celt or ax with constriction near the top.]
+
+  [Illustration: Fig. 19. Flaked and partially polished celt of dark
+  tufa--½.]
+
+  [Illustration: Fig. 20. Well polished celt of dark tufa--½.]
+
+Two superb implements are illustrated in Figs. 19 and 20, the one in the
+rough excepting at the cutting edge, where it is ground into the desired
+shape, and the other neatly polished over nearly the entire surface. The
+surfaces are somewhat whitened from decomposition, but within the rock
+is nearly black, and the eye could not distinguish it from a dark slate.
+The material is shown by microscopic test to be a volcanic tufa. These
+examples were evidently intended for more delicate work than the
+preceding. The shapes of the specimens illustrated in Figs. 21 and 22
+indicate a still different use. The upper end of the implement is large
+and rough, as if intended to facilitate holding or hafting, while the
+shaft diminishes in size below, terminating in a narrow, symmetrical,
+highly polished edge, a shape well calculated to unite delicacy and
+strength. The highest mechanical skill could hardly give to stone shapes
+more perfectly adapted to the manipulation of stone, metal, or other
+hard or compact substances. The material is a very dark, compact, fine
+grained tufa.
+
+  [Illustration: Fig. 21. Narrow pointed celt of dark tufa--½.]
+
+  [Illustration: Fig. 22. Narrow pointed celt of dark tufa--½.]
+
+  [Illustration: Fig. 23. Cylindrical celt with narrow point, of dark
+  tufa--½.]
+
+  [Illustration: Fig. 24. Leaf shaped objects suggesting spearpoints,
+  of dark tufa--½.]
+
+An additional example is given in Fig. 23. The shaft is cylindrical and
+terminates in a conical point at one end and in a very narrow, abrupt,
+cutting edge at the other. The whole surface is polished. The material
+is the same dark tufa.
+
+The class of objects illustrated in this and the two preceding cuts
+comprises but a small percentage of the chisel-like implements.
+
+_Spearheads (?)._--Another class of objects made of the same fine
+grained, slaty looking tufa is illustrated in Fig. 24. They resemble
+spearpoints, yet may have been devoted to a wholly different use. They
+are long, leaf-like flakes, triangular in section, slightly worked down
+by flaking, sharpened by grinding at the point, and slightly notched at
+the top, perhaps for hafting.
+
+_Arrowpoints._--The unique character of the arrowpoints of Chiriqui is
+already known to archæologists. The most striking feature is the
+triangular section presented in nearly all cases and shown in the
+figures (Fig. 25). The workmanship is extremely rude. The material is
+generally a flinty jasper of reddish and yellowish hues. The number
+found is comparatively small. The specimens given are of average size.
+
+  [Illustration: Fig. 25. Arrowpoints of jasper--1/1.]
+
+_Ornaments._--It would seem from a study of our collections that
+ornaments of stone were seldom used by the inhabitants of Chiriqui.
+There are a few medium sized beads of agate and one pendant of dark
+greenish stone rudely shaped to resemble a human head. Ornaments of gold
+and copper were evidently much preferred.
+
+    [Footnote 8: I am indebted to Mr. J. S. Diller, of the United
+    States Geological Survey, for the determination of the species of
+    stone in this series of objects.]
+
+    [Footnote 9: Seemann: Voy. Herald, Vol. I, p. 312.]
+
+    [Footnote 10: A. de Zeltner: Notes sur les sépultures indiennes du
+    département de Chiriqui.]
+
+    [Footnote 11: Seemann: Voy. Herald, Vol. I, p. 313.]
+
+    [Footnote 12: Cullen’s Darien, p. 38.]
+
+    [Footnote 13: A. De Zeltner: Notes sur les sépultures indiennes,
+    p. 7.]
+
+
+METAL.
+
+GOLD AND COPPER.
+
+The Chiriquians, like many of their neighbors in the tropical portions
+of the American continent, were skilled in the working of metals. Gold,
+silver, copper, and tin--the last in alloys with copper forming
+bronze--are found in the graves. Gold is the most important, and is
+associated with all the others in alloys or as a surface coating. The
+inhabitants of the isthmus at the time of the discovery were rich in
+objects, chiefly ornaments, of this metal, and expeditions sent out
+under Balboa, Pizarro, and others plundered the natives without mercy.
+When the Indian village of Darien was captured by Balboa (1510) he
+obtained “plates of gold, such as they hang on their breasts and other
+parts, and other things, all of them amounting to ten thousand pesos of
+fine gold.�[14] From an expedition to Nicaragua the same adventurers
+brought back to Panama the value of “112,524 pieces of eight in low
+gold, and 145 in pearls.�[15] Early Spanish-American history abounds in
+stories of this kind. Among others we read that Columbus found the
+natives along the Atlantic coast of Chiriqui and Veragua so rich in
+objects of gold that he named the district _Castillo del Oro_. It is
+said that the illusory stories of an _El Dorado_ somewhere within the
+continent of South America arose from the lavish use of gold ornaments
+by the natives whom the Spaniards encountered, and that Costa Rica gets
+its name from the same circumstance. It is also recorded that the
+natives of various parts of Central and South America at the date of the
+conquest were in the habit of opening ancient graves for the purpose of
+securing mortuary trinkets. The whites have followed their example with
+the greatest eagerness. As far back as 1642 the Spaniards passed a law
+claiming all the gold found in the burial places of Spanish America,[16]
+the whole matter being treated merely as a means of revenue.
+
+The objects of gold for which the tombs of Chiriqui are justly famous
+are generally believed to have been simple personal ornaments, the
+jewelry of the primeval inhabitants, although it is highly probable that
+many of the figures, at least as originally employed, had an emblematic
+meaning. They were doubtless at all times regarded as possessed of
+potent charms, and thus capable of protecting and forwarding the
+interests of their owners. They have been found in great numbers within
+the last twenty-five years, but for the most part, even at this late
+date, have been esteemed for their money value only. Very many specimens
+found their way to this country, where they were either sold for
+curiosities or, after waiting long for a purchaser, even in the very
+shadow of our museums, were consigned to the melting pot. Many stories
+bearing upon this point have been told me. A Washington jeweler is
+represented as having exhibited in his window on Pennsylvania avenue
+about the year 1860 a remarkable series of these trinkets, most of which
+were afterwards sent to New York to be melted. About the same period a
+gentleman on entering a shop in San Francisco was accosted by a stranger
+who had his pockets well filled with these curious relics and wished to
+dispose of them for cash. A number of my acquaintances have neat but
+grotesque examples of these little images of gold attached to their
+watch guards, thus approving the taste of our prehistoric countrymen and
+at the same time demonstrating the identity of ideas of personal
+embellishment in all times and with all peoples.
+
+The ornaments are found only in a small percentage of the graves, those
+probably of persons sufficiently opulent to possess them in life;
+a majority of the graves contain none whatever. They are often found at
+the bottom of the pits, and probably in nearly the position occupied by
+them while still attached to the persons of the dead. It is said that
+occasionally they are found in niches at the sides of the graves, as if
+placed during the filling of the pit.
+
+Strangely enough, the gold is very generally alloyed with copper, the
+composite metal ranging from pure gold to pure copper. A small
+percentage of silver is also present in some of the specimens examined,
+but this is probably a natural alloy. In a few cases very simple figures
+appear to have been shaped from nuggets or masses of the native metals;
+this, however, is not susceptible of proof. The work is very skillfully
+done, so that we find it difficult to ascertain the precise methods of
+manipulation. The general effect in the more pretentious pieces
+resembles that of our filigree work, in which the parts are produced by
+hammering and united by soldering; yet there are many evidences of
+casting, and these must be considered with care. As a rule simple
+figures and some portions of composite figures present very decided
+indications of having been cast in molds, yet no traces of these molds
+have come to light, and there are none of those characteristic markings
+which result from the use of composite or “piece� molds. Wire was
+extensively used in the formation of details of anatomy and
+embellishment, and its presence does not at first seem compatible with
+ordinary casting. This wire, or pseudo-wire it may be, is generally
+about one-twenty-fifth of an inch in diameter.
+
+The manner in which the numerous parts or sections of complex figures
+are joined together is both interesting and perplexing. Evidences of the
+use of solder have been looked for in vain, and if such a medium was
+ever used it was identical in kind with the body of the object or so
+small in quantity as to escape detection. At the junction of the parts
+there are often decided indications of hammering, or at least of the
+strong pressure of an implement; but in pursuing the matter further we
+find a singular perfection in the joining, which amounts to a
+coalescence of the metals of the two parts concerned. There is no
+weakness or tendency to part along the contact surfaces, neither is
+there anything like the parting of parallel wires in coils or where a
+series of wires is joined side by side and carried through various
+convolutions. In a number of cases I made sections of coils and parts
+composed of a number of wires, in the hope of discovering evidences of
+the individuality of the strands, but the metal in the section is always
+homogeneous, breaking with a rough, granular fracture, and not more
+readily along apparent lines of junction than across them; and further,
+in studying in detail the surface of parts unpolished or protected from
+wear by handling, we find everywhere the granular and pitted unevenness
+characteristic of cast surfaces. This is true of the wire forms as well
+as of the massive parts, and, in addition to this, such defects occur in
+the wires as would hardly be possible if they were of wrought gold.
+
+All points considered, I am inclined to believe that the objects were
+cast, and cast in their entirety. It is plain, however, that the
+original model was made up of separately constructed parts of wire or
+wirelike strands and of eccentric and often rather massive parts, and
+that all were set together by the assistance of pressure, the
+indications being that the material used was sufficiently plastic to be
+worked after the manner of clay, dough, or wax. In one case, for
+example, the body of a serpent, consisting of two wires neatly twisted
+together, is held in the hand of a grotesque figure. The hand consists
+of four fingers made by doubling together two short pieces of wire. The
+coil has been laid across the hand and pressed down into it until half
+buried, and the ends of the fingers are drawn up around it without any
+indication of hammer strokes. Indeed, the effect is just such as would
+have been produced if the artist had worked in wax. Again, in the
+modeling of the eyes we have a good illustration. The eye is a minute
+ball cleft across the entire diameter by a sharp implement, thus giving
+the effect of the parted lids. Now, if the material had been gold or
+copper, as in the specimens, the ball would have been separated into two
+parts or hemispheres, which would not exhibit any great distortion; but
+as we see them here the parts are flattened and much drawn out by the
+pressure of the cutting edge, just as if the material had been decidedly
+plastic.
+
+It seems to me that the processes of manufacture must have been
+analogous to those employed by the more primitive metal workers of our
+own day. In Oriental countries delicate objects of bronze and other
+metals are made as follows: A model is constructed in some such material
+as wax or resin and over it are placed coatings of clay or other
+substance capable of standing great heat. These coatings, when
+sufficiently thickened and properly dried, form the mold, from which the
+original model is extracted by means of heat. The fused metal is
+afterwards poured in. As a matter of course, both the mold and the model
+are destroyed in each case, and exact duplications are not to be
+expected. Mr. George F. Kunz, of New York, with whom I have discussed
+this matter, states that he has seen live objects, such as insects, used
+as models in this way. Being coated with washes of clay or like
+substance until well protected and then heavily covered, they were
+placed in the furnace. The animal matter was thus reduced to ashes and
+extracted through small openings made for the purpose.
+
+As bearing upon this subject it should be mentioned that occasionally
+small figures in a fine reddish resin are obtained from the graves of
+Chiriqui. They are identical in style of modeling with the objects of
+gold and copper obtained from the same source.
+
+In discussing possible processes, Mr. William Hallock, of the division
+of chemistry and physics of the United States Geological Survey,
+suggested that if the various sections of a metal ornament were embedded
+in the surface of a mass of fire clay in their proper relations and
+contacts they could then be completely inclosed in the mass and
+subjected to heat until the metal melted and ran together. After
+cooling, the complete figure could be removed by breaking up the clay
+matrix. I imagine that in such work much difficulty would be experienced
+in securing proper contact and adjustment of parts of complex figures.
+It will likewise be observed that evidences of plasticity in the
+modeling material would not exist. I must not pass a suggestion of
+Nadaillac[17] which offers a possible solution of the problem of
+manipulation. Referring to a statement of the early Spanish explorers
+that smelting was unknown to the inhabitants of Peru, he states that it
+would be possible for a people in a low state of culture to discover
+that an amalgam of gold with mercury is quite plastic, and that after a
+figure is modeled in this composite metal the mercury may be dissipated
+by heat, leaving the form in gold, which then needs only to be polished.
+There is, however, no evidence whatever that these people had any
+knowledge of mercury.
+
+There is no indication of carving or engraving in the Chiriquian work.
+In finishing, some of the extremities seem to have been shaped by
+hammering. This was a mere flattening out of the feet or parts of the
+accessories, which required no particular skill and could have been
+accomplished with comparatively rude stone hammers. It is a remarkable
+fact that many, if not most, of the objects appear to be either plated
+or washed with pure gold, the body or foundation being of base gold or
+of nearly pure copper. This fact, coupled with that of the association
+of objects of bronze with the relics, leads us to inquire carefully into
+the possibilities of European influence or agency. I observe that recent
+writers do not seem to have questioned the genuineness of the objects
+described by them, but that at the same time no mention is made of the
+plating or washing. This latter circumstance leads to the inference that
+pieces now in my possession exhibiting this phenomenon may have been
+tampered with by the whites. In this connection attention should be
+called to the fact that history is not silent on the matter of plating.
+The Indians of New Granada are said to have been not only marvelously
+skillful in the manipulation of metals, but, according to Bollaert,
+Acosta declares that these peoples had much _gilt_ copper, “and the
+copper was gilt by the use of the juice of a plant rubbed over it, then
+put into the fire, when it took the gold color.�[18] Just what this
+means we cannot readily determine, but we safely conclude that, whatever
+the process hinted at in these words, a thin surface deposit of pure
+gold, or the close semblance of it, was actually obtained. It is not
+impossible that an acid may have been applied which tended to destroy
+the copper of the alloy, leaving a deposit of gold upon the surface,
+which could afterwards be burnished down.
+
+It has been suggested to me that possibly the film of gold may in cases
+be the result of simple decay on the part of the copper of the alloy,
+the gold remaining as a shell upon the surface of the still undecayed
+portion of the composite metal; but the surface in such a case would not
+be burnished, whereas the show surfaces of the specimens recovered are
+in all cases neatly polished.
+
+If we should conclude that the ancient Americans were probably able to
+secure in some such manner a thin film of gold, it still remains to
+inquire whether there may not have been some purely mechanical means of
+plating. In some of the Chiriquian specimens a foundation of very base
+metal appears to have been plated with heavy sheet gold, which as the
+copper decays comes off in flakes. Occasional pieces have a blistered
+look as a consequence. Were these people able with their rude appliances
+to beat gold into very thin leaves? and Had they discovered processes by
+which these could be applied to the surfaces of objects of metal? are
+questions that should probably be answered in the affirmative.
+
+The flakes in some cases indicate a very great degree of thinness.
+Specimens of sheet gold ornaments found in the tombs are thicker, but
+are sufficiently thin to indicate that, if actually made by these
+people, almost any degree of thinness could be attained by them. It
+would probably not be difficult to apply thin sheet gold to the
+comparatively smooth surfaces of these ornaments and to fix it by
+burnishing.
+
+Mr. Kunz suggests still another method by means of which plating could
+have been accomplished. If a figure in wax were coated with sheet gold
+and then incased in a clay matrix, the wax could be melted out, leaving
+the shell of gold within. The cavity could then be filled with alloy,
+the clay could be removed, and the gold, which would adhere to the
+metal, could then be properly burnished down.
+
+It will be seen from this hasty review that, although we may conclude
+that casting and plating were certainly practiced by these peoples, we
+must remain in ignorance of the precise methods employed.
+
+Referring to the question of the authenticity of the specimens
+themselves, I may note that observations bearing upon the actual
+discovery of particular specimens in the tombs are unfortunately
+lacking. Mr. McNiel acknowledges that with all his experience in the
+work of excavation no single piece has been taken from the ground with
+his own hands, and he cannot say that he ever witnessed the exhumation
+by others, although he has been present when they were brought up from
+the pits. Generally the workmen secrete them and afterwards offer them
+for sale. He has, however, no shadow of a doubt that all the pieces
+procured by him came from the graves as reported by his collectors. The
+question of the authenticity of the gilding will not be satisfactorily
+or finally settled until some responsible collector shall have taken the
+gilded objects with his own hands from their undisturbed places in tombs
+known to be of pre-Columbian construction.
+
+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.
+
+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.
+
+The objects consist to a great extent of representations of life forms,
+in many cases more fanciful than real and often extremely grotesque.
+They include the human figure and a great variety of birds and beasts
+indigenous to the country, in styles resembling work in clay and stone
+of the same region. My illustrations show the actual sizes of the
+objects.
+
+  [Illustration: Fig. 26. Human figure with ridged crown, formed of
+  copper-gold alloy.]
+
+_The human figure._--Statuettes of men and women and of a variety of
+anthropomorphic figures of all degrees of elaboration abound. Fig. 26
+illustrates a plain, rude specimen belonging to the collection of J. B.
+Stearns. It was obtained by Mr. McNiel from near the south base of Mount
+Chiriqui. The body is solid and the surface is rough and pitted, as if
+from decay. In many respects it resembles the stone sculptures of the
+isthmus. The metal is nearly pure copper. A piece exhibiting more
+elaborate workmanship, illustrated by Bollaert,[19] is shown in Fig. 27.
+Another remarkable specimen is illustrated by De Zeltner, but the
+photograph published with his brochure is too indistinct to permit of
+satisfactory reproduction. He describes it in the following language:
+
+  The most curious piece in my collection is a gold figure of a man,
+  7 centimeters in height. The head is ornamented with a diadem
+  terminated on each side with the head of a frog. The body is nude,
+  except a girdle, also in the form of a plait, supporting a flat
+  piece intended to cover the privates, and two round ornaments on
+  each side. The arms are extended from the body; the well drawn hands
+  hold, one of them a short, round club, the other a musical
+  instrument, of which one end is in the mouth and the other forms an
+  enlargement like that of a flute, made of human bone. It is not
+  probable that this is a pipe. Both thighs have an enlargement, and
+  the toes are not marked in this little figurine.[20]
+
+  [Illustration: Fig. 27. Grotesque human figure in gold, from
+  Bollaert.]
+
+  [Illustration: Fig. 28. Rudely shaped and finished human figure in
+  gold.]
+
+In Fig. 28 we have a rather rudely made and finished piece collected by
+Mr. McNiel, and now owned by Mr. Stearns. It exhibits features
+corresponding with a number of those referred to by De Zeltner. The
+foundation is thin and is of base metal coated with pure gold. I present
+two additional examples of the human figure from the collection of Mr.
+Stearns. One of them (Fig. 29) is an interesting little statuette in
+dark copper that still retains traces of the former gilding of yellow
+gold. The crown is flat and is surrounded by a fillet of twisted wire.
+The face is grotesque, the nose being bulbous, the mouth large, and the
+lips protruding. The hands are represented as grasping cords of wire
+which connect the waist with the crown of the figure and seem to be
+intended for the bodies of serpents, the heads of which project from the
+sides of the headdress. Similar serpents project from the ankles. The
+feet are flattened out as if intended to be set in a crevice. The
+extremities--excepting the feet--and the ornaments are all formed of
+wire. The various parts of the figure have been modeled separately and
+set together while the material was in a plastic or semiplastic
+condition. This is clearly indicated by the sinking of one part into
+another at the points of contact.
+
+  [Illustration: Fig. 29. Grotesque human figure in nearly pure
+  copper, partially coated with yellow gold.]
+
+  [Illustration: Fig. 30. Grotesque human figure in nearly pure gold.]
+
+An excellent example of the more elaborate figures is shown in Fig. 30.
+It is of reddish gold, slightly alloyed apparently with copper, and has
+in finishing received a very thin wash or plating of yellow gold, which
+is worn off in exposed parts. The central feature of the rather
+complicated structure is a grotesque human figure, much like the
+preceding, and having counterparts in both clay and stone. The figure is
+backed up and strengthened by two curved and flattened bars of gold, one
+above and the other below, as seen in the cut. The figure is decked with
+and almost hidden by a profusion of curious details, executed for the
+most part in wire and representing serpents and birds. Three
+vulture-like heads project from the crown and overhang the face. Two
+serpents, the bodies of which are formed of plaited wire, issue from the
+mouth of the figure and are held about the neck by the hands. The heads
+of the serpents are formed of wire folded in triangular form and are
+supplied with double coils of wire at the sides, as if for ears, and
+with little balls of gold for eyes. Similar heads project from the sides
+of the head and from the feet of the image.
+
+The peculiarities of construction are seen to good advantage in this
+specimen. The figure is made up of a great number of separate pieces,
+united apparently by pressure or by hammering while the material was
+somewhat plastic. Upwards of eighty pieces can be counted. The larger
+pieces, forming the body and limbs, are hollow or concave behind. Nearly
+all the subordinate parts are constructed of wire.
+
+  [Illustration: Fig. 31. Rudely executed image of a bird in gold.]
+
+_The bird._--Images of birds are numerous and vary greatly in size and
+elaboration. They are usually represented with expanded wings and tails,
+the under side of the body being finished for show. The back is left
+concave and rough, as when cast, and is supplied with a ring for
+suspension or attachment, as seen in the profile view (Fig. 31). The
+owl, the eagle, the parrot, and various other birds are recognized,
+although determinations of varieties are not possible, as in many cases
+the forms are rude or greatly obscured by extraneous details. The
+example shown in Fig. 31 is of the simplest type and the rudest
+workmanship, and is apparently intended for some rapacious species,
+possibly a vulture. The body, wings, and tail are hammered quite thin
+and are left frayed and uneven on the edges. The material appears to be
+nearly pure copper plated with yellow gold. Specimens of this class are
+very numerous. One, presented in a publication of the Society of
+Northern Antiquaries, and now in the museum at Copenhagen, is thought to
+be intended for a fish hawk, as it carries a fish in its mouth. De
+Zeltner mentions a statuette in gold of a paroquet, whose head is
+ornamented with two winged tufts. Such a specimen may be seen in the
+collection of Mr. Stearns.
+
+  [Illustration: Fig. 32. Image of a bird in gold, from Bollaert.]
+
+Fig. 32 is reproduced from Bollaert. It represents a parrot and is very
+elaborately worked.
+
+  [Illustration: Fig. 33. Puma shaped figure in gold.]
+
+  [Illustration: Fig. 34. Puma shaped figure in base metal.]
+
+_The puma._--Representations of quadrupeds are common; a good example,
+copied from Bollaert, is given in Fig. 33. The animal intended is
+apparently a puma, a favorite subject with Chiriquian workers in clay
+and stone as well as in gold. The body is hollow and open beneath and
+the fore feet are finished with loops for suspension. A similar piece
+with head thrown back over the body is shown in Fig. 34. The metal in
+this case appears to be nearly pure copper.
+
+_Grotesque figure._--Another piece collected by Mr. McNiel is outlined
+in Fig. 35. The metal is quite base and the surface has been coated with
+gold, which is now nearly all rubbed off. The shape is that of a
+quadruped. The face has a rather grotesque, not to say satanic,
+expression. The details are not unlike those of other examples
+previously given.
+
+  [Illustration: Fig. 35. Quadruped with grotesque face in base
+  metal.]
+
+  [Illustration: Fig. 36. Figure of a fish in gold. From Harper’s
+  Weekly, 1859.]
+
+_The fish._--The fish was a favorite subject with the ancient nations of
+South America, and is modeled in clay, woven into fabrics, and worked in
+metals with remarkable freedom. It was in great favor in Chiriqui and
+must have been of importance in the mythology of the country. It occurs
+most frequently in pottery, where it is executed in color and modeled in
+the round. The very grotesque specimen in gold shown in Fig. 36 is
+copied from Harper’s Weekly of August 6, 1859, where it forms one of a
+number of illustrations of these curious ornaments. The paper is,
+I believe, by Dr. F. M. Otis, who had just returned from Panama. A very
+curious piece owned by Mrs. Philip Phillips, of Washington, represents a
+creature having some analogies with the fish figure of Otis. Issuing
+from the mouth is the same forked tongue, each part terminating in a
+serpent’s head. The body is about two inches long and the back has five
+triangular perforations. The tail is forked and the four leg-like
+members terminate in conventional serpents’ heads. The metal is pure or
+nearly pure gold.
+
+  [Illustration: Fig. 37. Large figure of a frog in base metal plated
+  with gold.]
+
+  [Illustration: Fig. 38. Small figure of a frog, in base metal plated
+  with gold.]
+
+_The frog._--The frog appears in the plastic art of Chiriqui more
+frequently perhaps than any other reptile. Its form is reproduced with
+much spirit and in greatly varying sizes, degrees of elaboration, and
+styles of presentation. It is probable that a number of species are
+represented. In Fig. 37 we have a large, rather plain specimen, now in
+the National Museum. The body and limbs are concave beneath, the metal
+being about one-sixteenth of an inch thick. Teeth are suggested by a
+number of perforations encircling the jaws and the eyes are minute hawk
+bells containing pellets of metal. The legs are placed in characteristic
+positions, and the hind feet are broad plates without indications of
+toes, a characteristic of these golden frogs. The framework or
+foundation is of copper, apparently nearly pure, and the surface is
+plated with thin sheet gold, which tends to flake off as the copper
+foundation corrodes.
+
+The minute, delicately finished example given in Fig. 38 contrasts
+strongly with the preceding. It is also of base metal plated with pure
+gold and belongs to the collection of Mr. Stearns.
+
+  [Illustration: Fig. 39. Figure of an alligator, in gold, published
+  in Harper’s Weekly, 1859.]
+
+_The alligator._--The alligator, which appears so frequently in the
+pottery of Chiriqui, is only occasionally found in gold. A striking
+specimen, illustrated in Harper’s Weekly of August 6, 1859, is given in
+Fig. 39. A similar piece, formed of base metal, is in the collection of
+Mr. Stearns.
+
+  [Illustration: Fig. 40. Animal figure, in base metal plated with
+  gold.]
+
+_The crayfish (?)._--In Fig. 40 we have a fine specimen, intended
+apparently to represent a crayfish or some similar crustacean form. The
+head is supplied with complicated yet graceful antenna-like appendages,
+made of wire neatly coiled and welded together by pressure or hammering.
+The eyes are globular and are encircled by the ends of a double loop of
+wire which extends along the back and incloses a line of minute balls or
+nodes. The peculiar wings and tail will be best understood by referring
+to the illustration. The foundation metal is much corroded, being dark
+and rotten, and the plating of reddish gold seems to have been coated
+with a thin film of yellow gold. The profile view gives a good idea of
+the thickness of the metal and of the relief of the parts. Two rings or
+loops of doubled wire are attached to the extreme end of the nose and a
+heavy ring for suspending is fixed to the under side of the head.
+
+_Miscellaneous._--Gold, pure and in the usual alloys, was also used in
+the manufacture of other articles, such as bells, beads, disks, balls,
+rings, whistles, thimble shaped objects, and amulets of varied shapes.
+Bells are more generally made of bronze, because, perhaps, of its
+greater degree of resonance. Thin plates, or rather circular sheets, of
+gold leaf are numerous. One mentioned by Bollaert was 7¼ inches in
+diameter. They are plain or crimped about the margins, indented in
+various ways, and sometimes perforated, apparently for suspension or
+attachment. Merritt mentions examples having holes which showed
+evidences of wear upon one side only, indicating attachment in a fixed
+position to some object or to some part of the costume. But one example
+is at hand, a thin sheet, three inches in diameter and crimped or
+indented neatly about the margin. Its thickness is about that of
+ordinary tinfoil.
+
+    [Footnote 14: Herrera: Hist. America, Vol. VI, p. 369.]
+
+    [Footnote 15: Herrera: Hist. America, Vol. III, p. 287.]
+
+    [Footnote 16: Mr. Hawes’s letter answering questions about
+    Chiriqui, read by Mr. Davis before the American Ethnological
+    Society, April 17, 1860.]
+
+    [Footnote 17: Nadaillac: Prehistoric America, p. 450.]
+
+    [Footnote 18: Bollaert: Ethnological and Other Researches in New
+    Granada, &c.]
+
+    [Footnote 19: Bollaert: Antiquarian Researches in New Granada,
+    plate facing p. 31.]
+
+    [Footnote 20: A. De Zeltner: Notes sur les sépultures indiennes du
+    département de Chiriqui.]
+
+BRONZE.
+
+_Bells._--Bells seem to have been in pretty general use by the more
+cultured American races previous to the conquest. The form best known is
+the hawk bell, or common sleighbell of the North. The globular body is
+suspended by a loop at the top and is slit on the under side, so that
+the tinkling of the small free pellets of metal may be audible. Such
+bells are found in considerable numbers in the graves of Chiriqui,
+although I have no positive assurance that any of the examples in my
+possession were actually taken from graves which contained typical
+Chiriquian relics of other classes. The specimens now in the National
+Museum (Fig. 41) are in most cases, if not in all, of bronze, as
+determined by Mr. R. B. Riggs, of the chemical laboratory of the United
+States Geological Survey. All have been cast in molds. In most cases
+there are traces of a plating of gold. The largest is 1¼ inches in
+height and three-fourths of an inch in diameter. It is surmounted by the
+rude figure of an animal, through or beneath the body of which is an
+opening for the attachment of a cord. Others have simple loops at the
+top. The small perforated specimen belongs to Mr. Stearns. The
+additional piece given in Fig. 42 is unique in conception. It represents
+a human head, which takes an inverted position when the bell is
+suspended. The lower part of the bell forms a conical crown to the head
+and the ring of suspension is attached to the chin. Double coils of wire
+take the place of the ears, and the other features are formed by setting
+on bits of the material used in modeling. This specimen belongs to the
+collection of Mr. Stearns. Many examples of more elaborate workmanship
+have been recovered from the tombs and are now to be found in the
+collections of America and Europe.
+
+  [Illustration: Fig. 41. Bronze bells plated or washed with gold.]
+
+  [Illustration: Fig. 42. Bronze bell with human features.]
+
+A specimen found many years ago on the Rio Grande, near Panama, and
+figured in Harper’s Weekly, was of gold and showed specific variations
+from the Chiriquian pieces. It will be seen by reference to the outline
+given in Fig. 43 that three very neatly shaped and gracefully ornamented
+bells are mounted upon a circular plate to which a short handle is
+attached. It was evidently not intended for suspension, but rather to be
+held in the hand as a rattle.
+
+A question as to the authenticity of these bells as aboriginal works
+very naturally arises, and it may be difficult to show to the
+satisfaction of the skeptical mind that any particular specimen is not
+of European origin or inspiration. At the same time we are not without
+strong evidences that such bells were in use by the Americans before the
+advent of the whites. Historical accounts are not wanting, but I shall
+only stop to point out some of the internal evidences of the native art.
+The strongest argument is to be found in the presence of analogous
+features in other branches of the art and in other arts. The eyes of the
+golden figures of reptiles are in many cases minute hawk bells, and in
+works of clay, the purely aboriginal character of which has not been
+called in question, similar features are discovered. The American origin
+of the bell, therefore, is not to be questioned. The form originated, no
+doubt, in the rattle, at first a nutshell or a gourd; later it was
+modeled in clay, and in time the same idea was worked out in the legs
+and the ornaments of vessels and in the heads and other parts of animal
+forms, which were made hollow and supplied with tinkling pellets. With
+the acknowledged skill of these people in the working of metals, there
+is no reason why the bells described should not have been manufactured
+independently of European aid and influence, provided the requisite
+metal was at hand.
+
+  [Illustration: Fig. 43. Triple bell or rattle found on the Rio
+  Grande.]
+
+  [Illustration: Fig. 44. Ancient Mexican bell.]
+
+It should be observed that if these early American bells were copied
+from or based upon Spanish originals they would not probably vary
+greatly in type with the various sections from which they are recovered,
+but it is observed that marked and persistent differences do occur. The
+well known Mexican bell, an example of which is outlined in Fig. 44,
+although of bronze, is generically distinct in form and construction.
+
+
+In a brief review I may recall the more salient points regarding the use
+of metals in ancient Chiriqui. Gold, silver, copper, and apparently tin
+are represented.
+
+Gold and copper were very plentifully distributed among the isthmian
+races, but we have little information as to the sources of supply. Free
+gold is found in the stream beds of many localities, and copper was
+probably found in its native state in some convenient locality; yet it
+is not impossible that these metals were transported from distant
+regions, as the inhabitants of Chiriqui must have had considerable
+intercourse with those of Central America on the north and with those of
+Granada on the south. Silver and tin are found in alloys with gold and
+copper, but not as independent metals. The silver gold alloy is probably
+a natural compound. In no case have I found silver to exceed 6 per cent.
+of the composite metal. Tin was artificially alloyed with copper,
+forming bronze. The latter metal resembles our ordinary bronze in color
+and hardness, but I am unable to secure more than a qualitative analysis
+on account of the scarcity of specimens available for the purpose. We
+have no information in regard to the origin of the tin. It is not found
+in a native state, and since it seems hardly probable that the
+Chiriquians understood smelting ores we are left in doubt as to whether
+it was obtained from more cultured nations to the north or to the south
+or from transoceanic countries.
+
+The gold-copper alloys appear to range between pure gold and pure
+copper. If the bronze is of European origin, then we must conclude that
+all objects made of that metal are of post-Columbian manufacture. This
+question will probably be definitely settled in the near future.
+
+The greater number of the objects were formed by casting in molds.
+Hammering was but little practiced, excepting, apparently, in the
+formation of sheet gold, which was probably an indigenous product.
+Repoussé work is not found, save as represented in the crimping and
+indenting of gold leaf. Engraving and carving were not practiced. It may
+be considered certain that gilding, or at least plating, was understood.
+
+The objects are obtained from ancient graves of which no record or
+reliable tradition is preserved. They are all ornaments, no coin,
+weapon, tool, or utensil having come to my notice. The absence of
+utensils and of hammered objects of any kind strikes me as being rather
+extraordinary, since it is popularly supposed that, in the normal
+succession of events, hammering should precede casting and that utensils
+should be made before elaborate ornaments.
+
+The work exhibits close analogies with that of the mainland of South
+America, but these analogies appear to be in material, treatment, and
+scope of employment rather than in the subject matter of the
+conceptions. The personages and zoömorphic characters represented are
+characteristically Chiriquian, and were derived no doubt from the
+mythology of the locality. These works affiliate with the various works
+in stone and clay, the art products of the province thus constituting a
+fairly homogeneous whole and being entirely free from traces of European
+influence.
+
+Metals do not come into use early in the history of a race, as they are
+not found in shapes or conditions suitable for immediate use, nor are
+they sufficiently showy when found to be especially desirable for
+ornaments. A long period must have elapsed before the use of metals was
+discovered, and a longer period must have passed before they were
+worked; and, in the light of our knowledge of the ancient tribes of the
+United States, it would seem that a considerable degree of culture may
+be achieved before the casting of metals is understood; but in the
+ordinary course of progress the discovery of methods of alloying rare
+metals would be far separated from that of the simple fusing and casting
+of a single metal, such as gold. The Chiriquian peoples not only had a
+knowledge of the methods of alloying gold with copper, and, apparently,
+copper with tin, but, if our data are correct, they were able to plate
+the baser metals and alloys with sheet gold, and, what is far more
+wonderful, to wash them with gold, producing an effect identical with
+that of our galvanic processes.
+
+The character of the conceptions embodied in the art unite with
+evidences of technical skill to prove to us that American culture, as
+represented by the metal ornaments of Chiriqui, was not the product of a
+day, but of long periods of experiment and progress.
+
+
+POTTERY.
+
+_Preliminary._--The importance of the potter’s art to archæology has
+often been pointed out. Baked clay is one of the most enduring materials
+utilized in art, and its employment by the races of men has fallen but
+little short of universal. The creations of that noblest of arts,
+architecture, and the antecedent forms of house building are necessarily
+left where erected, to be fed upon by the remorseless elements of
+nature, but the less pretentious utensil of clay accompanies its owner
+to the tomb, where it remains practically unchanged for ages.
+
+Many glimpses of the early history of the American races and of the
+progress of art in pre-Columbian times are obtained through these
+exhumed relics, and in no case have we a view more clear and
+comprehensive than that furnished in the series here presented. The
+graves of Chiriqui have yielded to a single explorer upwards of 10,000
+pieces of pottery, and this chiefly from an area perhaps not more than
+fifty miles square. These vessels constitute at least 90 per cent. of
+the known art of the ancient occupants of the province, and, although
+not so eloquent of the past as are the inscribed tablets of Assyria or
+the pictured vases of Greece, they tell a story of art and of peoples
+that without their aid would remain untold to the end of time.
+
+A careful study of the earthenware of this province leads to the
+conclusion that for America it represents a very high stage of
+development, and its history is therefore full of interest to the
+student of art. Its advanced development as compared with other American
+fictile products is shown in the perfection of its technique, in the
+high specialization of form, and in its conventional use of a wide range
+of decorative motives. There is no family of American ware that bears
+evidence of higher skill in the manipulation of clay or that indicates a
+more subtile appreciation of beauty of form, and no other that presents
+so many marked analogies to the classic forms of the Mediterranean.
+Strangely enough, too, notwithstanding the well established fact that
+only primitive methods of manufacture were known, there is a parallelism
+with wheel made ware that cannot but strike the student with amazement.
+
+In speaking thus of the whole body of ceramic products, I would not
+convey the impression that there is perfect homogeneity throughout, as
+if all were the work of a single people developed from within, and
+therefore free from the eccentricities that come from exotic influence.
+On the contrary, there is strong evidence of mixed conditions of races
+and of arts, the analysis of which, with our present imperfect data,
+will be extremely difficult. These evidences of mixed conditions are
+found in the marked diversity and individuality of character of the
+various groups of ware.
+
+It is impossible, without the aid of careful observations in the field,
+to arrive at any conclusion as to the relative age of the different
+varieties of ware. Appearances of age are deceptive; the newer looking
+varieties may be the older and those executed in the most primitive
+style may belong to the later period, for grades in culture are not
+chronologic.
+
+With reference to the principal groups of relics, we cannot do better
+than accept the statements of collectors that all are buried in like
+ways and in similar tombs, different varieties in many cases occurring
+in the same tomb. There are, however, in a few minor groups such marked
+distinctions in workmanship and style that we are compelled to attribute
+them to different periods or to distinct communities. The groups
+separated most completely from others are the scarified pottery
+presented first in the series of painted wares, the maroon group, which
+follows, and other varieties represented by fugitive pieces. The latter
+may have reached Chiriqui from neighboring provinces. There are certain
+pieces that speak decidedly of Costa Rican influence and others that
+find their counterparts in the Colombian states to the south.
+
+In art in clay in most countries the vessel is the leading idea, the
+center about which nearly the entire ceramic art is gathered. This is
+true in a marked degree in Chiriqui, and vessels are therefore given the
+first place in this paper. The less usual forms include drums, whistles,
+rattles, stools, spindle whorls, needlecases, and toy-like images, all
+of which present features of peculiar interest. These classes of objects
+are discussed in separate sections.
+
+There are few indications of an ambition to model natural forms or
+mythologic figures independently of utensils and useful objects, and,
+strange to say, no pieces are found that portray the human face and
+figure with even a fair degree of approach to nature.
+
+_How found._--In describing the graves and tombs in a previous section,
+I alluded to the manner in which the pottery was deposited. It appears
+to have been buried with the dead or thrown into the grave with the
+earth and stones with which the pit was filled. There was little
+regularity in the place or position of the vessels and many were broken
+when found. The precise use of the vessels, the character of the
+contents, or the relation of particular pieces to the remains of the
+dead cannot be determined. Although the human remains have almost
+entirely disappeared and there are no traces left of utensils of wood,
+bone, horn, or shell, the paste, slip, and colors are wonderfully well
+preserved and the surface is not even discolored by contact with the
+earth. When found, every crevice and cavity is completely filled with
+earth, and the paste is often so tender that the vessels have to be
+dried with great care before they can be handled with freedom. The
+number of pieces found in a grave sometimes reaches twenty, but the
+average is perhaps not above three or four.
+
+_Material._--The material used in the manufacture of this ware is
+remarkably uniform throughout the whole province, varying slightly with
+the locality, with the group, and with the character of the vessel
+constructed. Generally the paste consists of a matrix of fine clay
+tempered with finely pulverized sand, in which may be detected grains of
+quartz, feldspar, hornblende, augite, particles of iron oxide, &c.
+Argillaceous matter has been sparingly used, the sand in many cases
+comprising at least 75 per cent. of the mass. Many of the unpainted
+specimens, from which the polished slip has been removed, give off
+showers of fine sand when rubbed by the hand, and it is difficult to
+detect the presence of any finely comminuted matrix whatever. The thin
+slip employed in surface finish is more highly argillaceous than the
+paste. The clay used was probably mostly light in color, as the paste is
+now quite uniformly so. The baking was effected apparently without a
+very high degree of temperature and by methods that left few marks or
+discolorations upon the vessels. In hardness and durability the paste
+corresponds pretty closely with that of our red porous earthenware. The
+softer pieces can be scratched or even carved with a knife. Water will
+penetrate any of these vessels in a few minutes, but decay has probably
+tended to make the walls more porous.
+
+_Manufacture._--There is no piece of this ware that does not bear
+evidence of a high degree of skill on the part of the potter; and yet,
+owing to the thorough manner in which the work is finished, the precise
+methods of manipulation are not easily detected. So great is the
+symmetry and so graceful are the shapes that one is led to suspect the
+employment of mechanical devices of a high order. The casual observer
+would at once arrive at the conclusion that the wheel or molds had been
+used, but it is impossible to detect the use of any such appliances. We
+observe that irregular and complex forms, in the production of which
+mechanical appliances could not be used to advantage, are modeled with
+as much grace of contour and perfection of surface as are the simpler
+shapes that could be turned upon a wheel, and we conclude that with this
+remarkable people the hand and the eye were so highly educated that
+mechanical aids were not indispensable. I find no evidence that coil
+building was systematically practiced, but it is clear that parts of
+complex forms were modeled separately and afterwards united. The various
+ornaments in relief (the heads and other parts of animals) and the
+handles, legs, and bases of vessels were constructed separately and then
+luted on, and with such skill that the thinnest walls and the most
+complex and delicate forms were not injured in the process. The contact
+irregularities were then worked down, and every part of the surface,
+including the more important ornaments, were rendered smooth,
+preparatory to the application of the thin surface wash or slip. After
+the slip was applied and the clay became somewhat indurated, the surface
+was polished with smooth pebbles, the marks of which can be seen on the
+less accessible parts of the vessel. On the exposed surfaces of certain
+groups of ware the polish is in many cases so perfect that casual
+observers and inexperienced persons take it for a glaze. Incised figures
+and painted decorations were generally executed after the polishing was
+complete. Details of processes will be given as the various classes of
+ware pass under review.
+
+The methods of baking were apparently of a higher order than those
+practiced in many parts of America. One rarely discovers traces of the
+dark discolorations that result from primitive methods of baking, yet
+there are none of the contact marks that arise from the furnace firing
+of Spanish-American potters.
+
+_Color._--The colors of the ware and of the surface applications vary
+decidedly with the different groups. The prevailing colors of the paste
+may be defined as ranging from very light yellow grays to a variety of
+ochery yellows and very pale terra cotta reds. In one or two groups
+there is an approach to salmon and orange hues, and in another the color
+is black or dark brown. The color within the mass is in some cases
+darker than upon the surface, an effect produced in baking, and not
+through the use of different clays. The slip is usually lighter than the
+surface of the paste.
+
+The colors used in finishing and decorating are confined to reds,
+blacks, and purple grays. In one large group of ware the appearance of
+the delineations is such as to lead to the conclusion that the principal
+pigment or fluid employed in delineation has totally disappeared,
+carrying with it all underlying colors not of unusual permanence or not
+worked down with the polishing implement. The Aztec and other races of
+tropical America used an argillaceous, white pigment in decorating their
+wares, which has in many cases partially or wholly disappeared, carrying
+away considerable portions of the colors over which it was laid, while
+in other cases, and also in this Chiriqui ware, there is no trace of
+color remaining and we are left to surmise that the brush used probably
+contained merely a “taking out� medium. Red was profusely used and
+varies from a light vermilion to a deep maroon. In certain classes of
+vessels it was hastily daubed on, covering prominent parts of the
+surface or forming irregular spots, streaks, and rude figures. In two
+groups of ware it was used as the chief delineating color. In some cases
+it was employed as a wash or slip and was worked down with the polishing
+stone, and in this condition it was treated as a ground upon which to
+execute designs in other colors. It is always a fast color and is
+probably of mineral character.
+
+The blacks are of two kinds, which are used in distinct groups of ware:
+one, probably a mineral pigment, somewhat pasty when applied and quite
+permanent, is always used in delineating the ornamental figures; the
+other, possibly a vegetable tint, is always used as a ground upon which
+to execute designs in other mediums. It is confined to a single group of
+ware. It has in many cases disappeared entirely, and where remaining can
+be removed with ease by rubbing.
+
+A light purple tint is tastefully and sparingly employed in one group of
+ware. Browns and other hues occur but rarely and in all cases result
+from alterations of other colors produced in firing. The color effects
+of this pottery, although evidently much modified by age, are
+sufficiently rich to be highly pleasing to the eye.
+
+_Use._--The uses to which most classes of earthen products were applied
+are easily determined. Whistles, drums, rattles, and spindle whorls have
+definite duties to perform, and vessels, as to general scope of
+function, answer for themselves: but when we come to inquire into the
+particular uses of the various groups of vessels we are often at a loss.
+The majority of the pieces show no abrasion by handling or discoloration
+by fire or by contents, and I am inclined to believe that a large
+portion were taken directly from the furnace and deposited in the tombs.
+This implies manufacture for purely mortuary purposes.
+
+Two important groups, the high tripods and the two handled cups or pots,
+are generally discolored by use over fire, but we cannot say with
+confidence whether that use was a domestic one or whether it was
+ceremonial. The small size and the elaborate modeling of a majority of
+the pieces make it appear improbable that they were intended for use in
+ordinary cooking or even in the preparation of beverages. A few large
+plain caldrons are found, and these were probably domestic receptacles.
+All things considered, it would seem highly probable that the greater
+portion of the vessels exhumed from the graves were intended to be used
+for religious and mortuary purposes.
+
+The preceding paragraphs refer, for the most part, to the whole body of
+earthenware products, but throughout the rest of this section I shall
+treat of vessels only, except in the matter of decoration, which refers
+equally to all classes of objects.
+
+  [Illustration:
+  _a, b, c, d, e, f_
+  Fig. 45. Fundamental forms of vases--convex outlines.]
+
+  [Illustration:
+  _a, b, c, d, e_
+  Fig. 46. Fundamental forms of vases--angular outlines.]
+
+  [Illustration:
+  _a, b_
+  Fig. 47. Vases of complex outlines--exceptional forms.]
+
+_Forms of vessels._--Divesting the utensil of extraneous features, such
+as rims, handles, and legs, we have the following series of shapes,
+which shows a pretty full graduation of outline from extreme to extreme.
+Beginning with the simplest fundamental form, the shallow cup (Fig. 45,
+_a_), we ascend gradually to more complex outlines, such as are seen in
+the hemispherical bowl (_b_), the deep basin with slightly incurved rim
+(_c_), the globular form (_d_), and the elongated form (_e_).
+Occasionally we see an eccentric variation, such as is shown in _f_.
+Flat bottoms are unusual; a conical base is the rule. Outlines do not
+always exhibit these even, convex curves, but many are straight or
+concave in profile, as shown in Fig. 46. Complex forms are shown in
+Fig. 47, _a_ and _b_, and compound forms in Fig. 48, _a_ and _b_.
+Examples of these classes are numerous and important. The compound
+shapes result from the union of two or more simple forms. Eccentric
+forms are numerous and result in a majority of cases from the employment
+of some animal as a model. Thus, if an alligator or almost any quadruped
+is embodied in the vessel, the form tends to become elongated; if a crab
+or a fish is imitated, there is a tendency to flatness &c. The base is
+almost universally more or less conical, is rarely flat, and never
+concave, excepting as the result of the addition of an annular foot or
+stand. The radical shapes do not undergo any considerable change when
+rims, necks, handles, legs, and other appendages are added. The rim or
+lip is in many cases incurved, but as a rule it is turned outward. The
+margin is plain, symmetrical, and often considerably thickened. In a few
+instances the outline is rectangular or scalloped, as shown in Fig. 49,
+and the attachment of handles often leads to peculiar outlines, as will
+be seen further on.
+
+  [Illustration:
+  _a, b_
+  Fig. 48. Vases of compound forms.]
+
+  [Illustration: Fig. 49. Square lipped vessel.]
+
+  [Illustration:
+  _a, b, c, d_
+  Fig. 50. Variations in the forms of necks and rims--various groups
+  of ware.]
+
+The neck in its simplest form is a narrow upright band surrounding the
+orifice (Fig. 50, _a_) and is not differentiated from the rim.
+Variations in size and shape are shown in the remaining figures of the
+series. In _b_ it is a narrow constricted band beneath an overhanging
+rim, in _c_ it is upright and considerably elongated, and in _d_ it
+expands, giving a funnel shaped mouth. The exterior surface is very
+generally decorated with relieved or painted devices. High necked
+bottles and pitcher shaped vessels are unknown.
+
+  [Illustration:
+  _a, b, c, d, e, f_
+  Fig. 51. Arrangement of handles--various groups of ware.]
+
+Handles constitute a very interesting feature of this pottery and are
+much varied in shape and arrangement. In a few cases the handle is a
+single arch springing over the orifice, as seen in Fig. 51, _a_. Again,
+the handle is attached to one side, as in _b_, but as a rule handles
+occur in twos upon the shoulder, one on either side of the aperture.
+They are horizontally attached, as in _c_, or vertically placed, as in
+_d_, connecting the rim with the shoulder, or they occur low on the
+body, as in _e_. In rare cases there are four handles, which are
+arranged as seen in _f_ or are set on in pairs. In the elaboration of
+handles, the use made of animal forms is perhaps the most notable
+feature. Grotesque figures are made to take the place of handles or are
+attached to or placed near them. The treatment is so varied that I shall
+have to refer the student to the subsequent series of illustrations.
+
+Annular bases or feet were not in very general use in Chiriqui, although
+in some cases they are modeled with a great deal of grace. The shape
+varies from a simple ring, barely deep enough to give a firm support to
+the vessel when placed upon a level surface, to a long, attenuated
+column with flaring base. The latter is perhaps one of the nearest
+approaches which America has furnished to the slender foot
+characteristic of the wheel made ware of Mediterranean countries.
+
+  [Illustration:
+  _a, b, c, d_
+  Fig. 52. Types of annular bases or feet--various groups of ware.]
+
+  [Illustration:
+  _a_ Biscuit ware.
+  _b_ Biscuit ware.
+  _c_ Tripod group.
+  _d_ Red line group.
+  Fig. 53. Forms of legs--various groups of ware.]
+
+The vessel shown in Fig. 52, _a_, has a somewhat rudimentary foot;
+another, _b_, a firm, wide base, which is perforated to give lightness;
+an hourglass-like piece is shown in _c_, and a long, bell shaped foot is
+seen in _d_. In no part of the world do earthen vessels exhibit such a
+remarkable development of legs as in Southern Central America. The
+tripod is the favorite support, and in Chiriqui the forms are more
+graceful than in the neighboring provinces. In a few cases, where the
+body was modeled in close imitation of animal forms, four legs were
+used, but three were generally preferred, even for vessels of
+rectangular or irregular shapes. In the simplest form they are small
+conical knobs, placed rather close together about the base of the vessel
+(Fig. 53, _a_), but from these the dimensions increase until the size is
+out of all reasonable proportion. The maximum development in point of
+expansion is seen in _b_ and the greatest height in _c_. They are
+frequently modeled after life forms. In a few cases rings or loops are
+employed, as shown in _d_. The larger forms, and especially those
+imitating animals, are hollow and contain round pellets of clay that
+rattle when the vessel is moved. The manner in which the legs are
+attached to the body of the vessel leads me to observe that the vessel
+is independently a perfect utensil, and that in all probability the
+tripod was a feature acquired late in the progress of Chiriquian
+culture, as a result of some change in the surroundings of the people or
+in the uses to which the vessel was devoted. Annular bases and tripods
+would be of little use until level floors of unyielding material came
+into vogue.
+
+_Decoration._--In decoration the pottery of this province exhibits many
+remarkable features. The work resembles somewhat closely, in a number of
+its features, that of certain districts lying to the north and to the
+south, but at the same time it is possessed of very decided
+individuality. From an examination of the designs I conclude that they
+represent a period of culture considerably inferior to that of some more
+northern sections, although the ware itself is nowhere surpassed in
+grace of form and delicacy of finish.
+
+The ornamentation is pretty evenly divided between plastic and flat
+forms. The former include relieved features and intaglio features, which
+are executed in the plastic clay, and the latter comprise figures in
+color, penciled or painted upon the surface. Each style of work embodies
+its own peculiar class of conceptions. Relief work is generally
+realistic or grotesque; incised work is almost exclusively geometric,
+and embraces combinations of lines usually recognized as archaic. An
+occasional example is easily recognized as imitative. Painted figures
+are both geometric and imitative, the two forms blending imperceptibly.
+
+The more important plastic decorations consist of animal forms modeled
+in the round. Vegetable forms have not been employed. Fillets of clay
+imitating twisted cords are sparingly used in the decoration of necks
+and handles, and rows and groups of small nodes are similarly employed.
+The human figure is always treated in a conventional and usually in a
+grotesque manner. The animals imitated include a very large number of
+species. Crocodiles, pumas, armadillos, monkeys, crabs, lizards,
+scorpions, frogs, and fish appear very frequently. Many of the animals,
+owing to conventional treatment or to carelessness on the part of the
+modeler, are difficult of identification. These plastic forms occur in
+nearly all the groups of ware, and similar forms are found to a limited
+extent in gold, copper, and stone, as will be seen by reference to the
+illustrations already given. Their study will, I believe, give some
+insight into the mental characteristics of the Chiriquians. That their
+art, so far as these figures are concerned, was not serious is indicated
+by the sketchy, unsystematic nature of the work, and more especially by
+the grotesque and occasionally amusing representation of men and
+animals.
+
+The figures are usually placed upon the shoulder of the vessel or are
+attached to the legs and handles or form part of them. The favorite
+subjects are doleful little figures, human or partly so, fixed upon the
+vessel in a sitting posture, with legs and arms doubled up, and with
+expressions which appear to indicate a variety of exaggerated emotions
+(Figs. 54, 55, 56).
+
+  [Illustration:
+  Fig. 54.
+  Fig. 55.
+  Fig. 56.
+  Grotesque figures forming the handles of small vases--terra cotta
+  group.]
+
+  [Illustration:
+  Fig. 57.
+  Fig. 58.
+  Monstrous figures, with serpent-shaped extremities--handled group.]
+
+  [Illustration:
+  Fig. 59.
+  Fig. 60.
+  Fig. 61.
+  Grotesque figures--terra cotta group.]
+
+  [Illustration: Fig. 62. Figure of monkey--terra cotta group]
+
+  [Illustration:
+  Fig. 63.
+  Fig. 64.
+  Figures of monkeys--terra cotta group.]
+
+The exuberance of fancy often found vent in the production of
+monstrosities, such as are seen in Figs. 57 and 58, in which the arms
+and legs of the figures are writhing serpents, the faces expressing
+great agony; in other cases the figures are double; and again two bodies
+united at the waist have but one pair of legs. An unusually grotesque
+creature is seen in Figs. 59 and 60, and another is given in Fig. 61.
+Similar figures are worked in gold, one of which is now worn as a charm
+by Mr. J. B. Stearns. Figures of monkeys are shown in Figs. 62, 63, and
+64. One creature, represented as having a long, trunk-like snout, recurs
+frequently. Such a form discovered in the earlier days of archæologic
+investigation would probably have given rise to many surmises as to the
+contemporaneous existence of man and the elephant in Chiriqui. In
+reality the original was probably some unassuming little inhabitant of
+the isthmian jungles. This creature is shown in profile in Fig. 65, _a_,
+and front views are given in _b_ and _c_. Innumerable examples,
+embracing most of the more important animals of Chiriqui, could be
+given, but in a majority of cases identification is difficult or
+impossible, as there has been little or no effort to reproduce nature
+with fidelity. But the chief interest surrounding these figures is not
+found in the variety of creatures shown or in the character of the
+delineation, but in the manner of their employment in the embellishment
+of ceramic forms. The ancient potter must have possessed a keen sense of
+grace of form and of the proper adjustment of parts. The most cultured
+taste could hardly improve upon the lines of the vases presented in
+Figs. 66 and 67, which employ the frog, and in Figs. 68 and 69, in which
+other creatures are used. Many equally pleasing examples are illustrated
+further on. The question very naturally arises as to whether these
+little figures had any meaning or performed any function aside from that
+of simple decoration. I feel inclined to take the view that in their
+present condition they are survivals of ideographic originals; that if
+their past could be unveiled we would find that in the primitive ages
+they were not exclusively employed for ornament. The animals made use of
+originally were the embodiment of mythologic conceptions, and their
+images were revered or served as fetiches or charms, and because of this
+they came to have a permanent place in art. They were applied to the
+vessel because its office had reference to them or because they were
+thought to have a beneficial effect upon its functions. It is evident
+that their employment was governed by well established rules and that
+they occupied places and occurred in numbers and relations not wholly
+dependent upon the judgment of the individual potter. We may suppose
+that they occur in twos because the handles with which they were
+associated occurred in twos; or, if they serve to take the place of the
+extremities of the animal forms in the semblance of which the vases were
+originally modeled, their positions may be related to the original
+positions of the heads and tails of those forms. It is not improbable
+that the conventional incised and relieved ornaments, the meanders,
+nodes, and varied marks refer also to the creatures or the markings of
+the creatures with which the vessel was associated.
+
+  [Illustration: Fig. 65. Animal forms exhibiting a long
+  proboscis--handled group.]
+
+  [Illustration:
+  Fig. 66.
+  Fig. 67.
+  Vases illustrating ornamental use of animal figures--terra cotta
+  group.]
+
+  [Illustration:
+  Fig. 68.
+  Fig. 69.
+  Vases illustrating ornamental use of animal figures--terra cotta
+  group.]
+
+It will be seen, from the above remarks, that we cannot fully determine
+to what extent these ancient decorators followed the traditional
+pathways of early ideographic usage or how much they were governed by
+those powers of esthetic discrimination known to us as taste.
+
+
+UNPAINTED WARE.
+
+For convenience of description I separate the pottery of Chiriqui into
+two grand divisions: the _unpainted_ ware and the _painted_ ware. Two
+important groups come under the first head. The first of these, the
+terra cotta or biscuit ware, comprises a larger number of pieces than
+any other group and is readily distinguished by its colors, which
+include only the pale grayish yellow and reddish tints of the burned
+clay. The second is limited to a small number of pieces and is black or
+very dark upon the surface and dark within the mass.
+
+_The terra cotta group._--This biscuit-like pottery is not in any way
+inferior to the painted varieties. It bears evidence of great freedom in
+handling, and serves, perhaps better than any other class of products,
+to illustrate the masterly skill and the refined taste of the ancient
+potter. It is said to occur in the same cemeteries and in the same
+graves with the more important varieties of painted ware. The function
+of these handsome vessels cannot be determined. It can hardly have been
+of a domestic nature, as they show no evidences of discoloration or
+wear, and we are left to speculate upon the possibility of a purely
+ceremonial use. The paste is moderately fine, but contains an extremely
+large share of gritty sand; the slip is thin and has received but a
+slight degree of polish, so that the surface has a dead, somewhat
+granular effect. As a rule the vases are of small size and are very thin
+walled. The forms are symmetrical and exceptionally graceful. The
+ornamentation includes incised figures (mostly geometric), raised
+decoration (of similar character), and animal forms in the round. The
+following illustrations are intended to epitomize the multitude of
+forms, as anything like a complete representation is out of the
+question.
+
+  [Illustration: Fig. 70. Series of bowls and cups of unpainted ware.]
+
+Bowls, which form a leading feature of the pottery of most primitive
+peoples, are here rarely seen, excepting as mounted upon tripods or
+annular bases. There are in the collection a number of small cups of
+hemispherical shape that may have served as spoons, ladles, or drinking
+vessels. A few of these are outlined in Fig. 70. Two have minute
+projections resembling handles affixed to the rim. In rare cases these
+are so prolonged as to be of service in handling the cup; but in no
+instance is there an approach to the long cylindrical handles seen in
+the earthenware of other districts.
+
+  [Illustration: Fig. 71. Vase of graceful form--½.]
+
+  [Illustration: Fig. 72. Vase of graceful form--½.]
+
+  [Illustration: Fig. 73. Vase of fine form, ornamented with grotesque
+  heads--½.]
+
+In following the form scale upward from these simple shapes we find the
+orifice becoming more constricted and the neck more pronounced. The
+margins are upright, incurved, or flaring, and give variety and grace to
+the outlines. A tendency toward elaboration of ornament accompanies the
+development of form. Bands of incised or relieved figures are carried
+around the neck, shoulder, and handles and are added in such a way as
+greatly to enhance the beauty of the vessel. The forms of these vessels
+are so graceful and the finish is so perfect that one is tempted to
+present an extended series, but it will be necessary to confine the
+illustrations to a limited number of type specimens. Fig. 71 shows a
+somewhat shallow form of great simplicity and grace. That in Fig. 72 is
+deeper, with a narrow neck and a more decidedly conical shape. Two
+minute grotesque figures are perched upon the shoulder. Fig. 73
+represents a larger vessel of good form, which has a neat incised
+pattern encircling the slightly incurved neck. Grotesque heads are set
+upon the shoulder. A form somewhat more refined is shown in Fig. 74. The
+neck is furnished with a relieved ornament, consisting of a meandered
+and indented fillet, accompanied by two rows of minute indented nodes.
+The heads are probably intended to represent the armadillo. They are
+hollow and contain movable pellets. The fillet ornaments are always
+tastefully treated, and in many cases represent twisted and plaited
+cords. Some are marked in herring bone fashion and others have
+transverse indentations. Small pellets of clay were much used and to
+excellent advantage. They were set on lightly with the fingers and
+firmly pressed down with minute pointed or edged tools and hollow straws
+or reeds (Figs. 75 and 76). Some of these nodes are finished to
+represent the heads of animals. This is done with an ease and a
+simplicity that call forth our admiration (Fig. 77).
+
+  [Illustration: Fig. 74. Vase of fine form, ornamented with grotesque
+  heads--½.]
+
+  [Illustration: Fig. 75. Vase with ornaments of applied nodes and
+  fillets--½.]
+
+  [Illustration: Fig. 76. Vase with mantle covered with incised
+  figures--½.]
+
+  [Illustration: Fig. 77. Vase with frieze of grotesque heads--½.]
+
+Fig. 78 illustrates a series of vases having flaring rims, the treatment
+otherwise being uniform with the preceding. We notice in these vessels a
+decided tendency towards complexity of outline. Three examples, shown in
+Fig. 79, have a two storied character, the upper part possibly being the
+outgrowth of the collar ornament seen in so many cases. The large
+specimen in the center is a handsome piece with square offset at the
+shoulder and a decidedly conical base. A chaste ornament in relief
+encircles the neck and two grotesque figures are seated upon opposite
+sides of the shoulder. The vase at the left has two orifices, set wide
+apart. The body is oblong and slightly flattened above. There are a
+number of vessels of this conformation in the collection, some of which
+have the mouths so close together that the margins or lips coalesce in
+part. A superb specimen of this class is illustrated in Fig. 80. The
+shape is thoroughly satisfactory to the eye, having a refinement of line
+rarely attained in native American work. Its symmetry suggests the use
+of the wheel, but the closest examination fails to detect a trace of
+mechanical appliance, save that left by the polishing stone. The
+decoration is simple and effective, consisting of minute nodes with
+annular indentations about the necks and of two grotesque figures,
+placed with consummate taste in the angles formed by the contact of the
+two necks.
+
+  [Illustration: Fig. 78. Vases with flaring rims and varied
+  ornament--â…•.]
+
+  [Illustration: Fig. 79. Vases with complex outlines and varied
+  ornament--â…“.]
+
+  [Illustration: Fig. 80. Large vase with two mouths and neatly
+  decorated necks--½.]
+
+  [Illustration: Fig. 81. Large vase with high handles--â…“.]
+
+A very small percentage of these vessels possess true handles, but
+these, in some of the examples, are worthy of high admiration. The
+specimen presented in Fig. 81 attracts attention at once on account of
+its resemblance to well known classic forms. It is evident, from a study
+of this piece, that only a step more was necessary to place these
+potters alongside of the highest masters of the art. The sharp high
+elbow and the broadening of the handles at their junction with the lip
+are notable features. The latter is shown more satisfactorily in
+Fig. 82, which is a top view of a companion piece. I wish to call
+attention here to a peculiar feature of these handles and one repeated
+in vessels of other classes. At the elbow of each handle we find a
+device in relief marked with herring bone indentations that would seem
+to represent a kind of textile attachment, as if, at some previous time
+and perhaps in an antecedent form of vessel, the upright and horizontal
+parts of the handles had been stitched or tied together at this point.
+Yet it is by no means certain that this feature is not the survival of
+some feature of an animal form into the semblance of which, as seen in
+other examples, this feature has a tendency to graduate.
+
+  [Illustration: Fig. 82. Top view of high handled vase--â…“.]
+
+  [Illustration:
+  Fig. 83.
+  Fig. 84.
+  Fig. 85.
+  Examples of handled vases--½.]
+
+These vessels are not numerous, but acquire importance from their large
+size, the larger being upwards of eight inches in height. A few pieces
+of nearly identical shape, but of small size, are found among the
+painted wares. Additional shapes are given in Figs. 83, 84, and 85, and
+serve to illustrate the extent of variation exhibited in this group of
+vases. The small shallow piece is exceptionally fine and the handles are
+furnished with animal features of a highly conventional type. An
+expansion of the handles somewhat similar to this is frequently seen in
+vessels of other classes, especially in those of the handled group.
+
+  [Illustration:
+  Fig. 86.
+  Fig. 87.
+  Small cup with single handle ornamented with grotesque figure--½.]
+
+Single handles of like character occur in a number of cases upon minute
+cups, an example of which is given in Fig. 86. It would seem that
+possibly in such cases the rim had been expanded and prolonged for the
+purpose of giving support to the animal figures with which the shoulders
+were embellished. The expansion is probably the outgrowth of the use of
+animal figures in connection with simple handles.
+
+  [Illustration: Fig. 88. Vase of eccentric form--½.]
+
+We have a number of vessels of this group the bodies of which imitate
+animal forms, but they are in nearly all cases furnished with legs.
+Rarely we meet with compound or eccentric forms. An interesting specimen
+of the latter class is seen in Fig. 88. Such shapes are common in Peru
+and are occasionally met with in Central America. The two strong handles
+are decorated with minute images of birds and the bottom is concave, an
+exceptional character in Chiriquian work.
+
+The illustration of this group of vessels would not be complete without
+a series of tripod vases. In shape of body these vases differ but little
+from the legless forms already given, excepting where the use of life
+forms has led to eccentric modifications. Very great interest attaches
+to the modeling of the tripod supports, upon which the potters have
+expended much time and ingenuity.
+
+  [Illustration:
+  Fig. 89.
+  Fig. 90.
+  Vessels illustrating forms of legs--½.]
+
+  [Illustration: Fig. 91. Vessel with large legs ornamented with
+  stellar punctures--½.]
+
+  [Illustration: Fig. 92. Vases of varied form with plain and with
+  animal shaped legs--â…“.]
+
+The illustrations given herewith are chosen from a great number of
+examples and are intended to convey an idea of the range of forms, both
+of the vessels and of their supports. Figs. 89 and 90 show plain forms
+of legs, all of which are hollow and contain small pellets of clay. The
+openings are generally wide vertical slits, and are placed in front, as
+seen in Fig. 89, or in the side, as in Fig. 90; but in exceptional cases
+they take other shapes and are scattered over the surface, as seen in
+Fig. 91. The legs are often remarkable in form, being swollen to an
+enormous size above and terminating in small rounded points below. The
+bowls are symmetrically shaped and graceful in outline. In Fig. 92 I
+present a group illustrating some of the more eccentric forms of bowls
+and a variety of their supports. A very superior piece and one of the
+largest of this style is shown in Fig. 93.
+
+  [Illustration: Fig. 93. Large vase of striking shape--½.]
+
+  [Illustration: Fig. 94. Cup with legs imitating animal forms--½.]
+
+It will be seen that in a number of cases the legs are modeled to
+represent animal forms. This feature is brought out more clearly in
+succeeding figures. The creatures represented are often grotesque, as
+seen in Figs. 94 and 95. The human form is rarely shown in a way to make
+it clearly distinguishable from the figures of monkeys and other
+animals. The armadillo is a favorite subject. An example of small
+dimensions is illustrated in Fig. 96, in which this animal is given in
+characteristic style, and a more pretentious piece is shown in Fig. 97.
+The characteristics of the creature are very simply but graphically
+expressed. In the first the hard ribbed and figured case is represented
+by applied fillets and nodes, and in the other by incised lines. The
+frog is also much used (Fig. 98). A rather remarkable conception is
+illustrated in Fig. 99. Upon the front of each leg is a curious little
+animal-like figure, to the front of which are bound two minute infantile
+creatures. In the piece presented in Fig. 100, the legs are grotesque
+heads, inverted, with wide open mouths and glaring eyes. The work upon
+this vase is very superior.
+
+  [Illustration: Fig. 95. Cup with legs imitating a grotesque animal
+  form--½.]
+
+  [Illustration:
+  Fig. 96.
+  Fig. 97.
+  Cups with legs imitating the armadillo--½.]
+
+  [Illustration: Fig. 98. Cup with frog shaped legs--½.]
+
+  [Illustration: Fig. 99. Cup with legs imitating an animal and its
+  young--½.]
+
+  [Illustration: Fig. 100. Cup supported by grotesque heads--½.]
+
+The remarkable specimen illustrated in Fig. 101 is furnished with unique
+supports. Two rudely modeled, semihuman, grotesque figures are affixed
+to the under surface of the bowl, supporting it with their backs.
+
+  [Illustration: Fig. 101. Large cup supported by two grotesque
+  figures--â…“.]
+
+  [Illustration: Fig. 102. Cup with two animal heads attached to the
+  sides--¼.]
+
+  [Illustration: Fig. 103. Cup with two animal heads attached to the
+  sides--¼.]
+
+The legs of these figures are spread out horizontally, so that a firm
+support is obtained. The periphery of the body of this vessel is
+encircled by a number of nodes and noded projections, which represent
+the heads, tails, and spines of two crab-like animals. The heads, with
+arms attached, appear at the right and left, and the tails occur at the
+front and back just over the heads of the supporting figures. The use of
+the crab in this way is quite common. Fish, birds, and a variety of
+quadrupeds are similarly treated. Some very interesting examples of
+double headed animal vases are found. Two of these are outlined in Figs.
+102 and 103, the first having a single orifice and the second a pair of
+orifices. In many cases the bowl of the vessel is considerably modified,
+to give a more decided resemblance to the body of the creature. This is
+well shown in Figs. 104-106. The first is probably intended for a bird:
+the second resembles an armadillo; and the third portrays a creature
+with ears and three horns. The oblong vessel shown in Fig. 107 is
+modeled after a curious fish, to which the Chiriquians seem to have
+attached considerable importance. It is represented with a wide mouth
+displaying teeth, two spines or horns upon the end of the snout, and
+fins upon the back and sides. Fig. 108 gives the top view of another
+fish vase, which is supported, as are the others, by three legs. The
+body is flat and is encircled by well modeled fins. The head is rather
+flat and has the eyes and nose on the upper surface. I close this series
+of illustrations with an outline of a fine vase (Fig. 109) the rim of
+which is decorated with a single head of extremely grotesque and
+repulsive character.
+
+  [Illustration: Fig. 104. Vase imitating an animal form--â…“.]
+
+  [Illustration: Fig. 105. Vase imitating an animal form--â…“.]
+
+  [Illustration: Fig. 106. Vase shaped to imitate an animal form--â…“.]
+
+  [Illustration: Fig. 107. Fish shaped vessel--â…“.]
+
+  [Illustration: Fig. 108. Top view of a fish shaped vessel--â…“.]
+
+  [Illustration: Fig. 109. Cup with grotesque head attached to the
+  rim--½.]
+
+_Black incised group._--This pottery, although closely related to the
+other varieties in its leading features, presents differences of a
+pronounced character. The number of specimens recovered is rather small.
+The largest piece has a capacity of perhaps a quart. Some of the forms
+are identical with those of other groups, but a few are peculiar to this
+ware. The color is black, brown, or dark gray, and in most cases the
+entire mass is quite dark. The decoration is executed in two somewhat
+distinct styles: in one the lines were scratched or engraved
+subsequently to the hardening of the clay; in the other they were deeply
+engraved with a sharp point while the clay was still moist. The lines
+are usually very deep and are filled with a white substance which
+renders the pattern distinctly visible upon the surface. It seems
+probable that the lines were engraved deeply with the intention of
+producing this effect. Type specimens are shown in Figs. 110 and 111.
+They are small globular bottles, with short necks and wide apertures and
+with handles placed at opposite sides of the lip, which is prolonged to
+meet them. The design covers a large part of the body and is separated
+into two parts by the handles and the undecorated panels that descend
+from them. The figures appear to be very highly conventionalized animal
+forms, probably serpents. The coiled ends of the ribbon-like dotted
+bands are evidently meant to suggest the heads of reptiles. The figures
+assume a variety of shapes and grade by degrees from the recognizable
+life forms into purely geometric patterns. Examples of the latter style
+are given in Figs. 112 and 113. The motives employed, although so
+conventionally treated, are pretty certainly identical in origin with
+the preceding.
+
+  [Illustration:
+  Fig. 110.
+  Fig. 111.
+  Black cups with incised reptilian figures--½.]
+
+  [Illustration: Fig. 112. Black vase with conventional incised
+  pattern--½.]
+
+There are a number of tripods in this group, some of which have the
+deeply incised ornaments and others the shallow ones. The shapes vary
+greatly, a few examples being decidedly Costa Rican in type. Pieces with
+round bodies have conical legs, like much of the Chiriquian ware, but
+those with shallow basins and angular, incurved, upright, or flaring
+rims have the Costa Rican tripod. Figs. 114 and 115 may serve to
+illustrate this variety. The first is a cup, with upright sides and
+thick rim, having an incised geometric pattern. The second is much more
+striking in appearance. The surface color is brownish gray in hue and
+the simple geometric design was scratched through into the lighter color
+beneath after the clay hardened. The legs represent the heads of animals
+conventionally treated and are hollow, containing movable pellets. This
+specimen is from latitude 8° 42´ north, longitude 82° 52´ west. Others
+of this class come from different parts of the province.
+
+  [Illustration: Fig. 113. Small cup with conventional incised
+  patterns--½.]
+
+  [Illustration: Fig. 114. Small tripod cup with upright walls and
+  legs imitating animal heads--½.]
+
+  [Illustration: Fig. 115. Vase with flaring rim and legs, imitating
+  animal heads--½.]
+
+To this class belongs also a small dark vase of peculiar shape and
+interesting decoration, which is illustrated in Fig. 116. The neck is
+large and the lip widely flaring, and the body is modeled in imitation
+of the head of some animal, possibly a peccary. The side representing
+the face is prolonged, giving an unsymmetric profile, as seen in the
+second figure. The eyes are set midway between the ears (which are
+placed at the sides) and the nostrils, and are inclosed by curious
+engraved figures, probably suggested by the markings of the animal
+portrayed. An arched ridge, representing the brows, connects the bridge
+of the nose with the ears. The most novel feature of this piece is the
+band of incised ornament that crosses the back of the head and serves
+probably to carry out the idea of the complete creature. As will be seen
+by reference to the figure, it is a guilloche-like interlacing of
+fillets, bordered and apparently held in place by longitudinal bands,
+beyond which the angles of the ornament project. The pattern is a
+modified form of one commonly seen upon the margins of the larger stone
+metates, and, although rarely met with in the pottery of Chiriqui, was a
+favorite motive with the potters of Costa Rica. This vessel comes from
+30 miles north-northwest of David.
+
+  [Illustration: Fig. 116. Vase modeled to resemble the head of an
+  animal--½.]
+
+  [Illustration: Fig. 117. Pattern upon the back of the vase presented
+  in Fig. 116.]
+
+The unpainted wares here so briefly described are typically Chiriquian,
+and are closely associated in the graves with most of the leading groups
+of art products of the province. It must be allowed that they take first
+rank in the isthmian states, if not in America, for simplicity and
+refinement of form, perfection of method, and purity of style.
+
+
+PAINTED WARE.
+
+The painted vases of Chiriqui embrace at least ten easily distinguished
+varieties of ware. The characters upon which the classification is based
+are somewhat heterogeneous and include material, color, shape, finish,
+ornamentation, method of manufacture, and evidences of use. No single
+character and no one group of characters can be relied upon to
+distinguish the different groups. We must depend, therefore, upon an
+assemblage of characters or upon one character in one place and another
+in another place. Observing a number of striking differences in two
+groups of ware, we arrive at the conclusion that these groups must have
+been the work of distinct communities; yet we find very marked
+differences in wares that (through the possession in common of some
+particular feature) we know to be the work of the same hands. We can,
+therefore, determine little in regard to the peoples concerned.
+
+I do not consider the presence in a single grave of two or more
+varieties sufficient proof of their common origin, for a number of
+distinct wares may come into the possession of one community through
+trade, conquest, or the spoliation of tombs; but a constant recurrence
+together of the same forms affords strong evidence that the objects were
+the work of the people with whom they were buried. Unfortunately our
+observations in the field are not sufficiently accurate to enable us to
+utilize associations or methods of occurrence in the graves as a means
+of classification.
+
+The following classification is, under the circumstances, the best that
+I can devise, and is of use mainly as a means of facilitating
+description. The name chosen generally indicates a leading or striking
+characteristic of the group.
+
+The _scarified_ group, separated widely from all other varieties.
+
+The _handled_ group and
+
+The _tripod_ group, apparently the work of one community and devoted to
+the same or similar uses.
+
+The _maroon_ group;
+
+The _red line_ group;
+
+The _white line_ group;
+
+The _lost color_ group;
+
+The _alligator_ group; and
+
+The _polychrome_ group, no two of which are sufficiently alike to make
+it certain, without extraneous evidence, that they were manufactured by
+the same community, yet all clearly belonging to one great family.
+
+These groups are presented in the order given.
+
+Before proceeding with the descriptions, however, there are some matters
+of a general nature that should be referred to. Technical questions have
+already received considerable attention, and I shall need only to refer
+here to the painted ornamentation, and at sufficient length to insure a
+clear understanding of its treatment and the scope of its subject
+matter.
+
+Painted vessels are embellished to some extent also by incising and
+modeling, and these methods are employed very much as in the unpainted
+pottery already described.
+
+Painted decoration is executed with much freedom and in many cases with
+considerable skill. It is greatly varied in method of treatment and
+embraces a wide range of motives. Geometric patterns occur in great
+variety, but are found to be of types peculiar to Isthmian America. The
+conventional meanders, frets, and scrolls so extensively employed in
+other regions are here almost unknown. Decorative motives derived from
+natural forms are abundant and afford an excellent opportunity to study
+the processes of conventional modification. These designs are often
+applied in a way to indicate that the decorator possessed a keen sense
+of the requirements of the vessel, although the treatment perhaps is not
+as universally satisfactory as is the treatment of plastic
+embellishment.
+
+The potter, in preparing the vessel for the decorator, ordinarily
+finished it with a slip or wash of fine clay, which varied in hue from a
+gray white to a pale orange. A slip of bright red tint was also
+extensively used. The more delicate hues formed an excellent ground upon
+which to work. The slip covered surface was generally polished, often to
+a high degree, with the usual polishing implements, the marks of which
+can be seen upon the less carefully finished surfaces. By observers
+unacquainted with aboriginal methods this polish is liable to be taken
+for a glaze, and it has been pronounced a vitreous glaze by a few
+writers. It is more noticeable upon specimens that have been handled a
+great deal, as is the case with whistles, needlecases, and the like.
+
+The colors utilized in decoration, so far as they have been preserved,
+are the ground tints, described above, and the delineating colors, the
+latter consisting of black, white, red in various hues, and a dull
+purple. An additional color (or perhaps a solution without particular
+color) extensively employed in the designs has totally disappeared. The
+nature of the various colors has not been determined, but it is probable
+that some were of mineral and others of vegetal origin.
+
+Red was often employed as a ground color, as stated above, and sometimes
+covered the whole surface, but more frequently occupied zones or panels.
+In such use it was applied and polished down with the slip. Red was also
+extensively used in the delineation of decorative figures in several of
+the groups of ware, and is in all cases a permanent color. The hues vary
+decidedly with the groups of products, suggesting differences in people
+or in environment. White may have been freely used, but it is preserved
+in a few cases only, in which it was used in the production of simple
+decorative patterns, and appears to have been a somewhat thick or pasty
+color. Black was extensively used and was of two distinct kinds: a thick
+permanent pigment, employed in the delineation of designs, and a thin
+color, not so permanent and employed exclusively as a ground upon which
+to execute designs in other mediums. The latter may possibly be of
+vegetal derivation. Its use was confined to a single variety of ware,
+the lost color group. The former was employed in all the other groups,
+with one exception, the red line group.
+
+The light purple tint is but sparingly used and only in the polychrome
+group. It is very effective in combination with the reds and blacks upon
+the orange ground of this ware. It is probably of a mineral nature.
+
+What I have denominated the lost color was a pigment, or “taking out�
+solution, extensively and exclusively employed in the decoration of one
+of the principal groups of ware. Its former existence is made known by
+its action upon the ground colors and upon the paste or slip within the
+areas covered by it. Where superimposed upon black, that color has in
+all cases been removed, exposing the underlying tints of the slip in
+which the designs are now manifested, the interspaces being still black.
+In some cases the lost color has not only removed the black ground, but
+has affected the slip beneath, removing it also, and to such a degree
+that the polished surface is destroyed and shallow intaglio lines occur,
+leaving the interspaces in relief. This circumstance enforces the idea
+that possibly the “lost color� was really not a color at all, but an
+acid which acted upon the ground colors at once, destroying the black
+entirely and leaving the effect now seen. This point must remain for the
+present undetermined.
+
+The figures in all cases appear to have been delineated with ordinary
+brushes and by purely free hand methods. The degree of skill varies
+greatly. The execution in the great body of the work is rather inferior
+and indicates a lack of skill and care, but in a limited number of
+pieces the manipulation is masterly.
+
+The designs are confined to the show spaces, being exterior in narrow
+necked vessels and generally interior in shallow forms.
+
+In arrangement upon the surfaces this decoration presents some novel
+features. The slight degree of uniformity in arrangement indicates the
+absence of any mechanical aid, such as the wheel, which device would
+tend to reduce all decoration to a series of horizontal zones. We
+observe indeed the occurrence of horizontal arrangements, but not to a
+degree greater than would naturally arise as a result of the
+conformation of the vessel. Upright, oblique, and arched arrangements
+are frequently met with, and all are safely attributable to the
+domination of spaces to be covered or to the influence of antecedent
+shapes. Examples and details are given as they come up in the various
+sections.
+
+_The scarified group._--This group is represented by about forty
+specimens and is worthy of especial attention. It comes from the graves
+of two localities, one near C. E. Taylor’s hacienda, north of David, on
+the slopes of Mount Chiriqui, and the other at Alanje, southwest of
+David. As a variety of ware it stands so entirely alone that had it
+arrived unlabeled no one would have recognized its affinities with
+Chiriquian art. It is rather inferior in material, grace of form, and
+surface finish, and the decoration appears to belong to a lower grade of
+culture than that of the other groups. It is possibly the work of an
+inferior race in comparatively recent times.
+
+Nearly all the vessels are tripods, but a few have rounded or flat
+bottoms and a few are supplied with annular stands. The walls are thick
+and the shapes are uncouth or clumsy. The paste is coarse, poorly baked,
+and friable; near the surface it is a warm reddish or yellowish gray;
+within the mass it is a dark gray.
+
+  [Illustration: Fig. 118. Tripod bowl of red scarified ware--â…“.]
+
+  [Illustration: Fig. 119. Tripod bowl of red scarified ware--â…“.]
+
+The makers of this pottery, like their brother artificers, took especial
+pleasure in the modeling of life forms. The work exhibited in these
+specimens is, however, exceptionally rude. In some cases grotesque heads
+are attached to the rims of bowls; in others the head, tail, and feet of
+animals appear about the periphery of the vase; and in a number of cases
+the legs of the tripods are modeled to represent the forms of living
+creatures. Generally the feet are clumsy in shape and three toed,
+suggesting the feet of the tapir.
+
+These vessels are embellished by painting, incising, or scarifying and
+by modeling in relief. Color was not employed in the production of
+designs, but a dark Indian red pigment was daubed over that part of the
+surface not occupied by incised ornament. Little or no slip was used and
+the rude geometric patterns were executed with pointed tools in a very
+haphazard manner.
+
+  [Illustration: Fig. 120. Oblong basin with scarified design--â…“.]
+
+  [Illustration: Fig. 121. Large bowl with handles imitating animal
+  heads--â…“.]
+
+The bowls are more numerous than in any other group of the Chiriquian
+ware, but, as in the other groups, they are supplied with supports,
+either tripods, shaped like the feet of quadrupeds, or rude annular
+bases. In most cases the rim expands gradually from below, as seen in
+Fig. 118, or is recurved, as shown in Fig. 119. In a few cases the basin
+is oblong or boat shaped and the ends are pointed, as indicated in
+Fig. 120.
+
+An interesting specimen is illustrated in Fig. 121. At the opposite ends
+of the bowl portions of the rim are carried upward and inward, forming
+handle-like appendages, modeled to represent, rudely, the heads of
+animals. Details of form and ornament are well brought out in the cut.
+
+In Fig. 122 we have a high cylindrical shape with a flat bottom, the
+surface being scarified in vertical bands. A small pot, having an
+annular base and decoration similar to the preceding, is given in
+Fig. 123. In Fig. 124, instead of the vertical lines, we have a series
+of heavy ribs. Two strong vertically placed loops are fixed upon
+opposite sides of the shoulder and the base is supplied with the usual
+feet.
+
+  [Illustration: Fig. 122. Jar with flat bottom and vertical bands of
+  incised ornament--â…“.]
+
+  [Illustration: Fig. 123. Vase with stand and vertical incised
+  bands--â…“.]
+
+  [Illustration: Fig. 124. Vase with handles, legs, and vertical
+  ribs--â…“.]
+
+The tripods shown in Figs. 125 and 126 are somewhat mutilated, but they
+present features of interest in the novel shapes and the unique animal
+forms with which the legs are embellished. Each leg is represented as a
+complete animal, whose back or breast supports the vessel and whose
+cylindrical nether extremity rests upon the ground. The head in the
+first example resembles an owl and in the second reminds one of some
+crustacean form. An additional specimen of considerable interest is
+shown in Fig. 127. It is a heavy tripod, having four independent mouths,
+all opening into one chamber. The shape is unsatisfactory, being heavy
+and unsymmetrical. The exterior surface has the usual scarified figures
+and the interspaces and the entire inner surface of the vessel are
+painted red and rather carefully polished.
+
+  [Illustration: Fig. 125. Tripod with owl-like heads at insertion of
+  legs--â…“.]
+
+  [Illustration: Fig. 126. Tripod with legs rudely suggesting animal
+  forms--â…“.]
+
+  [Illustration: Fig. 127. Heavy red vase with four mouths--â…“.]
+
+_The handled group._--The series of vessels to which this name is given
+comprises a large number of pieces of unusually even characters. They
+are obtained from a pretty wide district to the north and west of David
+and occur in connection with other groups. They are notable for
+uniformity in size, shape, and finish and for the unmistakable evidences
+of use over fire which at least three-fourths of them show. With the
+exception of a few large caldrons, not yet assigned to a particular
+group, they are more like ordinary cooking vessels than any other group
+of Chiriquian ware. The size, however, is remarkably small, the average
+capacity being about a pint. Larger pieces contain a quart or three
+pints.
+
+The body is usually much compressed vertically and is flattish above and
+more or less conical below, giving a very graceful contour. The surface
+is rather rudely polished and the painting is done with notable
+carelessness, as if the intended use were not favorable to the
+preservation of the ornament. By means of a heavy brush, red figures,
+consisting of splotches, stripes, arches, and encircling bands, were
+applied to the yellowish gray surface and sometimes, as indicated by a
+smeared appearance, were polished down with an implement. It does not
+seem that a slip of ordinary white clay was very generally used. In a
+few cases a grayish blue tint appears upon some of the wider spaces.
+
+  [Illustration: Fig. 128. Vase with horizontally placed handles and
+  rude designs in red--½.]
+
+The handles are perhaps the most notable feature of this ware, and
+usually occur two to a vessel; rarely there is but one handle and in a
+few cases there are four. This group may be separated into at least four
+sections by the styles of handles. Vessels of the two more important
+sections have two handles each, which are placed vertically in one
+variety and horizontally in the other, reference being had to the
+position of the points of attachment. These differences of position have
+given rise to a marked difference in the shape of the orifice and of the
+lip. The handle is a simple loop, which in the one variety is placed as
+seen in Fig. 128 and in the other as in Fig. 132. In the latter case one
+end of the loop is fixed to the shoulder and the other end to the lip,
+which is uniformly prolonged at the contact and is also widened all
+around; the result is the curious winged outline shown in Fig. 133.
+
+A third variety of handle is a single arch, which spans the orifice and
+is attached to opposite sides of the expanded lip. In a fourth variety
+the looped handles are replaced by the heads of animals, which are set
+upon the shoulder of the vase, as are similar features in other groups
+of ware.
+
+  [Illustration: Fig. 129. Unpolished vase with heavy handles and
+  coated with soot--½.]
+
+  [Illustration: Fig. 130. Round bodied red vase with unique handles
+  and incised ornament--½.]
+
+A type specimen with the horizontal loop is shown in Fig. 128. The lip
+and a wide belt about the body are painted red and the shoulder is
+occupied by rudely executed arched strokes of the same color. A much
+less usual shape is given in Fig. 129, which exhibits some characters of
+contour that remind us of well known Grecian forms. Another novel
+variation from the type is seen in Fig. 130, in which the arch of each
+loop is divided by an upright piece. A neat incised ornament occupies
+the shoulder of this vessel and the remainder of the body is finished in
+pale red.
+
+It will be observed that the handles are rarely wholly plain. Each loop
+is supplied with one or more rings or ring-like fillets, or with small
+nodes, generally near the most prominent part of the curve or arch. By
+the study of a large number of specimens I am able to trace these
+puzzling features to their origin. They are the representatives of life
+forms which were originally modeled in full detail and which are still
+so modeled in many cases. The nodes and like features are atrophied
+heads, hands, or feet, and in some cases are marked with indentations
+that refer to the eyes or to the fingers or toes, and the round fillets
+stand for the arms and legs of animals, or, if notched in peculiar ways,
+may be referred to other originals, such as the mouths of fishes or the
+spines of crabs. Examples could be given showing all stages of the
+progress of simplification.
+
+  [Illustration: Fig. 131. Vase with grotesque figures attached to the
+  handles--½.]
+
+  [Illustration: Fig. 132. Vase with upright handles and winged
+  lip--½.]
+
+In Fig. 131 I present a fine example of the horizontal loop, in which
+the opposite ends are supported by grotesque animal figures, applied,
+however, in a way not detrimental to the grace and simplicity of the
+vessel.
+
+An example shown in Fig. 132 is of especial interest in this connection.
+The ornament upon the handle serves as a link between the realistic life
+form and the conventional nodes and fillets. In this case the node is
+supplied with eyes and a mouth, and the double roll of clay beneath is
+manifestly intended for the arms, the handle itself standing for the
+body. The loop is upright and joins the shoulder to the rim. The winged
+character produced by the expansion at the contact of handle and lip is
+shown to advantage in the top view (Fig. 133.) In some cases this
+expansion is so great as completely to hide the body of the vase when
+viewed from above.
+
+  [Illustration: Fig. 133. Top view of vase with winged lip--½.]
+
+  [Illustration: Fig. 134. Vase with grotesque animal shaped
+  handles--½.]
+
+Examples are outlined in Figs. 134 and 135 in which the life form is
+clearly defined. In the first we have a human-like figure, the face of
+which is entirely hidden by the hands. In the second we observe a
+curious little animal figure, with a long curved proboscis and a body
+covered with annular indentations. In general shape and in ornamentation
+these vases do not differ from the preceding. A remarkable piece, with
+two pairs of handles, is presented in Fig. 136. Grotesque figures are
+attached to the outer surface of the loops, one in each pair being
+placed in an inverted position. The two figures seen in the cut are
+simple, but those on the opposite pair of handles are compound, being
+double above the waist. The faces, hands, and feet of these figures are
+touched with red, and the lip and body of the vase are decorated with
+carelessly drawn stripes of red. In another case four plain handles are
+placed equidistantly about the neck of the vessel.
+
+  [Illustration: Fig. 135. Vase with handles representing strange
+  animals--½.]
+
+  [Illustration: Fig. 136. Vase with two pairs of handles ornamented
+  with grotesque figures--½.]
+
+In a third variety the loop is omitted entirely, the animal figure
+taking its place upon the shoulder of the vase. This feature appears in
+the specimen given in Fig. 137 and represents the front part of a
+reptile, the head being hollow and containing a large movable pellet.
+This is a handsome piece, well finished, and decorated in the usual
+broad way.
+
+  [Illustration: Fig. 137. Vase with handles representing animal
+  heads, which are hollow and contain pellets of clay--½.]
+
+  [Illustration: Fig. 138. Vase with arched handles embellished with
+  life forms in high relief--½.]
+
+A fourth variety is shown in Figs. 138 and 139, in which the handle
+spans the orifice as in an ordinary basket. The lip is flaring and is
+prolonged at the sides to meet the handle. In one case the outer surface
+of the handle is embellished with figures of frogs and serpents, or what
+seem to be intended for serpents, modeled in the round and rather
+imperfectly attached, and in the other with a pair of grotesque human
+figures set against the base of each end of the handle.
+
+  [Illustration: Fig. 139. Vase with arched handles embellished with
+  life forms in high relief--½.]
+
+Typical vessels of this class are in many cases mounted upon tripods,
+but, for convenience of description, these are classed with the
+succeeding group, which consists mainly, if not entirely, of the same
+variety of ware.
+
+To recapitulate, the striking characteristics of this group are the
+uniformity of size, shape, and handles, the rude finish and ruder
+ornamentation, and the very marked evidence of use over fire.
+
+_The tripod group._--Closely related in most respects to the group of
+ware just described is the striking series of vessels here presented. At
+first glance the resemblances are not apparent, but a careful study
+renders it clear that the vessels proper correspond closely in both
+groups. The basins are for the most part made in the same heavy, rudely
+finished style, the decoration is almost equally rude, and the size and
+the evidence of use over fire are the same. The strong contrast in
+appearance is due mainly to the presence of tripod supports in this
+group. The legs, which constitute such a striking feature, are merely
+appendages to the bodies of vases already perfect, and are evidently an
+acquired feature suggested by some change in function or in the habits
+of the people. In this way we are able to account for the rather uncouth
+look observed in so many cases, the legs being too long and too heavy to
+please the cultured taste; yet in many cases the parts are so adjusted
+as to give an impression of firmness and strength, united with a goodly
+share of grace of line.
+
+The legs are very generally modeled to represent animal forms. In a
+majority of cases the fish was chosen because, perhaps, its shape was
+suitable or because the fish bore some relation to the use to which the
+vessel was to be devoted. Lizards and mammals are also seen and the
+human form occasionally appears. In some cases the animal figure is
+attached to the upper part of the leg or is perched upon the hip, where
+that feature is pronounced. The body, or shaft, is hollow and contains
+pellets of clay, sometimes one only and again a dozen or more, and in
+order that these may be seen and heard variously shaped slits are cut in
+the sides or front of the legs. If the animal represented is a fish or
+lizard the entire body is modeled: the head is placed at the top, the
+under jaw or neck uniting with the body of the vessel; the tail rests
+upon the ground, and the fins or legs appear along the sides of the
+shaft. It should be observed that, while in Chiriqui the whole body of
+the creature is usually employed in forming the support, in Central
+America and Mexico the head alone is very generally used, the nose
+resting upon the ground. In less elaborate forms the legs are plain or
+have the merest hint of animal form in a node, a notched ridge, or a
+slightly modified extremity.
+
+Handles are present in a majority of cases and as in the preceding group
+take the form of loops or represent the forms of animals. The loops are
+generally attached in a vertical position, connecting the shoulder with
+the lip of the vessel, and are plain round ropes of clay or consist of
+two or three cords twisted or plaited together. A few eccentric forms
+occur and are illustrated early in this section.
+
+The animal shapes are often quite elaborate and appear to bear no
+relation to the creatures embodied in the legs of the vessel; neither
+does the position of the handles bear any uniform relation to the
+positions of the legs--another indication that the latter features are
+recent acquisitions, since features developed together are uniformly
+well adjusted.
+
+The rim or lip is generally heavy and flaring, and the neck, which is
+short and pretty sharply constricted, is decorated with incised patterns
+and with various applied ornaments in relief. The body is graceful in
+outline and more or less conical below. As a rule the surface is uneven
+and but slightly polished and the figures in red are rudely executed,
+but in the more pretentious pieces much care has been exercised in
+finishing and painting. Most of the vessels have been used over the fire
+and still retain the sooty incrustations. This ware comes from a wide
+range of territory to the north and west of David.
+
+The following illustrations represent some of the more important pieces
+and serve to give a partial idea of the range of form, size, and
+decoration.
+
+I present, first, three vases of rather eccentric shapes, the basins of
+which are shallow and in two cases are flat bottomed. The handles are of
+unusual shapes, consisting of modifications of the lip, as seen in the
+illustrations (Figs. 140-142). Life elements are present in all cases in
+connection with the handles and legs where these are preserved, but they
+are very meager and so abbreviated as to be identified with difficulty.
+Incised markings at the ends of the handles represent hands or feet and
+eyes are affixed to the upper part of the legs. The ware is identical
+with that of the preceding group.
+
+  [Illustration:
+  Fig. 140.
+  Fig. 141.
+  Fig. 142.
+  Tripod vases with shallow basins and eccentric handles--â…“.]
+
+A representative specimen of the fish legged vessels is presented in
+Fig. 143. It is one of the most graceful forms in the series and is
+neatly finished and embellished, but is thoroughly blackened with soot.
+The handles are formed of twisted fillets or ropes of clay and a narrow,
+incised, rope-like band encircles the lower part of the neck. Set upon
+the neck and alternating with the handles are two scrolls neatly formed
+of small round ropes of clay. The fishes forming the legs are very
+simply treated. The mouth at the apex is formed by laying on an oblong
+loop of clay and the eyes are represented by two round pellets set into
+the soft clay of the head and indented with a slit that gives to them
+the exact effect of screwheads. A pair of fins--small incised or
+channeled cones--is placed at the sides of the head and another at the
+sides of the body. The cavity contains a single ball of clay and the
+slit is long and wide.
+
+In other examples the fish form is much more elaborately modeled. The
+wide mouth exhibits a row of teeth and the body is well supplied with
+fins. The head in Fig. 144 reminds one forcibly of the catfish. The
+snout is furnished with two horn-like appendages; tooth-like features
+are formed by setting in pellets of clay, and the gills are indicated by
+a punctured excrescence at the side of the mouth. In other cases a high,
+sharp cone is set upon the middle of the head (Fig. 145). It is
+channeled down the sides, as if meant for a fin.
+
+  [Illustration: Fig. 143. Tripod vase of graceful shape and neat
+  finish--â…“.]
+
+  [Illustration: Fig. 144. Heavy tripod vase with widely spreading
+  feet--â…“.]
+
+The process of modeling these heads was about as follows: The upper end
+of the leg--the head of the fish--was first rounded off, giving the
+general shape; then parallel incisions were made to represent the teeth,
+and around these a fillet of clay was laid, forming the lips, which were
+then channeled with a sharp tool. Nodes or flattened pellets of clay,
+representing the gills, snout, and eyes, were then laid on and finished
+with incision-like indentations. The handles consist of bird-like heads,
+with protruding eyes and long bills that curve downward and connect with
+the shoulder of the vase. The body is rudely spotted with red.
+
+  [Illustration: Fig. 145. Neatly modeled vase embellished with life
+  forms and devices in red--â…“.]
+
+  [Illustration: Fig. 146. High tripod vase with incised designs and
+  rude figures in red--â…“.]
+
+A large, uncouth specimen is shown in Fig. 146. The legs are ponderous
+and are not neatly adjusted to the vessel. A meander pattern of incised
+lines encircles the neck and the body is rudely decorated with broad red
+stripes.
+
+  [Illustration: Fig. 147. Handsome tripod vase with scroll
+  ornament--â…“.]
+
+There is a general consistency in the use of life forms which is worthy
+of notice. The fish and other creatures used, although variously
+conceived and treated, are never confused. When the fish is employed no
+features suggesting other animals appear and when the heads of other
+creatures occupy the upper extremity of the leg all the details refer to
+these creatures with uniform consistency. In Fig. 147 we have an
+unusually graceful shape, decorated about the neck with scrolls and
+indented fillets. The legs represent some reptilian form resembling a
+lizard. The head projects from the hip and is conventionally treated.
+A round fillet fixed at its middle point to the muzzle of the creature
+is turned back at the sides of the head and coiled to form the eyes. The
+forelegs are attached at the sides near the top and the recurved
+terminal point is encircled by rings that stand for the coiled tail.
+
+  [Illustration: Fig. 148. Vase with lizard shaped legs--â…“.]
+
+  [Illustration: Fig. 149. Vase with scroll ornament--â…“.]
+
+  [Illustration: Fig. 150. Large vase with flaring rim and wide
+  spreading legs--â…“.]
+
+There is little room for doubt as to the kind of creature represented in
+the legs of the vase given in Fig. 148. The head, legs, and general
+shape are characteristic of the lizard. The vessel is small, plain, and
+neatly finished. In Fig. 149 the legs of the vessel, otherwise quite
+plain, are surmounted by heads that seem to represent a dog or some like
+animal. A series of neat vertically placed scrolls formed of round
+fillets encircles the neck, and below these is a band in relief
+imitating a twisted cord.
+
+A vase of unusually striking appearance is presented in Fig. 150. It is
+one of the largest tripods in the collection and is characterized by a
+high widely expanded lip and a long conical body and by legs of unusual
+size and conformation. Small animal figures are perched upon the
+projecting hips. The surface of the vessel is rudely finished and is
+much blackened by smoke about the upper part of the legs and the body.
+
+A unique use of the animal form is illustrated in Fig. 151, which shows
+a large fragment of one of these tripods. The figure of an alligator,
+modeled with a great deal of spirit, is attached to the side of the
+vessel, resting partly upon the leg and extending upward obliquely to
+the lip. A similar figure upon the opposite side of the same vase is
+represented as grasping the form of a man or boy in its formidable
+looking jaws.
+
+  [Illustration: Fig. 151. Fragment of a tripod vase embellished with
+  the figure of an alligator.]
+
+The alligator, rarely employed in this group of ware, is freely used in
+other groups and was probably a creature of importance in the mythology
+of Chiriqui.
+
+In one case only, so far as I have seen, is the human form employed in
+the supports of these vessels, and in that case, as will be seen in
+Fig. 152, the result is extremely grotesque. The shape of the basin is
+good and the thick, rounded lip and most of the surface are carefully
+polished. A disconnected meander of incised lines encircles the rather
+high neck, and parts of the body and its attached features are painted
+red. As usual this color was applied along with the slip and in
+polishing has become much mixed up with it, giving a mottled effect. The
+handles take the form of curious human-appearing figures which sit
+against the constricted neck, their heads supporting the rim and their
+feet resting upon the shoulder of the vessel. In one case the hands are
+held tightly against the lower part of the face and in the other they
+are bound together against the chin by a serpent-like cord of clay. The
+hollow figures forming the legs of the vase are as grotesque as could
+well be imagined. There is no head whatever, and the outlandish features
+are placed upon the front of the upper part of the body. The arms and
+hands take the conventional position characteristic of the statuary of
+the isthmian states and the only traces of costume are bands about the
+wrists and a girdle encircling the lower part of the body.
+
+  [Illustration: Fig. 152. Vase supported by grotesque human
+  figures--â…“.]
+
+I add, in Fig. 153, one more example, a large, full bodied vase, which,
+more decidedly perhaps than any of the foregoing, proclaims its
+relationship to the preceding group. If the three rather clumsy legs
+were knocked off there would remain a large beautifully shaped and
+finished vase, with a constricted but flaring rim not in any way
+distinguishable from those of the preceding group. The legs in this case
+are less perfectly adapted to the vessel than in the other examples, as
+if the potter, skillful in modeling the vessel, had only recently
+undertaken to add the tripod. The slit in the outer face of the leg is
+unusually wide and the inclosed ball is three-fourths of an inch in
+diameter. The most remarkable feature of this vessel is the pair of
+unique figures affixed to the upper surface of the body near the lip,
+and which would seem to be intended to represent semihuman monsters. The
+arms and legs are contorted and serpent-like in appearance and terminate
+in most cases in heads of serpents instead of in hands and feet. The
+attitude is expressive of agony or horror. It seems to me probable that,
+contrary to the rule in primitive art, these strange figures do not
+embody any well defined or serious conception, but are rather
+exhibitions of the fancy of the potter. They occupy small unpainted
+panels, which are finished in neat incised patterns. The remaining
+surface is a bright red.
+
+  [Illustration: Fig. 153. Round bodied vase embellished with figures
+  of monsters--â…“.]
+
+It may be noted, in recapitulation, that these vases, although
+elaborately modeled and often well finished, are rudely decorated and
+very generally show use over fire; that the legs, though often graceful
+and well proportioned, are in many cases clumsily adjusted to the body,
+giving a decidedly unsatisfactory result as a whole. This ware was
+devoted to domestic uses, or, if otherwise, in all probability to the
+burning of incense. Animal forms are freely employed, but in a rather
+rude way. The fish form is more generally used than any other, and is in
+all cases embodied in the legs of the vessel, the head joining the body
+of the vessel and the tail resting upon the ground. These
+representations exhibit all grades of elaboration from the fairly well
+modeled to the merest suggestion of animal character--any one feature,
+as the mouth, the eye, the fins, or the tail, being alone a sufficient
+suggestion of the creature to satisfy the potter and keep alive the idea
+of the fish. Other animal forms are employed in modeling the legs, and
+exhibit equally varying degrees of elaboration, and it is worthy of
+especial note that creatures are not confused or confounded, so far as I
+can discover, at any stage of the simplifying process--that a fish is
+still purely a fish if nothing is left to represent it but a node or an
+incision. There is no apparent relationship between the animal forms
+forming the legs and those attached to the body or to the rim of the
+vessel.
+
+
+The pottery of the two groups already presented exhibits characters so
+uniform throughout that there need be no hesitation in placing them
+together as the work of one community and of one period of practice of
+the art; but between these groups and those that follow there is a wide
+gap. The differences are so marked that, if they had come from widely
+separated localities, very intimate relationships would not have been
+suggested.
+
+  [Illustration: Fig. 154. Cup with incurved rim and life form
+  ornamentation--½.]
+
+  [Illustration: Fig. 155. Cup with widely expanded rim and
+  constricted neck--½.]
+
+_The maroon group._--For the want of a better name I have called the
+group first to be presented the maroon group, on account of its color.
+Our collection comprises not more than a dozen pieces of this ware. The
+locality from which they come is called Los Tenajos by Mr. McNiel, but
+he has not distinguished them in any way from the other varieties, and I
+am therefore unable to say whether or not they occur together with
+others or under identical conditions. In symmetry of outline, diversity
+of shape, and cleverness of modeling this ware takes a high rank, but
+there is no painted ornament. The surfaces are usually well polished,
+and all exposed parts have received a coat of purplish maroon colored
+paint. The paste contains a great deal of fine sand, and is yellowish
+upon the surface and generally quite dark within the mass. Considering
+the small number of pieces, the scale of form is remarkably varied.
+There are plain bowls with incurved rims and with flaring rims, vases
+with round bases, with annular stands, and with tripods, and life forms
+wholly unique. Perhaps the most usual form is that shown in Fig. 154,
+which represents a small cup with incurved rim and a narrow annular
+base. The shoulder is embellished with three groups of small nodes, of
+four each, which refer to some animal form. In other similar vases the
+form of the creature is given in more realistic guise. A larger vase,
+similar to this in most respects, has a rounded contour and incurved
+lip. The periphery is supplied with four plain nodes. Another, shown in
+Fig. 155, has a wide recurved rim, a character seen to equally good
+advantage in some of the following figures. In the small vase
+represented in Fig. 156 the treatment of animal forms in connection with
+the body of the vessel is shown to good advantage. The head, legs, and
+tail of what is probably intended to represent an alligator, modeled in
+the round, are attached to the periphery of the basin, and heads of some
+mammal are used for legs.
+
+  [Illustration: Fig. 156. Small tripod cup with animal features in
+  high relief--½.]
+
+  [Illustration: Fig. 157. Handsome vase supported by three grotesque
+  figures--½.]
+
+A most interesting tripod is shown in Fig. 157. The bowl is beautifully
+modeled, is symmetrical, and has a flaring rim, rounded and polished on
+the upper surface and drooping slightly at the outer margin. The body is
+hemispherical and is supported by three grotesque anthropomorphic
+figures that strongly remind us of the “mud head� masks used in one of
+the dances of the Zuñi Indians. The head is a rounded ball, upon which
+pellets of clay are stuck to represent the features. The arms are set
+against the sides of the body, as in other isthmian specimens, the hips
+are excessively large, the legs straight, and the feet small and united
+to form the foot of the vessel. Nearly the entire surface is finished in
+a dark purplish red paint, which appears to have been polished down as a
+slip. A companion piece is considerably smaller and the supporting
+figures are very grotesque and somewhat crouched, as if bearing a very
+heavy weight.
+
+A number of large basins or caldrons, collected in Chiriqui, and
+fragments of vessels of extraordinary size resemble this ware in
+material, color, and finish. The rims of the larger pieces are upwards
+of an inch thick and the walls are in cases three-fourths of an inch
+thick. A number of large vessels of similar ware now in the National
+Museum were collected in Costa Rica and Nicaragua.
+
+_The red line group._--The group of vessels to which I have given this
+name is represented by about a dozen specimens, which indicate a wide
+range of form and exhibit a number of unique characters.
+
+The localities from which they are derived extend from 8° 20´ to 8° 40´
+north latitude and from 82° 40´ to 82° 50´ west longitude.
+
+The paste is of about the usual composition, but takes a variety of
+tints on burning, a light gray orange prevailing. The finish of the
+surface is about the same as in other groups. The decoration consists of
+life forms and their conventional representatives in relief and of
+carelessly executed geometric designs, the pigment used being a bright,
+sienna-like red.
+
+As will be seen by reference to the illustrations, the forms are varied
+and pleasing, but for the most part repeat outlines common to other
+groups. The handles, single or in twos, are upright loops, and the
+tripods are in nearly all cases looped or annular, an unusual feature in
+other groups.
+
+I present three illustrations, two of which were given in outline in the
+introductory pages. The first (Fig. 158) has a well proportioned,
+somewhat globular body, supported by three legs formed of looped bands
+of clay. On the shoulder are two small animal forms, probably meant for
+frogs. The spaces between these are occupied by panel-like arrangements
+of red lines. The surface is yellowish gray in color, excepting where
+blackened in the baking. The paste has cracked in firing, a feature
+observed in a number of pieces belonging to this group.
+
+  [Illustration: Fig. 158. Vase decorated with figures of frogs and
+  devices in red--½.]
+
+  [Illustration: Fig. 159. Vase of unique shape and life form
+  ornamentation--½.]
+
+  [Illustration: Fig. 160. Two handled vase with life form and linear
+  decoration--½.]
+
+A unique piece is represented in Fig. 159. The single handle is a high
+projecting loop and connects with the margin of the orifice, which rises
+to meet it, and with the lower part of the shoulder. An animal form,
+apparently anthropomorphic, is embodied in this vessel. The upper part
+of the vessel, separated by a slight constriction from the body proper,
+represents the head of the creature, the nose, mouth, and eyes appearing
+on the front and the ears at the sides. A few incised lines seen upon
+the inner surface of the handle stand for the hair. Upon the shoulder
+are two sharp nodes, standing for the breasts, and between these are
+markings that represent a necklace. A rude design in red lines covers
+the upper surface of the body.
+
+A graceful shape is illustrated in Fig. 160. The paste is a grayish
+orange on the surface and is rather dark within the thicker portions of
+the walls. The under surface is much blackened by use over fire. An
+interesting feature is seen upon the handles at the highest point of the
+loop. Instead of the single indented transverse fillet observed in
+similar forms in other groups, we have two such features, set about an
+inch apart, and between them are two indented nodes which stand for
+eyes, and a number of indentations within the space refer to other
+features of the animal suggested. Upon the shoulder and collar of the
+vessel are carelessly drawn geometric patterns in red lines.
+
+  [Illustration: Fig. 161. Small tripod vase with animal figures in
+  white--½.]
+
+_The white line group._--One group of vases, of which we have but four
+pieces, is characterized by the use of a whitish pigment in decoration.
+Not one of the collections that I have seen is well supplied with this
+class of ware, and hence little can be said of its varieties of form and
+ornament. All are tripods, but the shapes of the vessels vary
+considerably. Two small pieces are from latitude 8° 40´ north and
+longitude 82° 32´ west. One of these is shown in Fig. 161. They are
+small, rather carelessly finished tripods, with narrow necks and
+flattened bodies. The inner surface of the orifice and the under side of
+the body are painted a dull red. The remainder of the surface is a warm
+reddish gray, the color of the slip and the paste. The legs in the piece
+figured represent some small creature with a rabbit-like face and a body
+which tapers gradually to the base. Two feet are placed near the middle
+of the body, which is striped transversely with white lines. A white
+collar crosses the neck and the eyes are white dots. The upper surface
+of the vase is embellished with two animal figures, executed in a white
+earthy pigment. They may refer to the alligator, but the drawing is too
+conventional to admit of full identification. The companion piece is a
+little larger, and the upper surface is decorated with three groups of
+broad white stripes, bordered by rows of dots, which extend from the
+base of the neck to the periphery of the body. The legs are similar to
+those of the other piece. The little animal figure fixed to the upper
+end or hip is identical with that seen in the following illustration.
+
+  [Illustration: Fig. 162. Shapely vase with designs in white
+  paint--½.]
+
+The large tripod vase presented in Fig. 162 is distinct in many ways
+from anything in the collection and is remarkable for symmetry of form
+and neatness of finish. The body is a long, symmetrical cone and the
+legs are long, straight cylinders, neatly rounded off to a point below.
+A thick rim projects at a sharp angle and is rounded up toward the
+margin. The legs are hollow, and through two pairs of lateral slits a
+number of small pellets can be seen, which rattle when the vase is
+moved. Rudely modeled little animals, with erect ears, large feet, and
+conical tails, are fixed to the upper end of the legs. The ground color,
+the slip, and the paste are of a reddish gray cast. The greater part of
+the surface seems to have been painted red, but the vase has been used
+over fire to such an extent that little of the original color remains.
+The body and the legs have been decorated with geometric patterns in a
+whitish pigment that can be scraped off like indurated clay. The little
+animal figures were also painted white. A vase very similar to this,
+from which the legs have been removed, and the surface smoothed down,
+has a longer and more graceful body and a similar rim. Another piece,
+exhibiting similar yet even more strongly marked characteristics of
+shape, belongs to the collection of Mr. J. B. Stearns.
+
+_The lost color group._--In number of specimens this group is second to
+none, excepting perhaps that given under the head of terra cotta ware.
+Nine-tenths of the pieces may be classed as bottles, which have rather
+short, wide necks and globular bodies, slightly conical below and in
+cases flattened above. They range in size from one inch to nearly a foot
+in height, but the average capacity is not above a pint. Aside from the
+bottles there is a wide range of shapes. There are shallow bowls and
+various complex and compound forms. Animal forms are associated with all
+classes of vessels. Tripod supports are limited to rather modest
+proportions, and handles, although often present and greatly varied in
+style, do not constitute an important feature. These vessels are
+remarkably well preserved and exhibit few traces of abrasion by use or
+of blackening over fire. The paste is fine grained and usually of a
+light yellow gray tint throughout.
+
+The surface was finished either in a light colored slip or in a strong
+red pigment. In some cases the light tint was used exclusively and again
+the red covered the entire surface, but more frequently the two were
+used together, occupying distinct areas of the same vessel and forming
+the groundwork for decorative patterns in other colors. They were
+usually polished down with very great care, giving a glistening surface,
+upon which the markings of the tool can still be seen.
+
+I have already described the methods of decoration, but may review them
+briefly here. The bright red color, which forms such a prominent and
+pleasing feature, is, as stated above, only a ground tint and is not
+used in any case in the delineation of design. The actual patterns, so
+varied and interesting, were worked out in a pigment or fluid now
+totally lost, but which has left traces of its former existence through
+its effect upon the ground colors. In beginning the decoration, a thin
+black color, probably of vegetal character, was carried over the area to
+be treated, and upon this the figures were traced in the lost color.
+When this color (if it was indeed a pigment, and not merely an acid or
+“taking out� medium) disappeared, it carried with it the black tint
+beneath, exposing the light gray and red tints of the ground and leaving
+the interstices in black. The interstitial figures thus formed are often
+of such a character as to be taken for the true design. In examining the
+decoration of this ware it is essential that this fact should be kept in
+mind, as otherwise great confusion will result.
+
+The nature of the materials employed cannot be determined. Applied to
+the polished surface, they were easily removed. The black ground tint is
+now easily rubbed off and in most cases is much injured by handling or
+by contact with the soil. The lost color may have been similar to the
+white, argillaceous pigment used by the Aztecs, which has in many cases
+partially or wholly disappeared, leaving its marks upon the ground
+either by deadening the polish or by removing portions of the slip and
+the paste upon which it was laid, presenting the ornament in intaglio.
+
+The designs are infinitely varied in appearance and arrangement, yet are
+far from having a mixed or heterogeneous character. It is probably our
+lack of knowledge of the origin and history of the elements and their
+derivations that causes confusion. Both geometric and imitative elements
+abound and are blended in perfectly graded series. The treatment of
+geometric figures is peculiar to Chiriqui and in many respects is
+peculiar to this group of ware. Classic forms, such as the meander, the
+scroll, and the fret, rarely occur and are barely recognizable. It
+appears from a close study of all the work that motives derived from
+nature have greatly leavened the whole body of decoration. This matter
+will receive attention as the examples are presented and will be treated
+with greater care in a succeeding section.
+
+Plastic decoration, aside from the life forms so commonly associated
+with the body of the vase and with the handles and legs, is not of
+importance. The high degree of polish required in this ware tended to
+simplify all relieved features.
+
+The presence of life forms in relief has produced important
+modifications in the appearance and the arrangement of the painted
+devices, and in many cases there is a manifest correlation between the
+plastic and the painted forms: as, for example, when the body of the
+vase was thought of as the body of the animal, the extremities of which
+were placed upon its sides, the colored figures carried out the idea of
+the creature by imitating in a more or less conventional way the
+markings of the body. This will be understood through reference to the
+examples presented in the following pages.
+
+I will present, first, a series of bottles, selecting at the beginning
+those decorated in the more purely geometric style and gradually
+approaching those upon which animal forms are treated in a literal
+manner. The few pieces selected for illustration are totally inadequate
+to the proper representation of the group and must be regarded only as
+average specimens, more or less typical in character.
+
+I give first a number of examples in which the decorative devices are
+arranged in horizontal zones. In Fig. 163 broad bands of ornament,
+consisting of scalloped and plain lines, encircle the neck and the body
+of the vessel. In finishing this piece the whole surface was painted a
+rich red and highly polished; then a black coat was applied, covering
+the body from the lip to the base of the design; and finally the
+delineating fluid was applied, removing the black, as shown in the
+narrow lines, the sharply dentate bands, and the broad, plain band
+between. The second example (Fig. 164) varies somewhat in shape and
+design, but is identical in color and manipulation. The dark figures are
+merely the interspaces, although they appear at first glance to have
+been intended for the design proper.
+
+  [Illustration: Fig. 163. Small red bottle with horizontal bands of
+  ornament consisting of plain and scalloped lines--½.]
+
+  [Illustration: Fig. 164. Small red bottle with encircling geometric
+  devices--½.]
+
+In a numerous series of vessels the decorated bands are divided into
+compartments or panels, often four in number, which spaces are occupied
+by lines and figures of greatly diversified characters. In the example
+shown in Fig. 165 the ground color of the principal zone is in the light
+yellow gray tint of the slip, the remainder being red. This lends
+brilliancy to the effect.
+
+  [Illustration: Fig. 165. Bottle with zone occupied by geometric
+  devices--½.]
+
+  [Illustration: Fig. 166. Bottle with broad zone containing geometric
+  figures--½.]
+
+In the vase shown in Fig. 166 the treatment is in a general way the
+same, but the compartments are triangular and are separated by lines
+that form a disconnected meander. An additional example is given in
+Fig. 167. Here the principal zone is expanded to cover the whole upper
+surface of the vase, which was finished in the light colored slip to
+receive it. The principal lines are arranged to give the effect of rays
+when viewed from above, but as seen in the cut they give the effect of a
+carelessly connected meander. The groups of lines are bordered by series
+of dots. A great number of pieces are painted in this style. The effect
+is varied by altering the shape of the interspaces or by modifying the
+number and relationship of the lines, dots, and figures.
+
+  [Illustration: Fig. 167. Bottle with decoration of meandered
+  lines--½.]
+
+  [Illustration: Fig. 168. Bottle with arched panels and geometric
+  devices--½.]
+
+Somewhat similar also in general effect to the last example is the work
+upon another important series of vases. Instead of the simple meandered
+or zigzag arrangement of parts, two of the dividing lines of the zone
+run tangent to the neck of the vase on opposite sides, forming arched
+panels and leaving upright panels between. In the example presented in
+Fig. 168 the arched areas are filled in with lattice-like arrangements
+of lines. In others we have dots, checkers, and varied geometric
+combinations, and in very many cases the figures are derived from life
+forms. The same may be said of the devices that occupy the spaces
+between the arches. The piece shown in Fig. 169 exhibits a somewhat more
+elaborate treatment, but the motives and arrangements are much the same.
+These vessels are peculiar in the treatment of the ground. The entire
+surface is red, with the exception of narrow bands of light ground
+color, which outline the arches and encircle the periphery. In other
+cases these bands are red, the remainder of the ground being light.
+Series of lines are drawn from the lower border of the zone to the
+center of the base of the body.
+
+  [Illustration: Fig. 169. Bottle with arched panels and elaborate
+  devices--½.]
+
+  [Illustration: Fig. 170. Vase with rosette-like panels--½.]
+
+  [Illustration: Fig. 170_a_. Ornament from vase shown in Fig. 170.]
+
+In a small group of vases we have a radiate ornament within the arches
+and in a few cases the arched lines are continued down around the base
+of the vessel, forming vertical circles in which rosette-like designs
+are formed by repeating the radiate figures in an inverted position
+below the peripheral line. The elaboration in these circular inclosures
+is very remarkable, as will be seen by reference to the three examples
+given in Figs. 170, 171, and 172. In the first case the peripheral line
+is a red band nearly one-half an inch wide and the rays appear in groups
+above and below it. Within the four broader black rays (Fig. 170_a_),
+which are the interspaces or remnants of the ground, groups of lines
+have been drawn, in most cases curved at the inner ends like an opening
+frond and accompanied in all cases by series of dots. An examination of
+a number of vessels shows various degrees of convention. It is clear,
+however, that these devices, showing curves, hooks, and dots, are not of
+technical or mechanical origin, but that they refer to delineative
+originals of which they are survivals; but we must remain in the dark as
+to what the originals were or what was the precise nature of the idea
+associated with them in the mind of the decorator. Another question
+refers to the arrangement of the parts of the design in the five
+preceding figures. The distribution of the designs is a matter of great
+interest, and much may be learned from a close study of these specimens.
+
+  [Illustration: Fig. 171. Vase with rosette-like panels--½.]
+
+  [Illustration: Fig. 172. Vase with rosette-like panels--½.]
+
+Horizontal zones appear in the ceramic decoration of all countries, and
+result, no doubt, from technical causes; but the division of zones into
+compartments of peculiar shape is due to other influences. I believe the
+peculiar arched arrangement here seen results from the employment of
+plastic features, such as handles or life forms. The ancient races were
+accustomed to conceive of the vessel as the body of an animal, an idea
+originating in the association of mythologic conceptions with art. The
+head and the tail of the particular creature thought of were attached to
+opposite sides of the vase and consequently interfered with the original
+zonal arrangement of the design where it existed, or where it did not
+exist the sides were filled with devices representing the markings of
+the creature’s body. The decoration now consisted of four parts, two in
+the round or in relief and two in color, the former occupying small
+areas and the latter wide areas, as seen in Fig. 173. The same result
+would spring from the use of two handles, such a common feature in this
+ware. The lateral spaces reached from the periphery to the base of the
+neck and were most readily and naturally separated from the plastic
+features by lines extending across the shoulder tangent to the neck and
+forming arches (Fig. 174). In time the plastic features, being difficult
+to manage, would gradually decrease in boldness of modeling and finally
+disappear, leaving a space upon which the life form could be symbolized
+in color (Fig. 175). Now it happens that in this collection we have a
+series of examples illustrating all stages of this change, the first,
+the middle, and the final steps being shown in the above figures.
+
+  [Illustration:
+  Fig. 173.
+  Fig. 174.
+  Fig. 175.
+  Theoretical origin of the arched panels.]
+
+  [Illustration: Fig. 176. Vase decorated with conventional figures of
+  alligators--½.]
+
+In multiplying these vessels the original forms and associations of
+decorative features are necessarily to some extent lost sight of; the
+panels change in shape, number, and relationships; and devices
+originally appropriate to particular spaces are employed
+indiscriminately, so that the uninitiated see nothing but confusion. All
+devices are delineations of or have more or less definite reference to
+the creature or spirit associated with the vessel.
+
+  [Illustration:
+  Fig. 177.
+  Fig. 178.
+  Portions of decorated zones illustrating treatment of life forms.]
+
+  [Illustration: Fig. 179. Vase decorated with highly conventional
+  life forms--½.]
+
+I will now pass over the many hundreds of pieces with designs too
+conventional to furnish a clew to the original animal forms, yet still
+suggesting their existence, to those in which the life forms can be
+traced with ease or in which they are delineated with a much nearer
+approach to nature. The manner of introducing life forms into the panels
+of the encircling zones is illustrated in the following figures. In the
+vase shown in Fig. 176 there are four panels, two short and two long,
+separated by vertical bands. The short panels are black, but the long
+ones are occupied by rudely drawn figures of alligators, some of which
+are very curiously abbreviated. At the right hand in the cut we have
+simply the head with its strong recurved jaws and notched crest. The
+principal figure at the left is a two headed alligator, the body being
+straight and supplied with two feet. The ground finish of the decorated
+band is in the light gray tint and the alligator figures and vertical
+septa now appear in that color. The ground of the remainder of the
+surface is red. It will be seen that in this case the panel outlines are
+rather elaborate and that the neck and base are striped in a way to
+enhance considerably the beauty of the vessel. Additional examples of
+animal devices are given in Figs. 177 and 178. The significance of the
+curious figure seen in the first is not easily determined, although we
+do not hesitate to assign to it an animal origin. There is a suggestion
+of two sitting figures placed back to back between the upright serrate
+lines. In the second piece, which is from another vessel, the space
+between the serrate lines is occupied by a sketchy figure which, in the
+phraseology of heraldry, may be likened to a monkey rampant.
+
+  [Illustration: Fig. 179_a_. Design from vase shown in Fig. 179.]
+
+  [Illustration: Fig. 180. Vase decorated with highly conventional
+  life forms--½.]
+
+In Figs. 179 and 180 I present very interesting examples in which the
+arched panels are used. In the first the compartments are occupied by a
+favorite Chiriquian motive, which consists of groups of lines curled up
+at one end like unfolding fronds. The whole group represents a very
+highly conventionalized animal figure (Fig. 179_a_). The devices
+occupying the upright panels take the place of the animal heads shown in
+several preceding figures. In the arched panels shown in Fig. 180 we
+have the frond-like motive treated in a manner to make it pretty certain
+that a reptilian form is intended. These figures are fully and
+systematically presented in a succeeding section.
+
+Many of these globular vases are unusually handsome. The polished ground
+is red or is varied with stripes or panels of the whitish slip. Over
+this ground the whole surface was painted black and then the lost color
+was employed to work out the design. The coiled figures were produced by
+drawing the lines in the lost color. The interspaces were then roughly
+gone over with the same pigment in such a way as to leave the figures
+inclosed within rather uneven black borders. The presentation of these
+ornaments brings me naturally to the consideration of a number of very
+puzzling forms which, if taken alone, must inevitably be referred to
+vegetal originals. In Fig. 181 we have a handsomely shaped vessel,
+finished in a polished red ground and decorated in the usual manner. In
+the main zone--here rather high up on the vase--there is a series of
+upright figures resembling stalks or stems with scroll-like branches
+springing from the sides. The stalks are probably the septa of the
+panels and the leaves are the usual reptilian symbols. About the widest
+part of the body of the vase is a band of ornament probably representing
+an animal.
+
+  [Illustration: Fig. 181. Vase decorated with highly conventional
+  life forms--½.]
+
+A still more remarkable ornament is shown in Fig. 182. The decorated
+zone of the vessel from which this is taken is divided into three
+panels, each of which contains stem-like figures terminating in flower
+shaped heads and uniting in a most remarkable way animal derivatives and
+vegetal forms. I am inclined to the view that here, as in the preceding
+case, the resemblance to a vegetal growth is purely adventitious.
+
+  [Illustration: Fig. 182. Decorated panel with devices resembling
+  vegetal growths, but probably of animal origin--½.]
+
+  [Illustration: Fig. 183. Example of vase of unusual shape--½.]
+
+  [Illustration:
+  Fig. 184.
+  Fig. 185.
+  Examples of vases of unusual shapes--½.]
+
+In striking contrast with the globular forms just given are the angular
+outlines presented in the following illustrations. The first is
+flattened above, the body being much expanded horizontally and having a
+sharp peripheral angle. Upon the shoulder, occupying the places of and
+probably standing for animal heads, are two cruciform nodes, about which
+the scroll-like decorations of the upper surface are coiled. We see by
+this that in the mind of the potter a correlation existed between the
+plastic and the painted devices even in these conventional decorations.
+The second illustration represents a neatly finished bottle, with
+upright sides and conical base, upon the shoulder of which minute animal
+figures are perched. The painted design is nearly obliterated. The third
+example is unique. The sides are upright and the bottom is flat. The
+ornament occupies the entire surface and is divided into two sections or
+zones by a red band about the middle.
+
+  [Illustration: Fig. 186. Double vessel with high arched handle--½.]
+
+Complex and compound forms are comparatively rare. A double vessel is
+shown in Fig. 186, and a second, varying somewhat from the first in
+shape and ornamentation, is presented in the succeeding figure. Vessels
+of this form are always small, but are neatly constructed and finished
+with much care. The strong handles are more or less arched and connect
+the inner margins of the two lips. The bodies of the twin cups are
+closely joined, but the two compartments are not connected.
+
+  [Illustration: Fig. 187. Double vessel with arched handle--½.]
+
+It seems impossible to present a satisfactory series of the plastic
+features characteristic of this group of products without extending this
+paper inordinately. Handles, legs, and life forms are varied and
+interesting; they are not so boldly treated, however, as in some of the
+other groups. This is a result perhaps of the unusual degree of polish
+given to all parts of the surface preparatory to the application of
+designs in color, the processes tending to subdue and simplify the
+salient features.
+
+  [Illustration: Fig. 188. Vase embellished with life forms, heads in
+  relief and other parts in color--½.]
+
+With reference to life forms it has already been pointed out that the
+painted figures generally imitate or typify animal forms, and it is
+important to note that these figures are in very many cases used as
+auxiliaries to plastic features in the development of particular
+conceptions. This is shown to advantage in Fig. 188, which illustrates a
+small, well formed bottle, having two large human-like heads attached to
+opposite sides of the body. There are no other plastic features, but the
+heads are supplied with arms and legs, rudely expressed in black lines,
+which are really the interspaces of the lines drawn in the lost color.
+These painted parts occupy the zone usually devoted to decoration and,
+as will be seen by reference to the cut, resemble closely the radiate or
+meandered figures seen in vases of the class shown in Fig. 167. The arms
+are joined to the lower part of the head and extend upward to the neck
+of the vessel, where they terminate in rudely suggested fingers. Rising
+to the right and left of the arms are legs terminating as do the arms.
+A double row of dots is carried along each member, and thus we have a
+suggestion of the relation of the dots and dotted lines, seen in more
+highly conventional forms, to the markings of the creature represented
+or symbolized. The grotesque faces are covered with lines which follow
+the forms as if imitating markings upon the skin. Another example,
+equally suggestive, also employing an animal form, is shown in Fig. 189.
+It is a cup, mounted upon three feet, which has attached to one side the
+head of a peccary, modeled with more than usual skill. The ears of the
+animal appear at the sides of the vessel and the tail is opposite the
+head. The lines and dots seen upon the head are carried along the sides
+of the vessel as far as the ears and undoubtedly represent the markings
+of the animal’s skin. Behind the ears the markings are different in
+character and purely geometric. A view of the under side of the vessel
+is shown in Fig. 190 and illustrates a treatment characteristic of the
+tripod vases of this class. In other cases, instead of fixing the head
+of the animal upon one side and other members of the body upon other
+sides, two heads, or two complete creatures, are placed opposite each
+other.
+
+  [Illustration: Fig. 189. Vase modeled to represent a peccary--½.]
+
+  [Illustration: Fig. 190. Under surface of vase shown in Fig. 189.]
+
+  [Illustration: Fig. 191. Small vessel with human figures in high
+  relief and geometric color decoration--½.]
+
+I present next (Fig. 191) a piece in which there is no recognizable
+relationship between the painted and the plastic features. It is a small
+tripod cup with upright walls, upon which two characteristic Chiriquian
+human figures, male and female, are fixed. The painted figures upon the
+sides of the vessel are geometric, but refer possibly to some character
+or attribute of the modeled figures or are the survivals of figures
+belonging to vessels of this shape or style before the life forms were
+associated with them. The legs, however, so far as can be determined,
+are not related to the human motive, as they are modeled and painted to
+imitate the heads of alligators.
+
+I shall now present a few shallow bowls or pans mounted upon tripods.
+They vary in dimensions from a few inches in diameter to a foot or more
+and are strongly made, symmetrically formed, and neatly finished. The
+polished surfaces are mainly red. The designs were executed in the usual
+way in the lost color, upon a black ground, and are confined chiefly to
+the exterior surface. The alligator is the favorite motive, and in a
+number of cases is quite graphically, although still conventionally,
+rendered. As in the preceding examples, the animal heads represented in
+the legs do not always correspond to the creatures embodied in the
+painted decoration.
+
+  [Illustration: Fig. 192. Tripod cup, with figures of the
+  alligator--½.]
+
+In Fig. 192 we have a representative example of moderate size and
+ordinary finish. The decorated band is divided into panels, three of
+which are long and contain figures of the alligator. The other three are
+short and are filled with conventional devices, related perhaps to that
+animal. The legs are apparently intended to resemble the heads of
+alligators. A large piece, nearly twelve inches in diameter, is very
+similar in shape and decoration, but the legs resemble puma heads.
+
+The specimen shown in Fig. 193 is extremely well made and differs
+decidedly from the preceding. The sides are upright and the lip is
+recurved and thick. The legs represent some animal form with thick body,
+eyes at the top, and a tail-like appendage below that turns up and
+connects with the side of the body. The form of the bowl is symmetrical
+and the surface carefully finished and polished. The exterior design is
+divided into panels, as in the preceding case; the figures are simple
+and geometric. The inside of the upright portion of the wall is
+decorated with vertical lines and bands and the bottom is covered with
+an octopus-like figure, now partially obliterated.
+
+  [Illustration: Fig. 193. Large shallow tripod vase, with geometric
+  decoration--½.]
+
+The remarkable example shown in Fig. 194 illustrates a number of the
+points suggested in the preceding pages. It is a large bottle of the
+usual contour and color, mounted upon three high legs, which are slit on
+the inner surface and contain movable balls of clay. Two handles, placed
+at opposite sides of the neck, represent human or anthropomorphic
+figures. These figures and the neck and base of the vessel were finished
+in the red slip. The broad zone extending from the neck to some distance
+below the periphery was finished in the gray slip, with the exception of
+the frames of two panels beneath the handles and the foundation lines of
+two large figures of alligators, which are in red. The surface, when
+thus treated, was well polished and then a coat of black was laid upon
+it, and upon this details of the designs were drawn in the lost color.
+The figures of the alligators exhibit some striking peculiarities. The
+hooked snout, the hanging jaw, the row of dotted notches extending along
+the back, and especially the general curve of the body are worthy of
+attention. These features are seen to better advantage in the series of
+vases presented in the following section.
+
+Belonging to this group are many whistles, needlecases, and rattles, all
+of which are described under separate headings upon subsequent pages.
+
+  [Illustration: Fig. 194. Large bottle shaped vase, with high tripod
+  and alligator designs--½.]
+
+_The alligator group._--The group of ware to which I give the above name
+is perhaps the most interesting in the collection, although numerically
+inferior to some of those already presented. Its decoration is of a very
+striking character and may serve to throw much light upon the origin and
+evolution of certain linear devices, as it illustrates with more than
+usual clearness the processes of modification.
+
+I will first present a representative series of the vessels, in order
+that they may in a measure tell their own story; yet it is not possible
+without the direct aid of a full series of the objects themselves to
+convey a clear and comprehensive notion of the metamorphoses through
+which the forms and decorations pass.
+
+This group, like that last described, is composed chiefly of bottle
+shaped vases with globular bodies and short, wide necks; but there is no
+danger of confusion. By placing a series from each group side by side a
+number of marked differences may be noted. In the lost color group the
+neck is decided in form, the body is usually somewhat flattened above
+and is distinctly conical below, and the prevailing color is a rich dark
+red. In the alligator group the body is more nearly globular and the
+curves of the whole outline are more gentle; the prevailing color is a
+light yellowish gray. The reds and the blacks, which are used chiefly in
+the figures, are confined to rather limited areas.
+
+Besides the bottle shaped vases, there is a limited series of the usual
+forms, and a few pieces exhibit unique features. The management of life
+forms is especially instructive. Handles are rare and legs are usually
+not of especial interest, as they are plain cones or at most but rude
+imitations of the legs of animals. Shallow vessels are invariably
+mounted upon tripods and a few of the deeper forms are so equipped.
+Usually the sizes are rather small; but we occasionally observe a bottle
+having the capacity of a gallon or more. The materials do not differ
+greatly from those employed in other groups of ware. The paste is fine
+grained and light in color, sometimes reddish near the surface, and
+where quite thick is darker within the mass. A slip of light yellowish
+hue was in most cases applied to the entire surface. A red ochery
+pigment was in some instances used in finishing the lip and the base of
+the body, and occasionally the red pigment was applied as a base, a kind
+of sketch foundation for the decoration proper. For example, when the
+alligator was to appear upon the side of the vessel, the principal forms
+were traced in broad lines of the red color, and these were polished
+down with the slips. When the polishing process was complete, the
+details of the figure, were drawn in black and in cases partially in
+red. Black was the chief delineating color, the red having been confined
+to broad areas, to outlines, and to the enframing of panels. In
+execution, therefore, there is a decided contrast with the preceding
+group, and it may be added that there is an equally strong contrast in
+both treatment and subject matter of the ornament. The motives are
+derived almost wholly from life forms and retain for the most part
+features that suggest their origin. The subjects are chiefly reptilian,
+the alligator appearing in a majority of cases, and hence the name of
+the group.
+
+I present first a few examples of plain bottles which have no extraneous
+plastic features. The decorations are arranged in two ways, in zones
+about the upper part of the body or in circular areas, generally four in
+number, equidistantly placed about the shoulder of the vessel.
+
+  [Illustration: Fig. 195. Large bottle, with narrow zone containing
+  figures of the alligator--â…“.]
+
+An example of the first style is given in Fig. 195, which represents the
+largest piece in this group of ware. The form is symmetrical and very
+pleasing to the eye. The surface is not very highly polished and shows
+the marks of the polishing implement distinctly over the entire surface.
+Two black lines encircle the flat upper surface of the rim and the outer
+margin is red. The neck and a narrow zone at the upper part of the body
+are finished in a cream colored slip and the body below this is red. The
+narrow band of ornament occupies the lower margin of the light colored
+zone and consists of five encircling lines in black, three of which are
+above and two below a band one-half an inch wide, in which five much
+simplified figures of alligators are drawn. Besides these figures there
+are two vertical septum-like bands. Each of these consists of three
+lines bordered by dots, which probably have some relationship with the
+alligator. The decorated zone of these vessels is divided in various
+ways into panels, some of which are triangular, while others are
+rectangular or arched. The latter form is seen in Fig. 196. Five arches,
+having no border line above, are occupied by abbreviated alligator
+devices. The number of compartments ranges in other specimens from two
+to a dozen or more. They are filled in with various devices, to be
+described in detail further on.
+
+  [Illustration: Fig. 196. Vase with decorated zone containing four
+  arched panels--½.]
+
+  [Illustration: Fig. 197. Vase with four round nodes upon which
+  animal devices are painted--½.]
+
+A very peculiar form of decoration consists of circular or rosette-like
+ornaments, such as are shown in Fig. 197. Four slightly relieved nodes
+an inch or more in diameter are placed upon the shoulder of the vessel.
+These are encircled by red lines which inclose two black lines each, and
+within these are peculiar devices in black. Other vessels furnish
+figures of greatly diversified characters, most of which evidently refer
+to life forms. A full series of these is given in a subsequent section
+of this paper, where the origin of the nodes and the manner in which the
+painted figures probably became associated with them will be fully set
+forth.
+
+  [Illustration: Fig. 198. Vases of varied form and decoration.]
+
+In the series of outlines presented in Fig. 198, we have some of the
+varieties of form and decoration of both the ordinary bottles and the
+plainer tripod cups. Each example presents certain features of
+particular interest. The handsome little bottle (_d_) with the plastic
+ornament about the neck and the zone of geometric ornament in black and
+red lines is unique. The double necked bottle is an unusual form and its
+decoration consists of a strangely conceived representation of the
+alligator. The tripod vases are worthy of close attention: the piece
+illustrated in _b_ has a zone of ornament separated into three parts by
+vertical spaces, each part being enframed in black. The sections are
+divided by red lines into three panels, each of which contains a
+conventional figure of an alligator in black. The piece shown in _a_ is
+unique in its decoration. Four angular fret links in black are inclosed
+in as many panels, bordered by red and separated by blank spaces. These
+fret links, as I shall show further on, probably refer to or symbolize
+the alligator. The legs of the cups are all conical and are marked with
+short transverse lines in black, which have a direct reference to the
+markings of the animal to which the vase was consecrated. A careful
+study of the preceding illustrations leads to the conclusion that in the
+mind of the potters there was a close and important relationship between
+the vessel and the reptilian forms embodied in both plastic and surface
+embellishment. The series of examples which follow have a bearing upon
+this point. I shall begin with that in which the creature is most
+literally rendered.
+
+  [Illustration: Fig. 199. Alligator vase, with conventional
+  markings--½.]
+
+  [Illustration: Fig. 200. Alligator vase, with conventional figures
+  of the alligator painted on the sides--½.]
+
+In Fig. 199 the whole conformation of the vessel is considerably
+modified through the attempt to perfect the likeness of the alligator,
+whose head, tail, and legs are graphically rendered. The body, head, and
+tail are covered with nodes, each of which is encircled by a black ring
+and has a black dot upon the apex. Dotted rings and short strokes of
+black occupy the interspaces. These devices represent the spines and
+scales of the creature’s skin. The legs are marked with horizontal
+stripes and oval spaces at the top inclose three dots each. The general
+color of the vessel is a dark brown. This piece should be compared with
+the alligator whistle shown in Fig. 250.
+
+A somewhat different treatment is shown in Fig. 200. Here the animal
+form has undergone considerable modification. There are but three
+legs--a concession to the conventional tripod--and the body exhibits,
+instead of the nodes and the markings of the creature’s skin, two
+conventional drawings of the whole animal. Now, by higher and higher
+degrees of convention, we come to a long series of modified results
+which must be omitted for want of room. We find that the plastic
+features are gradually reduced until mere nodes appear where the head
+and the tail should be, and finally in the lower forms there remains but
+a blank panel or a painted device, as already shown in a preceding
+section. The painted devices are also reduced by degrees until all
+resemblance to nature is lost and geometric devices alone remain.
+I observe in this association of plastic and painted features a lack of
+the perfect consistency I had learned to expect in the work of primitive
+peoples. It is easy to see how, from painting the markings of the
+creature’s skin upon the body of the vessel, the painter should come
+gradually to delineate parts of the creature or even the whole creature,
+but we should not expect him to paint a creature distinct in kind from
+that modeled, thus confusing or entirely separating the conceptions;
+this has been done, apparently, in the vase illustrated in Fig. 202,
+where the plastic form represents a puma and the painting upon the sides
+seems intended for an alligator. It will be seen from the figures given
+that the devices of the panels or sides do not necessarily represent the
+markings of the animal’s body, as in Fig. 201, but that they may refer
+to the entire creature (Fig. 200) or even to what appears to be a
+totally distinct creature (Fig. 202).
+
+  [Illustration: Fig. 201. Vase having the head and tail of a serpent
+  projecting from opposite sides of the body and connected by a
+  meandered design which stands for the markings of the body--½.]
+
+If realistic or semirealistic delineations are confused in this way it
+is to be expected that highly conventional derivative figures, so
+numerous and varied, should be much less clearly distinguished; that
+indeed there should be no certainty whatever in the reference to
+originals. It is difficult to say of any particular conventional device
+that it originated in the figure of the animal as a whole rather than in
+some part or character of that animal or of some other animal.
+
+  [Illustration: Fig. 202. Vase representing a puma, with figures of
+  the alligator painted upon the sides--½.]
+
+  [Illustration: Fig. 203. Shallow vase with reptilian features in the
+  round and designs in red and black representing the markings of the
+  creature’s body--½.]
+
+A very instructive example bearing upon this subject is shown in
+Fig. 203. Attached to one side of the basin is a pendent head resembling
+that of a serpent or a turtle. A kind of hood overhangs the head and
+extends in a ridge around the sides of the vessel, connecting with the
+tail of the creature, which is also pendent and hooded. Four legs
+support the vessel and are marked with transverse stripes of red and
+black paint. The upper surface of the head is covered with reticulated
+lines in black, and bands of conventional ornament in the same color
+extend around the sides of the vessel, uniting the head with the tail of
+the animal. A single band of ornament passes beneath the body, also
+connecting those members. It is plain that these painted bands serve to
+complete the representation of the reptile. But, as I have just shown,
+they are as likely to stand for the whole creature or to be the
+abbreviated representative of the whole creature as to represent merely
+the markings of the body. These devices, as arranged in the zone,
+resemble in a remarkable degree the conventional running scroll.
+
+  [Illustration: Fig. 204. Vase with funnel shaped mouth and square
+  body, supported by two grotesque figures and decorated with figures
+  of alligators and monkeys--½.]
+
+I have but one more example of the alligator vases to present, but it is
+perhaps the most remarkable piece in the collection (Fig. 204). It
+illustrates to good advantage both the skill and the strange fancy of
+these archaic potters. A large vase, having a high flaring rim and a
+subcubical body, is supported by two grotesque human appearing figures,
+whose backs are set against opposite ends of the vessel. The legs are
+placed wide apart, thus affording a firm support. The heads of the two
+figures project forward from the shoulder of the vase and are flattened
+in such a way as to give long oval outlines to the crowns which are
+truncated and furnished with long slit-like openings that connect
+through the head with the main chamber of the vessel. The openings are
+about two and a half inches long and one-eighth of an inch wide and are
+surrounded by a shallow channel in the flat, well polished upper
+surface. The extraordinary conformation of this part of the vessel
+recalls the well known whistling vases of South America; but this piece
+is too badly broken to admit of experiment to test its powers. It is
+generally likened to a money box. In order to convey a clear conception
+of the shape of the upper surface, I present a top view of the vessel
+(Fig. 205).
+
+  [Illustration: Fig. 205. Top view of vase in Fig. 204, showing the
+  main orifice and the oblong openings.]
+
+  [Illustration: Fig. 206. End view of vase in Fig. 204, showing front
+  view of grotesque figure. The red portions of the painted figures
+  are outlined with dots.]
+
+A front view of one of the supporting figures is shown in Fig. 206.
+Although certainly not intended to represent a human figure with
+accuracy, it is furnished with a crown, as are the figures in gold and
+stone, and is covered with devices that seem to refer to costume. The
+features are extremely grotesque, the nose resembling the beak of a bird
+and the mouth being a mere ridge, without indications of the lips. The
+face and the chest are painted with curious devices in red. The funnel
+and body of the vase are decorated with subjects that seem to have no
+connection with the plastic features and no relation to one another in
+subject matter. The upper panel, surrounded by a framework of black and
+red lines, contains the figure of an alligator much simplified and
+taking a peculiar position on account of the shape of the space into
+which it is crowded. The figure occupying the body panel is that of a
+very strangely conventionalized two tailed monkey and is enframed by a
+wide red line. On the shoulder of the vessel is an ornament consisting
+of a number of angular hooks attached to a straight line. The effect is
+like that of fretwork, but the figure is probably derived from a
+modified animal form. The paste of this vase is sandy and is reddish
+gray near the surface and quite dark within the mass. The modeling is
+thoroughly well done, and the surface, which is of a somber, yellowish
+gray tint, is highly polished. The figures are drawn chiefly in black,
+red being confined to broad lines and areas. De Zeltner published
+photographic illustrations of a similar vase with his pamphlet on the
+graves of Chiriqui. That specimen is now, I believe, in the hands of
+Prof. O. C. Marsh, of New Haven. It corresponds very closely in nearly
+every respect with the example here described.
+
+  [Illustration: Fig. 207. Large vase with decorations in red and
+  black--¼.]
+
+_The polychrome group._--The National Museum collection contains but
+three examples of this most artistic of the wares of Chiriqui. Its claim
+to superiority rests upon a certain boldness and refinement of
+execution, combined with nobleness of outline and a type of design much
+in advance of other isthmian decoration. It is probably most nearly
+allied to the ware of the alligator group, and it possesses some of the
+characteristics of the best Central American work. Unlike the other
+wares of Chiriqui, this pottery has a bright salmon red paste and the
+slip proper is a delicate shade of the same color. In nearly all cases
+undecorated portions of the surface are finished in red, which appears
+to have been polished down as a slip. The designs are in three
+colors--black, a strong red, and a fine gray purple--which, in
+combination with the bright reddish ground, give a very rich effect. The
+first example, shown in Fig. 207, is a large, nearly symmetrical bottle
+with a short neck and a thick, flaring lip. The inner surface of the
+orifice and the lower half of the body are finished in red and the neck
+and shoulder in the salmon colored slip. A wide zone of ornament
+encircles the upper surface of the body. The designs are executed with
+great skill in red and black colors and include two highly conventional
+figures, probably of reptilian origin. The manner of their introduction
+into the zone is shown in Fig. 208. The oval faces are placed on
+opposite sides, taking the positions usually occupied by modeled heads.
+Each face is supplemented by a pair of arms which terminate in curiously
+conventional hands, and the two caudal appendages are placed midway
+between the faces, filling triangular areas. The body of the vase serves
+as a body for both creatures. In the illustration, the red of the
+design, which is carried over all of one face save the eyes and mouth
+and serves to emphasize the features of the other face, is indicated in
+vertical tint lines and the black is given in solid color. This vase is
+twelve inches in height.
+
+  [Illustration: Fig. 208. Devices of the decorated zone of vase shown
+  in Fig. 207.]
+
+  [Illustration: Fig. 209. Handsome vase with four handles and
+  decorations in black, red, and purple--â…”.]
+
+A second example, illustrated in Fig. 209, is a fine piece of somewhat
+unusual shape. The orifice is trumpet shaped and rather too wide for
+good proportion. The body is flattened above and conical below and is
+supported by a rather meager annular foot. The paste is of a light brick
+red color, and the slip, as seen in the ground of the decorated belt, is
+a pale gray orange. Undecorated portions of the surface are painted red.
+The ornamented zone is interrupted by two pairs of handle-like
+appendages set upon the outer part of the shoulder. These projections
+may possibly have served as handles, as they are perforated both
+horizontally and vertically, but they are at the same time undoubtedly
+conventionalized animal forms, the creature being represented by the
+four flattened, transversely marked arms or rays and an eye-like device
+painted upon the top of each figure. The painted devices are seen in
+plan in Fig. 210, where the relations of the relieved features to the
+zone of painted decoration are clearly shown. This zone is divided into
+panels of unequal dimensions, and within these a number of extraordinary
+devices are drawn in three colors, red, black, and purple. These are
+distinguished in the plan by peculiar tint lines. The designs are of
+such a character as to leave little doubt that they are ideographic,
+although at present it is impossible to guess the nature of the
+associated ideas. The annular foot observed in this specimen illustrates
+the first step in the development of a feature the final stage of which
+is shown in Fig. 211. The latter shape is such as would result from
+inverting the preceding form, removing the conical base of the body, and
+using the funnel shaped orifice as a stand. This highly developed shape
+implies a long practice of the art. The form is a usual one in Mexico
+and in Central America. The bowl is shallow and is set gracefully upon
+the stand, the whole shape closely resembling simple conditions of the
+classic kylix. The color of the paste is a pale brick red and that of
+the slip approaches orange. The walls are thick and even and the surface
+is very carefully polished.
+
+  [Illustration: Fig. 210. The painted designs of vase in Fig. 209
+  viewed from above.]
+
+The painted decoration is of unusual interest. The colors are so rich,
+the execution is so superior, and the conception so strange that we
+dwell upon it with surprise and wonder. The central portion of the bowl
+is occupied by what would seem to represent a fish painted in strong,
+firm, marvelously turned lines, and in a style of convention wholly
+unique. The outlines are in black and the spaces are filled in with red
+and purple or are left in the orange hue of the ground. An idea of the
+superior style of execution can be gained from Fig. 212. It will be
+impossible to characterize the details of the drawing in words. The
+strange position and shape of the head, the oddly placed eyes and mouth,
+and the totally incomprehensible treatment of the body can be
+appreciated, however, by referring to the illustration. A careful study
+leads inevitably to the conclusion that this was no ordinary decoration,
+no playing with lines, but a serious working out of a conception every
+part of which had its significance or its raison d’être.
+
+  [Illustration: Fig. 211. Vase of unusual shape, with decoration in
+  black, red, and purple--â…“.]
+
+  [Illustration: Fig. 212. Ornament occupying the interior surface of
+  the basin of vase shown in Fig. 211.]
+
+The figures occupying the border zone of the bowl are worthy of careful
+inspection. It will be seen that the potter, even in this highly
+specialized condition of the utensil, has not lost sight of the
+conception that the vessel is the body of an animal, as we have seen so
+often in simpler forms, and that the symbols of the creature should
+appear upon it and encircle it. The zone is divided into two equal
+sections by small knobs, painted, as are the handle-like appendages in
+the preceding specimen, to represent some animal feature. The lateral
+sections are occupied by eye-like figures that stand for the markings of
+the body of the creature symbolized. They really occupy the spaces left
+by a continuous waved body or life line, which they serve to define.
+Devices of this class are most frequently met with in connection with
+representations of the alligator. They may, however, symbolize the
+serpent, as occasionally seen in the alligator group. Decorative
+conceptions so remarkable as these could arise only through one channel:
+the channel of mythology. The superstitions of men have imposed upon the
+art a series of conceptions fixed in character and limited to especial
+positions, relations, and forms of expression. It is useless to
+speculate upon the nature of the mythologic conceptions with an idea of
+arriving at any understanding of the religion of the people; but we do
+learn something of the stage of development, something of the condition
+of philosophy.
+
+  [Illustration: Fig. 213. Large vase of fine shape and simple
+  decorations. From De Zeltner--about ¼.]
+
+I must not close this section without referring to some fine vases that
+belong apparently to this group and which were collected by De Zeltner
+and illustrated by photographs accompanying his pamphlet. They are now,
+I believe, in the possession of Prof. O. C. Marsh. The sketches given
+herewith are copied from De Zeltner’s photographs and are probably
+somewhat defective in details of drawing. The piece illustrated in
+Fig. 213 is not described by the author, but is evidently a handsome
+vessel and is decorated in a very simple manner. A band of devices
+symbolizing the body of an animal encircles the middle portion of the
+vase. The height is about a foot.
+
+  [Illustration: Fig. 214. Vase with extraordinary decorative designs.
+  From De Zeltner--about ¼.]
+
+A second piece (Fig. 214), of which two views are given by the same
+author, corresponds closely in many respects with the vase illustrated
+in Fig. 211 and is described in the following language:
+
+  My collection includes a cup (or chalice) of baked clay 25
+  centimeters in diameter, mounted on a hollow stand which gives it a
+  height of 18 centimeters, and the designs of which are very rich and
+  in perfect taste. The base is hollow and colored red, white, black,
+  and purple; it has four narrow openings or slits, and the design
+  represents plaits spirally arranged. The under side of the cup is
+  divided into four compartments, each of which incloses a dragon
+  painted in black and red on a white ground; the borders are
+  sometimes red, sometimes purple. The body of the dragon might have
+  been painted in China, so neat and intricate is the drawing.
+
+  The design upon the inside of the cup seems to resemble Egyptian
+  art. The body of a man is seen, painted in red, the arms and legs
+  separated, and the shoulders bearing the head of the dragon with
+  teeth and crest. The color is similar to the rest of the
+  piece--purple, white, and black. The intermediate spaces are filled
+  with very intricate designs.
+
+This extraordinary design is shown in Fig. 215, and it will be seen that
+it agrees in many respects with figures presented in the lost color and
+alligator groups. It is compound in character, however, the head
+referring to the alligator, the body and extremities perhaps to a man or
+to a monkey. The suggestion of the oriental dragon in this, as in other
+examples, is at once apparent, and the resemblance to certain
+conventional forms that come down to us from the earliest known period
+of Chinese art is truly remarkable. We cannot, of course, predicate
+identity of origin even upon absolute identity of appearances, but such
+correspondences are worthy of note, as they may in time accumulate to
+such an extent that the belief in a common origin will force itself
+upon us.
+
+  [Illustration: Fig. 215. Painted design of vase in Fig. 214, viewed
+  from above, thought to represent a dragon by De Zeltner; probably a
+  composite of the alligator and the monkey or man.]
+
+_Unclassified._--A small number of vases do not admit of classification
+under any of the preceding heads. In most cases, however, they are not
+of especial interest and may be passed over. They represent a number of
+varieties of ware and are possibly not all Chiriquian, their affinities
+being rather with the pottery of Costa Rica and Nicaragua. One
+remarkable piece, of which a sketch is given in Fig. 50, _c_, is of
+large size and is shaped somewhat like an hour glass, and on account of
+its peculiar form and markings may be said to resemble a corset. The
+upper end is somewhat the smaller, and the septum, which forms the
+bottom of the vessel, is placed about an inch above the base of the
+foot. The interior surface is smoothly polished and painted a dark dull
+red. The exterior is uncolored and neatly fluted. The series of vertical
+ribs of the upper end is separated from those of the base by a belt of
+horizontal flutings, and a wide smooth space extends from the top to the
+base, the lower section of which is occupied by a row of button-like,
+indented knobs. The use of this utensil may not have been peculiar, but
+its shape is wholly unique. It resembles most nearly the ware of the
+maroon group. Its height is twelve inches.
+
+Perhaps the most interesting of these unclassified vases is a somewhat
+fragmentary piece, of which an outline is given in Fig. 216. The ware
+closely resembles that of the alligator group in color of the paste and
+slip, but the base has been supplied with an annular stand, a feature
+not observed in that group, and the colors of the design, with the
+exception of the black, are unlike those used in Chiriquian vases.
+
+  [Illustration: Fig. 216. Vase of unique form and decoration--â…“.]
+
+  [Illustration: Fig. 217. Painted design of vase in Fig. 216 in
+  black, red, and gray.]
+
+It will be seen by reference to Fig. 217 that the painted figures are
+partially pictorial, the conventional scenes including the sun, the
+moon, and stars. The more conventional parts of the design are very
+curious and without doubt are symbolic. The border of fret work is
+Mexican in style. The sun, which is only partially exposed above the
+horizon, is outlined in red and is surrounded by red rays. The figures
+supposed to represent the moon and the stars are in black. In the
+illustration the reds of the original are represented by vertical tint
+lines and the brownish grays by horizontal tint lines. The black is in
+solid color.
+
+
+MISCELLANEOUS OBJECTS OF CLAY.
+
+As primitive peoples advance in culture and the various branches of art
+are differentiated, each of the materials employed is made to fill a
+wider and wider sphere of usefulness. Clay, applied at first to vessel
+making and used perhaps as an auxiliary in a number of arts in which it
+took no definite or individual shapes, gradually extended its dominion
+until almost every art was in a measure dependent upon it or in some way
+utilized it. The extent of this expansion of availability is in a
+general way a measure of the advancement of the races concerned. The
+Chiriquians employed clay in the construction of textile machinery, as
+shown by the occurrence of spindle whorls, and a number of small
+receptacles, probably needlecases, are constructed of that material. It
+was employed in the manufacture of stools, statuettes, drums, rattles,
+and whistles. With less cultured races, such as the Pueblo and mound
+builders of the north, such articles were rarely manufactured, while
+with the more cultured nations of Mexico and Peru a wider field was
+covered and the work was considerably superior.
+
+SPINDLE WHORLS.
+
+The art of weaving was carried to a high degree of perfection by many of
+the American races, but the processes employed were of the simplest
+kind. The threads were spun upon wooden spindles weighted with whorls of
+baked clay. These whorls are not plentiful in the graves of Chiriqui,
+but such as have been collected are quite similar in style to those of
+Mexico and Peru. In Figs. 218, 219, and 220 we have three examples
+modeled with considerable attention to detail but comparatively rude in
+finish. They are in the natural color of the baked clay and are but
+rudely polished. The first is encircled by a line of rough, indented
+nodes, the second is embellished with homely little animal figures, and
+the third with incised patterns and rude incisions.
+
+  [Illustration: Fig. 218. Spindle whorl in gray clay decorated with
+  annular nodes--1/1.]
+
+  [Illustration: Fig. 219. Spindle whorl of gray clay with animal
+  figures--1/1.]
+
+  [Illustration: Fig. 220. Spindle whorl of dark clay with
+  perforations and incised ornament--1/1.]
+
+NEEDLECASES (?).
+
+I have given this name to a rather large class of small oblong or oval
+receptacles that could have served to contain needles or any other small
+articles of domestic use or of the toilet. They consist of two parts,
+a vessel or body and a lid. The former takes a variety of cylindrical,
+subcylindrical, and doubly conical shapes, and the latter is conical and
+is in many cases furnished with a knob at the top for grasping with the
+fingers. The lid is attached or held in place by means of strings passed
+through small holes made for the purpose in corresponding margins of the
+two parts. These objects were in pretty general use in the province, as
+they are found to belong to a number of the groups of ware, being
+finished and decorated as are the ordinary vessels of these classes.
+A few type specimens are given in the following cuts. A fine example
+belonging to the unpainted ware is shown in outline in Fig. 221. It is
+five inches in height and three in diameter and is pleasing in shape.
+The specimen outlined in Fig. 222 is of the lost color group, but has
+lost nearly all traces of the decorative design.
+
+  [Illustration: Fig. 221. Needlecase of unpainted clay with conical
+  lid--½.]
+
+  [Illustration: Fig. 222. Needlecase, lost color group of ware--½.]
+
+A fine example, with high polish and elaborate decoration, is presented
+in Fig. 223. The lid is raised to show the position of the perforations.
+Two interesting examples belonging to the dark incised ware are shown in
+Figs. 224 and 225. The deeply incised design of the first is purely
+geometric, but is probably of graphic parentage, while that of the
+second, rather rudely scratched through the dark surface into the gray
+paste, is apparently a less highly conventionalized treatment of the
+same motive.
+
+  [Illustration: Fig. 223. Needlecase with painted geometric ornament,
+  belonging to the lost color group of ware--½.]
+
+  [Illustration: Fig. 224. Needlecase of gray clay with angular
+  incised geometric ornament--½.]
+
+  [Illustration: Fig. 225. Needlecase of gray clay with black polished
+  surface and incised ornament--½.]
+
+FIGURINES.
+
+I have already called attention to the fact that there is no such thing
+in Chiriquian ceramic art as a well modeled human figure and apparently
+no indication of an attempt to render the human physiognomy with
+accuracy. It is highly probable that the personages embodied in the
+mythology of the people took the forms of animals or were
+anthropomorphic and gave rise to the peculiar conceptions embodied in
+their arts. The strange objects herewith presented are rendered in a
+measure intelligible by the adoption of this hypothesis. These figurines
+are confined to the alligator group of ware and are quite numerous. They
+are small, carefully finished, and painted with care in red and black
+lines and figures. They are semihuman and appear to be arrayed in
+costume. The head of each is triangular in shape, having a sharp,
+projecting profile, with the mouth set back beneath the chin, reminding
+one of the face of a squirrel or some such rodent. The figures occupy a
+sitting posture. The legs are spread out horizontally, giving a firm
+support, and terminate in blunt cones, which are in some cases slightly
+bent up to represent feet. The hands rest upon the sides or thighs or
+clasp a small figure apparently intended for an infant, which, however,
+does not seem to have any human features. In one case this figure is
+placed upon the back of the figurine and appears to hold its place by
+means of four feet armed with claws (Fig. 226); in another it is held in
+front (Fig. 227). The neck is usually pierced to facilitate suspension,
+and the under side of the body--the sitting surface--is triply
+perforated, or punctured if solid, as if for the purpose of fixing the
+figure in an upright position to some movable support. The central
+perforation is round and the lateral ones, on the under side of the
+legs, are oblong. The largest specimen is six inches in height and the
+smallest about one and a half inches. They are rather elaborately
+painted with black and red devices which, by their peculiar geometric
+character, are undoubtedly intended to indicate the costume. The hair is
+represented by black stripes, which descend upon the neck, and the face
+is striped with red. They are found associated with other relics in the
+graves and were possibly only toys, but more probably were tutelary
+images or served some unknown religious purpose. The sex is usually
+feminine. Two additional examples showing side and back views are
+outlined in Figs. 228 and 229.
+
+  [Illustration: Fig. 226. Statuette, alligator group--1/1.]
+
+  [Illustration: Fig. 227. Statuette, alligator group--1/1.]
+
+  [Illustration: Fig. 228. Statuette of small size--1/1.]
+
+  [Illustration: Fig. 229. Statuette of largest size--½.]
+
+STOOLS.
+
+I have given this name to a class of stone carvings presented in a
+previous section, and, for want of a better name, give it also to a
+series of similar objects modeled in clay. These are among the most
+elaborate products of Chiriquian art. In all cases they are of the
+yellowish unpainted pottery and indicate much freedom and skill in the
+handling of clay. They do not show any well defined evidences of use,
+and as they are too slight and fragile to be used as ordinary seats we
+are left to surmise that they may have served some purpose in the
+religious rites of the ancient races. They are uniform in construction
+and general conformation and consist of a circular tablet supported by
+upright circular walls or by figures which rest upon a strong, ring
+shaped base. The tablet or plate is somewhat concave above, is less than
+an inch in thickness, and has a diameter of ten and one-fourth inches in
+the largest piece, descending to seven and one-half in the smallest. The
+margin is rounded and usually embellished with a beaded ornament
+consisting of grotesque heads, generally reptilian. The variations
+exhibited in details of modeling are well shown by the illustrations. In
+the example given in Fig. 230 the upright portion is a hollow cylinder,
+having four vertical slits, alternating with which are oblique bands of
+ornament in incised lines and punctures. The projecting margin of the
+tablet is encircled by a row of grotesque, monkey-like heads, facing
+downward.
+
+  [Illustration: Fig. 230. Stool of plain terra cotta, decorated with
+  grotesque heads and incised figures--â…“.]
+
+Fig. 231 illustrates a specimen in which three grotesque figures, with
+forbidding faces, alternate with as many flat columns embellished with
+rude figures of alligators. Eighteen grotesque, monkey-like heads occupy
+the lower margin of the seat plate in the spaces between the heads of
+the supporting figures. This specimen illustrates the favorite
+Chiriquian method of construction. The various parts were modeled
+separately in a rough way and then set into place in the order of their
+importance. When this was done and the insertions were neatly worked
+together with the fingers, a number of small instruments were employed
+in finishing: a sharp stylus for indicating parts of the costume, and
+blunt points and small tubular dies for adding intaglio details of
+anatomy, such as the navel, the pupils of the eyes, and the partings of
+the fingers and toes.
+
+  [Illustration: Fig. 231. Stool of plain clay, with grotesque
+  figures--½.]
+
+The discoidal plate of another specimen is supported by four absurdly
+grotesque monkeys, giving a general effect much like that of the last.
+
+  [Illustration: Fig. 232. Stool of plain terra cotta, with strange
+  figures--â…“.]
+
+A very remarkable piece is shown in Fig. 232. The tablet is supported by
+six grotesque figures, somewhat human in appearance, whose limbs are
+intertwined with serpents, suggesting the famous group of the Laocoön.
+The work is roughly done and the details are not carried out in a very
+consistent manner, as the arms and legs of the figures become confused
+with the reptiles and are as likely to terminate in a snake’s head as in
+a hand or foot. The rudely shaped bodies are covered with indented
+circlets or with short incised lines. The material, color, and finish
+are as usual. The height is four and one-half inches and the diameter of
+the tablet ten inches.
+
+There are additional specimens in the National Museum. In one case, the
+largest specimen of the series, the tablet is supported by five upright
+female human figures and the margin is encircled by a cornice of
+forty-six neatly modeled reptilian heads. A small example differs
+considerably in general shape from those illustrated, the base being
+much smaller than the circular tablet. The supporting figures are two
+rudely modeled ocelots and two monkey-like figures, all of which are
+placed in an inverted position. Similar objects are obtained from the
+neighboring states of Central and South America.
+
+MUSICAL INSTRUMENTS.
+
+Something is already known of the musical instruments of the ancient
+Chiriquians through fugitive specimens that have found their way into
+collections in all parts of Europe and America. The testimony of the
+earthen relics--for no others are preserved to us--goes to show that the
+art of music was, in its rude way, very assiduously practiced, and that
+it probably constituted with these, as with most primitive communities,
+a serious and important feature in the various ceremonial exercises.
+Clay is naturally limited to the production of a small percentage of the
+musical instruments of any people, the various forms of woody growths
+being better adapted to their manufacture. We have examples of both
+instruments of percussion and wind instruments, the former class
+embracing drums and rattles and the latter whistles and clarionette-like
+pipes.
+
+_Rattles._--Besides the ordinary rattles attached to and forming parts
+of vessels, as already described, there are a number of small pieces
+that seem to have served exclusively as rattles, while some are rattle
+and whistle combined in one piece. In no case, however, would they seem
+to the unscientific observer to be more than mere toys, as they are of
+small size and the sounds emitted are too weak to be perceptible at any
+considerable distance. At the same time it is true that they may have
+had ceremonial offices of no little consequence to the primitive
+priesthood. The simple rattles are shaped like gourds, the body being
+globular and the neck or handle long and straight. Like the wares
+already described, they are finished and decorated, the majority
+belonging to the lost color group. The length varies from three to six
+or seven inches. A number of minute slit-like orifices or perforations
+for the emission of the sound occur about the upper part of the body
+(Fig. 233). A septum is placed in the lower part of the neck, so that
+the handle, which is hollow and open at the upper end, may serve as a
+whistle. In some cases the lower part of the neck is perforated for
+suspension at the point occupied by the septum, as imperfectly shown in
+the section (Fig. 234). The most interesting specimen in the collection
+is shown in Fig. 235; it is especially notable on account of its
+construction, which points clearly to the gourd as a prototype. The body
+is of the usual globular shape, slightly elongated above. The neck is
+represented as a separate piece lashed on with cords by means of
+perforations made for the purpose, just as are the handles of similar
+instruments constructed of gourds and reeds in Central American
+countries. The compartments of the handle and of the body are separate
+and the sound produced by the small oval pellets is emitted through
+slits of the usual form. The top of the handle is surmounted by a pair
+of grotesque human figures, male and female, placed back to back and
+united at the backs of the heads as seen in the cut. This object is gray
+in color and presents the roughened granular surface resulting from long
+exposure to the elements.
+
+  [Illustration: Fig. 233. Rattle decorated in the style of the lost
+  color group--½.]
+
+  [Illustration: Fig. 234. Section of rattle shown in Fig. 233.]
+
+  [Illustration: Fig. 235. Rattle of plain ware surmounted by two
+  grotesque figures--½.]
+
+_Drums._--The drum was a favorite instrument with the native American
+musician. Early explorers found its use next to universal, and the
+“tambour� is even now a characteristic feature of the musical
+paraphernalia of the Spanish-Americans. The primitive instrument was
+made by stretching a thin sheet of animal tissue over the orifice of a
+large gourd vessel or a vessel of wood or clay. The use of clay was
+probably exceptional, as there are but three specimens in our Chiriquian
+collection. The shape is somewhat like that of an hour glass, the upper
+part, however, being considerably larger than the base or stand. In all
+cases the principal rim is finished with especial reference to the
+attachment of the vibrating head. The example presented in Fig. 236 has
+a deeply scarified belt an inch wide encircling the rim, and below it is
+a narrow ridge, intended perhaps to facilitate the lashing or cementing
+on of the head. Two raised bands, intended to imitate twisted cords,
+encircle the most constricted part of the body, a single band similarly
+marked encircling the base. The surface is gray in color and but rudely
+polished. The walls are about three-eighths of an inch thick, the height
+sixteen and one-half inches, and the greatest diameter seven and
+one-half inches.
+
+  [Illustration: Fig. 236. Drum of gray unpainted clay--¼.]
+
+The decorated specimen illustrated in Fig. 237 is imperfect, a few
+inches of the base having been lost. The shape is rather more elegant
+than that of the other specimen and the surface is neatly finished and
+polished. The ground color or slip is a warm yellow gray and the
+decoration is in red and black. The rim or upper margin is rather rudely
+finished and is painted red and on the exterior is made slightly concave
+and furnished with a raised band to facilitate the attachment of the
+head. The painted ornament encircles the body in four zones, two upon
+the upper portion and two upon the base. The designs occupying the body
+zones are unique and viewed in the light of their probable origin are
+extremely interesting. In another place further on in this paper I shall
+show that they are probably very highly conventionalized derivatives of
+the alligator radical, the meandered line representing the body of the
+creature and the scalloped hooks the extremities (Fig. 238). The two
+bands upon the base consist of geometric figures, the origin of which
+cannot be definitely determined, although they also probably refer to
+the alligator.
+
+  [Illustration: Fig. 237. Drum with painted ornament in the style of
+  the lost color group--1/9.]
+
+  [Illustration: Fig. 238. Conventional design on drum shown in
+  Fig. 237, composed of alligator derivatives.]
+
+In the collection there is a minute toy drum of the same general shape,
+and the same form reappears in some of the whistles, in one of which
+(Fig. 247) the skin head and its fastenings are all carefully reproduced
+in miniature. The immediate original of this particular form of drum was
+probably made of wood. A drum, recently brought from Costa Rica was made
+by hollowing out a cylindrical piece of wood and stretching a piece of
+snakeskin across the top. The shape is nearly identical with that of
+these earthen specimens.
+
+_Wind instruments._--Earthenware wind instruments are found in
+considerable numbers and are associated with other relics in the tombs.
+Nearly all are very simple in construction and are limited in musical
+power, receiving and perhaps generally deserving no better name than
+whistles or toys. A few pieces are more pretentious and yield a number
+of notes, and if operated by skilled performers or properly concerted
+are capable of producing pleasing melodies. It is not difficult to
+determine the powers of individual instruments, but we cannot say to
+what extent these powers were understood by the original owners, nor can
+we say whether or not they were intended to be played in unison in such
+a way as to give a certain desired succession of intervals. There are,
+however, in a large number of these instruments a uniformity in
+construction and a certain close correspondence in the number and degree
+of the sounds that indicate the existence of well established standards.
+It does not appear absolutely certain to me that the system of intervals
+was made to conform to that of any known scale; but a difficulty arises
+in attempting to determine this point, as most of the pieces are more or
+less mutilated. We find also that the note producible by any given stop
+is not fixed in pitch, but varies, with the force of the breath, two or
+even three full intervals. As a result of this a glide is possible to
+the skilled performer from note to note and any desired pitch can be
+taken.
+
+In material, finish, and decoration these objects do not differ from the
+ordinary pottery. A majority belong to the alligator group. The size is
+generally small, the largest specimen being about eight inches in
+length. The shapes are wonderfully varied and indicate a lively
+imagination on the part of the potter. Animal forms prevail very
+decidedly, that of the bird being a great favorite. In many cases the
+animals copied can be identified, but in others they cannot--perhaps
+from our lack of knowledge of the fauna of the province, perhaps from
+carelessness on the part of the artist or from the tendency to model
+grotesque and complicated shapes. The following creatures can be
+recognized: men, pumas, ocelots, armadillos, eagles, owls, ducks,
+parrots, several varieties of small birds, alligators, crabs, and
+scorpions. Vegetal forms, excepting where in use as instruments or
+utensils, as reeds and gourds, were not copied. In the National Museum
+collection there are two tubular pipes, probably modeled after reeds,
+and another resembles a gourd in shape. The construction of the
+whistling apparatus is identical in all cases and corresponds to that of
+our flageolets (see sections, Figs. 240 and 242). Plain tubes were
+doubtless also used as whistles, and all utensils of small size, such as
+needlecases and toy vases, can be made to give forth a note more or less
+shrill, according to the size of the chamber. The simplest form of
+whistle produces two shrill notes identical in pitch. The shape is
+double, suggesting a primitive condition of the tibiæ pares of the
+Romans. The parts are pear or gourd shaped, are joined above and below,
+and have an opening between the necks. The two mouthpieces are so close
+together that both are necessarily blown at once. The note produced is
+pitched very high and is extremely penetrating, not to say ear
+splitting, making an excellent call for the jungles and forests of the
+tropics. A small specimen is presented full size in Fig. 239, and the
+section in Fig. 240 shows the relative positions of the mouthpieces, air
+passages, vent holes, and chambers.
+
+  [Illustration: Fig. 239. Double whistle, lost color ware--1/1.]
+
+  [Illustration: Fig. 240. Section of double whistle.]
+
+  [Music]
+
+Reed shaped instruments are furnished with passages and orifices
+corresponding to the other forms. The chamber is tubular and the lower
+end is open, and the finger holes, when present, are on the upper side
+of the cylinder. One example without finger holes has two notes nearly
+an octave apart, which are produced, the higher with the tube open and
+the lower with it closed. Perhaps the most satisfactory instrument in
+the whole collection, so far as range is concerned, is shown in
+Fig. 241, and a section is given in Fig. 242. It is capable of yielding
+the notes indicated in the accompanying scale: First, a normal series of
+eight sounds, produced as shown in the diagram, and, second, a series
+produced by blowing with greater force, one note two octaves above its
+radical and the others three octaves above. These notes are difficult to
+produce and hold and were probably not utilized by the native performer.
+
+  [Illustration: Fig. 241. Tubular instrument with two finger holes,
+  alligator group--1/1.]
+
+  [Illustration: Fig. 242. Section of whistle.]
+
+  [Music]
+
+Two little instruments of remarkable form and unusual powers stand quite
+alone among their fellows. One only is entire. It is made of dark clay
+and represents a creature not referable to any known form, so completely
+is it conventionalized. A fair idea of its appearance can be gained from
+Figs. 243 and 244. The first gives the side view and the second the top
+view. The mouthpiece is in what appears to be the forehead of the
+creature. The vent hole is beneath the neck and there are four minute
+finger holes, one in the middle of each of four flattish nodes, which
+have the appearance of large protruding eyes. A suspension hole passes
+through a node upon the top of the head. The capacity of this instrument
+is five notes, clear in tone and high in pitch. It is notable that the
+pitch of each stop, when open alone, is identical, the holes being of
+exactly the same size. In playing it does not matter in what order the
+fingers are moved. The lower note is made with all the holes closed and
+the ascending scale is produced by opening successively one, two, three,
+and four holes. The fragmentary piece is much smaller and the holes are
+extremely small.
+
+  [Illustration:
+  Fig. 243.
+  Fig. 244.
+  Small animal shaped whistle of blackish ware, with four finger
+  holes--1/1.]
+
+  [Music]
+
+Of a distinct type of form, although involving no new principle of
+construction, are two top-like or turnip shaped instruments, one of
+which is shown in Fig. 245. The form is symmetrical, the ornamentation
+tasteful, and the surface highly polished. The ware is of the alligator
+group and is decorated in red and black figures. A section is given in
+Fig. 246, _a_, and top and bottom views in _b_ and _c_. By reference to
+these a clear conception of the object can be formed. The companion
+piece is identical in size, shape, and conformation, and, strange to
+say, in musical notes also. The tones are not fixed, as each can be made
+to vary two or three degrees by changing the force of the breath. The
+tones produced by a breath of average force are indicated as nearly as
+may be in the accompanying scale. They will be found to occur nearer the
+lower than the upper limit of their ranges. It should be observed that
+the capacity for variation possessed by each of these notes enables the
+skilled performer to glide from one to the other without interruption.
+This instrument is, therefore, within its limited range, as capable of
+adjusting itself to any succession of intervals as is the trombone or
+the violin. I do not imagine, however, that the aboriginal performer
+made any systematic use of this power or that the instrument was
+purposely so constructed. It will be seen by reference to the scale that
+stopping the orifice in the end opposite the mouthpiece changes the
+notes half a tone, or perhaps, if accurately measured, a little less
+than that.
+
+  [Illustration: Fig. 245. Top shaped instrument, with three finger
+  holes, alligator ware--1/1.]
+
+  [Illustration:
+  _a, b, c_
+  Fig. 246. Section and vertical views of instrument shown in
+  Fig. 245.]
+
+  [Music]
+
+Our collection contains several dozen three note whistles or pipes. Most
+of these represent animal forms, which are treated in a more or less
+realistic way, but with a decided tendency toward the grotesque. Nearly
+all are of small size, the largest, an alligator form, having a length
+of about eight inches. In the animal figures the air chamber is within
+the body, but does not conform closely to the exterior shape. The
+mouthpieces and the orifices are variously placed, to suit the fancy of
+the modeler, but the construction and the powers are pretty uniform
+throughout. There are two finger holes, placed in some cases at equal
+and in others at unequal distances from the mouthpiece, but they are
+always of equal size and produce identical notes. The capacity is
+therefore three notes. The lower is produced when all the orifices are
+open, the higher when all are closed, and the middle when one hole--no
+matter which--is closed.
+
+Besides the animal forms there are a number of shapes copied from other
+musical instruments or from objects of art, such as vases. A very
+interesting specimen, illustrated in Fig. 247, modeled in imitation of a
+drum, has not only the general shape of that instrument, but the skin
+head, with its bands and cords of attachment, is truthfully represented.
+A curious conceit is here observed in the association of the bird--a
+favorite form for the whistles--with the drum. A small figure of a bird
+extends transversely across the body of the drum chamber, the back being
+turned from the observer in the cut. The tail serves for a mouthpiece,
+while the finger holes are placed in the breast of the bird, the
+position usually assigned to them in simple bird whistles; its three
+notes are indicated in the accompanying scale:
+
+  [Illustration: Fig. 247. Drum shaped whistle of plain ware, with
+  bird figure attached--1/1.]
+
+  [Illustration: Fig. 248. Vase shaped whistle, lost color ware--½.]
+
+  [Music]
+
+One specimen is vase or pitcher shaped, with base prolonged for a
+mouthpiece and with a neat handle (Fig. 248). The ground color is a dull
+red, upon which are traces of painted figures. Its notes are as follows:
+
+  [Music]
+
+A novel conceit is exhibited in the crab shaped instrument presented in
+Fig. 249, which gives a back view of the animal. On the opposite side
+are four small conical legs, upon which the object rests as does a vase
+upon its tripod. The mouthpiece is in the right arm, beneath which is
+the sound hole. The two finger holes are in the back behind the eyes of
+the creature and a suspension hole is seen in the left arm. The painted
+designs are in red and black lines upon a yellowish gray ground. The
+following scale indicates its capacity:
+
+  [Illustration: Fig. 249. Crab shaped whistle, alligator ware--1/1.]
+
+  [Music]
+
+The largest specimen in the collection, shown in Fig. 250, represents an
+alligator and is finished in the usual conventional style of the
+alligator group. The air chamber is large and the sounds emitted are
+full and melodious and are lower in pitch than those of any other
+instrument in the collection. The cavity in the mouth and head is
+separated from the body chamber, and, with the addition of earthern
+pellets, probably served as a rattle. The mouthpiece is in the tail and
+the finger holes are in the sides of the body.
+
+  [Illustration: Fig. 250. Alligator shaped whistle, alligator
+  ware--½.]
+
+  [Music]
+
+Mammals are very often reproduced in these instruments. What appears to
+be the ocelot or jaguar is the favorite subject. A representative
+specimen is shown in Fig. 251. The mouthpiece is in the tail and one of
+the sound holes is in the left shoulder and the other beneath the body.
+The head is turned to one side and the face is decidedly cat-like in
+expression. The decoration is in black and red and may be taken as a
+typical example of the conventional treatment of the markings of the
+bodies of such animals. The tips of the ears, feet, and tail are red.
+Rows of red strokes, alternating with black, extend in a broad stripe
+from the point of the nose to the base of the neck. Red panels,
+inclosing rows of red dots and enframed by black lines, cross the back.
+On the sides we have oblong spaces filled in with the conventional
+devices so common in other animal representations. The legs are striped
+and dotted after the usual manner.
+
+  [Music]
+
+  [Illustration: Fig. 251. Cat shaped whistle, alligator ware--1/1.]
+
+A unique form, and one that will be looked at with interest by
+comparative ethnologists on account of the treatment of the tongues, is
+given in Fig. 252. The instrument consists of an oblong body to which
+four ocelot heads are fixed, one at each end and the others at the
+sides. It rests upon four feet, in one of which the mouthpiece is
+placed. The finger holes are in the side of the body near the legs, as
+seen in the cut. The decoration, which consists of more or less
+conventional representations of the skin markings of the animal, is in
+black and red. Its notes are three, as follows:
+
+  [Illustration: Fig. 252. Whistle with four ocelot-like heads,
+  alligator ware--1/1.]
+
+  [Music]
+
+The prevalence of bird forms is due no doubt to the resemblance of the
+notes of primitive whistles to the notes of birds. The shape of the bird
+is also exceptionally convenient, as the body accommodates the air
+chamber, the tail serves as a mouthpiece, and the head is convenient for
+the attachment of a cord of suspension. A great variety of forms were
+modeled and range from the minute proportions of the smallest humming
+bird to those of a robin. The larger pieces represent birds of prey,
+such as hawks, eagles, and vultures, and the smaller are intended for
+parrots and song birds. The treatment is always highly conventional, yet
+in many cases the characteristic features of the species are forcibly
+presented. The painted devices have reference in most cases to the
+markings of the plumage, yet they partake of the geometric character of
+the designs used in ordinary vase painting. The ground is the usual
+yellowish gray of the slip, and nearly all the pieces belong to the lost
+color and alligator groups.
+
+A characteristic example is illustrated in Fig. 253. The head is large
+and flat and the painted devices are in the red and black of the lost
+color group. The three notes are as follows:
+
+  [Music]
+
+  [Illustration: Fig. 253. Bird shaped whistle, with decoration in
+  black, lost color ware--1/1.]
+
+The piece given in Fig. 254 has the shape and markings of a hawk or
+eagle. It belongs to the alligator ware and is elaborately finished in
+semigeometric devices in red and black. All of these devices refer more
+or less definitely to the markings of the plumage.
+
+  [Illustration: Fig. 254. Bird shaped whistle, with conventional
+  decoration in red and black, alligator ware--1/1.]
+
+  [Music]
+
+The example shown in Fig. 255 represents a bird with two heads, the
+shape and markings of which suggest one of the smaller song birds.
+
+  [Illustration: Fig. 255. Two headed, bird shaped whistle, with
+  conventional decoration in black, lost color ware--1/1.]
+
+  [Music]
+
+I cannot say that the whistles were modeled and pitched with the idea of
+imitating the notes of particular birds, but it is possible for the
+practiced performer to reproduce the simpler songs and cries of birds
+with a good deal of accuracy.
+
+  [Illustration: Fig. 256. Whistle in grotesque life form, with
+  decorations in black and red, alligator ware--â…”.]
+
+The human figure was occasionally utilized. The treatment, however, is
+extremely rude and conventional, the features having the peculiar
+squirrel-like character shown in the figurines already given. The unique
+piece given in Fig. 256 represents a short, clumsy female figure with a
+squirrel face, carrying a vessel upon her back by means of a head strap,
+which is held in place by the hands. The mouthpiece of the whistle is in
+the right elbow and one sound hole is in the middle of the breast and
+the other in the left side. The costume and some of the details of
+anatomy are indicated by red and black lines in the original. Its notes
+are the same as those presented with Fig. 249.
+
+
+LIFE FORMS IN VASE PAINTING.
+
+This section is to be devoted to a short study of the decorative system
+of the ancient Chiriquians, and more especially to a consideration of
+the treatment of life forms in vase painting. Many of the finest
+examples of these designs, so far as execution and effect in
+embellishment are concerned, have already been given; but it is
+desirable now to select and arrange a series to illustrate origins and
+processes of growth or modification.
+
+Elements of ornament flow into the ceramic art from a number of sources,
+but chiefly in two great currents: the one from art, and consisting
+chiefly of technical or mechanically produced phenomena, and hence
+geometric, and the other from nature, and carrying elements primarily
+delineative, and hence non-geometric. When once within the realm of
+decoration the various motives or elements are subject to modification
+by two classes of influences or conditioning forces: the technical
+restraints of the art and the esthetic forces of the human mind.
+Mechanical and geometric elements, although born within the art or its
+associated arts, are modified in the processes of adaptation to the
+changing requirements and conditions of the art and through the tendency
+towards elaboration under the guidance of the esthetic forces; left by
+themselves they remain, throughout all changes of use and modification
+of form, purely geometric. Imitative elements tend, under the same
+influences, to move in the direction of the unreal or geometric. In this
+way the realistic forms undergo marked changes, gradually assuming a
+geometric character and finally losing all semblance of nature.
+
+Now it must be noted that the decorations of any group of art products
+may embody both classes of elements or they may be restricted rather
+closely to either. This fact enables us to account for many of the
+strongly marked distinctions observed in the decorative systems of
+different communities, races, and times. In a recent study of ancient
+Pueblo art I traced the decoration to a mechanical origin, mainly in the
+art of basketry, and thus accounted for its highly geometric character.
+Chiriquian art presents a strong contrast to this, as the great body of
+elements are manifestly derived from nature by delineative imitation. It
+was further observed in Pueblo art that as time went on life forms were
+little by little introduced into its decoration and that in recent times
+they shared the honors equally with the primitive geometric forms. In
+Chiriquian art we find but meager traces of a primitive geometric
+system, and conclude that either the earliest art of the people did not
+give rise to such a system or that the graphic motives, entering
+gradually and steadily multiplying, supplanted the archaic forms,
+finally usurping nearly the entire field. As noticed in the preceding
+sections, there is always a certain amount of geometricity in the
+arrangement and the enframing of the designs, as well as a certain
+degree of convention in the treatment of even the most graphic motives;
+but these characters may be due to the restraining conditions of the
+art, rather than to the survival of original or ancestral features or
+characters.
+
+In beginning the study of Chiriquian decorative art I found it
+impossible to approach the subject advantageously from the geometric
+side, as was done in the Pueblo study, since life elements so thoroughly
+permeate every part of it. I have, therefore, turned about, and in the
+following study present first the more realistic delineations of nature,
+arranging long series of derivative shapes which descend through
+increasing degrees of convention to purely geometric forms. These
+remarks relate wholly to the plan or linear arrangement of the motives.
+
+As to method of realization, ceramic ornament may be arranged in two
+classes: the plastic or relieved and the non-plastic or flat. Life forms
+are freely rendered by both plastic and non-plastic methods, and in
+either style may range from the highly realistic to the purely
+geometric. As shown in a preceding section, plastic life forms in
+Chiriquian art appear to have been subject to two divergent lines of
+thought, the one trivial and the other serious. Through the one we have
+grotesque and perhaps even humorous representations of men and of
+animals. The figures are attached to the vessels for the
+purpose--perhaps for the exclusive purpose--of embellishment, and often
+with excellent success, as judged by our own standards of taste. The
+other deals with plastic representations apparently of a serious nature,
+although utilized also for embellishment. The animal forms employed are
+treated in a way to suggest that in the mind of the artist the creature
+bore a definite relation to the vessel or its use, a relationship
+originating in superstition and preserved throughout all changes of
+form. Their office was symbolic, and this office was probably not always
+lost sight of by the potter, even though, through the forces of
+convention, the animal shapes were reduced to mere knobs, ridges, or
+even to painted devices.
+
+In color delineations, although the same subjects are to a great extent
+employed, there is necessarily greater constraint--there is less freedom
+as well as less vigor in the presentation of natural forms. There is
+apparently no attempt at the grotesque or amusing. The variants are
+practically infinite. The work is more purely decorative and is perhaps
+less subject to the restraints of associated ideas and of use with
+particular vessels or in definite relations to other features of the
+vessel. At the same time it is manifest that these painted figures are
+not all merely meaningless decorations, but that many, throughout all
+degrees of modification, refer with greater or less clearness to natural
+originals, to ideas associated with these originals, or to the
+relationship of these originals to the vessel and its uses.
+
+It is clear, however, that a considerable body of nature-derived
+elements, plastic and painted, are employed as simple embellishments,
+having no other function. This suggests the separation of all
+decorations into two grand divisions, based upon the kind of thoughts
+associated with them. These divisions may be designated as significant
+and non-significant, the term significant referring not to the mere
+identification of a device with an original form or to its office as an
+ornament, but to its symbolism, to its mystic relation with the vessel
+and its uses. But I have to do here with the forms taken by motives,
+with their morphology rather than with their signification, as the
+latter must, with reference to archæologic material, remain greatly
+speculative.
+
+In the application of life forms in vase painting several classes of
+modifying and constraining agencies of a technical nature are present,
+and the following examples are grouped with the idea of defining these
+classes of forces and keeping them in a measure distinct.
+
+  [Illustration: Fig. 257. Graphic delineation of the alligator, from
+  a vase of the lost color group.]
+
+  [Illustration: Fig. 258. Graphic delineation of the alligator, from
+  a vase of the lost color group.]
+
+Of all the animal forms utilized by the Chiriquians the alligator is the
+best suited to the purpose of this study, as it is presented most
+frequently and in the most varied forms. In Figs. 257 and 258 I
+reproduce drawings from the outer surface of a tripod bowl of the lost
+color group. Simple and formal as these figures are, the characteristic
+features of the creature--the sinuous body, the strong jaws, the
+upturned snout, the feet, and the scales--are forcibly expressed. It is
+not to be assumed that these examples represent the best delineative
+skill of the Chiriquian artist. The native painter must have executed
+very much superior work upon the more usual delineating surfaces, such
+as bark and skins. The examples here shown have already experienced
+decided changes through the constraints of the ceramic art, but are the
+most graphic delineations preserved to us. They are free hand products,
+executed by mere decorators, perhaps by women, who were servile copyists
+of the forms employed by those skilled in sacred art.
+
+  [Illustration: Fig. 259. Conventional alligator, from the lost color
+  ware.]
+
+A third illustration from the same group of ware, given in Fig. 259,
+shows, in some respects, a higher degree of convention. The scales are
+here represented by triangular dentals, which occupy the entire length
+of the back. These dentals are filled with the round dots that stand
+singly in the preceding cases.
+
+  [Illustration: Fig. 260. Style of convention in the alligator group
+  of ware.]
+
+  [Illustration: Fig. 261. Style of convention in the alligator group
+  of ware.]
+
+In another class of ware--the alligator group--the treatment is quite
+different, being decidedly more clumsy and realized by distinct
+processes; but prominence is given to a number of corresponding
+features. The strong curve of the back, the dentals and dots, and the
+muzzle and mouth refer apparently to the same creature. The curiously
+marked panel in the body of the last example is a unique feature, which
+appears, however, in a few other cases.
+
+These drawings occur upon the sides of vases, alternating with the
+plastic features, and are perhaps generally associated with such
+features in the expression of some mythical idea.
+
+The modeled creature is often represented with two heads instead of with
+a head and a tail, and the painted forms, in many cases, exhibit the
+same peculiarity as shown in Fig. 262. I surmise that the employment of
+two heads arises from the need of securing perfect balance of parts
+rather than as an original product of the imagination.
+
+  [Illustration: Fig. 262. Two headed form of the alligator.]
+
+It will be interesting, as additional examples are presented, to note
+the effect of modification upon particular features of the animal, to
+observe how some come into prominence, representing the creature and the
+idea, while others fall into disuse and disappear. In nature the line of
+the body is perhaps the most strongly characteristic feature, and it is
+in art the most persistent. It survives in the stems of many
+conventional devices from which all other suggestions of the animal have
+vanished.
+
+  [Illustration: Fig. 263. Figure of the alligator much simplified.]
+
+The following examples depart still further from nature, approaching the
+border line between the distinctly imitative and the purely conventional
+or geometric phases. In the first (Fig. 263) all the leading features
+are recognizable, but are very much simplified. The jaws are without
+teeth, the head is without eyes, and the body without indication of
+scales. The other example (Fig. 264) is of a somewhat different type and
+may possibly refer to some other reptilian form, but many links
+connecting the two are found. The shape is more angular and is a step
+further removed from nature. From shapes as conventional as this we drop
+readily into purely geometric forms, as will be seen further on. These
+and the preceding drawings are all executed on broad surfaces, where
+fancy could have free play. The modifying or conventionalizing forces
+are, therefore, quite vague. Variation from natural forms is due partly
+to a lack of skill on the part of the painter, partly to the peculiar
+demands of ceramic embellishment, and partly to the traditional style of
+treatment acquired in still more primitive stages of culture and in
+other and unidentified branches of art.
+
+  [Illustration: Fig. 264. The alligator much modified by ceramic
+  influences.]
+
+  [Illustration:
+  Fig. 265.
+  Fig. 266.
+  Fig. 267.
+  Illustrations of the influence of the shape of spaces upon the
+  delineation of animal forms.]
+
+I shall now call attention to some important individualized or well
+defined agencies of convention. First, and most potent, may be mentioned
+the enforced limits of the spaces to be decorated, which spaces take
+shape independently of the subject to be inserted. When the figures must
+occupy a narrow zone they are elongated, when they must occupy a square
+they are restricted longitudinally, and when they must occupy a circle
+they are of necessity coiled up. Fig. 265 illustrates the effect
+produced by crowding the oblong figure into a short rectangular space.
+The head is turned back over the body and the tail is thrown down along
+the side of the space. In Fig. 266 the figure occupies a circle, and is
+in consequence closely coiled up, giving the effect of a serpent rather
+than an alligator. In Fig. 267 the space is semicircular, and we observe
+peculiar conventional conditions, some of which may be due to other
+causes. For example, such spaces may originally have been filled with
+purely geometric figures, which tended to impart their own characters to
+the life forms that supplanted them.
+
+  [Illustration: Fig. 268. Delineation retaining but slight traces of
+  the life form.]
+
+  [Illustration: Fig. 269. Delineation retaining but slight traces of
+  the life form.]
+
+  [Illustration: Fig. 270. Delineation retaining but slight traces of
+  the life form.]
+
+Now, it often happens that, as in the last example given, the animal
+form, literally rendered, does not fill the panels satisfactorily. The
+head and the tail do not correspond and there is a lack of balance. In
+such cases two heads have been preferred. The body is given a uniform
+double curve and the heads are turned down, as shown in Figs. 268 and
+269, or one may turn up and the other down, as seen in Fig. 270. The two
+headed form may also arise from imitation of plastic forms, as I have
+already shown. The example given in Fig. 268 is extremely interesting on
+account of its complexity and the novel treatment of the various
+features. The two feet are placed close together near the middle of the
+curved body, and on either side of these are the under jaws turned back
+and armed with dental projections for teeth. The characteristic scale
+symbols occur at intervals along the back; and very curiously at one
+place, where there is scant room, simple dots are employed, showing the
+identity of these two characters. Some curious auxiliary devices, the
+origin of which is obscure, are used to fill in marginal spaces. The
+shape given in Fig. 269 is so highly modified that it is not
+recognizable as an animal form, excepting through a series of links
+connecting it with more realistic delineations. It is perfectly
+symmetrical and consists of a compound curve for the body, with hooks at
+the extremities and two appended hooks for legs. The spots symbolizing
+the scales are here placed within the body, showing another step toward
+complete annihilation of the natural forms and relations. Three
+additional examples, showing still higher degrees of convention, are
+presented in Figs. 271, 272, and 273. The series could be filled up and
+continued indefinitely, connecting the whole family of devices in which
+dentals, hooks, spots, and circles occur with the alligator radical or
+with other reptilian forms confused with the alligator through the
+carelessness or ignorance of the decorator.
+
+  [Illustration: Fig. 271. Highly conventionalized alligator
+  derivative.]
+
+  [Illustration: Fig. 272. Highly conventionalized alligator
+  derivative.]
+
+  [Illustration: Fig. 273. Highly conventionalized alligator
+  derivative.]
+
+In looking over a large series of the vases it will be seen that the
+tendency of decoration is toward the zonal arrangement, the spaces being
+narrow and long, even when divided into the usual number of panels. As a
+consequence the motives tend to take linear forms. Parts are repeated or
+greatly drawn out to fill the spaces. This phase of conventional
+evolution may be illustrated by a multitude of examples.
+
+  [Illustration:
+  _a, b, c, d, e, f_
+  Fig. 274. Series of forms showing modification through use in narrow
+  zones.]
+
+Beginning with an ordinary form in Fig. 274, _a_, we advance under the
+restraint of parallel border lines through the series, ending in a
+simple meander, _f_, the spaces about which are, however, filled out
+with the conventional scale symbols, the triangles inclosing dots. Thus
+we witness the transformation of the life form into a linear device, in
+which the flexures of the body are emphasized and multiplied without
+reference to nature, and there is little doubt that the series continues
+further, ending with simple curved lines and even with straight lines
+unaccompanied by auxiliary devices.
+
+  [Illustration: Fig. 275. Running ornaments composed of life
+  elements.]
+
+Next to the body line the most important of the alligator derivatives is
+the notched or dotted hook, which in the lost color group stands
+sometimes for the whole creature, but more frequently for one or more of
+the members of its body, the snout, the tail, or the feet. It is
+employed singly or in various arrangements suited to the shape of the
+spaces to be filled or occurs in connection with the body line or stem,
+where, by systematic repetition, it serves to fill the triangular
+interspaces. Take, for example, an ornament (Fig. 275) which encircles
+the shoulder of a handsome vase of the lost color group. The space is
+neatly filled with groupings in which the simple life coil elements are
+joined one to another in such a way as to give somewhat the effect of an
+ordinary running ornament. The same motive takes a different form in
+Fig. 276, which is part of the decorated zone of an earthen drum (see
+Fig. 235). Here the body of the creature is represented by a wide
+meandered line, and to this the notched or scalloped hooks are attached
+with perfect regularity, one to each angle of the meandered body. In
+other examples the angular geometric character extends to every part of
+the detail and the curved hooks lose their last suggestion of nature and
+are entirely dropped or used separately.
+
+  [Illustration: Fig. 276. Running ornaments composed of life
+  motives.]
+
+The rings, strokes, spots, and dentate figures that serve to represent
+the markings and scales of the reptile are among the most important of
+the derivative devices and occur in varied relations to other classes of
+derivatives. They also occur independently, either singly or in
+groupings. Thus we see that the alligator, in Chiriquian vase painting,
+is represented by an endless list of devices, and it is interesting to
+note that among these are several figures familiar to the civilized
+world in both symbolism and ornament.
+
+I present five series of figures designed to illustrate the stages
+through which life forms pass in descending from the realistic to highly
+specialized conventional shapes. In the first series (Fig. 277), we
+begin with a meager but graphic sketch of the alligator; the second
+figure is hardly less characteristic, but is much simplified; in the
+third we have still three leading features of the creature: the body
+line, the spots, and the stroke at the back of the head; and in the
+fourth nothing remains but a compound, yoke-like curve, standing for the
+body of the creature, and a single dot.
+
+  [Illustration:
+  _a, b, c, d_
+  Fig. 277. Series of derivatives of the alligator showing stages of
+  simplification.]
+
+The figures of the second series (Fig. 278) are nearly all painted upon
+low round nodes placed about the body of the alligator vases and hence
+are inclosed in circles (see Fig. 197). The animal figure in the first
+example is coiled up like a serpent, but still preserves some of the
+well known characters of the alligator. In the second example we have a
+double hook near the center of the space which takes the place of the
+body, but the dotted triangles are placed separately against the
+encircling line. In he next figure the body symbol is omitted and the
+three triangles remain to represent the animal. In the fourth there are
+four triangles, and the body device, being restored in red, takes the
+form of a cross. In the fifth two of the inclosing triangles are omitted
+and the idea is preserved by the simple dots. In the sixth the dots are
+placed within the bars of the cross, the triangles becoming mere
+interspaces; and in the seventh the dots form a line between the two
+encircling lines. This series could be filled up by other examples,
+thus showing by what infinitesimal steps the transformations take place.
+The round nodes upon which these medallion-like figures are drawn are
+survivals of the heads or other parts of animals originally modeled in
+the round, but in the processes of manufacture partially or wholly
+atrophied. It was sought to preserve the idea of the creature by the
+use of painted details, but these, as we have seen, were also in time
+reduced to formal marks, symbols doubtless in many cases of the
+conception to which the original plastic form referred.
+
+  [Illustration: Fig. 278. Series showing stages in the simplification
+  of animal characters.]
+
+  [Illustration:
+  _a, b, c, d_
+  Fig. 279. The scroll and fret derived from the body line of the
+  alligator.]
+
+  [Illustration:
+  _a, b, c, d_
+  Fig. 280. Devices derived from drawings of parts of the life form.]
+
+  [Illustration: Fig. 281. Devices incised in a needlecase.]
+
+  [Illustration: Fig. 282. Devices representing the markings of a
+  reptile’s body.]
+
+The derivation of the fret and scroll--most admired of the decorative
+motives of numerous races--has been a fruitful source of discussion. The
+vase painting of Chiriqui serves to throw new light upon the subject. We
+learn by the series of steps illustrated in the annexed cuts that the
+alligator radical, under peculiar restraints and influences, assumes
+conventional forms that merge imperceptibly into these classic devices.
+In the third series given (Fig. 279) the first figure is far removed
+from the realistic stage of representation, but it is one of the
+ordinary conventional guises of the alligator. Other still more
+conventional forms are seen in the three succeeding figures, the last of
+which is a typical rectangular fret link known and used by most nations
+of moderate culture. The derivatives in nearly all the preceding figures
+can be traced back to the body of the creature as a root, but there are
+many examples which seem to have come from the delineation of a part of
+the creature, as the head, foot, eye, or scales--abbreviated
+representatives of the whole creature. Such parts, assuming the role of
+radicals, pass also through a series of modifications, ending in purely
+geometric devices in the manner indicated in the following or fourth
+series of examples (Fig. 280). In the first cut we have what appears to
+be the leg and foot of the favorite reptile, and following this are
+other forms that seem to refer to the same feature. Additional examples
+are shown in Figs. 281 and 282, which, while they doubtless arose more
+or less directly from the life form, are not so readily traceable
+through less conventional antecedents. The first forms part of the
+incised ornament of a small vase or needlecase and the second is a
+section of the zonal ornament of the tripod cup illustrated in Fig. 203,
+by reference to which it will be seen that the zone of devices serves to
+connect the head and the tail of the reptile, which are modeled as a
+part of the vase; the devices therefore represent the markings of the
+creature’s body, although they may originally have been derived from the
+figure of the whole or a part of the animal rather than from the
+markings of the skin. In other examples still more highly conventional
+figures are found to hold the same relation to the plastic
+representation of the extremities of the creature. They include the
+meander, the scroll, the fret, and the guilloche. We find that in the
+stone metates of many parts of Central America, nearly all of which are
+carved to imitate the puma, the head and tail of the creature are
+connected by bands of similar devices that encircle the margin of the
+mealing plate (see Fig. 9). The alligator form is therefore not
+necessarily the originator of all such devices. It is probable that any
+animal form extensively used by such lovers of decoration as the ancient
+inhabitants of Central America would be found thus interwoven with
+decoration. These considerations will serve to widen our views upon the
+origin and development of especial devices. As it now stands we are
+absolutely certain that no race, no art, no motive or element in nature
+or in art can claim the exclusive origination of any one of the well
+known or standard conventional devices, and that any race, art, or
+individual motive is capable of giving rise to any and to all such
+devices. Nothing can be more absurd than to suppose that the
+signification or symbolism attaching to a given form is uniform the
+world over, as the ideas associated with each must vary with the
+channels through which they were developed.
+
+  [Illustration:
+  _a, b, c, d, e, f, g_
+  Fig. 283. Conventional figures derived from the markings of the
+  bodies of animals.]
+
+Other classes of geometric figures, derived chiefly from scale or skin
+markings, are given in the fifth series. In more realistic phases of
+representation the dentate and dotted devices are ranged along the body
+of the creature, as in nature, but as convention progresses they are
+used independently to fill up spaces, to form the septa of panels, &c.
+Many illustrations appear in the preceding pages and additional examples
+are given in Fig. 283. It is possible that these devices come from
+delineations of a number of distinct animal forms; but in the higher
+stages of convention confusion cannot be avoided, and must have existed
+to some extent in the mind of the decorator; they serve, however, to
+illustrate the stages of simplification through which all forms
+extensively used for a long period must pass. The laws of derivation,
+modification, and application in art are the same in all.
+
+It has now been shown that life forms and their varied derivatives
+constitute the great body of Chiriquian decorative motives; that when
+first introduced the delineations are more or less realistic, according
+to the skill of the artist or the demands of the art; but that in time,
+by a long series of abbreviations and alterations, they descend to
+simple geometric forms in which all visible connection with the
+originals is lost. The agencies through which this result is
+accomplished are chiefly the mechanical restraints of the art acting
+independently of voluntary modification and without direct exercise of
+esthetic desire.
+
+There may be forces at work of which we find no clear indications. Some
+of the conventional forms into which life forms are found to grade may
+be survivals of forms originating in other regions and belonging to
+other cultures which have through accidents of contact imposed
+themselves upon Chiriquian art; such are the scroll, the fret, and the
+guilloche; but the thorough manner in which such forms are interwoven
+with purely Chiriquian conceptions makes it impossible to substantiate
+such a theory. The conclusion most easily and most naturally reached is
+that all are probably indigenous to Chiriqui, and hence the striking
+deduction that _the processes of modification inherent in the art are of
+such a nature that any animal form extensively used in decoration may
+give rise to any or all of the highly conventional forms of ornament_.
+
+During the progress of this study a question has frequently been raised
+as to the extent to which the memory of the creature original or of its
+symbolism in first use was kept alive in the mind of the decorator. It
+is a well established fact that primitive peoples habitually invest
+inanimate objects with the attributes of living creatures. Thus the
+vessel, from the time it assumes individual shape and is fitted to
+perform a function, is thought of as a living being, and by the addition
+of plastic or painted details it becomes a particular creature, an
+alligator, a fish, or a puma, each of which is in most cases the symbol
+of some mythologic concept. When, through the changes of convention in
+infinite repetition, all resemblance to individual creatures was lost
+and mere knobs or simple geometric figures occupied the surface of the
+vessel, there is little doubt that many of these features still recalled
+to the mind of the potter the ultimate originals and the conceptions of
+which they were the representatives, and that others represented ideas,
+the outgrowth of or a development from primary ideas, while still others
+had acquired entirely new ideas from without. It cannot be denied,
+however, that there does come a time in the history of vase painting at
+which such associated ideas become vague and are lost and elements
+formerly significant are added and combinations of them are made for
+embellishment alone, without reference to meaning or appropriateness;
+but I am inclined to place this period a very long way from the
+initiatory stages of the art. It may not be possible to find evidence of
+the arrival of this period, as it is not necessarily marked by any loss
+of unity or consistency--striking characteristics of ancient American
+art; for such is the conservatism of indigenous methods that, unless
+there be forcible intrusion of exotic art, original forms and groupings
+may be perpetuated indefinitely and remain much the same in appearance
+after the associated ideas are modified or lost.
+
+  [Illustration: Fig. 284. Vase with decorated zone containing
+  remarkable devices--â…“.]
+
+  [Illustration: Fig. 285. Series of twelve conventional devices from
+  the decorated zone of a vase.]
+
+In our study of the forms and meanings of these devices it should not be
+forgotten that collateral branches of art are also simultaneously
+employing the same motives and reducing them through other similar
+classes of conventionalizing forces to corresponding forms. Recording
+arts--pictography, hieroglyphic and phonetic writing--carry life forms
+through all degrees of abbreviation and change, and all ceremonial and
+all domestic arts with which such forms are associated do the same; and
+it is not impossible that many conventional forms found upon pottery are
+borrowed outright from the other arts. It will be impossible to detect
+these borrowed elements unless very literally transferred from some art
+the style of which is well known. It would be comparatively easy to
+identify literal borrowings from phonetic art or even from hieroglyphic
+art, as the form and arrangement of the devices are quite unlike those
+observed in pure decoration. We do not know that Chiriquian culture had
+achieved a hieroglyphic or a phonetic system of writing, but it is worth
+while to call attention to the form and the manner of employment of some
+of the devices found upon the pottery. In Fig. 284 I present an outline
+drawing of a vase, the shoulder of which is encircled by a broad zone of
+decoration. This zone is divided into panels by oblique lines. A row of
+rectangular compartments extends along the middle of the band and rows
+of triangular spaces occur at the sides. Each space is occupied by a
+device having one or more features suggesting a pictorial original and
+doubtless derived from one. In the main row there are twelve figures, no
+two of which are identical. Although we are unable to show that any of
+these characters had other than a purely decorative use, we see how
+richly the ancient peoples were supplied, through the conventionalizing
+agencies of the art, with devices that could have been employed as
+ideograms and letters where such were needed, and devices, too, that,
+from their derivation and use in the art, must in most cases have had
+ideas associated with them.
+
+
+RÉSUMÉ.
+
+A brief summary of the more salient points of interest dwelt upon in
+this paper may very appropriately be given in this place. We find that a
+limited area--a small and obscure province of the isthmian
+region--possesses a wonderful wealth of art products the character of
+which indicates a long period of occupation by peoples of considerable
+culture. The art remains are perhaps as a whole inferior to those of the
+districts to the north and south, but they possess many features in
+common with the art of neighboring provinces. There is, however, at the
+same time, a well marked individuality. In conception and execution
+these works are purely aboriginal, and, so far as can be determined by
+the data at hand, are pre-Columbian, and possibly to a great extent
+remotely pre-Columbian. The discovery of articles of bronze, which metal
+we cannot prove to be of indigenous production, is the only internal
+evidence pointing toward the continuance of the ancient epoch of culture
+into post-Columbian times. The relics are obtained from tombs from which
+nearly all traces of human remains have disappeared.
+
+Art in stone covers the ground usually occupied by works in this
+material in other Central American countries, save in the matter of
+architecture, of which art there are but meager traces. There are rock
+inscriptions, statuettes and statues of rather rude character, shapely
+mealing stones, elaborately carved seats or stools, many celts of
+extremely neat workmanship, spear and arrow points of unique shape, and
+a very few beads and pendent ornaments. There are apparently no traces
+of implements of war.
+
+In metal there are numerous and somewhat remarkable works. They are of
+gold, gold-copper alloy, copper, and bronze. The objects are of small
+size, rarely reaching a pound in weight, and they are almost exclusively
+pendent ornaments. They were, for the most part, cast in molds, and in
+nine cases out of ten represent animal forms. A few bells are found, all
+of which are of bronze. Pieces formed of alloyed metal are usually
+washed or plated with pure gold.
+
+The great body of relics are in clay, and the workmanship displayed is
+often admirable. Vases are found in great numbers, and as a rule are
+small and shapely, and are so carefully and elaborately decorated as to
+lead to the inference that their office was in a great measure
+ceremonial. They take a high place among American fictile products for
+grace of form and beauty of decoration. There is neither glaze nor
+evidence of the use of a wheel. Besides vases we have several other
+classes of objects, which include grotesque, toy-like statuettes, small,
+covered receptacles resembling needlecases, seat-like objects
+elaborately modeled, spindle whorls, and musical instruments. The
+occurrence of numerous specimens of the two latter classes indicates
+that the arts of weaving and music were assiduously practiced.
+
+An examination of the esthetic features of the ceramic art has proved
+exceptionally instructive. We find much that is worthy of attention in
+the forms of vases as well as in the plastic or relieved features of
+embellishment, and a still richer field is opened by the study of the
+incised and painted--the flat--decorations.
+
+I have shown that the elements of decoration flow into the ceramic art
+chiefly through two channels, the one from art and the other from
+nature. Elements from art are mainly of mechanical origin, and are,
+therefore, non-imitative and geometric. Elements from nature imitate
+natural forms, and hence are primarily non-geometric. Elements from art,
+being mechanical, are meaningless or non-ideographic; those from nature
+are in early stages of art usually associated with mythologic
+conceptions, and hence are ideographic. All decorations may therefore
+have four dual classifications, as follows: First, with reference to
+method of realization, as plastic and flat; second, with reference to
+derivation, as mechanical and imitative; third, with reference to plan
+of manifestation, as geometric and non-geometric; and, fourth, with
+reference to the association of ideas, as significant and
+non-significant.
+
+I have found that the ceramic art, having acquired the various elements
+of ornament, carries them by methods of its own through many strange
+mutations of form. The effect upon life forms is of paramount
+importance, as is indicated by the following broad and striking
+generalization: The agencies of modification inherent in the art in its
+practice are such that any particular animal form extensively employed
+in decoration is capable of changing into or giving rise to any or to
+all of the highly conventional decorative devices upon which our leading
+ornaments, such as the meander, the scroll, the fret, the chevron, and
+the guilloche, are based. It is further seen, however, that ideographic
+elements are not necessarily restricted to decorative or symbolic
+functions, for the processes of simplification reduce them to forms well
+suited to employment in hieroglyphic and even in phonetic systems of
+expression. Such systems are probably made up to a great extent of
+characters the conformation of which is due to the unthinking--the
+mechanical--agencies of the various arts.
+
+
+
+
+INDEX.
+
+
+  Alligator, utilization of, in Chiriquian art 130-140, 166, 173-176,
+      178, 80, 183
+  Arrowpoints and spearheads of Chiriqui 34
+
+  Balboa, ornaments captured by 35
+  Black incised group of Chiriquian pottery 80
+  Bollaert, W., cited 41, 45
+
+  Castillo del Oro, name given by Columbus to Chiriqui 35
+  Celts, collection of, from Chiriqui 29-34
+  Costa Rica, origin of name of 35
+
+  Darien, capture of, by Balboa 35
+  De Zeltner, A. See Zeltner, A. de.
+  Diller, J. S., acknowledgment to, 21, _note_
+  Drums of ancient Chiriqui 157, 160
+
+  El Dorado, origin of 35
+
+  Figurines of Chiriquian art 151-153
+
+  Hallock, W., on Chiriquian methods of casting 38
+  Handled group of Chiriquian pottery 90-97
+  Herrera, cited 35
+  Huacals, exploration of, in Chiriqui 16, 17
+
+  Kunz, G. F.
+    on use of insects as models in casting metals 38
+    on Chiriquian methods of plating 39
+
+  “Lost color� of Chiriquian art, nature of 86
+  Lost color group of Chiriquian pottery 113-130
+
+  McNiel, J. A., archeologic work of, in Chiriqui 14, 15, 20
+  McNiel, J. A., cited 17, 22, 23, 27, 31, 40, 41, 43, 46, 107
+  Maroon group of Chiriquian pottery 107-109
+  Mealing stones of Chiriqui 25-27
+  Merritt, J. K., cited 14, 16, 49
+    exploration of Bugaba cemetery by 17, 18, 20
+  Metates of Chiriqui, nature and use of 25-27
+
+  Nadaillac, Marquis, cited 14, 38
+    on Chiriquian methods of casting 38
+  Needlecases (?) of Chiriqui 150
+  New Granada, burial customs in 19, 20
+
+  Otis, F. M., paper on Panama ornaments by, mentioned 46
+
+  Piedra pintal, description of, by Seemann 21, 22
+  Pinart, A. L., cited 14, 15, 20, 22
+  Polychrome group of Chiriquian pottery 140-147
+  Pottery of Chiriqui 53-186
+
+  Rattles of ancient Chiriqui 156, 157
+  Red line group of Chiriquian pottery 109-111
+  Riggs, R. B., analyses by 49
+
+  Scarified group of Chiriquian pottery 87-90
+  Seemann, description of piedra pintal by 21, 22
+  Spindle whorls of Chiriqui 149, 150
+  Stearns, J. B., specimens in archeological collections of 24, 41,
+      43, 45, 48, 49
+  Stools of ancient Chiriqui 154-156
+
+  Terra cotta group of Chiriquian pottery 67
+  Tripod group of Chiriquian pottery 97-107
+
+  Whistles of ancient Chiriqui 164-171
+  White, B. B., description of cemetery in New Granada by 19
+  White line group of Chiriquian pottery 111-113
+  Wind instruments of ancient Chiriqui 160-171
+
+  Zeltner, A. de
+    observations on graves in Chiriqui by 14, 18, 19, 41, 42
+    cited 20, 22, 27, 43, 45, 140
+    description of Chiriquian vases by 145-147
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+Errors and Inconsistencies (noted by transcriber)
+
+Certain spellings such as “bowlder� are standard for the Bureau of
+Ethnology. They have not been individually noted.
+
+Table of Contents:
+
+  Peoples  [_body text has “People�_]
+  Celts &c.  [_final . missing; body text has “Celts� alone_]
+  Clay: Pottery  [_body text has “Pottery� alone_]
+  Clay: Miscellaneous objects
+    [_body text has “Miscellaneous Objects of Clay�_]
+  Résumé  [_indented as if secondary to previous entry_]
+
+  _In the body text, the items “Spearheads� and “Needlecases� are
+  written with parenthetical question mark (?)._
+
+  _Under “Clay�, all sections listed in the Table of Contents as
+  “Terra cotta group�, “Scarified group�... are shown in the body text
+  as “The terra cotta group�, “The scarified group�..._
+
+Main Text:
+
+  less elaborate in its sculptured ornament.  [_final . missing_]
+  tufa, the surface of which displays
+    [_line-break hyphen in “surface� missing_]
+  [Fig. 19 caption] ... partially polished celt
+    [_line-break hyphen in “polished� missing_]
+  surfaces of the specimens recovered
+    [_text has “speci-/imens� at line break_]
+  [Fig. 94 caption] ... animal forms--½.  [forms.--½]
+  Fig. 153.  [Fig 153.]
+  [Fig. 154 caption] ... ornamentation--½.  [_final . missing_]
+  called Los Tenajos by Mr. McNiel  [McNeil]
+  [Fig. 156 caption] ... high relief--½.  [relief.--½.]
+  [Fig. 183 caption] ... unusual shape--½.  [_final . missing_]
+  these were polished down with the slips.  [_final . missing_]
+  [Fig. 237 caption] ... lost color group--1/9.
+    [_fraction conjectural_]
+  [Fig. 255 caption] ... lost color ware--1/1.  [_final . missing_]
+  Fig. 259.  [_final . missing_]
+  devices in which dentals, hooks, spots
+    [_spelling unchanged: expected form is “dentils�_]
+  In the next figure the body symbol  [In he next]
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Ancient art of the province of
+Chiriqui, Colombia, by William Henry Holmes
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+The Project Gutenberg EBook of Ancient art of the province of Chiriqui,
+Colombia, by William Henry Holmes
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Ancient art of the province of Chiriqui, Colombia
+       Sixth Annual Report of the Bureau of Ethnology to the
+       Secretary of the Smithsonian Institution, 1884-1885,
+       Government Printing Office, Washington, 1888, pages 3-188
+
+Author: William Henry Holmes
+
+Release Date: December 7, 2009 [EBook #30621]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ANCIENT ART--CHIRIQUI, COLOMBIA ***
+
+
+
+
+Produced by Louise Hope, PM for Bureau of American
+Ethnology, The Internet Archive: American Libraries and
+the Online Distributed Proofreading Team at
+https://www.pgdp.net (This file was produced from images
+generously made available by the Bibliothèque nationale
+de France (BnF/Gallica) at http://gallica.bnf.fr)
+
+
+
+
+
+
+[This text is intended for users whose text readers cannot use the
+"real" (Unicode/UTF-8) version. A few fractions such as 1/3 have been
+unpacked, and curly quotes and apostrophes have been replaced with the
+simpler "typewriter" form.
+
+The fractions ½ and ¼ have been retained, as have a few accented letters
+and the "æ" combination.]
+
+
+
+
+  ANCIENT ART
+
+  of the
+
+  PROVINCE OF CHIRIQUI, COLOMBIA.
+
+  by
+
+  WILLIAM H. HOLMES.
+
+
+
+
+CONTENTS.
+
+                                                        Page.
+  Introduction                                            13
+      Geography                                           13
+      Literature                                          14
+      Peoples                                             15
+      The cemeteries                                      16
+      The graves                                          17
+      Human remains                                       20
+      Placing of relics                                   21
+  Objects of art                                          21
+      Stone                                               21
+          Pictured rocks                                  21
+          Columns                                         22
+          Images                                          23
+          Mealing stones                                  25
+          Stools                                          27
+          Celts &c.                                       29
+          Spearheads                                      34
+          Arrowpoints                                     34
+          Ornaments                                       34
+      Metal                                               35
+        Gold and copper                                   35
+        Bronze                                            49
+      Clay: Pottery                                       53
+          Preliminary                                     53
+          How found                                       55
+          Material                                        55
+          Manufacture                                     56
+          Color                                           57
+          Use                                             57
+          Forms of vessels                                58
+          Decoration                                      62
+        Unpainted ware                                    66
+          Terra cotta group                               67
+          Black incised group                             80
+        Painted ware                                      84
+          Scarified group                                 87
+          Handled group                                   90
+          Tripod group                                    97
+          Maroon group                                   107
+          Red line group                                 109
+          White line group                               111
+          Lost color group                               113
+          Alligator group                                130
+          Polychrome group                               140
+          Unclassified                                   147
+      Clay: Miscellaneous objects                        149
+          Spindle whorls                                 149
+          Needlecases                                    150
+          Figurines                                      151
+          Stools                                         154
+          Musical instruments                            156
+              Rattles                                    156
+              Drums                                      157
+              Wind instruments                           160
+      Life forms in vase painting                        171
+  Résumé                                                 186
+  [Index]
+
+
+
+
+ILLUSTRATIONS.
+
+                                                                Page.
+PLATE I. Map of Chiriqui                                          13
+
+Fig.  1. Section of oval grave                                    17
+      2. Section of a quadrangular grave                          18
+      3. Grave with pillars                                       18
+      4. Compound cist                                            19
+      5. Southwest face of the pictured stone                     22
+      6. A goddess of the ancient Chiriquians                     23
+      7. A god of the ancient Chiriquians                         24
+      8. Fragmentary human figure in gray basaltic rock           25
+      9. Mealing stone with large tablet ornamented with
+           animal heads                                           26
+     10. Puma shaped metate                                       27
+     11. Stool shaped object                                      28
+     12. Stool with columnar base                                 28
+     13. Stool with perforated base                               29
+     14. Large partially polished celt                            30
+     15. Celt of hexagonal section                                31
+     16. Small wide bladed celt                                   31
+     17. Celt with heavy shaft                                    31
+     18. Celt or ax with constriction near the top                31
+     19. Flaked and partially polished celt                       32
+     20. Well polished celt                                       32
+     21. Narrow pointed celt                                      32
+     22. Narrow pointed celt                                      32
+     23. Cylindrical celt with narrow point                       33
+     24. Leaf shaped objects suggesting spearpoints               34
+     25. Arrowpoints                                              34
+     26. Human figure, formed of copper-gold alloy                41
+     27. Grotesque human figure in gold                           42
+     28. Rudely shaped human figure in gold                       42
+     29. Grotesque human figure in nearly pure copper             43
+     30. Grotesque human figure in nearly pure gold               43
+     31. Rudely executed image of a bird in gold                  44
+     32. Image of a bird in gold                                  45
+     33. Puma shaped figure in gold                               45
+     34. Puma shaped figure in base metal                         45
+     35. Quadruped with grotesque face in base metal              46
+     36. Figure of a fish in gold                                 46
+     37. Large figure of a frog, in base metal plated
+           with gold                                              47
+     38. Small figure of a frog, in base metal plated
+           with gold                                              47
+     39. Figure of an alligator in gold                           48
+     40. Animal figure, in base metal plated with gold            48
+     41. Bronze bells plated or washed with gold                  50
+     42. Bronze bell with human features                          50
+     43. Triple bell or rattle found on the Rio Grande            51
+     44. Ancient Mexican bell                                     51
+     45. Fundamental forms of vases--convex outlines              58
+     46. Fundamental forms of vases--angular outlines             59
+     47. Vases of complex outlines--exceptional forms             59
+     48. Vases of compound forms                                  59
+     49. Square lipped vessel                                     59
+     50. Variations in the forms of necks and rims                60
+     51. Arrangement of handles                                   60
+     52. Types of annular bases or feet                           61
+     53. Forms of legs                                            61
+     54. Grotesque figure forming the handle of
+           a small vase                                           63
+     55. Grotesque figure forming the handle of
+           a small vase                                           63
+     56. Grotesque figure forming the handle of
+           a small vase                                           63
+     57. Monstrous figure with serpent shaped extremities         63
+     58. Monstrous figure with serpent shaped extremities         63
+     59. Grotesque figure                                         64
+     60. Grotesque figure                                         64
+     61. Grotesque figure                                         64
+     62. Figure of a monkey                                       64
+     63. Figure of a monkey                                       64
+     64. Figure of a monkey                                       64
+     65. Animal forms exhibiting long proboscis                   65
+     66. Vase illustrating ornamental use of animal figures       65
+     67. Vase illustrating ornamental use of animal figures       65
+     68. Vase illustrating ornamental use of animal figures       66
+     69. Vase illustrating ornamental use of animal figures       66
+     70. Series of bowls and cups of unpainted ware               67
+     71. Vase of graceful form                                    68
+     72. Vase of graceful form                                    68
+     73. Vase of fine form, ornamented with grotesque heads       68
+     74. Vase of fine form, ornamented with grotesque heads       69
+     75. Vase with ornament of applied nodes and fillets          69
+     76. Vase with mantle covered with incised figures            70
+     77. Vase with frieze of grotesque heads                      70
+     78. Vases with flaring rims and varied ornament              71
+     79. Vases with complex outlines and varied ornament          71
+     80. Large vase with two mouths and neatly
+           decorated necks                                        72
+     81. Large vase with high handles                             72
+     82. Top view of high handled vase                            73
+     83. Handled vase                                             73
+     84. Handled vase                                             73
+     85. Handled vase                                             73
+     86. Small cup with single handle, ornamented with
+           grotesque figure                                       74
+     87. Small cup with single handle, ornamented with
+           grotesque figure                                       74
+     88. Vase of eccentric form                                   74
+     89. Vessel illustrating forms of legs                        75
+     90. Vessel illustrating forms of legs                        75
+     91. Vessel with large legs, decorated with stellar
+           punctures                                              75
+     92. Vases of varied form with plain and animal
+           shaped legs                                            75
+     93. Large vase of striking shape                             76
+     94. Cup with legs imitating animal forms                     76
+     95. Cup with legs imitating a grotesque animal form          77
+     96. Cup with legs imitating the armadillo                    77
+     97. Cup with legs imitating the armadillo                    77
+     98. Cup with frog shaped legs                                77
+     99. Cup with legs imitating an animal and its young          77
+    100. Cups supported by grotesque heads                        77
+    101. Large cup supported by two grotesque figures             78
+    102. Cup with two animal heads attached to the sides          78
+    103. Cup with two animal heads attached to the sides          78
+    104. Vase shaped to imitate an animal form                    79
+    105. Vase shaped to imitate an animal form                    79
+    106. Vase shaped to imitate an animal form                    79
+    107. Fish shaped vessel                                       79
+    108. Top view of a fish shaped vessel                         80
+    109. Cup with grotesque head attached to the rim              80
+    110. Black cup with incised reptilian figures                 81
+    111. Black cup with incised reptilian figures                 81
+    112. Black vase with conventional incised pattern             81
+    113. Small cup with conventional incised pattern              82
+    114. Small tripod cup with upright walls                      82
+    115. Vase with flaring rim and legs imitating
+           animal heads                                           82
+    116. Vase modeled to represent the head of an animal          83
+    117. Pattern upon the back of the vase                        83
+    118. Tripod bowl of red scarified ware                        87
+    119. Tripod bowl of red scarified ware                        87
+    120. Oblong basin with scarified design                       88
+    121. Large scarified bowl with handles imitating
+           animal heads                                           88
+    122. Jar with flat bottom and vertical bands
+           of incised ornament                                    89
+    123. Vase with stand and vertical incised bands               89
+    124. Vase with handles, legs, and vertical ribs               89
+    125. Tripod with owl-like heads at insertion of legs          90
+    126. Tripod with legs rudely suggesting animal forms          90
+    127. Heavy red vase with four mouths                          90
+    128. Vase with horizontally placed handles and
+           rude designs in red                                    91
+    129. Unpolished vase with heavy handles and coated
+           with soot                                              92
+    130. Round bodied vase with unique handles and incised
+           ornament                                               92
+    131. Vase with grotesque figures attached to the handles      93
+    132. Vase with upright handles and winged lip                 93
+    133. Top view of vase with winged lip                         94
+    134. Vase with grotesque animal shaped handles                94
+    135. Vase with handles representing strange animals           95
+    136. Vase with handles representing grotesque figures         95
+    137. Vase with handles representing animal heads              96
+    138. Vase with arched handles embellished with life forms
+           in high relief                                         96
+    139. Vase with arched handles embellished with life forms
+           in high relief                                         97
+    140. Tripod vase with shallow basin and eccentric handles     99
+    141. Tripod vase with shallow basin and eccentric handles     99
+    142. Tripod vase with shallow basin and eccentric handles     99
+    143. Tripod vase of graceful shape and neat finish           100
+    144. Heavy tripod vase with widely spreading feet            100
+    145. Neatly modeled vase embellished with life forms and
+           devices in red                                        101
+    146. High tripod vase with incised designs and
+           rude figures in red                                   101
+    147. Handsome tripod vase with scroll ornament               102
+    148. Vase with lizard shaped legs                            102
+    149. Vase with scroll ornament                               103
+    150. Large vase with flaring rim and widespreading legs      103
+    151. Fragment of a tripod vase embellished with figure
+           of an alligator                                       104
+    152. Vase supported by grotesque human figures               105
+    153. Round bodied vase embellished with figures
+           of monsters                                           106
+    154. Cup with incurved rim and life form ornamentation       107
+    155. Cup with widely expanded rim and constricted neck       107
+    156. Small tripod cup with animal features in high relief    108
+    157. Handsome vase supported by three grotesque figures      108
+    158. Vase decorated with figures of frogs and devices
+           in red                                                110
+    159. Vase of unique shape and life form ornamentation        110
+    160. Two-handled vase with life form and linear
+           decoration                                            110
+    161. Small tripod vase with animal figures in white          111
+    162. Shapely vase with designs in white paint                112
+    163. Small red bottle with horizontal bands of ornament      115
+    164. Small red bottle with encircling geometric devices      115
+    165. Bottle with zone occupied by geometric devices          116
+    166. Bottle with broad zone containing geometric figures     116
+    167. Bottle with decoration of meandered lines               117
+    168. Bottle with arched panels and geometric devices         117
+    169. Bottle with arched panels and elaborate devices         118
+    170. Vase with rosette-like panels                           118
+    170a. Ornament from preceding vase                           118
+    171. Vase with rosette-like panels                           119
+    172. Vase with rosette-like panels                           119
+    173. Theoretical origin of the arched panels                 120
+    174. Theoretical origin of the arched panels                 120
+    175. Theoretical origin of the arched panels                 120
+    176. Vase decorated with conventional figures
+           of alligators                                         120
+    177. Portion of decorated zone illustrating treatment
+           of life forms                                         121
+    178. Portion of decorated zone illustrating treatment
+           of life forms                                         121
+    179. Vase decorated with highly conventional life forms      121
+    179a. Design from preceding vase                             122
+    180. Vase decorated with highly conventional life forms      122
+    181. Vase decorated with highly conventional life forms      123
+    182. Decorated panel with devices resembling
+           vegetal growths                                       124
+    183. Vase of unusual shape                                   124
+    184. Vase of unusual shape                                   124
+    185. Vase of unusual shape                                   124
+    186. Double vessel with high arched handle                   125
+    187. Double vessel with arched handle                        125
+    188. Vase embellished with life forms in color
+           and in relief                                         126
+    189. Vase modeled to represent a peccary                     127
+    190. Under surface of peccary vase                           127
+    191. Small vessel with human figures in high relief          127
+    192. Tripod cup with figures of the alligator                128
+    193. Large shallow tripod vase with geometric decoration     129
+    194. Large bottle shaped vase with high tripod
+           and alligator design                                  130
+    195. Large bottle with narrow zone containing figures
+           of the alligator                                      132
+    196. Vase with decorated zone containing four
+           arched panels                                         133
+    197. Vase with four round nodes upon which are painted
+           animal devices                                        133
+    198. Vases of varied form and decoration                     134
+    199. Alligator vase with conventional markings               135
+    200. Alligator vase with figures of the alligator painted
+           on the sides                                          135
+    201. Vase with serpent ornamentation                         136
+    202. Vase representing a puma with alligator figures
+           painted on sides                                      137
+    203. Shallow vase with reptilian features in relief
+           and in color                                          137
+    204. Vase with funnel shaped mouth                           138
+    205. Top view of vase in Fig. 204                            139
+    206. End view of vase in Fig. 204                            139
+    207. Large vase with decorations in red and black            140
+    208. Devices of the decorated zone of vase in Fig. 207,
+           viewed from above                                     141
+    209. Handsome vase with four handles and decorations
+           in black, red, and purple                             142
+    210. Painted design of vase in Fig. 209,
+           viewed from above                                     143
+    211. Vase of unusual shape with decoration in black,
+           red, and purple                                       144
+    212. Ornament occupying the interior surface of
+           the basin of vase in Fig. 211                         144
+    213. Large vase of fine shape and simple decorations         145
+    214. Vase with extraordinary decorative designs              146
+    215. Painted design of vase in Fig. 214, viewed
+           from above                                             147
+    216. Vase of unique form and decoration                      148
+    217. Painted design of vase in Fig. 216                      148
+    218. Spindle whorl with annular nodes                        149
+    219. Spindle whorl decorated with animal figures             149
+    220. Spindle whorl with perforations and incised
+           ornament                                              149
+    221. Needlecase                                              150
+    222. Needlecase                                              150
+    223. Needlecase with painted geometric ornament              151
+    224. Needlecase with incised geometric ornament              151
+    225. Needlecase with incised geometric ornament              151
+    226. Statuette                                               152
+    227. Statuette                                               152
+    228. Statuette                                               152
+    229. Statuette                                               152
+    230. Stool of plain terra cotta                              154
+    281. Stool of plain clay, with grotesque figures             155
+    232. Stool of plain terra cotta                              155
+    233. Rattle                                                  157
+    234. Section of rattle                                       157
+    235. Rattle, with grotesque figures                          157
+    236. Drum of gray unpainted clay                             158
+    237. Drum with painted ornament                              159
+    238. Painted design of drum in Fig. 237                      159
+    239. Double whistle                                          161
+    240. Section of double whistle                               161
+    241. Tubular instrument with two finger holes                162
+    242. Section of whistle                                      162
+    243. Small animal shaped whistle                             162
+    244. Small animal shaped whistle                             162
+    245. Top shaped whistle                                      163
+    246. Section, top, and bottom views of whistle               164
+    247. Drum shaped whistle                                     165
+    248. Vase shaped whistle                                     165
+    249. Crab shaped whistle                                     166
+    250. Alligator shaped whistle                                166
+    251. Cat shaped whistle                                      167
+    252. Whistle with four ocelot-like heads                     168
+    253. Bird shaped whistle                                     169
+    254. Bird shaped whistle                                     169
+    255. Bird shaped whistle                                     170
+    256. Whistle in grotesque life form                          170
+    257. Conventional figure of the alligator                    173
+    258. Conventional figure of the alligator                    173
+    259. Conventional figure of the alligator                    174
+    260. Conventional figure of the alligator                    174
+    261. Conventional figure of the alligator                    174
+    262. Conventional figure of the alligator                    175
+    263. Conventional figure of the alligator                    175
+    264. Conventional figure of the alligator                    176
+    265. Conventional figure derived from the alligator          176
+    266. Conventional figure derived from the alligator          176
+    267. Conventional figure derived from the alligator          176
+    268. Conventional figure derived from the alligator          177
+    269. Conventional figure derived from the alligator          177
+    270. Conventional figure derived from the alligator          177
+    271. Conventional figure derived from the alligator          178
+    272. Conventional figure derived from the alligator          178
+    273. Conventional figure derived from the alligator          178
+    274. Conventional figures derived from the alligator         179
+    275. Conventional figure derived from the alligator          179
+    276. Conventional figure derived from the alligator          180
+    277. Conventional figures derived from the alligator         180
+    278. Conventional figures derived from the alligator         181
+    279. Conventional figures derived from the alligator         182
+    280. Conventional figures derived from the alligator         182
+    281. Conventional figures derived from the alligator         182
+    282. Conventional figures derived from the alligator         182
+    283. Conventional figures derived from the alligator         183
+    284. Vase with decorated zone containing
+           remarkable devices                                    185
+    285. Series of devices                                       185
+
+
+
+
+  [Illustration:
+  BUREAU OF ETHNOLOGY
+  SIXTH ANNUAL REPORT PL. I.]
+
+
+
+
+ANCIENT ART OF THE PROVINCE OF CHIRIQUI.
+
+By William H. Holmes.
+
+
+
+
+INTRODUCTION.
+
+
+GEOGRAPHY.
+
+Until comparatively recent times the province of Chiriqui has remained
+almost unknown to the world at large. The isthmus was traversed a number
+of times by the conquerors, who published accounts of their discoveries,
+but it was reserved for the period of railroad and canal exploration to
+furnish trustworthy accounts of its character and inhabitants. The
+situation of Chiriqui is unique. Forming, politically, a part of South
+America, it belongs in reality to the North American continent. It
+occupies a part of the great southern flexure of the isthmus at a point
+where the shore lines begin finally to turn toward the north.
+
+The map accompanying this paper (Plate I) conveys a clear idea of the
+position and the leading topographic features of the province. The
+boundaries separating it from Veragua on the east and Costa Rica on the
+west run nearly north and south. The Atlantic coast line has a northwest
+and southeast trend and is indented by the bay or lagoon of Chiriqui.
+The Bay of David extends into the land on the south and the Gulf of
+Dolce forms a part of the western boundary. A range of mountains,
+consisting principally of volcanic products, extends midway along the
+province, forming the continental watershed.[1] The drainage comprises
+two systems of short rivers that run, one to the north and the other to
+the south, into the opposing oceans. Belts of lowland border the shore
+lines. That on the south side is from twenty to thirty miles wide and
+rises gradually into a plateau two or three thousand feet in elevation,
+which is broken by hills and cut by cañons. This belt affords a natural
+thoroughfare for peoples migrating from continent to continent, and
+doubtless formed at all periods an attractive district for occupation.
+It is in the middle portion of this strip of lowland, especially in the
+drainage area of the Bay of David, that the most plentiful evidences of
+ancient occupation are found. Scattering remains have been discovered
+all along, however, connecting the art of Costa Rica with that of
+Veragua, Panama, and the South American continent. The islands of the
+coast furnish some fragmentary monuments and relics, and there is no
+doubt that a vast quantity of material yet remains within the province
+to reward the diligent search of future explorers.
+
+    [Footnote 1: For physical features, see report of Lieutenant
+    Norton (Report Chiriqui Commission, Ex. Doc. 41, 1860).]
+
+
+LITERATURE.
+
+The antiquarian literature of the province is extremely meager, being
+confined to brief sketches made by transient visitors or based for the
+most part upon the testimony of gold hunters and government explorers,
+who took but little note of the unpretentious relics of past ages. As
+there are few striking monuments, the attention of archæologists was not
+called to the history of primeval man in this region, and until recently
+the isthmus was supposed to have remained practically unoccupied by that
+group of cultured nations whose works in Peru and in Mexico excite the
+wonder of the world. But, little by little, it has been discovered that
+at some period of the past the province was thickly populated, and by
+races possessed of no mean culture.
+
+The most important contributions to the literature of this region, so
+far as they have come to my knowledge, are the following: A paper by Mr.
+Merritt, published by the American Ethnological Society;[2] a paper by
+Bollaert, published by the same society, and also a volume issued in
+London;[3] a valuable pamphlet, with photographic illustrations, by
+M. De Zeltner, French consul to Panama in 1860;[4] a short paper by
+Mr. A. L. Pinart, published in the Bulletin de la Société de Géographie
+(Paris, 1885, p. 433), in which he gives valuable information in regard
+to the peoples, ancient and modern; and casual notes by a number of
+other writers, some of which will be referred to in the following pages.
+A pretty full list of authorities is given by Mr. H. H. Bancroft in his
+Native Races, Vol. V, p. 16.
+
+One of the most important additions to our knowledge of the province and
+its archæologic treasures is furnished in the manuscript notes of Mr.
+J. A. McNiel, who made the greater part of the collection now deposited
+in the National Museum. This explorer has personally supervised the
+examination of many thousands of graves and has forwarded the bulk of
+his collections to the United States. His explorations have occupied a
+number of years, during which time he has undergone much privation and
+displayed great enthusiasm in pursuing the rather thorny pathways of
+scientific research. In the preparation of this paper his notes have
+been used as freely as their rather disconnected character warranted,
+and since Mr. McNiel's return to the United States, in July, 1886,
+I have been favored with a series of interviews with him, and by this
+means much important information has been obtained.
+
+    [Footnote 2: J. King Merritt: "Report on the huacals or ancient
+    graveyards of Chiriqui." Bulletin of the American Ethnological
+    Society, 1860.]
+
+    [Footnote 3: Bollaert: Antiquarian Researches in New Granada.
+    London, 1860.]
+
+    [Footnote 4: A. De Zeltner: Notes sur les sépultures indiennes
+    de département de Chiriqui.]
+
+
+PEOPLE.
+
+At the present time this district is inhabited chiefly by Indians and
+natives of mixed, blood, who follow grazing and agriculture to a limited
+extent, but subsist largely upon the natural products of the country.
+These peoples are generally thought to have no knowledge or trustworthy
+tradition of the ancient inhabitants and are said to care nothing for
+the curious cemeteries among which they dwell, except as a source of
+revenue. Mr. A. L. Pinart states, however, that certain tribes on both
+sides of the continental divide have traditions pointing toward the
+ancient grave builders as their ancestors. There is probably no valid
+reason for assigning the remains of this region to a very high
+antiquity. The highest stage of culture here may have been either
+earlier or later than the period of highest civilization in Mexico and
+South America or contemporaneous with it. There is really no reason for
+supposing that the tribes who built these graves were not in possession
+of the country, or parts of it, at the time of the conquest. As to the
+affinities of the ancient middle isthmian tribes with the peoples north
+and south of them we can learn nothing positive from the evidences of
+their art. So far as the art of pottery has come within my observation,
+it appears to indicate a somewhat closer relationship with the ancient
+Costa Rican peoples than with those of continental South America; yet,
+in their burial customs, in the lack of enduring houses and temples, and
+in their use of gold, they were like the ancient peoples of middle and
+southern New Granada.[5]
+
+The relics preserved in our museums would seem to indicate one principal
+period of occupation or culture only; but there has been no intelligent
+study of the contents of the soil in sections exposed in modern
+excavations, the exclusive aim of collectors having generally been to
+secure either gold or showy cabinet specimens. The relics of very
+primitive periods, if such are represented, have naturally passed
+unnoticed. Mr. McNiel mentions the occurrence of pottery in the soil in
+which the graves were dug, but, regarding it as identical with that
+contained in the graves, he neglected to preserve specimens.
+
+In one instance, while on a visit to Los Remedios, a pueblo near the
+eastern frontier of Chiriqui, he observed a cultivated field about which
+a ditch some 8 or 9 feet in depth had been dug. In walking through this
+he found a continuous exposure of broken pottery and stone implements.
+Some large urns had been cut across or broken to conform to the slope of
+the ditch, and were exposed in section.
+
+Although not apparently representing a very wide range of culture or
+distinctly separated periods of culture, the various groups of relics
+exhibit considerable diversity in conception and execution,
+attributable, no doubt, to variations in race and art inheritance.
+
+    [Footnote 5: R. B. White: Jour. Anthrop. Inst. Great Britain and
+    Ireland, p. 241. February, 1884.]
+
+
+THE CEMETERIES.
+
+The ancient cemeteries, or huacals, as they are called throughout
+Spanish America, are scattered over the greater part of the Pacific
+slope of Chiriqui. It is said by some that they are rarely found in the
+immediate vicinity of the sea, but they occur in the river valleys, on
+the hills, the plateaus, the mountains, and in the deepest forests. They
+are very numerous, but generally of small extent. The largest described
+is said to cover an area of about twelve acres. They were probably
+located in the immediate vicinity of villages, traces of which, however,
+are not described by explorers; but there can be no doubt that diligent
+search will bring to light the sites of dwellings and towns. The absence
+of traces of houses or monuments indicates either that the architecture
+of this region was then, as now, of destructible material, or, which is
+not likely, that so many ages have passed over them that all traces of
+unburied art, wood, stone, or clay, have yielded to the "gnawing tooth
+of time."
+
+One of the most circumstantial accounts of these burial places is given
+by Mr. Merritt, who was also the first to make them known to science.[6]
+Mr. Merritt was director of a gold mine in Veragua, and in the summer of
+1859 spent several weeks in exploring the graves of Chiriqui; he
+therefore speaks from personal knowledge. In the autumn of 1858 two
+native farmers of the parish of Bugaba, or Bugava, discovered a golden
+image that had been exposed by the uprooting of a plant. They proceeded
+secretly to explore the graves, the existence of which had been known
+for years. In the following spring their operations became known to the
+people, and within a month more than a thousand persons were engaged in
+working these extraordinary gold mines. The fortunate discoverers
+succeeded in collecting about one hundred and thirty pounds weight of
+gold figures, most of which were more or less alloyed with copper. It is
+estimated that fifty thousand dollars' worth in all was collected from
+this cemetery, which embraced an area of twelve acres.
+
+Although there are rarely surface indications to mark the position of
+the graves, long experience has rendered it comparatively easy to
+discover them. The grave hunter carries a light iron rod, which he runs
+into the ground, and thus, if any hard substance is present, discovers
+the existence of a burial. It is mentioned by one or two writers that
+the graves are in many cases marked by stones, either loose or set in
+the ground in rectangular and circular arrangements. The graves do not
+often seem to have had a uniform position in relation to one another or
+to the points of the compass. In some cases they are clustered about a
+central tomb, and then assume a somewhat radiate arrangement; again,
+according to Mr. McNiel, they are sometimes placed end to end, occupying
+long trenches.
+
+    [Footnote 6: J. King Merritt: Paper read before the American
+    Ethnological Society, 1860.]
+
+
+THE GRAVES.
+
+Graves of a particular form are said to occur sometimes in groups
+occupying distinct parts of the cemetery, but the observations are not
+sufficiently definite to be of value. The graves vary considerably in
+form, construction, and depth, and are classified variously by
+explorers. In the Bugaba cemetery Mr. Merritt found two well marked
+varieties, the oval and the quadrangular, reference being had to the
+horizontal section. The oval grave pits were from 4½ to 6 feet deep and
+from 3 to 4 feet in greatest diameter. A wall of rounded river stones 2½
+to 3 feet high lined the lower part of the pit, and from the top of this
+the entire space was closely packed with rounded stones. Within the
+faced up part of this cist the remains of the dead, the golden figures,
+pottery, and implements had been deposited. This form is illustrated in
+Fig. 1 by a vertical section constructed from the description given by
+Mr. Merritt.
+
+  [Illustration: Fig. 1. Section of oval grave.]
+
+The quadrangular graves were constructed in two somewhat distinct ways.
+One variety was identical in most respects with the oval form
+illustrated above. They were sometimes as much as 6 feet deep and
+frequently 4 by 7 feet in horizontal dimensions. In the other form a pit
+4 by 6½ feet in diameter was sunk to the depth of about 3 feet.
+Underneath this another pit some 2 feet in depth was sunk, leaving an
+offset or terrace 8 or 10 inches in width all around. The smaller pit
+was lined with flat stones placed on edge. In this cist the human
+remains and the relics were placed and covered over with flat stones,
+which rested upon the terrace and prevented the superincumbent mass,
+which consisted of closely packed river stones, from crushing the
+contents. A section of this tomb is given in Fig. 2, also drawn from the
+description given by Mr. Merritt.
+
+  [Illustration: Fig. 2. Section of a quadrangular grave, showing the
+  surface pack of river stories and the positions of the slabs and
+  objects of art.]
+
+  [Illustration: Fig. 3. Grave with pillars, described by De Zeltner.]
+
+  [Illustration: Fig. 4. Compound cist, described by De Zeltner.]
+
+Mr. Merritt and others mention that in some of the graves pillars are
+employed to support the roof of the cist. These pillars are mentioned
+briefly by De Zeltner, from whose account the following illustrations
+are drawn. This author does not state that he made any personal
+investigations, and if his accounts were obtained from the natives their
+entire trustworthiness may very properly be questioned. The first two
+forms mentioned by him are similar to those already given. The third is
+described as having at the corners square pillars of stone to support
+the covering, which, however, is not described. The fourth has four
+pillars, placed in the corners of the pit. These serve to support a
+vault of flagstones. The walls between the pillars are faced with
+pebbles, as in the cases previously described. Fig. 3 will make this
+form clear at a glance. The fifth variety described by De Zeltner is
+quite extraordinary in construction. His account is somewhat confusing
+in a number of respects, and the section given in Fig. 4 cannot claim
+more than approximate accuracy in details and measurements. Near the
+surface a paving, perhaps of river stones, was found covering an area of
+about 10 by 13 feet. This paving was apparently the surface of a pack
+about 2 feet thick, and covered the mouth of the main pit, which was
+some 6 or 7 feet deep. Pillars of cobble stones about 10 inches in
+diameter occupied the corners of the pit, and probably served in a
+measure to support the paving. In the bottom of this excavation a second
+pit was dug, the mouth of which was also covered by a paving 2½ by
+upwards of 3 feet in horizontal dimensions. This lower pit consisted of
+a shaft several feet in depth, by which descent was made into a chamber
+of inverted pyramidal shape. This chamber approximated 6 by 9 feet in
+horizontal dimensions and was some 4 or 5 feet deep. At the bottom of
+this cistern the human remains and most of the relics were deposited.
+The shaft was filled in with earth and the pavings described. The total
+depth, computed from the figures given, is about 18 feet, a most
+remarkable achievement for a barbarous people; yet this is equaled by
+the ancient tribes of the mainland of New Granada, where similar burial
+customs seem to have prevailed. Mr. White,[7] who traveled extensively
+in the northwestern part of the state, says:
+
+  A dry, elevated ridge, composed of easily excavated material, was
+  selected as the cemetery. A pit of only a yard or so in diameter was
+  sunk, sometimes vertically, sometimes at an angle, or sometimes it
+  varied from vertical to inclined. It was sunk to depths varying from
+  15 to 60 feet, and at the bottom a chamber was formed in the earth.
+  Here the dead was deposited, with his arms, tools, cooking utensils,
+  ornaments, and chattels generally, with maize and fermented liquor
+  made of maize. The chamber and passage were then rammed tightly full
+  of earth, and sometimes it would appear that peculiar earth, other
+  than that excavated on the spot, was used. One not unfrequently
+  detects a peculiar aromatic smell in the earth, and fragments of
+  charcoal are always found mixed with it in more or less quantity.
+
+M. De Zeltner describes other very simple graves which are filled in
+with earth, excepting a surface paving of pebbles.
+
+Mr. McNiel, who has examined more examples than any other white man, and
+over a wide district with David as a center, discredits the statements
+of De Zeltner in respect to the form illustrated in Fig. 4, and states
+that generally the graves do not differ greatly in shape and finish from
+the ordinary graves of to-day. He describes the pits as being oval and
+quadrangular and as having a depth ranging from a few feet to 18 feet.
+The paving or pack consists of earth and water worn stones, the latter
+pitched in without order and forming but a small percentage of the
+filling. He has never seen such stones used in facing the walls of the
+pit or in the construction of pillars. The flat stones which cover the
+cist are often 10 or 15 feet below the surface and are in some cases
+very heavy, weighing 300 pounds or more. A single stone is in cases
+large enough to cover the entire space, but more frequently two or more
+flat stones are laid side by side across the cavity. These are supported
+by river stones, a foot or more in length, set around the margin of the
+cist. He is of the opinion that both slabs and bowlders were in many
+cases carried long distances. No one of the pits examined was of the
+extraordinary form described in detail by De Zeltner and others.
+
+    [Footnote 7: B. B. White: Jour. Anthrop. Inst. Great Britain and
+    Ireland, p. 246. February, 1884.]
+
+
+HUMAN REMAINS.
+
+The almost total absence of human remains has frequently been remarked,
+and the theory is advanced that cremation must have been practiced. We
+have no evidence, however, of such a custom among the historic tribes of
+this region, and, besides, such elaborate tombs would hardly be
+constructed for the deposition of ashes. Yet, considering the depth of
+the graves, their remarkable construction, and the character of the soil
+selected for burial purposes, it is certainly wonderful that such meager
+traces of human remains are found. Pinart surmises, from the analogies
+of modern burial customs upon the north coast, that the bones only were
+deposited in the graves, the flesh having been allowed to decay by a
+long period of exposure in the open air. This, however, would probably
+not materially hasten the decay of the bones.
+
+Mr. Merritt states that human hair was obtained from graves at Bugaba,
+and that he has himself secured the enamel of a molar tooth from that
+locality. De Zeltner tells us that in three varieties of graves remains
+of skeletons are found, always, however, in a very fragile condition.
+One skull was obtained of sufficient stability to be cast in plaster,
+but De Zeltner is not certain that it belonged to the people who built
+the tombs.
+
+Mr. McNiel reports the occasional finding of bones, and a number of
+bundles of them are included in his collection. He reports that there
+are no crania and that nothing could be determined as to the position of
+the bodies when first buried.
+
+Pinart observes that in some cases the bodies or remnants of bodies were
+distributed about the margin of the pit bottom, with the various
+utensils in the center, and again that the remains were laid away in
+niches dug in the sides of the main pit.
+
+These scattering observations will serve to give a general idea of the
+modes of sepulture practiced in this region, but there must be a closer
+record of localities and a careful correlation of the varying phenomena
+of inhumation before either ethnology or archaeology can be greatly
+benefited.
+
+
+PLACING OF RELICS.
+
+The pieces of pottery, implements, and ornaments were probably buried
+with the dead, pretty much as are similar objects in other parts of
+America. The almost total disappearance of the human remains makes a
+determination of exact relative positions impossible. The universal
+testimony, however, is that all were not placed with the body, but that
+some were added as the grave was filled up, being placed in the crevices
+of the walls or pillars or thrown in upon the accumulating earth and
+pebbles of the surface pavement. The heavy implements of stone are
+rarely very far beneath the surface.
+
+
+
+
+OBJECTS OF ART.
+
+
+From the foregoing account it is apparent that our knowledge of the art
+of ancient Chiriqui must for the present be derived almost entirely from
+the contents of the tombs. The inhabitants were skillful in the
+employment and the manipulation of stone, clay, gold, and copper; and
+the perfection of their work in these materials, taken in connection
+with the construction of their remarkable tombs, indicates a culture of
+long standing and a capacity of no mean order.
+
+Of their architecture, agriculture, or textile art we can learn little
+or nothing.
+
+The relics represented in the collection of the National Museum consist
+chiefly of articles of stone, gold, copper, and clay.
+
+
+STONE.[8]
+
+Works executed in stone, excluding the tombs, may be arranged in the
+following classes: Pictured rocks, sculptured columns, images, mealing
+stones, stools, celts, arrowpoints, spearpoints (?), polishing stones,
+and ornaments.
+
+_Pictured rocks._--Our accounts of these objects are very meager. The
+only one definitely described is the "_piedra pintal_." A few of the
+figures engraved upon it are given by Seemann, from whom I quote the
+following paragraph:
+
+  At Caldera, a few leagues [north] from the town of David, lies a
+  granite block known to the country people as the piedra pintal, or
+  painted stone. It is 15 feet high, nearly 50 feet in circumference,
+  and flat on the top. Every part, especially the eastern side, is
+  covered with figures. One represents a radiant sun; it is followed
+  by a series of heads, all, with some variation, scorpions and
+  fantastic figures. The top and the other side have signs of a
+  circular and oval form, crossed by lines. The sculpture is ascribed
+  to the Dorachos (or Dorasques), but to what purpose the stone was
+  applied no historical account or tradition reveals.[9]
+
+  [Illustration: Fig. 5. Southwest face of the pictured stone.]
+
+These inscriptions are irregularly placed and much scattered. They are
+thought to have been originally nearly an inch deep, but in places are
+almost effaced by weathering, thus giving a suggestion of great
+antiquity. I have seen tracings of these figures made recently by Mr.
+A. L. Pinart which show decided differences in detail, and Mr. McNiel
+gives still another transcript. I present in Fig. 5 Mr. McNiel's sketch
+of the southwest face of the rock, as he has given considerably more
+detail than any other visitor. Mr. McNiel's sketches show seventeen
+figures on the opposite side of the rock. Seemann gives only twelve,
+while Mr. Pinart's tracings show upwards of forty upon the same face.
+These three copies would not be recognized as referring to the same
+original. That of Mr. Pinart seems to show the most careful study and is
+probably accurate. Good photographs would be of service in eliminating
+the inconvenient personal equation always present in the delineation of
+such subjects. These figures bear little resemblance to those painted
+upon the vases of this region.
+
+Other figures are said to be engraved upon the bowlders and stones used
+in constructing the burial cists. De Zeltner states that "one often
+meets with stones covered with rude allegorical designs, representing
+men, pumas (tigre?), and birds. It is particularly in such huacas as
+have pillars and a vault that these curious specimens of Indian art are
+found."[10]
+
+_Columns._--A number of authors speak casually of sculptured stone
+columns, none of which have been found in place. Seemann says that they
+may be seen in David, where they are used for building purposes,[11] but
+this is not confirmed by others. The sculptures are said to be in
+relief, like those of Yucatan and Peru. Cullen says that columns are
+found on the Island of Muerto, Bay of David.[12] Others are mentioned as
+having been seen in Veragua.
+
+_Images._--Objects that may properly be classed as images or idols are
+of rather rare occurrence. Half a dozen specimens are found in the
+McNiel collections. The most important of these represents a full length
+female figure twenty-three inches in height. It is executed in the
+round, with considerable attempt at detail (Fig. 6). I may mention, as
+strong characteristics, the flattened crown, encircled by a narrow
+turban-like band, the rather angular face and prominent nose, and the
+formal pose of the arms and hands. Besides the head band, the only other
+suggestion of costume is a belt about the waist.
+
+  [Illustration: Fig. 6. A goddess of the ancient Chiriquians. Gray
+  basalt--1/6.]
+
+The material is a compact, slightly vesicular, olive gray, basaltic
+rock. I have seen a few additional examples of this figure, and from the
+identity in type and detail conclude that the personage represented was
+probably an important one in the mythology of the Chiriquians. In
+general style there is a rather close correspondence with the sculptures
+of the Central American States. Some of the plastic characters exhibited
+in this work appear also in the various objects of clay, gold, and
+copper described further on.
+
+There is also a smaller, rudely carved, half length, human figure done
+in the same style. Besides these figures there are two large flattish
+stones, on one of which a rude image of a monkey has been picked, while
+the other exhibits the figure of a reptile resembling a lizard or a
+crocodile. The work is extremely rude and has the appearance of being
+unfinished. It seems that all of these objects were found upon the
+surface of the ground.
+
+In Figs. 7 and 8 I present two specimens of sculpture also collected by
+Mr. McNiel, and now in the possession of Mr. J. B. Stearns, of Short
+Hills, N.J. The example shown in Fig. 7 was obtained near the Gulf of
+Dolce, 82° 55´ west. Three views are presented: profile, front, and
+back. It is carved from what appears to be a compact, grayish olive tufa
+or basalt, and represents a male personage, distinct in style from the
+female figure first presented. The head is rounded above, the arms are
+flattened against the sides, and the feet are folded in a novel position
+beneath the body. The height is 9 inches.
+
+  [Illustration: Fig. 7. A god of the ancient Chiriquians. Gray
+  volcanic rock--½.]
+
+The other specimen, Fig. 8, from near the same locality, is carved from
+a yellowish gray basalt which sparkles with numerous large crystals of
+hornblende. It is similar in style to the last, but more boldly
+sculptured, the features being prominent and the members of the body in
+higher relief. The legs are lost. Height, 5¼ inches.
+
+A remarkable figure of large size now in the National Museum was
+obtained from the Island of Cana or Cano by Mr. McNiel. It is nearly
+three feet in height and very heavy. The face has been mutilated. In
+general style it corresponds more closely to the sculpture of the
+Central American States than to that of Chiriqui.
+
+  [Illustration:
+  _a, b_
+  Fig. 8. Fragmentary human figure in gray basaltic rock--½.]
+
+_Mealing stones._--The metate, or hand mill, which consists of a concave
+tablet and a rubbing stone, was an important adjunct to the household
+appliances of nearly all the more cultured American nations. It is found
+not only in those plain substantial forms most suitable for use in
+grinding grain, seeds, and spices by manual means, but in many cases it
+has been elaborated into a work of art which required long and skilled
+labor for its production.
+
+In the province of Chiriqui these mills must have been numerous; but,
+since they are still in demand by the inhabitants of the region, many of
+the ancient specimens have been destroyed by use. It seems from all
+accounts that they were not very generally buried with the dead, but
+were left upon or near the surface of the ground, and were hence
+accessible to the modern tribes, who found it much easier to transport
+them to their homes than to make new ones.
+
+The metates of Chiriqui present a great diversity of form and possibly
+represent distinct peoples or different grades of culture. They are
+carved from volcanic rocks of a few closely related varieties, the
+texture of which is coarse and occasionally somewhat cellular, giving an
+uneven or pitted surface, well suited to the grinding of maize. Three
+classes, for convenience of description, may be distinguished, although
+certain characters are common to all and one form grades more or less
+completely into another. We have the plain slab or rudely hewn mass of
+rock, in the upper surface of which a shallow depression has been
+excavated; we have the carefully hewn oval slab supported by short legs
+of varied shape; and we have a large number of pieces elaborately
+sculptured in imitation of animal forms. The first variety is common to
+nearly all temperate and tropical America and does not require further
+attention here. The second variety exhibits considerable diversity in
+form. The tablet is oval, concave above, and of an even thickness. The
+periphery is often squared and is in many cases ornamented with carved
+figures, either geometric devices or rudely sculptured animal heads. The
+legs are generally three in number, but four is not unusual. They are
+mostly conical or cylindrical in shape and are rather short.
+
+The finest example of the second class has an oval plate 37 inches in
+length, 29 in width, and 2 inches thick, which is nearly symmetrical and
+rather deeply concave above. The central portions of the basin are worn
+quite smooth. Near the ends, within the basin, two pairs of small
+animal-like figures are carved, and ranged about the lower margin of the
+periphery are eighty-seven neatly sculptured heads of animals. There are
+four short cylindrical legs. This superb piece of work is shown in
+Fig. 9.
+
+  [Illustration: Fig. 9. Mealing stone with large tablet ornamented
+  with animal heads, from Gualaca--1/9.]
+
+Examples of the third class are all carved to imitate the puma or
+ocelot. The whole creature is often elaborately worked out in the round
+from a single massive block of stone. The thin tablet representing the
+body rests upon four legs. The head, which projects from one end of the
+tablet, is generally rather conventional in style, but is sculptured
+with sufficient vigor to recall the original quite vividly. The tail
+appears at the other end and curves downward, connecting with one of the
+hind feet, probably for greater security against mutilation. The head,
+the margin of the body, and the exterior surfaces of the legs are
+elaborately decorated with tasteful carving. The figures are geometric,
+and refer, no doubt, to the markings of the animal's skin. Nearly
+identical specimens are obtained from Costa Rica and other parts of
+Central America.
+
+A fine example of medium size is given in Fig. 10. The material is gray,
+minutely cellular, basaltic rock. The upper surface of the plate is
+polished by use. The entire length is 17 inches.
+
+  [Illustration: Fig. 10. Puma shaped metate of gray andesite, from
+  Rio Joca--¼.]
+
+The largest specimen in the McNiel collection is 2 feet long, 18 inches
+wide, and 12 inches high. A similar piece has been illustrated by De
+Zeltner.
+
+The usual office of these metates is considered to be that of grinding
+corn, cocoa, and the like. The great elaboration observed in some
+examples suggests the idea that perhaps they were devoted exclusively to
+the preparation of material (meal or other substances) intended for
+sacred uses. A high degree of elaboration in art products results in
+many cases from their connection with superstitious usages.
+
+Speculating upon the use of these objects, De Zeltner mentions a mortar
+"whose pestle was nothing but a round stone, which still shows traces of
+gold here and there. It was evidently with the help of this rude
+instrument that the Indians reduced the gold to powder before fusing
+it."[13]
+
+The implement or pestle used in connection with these mealing tablets in
+crushing and grinding is often a simple river worn pebble, as mentioned
+above, but is more usually a cylindrical mass of volcanic rock, worked
+into nearly symmetric shape.
+
+_Stools._--The stool-like appearance of some of the objects described as
+metates suggests the presentation in this place of a group of objects
+that must for the present be classed as stools or seats, although their
+true or entire function is unknown to me. They are distinguished from
+the mealing stones by their circular plate, their sharply defined,
+upright, marginal rim, and the absence of signs of use.
+
+  [Illustration: Fig. 11. Stool shaped object carved from gray,
+  minutely cellular basalt--1/3.]
+
+  [Illustration: Fig. 12. Stool with columnar base, carved from gray
+  basaltic rock--1/3.]
+
+Two of these objects are from the vicinity of David. The largest and
+most interesting is illustrated in Fig. 11. It is carved from a piece of
+vesicular basaltic tufa and is in a perfect state of preservation. The
+height is 6 inches and the diameter of the top 10 inches, that of the
+base being a little less. The slightly concave upper surface is
+depressed about half an inch below the upright marginal band. The
+periphery is a little more than an inch in width and is decorated with a
+simple guilloche-like ornament in relief. The disk-like cap is connected
+by open lattice-like work with the ring which forms the base. The
+interior is neatly hollowed out. The open work of the sides consists of
+two elaborately carved figures of monkeys, alternating with two sections
+of trellis work, very neatly executed. The other specimen is somewhat
+less elaborate in its sculptured ornament.
+
+Outlines of two additional examples of these objects are given in Figs.
+12 and 13. The tablets are round, thick, and slightly concave above and
+are margined with rows of sculptured heads. The supporting column in the
+first is a plain shaft and the base is narrow and somewhat concave
+underneath. In the second the column is hollowed out and perforated.
+
+  [Illustration: Fig. 13. Stool with perforated base, carved from gray
+  basaltic rock--1/3.]
+
+As bearing upon the possible use of these specimens it should be noticed
+that similar stool-like objects are made of clay, the softness and
+fragility of which would render them unsuitable for use as mealing
+plates or mortars, and it would also appear that they are rather fragile
+for use as stools. I would suggest that they may have served as supports
+for articles such as vases or idols employed in religious rites, or
+possibly as altars for offerings.
+
+_Celts._--The class of implements usually denominated celts is
+represented by several hundred specimens, nearly all of which are in a
+perfect state of preservation. They are thoroughly well made and
+beautifully finished, and leave the impression upon the mind that they
+must represent the very highest plane of Stone Age art.
+
+Although varying widely in form and finish there is great homogeneity of
+characters, the marked family resemblance suggesting a single people and
+a single period or stage of culture. They are found in the cists along
+with other relics and are very generally distributed, a limited number,
+rarely more than three, being found in a single grave. They may be
+classified by shape into a number of groups, each of which, however,
+will be found to grade more or less completely into the others. They
+display all degrees of finish from the freshly flaked to the evenly
+picked and wholly polished surface. The edges or points of nearly all
+show the contour and polish that come from long though careful use. All
+are made of compact, dark, volcanic tufa that resembles very closely a
+fine grained slate. The following illustrations include all the more
+important types of form. There are but few specimens of very large size.
+That shown in Fig. 14 is 8¼ inches long, 4 inches wide, and
+seven-eighths of an inch thick. The blade is broad at the edge, rounded
+in outline, and well polished. The upper end terminates in a rather
+sharp point that shows the rough flaked surface of the original blocking
+out. The middle portion exhibits an evenly picked surface. The rock is a
+dark slaty looking tufa, the surface of which displays ring or
+rosette-like markings, reminding one of the polished surface of a
+section of fossil coral. These markings probably come from the
+decomposition of the mineral constituents of the rock.
+
+  [Illustration: Fig. 14. Large partially polished celt of mottled
+  volcanic tufa--½.]
+
+The implement given in Fig. 15 may be taken as a type of a large class
+of beautifully finished celts. It also is made of the dark tufa, very
+fine grained and compact, resembling slate. The beveled surfaces of the
+blade are well polished, the remainder of the surface being evenly
+picked. The hexagonal section is characteristic of the class, but it is
+not so decided in this as in some other pieces in which the whole
+surface is freshly ground.
+
+The contraction of the lateral outline and the sudden expansion on
+reaching the cutting edge noticed in this specimen are more clearly
+marked in other examples. The small celt shown in Fig. 16 is narrow
+above and quite wide toward the edge. A wide, thick specimen is given in
+Fig. 17. A specimen quite exceptional in Chiriqui is shown in Fig. 18.
+Mr. McNiel states that in many years' exploration this is the only piece
+seen that exhibits the constriction of outline characteristic of grooved
+axes.
+
+  [Illustration: Fig. 15. Celt of hexagonal section made of dark
+  compact tufa--½.]
+
+  [Illustration: Fig. 16. Small wide bladed celt made of dark
+  tufa--½.]
+
+  [Illustration: Fig. 17. Celt with heavy shaft made of dark speckled
+  tufa--½.]
+
+  [Illustration: Fig. 18. Celt or ax with constriction near the top.]
+
+  [Illustration: Fig. 19. Flaked and partially polished celt of dark
+  tufa--½.]
+
+  [Illustration: Fig. 20. Well polished celt of dark tufa--½.]
+
+Two superb implements are illustrated in Figs. 19 and 20, the one in the
+rough excepting at the cutting edge, where it is ground into the desired
+shape, and the other neatly polished over nearly the entire surface. The
+surfaces are somewhat whitened from decomposition, but within the rock
+is nearly black, and the eye could not distinguish it from a dark slate.
+The material is shown by microscopic test to be a volcanic tufa. These
+examples were evidently intended for more delicate work than the
+preceding. The shapes of the specimens illustrated in Figs. 21 and 22
+indicate a still different use. The upper end of the implement is large
+and rough, as if intended to facilitate holding or hafting, while the
+shaft diminishes in size below, terminating in a narrow, symmetrical,
+highly polished edge, a shape well calculated to unite delicacy and
+strength. The highest mechanical skill could hardly give to stone shapes
+more perfectly adapted to the manipulation of stone, metal, or other
+hard or compact substances. The material is a very dark, compact, fine
+grained tufa.
+
+  [Illustration: Fig. 21. Narrow pointed celt of dark tufa--½.]
+
+  [Illustration: Fig. 22. Narrow pointed celt of dark tufa--½.]
+
+  [Illustration: Fig. 23. Cylindrical celt with narrow point, of dark
+  tufa--½.]
+
+  [Illustration: Fig. 24. Leaf shaped objects suggesting spearpoints,
+  of dark tufa--½.]
+
+An additional example is given in Fig. 23. The shaft is cylindrical and
+terminates in a conical point at one end and in a very narrow, abrupt,
+cutting edge at the other. The whole surface is polished. The material
+is the same dark tufa.
+
+The class of objects illustrated in this and the two preceding cuts
+comprises but a small percentage of the chisel-like implements.
+
+_Spearheads (?)._--Another class of objects made of the same fine
+grained, slaty looking tufa is illustrated in Fig. 24. They resemble
+spearpoints, yet may have been devoted to a wholly different use. They
+are long, leaf-like flakes, triangular in section, slightly worked down
+by flaking, sharpened by grinding at the point, and slightly notched at
+the top, perhaps for hafting.
+
+_Arrowpoints._--The unique character of the arrowpoints of Chiriqui is
+already known to archæologists. The most striking feature is the
+triangular section presented in nearly all cases and shown in the
+figures (Fig. 25). The workmanship is extremely rude. The material is
+generally a flinty jasper of reddish and yellowish hues. The number
+found is comparatively small. The specimens given are of average size.
+
+  [Illustration: Fig. 25. Arrowpoints of jasper--1/1.]
+
+_Ornaments._--It would seem from a study of our collections that
+ornaments of stone were seldom used by the inhabitants of Chiriqui.
+There are a few medium sized beads of agate and one pendant of dark
+greenish stone rudely shaped to resemble a human head. Ornaments of gold
+and copper were evidently much preferred.
+
+    [Footnote 8: I am indebted to Mr. J. S. Diller, of the United
+    States Geological Survey, for the determination of the species of
+    stone in this series of objects.]
+
+    [Footnote 9: Seemann: Voy. Herald, Vol. I, p. 312.]
+
+    [Footnote 10: A. de Zeltner: Notes sur les sépultures indiennes du
+    département de Chiriqui.]
+
+    [Footnote 11: Seemann: Voy. Herald, Vol. I, p. 313.]
+
+    [Footnote 12: Cullen's Darien, p. 38.]
+
+    [Footnote 13: A. De Zeltner: Notes sur les sépultures indiennes,
+    p. 7.]
+
+
+METAL.
+
+GOLD AND COPPER.
+
+The Chiriquians, like many of their neighbors in the tropical portions
+of the American continent, were skilled in the working of metals. Gold,
+silver, copper, and tin--the last in alloys with copper forming
+bronze--are found in the graves. Gold is the most important, and is
+associated with all the others in alloys or as a surface coating. The
+inhabitants of the isthmus at the time of the discovery were rich in
+objects, chiefly ornaments, of this metal, and expeditions sent out
+under Balboa, Pizarro, and others plundered the natives without mercy.
+When the Indian village of Darien was captured by Balboa (1510) he
+obtained "plates of gold, such as they hang on their breasts and other
+parts, and other things, all of them amounting to ten thousand pesos of
+fine gold."[14] From an expedition to Nicaragua the same adventurers
+brought back to Panama the value of "112,524 pieces of eight in low
+gold, and 145 in pearls."[15] Early Spanish-American history abounds in
+stories of this kind. Among others we read that Columbus found the
+natives along the Atlantic coast of Chiriqui and Veragua so rich in
+objects of gold that he named the district _Castillo del Oro_. It is
+said that the illusory stories of an _El Dorado_ somewhere within the
+continent of South America arose from the lavish use of gold ornaments
+by the natives whom the Spaniards encountered, and that Costa Rica gets
+its name from the same circumstance. It is also recorded that the
+natives of various parts of Central and South America at the date of the
+conquest were in the habit of opening ancient graves for the purpose of
+securing mortuary trinkets. The whites have followed their example with
+the greatest eagerness. As far back as 1642 the Spaniards passed a law
+claiming all the gold found in the burial places of Spanish America,[16]
+the whole matter being treated merely as a means of revenue.
+
+The objects of gold for which the tombs of Chiriqui are justly famous
+are generally believed to have been simple personal ornaments, the
+jewelry of the primeval inhabitants, although it is highly probable that
+many of the figures, at least as originally employed, had an emblematic
+meaning. They were doubtless at all times regarded as possessed of
+potent charms, and thus capable of protecting and forwarding the
+interests of their owners. They have been found in great numbers within
+the last twenty-five years, but for the most part, even at this late
+date, have been esteemed for their money value only. Very many specimens
+found their way to this country, where they were either sold for
+curiosities or, after waiting long for a purchaser, even in the very
+shadow of our museums, were consigned to the melting pot. Many stories
+bearing upon this point have been told me. A Washington jeweler is
+represented as having exhibited in his window on Pennsylvania avenue
+about the year 1860 a remarkable series of these trinkets, most of which
+were afterwards sent to New York to be melted. About the same period a
+gentleman on entering a shop in San Francisco was accosted by a stranger
+who had his pockets well filled with these curious relics and wished to
+dispose of them for cash. A number of my acquaintances have neat but
+grotesque examples of these little images of gold attached to their
+watch guards, thus approving the taste of our prehistoric countrymen and
+at the same time demonstrating the identity of ideas of personal
+embellishment in all times and with all peoples.
+
+The ornaments are found only in a small percentage of the graves, those
+probably of persons sufficiently opulent to possess them in life;
+a majority of the graves contain none whatever. They are often found at
+the bottom of the pits, and probably in nearly the position occupied by
+them while still attached to the persons of the dead. It is said that
+occasionally they are found in niches at the sides of the graves, as if
+placed during the filling of the pit.
+
+Strangely enough, the gold is very generally alloyed with copper, the
+composite metal ranging from pure gold to pure copper. A small
+percentage of silver is also present in some of the specimens examined,
+but this is probably a natural alloy. In a few cases very simple figures
+appear to have been shaped from nuggets or masses of the native metals;
+this, however, is not susceptible of proof. The work is very skillfully
+done, so that we find it difficult to ascertain the precise methods of
+manipulation. The general effect in the more pretentious pieces
+resembles that of our filigree work, in which the parts are produced by
+hammering and united by soldering; yet there are many evidences of
+casting, and these must be considered with care. As a rule simple
+figures and some portions of composite figures present very decided
+indications of having been cast in molds, yet no traces of these molds
+have come to light, and there are none of those characteristic markings
+which result from the use of composite or "piece" molds. Wire was
+extensively used in the formation of details of anatomy and
+embellishment, and its presence does not at first seem compatible with
+ordinary casting. This wire, or pseudo-wire it may be, is generally
+about one-twenty-fifth of an inch in diameter.
+
+The manner in which the numerous parts or sections of complex figures
+are joined together is both interesting and perplexing. Evidences of the
+use of solder have been looked for in vain, and if such a medium was
+ever used it was identical in kind with the body of the object or so
+small in quantity as to escape detection. At the junction of the parts
+there are often decided indications of hammering, or at least of the
+strong pressure of an implement; but in pursuing the matter further we
+find a singular perfection in the joining, which amounts to a
+coalescence of the metals of the two parts concerned. There is no
+weakness or tendency to part along the contact surfaces, neither is
+there anything like the parting of parallel wires in coils or where a
+series of wires is joined side by side and carried through various
+convolutions. In a number of cases I made sections of coils and parts
+composed of a number of wires, in the hope of discovering evidences of
+the individuality of the strands, but the metal in the section is always
+homogeneous, breaking with a rough, granular fracture, and not more
+readily along apparent lines of junction than across them; and further,
+in studying in detail the surface of parts unpolished or protected from
+wear by handling, we find everywhere the granular and pitted unevenness
+characteristic of cast surfaces. This is true of the wire forms as well
+as of the massive parts, and, in addition to this, such defects occur in
+the wires as would hardly be possible if they were of wrought gold.
+
+All points considered, I am inclined to believe that the objects were
+cast, and cast in their entirety. It is plain, however, that the
+original model was made up of separately constructed parts of wire or
+wirelike strands and of eccentric and often rather massive parts, and
+that all were set together by the assistance of pressure, the
+indications being that the material used was sufficiently plastic to be
+worked after the manner of clay, dough, or wax. In one case, for
+example, the body of a serpent, consisting of two wires neatly twisted
+together, is held in the hand of a grotesque figure. The hand consists
+of four fingers made by doubling together two short pieces of wire. The
+coil has been laid across the hand and pressed down into it until half
+buried, and the ends of the fingers are drawn up around it without any
+indication of hammer strokes. Indeed, the effect is just such as would
+have been produced if the artist had worked in wax. Again, in the
+modeling of the eyes we have a good illustration. The eye is a minute
+ball cleft across the entire diameter by a sharp implement, thus giving
+the effect of the parted lids. Now, if the material had been gold or
+copper, as in the specimens, the ball would have been separated into two
+parts or hemispheres, which would not exhibit any great distortion; but
+as we see them here the parts are flattened and much drawn out by the
+pressure of the cutting edge, just as if the material had been decidedly
+plastic.
+
+It seems to me that the processes of manufacture must have been
+analogous to those employed by the more primitive metal workers of our
+own day. In Oriental countries delicate objects of bronze and other
+metals are made as follows: A model is constructed in some such material
+as wax or resin and over it are placed coatings of clay or other
+substance capable of standing great heat. These coatings, when
+sufficiently thickened and properly dried, form the mold, from which the
+original model is extracted by means of heat. The fused metal is
+afterwards poured in. As a matter of course, both the mold and the model
+are destroyed in each case, and exact duplications are not to be
+expected. Mr. George F. Kunz, of New York, with whom I have discussed
+this matter, states that he has seen live objects, such as insects, used
+as models in this way. Being coated with washes of clay or like
+substance until well protected and then heavily covered, they were
+placed in the furnace. The animal matter was thus reduced to ashes and
+extracted through small openings made for the purpose.
+
+As bearing upon this subject it should be mentioned that occasionally
+small figures in a fine reddish resin are obtained from the graves of
+Chiriqui. They are identical in style of modeling with the objects of
+gold and copper obtained from the same source.
+
+In discussing possible processes, Mr. William Hallock, of the division
+of chemistry and physics of the United States Geological Survey,
+suggested that if the various sections of a metal ornament were embedded
+in the surface of a mass of fire clay in their proper relations and
+contacts they could then be completely inclosed in the mass and
+subjected to heat until the metal melted and ran together. After
+cooling, the complete figure could be removed by breaking up the clay
+matrix. I imagine that in such work much difficulty would be experienced
+in securing proper contact and adjustment of parts of complex figures.
+It will likewise be observed that evidences of plasticity in the
+modeling material would not exist. I must not pass a suggestion of
+Nadaillac[17] which offers a possible solution of the problem of
+manipulation. Referring to a statement of the early Spanish explorers
+that smelting was unknown to the inhabitants of Peru, he states that it
+would be possible for a people in a low state of culture to discover
+that an amalgam of gold with mercury is quite plastic, and that after a
+figure is modeled in this composite metal the mercury may be dissipated
+by heat, leaving the form in gold, which then needs only to be polished.
+There is, however, no evidence whatever that these people had any
+knowledge of mercury.
+
+There is no indication of carving or engraving in the Chiriquian work.
+In finishing, some of the extremities seem to have been shaped by
+hammering. This was a mere flattening out of the feet or parts of the
+accessories, which required no particular skill and could have been
+accomplished with comparatively rude stone hammers. It is a remarkable
+fact that many, if not most, of the objects appear to be either plated
+or washed with pure gold, the body or foundation being of base gold or
+of nearly pure copper. This fact, coupled with that of the association
+of objects of bronze with the relics, leads us to inquire carefully into
+the possibilities of European influence or agency. I observe that recent
+writers do not seem to have questioned the genuineness of the objects
+described by them, but that at the same time no mention is made of the
+plating or washing. This latter circumstance leads to the inference that
+pieces now in my possession exhibiting this phenomenon may have been
+tampered with by the whites. In this connection attention should be
+called to the fact that history is not silent on the matter of plating.
+The Indians of New Granada are said to have been not only marvelously
+skillful in the manipulation of metals, but, according to Bollaert,
+Acosta declares that these peoples had much _gilt_ copper, "and the
+copper was gilt by the use of the juice of a plant rubbed over it, then
+put into the fire, when it took the gold color."[18] Just what this
+means we cannot readily determine, but we safely conclude that, whatever
+the process hinted at in these words, a thin surface deposit of pure
+gold, or the close semblance of it, was actually obtained. It is not
+impossible that an acid may have been applied which tended to destroy
+the copper of the alloy, leaving a deposit of gold upon the surface,
+which could afterwards be burnished down.
+
+It has been suggested to me that possibly the film of gold may in cases
+be the result of simple decay on the part of the copper of the alloy,
+the gold remaining as a shell upon the surface of the still undecayed
+portion of the composite metal; but the surface in such a case would not
+be burnished, whereas the show surfaces of the specimens recovered are
+in all cases neatly polished.
+
+If we should conclude that the ancient Americans were probably able to
+secure in some such manner a thin film of gold, it still remains to
+inquire whether there may not have been some purely mechanical means of
+plating. In some of the Chiriquian specimens a foundation of very base
+metal appears to have been plated with heavy sheet gold, which as the
+copper decays comes off in flakes. Occasional pieces have a blistered
+look as a consequence. Were these people able with their rude appliances
+to beat gold into very thin leaves? and Had they discovered processes by
+which these could be applied to the surfaces of objects of metal? are
+questions that should probably be answered in the affirmative.
+
+The flakes in some cases indicate a very great degree of thinness.
+Specimens of sheet gold ornaments found in the tombs are thicker, but
+are sufficiently thin to indicate that, if actually made by these
+people, almost any degree of thinness could be attained by them. It
+would probably not be difficult to apply thin sheet gold to the
+comparatively smooth surfaces of these ornaments and to fix it by
+burnishing.
+
+Mr. Kunz suggests still another method by means of which plating could
+have been accomplished. If a figure in wax were coated with sheet gold
+and then incased in a clay matrix, the wax could be melted out, leaving
+the shell of gold within. The cavity could then be filled with alloy,
+the clay could be removed, and the gold, which would adhere to the
+metal, could then be properly burnished down.
+
+It will be seen from this hasty review that, although we may conclude
+that casting and plating were certainly practiced by these peoples, we
+must remain in ignorance of the precise methods employed.
+
+Referring to the question of the authenticity of the specimens
+themselves, I may note that observations bearing upon the actual
+discovery of particular specimens in the tombs are unfortunately
+lacking. Mr. McNiel acknowledges that with all his experience in the
+work of excavation no single piece has been taken from the ground with
+his own hands, and he cannot say that he ever witnessed the exhumation
+by others, although he has been present when they were brought up from
+the pits. Generally the workmen secrete them and afterwards offer them
+for sale. He has, however, no shadow of a doubt that all the pieces
+procured by him came from the graves as reported by his collectors. The
+question of the authenticity of the gilding will not be satisfactorily
+or finally settled until some responsible collector shall have taken the
+gilded objects with his own hands from their undisturbed places in tombs
+known to be of pre-Columbian construction.
+
+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.
+
+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.
+
+The objects consist to a great extent of representations of life forms,
+in many cases more fanciful than real and often extremely grotesque.
+They include the human figure and a great variety of birds and beasts
+indigenous to the country, in styles resembling work in clay and stone
+of the same region. My illustrations show the actual sizes of the
+objects.
+
+  [Illustration: Fig. 26. Human figure with ridged crown, formed of
+  copper-gold alloy.]
+
+_The human figure._--Statuettes of men and women and of a variety of
+anthropomorphic figures of all degrees of elaboration abound. Fig. 26
+illustrates a plain, rude specimen belonging to the collection of J. B.
+Stearns. It was obtained by Mr. McNiel from near the south base of Mount
+Chiriqui. The body is solid and the surface is rough and pitted, as if
+from decay. In many respects it resembles the stone sculptures of the
+isthmus. The metal is nearly pure copper. A piece exhibiting more
+elaborate workmanship, illustrated by Bollaert,[19] is shown in Fig. 27.
+Another remarkable specimen is illustrated by De Zeltner, but the
+photograph published with his brochure is too indistinct to permit of
+satisfactory reproduction. He describes it in the following language:
+
+  The most curious piece in my collection is a gold figure of a man,
+  7 centimeters in height. The head is ornamented with a diadem
+  terminated on each side with the head of a frog. The body is nude,
+  except a girdle, also in the form of a plait, supporting a flat
+  piece intended to cover the privates, and two round ornaments on
+  each side. The arms are extended from the body; the well drawn hands
+  hold, one of them a short, round club, the other a musical
+  instrument, of which one end is in the mouth and the other forms an
+  enlargement like that of a flute, made of human bone. It is not
+  probable that this is a pipe. Both thighs have an enlargement, and
+  the toes are not marked in this little figurine.[20]
+
+  [Illustration: Fig. 27. Grotesque human figure in gold, from
+  Bollaert.]
+
+  [Illustration: Fig. 28. Rudely shaped and finished human figure in
+  gold.]
+
+In Fig. 28 we have a rather rudely made and finished piece collected by
+Mr. McNiel, and now owned by Mr. Stearns. It exhibits features
+corresponding with a number of those referred to by De Zeltner. The
+foundation is thin and is of base metal coated with pure gold. I present
+two additional examples of the human figure from the collection of Mr.
+Stearns. One of them (Fig. 29) is an interesting little statuette in
+dark copper that still retains traces of the former gilding of yellow
+gold. The crown is flat and is surrounded by a fillet of twisted wire.
+The face is grotesque, the nose being bulbous, the mouth large, and the
+lips protruding. The hands are represented as grasping cords of wire
+which connect the waist with the crown of the figure and seem to be
+intended for the bodies of serpents, the heads of which project from the
+sides of the headdress. Similar serpents project from the ankles. The
+feet are flattened out as if intended to be set in a crevice. The
+extremities--excepting the feet--and the ornaments are all formed of
+wire. The various parts of the figure have been modeled separately and
+set together while the material was in a plastic or semiplastic
+condition. This is clearly indicated by the sinking of one part into
+another at the points of contact.
+
+  [Illustration: Fig. 29. Grotesque human figure in nearly pure
+  copper, partially coated with yellow gold.]
+
+  [Illustration: Fig. 30. Grotesque human figure in nearly pure gold.]
+
+An excellent example of the more elaborate figures is shown in Fig. 30.
+It is of reddish gold, slightly alloyed apparently with copper, and has
+in finishing received a very thin wash or plating of yellow gold, which
+is worn off in exposed parts. The central feature of the rather
+complicated structure is a grotesque human figure, much like the
+preceding, and having counterparts in both clay and stone. The figure is
+backed up and strengthened by two curved and flattened bars of gold, one
+above and the other below, as seen in the cut. The figure is decked with
+and almost hidden by a profusion of curious details, executed for the
+most part in wire and representing serpents and birds. Three
+vulture-like heads project from the crown and overhang the face. Two
+serpents, the bodies of which are formed of plaited wire, issue from the
+mouth of the figure and are held about the neck by the hands. The heads
+of the serpents are formed of wire folded in triangular form and are
+supplied with double coils of wire at the sides, as if for ears, and
+with little balls of gold for eyes. Similar heads project from the sides
+of the head and from the feet of the image.
+
+The peculiarities of construction are seen to good advantage in this
+specimen. The figure is made up of a great number of separate pieces,
+united apparently by pressure or by hammering while the material was
+somewhat plastic. Upwards of eighty pieces can be counted. The larger
+pieces, forming the body and limbs, are hollow or concave behind. Nearly
+all the subordinate parts are constructed of wire.
+
+  [Illustration: Fig. 31. Rudely executed image of a bird in gold.]
+
+_The bird._--Images of birds are numerous and vary greatly in size and
+elaboration. They are usually represented with expanded wings and tails,
+the under side of the body being finished for show. The back is left
+concave and rough, as when cast, and is supplied with a ring for
+suspension or attachment, as seen in the profile view (Fig. 31). The
+owl, the eagle, the parrot, and various other birds are recognized,
+although determinations of varieties are not possible, as in many cases
+the forms are rude or greatly obscured by extraneous details. The
+example shown in Fig. 31 is of the simplest type and the rudest
+workmanship, and is apparently intended for some rapacious species,
+possibly a vulture. The body, wings, and tail are hammered quite thin
+and are left frayed and uneven on the edges. The material appears to be
+nearly pure copper plated with yellow gold. Specimens of this class are
+very numerous. One, presented in a publication of the Society of
+Northern Antiquaries, and now in the museum at Copenhagen, is thought to
+be intended for a fish hawk, as it carries a fish in its mouth. De
+Zeltner mentions a statuette in gold of a paroquet, whose head is
+ornamented with two winged tufts. Such a specimen may be seen in the
+collection of Mr. Stearns.
+
+  [Illustration: Fig. 32. Image of a bird in gold, from Bollaert.]
+
+Fig. 32 is reproduced from Bollaert. It represents a parrot and is very
+elaborately worked.
+
+  [Illustration: Fig. 33. Puma shaped figure in gold.]
+
+  [Illustration: Fig. 34. Puma shaped figure in base metal.]
+
+_The puma._--Representations of quadrupeds are common; a good example,
+copied from Bollaert, is given in Fig. 33. The animal intended is
+apparently a puma, a favorite subject with Chiriquian workers in clay
+and stone as well as in gold. The body is hollow and open beneath and
+the fore feet are finished with loops for suspension. A similar piece
+with head thrown back over the body is shown in Fig. 34. The metal in
+this case appears to be nearly pure copper.
+
+_Grotesque figure._--Another piece collected by Mr. McNiel is outlined
+in Fig. 35. The metal is quite base and the surface has been coated with
+gold, which is now nearly all rubbed off. The shape is that of a
+quadruped. The face has a rather grotesque, not to say satanic,
+expression. The details are not unlike those of other examples
+previously given.
+
+  [Illustration: Fig. 35. Quadruped with grotesque face in base
+  metal.]
+
+  [Illustration: Fig. 36. Figure of a fish in gold. From Harper's
+  Weekly, 1859.]
+
+_The fish._--The fish was a favorite subject with the ancient nations of
+South America, and is modeled in clay, woven into fabrics, and worked in
+metals with remarkable freedom. It was in great favor in Chiriqui and
+must have been of importance in the mythology of the country. It occurs
+most frequently in pottery, where it is executed in color and modeled in
+the round. The very grotesque specimen in gold shown in Fig. 36 is
+copied from Harper's Weekly of August 6, 1859, where it forms one of a
+number of illustrations of these curious ornaments. The paper is,
+I believe, by Dr. F. M. Otis, who had just returned from Panama. A very
+curious piece owned by Mrs. Philip Phillips, of Washington, represents a
+creature having some analogies with the fish figure of Otis. Issuing
+from the mouth is the same forked tongue, each part terminating in a
+serpent's head. The body is about two inches long and the back has five
+triangular perforations. The tail is forked and the four leg-like
+members terminate in conventional serpents' heads. The metal is pure or
+nearly pure gold.
+
+  [Illustration: Fig. 37. Large figure of a frog in base metal plated
+  with gold.]
+
+  [Illustration: Fig. 38. Small figure of a frog, in base metal plated
+  with gold.]
+
+_The frog._--The frog appears in the plastic art of Chiriqui more
+frequently perhaps than any other reptile. Its form is reproduced with
+much spirit and in greatly varying sizes, degrees of elaboration, and
+styles of presentation. It is probable that a number of species are
+represented. In Fig. 37 we have a large, rather plain specimen, now in
+the National Museum. The body and limbs are concave beneath, the metal
+being about one-sixteenth of an inch thick. Teeth are suggested by a
+number of perforations encircling the jaws and the eyes are minute hawk
+bells containing pellets of metal. The legs are placed in characteristic
+positions, and the hind feet are broad plates without indications of
+toes, a characteristic of these golden frogs. The framework or
+foundation is of copper, apparently nearly pure, and the surface is
+plated with thin sheet gold, which tends to flake off as the copper
+foundation corrodes.
+
+The minute, delicately finished example given in Fig. 38 contrasts
+strongly with the preceding. It is also of base metal plated with pure
+gold and belongs to the collection of Mr. Stearns.
+
+  [Illustration: Fig. 39. Figure of an alligator, in gold, published
+  in Harper's Weekly, 1859.]
+
+_The alligator._--The alligator, which appears so frequently in the
+pottery of Chiriqui, is only occasionally found in gold. A striking
+specimen, illustrated in Harper's Weekly of August 6, 1859, is given in
+Fig. 39. A similar piece, formed of base metal, is in the collection of
+Mr. Stearns.
+
+  [Illustration: Fig. 40. Animal figure, in base metal plated with
+  gold.]
+
+_The crayfish (?)._--In Fig. 40 we have a fine specimen, intended
+apparently to represent a crayfish or some similar crustacean form. The
+head is supplied with complicated yet graceful antenna-like appendages,
+made of wire neatly coiled and welded together by pressure or hammering.
+The eyes are globular and are encircled by the ends of a double loop of
+wire which extends along the back and incloses a line of minute balls or
+nodes. The peculiar wings and tail will be best understood by referring
+to the illustration. The foundation metal is much corroded, being dark
+and rotten, and the plating of reddish gold seems to have been coated
+with a thin film of yellow gold. The profile view gives a good idea of
+the thickness of the metal and of the relief of the parts. Two rings or
+loops of doubled wire are attached to the extreme end of the nose and a
+heavy ring for suspending is fixed to the under side of the head.
+
+_Miscellaneous._--Gold, pure and in the usual alloys, was also used in
+the manufacture of other articles, such as bells, beads, disks, balls,
+rings, whistles, thimble shaped objects, and amulets of varied shapes.
+Bells are more generally made of bronze, because, perhaps, of its
+greater degree of resonance. Thin plates, or rather circular sheets, of
+gold leaf are numerous. One mentioned by Bollaert was 7¼ inches in
+diameter. They are plain or crimped about the margins, indented in
+various ways, and sometimes perforated, apparently for suspension or
+attachment. Merritt mentions examples having holes which showed
+evidences of wear upon one side only, indicating attachment in a fixed
+position to some object or to some part of the costume. But one example
+is at hand, a thin sheet, three inches in diameter and crimped or
+indented neatly about the margin. Its thickness is about that of
+ordinary tinfoil.
+
+    [Footnote 14: Herrera: Hist. America, Vol. VI, p. 369.]
+
+    [Footnote 15: Herrera: Hist. America, Vol. III, p. 287.]
+
+    [Footnote 16: Mr. Hawes's letter answering questions about
+    Chiriqui, read by Mr. Davis before the American Ethnological
+    Society, April 17, 1860.]
+
+    [Footnote 17: Nadaillac: Prehistoric America, p. 450.]
+
+    [Footnote 18: Bollaert: Ethnological and Other Researches in New
+    Granada, &c.]
+
+    [Footnote 19: Bollaert: Antiquarian Researches in New Granada,
+    plate facing p. 31.]
+
+    [Footnote 20: A. De Zeltner: Notes sur les sépultures indiennes du
+    département de Chiriqui.]
+
+BRONZE.
+
+_Bells._--Bells seem to have been in pretty general use by the more
+cultured American races previous to the conquest. The form best known is
+the hawk bell, or common sleighbell of the North. The globular body is
+suspended by a loop at the top and is slit on the under side, so that
+the tinkling of the small free pellets of metal may be audible. Such
+bells are found in considerable numbers in the graves of Chiriqui,
+although I have no positive assurance that any of the examples in my
+possession were actually taken from graves which contained typical
+Chiriquian relics of other classes. The specimens now in the National
+Museum (Fig. 41) are in most cases, if not in all, of bronze, as
+determined by Mr. R. B. Riggs, of the chemical laboratory of the United
+States Geological Survey. All have been cast in molds. In most cases
+there are traces of a plating of gold. The largest is 1¼ inches in
+height and three-fourths of an inch in diameter. It is surmounted by the
+rude figure of an animal, through or beneath the body of which is an
+opening for the attachment of a cord. Others have simple loops at the
+top. The small perforated specimen belongs to Mr. Stearns. The
+additional piece given in Fig. 42 is unique in conception. It represents
+a human head, which takes an inverted position when the bell is
+suspended. The lower part of the bell forms a conical crown to the head
+and the ring of suspension is attached to the chin. Double coils of wire
+take the place of the ears, and the other features are formed by setting
+on bits of the material used in modeling. This specimen belongs to the
+collection of Mr. Stearns. Many examples of more elaborate workmanship
+have been recovered from the tombs and are now to be found in the
+collections of America and Europe.
+
+  [Illustration: Fig. 41. Bronze bells plated or washed with gold.]
+
+  [Illustration: Fig. 42. Bronze bell with human features.]
+
+A specimen found many years ago on the Rio Grande, near Panama, and
+figured in Harper's Weekly, was of gold and showed specific variations
+from the Chiriquian pieces. It will be seen by reference to the outline
+given in Fig. 43 that three very neatly shaped and gracefully ornamented
+bells are mounted upon a circular plate to which a short handle is
+attached. It was evidently not intended for suspension, but rather to be
+held in the hand as a rattle.
+
+A question as to the authenticity of these bells as aboriginal works
+very naturally arises, and it may be difficult to show to the
+satisfaction of the skeptical mind that any particular specimen is not
+of European origin or inspiration. At the same time we are not without
+strong evidences that such bells were in use by the Americans before the
+advent of the whites. Historical accounts are not wanting, but I shall
+only stop to point out some of the internal evidences of the native art.
+The strongest argument is to be found in the presence of analogous
+features in other branches of the art and in other arts. The eyes of the
+golden figures of reptiles are in many cases minute hawk bells, and in
+works of clay, the purely aboriginal character of which has not been
+called in question, similar features are discovered. The American origin
+of the bell, therefore, is not to be questioned. The form originated, no
+doubt, in the rattle, at first a nutshell or a gourd; later it was
+modeled in clay, and in time the same idea was worked out in the legs
+and the ornaments of vessels and in the heads and other parts of animal
+forms, which were made hollow and supplied with tinkling pellets. With
+the acknowledged skill of these people in the working of metals, there
+is no reason why the bells described should not have been manufactured
+independently of European aid and influence, provided the requisite
+metal was at hand.
+
+  [Illustration: Fig. 43. Triple bell or rattle found on the Rio
+  Grande.]
+
+  [Illustration: Fig. 44. Ancient Mexican bell.]
+
+It should be observed that if these early American bells were copied
+from or based upon Spanish originals they would not probably vary
+greatly in type with the various sections from which they are recovered,
+but it is observed that marked and persistent differences do occur. The
+well known Mexican bell, an example of which is outlined in Fig. 44,
+although of bronze, is generically distinct in form and construction.
+
+
+In a brief review I may recall the more salient points regarding the use
+of metals in ancient Chiriqui. Gold, silver, copper, and apparently tin
+are represented.
+
+Gold and copper were very plentifully distributed among the isthmian
+races, but we have little information as to the sources of supply. Free
+gold is found in the stream beds of many localities, and copper was
+probably found in its native state in some convenient locality; yet it
+is not impossible that these metals were transported from distant
+regions, as the inhabitants of Chiriqui must have had considerable
+intercourse with those of Central America on the north and with those of
+Granada on the south. Silver and tin are found in alloys with gold and
+copper, but not as independent metals. The silver gold alloy is probably
+a natural compound. In no case have I found silver to exceed 6 per cent.
+of the composite metal. Tin was artificially alloyed with copper,
+forming bronze. The latter metal resembles our ordinary bronze in color
+and hardness, but I am unable to secure more than a qualitative analysis
+on account of the scarcity of specimens available for the purpose. We
+have no information in regard to the origin of the tin. It is not found
+in a native state, and since it seems hardly probable that the
+Chiriquians understood smelting ores we are left in doubt as to whether
+it was obtained from more cultured nations to the north or to the south
+or from transoceanic countries.
+
+The gold-copper alloys appear to range between pure gold and pure
+copper. If the bronze is of European origin, then we must conclude that
+all objects made of that metal are of post-Columbian manufacture. This
+question will probably be definitely settled in the near future.
+
+The greater number of the objects were formed by casting in molds.
+Hammering was but little practiced, excepting, apparently, in the
+formation of sheet gold, which was probably an indigenous product.
+Repoussé work is not found, save as represented in the crimping and
+indenting of gold leaf. Engraving and carving were not practiced. It may
+be considered certain that gilding, or at least plating, was understood.
+
+The objects are obtained from ancient graves of which no record or
+reliable tradition is preserved. They are all ornaments, no coin,
+weapon, tool, or utensil having come to my notice. The absence of
+utensils and of hammered objects of any kind strikes me as being rather
+extraordinary, since it is popularly supposed that, in the normal
+succession of events, hammering should precede casting and that utensils
+should be made before elaborate ornaments.
+
+The work exhibits close analogies with that of the mainland of South
+America, but these analogies appear to be in material, treatment, and
+scope of employment rather than in the subject matter of the
+conceptions. The personages and zoömorphic characters represented are
+characteristically Chiriquian, and were derived no doubt from the
+mythology of the locality. These works affiliate with the various works
+in stone and clay, the art products of the province thus constituting a
+fairly homogeneous whole and being entirely free from traces of European
+influence.
+
+Metals do not come into use early in the history of a race, as they are
+not found in shapes or conditions suitable for immediate use, nor are
+they sufficiently showy when found to be especially desirable for
+ornaments. A long period must have elapsed before the use of metals was
+discovered, and a longer period must have passed before they were
+worked; and, in the light of our knowledge of the ancient tribes of the
+United States, it would seem that a considerable degree of culture may
+be achieved before the casting of metals is understood; but in the
+ordinary course of progress the discovery of methods of alloying rare
+metals would be far separated from that of the simple fusing and casting
+of a single metal, such as gold. The Chiriquian peoples not only had a
+knowledge of the methods of alloying gold with copper, and, apparently,
+copper with tin, but, if our data are correct, they were able to plate
+the baser metals and alloys with sheet gold, and, what is far more
+wonderful, to wash them with gold, producing an effect identical with
+that of our galvanic processes.
+
+The character of the conceptions embodied in the art unite with
+evidences of technical skill to prove to us that American culture, as
+represented by the metal ornaments of Chiriqui, was not the product of a
+day, but of long periods of experiment and progress.
+
+
+POTTERY.
+
+_Preliminary._--The importance of the potter's art to archæology has
+often been pointed out. Baked clay is one of the most enduring materials
+utilized in art, and its employment by the races of men has fallen but
+little short of universal. The creations of that noblest of arts,
+architecture, and the antecedent forms of house building are necessarily
+left where erected, to be fed upon by the remorseless elements of
+nature, but the less pretentious utensil of clay accompanies its owner
+to the tomb, where it remains practically unchanged for ages.
+
+Many glimpses of the early history of the American races and of the
+progress of art in pre-Columbian times are obtained through these
+exhumed relics, and in no case have we a view more clear and
+comprehensive than that furnished in the series here presented. The
+graves of Chiriqui have yielded to a single explorer upwards of 10,000
+pieces of pottery, and this chiefly from an area perhaps not more than
+fifty miles square. These vessels constitute at least 90 per cent. of
+the known art of the ancient occupants of the province, and, although
+not so eloquent of the past as are the inscribed tablets of Assyria or
+the pictured vases of Greece, they tell a story of art and of peoples
+that without their aid would remain untold to the end of time.
+
+A careful study of the earthenware of this province leads to the
+conclusion that for America it represents a very high stage of
+development, and its history is therefore full of interest to the
+student of art. Its advanced development as compared with other American
+fictile products is shown in the perfection of its technique, in the
+high specialization of form, and in its conventional use of a wide range
+of decorative motives. There is no family of American ware that bears
+evidence of higher skill in the manipulation of clay or that indicates a
+more subtile appreciation of beauty of form, and no other that presents
+so many marked analogies to the classic forms of the Mediterranean.
+Strangely enough, too, notwithstanding the well established fact that
+only primitive methods of manufacture were known, there is a parallelism
+with wheel made ware that cannot but strike the student with amazement.
+
+In speaking thus of the whole body of ceramic products, I would not
+convey the impression that there is perfect homogeneity throughout, as
+if all were the work of a single people developed from within, and
+therefore free from the eccentricities that come from exotic influence.
+On the contrary, there is strong evidence of mixed conditions of races
+and of arts, the analysis of which, with our present imperfect data,
+will be extremely difficult. These evidences of mixed conditions are
+found in the marked diversity and individuality of character of the
+various groups of ware.
+
+It is impossible, without the aid of careful observations in the field,
+to arrive at any conclusion as to the relative age of the different
+varieties of ware. Appearances of age are deceptive; the newer looking
+varieties may be the older and those executed in the most primitive
+style may belong to the later period, for grades in culture are not
+chronologic.
+
+With reference to the principal groups of relics, we cannot do better
+than accept the statements of collectors that all are buried in like
+ways and in similar tombs, different varieties in many cases occurring
+in the same tomb. There are, however, in a few minor groups such marked
+distinctions in workmanship and style that we are compelled to attribute
+them to different periods or to distinct communities. The groups
+separated most completely from others are the scarified pottery
+presented first in the series of painted wares, the maroon group, which
+follows, and other varieties represented by fugitive pieces. The latter
+may have reached Chiriqui from neighboring provinces. There are certain
+pieces that speak decidedly of Costa Rican influence and others that
+find their counterparts in the Colombian states to the south.
+
+In art in clay in most countries the vessel is the leading idea, the
+center about which nearly the entire ceramic art is gathered. This is
+true in a marked degree in Chiriqui, and vessels are therefore given the
+first place in this paper. The less usual forms include drums, whistles,
+rattles, stools, spindle whorls, needlecases, and toy-like images, all
+of which present features of peculiar interest. These classes of objects
+are discussed in separate sections.
+
+There are few indications of an ambition to model natural forms or
+mythologic figures independently of utensils and useful objects, and,
+strange to say, no pieces are found that portray the human face and
+figure with even a fair degree of approach to nature.
+
+_How found._--In describing the graves and tombs in a previous section,
+I alluded to the manner in which the pottery was deposited. It appears
+to have been buried with the dead or thrown into the grave with the
+earth and stones with which the pit was filled. There was little
+regularity in the place or position of the vessels and many were broken
+when found. The precise use of the vessels, the character of the
+contents, or the relation of particular pieces to the remains of the
+dead cannot be determined. Although the human remains have almost
+entirely disappeared and there are no traces left of utensils of wood,
+bone, horn, or shell, the paste, slip, and colors are wonderfully well
+preserved and the surface is not even discolored by contact with the
+earth. When found, every crevice and cavity is completely filled with
+earth, and the paste is often so tender that the vessels have to be
+dried with great care before they can be handled with freedom. The
+number of pieces found in a grave sometimes reaches twenty, but the
+average is perhaps not above three or four.
+
+_Material._--The material used in the manufacture of this ware is
+remarkably uniform throughout the whole province, varying slightly with
+the locality, with the group, and with the character of the vessel
+constructed. Generally the paste consists of a matrix of fine clay
+tempered with finely pulverized sand, in which may be detected grains of
+quartz, feldspar, hornblende, augite, particles of iron oxide, &c.
+Argillaceous matter has been sparingly used, the sand in many cases
+comprising at least 75 per cent. of the mass. Many of the unpainted
+specimens, from which the polished slip has been removed, give off
+showers of fine sand when rubbed by the hand, and it is difficult to
+detect the presence of any finely comminuted matrix whatever. The thin
+slip employed in surface finish is more highly argillaceous than the
+paste. The clay used was probably mostly light in color, as the paste is
+now quite uniformly so. The baking was effected apparently without a
+very high degree of temperature and by methods that left few marks or
+discolorations upon the vessels. In hardness and durability the paste
+corresponds pretty closely with that of our red porous earthenware. The
+softer pieces can be scratched or even carved with a knife. Water will
+penetrate any of these vessels in a few minutes, but decay has probably
+tended to make the walls more porous.
+
+_Manufacture._--There is no piece of this ware that does not bear
+evidence of a high degree of skill on the part of the potter; and yet,
+owing to the thorough manner in which the work is finished, the precise
+methods of manipulation are not easily detected. So great is the
+symmetry and so graceful are the shapes that one is led to suspect the
+employment of mechanical devices of a high order. The casual observer
+would at once arrive at the conclusion that the wheel or molds had been
+used, but it is impossible to detect the use of any such appliances. We
+observe that irregular and complex forms, in the production of which
+mechanical appliances could not be used to advantage, are modeled with
+as much grace of contour and perfection of surface as are the simpler
+shapes that could be turned upon a wheel, and we conclude that with this
+remarkable people the hand and the eye were so highly educated that
+mechanical aids were not indispensable. I find no evidence that coil
+building was systematically practiced, but it is clear that parts of
+complex forms were modeled separately and afterwards united. The various
+ornaments in relief (the heads and other parts of animals) and the
+handles, legs, and bases of vessels were constructed separately and then
+luted on, and with such skill that the thinnest walls and the most
+complex and delicate forms were not injured in the process. The contact
+irregularities were then worked down, and every part of the surface,
+including the more important ornaments, were rendered smooth,
+preparatory to the application of the thin surface wash or slip. After
+the slip was applied and the clay became somewhat indurated, the surface
+was polished with smooth pebbles, the marks of which can be seen on the
+less accessible parts of the vessel. On the exposed surfaces of certain
+groups of ware the polish is in many cases so perfect that casual
+observers and inexperienced persons take it for a glaze. Incised figures
+and painted decorations were generally executed after the polishing was
+complete. Details of processes will be given as the various classes of
+ware pass under review.
+
+The methods of baking were apparently of a higher order than those
+practiced in many parts of America. One rarely discovers traces of the
+dark discolorations that result from primitive methods of baking, yet
+there are none of the contact marks that arise from the furnace firing
+of Spanish-American potters.
+
+_Color._--The colors of the ware and of the surface applications vary
+decidedly with the different groups. The prevailing colors of the paste
+may be defined as ranging from very light yellow grays to a variety of
+ochery yellows and very pale terra cotta reds. In one or two groups
+there is an approach to salmon and orange hues, and in another the color
+is black or dark brown. The color within the mass is in some cases
+darker than upon the surface, an effect produced in baking, and not
+through the use of different clays. The slip is usually lighter than the
+surface of the paste.
+
+The colors used in finishing and decorating are confined to reds,
+blacks, and purple grays. In one large group of ware the appearance of
+the delineations is such as to lead to the conclusion that the principal
+pigment or fluid employed in delineation has totally disappeared,
+carrying with it all underlying colors not of unusual permanence or not
+worked down with the polishing implement. The Aztec and other races of
+tropical America used an argillaceous, white pigment in decorating their
+wares, which has in many cases partially or wholly disappeared, carrying
+away considerable portions of the colors over which it was laid, while
+in other cases, and also in this Chiriqui ware, there is no trace of
+color remaining and we are left to surmise that the brush used probably
+contained merely a "taking out" medium. Red was profusely used and
+varies from a light vermilion to a deep maroon. In certain classes of
+vessels it was hastily daubed on, covering prominent parts of the
+surface or forming irregular spots, streaks, and rude figures. In two
+groups of ware it was used as the chief delineating color. In some cases
+it was employed as a wash or slip and was worked down with the polishing
+stone, and in this condition it was treated as a ground upon which to
+execute designs in other colors. It is always a fast color and is
+probably of mineral character.
+
+The blacks are of two kinds, which are used in distinct groups of ware:
+one, probably a mineral pigment, somewhat pasty when applied and quite
+permanent, is always used in delineating the ornamental figures; the
+other, possibly a vegetable tint, is always used as a ground upon which
+to execute designs in other mediums. It is confined to a single group of
+ware. It has in many cases disappeared entirely, and where remaining can
+be removed with ease by rubbing.
+
+A light purple tint is tastefully and sparingly employed in one group of
+ware. Browns and other hues occur but rarely and in all cases result
+from alterations of other colors produced in firing. The color effects
+of this pottery, although evidently much modified by age, are
+sufficiently rich to be highly pleasing to the eye.
+
+_Use._--The uses to which most classes of earthen products were applied
+are easily determined. Whistles, drums, rattles, and spindle whorls have
+definite duties to perform, and vessels, as to general scope of
+function, answer for themselves: but when we come to inquire into the
+particular uses of the various groups of vessels we are often at a loss.
+The majority of the pieces show no abrasion by handling or discoloration
+by fire or by contents, and I am inclined to believe that a large
+portion were taken directly from the furnace and deposited in the tombs.
+This implies manufacture for purely mortuary purposes.
+
+Two important groups, the high tripods and the two handled cups or pots,
+are generally discolored by use over fire, but we cannot say with
+confidence whether that use was a domestic one or whether it was
+ceremonial. The small size and the elaborate modeling of a majority of
+the pieces make it appear improbable that they were intended for use in
+ordinary cooking or even in the preparation of beverages. A few large
+plain caldrons are found, and these were probably domestic receptacles.
+All things considered, it would seem highly probable that the greater
+portion of the vessels exhumed from the graves were intended to be used
+for religious and mortuary purposes.
+
+The preceding paragraphs refer, for the most part, to the whole body of
+earthenware products, but throughout the rest of this section I shall
+treat of vessels only, except in the matter of decoration, which refers
+equally to all classes of objects.
+
+  [Illustration:
+  _a, b, c, d, e, f_
+  Fig. 45. Fundamental forms of vases--convex outlines.]
+
+  [Illustration:
+  _a, b, c, d, e_
+  Fig. 46. Fundamental forms of vases--angular outlines.]
+
+  [Illustration:
+  _a, b_
+  Fig. 47. Vases of complex outlines--exceptional forms.]
+
+_Forms of vessels._--Divesting the utensil of extraneous features, such
+as rims, handles, and legs, we have the following series of shapes,
+which shows a pretty full graduation of outline from extreme to extreme.
+Beginning with the simplest fundamental form, the shallow cup (Fig. 45,
+_a_), we ascend gradually to more complex outlines, such as are seen in
+the hemispherical bowl (_b_), the deep basin with slightly incurved rim
+(_c_), the globular form (_d_), and the elongated form (_e_).
+Occasionally we see an eccentric variation, such as is shown in _f_.
+Flat bottoms are unusual; a conical base is the rule. Outlines do not
+always exhibit these even, convex curves, but many are straight or
+concave in profile, as shown in Fig. 46. Complex forms are shown in
+Fig. 47, _a_ and _b_, and compound forms in Fig. 48, _a_ and _b_.
+Examples of these classes are numerous and important. The compound
+shapes result from the union of two or more simple forms. Eccentric
+forms are numerous and result in a majority of cases from the employment
+of some animal as a model. Thus, if an alligator or almost any quadruped
+is embodied in the vessel, the form tends to become elongated; if a crab
+or a fish is imitated, there is a tendency to flatness &c. The base is
+almost universally more or less conical, is rarely flat, and never
+concave, excepting as the result of the addition of an annular foot or
+stand. The radical shapes do not undergo any considerable change when
+rims, necks, handles, legs, and other appendages are added. The rim or
+lip is in many cases incurved, but as a rule it is turned outward. The
+margin is plain, symmetrical, and often considerably thickened. In a few
+instances the outline is rectangular or scalloped, as shown in Fig. 49,
+and the attachment of handles often leads to peculiar outlines, as will
+be seen further on.
+
+  [Illustration:
+  _a, b_
+  Fig. 48. Vases of compound forms.]
+
+  [Illustration: Fig. 49. Square lipped vessel.]
+
+  [Illustration:
+  _a, b, c, d_
+  Fig. 50. Variations in the forms of necks and rims--various groups
+  of ware.]
+
+The neck in its simplest form is a narrow upright band surrounding the
+orifice (Fig. 50, _a_) and is not differentiated from the rim.
+Variations in size and shape are shown in the remaining figures of the
+series. In _b_ it is a narrow constricted band beneath an overhanging
+rim, in _c_ it is upright and considerably elongated, and in _d_ it
+expands, giving a funnel shaped mouth. The exterior surface is very
+generally decorated with relieved or painted devices. High necked
+bottles and pitcher shaped vessels are unknown.
+
+  [Illustration:
+  _a, b, c, d, e, f_
+  Fig. 51. Arrangement of handles--various groups of ware.]
+
+Handles constitute a very interesting feature of this pottery and are
+much varied in shape and arrangement. In a few cases the handle is a
+single arch springing over the orifice, as seen in Fig. 51, _a_. Again,
+the handle is attached to one side, as in _b_, but as a rule handles
+occur in twos upon the shoulder, one on either side of the aperture.
+They are horizontally attached, as in _c_, or vertically placed, as in
+_d_, connecting the rim with the shoulder, or they occur low on the
+body, as in _e_. In rare cases there are four handles, which are
+arranged as seen in _f_ or are set on in pairs. In the elaboration of
+handles, the use made of animal forms is perhaps the most notable
+feature. Grotesque figures are made to take the place of handles or are
+attached to or placed near them. The treatment is so varied that I shall
+have to refer the student to the subsequent series of illustrations.
+
+Annular bases or feet were not in very general use in Chiriqui, although
+in some cases they are modeled with a great deal of grace. The shape
+varies from a simple ring, barely deep enough to give a firm support to
+the vessel when placed upon a level surface, to a long, attenuated
+column with flaring base. The latter is perhaps one of the nearest
+approaches which America has furnished to the slender foot
+characteristic of the wheel made ware of Mediterranean countries.
+
+  [Illustration:
+  _a, b, c, d_
+  Fig. 52. Types of annular bases or feet--various groups of ware.]
+
+  [Illustration:
+  _a_ Biscuit ware.
+  _b_ Biscuit ware.
+  _c_ Tripod group.
+  _d_ Red line group.
+  Fig. 53. Forms of legs--various groups of ware.]
+
+The vessel shown in Fig. 52, _a_, has a somewhat rudimentary foot;
+another, _b_, a firm, wide base, which is perforated to give lightness;
+an hourglass-like piece is shown in _c_, and a long, bell shaped foot is
+seen in _d_. In no part of the world do earthen vessels exhibit such a
+remarkable development of legs as in Southern Central America. The
+tripod is the favorite support, and in Chiriqui the forms are more
+graceful than in the neighboring provinces. In a few cases, where the
+body was modeled in close imitation of animal forms, four legs were
+used, but three were generally preferred, even for vessels of
+rectangular or irregular shapes. In the simplest form they are small
+conical knobs, placed rather close together about the base of the vessel
+(Fig. 53, _a_), but from these the dimensions increase until the size is
+out of all reasonable proportion. The maximum development in point of
+expansion is seen in _b_ and the greatest height in _c_. They are
+frequently modeled after life forms. In a few cases rings or loops are
+employed, as shown in _d_. The larger forms, and especially those
+imitating animals, are hollow and contain round pellets of clay that
+rattle when the vessel is moved. The manner in which the legs are
+attached to the body of the vessel leads me to observe that the vessel
+is independently a perfect utensil, and that in all probability the
+tripod was a feature acquired late in the progress of Chiriquian
+culture, as a result of some change in the surroundings of the people or
+in the uses to which the vessel was devoted. Annular bases and tripods
+would be of little use until level floors of unyielding material came
+into vogue.
+
+_Decoration._--In decoration the pottery of this province exhibits many
+remarkable features. The work resembles somewhat closely, in a number of
+its features, that of certain districts lying to the north and to the
+south, but at the same time it is possessed of very decided
+individuality. From an examination of the designs I conclude that they
+represent a period of culture considerably inferior to that of some more
+northern sections, although the ware itself is nowhere surpassed in
+grace of form and delicacy of finish.
+
+The ornamentation is pretty evenly divided between plastic and flat
+forms. The former include relieved features and intaglio features, which
+are executed in the plastic clay, and the latter comprise figures in
+color, penciled or painted upon the surface. Each style of work embodies
+its own peculiar class of conceptions. Relief work is generally
+realistic or grotesque; incised work is almost exclusively geometric,
+and embraces combinations of lines usually recognized as archaic. An
+occasional example is easily recognized as imitative. Painted figures
+are both geometric and imitative, the two forms blending imperceptibly.
+
+The more important plastic decorations consist of animal forms modeled
+in the round. Vegetable forms have not been employed. Fillets of clay
+imitating twisted cords are sparingly used in the decoration of necks
+and handles, and rows and groups of small nodes are similarly employed.
+The human figure is always treated in a conventional and usually in a
+grotesque manner. The animals imitated include a very large number of
+species. Crocodiles, pumas, armadillos, monkeys, crabs, lizards,
+scorpions, frogs, and fish appear very frequently. Many of the animals,
+owing to conventional treatment or to carelessness on the part of the
+modeler, are difficult of identification. These plastic forms occur in
+nearly all the groups of ware, and similar forms are found to a limited
+extent in gold, copper, and stone, as will be seen by reference to the
+illustrations already given. Their study will, I believe, give some
+insight into the mental characteristics of the Chiriquians. That their
+art, so far as these figures are concerned, was not serious is indicated
+by the sketchy, unsystematic nature of the work, and more especially by
+the grotesque and occasionally amusing representation of men and
+animals.
+
+The figures are usually placed upon the shoulder of the vessel or are
+attached to the legs and handles or form part of them. The favorite
+subjects are doleful little figures, human or partly so, fixed upon the
+vessel in a sitting posture, with legs and arms doubled up, and with
+expressions which appear to indicate a variety of exaggerated emotions
+(Figs. 54, 55, 56).
+
+  [Illustration:
+  Fig. 54.
+  Fig. 55.
+  Fig. 56.
+  Grotesque figures forming the handles of small vases--terra cotta
+  group.]
+
+  [Illustration:
+  Fig. 57.
+  Fig. 58.
+  Monstrous figures, with serpent-shaped extremities--handled group.]
+
+  [Illustration:
+  Fig. 59.
+  Fig. 60.
+  Fig. 61.
+  Grotesque figures--terra cotta group.]
+
+  [Illustration: Fig. 62. Figure of monkey--terra cotta group]
+
+  [Illustration:
+  Fig. 63.
+  Fig. 64.
+  Figures of monkeys--terra cotta group.]
+
+The exuberance of fancy often found vent in the production of
+monstrosities, such as are seen in Figs. 57 and 58, in which the arms
+and legs of the figures are writhing serpents, the faces expressing
+great agony; in other cases the figures are double; and again two bodies
+united at the waist have but one pair of legs. An unusually grotesque
+creature is seen in Figs. 59 and 60, and another is given in Fig. 61.
+Similar figures are worked in gold, one of which is now worn as a charm
+by Mr. J. B. Stearns. Figures of monkeys are shown in Figs. 62, 63, and
+64. One creature, represented as having a long, trunk-like snout, recurs
+frequently. Such a form discovered in the earlier days of archæologic
+investigation would probably have given rise to many surmises as to the
+contemporaneous existence of man and the elephant in Chiriqui. In
+reality the original was probably some unassuming little inhabitant of
+the isthmian jungles. This creature is shown in profile in Fig. 65, _a_,
+and front views are given in _b_ and _c_. Innumerable examples,
+embracing most of the more important animals of Chiriqui, could be
+given, but in a majority of cases identification is difficult or
+impossible, as there has been little or no effort to reproduce nature
+with fidelity. But the chief interest surrounding these figures is not
+found in the variety of creatures shown or in the character of the
+delineation, but in the manner of their employment in the embellishment
+of ceramic forms. The ancient potter must have possessed a keen sense of
+grace of form and of the proper adjustment of parts. The most cultured
+taste could hardly improve upon the lines of the vases presented in
+Figs. 66 and 67, which employ the frog, and in Figs. 68 and 69, in which
+other creatures are used. Many equally pleasing examples are illustrated
+further on. The question very naturally arises as to whether these
+little figures had any meaning or performed any function aside from that
+of simple decoration. I feel inclined to take the view that in their
+present condition they are survivals of ideographic originals; that if
+their past could be unveiled we would find that in the primitive ages
+they were not exclusively employed for ornament. The animals made use of
+originally were the embodiment of mythologic conceptions, and their
+images were revered or served as fetiches or charms, and because of this
+they came to have a permanent place in art. They were applied to the
+vessel because its office had reference to them or because they were
+thought to have a beneficial effect upon its functions. It is evident
+that their employment was governed by well established rules and that
+they occupied places and occurred in numbers and relations not wholly
+dependent upon the judgment of the individual potter. We may suppose
+that they occur in twos because the handles with which they were
+associated occurred in twos; or, if they serve to take the place of the
+extremities of the animal forms in the semblance of which the vases were
+originally modeled, their positions may be related to the original
+positions of the heads and tails of those forms. It is not improbable
+that the conventional incised and relieved ornaments, the meanders,
+nodes, and varied marks refer also to the creatures or the markings of
+the creatures with which the vessel was associated.
+
+  [Illustration: Fig. 65. Animal forms exhibiting a long
+  proboscis--handled group.]
+
+  [Illustration:
+  Fig. 66.
+  Fig. 67.
+  Vases illustrating ornamental use of animal figures--terra cotta
+  group.]
+
+  [Illustration:
+  Fig. 68.
+  Fig. 69.
+  Vases illustrating ornamental use of animal figures--terra cotta
+  group.]
+
+It will be seen, from the above remarks, that we cannot fully determine
+to what extent these ancient decorators followed the traditional
+pathways of early ideographic usage or how much they were governed by
+those powers of esthetic discrimination known to us as taste.
+
+
+UNPAINTED WARE.
+
+For convenience of description I separate the pottery of Chiriqui into
+two grand divisions: the _unpainted_ ware and the _painted_ ware. Two
+important groups come under the first head. The first of these, the
+terra cotta or biscuit ware, comprises a larger number of pieces than
+any other group and is readily distinguished by its colors, which
+include only the pale grayish yellow and reddish tints of the burned
+clay. The second is limited to a small number of pieces and is black or
+very dark upon the surface and dark within the mass.
+
+_The terra cotta group._--This biscuit-like pottery is not in any way
+inferior to the painted varieties. It bears evidence of great freedom in
+handling, and serves, perhaps better than any other class of products,
+to illustrate the masterly skill and the refined taste of the ancient
+potter. It is said to occur in the same cemeteries and in the same
+graves with the more important varieties of painted ware. The function
+of these handsome vessels cannot be determined. It can hardly have been
+of a domestic nature, as they show no evidences of discoloration or
+wear, and we are left to speculate upon the possibility of a purely
+ceremonial use. The paste is moderately fine, but contains an extremely
+large share of gritty sand; the slip is thin and has received but a
+slight degree of polish, so that the surface has a dead, somewhat
+granular effect. As a rule the vases are of small size and are very thin
+walled. The forms are symmetrical and exceptionally graceful. The
+ornamentation includes incised figures (mostly geometric), raised
+decoration (of similar character), and animal forms in the round. The
+following illustrations are intended to epitomize the multitude of
+forms, as anything like a complete representation is out of the
+question.
+
+  [Illustration: Fig. 70. Series of bowls and cups of unpainted ware.]
+
+Bowls, which form a leading feature of the pottery of most primitive
+peoples, are here rarely seen, excepting as mounted upon tripods or
+annular bases. There are in the collection a number of small cups of
+hemispherical shape that may have served as spoons, ladles, or drinking
+vessels. A few of these are outlined in Fig. 70. Two have minute
+projections resembling handles affixed to the rim. In rare cases these
+are so prolonged as to be of service in handling the cup; but in no
+instance is there an approach to the long cylindrical handles seen in
+the earthenware of other districts.
+
+  [Illustration: Fig. 71. Vase of graceful form--½.]
+
+  [Illustration: Fig. 72. Vase of graceful form--½.]
+
+  [Illustration: Fig. 73. Vase of fine form, ornamented with grotesque
+  heads--½.]
+
+In following the form scale upward from these simple shapes we find the
+orifice becoming more constricted and the neck more pronounced. The
+margins are upright, incurved, or flaring, and give variety and grace to
+the outlines. A tendency toward elaboration of ornament accompanies the
+development of form. Bands of incised or relieved figures are carried
+around the neck, shoulder, and handles and are added in such a way as
+greatly to enhance the beauty of the vessel. The forms of these vessels
+are so graceful and the finish is so perfect that one is tempted to
+present an extended series, but it will be necessary to confine the
+illustrations to a limited number of type specimens. Fig. 71 shows a
+somewhat shallow form of great simplicity and grace. That in Fig. 72 is
+deeper, with a narrow neck and a more decidedly conical shape. Two
+minute grotesque figures are perched upon the shoulder. Fig. 73
+represents a larger vessel of good form, which has a neat incised
+pattern encircling the slightly incurved neck. Grotesque heads are set
+upon the shoulder. A form somewhat more refined is shown in Fig. 74. The
+neck is furnished with a relieved ornament, consisting of a meandered
+and indented fillet, accompanied by two rows of minute indented nodes.
+The heads are probably intended to represent the armadillo. They are
+hollow and contain movable pellets. The fillet ornaments are always
+tastefully treated, and in many cases represent twisted and plaited
+cords. Some are marked in herring bone fashion and others have
+transverse indentations. Small pellets of clay were much used and to
+excellent advantage. They were set on lightly with the fingers and
+firmly pressed down with minute pointed or edged tools and hollow straws
+or reeds (Figs. 75 and 76). Some of these nodes are finished to
+represent the heads of animals. This is done with an ease and a
+simplicity that call forth our admiration (Fig. 77).
+
+  [Illustration: Fig. 74. Vase of fine form, ornamented with grotesque
+  heads--½.]
+
+  [Illustration: Fig. 75. Vase with ornaments of applied nodes and
+  fillets--½.]
+
+  [Illustration: Fig. 76. Vase with mantle covered with incised
+  figures--½.]
+
+  [Illustration: Fig. 77. Vase with frieze of grotesque heads--½.]
+
+Fig. 78 illustrates a series of vases having flaring rims, the treatment
+otherwise being uniform with the preceding. We notice in these vessels a
+decided tendency towards complexity of outline. Three examples, shown in
+Fig. 79, have a two storied character, the upper part possibly being the
+outgrowth of the collar ornament seen in so many cases. The large
+specimen in the center is a handsome piece with square offset at the
+shoulder and a decidedly conical base. A chaste ornament in relief
+encircles the neck and two grotesque figures are seated upon opposite
+sides of the shoulder. The vase at the left has two orifices, set wide
+apart. The body is oblong and slightly flattened above. There are a
+number of vessels of this conformation in the collection, some of which
+have the mouths so close together that the margins or lips coalesce in
+part. A superb specimen of this class is illustrated in Fig. 80. The
+shape is thoroughly satisfactory to the eye, having a refinement of line
+rarely attained in native American work. Its symmetry suggests the use
+of the wheel, but the closest examination fails to detect a trace of
+mechanical appliance, save that left by the polishing stone. The
+decoration is simple and effective, consisting of minute nodes with
+annular indentations about the necks and of two grotesque figures,
+placed with consummate taste in the angles formed by the contact of the
+two necks.
+
+  [Illustration: Fig. 78. Vases with flaring rims and varied
+  ornament--1/5.]
+
+  [Illustration: Fig. 79. Vases with complex outlines and varied
+  ornament--1/3.]
+
+  [Illustration: Fig. 80. Large vase with two mouths and neatly
+  decorated necks--½.]
+
+  [Illustration: Fig. 81. Large vase with high handles--1/3.]
+
+A very small percentage of these vessels possess true handles, but
+these, in some of the examples, are worthy of high admiration. The
+specimen presented in Fig. 81 attracts attention at once on account of
+its resemblance to well known classic forms. It is evident, from a study
+of this piece, that only a step more was necessary to place these
+potters alongside of the highest masters of the art. The sharp high
+elbow and the broadening of the handles at their junction with the lip
+are notable features. The latter is shown more satisfactorily in
+Fig. 82, which is a top view of a companion piece. I wish to call
+attention here to a peculiar feature of these handles and one repeated
+in vessels of other classes. At the elbow of each handle we find a
+device in relief marked with herring bone indentations that would seem
+to represent a kind of textile attachment, as if, at some previous time
+and perhaps in an antecedent form of vessel, the upright and horizontal
+parts of the handles had been stitched or tied together at this point.
+Yet it is by no means certain that this feature is not the survival of
+some feature of an animal form into the semblance of which, as seen in
+other examples, this feature has a tendency to graduate.
+
+  [Illustration: Fig. 82. Top view of high handled vase--1/3.]
+
+  [Illustration:
+  Fig. 83.
+  Fig. 84.
+  Fig. 85.
+  Examples of handled vases--½.]
+
+These vessels are not numerous, but acquire importance from their large
+size, the larger being upwards of eight inches in height. A few pieces
+of nearly identical shape, but of small size, are found among the
+painted wares. Additional shapes are given in Figs. 83, 84, and 85, and
+serve to illustrate the extent of variation exhibited in this group of
+vases. The small shallow piece is exceptionally fine and the handles are
+furnished with animal features of a highly conventional type. An
+expansion of the handles somewhat similar to this is frequently seen in
+vessels of other classes, especially in those of the handled group.
+
+  [Illustration:
+  Fig. 86.
+  Fig. 87.
+  Small cup with single handle ornamented with grotesque figure--½.]
+
+Single handles of like character occur in a number of cases upon minute
+cups, an example of which is given in Fig. 86. It would seem that
+possibly in such cases the rim had been expanded and prolonged for the
+purpose of giving support to the animal figures with which the shoulders
+were embellished. The expansion is probably the outgrowth of the use of
+animal figures in connection with simple handles.
+
+  [Illustration: Fig. 88. Vase of eccentric form--½.]
+
+We have a number of vessels of this group the bodies of which imitate
+animal forms, but they are in nearly all cases furnished with legs.
+Rarely we meet with compound or eccentric forms. An interesting specimen
+of the latter class is seen in Fig. 88. Such shapes are common in Peru
+and are occasionally met with in Central America. The two strong handles
+are decorated with minute images of birds and the bottom is concave, an
+exceptional character in Chiriquian work.
+
+The illustration of this group of vessels would not be complete without
+a series of tripod vases. In shape of body these vases differ but little
+from the legless forms already given, excepting where the use of life
+forms has led to eccentric modifications. Very great interest attaches
+to the modeling of the tripod supports, upon which the potters have
+expended much time and ingenuity.
+
+  [Illustration:
+  Fig. 89.
+  Fig. 90.
+  Vessels illustrating forms of legs--½.]
+
+  [Illustration: Fig. 91. Vessel with large legs ornamented with
+  stellar punctures--½.]
+
+  [Illustration: Fig. 92. Vases of varied form with plain and with
+  animal shaped legs--1/3.]
+
+The illustrations given herewith are chosen from a great number of
+examples and are intended to convey an idea of the range of forms, both
+of the vessels and of their supports. Figs. 89 and 90 show plain forms
+of legs, all of which are hollow and contain small pellets of clay. The
+openings are generally wide vertical slits, and are placed in front, as
+seen in Fig. 89, or in the side, as in Fig. 90; but in exceptional cases
+they take other shapes and are scattered over the surface, as seen in
+Fig. 91. The legs are often remarkable in form, being swollen to an
+enormous size above and terminating in small rounded points below. The
+bowls are symmetrically shaped and graceful in outline. In Fig. 92 I
+present a group illustrating some of the more eccentric forms of bowls
+and a variety of their supports. A very superior piece and one of the
+largest of this style is shown in Fig. 93.
+
+  [Illustration: Fig. 93. Large vase of striking shape--½.]
+
+  [Illustration: Fig. 94. Cup with legs imitating animal forms--½.]
+
+It will be seen that in a number of cases the legs are modeled to
+represent animal forms. This feature is brought out more clearly in
+succeeding figures. The creatures represented are often grotesque, as
+seen in Figs. 94 and 95. The human form is rarely shown in a way to make
+it clearly distinguishable from the figures of monkeys and other
+animals. The armadillo is a favorite subject. An example of small
+dimensions is illustrated in Fig. 96, in which this animal is given in
+characteristic style, and a more pretentious piece is shown in Fig. 97.
+The characteristics of the creature are very simply but graphically
+expressed. In the first the hard ribbed and figured case is represented
+by applied fillets and nodes, and in the other by incised lines. The
+frog is also much used (Fig. 98). A rather remarkable conception is
+illustrated in Fig. 99. Upon the front of each leg is a curious little
+animal-like figure, to the front of which are bound two minute infantile
+creatures. In the piece presented in Fig. 100, the legs are grotesque
+heads, inverted, with wide open mouths and glaring eyes. The work upon
+this vase is very superior.
+
+  [Illustration: Fig. 95. Cup with legs imitating a grotesque animal
+  form--½.]
+
+  [Illustration:
+  Fig. 96.
+  Fig. 97.
+  Cups with legs imitating the armadillo--½.]
+
+  [Illustration: Fig. 98. Cup with frog shaped legs--½.]
+
+  [Illustration: Fig. 99. Cup with legs imitating an animal and its
+  young--½.]
+
+  [Illustration: Fig. 100. Cup supported by grotesque heads--½.]
+
+The remarkable specimen illustrated in Fig. 101 is furnished with unique
+supports. Two rudely modeled, semihuman, grotesque figures are affixed
+to the under surface of the bowl, supporting it with their backs.
+
+  [Illustration: Fig. 101. Large cup supported by two grotesque
+  figures--1/3.]
+
+  [Illustration: Fig. 102. Cup with two animal heads attached to the
+  sides--¼.]
+
+  [Illustration: Fig. 103. Cup with two animal heads attached to the
+  sides--¼.]
+
+The legs of these figures are spread out horizontally, so that a firm
+support is obtained. The periphery of the body of this vessel is
+encircled by a number of nodes and noded projections, which represent
+the heads, tails, and spines of two crab-like animals. The heads, with
+arms attached, appear at the right and left, and the tails occur at the
+front and back just over the heads of the supporting figures. The use of
+the crab in this way is quite common. Fish, birds, and a variety of
+quadrupeds are similarly treated. Some very interesting examples of
+double headed animal vases are found. Two of these are outlined in Figs.
+102 and 103, the first having a single orifice and the second a pair of
+orifices. In many cases the bowl of the vessel is considerably modified,
+to give a more decided resemblance to the body of the creature. This is
+well shown in Figs. 104-106. The first is probably intended for a bird:
+the second resembles an armadillo; and the third portrays a creature
+with ears and three horns. The oblong vessel shown in Fig. 107 is
+modeled after a curious fish, to which the Chiriquians seem to have
+attached considerable importance. It is represented with a wide mouth
+displaying teeth, two spines or horns upon the end of the snout, and
+fins upon the back and sides. Fig. 108 gives the top view of another
+fish vase, which is supported, as are the others, by three legs. The
+body is flat and is encircled by well modeled fins. The head is rather
+flat and has the eyes and nose on the upper surface. I close this series
+of illustrations with an outline of a fine vase (Fig. 109) the rim of
+which is decorated with a single head of extremely grotesque and
+repulsive character.
+
+  [Illustration: Fig. 104. Vase imitating an animal form--1/3.]
+
+  [Illustration: Fig. 105. Vase imitating an animal form--1/3.]
+
+  [Illustration: Fig. 106. Vase shaped to imitate an animal form--1/3.]
+
+  [Illustration: Fig. 107. Fish shaped vessel--1/3.]
+
+  [Illustration: Fig. 108. Top view of a fish shaped vessel--1/3.]
+
+  [Illustration: Fig. 109. Cup with grotesque head attached to the
+  rim--½.]
+
+_Black incised group._--This pottery, although closely related to the
+other varieties in its leading features, presents differences of a
+pronounced character. The number of specimens recovered is rather small.
+The largest piece has a capacity of perhaps a quart. Some of the forms
+are identical with those of other groups, but a few are peculiar to this
+ware. The color is black, brown, or dark gray, and in most cases the
+entire mass is quite dark. The decoration is executed in two somewhat
+distinct styles: in one the lines were scratched or engraved
+subsequently to the hardening of the clay; in the other they were deeply
+engraved with a sharp point while the clay was still moist. The lines
+are usually very deep and are filled with a white substance which
+renders the pattern distinctly visible upon the surface. It seems
+probable that the lines were engraved deeply with the intention of
+producing this effect. Type specimens are shown in Figs. 110 and 111.
+They are small globular bottles, with short necks and wide apertures and
+with handles placed at opposite sides of the lip, which is prolonged to
+meet them. The design covers a large part of the body and is separated
+into two parts by the handles and the undecorated panels that descend
+from them. The figures appear to be very highly conventionalized animal
+forms, probably serpents. The coiled ends of the ribbon-like dotted
+bands are evidently meant to suggest the heads of reptiles. The figures
+assume a variety of shapes and grade by degrees from the recognizable
+life forms into purely geometric patterns. Examples of the latter style
+are given in Figs. 112 and 113. The motives employed, although so
+conventionally treated, are pretty certainly identical in origin with
+the preceding.
+
+  [Illustration:
+  Fig. 110.
+  Fig. 111.
+  Black cups with incised reptilian figures--½.]
+
+  [Illustration: Fig. 112. Black vase with conventional incised
+  pattern--½.]
+
+There are a number of tripods in this group, some of which have the
+deeply incised ornaments and others the shallow ones. The shapes vary
+greatly, a few examples being decidedly Costa Rican in type. Pieces with
+round bodies have conical legs, like much of the Chiriquian ware, but
+those with shallow basins and angular, incurved, upright, or flaring
+rims have the Costa Rican tripod. Figs. 114 and 115 may serve to
+illustrate this variety. The first is a cup, with upright sides and
+thick rim, having an incised geometric pattern. The second is much more
+striking in appearance. The surface color is brownish gray in hue and
+the simple geometric design was scratched through into the lighter color
+beneath after the clay hardened. The legs represent the heads of animals
+conventionally treated and are hollow, containing movable pellets. This
+specimen is from latitude 8° 42´ north, longitude 82° 52´ west. Others
+of this class come from different parts of the province.
+
+  [Illustration: Fig. 113. Small cup with conventional incised
+  patterns--½.]
+
+  [Illustration: Fig. 114. Small tripod cup with upright walls and
+  legs imitating animal heads--½.]
+
+  [Illustration: Fig. 115. Vase with flaring rim and legs, imitating
+  animal heads--½.]
+
+To this class belongs also a small dark vase of peculiar shape and
+interesting decoration, which is illustrated in Fig. 116. The neck is
+large and the lip widely flaring, and the body is modeled in imitation
+of the head of some animal, possibly a peccary. The side representing
+the face is prolonged, giving an unsymmetric profile, as seen in the
+second figure. The eyes are set midway between the ears (which are
+placed at the sides) and the nostrils, and are inclosed by curious
+engraved figures, probably suggested by the markings of the animal
+portrayed. An arched ridge, representing the brows, connects the bridge
+of the nose with the ears. The most novel feature of this piece is the
+band of incised ornament that crosses the back of the head and serves
+probably to carry out the idea of the complete creature. As will be seen
+by reference to the figure, it is a guilloche-like interlacing of
+fillets, bordered and apparently held in place by longitudinal bands,
+beyond which the angles of the ornament project. The pattern is a
+modified form of one commonly seen upon the margins of the larger stone
+metates, and, although rarely met with in the pottery of Chiriqui, was a
+favorite motive with the potters of Costa Rica. This vessel comes from
+30 miles north-northwest of David.
+
+  [Illustration: Fig. 116. Vase modeled to resemble the head of an
+  animal--½.]
+
+  [Illustration: Fig. 117. Pattern upon the back of the vase presented
+  in Fig. 116.]
+
+The unpainted wares here so briefly described are typically Chiriquian,
+and are closely associated in the graves with most of the leading groups
+of art products of the province. It must be allowed that they take first
+rank in the isthmian states, if not in America, for simplicity and
+refinement of form, perfection of method, and purity of style.
+
+
+PAINTED WARE.
+
+The painted vases of Chiriqui embrace at least ten easily distinguished
+varieties of ware. The characters upon which the classification is based
+are somewhat heterogeneous and include material, color, shape, finish,
+ornamentation, method of manufacture, and evidences of use. No single
+character and no one group of characters can be relied upon to
+distinguish the different groups. We must depend, therefore, upon an
+assemblage of characters or upon one character in one place and another
+in another place. Observing a number of striking differences in two
+groups of ware, we arrive at the conclusion that these groups must have
+been the work of distinct communities; yet we find very marked
+differences in wares that (through the possession in common of some
+particular feature) we know to be the work of the same hands. We can,
+therefore, determine little in regard to the peoples concerned.
+
+I do not consider the presence in a single grave of two or more
+varieties sufficient proof of their common origin, for a number of
+distinct wares may come into the possession of one community through
+trade, conquest, or the spoliation of tombs; but a constant recurrence
+together of the same forms affords strong evidence that the objects were
+the work of the people with whom they were buried. Unfortunately our
+observations in the field are not sufficiently accurate to enable us to
+utilize associations or methods of occurrence in the graves as a means
+of classification.
+
+The following classification is, under the circumstances, the best that
+I can devise, and is of use mainly as a means of facilitating
+description. The name chosen generally indicates a leading or striking
+characteristic of the group.
+
+The _scarified_ group, separated widely from all other varieties.
+
+The _handled_ group and
+
+The _tripod_ group, apparently the work of one community and devoted to
+the same or similar uses.
+
+The _maroon_ group;
+
+The _red line_ group;
+
+The _white line_ group;
+
+The _lost color_ group;
+
+The _alligator_ group; and
+
+The _polychrome_ group, no two of which are sufficiently alike to make
+it certain, without extraneous evidence, that they were manufactured by
+the same community, yet all clearly belonging to one great family.
+
+These groups are presented in the order given.
+
+Before proceeding with the descriptions, however, there are some matters
+of a general nature that should be referred to. Technical questions have
+already received considerable attention, and I shall need only to refer
+here to the painted ornamentation, and at sufficient length to insure a
+clear understanding of its treatment and the scope of its subject
+matter.
+
+Painted vessels are embellished to some extent also by incising and
+modeling, and these methods are employed very much as in the unpainted
+pottery already described.
+
+Painted decoration is executed with much freedom and in many cases with
+considerable skill. It is greatly varied in method of treatment and
+embraces a wide range of motives. Geometric patterns occur in great
+variety, but are found to be of types peculiar to Isthmian America. The
+conventional meanders, frets, and scrolls so extensively employed in
+other regions are here almost unknown. Decorative motives derived from
+natural forms are abundant and afford an excellent opportunity to study
+the processes of conventional modification. These designs are often
+applied in a way to indicate that the decorator possessed a keen sense
+of the requirements of the vessel, although the treatment perhaps is not
+as universally satisfactory as is the treatment of plastic
+embellishment.
+
+The potter, in preparing the vessel for the decorator, ordinarily
+finished it with a slip or wash of fine clay, which varied in hue from a
+gray white to a pale orange. A slip of bright red tint was also
+extensively used. The more delicate hues formed an excellent ground upon
+which to work. The slip covered surface was generally polished, often to
+a high degree, with the usual polishing implements, the marks of which
+can be seen upon the less carefully finished surfaces. By observers
+unacquainted with aboriginal methods this polish is liable to be taken
+for a glaze, and it has been pronounced a vitreous glaze by a few
+writers. It is more noticeable upon specimens that have been handled a
+great deal, as is the case with whistles, needlecases, and the like.
+
+The colors utilized in decoration, so far as they have been preserved,
+are the ground tints, described above, and the delineating colors, the
+latter consisting of black, white, red in various hues, and a dull
+purple. An additional color (or perhaps a solution without particular
+color) extensively employed in the designs has totally disappeared. The
+nature of the various colors has not been determined, but it is probable
+that some were of mineral and others of vegetal origin.
+
+Red was often employed as a ground color, as stated above, and sometimes
+covered the whole surface, but more frequently occupied zones or panels.
+In such use it was applied and polished down with the slip. Red was also
+extensively used in the delineation of decorative figures in several of
+the groups of ware, and is in all cases a permanent color. The hues vary
+decidedly with the groups of products, suggesting differences in people
+or in environment. White may have been freely used, but it is preserved
+in a few cases only, in which it was used in the production of simple
+decorative patterns, and appears to have been a somewhat thick or pasty
+color. Black was extensively used and was of two distinct kinds: a thick
+permanent pigment, employed in the delineation of designs, and a thin
+color, not so permanent and employed exclusively as a ground upon which
+to execute designs in other mediums. The latter may possibly be of
+vegetal derivation. Its use was confined to a single variety of ware,
+the lost color group. The former was employed in all the other groups,
+with one exception, the red line group.
+
+The light purple tint is but sparingly used and only in the polychrome
+group. It is very effective in combination with the reds and blacks upon
+the orange ground of this ware. It is probably of a mineral nature.
+
+What I have denominated the lost color was a pigment, or "taking out"
+solution, extensively and exclusively employed in the decoration of one
+of the principal groups of ware. Its former existence is made known by
+its action upon the ground colors and upon the paste or slip within the
+areas covered by it. Where superimposed upon black, that color has in
+all cases been removed, exposing the underlying tints of the slip in
+which the designs are now manifested, the interspaces being still black.
+In some cases the lost color has not only removed the black ground, but
+has affected the slip beneath, removing it also, and to such a degree
+that the polished surface is destroyed and shallow intaglio lines occur,
+leaving the interspaces in relief. This circumstance enforces the idea
+that possibly the "lost color" was really not a color at all, but an
+acid which acted upon the ground colors at once, destroying the black
+entirely and leaving the effect now seen. This point must remain for the
+present undetermined.
+
+The figures in all cases appear to have been delineated with ordinary
+brushes and by purely free hand methods. The degree of skill varies
+greatly. The execution in the great body of the work is rather inferior
+and indicates a lack of skill and care, but in a limited number of
+pieces the manipulation is masterly.
+
+The designs are confined to the show spaces, being exterior in narrow
+necked vessels and generally interior in shallow forms.
+
+In arrangement upon the surfaces this decoration presents some novel
+features. The slight degree of uniformity in arrangement indicates the
+absence of any mechanical aid, such as the wheel, which device would
+tend to reduce all decoration to a series of horizontal zones. We
+observe indeed the occurrence of horizontal arrangements, but not to a
+degree greater than would naturally arise as a result of the
+conformation of the vessel. Upright, oblique, and arched arrangements
+are frequently met with, and all are safely attributable to the
+domination of spaces to be covered or to the influence of antecedent
+shapes. Examples and details are given as they come up in the various
+sections.
+
+_The scarified group._--This group is represented by about forty
+specimens and is worthy of especial attention. It comes from the graves
+of two localities, one near C. E. Taylor's hacienda, north of David, on
+the slopes of Mount Chiriqui, and the other at Alanje, southwest of
+David. As a variety of ware it stands so entirely alone that had it
+arrived unlabeled no one would have recognized its affinities with
+Chiriquian art. It is rather inferior in material, grace of form, and
+surface finish, and the decoration appears to belong to a lower grade of
+culture than that of the other groups. It is possibly the work of an
+inferior race in comparatively recent times.
+
+Nearly all the vessels are tripods, but a few have rounded or flat
+bottoms and a few are supplied with annular stands. The walls are thick
+and the shapes are uncouth or clumsy. The paste is coarse, poorly baked,
+and friable; near the surface it is a warm reddish or yellowish gray;
+within the mass it is a dark gray.
+
+  [Illustration: Fig. 118. Tripod bowl of red scarified ware--1/3.]
+
+  [Illustration: Fig. 119. Tripod bowl of red scarified ware--1/3.]
+
+The makers of this pottery, like their brother artificers, took especial
+pleasure in the modeling of life forms. The work exhibited in these
+specimens is, however, exceptionally rude. In some cases grotesque heads
+are attached to the rims of bowls; in others the head, tail, and feet of
+animals appear about the periphery of the vase; and in a number of cases
+the legs of the tripods are modeled to represent the forms of living
+creatures. Generally the feet are clumsy in shape and three toed,
+suggesting the feet of the tapir.
+
+These vessels are embellished by painting, incising, or scarifying and
+by modeling in relief. Color was not employed in the production of
+designs, but a dark Indian red pigment was daubed over that part of the
+surface not occupied by incised ornament. Little or no slip was used and
+the rude geometric patterns were executed with pointed tools in a very
+haphazard manner.
+
+  [Illustration: Fig. 120. Oblong basin with scarified design--1/3.]
+
+  [Illustration: Fig. 121. Large bowl with handles imitating animal
+  heads--1/3.]
+
+The bowls are more numerous than in any other group of the Chiriquian
+ware, but, as in the other groups, they are supplied with supports,
+either tripods, shaped like the feet of quadrupeds, or rude annular
+bases. In most cases the rim expands gradually from below, as seen in
+Fig. 118, or is recurved, as shown in Fig. 119. In a few cases the basin
+is oblong or boat shaped and the ends are pointed, as indicated in
+Fig. 120.
+
+An interesting specimen is illustrated in Fig. 121. At the opposite ends
+of the bowl portions of the rim are carried upward and inward, forming
+handle-like appendages, modeled to represent, rudely, the heads of
+animals. Details of form and ornament are well brought out in the cut.
+
+In Fig. 122 we have a high cylindrical shape with a flat bottom, the
+surface being scarified in vertical bands. A small pot, having an
+annular base and decoration similar to the preceding, is given in
+Fig. 123. In Fig. 124, instead of the vertical lines, we have a series
+of heavy ribs. Two strong vertically placed loops are fixed upon
+opposite sides of the shoulder and the base is supplied with the usual
+feet.
+
+  [Illustration: Fig. 122. Jar with flat bottom and vertical bands of
+  incised ornament--1/3.]
+
+  [Illustration: Fig. 123. Vase with stand and vertical incised
+  bands--1/3.]
+
+  [Illustration: Fig. 124. Vase with handles, legs, and vertical
+  ribs--1/3.]
+
+The tripods shown in Figs. 125 and 126 are somewhat mutilated, but they
+present features of interest in the novel shapes and the unique animal
+forms with which the legs are embellished. Each leg is represented as a
+complete animal, whose back or breast supports the vessel and whose
+cylindrical nether extremity rests upon the ground. The head in the
+first example resembles an owl and in the second reminds one of some
+crustacean form. An additional specimen of considerable interest is
+shown in Fig. 127. It is a heavy tripod, having four independent mouths,
+all opening into one chamber. The shape is unsatisfactory, being heavy
+and unsymmetrical. The exterior surface has the usual scarified figures
+and the interspaces and the entire inner surface of the vessel are
+painted red and rather carefully polished.
+
+  [Illustration: Fig. 125. Tripod with owl-like heads at insertion of
+  legs--1/3.]
+
+  [Illustration: Fig. 126. Tripod with legs rudely suggesting animal
+  forms--1/3.]
+
+  [Illustration: Fig. 127. Heavy red vase with four mouths--1/3.]
+
+_The handled group._--The series of vessels to which this name is given
+comprises a large number of pieces of unusually even characters. They
+are obtained from a pretty wide district to the north and west of David
+and occur in connection with other groups. They are notable for
+uniformity in size, shape, and finish and for the unmistakable evidences
+of use over fire which at least three-fourths of them show. With the
+exception of a few large caldrons, not yet assigned to a particular
+group, they are more like ordinary cooking vessels than any other group
+of Chiriquian ware. The size, however, is remarkably small, the average
+capacity being about a pint. Larger pieces contain a quart or three
+pints.
+
+The body is usually much compressed vertically and is flattish above and
+more or less conical below, giving a very graceful contour. The surface
+is rather rudely polished and the painting is done with notable
+carelessness, as if the intended use were not favorable to the
+preservation of the ornament. By means of a heavy brush, red figures,
+consisting of splotches, stripes, arches, and encircling bands, were
+applied to the yellowish gray surface and sometimes, as indicated by a
+smeared appearance, were polished down with an implement. It does not
+seem that a slip of ordinary white clay was very generally used. In a
+few cases a grayish blue tint appears upon some of the wider spaces.
+
+  [Illustration: Fig. 128. Vase with horizontally placed handles and
+  rude designs in red--½.]
+
+The handles are perhaps the most notable feature of this ware, and
+usually occur two to a vessel; rarely there is but one handle and in a
+few cases there are four. This group may be separated into at least four
+sections by the styles of handles. Vessels of the two more important
+sections have two handles each, which are placed vertically in one
+variety and horizontally in the other, reference being had to the
+position of the points of attachment. These differences of position have
+given rise to a marked difference in the shape of the orifice and of the
+lip. The handle is a simple loop, which in the one variety is placed as
+seen in Fig. 128 and in the other as in Fig. 132. In the latter case one
+end of the loop is fixed to the shoulder and the other end to the lip,
+which is uniformly prolonged at the contact and is also widened all
+around; the result is the curious winged outline shown in Fig. 133.
+
+A third variety of handle is a single arch, which spans the orifice and
+is attached to opposite sides of the expanded lip. In a fourth variety
+the looped handles are replaced by the heads of animals, which are set
+upon the shoulder of the vase, as are similar features in other groups
+of ware.
+
+  [Illustration: Fig. 129. Unpolished vase with heavy handles and
+  coated with soot--½.]
+
+  [Illustration: Fig. 130. Round bodied red vase with unique handles
+  and incised ornament--½.]
+
+A type specimen with the horizontal loop is shown in Fig. 128. The lip
+and a wide belt about the body are painted red and the shoulder is
+occupied by rudely executed arched strokes of the same color. A much
+less usual shape is given in Fig. 129, which exhibits some characters of
+contour that remind us of well known Grecian forms. Another novel
+variation from the type is seen in Fig. 130, in which the arch of each
+loop is divided by an upright piece. A neat incised ornament occupies
+the shoulder of this vessel and the remainder of the body is finished in
+pale red.
+
+It will be observed that the handles are rarely wholly plain. Each loop
+is supplied with one or more rings or ring-like fillets, or with small
+nodes, generally near the most prominent part of the curve or arch. By
+the study of a large number of specimens I am able to trace these
+puzzling features to their origin. They are the representatives of life
+forms which were originally modeled in full detail and which are still
+so modeled in many cases. The nodes and like features are atrophied
+heads, hands, or feet, and in some cases are marked with indentations
+that refer to the eyes or to the fingers or toes, and the round fillets
+stand for the arms and legs of animals, or, if notched in peculiar ways,
+may be referred to other originals, such as the mouths of fishes or the
+spines of crabs. Examples could be given showing all stages of the
+progress of simplification.
+
+  [Illustration: Fig. 131. Vase with grotesque figures attached to the
+  handles--½.]
+
+  [Illustration: Fig. 132. Vase with upright handles and winged
+  lip--½.]
+
+In Fig. 131 I present a fine example of the horizontal loop, in which
+the opposite ends are supported by grotesque animal figures, applied,
+however, in a way not detrimental to the grace and simplicity of the
+vessel.
+
+An example shown in Fig. 132 is of especial interest in this connection.
+The ornament upon the handle serves as a link between the realistic life
+form and the conventional nodes and fillets. In this case the node is
+supplied with eyes and a mouth, and the double roll of clay beneath is
+manifestly intended for the arms, the handle itself standing for the
+body. The loop is upright and joins the shoulder to the rim. The winged
+character produced by the expansion at the contact of handle and lip is
+shown to advantage in the top view (Fig. 133.) In some cases this
+expansion is so great as completely to hide the body of the vase when
+viewed from above.
+
+  [Illustration: Fig. 133. Top view of vase with winged lip--½.]
+
+  [Illustration: Fig. 134. Vase with grotesque animal shaped
+  handles--½.]
+
+Examples are outlined in Figs. 134 and 135 in which the life form is
+clearly defined. In the first we have a human-like figure, the face of
+which is entirely hidden by the hands. In the second we observe a
+curious little animal figure, with a long curved proboscis and a body
+covered with annular indentations. In general shape and in ornamentation
+these vases do not differ from the preceding. A remarkable piece, with
+two pairs of handles, is presented in Fig. 136. Grotesque figures are
+attached to the outer surface of the loops, one in each pair being
+placed in an inverted position. The two figures seen in the cut are
+simple, but those on the opposite pair of handles are compound, being
+double above the waist. The faces, hands, and feet of these figures are
+touched with red, and the lip and body of the vase are decorated with
+carelessly drawn stripes of red. In another case four plain handles are
+placed equidistantly about the neck of the vessel.
+
+  [Illustration: Fig. 135. Vase with handles representing strange
+  animals--½.]
+
+  [Illustration: Fig. 136. Vase with two pairs of handles ornamented
+  with grotesque figures--½.]
+
+In a third variety the loop is omitted entirely, the animal figure
+taking its place upon the shoulder of the vase. This feature appears in
+the specimen given in Fig. 137 and represents the front part of a
+reptile, the head being hollow and containing a large movable pellet.
+This is a handsome piece, well finished, and decorated in the usual
+broad way.
+
+  [Illustration: Fig. 137. Vase with handles representing animal
+  heads, which are hollow and contain pellets of clay--½.]
+
+  [Illustration: Fig. 138. Vase with arched handles embellished with
+  life forms in high relief--½.]
+
+A fourth variety is shown in Figs. 138 and 139, in which the handle
+spans the orifice as in an ordinary basket. The lip is flaring and is
+prolonged at the sides to meet the handle. In one case the outer surface
+of the handle is embellished with figures of frogs and serpents, or what
+seem to be intended for serpents, modeled in the round and rather
+imperfectly attached, and in the other with a pair of grotesque human
+figures set against the base of each end of the handle.
+
+  [Illustration: Fig. 139. Vase with arched handles embellished with
+  life forms in high relief--½.]
+
+Typical vessels of this class are in many cases mounted upon tripods,
+but, for convenience of description, these are classed with the
+succeeding group, which consists mainly, if not entirely, of the same
+variety of ware.
+
+To recapitulate, the striking characteristics of this group are the
+uniformity of size, shape, and handles, the rude finish and ruder
+ornamentation, and the very marked evidence of use over fire.
+
+_The tripod group._--Closely related in most respects to the group of
+ware just described is the striking series of vessels here presented. At
+first glance the resemblances are not apparent, but a careful study
+renders it clear that the vessels proper correspond closely in both
+groups. The basins are for the most part made in the same heavy, rudely
+finished style, the decoration is almost equally rude, and the size and
+the evidence of use over fire are the same. The strong contrast in
+appearance is due mainly to the presence of tripod supports in this
+group. The legs, which constitute such a striking feature, are merely
+appendages to the bodies of vases already perfect, and are evidently an
+acquired feature suggested by some change in function or in the habits
+of the people. In this way we are able to account for the rather uncouth
+look observed in so many cases, the legs being too long and too heavy to
+please the cultured taste; yet in many cases the parts are so adjusted
+as to give an impression of firmness and strength, united with a goodly
+share of grace of line.
+
+The legs are very generally modeled to represent animal forms. In a
+majority of cases the fish was chosen because, perhaps, its shape was
+suitable or because the fish bore some relation to the use to which the
+vessel was to be devoted. Lizards and mammals are also seen and the
+human form occasionally appears. In some cases the animal figure is
+attached to the upper part of the leg or is perched upon the hip, where
+that feature is pronounced. The body, or shaft, is hollow and contains
+pellets of clay, sometimes one only and again a dozen or more, and in
+order that these may be seen and heard variously shaped slits are cut in
+the sides or front of the legs. If the animal represented is a fish or
+lizard the entire body is modeled: the head is placed at the top, the
+under jaw or neck uniting with the body of the vessel; the tail rests
+upon the ground, and the fins or legs appear along the sides of the
+shaft. It should be observed that, while in Chiriqui the whole body of
+the creature is usually employed in forming the support, in Central
+America and Mexico the head alone is very generally used, the nose
+resting upon the ground. In less elaborate forms the legs are plain or
+have the merest hint of animal form in a node, a notched ridge, or a
+slightly modified extremity.
+
+Handles are present in a majority of cases and as in the preceding group
+take the form of loops or represent the forms of animals. The loops are
+generally attached in a vertical position, connecting the shoulder with
+the lip of the vessel, and are plain round ropes of clay or consist of
+two or three cords twisted or plaited together. A few eccentric forms
+occur and are illustrated early in this section.
+
+The animal shapes are often quite elaborate and appear to bear no
+relation to the creatures embodied in the legs of the vessel; neither
+does the position of the handles bear any uniform relation to the
+positions of the legs--another indication that the latter features are
+recent acquisitions, since features developed together are uniformly
+well adjusted.
+
+The rim or lip is generally heavy and flaring, and the neck, which is
+short and pretty sharply constricted, is decorated with incised patterns
+and with various applied ornaments in relief. The body is graceful in
+outline and more or less conical below. As a rule the surface is uneven
+and but slightly polished and the figures in red are rudely executed,
+but in the more pretentious pieces much care has been exercised in
+finishing and painting. Most of the vessels have been used over the fire
+and still retain the sooty incrustations. This ware comes from a wide
+range of territory to the north and west of David.
+
+The following illustrations represent some of the more important pieces
+and serve to give a partial idea of the range of form, size, and
+decoration.
+
+I present, first, three vases of rather eccentric shapes, the basins of
+which are shallow and in two cases are flat bottomed. The handles are of
+unusual shapes, consisting of modifications of the lip, as seen in the
+illustrations (Figs. 140-142). Life elements are present in all cases in
+connection with the handles and legs where these are preserved, but they
+are very meager and so abbreviated as to be identified with difficulty.
+Incised markings at the ends of the handles represent hands or feet and
+eyes are affixed to the upper part of the legs. The ware is identical
+with that of the preceding group.
+
+  [Illustration:
+  Fig. 140.
+  Fig. 141.
+  Fig. 142.
+  Tripod vases with shallow basins and eccentric handles--1/3.]
+
+A representative specimen of the fish legged vessels is presented in
+Fig. 143. It is one of the most graceful forms in the series and is
+neatly finished and embellished, but is thoroughly blackened with soot.
+The handles are formed of twisted fillets or ropes of clay and a narrow,
+incised, rope-like band encircles the lower part of the neck. Set upon
+the neck and alternating with the handles are two scrolls neatly formed
+of small round ropes of clay. The fishes forming the legs are very
+simply treated. The mouth at the apex is formed by laying on an oblong
+loop of clay and the eyes are represented by two round pellets set into
+the soft clay of the head and indented with a slit that gives to them
+the exact effect of screwheads. A pair of fins--small incised or
+channeled cones--is placed at the sides of the head and another at the
+sides of the body. The cavity contains a single ball of clay and the
+slit is long and wide.
+
+In other examples the fish form is much more elaborately modeled. The
+wide mouth exhibits a row of teeth and the body is well supplied with
+fins. The head in Fig. 144 reminds one forcibly of the catfish. The
+snout is furnished with two horn-like appendages; tooth-like features
+are formed by setting in pellets of clay, and the gills are indicated by
+a punctured excrescence at the side of the mouth. In other cases a high,
+sharp cone is set upon the middle of the head (Fig. 145). It is
+channeled down the sides, as if meant for a fin.
+
+  [Illustration: Fig. 143. Tripod vase of graceful shape and neat
+  finish--1/3.]
+
+  [Illustration: Fig. 144. Heavy tripod vase with widely spreading
+  feet--1/3.]
+
+The process of modeling these heads was about as follows: The upper end
+of the leg--the head of the fish--was first rounded off, giving the
+general shape; then parallel incisions were made to represent the teeth,
+and around these a fillet of clay was laid, forming the lips, which were
+then channeled with a sharp tool. Nodes or flattened pellets of clay,
+representing the gills, snout, and eyes, were then laid on and finished
+with incision-like indentations. The handles consist of bird-like heads,
+with protruding eyes and long bills that curve downward and connect with
+the shoulder of the vase. The body is rudely spotted with red.
+
+  [Illustration: Fig. 145. Neatly modeled vase embellished with life
+  forms and devices in red--1/3.]
+
+  [Illustration: Fig. 146. High tripod vase with incised designs and
+  rude figures in red--1/3.]
+
+A large, uncouth specimen is shown in Fig. 146. The legs are ponderous
+and are not neatly adjusted to the vessel. A meander pattern of incised
+lines encircles the neck and the body is rudely decorated with broad red
+stripes.
+
+  [Illustration: Fig. 147. Handsome tripod vase with scroll
+  ornament--1/3.]
+
+There is a general consistency in the use of life forms which is worthy
+of notice. The fish and other creatures used, although variously
+conceived and treated, are never confused. When the fish is employed no
+features suggesting other animals appear and when the heads of other
+creatures occupy the upper extremity of the leg all the details refer to
+these creatures with uniform consistency. In Fig. 147 we have an
+unusually graceful shape, decorated about the neck with scrolls and
+indented fillets. The legs represent some reptilian form resembling a
+lizard. The head projects from the hip and is conventionally treated.
+A round fillet fixed at its middle point to the muzzle of the creature
+is turned back at the sides of the head and coiled to form the eyes. The
+forelegs are attached at the sides near the top and the recurved
+terminal point is encircled by rings that stand for the coiled tail.
+
+  [Illustration: Fig. 148. Vase with lizard shaped legs--1/3.]
+
+  [Illustration: Fig. 149. Vase with scroll ornament--1/3.]
+
+  [Illustration: Fig. 150. Large vase with flaring rim and wide
+  spreading legs--1/3.]
+
+There is little room for doubt as to the kind of creature represented in
+the legs of the vase given in Fig. 148. The head, legs, and general
+shape are characteristic of the lizard. The vessel is small, plain, and
+neatly finished. In Fig. 149 the legs of the vessel, otherwise quite
+plain, are surmounted by heads that seem to represent a dog or some like
+animal. A series of neat vertically placed scrolls formed of round
+fillets encircles the neck, and below these is a band in relief
+imitating a twisted cord.
+
+A vase of unusually striking appearance is presented in Fig. 150. It is
+one of the largest tripods in the collection and is characterized by a
+high widely expanded lip and a long conical body and by legs of unusual
+size and conformation. Small animal figures are perched upon the
+projecting hips. The surface of the vessel is rudely finished and is
+much blackened by smoke about the upper part of the legs and the body.
+
+A unique use of the animal form is illustrated in Fig. 151, which shows
+a large fragment of one of these tripods. The figure of an alligator,
+modeled with a great deal of spirit, is attached to the side of the
+vessel, resting partly upon the leg and extending upward obliquely to
+the lip. A similar figure upon the opposite side of the same vase is
+represented as grasping the form of a man or boy in its formidable
+looking jaws.
+
+  [Illustration: Fig. 151. Fragment of a tripod vase embellished with
+  the figure of an alligator.]
+
+The alligator, rarely employed in this group of ware, is freely used in
+other groups and was probably a creature of importance in the mythology
+of Chiriqui.
+
+In one case only, so far as I have seen, is the human form employed in
+the supports of these vessels, and in that case, as will be seen in
+Fig. 152, the result is extremely grotesque. The shape of the basin is
+good and the thick, rounded lip and most of the surface are carefully
+polished. A disconnected meander of incised lines encircles the rather
+high neck, and parts of the body and its attached features are painted
+red. As usual this color was applied along with the slip and in
+polishing has become much mixed up with it, giving a mottled effect. The
+handles take the form of curious human-appearing figures which sit
+against the constricted neck, their heads supporting the rim and their
+feet resting upon the shoulder of the vessel. In one case the hands are
+held tightly against the lower part of the face and in the other they
+are bound together against the chin by a serpent-like cord of clay. The
+hollow figures forming the legs of the vase are as grotesque as could
+well be imagined. There is no head whatever, and the outlandish features
+are placed upon the front of the upper part of the body. The arms and
+hands take the conventional position characteristic of the statuary of
+the isthmian states and the only traces of costume are bands about the
+wrists and a girdle encircling the lower part of the body.
+
+  [Illustration: Fig. 152. Vase supported by grotesque human
+  figures--1/3.]
+
+I add, in Fig. 153, one more example, a large, full bodied vase, which,
+more decidedly perhaps than any of the foregoing, proclaims its
+relationship to the preceding group. If the three rather clumsy legs
+were knocked off there would remain a large beautifully shaped and
+finished vase, with a constricted but flaring rim not in any way
+distinguishable from those of the preceding group. The legs in this case
+are less perfectly adapted to the vessel than in the other examples, as
+if the potter, skillful in modeling the vessel, had only recently
+undertaken to add the tripod. The slit in the outer face of the leg is
+unusually wide and the inclosed ball is three-fourths of an inch in
+diameter. The most remarkable feature of this vessel is the pair of
+unique figures affixed to the upper surface of the body near the lip,
+and which would seem to be intended to represent semihuman monsters. The
+arms and legs are contorted and serpent-like in appearance and terminate
+in most cases in heads of serpents instead of in hands and feet. The
+attitude is expressive of agony or horror. It seems to me probable that,
+contrary to the rule in primitive art, these strange figures do not
+embody any well defined or serious conception, but are rather
+exhibitions of the fancy of the potter. They occupy small unpainted
+panels, which are finished in neat incised patterns. The remaining
+surface is a bright red.
+
+  [Illustration: Fig. 153. Round bodied vase embellished with figures
+  of monsters--1/3.]
+
+It may be noted, in recapitulation, that these vases, although
+elaborately modeled and often well finished, are rudely decorated and
+very generally show use over fire; that the legs, though often graceful
+and well proportioned, are in many cases clumsily adjusted to the body,
+giving a decidedly unsatisfactory result as a whole. This ware was
+devoted to domestic uses, or, if otherwise, in all probability to the
+burning of incense. Animal forms are freely employed, but in a rather
+rude way. The fish form is more generally used than any other, and is in
+all cases embodied in the legs of the vessel, the head joining the body
+of the vessel and the tail resting upon the ground. These
+representations exhibit all grades of elaboration from the fairly well
+modeled to the merest suggestion of animal character--any one feature,
+as the mouth, the eye, the fins, or the tail, being alone a sufficient
+suggestion of the creature to satisfy the potter and keep alive the idea
+of the fish. Other animal forms are employed in modeling the legs, and
+exhibit equally varying degrees of elaboration, and it is worthy of
+especial note that creatures are not confused or confounded, so far as I
+can discover, at any stage of the simplifying process--that a fish is
+still purely a fish if nothing is left to represent it but a node or an
+incision. There is no apparent relationship between the animal forms
+forming the legs and those attached to the body or to the rim of the
+vessel.
+
+
+The pottery of the two groups already presented exhibits characters so
+uniform throughout that there need be no hesitation in placing them
+together as the work of one community and of one period of practice of
+the art; but between these groups and those that follow there is a wide
+gap. The differences are so marked that, if they had come from widely
+separated localities, very intimate relationships would not have been
+suggested.
+
+  [Illustration: Fig. 154. Cup with incurved rim and life form
+  ornamentation--½.]
+
+  [Illustration: Fig. 155. Cup with widely expanded rim and
+  constricted neck--½.]
+
+_The maroon group._--For the want of a better name I have called the
+group first to be presented the maroon group, on account of its color.
+Our collection comprises not more than a dozen pieces of this ware. The
+locality from which they come is called Los Tenajos by Mr. McNiel, but
+he has not distinguished them in any way from the other varieties, and I
+am therefore unable to say whether or not they occur together with
+others or under identical conditions. In symmetry of outline, diversity
+of shape, and cleverness of modeling this ware takes a high rank, but
+there is no painted ornament. The surfaces are usually well polished,
+and all exposed parts have received a coat of purplish maroon colored
+paint. The paste contains a great deal of fine sand, and is yellowish
+upon the surface and generally quite dark within the mass. Considering
+the small number of pieces, the scale of form is remarkably varied.
+There are plain bowls with incurved rims and with flaring rims, vases
+with round bases, with annular stands, and with tripods, and life forms
+wholly unique. Perhaps the most usual form is that shown in Fig. 154,
+which represents a small cup with incurved rim and a narrow annular
+base. The shoulder is embellished with three groups of small nodes, of
+four each, which refer to some animal form. In other similar vases the
+form of the creature is given in more realistic guise. A larger vase,
+similar to this in most respects, has a rounded contour and incurved
+lip. The periphery is supplied with four plain nodes. Another, shown in
+Fig. 155, has a wide recurved rim, a character seen to equally good
+advantage in some of the following figures. In the small vase
+represented in Fig. 156 the treatment of animal forms in connection with
+the body of the vessel is shown to good advantage. The head, legs, and
+tail of what is probably intended to represent an alligator, modeled in
+the round, are attached to the periphery of the basin, and heads of some
+mammal are used for legs.
+
+  [Illustration: Fig. 156. Small tripod cup with animal features in
+  high relief--½.]
+
+  [Illustration: Fig. 157. Handsome vase supported by three grotesque
+  figures--½.]
+
+A most interesting tripod is shown in Fig. 157. The bowl is beautifully
+modeled, is symmetrical, and has a flaring rim, rounded and polished on
+the upper surface and drooping slightly at the outer margin. The body is
+hemispherical and is supported by three grotesque anthropomorphic
+figures that strongly remind us of the "mud head" masks used in one of
+the dances of the Zuñi Indians. The head is a rounded ball, upon which
+pellets of clay are stuck to represent the features. The arms are set
+against the sides of the body, as in other isthmian specimens, the hips
+are excessively large, the legs straight, and the feet small and united
+to form the foot of the vessel. Nearly the entire surface is finished in
+a dark purplish red paint, which appears to have been polished down as a
+slip. A companion piece is considerably smaller and the supporting
+figures are very grotesque and somewhat crouched, as if bearing a very
+heavy weight.
+
+A number of large basins or caldrons, collected in Chiriqui, and
+fragments of vessels of extraordinary size resemble this ware in
+material, color, and finish. The rims of the larger pieces are upwards
+of an inch thick and the walls are in cases three-fourths of an inch
+thick. A number of large vessels of similar ware now in the National
+Museum were collected in Costa Rica and Nicaragua.
+
+_The red line group._--The group of vessels to which I have given this
+name is represented by about a dozen specimens, which indicate a wide
+range of form and exhibit a number of unique characters.
+
+The localities from which they are derived extend from 8° 20´ to 8° 40´
+north latitude and from 82° 40´ to 82° 50´ west longitude.
+
+The paste is of about the usual composition, but takes a variety of
+tints on burning, a light gray orange prevailing. The finish of the
+surface is about the same as in other groups. The decoration consists of
+life forms and their conventional representatives in relief and of
+carelessly executed geometric designs, the pigment used being a bright,
+sienna-like red.
+
+As will be seen by reference to the illustrations, the forms are varied
+and pleasing, but for the most part repeat outlines common to other
+groups. The handles, single or in twos, are upright loops, and the
+tripods are in nearly all cases looped or annular, an unusual feature in
+other groups.
+
+I present three illustrations, two of which were given in outline in the
+introductory pages. The first (Fig. 158) has a well proportioned,
+somewhat globular body, supported by three legs formed of looped bands
+of clay. On the shoulder are two small animal forms, probably meant for
+frogs. The spaces between these are occupied by panel-like arrangements
+of red lines. The surface is yellowish gray in color, excepting where
+blackened in the baking. The paste has cracked in firing, a feature
+observed in a number of pieces belonging to this group.
+
+  [Illustration: Fig. 158. Vase decorated with figures of frogs and
+  devices in red--½.]
+
+  [Illustration: Fig. 159. Vase of unique shape and life form
+  ornamentation--½.]
+
+  [Illustration: Fig. 160. Two handled vase with life form and linear
+  decoration--½.]
+
+A unique piece is represented in Fig. 159. The single handle is a high
+projecting loop and connects with the margin of the orifice, which rises
+to meet it, and with the lower part of the shoulder. An animal form,
+apparently anthropomorphic, is embodied in this vessel. The upper part
+of the vessel, separated by a slight constriction from the body proper,
+represents the head of the creature, the nose, mouth, and eyes appearing
+on the front and the ears at the sides. A few incised lines seen upon
+the inner surface of the handle stand for the hair. Upon the shoulder
+are two sharp nodes, standing for the breasts, and between these are
+markings that represent a necklace. A rude design in red lines covers
+the upper surface of the body.
+
+A graceful shape is illustrated in Fig. 160. The paste is a grayish
+orange on the surface and is rather dark within the thicker portions of
+the walls. The under surface is much blackened by use over fire. An
+interesting feature is seen upon the handles at the highest point of the
+loop. Instead of the single indented transverse fillet observed in
+similar forms in other groups, we have two such features, set about an
+inch apart, and between them are two indented nodes which stand for
+eyes, and a number of indentations within the space refer to other
+features of the animal suggested. Upon the shoulder and collar of the
+vessel are carelessly drawn geometric patterns in red lines.
+
+  [Illustration: Fig. 161. Small tripod vase with animal figures in
+  white--½.]
+
+_The white line group._--One group of vases, of which we have but four
+pieces, is characterized by the use of a whitish pigment in decoration.
+Not one of the collections that I have seen is well supplied with this
+class of ware, and hence little can be said of its varieties of form and
+ornament. All are tripods, but the shapes of the vessels vary
+considerably. Two small pieces are from latitude 8° 40´ north and
+longitude 82° 32´ west. One of these is shown in Fig. 161. They are
+small, rather carelessly finished tripods, with narrow necks and
+flattened bodies. The inner surface of the orifice and the under side of
+the body are painted a dull red. The remainder of the surface is a warm
+reddish gray, the color of the slip and the paste. The legs in the piece
+figured represent some small creature with a rabbit-like face and a body
+which tapers gradually to the base. Two feet are placed near the middle
+of the body, which is striped transversely with white lines. A white
+collar crosses the neck and the eyes are white dots. The upper surface
+of the vase is embellished with two animal figures, executed in a white
+earthy pigment. They may refer to the alligator, but the drawing is too
+conventional to admit of full identification. The companion piece is a
+little larger, and the upper surface is decorated with three groups of
+broad white stripes, bordered by rows of dots, which extend from the
+base of the neck to the periphery of the body. The legs are similar to
+those of the other piece. The little animal figure fixed to the upper
+end or hip is identical with that seen in the following illustration.
+
+  [Illustration: Fig. 162. Shapely vase with designs in white
+  paint--½.]
+
+The large tripod vase presented in Fig. 162 is distinct in many ways
+from anything in the collection and is remarkable for symmetry of form
+and neatness of finish. The body is a long, symmetrical cone and the
+legs are long, straight cylinders, neatly rounded off to a point below.
+A thick rim projects at a sharp angle and is rounded up toward the
+margin. The legs are hollow, and through two pairs of lateral slits a
+number of small pellets can be seen, which rattle when the vase is
+moved. Rudely modeled little animals, with erect ears, large feet, and
+conical tails, are fixed to the upper end of the legs. The ground color,
+the slip, and the paste are of a reddish gray cast. The greater part of
+the surface seems to have been painted red, but the vase has been used
+over fire to such an extent that little of the original color remains.
+The body and the legs have been decorated with geometric patterns in a
+whitish pigment that can be scraped off like indurated clay. The little
+animal figures were also painted white. A vase very similar to this,
+from which the legs have been removed, and the surface smoothed down,
+has a longer and more graceful body and a similar rim. Another piece,
+exhibiting similar yet even more strongly marked characteristics of
+shape, belongs to the collection of Mr. J. B. Stearns.
+
+_The lost color group._--In number of specimens this group is second to
+none, excepting perhaps that given under the head of terra cotta ware.
+Nine-tenths of the pieces may be classed as bottles, which have rather
+short, wide necks and globular bodies, slightly conical below and in
+cases flattened above. They range in size from one inch to nearly a foot
+in height, but the average capacity is not above a pint. Aside from the
+bottles there is a wide range of shapes. There are shallow bowls and
+various complex and compound forms. Animal forms are associated with all
+classes of vessels. Tripod supports are limited to rather modest
+proportions, and handles, although often present and greatly varied in
+style, do not constitute an important feature. These vessels are
+remarkably well preserved and exhibit few traces of abrasion by use or
+of blackening over fire. The paste is fine grained and usually of a
+light yellow gray tint throughout.
+
+The surface was finished either in a light colored slip or in a strong
+red pigment. In some cases the light tint was used exclusively and again
+the red covered the entire surface, but more frequently the two were
+used together, occupying distinct areas of the same vessel and forming
+the groundwork for decorative patterns in other colors. They were
+usually polished down with very great care, giving a glistening surface,
+upon which the markings of the tool can still be seen.
+
+I have already described the methods of decoration, but may review them
+briefly here. The bright red color, which forms such a prominent and
+pleasing feature, is, as stated above, only a ground tint and is not
+used in any case in the delineation of design. The actual patterns, so
+varied and interesting, were worked out in a pigment or fluid now
+totally lost, but which has left traces of its former existence through
+its effect upon the ground colors. In beginning the decoration, a thin
+black color, probably of vegetal character, was carried over the area to
+be treated, and upon this the figures were traced in the lost color.
+When this color (if it was indeed a pigment, and not merely an acid or
+"taking out" medium) disappeared, it carried with it the black tint
+beneath, exposing the light gray and red tints of the ground and leaving
+the interstices in black. The interstitial figures thus formed are often
+of such a character as to be taken for the true design. In examining the
+decoration of this ware it is essential that this fact should be kept in
+mind, as otherwise great confusion will result.
+
+The nature of the materials employed cannot be determined. Applied to
+the polished surface, they were easily removed. The black ground tint is
+now easily rubbed off and in most cases is much injured by handling or
+by contact with the soil. The lost color may have been similar to the
+white, argillaceous pigment used by the Aztecs, which has in many cases
+partially or wholly disappeared, leaving its marks upon the ground
+either by deadening the polish or by removing portions of the slip and
+the paste upon which it was laid, presenting the ornament in intaglio.
+
+The designs are infinitely varied in appearance and arrangement, yet are
+far from having a mixed or heterogeneous character. It is probably our
+lack of knowledge of the origin and history of the elements and their
+derivations that causes confusion. Both geometric and imitative elements
+abound and are blended in perfectly graded series. The treatment of
+geometric figures is peculiar to Chiriqui and in many respects is
+peculiar to this group of ware. Classic forms, such as the meander, the
+scroll, and the fret, rarely occur and are barely recognizable. It
+appears from a close study of all the work that motives derived from
+nature have greatly leavened the whole body of decoration. This matter
+will receive attention as the examples are presented and will be treated
+with greater care in a succeeding section.
+
+Plastic decoration, aside from the life forms so commonly associated
+with the body of the vase and with the handles and legs, is not of
+importance. The high degree of polish required in this ware tended to
+simplify all relieved features.
+
+The presence of life forms in relief has produced important
+modifications in the appearance and the arrangement of the painted
+devices, and in many cases there is a manifest correlation between the
+plastic and the painted forms: as, for example, when the body of the
+vase was thought of as the body of the animal, the extremities of which
+were placed upon its sides, the colored figures carried out the idea of
+the creature by imitating in a more or less conventional way the
+markings of the body. This will be understood through reference to the
+examples presented in the following pages.
+
+I will present, first, a series of bottles, selecting at the beginning
+those decorated in the more purely geometric style and gradually
+approaching those upon which animal forms are treated in a literal
+manner. The few pieces selected for illustration are totally inadequate
+to the proper representation of the group and must be regarded only as
+average specimens, more or less typical in character.
+
+I give first a number of examples in which the decorative devices are
+arranged in horizontal zones. In Fig. 163 broad bands of ornament,
+consisting of scalloped and plain lines, encircle the neck and the body
+of the vessel. In finishing this piece the whole surface was painted a
+rich red and highly polished; then a black coat was applied, covering
+the body from the lip to the base of the design; and finally the
+delineating fluid was applied, removing the black, as shown in the
+narrow lines, the sharply dentate bands, and the broad, plain band
+between. The second example (Fig. 164) varies somewhat in shape and
+design, but is identical in color and manipulation. The dark figures are
+merely the interspaces, although they appear at first glance to have
+been intended for the design proper.
+
+  [Illustration: Fig. 163. Small red bottle with horizontal bands of
+  ornament consisting of plain and scalloped lines--½.]
+
+  [Illustration: Fig. 164. Small red bottle with encircling geometric
+  devices--½.]
+
+In a numerous series of vessels the decorated bands are divided into
+compartments or panels, often four in number, which spaces are occupied
+by lines and figures of greatly diversified characters. In the example
+shown in Fig. 165 the ground color of the principal zone is in the light
+yellow gray tint of the slip, the remainder being red. This lends
+brilliancy to the effect.
+
+  [Illustration: Fig. 165. Bottle with zone occupied by geometric
+  devices--½.]
+
+  [Illustration: Fig. 166. Bottle with broad zone containing geometric
+  figures--½.]
+
+In the vase shown in Fig. 166 the treatment is in a general way the
+same, but the compartments are triangular and are separated by lines
+that form a disconnected meander. An additional example is given in
+Fig. 167. Here the principal zone is expanded to cover the whole upper
+surface of the vase, which was finished in the light colored slip to
+receive it. The principal lines are arranged to give the effect of rays
+when viewed from above, but as seen in the cut they give the effect of a
+carelessly connected meander. The groups of lines are bordered by series
+of dots. A great number of pieces are painted in this style. The effect
+is varied by altering the shape of the interspaces or by modifying the
+number and relationship of the lines, dots, and figures.
+
+  [Illustration: Fig. 167. Bottle with decoration of meandered
+  lines--½.]
+
+  [Illustration: Fig. 168. Bottle with arched panels and geometric
+  devices--½.]
+
+Somewhat similar also in general effect to the last example is the work
+upon another important series of vases. Instead of the simple meandered
+or zigzag arrangement of parts, two of the dividing lines of the zone
+run tangent to the neck of the vase on opposite sides, forming arched
+panels and leaving upright panels between. In the example presented in
+Fig. 168 the arched areas are filled in with lattice-like arrangements
+of lines. In others we have dots, checkers, and varied geometric
+combinations, and in very many cases the figures are derived from life
+forms. The same may be said of the devices that occupy the spaces
+between the arches. The piece shown in Fig. 169 exhibits a somewhat more
+elaborate treatment, but the motives and arrangements are much the same.
+These vessels are peculiar in the treatment of the ground. The entire
+surface is red, with the exception of narrow bands of light ground
+color, which outline the arches and encircle the periphery. In other
+cases these bands are red, the remainder of the ground being light.
+Series of lines are drawn from the lower border of the zone to the
+center of the base of the body.
+
+  [Illustration: Fig. 169. Bottle with arched panels and elaborate
+  devices--½.]
+
+  [Illustration: Fig. 170. Vase with rosette-like panels--½.]
+
+  [Illustration: Fig. 170_a_. Ornament from vase shown in Fig. 170.]
+
+In a small group of vases we have a radiate ornament within the arches
+and in a few cases the arched lines are continued down around the base
+of the vessel, forming vertical circles in which rosette-like designs
+are formed by repeating the radiate figures in an inverted position
+below the peripheral line. The elaboration in these circular inclosures
+is very remarkable, as will be seen by reference to the three examples
+given in Figs. 170, 171, and 172. In the first case the peripheral line
+is a red band nearly one-half an inch wide and the rays appear in groups
+above and below it. Within the four broader black rays (Fig. 170_a_),
+which are the interspaces or remnants of the ground, groups of lines
+have been drawn, in most cases curved at the inner ends like an opening
+frond and accompanied in all cases by series of dots. An examination of
+a number of vessels shows various degrees of convention. It is clear,
+however, that these devices, showing curves, hooks, and dots, are not of
+technical or mechanical origin, but that they refer to delineative
+originals of which they are survivals; but we must remain in the dark as
+to what the originals were or what was the precise nature of the idea
+associated with them in the mind of the decorator. Another question
+refers to the arrangement of the parts of the design in the five
+preceding figures. The distribution of the designs is a matter of great
+interest, and much may be learned from a close study of these specimens.
+
+  [Illustration: Fig. 171. Vase with rosette-like panels--½.]
+
+  [Illustration: Fig. 172. Vase with rosette-like panels--½.]
+
+Horizontal zones appear in the ceramic decoration of all countries, and
+result, no doubt, from technical causes; but the division of zones into
+compartments of peculiar shape is due to other influences. I believe the
+peculiar arched arrangement here seen results from the employment of
+plastic features, such as handles or life forms. The ancient races were
+accustomed to conceive of the vessel as the body of an animal, an idea
+originating in the association of mythologic conceptions with art. The
+head and the tail of the particular creature thought of were attached to
+opposite sides of the vase and consequently interfered with the original
+zonal arrangement of the design where it existed, or where it did not
+exist the sides were filled with devices representing the markings of
+the creature's body. The decoration now consisted of four parts, two in
+the round or in relief and two in color, the former occupying small
+areas and the latter wide areas, as seen in Fig. 173. The same result
+would spring from the use of two handles, such a common feature in this
+ware. The lateral spaces reached from the periphery to the base of the
+neck and were most readily and naturally separated from the plastic
+features by lines extending across the shoulder tangent to the neck and
+forming arches (Fig. 174). In time the plastic features, being difficult
+to manage, would gradually decrease in boldness of modeling and finally
+disappear, leaving a space upon which the life form could be symbolized
+in color (Fig. 175). Now it happens that in this collection we have a
+series of examples illustrating all stages of this change, the first,
+the middle, and the final steps being shown in the above figures.
+
+  [Illustration:
+  Fig. 173.
+  Fig. 174.
+  Fig. 175.
+  Theoretical origin of the arched panels.]
+
+  [Illustration: Fig. 176. Vase decorated with conventional figures of
+  alligators--½.]
+
+In multiplying these vessels the original forms and associations of
+decorative features are necessarily to some extent lost sight of; the
+panels change in shape, number, and relationships; and devices
+originally appropriate to particular spaces are employed
+indiscriminately, so that the uninitiated see nothing but confusion. All
+devices are delineations of or have more or less definite reference to
+the creature or spirit associated with the vessel.
+
+  [Illustration:
+  Fig. 177.
+  Fig. 178.
+  Portions of decorated zones illustrating treatment of life forms.]
+
+  [Illustration: Fig. 179. Vase decorated with highly conventional
+  life forms--½.]
+
+I will now pass over the many hundreds of pieces with designs too
+conventional to furnish a clew to the original animal forms, yet still
+suggesting their existence, to those in which the life forms can be
+traced with ease or in which they are delineated with a much nearer
+approach to nature. The manner of introducing life forms into the panels
+of the encircling zones is illustrated in the following figures. In the
+vase shown in Fig. 176 there are four panels, two short and two long,
+separated by vertical bands. The short panels are black, but the long
+ones are occupied by rudely drawn figures of alligators, some of which
+are very curiously abbreviated. At the right hand in the cut we have
+simply the head with its strong recurved jaws and notched crest. The
+principal figure at the left is a two headed alligator, the body being
+straight and supplied with two feet. The ground finish of the decorated
+band is in the light gray tint and the alligator figures and vertical
+septa now appear in that color. The ground of the remainder of the
+surface is red. It will be seen that in this case the panel outlines are
+rather elaborate and that the neck and base are striped in a way to
+enhance considerably the beauty of the vessel. Additional examples of
+animal devices are given in Figs. 177 and 178. The significance of the
+curious figure seen in the first is not easily determined, although we
+do not hesitate to assign to it an animal origin. There is a suggestion
+of two sitting figures placed back to back between the upright serrate
+lines. In the second piece, which is from another vessel, the space
+between the serrate lines is occupied by a sketchy figure which, in the
+phraseology of heraldry, may be likened to a monkey rampant.
+
+  [Illustration: Fig. 179_a_. Design from vase shown in Fig. 179.]
+
+  [Illustration: Fig. 180. Vase decorated with highly conventional
+  life forms--½.]
+
+In Figs. 179 and 180 I present very interesting examples in which the
+arched panels are used. In the first the compartments are occupied by a
+favorite Chiriquian motive, which consists of groups of lines curled up
+at one end like unfolding fronds. The whole group represents a very
+highly conventionalized animal figure (Fig. 179_a_). The devices
+occupying the upright panels take the place of the animal heads shown in
+several preceding figures. In the arched panels shown in Fig. 180 we
+have the frond-like motive treated in a manner to make it pretty certain
+that a reptilian form is intended. These figures are fully and
+systematically presented in a succeeding section.
+
+Many of these globular vases are unusually handsome. The polished ground
+is red or is varied with stripes or panels of the whitish slip. Over
+this ground the whole surface was painted black and then the lost color
+was employed to work out the design. The coiled figures were produced by
+drawing the lines in the lost color. The interspaces were then roughly
+gone over with the same pigment in such a way as to leave the figures
+inclosed within rather uneven black borders. The presentation of these
+ornaments brings me naturally to the consideration of a number of very
+puzzling forms which, if taken alone, must inevitably be referred to
+vegetal originals. In Fig. 181 we have a handsomely shaped vessel,
+finished in a polished red ground and decorated in the usual manner. In
+the main zone--here rather high up on the vase--there is a series of
+upright figures resembling stalks or stems with scroll-like branches
+springing from the sides. The stalks are probably the septa of the
+panels and the leaves are the usual reptilian symbols. About the widest
+part of the body of the vase is a band of ornament probably representing
+an animal.
+
+  [Illustration: Fig. 181. Vase decorated with highly conventional
+  life forms--½.]
+
+A still more remarkable ornament is shown in Fig. 182. The decorated
+zone of the vessel from which this is taken is divided into three
+panels, each of which contains stem-like figures terminating in flower
+shaped heads and uniting in a most remarkable way animal derivatives and
+vegetal forms. I am inclined to the view that here, as in the preceding
+case, the resemblance to a vegetal growth is purely adventitious.
+
+  [Illustration: Fig. 182. Decorated panel with devices resembling
+  vegetal growths, but probably of animal origin--½.]
+
+  [Illustration: Fig. 183. Example of vase of unusual shape--½.]
+
+  [Illustration:
+  Fig. 184.
+  Fig. 185.
+  Examples of vases of unusual shapes--½.]
+
+In striking contrast with the globular forms just given are the angular
+outlines presented in the following illustrations. The first is
+flattened above, the body being much expanded horizontally and having a
+sharp peripheral angle. Upon the shoulder, occupying the places of and
+probably standing for animal heads, are two cruciform nodes, about which
+the scroll-like decorations of the upper surface are coiled. We see by
+this that in the mind of the potter a correlation existed between the
+plastic and the painted devices even in these conventional decorations.
+The second illustration represents a neatly finished bottle, with
+upright sides and conical base, upon the shoulder of which minute animal
+figures are perched. The painted design is nearly obliterated. The third
+example is unique. The sides are upright and the bottom is flat. The
+ornament occupies the entire surface and is divided into two sections or
+zones by a red band about the middle.
+
+  [Illustration: Fig. 186. Double vessel with high arched handle--½.]
+
+Complex and compound forms are comparatively rare. A double vessel is
+shown in Fig. 186, and a second, varying somewhat from the first in
+shape and ornamentation, is presented in the succeeding figure. Vessels
+of this form are always small, but are neatly constructed and finished
+with much care. The strong handles are more or less arched and connect
+the inner margins of the two lips. The bodies of the twin cups are
+closely joined, but the two compartments are not connected.
+
+  [Illustration: Fig. 187. Double vessel with arched handle--½.]
+
+It seems impossible to present a satisfactory series of the plastic
+features characteristic of this group of products without extending this
+paper inordinately. Handles, legs, and life forms are varied and
+interesting; they are not so boldly treated, however, as in some of the
+other groups. This is a result perhaps of the unusual degree of polish
+given to all parts of the surface preparatory to the application of
+designs in color, the processes tending to subdue and simplify the
+salient features.
+
+  [Illustration: Fig. 188. Vase embellished with life forms, heads in
+  relief and other parts in color--½.]
+
+With reference to life forms it has already been pointed out that the
+painted figures generally imitate or typify animal forms, and it is
+important to note that these figures are in very many cases used as
+auxiliaries to plastic features in the development of particular
+conceptions. This is shown to advantage in Fig. 188, which illustrates a
+small, well formed bottle, having two large human-like heads attached to
+opposite sides of the body. There are no other plastic features, but the
+heads are supplied with arms and legs, rudely expressed in black lines,
+which are really the interspaces of the lines drawn in the lost color.
+These painted parts occupy the zone usually devoted to decoration and,
+as will be seen by reference to the cut, resemble closely the radiate or
+meandered figures seen in vases of the class shown in Fig. 167. The arms
+are joined to the lower part of the head and extend upward to the neck
+of the vessel, where they terminate in rudely suggested fingers. Rising
+to the right and left of the arms are legs terminating as do the arms.
+A double row of dots is carried along each member, and thus we have a
+suggestion of the relation of the dots and dotted lines, seen in more
+highly conventional forms, to the markings of the creature represented
+or symbolized. The grotesque faces are covered with lines which follow
+the forms as if imitating markings upon the skin. Another example,
+equally suggestive, also employing an animal form, is shown in Fig. 189.
+It is a cup, mounted upon three feet, which has attached to one side the
+head of a peccary, modeled with more than usual skill. The ears of the
+animal appear at the sides of the vessel and the tail is opposite the
+head. The lines and dots seen upon the head are carried along the sides
+of the vessel as far as the ears and undoubtedly represent the markings
+of the animal's skin. Behind the ears the markings are different in
+character and purely geometric. A view of the under side of the vessel
+is shown in Fig. 190 and illustrates a treatment characteristic of the
+tripod vases of this class. In other cases, instead of fixing the head
+of the animal upon one side and other members of the body upon other
+sides, two heads, or two complete creatures, are placed opposite each
+other.
+
+  [Illustration: Fig. 189. Vase modeled to represent a peccary--½.]
+
+  [Illustration: Fig. 190. Under surface of vase shown in Fig. 189.]
+
+  [Illustration: Fig. 191. Small vessel with human figures in high
+  relief and geometric color decoration--½.]
+
+I present next (Fig. 191) a piece in which there is no recognizable
+relationship between the painted and the plastic features. It is a small
+tripod cup with upright walls, upon which two characteristic Chiriquian
+human figures, male and female, are fixed. The painted figures upon the
+sides of the vessel are geometric, but refer possibly to some character
+or attribute of the modeled figures or are the survivals of figures
+belonging to vessels of this shape or style before the life forms were
+associated with them. The legs, however, so far as can be determined,
+are not related to the human motive, as they are modeled and painted to
+imitate the heads of alligators.
+
+I shall now present a few shallow bowls or pans mounted upon tripods.
+They vary in dimensions from a few inches in diameter to a foot or more
+and are strongly made, symmetrically formed, and neatly finished. The
+polished surfaces are mainly red. The designs were executed in the usual
+way in the lost color, upon a black ground, and are confined chiefly to
+the exterior surface. The alligator is the favorite motive, and in a
+number of cases is quite graphically, although still conventionally,
+rendered. As in the preceding examples, the animal heads represented in
+the legs do not always correspond to the creatures embodied in the
+painted decoration.
+
+  [Illustration: Fig. 192. Tripod cup, with figures of the
+  alligator--½.]
+
+In Fig. 192 we have a representative example of moderate size and
+ordinary finish. The decorated band is divided into panels, three of
+which are long and contain figures of the alligator. The other three are
+short and are filled with conventional devices, related perhaps to that
+animal. The legs are apparently intended to resemble the heads of
+alligators. A large piece, nearly twelve inches in diameter, is very
+similar in shape and decoration, but the legs resemble puma heads.
+
+The specimen shown in Fig. 193 is extremely well made and differs
+decidedly from the preceding. The sides are upright and the lip is
+recurved and thick. The legs represent some animal form with thick body,
+eyes at the top, and a tail-like appendage below that turns up and
+connects with the side of the body. The form of the bowl is symmetrical
+and the surface carefully finished and polished. The exterior design is
+divided into panels, as in the preceding case; the figures are simple
+and geometric. The inside of the upright portion of the wall is
+decorated with vertical lines and bands and the bottom is covered with
+an octopus-like figure, now partially obliterated.
+
+  [Illustration: Fig. 193. Large shallow tripod vase, with geometric
+  decoration--½.]
+
+The remarkable example shown in Fig. 194 illustrates a number of the
+points suggested in the preceding pages. It is a large bottle of the
+usual contour and color, mounted upon three high legs, which are slit on
+the inner surface and contain movable balls of clay. Two handles, placed
+at opposite sides of the neck, represent human or anthropomorphic
+figures. These figures and the neck and base of the vessel were finished
+in the red slip. The broad zone extending from the neck to some distance
+below the periphery was finished in the gray slip, with the exception of
+the frames of two panels beneath the handles and the foundation lines of
+two large figures of alligators, which are in red. The surface, when
+thus treated, was well polished and then a coat of black was laid upon
+it, and upon this details of the designs were drawn in the lost color.
+The figures of the alligators exhibit some striking peculiarities. The
+hooked snout, the hanging jaw, the row of dotted notches extending along
+the back, and especially the general curve of the body are worthy of
+attention. These features are seen to better advantage in the series of
+vases presented in the following section.
+
+Belonging to this group are many whistles, needlecases, and rattles, all
+of which are described under separate headings upon subsequent pages.
+
+  [Illustration: Fig. 194. Large bottle shaped vase, with high tripod
+  and alligator designs--½.]
+
+_The alligator group._--The group of ware to which I give the above name
+is perhaps the most interesting in the collection, although numerically
+inferior to some of those already presented. Its decoration is of a very
+striking character and may serve to throw much light upon the origin and
+evolution of certain linear devices, as it illustrates with more than
+usual clearness the processes of modification.
+
+I will first present a representative series of the vessels, in order
+that they may in a measure tell their own story; yet it is not possible
+without the direct aid of a full series of the objects themselves to
+convey a clear and comprehensive notion of the metamorphoses through
+which the forms and decorations pass.
+
+This group, like that last described, is composed chiefly of bottle
+shaped vases with globular bodies and short, wide necks; but there is no
+danger of confusion. By placing a series from each group side by side a
+number of marked differences may be noted. In the lost color group the
+neck is decided in form, the body is usually somewhat flattened above
+and is distinctly conical below, and the prevailing color is a rich dark
+red. In the alligator group the body is more nearly globular and the
+curves of the whole outline are more gentle; the prevailing color is a
+light yellowish gray. The reds and the blacks, which are used chiefly in
+the figures, are confined to rather limited areas.
+
+Besides the bottle shaped vases, there is a limited series of the usual
+forms, and a few pieces exhibit unique features. The management of life
+forms is especially instructive. Handles are rare and legs are usually
+not of especial interest, as they are plain cones or at most but rude
+imitations of the legs of animals. Shallow vessels are invariably
+mounted upon tripods and a few of the deeper forms are so equipped.
+Usually the sizes are rather small; but we occasionally observe a bottle
+having the capacity of a gallon or more. The materials do not differ
+greatly from those employed in other groups of ware. The paste is fine
+grained and light in color, sometimes reddish near the surface, and
+where quite thick is darker within the mass. A slip of light yellowish
+hue was in most cases applied to the entire surface. A red ochery
+pigment was in some instances used in finishing the lip and the base of
+the body, and occasionally the red pigment was applied as a base, a kind
+of sketch foundation for the decoration proper. For example, when the
+alligator was to appear upon the side of the vessel, the principal forms
+were traced in broad lines of the red color, and these were polished
+down with the slips. When the polishing process was complete, the
+details of the figure, were drawn in black and in cases partially in
+red. Black was the chief delineating color, the red having been confined
+to broad areas, to outlines, and to the enframing of panels. In
+execution, therefore, there is a decided contrast with the preceding
+group, and it may be added that there is an equally strong contrast in
+both treatment and subject matter of the ornament. The motives are
+derived almost wholly from life forms and retain for the most part
+features that suggest their origin. The subjects are chiefly reptilian,
+the alligator appearing in a majority of cases, and hence the name of
+the group.
+
+I present first a few examples of plain bottles which have no extraneous
+plastic features. The decorations are arranged in two ways, in zones
+about the upper part of the body or in circular areas, generally four in
+number, equidistantly placed about the shoulder of the vessel.
+
+  [Illustration: Fig. 195. Large bottle, with narrow zone containing
+  figures of the alligator--1/3.]
+
+An example of the first style is given in Fig. 195, which represents the
+largest piece in this group of ware. The form is symmetrical and very
+pleasing to the eye. The surface is not very highly polished and shows
+the marks of the polishing implement distinctly over the entire surface.
+Two black lines encircle the flat upper surface of the rim and the outer
+margin is red. The neck and a narrow zone at the upper part of the body
+are finished in a cream colored slip and the body below this is red. The
+narrow band of ornament occupies the lower margin of the light colored
+zone and consists of five encircling lines in black, three of which are
+above and two below a band one-half an inch wide, in which five much
+simplified figures of alligators are drawn. Besides these figures there
+are two vertical septum-like bands. Each of these consists of three
+lines bordered by dots, which probably have some relationship with the
+alligator. The decorated zone of these vessels is divided in various
+ways into panels, some of which are triangular, while others are
+rectangular or arched. The latter form is seen in Fig. 196. Five arches,
+having no border line above, are occupied by abbreviated alligator
+devices. The number of compartments ranges in other specimens from two
+to a dozen or more. They are filled in with various devices, to be
+described in detail further on.
+
+  [Illustration: Fig. 196. Vase with decorated zone containing four
+  arched panels--½.]
+
+  [Illustration: Fig. 197. Vase with four round nodes upon which
+  animal devices are painted--½.]
+
+A very peculiar form of decoration consists of circular or rosette-like
+ornaments, such as are shown in Fig. 197. Four slightly relieved nodes
+an inch or more in diameter are placed upon the shoulder of the vessel.
+These are encircled by red lines which inclose two black lines each, and
+within these are peculiar devices in black. Other vessels furnish
+figures of greatly diversified characters, most of which evidently refer
+to life forms. A full series of these is given in a subsequent section
+of this paper, where the origin of the nodes and the manner in which the
+painted figures probably became associated with them will be fully set
+forth.
+
+  [Illustration: Fig. 198. Vases of varied form and decoration.]
+
+In the series of outlines presented in Fig. 198, we have some of the
+varieties of form and decoration of both the ordinary bottles and the
+plainer tripod cups. Each example presents certain features of
+particular interest. The handsome little bottle (_d_) with the plastic
+ornament about the neck and the zone of geometric ornament in black and
+red lines is unique. The double necked bottle is an unusual form and its
+decoration consists of a strangely conceived representation of the
+alligator. The tripod vases are worthy of close attention: the piece
+illustrated in _b_ has a zone of ornament separated into three parts by
+vertical spaces, each part being enframed in black. The sections are
+divided by red lines into three panels, each of which contains a
+conventional figure of an alligator in black. The piece shown in _a_ is
+unique in its decoration. Four angular fret links in black are inclosed
+in as many panels, bordered by red and separated by blank spaces. These
+fret links, as I shall show further on, probably refer to or symbolize
+the alligator. The legs of the cups are all conical and are marked with
+short transverse lines in black, which have a direct reference to the
+markings of the animal to which the vase was consecrated. A careful
+study of the preceding illustrations leads to the conclusion that in the
+mind of the potters there was a close and important relationship between
+the vessel and the reptilian forms embodied in both plastic and surface
+embellishment. The series of examples which follow have a bearing upon
+this point. I shall begin with that in which the creature is most
+literally rendered.
+
+  [Illustration: Fig. 199. Alligator vase, with conventional
+  markings--½.]
+
+  [Illustration: Fig. 200. Alligator vase, with conventional figures
+  of the alligator painted on the sides--½.]
+
+In Fig. 199 the whole conformation of the vessel is considerably
+modified through the attempt to perfect the likeness of the alligator,
+whose head, tail, and legs are graphically rendered. The body, head, and
+tail are covered with nodes, each of which is encircled by a black ring
+and has a black dot upon the apex. Dotted rings and short strokes of
+black occupy the interspaces. These devices represent the spines and
+scales of the creature's skin. The legs are marked with horizontal
+stripes and oval spaces at the top inclose three dots each. The general
+color of the vessel is a dark brown. This piece should be compared with
+the alligator whistle shown in Fig. 250.
+
+A somewhat different treatment is shown in Fig. 200. Here the animal
+form has undergone considerable modification. There are but three
+legs--a concession to the conventional tripod--and the body exhibits,
+instead of the nodes and the markings of the creature's skin, two
+conventional drawings of the whole animal. Now, by higher and higher
+degrees of convention, we come to a long series of modified results
+which must be omitted for want of room. We find that the plastic
+features are gradually reduced until mere nodes appear where the head
+and the tail should be, and finally in the lower forms there remains but
+a blank panel or a painted device, as already shown in a preceding
+section. The painted devices are also reduced by degrees until all
+resemblance to nature is lost and geometric devices alone remain.
+I observe in this association of plastic and painted features a lack of
+the perfect consistency I had learned to expect in the work of primitive
+peoples. It is easy to see how, from painting the markings of the
+creature's skin upon the body of the vessel, the painter should come
+gradually to delineate parts of the creature or even the whole creature,
+but we should not expect him to paint a creature distinct in kind from
+that modeled, thus confusing or entirely separating the conceptions;
+this has been done, apparently, in the vase illustrated in Fig. 202,
+where the plastic form represents a puma and the painting upon the sides
+seems intended for an alligator. It will be seen from the figures given
+that the devices of the panels or sides do not necessarily represent the
+markings of the animal's body, as in Fig. 201, but that they may refer
+to the entire creature (Fig. 200) or even to what appears to be a
+totally distinct creature (Fig. 202).
+
+  [Illustration: Fig. 201. Vase having the head and tail of a serpent
+  projecting from opposite sides of the body and connected by a
+  meandered design which stands for the markings of the body--½.]
+
+If realistic or semirealistic delineations are confused in this way it
+is to be expected that highly conventional derivative figures, so
+numerous and varied, should be much less clearly distinguished; that
+indeed there should be no certainty whatever in the reference to
+originals. It is difficult to say of any particular conventional device
+that it originated in the figure of the animal as a whole rather than in
+some part or character of that animal or of some other animal.
+
+  [Illustration: Fig. 202. Vase representing a puma, with figures of
+  the alligator painted upon the sides--½.]
+
+  [Illustration: Fig. 203. Shallow vase with reptilian features in the
+  round and designs in red and black representing the markings of the
+  creature's body--½.]
+
+A very instructive example bearing upon this subject is shown in
+Fig. 203. Attached to one side of the basin is a pendent head resembling
+that of a serpent or a turtle. A kind of hood overhangs the head and
+extends in a ridge around the sides of the vessel, connecting with the
+tail of the creature, which is also pendent and hooded. Four legs
+support the vessel and are marked with transverse stripes of red and
+black paint. The upper surface of the head is covered with reticulated
+lines in black, and bands of conventional ornament in the same color
+extend around the sides of the vessel, uniting the head with the tail of
+the animal. A single band of ornament passes beneath the body, also
+connecting those members. It is plain that these painted bands serve to
+complete the representation of the reptile. But, as I have just shown,
+they are as likely to stand for the whole creature or to be the
+abbreviated representative of the whole creature as to represent merely
+the markings of the body. These devices, as arranged in the zone,
+resemble in a remarkable degree the conventional running scroll.
+
+  [Illustration: Fig. 204. Vase with funnel shaped mouth and square
+  body, supported by two grotesque figures and decorated with figures
+  of alligators and monkeys--½.]
+
+I have but one more example of the alligator vases to present, but it is
+perhaps the most remarkable piece in the collection (Fig. 204). It
+illustrates to good advantage both the skill and the strange fancy of
+these archaic potters. A large vase, having a high flaring rim and a
+subcubical body, is supported by two grotesque human appearing figures,
+whose backs are set against opposite ends of the vessel. The legs are
+placed wide apart, thus affording a firm support. The heads of the two
+figures project forward from the shoulder of the vase and are flattened
+in such a way as to give long oval outlines to the crowns which are
+truncated and furnished with long slit-like openings that connect
+through the head with the main chamber of the vessel. The openings are
+about two and a half inches long and one-eighth of an inch wide and are
+surrounded by a shallow channel in the flat, well polished upper
+surface. The extraordinary conformation of this part of the vessel
+recalls the well known whistling vases of South America; but this piece
+is too badly broken to admit of experiment to test its powers. It is
+generally likened to a money box. In order to convey a clear conception
+of the shape of the upper surface, I present a top view of the vessel
+(Fig. 205).
+
+  [Illustration: Fig. 205. Top view of vase in Fig. 204, showing the
+  main orifice and the oblong openings.]
+
+  [Illustration: Fig. 206. End view of vase in Fig. 204, showing front
+  view of grotesque figure. The red portions of the painted figures
+  are outlined with dots.]
+
+A front view of one of the supporting figures is shown in Fig. 206.
+Although certainly not intended to represent a human figure with
+accuracy, it is furnished with a crown, as are the figures in gold and
+stone, and is covered with devices that seem to refer to costume. The
+features are extremely grotesque, the nose resembling the beak of a bird
+and the mouth being a mere ridge, without indications of the lips. The
+face and the chest are painted with curious devices in red. The funnel
+and body of the vase are decorated with subjects that seem to have no
+connection with the plastic features and no relation to one another in
+subject matter. The upper panel, surrounded by a framework of black and
+red lines, contains the figure of an alligator much simplified and
+taking a peculiar position on account of the shape of the space into
+which it is crowded. The figure occupying the body panel is that of a
+very strangely conventionalized two tailed monkey and is enframed by a
+wide red line. On the shoulder of the vessel is an ornament consisting
+of a number of angular hooks attached to a straight line. The effect is
+like that of fretwork, but the figure is probably derived from a
+modified animal form. The paste of this vase is sandy and is reddish
+gray near the surface and quite dark within the mass. The modeling is
+thoroughly well done, and the surface, which is of a somber, yellowish
+gray tint, is highly polished. The figures are drawn chiefly in black,
+red being confined to broad lines and areas. De Zeltner published
+photographic illustrations of a similar vase with his pamphlet on the
+graves of Chiriqui. That specimen is now, I believe, in the hands of
+Prof. O. C. Marsh, of New Haven. It corresponds very closely in nearly
+every respect with the example here described.
+
+  [Illustration: Fig. 207. Large vase with decorations in red and
+  black--¼.]
+
+_The polychrome group._--The National Museum collection contains but
+three examples of this most artistic of the wares of Chiriqui. Its claim
+to superiority rests upon a certain boldness and refinement of
+execution, combined with nobleness of outline and a type of design much
+in advance of other isthmian decoration. It is probably most nearly
+allied to the ware of the alligator group, and it possesses some of the
+characteristics of the best Central American work. Unlike the other
+wares of Chiriqui, this pottery has a bright salmon red paste and the
+slip proper is a delicate shade of the same color. In nearly all cases
+undecorated portions of the surface are finished in red, which appears
+to have been polished down as a slip. The designs are in three
+colors--black, a strong red, and a fine gray purple--which, in
+combination with the bright reddish ground, give a very rich effect. The
+first example, shown in Fig. 207, is a large, nearly symmetrical bottle
+with a short neck and a thick, flaring lip. The inner surface of the
+orifice and the lower half of the body are finished in red and the neck
+and shoulder in the salmon colored slip. A wide zone of ornament
+encircles the upper surface of the body. The designs are executed with
+great skill in red and black colors and include two highly conventional
+figures, probably of reptilian origin. The manner of their introduction
+into the zone is shown in Fig. 208. The oval faces are placed on
+opposite sides, taking the positions usually occupied by modeled heads.
+Each face is supplemented by a pair of arms which terminate in curiously
+conventional hands, and the two caudal appendages are placed midway
+between the faces, filling triangular areas. The body of the vase serves
+as a body for both creatures. In the illustration, the red of the
+design, which is carried over all of one face save the eyes and mouth
+and serves to emphasize the features of the other face, is indicated in
+vertical tint lines and the black is given in solid color. This vase is
+twelve inches in height.
+
+  [Illustration: Fig. 208. Devices of the decorated zone of vase shown
+  in Fig. 207.]
+
+  [Illustration: Fig. 209. Handsome vase with four handles and
+  decorations in black, red, and purple--2/3.]
+
+A second example, illustrated in Fig. 209, is a fine piece of somewhat
+unusual shape. The orifice is trumpet shaped and rather too wide for
+good proportion. The body is flattened above and conical below and is
+supported by a rather meager annular foot. The paste is of a light brick
+red color, and the slip, as seen in the ground of the decorated belt, is
+a pale gray orange. Undecorated portions of the surface are painted red.
+The ornamented zone is interrupted by two pairs of handle-like
+appendages set upon the outer part of the shoulder. These projections
+may possibly have served as handles, as they are perforated both
+horizontally and vertically, but they are at the same time undoubtedly
+conventionalized animal forms, the creature being represented by the
+four flattened, transversely marked arms or rays and an eye-like device
+painted upon the top of each figure. The painted devices are seen in
+plan in Fig. 210, where the relations of the relieved features to the
+zone of painted decoration are clearly shown. This zone is divided into
+panels of unequal dimensions, and within these a number of extraordinary
+devices are drawn in three colors, red, black, and purple. These are
+distinguished in the plan by peculiar tint lines. The designs are of
+such a character as to leave little doubt that they are ideographic,
+although at present it is impossible to guess the nature of the
+associated ideas. The annular foot observed in this specimen illustrates
+the first step in the development of a feature the final stage of which
+is shown in Fig. 211. The latter shape is such as would result from
+inverting the preceding form, removing the conical base of the body, and
+using the funnel shaped orifice as a stand. This highly developed shape
+implies a long practice of the art. The form is a usual one in Mexico
+and in Central America. The bowl is shallow and is set gracefully upon
+the stand, the whole shape closely resembling simple conditions of the
+classic kylix. The color of the paste is a pale brick red and that of
+the slip approaches orange. The walls are thick and even and the surface
+is very carefully polished.
+
+  [Illustration: Fig. 210. The painted designs of vase in Fig. 209
+  viewed from above.]
+
+The painted decoration is of unusual interest. The colors are so rich,
+the execution is so superior, and the conception so strange that we
+dwell upon it with surprise and wonder. The central portion of the bowl
+is occupied by what would seem to represent a fish painted in strong,
+firm, marvelously turned lines, and in a style of convention wholly
+unique. The outlines are in black and the spaces are filled in with red
+and purple or are left in the orange hue of the ground. An idea of the
+superior style of execution can be gained from Fig. 212. It will be
+impossible to characterize the details of the drawing in words. The
+strange position and shape of the head, the oddly placed eyes and mouth,
+and the totally incomprehensible treatment of the body can be
+appreciated, however, by referring to the illustration. A careful study
+leads inevitably to the conclusion that this was no ordinary decoration,
+no playing with lines, but a serious working out of a conception every
+part of which had its significance or its raison d'être.
+
+  [Illustration: Fig. 211. Vase of unusual shape, with decoration in
+  black, red, and purple--1/3.]
+
+  [Illustration: Fig. 212. Ornament occupying the interior surface of
+  the basin of vase shown in Fig. 211.]
+
+The figures occupying the border zone of the bowl are worthy of careful
+inspection. It will be seen that the potter, even in this highly
+specialized condition of the utensil, has not lost sight of the
+conception that the vessel is the body of an animal, as we have seen so
+often in simpler forms, and that the symbols of the creature should
+appear upon it and encircle it. The zone is divided into two equal
+sections by small knobs, painted, as are the handle-like appendages in
+the preceding specimen, to represent some animal feature. The lateral
+sections are occupied by eye-like figures that stand for the markings of
+the body of the creature symbolized. They really occupy the spaces left
+by a continuous waved body or life line, which they serve to define.
+Devices of this class are most frequently met with in connection with
+representations of the alligator. They may, however, symbolize the
+serpent, as occasionally seen in the alligator group. Decorative
+conceptions so remarkable as these could arise only through one channel:
+the channel of mythology. The superstitions of men have imposed upon the
+art a series of conceptions fixed in character and limited to especial
+positions, relations, and forms of expression. It is useless to
+speculate upon the nature of the mythologic conceptions with an idea of
+arriving at any understanding of the religion of the people; but we do
+learn something of the stage of development, something of the condition
+of philosophy.
+
+  [Illustration: Fig. 213. Large vase of fine shape and simple
+  decorations. From De Zeltner--about ¼.]
+
+I must not close this section without referring to some fine vases that
+belong apparently to this group and which were collected by De Zeltner
+and illustrated by photographs accompanying his pamphlet. They are now,
+I believe, in the possession of Prof. O. C. Marsh. The sketches given
+herewith are copied from De Zeltner's photographs and are probably
+somewhat defective in details of drawing. The piece illustrated in
+Fig. 213 is not described by the author, but is evidently a handsome
+vessel and is decorated in a very simple manner. A band of devices
+symbolizing the body of an animal encircles the middle portion of the
+vase. The height is about a foot.
+
+  [Illustration: Fig. 214. Vase with extraordinary decorative designs.
+  From De Zeltner--about ¼.]
+
+A second piece (Fig. 214), of which two views are given by the same
+author, corresponds closely in many respects with the vase illustrated
+in Fig. 211 and is described in the following language:
+
+  My collection includes a cup (or chalice) of baked clay 25
+  centimeters in diameter, mounted on a hollow stand which gives it a
+  height of 18 centimeters, and the designs of which are very rich and
+  in perfect taste. The base is hollow and colored red, white, black,
+  and purple; it has four narrow openings or slits, and the design
+  represents plaits spirally arranged. The under side of the cup is
+  divided into four compartments, each of which incloses a dragon
+  painted in black and red on a white ground; the borders are
+  sometimes red, sometimes purple. The body of the dragon might have
+  been painted in China, so neat and intricate is the drawing.
+
+  The design upon the inside of the cup seems to resemble Egyptian
+  art. The body of a man is seen, painted in red, the arms and legs
+  separated, and the shoulders bearing the head of the dragon with
+  teeth and crest. The color is similar to the rest of the
+  piece--purple, white, and black. The intermediate spaces are filled
+  with very intricate designs.
+
+This extraordinary design is shown in Fig. 215, and it will be seen that
+it agrees in many respects with figures presented in the lost color and
+alligator groups. It is compound in character, however, the head
+referring to the alligator, the body and extremities perhaps to a man or
+to a monkey. The suggestion of the oriental dragon in this, as in other
+examples, is at once apparent, and the resemblance to certain
+conventional forms that come down to us from the earliest known period
+of Chinese art is truly remarkable. We cannot, of course, predicate
+identity of origin even upon absolute identity of appearances, but such
+correspondences are worthy of note, as they may in time accumulate to
+such an extent that the belief in a common origin will force itself
+upon us.
+
+  [Illustration: Fig. 215. Painted design of vase in Fig. 214, viewed
+  from above, thought to represent a dragon by De Zeltner; probably a
+  composite of the alligator and the monkey or man.]
+
+_Unclassified._--A small number of vases do not admit of classification
+under any of the preceding heads. In most cases, however, they are not
+of especial interest and may be passed over. They represent a number of
+varieties of ware and are possibly not all Chiriquian, their affinities
+being rather with the pottery of Costa Rica and Nicaragua. One
+remarkable piece, of which a sketch is given in Fig. 50, _c_, is of
+large size and is shaped somewhat like an hour glass, and on account of
+its peculiar form and markings may be said to resemble a corset. The
+upper end is somewhat the smaller, and the septum, which forms the
+bottom of the vessel, is placed about an inch above the base of the
+foot. The interior surface is smoothly polished and painted a dark dull
+red. The exterior is uncolored and neatly fluted. The series of vertical
+ribs of the upper end is separated from those of the base by a belt of
+horizontal flutings, and a wide smooth space extends from the top to the
+base, the lower section of which is occupied by a row of button-like,
+indented knobs. The use of this utensil may not have been peculiar, but
+its shape is wholly unique. It resembles most nearly the ware of the
+maroon group. Its height is twelve inches.
+
+Perhaps the most interesting of these unclassified vases is a somewhat
+fragmentary piece, of which an outline is given in Fig. 216. The ware
+closely resembles that of the alligator group in color of the paste and
+slip, but the base has been supplied with an annular stand, a feature
+not observed in that group, and the colors of the design, with the
+exception of the black, are unlike those used in Chiriquian vases.
+
+  [Illustration: Fig. 216. Vase of unique form and decoration--1/3.]
+
+  [Illustration: Fig. 217. Painted design of vase in Fig. 216 in
+  black, red, and gray.]
+
+It will be seen by reference to Fig. 217 that the painted figures are
+partially pictorial, the conventional scenes including the sun, the
+moon, and stars. The more conventional parts of the design are very
+curious and without doubt are symbolic. The border of fret work is
+Mexican in style. The sun, which is only partially exposed above the
+horizon, is outlined in red and is surrounded by red rays. The figures
+supposed to represent the moon and the stars are in black. In the
+illustration the reds of the original are represented by vertical tint
+lines and the brownish grays by horizontal tint lines. The black is in
+solid color.
+
+
+MISCELLANEOUS OBJECTS OF CLAY.
+
+As primitive peoples advance in culture and the various branches of art
+are differentiated, each of the materials employed is made to fill a
+wider and wider sphere of usefulness. Clay, applied at first to vessel
+making and used perhaps as an auxiliary in a number of arts in which it
+took no definite or individual shapes, gradually extended its dominion
+until almost every art was in a measure dependent upon it or in some way
+utilized it. The extent of this expansion of availability is in a
+general way a measure of the advancement of the races concerned. The
+Chiriquians employed clay in the construction of textile machinery, as
+shown by the occurrence of spindle whorls, and a number of small
+receptacles, probably needlecases, are constructed of that material. It
+was employed in the manufacture of stools, statuettes, drums, rattles,
+and whistles. With less cultured races, such as the Pueblo and mound
+builders of the north, such articles were rarely manufactured, while
+with the more cultured nations of Mexico and Peru a wider field was
+covered and the work was considerably superior.
+
+SPINDLE WHORLS.
+
+The art of weaving was carried to a high degree of perfection by many of
+the American races, but the processes employed were of the simplest
+kind. The threads were spun upon wooden spindles weighted with whorls of
+baked clay. These whorls are not plentiful in the graves of Chiriqui,
+but such as have been collected are quite similar in style to those of
+Mexico and Peru. In Figs. 218, 219, and 220 we have three examples
+modeled with considerable attention to detail but comparatively rude in
+finish. They are in the natural color of the baked clay and are but
+rudely polished. The first is encircled by a line of rough, indented
+nodes, the second is embellished with homely little animal figures, and
+the third with incised patterns and rude incisions.
+
+  [Illustration: Fig. 218. Spindle whorl in gray clay decorated with
+  annular nodes--1/1.]
+
+  [Illustration: Fig. 219. Spindle whorl of gray clay with animal
+  figures--1/1.]
+
+  [Illustration: Fig. 220. Spindle whorl of dark clay with
+  perforations and incised ornament--1/1.]
+
+NEEDLECASES (?).
+
+I have given this name to a rather large class of small oblong or oval
+receptacles that could have served to contain needles or any other small
+articles of domestic use or of the toilet. They consist of two parts,
+a vessel or body and a lid. The former takes a variety of cylindrical,
+subcylindrical, and doubly conical shapes, and the latter is conical and
+is in many cases furnished with a knob at the top for grasping with the
+fingers. The lid is attached or held in place by means of strings passed
+through small holes made for the purpose in corresponding margins of the
+two parts. These objects were in pretty general use in the province, as
+they are found to belong to a number of the groups of ware, being
+finished and decorated as are the ordinary vessels of these classes.
+A few type specimens are given in the following cuts. A fine example
+belonging to the unpainted ware is shown in outline in Fig. 221. It is
+five inches in height and three in diameter and is pleasing in shape.
+The specimen outlined in Fig. 222 is of the lost color group, but has
+lost nearly all traces of the decorative design.
+
+  [Illustration: Fig. 221. Needlecase of unpainted clay with conical
+  lid--½.]
+
+  [Illustration: Fig. 222. Needlecase, lost color group of ware--½.]
+
+A fine example, with high polish and elaborate decoration, is presented
+in Fig. 223. The lid is raised to show the position of the perforations.
+Two interesting examples belonging to the dark incised ware are shown in
+Figs. 224 and 225. The deeply incised design of the first is purely
+geometric, but is probably of graphic parentage, while that of the
+second, rather rudely scratched through the dark surface into the gray
+paste, is apparently a less highly conventionalized treatment of the
+same motive.
+
+  [Illustration: Fig. 223. Needlecase with painted geometric ornament,
+  belonging to the lost color group of ware--½.]
+
+  [Illustration: Fig. 224. Needlecase of gray clay with angular
+  incised geometric ornament--½.]
+
+  [Illustration: Fig. 225. Needlecase of gray clay with black polished
+  surface and incised ornament--½.]
+
+FIGURINES.
+
+I have already called attention to the fact that there is no such thing
+in Chiriquian ceramic art as a well modeled human figure and apparently
+no indication of an attempt to render the human physiognomy with
+accuracy. It is highly probable that the personages embodied in the
+mythology of the people took the forms of animals or were
+anthropomorphic and gave rise to the peculiar conceptions embodied in
+their arts. The strange objects herewith presented are rendered in a
+measure intelligible by the adoption of this hypothesis. These figurines
+are confined to the alligator group of ware and are quite numerous. They
+are small, carefully finished, and painted with care in red and black
+lines and figures. They are semihuman and appear to be arrayed in
+costume. The head of each is triangular in shape, having a sharp,
+projecting profile, with the mouth set back beneath the chin, reminding
+one of the face of a squirrel or some such rodent. The figures occupy a
+sitting posture. The legs are spread out horizontally, giving a firm
+support, and terminate in blunt cones, which are in some cases slightly
+bent up to represent feet. The hands rest upon the sides or thighs or
+clasp a small figure apparently intended for an infant, which, however,
+does not seem to have any human features. In one case this figure is
+placed upon the back of the figurine and appears to hold its place by
+means of four feet armed with claws (Fig. 226); in another it is held in
+front (Fig. 227). The neck is usually pierced to facilitate suspension,
+and the under side of the body--the sitting surface--is triply
+perforated, or punctured if solid, as if for the purpose of fixing the
+figure in an upright position to some movable support. The central
+perforation is round and the lateral ones, on the under side of the
+legs, are oblong. The largest specimen is six inches in height and the
+smallest about one and a half inches. They are rather elaborately
+painted with black and red devices which, by their peculiar geometric
+character, are undoubtedly intended to indicate the costume. The hair is
+represented by black stripes, which descend upon the neck, and the face
+is striped with red. They are found associated with other relics in the
+graves and were possibly only toys, but more probably were tutelary
+images or served some unknown religious purpose. The sex is usually
+feminine. Two additional examples showing side and back views are
+outlined in Figs. 228 and 229.
+
+  [Illustration: Fig. 226. Statuette, alligator group--1/1.]
+
+  [Illustration: Fig. 227. Statuette, alligator group--1/1.]
+
+  [Illustration: Fig. 228. Statuette of small size--1/1.]
+
+  [Illustration: Fig. 229. Statuette of largest size--½.]
+
+STOOLS.
+
+I have given this name to a class of stone carvings presented in a
+previous section, and, for want of a better name, give it also to a
+series of similar objects modeled in clay. These are among the most
+elaborate products of Chiriquian art. In all cases they are of the
+yellowish unpainted pottery and indicate much freedom and skill in the
+handling of clay. They do not show any well defined evidences of use,
+and as they are too slight and fragile to be used as ordinary seats we
+are left to surmise that they may have served some purpose in the
+religious rites of the ancient races. They are uniform in construction
+and general conformation and consist of a circular tablet supported by
+upright circular walls or by figures which rest upon a strong, ring
+shaped base. The tablet or plate is somewhat concave above, is less than
+an inch in thickness, and has a diameter of ten and one-fourth inches in
+the largest piece, descending to seven and one-half in the smallest. The
+margin is rounded and usually embellished with a beaded ornament
+consisting of grotesque heads, generally reptilian. The variations
+exhibited in details of modeling are well shown by the illustrations. In
+the example given in Fig. 230 the upright portion is a hollow cylinder,
+having four vertical slits, alternating with which are oblique bands of
+ornament in incised lines and punctures. The projecting margin of the
+tablet is encircled by a row of grotesque, monkey-like heads, facing
+downward.
+
+  [Illustration: Fig. 230. Stool of plain terra cotta, decorated with
+  grotesque heads and incised figures--1/3.]
+
+Fig. 231 illustrates a specimen in which three grotesque figures, with
+forbidding faces, alternate with as many flat columns embellished with
+rude figures of alligators. Eighteen grotesque, monkey-like heads occupy
+the lower margin of the seat plate in the spaces between the heads of
+the supporting figures. This specimen illustrates the favorite
+Chiriquian method of construction. The various parts were modeled
+separately in a rough way and then set into place in the order of their
+importance. When this was done and the insertions were neatly worked
+together with the fingers, a number of small instruments were employed
+in finishing: a sharp stylus for indicating parts of the costume, and
+blunt points and small tubular dies for adding intaglio details of
+anatomy, such as the navel, the pupils of the eyes, and the partings of
+the fingers and toes.
+
+  [Illustration: Fig. 231. Stool of plain clay, with grotesque
+  figures--½.]
+
+The discoidal plate of another specimen is supported by four absurdly
+grotesque monkeys, giving a general effect much like that of the last.
+
+  [Illustration: Fig. 232. Stool of plain terra cotta, with strange
+  figures--1/3.]
+
+A very remarkable piece is shown in Fig. 232. The tablet is supported by
+six grotesque figures, somewhat human in appearance, whose limbs are
+intertwined with serpents, suggesting the famous group of the Laocoön.
+The work is roughly done and the details are not carried out in a very
+consistent manner, as the arms and legs of the figures become confused
+with the reptiles and are as likely to terminate in a snake's head as in
+a hand or foot. The rudely shaped bodies are covered with indented
+circlets or with short incised lines. The material, color, and finish
+are as usual. The height is four and one-half inches and the diameter of
+the tablet ten inches.
+
+There are additional specimens in the National Museum. In one case, the
+largest specimen of the series, the tablet is supported by five upright
+female human figures and the margin is encircled by a cornice of
+forty-six neatly modeled reptilian heads. A small example differs
+considerably in general shape from those illustrated, the base being
+much smaller than the circular tablet. The supporting figures are two
+rudely modeled ocelots and two monkey-like figures, all of which are
+placed in an inverted position. Similar objects are obtained from the
+neighboring states of Central and South America.
+
+MUSICAL INSTRUMENTS.
+
+Something is already known of the musical instruments of the ancient
+Chiriquians through fugitive specimens that have found their way into
+collections in all parts of Europe and America. The testimony of the
+earthen relics--for no others are preserved to us--goes to show that the
+art of music was, in its rude way, very assiduously practiced, and that
+it probably constituted with these, as with most primitive communities,
+a serious and important feature in the various ceremonial exercises.
+Clay is naturally limited to the production of a small percentage of the
+musical instruments of any people, the various forms of woody growths
+being better adapted to their manufacture. We have examples of both
+instruments of percussion and wind instruments, the former class
+embracing drums and rattles and the latter whistles and clarionette-like
+pipes.
+
+_Rattles._--Besides the ordinary rattles attached to and forming parts
+of vessels, as already described, there are a number of small pieces
+that seem to have served exclusively as rattles, while some are rattle
+and whistle combined in one piece. In no case, however, would they seem
+to the unscientific observer to be more than mere toys, as they are of
+small size and the sounds emitted are too weak to be perceptible at any
+considerable distance. At the same time it is true that they may have
+had ceremonial offices of no little consequence to the primitive
+priesthood. The simple rattles are shaped like gourds, the body being
+globular and the neck or handle long and straight. Like the wares
+already described, they are finished and decorated, the majority
+belonging to the lost color group. The length varies from three to six
+or seven inches. A number of minute slit-like orifices or perforations
+for the emission of the sound occur about the upper part of the body
+(Fig. 233). A septum is placed in the lower part of the neck, so that
+the handle, which is hollow and open at the upper end, may serve as a
+whistle. In some cases the lower part of the neck is perforated for
+suspension at the point occupied by the septum, as imperfectly shown in
+the section (Fig. 234). The most interesting specimen in the collection
+is shown in Fig. 235; it is especially notable on account of its
+construction, which points clearly to the gourd as a prototype. The body
+is of the usual globular shape, slightly elongated above. The neck is
+represented as a separate piece lashed on with cords by means of
+perforations made for the purpose, just as are the handles of similar
+instruments constructed of gourds and reeds in Central American
+countries. The compartments of the handle and of the body are separate
+and the sound produced by the small oval pellets is emitted through
+slits of the usual form. The top of the handle is surmounted by a pair
+of grotesque human figures, male and female, placed back to back and
+united at the backs of the heads as seen in the cut. This object is gray
+in color and presents the roughened granular surface resulting from long
+exposure to the elements.
+
+  [Illustration: Fig. 233. Rattle decorated in the style of the lost
+  color group--½.]
+
+  [Illustration: Fig. 234. Section of rattle shown in Fig. 233.]
+
+  [Illustration: Fig. 235. Rattle of plain ware surmounted by two
+  grotesque figures--½.]
+
+_Drums._--The drum was a favorite instrument with the native American
+musician. Early explorers found its use next to universal, and the
+"tambour" is even now a characteristic feature of the musical
+paraphernalia of the Spanish-Americans. The primitive instrument was
+made by stretching a thin sheet of animal tissue over the orifice of a
+large gourd vessel or a vessel of wood or clay. The use of clay was
+probably exceptional, as there are but three specimens in our Chiriquian
+collection. The shape is somewhat like that of an hour glass, the upper
+part, however, being considerably larger than the base or stand. In all
+cases the principal rim is finished with especial reference to the
+attachment of the vibrating head. The example presented in Fig. 236 has
+a deeply scarified belt an inch wide encircling the rim, and below it is
+a narrow ridge, intended perhaps to facilitate the lashing or cementing
+on of the head. Two raised bands, intended to imitate twisted cords,
+encircle the most constricted part of the body, a single band similarly
+marked encircling the base. The surface is gray in color and but rudely
+polished. The walls are about three-eighths of an inch thick, the height
+sixteen and one-half inches, and the greatest diameter seven and
+one-half inches.
+
+  [Illustration: Fig. 236. Drum of gray unpainted clay--¼.]
+
+The decorated specimen illustrated in Fig. 237 is imperfect, a few
+inches of the base having been lost. The shape is rather more elegant
+than that of the other specimen and the surface is neatly finished and
+polished. The ground color or slip is a warm yellow gray and the
+decoration is in red and black. The rim or upper margin is rather rudely
+finished and is painted red and on the exterior is made slightly concave
+and furnished with a raised band to facilitate the attachment of the
+head. The painted ornament encircles the body in four zones, two upon
+the upper portion and two upon the base. The designs occupying the body
+zones are unique and viewed in the light of their probable origin are
+extremely interesting. In another place further on in this paper I shall
+show that they are probably very highly conventionalized derivatives of
+the alligator radical, the meandered line representing the body of the
+creature and the scalloped hooks the extremities (Fig. 238). The two
+bands upon the base consist of geometric figures, the origin of which
+cannot be definitely determined, although they also probably refer to
+the alligator.
+
+  [Illustration: Fig. 237. Drum with painted ornament in the style of
+  the lost color group--1/9.]
+
+  [Illustration: Fig. 238. Conventional design on drum shown in
+  Fig. 237, composed of alligator derivatives.]
+
+In the collection there is a minute toy drum of the same general shape,
+and the same form reappears in some of the whistles, in one of which
+(Fig. 247) the skin head and its fastenings are all carefully reproduced
+in miniature. The immediate original of this particular form of drum was
+probably made of wood. A drum, recently brought from Costa Rica was made
+by hollowing out a cylindrical piece of wood and stretching a piece of
+snakeskin across the top. The shape is nearly identical with that of
+these earthen specimens.
+
+_Wind instruments._--Earthenware wind instruments are found in
+considerable numbers and are associated with other relics in the tombs.
+Nearly all are very simple in construction and are limited in musical
+power, receiving and perhaps generally deserving no better name than
+whistles or toys. A few pieces are more pretentious and yield a number
+of notes, and if operated by skilled performers or properly concerted
+are capable of producing pleasing melodies. It is not difficult to
+determine the powers of individual instruments, but we cannot say to
+what extent these powers were understood by the original owners, nor can
+we say whether or not they were intended to be played in unison in such
+a way as to give a certain desired succession of intervals. There are,
+however, in a large number of these instruments a uniformity in
+construction and a certain close correspondence in the number and degree
+of the sounds that indicate the existence of well established standards.
+It does not appear absolutely certain to me that the system of intervals
+was made to conform to that of any known scale; but a difficulty arises
+in attempting to determine this point, as most of the pieces are more or
+less mutilated. We find also that the note producible by any given stop
+is not fixed in pitch, but varies, with the force of the breath, two or
+even three full intervals. As a result of this a glide is possible to
+the skilled performer from note to note and any desired pitch can be
+taken.
+
+In material, finish, and decoration these objects do not differ from the
+ordinary pottery. A majority belong to the alligator group. The size is
+generally small, the largest specimen being about eight inches in
+length. The shapes are wonderfully varied and indicate a lively
+imagination on the part of the potter. Animal forms prevail very
+decidedly, that of the bird being a great favorite. In many cases the
+animals copied can be identified, but in others they cannot--perhaps
+from our lack of knowledge of the fauna of the province, perhaps from
+carelessness on the part of the artist or from the tendency to model
+grotesque and complicated shapes. The following creatures can be
+recognized: men, pumas, ocelots, armadillos, eagles, owls, ducks,
+parrots, several varieties of small birds, alligators, crabs, and
+scorpions. Vegetal forms, excepting where in use as instruments or
+utensils, as reeds and gourds, were not copied. In the National Museum
+collection there are two tubular pipes, probably modeled after reeds,
+and another resembles a gourd in shape. The construction of the
+whistling apparatus is identical in all cases and corresponds to that of
+our flageolets (see sections, Figs. 240 and 242). Plain tubes were
+doubtless also used as whistles, and all utensils of small size, such as
+needlecases and toy vases, can be made to give forth a note more or less
+shrill, according to the size of the chamber. The simplest form of
+whistle produces two shrill notes identical in pitch. The shape is
+double, suggesting a primitive condition of the tibiæ pares of the
+Romans. The parts are pear or gourd shaped, are joined above and below,
+and have an opening between the necks. The two mouthpieces are so close
+together that both are necessarily blown at once. The note produced is
+pitched very high and is extremely penetrating, not to say ear
+splitting, making an excellent call for the jungles and forests of the
+tropics. A small specimen is presented full size in Fig. 239, and the
+section in Fig. 240 shows the relative positions of the mouthpieces, air
+passages, vent holes, and chambers.
+
+  [Illustration: Fig. 239. Double whistle, lost color ware--1/1.]
+
+  [Illustration: Fig. 240. Section of double whistle.]
+
+  [Music]
+
+Reed shaped instruments are furnished with passages and orifices
+corresponding to the other forms. The chamber is tubular and the lower
+end is open, and the finger holes, when present, are on the upper side
+of the cylinder. One example without finger holes has two notes nearly
+an octave apart, which are produced, the higher with the tube open and
+the lower with it closed. Perhaps the most satisfactory instrument in
+the whole collection, so far as range is concerned, is shown in
+Fig. 241, and a section is given in Fig. 242. It is capable of yielding
+the notes indicated in the accompanying scale: First, a normal series of
+eight sounds, produced as shown in the diagram, and, second, a series
+produced by blowing with greater force, one note two octaves above its
+radical and the others three octaves above. These notes are difficult to
+produce and hold and were probably not utilized by the native performer.
+
+  [Illustration: Fig. 241. Tubular instrument with two finger holes,
+  alligator group--1/1.]
+
+  [Illustration: Fig. 242. Section of whistle.]
+
+  [Music]
+
+Two little instruments of remarkable form and unusual powers stand quite
+alone among their fellows. One only is entire. It is made of dark clay
+and represents a creature not referable to any known form, so completely
+is it conventionalized. A fair idea of its appearance can be gained from
+Figs. 243 and 244. The first gives the side view and the second the top
+view. The mouthpiece is in what appears to be the forehead of the
+creature. The vent hole is beneath the neck and there are four minute
+finger holes, one in the middle of each of four flattish nodes, which
+have the appearance of large protruding eyes. A suspension hole passes
+through a node upon the top of the head. The capacity of this instrument
+is five notes, clear in tone and high in pitch. It is notable that the
+pitch of each stop, when open alone, is identical, the holes being of
+exactly the same size. In playing it does not matter in what order the
+fingers are moved. The lower note is made with all the holes closed and
+the ascending scale is produced by opening successively one, two, three,
+and four holes. The fragmentary piece is much smaller and the holes are
+extremely small.
+
+  [Illustration:
+  Fig. 243.
+  Fig. 244.
+  Small animal shaped whistle of blackish ware, with four finger
+  holes--1/1.]
+
+  [Music]
+
+Of a distinct type of form, although involving no new principle of
+construction, are two top-like or turnip shaped instruments, one of
+which is shown in Fig. 245. The form is symmetrical, the ornamentation
+tasteful, and the surface highly polished. The ware is of the alligator
+group and is decorated in red and black figures. A section is given in
+Fig. 246, _a_, and top and bottom views in _b_ and _c_. By reference to
+these a clear conception of the object can be formed. The companion
+piece is identical in size, shape, and conformation, and, strange to
+say, in musical notes also. The tones are not fixed, as each can be made
+to vary two or three degrees by changing the force of the breath. The
+tones produced by a breath of average force are indicated as nearly as
+may be in the accompanying scale. They will be found to occur nearer the
+lower than the upper limit of their ranges. It should be observed that
+the capacity for variation possessed by each of these notes enables the
+skilled performer to glide from one to the other without interruption.
+This instrument is, therefore, within its limited range, as capable of
+adjusting itself to any succession of intervals as is the trombone or
+the violin. I do not imagine, however, that the aboriginal performer
+made any systematic use of this power or that the instrument was
+purposely so constructed. It will be seen by reference to the scale that
+stopping the orifice in the end opposite the mouthpiece changes the
+notes half a tone, or perhaps, if accurately measured, a little less
+than that.
+
+  [Illustration: Fig. 245. Top shaped instrument, with three finger
+  holes, alligator ware--1/1.]
+
+  [Illustration:
+  _a, b, c_
+  Fig. 246. Section and vertical views of instrument shown in
+  Fig. 245.]
+
+  [Music]
+
+Our collection contains several dozen three note whistles or pipes. Most
+of these represent animal forms, which are treated in a more or less
+realistic way, but with a decided tendency toward the grotesque. Nearly
+all are of small size, the largest, an alligator form, having a length
+of about eight inches. In the animal figures the air chamber is within
+the body, but does not conform closely to the exterior shape. The
+mouthpieces and the orifices are variously placed, to suit the fancy of
+the modeler, but the construction and the powers are pretty uniform
+throughout. There are two finger holes, placed in some cases at equal
+and in others at unequal distances from the mouthpiece, but they are
+always of equal size and produce identical notes. The capacity is
+therefore three notes. The lower is produced when all the orifices are
+open, the higher when all are closed, and the middle when one hole--no
+matter which--is closed.
+
+Besides the animal forms there are a number of shapes copied from other
+musical instruments or from objects of art, such as vases. A very
+interesting specimen, illustrated in Fig. 247, modeled in imitation of a
+drum, has not only the general shape of that instrument, but the skin
+head, with its bands and cords of attachment, is truthfully represented.
+A curious conceit is here observed in the association of the bird--a
+favorite form for the whistles--with the drum. A small figure of a bird
+extends transversely across the body of the drum chamber, the back being
+turned from the observer in the cut. The tail serves for a mouthpiece,
+while the finger holes are placed in the breast of the bird, the
+position usually assigned to them in simple bird whistles; its three
+notes are indicated in the accompanying scale:
+
+  [Illustration: Fig. 247. Drum shaped whistle of plain ware, with
+  bird figure attached--1/1.]
+
+  [Illustration: Fig. 248. Vase shaped whistle, lost color ware--½.]
+
+  [Music]
+
+One specimen is vase or pitcher shaped, with base prolonged for a
+mouthpiece and with a neat handle (Fig. 248). The ground color is a dull
+red, upon which are traces of painted figures. Its notes are as follows:
+
+  [Music]
+
+A novel conceit is exhibited in the crab shaped instrument presented in
+Fig. 249, which gives a back view of the animal. On the opposite side
+are four small conical legs, upon which the object rests as does a vase
+upon its tripod. The mouthpiece is in the right arm, beneath which is
+the sound hole. The two finger holes are in the back behind the eyes of
+the creature and a suspension hole is seen in the left arm. The painted
+designs are in red and black lines upon a yellowish gray ground. The
+following scale indicates its capacity:
+
+  [Illustration: Fig. 249. Crab shaped whistle, alligator ware--1/1.]
+
+  [Music]
+
+The largest specimen in the collection, shown in Fig. 250, represents an
+alligator and is finished in the usual conventional style of the
+alligator group. The air chamber is large and the sounds emitted are
+full and melodious and are lower in pitch than those of any other
+instrument in the collection. The cavity in the mouth and head is
+separated from the body chamber, and, with the addition of earthern
+pellets, probably served as a rattle. The mouthpiece is in the tail and
+the finger holes are in the sides of the body.
+
+  [Illustration: Fig. 250. Alligator shaped whistle, alligator
+  ware--½.]
+
+  [Music]
+
+Mammals are very often reproduced in these instruments. What appears to
+be the ocelot or jaguar is the favorite subject. A representative
+specimen is shown in Fig. 251. The mouthpiece is in the tail and one of
+the sound holes is in the left shoulder and the other beneath the body.
+The head is turned to one side and the face is decidedly cat-like in
+expression. The decoration is in black and red and may be taken as a
+typical example of the conventional treatment of the markings of the
+bodies of such animals. The tips of the ears, feet, and tail are red.
+Rows of red strokes, alternating with black, extend in a broad stripe
+from the point of the nose to the base of the neck. Red panels,
+inclosing rows of red dots and enframed by black lines, cross the back.
+On the sides we have oblong spaces filled in with the conventional
+devices so common in other animal representations. The legs are striped
+and dotted after the usual manner.
+
+  [Music]
+
+  [Illustration: Fig. 251. Cat shaped whistle, alligator ware--1/1.]
+
+A unique form, and one that will be looked at with interest by
+comparative ethnologists on account of the treatment of the tongues, is
+given in Fig. 252. The instrument consists of an oblong body to which
+four ocelot heads are fixed, one at each end and the others at the
+sides. It rests upon four feet, in one of which the mouthpiece is
+placed. The finger holes are in the side of the body near the legs, as
+seen in the cut. The decoration, which consists of more or less
+conventional representations of the skin markings of the animal, is in
+black and red. Its notes are three, as follows:
+
+  [Illustration: Fig. 252. Whistle with four ocelot-like heads,
+  alligator ware--1/1.]
+
+  [Music]
+
+The prevalence of bird forms is due no doubt to the resemblance of the
+notes of primitive whistles to the notes of birds. The shape of the bird
+is also exceptionally convenient, as the body accommodates the air
+chamber, the tail serves as a mouthpiece, and the head is convenient for
+the attachment of a cord of suspension. A great variety of forms were
+modeled and range from the minute proportions of the smallest humming
+bird to those of a robin. The larger pieces represent birds of prey,
+such as hawks, eagles, and vultures, and the smaller are intended for
+parrots and song birds. The treatment is always highly conventional, yet
+in many cases the characteristic features of the species are forcibly
+presented. The painted devices have reference in most cases to the
+markings of the plumage, yet they partake of the geometric character of
+the designs used in ordinary vase painting. The ground is the usual
+yellowish gray of the slip, and nearly all the pieces belong to the lost
+color and alligator groups.
+
+A characteristic example is illustrated in Fig. 253. The head is large
+and flat and the painted devices are in the red and black of the lost
+color group. The three notes are as follows:
+
+  [Music]
+
+  [Illustration: Fig. 253. Bird shaped whistle, with decoration in
+  black, lost color ware--1/1.]
+
+The piece given in Fig. 254 has the shape and markings of a hawk or
+eagle. It belongs to the alligator ware and is elaborately finished in
+semigeometric devices in red and black. All of these devices refer more
+or less definitely to the markings of the plumage.
+
+  [Illustration: Fig. 254. Bird shaped whistle, with conventional
+  decoration in red and black, alligator ware--1/1.]
+
+  [Music]
+
+The example shown in Fig. 255 represents a bird with two heads, the
+shape and markings of which suggest one of the smaller song birds.
+
+  [Illustration: Fig. 255. Two headed, bird shaped whistle, with
+  conventional decoration in black, lost color ware--1/1.]
+
+  [Music]
+
+I cannot say that the whistles were modeled and pitched with the idea of
+imitating the notes of particular birds, but it is possible for the
+practiced performer to reproduce the simpler songs and cries of birds
+with a good deal of accuracy.
+
+  [Illustration: Fig. 256. Whistle in grotesque life form, with
+  decorations in black and red, alligator ware--2/3.]
+
+The human figure was occasionally utilized. The treatment, however, is
+extremely rude and conventional, the features having the peculiar
+squirrel-like character shown in the figurines already given. The unique
+piece given in Fig. 256 represents a short, clumsy female figure with a
+squirrel face, carrying a vessel upon her back by means of a head strap,
+which is held in place by the hands. The mouthpiece of the whistle is in
+the right elbow and one sound hole is in the middle of the breast and
+the other in the left side. The costume and some of the details of
+anatomy are indicated by red and black lines in the original. Its notes
+are the same as those presented with Fig. 249.
+
+
+LIFE FORMS IN VASE PAINTING.
+
+This section is to be devoted to a short study of the decorative system
+of the ancient Chiriquians, and more especially to a consideration of
+the treatment of life forms in vase painting. Many of the finest
+examples of these designs, so far as execution and effect in
+embellishment are concerned, have already been given; but it is
+desirable now to select and arrange a series to illustrate origins and
+processes of growth or modification.
+
+Elements of ornament flow into the ceramic art from a number of sources,
+but chiefly in two great currents: the one from art, and consisting
+chiefly of technical or mechanically produced phenomena, and hence
+geometric, and the other from nature, and carrying elements primarily
+delineative, and hence non-geometric. When once within the realm of
+decoration the various motives or elements are subject to modification
+by two classes of influences or conditioning forces: the technical
+restraints of the art and the esthetic forces of the human mind.
+Mechanical and geometric elements, although born within the art or its
+associated arts, are modified in the processes of adaptation to the
+changing requirements and conditions of the art and through the tendency
+towards elaboration under the guidance of the esthetic forces; left by
+themselves they remain, throughout all changes of use and modification
+of form, purely geometric. Imitative elements tend, under the same
+influences, to move in the direction of the unreal or geometric. In this
+way the realistic forms undergo marked changes, gradually assuming a
+geometric character and finally losing all semblance of nature.
+
+Now it must be noted that the decorations of any group of art products
+may embody both classes of elements or they may be restricted rather
+closely to either. This fact enables us to account for many of the
+strongly marked distinctions observed in the decorative systems of
+different communities, races, and times. In a recent study of ancient
+Pueblo art I traced the decoration to a mechanical origin, mainly in the
+art of basketry, and thus accounted for its highly geometric character.
+Chiriquian art presents a strong contrast to this, as the great body of
+elements are manifestly derived from nature by delineative imitation. It
+was further observed in Pueblo art that as time went on life forms were
+little by little introduced into its decoration and that in recent times
+they shared the honors equally with the primitive geometric forms. In
+Chiriquian art we find but meager traces of a primitive geometric
+system, and conclude that either the earliest art of the people did not
+give rise to such a system or that the graphic motives, entering
+gradually and steadily multiplying, supplanted the archaic forms,
+finally usurping nearly the entire field. As noticed in the preceding
+sections, there is always a certain amount of geometricity in the
+arrangement and the enframing of the designs, as well as a certain
+degree of convention in the treatment of even the most graphic motives;
+but these characters may be due to the restraining conditions of the
+art, rather than to the survival of original or ancestral features or
+characters.
+
+In beginning the study of Chiriquian decorative art I found it
+impossible to approach the subject advantageously from the geometric
+side, as was done in the Pueblo study, since life elements so thoroughly
+permeate every part of it. I have, therefore, turned about, and in the
+following study present first the more realistic delineations of nature,
+arranging long series of derivative shapes which descend through
+increasing degrees of convention to purely geometric forms. These
+remarks relate wholly to the plan or linear arrangement of the motives.
+
+As to method of realization, ceramic ornament may be arranged in two
+classes: the plastic or relieved and the non-plastic or flat. Life forms
+are freely rendered by both plastic and non-plastic methods, and in
+either style may range from the highly realistic to the purely
+geometric. As shown in a preceding section, plastic life forms in
+Chiriquian art appear to have been subject to two divergent lines of
+thought, the one trivial and the other serious. Through the one we have
+grotesque and perhaps even humorous representations of men and of
+animals. The figures are attached to the vessels for the
+purpose--perhaps for the exclusive purpose--of embellishment, and often
+with excellent success, as judged by our own standards of taste. The
+other deals with plastic representations apparently of a serious nature,
+although utilized also for embellishment. The animal forms employed are
+treated in a way to suggest that in the mind of the artist the creature
+bore a definite relation to the vessel or its use, a relationship
+originating in superstition and preserved throughout all changes of
+form. Their office was symbolic, and this office was probably not always
+lost sight of by the potter, even though, through the forces of
+convention, the animal shapes were reduced to mere knobs, ridges, or
+even to painted devices.
+
+In color delineations, although the same subjects are to a great extent
+employed, there is necessarily greater constraint--there is less freedom
+as well as less vigor in the presentation of natural forms. There is
+apparently no attempt at the grotesque or amusing. The variants are
+practically infinite. The work is more purely decorative and is perhaps
+less subject to the restraints of associated ideas and of use with
+particular vessels or in definite relations to other features of the
+vessel. At the same time it is manifest that these painted figures are
+not all merely meaningless decorations, but that many, throughout all
+degrees of modification, refer with greater or less clearness to natural
+originals, to ideas associated with these originals, or to the
+relationship of these originals to the vessel and its uses.
+
+It is clear, however, that a considerable body of nature-derived
+elements, plastic and painted, are employed as simple embellishments,
+having no other function. This suggests the separation of all
+decorations into two grand divisions, based upon the kind of thoughts
+associated with them. These divisions may be designated as significant
+and non-significant, the term significant referring not to the mere
+identification of a device with an original form or to its office as an
+ornament, but to its symbolism, to its mystic relation with the vessel
+and its uses. But I have to do here with the forms taken by motives,
+with their morphology rather than with their signification, as the
+latter must, with reference to archæologic material, remain greatly
+speculative.
+
+In the application of life forms in vase painting several classes of
+modifying and constraining agencies of a technical nature are present,
+and the following examples are grouped with the idea of defining these
+classes of forces and keeping them in a measure distinct.
+
+  [Illustration: Fig. 257. Graphic delineation of the alligator, from
+  a vase of the lost color group.]
+
+  [Illustration: Fig. 258. Graphic delineation of the alligator, from
+  a vase of the lost color group.]
+
+Of all the animal forms utilized by the Chiriquians the alligator is the
+best suited to the purpose of this study, as it is presented most
+frequently and in the most varied forms. In Figs. 257 and 258 I
+reproduce drawings from the outer surface of a tripod bowl of the lost
+color group. Simple and formal as these figures are, the characteristic
+features of the creature--the sinuous body, the strong jaws, the
+upturned snout, the feet, and the scales--are forcibly expressed. It is
+not to be assumed that these examples represent the best delineative
+skill of the Chiriquian artist. The native painter must have executed
+very much superior work upon the more usual delineating surfaces, such
+as bark and skins. The examples here shown have already experienced
+decided changes through the constraints of the ceramic art, but are the
+most graphic delineations preserved to us. They are free hand products,
+executed by mere decorators, perhaps by women, who were servile copyists
+of the forms employed by those skilled in sacred art.
+
+  [Illustration: Fig. 259. Conventional alligator, from the lost color
+  ware.]
+
+A third illustration from the same group of ware, given in Fig. 259,
+shows, in some respects, a higher degree of convention. The scales are
+here represented by triangular dentals, which occupy the entire length
+of the back. These dentals are filled with the round dots that stand
+singly in the preceding cases.
+
+  [Illustration: Fig. 260. Style of convention in the alligator group
+  of ware.]
+
+  [Illustration: Fig. 261. Style of convention in the alligator group
+  of ware.]
+
+In another class of ware--the alligator group--the treatment is quite
+different, being decidedly more clumsy and realized by distinct
+processes; but prominence is given to a number of corresponding
+features. The strong curve of the back, the dentals and dots, and the
+muzzle and mouth refer apparently to the same creature. The curiously
+marked panel in the body of the last example is a unique feature, which
+appears, however, in a few other cases.
+
+These drawings occur upon the sides of vases, alternating with the
+plastic features, and are perhaps generally associated with such
+features in the expression of some mythical idea.
+
+The modeled creature is often represented with two heads instead of with
+a head and a tail, and the painted forms, in many cases, exhibit the
+same peculiarity as shown in Fig. 262. I surmise that the employment of
+two heads arises from the need of securing perfect balance of parts
+rather than as an original product of the imagination.
+
+  [Illustration: Fig. 262. Two headed form of the alligator.]
+
+It will be interesting, as additional examples are presented, to note
+the effect of modification upon particular features of the animal, to
+observe how some come into prominence, representing the creature and the
+idea, while others fall into disuse and disappear. In nature the line of
+the body is perhaps the most strongly characteristic feature, and it is
+in art the most persistent. It survives in the stems of many
+conventional devices from which all other suggestions of the animal have
+vanished.
+
+  [Illustration: Fig. 263. Figure of the alligator much simplified.]
+
+The following examples depart still further from nature, approaching the
+border line between the distinctly imitative and the purely conventional
+or geometric phases. In the first (Fig. 263) all the leading features
+are recognizable, but are very much simplified. The jaws are without
+teeth, the head is without eyes, and the body without indication of
+scales. The other example (Fig. 264) is of a somewhat different type and
+may possibly refer to some other reptilian form, but many links
+connecting the two are found. The shape is more angular and is a step
+further removed from nature. From shapes as conventional as this we drop
+readily into purely geometric forms, as will be seen further on. These
+and the preceding drawings are all executed on broad surfaces, where
+fancy could have free play. The modifying or conventionalizing forces
+are, therefore, quite vague. Variation from natural forms is due partly
+to a lack of skill on the part of the painter, partly to the peculiar
+demands of ceramic embellishment, and partly to the traditional style of
+treatment acquired in still more primitive stages of culture and in
+other and unidentified branches of art.
+
+  [Illustration: Fig. 264. The alligator much modified by ceramic
+  influences.]
+
+  [Illustration:
+  Fig. 265.
+  Fig. 266.
+  Fig. 267.
+  Illustrations of the influence of the shape of spaces upon the
+  delineation of animal forms.]
+
+I shall now call attention to some important individualized or well
+defined agencies of convention. First, and most potent, may be mentioned
+the enforced limits of the spaces to be decorated, which spaces take
+shape independently of the subject to be inserted. When the figures must
+occupy a narrow zone they are elongated, when they must occupy a square
+they are restricted longitudinally, and when they must occupy a circle
+they are of necessity coiled up. Fig. 265 illustrates the effect
+produced by crowding the oblong figure into a short rectangular space.
+The head is turned back over the body and the tail is thrown down along
+the side of the space. In Fig. 266 the figure occupies a circle, and is
+in consequence closely coiled up, giving the effect of a serpent rather
+than an alligator. In Fig. 267 the space is semicircular, and we observe
+peculiar conventional conditions, some of which may be due to other
+causes. For example, such spaces may originally have been filled with
+purely geometric figures, which tended to impart their own characters to
+the life forms that supplanted them.
+
+  [Illustration: Fig. 268. Delineation retaining but slight traces of
+  the life form.]
+
+  [Illustration: Fig. 269. Delineation retaining but slight traces of
+  the life form.]
+
+  [Illustration: Fig. 270. Delineation retaining but slight traces of
+  the life form.]
+
+Now, it often happens that, as in the last example given, the animal
+form, literally rendered, does not fill the panels satisfactorily. The
+head and the tail do not correspond and there is a lack of balance. In
+such cases two heads have been preferred. The body is given a uniform
+double curve and the heads are turned down, as shown in Figs. 268 and
+269, or one may turn up and the other down, as seen in Fig. 270. The two
+headed form may also arise from imitation of plastic forms, as I have
+already shown. The example given in Fig. 268 is extremely interesting on
+account of its complexity and the novel treatment of the various
+features. The two feet are placed close together near the middle of the
+curved body, and on either side of these are the under jaws turned back
+and armed with dental projections for teeth. The characteristic scale
+symbols occur at intervals along the back; and very curiously at one
+place, where there is scant room, simple dots are employed, showing the
+identity of these two characters. Some curious auxiliary devices, the
+origin of which is obscure, are used to fill in marginal spaces. The
+shape given in Fig. 269 is so highly modified that it is not
+recognizable as an animal form, excepting through a series of links
+connecting it with more realistic delineations. It is perfectly
+symmetrical and consists of a compound curve for the body, with hooks at
+the extremities and two appended hooks for legs. The spots symbolizing
+the scales are here placed within the body, showing another step toward
+complete annihilation of the natural forms and relations. Three
+additional examples, showing still higher degrees of convention, are
+presented in Figs. 271, 272, and 273. The series could be filled up and
+continued indefinitely, connecting the whole family of devices in which
+dentals, hooks, spots, and circles occur with the alligator radical or
+with other reptilian forms confused with the alligator through the
+carelessness or ignorance of the decorator.
+
+  [Illustration: Fig. 271. Highly conventionalized alligator
+  derivative.]
+
+  [Illustration: Fig. 272. Highly conventionalized alligator
+  derivative.]
+
+  [Illustration: Fig. 273. Highly conventionalized alligator
+  derivative.]
+
+In looking over a large series of the vases it will be seen that the
+tendency of decoration is toward the zonal arrangement, the spaces being
+narrow and long, even when divided into the usual number of panels. As a
+consequence the motives tend to take linear forms. Parts are repeated or
+greatly drawn out to fill the spaces. This phase of conventional
+evolution may be illustrated by a multitude of examples.
+
+  [Illustration:
+  _a, b, c, d, e, f_
+  Fig. 274. Series of forms showing modification through use in narrow
+  zones.]
+
+Beginning with an ordinary form in Fig. 274, _a_, we advance under the
+restraint of parallel border lines through the series, ending in a
+simple meander, _f_, the spaces about which are, however, filled out
+with the conventional scale symbols, the triangles inclosing dots. Thus
+we witness the transformation of the life form into a linear device, in
+which the flexures of the body are emphasized and multiplied without
+reference to nature, and there is little doubt that the series continues
+further, ending with simple curved lines and even with straight lines
+unaccompanied by auxiliary devices.
+
+  [Illustration: Fig. 275. Running ornaments composed of life
+  elements.]
+
+Next to the body line the most important of the alligator derivatives is
+the notched or dotted hook, which in the lost color group stands
+sometimes for the whole creature, but more frequently for one or more of
+the members of its body, the snout, the tail, or the feet. It is
+employed singly or in various arrangements suited to the shape of the
+spaces to be filled or occurs in connection with the body line or stem,
+where, by systematic repetition, it serves to fill the triangular
+interspaces. Take, for example, an ornament (Fig. 275) which encircles
+the shoulder of a handsome vase of the lost color group. The space is
+neatly filled with groupings in which the simple life coil elements are
+joined one to another in such a way as to give somewhat the effect of an
+ordinary running ornament. The same motive takes a different form in
+Fig. 276, which is part of the decorated zone of an earthen drum (see
+Fig. 235). Here the body of the creature is represented by a wide
+meandered line, and to this the notched or scalloped hooks are attached
+with perfect regularity, one to each angle of the meandered body. In
+other examples the angular geometric character extends to every part of
+the detail and the curved hooks lose their last suggestion of nature and
+are entirely dropped or used separately.
+
+  [Illustration: Fig. 276. Running ornaments composed of life
+  motives.]
+
+The rings, strokes, spots, and dentate figures that serve to represent
+the markings and scales of the reptile are among the most important of
+the derivative devices and occur in varied relations to other classes of
+derivatives. They also occur independently, either singly or in
+groupings. Thus we see that the alligator, in Chiriquian vase painting,
+is represented by an endless list of devices, and it is interesting to
+note that among these are several figures familiar to the civilized
+world in both symbolism and ornament.
+
+I present five series of figures designed to illustrate the stages
+through which life forms pass in descending from the realistic to highly
+specialized conventional shapes. In the first series (Fig. 277), we
+begin with a meager but graphic sketch of the alligator; the second
+figure is hardly less characteristic, but is much simplified; in the
+third we have still three leading features of the creature: the body
+line, the spots, and the stroke at the back of the head; and in the
+fourth nothing remains but a compound, yoke-like curve, standing for the
+body of the creature, and a single dot.
+
+  [Illustration:
+  _a, b, c, d_
+  Fig. 277. Series of derivatives of the alligator showing stages of
+  simplification.]
+
+The figures of the second series (Fig. 278) are nearly all painted upon
+low round nodes placed about the body of the alligator vases and hence
+are inclosed in circles (see Fig. 197). The animal figure in the first
+example is coiled up like a serpent, but still preserves some of the
+well known characters of the alligator. In the second example we have a
+double hook near the center of the space which takes the place of the
+body, but the dotted triangles are placed separately against the
+encircling line. In he next figure the body symbol is omitted and the
+three triangles remain to represent the animal. In the fourth there are
+four triangles, and the body device, being restored in red, takes the
+form of a cross. In the fifth two of the inclosing triangles are omitted
+and the idea is preserved by the simple dots. In the sixth the dots are
+placed within the bars of the cross, the triangles becoming mere
+interspaces; and in the seventh the dots form a line between the two
+encircling lines. This series could be filled up by other examples,
+thus showing by what infinitesimal steps the transformations take place.
+The round nodes upon which these medallion-like figures are drawn are
+survivals of the heads or other parts of animals originally modeled in
+the round, but in the processes of manufacture partially or wholly
+atrophied. It was sought to preserve the idea of the creature by the
+use of painted details, but these, as we have seen, were also in time
+reduced to formal marks, symbols doubtless in many cases of the
+conception to which the original plastic form referred.
+
+  [Illustration: Fig. 278. Series showing stages in the simplification
+  of animal characters.]
+
+  [Illustration:
+  _a, b, c, d_
+  Fig. 279. The scroll and fret derived from the body line of the
+  alligator.]
+
+  [Illustration:
+  _a, b, c, d_
+  Fig. 280. Devices derived from drawings of parts of the life form.]
+
+  [Illustration: Fig. 281. Devices incised in a needlecase.]
+
+  [Illustration: Fig. 282. Devices representing the markings of a
+  reptile's body.]
+
+The derivation of the fret and scroll--most admired of the decorative
+motives of numerous races--has been a fruitful source of discussion. The
+vase painting of Chiriqui serves to throw new light upon the subject. We
+learn by the series of steps illustrated in the annexed cuts that the
+alligator radical, under peculiar restraints and influences, assumes
+conventional forms that merge imperceptibly into these classic devices.
+In the third series given (Fig. 279) the first figure is far removed
+from the realistic stage of representation, but it is one of the
+ordinary conventional guises of the alligator. Other still more
+conventional forms are seen in the three succeeding figures, the last of
+which is a typical rectangular fret link known and used by most nations
+of moderate culture. The derivatives in nearly all the preceding figures
+can be traced back to the body of the creature as a root, but there are
+many examples which seem to have come from the delineation of a part of
+the creature, as the head, foot, eye, or scales--abbreviated
+representatives of the whole creature. Such parts, assuming the role of
+radicals, pass also through a series of modifications, ending in purely
+geometric devices in the manner indicated in the following or fourth
+series of examples (Fig. 280). In the first cut we have what appears to
+be the leg and foot of the favorite reptile, and following this are
+other forms that seem to refer to the same feature. Additional examples
+are shown in Figs. 281 and 282, which, while they doubtless arose more
+or less directly from the life form, are not so readily traceable
+through less conventional antecedents. The first forms part of the
+incised ornament of a small vase or needlecase and the second is a
+section of the zonal ornament of the tripod cup illustrated in Fig. 203,
+by reference to which it will be seen that the zone of devices serves to
+connect the head and the tail of the reptile, which are modeled as a
+part of the vase; the devices therefore represent the markings of the
+creature's body, although they may originally have been derived from the
+figure of the whole or a part of the animal rather than from the
+markings of the skin. In other examples still more highly conventional
+figures are found to hold the same relation to the plastic
+representation of the extremities of the creature. They include the
+meander, the scroll, the fret, and the guilloche. We find that in the
+stone metates of many parts of Central America, nearly all of which are
+carved to imitate the puma, the head and tail of the creature are
+connected by bands of similar devices that encircle the margin of the
+mealing plate (see Fig. 9). The alligator form is therefore not
+necessarily the originator of all such devices. It is probable that any
+animal form extensively used by such lovers of decoration as the ancient
+inhabitants of Central America would be found thus interwoven with
+decoration. These considerations will serve to widen our views upon the
+origin and development of especial devices. As it now stands we are
+absolutely certain that no race, no art, no motive or element in nature
+or in art can claim the exclusive origination of any one of the well
+known or standard conventional devices, and that any race, art, or
+individual motive is capable of giving rise to any and to all such
+devices. Nothing can be more absurd than to suppose that the
+signification or symbolism attaching to a given form is uniform the
+world over, as the ideas associated with each must vary with the
+channels through which they were developed.
+
+  [Illustration:
+  _a, b, c, d, e, f, g_
+  Fig. 283. Conventional figures derived from the markings of the
+  bodies of animals.]
+
+Other classes of geometric figures, derived chiefly from scale or skin
+markings, are given in the fifth series. In more realistic phases of
+representation the dentate and dotted devices are ranged along the body
+of the creature, as in nature, but as convention progresses they are
+used independently to fill up spaces, to form the septa of panels, &c.
+Many illustrations appear in the preceding pages and additional examples
+are given in Fig. 283. It is possible that these devices come from
+delineations of a number of distinct animal forms; but in the higher
+stages of convention confusion cannot be avoided, and must have existed
+to some extent in the mind of the decorator; they serve, however, to
+illustrate the stages of simplification through which all forms
+extensively used for a long period must pass. The laws of derivation,
+modification, and application in art are the same in all.
+
+It has now been shown that life forms and their varied derivatives
+constitute the great body of Chiriquian decorative motives; that when
+first introduced the delineations are more or less realistic, according
+to the skill of the artist or the demands of the art; but that in time,
+by a long series of abbreviations and alterations, they descend to
+simple geometric forms in which all visible connection with the
+originals is lost. The agencies through which this result is
+accomplished are chiefly the mechanical restraints of the art acting
+independently of voluntary modification and without direct exercise of
+esthetic desire.
+
+There may be forces at work of which we find no clear indications. Some
+of the conventional forms into which life forms are found to grade may
+be survivals of forms originating in other regions and belonging to
+other cultures which have through accidents of contact imposed
+themselves upon Chiriquian art; such are the scroll, the fret, and the
+guilloche; but the thorough manner in which such forms are interwoven
+with purely Chiriquian conceptions makes it impossible to substantiate
+such a theory. The conclusion most easily and most naturally reached is
+that all are probably indigenous to Chiriqui, and hence the striking
+deduction that _the processes of modification inherent in the art are of
+such a nature that any animal form extensively used in decoration may
+give rise to any or all of the highly conventional forms of ornament_.
+
+During the progress of this study a question has frequently been raised
+as to the extent to which the memory of the creature original or of its
+symbolism in first use was kept alive in the mind of the decorator. It
+is a well established fact that primitive peoples habitually invest
+inanimate objects with the attributes of living creatures. Thus the
+vessel, from the time it assumes individual shape and is fitted to
+perform a function, is thought of as a living being, and by the addition
+of plastic or painted details it becomes a particular creature, an
+alligator, a fish, or a puma, each of which is in most cases the symbol
+of some mythologic concept. When, through the changes of convention in
+infinite repetition, all resemblance to individual creatures was lost
+and mere knobs or simple geometric figures occupied the surface of the
+vessel, there is little doubt that many of these features still recalled
+to the mind of the potter the ultimate originals and the conceptions of
+which they were the representatives, and that others represented ideas,
+the outgrowth of or a development from primary ideas, while still others
+had acquired entirely new ideas from without. It cannot be denied,
+however, that there does come a time in the history of vase painting at
+which such associated ideas become vague and are lost and elements
+formerly significant are added and combinations of them are made for
+embellishment alone, without reference to meaning or appropriateness;
+but I am inclined to place this period a very long way from the
+initiatory stages of the art. It may not be possible to find evidence of
+the arrival of this period, as it is not necessarily marked by any loss
+of unity or consistency--striking characteristics of ancient American
+art; for such is the conservatism of indigenous methods that, unless
+there be forcible intrusion of exotic art, original forms and groupings
+may be perpetuated indefinitely and remain much the same in appearance
+after the associated ideas are modified or lost.
+
+  [Illustration: Fig. 284. Vase with decorated zone containing
+  remarkable devices--1/3.]
+
+  [Illustration: Fig. 285. Series of twelve conventional devices from
+  the decorated zone of a vase.]
+
+In our study of the forms and meanings of these devices it should not be
+forgotten that collateral branches of art are also simultaneously
+employing the same motives and reducing them through other similar
+classes of conventionalizing forces to corresponding forms. Recording
+arts--pictography, hieroglyphic and phonetic writing--carry life forms
+through all degrees of abbreviation and change, and all ceremonial and
+all domestic arts with which such forms are associated do the same; and
+it is not impossible that many conventional forms found upon pottery are
+borrowed outright from the other arts. It will be impossible to detect
+these borrowed elements unless very literally transferred from some art
+the style of which is well known. It would be comparatively easy to
+identify literal borrowings from phonetic art or even from hieroglyphic
+art, as the form and arrangement of the devices are quite unlike those
+observed in pure decoration. We do not know that Chiriquian culture had
+achieved a hieroglyphic or a phonetic system of writing, but it is worth
+while to call attention to the form and the manner of employment of some
+of the devices found upon the pottery. In Fig. 284 I present an outline
+drawing of a vase, the shoulder of which is encircled by a broad zone of
+decoration. This zone is divided into panels by oblique lines. A row of
+rectangular compartments extends along the middle of the band and rows
+of triangular spaces occur at the sides. Each space is occupied by a
+device having one or more features suggesting a pictorial original and
+doubtless derived from one. In the main row there are twelve figures, no
+two of which are identical. Although we are unable to show that any of
+these characters had other than a purely decorative use, we see how
+richly the ancient peoples were supplied, through the conventionalizing
+agencies of the art, with devices that could have been employed as
+ideograms and letters where such were needed, and devices, too, that,
+from their derivation and use in the art, must in most cases have had
+ideas associated with them.
+
+
+RÉSUMÉ.
+
+A brief summary of the more salient points of interest dwelt upon in
+this paper may very appropriately be given in this place. We find that a
+limited area--a small and obscure province of the isthmian
+region--possesses a wonderful wealth of art products the character of
+which indicates a long period of occupation by peoples of considerable
+culture. The art remains are perhaps as a whole inferior to those of the
+districts to the north and south, but they possess many features in
+common with the art of neighboring provinces. There is, however, at the
+same time, a well marked individuality. In conception and execution
+these works are purely aboriginal, and, so far as can be determined by
+the data at hand, are pre-Columbian, and possibly to a great extent
+remotely pre-Columbian. The discovery of articles of bronze, which metal
+we cannot prove to be of indigenous production, is the only internal
+evidence pointing toward the continuance of the ancient epoch of culture
+into post-Columbian times. The relics are obtained from tombs from which
+nearly all traces of human remains have disappeared.
+
+Art in stone covers the ground usually occupied by works in this
+material in other Central American countries, save in the matter of
+architecture, of which art there are but meager traces. There are rock
+inscriptions, statuettes and statues of rather rude character, shapely
+mealing stones, elaborately carved seats or stools, many celts of
+extremely neat workmanship, spear and arrow points of unique shape, and
+a very few beads and pendent ornaments. There are apparently no traces
+of implements of war.
+
+In metal there are numerous and somewhat remarkable works. They are of
+gold, gold-copper alloy, copper, and bronze. The objects are of small
+size, rarely reaching a pound in weight, and they are almost exclusively
+pendent ornaments. They were, for the most part, cast in molds, and in
+nine cases out of ten represent animal forms. A few bells are found, all
+of which are of bronze. Pieces formed of alloyed metal are usually
+washed or plated with pure gold.
+
+The great body of relics are in clay, and the workmanship displayed is
+often admirable. Vases are found in great numbers, and as a rule are
+small and shapely, and are so carefully and elaborately decorated as to
+lead to the inference that their office was in a great measure
+ceremonial. They take a high place among American fictile products for
+grace of form and beauty of decoration. There is neither glaze nor
+evidence of the use of a wheel. Besides vases we have several other
+classes of objects, which include grotesque, toy-like statuettes, small,
+covered receptacles resembling needlecases, seat-like objects
+elaborately modeled, spindle whorls, and musical instruments. The
+occurrence of numerous specimens of the two latter classes indicates
+that the arts of weaving and music were assiduously practiced.
+
+An examination of the esthetic features of the ceramic art has proved
+exceptionally instructive. We find much that is worthy of attention in
+the forms of vases as well as in the plastic or relieved features of
+embellishment, and a still richer field is opened by the study of the
+incised and painted--the flat--decorations.
+
+I have shown that the elements of decoration flow into the ceramic art
+chiefly through two channels, the one from art and the other from
+nature. Elements from art are mainly of mechanical origin, and are,
+therefore, non-imitative and geometric. Elements from nature imitate
+natural forms, and hence are primarily non-geometric. Elements from art,
+being mechanical, are meaningless or non-ideographic; those from nature
+are in early stages of art usually associated with mythologic
+conceptions, and hence are ideographic. All decorations may therefore
+have four dual classifications, as follows: First, with reference to
+method of realization, as plastic and flat; second, with reference to
+derivation, as mechanical and imitative; third, with reference to plan
+of manifestation, as geometric and non-geometric; and, fourth, with
+reference to the association of ideas, as significant and
+non-significant.
+
+I have found that the ceramic art, having acquired the various elements
+of ornament, carries them by methods of its own through many strange
+mutations of form. The effect upon life forms is of paramount
+importance, as is indicated by the following broad and striking
+generalization: The agencies of modification inherent in the art in its
+practice are such that any particular animal form extensively employed
+in decoration is capable of changing into or giving rise to any or to
+all of the highly conventional decorative devices upon which our leading
+ornaments, such as the meander, the scroll, the fret, the chevron, and
+the guilloche, are based. It is further seen, however, that ideographic
+elements are not necessarily restricted to decorative or symbolic
+functions, for the processes of simplification reduce them to forms well
+suited to employment in hieroglyphic and even in phonetic systems of
+expression. Such systems are probably made up to a great extent of
+characters the conformation of which is due to the unthinking--the
+mechanical--agencies of the various arts.
+
+
+
+
+INDEX.
+
+
+  Alligator, utilization of, in Chiriquian art 130-140, 166, 173-176,
+      178, 80, 183
+  Arrowpoints and spearheads of Chiriqui 34
+
+  Balboa, ornaments captured by 35
+  Black incised group of Chiriquian pottery 80
+  Bollaert, W., cited 41, 45
+
+  Castillo del Oro, name given by Columbus to Chiriqui 35
+  Celts, collection of, from Chiriqui 29-34
+  Costa Rica, origin of name of 35
+
+  Darien, capture of, by Balboa 35
+  De Zeltner, A. See Zeltner, A. de.
+  Diller, J. S., acknowledgment to, 21, _note_
+  Drums of ancient Chiriqui 157, 160
+
+  El Dorado, origin of 35
+
+  Figurines of Chiriquian art 151-153
+
+  Hallock, W., on Chiriquian methods of casting 38
+  Handled group of Chiriquian pottery 90-97
+  Herrera, cited 35
+  Huacals, exploration of, in Chiriqui 16, 17
+
+  Kunz, G. F.
+    on use of insects as models in casting metals 38
+    on Chiriquian methods of plating 39
+
+  "Lost color" of Chiriquian art, nature of 86
+  Lost color group of Chiriquian pottery 113-130
+
+  McNiel, J. A., archeologic work of, in Chiriqui 14, 15, 20
+  McNiel, J. A., cited 17, 22, 23, 27, 31, 40, 41, 43, 46, 107
+  Maroon group of Chiriquian pottery 107-109
+  Mealing stones of Chiriqui 25-27
+  Merritt, J. K., cited 14, 16, 49
+    exploration of Bugaba cemetery by 17, 18, 20
+  Metates of Chiriqui, nature and use of 25-27
+
+  Nadaillac, Marquis, cited 14, 38
+    on Chiriquian methods of casting 38
+  Needlecases (?) of Chiriqui 150
+  New Granada, burial customs in 19, 20
+
+  Otis, F. M., paper on Panama ornaments by, mentioned 46
+
+  Piedra pintal, description of, by Seemann 21, 22
+  Pinart, A. L., cited 14, 15, 20, 22
+  Polychrome group of Chiriquian pottery 140-147
+  Pottery of Chiriqui 53-186
+
+  Rattles of ancient Chiriqui 156, 157
+  Red line group of Chiriquian pottery 109-111
+  Riggs, R. B., analyses by 49
+
+  Scarified group of Chiriquian pottery 87-90
+  Seemann, description of piedra pintal by 21, 22
+  Spindle whorls of Chiriqui 149, 150
+  Stearns, J. B., specimens in archeological collections of 24, 41,
+      43, 45, 48, 49
+  Stools of ancient Chiriqui 154-156
+
+  Terra cotta group of Chiriquian pottery 67
+  Tripod group of Chiriquian pottery 97-107
+
+  Whistles of ancient Chiriqui 164-171
+  White, B. B., description of cemetery in New Granada by 19
+  White line group of Chiriquian pottery 111-113
+  Wind instruments of ancient Chiriqui 160-171
+
+  Zeltner, A. de
+    observations on graves in Chiriqui by 14, 18, 19, 41, 42
+    cited 20, 22, 27, 43, 45, 140
+    description of Chiriquian vases by 145-147
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+Errors and Inconsistencies (noted by transcriber)
+
+Certain spellings such as "bowlder" are standard for the Bureau of
+Ethnology. They have not been individually noted.
+
+Table of Contents:
+
+  Peoples  [_body text has "People"_]
+  Celts &c.  [_final . missing; body text has "Celts" alone_]
+  Clay: Pottery  [_body text has "Pottery" alone_]
+  Clay: Miscellaneous objects
+    [_body text has "Miscellaneous Objects of Clay"_]
+  Résumé  [_indented as if secondary to previous entry_]
+
+  _In the body text, the items "Spearheads" and "Needlecases" are
+  written with parenthetical question mark (?)._
+
+  _Under "Clay", all sections listed in the Table of Contents as
+  "Terra cotta group", "Scarified group"... are shown in the body text
+  as "The terra cotta group", "The scarified group"..._
+
+Main Text:
+
+  less elaborate in its sculptured ornament.  [_final . missing_]
+  tufa, the surface of which displays
+    [_line-break hyphen in "surface" missing_]
+  [Fig. 19 caption] ... partially polished celt
+    [_line-break hyphen in "polished" missing_]
+  surfaces of the specimens recovered
+    [_text has "speci-/imens" at line break_]
+  [Fig. 94 caption] ... animal forms--½.  [forms.--½]
+  Fig. 153.  [Fig 153.]
+  [Fig. 154 caption] ... ornamentation--½.  [_final . missing_]
+  called Los Tenajos by Mr. McNiel  [McNeil]
+  [Fig. 156 caption] ... high relief--½.  [relief.--½.]
+  [Fig. 183 caption] ... unusual shape--½.  [_final . missing_]
+  these were polished down with the slips.  [_final . missing_]
+  [Fig. 237 caption] ... lost color group--1/9.
+    [_fraction conjectural_]
+  [Fig. 255 caption] ... lost color ware--1/1.  [_final . missing_]
+  Fig. 259.  [_final . missing_]
+  devices in which dentals, hooks, spots
+    [_spelling unchanged: expected form is "dentils"_]
+  In the next figure the body symbol  [In he next]
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Ancient art of the province of
+Chiriqui, Colombia, by William Henry Holmes
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+<pre>
+
+The Project Gutenberg EBook of Ancient art of the province of Chiriqui,
+Colombia, by William Henry Holmes
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Ancient art of the province of Chiriqui, Colombia
+       Sixth Annual Report of the Bureau of Ethnology to the
+              Secretary of the Smithsonian Institution, 1884-1885,
+              Government Printing Office, Washington, 1888, pages 3-188
+
+Author: William Henry Holmes
+
+Release Date: December 7, 2009 [EBook #30621]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ANCIENT ART--CHIRIQUI, COLOMBIA ***
+
+
+
+
+Produced by Louise Hope, PM for Bureau of American
+Ethnology, The Internet Archive: American Libraries and
+the Online Distributed Proofreading Team at
+https://www.pgdp.net (This file was produced from images
+generously made available by the Bibliothèque nationale
+de France (BnF/Gallica) at http://gallica.bnf.fr)
+
+
+
+
+
+
+</pre>
+
+
+<div class = "mynote">
+
+<p><a name = "start" id = "start">This text</a> includes characters that
+require UTF-8 (Unicode) file encoding, mainly fractions used in
+illustration captions:</p>
+
+<p class = "inset">
+â…™ â…• â…” &nbsp; <i>all rare</i><br>
+â…“ &nbsp; (1/3)</p>
+
+<p>If any of these characters do not display properly, or if the
+apostrophes and quotation marks in this paragraph appear as garbage, you
+may have an incompatible browser or unavailable fonts. First, make sure
+that the browser’s “character set� or “file encoding� is set to Unicode
+(UTF-8). You may also need to change your browser’s default font.</p>
+
+<p>The section on musical instruments includes snippets of music in MIDI
+format. Depending on your browser, these will either play or be
+downloaded. The “music� directory associated with this file includes all
+music samples in <b>lilypond</b> format, convertible to several other
+music-notation programs.</p>
+
+<p>The proportions (½, ⅓) in figure captions are taken from the original
+text; actual sizes may be larger or smaller, depending on your monitor.
+The dimensions correspond to a monitor resolution of 100dpi.</p>
+
+<p class = "center">
+<a href = "#contents">Table of Contents</a><br>
+<a href = "#illus">List of Illustrations</a><br>
+<a href = "#art">Ancient Art</a><br>
+<a href = "#index">Index</a></p>
+
+</div>
+
+<span class = "pagenum">3</span>
+<a name = "page003" id = "page003"> </a>
+<!-- png 063 -->
+
+<div class = "titlepage">
+
+<h1>ANCIENT ART</h1>
+
+<h6>OF THE</h6>
+
+<h2>PROVINCE OF CHIRIQUI, COLOMBIA.</h2>
+
+<h6>BY</h6>
+
+<h3>WILLIAM H. HOLMES.</h3>
+
+</div>
+
+<a name = "page004" id = "page004"> </a>
+<!-- png 064 -->
+
+<span class = "pagenum">5</span>
+<a name = "page005" id = "page005"> </a>
+<!-- png 065 -->
+<h2 class = "extended"><a name = "contents" id = "contents">
+CONTENTS.</a></h2>
+
+<hr class = "tiny">
+
+<p class = "mynote">
+Inconsistencies between the table of contents and the body text are
+noted <a href = "#toc_errors">at the end of the e-text</a>.</p>
+
+<table class = "toc wide" summary = "table of contents">
+<tr>
+<td></td>
+<td class = "right">Page.</td>
+</tr>
+<tr>
+<td><a href = "#intro">Introduction</a></td>
+<td class = "number"><a href = "#page013">13</a></td>
+</tr>
+<tr>
+<td class = "inset"><a href = "#intro_geog">Geography</a></td>
+<td class = "number"><a href = "#page013">13</a></td>
+</tr>
+<tr>
+<td class = "inset"><a href = "#intro_lit">Literature</a></td>
+<td class = "number"><a href = "#page014">14</a></td>
+</tr>
+<tr>
+<td class = "inset"><a href = "#intro_people">Peoples</a></td>
+<td class = "number"><a href = "#page015">15</a></td>
+</tr>
+<tr>
+<td class = "inset"><a href = "#intro_cemeteries">The
+cemeteries</a></td>
+<td class = "number"><a href = "#page016">16</a></td>
+</tr>
+<tr>
+<td class = "inset"><a href = "#intro_graves">The graves</a></td>
+<td class = "number"><a href = "#page017">17</a></td>
+</tr>
+<tr>
+<td class = "inset"><a href = "#intro_remains">Human remains</a></td>
+<td class = "number"><a href = "#page020">20</a></td>
+</tr>
+<tr>
+<td class = "inset"><a href = "#intro_relics">Placing of relics</a></td>
+<td class = "number"><a href = "#page021">21</a></td>
+</tr>
+<tr>
+<td><a href = "#objects">Objects of art</a></td>
+<td class = "number"><a href = "#page021">21</a></td>
+</tr>
+<tr>
+<td class = "inset"><a href = "#stone">Stone</a></td>
+<td class = "number"><a href = "#page021">21</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#stone_pictured">Pictured rocks</a></td>
+<td class = "number"><a href = "#page021">21</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#stone_columns">Columns</a></td>
+<td class = "number"><a href = "#page022">22</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#stone_images">Images</a></td>
+<td class = "number"><a href = "#page023">23</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#stone_mealing">Mealing stones</a></td>
+<td class = "number"><a href = "#page025">25</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#stone_stools">Stools</a></td>
+<td class = "number"><a href = "#page027">27</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#stone_celts">Celts <ins class = "correction"
+title = ". missing">&amp;c.</ins></a></td>
+<td class = "number"><a href = "#page029">29</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#stone_spear">Spearheads</a></td>
+<td class = "number"><a href = "#page034">34</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#stone_arrow">Arrowpoints</a></td>
+<td class = "number"><a href = "#page034">34</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#stone_ornaments">Ornaments</a></td>
+<td class = "number"><a href = "#page034">34</a></td>
+</tr>
+<tr>
+<td class = "inset"><a href = "#objects_metal">Metal</a></td>
+<td class = "number"><a href = "#page035">35</a></td>
+</tr>
+<tr>
+<td class = "inset2">
+<a href = "#metal_gold">Gold and copper</a></td>
+<td class = "number"><a href = "#page035">35</a></td>
+</tr>
+<tr>
+<td class = "inset2">
+<a href = "#metal_bronze">Bronze</a></td>
+<td class = "number"><a href = "#page049">49</a></td>
+</tr>
+<tr>
+<td class = "inset"><a href = "#pottery">Clay: Pottery</a></td>
+<td class = "number"><a href = "#page053">53</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_prelim">Preliminary</a></td>
+<td class = "number"><a href = "#page053">53</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_howfound">How found</a></td>
+<td class = "number"><a href = "#page055">55</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_material">Material</a></td>
+<td class = "number"><a href = "#page055">55</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_manuf">Manufacture</a></td>
+<td class = "number"><a href = "#page056">56</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_color">Color</a></td>
+<td class = "number"><a href = "#page057">57</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_use">Use</a></td>
+<td class = "number"><a href = "#page057">57</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_forms">Forms of vessels</a></td>
+<td class = "number"><a href = "#page058">58</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_decor">Decoration</a></td>
+<td class = "number"><a href = "#page062">62</a></td>
+</tr>
+<tr>
+<td class = "inset2">
+<a href = "#pottery_unpainted">Unpainted ware</a></td>
+<td class = "number"><a href = "#page066">66</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_terracotta">Terra cotta group</a></td>
+<td class = "number"><a href = "#page067">67</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_black">Black incised group</a></td>
+<td class = "number"><a href = "#page080">80</a></td>
+</tr>
+<tr>
+<td class = "inset2">
+<a href = "#pottery_painted">Painted ware</a></td>
+<td class = "number"><a href = "#page084">84</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_scar">Scarified group</a></td>
+<td class = "number"><a href = "#page087">87</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_handled">Handled group</a></td>
+<td class = "number"><a href = "#page090">90</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_tripod">Tripod group</a></td>
+<td class = "number"><a href = "#page097">97</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_maroon">Maroon group</a></td>
+<td class = "number"><a href = "#page107">107</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_red">Red line group</a></td>
+<td class = "number"><a href = "#page109">109</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_white">White line group</a></td>
+<td class = "number"><a href = "#page111">111</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_lost">Lost color group</a></td>
+<td class = "number"><a href = "#page113">113</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_alligator">Alligator group</a></td>
+<td class = "number"><a href = "#page130">130</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_poly">Polychrome group</a></td>
+<td class = "number"><a href = "#page140">140</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#pottery_unclass">Unclassified</a></td>
+<td class = "number"><a href = "#page147">147</a></td>
+</tr>
+<tr>
+<td class = "inset">
+<span class = "pagenum">6</span>
+<a name = "page006" id = "page006"> </a>
+<!-- png 066 -->
+<a href = "#misc">Clay: Miscellaneous objects</a></td>
+<td class = "number"><a href = "#page149">149</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#misc_spindle">Spindle whorls</a></td>
+<td class = "number"><a href = "#page149">149</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#misc_needle">Needlecases</a></td>
+<td class = "number"><a href = "#page150">150</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#misc_figurine">Figurines</a></td>
+<td class = "number"><a href = "#page151">151</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#misc_stools">Stools</a></td>
+<td class = "number"><a href = "#page154">154</a></td>
+</tr>
+<tr>
+<td class = "inset3">
+<a href = "#misc_music">Musical instruments</a></td>
+<td class = "number"><a href = "#page156">156</a></td>
+</tr>
+<tr>
+<td class = "inset4">
+<a href = "#misc_rattles">Rattles</a></td>
+<td class = "number"><a href = "#page156">156</a></td>
+</tr>
+<tr>
+<td class = "inset4">
+<a href = "#misc_drums">Drums</a></td>
+<td class = "number"><a href = "#page157">157</a></td>
+</tr>
+<tr>
+<td class = "inset4">
+<a href = "#misc_wind">Wind instruments</a></td>
+<td class = "number"><a href = "#page160">160</a></td>
+</tr>
+<tr>
+<td class = "inset"><a href = "#objects_life">Life forms in vase
+painting</a></td>
+<td class = "number"><a href = "#page171">171</a></td>
+</tr>
+<tr>
+<td><a href = "#resume">Résumé</a></td>
+<td class = "number"><a href = "#page186">186</a></td>
+</tr>
+
+</table>
+
+
+<span class = "pagenum">7</span>
+<a name = "page007" id = "page007"> </a>
+<!-- png 067 -->
+
+<h2 class = "extended"><a name = "illus" id = "illus">
+ILLUSTRATIONS.</a></h2>
+
+<hr class = "tiny">
+
+<p class = "mynote">
+Links lead to the Figure itself, not its original page. Where possible,
+illustrations have been placed immediately before or after the paragraph
+that discusses them.</p>
+
+<table class = "toc" summary = "list of illustrations">
+<tr>
+<td></td>
+<td></td>
+<td></td>
+<td class = "right">Page.</td>
+</tr>
+<tr>
+<td class = "smallcaps" colspan = "2"><a href = "#map">Plate &nbsp;
+I.</a></td>
+<td><p>Map of Chiriqui</p></td>
+<td class = "number">13</td>
+</tr>
+<tr>
+<td class = "smallcaps">Fig.</td>
+<td class = "item"><a href = "#fig1">1.</a></td>
+<td><p>Section of oval grave</p></td>
+<td class = "number">17</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig2">2.</a></td>
+<td><p>Section of a quadrangular grave</p></td>
+<td class = "number">18</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig3">3.</a></td>
+<td><p>Grave with pillars</p></td>
+<td class = "number">18</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig4">4.</a></td>
+<td><p>Compound cist</p></td>
+<td class = "number">19</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig5">5.</a></td>
+<td><p>Southwest face of the pictured stone</p></td>
+<td class = "number">22</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig6">6.</a></td>
+<td><p>A goddess of the ancient Chiriquians</p></td>
+<td class = "number">23</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig7">7.</a></td>
+<td><p>A god of the ancient Chiriquians</p></td>
+<td class = "number">24</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig8">8.</a></td>
+<td><p>Fragmentary human figure in gray basaltic rock</p></td>
+<td class = "number">25</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig9">9.</a></td>
+<td><p>Mealing stone with large tablet ornamented with animal
+heads</p></td>
+<td class = "number">26</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig10">10.</a></td>
+<td><p>Puma shaped metate</p></td>
+<td class = "number">27</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig11">11.</a></td>
+<td><p>Stool shaped object</p></td>
+<td class = "number">28</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig12">12.</a></td>
+<td><p>Stool with columnar base</p></td>
+<td class = "number">28</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig13">13.</a></td>
+<td><p>Stool with perforated base</p></td>
+<td class = "number">29</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig14">14.</a></td>
+<td><p>Large partially polished celt</p></td>
+<td class = "number">30</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig15">15.</a></td>
+<td><p>Celt of hexagonal section</p></td>
+<td class = "number">31</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig16">16.</a></td>
+<td><p>Small wide bladed celt</p></td>
+<td class = "number">31</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig17">17.</a></td>
+<td><p>Celt with heavy shaft</p></td>
+<td class = "number">31</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig18">18.</a></td>
+<td><p>Celt or ax with constriction near the top</p></td>
+<td class = "number">31</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig19">19.</a></td>
+<td><p>Flaked and partially polished celt</p></td>
+<td class = "number">32</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig20">20.</a></td>
+<td><p>Well polished celt</p></td>
+<td class = "number">32</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig21">21.</a></td>
+<td><p>Narrow pointed celt</p></td>
+<td class = "number">32</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig22">22.</a></td>
+<td><p>Narrow pointed celt</p></td>
+<td class = "number">32</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig23">23.</a></td>
+<td><p>Cylindrical celt with narrow point</p></td>
+<td class = "number">33</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig24">24.</a></td>
+<td><p>Leaf shaped objects suggesting spearpoints</p></td>
+<td class = "number">34</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig25">25.</a></td>
+<td><p>Arrowpoints</p></td>
+<td class = "number">34</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig26">26.</a></td>
+<td><p>Human figure, formed of copper-gold alloy</p></td>
+<td class = "number">41</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig27">27.</a></td>
+<td><p>Grotesque human figure in gold</p></td>
+<td class = "number">42</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig28">28.</a></td>
+<td><p>Rudely shaped human figure in gold</p></td>
+<td class = "number">42</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig29">29.</a></td>
+<td><p>Grotesque human figure in nearly pure copper</p></td>
+<td class = "number">43</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig30">30.</a></td>
+<td><p>Grotesque human figure in nearly pure gold</p></td>
+<td class = "number">43</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig31">31.</a></td>
+<td><p>Rudely executed image of a bird in gold</p></td>
+<td class = "number">44</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig32">32.</a></td>
+<td><p>Image of a bird in gold</p></td>
+<td class = "number">45</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig33">33.</a></td>
+<td><p>Puma shaped figure in gold</p></td>
+<td class = "number">45</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig34">34.</a></td>
+<td><p>Puma shaped figure in base metal</p></td>
+<td class = "number">45</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig35">35.</a></td>
+<td><p>Quadruped with grotesque face in base metal</p></td>
+<td class = "number">46</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig36">36.</a></td>
+<td><p>Figure of a fish in gold</p></td>
+<td class = "number">46</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig37">37.</a></td>
+<td><p>Large figure of a frog, in base metal plated with gold</p></td>
+<td class = "number">47</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig38">38.</a></td>
+<td><p>Small figure of a frog, in base metal plated with gold</p></td>
+<td class = "number">47</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig39">39.</a></td>
+<td><p>Figure of an alligator in gold</p></td>
+<td class = "number">48</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig40">40.</a></td>
+<td><p>Animal figure, in base metal plated with gold</p></td>
+<td class = "number">48</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig41">41.</a></td>
+<td><p>Bronze bells plated or washed with gold</p></td>
+<td class = "number">50</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig42">42.</a></td>
+<td><p>Bronze bell with human features</p></td>
+<td class = "number">50</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig43">43.</a></td>
+<td><p>Triple bell or rattle found on the Rio Grande</p></td>
+<td class = "number">51</td>
+</tr>
+<tr>
+<td><span class = "pagenum">8</span>
+<a name = "page008" id = "page008"> </a>
+<!-- png 068 -->
+</td>
+<td class = "item"><a href = "#fig44">44.</a></td>
+<td><p>Ancient Mexican bell</p></td>
+<td class = "number">51</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig45">45.</a></td>
+<td><p>Fundamental forms of vases&mdash;convex outlines</p></td>
+<td class = "number">58</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig46">46.</a></td>
+<td><p>Fundamental forms of vases&mdash;angular outlines</p></td>
+<td class = "number">59</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig47">47.</a></td>
+<td><p>Vases of complex outlines&mdash;exceptional forms</p></td>
+<td class = "number">59</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig48">48.</a></td>
+<td><p>Vases of compound forms</p></td>
+<td class = "number">59</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig49">49.</a></td>
+<td><p>Square lipped vessel</p></td>
+<td class = "number">59</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig50">50.</a></td>
+<td><p>Variations in the forms of necks and rims</p></td>
+<td class = "number">60</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig51">51.</a></td>
+<td><p>Arrangement of handles</p></td>
+<td class = "number">60</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig52">52.</a></td>
+<td><p>Types of annular bases or feet</p></td>
+<td class = "number">61</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig53">53.</a></td>
+<td><p>Forms of legs</p></td>
+<td class = "number">61</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig54">54.</a></td>
+<td><p>Grotesque figure forming the handle of a small vase</p></td>
+<td class = "number">63</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig55">55.</a></td>
+<td><p>Grotesque figure forming the handle of a small vase</p></td>
+<td class = "number">63</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig56">56.</a></td>
+<td><p>Grotesque figure forming the handle of a small vase</p></td>
+<td class = "number">63</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig57">57.</a></td>
+<td><p>Monstrous figure with serpent shaped extremities</p></td>
+<td class = "number">63</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig58">58.</a></td>
+<td><p>Monstrous figure with serpent shaped extremities</p></td>
+<td class = "number">63</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig59">59.</a></td>
+<td><p>Grotesque figure</p></td>
+<td class = "number">64</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig60">60.</a></td>
+<td><p>Grotesque figure</p></td>
+<td class = "number">64</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig61">61.</a></td>
+<td><p>Grotesque figure</p></td>
+<td class = "number">64</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig62">62.</a></td>
+<td><p>Figure of a monkey</p></td>
+<td class = "number">64</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig63">63.</a></td>
+<td><p>Figure of a monkey</p></td>
+<td class = "number">64</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig64">64.</a></td>
+<td><p>Figure of a monkey</p></td>
+<td class = "number">64</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig65">65.</a></td>
+<td><p>Animal forms exhibiting long proboscis</p></td>
+<td class = "number">65</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig66">66.</a></td>
+<td><p>Vase illustrating ornamental use of animal figures</p></td>
+<td class = "number">65</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig67">67.</a></td>
+<td><p>Vase illustrating ornamental use of animal figures</p></td>
+<td class = "number">65</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig68">68.</a></td>
+<td><p>Vase illustrating ornamental use of animal figures</p></td>
+<td class = "number">66</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig69">69.</a></td>
+<td><p>Vase illustrating ornamental use of animal figures</p></td>
+<td class = "number">66</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig70">70.</a></td>
+<td><p>Series of bowls and cups of unpainted ware</p></td>
+<td class = "number">67</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig71">71.</a></td>
+<td><p>Vase of graceful form</p></td>
+<td class = "number">68</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig72">72.</a></td>
+<td><p>Vase of graceful form</p></td>
+<td class = "number">68</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig73">73.</a></td>
+<td><p>Vase of fine form, ornamented with grotesque heads</p></td>
+<td class = "number">68</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig74">74.</a></td>
+<td><p>Vase of fine form, ornamented with grotesque heads</p></td>
+<td class = "number">69</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig75">75.</a></td>
+<td><p>Vase with ornament of applied nodes and fillets</p></td>
+<td class = "number">69</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig76">76.</a></td>
+<td><p>Vase with mantle covered with incised figures</p></td>
+<td class = "number">70</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig77">77.</a></td>
+<td><p>Vase with frieze of grotesque heads</p></td>
+<td class = "number">70</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig78">78.</a></td>
+<td><p>Vases with flaring rims and varied ornament</p></td>
+<td class = "number">71</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig79">79.</a></td>
+<td><p>Vases with complex outlines and varied ornament</p></td>
+<td class = "number">71</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig80">80.</a></td>
+<td><p>Large vase with two mouths and neatly decorated necks</p></td>
+<td class = "number">72</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig81">81.</a></td>
+<td><p>Large vase with high handles</p></td>
+<td class = "number">72</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig82">82.</a></td>
+<td><p>Top view of high handled vase</p></td>
+<td class = "number">73</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig83">83.</a></td>
+<td><p>Handled vase</p></td>
+<td class = "number">73</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig84">84.</a></td>
+<td><p>Handled vase</p></td>
+<td class = "number">73</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig85">85.</a></td>
+<td><p>Handled vase</p></td>
+<td class = "number">73</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig86">86.</a></td>
+<td><p>Small cup with single handle, ornamented with grotesque
+figure</p></td>
+<td class = "number">74</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig87">87.</a></td>
+<td><p>Small cup with single handle, ornamented with grotesque
+figure</p></td>
+<td class = "number">74</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig88">88.</a></td>
+<td><p>Vase of eccentric form</p></td>
+<td class = "number">74</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig89">89.</a></td>
+<td><p>Vessel illustrating forms of legs</p></td>
+<td class = "number">75</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig90">90.</a></td>
+<td><p>Vessel illustrating forms of legs</p></td>
+<td class = "number">75</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig91">91.</a></td>
+<td><p>Vessel with large legs, decorated with stellar punctures</p></td>
+<td class = "number">75</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig92">92.</a></td>
+<td><p>Vases of varied form with plain and animal shaped legs</p></td>
+<td class = "number">75</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig93">93.</a></td>
+<td><p>Large vase of striking shape</p></td>
+<td class = "number">76</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig94">94.</a></td>
+<td><p>Cup with legs imitating animal forms</p></td>
+<td class = "number">76</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig95">95.</a></td>
+<td><p>Cup with legs imitating a grotesque animal form</p></td>
+<td class = "number">77</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig96">96.</a></td>
+<td><p>Cup with legs imitating the armadillo</p></td>
+<td class = "number">77</td>
+</tr>
+<tr>
+<td><span class = "pagenum">9</span>
+<a name = "page009" id = "page009"> </a>
+<!-- png 069 -->
+</td>
+<td class = "item"><a href = "#fig97">97.</a></td>
+<td><p>Cup with legs imitating the armadillo</p></td>
+<td class = "number">77</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig98">98.</a></td>
+<td><p>Cup with frog shaped legs</p></td>
+<td class = "number">77</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig99">99.</a></td>
+<td><p>Cup with legs imitating an animal and its young</p></td>
+<td class = "number">77</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig100">100.</a></td>
+<td><p>Cups supported by grotesque heads</p></td>
+<td class = "number">77</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig101">101.</a></td>
+<td><p>Large cup supported by two grotesque figures</p></td>
+<td class = "number">78</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig102">102.</a></td>
+<td><p>Cup with two animal heads attached to the sides</p></td>
+<td class = "number">78</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig103">103.</a></td>
+<td><p>Cup with two animal heads attached to the sides</p></td>
+<td class = "number">78</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig104">104.</a></td>
+<td><p>Vase shaped to imitate an animal form</p></td>
+<td class = "number">79</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig105">105.</a></td>
+<td><p>Vase shaped to imitate an animal form</p></td>
+<td class = "number">79</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig106">106.</a></td>
+<td><p>Vase shaped to imitate an animal form</p></td>
+<td class = "number">79</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig107">107.</a></td>
+<td><p>Fish shaped vessel</p></td>
+<td class = "number">79</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig108">108.</a></td>
+<td><p>Top view of a fish shaped vessel</p></td>
+<td class = "number">80</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig109">109.</a></td>
+<td><p>Cup with grotesque head attached to the rim</p></td>
+<td class = "number">80</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig110">110.</a></td>
+<td><p>Black cup with incised reptilian figures</p></td>
+<td class = "number">81</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig111">111.</a></td>
+<td><p>Black cup with incised reptilian figures</p></td>
+<td class = "number">81</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig112">112.</a></td>
+<td><p>Black vase with conventional incised pattern</p></td>
+<td class = "number">81</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig113">113.</a></td>
+<td><p>Small cup with conventional incised pattern</p></td>
+<td class = "number">82</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig114">114.</a></td>
+<td><p>Small tripod cup with upright walls</p></td>
+<td class = "number">82</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig115">115.</a></td>
+<td><p>Vase with flaring rim and legs imitating animal heads</p></td>
+<td class = "number">82</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig116">116.</a></td>
+<td><p>Vase modeled to represent the head of an animal</p></td>
+<td class = "number">83</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig117">117.</a></td>
+<td><p>Pattern upon the back of the vase</p></td>
+<td class = "number">83</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig118">118.</a></td>
+<td><p>Tripod bowl of red scarified ware</p></td>
+<td class = "number">87</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig119">119.</a></td>
+<td><p>Tripod bowl of red scarified ware</p></td>
+<td class = "number">87</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig120">120.</a></td>
+<td><p>Oblong basin with scarified design</p></td>
+<td class = "number">88</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig121">121.</a></td>
+<td><p>Large scarified bowl with handles imitating animal heads</p></td>
+<td class = "number">88</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig122">122.</a></td>
+<td><p>Jar with flat bottom and vertical bands of incised
+ornament</p></td>
+<td class = "number">89</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig123">123.</a></td>
+<td><p>Vase with stand and vertical incised bands</p></td>
+<td class = "number">89</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig124">124.</a></td>
+<td><p>Vase with handles, legs, and vertical ribs</p></td>
+<td class = "number">89</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig125">125.</a></td>
+<td><p>Tripod with owl-like heads at insertion of legs</p></td>
+<td class = "number">90</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig126">126.</a></td>
+<td><p>Tripod with legs rudely suggesting animal forms</p></td>
+<td class = "number">90</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig127">127.</a></td>
+<td><p>Heavy red vase with four mouths</p></td>
+<td class = "number">90</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig128">128.</a></td>
+<td><p>Vase with horizontally placed handles and rude designs in
+red</p></td>
+<td class = "number">91</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig129">129.</a></td>
+<td><p>Unpolished vase with heavy handles and coated with soot</p></td>
+<td class = "number">92</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig130">130.</a></td>
+<td><p>Round bodied vase with unique handles and incised
+ornament</p></td>
+<td class = "number">92</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig131">131.</a></td>
+<td><p>Vase with grotesque figures attached to the handles</p></td>
+<td class = "number">93</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig132">132.</a></td>
+<td><p>Vase with upright handles and winged lip</p></td>
+<td class = "number">93</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig133">133.</a></td>
+<td><p>Top view of vase with winged lip</p></td>
+<td class = "number">94</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig134">134.</a></td>
+<td><p>Vase with grotesque animal shaped handles</p></td>
+<td class = "number">94</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig135">135.</a></td>
+<td><p>Vase with handles representing strange animals</p></td>
+<td class = "number">95</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig136">136.</a></td>
+<td><p>Vase with handles representing grotesque figures</p></td>
+<td class = "number">95</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig137">137.</a></td>
+<td><p>Vase with handles representing animal heads</p></td>
+<td class = "number">96</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig138">138.</a></td>
+<td><p>Vase with arched handles embellished with life forms in high
+relief</p></td>
+<td class = "number">96</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig139">139.</a></td>
+<td><p>Vase with arched handles embellished with life forms in high
+relief</p></td>
+<td class = "number">97</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig140">140.</a></td>
+<td><p>Tripod vase with shallow basin and eccentric handles</p></td>
+<td class = "number">99</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig141">141.</a></td>
+<td><p>Tripod vase with shallow basin and eccentric handles</p></td>
+<td class = "number">99</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig142">142.</a></td>
+<td><p>Tripod vase with shallow basin and eccentric handles</p></td>
+<td class = "number">99</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig143">143.</a></td>
+<td><p>Tripod vase of graceful shape and neat finish</p></td>
+<td class = "number">100</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig144">144.</a></td>
+<td><p>Heavy tripod vase with widely spreading feet</p></td>
+<td class = "number">100</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig145">145.</a></td>
+<td><p>Neatly modeled vase embellished with life forms and devices in
+red</p></td>
+<td class = "number">101</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig146">146.</a></td>
+<td><p>High tripod vase with incised designs and rude figures in
+red</p></td>
+<td class = "number">101</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig147">147.</a></td>
+<td><p>Handsome tripod vase with scroll ornament</p></td>
+<td class = "number">102</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig148">148.</a></td>
+<td><p>Vase with lizard shaped legs</p></td>
+<td class = "number">102</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig149">149.</a></td>
+<td><p>Vase with scroll ornament</p></td>
+<td class = "number">103</td>
+</tr>
+<tr>
+<td><span class = "pagenum">10</span>
+<a name = "page010" id = "page010"> </a>
+<!-- png 070 -->
+</td>
+<td class = "item"><a href = "#fig150">150.</a></td>
+<td><p>Large vase with flaring rim and widespreading legs</p></td>
+<td class = "number">103</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig151">151.</a></td>
+<td><p>Fragment of a tripod vase embellished with figure of an
+alligator</p></td>
+<td class = "number">104</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig152">152.</a></td>
+<td><p>Vase supported by grotesque human figures</p></td>
+<td class = "number">105</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig153">153.</a></td>
+<td><p>Round bodied vase embellished with figures of monsters</p></td>
+<td class = "number">106</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig154">154.</a></td>
+<td><p>Cup with incurved rim and life form ornamentation</p></td>
+<td class = "number">107</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig155">155.</a></td>
+<td><p>Cup with widely expanded rim and constricted neck</p></td>
+<td class = "number">107</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig156">156.</a></td>
+<td><p>Small tripod cup with animal features in high relief</p></td>
+<td class = "number">108</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig157">157.</a></td>
+<td><p>Handsome vase supported by three grotesque figures</p></td>
+<td class = "number">108</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig158">158.</a></td>
+<td><p>Vase decorated with figures of frogs and devices in red</p></td>
+<td class = "number">110</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig159">159.</a></td>
+<td><p>Vase of unique shape and life form ornamentation</p></td>
+<td class = "number">110</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig160">160.</a></td>
+<td><p>Two-handled vase with life form and linear decoration</p></td>
+<td class = "number">110</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig161">161.</a></td>
+<td><p>Small tripod vase with animal figures in white</p></td>
+<td class = "number">111</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig162">162.</a></td>
+<td><p>Shapely vase with designs in white paint</p></td>
+<td class = "number">112</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig163">163.</a></td>
+<td><p>Small red bottle with horizontal bands of ornament</p></td>
+<td class = "number">115</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig164">164.</a></td>
+<td><p>Small red bottle with encircling geometric devices</p></td>
+<td class = "number">115</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig165">165.</a></td>
+<td><p>Bottle with zone occupied by geometric devices</p></td>
+<td class = "number">116</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig166">166.</a></td>
+<td><p>Bottle with broad zone containing geometric figures</p></td>
+<td class = "number">116</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig167">167.</a></td>
+<td><p>Bottle with decoration of meandered lines</p></td>
+<td class = "number">117</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig168">168.</a></td>
+<td><p>Bottle with arched panels and geometric devices</p></td>
+<td class = "number">117</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig169">169.</a></td>
+<td><p>Bottle with arched panels and elaborate devices</p></td>
+<td class = "number">118</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig170">170.</a></td>
+<td><p>Vase with rosette-like panels</p></td>
+<td class = "number">118</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item nopad"><a href = "#fig170a">170a.</a></td>
+<td><p>Ornament from preceding vase</p></td>
+<td class = "number">118</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig171">171.</a></td>
+<td><p>Vase with rosette-like panels</p></td>
+<td class = "number">119</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig172">172.</a></td>
+<td><p>Vase with rosette-like panels</p></td>
+<td class = "number">119</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig173">173.</a></td>
+<td><p>Theoretical origin of the arched panels</p></td>
+<td class = "number">120</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig174">174.</a></td>
+<td><p>Theoretical origin of the arched panels</p></td>
+<td class = "number">120</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig175">175.</a></td>
+<td><p>Theoretical origin of the arched panels</p></td>
+<td class = "number">120</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig176">176.</a></td>
+<td><p>Vase decorated with conventional figures of alligators</p></td>
+<td class = "number">120</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig177">177.</a></td>
+<td><p>Portion of decorated zone illustrating treatment of life
+forms</p></td>
+<td class = "number">121</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig178">178.</a></td>
+<td><p>Portion of decorated zone illustrating treatment of life
+forms</p></td>
+<td class = "number">121</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig179">179.</a></td>
+<td><p>Vase decorated with highly conventional life forms</p></td>
+<td class = "number">121</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item nopad"><a href = "#fig179a">179a.</a></td>
+<td><p>Design from preceding vase</p></td>
+<td class = "number">122</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig180">180.</a></td>
+<td><p>Vase decorated with highly conventional life forms</p></td>
+<td class = "number">122</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig181">181.</a></td>
+<td><p>Vase decorated with highly conventional life forms</p></td>
+<td class = "number">123</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig182">182.</a></td>
+<td><p>Decorated panel with devices resembling vegetal growths</p></td>
+<td class = "number">124</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig183">183.</a></td>
+<td><p>Vase of unusual shape</p></td>
+<td class = "number">124</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig184">184.</a></td>
+<td><p>Vase of unusual shape</p></td>
+<td class = "number">124</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig185">185.</a></td>
+<td><p>Vase of unusual shape</p></td>
+<td class = "number">124</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig186">186.</a></td>
+<td><p>Double vessel with high arched handle</p></td>
+<td class = "number">125</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig187">187.</a></td>
+<td><p>Double vessel with arched handle</p></td>
+<td class = "number">125</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig188">188.</a></td>
+<td><p>Vase embellished with life forms in color and in relief</p></td>
+<td class = "number">126</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig189">189.</a></td>
+<td><p>Vase modeled to represent a peccary</p></td>
+<td class = "number">127</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig190">190.</a></td>
+<td><p>Under surface of peccary vase</p></td>
+<td class = "number">127</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig191">191.</a></td>
+<td><p>Small vessel with human figures in high relief</p></td>
+<td class = "number">127</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig192">192.</a></td>
+<td><p>Tripod cup with figures of the alligator</p></td>
+<td class = "number">128</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig193">193.</a></td>
+<td><p>Large shallow tripod vase with geometric decoration</p></td>
+<td class = "number">129</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig194">194.</a></td>
+<td><p>Large bottle shaped vase with high tripod and alligator
+design</p></td>
+<td class = "number">130</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig195">195.</a></td>
+<td><p>Large bottle with narrow zone containing figures of the
+alligator</p></td>
+<td class = "number">132</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig196">196.</a></td>
+<td><p>Vase with decorated zone containing four arched panels</p></td>
+<td class = "number">133</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig197">197.</a></td>
+<td><p>Vase with four round nodes upon which are painted animal
+devices</p></td>
+<td class = "number">133</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig198">198.</a></td>
+<td><p>Vases of varied form and decoration</p></td>
+<td class = "number">134</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig199">199.</a></td>
+<td><p>Alligator vase with conventional markings</p></td>
+<td class = "number">135</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig200">200.</a></td>
+<td><p>Alligator vase with figures of the alligator painted on the
+sides</p></td>
+<td class = "number">135</td>
+</tr>
+<tr>
+<td><span class = "pagenum">11</span>
+<a name = "page011" id = "page011"> </a>
+<!-- png 071 -->
+</td>
+<td class = "item"><a href = "#fig201">201.</a></td>
+<td><p>Vase with serpent ornamentation</p></td>
+<td class = "number">136</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig202">202.</a></td>
+<td><p>Vase representing a puma with alligator figures painted on
+sides</p></td>
+<td class = "number">137</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig203">203.</a></td>
+<td><p>Shallow vase with reptilian features in relief and in
+color</p></td>
+<td class = "number">137</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig204">204.</a></td>
+<td><p>Vase with funnel shaped mouth</p></td>
+<td class = "number">138</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig205">205.</a></td>
+<td><p>Top view of vase in Fig. 204</p></td>
+<td class = "number">139</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig206">206.</a></td>
+<td><p>End view of vase in Fig. 204</p></td>
+<td class = "number">139</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig207">207.</a></td>
+<td><p>Large vase with decorations in red and black</p></td>
+<td class = "number">140</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig208">208.</a></td>
+<td><p>Devices of the decorated zone of vase in Fig. 207, viewed from
+above</p></td>
+<td class = "number">141</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig209">209.</a></td>
+<td><p>Handsome vase with four handles and decorations in black, red,
+and purple</p></td>
+<td class = "number">142</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig210">210.</a></td>
+<td><p>Painted design of vase in Fig. 209, viewed from above</p></td>
+<td class = "number">143</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig211">211.</a></td>
+<td><p>Vase of unusual shape with decoration in black, red, and
+purple</p></td>
+<td class = "number">144</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig212">212.</a></td>
+<td><p>Ornament occupying the interior surface of the basin of vase in
+Fig.&nbsp;211</p></td>
+<td class = "number">144</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig213">213.</a></td>
+<td><p>Large vase of fine shape and simple decorations</p></td>
+<td class = "number">145</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig214">214.</a></td>
+<td><p>Vase with extraordinary decorative designs</p></td>
+<td class = "number">146</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig215">215.</a></td>
+<td><p>Painted design of vase in Fig. 214, viewed from above</p></td>
+<td class = "number">147</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig216">216.</a></td>
+<td><p>Vase of unique form and decoration</p></td>
+<td class = "number">148</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig217">217.</a></td>
+<td><p>Painted design of vase in Fig. 216</p></td>
+<td class = "number">148</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig218">218.</a></td>
+<td><p>Spindle whorl with annular nodes</p></td>
+<td class = "number">149</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig219">219.</a></td>
+<td><p>Spindle whorl decorated with animal figures</p></td>
+<td class = "number">149</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig220">220.</a></td>
+<td><p>Spindle whorl with perforations and incised ornament</p></td>
+<td class = "number">149</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig221">221.</a></td>
+<td><p>Needlecase</p></td>
+<td class = "number">150</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig222">222.</a></td>
+<td><p>Needlecase</p></td>
+<td class = "number">150</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig223">223.</a></td>
+<td><p>Needlecase with painted geometric ornament</p></td>
+<td class = "number">151</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig224">224.</a></td>
+<td><p>Needlecase with incised geometric ornament</p></td>
+<td class = "number">151</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig225">225.</a></td>
+<td><p>Needlecase with incised geometric ornament</p></td>
+<td class = "number">151</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig226">226.</a></td>
+<td><p>Statuette</p></td>
+<td class = "number">152</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig227">227.</a></td>
+<td><p>Statuette</p></td>
+<td class = "number">152</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig228">228.</a></td>
+<td><p>Statuette</p></td>
+<td class = "number">152</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig229">229.</a></td>
+<td><p>Statuette</p></td>
+<td class = "number">152</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig230">230.</a></td>
+<td><p>Stool of plain terra cotta</p></td>
+<td class = "number">154</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig281">281.</a></td>
+<td><p>Stool of plain clay, with grotesque figures</p></td>
+<td class = "number">155</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig232">232.</a></td>
+<td><p>Stool of plain terra cotta</p></td>
+<td class = "number">155</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig233">233.</a></td>
+<td><p>Rattle</p></td>
+<td class = "number">157</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig234">234.</a></td>
+<td><p>Section of rattle</p></td>
+<td class = "number">157</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig235">235.</a></td>
+<td><p>Rattle, with grotesque figures</p></td>
+<td class = "number">157</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig236">236.</a></td>
+<td><p>Drum of gray unpainted clay</p></td>
+<td class = "number">158</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig237">237.</a></td>
+<td><p>Drum with painted ornament</p></td>
+<td class = "number">159</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig238">238.</a></td>
+<td><p>Painted design of drum in Fig. 237</p></td>
+<td class = "number">159</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig239">239.</a></td>
+<td><p>Double whistle</p></td>
+<td class = "number">161</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig240">240.</a></td>
+<td><p>Section of double whistle</p></td>
+<td class = "number">161</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig241">241.</a></td>
+<td><p>Tubular instrument with two finger holes</p></td>
+<td class = "number">162</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig242">242.</a></td>
+<td><p>Section of whistle</p></td>
+<td class = "number">162</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig243">243.</a></td>
+<td><p>Small animal shaped whistle</p></td>
+<td class = "number">162</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig244">244.</a></td>
+<td><p>Small animal shaped whistle</p></td>
+<td class = "number">162</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig245">245.</a></td>
+<td><p>Top shaped whistle</p></td>
+<td class = "number">163</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig246">246.</a></td>
+<td><p>Section, top, and bottom views of whistle</p></td>
+<td class = "number">164</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig247">247.</a></td>
+<td><p>Drum shaped whistle</p></td>
+<td class = "number">165</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig248">248.</a></td>
+<td><p>Vase shaped whistle</p></td>
+<td class = "number">165</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig249">249.</a></td>
+<td><p>Crab shaped whistle</p></td>
+<td class = "number">166</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig250">250.</a></td>
+<td><p>Alligator shaped whistle</p></td>
+<td class = "number">166</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig251">251.</a></td>
+<td><p>Cat shaped whistle</p></td>
+<td class = "number">167</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig252">252.</a></td>
+<td><p>Whistle with four ocelot-like heads</p></td>
+<td class = "number">168</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig253">253.</a></td>
+<td><p>Bird shaped whistle</p></td>
+<td class = "number">169</td>
+</tr>
+<tr>
+<td><span class = "pagenum">12</span>
+<a name = "page012" id = "page012"> </a>
+<!-- png 072 -->
+</td>
+<td class = "item"><a href = "#fig254">254.</a></td>
+<td><p>Bird shaped whistle</p></td>
+<td class = "number">169</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig255">255.</a></td>
+<td><p>Bird shaped whistle</p></td>
+<td class = "number">170</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig256">256.</a></td>
+<td><p>Whistle in grotesque life form</p></td>
+<td class = "number">170</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig257">257.</a></td>
+<td><p>Conventional figure of the alligator</p></td>
+<td class = "number">173</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig258">258.</a></td>
+<td><p>Conventional figure of the alligator</p></td>
+<td class = "number">173</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig259">259.</a></td>
+<td><p>Conventional figure of the alligator</p></td>
+<td class = "number">174</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig260">260.</a></td>
+<td><p>Conventional figure of the alligator</p></td>
+<td class = "number">174</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig261">261.</a></td>
+<td><p>Conventional figure of the alligator</p></td>
+<td class = "number">174</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig262">262.</a></td>
+<td><p>Conventional figure of the alligator</p></td>
+<td class = "number">175</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig263">263.</a></td>
+<td><p>Conventional figure of the alligator</p></td>
+<td class = "number">175</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig264">264.</a></td>
+<td><p>Conventional figure of the alligator</p></td>
+<td class = "number">176</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig265">265.</a></td>
+<td><p>Conventional figure derived from the alligator</p></td>
+<td class = "number">176</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig266">266.</a></td>
+<td><p>Conventional figure derived from the alligator</p></td>
+<td class = "number">176</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig267">267.</a></td>
+<td><p>Conventional figure derived from the alligator</p></td>
+<td class = "number">176</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig268">268.</a></td>
+<td><p>Conventional figure derived from the alligator</p></td>
+<td class = "number">177</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig269">269.</a></td>
+<td><p>Conventional figure derived from the alligator</p></td>
+<td class = "number">177</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig270">270.</a></td>
+<td><p>Conventional figure derived from the alligator</p></td>
+<td class = "number">177</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig271">271.</a></td>
+<td><p>Conventional figure derived from the alligator</p></td>
+<td class = "number">178</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig272">272.</a></td>
+<td><p>Conventional figure derived from the alligator</p></td>
+<td class = "number">178</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig273">273.</a></td>
+<td><p>Conventional figure derived from the alligator</p></td>
+<td class = "number">178</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig274">274.</a></td>
+<td><p>Conventional figures derived from the alligator</p></td>
+<td class = "number">179</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig275">275.</a></td>
+<td><p>Conventional figure derived from the alligator</p></td>
+<td class = "number">179</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig276">276.</a></td>
+<td><p>Conventional figure derived from the alligator</p></td>
+<td class = "number">180</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig277">277.</a></td>
+<td><p>Conventional figures derived from the alligator</p></td>
+<td class = "number">180</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig278">278.</a></td>
+<td><p>Conventional figures derived from the alligator</p></td>
+<td class = "number">181</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig279">279.</a></td>
+<td><p>Conventional figures derived from the alligator</p></td>
+<td class = "number">182</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig280">280.</a></td>
+<td><p>Conventional figures derived from the alligator</p></td>
+<td class = "number">182</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig281">281.</a></td>
+<td><p>Conventional figures derived from the alligator</p></td>
+<td class = "number">182</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig282">282.</a></td>
+<td><p>Conventional figures derived from the alligator</p></td>
+<td class = "number">182</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig283">283.</a></td>
+<td><p>Conventional figures derived from the alligator</p></td>
+<td class = "number">183</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig284">284.</a></td>
+<td><p>Vase with decorated zone containing remarkable devices</p></td>
+<td class = "number">185</td>
+</tr>
+<tr>
+<td></td>
+<td class = "item"><a href = "#fig285">285.</a></td>
+<td><p>Series of devices</p></td>
+<td class = "number">185</td>
+</tr>
+</table>
+
+<p>&nbsp;<br>&nbsp;</p>
+
+<!-- png 073 -->
+
+<span class = "pagenum">[13a]</span>
+<a name = "page013a" id = "page013a"> </a>
+<!-- png 074 -->
+
+<div class = "picture">
+<p class = "leftfloat"><span class = "smaller">
+BUREAU OF ETHNOLOGY</span></p>
+
+<p class = "right"><span class = "smaller">
+SIXTH ANNUAL REPORT PL. I.</span></p>
+
+<p class = "illustration">
+<a name = "map" id = "map" href = "images/map_large.jpg"
+target = "_blank">
+<img src = "images/map_thumb.jpg" width = "462" height = "371"
+alt = "map"></a></p>
+</div>
+
+
+<span class = "pagenum">13</span>
+<a name = "page013" id = "page013"> </a>
+<!-- png 075 -->
+
+
+<h2><a name = "art" id = "art">
+ANCIENT ART OF THE PROVINCE OF CHIRIQUI.</a></h2>
+
+<hr class = "tiny">
+
+<h4 class = "smallcaps">By William H. Holmes.</h4>
+
+<hr class = "tiny">
+
+<div class = "maintext">
+
+<h3><a name = "intro" id = "intro">INTRODUCTION.</a></h3>
+
+
+<h4><a name = "intro_geog" id = "intro_geog">GEOGRAPHY.</a></h4>
+
+<p>Until comparatively recent times the province of Chiriqui has
+remained almost unknown to the world at large. The isthmus was traversed
+a number of times by the conquerors, who published accounts of their
+discoveries, but it was reserved for the period of railroad and canal
+exploration to furnish trustworthy accounts of its character and
+inhabitants. The situation of Chiriqui is unique. Forming, politically,
+a&nbsp;part of South America, it belongs in reality to the North
+American continent. It occupies a part of the great southern flexure of
+the isthmus at a point where the shore lines begin finally to turn
+toward the north.</p>
+
+<p>The map accompanying this paper (Plate I) conveys a clear idea of the
+position and the leading topographic features of the province. The
+boundaries separating it from Veragua on the east and Costa Rica on the
+west run nearly north and south. The Atlantic coast line has a northwest
+and southeast trend and is indented by the bay or lagoon of Chiriqui.
+The Bay of David extends into the land on the south and the Gulf of
+Dolce forms a part of the western boundary. A&nbsp;range of mountains,
+consisting principally of volcanic products, extends midway along the
+province, forming the continental watershed.<a class = "tag" name =
+"tag1" id = "tag1" href = "#note1">1</a> The drainage comprises two
+systems of short rivers that run, one to the north and the other to the
+south, into the opposing oceans. Belts of lowland border the shore
+lines. That on the south side is from twenty to thirty miles wide and
+rises gradually into a plateau two or three thousand feet in elevation,
+which is broken by hills and cut by cañons. This belt affords a natural
+thoroughfare for peoples migrating from continent to continent, and
+doubtless formed at all periods an attractive district for occupation.
+It is in the middle portion of this strip of lowland, especially in the
+drainage area of the Bay of David, that the most plentiful evidences of
+ancient occupation are found. Scattering remains have been discovered
+all along, however, connecting the art of Costa Rica with that of
+Veragua, Panama, and
+<span class = "pagenum">14</span>
+<a name = "page014" id = "page014"> </a>
+<!-- png 076 -->
+the South American continent. The islands of the coast furnish some
+fragmentary monuments and relics, and there is no doubt that a vast
+quantity of material yet remains within the province to reward the
+diligent search of future explorers.</p>
+
+
+<h4><a name = "intro_lit" id = "intro_lit">LITERATURE.</a></h4>
+
+<p>The antiquarian literature of the province is extremely meager, being
+confined to brief sketches made by transient visitors or based for the
+most part upon the testimony of gold hunters and government explorers,
+who took but little note of the unpretentious relics of past ages. As
+there are few striking monuments, the attention of archæologists was not
+called to the history of primeval man in this region, and until recently
+the isthmus was supposed to have remained practically unoccupied by that
+group of cultured nations whose works in Peru and in Mexico excite the
+wonder of the world. But, little by little, it has been discovered that
+at some period of the past the province was thickly populated, and by
+races possessed of no mean culture.</p>
+
+<p>The most important contributions to the literature of this region, so
+far as they have come to my knowledge, are the following: A&nbsp;paper
+by Mr. Merritt, published by the American Ethnological Society;<a class
+= "tag" name = "tag2" id = "tag2" href = "#note2">2</a> a&nbsp;paper by
+Bollaert, published by the same society, and also a volume issued in
+London;<a class = "tag" name = "tag3" id = "tag3" href = "#note3">3</a>
+a&nbsp;valuable pamphlet, with photographic illustrations, by M.&nbsp;De
+Zeltner, French consul to Panama in 1860;<a class = "tag" name = "tag4"
+id = "tag4" href = "#note4">4</a> a&nbsp;short paper by Mr. A.&nbsp;L.
+Pinart, published in the Bulletin de la Société de Géographie (Paris,
+1885, p.&nbsp;433), in which he gives valuable information in regard to
+the peoples, ancient and modern; and casual notes by a number of other
+writers, some of which will be referred to in the following pages.
+A&nbsp;pretty full list of authorities is given by Mr. H.&nbsp;H.
+Bancroft in his Native Races, Vol. V, p.&nbsp;16.</p>
+
+<p>One of the most important additions to our knowledge of the province
+and its archæologic treasures is furnished in the manuscript notes of
+Mr. J.&nbsp;A. McNiel, who made the greater part of the collection now
+deposited in the National Museum. This explorer has personally
+supervised the examination of many thousands of graves and has forwarded
+the bulk of his collections to the United States. His explorations have
+occupied a number of years, during which time he has undergone much
+privation and displayed great enthusiasm in pursuing the rather thorny
+pathways of scientific research. In the preparation of this paper his
+notes have been used as freely as their rather disconnected character
+warranted, and since Mr. McNiel’s return to the United States, in July,
+1886, I&nbsp;have been favored with a
+<span class = "pagenum">15</span>
+<a name = "page015" id = "page015"> </a>
+<!-- png 077 -->
+series of interviews with him, and by this means much important
+information has been obtained.</p>
+
+
+<h4><a name = "intro_people" id = "intro_people">PEOPLE.</a></h4>
+
+<p>At the present time this district is inhabited chiefly by Indians and
+natives of mixed, blood, who follow grazing and agriculture to a limited
+extent, but subsist largely upon the natural products of the country.
+These peoples are generally thought to have no knowledge or trustworthy
+tradition of the ancient inhabitants and are said to care nothing for
+the curious cemeteries among which they dwell, except as a source of
+revenue. Mr. A.&nbsp;L. Pinart states, however, that certain tribes on
+both sides of the continental divide have traditions pointing toward the
+ancient grave builders as their ancestors. There is probably no valid
+reason for assigning the remains of this region to a very high
+antiquity. The highest stage of culture here may have been either
+earlier or later than the period of highest civilization in Mexico and
+South America or contemporaneous with it. There is really no reason for
+supposing that the tribes who built these graves were not in possession
+of the country, or parts of it, at the time of the conquest. As to the
+affinities of the ancient middle isthmian tribes with the peoples north
+and south of them we can learn nothing positive from the evidences of
+their art. So far as the art of pottery has come within my observation,
+it appears to indicate a somewhat closer relationship with the ancient
+Costa Rican peoples than with those of continental South America; yet,
+in their burial customs, in the lack of enduring houses and temples, and
+in their use of gold, they were like the ancient peoples of middle and
+southern New Granada.<a class = "tag" name = "tag5" id = "tag5" href =
+"#note5">5</a></p>
+
+<p>The relics preserved in our museums would seem to indicate one
+principal period of occupation or culture only; but there has been no
+intelligent study of the contents of the soil in sections exposed in
+modern excavations, the exclusive aim of collectors having generally
+been to secure either gold or showy cabinet specimens. The relics of
+very primitive periods, if such are represented, have naturally passed
+unnoticed. Mr. McNiel mentions the occurrence of pottery in the soil in
+which the graves were dug, but, regarding it as identical with that
+contained in the graves, he neglected to preserve specimens.</p>
+
+<p>In one instance, while on a visit to Los Remedios, a pueblo near the
+eastern frontier of Chiriqui, he observed a cultivated field about which
+a ditch some 8 or 9 feet in depth had been dug. In walking through this
+he found a continuous exposure of broken pottery and stone implements.
+Some large urns had been cut across or broken to conform to the slope of
+the ditch, and were exposed in section.</p>
+
+<span class = "pagenum">16</span>
+<a name = "page016" id = "page016"> </a>
+<!-- png 078 -->
+<p>Although not apparently representing a very wide range of culture or
+distinctly separated periods of culture, the various groups of relics
+exhibit considerable diversity in conception and execution,
+attributable, no doubt, to variations in race and art inheritance.</p>
+
+
+<h4><a name = "intro_cemeteries" id = "intro_cemeteries">
+THE CEMETERIES.</a></h4>
+
+<p>The ancient cemeteries, or huacals, as they are called throughout
+Spanish America, are scattered over the greater part of the Pacific
+slope of Chiriqui. It is said by some that they are rarely found in the
+immediate vicinity of the sea, but they occur in the river valleys, on
+the hills, the plateaus, the mountains, and in the deepest forests. They
+are very numerous, but generally of small extent. The largest described
+is said to cover an area of about twelve acres. They were probably
+located in the immediate vicinity of villages, traces of which, however,
+are not described by explorers; but there can be no doubt that diligent
+search will bring to light the sites of dwellings and towns. The absence
+of traces of houses or monuments indicates either that the architecture
+of this region was then, as now, of destructible material, or, which is
+not likely, that so many ages have passed over them that all traces of
+unburied art, wood, stone, or clay, have yielded to the “gnawing tooth
+of time.�</p>
+
+<p>One of the most circumstantial accounts of these burial places is
+given by Mr. Merritt, who was also the first to make them known to
+science.<a class = "tag" name = "tag6" id = "tag6" href = "#note6">6</a>
+Mr. Merritt was director of a gold mine in Veragua, and in the summer of
+1859 spent several weeks in exploring the graves of Chiriqui; he
+therefore speaks from personal knowledge. In the autumn of 1858 two
+native farmers of the parish of Bugaba, or Bugava, discovered a golden
+image that had been exposed by the uprooting of a plant. They proceeded
+secretly to explore the graves, the existence of which had been known
+for years. In the following spring their operations became known to the
+people, and within a month more than a thousand persons were engaged in
+working these extraordinary gold mines. The fortunate discoverers
+succeeded in collecting about one hundred and thirty pounds weight of
+gold figures, most of which were more or less alloyed with copper. It is
+estimated that fifty thousand dollars’ worth in all was collected from
+this cemetery, which embraced an area of twelve acres.</p>
+
+<p>Although there are rarely surface indications to mark the position of
+the graves, long experience has rendered it comparatively easy to
+discover them. The grave hunter carries a light iron rod, which he runs
+into the ground, and thus, if any hard substance is present, discovers
+the existence of a burial. It is mentioned by one or two writers that
+the graves are in many cases marked by stones, either loose or set in
+the ground in rectangular and circular arrangements. The
+<span class = "pagenum">17</span>
+<a name = "page017" id = "page017"> </a>
+<!-- png 079 -->
+graves do not often seem to have had a uniform position in relation to
+one another or to the points of the compass. In some cases they are
+clustered about a central tomb, and then assume a somewhat radiate
+arrangement; again, according to Mr. McNiel, they are sometimes placed
+end to end, occupying long trenches.</p>
+
+
+<h4><a name = "intro_graves" id = "intro_graves">THE GRAVES.</a></h4>
+
+<p>Graves of a particular form are said to occur sometimes in groups
+occupying distinct parts of the cemetery, but the observations are not
+sufficiently definite to be of value. The graves vary considerably in
+form, construction, and depth, and are classified variously by
+explorers. In the Bugaba cemetery Mr. Merritt found two well marked
+varieties, the oval and the quadrangular, reference being had to the
+horizontal section. The oval grave pits were from 4½ to 6 feet deep and
+from 3 to 4 feet in greatest diameter. A&nbsp;wall of rounded river
+stones 2½ to 3 feet high lined the lower part of the pit, and from the
+top of this the entire space was closely packed with rounded stones.
+Within the faced up part of this cist the remains of the dead, the
+golden figures, pottery, and implements had been deposited. This form is
+illustrated in Fig.&nbsp;1&nbsp;by a vertical section constructed from
+the description given by Mr. Merritt.</p>
+
+<p class = "illustration">
+<a name = "fig1" id = "fig1">&nbsp;</a><br>
+<img src = "images/fig1.png" width = "224" height = "178"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 1.</span> Section of oval grave.</p>
+
+<p>The quadrangular graves were constructed in two somewhat distinct
+ways. One variety was identical in most respects with the oval form
+illustrated above. They were sometimes as much as 6 feet deep and
+frequently 4 by 7 feet in horizontal dimensions. In the other form a pit
+4 by 6½ feet in diameter was sunk to the depth of about 3 feet.
+Underneath this another pit some 2 feet in depth was sunk, leaving an
+offset or terrace 8 or 10 inches in width all around. The smaller pit
+was lined with flat stones placed on edge. In this cist the human
+remains and the relics were placed and covered over with flat stones,
+which rested upon the terrace and prevented the superincumbent mass,
+which consisted of closely packed river stones, from
+<span class = "pagenum">18</span>
+<a name = "page018" id = "page018"> </a>
+<!-- png 080 -->
+crushing the contents. A&nbsp;section of this tomb is given in
+Fig.&nbsp;2, also drawn from the description given by Mr. Merritt.</p>
+
+<p class = "illustration">
+<a name = "fig2" id = "fig2">&nbsp;</a><br>
+<img src = "images/fig2.png" width = "276" height = "170"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 2.</span> Section of a quadrangular
+grave, showing the surface pack of river stories and the positions of
+the slabs and objects of art.</p>
+
+<p>Mr. Merritt and others mention that in some of the graves pillars are
+employed to support the roof of the cist. These pillars are mentioned
+briefly by De Zeltner, from whose account the following illustrations
+are drawn. This author does not state that he made any personal
+investigations, and if his accounts were obtained from the natives their
+entire trustworthiness may very properly be questioned. The first two
+forms mentioned by him are similar to those already given. The third is
+described as having at the corners square pillars of stone to support
+the covering, which, however, is not described. The fourth has four
+pillars, placed in the corners of the pit. These serve to support a
+vault of flagstones. The walls between the pillars are faced with
+pebbles, as in the cases previously described. Fig.&nbsp;3&nbsp;will
+make this form clear at a glance. The fifth variety described by De
+Zeltner is quite extraordinary in construction. His account is somewhat
+confusing in a number of respects, and the section given in
+Fig.&nbsp;4&nbsp;cannot claim more than approximate accuracy in details
+and measurements. Near the surface a paving, perhaps
+<span class = "pagenum">19</span>
+<a name = "page019" id = "page019"> </a>
+<!-- png 081 -->
+of river stones, was found covering an area of about 10 by 13 feet. This
+paving was apparently the surface of a pack about 2 feet thick, and
+covered the mouth of the main pit, which was some 6 or 7 feet deep.
+Pillars of cobble stones about 10 inches in diameter occupied the
+corners of the pit, and probably served in a measure to support the
+paving. In the bottom of this excavation a second pit was dug, the mouth
+of which was also covered by a paving 2½ by upwards of 3 feet in
+horizontal dimensions. This lower pit consisted of a shaft several feet
+in depth, by which descent was made into a chamber of inverted pyramidal
+shape. This chamber approximated 6 by 9 feet in horizontal dimensions
+and was some 4 or 5 feet deep. At the bottom of this cistern the human
+remains and most of the relics were deposited. The shaft was filled in
+with earth and the pavings described. The total depth, computed from the
+figures given, is about 18 feet, a&nbsp;most remarkable achievement for
+a barbarous people; yet this is equaled by the ancient tribes of the
+mainland of New Granada, where similar burial customs seem to have
+prevailed. Mr. White,<a class = "tag" name = "tag7" id = "tag7" href =
+"#note7">7</a> who traveled extensively in the northwestern part of the
+state, says:</p>
+
+<p class = "quotation">
+A dry, elevated ridge, composed of easily excavated material, was
+selected as the cemetery. A&nbsp;pit of only a yard or so in diameter
+was sunk, sometimes vertically, sometimes at an angle, or sometimes it
+varied from vertical to inclined. It was sunk to depths varying from 15
+to 60 feet, and at the bottom a chamber was formed in the earth. Here
+the dead was deposited, with his arms, tools, cooking utensils,
+ornaments, and chattels generally, with maize and fermented liquor made
+of maize. The chamber and passage were then rammed tightly full of
+earth, and sometimes it would appear that peculiar earth, other than
+that excavated on the spot, was used. One not unfrequently detects a
+peculiar aromatic smell in the earth, and fragments of charcoal are
+always found mixed with it in more or less quantity.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig3" id = "fig3">&nbsp;</a><br>
+<img src = "images/fig3.png" width = "257" height = "182"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig4" id = "fig4">&nbsp;</a><br>
+<img src = "images/fig4.png" width = "165" height = "235"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 3.</span> Grave with pillars, described
+by De Zeltner.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 4.</span> Compound cist, described by De
+Zeltner.</td>
+</tr>
+</table>
+
+<span class = "pagenum">20</span>
+<a name = "page020" id = "page020"> </a>
+<!-- png 082 -->
+
+<p>M. De Zeltner describes other very simple graves which are filled in
+with earth, excepting a surface paving of pebbles.</p>
+
+<p>Mr. McNiel, who has examined more examples than any other white man,
+and over a wide district with David as a center, discredits the
+statements of De Zeltner in respect to the form illustrated in
+Fig.&nbsp;4, and states that generally the graves do not differ greatly
+in shape and finish from the ordinary graves of to-day. He describes the
+pits as being oval and quadrangular and as having a depth ranging from a
+few feet to 18 feet. The paving or pack consists of earth and water worn
+stones, the latter pitched in without order and forming but a small
+percentage of the filling. He has never seen such stones used in facing
+the walls of the pit or in the construction of pillars. The flat stones
+which cover the cist are often 10 or 15 feet below the surface and are
+in some cases very heavy, weighing 300 pounds or more. A&nbsp;single
+stone is in cases large enough to cover the entire space, but more
+frequently two or more flat stones are laid side by side across the
+cavity. These are supported by river stones, a&nbsp;foot or more in
+length, set around the margin of the cist. He is of the opinion that
+both slabs and bowlders were in many cases carried long distances. No
+one of the pits examined was of the extraordinary form described in
+detail by De Zeltner and others.</p>
+
+
+<h4><a name = "intro_remains" id = "intro_remains">
+HUMAN REMAINS.</a></h4>
+
+<p>The almost total absence of human remains has frequently been
+remarked, and the theory is advanced that cremation must have been
+practiced. We have no evidence, however, of such a custom among the
+historic tribes of this region, and, besides, such elaborate tombs would
+hardly be constructed for the deposition of ashes. Yet, considering the
+depth of the graves, their remarkable construction, and the character of
+the soil selected for burial purposes, it is certainly wonderful that
+such meager traces of human remains are found. Pinart surmises, from the
+analogies of modern burial customs upon the north coast, that the bones
+only were deposited in the graves, the flesh having been allowed to
+decay by a long period of exposure in the open air. This, however, would
+probably not materially hasten the decay of the bones.</p>
+
+<p>Mr. Merritt states that human hair was obtained from graves at
+Bugaba, and that he has himself secured the enamel of a molar tooth from
+that locality. De Zeltner tells us that in three varieties of graves
+remains of skeletons are found, always, however, in a very fragile
+condition. One skull was obtained of sufficient stability to be cast in
+plaster, but De Zeltner is not certain that it belonged to the people
+who built the tombs.</p>
+
+<p>Mr. McNiel reports the occasional finding of bones, and a number of
+bundles of them are included in his collection. He reports that there
+are no crania and that nothing could be determined as to the position of
+the bodies when first buried.</p>
+
+<span class = "pagenum">21</span>
+<a name = "page021" id = "page021"> </a>
+<!-- png 083 -->
+<p>Pinart observes that in some cases the bodies or remnants of bodies
+were distributed about the margin of the pit bottom, with the various
+utensils in the center, and again that the remains were laid away in
+niches dug in the sides of the main pit.</p>
+
+<p>These scattering observations will serve to give a general idea of
+the modes of sepulture practiced in this region, but there must be a
+closer record of localities and a careful correlation of the varying
+phenomena of inhumation before either ethnology or archaeology can be
+greatly benefited.</p>
+
+
+<h4><a name = "intro_relics" id = "intro_relics">
+PLACING OF RELICS.</a></h4>
+
+<p>The pieces of pottery, implements, and ornaments were probably buried
+with the dead, pretty much as are similar objects in other parts of
+America. The almost total disappearance of the human remains makes a
+determination of exact relative positions impossible. The universal
+testimony, however, is that all were not placed with the body, but that
+some were added as the grave was filled up, being placed in the crevices
+of the walls or pillars or thrown in upon the accumulating earth and
+pebbles of the surface pavement. The heavy implements of stone are
+rarely very far beneath the surface.</p>
+
+
+<h3><a name = "objects" id = "objects">OBJECTS OF ART.</a></h3>
+
+<p>From the foregoing account it is apparent that our knowledge of the
+art of ancient Chiriqui must for the present be derived almost entirely
+from the contents of the tombs. The inhabitants were skillful in the
+employment and the manipulation of stone, clay, gold, and copper; and
+the perfection of their work in these materials, taken in connection
+with the construction of their remarkable tombs, indicates a culture of
+long standing and a capacity of no mean order.</p>
+
+<p>Of their architecture, agriculture, or textile art we can learn
+little or nothing.</p>
+
+<p>The relics represented in the collection of the National Museum
+consist chiefly of articles of stone, gold, copper, and clay.</p>
+
+
+<h4><a name = "stone" id = "stone">
+STONE.</a><a class = "tag" name = "tag8" id = "tag8" href =
+"#note8">8</a></h4>
+
+<p>Works executed in stone, excluding the tombs, may be arranged in the
+following classes: Pictured rocks, sculptured columns, images, mealing
+stones, stools, celts, arrowpoints, spear&shy;points&nbsp;(?), polishing
+stones, and ornaments.</p>
+
+<h6><a name = "stone_pictured" id = "stone_pictured">
+Pictured rocks.&mdash;</a></h6>
+
+<p>Our accounts of these objects are very meager. The only one
+definitely described is the “<i>piedra pintal</i>.� A few of the figures
+engraved upon it are given by Seemann, from whom I quote the following
+paragraph:</p>
+
+<span class = "pagenum">22</span>
+<a name = "page022" id = "page022"> </a>
+<!-- png 084 -->
+<p class = "quotation">
+At Caldera, a&nbsp;few leagues [north] from the town of David, lies a
+granite block known to the country people as the piedra pintal, or
+painted stone. It is 15 feet high, nearly 50 feet in circumference, and
+flat on the top. Every part, especially the eastern side, is covered
+with figures. One represents a radiant sun; it is followed by a series
+of heads, all, with some variation, scorpions and fantastic figures. The
+top and the other side have signs of a circular and oval form, crossed
+by lines. The sculpture is ascribed to the Dorachos (or&nbsp;Dorasques),
+but to what purpose the stone was applied no historical account or
+tradition reveals.<a class = "tag" name = "tag9" id = "tag9" href =
+"#note9">9</a></p>
+
+<p>These inscriptions are irregularly placed and much scattered. They
+are thought to have been originally nearly an inch deep, but in places
+are almost effaced by weathering, thus giving a suggestion of great
+antiquity. I&nbsp;have seen tracings of these figures made recently by
+Mr. A.&nbsp;L. Pinart which show decided differences in detail, and Mr.
+McNiel gives still another transcript. I&nbsp;present in
+Fig.&nbsp;5&nbsp;Mr. McNiel’s sketch of the southwest face of the rock,
+as he has given considerably more detail than any other visitor. Mr.
+McNiel’s sketches show seventeen figures on the opposite side of the
+rock. Seemann gives only twelve, while Mr. Pinart’s tracings show
+upwards of forty upon the same face. These three copies would not be
+recognized as referring to the same original. That of Mr. Pinart seems
+to show the most careful study and is probably accurate. Good
+photographs would be of service in eliminating the inconvenient personal
+equation always present in the delineation of such subjects. These
+figures bear little resemblance to those painted upon the vases of this
+region.</p>
+
+<p class = "illustration">
+<a name = "fig5" id = "fig5">&nbsp;</a><br>
+<img src = "images/fig5.png" width = "373" height = "140"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 5.</span> Southwest face of the pictured
+stone.</p>
+
+<p>Other figures are said to be engraved upon the bowlders and stones
+used in constructing the burial cists. De Zeltner states that “one often
+meets with stones covered with rude allegorical designs, representing
+men, pumas (tigre?), and birds. It is particularly in such huacas as
+have pillars and a vault that these curious specimens of Indian art are
+found.�<a class = "tag" name = "tag10" id = "tag10" href =
+"#note10">10</a></p>
+
+<h6><a name = "stone_columns" id = "stone_columns">
+Columns.&mdash;</a></h6>
+
+<p>A number of authors speak casually of sculptured stone columns, none
+of which have been found in place. Seemann
+<span class = "pagenum">23</span>
+<a name = "page023" id = "page023"> </a>
+<!-- png 085 -->
+says that they may be seen in David, where they are used for building
+purposes,<a class = "tag" name = "tag11" id = "tag11" href =
+"#note11">11</a> but this is not confirmed by others. The sculptures are
+said to be in relief, like those of Yucatan and Peru. Cullen says that
+columns are found on the Island of Muerto, Bay of David.<a class = "tag"
+name = "tag12" id = "tag12" href = "#note12">12</a> Others are mentioned
+as having been seen in Veragua.</p>
+
+<h6><a name = "stone_images" id = "stone_images">
+Images.&mdash;</a></h6>
+
+<p>Objects that may properly be classed as images or idols are of rather
+rare occurrence. Half a dozen specimens are found in the McNiel
+collections. The most important of these represents a full length female
+figure twenty-three inches in height. It is executed in the round, with
+considerable attempt at detail (Fig.&nbsp;6). I&nbsp;may mention, as
+strong characteristics, the flattened crown, encircled by a narrow
+turban-like band, the rather angular face and prominent nose, and the
+formal pose of the arms and hands. Besides the head band, the only other
+suggestion of costume is a belt about the waist.</p>
+
+<p class = "illustration">
+<a name = "fig6" id = "fig6">&nbsp;</a><br>
+<img src = "images/fig6.png" width = "131" height = "389"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 6.</span> A goddess of the ancient
+Chiriquians. Gray basalt&mdash;â…™.</p>
+
+<p>The material is a compact, slightly vesicular, olive gray, basaltic
+rock. I&nbsp;have seen a few additional examples of this figure, and
+from the identity in type and detail conclude that the personage
+represented was probably an important one in the mythology of the
+Chiriquians.
+<span class = "pagenum">24</span>
+<a name = "page024" id = "page024"> </a>
+<!-- png 086 -->
+In general style there is a rather close correspondence with the
+sculptures of the Central American States. Some of the plastic
+characters exhibited in this work appear also in the various objects of
+clay, gold, and copper described further&nbsp;on.</p>
+
+<p>There is also a smaller, rudely carved, half length, human figure
+done in the same style. Besides these figures there are two large
+flattish stones, on one of which a rude image of a monkey has been
+picked, while the other exhibits the figure of a reptile resembling a
+lizard or a crocodile. The work is extremely rude and has the appearance
+of being unfinished. It seems that all of these objects were found upon
+the surface of the ground.</p>
+
+<p>In Figs. 7 and 8 I present two specimens of sculpture also collected
+by Mr. McNiel, and now in the possession of Mr. J.&nbsp;B. Stearns, of
+Short Hills, N.J. The example shown in Fig.&nbsp;7&nbsp;was obtained
+near the Gulf of Dolce, 82°&nbsp;55´ west. Three views are presented:
+profile, front, and back. It is carved from what appears to be a
+compact, grayish olive tufa or basalt, and represents a male personage,
+distinct in style from the female figure first presented. The head is
+rounded above, the arms are flattened against the sides, and the feet
+are folded in a novel position beneath the body. The height is 9
+inches.</p>
+
+<p class = "illustration">
+<a name = "fig7" id = "fig7">&nbsp;</a><br>
+<img src = "images/fig7.png" width = "414" height = "304"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 7.</span> A god of the ancient
+Chiriquians. Gray volcanic rock&mdash;½.</p>
+
+<p>The other specimen, Fig. 8, from near the same locality, is carved
+from a yellowish gray basalt which sparkles with numerous large crystals
+of hornblende. It is similar in style to the last, but more boldly
+sculptured, the features being prominent and the members of the body in
+higher relief. The legs are lost. Height, 5¼ inches.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig8" id = "fig8">&nbsp;</a><br>
+<img src = "images/fig8a.png" width = "98" height = "253"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>a</i></td>
+<td class = "illustration">
+<img src = "images/fig8b.png" width = "109" height = "253"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>b</i></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+<span class = "smallcaps">Fig. 8.</span> Fragmentary human figure in
+gray basaltic rock&mdash;½.</td>
+</tr>
+</table>
+
+<span class = "pagenum">25</span>
+<a name = "page025" id = "page025"> </a>
+<!-- png 087 -->
+<p>A remarkable figure of large size now in the National Museum was
+obtained from the Island of Cana or Cano by Mr. McNiel. It is nearly
+three feet in height and very heavy. The face has been mutilated. In
+general style it corresponds more closely to the sculpture of the
+Central American States than to that of Chiriqui.</p>
+
+<h6><a name = "stone_mealing" id = "stone_mealing">
+Mealing stones.&mdash;</a></h6>
+
+<p>The metate, or hand mill, which consists of a concave tablet and a
+rubbing stone, was an important adjunct to the household appliances of
+nearly all the more cultured American nations. It is found not only in
+those plain substantial forms most suitable for use in grinding grain,
+seeds, and spices by manual means, but in many cases it has been
+elaborated into a work of art which required long and skilled labor for
+its production.</p>
+
+<p>In the province of Chiriqui these mills must have been numerous; but,
+since they are still in demand by the inhabitants of the region, many of
+the ancient specimens have been destroyed by use. It seems from all
+accounts that they were not very generally buried with the dead, but
+were left upon or near the surface of the ground, and were hence
+accessible to the modern tribes, who found it much easier to transport
+them to their homes than to make new ones.</p>
+
+<p>The metates of Chiriqui present a great diversity of form and
+possibly represent distinct peoples or different grades of culture. They
+are carved from volcanic rocks of a few closely related varieties, the
+texture of which is coarse and occasionally somewhat cellular, giving an
+uneven or pitted surface, well suited to the grinding of maize. Three
+classes, for convenience of description, may be distinguished, although
+certain characters are common to all and one form grades
+<span class = "pagenum">26</span>
+<a name = "page026" id = "page026"> </a>
+<!-- png 088 -->
+more or less completely into another. We have the plain slab or rudely
+hewn mass of rock, in the upper surface of which a shallow depression
+has been excavated; we have the carefully hewn oval slab supported by
+short legs of varied shape; and we have a large number of pieces
+elaborately sculptured in imitation of animal forms. The first variety
+is common to nearly all temperate and tropical America and does not
+require further attention here. The second variety exhibits considerable
+diversity in form. The tablet is oval, concave above, and of an even
+thickness. The periphery is often squared and is in many cases
+ornamented with carved figures, either geometric devices or rudely
+sculptured animal heads. The legs are generally three in number, but
+four is not unusual. They are mostly conical or cylindrical in shape and
+are rather short.</p>
+
+<p>The finest example of the second class has an oval plate 37 inches in
+length, 29 in width, and 2 inches thick, which is nearly symmetrical and
+rather deeply concave above. The central portions of the basin are worn
+quite smooth. Near the ends, within the basin, two pairs of small
+animal-like figures are carved, and ranged about the lower margin of the
+periphery are eighty-seven neatly sculptured heads of animals. There are
+four short cylindrical legs. This superb piece of work is shown in
+Fig.&nbsp;9.</p>
+
+<p class = "illustration">
+<a name = "fig9" id = "fig9">&nbsp;</a><br>
+<img src = "images/fig9.png" width = "407" height = "156"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 9.</span> Mealing stone with large tablet
+ornamented with animal heads, from Gualaca&mdash;1/9.</p>
+
+<p>Examples of the third class are all carved to imitate the puma or
+ocelot. The whole creature is often elaborately worked out in the round
+from a single massive block of stone. The thin tablet representing the
+body rests upon four legs. The head, which projects from one end of the
+tablet, is generally rather conventional in style, but is sculptured
+with sufficient vigor to recall the original quite vividly. The tail
+appears at the other end and curves downward, connecting with one of the
+hind feet, probably for greater security against mutilation. The head,
+the margin of the body, and the exterior surfaces of the legs are
+elaborately decorated with tasteful carving. The figures are geometric,
+and refer, no doubt, to the markings of the animal’s skin. Nearly
+identical specimens are obtained from Costa Rica and other parts of
+Central America.</p>
+
+<span class = "pagenum">27</span>
+<a name = "page027" id = "page027"> </a>
+<!-- png 089 -->
+<p>A fine example of medium size is given in Fig. 10. The material is
+gray, minutely cellular, basaltic rock. The upper surface of the plate
+is polished by use. The entire length is 17 inches.</p>
+
+<p class = "illustration">
+<a name = "fig10" id = "fig10">&nbsp;</a><br>
+<img src = "images/fig10.png" width = "423" height = "212"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 10.</span> Puma shaped metate of gray
+andesite, from Rio Joca&mdash;¼.</p>
+
+<p>The largest specimen in the McNiel collection is 2 feet long, 18
+inches wide, and 12 inches high. A&nbsp;similar piece has been
+illustrated by De Zeltner.</p>
+
+<p>The usual office of these metates is considered to be that of
+grinding corn, cocoa, and the like. The great elaboration observed in
+some examples suggests the idea that perhaps they were devoted
+exclusively to the preparation of material (meal or other substances)
+intended for sacred uses. A&nbsp;high degree of elaboration in art
+products results in many cases from their connection with superstitious
+usages.</p>
+
+<p>Speculating upon the use of these objects, De Zeltner mentions a
+mortar “whose pestle was nothing but a round stone, which still shows
+traces of gold here and there. It was evidently with the help of this
+rude instrument that the Indians reduced the gold to powder before
+fusing it.�<a class = "tag" name = "tag13" id = "tag13" href =
+"#note13">13</a></p>
+
+<p>The implement or pestle used in connection with these mealing tablets
+in crushing and grinding is often a simple river worn pebble, as
+mentioned above, but is more usually a cylindrical mass of volcanic
+rock, worked into nearly symmetric shape.</p>
+
+<h6><a name = "stone_stools" id = "stone_stools">
+Stools.&mdash;</a></h6>
+
+<p>The stool-like appearance of some of the objects described as metates
+suggests the presentation in this place of a group of objects that must
+for the present be classed as stools or seats, although their true or
+entire function is unknown to me. They are distinguished from the
+mealing stones by their circular plate, their sharply defined, upright,
+marginal rim, and the absence of signs of use.</p>
+
+<p class = "illustration">
+<a name = "fig11" id = "fig11">&nbsp;</a><br>
+<img src = "images/fig11.png" width = "333" height = "240"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 11.</span> Stool shaped object carved
+from gray, minutely cellular basalt&mdash;â…“.</p>
+
+<p>Two of these objects are from the vicinity of David. The largest
+<span class = "pagenum">28</span>
+<a name = "page028" id = "page028"> </a>
+<!-- png 090 -->
+and most interesting is illustrated in Fig.&nbsp;11. It is carved from a
+piece of vesicular basaltic tufa and is in a perfect state of
+preservation. The height is 6 inches and the diameter of the top 10
+inches, that of the base being a little less. The slightly concave upper
+surface is depressed about half an inch below the upright marginal band.
+The periphery is a little more than an inch in width and is decorated
+with a simple guilloche-like ornament in relief. The disk-like cap is
+connected by open lattice-like work with the ring which forms the base.
+The interior is neatly hollowed out. The open work of the sides consists
+of two elaborately carved figures of monkeys, alternating with two
+sections of trellis work, very neatly executed. The other specimen is
+somewhat less elaborate in its sculptured ornament<ins class =
+"correction" title = "final . missing">.&nbsp;</ins></p>
+
+<p class = "illustration">
+<a name = "fig12" id = "fig12">&nbsp;</a><br>
+<img src = "images/fig12.png" width = "207" height = "250"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 12.</span> Stool with columnar base,
+carved from gray basaltic rock&mdash;â…“.</p>
+
+<span class = "pagenum">29</span>
+<a name = "page029" id = "page029"> </a>
+<!-- png 091 -->
+<p>Outlines of two additional examples of these objects are given in
+Figs. 12 and 13. The tablets are round, thick, and slightly concave
+above and are margined with rows of sculptured heads. The supporting
+column in the first is a plain shaft and the base is narrow and somewhat
+concave underneath. In the second the column is hollowed out and
+perforated.</p>
+
+<p class = "illustration">
+<a name = "fig13" id = "fig13">&nbsp;</a><br>
+<img src = "images/fig13.png" width = "240" height = "172"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 13.</span> Stool with perforated base,
+carved from gray basaltic rock&mdash;â…“.</p>
+
+<p>As bearing upon the possible use of these specimens it should be
+noticed that similar stool-like objects are made of clay, the softness
+and fragility of which would render them unsuitable for use as mealing
+plates or mortars, and it would also appear that they are rather fragile
+for use as stools. I&nbsp;would suggest that they may have served as
+supports for articles such as vases or idols employed in religious
+rites, or possibly as altars for offerings.</p>
+
+<h6><a name = "stone_celts" id = "stone_celts">
+Celts.&mdash;</a></h6>
+
+<p>The class of implements usually denominated celts is represented by
+several hundred specimens, nearly all of which are in a perfect state of
+preservation. They are thoroughly well made and beautifully finished,
+and leave the impression upon the mind that they must represent the very
+highest plane of Stone Age art.</p>
+
+<p>Although varying widely in form and finish there is great homogeneity
+of characters, the marked family resemblance suggesting a single people
+and a single period or stage of culture. They are found in the cists
+along with other relics and are very generally distributed,
+a&nbsp;limited number, rarely more than three, being found in a single
+grave. They may be classified by shape into a number of groups, each of
+which, however, will be found to grade more or less completely into the
+others. They display all degrees of finish from the freshly flaked to
+the evenly picked and wholly polished surface. The edges or points of
+nearly all show the contour and polish that come from long though
+careful use. All are made of compact, dark, volcanic tufa that resembles
+very closely a fine grained slate. The following illustrations include
+all the more important types of form. There are but few specimens of
+very large size. That shown in Fig.&nbsp;14 is 8¼ inches long,
+4&nbsp;inches wide, and seven-eighths of an inch thick. The blade is
+broad at the edge, rounded in outline, and well polished. The upper
+<span class = "pagenum">30</span>
+<a name = "page030" id = "page030"> </a>
+<!-- png 092 -->
+end terminates in a rather sharp point that shows the rough flaked
+surface of the original blocking out. The middle portion exhibits an
+evenly picked surface. The rock is a dark slaty looking tufa, the
+<ins class = "correction" title = "hyphen at line break missing">surface</ins>
+of which displays ring or rosette-like markings,
+reminding one of the polished surface of a section of fossil coral.
+These markings probably come from the decomposition of the mineral
+constituents of the rock.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig14" id = "fig14">&nbsp;</a><br>
+<img src = "images/fig14a.png" width = "207" height = "421"
+alt = "see caption"></td>
+<td class = "illustration">
+<img src = "images/fig14b.png" width = "74" height = "418"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+<span class = "smallcaps">Fig. 14.</span> Large partially polished celt
+of mottled volcanic tufa&mdash;½.</td>
+</tr>
+</table>
+
+<p>The implement given in Fig. 15 may be taken as a type of a large
+class of beautifully finished celts. It also is made of the dark tufa,
+very fine grained and compact, resembling slate. The beveled surfaces of
+the blade are well polished, the remainder of the surface being evenly
+picked. The hexagonal section is characteristic of the class, but it is
+not so decided in this as in some other pieces in which the whole
+surface is freshly ground.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig15" id = "fig15">&nbsp;</a><br>
+<img src = "images/fig15.png" width = "196" height = "302"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig16" id = "fig16">&nbsp;</a><br>
+<img src = "images/fig16.png" width = "157" height = "178"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 15.</span> Celt of hexagonal section made
+of dark compact tufa&mdash;½.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 16.</span> Small wide bladed celt made of
+dark tufa&mdash;½.</td>
+</tr>
+</table>
+
+<p>The contraction of the lateral outline and the sudden expansion on
+reaching the cutting edge noticed in this specimen are more clearly
+marked in other examples. The small celt shown in Fig.&nbsp;16 is narrow
+above and quite wide toward the edge. A&nbsp;wide, thick specimen is
+<span class = "pagenum">31</span>
+<a name = "page031" id = "page031"> </a>
+<!-- png 093 -->
+given in Fig.&nbsp;17. A&nbsp;specimen quite exceptional in Chiriqui is
+shown in Fig.&nbsp;18. Mr. McNiel states that in many years’ exploration
+this is the only piece seen that exhibits the constriction of outline
+characteristic of grooved axes.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig17" id = "fig17">&nbsp;</a><br>
+<img src = "images/fig17.png" width = "169" height = "198"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig18" id = "fig18">&nbsp;</a><br>
+<img src = "images/fig18.png" width = "156" height = "252"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 17.</span> Celt with heavy shaft made of
+dark speckled tufa&mdash;½.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 18.</span> Celt or ax with constriction
+near the top.</td>
+</tr>
+</table>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig19" id = "fig19">&nbsp;</a><br>
+<img src = "images/fig19.png" width = "143" height = "279"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig20" id = "fig20">&nbsp;</a><br>
+<img src = "images/fig20.png" width = "137" height = "283"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 19.</span> Flaked and partially
+<ins class = "correction" title = "hyphen at line break missing">polished</ins>
+celt of dark tufa&mdash;½.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 20.</span> Well polished celt of dark
+tufa&mdash;½.</td>
+</tr>
+</table>
+
+<p>Two superb implements are illustrated in Figs. 19 and 20, the one in
+the rough excepting at the cutting edge, where it is ground into the
+desired shape, and the other neatly polished over nearly the entire
+<span class = "pagenum">32</span>
+<a name = "page032" id = "page032"> </a>
+<!-- png 094 -->
+surface. The surfaces are somewhat whitened from decomposition, but
+within the rock is nearly black, and the eye could not distinguish it
+from a dark slate. The material is shown by microscopic test to be a
+volcanic tufa. These examples were evidently intended for more delicate
+work than the preceding. The shapes of the specimens illustrated in
+Figs. 21 and 22 indicate a still different use. The upper
+<span class = "pagenum">33</span>
+<a name = "page033" id = "page033"> </a>
+<!-- png 095 -->
+end of the implement is large and rough, as if intended to facilitate
+holding or hafting, while the shaft diminishes in size below,
+terminating in a narrow, symmetrical, highly polished edge, a&nbsp;shape
+well calculated to unite delicacy and strength. The highest mechanical
+skill could hardly give to stone shapes more perfectly adapted to the
+manipulation of stone, metal, or other hard or compact substances. The
+material is a very dark, compact, fine grained tufa.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig21" id = "fig21">&nbsp;</a><br>
+<img src = "images/fig21.png" width = "135" height = "282"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig22" id = "fig22">&nbsp;</a><br>
+<img src = "images/fig22.png" width = "122" height = "286"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 21.</span> Narrow pointed celt of dark
+tufa&mdash;½.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 22.</span> Narrow pointed celt of dark
+tufa&mdash;½.</td>
+</tr>
+</table>
+
+<p>An additional example is given in Fig. 23. The shaft is cylindrical
+<span class = "pagenum">34</span>
+<a name = "page034" id = "page034"> </a>
+<!-- png 096 -->
+and terminates in a conical point at one end and in a very narrow,
+abrupt, cutting edge at the other. The whole surface is polished. The
+material is the same dark tufa.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig23" id = "fig23">&nbsp;</a><br>
+<img src = "images/fig23a.png" width = "44" height = "200"
+alt = "see caption"></td>
+<td class = "illustration">
+<img src = "images/fig23b.png" width = "40" height = "183"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+<span class = "smallcaps">Fig. 23.</span> Cylindrical celt with narrow
+point, of dark tufa&mdash;½.</td>
+</tr>
+</table>
+
+<p>The class of objects illustrated in this and the two preceding cuts
+comprises but a small percentage of the chisel-like implements.</p>
+
+<h6><a name = "stone_spear" id = "stone_spear">
+Spearheads (?).&mdash;</a></h6>
+
+<p>Another class of objects made of the same fine grained, slaty looking
+tufa is illustrated in Fig.&nbsp;24. They resemble spearpoints, yet may
+have been devoted to a wholly different use. They are long, leaf-like
+flakes, triangular in section, slightly worked down by flaking,
+sharpened by grinding at the point, and slightly notched at the top,
+perhaps for hafting.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig24" id = "fig24">&nbsp;</a><br>
+<img src = "images/fig24a.png" width = "60" height = "353"
+alt = "see caption"></td>
+<td class = "illustration">
+<img src = "images/fig24b.png" width = "56" height = "209"
+alt = "see caption"></td>
+<td class = "illustration">
+<img src = "images/fig24c.png" width = "56" height = "358"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "3">
+<span class = "smallcaps">Fig. 24.</span> Leaf shaped objects suggesting
+spearpoints, of dark tufa&mdash;½.</td>
+</tr>
+</table>
+
+<h6><a name = "stone_arrow" id = "stone_arrow">
+Arrowpoints.&mdash;</a></h6>
+
+<p>The unique character of the arrowpoints of Chiriqui is already known
+to archæologists. The most striking feature is the triangular section
+presented in nearly all cases and shown in the figures (Fig.&nbsp;25).
+The workmanship is extremely rude. The material is generally a flinty
+jasper of reddish and yellowish hues. The number found is comparatively
+small. The specimens given are of average size.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig25" id = "fig25">&nbsp;</a><br>
+<img src = "images/fig25a.png" width = "87" height = "292"
+alt = "see caption"></td>
+<td class = "illustration">
+<img src = "images/fig25b.png" width = "68" height = "275"
+alt = "see caption"></td>
+<td class = "illustration">
+<img src = "images/fig25c.png" width = "97" height = "236"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "3">
+<span class = "smallcaps">Fig. 25.</span> Arrowpoints of
+jasper&mdash;1/1.</td>
+</tr>
+</table>
+
+<h6><a name = "stone_ornaments" id = "stone_ornaments">
+Ornaments.&mdash;</a></h6>
+
+<p>It would seem from a study of our collections that ornaments of stone
+were seldom used by the inhabitants of Chiriqui. There are a few medium
+sized beads of agate and one pendant of dark greenish stone rudely
+shaped to resemble a human head. Ornaments of gold and copper were
+evidently much preferred.</p>
+
+
+<span class = "pagenum">35</span>
+<a name = "page035" id = "page035"> </a>
+<!-- png 097 -->
+<h4><a name = "objects_metal" id = "objects_metal">METAL.</a></h4>
+
+<h5><a name = "metal_gold" id = "metal_gold">GOLD AND COPPER.</a></h5>
+
+<p>The Chiriquians, like many of their neighbors in the tropical
+portions of the American continent, were skilled in the working of
+metals. Gold, silver, copper, and tin&mdash;the last in alloys with
+copper forming bronze&mdash;are found in the graves. Gold is the most
+important, and is associated with all the others in alloys or as a
+surface coating. The inhabitants of the isthmus at the time of the
+discovery were rich in objects, chiefly ornaments, of this metal, and
+expeditions sent out under Balboa, Pizarro, and others plundered the
+natives without mercy. When the Indian village of Darien was captured by
+Balboa (1510) he obtained “plates of gold, such as they hang on their
+breasts and other parts, and other things, all of them amounting to ten
+thousand pesos of fine gold.�<a class = "tag" name = "tag14" id =
+"tag14" href = "#note14">14</a> From an expedition to Nicaragua the same
+adventurers brought back to Panama the value of “112,524 pieces of eight
+in low gold, and 145 in pearls.�<a class = "tag" name = "tag15" id =
+"tag15" href = "#note15">15</a> Early Spanish-American history abounds
+in stories of this kind. Among others we read that Columbus found the
+natives along the Atlantic coast of Chiriqui and Veragua so rich in
+objects of gold that he named the district <i>Castillo del Oro</i>. It
+is said that the illusory stories of an <i>El Dorado</i> somewhere
+within the continent of South America arose from the lavish use of gold
+ornaments by the natives whom the Spaniards encountered, and that Costa
+Rica gets its name from the same circumstance. It is also recorded that
+the natives of various parts of Central and South America at the date of
+the conquest were in the habit of opening ancient graves for the purpose
+of securing mortuary trinkets. The whites have followed their example
+with the greatest eagerness. As far back as 1642 the Spaniards passed a
+law claiming all the gold found in the burial places of Spanish
+America,<a class = "tag" name = "tag16" id = "tag16" href =
+"#note16">16</a> the whole matter being treated merely as a means of
+revenue.</p>
+
+<p>The objects of gold for which the tombs of Chiriqui are justly famous
+are generally believed to have been simple personal ornaments, the
+jewelry of the primeval inhabitants, although it is highly probable that
+many of the figures, at least as originally employed, had an emblematic
+meaning. They were doubtless at all times regarded as possessed of
+potent charms, and thus capable of protecting and forwarding the
+interests of their owners. They have been found in great numbers within
+the last twenty-five years, but for the most part, even at this late
+date, have been esteemed for their money value only. Very many specimens
+found their way to this country, where they were either sold for
+curiosities or, after waiting long for a purchaser, even in the very
+shadow of our museums, were consigned to the melting
+<span class = "pagenum">36</span>
+<a name = "page036" id = "page036"> </a>
+<!-- png 098 -->
+pot. Many stories bearing upon this point have been told me.
+A&nbsp;Washington jeweler is represented as having exhibited in his
+window on Pennsylvania avenue about the year 1860 a remarkable series of
+these trinkets, most of which were afterwards sent to New York to be
+melted. About the same period a gentleman on entering a shop in San
+Francisco was accosted by a stranger who had his pockets well filled
+with these curious relics and wished to dispose of them for cash.
+A&nbsp;number of my acquaintances have neat but grotesque examples of
+these little images of gold attached to their watch guards, thus
+approving the taste of our prehistoric countrymen and at the same time
+demonstrating the identity of ideas of personal embellishment in all
+times and with all peoples.</p>
+
+<p>The ornaments are found only in a small percentage of the graves,
+those probably of persons sufficiently opulent to possess them in life;
+a&nbsp;majority of the graves contain none whatever. They are often
+found at the bottom of the pits, and probably in nearly the position
+occupied by them while still attached to the persons of the dead. It is
+said that occasionally they are found in niches at the sides of the
+graves, as if placed during the filling of the pit.</p>
+
+<p>Strangely enough, the gold is very generally alloyed with copper, the
+composite metal ranging from pure gold to pure copper. A&nbsp;small
+percentage of silver is also present in some of the specimens examined,
+but this is probably a natural alloy. In a few cases very simple figures
+appear to have been shaped from nuggets or masses of the native metals;
+this, however, is not susceptible of proof. The work is very skillfully
+done, so that we find it difficult to ascertain the precise methods of
+manipulation. The general effect in the more pretentious pieces
+resembles that of our filigree work, in which the parts are produced by
+hammering and united by soldering; yet there are many evidences of
+casting, and these must be considered with care. As a rule simple
+figures and some portions of composite figures present very decided
+indications of having been cast in molds, yet no traces of these molds
+have come to light, and there are none of those characteristic markings
+which result from the use of composite or “piece� molds. Wire was
+extensively used in the formation of details of anatomy and
+embellishment, and its presence does not at first seem compatible with
+ordinary casting. This wire, or pseudo-wire it may be, is generally
+about one-twenty-fifth of an inch in diameter.</p>
+
+<p>The manner in which the numerous parts or sections of complex figures
+are joined together is both interesting and perplexing. Evidences of the
+use of solder have been looked for in vain, and if such a medium was
+ever used it was identical in kind with the body of the object or so
+small in quantity as to escape detection. At the junction of the parts
+there are often decided indications of hammering, or at least of the
+strong pressure of an implement; but in pursuing
+<span class = "pagenum">37</span>
+<a name = "page037" id = "page037"> </a>
+<!-- png 099 -->
+the matter further we find a singular perfection in the joining, which
+amounts to a coalescence of the metals of the two parts concerned. There
+is no weakness or tendency to part along the contact surfaces, neither
+is there anything like the parting of parallel wires in coils or where a
+series of wires is joined side by side and carried through various
+convolutions. In a number of cases I made sections of coils and parts
+composed of a number of wires, in the hope of discovering evidences of
+the individuality of the strands, but the metal in the section is always
+homogeneous, breaking with a rough, granular fracture, and not more
+readily along apparent lines of junction than across them; and further,
+in studying in detail the surface of parts unpolished or protected from
+wear by handling, we find everywhere the granular and pitted unevenness
+characteristic of cast surfaces. This is true of the wire forms as well
+as of the massive parts, and, in addition to this, such defects occur in
+the wires as would hardly be possible if they were of wrought gold.</p>
+
+<p>All points considered, I am inclined to believe that the objects were
+cast, and cast in their entirety. It is plain, however, that the
+original model was made up of separately constructed parts of wire or
+wirelike strands and of eccentric and often rather massive parts, and
+that all were set together by the assistance of pressure, the
+indications being that the material used was sufficiently plastic to be
+worked after the manner of clay, dough, or wax. In one case, for
+example, the body of a serpent, consisting of two wires neatly twisted
+together, is held in the hand of a grotesque figure. The hand consists
+of four fingers made by doubling together two short pieces of wire. The
+coil has been laid across the hand and pressed down into it until half
+buried, and the ends of the fingers are drawn up around it without any
+indication of hammer strokes. Indeed, the effect is just such as would
+have been produced if the artist had worked in wax. Again, in the
+modeling of the eyes we have a good illustration. The eye is a minute
+ball cleft across the entire diameter by a sharp implement, thus giving
+the effect of the parted lids. Now, if the material had been gold or
+copper, as in the specimens, the ball would have been separated into two
+parts or hemispheres, which would not exhibit any great distortion; but
+as we see them here the parts are flattened and much drawn out by the
+pressure of the cutting edge, just as if the material had been decidedly
+plastic.</p>
+
+<p>It seems to me that the processes of manufacture must have been
+analogous to those employed by the more primitive metal workers of our
+own day. In Oriental countries delicate objects of bronze and other
+metals are made as follows: A&nbsp;model is constructed in some such
+material as wax or resin and over it are placed coatings of clay or
+other substance capable of standing great heat. These coatings, when
+sufficiently thickened and properly dried, form the mold, from which the
+original model is extracted by means of heat. The fused
+<span class = "pagenum">38</span>
+<a name = "page038" id = "page038"> </a>
+<!-- png 100 -->
+metal is afterwards poured in. As a matter of course, both the mold and
+the model are destroyed in each case, and exact duplications are not to
+be expected. Mr. George F. Kunz, of New York, with whom I have discussed
+this matter, states that he has seen live objects, such as insects, used
+as models in this way. Being coated with washes of clay or like
+substance until well protected and then heavily covered, they were
+placed in the furnace. The animal matter was thus reduced to ashes and
+extracted through small openings made for the purpose.</p>
+
+<p>As bearing upon this subject it should be mentioned that occasionally
+small figures in a fine reddish resin are obtained from the graves of
+Chiriqui. They are identical in style of modeling with the objects of
+gold and copper obtained from the same source.</p>
+
+<p>In discussing possible processes, Mr. William Hallock, of the
+division of chemistry and physics of the United States Geological
+Survey, suggested that if the various sections of a metal ornament were
+embedded in the surface of a mass of fire clay in their proper relations
+and contacts they could then be completely inclosed in the mass and
+subjected to heat until the metal melted and ran together. After
+cooling, the complete figure could be removed by breaking up the clay
+matrix. I&nbsp;imagine that in such work much difficulty would be
+experienced in securing proper contact and adjustment of parts of
+complex figures. It will likewise be observed that evidences of
+plasticity in the modeling material would not exist. I&nbsp;must not
+pass a suggestion of Nadaillac<a class = "tag" name = "tag17" id =
+"tag17" href = "#note17">17</a> which offers a possible solution of the
+problem of manipulation. Referring to a statement of the early Spanish
+explorers that smelting was unknown to the inhabitants of Peru, he
+states that it would be possible for a people in a low state of culture
+to discover that an amalgam of gold with mercury is quite plastic, and
+that after a figure is modeled in this composite metal the mercury may
+be dissipated by heat, leaving the form in gold, which then needs only
+to be polished. There is, however, no evidence whatever that these
+people had any knowledge of mercury.</p>
+
+<p>There is no indication of carving or engraving in the Chiriquian
+work. In finishing, some of the extremities seem to have been shaped by
+hammering. This was a mere flattening out of the feet or parts of the
+accessories, which required no particular skill and could have been
+accomplished with comparatively rude stone hammers. It is a remarkable
+fact that many, if not most, of the objects appear to be either plated
+or washed with pure gold, the body or foundation being of base gold or
+of nearly pure copper. This fact, coupled with that of the association
+of objects of bronze with the relics, leads us to inquire carefully into
+the possibilities of European influence or agency. I&nbsp;observe that
+recent writers do not seem to have questioned the genuineness of the
+objects described by them, but that at the same time no mention is made
+of the plating or washing. This latter circumstance
+<span class = "pagenum">39</span>
+<a name = "page039" id = "page039"> </a>
+<!-- png 101 -->
+leads to the inference that pieces now in my possession exhibiting this
+phenomenon may have been tampered with by the whites. In this connection
+attention should be called to the fact that history is not silent on the
+matter of plating. The Indians of New Granada are said to have been not
+only marvelously skillful in the manipulation of metals, but, according
+to Bollaert, Acosta declares that these peoples had much <i>gilt</i>
+copper, “and the copper was gilt by the use of the juice of a plant
+rubbed over it, then put into the fire, when it took the gold color.�<a
+class = "tag" name = "tag18" id = "tag18" href = "#note18">18</a> Just
+what this means we cannot readily determine, but we safely conclude
+that, whatever the process hinted at in these words, a&nbsp;thin surface
+deposit of pure gold, or the close semblance of it, was actually
+obtained. It is not impossible that an acid may have been applied which
+tended to destroy the copper of the alloy, leaving a deposit of gold
+upon the surface, which could afterwards be burnished down.</p>
+
+<p>It has been suggested to me that possibly the film of gold may in
+cases be the result of simple decay on the part of the copper of the
+alloy, the gold remaining as a shell upon the surface of the still
+undecayed portion of the composite metal; but the surface in such a case
+would not be burnished, whereas the show surfaces of the <ins class =
+"correction" title = "text reads ‘speci-/imens’ at line break">specimens
+</ins> recovered are in all cases neatly polished.</p>
+
+<p>If we should conclude that the ancient Americans were probably able
+to secure in some such manner a thin film of gold, it still remains to
+inquire whether there may not have been some purely mechanical means of
+plating. In some of the Chiriquian specimens a foundation of very base
+metal appears to have been plated with heavy sheet gold, which as the
+copper decays comes off in flakes. Occasional pieces have a blistered
+look as a consequence. Were these people able with their rude appliances
+to beat gold into very thin leaves? and Had they discovered processes by
+which these could be applied to the surfaces of objects of metal? are
+questions that should probably be answered in the affirmative.</p>
+
+<p>The flakes in some cases indicate a very great degree of thinness.
+Specimens of sheet gold ornaments found in the tombs are thicker, but
+are sufficiently thin to indicate that, if actually made by these
+people, almost any degree of thinness could be attained by them. It
+would probably not be difficult to apply thin sheet gold to the
+comparatively smooth surfaces of these ornaments and to fix it by
+burnishing.</p>
+
+<p>Mr. Kunz suggests still another method by means of which plating
+could have been accomplished. If a figure in wax were coated with sheet
+gold and then incased in a clay matrix, the wax could be melted out,
+leaving the shell of gold within. The cavity could then be filled with
+alloy, the clay could be removed, and the gold, which would adhere to
+the metal, could then be properly burnished down.</p>
+
+<span class = "pagenum">40</span>
+<a name = "page040" id = "page040"> </a>
+<!-- png 102 -->
+<p>It will be seen from this hasty review that, although we may conclude
+that casting and plating were certainly practiced by these peoples, we
+must remain in ignorance of the precise methods employed.</p>
+
+<p>Referring to the question of the authenticity of the specimens
+themselves, I&nbsp;may note that observations bearing upon the actual
+discovery of particular specimens in the tombs are unfortunately
+lacking. Mr. McNiel acknowledges that with all his experience in the
+work of excavation no single piece has been taken from the ground with
+his own hands, and he cannot say that he ever witnessed the exhumation
+by others, although he has been present when they were brought up from
+the pits. Generally the workmen secrete them and afterwards offer them
+for sale. He has, however, no shadow of a doubt that all the pieces
+procured by him came from the graves as reported by his collectors. The
+question of the authenticity of the gilding will not be satisfactorily
+or finally settled until some responsible collector shall have taken the
+gilded objects with his own hands from their undisturbed places in tombs
+known to be of pre-Columbian construction.</p>
+
+<p>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&nbsp;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&mdash;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.</p>
+
+<p>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
+<span class = "pagenum">41</span>
+<a name = "page041" id = "page041"> </a>
+<!-- png 103 -->
+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.</p>
+
+<p>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.</p>
+
+<p>The objects consist to a great extent of representations of life
+forms, in many cases more fanciful than real and often extremely
+grotesque. They include the human figure and a great variety of birds
+and beasts indigenous to the country, in styles resembling work in clay
+and stone of the same region. My illustrations show the actual sizes of
+the objects.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig26" id = "fig26">&nbsp;</a><br>
+<img src = "images/fig26a.png" width = "133" height = "215"
+alt = "see caption"></td>
+<td class = "illustration">
+<img src = "images/fig26b.png" width = "83" height = "212"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+<span class = "smallcaps">Fig. 26.</span> Human figure with ridged
+crown, formed of copper-gold alloy.</td>
+</tr>
+</table>
+
+<h6>The human figure.&mdash;</h6>
+
+<p>Statuettes of men and women and of a variety of anthropomorphic
+figures of all degrees of elaboration abound. Fig.&nbsp;26 illustrates a
+plain, rude specimen belonging to the collection of J.&nbsp;B. Stearns.
+It was obtained by Mr. McNiel from near the south base of Mount
+Chiriqui. The body is solid and the surface is rough and pitted, as if
+from decay. In many respects it resembles the stone sculptures of the
+isthmus. The metal is nearly pure copper. A&nbsp;piece exhibiting more
+elaborate workmanship, illustrated by Bollaert,<a class = "tag" name =
+"tag19" id = "tag19" href = "#note19">19</a> is shown in Fig.&nbsp;27.
+Another remarkable specimen is illustrated by De Zeltner, but the
+photograph published with his brochure is too indistinct to permit of
+satisfactory reproduction. He describes it in the following
+language:</p>
+
+<p class = "quotation">
+The most curious piece in my collection is a gold figure of a man,
+7&nbsp;centimeters in height. The head is ornamented with a diadem
+terminated on each side with the head of a frog. The body is nude,
+except a girdle, also in the form of a plait, supporting a flat piece
+intended to cover the privates, and two round ornaments on
+<span class = "pagenum">42</span>
+<a name = "page042" id = "page042"> </a>
+<!-- png 104 -->
+each side. The arms are extended from the body; the well drawn hands
+hold, one of them a short, round club, the other a musical instrument,
+of which one end is in the mouth and the other forms an enlargement like
+that of a flute, made of human bone. It is not probable that this is a
+pipe. Both thighs have an enlargement, and the toes are not marked in
+this little figurine.<a class = "tag" name = "tag20" id = "tag20" href =
+"#note20">20</a></p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig27" id = "fig27">&nbsp;</a><br>
+<img src = "images/fig27.png" width = "189" height = "242"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig28" id = "fig28">&nbsp;</a><br>
+<img src = "images/fig28.png" width = "242" height = "355"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 27.</span> Grotesque human figure in
+gold, from Bollaert.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 28.</span> Rudely shaped and finished
+human figure in gold.</td>
+</tr>
+</table>
+
+<div class = "paragraph">
+In Fig. 28 we have a rather rudely made and finished piece collected
+<span class = "pagenum">43</span>
+<a name = "page043" id = "page043"> </a>
+<!-- png 105 -->
+by Mr. McNiel, and now owned by Mr. Stearns. It exhibits features
+corresponding with a number of those referred to by De Zeltner. The
+foundation is thin and is of base metal coated with pure gold.
+I&nbsp;present two additional examples of the human figure from the
+collection of Mr. Stearns.
+<div class = "figfloat p150">
+<p class = "illustration">
+<a name = "fig29" id = "fig29">&nbsp;</a><br>
+<img src = "images/fig29.png" width = "128" height = "191"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 29.</span> Grotesque human figure in
+nearly pure copper, partially coated with yellow gold.</p>
+</div>
+One of them (Fig.&nbsp;29) is an interesting little statuette in dark
+copper that still retains traces of the former gilding of yellow gold.
+The crown is flat and is surrounded by a fillet of twisted wire. The
+face is grotesque, the nose being bulbous, the mouth large, and the lips
+protruding. The hands are represented as grasping cords of wire which
+connect the waist with the crown of the figure and seem to be intended
+for the bodies of serpents, the heads of which project from the sides of
+the headdress. Similar serpents project from the ankles. The feet are
+flattened out as if intended to be set in a crevice. The
+extremities&mdash;excepting the feet&mdash;and the ornaments are all
+formed of wire. The various parts of the figure have been modeled
+separately and set together while the material was in a plastic or
+semiplastic condition. This is clearly indicated by the sinking of one
+part into another at the points of contact.</div>
+
+<span class = "pagenum">44</span>
+<a name = "page044" id = "page044"> </a>
+<!-- png 106 -->
+<p>An excellent example of the more elaborate figures is shown in
+Fig.&nbsp;30. It is of reddish gold, slightly alloyed apparently with
+copper, and has in finishing received a very thin wash or plating of
+yellow gold, which is worn off in exposed parts. The central feature of
+the rather complicated structure is a grotesque human figure, much like
+the preceding, and having counterparts in both clay and stone. The
+figure is backed up and strengthened by two curved and flattened bars of
+gold, one above and the other below, as seen in the cut. The figure is
+decked with and almost hidden by a profusion of curious details,
+executed for the most part in wire and representing serpents and birds.
+Three vulture-like heads project from the crown and overhang the face.
+Two serpents, the bodies of which are formed of plaited wire, issue from
+the mouth of the figure and are held about the neck by the hands. The
+heads of the serpents are formed of wire folded in triangular form and
+are supplied with double coils of wire at the sides, as if for ears, and
+with little balls of gold for eyes. Similar heads project from the sides
+of the head and from the feet of the image.</p>
+
+<p class = "illustration">
+<a name = "fig30" id = "fig30">&nbsp;</a><br>
+<img src = "images/fig30.png" width = "234" height = "215"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 30.</span> Grotesque human figure in
+nearly pure gold.</p>
+
+<p>The peculiarities of construction are seen to good advantage in this
+specimen. The figure is made up of a great number of separate pieces,
+united apparently by pressure or by hammering while the material was
+somewhat plastic. Upwards of eighty pieces can be counted. The larger
+pieces, forming the body and limbs, are hollow or concave behind. Nearly
+all the subordinate parts are constructed of wire.</p>
+
+<h6>The bird.&mdash;</h6>
+
+<p>Images of birds are numerous and vary greatly in size and
+elaboration. They are usually represented with expanded wings and tails,
+the under side of the body being finished for show. The back is left
+concave and rough, as when cast, and is supplied with a ring for
+suspension or attachment, as seen in the profile view (Fig.&nbsp;31).
+The owl, the eagle, the parrot, and various other birds are recognized,
+although determinations of varieties are not possible, as in many cases
+the forms are rude or greatly obscured by extraneous details. The
+example shown in Fig.&nbsp;31 is of the simplest type and the rudest
+workmanship, and is apparently intended for some rapacious species,
+possibly a vulture. The body, wings, and tail are
+<span class = "pagenum">45</span>
+<a name = "page045" id = "page045"> </a>
+<!-- png 107 -->
+hammered quite thin and are left frayed and uneven on the edges. The
+material appears to be nearly pure copper plated with yellow gold.
+Specimens of this class are very numerous. One, presented in a
+publication of the Society of Northern Antiquaries, and now in the
+museum at Copenhagen, is thought to be intended for a fish hawk, as it
+carries a fish in its mouth. De Zeltner mentions a statuette in gold of
+a paroquet, whose head is ornamented with two winged tufts. Such a
+specimen may be seen in the collection of Mr. Stearns.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig31" id = "fig31">&nbsp;</a><br>
+<img src = "images/fig31a.png" width = "148" height = "135"
+alt = "see caption"></td>
+<td class = "illustration">
+<img src = "images/fig31b.png" width = "50" height = "134"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+<span class = "smallcaps">Fig. 31.</span> Rudely executed image of a
+bird in gold.</td>
+</tr>
+</table>
+
+<p>Fig. 32 is reproduced from Bollaert. It represents a parrot and is
+very elaborately worked.</p>
+
+<p class = "illustration">
+<a name = "fig32" id = "fig32">&nbsp;</a><br>
+<img src = "images/fig32.png" width = "208" height = "203"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 32.</span> Image of a bird in gold, from
+Bollaert.</p>
+
+<h6>The puma.&mdash;</h6>
+
+<p>Representations of quadrupeds are common; a&nbsp;good example, copied
+from Bollaert, is given in Fig.&nbsp;33. The animal intended is
+apparently a puma, a&nbsp;favorite subject with Chiriquian workers in
+clay and stone as well as in gold. The body is hollow and open beneath
+and the fore feet are finished with loops for suspension. A&nbsp;similar
+piece with head thrown back over the body is shown in Fig.&nbsp;34. The
+metal in this case appears to be nearly pure copper.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig33" id = "fig33">&nbsp;</a><br>
+<img src = "images/fig33.png" width = "226" height = "89"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig34" id = "fig34">&nbsp;</a><br>
+<img src = "images/fig34.png" width = "159" height = "98"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 33.</span> Puma shaped figure in
+gold.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 34.</span> Puma shaped figure in base
+metal.</td>
+</tr>
+</table>
+
+<span class = "pagenum">46</span>
+<a name = "page046" id = "page046"> </a>
+<!-- png 108 -->
+
+<div class = "figfloat p150">
+<p class = "illustration">
+<a name = "fig35" id = "fig35">&nbsp;</a><br>
+<img src = "images/fig35.png" width = "147" height = "185"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 35.</span> Quadruped with grotesque face
+in base metal.</p>
+</div>
+
+<h6>Grotesque figure.&mdash;</h6>
+
+<p>Another piece collected by Mr. McNiel is outlined in Fig.&nbsp;35.
+The metal is quite base and the surface has been coated with gold, which
+is now nearly all rubbed off. The shape is that of a quadruped. The face
+has a rather grotesque, not to say satanic, expression. The details are
+not unlike those of other examples previously given.</p>
+
+<h6>The fish.&mdash;</h6>
+
+<p>The fish was a favorite subject with the ancient nations of South
+America, and is modeled in clay, woven into fabrics, and worked in
+metals with remarkable freedom. It was in great favor in Chiriqui and
+must have been of importance in the mythology of the country. It occurs
+most frequently in pottery, where it is executed in color and modeled in
+the round. The very grotesque specimen in gold shown in Fig.&nbsp;36 is
+copied from Harper’s Weekly of August 6, 1859, where it forms one of a
+number of illustrations of these curious ornaments. The paper is,
+I&nbsp;believe, by Dr. F.&nbsp;M. Otis, who had just returned from
+Panama. A&nbsp;very curious piece owned by Mrs. Philip Phillips, of
+Washington, represents a creature having some analogies
+<span class = "pagenum">47</span>
+<a name = "page047" id = "page047"> </a>
+<!-- png 109 -->
+with the fish figure of Otis. Issuing from the mouth is the same forked
+tongue, each part terminating in a serpent’s head. The body is about two
+inches long and the back has five triangular perforations. The tail is
+forked and the four leg-like members terminate in conventional serpents’
+heads. The metal is pure or nearly pure gold.</p>
+
+<p class = "illustration">
+<a name = "fig36" id = "fig36">&nbsp;</a><br>
+<img src = "images/fig36.png" width = "372" height = "217"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 36.</span> Figure of a fish in gold. From
+Harper’s Weekly, 1859.</p>
+
+<h6>The frog.&mdash;</h6>
+
+<p>The frog appears in the plastic art of Chiriqui more frequently
+perhaps than any other reptile. Its form is reproduced with much spirit
+and in greatly varying sizes, degrees of elaboration, and styles of
+presentation. It is probable that a number of species are represented.
+In Fig.&nbsp;37 we have a large, rather plain specimen, now in the
+National Museum. The body and limbs are concave beneath, the metal being
+about one-sixteenth of an inch thick. Teeth are suggested by a number of
+perforations encircling the jaws and the eyes are minute hawk bells
+containing pellets of metal. The legs are
+<span class = "pagenum">48</span>
+<a name = "page048" id = "page048"> </a>
+<!-- png 110 -->
+placed in characteristic positions, and the hind feet are broad plates
+without indications of toes, a&nbsp;characteristic of these golden
+frogs. The framework or foundation is of copper, apparently nearly pure,
+and the surface is plated with thin sheet gold, which tends to flake off
+as the copper foundation corrodes.</p>
+
+<p class = "illustration">
+<a name = "fig37" id = "fig37">&nbsp;</a><br>
+<img src = "images/fig37.png" width = "436" height = "345"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 37.</span> Large figure of a frog in base
+metal plated with gold.</p>
+
+<p>The minute, delicately finished example given in Fig. 38 contrasts
+strongly with the preceding. It is also of base metal plated with pure
+gold and belongs to the collection of Mr. Stearns.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig38" id = "fig38">&nbsp;</a><br>
+<img src = "images/fig38a.png" width = "110" height = "94"
+alt = "see caption"></td>
+<td class = "illustration">
+<img src = "images/fig38b.png" width = "44" height = "94"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+<span class = "smallcaps">Fig. 38.</span> Small figure of a frog, in
+base metal plated with gold.</td>
+</tr>
+</table>
+
+<h6>The alligator.&mdash;</h6>
+
+<p>The alligator, which appears so frequently in the pottery of
+Chiriqui, is only occasionally found in gold. A&nbsp;striking specimen,
+illustrated in Harper’s Weekly of August 6, 1859, is given in
+Fig.&nbsp;39. A&nbsp;similar piece, formed of base metal, is in the
+collection of Mr. Stearns.</p>
+
+<p class = "illustration">
+<a name = "fig39" id = "fig39">&nbsp;</a><br>
+<img src = "images/fig39.png" width = "434" height = "140"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 39.</span> Figure of an alligator, in
+gold, published in Harper’s Weekly, 1859.</p>
+
+<h6>The crayfish (?).&mdash;</h6>
+
+<p>In Fig. 40 we have a fine specimen, intended apparently to represent
+a crayfish or some similar crustacean form. The head is supplied with
+complicated yet graceful antenna-like appendages,
+<span class = "pagenum">49</span>
+<a name = "page049" id = "page049"> </a>
+<!-- png 111 -->
+made of wire neatly coiled and welded together by pressure or hammering.
+The eyes are globular and are encircled by the ends of a double loop of
+wire which extends along the back and incloses a line of minute balls or
+nodes. The peculiar wings and tail will be best understood by referring
+to the illustration. The foundation metal is much corroded, being dark
+and rotten, and the plating of reddish gold seems to have been coated
+with a thin film of yellow gold. The profile view gives a good idea of
+the thickness of the metal and of the relief of the parts. Two rings or
+loops of doubled wire are attached to the extreme end of the nose and a
+heavy ring for suspending is fixed to the under side of the head.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig40" id = "fig40">&nbsp;</a><br>
+<img src = "images/fig40a.png" width = "228" height = "297"
+alt = "see caption"></td>
+<td class = "illustration">
+<img src = "images/fig40b.png" width = "59" height = "293"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+<span class = "smallcaps">Fig. 40.</span> Animal figure, in base metal
+plated with gold.</td>
+</tr>
+</table>
+
+<h6>Miscellaneous.&mdash;</h6>
+
+<p>Gold, pure and in the usual alloys, was also used in the manufacture
+of other articles, such as bells, beads, disks, balls, rings, whistles,
+thimble shaped objects, and amulets of varied shapes. Bells are more
+generally made of bronze, because, perhaps, of its greater degree of
+resonance. Thin plates, or rather circular sheets, of gold leaf are
+numerous. One mentioned by Bollaert was 7¼ inches in diameter. They are
+plain or crimped about the margins, indented in various ways, and
+sometimes perforated, apparently for suspension or attachment. Merritt
+mentions examples having holes which showed evidences of wear upon one
+side only, indicating attachment in a fixed position to some object or
+to some part of the costume. But one example is at hand, a&nbsp;thin
+sheet, three inches in diameter and crimped or indented neatly about the
+margin. Its thickness is about that of ordinary tinfoil.</p>
+
+<h5><a name = "metal_bronze" id = "metal_bronze">BRONZE.</a></h5>
+
+<h6>Bells.&mdash;</h6>
+
+<p>Bells seem to have been in pretty general use by the more cultured
+American races previous to the conquest. The form best known is the hawk
+bell, or common sleighbell of the North. The globular body is suspended
+by a loop at the top and is slit on the under side, so that the tinkling
+of the small free pellets of metal may be audible. Such bells are found
+in considerable numbers in the graves of Chiriqui, although I have no
+positive assurance that any of the examples in my possession were
+actually taken from graves which contained typical Chiriquian relics of
+other classes. The specimens now in the National Museum (Fig.&nbsp;41)
+are in most cases, if not in all, of bronze, as determined by Mr.
+R.&nbsp;B. Riggs, of the chemical laboratory of the United States
+Geological Survey. All have been cast in molds. In most cases there are
+traces of a plating of gold. The largest is 1¼ inches in height and
+three-fourths of an inch in diameter. It is surmounted by the rude
+figure of an animal, through or beneath the body of which is an opening
+for the attachment of a cord. Others have simple loops at the top. The
+small perforated specimen belongs to Mr. Stearns. The additional piece
+given in Fig.&nbsp;42 is unique in conception. It represents a human
+head, which takes an inverted position
+<span class = "pagenum">50</span>
+<a name = "page050" id = "page050"> </a>
+<!-- png 112 -->
+when the bell is suspended. The lower part of the bell forms a conical
+crown to the head and the ring of suspension is attached to the chin.
+Double coils of wire take the place of the ears, and the other features
+are formed by setting on bits of the material used in modeling. This
+specimen belongs to the collection of Mr. Stearns. Many examples of more
+elaborate workmanship have been recovered from the tombs and are now to
+be found in the collections of America and Europe.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig41" id = "fig41">&nbsp;</a><br>
+<img src = "images/fig41.png" width = "304" height = "173"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig42" id = "fig42">&nbsp;</a><br>
+<img src = "images/fig42.png" width = "121" height = "136"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 41.</span> Bronze bells plated or washed
+with gold.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 42.</span> Bronze bell with human
+features.</td>
+</tr>
+</table>
+
+<p>A specimen found many years ago on the Rio Grande, near Panama, and
+figured in Harper’s Weekly, was of gold and showed specific variations
+from the Chiriquian pieces. It will be seen by reference to the outline
+given in Fig.&nbsp;43 that three very neatly shaped and gracefully
+ornamented bells are mounted upon a circular plate to which a short
+handle is attached. It was evidently not intended for suspension, but
+rather to be held in the hand as a rattle.</p>
+
+<p class = "illustration">
+<a name = "fig43" id = "fig43">&nbsp;</a><br>
+<img src = "images/fig43.png" width = "207" height = "279"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 43.</span> Triple bell or rattle found on
+the Rio Grande.</p>
+
+<p>A question as to the authenticity of these bells as aboriginal works
+very naturally arises, and it may be difficult to show to the
+satisfaction of the skeptical mind that any particular specimen is not
+of European origin or inspiration. At the same time we are not without
+strong evidences that such bells were in use by the Americans before the
+advent of the whites. Historical accounts are not wanting, but I shall
+only stop to point out some of the internal evidences of the native art.
+The strongest argument is to be found in the presence
+<span class = "pagenum">51</span>
+<a name = "page051" id = "page051"> </a>
+<!-- png 113 -->
+of analogous features in other branches of the art and in other arts.
+The eyes of the golden figures of reptiles are in many cases minute hawk
+bells, and in works of clay, the purely aboriginal character of which
+has not been called in question, similar features are discovered. The
+American origin of the bell, therefore, is not to be questioned. The
+form originated, no doubt, in the rattle, at first a nutshell or a
+gourd; later it was modeled in clay, and in time the same idea was
+worked out in the legs and the ornaments of vessels and in the heads and
+other parts of animal forms, which were made hollow and supplied with
+tinkling pellets. With the acknowledged skill of these people in the
+working of metals, there is no reason why the bells described should not
+have been manufactured independently of European aid and influence,
+provided the requisite metal was at hand.</p>
+
+<span class = "pagenum">52</span>
+<a name = "page052" id = "page052"> </a>
+<!-- png 114 -->
+
+<div class = "figfloat">
+<p class = "illustration">
+<a name = "fig44" id = "fig44">&nbsp;</a><br>
+<img src = "images/fig44.png" width = "90" height = "201"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 44.</span> Ancient<br>
+Mexican bell.</p>
+</div>
+
+<p>It should be observed that if these early American bells were copied
+from or based upon Spanish originals they would not probably vary
+greatly in type with the various sections from which they are recovered,
+but it is observed that marked and persistent differences do occur. The
+well known Mexican bell, an example of which is outlined in
+Fig.&nbsp;44, although of bronze, is generically distinct in form and
+construction.</p>
+
+<p>In a brief review I may recall the more salient points regarding the
+use of metals in ancient Chiriqui. Gold, silver, copper, and apparently
+tin are represented.</p>
+
+<p>Gold and copper were very plentifully distributed among the isthmian
+races, but we have little information as to the sources of supply. Free
+gold is found in the stream beds of many localities, and copper was
+probably found in its native state in some convenient locality; yet it
+is not impossible that these metals were transported from distant
+regions, as the inhabitants of Chiriqui must have had considerable
+intercourse with those of Central America on the north and with those of
+Granada on the south. Silver and tin are found in alloys with gold and
+copper, but not as independent metals. The silver gold alloy is probably
+a natural compound. In no case have I found silver to exceed 6 per cent.
+of the composite metal. Tin was artificially alloyed with copper,
+forming bronze. The latter metal resembles our ordinary bronze in color
+and hardness, but I am unable to secure more than a qualitative analysis
+on account of the scarcity of specimens available for the purpose. We
+have no information in regard to the origin of the tin. It is not found
+in a native state, and since it seems hardly probable that the
+Chiriquians understood smelting ores we are left in doubt as to whether
+it was obtained from more cultured nations to the north or to the south
+or from transoceanic countries.</p>
+
+<p>The gold-copper alloys appear to range between pure gold and pure
+copper. If the bronze is of European origin, then we must conclude that
+all objects made of that metal are of post-Columbian manufacture. This
+question will probably be definitely settled in the near future.</p>
+
+<p>The greater number of the objects were formed by casting in molds.
+Hammering was but little practiced, excepting, apparently, in the
+formation of sheet gold, which was probably an indigenous product.
+Repoussé work is not found, save as represented in the crimping and
+indenting of gold leaf. Engraving and carving were not practiced. It may
+be considered certain that gilding, or at least plating, was
+understood.</p>
+
+<p>The objects are obtained from ancient graves of which no record or
+reliable tradition is preserved. They are all ornaments, no coin,
+weapon, tool, or utensil having come to my notice. The absence of
+<span class = "pagenum">53</span>
+<a name = "page053" id = "page053"> </a>
+<!-- png 115 -->
+utensils and of hammered objects of any kind strikes me as being rather
+extraordinary, since it is popularly supposed that, in the normal
+succession of events, hammering should precede casting and that utensils
+should be made before elaborate ornaments.</p>
+
+<p>The work exhibits close analogies with that of the mainland of South
+America, but these analogies appear to be in material, treatment, and
+scope of employment rather than in the subject matter of the
+conceptions. The personages and zoömorphic characters represented are
+characteristically Chiriquian, and were derived no doubt from the
+mythology of the locality. These works affiliate with the various works
+in stone and clay, the art products of the province thus constituting a
+fairly homogeneous whole and being entirely free from traces of European
+influence.</p>
+
+<p>Metals do not come into use early in the history of a race, as they
+are not found in shapes or conditions suitable for immediate use, nor
+are they sufficiently showy when found to be especially desirable for
+ornaments. A&nbsp;long period must have elapsed before the use of metals
+was discovered, and a longer period must have passed before they were
+worked; and, in the light of our knowledge of the ancient tribes of the
+United States, it would seem that a considerable degree of culture may
+be achieved before the casting of metals is understood; but in the
+ordinary course of progress the discovery of methods of alloying rare
+metals would be far separated from that of the simple fusing and casting
+of a single metal, such as gold. The Chiriquian peoples not only had a
+knowledge of the methods of alloying gold with copper, and, apparently,
+copper with tin, but, if our data are correct, they were able to plate
+the baser metals and alloys with sheet gold, and, what is far more
+wonderful, to wash them with gold, producing an effect identical with
+that of our galvanic processes.</p>
+
+<p>The character of the conceptions embodied in the art unite with
+evidences of technical skill to prove to us that American culture, as
+represented by the metal ornaments of Chiriqui, was not the product of a
+day, but of long periods of experiment and progress.</p>
+
+
+<h4><a name = "pottery" id = "pottery">POTTERY.</a></h4>
+
+<h6><a name = "pottery_prelim" id = "pottery_prelim">
+Preliminary.&mdash;</a></h6>
+
+<p>The importance of the potter’s art to archæology has often been
+pointed out. Baked clay is one of the most enduring materials utilized
+in art, and its employment by the races of men has fallen but little
+short of universal. The creations of that noblest of arts, architecture,
+and the antecedent forms of house building are necessarily left where
+erected, to be fed upon by the remorseless elements of nature, but the
+less pretentious utensil of clay accompanies its owner to the tomb,
+where it remains practically unchanged for ages.</p>
+
+<p>Many glimpses of the early history of the American races and of
+<span class = "pagenum">54</span>
+<a name = "page054" id = "page054"> </a>
+<!-- png 116 -->
+the progress of art in pre-Columbian times are obtained through these
+exhumed relics, and in no case have we a view more clear and
+comprehensive than that furnished in the series here presented. The
+graves of Chiriqui have yielded to a single explorer upwards of 10,000
+pieces of pottery, and this chiefly from an area perhaps not more than
+fifty miles square. These vessels constitute at least 90 per cent. of
+the known art of the ancient occupants of the province, and, although
+not so eloquent of the past as are the inscribed tablets of Assyria or
+the pictured vases of Greece, they tell a story of art and of peoples
+that without their aid would remain untold to the end of time.</p>
+
+<p>A careful study of the earthenware of this province leads to the
+conclusion that for America it represents a very high stage of
+development, and its history is therefore full of interest to the
+student of art. Its advanced development as compared with other American
+fictile products is shown in the perfection of its technique, in the
+high specialization of form, and in its conventional use of a wide range
+of decorative motives. There is no family of American ware that bears
+evidence of higher skill in the manipulation of clay or that indicates a
+more subtile appreciation of beauty of form, and no other that presents
+so many marked analogies to the classic forms of the Mediterranean.
+Strangely enough, too, notwithstanding the well established fact that
+only primitive methods of manufacture were known, there is a parallelism
+with wheel made ware that cannot but strike the student with
+amazement.</p>
+
+<p>In speaking thus of the whole body of ceramic products, I would not
+convey the impression that there is perfect homogeneity throughout, as
+if all were the work of a single people developed from within, and
+therefore free from the eccentricities that come from exotic influence.
+On the contrary, there is strong evidence of mixed conditions of races
+and of arts, the analysis of which, with our present imperfect data,
+will be extremely difficult. These evidences of mixed conditions are
+found in the marked diversity and individuality of character of the
+various groups of ware.</p>
+
+<p>It is impossible, without the aid of careful observations in the
+field, to arrive at any conclusion as to the relative age of the
+different varieties of ware. Appearances of age are deceptive; the newer
+looking varieties may be the older and those executed in the most
+primitive style may belong to the later period, for grades in culture
+are not chronologic.</p>
+
+<p>With reference to the principal groups of relics, we cannot do better
+than accept the statements of collectors that all are buried in like
+ways and in similar tombs, different varieties in many cases occurring
+in the same tomb. There are, however, in a few minor groups such marked
+distinctions in workmanship and style that we are compelled to attribute
+them to different periods or to distinct communities.
+<span class = "pagenum">55</span>
+<a name = "page055" id = "page055"> </a>
+<!-- png 117 -->
+The groups separated most completely from others are the scarified
+pottery presented first in the series of painted wares, the maroon
+group, which follows, and other varieties represented by fugitive
+pieces. The latter may have reached Chiriqui from neighboring provinces.
+There are certain pieces that speak decidedly of Costa Rican influence
+and others that find their counterparts in the Colombian states to the
+south.</p>
+
+<p>In art in clay in most countries the vessel is the leading idea, the
+center about which nearly the entire ceramic art is gathered. This is
+true in a marked degree in Chiriqui, and vessels are therefore given the
+first place in this paper. The less usual forms include drums, whistles,
+rattles, stools, spindle whorls, needlecases, and toy-like images, all
+of which present features of peculiar interest. These classes of objects
+are discussed in separate sections.</p>
+
+<p>There are few indications of an ambition to model natural forms or
+mythologic figures independently of utensils and useful objects, and,
+strange to say, no pieces are found that portray the human face and
+figure with even a fair degree of approach to nature.</p>
+
+<h6><a name = "pottery_howfound" id = "pottery_howfound">
+How found.&mdash;</a></h6>
+
+<p>In describing the graves and tombs in a previous section,
+I&nbsp;alluded to the manner in which the pottery was deposited. It
+appears to have been buried with the dead or thrown into the grave with
+the earth and stones with which the pit was filled. There was little
+regularity in the place or position of the vessels and many were broken
+when found. The precise use of the vessels, the character of the
+contents, or the relation of particular pieces to the remains of the
+dead cannot be determined. Although the human remains have almost
+entirely disappeared and there are no traces left of utensils of wood,
+bone, horn, or shell, the paste, slip, and colors are wonderfully well
+preserved and the surface is not even discolored by contact with the
+earth. When found, every crevice and cavity is completely filled with
+earth, and the paste is often so tender that the vessels have to be
+dried with great care before they can be handled with freedom. The
+number of pieces found in a grave sometimes reaches twenty, but the
+average is perhaps not above three or four.</p>
+
+<h6><a name = "pottery_material" id = "pottery_material">
+Material.&mdash;</a></h6>
+
+<p>The material used in the manufacture of this ware is remarkably
+uniform throughout the whole province, varying slightly with the
+locality, with the group, and with the character of the vessel
+constructed. Generally the paste consists of a matrix of fine clay
+tempered with finely pulverized sand, in which may be detected grains of
+quartz, feldspar, hornblende, augite, particles of iron oxide, &amp;c.
+Argillaceous matter has been sparingly used, the sand in many cases
+comprising at least 75 per cent. of the mass. Many of the unpainted
+specimens, from which the polished slip has been removed, give off
+showers of fine sand when rubbed by the hand, and it is difficult to
+detect the presence of any finely comminuted matrix whatever. The
+<span class = "pagenum">56</span>
+<a name = "page056" id = "page056"> </a>
+<!-- png 118 -->
+thin slip employed in surface finish is more highly argillaceous than
+the paste. The clay used was probably mostly light in color, as the
+paste is now quite uniformly so. The baking was effected apparently
+without a very high degree of temperature and by methods that left few
+marks or discolorations upon the vessels. In hardness and durability the
+paste corresponds pretty closely with that of our red porous
+earthenware. The softer pieces can be scratched or even carved with a
+knife. Water will penetrate any of these vessels in a few minutes, but
+decay has probably tended to make the walls more porous.</p>
+
+<h6><a name = "pottery_manuf" id = "pottery_manuf">
+Manufacture.&mdash;</a></h6>
+
+<p>There is no piece of this ware that does not bear evidence of a high
+degree of skill on the part of the potter; and yet, owing to the
+thorough manner in which the work is finished, the precise methods of
+manipulation are not easily detected. So great is the symmetry and so
+graceful are the shapes that one is led to suspect the employment of
+mechanical devices of a high order. The casual observer would at once
+arrive at the conclusion that the wheel or molds had been used, but it
+is impossible to detect the use of any such appliances. We observe that
+irregular and complex forms, in the production of which mechanical
+appliances could not be used to advantage, are modeled with as much
+grace of contour and perfection of surface as are the simpler shapes
+that could be turned upon a wheel, and we conclude that with this
+remarkable people the hand and the eye were so highly educated that
+mechanical aids were not indispensable. I&nbsp;find no evidence that
+coil building was systematically practiced, but it is clear that parts
+of complex forms were modeled separately and afterwards united. The
+various ornaments in relief (the heads and other parts of animals) and
+the handles, legs, and bases of vessels were constructed separately and
+then luted on, and with such skill that the thinnest walls and the most
+complex and delicate forms were not injured in the process. The contact
+irregularities were then worked down, and every part of the surface,
+including the more important ornaments, were rendered smooth,
+preparatory to the application of the thin surface wash or slip. After
+the slip was applied and the clay became somewhat indurated, the surface
+was polished with smooth pebbles, the marks of which can be seen on the
+less accessible parts of the vessel. On the exposed surfaces of certain
+groups of ware the polish is in many cases so perfect that casual
+observers and inexperienced persons take it for a glaze. Incised figures
+and painted decorations were generally executed after the polishing was
+complete. Details of processes will be given as the various classes of
+ware pass under review.</p>
+
+<p>The methods of baking were apparently of a higher order than those
+practiced in many parts of America. One rarely discovers traces of the
+dark discolorations that result from primitive methods of baking, yet
+there are none of the contact marks that arise from the furnace firing
+of Spanish-American potters.</p>
+
+<span class = "pagenum">57</span>
+<a name = "page057" id = "page057"> </a>
+<!-- png 119 -->
+<h6><a name = "pottery_color" id = "pottery_color">
+Color.&mdash;</a></h6>
+
+<p>The colors of the ware and of the surface applications vary decidedly
+with the different groups. The prevailing colors of the paste may be
+defined as ranging from very light yellow grays to a variety of ochery
+yellows and very pale terra cotta reds. In one or two groups there is an
+approach to salmon and orange hues, and in another the color is black or
+dark brown. The color within the mass is in some cases darker than upon
+the surface, an effect produced in baking, and not through the use of
+different clays. The slip is usually lighter than the surface of the
+paste.</p>
+
+<p>The colors used in finishing and decorating are confined to reds,
+blacks, and purple grays. In one large group of ware the appearance of
+the delineations is such as to lead to the conclusion that the principal
+pigment or fluid employed in delineation has totally disappeared,
+carrying with it all underlying colors not of unusual permanence or not
+worked down with the polishing implement. The Aztec and other races of
+tropical America used an argillaceous, white pigment in decorating their
+wares, which has in many cases partially or wholly disappeared, carrying
+away considerable portions of the colors over which it was laid, while
+in other cases, and also in this Chiriqui ware, there is no trace of
+color remaining and we are left to surmise that the brush used probably
+contained merely a “taking out� medium. Red was profusely used and
+varies from a light vermilion to a deep maroon. In certain classes of
+vessels it was hastily daubed on, covering prominent parts of the
+surface or forming irregular spots, streaks, and rude figures. In two
+groups of ware it was used as the chief delineating color. In some cases
+it was employed as a wash or slip and was worked down with the polishing
+stone, and in this condition it was treated as a ground upon which to
+execute designs in other colors. It is always a fast color and is
+probably of mineral character.</p>
+
+<p>The blacks are of two kinds, which are used in distinct groups of
+ware: one, probably a mineral pigment, somewhat pasty when applied and
+quite permanent, is always used in delineating the ornamental figures;
+the other, possibly a vegetable tint, is always used as a ground upon
+which to execute designs in other mediums. It is confined to a single
+group of ware. It has in many cases disappeared entirely, and where
+remaining can be removed with ease by rubbing.</p>
+
+<p>A light purple tint is tastefully and sparingly employed in one group
+of ware. Browns and other hues occur but rarely and in all cases result
+from alterations of other colors produced in firing. The color effects
+of this pottery, although evidently much modified by age, are
+sufficiently rich to be highly pleasing to the eye.</p>
+
+<h6><a name = "pottery_use" id = "pottery_use">
+Use.&mdash;</a></h6>
+
+<p>The uses to which most classes of earthen products were applied are
+easily determined. Whistles, drums, rattles, and spindle whorls have
+definite duties to perform, and vessels, as to general scope of
+function, answer for themselves: but when we come to inquire
+<span class = "pagenum">58</span>
+<a name = "page058" id = "page058"> </a>
+<!-- png 120 -->
+into the particular uses of the various groups of vessels we are often
+at a loss. The majority of the pieces show no abrasion by handling or
+discoloration by fire or by contents, and I am inclined to believe that
+a large portion were taken directly from the furnace and deposited in
+the tombs. This implies manufacture for purely mortuary purposes.</p>
+
+<p>Two important groups, the high tripods and the two handled cups or
+pots, are generally discolored by use over fire, but we cannot say with
+confidence whether that use was a domestic one or whether it was
+ceremonial. The small size and the elaborate modeling of a majority of
+the pieces make it appear improbable that they were intended for use in
+ordinary cooking or even in the preparation of beverages. A&nbsp;few
+large plain caldrons are found, and these were probably domestic
+receptacles. All things considered, it would seem highly probable that
+the greater portion of the vessels exhumed from the graves were intended
+to be used for religious and mortuary purposes.</p>
+
+<p>The preceding paragraphs refer, for the most part, to the whole body
+of earthenware products, but throughout the rest of this section I shall
+treat of vessels only, except in the matter of decoration, which refers
+equally to all classes of objects.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig45" id = "fig45">&nbsp;</a><br>
+<img src = "images/fig45a.png" width = "111" height = "23"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>a</i></td>
+<td class = "illustration">
+<img src = "images/fig45b.png" width = "111" height = "49"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>b</i></td>
+<td class = "illustration">
+<img src = "images/fig45c.png" width = "116" height = "55"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>c</i></td>
+</tr>
+<tr>
+<td class = "illustration">
+<img src = "images/fig45d.png" width = "112" height = "87"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>d</i></td>
+<td class = "illustration">
+<img src = "images/fig45e.png" width = "105" height = "89"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>e</i></td>
+<td class = "illustration">
+<img src = "images/fig45f.png" width = "108" height = "62"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>f</i></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "3">
+<span class = "smallcaps">Fig. 45.</span> Fundamental forms of
+vases&mdash;convex outlines.</td>
+</tr>
+</table>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig46" id = "fig46">&nbsp;</a><br>
+<img src = "images/fig46a.png" width = "94" height = "18"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>a</i><br>
+<img src = "images/fig46b.png" width = "94" height = "42"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>b</i></td>
+<td class = "illustration">
+<img src = "images/fig46c.png" width = "95" height = "72"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>c</i></td>
+<td class = "illustration">
+<img src = "images/fig46d.png" width = "85" height = "78"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>d</i></td>
+<td class = "illustration">
+<img src = "images/fig46e.png" width = "93" height = "92"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>e</i></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "4">
+<span class = "smallcaps">Fig. 46.</span> Fundamental forms of
+vases&mdash;angular outlines.</td>
+</tr>
+</table>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig47" id = "fig47">&nbsp;</a><br>
+<img src = "images/fig47a.png" width = "99" height = "107"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>a</i></td>
+<td class = "illustration">
+<img src = "images/fig47b.png" width = "99" height = "99"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>b</i></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+<span class = "smallcaps">Fig. 47.</span> Vases of complex
+outlines&mdash;exceptional forms.</td>
+</tr>
+</table>
+
+<h6><a name = "pottery_forms" id = "pottery_forms">
+Forms of vessels.&mdash;</a></h6>
+
+<p>Divesting the utensil of extraneous features, such as rims, handles,
+and legs, we have the following series of shapes, which shows a pretty
+full graduation of outline from extreme to extreme. Beginning with the
+simplest fundamental form, the shallow cup (Fig.&nbsp;45, <i>a</i>), we
+ascend gradually to more complex outlines, such as are seen in the
+hemispherical bowl&nbsp;(<i>b</i>), the deep basin with slightly
+incurved rim (<i>c</i>), the globular form&nbsp;(<i>d</i>), and the
+elongated form &nbsp;(<i>e</i>). Occasionally we see an eccentric
+variation, such as is shown in&nbsp;<i>f</i>. Flat bottoms are unusual;
+a&nbsp;conical base is the rule. Outlines do not always exhibit these
+even, convex curves, but many are straight or concave in profile, as
+shown in Fig.&nbsp;46. Complex
+<span class = "pagenum">59</span>
+<a name = "page059" id = "page059"> </a>
+<!-- png 121 -->
+forms are shown in Fig.&nbsp;47, <i>a</i> and&nbsp;<i>b</i>, and
+compound forms in Fig.&nbsp;48, <i>a</i> and&nbsp;<i>b</i>. Examples of
+these classes are numerous and important. The compound shapes result
+from the union of two or more simple forms. Eccentric forms are numerous
+and result in a majority of cases from the employment of some animal as
+a model. Thus, if an alligator or almost any quadruped is embodied in
+the vessel, the form tends to become elongated; if a crab or a fish is
+imitated, there is a tendency to flatness &amp;c. The base is almost
+universally more or less conical, is rarely flat, and never concave,
+excepting as the result of the addition of an annular foot or stand. The
+radical shapes do not undergo any considerable change when rims, necks,
+handles, legs, and other appendages are added. The rim or lip is in many
+cases incurved, but as a rule it is turned outward. The margin is plain,
+<span class = "pagenum">60</span>
+<a name = "page060" id = "page060"> </a>
+<!-- png 122 -->
+symmetrical, and often considerably thickened. In a few instances the
+outline is rectangular or scalloped, as shown in Fig.&nbsp;49, and the
+attachment of handles often leads to peculiar outlines, as will be seen
+further&nbsp;on.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig48" id = "fig48">&nbsp;</a><br>
+<img src = "images/fig48a.png" width = "111" height = "101"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>a</i></td>
+<td class = "illustration">
+<img src = "images/fig48b.png" width = "104" height = "70"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>b</i></td>
+<td class = "illustration middle">
+<a name = "fig49" id = "fig49">&nbsp;</a><br>
+<img src = "images/fig49.png" width = "117" height = "112"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+<span class = "smallcaps">Fig. 48.</span> Vases of compound forms.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 49.</span> Square lipped vessel.</td>
+</tr>
+</table>
+
+<p>The neck in its simplest form is a narrow upright band surrounding
+the orifice (Fig.&nbsp;50,&nbsp;<i>a</i>) and is not differentiated from
+the rim. Variations in size and shape are shown in the remaining figures
+of the series. In <i>b</i> it is a narrow constricted band beneath an
+overhanging rim, in <i>c</i> it is upright and considerably elongated,
+and in <i>d</i> it expands, giving a funnel shaped mouth. The exterior
+surface is very generally decorated with relieved or painted devices.
+High necked bottles and pitcher shaped vessels are unknown.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig50" id = "fig50">&nbsp;</a><br>
+<img src = "images/fig50a.png" width = "72" height = "71"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>a</i></td>
+<td class = "illustration">
+<img src = "images/fig50b.png" width = "103" height = "56"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>b</i></td>
+<td class = "illustration">
+<img src = "images/fig50c.png" width = "75" height = "81"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>c</i></td>
+<td class = "illustration">
+<img src = "images/fig50d.png" width = "80" height = "79"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>d</i></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "4">
+<span class = "smallcaps">Fig. 50.</span> Variations in the forms of
+necks and rims&mdash;various groups of ware.</td>
+</tr>
+</table>
+
+<p>Handles constitute a very interesting feature of this pottery and are
+much varied in shape and arrangement. In a few cases the handle is a
+single arch springing over the orifice, as seen in Fig.&nbsp;51,
+<i>a</i>. Again, the handle is attached to one side, as in <i>b</i>, but
+as a rule handles occur in twos upon the shoulder, one on either side of
+the aperture. They are horizontally attached, as in <i>c</i>, or
+vertically placed, as in <i>d</i>, connecting the rim with the shoulder,
+or they occur low on the body, as in <i>e</i>. In rare cases there are
+four handles, which are arranged as seen in <i>f</i> or are set on in
+pairs. In the elaboration of handles, the use made of animal forms is
+perhaps the most notable feature. Grotesque figures are made to take the
+place of handles or are attached to or placed near
+<span class = "pagenum">61</span>
+<a name = "page061" id = "page061"> </a>
+<!-- png 123 -->
+them. The treatment is so varied that I shall have to refer the student
+to the subsequent series of illustrations.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig51" id = "fig51">&nbsp;</a><br>
+<img src = "images/fig51a.png" width = "76" height = "103"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>a</i></td>
+<td class = "illustration">
+<img src = "images/fig51b.png" width = "77" height = "91"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>b</i></td>
+<td class = "illustration">
+<img src = "images/fig51c.png" width = "107" height = "82"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>c</i></td>
+</tr>
+<tr>
+<td class = "illustration">
+<img src = "images/fig51d.png" width = "117" height = "78"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>d</i></td>
+<td class = "illustration">
+<img src = "images/fig51e.png" width = "87" height = "86"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>e</i></td>
+<td class = "illustration">
+<img src = "images/fig51f.png" width = "85" height = "80"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>f</i></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "3">
+<span class = "smallcaps">Fig. 51.</span> Arrangement of
+handles&mdash;various groups of ware.</td>
+</tr>
+</table>
+
+<p>Annular bases or feet were not in very general use in Chiriqui,
+although in some cases they are modeled with a great deal of grace. The
+shape varies from a simple ring, barely deep enough to give a firm
+support to the vessel when placed upon a level surface, to a long,
+attenuated column with flaring base. The latter is perhaps one of the
+nearest approaches which America has furnished to the slender foot
+characteristic of the wheel made ware of Mediterranean countries.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig52" id = "fig52">&nbsp;</a><br>
+<img src = "images/fig52a.png" width = "95" height = "97"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>a</i></td>
+<td class = "illustration">
+<img src = "images/fig52b.png" width = "99" height = "71"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>b</i></td>
+<td class = "illustration">
+<img src = "images/fig52c.png" width = "73" height = "100"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>c</i></td>
+<td class = "illustration">
+<img src = "images/fig52d.png" width = "106" height = "71"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>d</i></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "4">
+<span class = "smallcaps">Fig. 52.</span> Types of annular bases or
+feet&mdash;various groups of ware.</td>
+</tr>
+</table>
+
+<p>The vessel shown in Fig. 52, <i>a</i>, has a somewhat rudimentary
+foot; another, <i>b</i>, a firm, wide base, which is perforated to give
+lightness; an hourglass-like piece is shown in <i>c</i>, and a long,
+bell shaped foot is seen in <i>d</i>. In no part of the world do earthen
+vessels exhibit such a remarkable development of legs as in Southern
+Central America. The tripod is the favorite support, and in Chiriqui the
+forms are more graceful than in the neighboring provinces. In a few
+cases, where the body was modeled in close imitation of animal forms,
+four legs were used, but three were generally preferred, even for
+vessels of rectangular or irregular shapes. In the simplest form they
+are small conical knobs, placed rather close together about the base of
+the vessel (Fig.&nbsp;53, <i>a</i>), but from these the dimensions
+increase until the size is out of all reasonable proportion. The maximum
+development in point of expansion is seen in <i>b</i> and the greatest
+height in <i>c</i>. They are frequently modeled after life forms. In a
+few cases rings or loops are employed, as shown in <i>d</i>. The larger
+forms, and especially those imitating animals, are hollow and contain
+round pellets of clay that rattle when the vessel is moved. The manner
+in which the legs are attached to the body of the vessel leads me to
+observe that the vessel is independently
+<span class = "pagenum">62</span>
+<a name = "page062" id = "page062"> </a>
+<!-- png 124 -->
+a perfect utensil, and that in all probability the tripod was a feature
+acquired late in the progress of Chiriquian culture, as a result of some
+change in the surroundings of the people or in the uses to which the
+vessel was devoted. Annular bases and tripods would be of little use
+until level floors of unyielding material came into vogue.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig53" id = "fig53">&nbsp;</a><br>
+<img src = "images/fig53a.png" width = "104" height = "87"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>a</i><br>
+Biscuit ware.</td>
+<td class = "illustration">
+<img src = "images/fig53b.png" width = "112" height = "83"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>b</i><br>
+Biscuit ware.</td>
+<td class = "illustration">
+<img src = "images/fig53c.png" width = "85" height = "98"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>c</i><br>
+Tripod group.</td>
+<td class = "illustration">
+<img src = "images/fig53d.png" width = "87" height = "87"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>d</i><br>
+Red line group.</td>
+</tr>
+<tr>
+<td class = "caption" colspan = "4">
+<span class = "smallcaps">Fig. 53.</span> Forms of legs&mdash;various
+groups of ware.</td>
+</tr>
+</table>
+
+<h6><a name = "pottery_decor" id = "pottery_decor">
+Decoration.&mdash;</a></h6>
+
+<p>In decoration the pottery of this province exhibits many remarkable
+features. The work resembles somewhat closely, in a number of its
+features, that of certain districts lying to the north and to the south,
+but at the same time it is possessed of very decided individuality. From
+an examination of the designs I conclude that they represent a period of
+culture considerably inferior to that of some more northern sections,
+although the ware itself is nowhere surpassed in grace of form and
+delicacy of finish.</p>
+
+<p>The ornamentation is pretty evenly divided between plastic and flat
+forms. The former include relieved features and intaglio features, which
+are executed in the plastic clay, and the latter comprise figures in
+color, penciled or painted upon the surface. Each style of work embodies
+its own peculiar class of conceptions. Relief work is generally
+realistic or grotesque; incised work is almost exclusively geometric,
+and embraces combinations of lines usually recognized as archaic. An
+occasional example is easily recognized as imitative. Painted figures
+are both geometric and imitative, the two forms blending
+imperceptibly.</p>
+
+<p>The more important plastic decorations consist of animal forms
+modeled in the round. Vegetable forms have not been employed. Fillets of
+clay imitating twisted cords are sparingly used in the decoration of
+necks and handles, and rows and groups of small nodes are similarly
+employed. The human figure is always treated in a conventional and
+usually in a grotesque manner. The animals imitated include a very large
+number of species. Crocodiles, pumas, armadillos, monkeys, crabs,
+lizards, scorpions, frogs, and fish appear very frequently. Many of the
+animals, owing to conventional treatment or to carelessness on the part
+of the modeler, are difficult of identification. These plastic forms
+occur in nearly all the groups of ware, and similar forms are found to a
+limited extent in gold, copper, and stone, as will be seen by reference
+to the illustrations already given. Their study will, I&nbsp;believe,
+give some insight into the mental characteristics of the Chiriquians.
+That their art, so far as these figures are concerned, was not serious
+is indicated by the sketchy, unsystematic nature of the work, and more
+especially by the grotesque and occasionally amusing representation of
+men and animals.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration middle" rowspan = "2">
+<a name = "fig54" id = "fig54">&nbsp;</a><br>
+<img src = "images/fig54.png" width = "214" height = "281"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 54.</span></td>
+<td class = "illustration">
+<a name = "fig55" id = "fig55">&nbsp;</a><br>
+<img src = "images/fig55.png" width = "91" height = "118"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 55.</span></td>
+</tr>
+<tr>
+<td class = "illustration">
+<a name = "fig56" id = "fig56">&nbsp;</a><br>
+<img src = "images/fig56.png" width = "141" height = "231"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 56.</span></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+Grotesque figures forming the handles of small vases&mdash;terra cotta
+group.</td>
+</tr>
+</table>
+
+<p>The figures are usually placed upon the shoulder of the vessel or are
+attached to the legs and handles or form part of them. The favorite
+subjects are doleful little figures, human or partly so, fixed upon the
+vessel in a sitting posture, with legs and arms doubled up,
+<span class = "pagenum">63</span>
+<a name = "page063" id = "page063"> </a>
+<!-- png 125 -->
+and with expressions which appear to indicate a variety of exaggerated
+emotions (Figs. 54, 55,&nbsp;56).</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig57" id = "fig57">&nbsp;</a><br>
+<img src = "images/fig57.png" width = "205" height = "210"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 57.</span></td>
+<td class = "illustration">
+<a name = "fig58" id = "fig58">&nbsp;</a><br>
+<img src = "images/fig58.png" width = "158" height = "246"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 58.</span></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+Monstrous figures, with serpent-shaped extremities&mdash;handled
+group.</td>
+</tr>
+</table>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig59" id = "fig59">&nbsp;</a><br>
+<img src = "images/fig59.png" width = "132" height = "165"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 59.</span></td>
+<td class = "illustration">
+<a name = "fig61" id = "fig61">&nbsp;</a><br>
+<img src = "images/fig61.png" width = "102" height = "99"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 61.</span></td>
+<td class = "illustration">
+<a name = "fig60" id = "fig60">&nbsp;</a><br>
+<img src = "images/fig60.png" width = "120" height = "161"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 60.</span></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "3">
+Grotesque figures&mdash;terra cotta group.</td>
+</tr>
+</table>
+
+<p class = "illustration">
+<a name = "fig62" id = "fig62">&nbsp;</a><br>
+<img src = "images/fig62.png" width = "266" height = "169"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 62.</span> Figure of monkey&mdash;terra
+cotta group</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig63" id = "fig63">&nbsp;</a><br>
+<img src = "images/fig63.png" width = "110" height = "154"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 63.</span></td>
+<td class = "illustration">
+<a name = "fig64" id = "fig64">&nbsp;</a><br>
+<img src = "images/fig64.png" width = "129" height = "129"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 64.</span></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+Figures of monkeys&mdash;terra cotta group.</td>
+</tr>
+</table>
+
+<p>The exuberance of fancy often found vent in the production of
+monstrosities, such as are seen in Figs. 57 and 58, in which the arms
+<span class = "pagenum">64</span>
+<a name = "page064" id = "page064"> </a>
+<!-- png 126 -->
+and legs of the figures are writhing serpents, the faces expressing
+great agony; in other cases the figures are double; and again two bodies
+united at the waist have but one pair of legs. An unusually grotesque
+creature is seen in Figs. 59 and 60, and another is given in
+Fig.&nbsp;61. Similar figures are worked in gold, one of which is now
+worn as a charm by Mr. J.&nbsp;B. Stearns. Figures of monkeys are shown
+in Figs. 62, 63, and 64. One creature, represented as having a long,
+trunk-like snout, recurs frequently. Such a form discovered in the
+earlier days of archæologic investigation would probably have given
+<span class = "pagenum">65</span>
+<a name = "page065" id = "page065"> </a>
+<!-- png 127 -->
+rise to many surmises as to the contemporaneous existence of man and the
+elephant in Chiriqui. In reality the original was probably some
+unassuming little inhabitant of the isthmian jungles. This creature is
+shown in profile in Fig.&nbsp;65, <i>a</i>, and front views are given in
+<i>b</i> and <i>c</i>. Innumerable examples, embracing most of the more
+important animals of Chiriqui, could be given, but in a majority of
+cases identification is difficult or impossible, as there has been
+little or no effort to reproduce nature with fidelity. But the chief
+interest surrounding these figures is not found in the variety of
+creatures shown or in the character of the delineation, but in the
+manner of their employment in the embellishment of ceramic forms. The
+ancient potter must have possessed a keen sense of grace of form and of
+the proper adjustment of parts. The most cultured taste could hardly
+improve upon the lines of the vases presented in Figs. 66 and 67, which
+employ the frog, and in Figs. 68 and 69, in which other creatures are
+used. Many equally pleasing examples are illustrated further on. The
+<span class = "pagenum">66</span>
+<a name = "page066" id = "page066"> </a>
+<!-- png 128 -->
+question very naturally arises as to whether these little figures had
+any meaning or performed any function aside from that of simple
+decoration. I&nbsp;feel inclined to take the view that in their present
+condition they are survivals of ideographic originals; that if their
+past could be unveiled we would find that in the primitive ages they
+were not exclusively employed for ornament. The animals made use of
+originally were the embodiment of mythologic conceptions, and their
+images were revered or served as fetiches or charms, and because of this
+they came to have a permanent place in art. They were applied to the
+vessel because its office had reference to them or because they were
+thought to have a beneficial effect upon its functions. It is evident
+that their employment was governed by well established rules and that
+they occupied places and occurred in numbers and relations not wholly
+dependent upon the judgment of the individual potter. We may suppose
+that they occur in twos because the handles with which they were
+associated occurred in twos; or, if they serve to take the place of the
+extremities of the animal forms in the semblance of which the vases were
+originally modeled, their positions may be related to the original
+positions of the heads and tails of those forms. It is not improbable
+that the conventional incised and relieved ornaments, the meanders,
+nodes, and varied marks refer also to the creatures or the markings of
+the creatures with which the vessel was associated.</p>
+
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig65" id = "fig65">&nbsp;</a><br>
+<img src = "images/fig65a.png" width = "124" height = "184"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>a</i></td>
+<td class = "illustration">
+<img src = "images/fig65b.png" width = "94" height = "153"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>b</i></td>
+<td class = "illustration">
+<img src = "images/fig65c.png" width = "115" height = "200"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>c</i></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "3">
+<span class = "smallcaps">Fig. 65.</span> Animal forms exhibiting a long
+proboscis&mdash;handled group.</td>
+</tr>
+</table>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig66" id = "fig66">&nbsp;</a><br>
+<img src = "images/fig66.png" width = "168" height = "167"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 66.</span></td>
+<td class = "illustration">
+<a name = "fig67" id = "fig67">&nbsp;</a><br>
+<img src = "images/fig67.png" width = "256" height = "194"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 67.</span></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+Vases illustrating ornamental use of animal figures&mdash;terra cotta
+group.</td>
+</tr>
+</table>
+
+<p>It will be seen, from the above remarks, that we cannot fully
+determine to what extent these ancient decorators followed the
+traditional pathways of early ideographic usage or how much they were
+governed by those powers of esthetic discrimination known to us as
+taste.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig68" id = "fig68">&nbsp;</a><br>
+<img src = "images/fig68.png" width = "144" height = "126"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 68.</span></td>
+<td class = "illustration">
+<a name = "fig69" id = "fig69">&nbsp;</a><br>
+<img src = "images/fig69.png" width = "204" height = "209"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 69.</span></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+Vases illustrating ornamental use of animal figures&mdash;terra cotta
+group.</td>
+</tr>
+</table>
+
+
+<h5><a name = "pottery_unpainted" id = "pottery_unpainted">
+UNPAINTED WARE.</a></h5>
+
+<p>For convenience of description I separate the pottery of Chiriqui
+<span class = "pagenum">67</span>
+<a name = "page067" id = "page067"> </a>
+<!-- png 129 -->
+into two grand divisions: the <i>unpainted</i> ware and the
+<i>painted</i> ware. Two important groups come under the first head. The
+first of these, the terra cotta or biscuit ware, comprises a larger
+number of pieces than any other group and is readily distinguished by
+its colors, which include only the pale grayish yellow and reddish tints
+of the burned clay. The second is limited to a small number of pieces
+and is black or very dark upon the surface and dark within the mass.</p>
+
+<h6><a name = "pottery_terracotta" id = "pottery_terracotta">
+The terra cotta group.&mdash;</a></h6>
+
+<p>This biscuit-like pottery is not in any way inferior to the painted
+varieties. It bears evidence of great freedom in handling, and serves,
+perhaps better than any other class of products, to illustrate the
+masterly skill and the refined taste of the ancient potter. It is said
+to occur in the same cemeteries and in the same graves with the more
+important varieties of painted ware. The function of these handsome
+vessels cannot be determined. It can hardly have been of a domestic
+nature, as they show no evidences of discoloration or wear, and we are
+left to speculate upon the possibility of a purely ceremonial use. The
+paste is moderately fine, but contains an extremely large share of
+gritty sand; the slip is thin and has received but a slight degree of
+polish, so that the surface has a dead, somewhat granular effect. As a
+rule the vases are of small size and are very thin walled. The forms are
+symmetrical and exceptionally graceful. The ornamentation includes
+incised figures (mostly geometric), raised decoration (of&nbsp;similar
+character), and animal forms in the round. The following illustrations
+are intended to epitomize the multitude of forms, as anything like a
+complete representation is out of the question.</p>
+
+<p class = "illustration">
+<a name = "fig70" id = "fig70">&nbsp;</a><br>
+<img src = "images/fig70.png" width = "421" height = "141"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 70.</span> Series of bowls and cups of
+unpainted ware.</p>
+
+<p>Bowls, which form a leading feature of the pottery of most primitive
+peoples, are here rarely seen, excepting as mounted upon tripods or
+annular bases. There are in the collection a number of small cups of
+hemispherical shape that may have served as spoons, ladles, or drinking
+vessels. A&nbsp;few of these are outlined in Fig.&nbsp;70. Two have
+minute projections resembling handles affixed to the rim. In rare cases
+these are so prolonged as to be of service in handling the cup; but in
+no instance is there an approach to the long cylindrical handles seen in
+the earthenware of other districts.</p>
+
+<span class = "pagenum">68</span>
+<a name = "page068" id = "page068"> </a>
+<!-- png 130 -->
+<p class = "illustration">
+<a name = "fig71" id = "fig71">&nbsp;</a><br>
+<img src = "images/fig71.png" width = "250" height = "155"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 71.</span> Vase of graceful
+form&mdash;½.</p>
+
+<p class = "illustration">
+<a name = "fig72" id = "fig72">&nbsp;</a><br>
+<img src = "images/fig72.png" width = "232" height = "190"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 72.</span> Vase of graceful
+form&mdash;½.</p>
+
+<p class = "illustration">
+<a name = "fig73" id = "fig73">&nbsp;</a><br>
+<img src = "images/fig73.png" width = "285" height = "257"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 73.</span> Vase of fine form, ornamented
+with grotesque heads&mdash;½.</p>
+
+<p>In following the form scale upward from these simple shapes we find
+the orifice becoming more constricted and the neck more pronounced. The
+margins are upright, incurved, or flaring, and give variety and grace to
+the outlines. A&nbsp;tendency toward elaboration
+<span class = "pagenum">69</span>
+<a name = "page069" id = "page069"> </a>
+<!-- png 131 -->
+of ornament accompanies the development of form. Bands of incised or
+relieved figures are carried around the neck, shoulder, and handles and
+are added in such a way as greatly to enhance the beauty of the vessel.
+The forms of these vessels are so graceful and the finish is so perfect
+that one is tempted to present an extended series, but it will be
+necessary to confine the illustrations to a limited number of type
+specimens. Fig.&nbsp;71 shows a somewhat shallow form of great
+simplicity and grace. That in Fig.&nbsp;72 is deeper, with a narrow neck
+and a more decidedly conical shape. Two minute grotesque figures are
+perched upon the shoulder. Fig.&nbsp;73 represents a larger vessel of
+good form, which has a neat incised pattern encircling the slightly
+incurved neck. Grotesque heads are set upon the shoulder. A&nbsp;form
+somewhat more refined is shown in Fig.&nbsp;74. The neck is furnished
+with a relieved ornament, consisting of a meandered and indented fillet,
+<span class = "pagenum">70</span>
+<a name = "page070" id = "page070"> </a>
+<!-- png 132 -->
+accompanied by two rows of minute indented nodes. The heads are probably
+intended to represent the armadillo. They are hollow and contain movable
+pellets. The fillet ornaments are always tastefully treated, and in many
+cases represent twisted and plaited cords. Some are marked in herring
+bone fashion and others have transverse indentations. Small pellets of
+clay were much used and to excellent advantage. They were set on lightly
+with the fingers and firmly pressed down with minute pointed or edged
+tools and hollow straws or reeds (Figs. 75 and&nbsp;76). Some of these
+nodes are finished to represent the heads of animals. This is done with
+an ease and a simplicity that call forth our admiration
+(Fig.&nbsp;77).</p>
+
+<p class = "illustration">
+<a name = "fig74" id = "fig74">&nbsp;</a><br>
+<img src = "images/fig74.png" width = "275" height = "264"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 74.</span> Vase of fine form, ornamented
+with grotesque heads&mdash;½.</p>
+
+<p class = "illustration">
+<a name = "fig75" id = "fig75">&nbsp;</a><br>
+<img src = "images/fig75.png" width = "215" height = "213"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 75.</span> Vase with ornaments of applied
+nodes and fillets&mdash;½.</p>
+
+<p class = "illustration">
+<a name = "fig76" id = "fig76">&nbsp;</a><br>
+<img src = "images/fig76.png" width = "282" height = "258"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 76.</span> Vase with mantle covered with
+incised figures&mdash;½.</p>
+
+<p class = "illustration">
+<a name = "fig77" id = "fig77">&nbsp;</a><br>
+<img src = "images/fig77.png" width = "217" height = "230"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 77.</span> Vase with frieze of grotesque
+heads&mdash;½.</p>
+
+<p>Fig. 78 illustrates a series of vases having flaring rims, the
+treatment
+<span class = "pagenum">71</span>
+<a name = "page071" id = "page071"> </a>
+<!-- png 133 -->
+otherwise being uniform with the preceding. We notice in these vessels a
+decided tendency towards complexity of outline. Three examples, shown in
+Fig.&nbsp;79, have a two storied character, the upper part possibly
+being the outgrowth of the collar ornament seen in so many cases. The
+large specimen in the center is a handsome piece with square offset at
+the shoulder and a decidedly conical base. A&nbsp;chaste ornament in
+relief encircles the neck and two grotesque figures are seated upon
+opposite sides of the shoulder. The vase at the left has two orifices,
+set wide apart. The body is oblong and slightly flattened above. There
+are a number of vessels of this conformation in the collection, some of
+which have the mouths so close together that the margins or lips
+coalesce in part. A&nbsp;superb specimen of this class is illustrated in
+Fig.&nbsp;80. The shape is thoroughly satisfactory to the eye, having a
+refinement of line rarely attained in native American work. Its symmetry
+suggests the use of the wheel, but the closest examination fails to
+detect a trace of mechanical appliance, save that left by the polishing
+stone. The decoration is simple and effective, consisting of minute
+nodes with annular indentations about the necks and of two grotesque
+figures, placed with consummate taste in the angles formed by the
+contact of the two necks.</p>
+
+<p class = "illustration">
+<a name = "fig78" id = "fig78">&nbsp;</a><br>
+<img src = "images/fig78.png" width = "425" height = "184"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 78.</span> Vases with flaring rims and
+varied ornament&mdash;â…•.</p>
+
+<p class = "illustration">
+<a name = "fig79" id = "fig79">&nbsp;</a><br>
+<img src = "images/fig79.png" width = "396" height = "148"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 79.</span> Vases with complex outlines
+and varied ornament&mdash;â…“.</p>
+
+<p class = "illustration">
+<a name = "fig80" id = "fig80">&nbsp;</a><br>
+<img src = "images/fig80.png" width = "325" height = "303"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 80.</span> Large vase with two mouths and
+neatly decorated necks&mdash;½.</p>
+
+<p>A very small percentage of these vessels possess true handles, but
+<span class = "pagenum">72</span>
+<a name = "page072" id = "page072"> </a>
+<!-- png 134 -->
+these, in some of the examples, are worthy of high admiration. The
+specimen presented in Fig.&nbsp;81 attracts attention at once on account
+of its resemblance to well known classic forms. It is evident, from a
+study of this piece, that only a step more was necessary to place
+<span class = "pagenum">73</span>
+<a name = "page073" id = "page073"> </a>
+<!-- png 135 -->
+these potters alongside of the highest masters of the art. The sharp
+high elbow and the broadening of the handles at their junction with the
+lip are notable features. The latter is shown more satisfactorily in
+Fig.&nbsp;82, which is a top view of a companion piece. I&nbsp;wish to
+call attention here to a peculiar feature of these handles and one
+repeated in vessels of other classes. At the elbow of each handle we
+find a device in relief marked with herring bone indentations that would
+seem to represent a kind of textile attachment, as if, at some previous
+time and perhaps in an antecedent form of vessel, the upright and
+horizontal parts of the handles had been stitched or tied together at
+this point. Yet it is by no means certain that this feature is not the
+survival of some feature of an animal form into the semblance of
+<span class = "pagenum">74</span>
+<a name = "page074" id = "page074"> </a>
+<!-- png 136 -->
+which, as seen in other examples, this feature has a tendency to
+graduate.</p>
+
+<p class = "illustration">
+<a name = "fig81" id = "fig81">&nbsp;</a><br>
+<img src = "images/fig81.png" width = "292" height = "310"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 81.</span> Large vase with high
+handles&mdash;â…“.</p>
+
+<p class = "illustration">
+<a name = "fig82" id = "fig82">&nbsp;</a><br>
+<img src = "images/fig82.png" width = "215" height = "215"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 82.</span> Top view of high handled
+vase&mdash;â…“.</p>
+
+<p>These vessels are not numerous, but acquire importance from their
+large size, the larger being upwards of eight inches in height.
+A&nbsp;few pieces of nearly identical shape, but of small size, are
+found among the painted wares. Additional shapes are given in Figs. 83,
+84, and 85, and serve to illustrate the extent of variation exhibited in
+this group of vases. The small shallow piece is exceptionally fine and
+the handles are furnished with animal features of a highly conventional
+type. An expansion of the handles somewhat similar to this is frequently
+seen in vessels of other classes, especially in those of the handled
+group.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration" colspan = "2">
+<a name = "fig83" id = "fig83">&nbsp;</a><br>
+<img src = "images/fig83.png" width = "117" height = "52"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 83.</span></td>
+</tr>
+<tr>
+<td class = "illustration">
+<a name = "fig84" id = "fig84">&nbsp;</a><br>
+<img src = "images/fig84.png" width = "185" height = "201"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 84.</span></td>
+<td class = "illustration">
+<a name = "fig85" id = "fig85">&nbsp;</a><br>
+<img src = "images/fig85.png" width = "180" height = "173"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 85.</span></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+Examples of handled vases&mdash;½.</td>
+</tr>
+</table>
+
+<p>Single handles of like character occur in a number of cases upon
+minute cups, an example of which is given in Fig.&nbsp;86. It would seem
+that possibly in such cases the rim had been expanded and prolonged for
+the purpose of giving support to the animal figures with which the
+shoulders were embellished. The expansion is probably the outgrowth of
+the use of animal figures in connection with simple handles.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig86" id = "fig86">&nbsp;</a><br>
+<img src = "images/fig86.png" width = "147" height = "116"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 86.</span></td>
+<td class = "illustration">
+<a name = "fig87" id = "fig87">&nbsp;</a><br>
+<img src = "images/fig87.png" width = "116" height = "152"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 87.</span></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+Small cup with single handle ornamented with grotesque
+figure&mdash;½.</td>
+</tr>
+</table>
+
+<p>We have a number of vessels of this group the bodies of which imitate
+animal forms, but they are in nearly all cases furnished with
+<span class = "pagenum">75</span>
+<a name = "page075" id = "page075"> </a>
+<!-- png 137 -->
+legs. Rarely we meet with compound or eccentric forms. An interesting
+specimen of the latter class is seen in Fig.&nbsp;88. Such shapes are
+common in Peru and are occasionally met with in Central America. The two
+strong handles are decorated with minute images of birds and the bottom
+is concave, an exceptional character in Chiriquian work.</p>
+
+<p class = "illustration">
+<a name = "fig88" id = "fig88">&nbsp;</a><br>
+<img src = "images/fig88.png" width = "220" height = "192"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 88.</span> Vase of eccentric
+form&mdash;½.</p>
+
+<p>The illustration of this group of vessels would not be complete
+without a series of tripod vases. In shape of body these vases differ
+but little from the legless forms already given, excepting where the use
+of life forms has led to eccentric modifications. Very great interest
+attaches to the modeling of the tripod supports, upon which the potters
+have expended much time and ingenuity.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig89" id = "fig89">&nbsp;</a><br>
+<img src = "images/fig89.png" width = "96" height = "107"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 89.</span></td>
+<td class = "illustration">
+<a name = "fig90" id = "fig90">&nbsp;</a><br>
+<img src = "images/fig90.png" width = "77" height = "58"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 90.</span></td>
+<td class = "illustration">
+<a name = "fig91" id = "fig91">&nbsp;</a><br>
+<img src = "images/fig91.png" width = "123" height = "96"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 91.</span></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+Vessels illustrating forms of legs&mdash;½.</td>
+<td class = "caption">
+Vessel with large legs ornamented with stellar punctures&mdash;½.</td>
+</tr>
+</table>
+
+<p>The illustrations given herewith are chosen from a great number of
+examples and are intended to convey an idea of the range of forms, both
+of the vessels and of their supports. Figs. 89 and 90 show plain forms
+of legs, all of which are hollow and contain small pellets of clay. The
+openings are generally wide vertical slits, and are placed in front, as
+seen in Fig.&nbsp;89, or in the side, as in Fig.&nbsp;90; but in
+exceptional cases they take other shapes and are scattered over the
+surface, as seen in Fig.&nbsp;91. The legs are often remarkable in form,
+being swollen to an enormous size above and terminating in small rounded
+points
+<span class = "pagenum">76</span>
+<a name = "page076" id = "page076"> </a>
+<!-- png 138 -->
+below. The bowls are symmetrically shaped and graceful in outline. In
+Fig.&nbsp;92 I present a group illustrating some of the more eccentric
+forms of bowls and a variety of their supports. A&nbsp;very superior
+piece and one of the largest of this style is shown in Fig.&nbsp;93.</p>
+
+<p class = "illustration">
+<a name = "fig92" id = "fig92">&nbsp;</a><br>
+<img src = "images/fig92.png" width = "433" height = "224"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 92.</span> Vases of varied form with
+plain and with animal shaped legs&mdash;â…“.</p>
+
+<p class = "illustration">
+<a name = "fig93" id = "fig93">&nbsp;</a><br>
+<img src = "images/fig93.png" width = "290" height = "338"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 93.</span> Large vase of striking
+shape&mdash;½.</p>
+
+<p class = "illustration">
+<a name = "fig94" id = "fig94">&nbsp;</a><br>
+<img src = "images/fig94.png" width = "196" height = "188"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 94.</span> Cup with legs imitating animal
+forms<ins class = "correction"
+title = "text has ‘.--½’ with . misplaced">&mdash;½.</ins></p>
+
+<p>It will be seen that in a number of cases the legs are modeled to
+represent animal forms. This feature is brought out more clearly in
+succeeding figures. The creatures represented are often grotesque, as
+seen in Figs. 94 and 95. The human form is rarely shown in a way to make
+it clearly distinguishable from the figures of monkeys and other
+animals. The armadillo is a favorite subject. An example of
+<span class = "pagenum">77</span>
+<a name = "page077" id = "page077"> </a>
+<!-- png 139 -->
+small dimensions is illustrated in Fig.&nbsp;96, in which this animal is
+given in characteristic style, and a more pretentious piece is shown in
+Fig.&nbsp;97. The characteristics of the creature are very simply but
+graphically expressed. In the first the hard ribbed and figured case is
+represented by applied fillets and nodes, and in the other by incised
+lines. The frog is also much used (Fig.&nbsp;98). A&nbsp;rather
+remarkable conception is illustrated in Fig.&nbsp;99. Upon the front of
+each leg is a curious little animal-like figure, to the front of which
+are bound two minute infantile creatures. In the piece presented in
+Fig.&nbsp;100, the
+<span class = "pagenum">78</span>
+<a name = "page078" id = "page078"> </a>
+<!-- png 140 -->
+legs are grotesque heads, inverted, with wide open mouths and glaring
+eyes. The work upon this vase is very superior.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig95" id = "fig95">&nbsp;</a><br>
+<img src = "images/fig95.png" width = "182" height = "145"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 95.</span></td>
+<td class = "illustration">
+<a name = "fig96" id = "fig96">&nbsp;</a><br>
+<img src = "images/fig96.png" width = "90" height = "66"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 96.</span></td>
+<td class = "illustration">
+<a name = "fig97" id = "fig97">&nbsp;</a><br>
+<img src = "images/fig97.png" width = "145" height = "103"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 97.</span></td>
+</tr>
+<tr>
+<td class = "caption">
+Cup with legs imitating a grotesque animal form&mdash;½.</td>
+<td class = "caption" colspan = "2">
+Cups with legs imitating the armadillo&mdash;½.</td>
+</tr>
+</table>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig98" id = "fig98">&nbsp;</a><br>
+<img src = "images/fig98.png" width = "194" height = "144"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig99" id = "fig99">&nbsp;</a><br>
+<img src = "images/fig99.png" width = "176" height = "194"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 98.</span> Cup with frog shaped
+legs&mdash;½.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 99.</span> Cup with legs imitating an
+animal and its young&mdash;½.</td>
+</tr>
+</table>
+
+<p class = "illustration">
+<a name = "fig100" id = "fig100">&nbsp;</a><br>
+<img src = "images/fig100.png" width = "219" height = "154"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 100.</span> Cup supported by grotesque
+heads&mdash;½.</p>
+
+<p>The remarkable specimen illustrated in Fig. 101 is furnished with
+unique supports. Two rudely modeled, semihuman, grotesque figures are
+affixed to the under surface of the bowl, supporting it with their
+backs.</p>
+
+<p class = "illustration">
+<a name = "fig101" id = "fig101">&nbsp;</a><br>
+<img src = "images/fig101.png" width = "247" height = "171"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 101.</span> Large cup supported by two
+grotesque figures&mdash;â…“.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig102" id = "fig102">&nbsp;</a><br>
+<img src = "images/fig102.png" width = "209" height = "103"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig103" id = "fig103">&nbsp;</a><br>
+<img src = "images/fig103.png" width = "234" height = "129"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 102.</span> Cup with two animal heads
+attached to the sides&mdash;¼.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 103.</span> Cup with two animal heads
+attached to the sides&mdash;¼.</td>
+</tr>
+</table>
+
+<p>The legs of these figures are spread out horizontally, so that a firm
+support is obtained. The periphery of the body of this vessel is
+encircled by a number of nodes and noded projections, which represent
+the heads, tails, and spines of two crab-like animals. The heads, with
+arms attached, appear at the right and left, and the tails occur at the
+front and back just over the heads of the supporting figures. The use of
+the crab in this way is quite common. Fish, birds, and a variety of
+quadrupeds are similarly treated. Some very interesting examples of
+double headed animal vases are found. Two of these are outlined in Figs.
+102 and 103, the first having a single orifice and the
+<span class = "pagenum">79</span>
+<a name = "page079" id = "page079"> </a>
+<!-- png 141 -->
+second a pair of orifices. In many cases the bowl of the vessel is
+considerably modified, to give a more decided resemblance to the body of
+the creature. This is well shown in Figs. 104-106. The first is probably
+intended for a bird: the second resembles an armadillo; and the third
+portrays a creature with ears and three horns. The oblong vessel shown
+in Fig.&nbsp;107 is modeled after a curious fish,
+<span class = "pagenum">80</span>
+<a name = "page080" id = "page080"> </a>
+<!-- png 142 -->
+to which the Chiriquians seem to have attached considerable importance.
+It is represented with a wide mouth displaying teeth, two spines or
+horns upon the end of the snout, and fins upon the back and sides.
+Fig.&nbsp;108 gives the top view of another fish vase, which is
+supported, as are the others, by three legs. The body is flat and is
+encircled by well modeled fins. The head is rather flat and has the eyes
+and nose on the upper surface. I&nbsp;close this series of illustrations
+with an outline of a fine vase (Fig.&nbsp;109) the rim of which is
+decorated with a single head of extremely grotesque and repulsive
+character.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig104" id = "fig104">&nbsp;</a><br>
+<img src = "images/fig104.png" width = "180" height = "139"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig105" id = "fig105">&nbsp;</a><br>
+<img src = "images/fig105.png" width = "191" height = "198"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 104.</span> Vase imitating an animal
+form&mdash;â…“.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 105.</span> Vase imitating an animal
+form&mdash;â…“.</td>
+</tr>
+</table>
+
+<p class = "illustration">
+<a name = "fig106" id = "fig106">&nbsp;</a><br>
+<img src = "images/fig106.png" width = "316" height = "252"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 106.</span> Vase shaped to imitate an
+animal form&mdash;â…“.</p>
+
+<p class = "illustration">
+<a name = "fig107" id = "fig107">&nbsp;</a><br>
+<img src = "images/fig107.png" width = "289" height = "142"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 107.</span> Fish shaped
+vessel&mdash;â…“.</p>
+
+<p class = "illustration">
+<a name = "fig108" id = "fig108">&nbsp;</a><br>
+<img src = "images/fig108.png" width = "231" height = "204"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 108.</span> Top view of a fish shaped
+vessel&mdash;â…“.</p>
+
+<p class = "illustration">
+<a name = "fig109" id = "fig109">&nbsp;</a><br>
+<img src = "images/fig109.png" width = "236" height = "187"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 109.</span> Cup with grotesque head
+attached to the rim&mdash;½.</p>
+
+<h6><a name = "pottery_black" id = "pottery_black">
+Black incised group.&mdash;</a></h6>
+
+<p>This pottery, although closely related to the other varieties in its
+leading features, presents differences of a pronounced character. The
+number of specimens recovered is rather small. The largest piece has a
+capacity of perhaps a quart. Some of the forms are identical with those
+of other groups, but a few are peculiar to this ware. The color is
+black, brown, or dark gray, and in most cases the entire mass is quite
+dark. The decoration is executed in two somewhat distinct styles: in one
+the lines were scratched or engraved subsequently to the hardening of
+the clay; in the other
+<span class = "pagenum">81</span>
+<a name = "page081" id = "page081"> </a>
+<!-- png 143 -->
+they were deeply engraved with a sharp point while the clay was still
+moist. The lines are usually very deep and are filled with a white
+substance which renders the pattern distinctly visible upon the surface.
+It seems probable that the lines were engraved deeply with the intention
+of producing this effect. Type specimens are shown in Figs. 110 and 111.
+They are small globular bottles, with short necks and wide apertures and
+with handles placed at opposite sides of the lip, which is prolonged to
+meet them. The design covers a large part of the body and is separated
+into two parts by the handles and the undecorated panels that descend
+from them. The figures appear to be very highly conventionalized animal
+forms, probably serpents. The coiled ends of the ribbon-like dotted
+bands are evidently meant to suggest the heads of reptiles. The figures
+assume a variety of shapes and grade by degrees from the recognizable
+life forms into purely geometric patterns. Examples of the latter style
+are given in Figs. 112 and
+<span class = "pagenum">82</span>
+<a name = "page082" id = "page082"> </a>
+<!-- png 144 -->
+113. The motives employed, although so conventionally treated, are
+pretty certainly identical in origin with the preceding.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig110" id = "fig110">&nbsp;</a><br>
+<img src = "images/fig110.png" width = "171" height = "151"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 110.</span></td>
+<td class = "illustration">
+<a name = "fig111" id = "fig111">&nbsp;</a><br>
+<img src = "images/fig111.png" width = "167" height = "149"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 111.</span></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+Black cups with incised reptilian figures&mdash;½.</td>
+</tr>
+</table>
+
+<p class = "illustration">
+<a name = "fig112" id = "fig112">&nbsp;</a><br>
+<img src = "images/fig112.png" width = "301" height = "274"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 112.</span> Black vase with conventional
+incised pattern&mdash;½.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig113" id = "fig113">&nbsp;</a><br>
+<img src = "images/fig113.png" width = "162" height = "148"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig114" id = "fig114">&nbsp;</a><br>
+<img src = "images/fig114.png" width = "155" height = "147"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 113.</span> Small cup with conventional
+incised patterns&mdash;½.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 114.</span> Small tripod cup with upright
+walls and legs imitating animal heads&mdash;½.</td>
+</tr>
+</table>
+
+<p>There are a number of tripods in this group, some of which have the
+deeply incised ornaments and others the shallow ones. The shapes vary
+greatly, a&nbsp;few examples being decidedly Costa Rican in type. Pieces
+with round bodies have conical legs, like much of the Chiriquian ware,
+but those with shallow basins and angular, incurved, upright, or flaring
+rims have the Costa Rican tripod. Figs. 114 and 115 may serve to
+illustrate this variety. The first is a cup, with upright sides and
+thick rim, having an incised geometric pattern. The second is much more
+striking in appearance. The surface color is brownish gray in hue and
+the simple geometric design was scratched through into the lighter color
+beneath after the clay hardened. The legs represent the heads of animals
+conventionally treated and are hollow, containing movable pellets. This
+specimen is from latitude 8°&nbsp;42´ north, longitude 82°&nbsp;52´
+west. Others of this class come from different parts of the
+province.</p>
+
+<p class = "illustration">
+<a name = "fig115" id = "fig115">&nbsp;</a><br>
+<img src = "images/fig115.png" width = "308" height = "198"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 115.</span> Vase with flaring rim and
+legs, imitating animal heads&mdash;½.</p>
+
+<p>To this class belongs also a small dark vase of peculiar shape and
+interesting decoration, which is illustrated in Fig.&nbsp;116. The neck
+is large and the lip widely flaring, and the body is modeled in
+imitation
+<span class = "pagenum">83</span>
+<a name = "page083" id = "page083"> </a>
+<!-- png 145 -->
+of the head of some animal, possibly a peccary. The side representing
+the face is prolonged, giving an unsymmetric profile, as seen in the
+second figure. The eyes are set midway between the ears (which are
+placed at the sides) and the nostrils, and are inclosed by curious
+engraved figures, probably suggested by the markings of the animal
+portrayed. An arched ridge, representing the brows, connects the bridge
+of the nose with the ears. The most novel feature of this piece is the
+band of incised ornament that crosses the back of the head and serves
+probably to carry out the idea of the complete creature. As will be seen
+by reference to the figure, it is a guilloche-like interlacing of
+fillets, bordered and apparently held in place by longitudinal bands,
+beyond which the angles of the ornament project. The pattern is a
+modified form of one commonly seen upon the margins of the larger stone
+metates, and, although rarely met with in the pottery of Chiriqui, was a
+favorite motive with the potters of Costa Rica. This vessel comes from
+30 miles north-northwest of David.</p>
+
+<p class = "illustration">
+<a name = "fig116" id = "fig116">&nbsp;</a><br>
+<img src = "images/fig116.png" width = "390" height = "198"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 116.</span> Vase modeled to resemble the
+head of an animal&mdash;½.</p>
+
+<p class = "illustration">
+<a name = "fig117" id = "fig117">&nbsp;</a><br>
+<img src = "images/fig117.png" width = "329" height = "155"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 117.</span> Pattern upon the back of the
+vase presented in Fig.&nbsp;116.</p>
+
+<p>The unpainted wares here so briefly described are typically
+Chiriquian, and are closely associated in the graves with most of the
+leading groups of art products of the province. It must be allowed that
+<span class = "pagenum">84</span>
+<a name = "page084" id = "page084"> </a>
+<!-- png 146 -->
+they take first rank in the isthmian states, if not in America, for
+simplicity and refinement of form, perfection of method, and purity of
+style.</p>
+
+
+<h5><a name = "pottery_painted" id = "pottery_painted">
+PAINTED WARE.</a></h5>
+
+<p>The painted vases of Chiriqui embrace at least ten easily
+distinguished varieties of ware. The characters upon which the
+classification is based are somewhat heterogeneous and include material,
+color, shape, finish, ornamentation, method of manufacture, and
+evidences of use. No single character and no one group of characters can
+be relied upon to distinguish the different groups. We must depend,
+therefore, upon an assemblage of characters or upon one character in one
+place and another in another place. Observing a number of striking
+differences in two groups of ware, we arrive at the conclusion that
+these groups must have been the work of distinct communities; yet we
+find very marked differences in wares that (through the possession in
+common of some particular feature) we know to be the work of the same
+hands. We can, therefore, determine little in regard to the peoples
+concerned.</p>
+
+<p>I do not consider the presence in a single grave of two or more
+varieties sufficient proof of their common origin, for a number of
+distinct wares may come into the possession of one community through
+trade, conquest, or the spoliation of tombs; but a constant recurrence
+together of the same forms affords strong evidence that the objects were
+the work of the people with whom they were buried. Unfortunately our
+observations in the field are not sufficiently accurate to enable us to
+utilize associations or methods of occurrence in the graves as a means
+of classification.</p>
+
+<p>The following classification is, under the circumstances, the best
+that I can devise, and is of use mainly as a means of facilitating
+description. The name chosen generally indicates a leading or striking
+characteristic of the group.</p>
+
+<p>The <i>scarified</i> group, separated widely from all other
+varieties.</p>
+
+<p>The <i>handled</i> group and</p>
+
+<p>The <i>tripod</i> group, apparently the work of one community and
+devoted to the same or similar uses.</p>
+
+<p>The <i>maroon</i> group;</p>
+
+<p>The <i>red line</i> group;</p>
+
+<p>The <i>white line</i> group;</p>
+
+<p>The <i>lost color</i> group;</p>
+
+<p>The <i>alligator</i> group; and</p>
+
+<p>The <i>polychrome</i> group, no two of which are sufficiently alike
+to make it certain, without extraneous evidence, that they were
+manufactured by the same community, yet all clearly belonging to one
+great family.</p>
+
+<p>These groups are presented in the order given.</p>
+
+<span class = "pagenum">85</span>
+<a name = "page085" id = "page085"> </a>
+<!-- png 147 -->
+<p>Before proceeding with the descriptions, however, there are some
+matters of a general nature that should be referred to. Technical
+questions have already received considerable attention, and I shall need
+only to refer here to the painted ornamentation, and at sufficient
+length to insure a clear understanding of its treatment and the scope of
+its subject matter.</p>
+
+<p>Painted vessels are embellished to some extent also by incising and
+modeling, and these methods are employed very much as in the unpainted
+pottery already described.</p>
+
+<p>Painted decoration is executed with much freedom and in many cases
+with considerable skill. It is greatly varied in method of treatment and
+embraces a wide range of motives. Geometric patterns occur in great
+variety, but are found to be of types peculiar to Isthmian America. The
+conventional meanders, frets, and scrolls so extensively employed in
+other regions are here almost unknown. Decorative motives derived from
+natural forms are abundant and afford an excellent opportunity to study
+the processes of conventional modification. These designs are often
+applied in a way to indicate that the decorator possessed a keen sense
+of the requirements of the vessel, although the treatment perhaps is not
+as universally satisfactory as is the treatment of plastic
+embellishment.</p>
+
+<p>The potter, in preparing the vessel for the decorator, ordinarily
+finished it with a slip or wash of fine clay, which varied in hue from a
+gray white to a pale orange. A&nbsp;slip of bright red tint was also
+extensively used. The more delicate hues formed an excellent ground upon
+which to work. The slip covered surface was generally polished, often to
+a high degree, with the usual polishing implements, the marks of which
+can be seen upon the less carefully finished surfaces. By observers
+unacquainted with aboriginal methods this polish is liable to be taken
+for a glaze, and it has been pronounced a vitreous glaze by a few
+writers. It is more noticeable upon specimens that have been handled a
+great deal, as is the case with whistles, needlecases, and the like.</p>
+
+<p>The colors utilized in decoration, so far as they have been
+preserved, are the ground tints, described above, and the delineating
+colors, the latter consisting of black, white, red in various hues, and
+a dull purple. An additional color (or&nbsp;perhaps a solution without
+particular color) extensively employed in the designs has totally
+disappeared. The nature of the various colors has not been determined,
+but it is probable that some were of mineral and others of vegetal
+origin.</p>
+
+<p>Red was often employed as a ground color, as stated above, and
+sometimes covered the whole surface, but more frequently occupied zones
+or panels. In such use it was applied and polished down with the slip.
+Red was also extensively used in the delineation of decorative figures
+in several of the groups of ware, and is in all cases a permanent color.
+The hues vary decidedly with the groups of products,
+<span class = "pagenum">86</span>
+<a name = "page086" id = "page086"> </a>
+<!-- png 148 -->
+suggesting differences in people or in environment. White may have been
+freely used, but it is preserved in a few cases only, in which it was
+used in the production of simple decorative patterns, and appears to
+have been a somewhat thick or pasty color. Black was extensively used
+and was of two distinct kinds: a&nbsp;thick permanent pigment, employed
+in the delineation of designs, and a thin color, not so permanent and
+employed exclusively as a ground upon which to execute designs in other
+mediums. The latter may possibly be of vegetal derivation. Its use was
+confined to a single variety of ware, the lost color group. The former
+was employed in all the other groups, with one exception, the red line
+group.</p>
+
+<p>The light purple tint is but sparingly used and only in the
+polychrome group. It is very effective in combination with the reds and
+blacks upon the orange ground of this ware. It is probably of a mineral
+nature.</p>
+
+<p>What I have denominated the lost color was a pigment, or “taking out�
+solution, extensively and exclusively employed in the decoration of one
+of the principal groups of ware. Its former existence is made known by
+its action upon the ground colors and upon the paste or slip within the
+areas covered by it. Where superimposed upon black, that color has in
+all cases been removed, exposing the underlying tints of the slip in
+which the designs are now manifested, the interspaces being still black.
+In some cases the lost color has not only removed the black ground, but
+has affected the slip beneath, removing it also, and to such a degree
+that the polished surface is destroyed and shallow intaglio lines occur,
+leaving the interspaces in relief. This circumstance enforces the idea
+that possibly the “lost color� was really not a color at all, but an
+acid which acted upon the ground colors at once, destroying the black
+entirely and leaving the effect now seen. This point must remain for the
+present undetermined.</p>
+
+<p>The figures in all cases appear to have been delineated with ordinary
+brushes and by purely free hand methods. The degree of skill varies
+greatly. The execution in the great body of the work is rather inferior
+and indicates a lack of skill and care, but in a limited number of
+pieces the manipulation is masterly.</p>
+
+<p>The designs are confined to the show spaces, being exterior in narrow
+necked vessels and generally interior in shallow forms.</p>
+
+<p>In arrangement upon the surfaces this decoration presents some novel
+features. The slight degree of uniformity in arrangement indicates the
+absence of any mechanical aid, such as the wheel, which device would
+tend to reduce all decoration to a series of horizontal zones. We
+observe indeed the occurrence of horizontal arrangements, but not to a
+degree greater than would naturally arise as a result of the
+conformation of the vessel. Upright, oblique, and arched arrangements
+are frequently met with, and all are safely attributable to the
+domination of spaces to be covered or to the influence of antecedent
+<span class = "pagenum">87</span>
+<a name = "page087" id = "page087"> </a>
+<!-- png 149 -->
+shapes. Examples and details are given as they come up in the various
+sections.</p>
+
+<h6><a name = "pottery_scar" id = "pottery_scar">
+The scarified group.&mdash;</a></h6>
+
+<p>This group is represented by about forty specimens and is worthy of
+especial attention. It comes from the graves of two localities, one near
+C.&nbsp;E. Taylor’s hacienda, north of David, on the slopes of Mount
+Chiriqui, and the other at Alanje, southwest of David. As a variety of
+ware it stands so entirely alone that had it arrived unlabeled no one
+would have recognized its affinities with Chiriquian art. It is rather
+inferior in material, grace of form, and surface finish, and the
+decoration appears to belong to a lower grade of culture than that of
+the other groups. It is possibly the work of an inferior race in
+comparatively recent times.</p>
+
+<p>Nearly all the vessels are tripods, but a few have rounded or flat
+bottoms and a few are supplied with annular stands. The walls are thick
+and the shapes are uncouth or clumsy. The paste is coarse, poorly baked,
+and friable; near the surface it is a warm reddish or yellowish gray;
+within the mass it is a dark gray.</p>
+
+<p>The makers of this pottery, like their brother artificers, took
+especial pleasure in the modeling of life forms. The work exhibited in
+these specimens is, however, exceptionally rude. In some cases grotesque
+heads are attached to the rims of bowls; in others the head, tail, and
+<span class = "pagenum">88</span>
+<a name = "page088" id = "page088"> </a>
+<!-- png 150 -->
+feet of animals appear about the periphery of the vase; and in a number
+of cases the legs of the tripods are modeled to represent the forms of
+living creatures. Generally the feet are clumsy in shape and three toed,
+suggesting the feet of the tapir.</p>
+
+<p>These vessels are embellished by painting, incising, or scarifying
+and by modeling in relief. Color was not employed in the production of
+designs, but a dark Indian red pigment was daubed over that part of the
+surface not occupied by incised ornament. Little or no slip was used and
+the rude geometric patterns were executed with pointed tools in a very
+haphazard manner.</p>
+
+<p class = "illustration">
+<a name = "fig118" id = "fig118">&nbsp;</a><br>
+<img src = "images/fig118.png" width = "263" height = "171"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 118.</span> Tripod bowl of red scarified
+ware&mdash;â…“.</p>
+
+<p class = "illustration">
+<a name = "fig119" id = "fig119">&nbsp;</a><br>
+<img src = "images/fig119.png" width = "306" height = "187"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 119.</span> Tripod bowl of red scarified
+ware&mdash;â…“.</p>
+
+<p>The bowls are more numerous than in any other group of the Chiriquian
+ware, but, as in the other groups, they are supplied with supports,
+either tripods, shaped like the feet of quadrupeds, or rude annular
+bases. In most cases the rim expands gradually from below, as seen in
+Fig.&nbsp;118, or is recurved, as shown in Fig.&nbsp;119. In a few cases
+the basin is oblong or boat shaped and the ends are pointed, as
+indicated in Fig.&nbsp;120.</p>
+
+<p class = "illustration">
+<a name = "fig120" id = "fig120">&nbsp;</a><br>
+<img src = "images/fig120.png" width = "311" height = "181"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 120.</span> Oblong basin with scarified
+design&mdash;â…“.</p>
+
+<span class = "pagenum">89</span>
+<a name = "page089" id = "page089"> </a>
+<!-- png 151 -->
+<p>An interesting specimen is illustrated in Fig. 121. At the opposite
+ends of the bowl portions of the rim are carried upward and inward,
+forming handle-like appendages, modeled to represent, rudely, the heads
+of animals. Details of form and ornament are well brought out in the
+cut.</p>
+
+<p class = "illustration">
+<a name = "fig121" id = "fig121">&nbsp;</a><br>
+<img src = "images/fig121.png" width = "288" height = "227"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 121.</span> Large bowl with handles
+imitating animal heads&mdash;â…“.</p>
+
+<p>In Fig. 122 we have a high cylindrical shape with a flat bottom, the
+surface being scarified in vertical bands. A&nbsp;small pot, having an
+annular base and decoration similar to the preceding, is given in
+Fig.&nbsp;123. In Fig.&nbsp;124, instead of the vertical lines, we have
+a series of heavy ribs. Two strong vertically placed loops are fixed
+upon opposite sides of the shoulder and the base is supplied with the
+usual feet.</p>
+
+<p class = "illustration">
+<a name = "fig122" id = "fig122">&nbsp;</a><br>
+<img src = "images/fig122.png" width = "198" height = "294"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 122.</span> Jar with flat bottom and
+vertical bands of incised ornament&mdash;â…“.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig123" id = "fig123">&nbsp;</a><br>
+<img src = "images/fig123.png" width = "191" height = "158"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig124" id = "fig124">&nbsp;</a><br>
+<img src = "images/fig124.png" width = "202" height = "163"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 123.</span> Vase with stand and vertical
+incised bands&mdash;â…“.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 124.</span> Vase with handles, legs, and
+vertical ribs&mdash;â…“.</td>
+</tr>
+</table>
+
+<p>The tripods shown in Figs. 125 and 126 are somewhat mutilated, but
+they present features of interest in the novel shapes and the unique
+<span class = "pagenum">90</span>
+<a name = "page090" id = "page090"> </a>
+<!-- png 152 -->
+animal forms with which the legs are embellished. Each leg is
+represented as a complete animal, whose back or breast supports the
+vessel and whose cylindrical nether extremity rests upon the ground. The
+head in the first example resembles an owl and in the second reminds one
+of some crustacean form. An additional specimen of considerable interest
+is shown in Fig.&nbsp;127. It is a heavy tripod, having four independent
+mouths, all opening into one chamber. The shape is unsatisfactory, being
+heavy and unsymmetrical. The exterior surface has the usual scarified
+figures and the interspaces and the entire inner surface of the vessel
+are painted red and rather carefully polished.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig125" id = "fig125">&nbsp;</a><br>
+<img src = "images/fig125.png" width = "207" height = "270"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig126" id = "fig126">&nbsp;</a><br>
+<img src = "images/fig126.png" width = "205" height = "224"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 125.</span> Tripod with owl-like heads at
+insertion of legs&mdash;â…“.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 126.</span> Tripod with legs rudely
+suggesting animal forms&mdash;â…“.</td>
+</tr>
+</table>
+
+<p class = "illustration">
+<a name = "fig127" id = "fig127">&nbsp;</a><br>
+<img src = "images/fig127.png" width = "299" height = "191"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 127.</span> Heavy red vase with four
+mouths&mdash;â…“.</p>
+
+<h6><a name = "pottery_handled" id = "pottery_handled">
+The handled group.&mdash;</a></h6>
+
+<p>The series of vessels to which this name is given comprises a large
+number of pieces of unusually even characters.
+<span class = "pagenum">91</span>
+<a name = "page091" id = "page091"> </a>
+<!-- png 153 -->
+They are obtained from a pretty wide district to the north and west of
+David and occur in connection with other groups. They are notable for
+uniformity in size, shape, and finish and for the unmistakable evidences
+of use over fire which at least three-fourths of them show. With the
+exception of a few large caldrons, not yet assigned to a particular
+group, they are more like ordinary cooking vessels than any other group
+of Chiriquian ware. The size, however, is remarkably small, the average
+capacity being about a pint. Larger pieces contain a quart or three
+pints.</p>
+
+<p>The body is usually much compressed vertically and is flattish above
+and more or less conical below, giving a very graceful contour. The
+surface is rather rudely polished and the painting is done with notable
+carelessness, as if the intended use were not favorable to the
+preservation of the ornament. By means of a heavy brush, red figures,
+consisting of splotches, stripes, arches, and encircling bands, were
+applied to the yellowish gray surface and sometimes, as indicated by a
+smeared appearance, were polished down with an implement. It does not
+seem that a slip of ordinary white clay was very generally used. In a
+few cases a grayish blue tint appears upon some of the wider spaces.</p>
+
+<p>The handles are perhaps the most notable feature of this ware, and
+usually occur two to a vessel; rarely there is but one handle and in a
+few cases there are four. This group may be separated into at least four
+sections by the styles of handles. Vessels of the two more important
+sections have two handles each, which are placed vertically in one
+variety and horizontally in the other, reference being had to the
+position of the points of attachment. These differences of position have
+given rise to a marked difference in the shape of the orifice and of the
+lip. The handle is a simple loop, which in the one variety is placed as
+seen in Fig.&nbsp;128 and in the other as in <a href =
+"#fig132">Fig.&nbsp;132</a>. In the latter case one end of the loop is
+fixed to the shoulder and the other end
+<span class = "pagenum">92</span>
+<a name = "page092" id = "page092"> </a>
+<!-- png 154 -->
+to the lip, which is uniformly prolonged at the contact and is also
+widened all around; the result is the curious winged outline shown in
+<a href = "#fig133">Fig.&nbsp;133</a>.</p>
+
+<p class = "illustration">
+<a name = "fig128" id = "fig128">&nbsp;</a><br>
+<img src = "images/fig128.png" width = "235" height = "215"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 128.</span> Vase with horizontally placed
+handles and rude designs in red&mdash;½.</p>
+
+<p>A third variety of handle is a single arch, which spans the orifice
+and is attached to opposite sides of the expanded lip. In a fourth
+variety the looped handles are replaced by the heads of animals, which
+are set upon the shoulder of the vase, as are similar features in other
+groups of ware.</p>
+
+<p class = "illustration">
+<a name = "fig129" id = "fig129">&nbsp;</a><br>
+<img src = "images/fig129.png" width = "369" height = "251"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 129.</span> Unpolished vase with heavy
+handles and coated with soot&mdash;½.</p>
+
+<p>A type specimen with the horizontal loop is shown in Fig. 128. The
+lip and a wide belt about the body are painted red and the shoulder is
+occupied by rudely executed arched strokes of the same color.
+A&nbsp;much less usual shape is given in Fig.&nbsp;129, which exhibits
+some characters of contour that remind us of well known Grecian forms.
+Another novel variation from the type is seen in Fig.&nbsp;130, in which
+the arch of each loop is divided by an upright piece. A&nbsp;neat
+incised ornament occupies the shoulder of this vessel and the remainder
+of the body is finished in pale red.</p>
+
+<p class = "illustration">
+<a name = "fig130" id = "fig130">&nbsp;</a><br>
+<img src = "images/fig130.png" width = "205" height = "177"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 130.</span> Round bodied red vase with
+unique handles and incised ornament&mdash;½.</p>
+
+<span class = "pagenum">93</span>
+<a name = "page093" id = "page093"> </a>
+<!-- png 155 -->
+<p>It will be observed that the handles are rarely wholly plain. Each
+loop is supplied with one or more rings or ring-like fillets, or with
+small nodes, generally near the most prominent part of the curve or
+arch. By the study of a large number of specimens I am able to trace
+these puzzling features to their origin. They are the representatives of
+life forms which were originally modeled in full detail and which are
+still so modeled in many cases. The nodes and like features are
+atrophied heads, hands, or feet, and in some cases are marked with
+indentations that refer to the eyes or to the fingers or toes, and the
+round fillets stand for the arms and legs of animals, or, if notched in
+peculiar ways, may be referred to other originals, such as the mouths of
+fishes or the spines of crabs. Examples could be given showing all
+stages of the progress of simplification.</p>
+
+<p class = "illustration">
+<a name = "fig131" id = "fig131">&nbsp;</a><br>
+<img src = "images/fig131.png" width = "218" height = "169"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 131.</span> Vase with grotesque figures
+attached to the handles&mdash;½.</p>
+
+<p>In Fig. 131 I present a fine example of the horizontal loop, in which
+the opposite ends are supported by grotesque animal figures, applied,
+however, in a way not detrimental to the grace and simplicity of the
+vessel.</p>
+
+<p class = "illustration">
+<a name = "fig132" id = "fig132">&nbsp;</a><br>
+<img src = "images/fig132.png" width = "230" height = "218"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 132.</span> Vase with upright handles and
+winged lip&mdash;½.</p>
+
+<p>An example shown in Fig. 132 is of especial interest in this
+connection. The ornament upon the handle serves as a link between
+<span class = "pagenum">94</span>
+<a name = "page094" id = "page094"> </a>
+<!-- png 156 -->
+the realistic life form and the conventional nodes and fillets. In this
+case the node is supplied with eyes and a mouth, and the double roll of
+clay beneath is manifestly intended for the arms, the handle itself
+standing for the body. The loop is upright and joins the shoulder to the
+rim. The winged character produced by the expansion at the contact of
+handle and lip is shown to advantage in the top view (Fig.&nbsp;133.) In
+some cases this expansion is so great as completely to hide the body of
+the vase when viewed from above.</p>
+
+<p class = "illustration">
+<a name = "fig133" id = "fig133">&nbsp;</a><br>
+<img src = "images/fig133.png" width = "219" height = "258"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 133.</span> Top view of vase with winged
+lip&mdash;½.</p>
+
+<p class = "illustration">
+<a name = "fig134" id = "fig134">&nbsp;</a><br>
+<img src = "images/fig134.png" width = "246" height = "175"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 134.</span> Vase with grotesque animal
+shaped handles&mdash;½.</p>
+
+<p>Examples are outlined in Figs. 134 and 135 in which the life form is
+clearly defined. In the first we have a human-like figure, the face of
+which is entirely hidden by the hands. In the second we observe a
+curious little animal figure, with a long curved proboscis and a body
+covered with annular indentations. In general shape and in ornamentation
+these vases do not differ from the preceding. A&nbsp;remarkable
+<span class = "pagenum">95</span>
+<a name = "page095" id = "page095"> </a>
+<!-- png 157 -->
+piece, with two pairs of handles, is presented in Fig.&nbsp;136.
+Grotesque figures are attached to the outer surface of the loops, one in
+each pair being placed in an inverted position. The two figures seen in
+the cut are simple, but those on the opposite pair of handles are
+compound, being double above the waist. The faces, hands, and feet of
+these figures are touched with red, and the lip and body of the vase are
+decorated with carelessly drawn stripes of red. In another case four
+plain handles are placed equidistantly about the neck of the vessel.</p>
+
+<p class = "illustration">
+<a name = "fig135" id = "fig135">&nbsp;</a><br>
+<img src = "images/fig135.png" width = "213" height = "195"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 135.</span> Vase with handles
+representing strange animals&mdash;½.</p>
+
+<p class = "illustration">
+<a name = "fig136" id = "fig136">&nbsp;</a><br>
+<img src = "images/fig136.png" width = "293" height = "304"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 136.</span> Vase with two pairs of
+handles ornamented with grotesque figures&mdash;½.</p>
+
+<p>In a third variety the loop is omitted entirely, the animal figure
+taking its place upon the shoulder of the vase. This feature appears
+<span class = "pagenum">96</span>
+<a name = "page096" id = "page096"> </a>
+<!-- png 158 -->
+in the specimen given in Fig.&nbsp;137 and represents the front part of
+a reptile, the head being hollow and containing a large movable pellet.
+This is a handsome piece, well finished, and decorated in the usual
+broad way.</p>
+
+<p class = "illustration">
+<a name = "fig137" id = "fig137">&nbsp;</a><br>
+<img src = "images/fig137.png" width = "236" height = "171"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 137.</span> Vase with handles
+representing animal heads, which are hollow and contain pellets of
+clay&mdash;½.</p>
+
+<p class = "illustration">
+<a name = "fig138" id = "fig138">&nbsp;</a><br>
+<img src = "images/fig138.png" width = "331" height = "435"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 138.</span> Vase with arched handles
+embellished with life forms in high relief&mdash;½.</p>
+
+<p>A fourth variety is shown in Figs. 138 and 139, in which the handle
+spans the orifice as in an ordinary basket. The lip is flaring and is
+<span class = "pagenum">97</span>
+<a name = "page097" id = "page097"> </a>
+<!-- png 159 -->
+prolonged at the sides to meet the handle. In one case the outer surface
+of the handle is embellished with figures of frogs and serpents, or what
+seem to be intended for serpents, modeled in the round and rather
+imperfectly attached, and in the other with a pair of grotesque human
+figures set against the base of each end of the handle.</p>
+
+<p class = "illustration">
+<a name = "fig139" id = "fig139">&nbsp;</a><br>
+<img src = "images/fig139.png" width = "270" height = "327"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 139.</span> Vase with arched handles
+embellished with life forms in high relief&mdash;½.</p>
+
+<p>Typical vessels of this class are in many cases mounted upon tripods,
+but, for convenience of description, these are classed with the
+succeeding group, which consists mainly, if not entirely, of the same
+variety of ware.</p>
+
+<p>To recapitulate, the striking characteristics of this group are the
+uniformity of size, shape, and handles, the rude finish and ruder
+ornamentation, and the very marked evidence of use over fire.</p>
+
+<h6><a name = "pottery_tripod" id = "pottery_tripod">
+The tripod group.&mdash;</a></h6>
+
+<p>Closely related in most respects to the group of ware just described
+is the striking series of vessels here presented. At first glance the
+resemblances are not apparent, but a careful study renders it clear that
+the vessels proper correspond closely in both groups. The basins are for
+the most part made in the same heavy, rudely finished style, the
+decoration is almost equally rude, and the size and the evidence of use
+over fire are the same. The strong contrast in appearance is due mainly
+to the presence of tripod supports in this group. The legs, which
+constitute such a striking feature, are merely appendages to the bodies
+of vases already perfect, and are evidently an acquired feature
+suggested by some change in function or in the habits of the people. In
+this way we are able to account for the
+<span class = "pagenum">98</span>
+<a name = "page098" id = "page098"> </a>
+<!-- png 160 -->
+rather uncouth look observed in so many cases, the legs being too long
+and too heavy to please the cultured taste; yet in many cases the parts
+are so adjusted as to give an impression of firmness and strength,
+united with a goodly share of grace of line.</p>
+
+<p>The legs are very generally modeled to represent animal forms. In a
+majority of cases the fish was chosen because, perhaps, its shape was
+suitable or because the fish bore some relation to the use to which the
+vessel was to be devoted. Lizards and mammals are also seen and the
+human form occasionally appears. In some cases the animal figure is
+attached to the upper part of the leg or is perched upon the hip, where
+that feature is pronounced. The body, or shaft, is hollow and contains
+pellets of clay, sometimes one only and again a dozen or more, and in
+order that these may be seen and heard variously shaped slits are cut in
+the sides or front of the legs. If the animal represented is a fish or
+lizard the entire body is modeled: the head is placed at the top, the
+under jaw or neck uniting with the body of the vessel; the tail rests
+upon the ground, and the fins or legs appear along the sides of the
+shaft. It should be observed that, while in Chiriqui the whole body of
+the creature is usually employed in forming the support, in Central
+America and Mexico the head alone is very generally used, the nose
+resting upon the ground. In less elaborate forms the legs are plain or
+have the merest hint of animal form in a node, a&nbsp;notched ridge, or
+a slightly modified extremity.</p>
+
+<p>Handles are present in a majority of cases and as in the preceding
+group take the form of loops or represent the forms of animals. The
+loops are generally attached in a vertical position, connecting the
+shoulder with the lip of the vessel, and are plain round ropes of clay
+or consist of two or three cords twisted or plaited together. A&nbsp;few
+eccentric forms occur and are illustrated early in this section.</p>
+
+<p>The animal shapes are often quite elaborate and appear to bear no
+relation to the creatures embodied in the legs of the vessel; neither
+does the position of the handles bear any uniform relation to the
+positions of the legs&mdash;another indication that the latter features
+are recent acquisitions, since features developed together are uniformly
+well adjusted.</p>
+
+<p>The rim or lip is generally heavy and flaring, and the neck, which is
+short and pretty sharply constricted, is decorated with incised patterns
+and with various applied ornaments in relief. The body is graceful in
+outline and more or less conical below. As a rule the surface is uneven
+and but slightly polished and the figures in red are rudely executed,
+but in the more pretentious pieces much care has been exercised in
+finishing and painting. Most of the vessels have been used over the fire
+and still retain the sooty incrustations. This ware comes from a wide
+range of territory to the north and west of David.</p>
+
+<p>The following illustrations represent some of the more important
+<span class = "pagenum">99</span>
+<a name = "page099" id = "page099"> </a>
+<!-- png 161 -->
+pieces and serve to give a partial idea of the range of form, size, and
+decoration.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig140" id = "fig140">&nbsp;</a><br>
+<img src = "images/fig140.png" width = "143" height = "105"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 140.</span></td>
+<td class = "illustration">
+<a name = "fig141" id = "fig141">&nbsp;</a><br>
+<img src = "images/fig141.png" width = "158" height = "127"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 141.</span></td>
+</tr>
+<tr>
+<td class = "illustration" colspan = "2">
+<a name = "fig142" id = "fig142">&nbsp;</a><br>
+<img src = "images/fig142.png" width = "280" height = "136"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 142.</span></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+Tripod vases with shallow basins and eccentric handles&mdash;â…“.</td>
+</tr>
+</table>
+
+<p>I present, first, three vases of rather eccentric shapes, the basins
+of which are shallow and in two cases are flat bottomed. The handles are
+of unusual shapes, consisting of modifications of the lip, as seen in
+the illustrations (Figs. 140-142). Life elements are present in all
+cases in connection with the handles and legs where these are preserved,
+but they are very meager and so abbreviated as to be identified with
+difficulty. Incised markings at the ends of the handles represent hands
+or feet and eyes are affixed to the upper part of the legs. The ware is
+identical with that of the preceding group.</p>
+
+<p class = "illustration">
+<a name = "fig143" id = "fig143">&nbsp;</a><br>
+<img src = "images/fig143.png" width = "265" height = "317"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 143.</span> Tripod vase of graceful shape
+and neat finish&mdash;â…“.</p>
+
+<p>A representative specimen of the fish legged vessels is presented in
+Fig.&nbsp;143. It is one of the most graceful forms in the series and is
+neatly finished and embellished, but is thoroughly blackened with soot.
+The handles are formed of twisted fillets or ropes of clay and a narrow,
+incised, rope-like band encircles the lower part of the neck. Set upon
+the neck and alternating with the handles are two scrolls neatly formed
+of small round ropes of clay. The fishes forming the legs are very
+simply treated. The mouth at the apex is formed by laying on an oblong
+loop of clay and the eyes are represented by two round pellets set into
+the soft clay of the head and indented with a slit that gives to them
+the exact effect of screwheads. A&nbsp;pair of fins&mdash;small incised
+or channeled cones&mdash;is placed at the sides of the head and another
+at the sides of the body. The cavity contains a single ball of clay and
+the slit is long and wide.</p>
+
+<p class = "illustration">
+<a name = "fig144" id = "fig144">&nbsp;</a><br>
+<img src = "images/fig144.png" width = "354" height = "272"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 144.</span> Heavy tripod vase with widely
+spreading feet&mdash;â…“.</p>
+
+<p>In other examples the fish form is much more elaborately modeled.
+<span class = "pagenum">100</span>
+<a name = "page100" id = "page100"> </a>
+<!-- png 162 -->
+The wide mouth exhibits a row of teeth and the body is well supplied
+with fins. The head in Fig.&nbsp;144 reminds one forcibly of the
+catfish. The snout is furnished with two horn-like appendages;
+tooth-like features are formed by setting in pellets of clay, and the
+gills are indicated by a punctured excrescence at the side of the mouth.
+In other cases a high, sharp cone is set upon the middle of the head
+(Fig.&nbsp;145). It is channeled down the sides, as if meant for a
+fin.</p>
+
+<div class = "figfloat p200">
+<p class = "illustration">
+<a name = "fig145" id = "fig145">&nbsp;</a><br>
+<img src = "images/fig145.png" width = "190" height = "193"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 145.</span> Neatly modeled vase
+embellished with life forms and devices in red&mdash;â…“.</p>
+</div>
+
+<span class = "pagenum">101</span>
+<a name = "page101" id = "page101"> </a>
+<!-- png 163 -->
+<p>The process of modeling these heads was about as follows: The upper
+end of the leg&mdash;the head of the fish&mdash;was first rounded off,
+giving the general shape; then parallel incisions were made to represent
+the teeth, and around these a fillet of clay was laid, forming the lips,
+which were then channeled with a sharp tool. Nodes or flattened pellets
+of clay, representing the gills, snout, and eyes, were then laid on and
+finished with incision-like indentations. The handles consist of
+bird-like heads, with protruding eyes and long bills that curve downward
+and connect with the shoulder of the vase. The body is rudely spotted
+with red.</p>
+
+<p>A large, uncouth specimen is shown in Fig. 146. The legs are
+ponderous and are not neatly adjusted to the vessel. A&nbsp;meander
+pattern of incised lines encircles the neck and the body is rudely
+decorated with broad red stripes.</p>
+
+<p class = "illustration">
+<a name = "fig146" id = "fig146">&nbsp;</a><br>
+<img src = "images/fig146.png" width = "242" height = "287"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 146.</span> High tripod vase with incised
+designs and rude figures in red&mdash;â…“.</p>
+
+<span class = "pagenum">102</span>
+<a name = "page102" id = "page102"> </a>
+<!-- png 164 -->
+<p>There is a general consistency in the use of life forms which is
+worthy of notice. The fish and other creatures used, although variously
+conceived and treated, are never confused. When the fish is employed no
+features suggesting other animals appear and when the heads of other
+creatures occupy the upper extremity of the leg all the details refer to
+these creatures with uniform consistency. In Fig.&nbsp;147 we have an
+unusually graceful shape, decorated about the neck with scrolls and
+indented fillets. The legs represent some reptilian form resembling a
+lizard. The head projects from the hip and is conventionally treated.
+A&nbsp;round fillet fixed at its middle point to the muzzle of the
+creature is turned back at the sides of the head and coiled to form the
+eyes. The forelegs are attached at the sides near the top and the
+recurved terminal point is encircled by rings that stand for the coiled
+tail.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig147" id = "fig147">&nbsp;</a><br>
+<img src = "images/fig147.png" width = "283" height = "294"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig148" id = "fig148">&nbsp;</a><br>
+<img src = "images/fig148.png" width = "154" height = "161"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 147.</span> Handsome tripod vase with
+scroll ornament&mdash;â…“.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 148.</span> Vase with lizard shaped
+legs&mdash;â…“.</td>
+</tr>
+</table>
+
+<span class = "pagenum">103</span>
+<a name = "page103" id = "page103"> </a>
+<!-- png 165 -->
+<p>There is little room for doubt as to the kind of creature represented
+in the legs of the vase given in Fig.&nbsp;148. The head, legs, and
+general
+<span class = "pagenum">104</span>
+<a name = "page104" id = "page104"> </a>
+<!-- png 166 -->
+shape are characteristic of the lizard. The vessel is small, plain, and
+neatly finished. In Fig.&nbsp;149 the legs of the vessel, otherwise
+quite plain, are surmounted by heads that seem to represent a dog or
+some like animal. A&nbsp;series of neat vertically placed scrolls formed
+of round fillets encircles the neck, and below these is a band in relief
+imitating a twisted cord.</p>
+
+<p class = "illustration">
+<a name = "fig149" id = "fig149">&nbsp;</a><br>
+<img src = "images/fig149.png" width = "259" height = "305"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 149.</span> Vase with scroll
+ornament&mdash;â…“.</p>
+
+<p>A vase of unusually striking appearance is presented in Fig. 150. It
+is one of the largest tripods in the collection and is characterized by
+a high widely expanded lip and a long conical body and by legs of
+unusual size and conformation. Small animal figures are perched upon the
+projecting hips. The surface of the vessel is rudely finished and is
+much blackened by smoke about the upper part of the legs and the
+body.</p>
+
+<p class = "illustration">
+<a name = "fig150" id = "fig150">&nbsp;</a><br>
+<img src = "images/fig150.png" width = "261" height = "354"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 150.</span> Large vase with flaring rim
+and wide spreading legs&mdash;â…“.</p>
+
+<p>A unique use of the animal form is illustrated in Fig. 151, which
+shows a large fragment of one of these tripods. The figure of an
+alligator, modeled with a great deal of spirit, is attached to the side
+of the vessel, resting partly upon the leg and extending upward
+obliquely to the lip. A&nbsp;similar figure upon the opposite side of
+the same vase is represented as grasping the form of a man or boy in its
+formidable looking jaws.</p>
+
+<p class = "illustration">
+<a name = "fig151" id = "fig151">&nbsp;</a><br>
+<img src = "images/fig151.png" width = "419" height = "242"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 151.</span> Fragment of a tripod vase
+embellished with the figure of an alligator.</p>
+
+<p>The alligator, rarely employed in this group of ware, is freely used
+in other groups and was probably a creature of importance in the
+mythology of Chiriqui.</p>
+
+<p>In one case only, so far as I have seen, is the human form employed
+in the supports of these vessels, and in that case, as will be seen in
+Fig.&nbsp;152, the result is extremely grotesque. The shape of the basin
+is good and the thick, rounded lip and most of the surface are carefully
+polished. A&nbsp;disconnected meander of incised lines encircles the
+rather high neck, and parts of the body and its attached features
+<span class = "pagenum">105</span>
+<a name = "page105" id = "page105"> </a>
+<!-- png 167 -->
+are painted red. As usual this color was applied along with the slip and
+in polishing has become much mixed up with it, giving a mottled effect.
+The handles take the form of curious human-appearing figures which sit
+against the constricted neck, their heads supporting the rim and their
+feet resting upon the shoulder of the vessel. In one case the hands are
+held tightly against the lower part of the face and in the other they
+are bound together against the chin by a serpent-like cord of clay. The
+hollow figures forming the legs of the vase are as grotesque as could
+well be imagined. There is no head whatever, and the outlandish features
+are placed upon the front of the upper part of the body. The arms and
+hands take the conventional position characteristic of the statuary of
+the isthmian states and the only traces of costume are bands about the
+wrists and a girdle encircling the lower part of the body.</p>
+
+<p class = "illustration">
+<a name = "fig152" id = "fig152">&nbsp;</a><br>
+<img src = "images/fig152.png" width = "267" height = "259"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 152.</span> Vase supported by grotesque
+human figures&mdash;â…“.</p>
+
+<p>I add, in Fig. 153, one more example, a large, full bodied vase,
+which, more decidedly perhaps than any of the foregoing, proclaims its
+relationship to the preceding group. If the three rather clumsy legs
+were knocked off there would remain a large beautifully shaped and
+finished vase, with a constricted but flaring rim not in any way
+distinguishable from those of the preceding group. The legs in this case
+are less perfectly adapted to the vessel than in the other examples, as
+if the potter, skillful in modeling the vessel, had only recently
+undertaken to add the tripod. The slit in the outer face of the leg is
+unusually wide and the inclosed ball is three-fourths of an inch in
+diameter. The most remarkable feature of this vessel is the pair of
+unique figures affixed to the upper surface of the body near the lip,
+and which would seem to be intended to represent semihuman monsters. The
+arms and legs are contorted and serpent-like in appearance and terminate
+in most cases in heads of serpents instead of
+<span class = "pagenum">106</span>
+<a name = "page106" id = "page106"> </a>
+<!-- png 168 -->
+in hands and feet. The attitude is expressive of agony or horror. It
+seems to me probable that, contrary to the rule in primitive art, these
+strange figures do not embody any well defined or serious conception,
+but are rather exhibitions of the fancy of the potter. They occupy small
+unpainted panels, which are finished in neat incised patterns. The
+remaining surface is a bright red.</p>
+
+<p class = "illustration">
+<a name = "fig153" id = "fig153">&nbsp;</a><br>
+<img src = "images/fig153.png" width = "260" height = "356"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps"><ins class = "correction"
+title = ". missing">Fig.</ins> 153.</span> Round bodied vase embellished
+with figures of monsters&mdash;â…“.</p>
+
+<p>It may be noted, in recapitulation, that these vases, although
+elaborately modeled and often well finished, are rudely decorated and
+very generally show use over fire; that the legs, though often graceful
+and well proportioned, are in many cases clumsily adjusted to the body,
+giving a decidedly unsatisfactory result as a whole. This ware was
+devoted to domestic uses, or, if otherwise, in all probability to the
+burning of incense. Animal forms are freely employed, but in a rather
+rude way. The fish form is more generally used than any other, and is in
+all cases embodied in the legs of the vessel, the head joining the body
+of the vessel and the tail resting upon the ground. These
+representations exhibit all grades of elaboration from the fairly well
+modeled to the merest suggestion of animal character&mdash;any one
+feature, as the mouth, the eye, the fins, or the tail, being alone a
+sufficient suggestion of the creature to satisfy the potter and keep
+alive the idea of the fish. Other animal forms are employed in modeling
+the legs, and exhibit equally varying degrees of elaboration, and it is
+<span class = "pagenum">107</span>
+<a name = "page107" id = "page107"> </a>
+<!-- png 169 -->
+worthy of especial note that creatures are not confused or confounded,
+so far as I can discover, at any stage of the simplifying
+process&mdash;that a fish is still purely a fish if nothing is left to
+represent it but a node or an incision. There is no apparent
+relationship between the animal forms forming the legs and those
+attached to the body or to the rim of the vessel.</p>
+
+<p class = "space">
+The pottery of the two groups already presented exhibits characters so
+uniform throughout that there need be no hesitation in placing them
+together as the work of one community and of one period of practice of
+the art; but between these groups and those that follow there is a wide
+gap. The differences are so marked that, if they had come from widely
+separated localities, very intimate relationships would not have been
+suggested.</p>
+
+<p class = "illustration">
+<a name = "fig154" id = "fig154">&nbsp;</a><br>
+<img src = "images/fig154.png" width = "246" height = "124"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 154.</span> Cup with incurved rim and
+life form ornamentation&mdash;<ins class = "correction"
+title = ". missing">½.&nbsp;</ins></p>
+
+<p class = "illustration">
+<a name = "fig155" id = "fig155">&nbsp;</a><br>
+<img src = "images/fig155.png" width = "223" height = "121"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 155.</span> Cup with widely expanded rim
+and constricted neck&mdash;½.</p>
+
+<h6><a name = "pottery_maroon" id = "pottery_maroon">
+The maroon group.&mdash;</a></h6>
+
+<p>For the want of a better name I have called the group first to be
+presented the maroon group, on account of its color. Our collection
+comprises not more than a dozen pieces of this ware. The locality from
+which they come is called Los Tenajos by Mr. <ins class = "correction"
+title = "text reads ‘McNeil’">McNiel</ins>, but he has not distinguished
+them in any way from the other varieties, and I am therefore unable to
+say whether or not they occur together with others or under identical
+conditions. In symmetry of outline, diversity of shape, and cleverness
+of modeling this ware takes a high rank, but there is no painted
+ornament. The surfaces are usually well polished, and all exposed parts
+have received a coat of purplish maroon colored paint. The paste
+contains a great deal of fine sand, and is yellowish upon the surface
+and generally quite dark within the mass. Considering the small number
+of pieces, the scale of form is remarkably varied. There are plain bowls
+with incurved rims and with flaring rims, vases with
+<span class = "pagenum">108</span>
+<a name = "page108" id = "page108"> </a>
+<!-- png 170 -->
+round bases, with annular stands, and with tripods, and life forms
+wholly unique. Perhaps the most usual form is that shown in
+Fig.&nbsp;154, which represents a small cup with incurved rim and a
+narrow annular base. The shoulder is embellished with three groups of
+small nodes, of four each, which refer to some animal form. In other
+similar vases the form of the creature is given in more realistic guise.
+A&nbsp;larger vase, similar to this in most respects, has a rounded
+contour and incurved lip. The periphery is supplied with four plain
+nodes. Another, shown in Fig.&nbsp;155, has a wide recurved rim,
+a&nbsp;character seen to equally good advantage in some of the following
+figures. In the small vase represented in Fig.&nbsp;156 the treatment of
+animal forms in connection with the body of the vessel is shown to good
+advantage.
+<span class = "pagenum">109</span>
+<a name = "page109" id = "page109"> </a>
+<!-- png 171 -->
+The head, legs, and tail of what is probably intended to represent an
+alligator, modeled in the round, are attached to the periphery of the
+basin, and heads of some mammal are used for legs.</p>
+
+<p class = "illustration">
+<a name = "fig156" id = "fig156">&nbsp;</a><br>
+<img src = "images/fig156.png" width = "289" height = "178"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 156.</span> Small tripod cup with animal
+features in high relief<ins class = "correction"
+title = "text has ‘.--½.’ with extra .">&mdash;½.</ins></p>
+
+<p>A most interesting tripod is shown in Fig. 157. The bowl is
+beautifully modeled, is symmetrical, and has a flaring rim, rounded and
+polished on the upper surface and drooping slightly at the outer margin.
+The body is hemispherical and is supported by three grotesque
+anthropomorphic figures that strongly remind us of the “mud head� masks
+used in one of the dances of the Zuñi Indians. The head is a rounded
+ball, upon which pellets of clay are stuck to represent the features.
+The arms are set against the sides of the body, as in other isthmian
+specimens, the hips are excessively large, the legs straight, and the
+feet small and united to form the foot of the vessel. Nearly the entire
+surface is finished in a dark purplish red paint, which appears to have
+been polished down as a slip. A&nbsp;companion piece is considerably
+smaller and the supporting figures are very grotesque and somewhat
+crouched, as if bearing a very heavy weight.</p>
+
+<p class = "illustration">
+<a name = "fig157" id = "fig157">&nbsp;</a><br>
+<img src = "images/fig157.png" width = "339" height = "328"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 157.</span> Handsome vase supported by
+three grotesque figures&mdash;½.</p>
+
+<p>A number of large basins or caldrons, collected in Chiriqui, and
+fragments of vessels of extraordinary size resemble this ware in
+material, color, and finish. The rims of the larger pieces are upwards
+of an inch thick and the walls are in cases three-fourths of an inch
+thick. A&nbsp;number of large vessels of similar ware now in the
+National Museum were collected in Costa Rica and Nicaragua.</p>
+
+<h6><a name = "pottery_red" id = "pottery_red">
+The red line group.&mdash;</a></h6>
+
+<p>The group of vessels to which I have given this name is represented
+by about a dozen specimens, which indicate a wide range of form and
+exhibit a number of unique characters.</p>
+
+<p>The localities from which they are derived extend from 8°&nbsp;20´ to
+8°&nbsp;40´ north latitude and from 82°&nbsp;40´ to 82°&nbsp;50´ west
+longitude.</p>
+
+<p>The paste is of about the usual composition, but takes a variety of
+tints on burning, a&nbsp;light gray orange prevailing. The finish of the
+surface is about the same as in other groups. The decoration consists of
+life forms and their conventional representatives in relief and of
+carelessly executed geometric designs, the pigment used being a bright,
+sienna-like red.</p>
+
+<p>As will be seen by reference to the illustrations, the forms are
+varied and pleasing, but for the most part repeat outlines common to
+other groups. The handles, single or in twos, are upright loops, and the
+tripods are in nearly all cases looped or annular, an unusual feature in
+other groups.</p>
+
+<p>I present three illustrations, two of which were given in outline in
+the introductory pages. The first (Fig.&nbsp;158) has a well
+proportioned, somewhat globular body, supported by three legs formed of
+looped bands of clay. On the shoulder are two small animal forms,
+probably meant for frogs. The spaces between these are occupied by
+panel-like arrangements of red lines. The surface is yellowish gray in
+color, excepting where blackened in the baking. The paste has
+<span class = "pagenum">110</span>
+<a name = "page110" id = "page110"> </a>
+<!-- png 172 -->
+cracked in firing, a&nbsp;feature observed in a number of pieces
+belonging to this group.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig158" id = "fig158">&nbsp;</a><br>
+<img src = "images/fig158.png" width = "255" height = "246"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig159" id = "fig159">&nbsp;</a><br>
+<img src = "images/fig159.png" width = "158" height = "170"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 158.</span> Vase decorated with figures
+of frogs and devices in red&mdash;½.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 159.</span> Vase of unique shape and life
+form ornamentation&mdash;½.</td>
+</tr>
+</table>
+
+<p>A unique piece is represented in Fig. 159. The single handle is a
+high projecting loop and connects with the margin of the orifice, which
+rises to meet it, and with the lower part of the shoulder. An animal
+form, apparently anthropomorphic, is embodied in this vessel. The upper
+part of the vessel, separated by a slight constriction from the body
+proper, represents the head of the creature, the nose, mouth,
+<span class = "pagenum">111</span>
+<a name = "page111" id = "page111"> </a>
+<!-- png 173 -->
+and eyes appearing on the front and the ears at the sides. A&nbsp;few
+incised lines seen upon the inner surface of the handle stand for the
+hair. Upon the shoulder are two sharp nodes, standing for the breasts,
+and between these are markings that represent a necklace. A&nbsp;rude
+design in red lines covers the upper surface of the body.</p>
+
+<p class = "illustration">
+<a name = "fig160" id = "fig160">&nbsp;</a><br>
+<img src = "images/fig160.png" width = "283" height = "307"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 160.</span> Two handled vase with life
+form and linear decoration&mdash;½.</p>
+
+<p>A graceful shape is illustrated in Fig. 160. The paste is a grayish
+orange on the surface and is rather dark within the thicker portions of
+the walls. The under surface is much blackened by use over fire. An
+interesting feature is seen upon the handles at the highest point of the
+loop. Instead of the single indented transverse fillet observed in
+similar forms in other groups, we have two such features, set about an
+inch apart, and between them are two indented nodes which stand for
+eyes, and a number of indentations within the space refer to other
+features of the animal suggested. Upon the shoulder and collar of the
+vessel are carelessly drawn geometric patterns in red lines.</p>
+
+<h6><a name = "pottery_white" id = "pottery_white">
+The white line group.&mdash;</a></h6>
+
+<p>One group of vases, of which we have but four pieces, is
+characterized by the use of a whitish pigment in decoration. Not one of
+the collections that I have seen is well supplied with this class of
+ware, and hence little can be said of its varieties of form and
+ornament. All are tripods, but the shapes of the vessels vary
+considerably. Two small pieces are from latitude 8°&nbsp;40´ north and
+longitude 82°&nbsp;32´ west. One of these is shown in Fig.&nbsp;161.
+They are small, rather carelessly finished tripods, with narrow necks
+and flattened bodies. The inner surface of the orifice and the under
+side of the body are painted a dull red. The remainder of the surface is
+a warm reddish gray, the color of the slip and the paste. The legs in
+the piece figured represent some small creature with a rabbit-like face
+and a body which tapers gradually to the base. Two feet are placed near
+the middle of the body, which is striped transversely with white lines.
+A&nbsp;white collar crosses the neck and the eyes are white dots. The
+upper surface of the vase is embellished with two animal figures,
+executed in a white earthy pigment. They may refer to the alligator,
+<span class = "pagenum">112</span>
+<a name = "page112" id = "page112"> </a>
+<!-- png 174 -->
+but the drawing is too conventional to admit of full identification. The
+companion piece is a little larger, and the upper surface is decorated
+with three groups of broad white stripes, bordered by rows of dots,
+which extend from the base of the neck to the periphery of the body. The
+legs are similar to those of the other piece. The little animal figure
+fixed to the upper end or hip is identical with that seen in the
+following illustration.</p>
+
+<div class = "figfloat p200">
+<p class = "illustration">
+<a name = "fig161" id = "fig161">&nbsp;</a><br>
+<img src = "images/fig161.png" width = "155" height = "169"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 161.</span> Small tripod vase with animal
+figures in white&mdash;½.</p>
+</div>
+
+<p>The large tripod vase presented in Fig. 162 is distinct in many ways
+from anything in the collection and is remarkable for symmetry of form
+and neatness of finish. The body is a long, symmetrical cone and the
+legs are long, straight cylinders, neatly rounded off to a point below.
+A&nbsp;thick rim projects at a sharp angle and is rounded up toward the
+margin. The legs are hollow, and through two pairs of lateral slits a
+number of small pellets can be seen, which rattle when the vase is
+moved. Rudely modeled little animals, with erect ears, large feet, and
+conical tails, are fixed to the upper end of the legs. The ground color,
+the slip, and the paste are of a reddish
+<span class = "pagenum">113</span>
+<a name = "page113" id = "page113"> </a>
+<!-- png 175 -->
+gray cast. The greater part of the surface seems to have been painted
+red, but the vase has been used over fire to such an extent that little
+of the original color remains. The body and the legs have been decorated
+with geometric patterns in a whitish pigment that can be scraped off
+like indurated clay. The little animal figures were also painted white.
+A&nbsp;vase very similar to this, from which the legs have been removed,
+and the surface smoothed down, has a longer and more graceful body and a
+similar rim. Another piece, exhibiting similar yet even more strongly
+marked characteristics of shape, belongs to the collection of Mr.
+J.&nbsp;B. Stearns.</p>
+
+<p class = "illustration">
+<a name = "fig162" id = "fig162">&nbsp;</a><br>
+<img src = "images/fig162.png" width = "313" height = "442"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 162.</span> Shapely vase with designs in
+white paint&mdash;½.</p>
+
+<h6><a name = "pottery_lost" id = "pottery_lost">
+The lost color group.&mdash;</a></h6>
+
+<p>In number of specimens this group is second to none, excepting
+perhaps that given under the head of terra cotta ware. Nine-tenths of
+the pieces may be classed as bottles, which have rather short, wide
+necks and globular bodies, slightly conical below and in cases flattened
+above. They range in size from one inch to nearly a foot in height, but
+the average capacity is not above a pint. Aside from the bottles there
+is a wide range of shapes. There are shallow bowls and various complex
+and compound forms. Animal forms are associated with all classes of
+vessels. Tripod supports are limited to rather modest proportions, and
+handles, although often present and greatly varied in style, do not
+constitute an important feature. These vessels are remarkably well
+preserved and exhibit few traces of abrasion by use or of blackening
+over fire. The paste is fine grained and usually of a light yellow gray
+tint throughout.</p>
+
+<p>The surface was finished either in a light colored slip or in a
+strong red pigment. In some cases the light tint was used exclusively
+and again the red covered the entire surface, but more frequently the
+two were used together, occupying distinct areas of the same vessel and
+forming the groundwork for decorative patterns in other colors. They
+were usually polished down with very great care, giving a glistening
+surface, upon which the markings of the tool can still be seen.</p>
+
+<p>I have already described the methods of decoration, but may review
+them briefly here. The bright red color, which forms such a prominent
+and pleasing feature, is, as stated above, only a ground tint and is not
+used in any case in the delineation of design. The actual patterns, so
+varied and interesting, were worked out in a pigment or fluid now
+totally lost, but which has left traces of its former existence through
+its effect upon the ground colors. In beginning the decoration,
+a&nbsp;thin black color, probably of vegetal character, was carried over
+the area to be treated, and upon this the figures were traced in the
+lost color. When this color (if&nbsp;it was indeed a pigment, and not
+merely an acid or “taking out� medium) disappeared, it carried with it
+the black tint beneath, exposing the light gray and red tints of the
+ground and leaving the interstices in black. The interstitial figures
+thus formed are often of such a character as to be taken for the true
+<span class = "pagenum">114</span>
+<a name = "page114" id = "page114"> </a>
+<!-- png 176 -->
+design. In examining the decoration of this ware it is essential that
+this fact should be kept in mind, as otherwise great confusion will
+result.</p>
+
+<p>The nature of the materials employed cannot be determined. Applied to
+the polished surface, they were easily removed. The black ground tint is
+now easily rubbed off and in most cases is much injured by handling or
+by contact with the soil. The lost color may have been similar to the
+white, argillaceous pigment used by the Aztecs, which has in many cases
+partially or wholly disappeared, leaving its marks upon the ground
+either by deadening the polish or by removing portions of the slip and
+the paste upon which it was laid, presenting the ornament in
+intaglio.</p>
+
+<p>The designs are infinitely varied in appearance and arrangement, yet
+are far from having a mixed or heterogeneous character. It is probably
+our lack of knowledge of the origin and history of the elements and
+their derivations that causes confusion. Both geometric and imitative
+elements abound and are blended in perfectly graded series. The
+treatment of geometric figures is peculiar to Chiriqui and in many
+respects is peculiar to this group of ware. Classic forms, such as the
+meander, the scroll, and the fret, rarely occur and are barely
+recognizable. It appears from a close study of all the work that motives
+derived from nature have greatly leavened the whole body of decoration.
+This matter will receive attention as the examples are presented and
+will be treated with greater care in a succeeding section.</p>
+
+<p>Plastic decoration, aside from the life forms so commonly associated
+with the body of the vase and with the handles and legs, is not of
+importance. The high degree of polish required in this ware tended to
+simplify all relieved features.</p>
+
+<p>The presence of life forms in relief has produced important
+modifications in the appearance and the arrangement of the painted
+devices, and in many cases there is a manifest correlation between the
+plastic and the painted forms: as, for example, when the body of the
+vase was thought of as the body of the animal, the extremities of which
+were placed upon its sides, the colored figures carried out the idea of
+the creature by imitating in a more or less conventional way the
+markings of the body. This will be understood through reference to the
+examples presented in the following pages.</p>
+
+<p>I will present, first, a series of bottles, selecting at the
+beginning those decorated in the more purely geometric style and
+gradually approaching those upon which animal forms are treated in a
+literal manner. The few pieces selected for illustration are totally
+inadequate to the proper representation of the group and must be
+regarded only as average specimens, more or less typical in
+character.</p>
+
+<p class = "illustration">
+<a name = "fig163" id = "fig163">&nbsp;</a><br>
+<img src = "images/fig163.png" width = "206" height = "218"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 163.</span> Small red bottle with
+horizontal bands of ornament consisting of plain and scalloped
+lines&mdash;½.</p>
+
+<p>I give first a number of examples in which the decorative devices are
+arranged in horizontal zones. In Fig.&nbsp;163 broad bands of ornament,
+<span class = "pagenum">115</span>
+<a name = "page115" id = "page115"> </a>
+<!-- png 177 -->
+consisting of scalloped and plain lines, encircle the neck and the body
+of the vessel. In finishing this piece the whole surface was painted a
+rich red and highly polished; then a black coat was applied, covering
+the body from the lip to the base of the design; and finally the
+delineating fluid was applied, removing the black, as shown in the
+narrow lines, the sharply dentate bands, and the broad, plain band
+between. The second example (Fig.&nbsp;164) varies somewhat in shape and
+design, but is identical in color and manipulation. The dark figures are
+merely the interspaces, although they appear at first glance to have
+been intended for the design proper.</p>
+
+<p class = "illustration">
+<a name = "fig164" id = "fig164">&nbsp;</a><br>
+<img src = "images/fig164.png" width = "208" height = "207"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 164.</span> Small red bottle with
+encircling geometric devices&mdash;½.</p>
+
+<p>In a numerous series of vessels the decorated bands are divided into
+compartments or panels, often four in number, which spaces are occupied
+by lines and figures of greatly diversified characters. In the example
+shown in Fig.&nbsp;165 the ground color of the principal zone is in the
+light yellow gray tint of the slip, the remainder being red. This lends
+brilliancy to the effect.</p>
+
+<span class = "pagenum">116</span>
+<a name = "page116" id = "page116"> </a>
+<!-- png 178 -->
+<p class = "illustration">
+<a name = "fig165" id = "fig165">&nbsp;</a><br>
+<img src = "images/fig165.png" width = "240" height = "262"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 165.</span> Bottle with zone occupied by
+geometric devices&mdash;½.</p>
+
+<p class = "illustration">
+<a name = "fig166" id = "fig166">&nbsp;</a><br>
+<img src = "images/fig166.png" width = "322" height = "297"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 166.</span> Bottle with broad zone
+containing geometric figures&mdash;½.</p>
+
+<p>In the vase shown in Fig. 166 the treatment is in a general way the
+same, but the compartments are triangular and are separated by lines
+that form a disconnected meander. An additional example is given in
+Fig.&nbsp;167. Here the principal zone is expanded to cover the whole
+upper surface of the vase, which was finished in the light colored slip
+to receive it. The principal lines are arranged to give the effect of
+rays when viewed from above, but as seen in the cut they give the effect
+of a carelessly connected meander. The groups of lines are
+<span class = "pagenum">117</span>
+<a name = "page117" id = "page117"> </a>
+<!-- png 179 -->
+bordered by series of dots. A&nbsp;great number of pieces are painted in
+this style. The effect is varied by altering the shape of the
+interspaces or by modifying the number and relationship of the lines,
+dots, and figures.</p>
+
+<p class = "illustration">
+<a name = "fig167" id = "fig167">&nbsp;</a><br>
+<img src = "images/fig167.png" width = "237" height = "230"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 167.</span> Bottle with decoration of
+meandered lines&mdash;½.</p>
+
+<p class = "illustration">
+<a name = "fig168" id = "fig168">&nbsp;</a><br>
+<img src = "images/fig168.png" width = "281" height = "308"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 168.</span> Bottle with arched panels and
+geometric devices&mdash;½.</p>
+
+<p>Somewhat similar also in general effect to the last example is the
+work upon another important series of vases. Instead of the simple
+meandered or zigzag arrangement of parts, two of the dividing lines of
+the zone run tangent to the neck of the vase on opposite sides, forming
+arched panels and leaving upright panels between.
+<span class = "pagenum">118</span>
+<a name = "page118" id = "page118"> </a>
+<!-- png 180 -->
+In the example presented in Fig.&nbsp;168 the arched areas are filled in
+with lattice-like arrangements of lines. In others we have dots,
+checkers, and varied geometric combinations, and in very many cases the
+figures are derived from life forms. The same may be said of the devices
+that occupy the spaces between the arches. The piece shown in
+Fig.&nbsp;169 exhibits a somewhat more elaborate treatment, but the
+motives and arrangements are much the same. These vessels are peculiar
+in the treatment of the ground. The entire surface is red, with the
+exception of narrow bands of light ground color, which outline the
+arches and encircle the periphery. In other cases these bands are red,
+the remainder of the ground being light. Series of lines are drawn from
+the lower border of the zone to the center of the base of the body.</p>
+
+<p class = "illustration">
+<a name = "fig169" id = "fig169">&nbsp;</a><br>
+<img src = "images/fig169.png" width = "201" height = "220"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 169.</span> Bottle with arched panels and
+elaborate devices&mdash;½.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig170" id = "fig170">&nbsp;</a><br>
+<img src = "images/fig170.png" width = "187" height = "171"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig170a" id = "fig170a">&nbsp;</a><br>
+<img src = "images/fig170a.png" width = "186" height = "165"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 170.</span> Vase with rosette-like
+panels&mdash;½.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 170</span><i>a</i>. Ornament from vase
+shown in Fig.&nbsp;170.</td>
+</tr>
+</table>
+
+<p>In a small group of vases we have a radiate ornament within the
+arches and in a few cases the arched lines are continued down around the
+base of the vessel, forming vertical circles in which rosette-like
+designs are formed by repeating the radiate figures in an inverted
+<span class = "pagenum">119</span>
+<a name = "page119" id = "page119"> </a>
+<!-- png 181 -->
+position below the peripheral line. The elaboration in these circular
+inclosures is very remarkable, as will be seen by reference to the three
+examples given in Figs. 170, 171, and 172. In the first case the
+peripheral line is a red band nearly one-half an inch wide and the rays
+appear in groups above and below it. Within the four broader black rays
+(Fig.&nbsp;170<i>a</i>), which are the interspaces or remnants of the
+ground, groups of lines have been drawn, in most cases curved at the
+inner ends like an opening frond and accompanied in all cases by series
+of dots. An examination of a number of vessels shows various degrees of
+convention. It is clear, however, that these devices, showing curves,
+hooks, and dots, are not of technical or mechanical origin, but that
+they refer to delineative originals of which they are survivals; but we
+must remain in the dark as to what the originals were or what was the
+precise nature of the idea associated with them in the mind of the
+decorator. Another question refers to the arrangement of the parts of
+the design in the five preceding figures. The distribution of the
+designs is a matter of great interest, and much may be learned from a
+close study of these specimens.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig171" id = "fig171">&nbsp;</a><br>
+<img src = "images/fig171.png" width = "186" height = "182"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig172" id = "fig172">&nbsp;</a><br>
+<img src = "images/fig172.png" width = "183" height = "179"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 171.</span> Vase with rosette-like
+panels&mdash;½.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 172.</span> Vase with rosette-like
+panels&mdash;½.</td>
+</tr>
+</table>
+
+<p>Horizontal zones appear in the ceramic decoration of all countries,
+and result, no doubt, from technical causes; but the division of zones
+into compartments of peculiar shape is due to other influences.
+I&nbsp;believe the peculiar arched arrangement here seen results from
+the employment of plastic features, such as handles or life forms. The
+ancient races were accustomed to conceive of the vessel as the body of
+an animal, an idea originating in the association of mythologic
+conceptions with art. The head and the tail of the particular creature
+thought of were attached to opposite sides of the vase and consequently
+interfered with the original zonal arrangement of the design where it
+existed, or where it did not exist the sides were filled with devices
+representing the markings of the creature’s body. The decoration now
+consisted of four parts, two in the round or in relief and two in color,
+the former occupying small areas and the latter wide areas, as
+<span class = "pagenum">120</span>
+<a name = "page120" id = "page120"> </a>
+<!-- png 182 -->
+seen in Fig.&nbsp;173. The same result would spring from the use of two
+handles, such a common feature in this ware. The lateral spaces reached
+from the periphery to the base of the neck and were most readily and
+naturally separated from the plastic features by lines extending across
+the shoulder tangent to the neck and forming arches (Fig.&nbsp;174). In
+time the plastic features, being difficult to manage, would gradually
+decrease in boldness of modeling and finally disappear, leaving a space
+upon which the life form could be symbolized in color (Fig.&nbsp;175).
+Now it happens that in this collection we have a series of examples
+illustrating all stages of this change, the first, the middle, and the
+final steps being shown in the above figures.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig173" id = "fig173">&nbsp;</a><br>
+<img src = "images/fig173.png" width = "122" height = "113"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 173.</span></td>
+<td class = "illustration">
+<a name = "fig174" id = "fig174">&nbsp;</a><br>
+<img src = "images/fig174.png" width = "118" height = "111"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 174.</span></td>
+<td class = "illustration">
+<a name = "fig175" id = "fig175">&nbsp;</a><br>
+<img src = "images/fig175.png" width = "121" height = "112"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 175.</span></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "3">
+Theoretical origin of the arched panels.</td>
+</tr>
+</table>
+
+<p>In multiplying these vessels the original forms and associations of
+decorative features are necessarily to some extent lost sight of; the
+panels change in shape, number, and relationships; and devices
+originally appropriate to particular spaces are employed
+indiscriminately, so that the uninitiated see nothing but confusion. All
+devices are delineations of or have more or less definite reference to
+the creature or spirit associated with the vessel.</p>
+
+<p class = "illustration">
+<a name = "fig176" id = "fig176">&nbsp;</a><br>
+<img src = "images/fig176.png" width = "240" height = "274"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 176.</span> Vase decorated with
+conventional figures of alligators&mdash;½.</p>
+
+<span class = "pagenum">121</span>
+<a name = "page121" id = "page121"> </a>
+<!-- png 183 -->
+<p>I will now pass over the many hundreds of pieces with designs too
+conventional to furnish a clew to the original animal forms, yet still
+suggesting their existence, to those in which the life forms can be
+traced with ease or in which they are delineated with a much nearer
+approach to nature. The manner of introducing life forms into the panels
+of the encircling zones is illustrated in the following figures. In the
+vase shown in Fig.&nbsp;176 there are four panels, two short and two
+long, separated by vertical bands. The short panels are black, but the
+long ones are occupied by rudely drawn figures of alligators, some of
+which are very curiously abbreviated. At the right hand in the cut we
+have simply the head with its strong recurved jaws and notched crest.
+The principal figure at the left is a two headed alligator, the body
+being straight and supplied with two feet. The ground finish of the
+decorated band is in the light gray tint and the alligator figures and
+vertical septa now appear in that color. The ground of the remainder of
+the surface is red. It will be seen that in this case the panel outlines
+are rather elaborate and that the neck and base are striped in a way to
+enhance considerably the beauty of the vessel. Additional examples of
+animal devices are given in Figs. 177 and 178. The significance of the
+curious figure
+<span class = "pagenum">122</span>
+<a name = "page122" id = "page122"> </a>
+<!-- png 184 -->
+seen in the first is not easily determined, although we do not hesitate
+to assign to it an animal origin. There is a suggestion of two sitting
+figures placed back to back between the upright serrate lines. In the
+second piece, which is from another vessel, the space between the
+serrate lines is occupied by a sketchy figure which, in the phraseology
+of heraldry, may be likened to a monkey rampant.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig177" id = "fig177">&nbsp;</a><br>
+<img src = "images/fig177.png" width = "114" height = "62"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 177.</span></td>
+<td class = "illustration">
+<a name = "fig178" id = "fig178">&nbsp;</a><br>
+<img src = "images/fig178.png" width = "125" height = "74"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 178.</span></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+Portions of decorated zones illustrating treatment of life forms.</td>
+</tr>
+</table>
+
+<p class = "illustration">
+<a name = "fig179" id = "fig179">&nbsp;</a><br>
+<img src = "images/fig179.png" width = "286" height = "272"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 179.</span> Vase decorated with highly
+conventional life forms&mdash;½.</p>
+
+<p class = "illustration">
+<a name = "fig179a" id = "fig179a">&nbsp;</a><br>
+<img src = "images/fig179a.png" width = "342" height = "131"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 179</span><i>a</i>. Design from vase
+shown in Fig.&nbsp;179.</p>
+
+<p>In Figs. 179 and 180 I present very interesting examples in which the
+arched panels are used. In the first the compartments are occupied by a
+favorite Chiriquian motive, which consists of groups of lines curled up
+at one end like unfolding fronds. The whole group represents a very
+highly conventionalized animal figure (Fig.&nbsp;179<i>a</i>). The
+devices occupying the upright panels take the place of the animal heads
+shown in several preceding figures. In the arched panels shown in
+Fig.&nbsp;180 we have the frond-like motive treated in a manner
+<span class = "pagenum">123</span>
+<a name = "page123" id = "page123"> </a>
+<!-- png 185 -->
+to make it pretty certain that a reptilian form is intended. These
+figures are fully and systematically presented in a succeeding
+section.</p>
+
+<p class = "illustration">
+<a name = "fig180" id = "fig180">&nbsp;</a><br>
+<img src = "images/fig180.png" width = "329" height = "310"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 180.</span> Vase decorated with highly
+conventional life forms&mdash;½.</p>
+
+<p>Many of these globular vases are unusually handsome. The polished
+ground is red or is varied with stripes or panels of the whitish slip.
+Over this ground the whole surface was painted black and then the lost
+color was employed to work out the design. The coiled figures were
+produced by drawing the lines in the lost color. The interspaces were
+then roughly gone over with the same pigment in such a way as to leave
+the figures inclosed within rather uneven black borders. The
+presentation of these ornaments brings me naturally to the consideration
+of a number of very puzzling forms which, if taken alone, must
+inevitably be referred to vegetal originals. In Fig.&nbsp;181 we have a
+handsomely shaped vessel, finished in a polished red ground and
+decorated in the usual manner. In the main zone&mdash;here rather high
+up on the vase&mdash;there is a series of upright figures resembling
+stalks or stems with scroll-like branches springing from the sides. The
+stalks are probably the septa of the panels and the leaves are the usual
+reptilian symbols. About the widest part of the body of the vase is a
+band of ornament probably representing an animal.</p>
+
+<p class = "illustration">
+<a name = "fig181" id = "fig181">&nbsp;</a><br>
+<img src = "images/fig181.png" width = "323" height = "299"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 181.</span> Vase decorated with highly
+conventional life forms&mdash;½.</p>
+
+<div class = "picture p200">
+<p class = "illustration">
+<a name = "fig182" id = "fig182">&nbsp;</a><br>
+<img src = "images/fig182.png" width = "168" height = "129"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 182.</span> Decorated panel with devices
+resembling vegetal growths, but probably of animal origin&mdash;½.</p>
+</div>
+
+<p>A still more remarkable ornament is shown in Fig. 182. The decorated
+zone of the vessel from which this is taken is divided into three
+panels, each of which contains stem-like figures terminating in flower
+shaped heads and uniting in a most remarkable way animal derivatives and
+vegetal forms. I&nbsp;am inclined to the view that here, as in
+<span class = "pagenum">124</span>
+<a name = "page124" id = "page124"> </a>
+<!-- png 186 -->
+the preceding case, the resemblance to a vegetal growth is purely
+adventitious.</p>
+
+<p class = "illustration">
+<a name = "fig183" id = "fig183">&nbsp;</a><br>
+<img src = "images/fig183.png" width = "247" height = "209"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 183.</span> Example of vase of unusual
+shape&mdash;<ins class = "correction"
+title = ". missing">½.&nbsp;</ins></p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig184" id = "fig184">&nbsp;</a><br>
+<img src = "images/fig184.png" width = "139" height = "152"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 184.</span></td>
+<td class = "illustration">
+<a name = "fig185" id = "fig185">&nbsp;</a><br>
+<img src = "images/fig185.png" width = "149" height = "207"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 185.</span></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+Examples of vases of unusual shapes&mdash;½.</td>
+</tr>
+</table>
+
+<p>In striking contrast with the globular forms just given are the
+angular outlines presented in the following illustrations. The first is
+flattened above, the body being much expanded horizontally and having a
+sharp peripheral angle. Upon the shoulder, occupying the places of and
+probably standing for animal heads, are two cruciform
+<span class = "pagenum">125</span>
+<a name = "page125" id = "page125"> </a>
+<!-- png 187 -->
+nodes, about which the scroll-like decorations of the upper surface are
+coiled. We see by this that in the mind of the potter a correlation
+existed between the plastic and the painted devices even in these
+conventional decorations. The second illustration represents a neatly
+finished bottle, with upright sides and conical base, upon the shoulder
+of which minute animal figures are perched. The painted design is nearly
+obliterated. The third example is unique. The sides are upright and the
+bottom is flat. The ornament occupies the entire surface and is divided
+into two sections or zones by a red band about the middle.</p>
+
+<p>Complex and compound forms are comparatively rare. A double vessel is
+shown in Fig.&nbsp;186, and a second, varying somewhat from the first in
+shape and ornamentation, is presented in the succeeding figure. Vessels
+of this form are always small, but are neatly constructed and finished
+with much care. The strong handles are more or less arched and connect
+the inner margins of the two lips. The bodies of the twin cups are
+closely joined, but the two compartments are not connected.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig186" id = "fig186">&nbsp;</a><br>
+<img src = "images/fig186.png" width = "199" height = "152"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig187" id = "fig187">&nbsp;</a><br>
+<img src = "images/fig187.png" width = "217" height = "184"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 186.</span> Double vessel with high
+arched handle&mdash;½.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 187.</span> Double vessel with arched
+handle&mdash;½.</td>
+</tr>
+</table>
+
+<p>It seems impossible to present a satisfactory series of the plastic
+features characteristic of this group of products without extending this
+paper inordinately. Handles, legs, and life forms are varied and
+interesting; they are not so boldly treated, however, as in some of the
+<span class = "pagenum">126</span>
+<a name = "page126" id = "page126"> </a>
+<!-- png 188 -->
+other groups. This is a result perhaps of the unusual degree of polish
+given to all parts of the surface preparatory to the application of
+designs in color, the processes tending to subdue and simplify the
+salient features.</p>
+
+<div class = "figfloat p200">
+<p class = "illustration">
+<a name = "fig188" id = "fig188">&nbsp;</a><br>
+<img src = "images/fig188.png" width = "201" height = "205"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 188.</span> Vase embellished with life
+forms, heads in relief and other parts in color&mdash;½.</p>
+</div>
+
+<p>With reference to life forms it has already been pointed out that the
+painted figures generally imitate or typify animal forms, and it is
+important to note that these figures are in very many cases used as
+auxiliaries to plastic features in the development of particular
+conceptions. This is shown to advantage in Fig.&nbsp;188, which
+illustrates a small, well formed bottle, having two large human-like
+heads attached to opposite sides of the body. There are no other plastic
+features, but the heads are supplied with arms and legs, rudely
+expressed in black lines, which are really the interspaces of the lines
+drawn in the lost color. These painted parts occupy the zone usually
+devoted to decoration and, as will be seen by reference to the cut,
+resemble closely the radiate or meandered figures seen in vases of the
+class shown in <a href = "#fig167">Fig.&nbsp;167</a>. The arms are
+joined to the lower part of the head and extend upward to the neck of
+the vessel, where they terminate in rudely suggested fingers. Rising to
+the right and left of the arms are legs terminating as do the arms.
+A&nbsp;double row of dots is carried along each member, and thus we have
+a suggestion of the relation of the dots and dotted lines, seen in more
+highly conventional forms, to the markings of the creature represented
+or symbolized. The grotesque faces are covered with lines which follow
+the forms as if imitating markings upon the skin. Another example,
+equally suggestive, also employing an animal form, is shown in
+Fig.&nbsp;189. It is a cup, mounted upon three feet, which has attached
+to one side the head of a peccary, modeled with more than usual skill.
+The ears of the animal appear at the sides of the vessel and the tail is
+opposite the head. The lines and dots seen upon the head are carried
+along the sides of the vessel as far as the ears and
+<span class = "pagenum">127</span>
+<a name = "page127" id = "page127"> </a>
+<!-- png 189 -->
+undoubtedly represent the markings of the animal’s skin. Behind the ears
+the markings are different in character and purely geometric.
+A&nbsp;view of the under side of the vessel is shown in Fig.&nbsp;190
+and illustrates a treatment characteristic of the tripod vases of this
+class. In other cases, instead of fixing the head of the animal upon one
+side
+<span class = "pagenum">128</span>
+<a name = "page128" id = "page128"> </a>
+<!-- png 190 -->
+and other members of the body upon other sides, two heads, or two
+complete creatures, are placed opposite each other.</p>
+
+<p class = "illustration">
+<a name = "fig189" id = "fig189">&nbsp;</a><br>
+<img src = "images/fig189.png" width = "341" height = "234"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 189.</span> Vase modeled to represent a
+peccary&mdash;½.</p>
+
+<p class = "illustration">
+<a name = "fig190" id = "fig190">&nbsp;</a><br>
+<img src = "images/fig190.png" width = "227" height = "184"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 190.</span> Under surface of vase shown
+in Fig.&nbsp;189.</p>
+
+<div class = "figfloat p150">
+<p class = "illustration">
+<a name = "fig191" id = "fig191">&nbsp;</a><br>
+<img src = "images/fig191.png" width = "152" height = "161"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 191.</span> Small vessel with human
+figures in high relief and geometric color decoration&mdash;½.</p>
+</div>
+
+<p>I present next (Fig. 191) a piece in which there is no recognizable
+relationship between the painted and the plastic features. It is a small
+tripod cup with upright walls, upon which two characteristic Chiriquian
+human figures, male and female, are fixed. The painted figures upon the
+sides of the vessel are geometric, but refer possibly to some character
+or attribute of the modeled figures or are the survivals of figures
+belonging to vessels of this shape or style before the life forms were
+associated with them. The legs, however, so far as can be determined,
+are not related to the human motive, as they are modeled and painted to
+imitate the heads of alligators.</p>
+
+<p>I shall now present a few shallow bowls or pans mounted upon tripods.
+They vary in dimensions from a few inches in diameter to a foot or more
+and are strongly made, symmetrically formed, and neatly finished. The
+polished surfaces are mainly red. The designs were executed in the usual
+way in the lost color, upon a black ground, and are confined chiefly to
+the exterior surface. The alligator is the favorite motive, and in a
+number of cases is quite graphically, although still conventionally,
+rendered. As in the preceding examples, the animal heads represented in
+the legs do not always correspond to the creatures embodied in the
+painted decoration.</p>
+
+<p>In Fig. 192 we have a representative example of moderate size and
+ordinary finish. The decorated band is divided into panels, three of
+which are long and contain figures of the alligator. The other three are
+short and are filled with conventional devices, related perhaps to that
+animal. The legs are apparently intended to resemble the heads of
+alligators. A&nbsp;large piece, nearly twelve inches in diameter, is
+very similar in shape and decoration, but the legs resemble puma
+heads.</p>
+
+<p class = "illustration">
+<a name = "fig192" id = "fig192">&nbsp;</a><br>
+<img src = "images/fig192.png" width = "349" height = "232"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 192.</span> Tripod cup, with figures of
+the alligator&mdash;½.</p>
+
+<span class = "pagenum">129</span>
+<a name = "page129" id = "page129"> </a>
+<!-- png 191 -->
+<p>The specimen shown in Fig. 193 is extremely well made and differs
+decidedly from the preceding. The sides are upright and the lip is
+recurved and thick. The legs represent some animal form with thick body,
+eyes at the top, and a tail-like appendage below that turns up and
+connects with the side of the body. The form of the bowl is symmetrical
+and the surface carefully finished and polished. The exterior design is
+divided into panels, as in the preceding case; the figures are simple
+and geometric. The inside of the upright portion of the wall is
+decorated with vertical lines and bands and the bottom is covered with
+an octopus-like figure, now partially obliterated.</p>
+
+<p class = "illustration">
+<a name = "fig193" id = "fig193">&nbsp;</a><br>
+<img src = "images/fig193.png" width = "453" height = "282"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 193.</span> Large shallow tripod vase,
+with geometric decoration&mdash;½.</p>
+
+<p>The remarkable example shown in Fig. 194 illustrates a number of the
+points suggested in the preceding pages. It is a large bottle of the
+usual contour and color, mounted upon three high legs, which are slit on
+the inner surface and contain movable balls of clay. Two handles, placed
+at opposite sides of the neck, represent human or anthropomorphic
+figures. These figures and the neck and base of the vessel were finished
+in the red slip. The broad zone extending from the neck to some distance
+below the periphery was finished in the gray slip, with the exception of
+the frames of two panels beneath the handles and the foundation lines of
+two large figures of alligators, which are in red. The surface, when
+thus treated, was well polished and then a coat of black was laid upon
+it, and upon this details of the designs were drawn in the lost color.
+The figures of the alligators exhibit some striking peculiarities. The
+hooked snout, the hanging jaw, the row of dotted notches extending along
+the back, and especially the general curve of the body are worthy of
+attention.
+<span class = "pagenum">130</span>
+<a name = "page130" id = "page130"> </a>
+<!-- png 192 -->
+These features are seen to better advantage in the series of vases
+presented in the following section.</p>
+
+<p class = "illustration">
+<a name = "fig194" id = "fig194">&nbsp;</a><br>
+<img src = "images/fig194.png" width = "425" height = "505"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 194.</span> Large bottle shaped vase,
+with high tripod and alligator designs&mdash;½.</p>
+
+<p>Belonging to this group are many whistles, needlecases, and rattles,
+all of which are described under separate headings upon subsequent
+pages.</p>
+
+<h6><a name = "pottery_alligator" id = "pottery_alligator">
+The alligator group.&mdash;</a></h6>
+
+<p>The group of ware to which I give the above name is perhaps the most
+interesting in the collection, although numerically inferior to some of
+those already presented. Its decoration is of a very striking character
+and may serve to throw much light upon the origin and evolution of
+certain linear devices, as it illustrates with more than usual clearness
+the processes of modification.</p>
+
+<p>I will first present a representative series of the vessels, in order
+that they may in a measure tell their own story; yet it is not possible
+without
+<span class = "pagenum">131</span>
+<a name = "page131" id = "page131"> </a>
+<!-- png 193 -->
+the direct aid of a full series of the objects themselves to convey a
+clear and comprehensive notion of the metamorphoses through which the
+forms and decorations pass.</p>
+
+<p>This group, like that last described, is composed chiefly of bottle
+shaped vases with globular bodies and short, wide necks; but there is no
+danger of confusion. By placing a series from each group side by side a
+number of marked differences may be noted. In the lost color group the
+neck is decided in form, the body is usually somewhat flattened above
+and is distinctly conical below, and the prevailing color is a rich dark
+red. In the alligator group the body is more nearly globular and the
+curves of the whole outline are more gentle; the prevailing color is a
+light yellowish gray. The reds and the blacks, which are used chiefly in
+the figures, are confined to rather limited areas.</p>
+
+<p>Besides the bottle shaped vases, there is a limited series of the
+usual forms, and a few pieces exhibit unique features. The management of
+life forms is especially instructive. Handles are rare and legs are
+usually not of especial interest, as they are plain cones or at most but
+rude imitations of the legs of animals. Shallow vessels are invariably
+mounted upon tripods and a few of the deeper forms are so equipped.
+Usually the sizes are rather small; but we occasionally observe a bottle
+having the capacity of a gallon or more. The materials do not differ
+greatly from those employed in other groups of ware. The paste is fine
+grained and light in color, sometimes reddish near the surface, and
+where quite thick is darker within the mass. A&nbsp;slip of light
+yellowish hue was in most cases applied to the entire surface.
+A&nbsp;red ochery pigment was in some instances used in finishing the
+lip and the base of the body, and occasionally the red pigment was
+applied as a base, a&nbsp;kind of sketch foundation for the decoration
+proper. For example, when the alligator was to appear upon the side of
+the vessel, the principal forms were traced in broad lines of the red
+color, and these were polished down with the <ins class = "correction"
+title = ". missing">slips.</ins> When the polishing process was
+complete, the details of the figure, were drawn in black and in cases
+partially in red. Black was the chief delineating color, the red having
+been confined to broad areas, to outlines, and to the enframing of
+panels. In execution, therefore, there is a decided contrast with the
+preceding group, and it may be added that there is an equally strong
+contrast in both treatment and subject matter of the ornament. The
+motives are derived almost wholly from life forms and retain for the
+most part features that suggest their origin. The subjects are chiefly
+reptilian, the alligator appearing in a majority of cases, and hence the
+name of the group.</p>
+
+<p>I present first a few examples of plain bottles which have no
+extraneous plastic features. The decorations are arranged in two ways,
+in zones about the upper part of the body or in circular areas,
+generally four in number, equidistantly placed about the shoulder of the
+vessel.</p>
+
+<span class = "pagenum">132</span>
+<a name = "page132" id = "page132"> </a>
+<!-- png 194 -->
+<p class = "illustration">
+<a name = "fig195" id = "fig195">&nbsp;</a><br>
+<img src = "images/fig195.png" width = "399" height = "421"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 195.</span> Large bottle, with narrow
+zone containing figures of the alligator&mdash;â…“.</p>
+
+<p>An example of the first style is given in Fig. 195, which represents
+the largest piece in this group of ware. The form is symmetrical and
+very pleasing to the eye. The surface is not very highly polished and
+shows the marks of the polishing implement distinctly over the entire
+surface. Two black lines encircle the flat upper surface of the rim and
+the outer margin is red. The neck and a narrow zone at the upper part of
+the body are finished in a cream colored slip and the body below this is
+red. The narrow band of ornament occupies the lower margin of the light
+colored zone and consists of five encircling lines in black, three of
+which are above and two below a band one-half an inch wide, in which
+five much simplified figures of alligators are drawn. Besides these
+figures there are two vertical septum-like bands. Each of these consists
+of three lines bordered by dots, which probably have some relationship
+with the alligator. The decorated zone of these vessels is divided in
+various ways into panels, some of which are triangular, while others are
+rectangular or arched. The latter form is seen in Fig.&nbsp;196. Five
+arches, having no border line above, are occupied by abbreviated
+alligator devices. The number of compartments
+<span class = "pagenum">133</span>
+<a name = "page133" id = "page133"> </a>
+<!-- png 195 -->
+ranges in other specimens from two to a dozen or more. They are filled
+in with various devices, to be described in detail further&nbsp;on.</p>
+
+<p class = "illustration">
+<a name = "fig196" id = "fig196">&nbsp;</a><br>
+<img src = "images/fig196.png" width = "297" height = "299"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 196.</span> Vase with decorated zone
+containing four arched panels&mdash;½.</p>
+
+<p>A very peculiar form of decoration consists of circular or
+rosette-like ornaments, such as are shown in Fig.&nbsp;197. Four
+slightly relieved nodes an inch or more in diameter are placed upon the
+shoulder of the vessel. These are encircled by red lines which inclose
+two black lines
+<span class = "pagenum">134</span>
+<a name = "page134" id = "page134"> </a>
+<!-- png 196 -->
+each, and within these are peculiar devices in black. Other vessels
+furnish figures of greatly diversified characters, most of which
+evidently refer to life forms. A&nbsp;full series of these is given in a
+subsequent section of this paper, where the origin of the nodes and the
+manner in which the painted figures probably became associated with them
+will be fully set forth.</p>
+
+<p class = "illustration">
+<a name = "fig197" id = "fig197">&nbsp;</a><br>
+<img src = "images/fig197.png" width = "303" height = "288"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 197.</span> Vase with four round nodes
+upon which animal devices are painted&mdash;½.</p>
+
+<p>In the series of outlines presented in Fig. 198, we have some of the
+varieties of form and decoration of both the ordinary bottles and the
+plainer tripod cups. Each example presents certain features of
+particular interest. The handsome little bottle (<i>d</i>) with the
+plastic ornament about the neck and the zone of geometric ornament in
+black and red lines is unique. The double necked bottle is an unusual
+form and its decoration consists of a strangely conceived representation
+of the alligator. The tripod vases are worthy of close attention: the
+piece illustrated in <i>b</i> has a zone of ornament separated into
+three parts by vertical spaces, each part being enframed in black. The
+sections are divided by red lines into three panels, each of which
+contains a conventional figure of an alligator in black. The piece shown
+in <i>a</i> is unique in its decoration. Four angular fret links in
+black are inclosed in as many panels, bordered by red and separated by
+blank spaces. These fret links, as I shall show further on, probably
+refer to or symbolize the alligator. The legs of the cups are all
+conical and are marked with short transverse lines in black, which have
+a direct reference to the markings of the animal to which the vase was
+consecrated. A&nbsp;careful study of the preceding illustrations leads
+to
+<span class = "pagenum">135</span>
+<a name = "page135" id = "page135"> </a>
+<!-- png 197 -->
+the conclusion that in the mind of the potters there was a close and
+important relationship between the vessel and the reptilian forms
+embodied in both plastic and surface embellishment. The series of
+examples which follow have a bearing upon this point. I&nbsp;shall begin
+with that in which the creature is most literally rendered.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration" colspan = "2">
+<a name = "fig198" id = "fig198">&nbsp;</a><br>
+<img src = "images/fig198a.png" width = "177" height = "134"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>a</i></td>
+<td class = "illustration" colspan = "2">
+<img src = "images/fig198b.png" width = "177" height = "135"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>b</i></td>
+</tr>
+<tr>
+<td class = "illustration">
+<img src = "images/fig198c.png" width = "89" height = "98"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>c</i></td>
+<td class = "illustration" colspan = "2">
+<img src = "images/fig198d.png" width = "148" height = "139"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>d</i></td>
+<td class = "illustration">
+<img src = "images/fig198e.png" width = "104" height = "97"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>e</i></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "4">
+<span class = "smallcaps">Fig. 198.</span> Vases of varied form and
+decoration.</td>
+</tr>
+</table>
+
+<p>In Fig. 199 the whole conformation of the vessel is considerably
+modified through the attempt to perfect the likeness of the alligator,
+whose head, tail, and legs are graphically rendered. The body, head, and
+tail are covered with nodes, each of which is encircled by a black ring
+and has a black dot upon the apex. Dotted rings and short strokes of
+black occupy the interspaces. These devices represent the spines and
+scales of the creature’s skin. The legs are marked with horizontal
+stripes and oval spaces at the top inclose three dots each. The general
+<span class = "pagenum">136</span>
+<a name = "page136" id = "page136"> </a>
+<!-- png 198 -->
+color of the vessel is a dark brown. This piece should be compared with
+the alligator whistle shown in <a href =
+"#fig250">Fig.&nbsp;250</a>.</p>
+
+<p class = "illustration">
+<a name = "fig199" id = "fig199">&nbsp;</a><br>
+<img src = "images/fig199.png" width = "391" height = "219"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 199.</span> Alligator vase, with
+conventional markings&mdash;½.</p>
+
+<p class = "illustration">
+<a name = "fig200" id = "fig200">&nbsp;</a><br>
+<img src = "images/fig200.png" width = "350" height = "260"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 200.</span> Alligator vase, with
+conventional figures of the alligator painted on the sides&mdash;½.</p>
+
+<div class = "figfloat p200">
+<p class = "illustration">
+<a name = "fig201" id = "fig201">&nbsp;</a><br>
+<img src = "images/fig201.png" width = "192" height = "170"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 201.</span> Vase having the head and tail
+of a serpent projecting from opposite sides of the body and connected by
+a meandered design which stands for the markings of the
+body&mdash;½.</p>
+</div>
+
+<p>A somewhat different treatment is shown in Fig. 200. Here the animal
+form has undergone considerable modification. There are but three
+legs&mdash;a concession to the conventional tripod&mdash;and the body
+exhibits, instead of the nodes and the markings of the creature’s skin,
+two conventional drawings of the whole animal. Now, by higher and higher
+degrees of convention, we come to a long series of modified results
+which must be omitted for want of room. We find that the plastic
+features are gradually reduced until mere nodes appear where the head
+and the tail should be, and finally in the lower forms there remains but
+a blank panel or a painted device, as already shown in a preceding
+section. The painted devices are also reduced by degrees until all
+resemblance to nature is lost and geometric devices alone remain.
+I&nbsp;observe in this association of plastic and painted features a
+lack of the perfect consistency I had learned to expect in the work of
+primitive peoples. It is easy to see how, from painting the markings of
+the creature’s skin upon the body of the vessel, the painter should come
+gradually to delineate parts of the creature or even the whole creature,
+but we should not expect him to paint a creature distinct in kind from
+that modeled, thus confusing or entirely separating the conceptions;
+this has been done, apparently, in the vase illustrated in
+Fig.&nbsp;202, where the plastic form represents a puma and the painting
+upon the sides seems intended for an alligator. It will be seen from the
+figures given that the devices of the panels or sides do not necessarily
+represent the markings of the animal’s body, as in Fig.&nbsp;201, but
+that they may refer to the entire creature (Fig.&nbsp;200) or even to
+what appears to be a totally distinct creature (Fig.&nbsp;202).</p>
+
+<p class = "illustration">
+<a name = "fig202" id = "fig202">&nbsp;</a><br>
+<img src = "images/fig202.png" width = "304" height = "239"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 202.</span> Vase representing a puma,
+with figures of the alligator painted upon the sides&mdash;½.</p>
+
+<p>If realistic or semirealistic delineations are confused in this way
+it is to be expected that highly conventional derivative figures, so
+numerous and varied, should be much less clearly distinguished; that
+indeed there should be no certainty whatever in the reference to
+originals. It is difficult to say of any particular conventional device
+<span class = "pagenum">137</span>
+<a name = "page137" id = "page137"> </a>
+<!-- png 199 -->
+that it originated in the figure of the animal as a whole rather than in
+some part or character of that animal or of some other animal.</p>
+
+<p class = "illustration">
+<a name = "fig203" id = "fig203">&nbsp;</a><br>
+<img src = "images/fig203.png" width = "333" height = "204"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 203.</span> Shallow vase with reptilian
+features in the round and designs in red and black representing the
+markings of the creature’s body&mdash;½.</p>
+
+<p>A very instructive example bearing upon this subject is shown in
+Fig.&nbsp;203. Attached to one side of the basin is a pendent head
+resembling that of a serpent or a turtle. A&nbsp;kind of hood overhangs
+the head and extends in a ridge around the sides of the vessel,
+connecting with the tail of the creature, which is also pendent and
+hooded. Four legs support the vessel and are marked with transverse
+stripes of red and black paint. The upper surface of the head is covered
+with reticulated lines in black, and bands of conventional ornament in
+the same color extend around the sides of the vessel, uniting the head
+with the tail of the animal. A&nbsp;single band of ornament passes
+beneath the body, also connecting those members. It is plain that these
+painted bands serve to complete the representation of the reptile.
+<span class = "pagenum">138</span>
+<a name = "page138" id = "page138"> </a>
+<!-- png 200 -->
+But, as I have just shown, they are as likely to stand for the whole
+creature or to be the abbreviated representative of the whole creature
+as to represent merely the markings of the body. These devices, as
+arranged in the zone, resemble in a remarkable degree the conventional
+running scroll.</p>
+
+<p class = "illustration">
+<a name = "fig204" id = "fig204">&nbsp;</a><br>
+<img src = "images/fig204.png" width = "451" height = "489"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 204.</span> Vase with funnel shaped mouth
+and square body, supported by two grotesque figures and decorated with
+figures of alligators and monkeys&mdash;½.</p>
+
+<p>I have but one more example of the alligator vases to present, but it
+is perhaps the most remarkable piece in the collection (Fig.&nbsp;204).
+It illustrates to good advantage both the skill and the strange fancy of
+these archaic potters. A&nbsp;large vase, having a high flaring rim and
+a subcubical body, is supported by two grotesque human appearing
+figures, whose backs are set against opposite ends of the vessel. The
+legs are placed wide apart, thus affording a firm support. The heads of
+the two figures project forward from the shoulder of the vase and are
+flattened in such a way as to give long oval outlines to the crowns
+<span class = "pagenum">139</span>
+<a name = "page139" id = "page139"> </a>
+<!-- png 201 -->
+which are truncated and furnished with long slit-like openings that
+connect through the head with the main chamber of the vessel. The
+openings are about two and a half inches long and one-eighth of an inch
+wide and are surrounded by a shallow channel in the flat, well polished
+upper surface. The extraordinary conformation of this part of the vessel
+recalls the well known whistling vases of South America; but this piece
+is too badly broken to admit of experiment to test its powers. It is
+generally likened to a money box. In order to convey a clear conception
+of the shape of the upper surface, I&nbsp;present a top view of the
+vessel (Fig.&nbsp;205).</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig205" id = "fig205">&nbsp;</a><br>
+<img src = "images/fig205.png" width = "130" height = "194"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig206" id = "fig206">&nbsp;</a><br>
+<img src = "images/fig206.png" width = "126" height = "238"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 205.</span> Top view of vase in Fig. 204,
+showing the main orifice and the oblong openings.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 206.</span> End view of vase in Fig. 204,
+showing front view of grotesque figure. The red portions of the painted
+figures are outlined with dots.</td>
+</tr>
+</table>
+
+<p>A front view of one of the supporting figures is shown in
+Fig.&nbsp;206. Although certainly not intended to represent a human
+figure with accuracy, it is furnished with a crown, as are the figures
+in gold and stone, and is covered with devices that seem to refer to
+costume. The features are extremely grotesque, the nose resembling the
+beak of a bird and the mouth being a mere ridge, without indications of
+the lips. The face and the chest are painted with curious devices in
+red. The funnel and body of the vase are decorated with subjects that
+seem to have no connection with the plastic features and no relation to
+one another in subject matter. The upper panel, surrounded by a
+framework of black and red lines, contains the figure of an alligator
+much simplified and taking a peculiar position on account of the shape
+of the space into which it is crowded. The figure occupying the body
+panel is that of a very strangely conventionalized two tailed monkey and
+is enframed by a wide red line. On the shoulder of the vessel is an
+ornament consisting of a number of angular hooks attached to a straight
+line. The effect is like that of fretwork, but the figure is probably
+derived from a modified animal form. The paste of this
+<span class = "pagenum">140</span>
+<a name = "page140" id = "page140"> </a>
+<!-- png 202 -->
+vase is sandy and is reddish gray near the surface and quite dark within
+the mass. The modeling is thoroughly well done, and the surface, which
+is of a somber, yellowish gray tint, is highly polished. The figures are
+drawn chiefly in black, red being confined to broad lines and areas. De
+Zeltner published photographic illustrations of a similar vase with his
+pamphlet on the graves of Chiriqui. That specimen is now,
+I&nbsp;believe, in the hands of Prof. O.&nbsp;C. Marsh, of New Haven. It
+corresponds very closely in nearly every respect with the example here
+described.</p>
+
+<p class = "illustration">
+<a name = "fig207" id = "fig207">&nbsp;</a><br>
+<img src = "images/fig207.png" width = "417" height = "396"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 207.</span> Large vase with decorations
+in red and black&mdash;¼.</p>
+
+<h6><a name = "pottery_poly" id = "pottery_poly">
+The polychrome group.&mdash;</a></h6>
+
+<p>The National Museum collection contains but three examples of this
+most artistic of the wares of Chiriqui. Its claim to superiority rests
+upon a certain boldness and refinement of execution, combined with
+nobleness of outline and a type of design much in advance of other
+isthmian decoration. It is probably most nearly allied to the ware of
+the alligator group, and it possesses some of the characteristics of the
+best Central American work. Unlike the other wares of Chiriqui, this
+pottery has a bright salmon red paste and the slip proper is a delicate
+shade of the same color. In nearly all cases undecorated portions of the
+surface are finished in
+<span class = "pagenum">141</span>
+<a name = "page141" id = "page141"> </a>
+<!-- png 203 -->
+red, which appears to have been polished down as a slip. The designs are
+in three colors&mdash;black, a&nbsp;strong red, and a fine gray
+purple&mdash;which, in combination with the bright reddish ground, give
+a very rich effect. The first example, shown in Fig.&nbsp;207, is a
+large, nearly symmetrical bottle with a short neck and a thick, flaring
+lip. The inner surface of the orifice and the lower half of the body are
+finished in red and the neck and shoulder in the salmon colored slip.
+A&nbsp;wide zone of ornament encircles the upper surface of the body.
+The designs are executed with great skill in red and black colors and
+include two highly conventional figures, probably of reptilian origin.
+The manner of their introduction into the zone is shown in
+Fig.&nbsp;208. The oval faces are placed on opposite sides, taking the
+positions usually occupied by modeled heads. Each face is supplemented
+by a pair of arms which terminate in curiously conventional hands, and
+the two caudal appendages are placed midway between the faces, filling
+triangular areas. The body of the vase serves as a body for both
+creatures. In the illustration, the red of the design, which is carried
+over all of one face save the eyes and mouth and serves to emphasize the
+features of the other face, is indicated in vertical tint lines and the
+black is given in solid color. This vase is twelve inches in height.</p>
+
+<span class = "pagenum">142</span>
+<a name = "page142" id = "page142"> </a>
+<!-- png 204 -->
+<p class = "illustration">
+<a name = "fig208" id = "fig208">&nbsp;</a><br>
+<img src = "images/fig208.png" width = "398" height = "399"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 208.</span> Devices of the decorated zone
+of vase shown in Fig.&nbsp;207.</p>
+
+<p class = "illustration">
+<a name = "fig209" id = "fig209">&nbsp;</a><br>
+<img src = "images/fig209.png" width = "350" height = "348"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 209.</span> Handsome vase with four
+handles and decorations in black, red, and purple&mdash;â…”.</p>
+
+<p>A second example, illustrated in Fig. 209, is a fine piece of
+somewhat unusual shape. The orifice is trumpet shaped and rather too
+wide for good proportion. The body is flattened above and conical below
+and is supported by a rather meager annular foot. The paste is of a
+light brick red color, and the slip, as seen in the ground of the
+decorated belt, is a pale gray orange. Undecorated portions of the
+surface are painted red. The ornamented zone is interrupted by two pairs
+of handle-like appendages set upon the outer part of the shoulder. These
+projections may possibly have served as handles, as they are perforated
+both horizontally and vertically, but they are at the same time
+undoubtedly conventionalized animal forms, the creature being
+represented by the four flattened, transversely marked arms or rays and
+an eye-like device painted upon the top of each figure. The painted
+devices are seen in plan in Fig.&nbsp;210, where the relations of the
+relieved features to the zone of painted decoration are clearly shown.
+This zone is divided into panels of unequal dimensions, and within these
+a number of extraordinary devices are drawn in three colors, red, black,
+and purple. These are distinguished in the plan by peculiar tint lines.
+The designs are of such a character as to leave little doubt that they
+are ideographic, although at present it is impossible to guess the
+nature of the associated ideas. The annular foot observed in this
+specimen illustrates the first step in the development of a feature the
+final stage of which is shown in Fig.&nbsp;211. The latter
+<span class = "pagenum">143</span>
+<a name = "page143" id = "page143"> </a>
+<!-- png 205 -->
+shape is such as would result from inverting the preceding form,
+removing the conical base of the body, and using the funnel shaped
+orifice as a stand. This highly developed shape implies a long practice
+of the art. The form is a usual one in Mexico and in Central America.
+The bowl is shallow and is set gracefully upon the stand, the whole
+shape closely resembling simple conditions of the classic kylix. The
+color of the paste is a pale brick red and that of the slip approaches
+orange. The walls are thick and even and the surface is very carefully
+polished.</p>
+
+<p class = "illustration">
+<a name = "fig210" id = "fig210">&nbsp;</a><br>
+<img src = "images/fig210.png" width = "356" height = "356"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 210.</span> The painted designs of vase
+in Fig.&nbsp;209 viewed from above.</p>
+
+<p>The painted decoration is of unusual interest. The colors are so
+rich, the execution is so superior, and the conception so strange that
+we dwell upon it with surprise and wonder. The central portion of the
+bowl is occupied by what would seem to represent a fish painted in
+strong, firm, marvelously turned lines, and in a style of convention
+wholly unique. The outlines are in black and the spaces are filled in
+with red and purple or are left in the orange hue of the ground. An idea
+of the superior style of execution can be gained from Fig.&nbsp;212. It
+will be impossible to characterize the details of the drawing in words.
+The strange position and shape of the head, the oddly placed eyes and
+mouth, and the totally incomprehensible treatment of the body can be
+appreciated, however, by referring to the illustration. A&nbsp;careful
+study leads inevitably to the conclusion that this
+<span class = "pagenum">144</span>
+<a name = "page144" id = "page144"> </a>
+<!-- png 206 -->
+was no ordinary decoration, no playing with lines, but a serious working
+out of a conception every part of which had its significance or its
+raison d’être.</p>
+
+<p class = "illustration">
+<a name = "fig211" id = "fig211">&nbsp;</a><br>
+<img src = "images/fig211.png" width = "336" height = "246"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 211.</span> Vase of unusual shape, with
+decoration in black, red, and purple&mdash;â…“.</p>
+
+<p class = "illustration">
+<a name = "fig212" id = "fig212">&nbsp;</a><br>
+<img src = "images/fig212.png" width = "376" height = "377"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 212.</span> Ornament occupying the
+interior surface of the basin of vase shown in Fig.&nbsp;211.</p>
+
+<p>The figures occupying the border zone of the bowl are worthy of
+careful inspection. It will be seen that the potter, even in this
+<span class = "pagenum">145</span>
+<a name = "page145" id = "page145"> </a>
+<!-- png 207 -->
+highly specialized condition of the utensil, has not lost sight of the
+conception that the vessel is the body of an animal, as we have seen so
+often in simpler forms, and that the symbols of the creature should
+appear upon it and encircle it. The zone is divided into two equal
+sections by small knobs, painted, as are the handle-like appendages in
+the preceding specimen, to represent some animal feature. The lateral
+sections are occupied by eye-like figures that stand for the markings of
+the body of the creature symbolized. They really occupy the spaces left
+by a continuous waved body or life line, which they serve to define.
+Devices of this class are most frequently met with in connection with
+representations of the alligator. They may, however, symbolize the
+serpent, as occasionally seen in the alligator group. Decorative
+conceptions so remarkable as these could arise only through one channel:
+the channel of mythology. The superstitions of men have imposed upon the
+art a series of conceptions fixed in character and limited to especial
+positions, relations, and forms of expression. It is useless to
+speculate upon the nature of the mythologic conceptions with an idea of
+arriving at any understanding of the religion of the people; but we do
+learn something of the stage of development, something of the condition
+of philosophy.</p>
+
+<p class = "illustration">
+<a name = "fig213" id = "fig213">&nbsp;</a><br>
+<img src = "images/fig213.png" width = "252" height = "367"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 213.</span> Large vase of fine shape and
+simple decorations. From De Zeltner&mdash;about&nbsp;¼.</p>
+
+<p>I must not close this section without referring to some fine vases
+that belong apparently to this group and which were collected
+<span class = "pagenum">146</span>
+<a name = "page146" id = "page146"> </a>
+<!-- png 208 -->
+by De Zeltner and illustrated by photographs accompanying his pamphlet.
+They are now, I&nbsp;believe, in the possession of Prof. O.&nbsp;C.
+Marsh. The sketches given herewith are copied from De Zeltner’s
+photographs and are probably somewhat defective in details of drawing.
+The piece illustrated in Fig.&nbsp;213 is not described by the author,
+but is evidently a handsome vessel and is decorated in a very simple
+manner. A&nbsp;band of devices symbolizing the body of an animal
+encircles the middle portion of the vase. The height is about a
+foot.</p>
+
+<p class = "illustration">
+<a name = "fig214" id = "fig214">&nbsp;</a><br>
+<img src = "images/fig214.png" width = "293" height = "240"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 214.</span> Vase with extraordinary
+decorative designs. From De Zeltner&mdash;about&nbsp;¼.</p>
+
+<p>A second piece (Fig. 214), of which two views are given by the same
+author, corresponds closely in many respects with the vase illustrated
+in <a href = "#fig211">Fig.&nbsp;211</a> and is described in the
+following language:</p>
+
+<p class = "quotation">
+My collection includes a cup (or&nbsp;chalice) of baked clay 25
+centimeters in diameter, mounted on a hollow stand which gives it a
+height of 18 centimeters, and the designs of which are very rich and in
+perfect taste. The base is hollow and colored red, white, black, and
+purple; it has four narrow openings or slits, and the design represents
+plaits spirally arranged. The under side of the cup is divided into four
+compartments, each of which incloses a dragon painted in black and red
+on a white ground; the borders are sometimes red, sometimes purple. The
+body of the dragon might have been painted in China, so neat and
+intricate is the drawing.</p>
+
+<p class = "quotation">
+The design upon the inside of the cup seems to resemble Egyptian art.
+The body of a man is seen, painted in red, the arms and legs separated,
+and the shoulders bearing the head of the dragon with teeth and crest.
+The color is similar to the rest of the piece&mdash;purple, white, and
+black. The intermediate spaces are filled with very intricate
+designs.</p>
+
+<p>This extraordinary design is shown in Fig. 215, and it will be seen
+that it agrees in many respects with figures presented in the lost color
+and alligator groups. It is compound in character, however, the head
+referring to the alligator, the body and extremities perhaps to a man or
+to a monkey. The suggestion of the oriental dragon in this, as in other
+examples, is at once apparent, and the resemblance to certain
+conventional forms that come down to us from the earliest
+<span class = "pagenum">147</span>
+<a name = "page147" id = "page147"> </a>
+<!-- png 209 -->
+known period of Chinese art is truly remarkable. We cannot, of course,
+predicate identity of origin even upon absolute identity of appearances,
+but such correspondences are worthy of note, as they may in time
+accumulate to such an extent that the belief in a common origin will
+force itself upon&nbsp;us.</p>
+
+<p class = "illustration">
+<a name = "fig215" id = "fig215">&nbsp;</a><br>
+<img src = "images/fig215.png" width = "427" height = "416"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 215.</span> Painted design of vase in
+Fig.&nbsp;214, viewed from above, thought to represent a dragon by De
+Zeltner; probably a composite of the alligator and the monkey or
+man.</p>
+
+<h6><a name = "pottery_unclass" id = "pottery_unclass">
+Unclassified.&mdash;</a></h6>
+
+<p>A small number of vases do not admit of classification under any of
+the preceding heads. In most cases, however, they are not of especial
+interest and may be passed over. They represent a number of varieties of
+ware and are possibly not all Chiriquian, their affinities being rather
+with the pottery of Costa Rica and Nicaragua. One remarkable piece, of
+which a sketch is given in <a href = "#fig50">Fig.
+50,&nbsp;<i>c</i></a>, is of large size and is shaped somewhat like an
+hour glass, and on account of its peculiar form and markings may be said
+to resemble a corset. The upper end is somewhat the smaller, and the
+septum, which forms the bottom of the vessel, is placed about an inch
+above the base of the foot. The interior surface is smoothly polished
+and painted a dark dull red. The exterior is uncolored and neatly
+fluted. The series of vertical ribs of the upper end is separated
+<span class = "pagenum">148</span>
+<a name = "page148" id = "page148"> </a>
+<!-- png 210 -->
+from those of the base by a belt of horizontal flutings, and a wide
+smooth space extends from the top to the base, the lower section of
+which is occupied by a row of button-like, indented knobs. The use of
+this utensil may not have been peculiar, but its shape is wholly unique.
+It resembles most nearly the ware of the maroon group. Its height is
+twelve inches.</p>
+
+<p>Perhaps the most interesting of these unclassified vases is a
+somewhat fragmentary piece, of which an outline is given in
+Fig.&nbsp;216. The ware closely resembles that of the alligator group in
+color of the paste and slip, but the base has been supplied with an
+annular stand, a&nbsp;feature not observed in that group, and the colors
+of the design, with the exception of the black, are unlike those used in
+Chiriquian vases.</p>
+
+<p class = "illustration">
+<a name = "fig216" id = "fig216">&nbsp;</a><br>
+<img src = "images/fig216.png" width = "207" height = "271"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 216.</span> Vase of unique form and
+decoration&mdash;â…“.</p>
+
+<p>It will be seen by reference to Fig. 217 that the painted figures are
+partially pictorial, the conventional scenes including the sun, the
+moon, and stars. The more conventional parts of the design are very
+curious and without doubt are symbolic. The border of fret work is
+Mexican in style. The sun, which is only partially exposed above the
+horizon, is outlined in red and is surrounded by red rays. The
+<span class = "pagenum">149</span>
+<a name = "page149" id = "page149"> </a>
+<!-- png 211 -->
+figures supposed to represent the moon and the stars are in black. In
+the illustration the reds of the original are represented by vertical
+tint lines and the brownish grays by horizontal tint lines. The black is
+in solid color.</p>
+<p class = "illustration">
+<a name = "fig217" id = "fig217">&nbsp;</a><br>
+<img src = "images/fig217.png" width = "418" height = "98"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 217.</span> Painted design of vase in
+Fig.&nbsp;216 in black, red, and gray.</p>
+
+
+<h4><a name = "misc" id = "misc">MISCELLANEOUS OBJECTS OF CLAY.</a></h4>
+
+<p>As primitive peoples advance in culture and the various branches of
+art are differentiated, each of the materials employed is made to fill a
+wider and wider sphere of usefulness. Clay, applied at first to vessel
+making and used perhaps as an auxiliary in a number of arts in which it
+took no definite or individual shapes, gradually extended its dominion
+until almost every art was in a measure dependent upon it or in some way
+utilized it. The extent of this expansion of availability is in a
+general way a measure of the advancement of the races concerned. The
+Chiriquians employed clay in the construction of textile machinery, as
+shown by the occurrence of spindle whorls, and a number of small
+receptacles, probably needlecases, are constructed of that material. It
+was employed in the manufacture of stools, statuettes, drums, rattles,
+and whistles. With less cultured races, such as the Pueblo and mound
+builders of the north, such articles were rarely manufactured, while
+with the more cultured nations of Mexico and Peru a wider field was
+covered and the work was considerably superior.</p>
+
+<h5><a name = "misc_spindle" id = "misc_spindle">
+SPINDLE WHORLS.</a></h5>
+
+<p>The art of weaving was carried to a high degree of perfection by many
+of the American races, but the processes employed were of the simplest
+kind. The threads were spun upon wooden spindles weighted
+<span class = "pagenum">150</span>
+<a name = "page150" id = "page150"> </a>
+<!-- png 212 -->
+with whorls of baked clay. These whorls are not plentiful in the graves
+of Chiriqui, but such as have been collected are quite similar in style
+to those of Mexico and Peru. In Figs. 218, 219, and 220 we have three
+examples modeled with considerable attention to detail but comparatively
+rude in finish. They are in the natural color of the baked clay and are
+but rudely polished. The first is encircled by a line of rough, indented
+nodes, the second is embellished with homely little animal figures, and
+the third with incised patterns and rude incisions.</p>
+
+
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig218" id = "fig218">&nbsp;</a><br>
+<img src = "images/fig218.png" width = "136" height = "85"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig219" id = "fig219">&nbsp;</a><br>
+<img src = "images/fig219.png" width = "150" height = "160"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig220" id = "fig220">&nbsp;</a><br>
+<img src = "images/fig220.png" width = "169" height = "133"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 218.</span> Spindle whorl in gray clay
+decorated with annular nodes&mdash;1/1.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 219.</span> Spindle whorl of gray clay
+with animal figures&mdash;1/1.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 220.</span> Spindle whorl of dark clay
+with perforations and incised ornament&mdash;1/1.</td>
+</tr>
+</table>
+
+<h5><a name = "misc_needle" id = "misc_needle">
+NEEDLECASES (?).</a></h5>
+
+<p>I have given this name to a rather large class of small oblong or
+oval receptacles that could have served to contain needles or any other
+small articles of domestic use or of the toilet. They consist of two
+parts, a&nbsp;vessel or body and a lid. The former takes a variety of
+cylindrical, subcylindrical, and doubly conical shapes, and the latter
+is conical and is in many cases furnished with a knob at the top for
+grasping with the fingers. The lid is attached or held in place by means
+of strings passed through small holes made for the purpose in
+corresponding margins of the two parts. These objects were in pretty
+general use in the province, as they are found to belong to a number of
+the groups of ware, being finished and decorated as are the ordinary
+vessels of these classes. A&nbsp;few type specimens are given in the
+following cuts. A&nbsp;fine example belonging to the unpainted ware is
+shown in outline in Fig.&nbsp;221. It is five inches in height and three
+in diameter and is pleasing in shape. The specimen outlined in Fig.
+<span class = "pagenum">151</span>
+<a name = "page151" id = "page151"> </a>
+<!-- png 213 -->
+222 is of the lost color group, but has lost nearly all traces of the
+decorative design.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig221" id = "fig221">&nbsp;</a><br>
+<img src = "images/fig221.png" width = "143" height = "241"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig222" id = "fig222">&nbsp;</a><br>
+<img src = "images/fig222.png" width = "79" height = "274"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 221.</span> Needlecase of unpainted
+clay<br>
+with conical lid&mdash;½.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 222.</span> Needlecase, lost color<br>
+group of ware&mdash;½.</td>
+</tr>
+</table>
+
+<p>A fine example, with high polish and elaborate decoration, is
+presented in Fig.&nbsp;223. The lid is raised to show the position of
+the perforations. Two interesting examples belonging to the dark incised
+ware are shown in Figs. 224 and 225. The deeply incised design of the
+first is purely geometric, but is probably of graphic parentage, while
+that of the second, rather rudely scratched through the dark surface
+into the gray paste, is apparently a less highly conventionalized
+treatment of the same motive.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration" rowspan = "3">
+<a name = "fig223" id = "fig223">&nbsp;</a><br>
+<img src = "images/fig223.png" width = "100" height = "275"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig224" id = "fig224">&nbsp;</a><br>
+<img src = "images/fig224.png" width = "71" height = "105"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 224.</span> Needlecase of gray clay with
+angular incised geometric ornament&mdash;½.</td>
+</tr>
+<tr>
+<td class = "illustration">
+<a name = "fig225" id = "fig225">&nbsp;</a><br>
+<img src = "images/fig225.png" width = "73" height = "121"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 223.</span> Needlecase with painted
+geometric ornament, belonging to the lost color group of
+ware&mdash;½.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 225.</span> Needlecase of gray clay with
+black polished surface and incised ornament&mdash;½.</td>
+</tr>
+</table>
+
+<h5><a name = "misc_figurine" id = "misc_figurine">
+FIGURINES.</a></h5>
+
+<p>I have already called attention to the fact that there is no such
+thing in Chiriquian ceramic art as a well modeled human figure and
+apparently no indication of an attempt to render the human physiognomy
+with accuracy. It is highly probable that the personages embodied in the
+mythology of the people took the forms of animals or were
+anthropomorphic and gave rise to the peculiar conceptions embodied in
+their arts. The strange objects herewith presented are rendered in a
+measure intelligible by the adoption of this hypothesis. These figurines
+are confined to the alligator group of ware and are quite numerous. They
+are small, carefully finished, and painted with care in red and black
+lines and figures. They are semihuman and appear to be arrayed in
+costume. The head of each is triangular in shape, having a sharp,
+projecting profile, with the mouth set back beneath the chin, reminding
+one of the face of a squirrel or some such rodent.
+<span class = "pagenum">152</span>
+<a name = "page152" id = "page152"> </a>
+<!-- png 214 -->
+The figures occupy a sitting posture. The legs are spread out
+horizontally, giving a firm support, and terminate in blunt cones, which
+are in some cases slightly bent up to represent feet. The hands rest
+upon the sides or thighs or clasp a small figure apparently intended for
+an infant, which, however, does not seem to have any human features. In
+one case this figure is placed upon the back of the figurine and appears
+to hold its place by means of four feet armed with claws
+(Fig.&nbsp;226); in another it is held in front (Fig.&nbsp;227). The
+neck is usually pierced to facilitate suspension, and the under side of
+the body&mdash;the sitting surface&mdash;is triply perforated, or
+punctured if solid, as if for the purpose of fixing the figure in an
+upright position to some movable support. The central perforation is
+round and the lateral ones, on the under side of the legs, are oblong.
+The largest specimen is six inches in height and the smallest about one
+and a half inches. They are rather elaborately painted with black and
+red devices which, by their peculiar geometric character, are
+undoubtedly intended to indicate the costume. The hair is represented by
+black stripes, which descend upon the neck, and the face is striped with
+red. They are found associated with other relics in the graves and were
+possibly only toys, but more probably were tutelary images or
+<span class = "pagenum">153</span>
+<a name = "page153" id = "page153"> </a>
+<!-- png 215 -->
+served some unknown religious purpose. The sex is usually feminine. Two
+additional examples showing side and back views are outlined in Figs.
+228 and 229.</p>
+
+<p class = "illustration">
+<a name = "fig226" id = "fig226">&nbsp;</a><br>
+<img src = "images/fig226.png" width = "214" height = "377"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 226.</span> Statuette, alligator
+group&mdash;1/1.</p>
+
+<p class = "illustration">
+<a name = "fig227" id = "fig227">&nbsp;</a><br>
+<img src = "images/fig227.png" width = "352" height = "345"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 227.</span> Statuette, alligator
+group&mdash;1/1.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig228" id = "fig228">&nbsp;</a><br>
+<img src = "images/fig228.png" width = "174" height = "201"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig229" id = "fig229">&nbsp;</a><br>
+<img src = "images/fig229.png" width = "216" height = "284"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 228.</span> Statuette of small
+size&mdash;1/1.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 229.</span> Statuette of largest
+size&mdash;½.</td>
+</tr>
+</table>
+
+<span class = "pagenum">154</span>
+<a name = "page154" id = "page154"> </a>
+<!-- png 216 -->
+<h5><a name = "misc_stools" id = "misc_stools">
+STOOLS.</a></h5>
+
+<p>I have given this name to a class of stone carvings presented in a
+previous section, and, for want of a better name, give it also to a
+series of similar objects modeled in clay. These are among the most
+elaborate products of Chiriquian art. In all cases they are of the
+yellowish unpainted pottery and indicate much freedom and skill in the
+handling of clay. They do not show any well defined evidences of use,
+and as they are too slight and fragile to be used as ordinary seats we
+are left to surmise that they may have served some purpose in the
+religious rites of the ancient races. They are uniform in construction
+and general conformation and consist of a circular tablet supported by
+upright circular walls or by figures which rest upon a strong, ring
+shaped base. The tablet or plate is somewhat concave above, is less than
+an inch in thickness, and has a diameter of ten and one-fourth inches in
+the largest piece, descending to seven and one-half in the smallest. The
+margin is rounded and usually embellished with a beaded ornament
+consisting of grotesque heads, generally reptilian. The variations
+exhibited in details of modeling are well shown by the illustrations. In
+the example given in Fig.&nbsp;230 the upright portion is a hollow
+cylinder, having four vertical slits, alternating with which are oblique
+bands of ornament in incised lines and punctures. The projecting margin
+of the tablet is encircled by a row of grotesque, monkey-like heads,
+facing downward.</p>
+
+<p class = "illustration">
+<a name = "fig230" id = "fig230">&nbsp;</a><br>
+<img src = "images/fig230.png" width = "310" height = "215"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 230.</span> Stool of plain terra cotta,
+decorated with grotesque heads and incised figures&mdash;â…“.</p>
+
+<p>Fig. 231 illustrates a specimen in which three grotesque figures,
+with forbidding faces, alternate with as many flat columns embellished
+with rude figures of alligators. Eighteen grotesque, monkey-like heads
+occupy the lower margin of the seat plate in the spaces between the
+heads of the supporting figures. This specimen illustrates the favorite
+Chiriquian method of construction. The various parts were modeled
+separately in a rough way and then set into place
+<span class = "pagenum">155</span>
+<a name = "page155" id = "page155"> </a>
+<!-- png 217 -->
+in the order of their importance. When this was done and the insertions
+were neatly worked together with the fingers, a&nbsp;number of small
+instruments were employed in finishing: a&nbsp;sharp stylus for
+indicating parts of the costume, and blunt points and small tubular dies
+for adding intaglio details of anatomy, such as the navel, the pupils of
+the eyes, and the partings of the fingers and toes.</p>
+
+<p class = "illustration">
+<a name = "fig231" id = "fig231">&nbsp;</a><br>
+<img src = "images/fig231.png" width = "382" height = "273"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 231.</span> Stool of plain clay, with
+grotesque figures&mdash;½.</p>
+
+<p>The discoidal plate of another specimen is supported by four absurdly
+grotesque monkeys, giving a general effect much like that of the
+last.</p>
+
+<p class = "illustration">
+<a name = "fig232" id = "fig232">&nbsp;</a><br>
+<img src = "images/fig232.png" width = "365" height = "194"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 232.</span> Stool of plain terra cotta,
+with strange figures&mdash;â…“.</p>
+
+<p>A very remarkable piece is shown in Fig. 232. The tablet is supported
+by six grotesque figures, somewhat human in appearance, whose limbs are
+intertwined with serpents, suggesting the famous group of the Laocoön.
+The work is roughly done and the details
+<span class = "pagenum">156</span>
+<a name = "page156" id = "page156"> </a>
+<!-- png 218 -->
+are not carried out in a very consistent manner, as the arms and legs of
+the figures become confused with the reptiles and are as likely to
+terminate in a snake’s head as in a hand or foot. The rudely shaped
+bodies are covered with indented circlets or with short incised lines.
+The material, color, and finish are as usual. The height is four and
+one-half inches and the diameter of the tablet ten inches.</p>
+
+<p>There are additional specimens in the National Museum. In one case,
+the largest specimen of the series, the tablet is supported by five
+upright female human figures and the margin is encircled by a cornice of
+forty-six neatly modeled reptilian heads. A&nbsp;small example differs
+considerably in general shape from those illustrated, the base being
+much smaller than the circular tablet. The supporting figures are two
+rudely modeled ocelots and two monkey-like figures, all of which are
+placed in an inverted position. Similar objects are obtained from the
+neighboring states of Central and South America.</p>
+
+<h5><a name = "misc_music" id = "misc_music">
+MUSICAL INSTRUMENTS.</a></h5>
+
+<p>Something is already known of the musical instruments of the ancient
+Chiriquians through fugitive specimens that have found their way into
+collections in all parts of Europe and America. The testimony of the
+earthen relics&mdash;for no others are preserved to us&mdash;goes to
+show that the art of music was, in its rude way, very assiduously
+practiced, and that it probably constituted with these, as with most
+primitive communities, a&nbsp;serious and important feature in the
+various ceremonial exercises. Clay is naturally limited to the
+production of a small percentage of the musical instruments of any
+people, the various forms of woody growths being better adapted to their
+manufacture. We have examples of both instruments of percussion and wind
+instruments, the former class embracing drums and rattles and the latter
+whistles and clarionette-like pipes.</p>
+
+<h6><a name = "misc_rattles" id = "misc_rattles">
+Rattles.&mdash;</a></h6>
+
+<p>Besides the ordinary rattles attached to and forming parts of
+vessels, as already described, there are a number of small pieces that
+seem to have served exclusively as rattles, while some are rattle and
+whistle combined in one piece. In no case, however, would they seem to
+the unscientific observer to be more than mere toys, as they are of
+small size and the sounds emitted are too weak to be perceptible at any
+considerable distance. At the same time it is true that they may have
+had ceremonial offices of no little consequence to the primitive
+priesthood. The simple rattles are shaped like gourds, the body being
+globular and the neck or handle long and straight. Like the wares
+already described, they are finished and decorated, the majority
+belonging to the lost color group. The length varies from three to six
+or seven inches. A&nbsp;number of minute slit-like orifices or
+perforations for the emission of the sound occur about the upper part of
+the body (Fig.&nbsp;233). A&nbsp;septum is placed in the lower part of
+the neck, so that the handle, which is hollow and open at the
+<span class = "pagenum">157</span>
+<a name = "page157" id = "page157"> </a>
+<!-- png 219 -->
+upper end, may serve as a whistle. In some cases the lower part of the
+neck is perforated for suspension at the point occupied by the septum,
+as imperfectly shown in the section (Fig.&nbsp;234). The most
+interesting specimen in the collection is shown in Fig.&nbsp;235; it is
+especially notable on account of its construction, which points clearly
+to the gourd as a prototype. The body is of the usual globular shape,
+slightly elongated above. The neck is represented as a separate piece
+lashed on with cords by means of perforations made for the purpose, just
+as are the handles of similar instruments constructed of gourds and
+reeds in Central American countries. The compartments of the handle and
+of the body are separate and the sound produced by the small oval
+pellets is emitted through slits of the usual form. The top of the
+handle is surmounted by a pair of grotesque human figures, male and
+female, placed back to back and united at the backs of the heads as seen
+in the cut. This object is gray in color and presents the roughened
+granular surface resulting from long exposure to the elements.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig233" id = "fig233">&nbsp;</a><br>
+<img src = "images/fig233.png" width = "144" height = "246"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig234" id = "fig234">&nbsp;</a><br>
+<img src = "images/fig234.png" width = "145" height = "247"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig235" id = "fig235">&nbsp;</a><br>
+<img src = "images/fig235.png" width = "143" height = "322"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 233.</span> Rattle decorated in the style
+of the lost color group&mdash;½.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 234.</span> Section of rattle shown in
+Fig.&nbsp;233.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 235.</span> Rattle of plain ware
+surmounted by two grotesque figures&mdash;½.</td>
+</tr>
+</table>
+
+
+
+<h6><a name = "misc_drums" id = "misc_drums">
+Drums.&mdash;</a></h6>
+
+<p>The drum was a favorite instrument with the native American musician.
+Early explorers found its use next to universal, and the “tambour� is
+even now a characteristic feature of the musical paraphernalia of the
+Spanish-Americans. The primitive instrument was made by stretching a
+thin sheet of animal tissue over the orifice of a large gourd vessel or
+a vessel of wood or clay. The
+<span class = "pagenum">158</span>
+<a name = "page158" id = "page158"> </a>
+<!-- png 220 -->
+use of clay was probably exceptional, as there are but three specimens
+in our Chiriquian collection. The shape is somewhat like that of an hour
+glass, the upper part, however, being considerably larger than the base
+or stand. In all cases the principal rim is finished with especial
+reference to the attachment of the vibrating head. The example presented
+in Fig.&nbsp;236 has a deeply scarified belt an inch wide encircling the
+rim, and below it is a narrow ridge, intended perhaps to facilitate the
+lashing or cementing on of the head. Two raised bands, intended to
+imitate twisted cords, encircle the most constricted part of the body,
+a&nbsp;single band similarly marked encircling the base. The surface is
+gray in color and but rudely polished. The walls are about three-eighths
+of an inch thick, the height sixteen and one-half inches, and the
+greatest diameter seven and one-half inches.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig236" id = "fig236">&nbsp;</a><br>
+<img src = "images/fig236.png" width = "174" height = "422"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig237" id = "fig237">&nbsp;</a><br>
+<img src = "images/fig237.png" width = "216" height = "463"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 236.</span> Drum of gray unpainted
+clay&mdash;¼.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 237.</span> Drum with painted ornament in
+the style of the lost color group&mdash;<ins class = "correction" title
+= "reading conjectural">1/9</ins>.</td>
+</tr>
+</table>
+
+<p>The decorated specimen illustrated in Fig. 237 is imperfect,
+a&nbsp;few inches of the base having been lost. The shape is rather more
+elegant than that of the other specimen and the surface is neatly
+finished and polished. The ground color or slip is a warm yellow gray
+and the decoration is in red and black. The rim or upper margin is
+<span class = "pagenum">159</span>
+<a name = "page159" id = "page159"> </a>
+<!-- png 221 -->
+rather rudely finished and is painted red and on the exterior is made
+slightly concave and furnished with a raised band to facilitate the
+attachment of the head. The painted ornament encircles the body in four
+zones, two upon the upper portion and two upon the base. The designs
+occupying the body zones are unique and viewed in the light of their
+probable origin are extremely interesting. In another place further on
+in this paper I shall show that they are probably
+<span class = "pagenum">160</span>
+<a name = "page160" id = "page160"> </a>
+<!-- png 222 -->
+very highly conventionalized derivatives of the alligator radical, the
+meandered line representing the body of the creature and the scalloped
+hooks the extremities (Fig.&nbsp;238). The two bands upon the base
+consist of geometric figures, the origin of which cannot be definitely
+determined, although they also probably refer to the alligator.</p>
+
+<p class = "illustration">
+<a name = "fig238" id = "fig238">&nbsp;</a><br>
+<img src = "images/fig238.png" width = "364" height = "108"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 238.</span> Conventional design on drum
+shown in Fig.&nbsp;237, composed of alligator derivatives.</p>
+
+<p>In the collection there is a minute toy drum of the same general
+shape, and the same form reappears in some of the whistles, in one of
+which (<a href = "#fig247">Fig.&nbsp;247</a>) the skin head and its
+fastenings are all carefully reproduced in miniature. The immediate
+original of this particular form of drum was probably made of wood.
+A&nbsp;drum, recently brought from Costa Rica was made by hollowing out
+a cylindrical piece of wood and stretching a piece of snakeskin across
+the top. The shape is nearly identical with that of these earthen
+specimens.</p>
+
+<h6><a name = "misc_wind" id = "misc_wind">
+Wind instruments.&mdash;</a></h6>
+
+<p>Earthenware wind instruments are found in considerable numbers and
+are associated with other relics in the tombs. Nearly all are very
+simple in construction and are limited in musical power, receiving and
+perhaps generally deserving no better name than whistles or toys.
+A&nbsp;few pieces are more pretentious and yield a number of notes, and
+if operated by skilled performers or properly concerted are capable of
+producing pleasing melodies. It is not difficult to determine the powers
+of individual instruments, but we cannot say to what extent these powers
+were understood by the original owners, nor can we say whether or not
+they were intended to be played in unison in such a way as to give a
+certain desired succession of intervals. There are, however, in a large
+number of these instruments a uniformity in construction and a certain
+close correspondence in the number and degree of the sounds that
+indicate the existence of well established standards. It does not appear
+absolutely certain to me that the system of intervals was made to
+conform to that of any known scale; but a difficulty arises in
+attempting to determine this point, as most of the pieces are more or
+less mutilated. We find also that the note producible by any given stop
+is not fixed in pitch, but varies, with the force of the breath, two or
+even three full intervals. As a result of this a glide is possible to
+the skilled performer from note to note and any desired pitch can be
+taken.</p>
+
+<p>In material, finish, and decoration these objects do not differ from
+the ordinary pottery. A&nbsp;majority belong to the alligator group. The
+size is generally small, the largest specimen being about eight inches
+in length. The shapes are wonderfully varied and indicate a lively
+imagination on the part of the potter. Animal forms prevail very
+decidedly, that of the bird being a great favorite. In many cases the
+animals copied can be identified, but in others they
+cannot&mdash;perhaps from our lack of knowledge of the fauna of the
+province, perhaps from carelessness on the part of the artist or from
+the tendency to model grotesque and complicated shapes. The following
+creatures can be recognized: men, pumas, ocelots, armadillos, eagles,
+owls, ducks, parrots,
+<span class = "pagenum">161</span>
+<a name = "page161" id = "page161"> </a>
+<!-- png 223 -->
+several varieties of small birds, alligators, crabs, and scorpions.
+Vegetal forms, excepting where in use as instruments or utensils, as
+reeds and gourds, were not copied. In the National Museum collection
+there are two tubular pipes, probably modeled after reeds, and another
+resembles a gourd in shape. The construction of the whistling apparatus
+is identical in all cases and corresponds to that of our flageolets (see
+sections, Figs. 240 and 242). Plain tubes were doubtless also used as
+whistles, and all utensils of small size, such as needlecases and toy
+vases, can be made to give forth a note more or less shrill, according
+to the size of the chamber. The simplest form of whistle produces two
+shrill notes identical in pitch. The shape is double, suggesting a
+primitive condition of the tibiæ pares of the Romans. The parts are pear
+or gourd shaped, are joined above and below, and have an opening between
+the necks. The two mouthpieces are so close together that both are
+necessarily blown at once. The note produced is pitched very high and is
+extremely penetrating, not to say ear splitting, making an excellent
+call for the jungles and forests of the tropics. A&nbsp;small specimen
+is presented full size in Fig.&nbsp;239, and the section in
+Fig.&nbsp;240 shows the relative positions of the mouthpieces, air
+passages, vent holes, and chambers.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig239" id = "fig239">&nbsp;</a><br>
+<img src = "images/fig239.png" width = "150" height = "133"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig240" id = "fig240">&nbsp;</a><br>
+<img src = "images/fig240.png" width = "145" height = "130"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 239.</span> Double whistle, lost color
+ware&mdash;1/1.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 240.</span> Section of double
+whistle.</td>
+</tr>
+</table>
+
+<div class = "figfloat">
+<p class = "illustration">
+<img src = "images/music239.png" width = "46" height = "65"
+alt = "music notation"></p>
+
+<p class = "midi"><a href = "music/melody239.midi">Play</a></p>
+</div>
+
+<p>Reed shaped instruments are furnished with passages and orifices
+corresponding to the other forms. The chamber is tubular and the lower
+end is open, and the finger holes, when present, are on the upper side
+of the cylinder. One example without finger holes has two notes nearly
+an octave apart, which are produced, the higher with the tube open and
+the lower with it closed. Perhaps the most satisfactory instrument in
+the whole collection, so far as range is concerned, is shown in
+Fig.&nbsp;241, and a section is given in Fig.&nbsp;242. It is capable of
+yielding the notes indicated in the accompanying scale: First,
+a&nbsp;normal series of eight sounds, produced as shown in the diagram,
+and,
+<span class = "pagenum">162</span>
+<a name = "page162" id = "page162"> </a>
+<!-- png 224 -->
+second, a&nbsp;series produced by blowing with greater force, one note
+two octaves above its radical and the others three octaves above. These
+notes are difficult to produce and hold and were probably not utilized
+by the native performer.</p>
+
+<p class = "illustration">
+<a name = "fig241" id = "fig241">&nbsp;</a><br>
+<img src = "images/fig241.png" width = "395" height = "71"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 241.</span> Tubular instrument with two
+finger holes, alligator group&mdash;1/1.</p>
+
+<p class = "illustration">
+<a name = "fig242" id = "fig242">&nbsp;</a><br>
+<img src = "images/fig242.png" width = "375" height = "67"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 242.</span> Section of whistle.</p>
+
+<p class = "illustration">
+<img src = "images/music241.png" width = "140" height = "181"
+usemap = "#chartmap" alt = "music notation"></p>
+
+<p class = "midi"><a href = "music/melody241.midi">Play</a></p>
+
+<map name = "chartmap" id = "chartmap">
+<area shape = "rect" coords = "0, 0, 140, 63"
+alt = "notes" href = "images/music241_large.jpg" target = "_blank">
+<area shape = "rect" coords = "0, 63, 140, 181"
+alt = "label" href = "images/music241_chart.png" target = "_blank">
+</map>
+
+<div class = "paragraph">
+Two little instruments of remarkable form and unusual powers stand quite
+alone among their fellows. One only is entire. It is made of dark clay
+and represents a creature not referable to any known form, so completely
+is it conventionalized. A&nbsp;fair idea of its appearance can be gained
+from Figs. 243 and 244.
+<div class = "figfloat">
+<p class = "illustration">
+<img src = "images/music244.png" width = "101" height = "64"
+alt = "music notation"></p>
+
+<p class = "midi"><a href = "music/melody244.midi">Play</a></p>
+</div>
+The first gives the side view and the second the top view. The
+mouthpiece is in what appears to be the forehead of the creature. The
+vent hole is beneath
+<span class = "pagenum">163</span>
+<a name = "page163" id = "page163"> </a>
+<!-- png 225 -->
+the neck and there are four minute finger holes, one in the middle of
+each of four flattish nodes, which have the appearance of large
+protruding eyes. A&nbsp;suspension hole passes through a node upon the
+top of the head. The capacity of this instrument is five notes, clear in
+tone and high in pitch. It is notable that the pitch of each stop, when
+open alone, is identical, the holes being of exactly the same size. In
+playing it does not matter in what order the fingers are moved. The
+lower note is made with all the holes closed and the ascending scale is
+produced by opening successively one, two, three, and four holes. The
+fragmentary piece is much smaller and the holes are extremely
+small.</div>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig243" id = "fig243">&nbsp;</a><br>
+<img src = "images/fig243.png" width = "175" height = "134"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 243.</span></td>
+<td class = "illustration">
+<a name = "fig244" id = "fig244">&nbsp;</a><br>
+<img src = "images/fig244.png" width = "174" height = "118"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 244.</span></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+Small animal shaped whistle of blackish ware, with four finger
+holes&mdash;1/1.</td>
+</tr>
+</table>
+
+<p>Of a distinct type of form, although involving no new principle of
+construction, are two top-like or turnip shaped instruments, one of
+which is shown in Fig.&nbsp;245. The form is symmetrical, the
+ornamentation tasteful, and the surface highly polished. The ware is of
+the alligator group and is decorated in red and black figures.
+A&nbsp;section is given in Fig.&nbsp;246, <i>a</i>, and top and bottom
+views in <i>b</i> and <i>c</i>. By reference to these a clear conception
+of the object can be formed. The companion piece is identical in size,
+shape, and conformation, and, strange to say, in musical notes also. The
+tones are not fixed,
+<span class = "pagenum">164</span>
+<a name = "page164" id = "page164"> </a>
+<!-- png 226 -->
+as each can be made to vary two or three degrees by changing the force
+of the breath. The tones produced by a breath of average force are
+indicated as nearly as may be in the accompanying scale. They will be
+found to occur nearer the lower than the upper limit of their ranges. It
+should be observed that the capacity for variation possessed by each of
+these notes enables the skilled performer to glide from one to the other
+without interruption. This instrument is, therefore, within its limited
+range, as capable of adjusting itself to any succession of intervals as
+is the trombone or the violin. I&nbsp;do not imagine, however, that the
+aboriginal performer made any systematic use of this power or that the
+instrument was purposely so constructed. It will be seen by reference to
+the scale that stopping the orifice in the end opposite the mouthpiece
+changes the notes half a tone, or perhaps, if accurately measured,
+a&nbsp;little less than that.</p>
+
+<p class = "illustration">
+<a name = "fig245" id = "fig245">&nbsp;</a><br>
+<img src = "images/fig245.png" width = "255" height = "286"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 245.</span> Top shaped instrument, with
+three finger holes, alligator ware&mdash;1/1.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig246" id = "fig246">&nbsp;</a><br>
+<img src = "images/fig246a.png" width = "126" height = "139"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>a</i></td>
+<td class = "illustration">
+<img src = "images/fig246b.png" width = "127" height = "128"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>b</i></td>
+<td class = "illustration">
+<img src = "images/fig246c.png" width = "128" height = "129"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>c</i></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "3">
+<span class = "smallcaps">Fig. 246.</span> Section and vertical views of
+instrument shown in Fig.&nbsp;245.</td>
+</tr>
+</table>
+
+<p class = "illustration">
+<img src = "images/music245.png" width = "154" height = "59"
+alt = "music notation"></p>
+
+<p class = "midi"><a href = "music/melody245.midi">Play</a></p>
+
+<p>Our collection contains several dozen three note whistles or pipes.
+Most of these represent animal forms, which are treated in a more or
+less realistic way, but with a decided tendency toward the grotesque.
+Nearly all are of small size, the largest, an alligator form, having a
+length of about eight inches. In the animal figures the air chamber is
+within the body, but does not conform closely to the exterior shape. The
+mouthpieces and the orifices are variously placed, to suit the fancy of
+the modeler, but the construction and the powers are pretty uniform
+throughout. There are two finger holes, placed in some cases at equal
+and in others at unequal distances from the mouthpiece, but they are
+always of equal size and produce identical notes. The capacity is
+therefore three notes. The lower is produced when all the orifices are
+open, the higher when all are closed, and the middle when one
+hole&mdash;no matter which&mdash;is closed.</p>
+
+<div class = "paragraph">
+Besides the animal forms there are a number of shapes copied from other
+musical instruments or from objects of art, such as vases. A&nbsp;very
+interesting specimen, illustrated in Fig.&nbsp;247, modeled in imitation
+<span class = "pagenum">165</span>
+<a name = "page165" id = "page165"> </a>
+<!-- png 227 -->
+of a drum, has not only the general shape of that instrument, but the
+skin head, with its bands and cords of attachment, is truthfully
+represented.
+<div class = "figfloat">
+<p class = "illustration">
+<img src = "images/music247.png" width = "77" height = "47"
+alt = "music notation"></p>
+
+<p class = "midi"><a href = "music/melody247.midi">Play</a></p>
+</div>
+A&nbsp;curious conceit is here observed in the association of the
+bird&mdash;a favorite form for the whistles&mdash;with the drum.
+A&nbsp;small figure of a bird extends transversely across the body of
+the drum chamber, the back being turned from the observer in the cut.
+The tail serves for a mouthpiece, while the finger holes are placed in
+the breast of the bird, the position usually assigned to them in simple
+bird whistles; its three notes are indicated in the accompanying
+scale:</div>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig247" id = "fig247">&nbsp;</a><br>
+<img src = "images/fig247.png" width = "190" height = "286"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig248" id = "fig248">&nbsp;</a><br>
+<img src = "images/fig248.png" width = "121" height = "218"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 247.</span> Drum shaped whistle of plain
+ware, with bird figure attached&mdash;1/1.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 248.</span> Vase shaped whistle, lost
+color ware&mdash;½.</td>
+</tr>
+</table>
+
+<div class = "figfloat">
+<p class = "illustration">
+<img src = "images/music248.png" width = "76" height = "59"
+alt = "music notation"></p>
+
+<p class = "midi"><a href = "music/melody248.midi">Play</a></p>
+</div>
+
+<p>One specimen is vase or pitcher shaped, with base prolonged for a
+mouthpiece and with a neat handle (Fig.&nbsp;248). The ground color is a
+dull red, upon which are traces of painted figures. Its notes are as
+follows:</p>
+
+<div class = "paragraph">
+A novel conceit is exhibited in the crab shaped instrument presented in
+Fig.&nbsp;249, which gives a back view of the animal. On the opposite
+side are four small conical legs, upon which the object rests as does a
+vase upon its tripod.
+<div class = "figfloat">
+<p class = "illustration">
+<img src = "images/music249.png" width = "75" height = "48"
+alt = "music notation"></p>
+
+<p class = "midi"><a href = "music/melody249.midi">Play</a></p>
+</div>
+The mouthpiece is in the right arm, beneath which is the sound hole. The
+two finger holes are in the
+<span class = "pagenum">166</span>
+<a name = "page166" id = "page166"> </a>
+<!-- png 228 -->
+back behind the eyes of the creature and a suspension hole is seen in
+the left arm. The painted designs are in red and black lines upon a
+yellowish gray ground. The following scale indicates its capacity:</div>
+
+<p class = "illustration">
+<a name = "fig249" id = "fig249">&nbsp;</a><br>
+<img src = "images/fig249.png" width = "309" height = "295"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 249.</span> Crab shaped whistle,
+alligator ware&mdash;1/1.</p>
+
+<div class = "figfloat">
+<p class = "illustration">
+<img src = "images/music250.png" width = "82" height = "41"
+alt = "music notation"></p>
+
+<p class = "midi"><a href = "music/melody250.midi">Play</a></p>
+</div>
+
+<p>The largest specimen in the collection, shown in Fig. 250, represents
+an alligator and is finished in the usual conventional style of the
+alligator group. The air chamber is large and the sounds emitted are
+full and melodious and are lower in pitch than those of any other
+instrument in the collection. The cavity in the mouth and head is
+separated from the body chamber, and, with the addition of earthern
+pellets, probably served as a rattle. The mouthpiece is in the tail and
+the finger holes are in the sides of the body.</p>
+
+<p class = "illustration">
+<a name = "fig250" id = "fig250">&nbsp;</a><br>
+<img src = "images/fig250.png" width = "487" height = "155"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 250.</span> Alligator shaped whistle,
+alligator ware&mdash;½.</p>
+
+<span class = "pagenum">167</span>
+<a name = "page167" id = "page167"> </a>
+<!-- png 229 -->
+<div class = "figfloat">
+<p class = "illustration">
+<img src = "images/music251.png" width = "77" height = "49"
+alt = "music notation"></p>
+
+<p class = "midi"><a href = "music/melody251.midi">Play</a></p>
+</div>
+
+<p>Mammals are very often reproduced in these instruments. What appears
+to be the ocelot or jaguar is the favorite subject.
+A&nbsp;representative specimen is shown in Fig.&nbsp;251. The mouthpiece
+is in the tail and one of the sound holes is in the left shoulder and
+the other beneath the body. The head is turned to one side and the face
+is decidedly cat-like in expression. The decoration is in black and red
+and may be taken as a typical example of the conventional treatment of
+the markings of the bodies of such animals. The tips of the ears, feet,
+and tail are red. Rows of red strokes, alternating with black, extend in
+a broad stripe from the point of the nose to the base of the neck. Red
+panels, inclosing rows of red dots and enframed by black lines, cross
+the back. On the sides we have oblong spaces filled in with the
+conventional devices so common in other animal representations. The legs
+are striped and dotted after the usual manner.</p>
+
+<p class = "illustration">
+<a name = "fig251" id = "fig251">&nbsp;</a><br>
+<img src = "images/fig251.png" width = "444" height = "291"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 251.</span> Cat shaped whistle, alligator
+ware&mdash;1/1.</p>
+
+<div class = "paragraph">
+A unique form, and one that will be looked at with interest by
+comparative ethnologists on account of the treatment of the tongues, is
+given in Fig.&nbsp;252. The instrument consists of an oblong body to
+which four ocelot heads are fixed, one at each end and the others at the
+sides.
+<div class = "figfloat">
+<p class = "illustration">
+<img src = "images/music252.png" width = "73" height = "41"
+alt = "music notation"></p>
+
+<p class = "midi"><a href = "music/melody252.midi">Play</a></p>
+</div>
+It rests upon four feet, in one of which the mouthpiece is placed. The
+finger holes are in the side of the body near the legs, as seen in the
+cut. The decoration, which consists of more or less conventional
+<span class = "pagenum">168</span>
+<a name = "page168" id = "page168"> </a>
+<!-- png 230 -->
+representations of the skin markings of the animal, is in black and red.
+Its notes are three, as follows:</div>
+
+<p class = "illustration">
+<a name = "fig252" id = "fig252">&nbsp;</a><br>
+<img src = "images/fig252.png" width = "434" height = "264"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 252.</span> Whistle with four ocelot-like
+heads, alligator ware&mdash;1/1.</p>
+
+<p>The prevalence of bird forms is due no doubt to the resemblance of
+the notes of primitive whistles to the notes of birds. The shape of the
+bird is also exceptionally convenient, as the body accommodates the air
+chamber, the tail serves as a mouthpiece, and the head is convenient for
+the attachment of a cord of suspension. A&nbsp;great variety of forms
+were modeled and range from the minute proportions of the smallest
+humming bird to those of a robin. The larger pieces represent birds of
+prey, such as hawks, eagles, and vultures, and the smaller are intended
+for parrots and song birds. The treatment is always highly conventional,
+yet in many cases the characteristic features of the species are
+forcibly presented. The painted devices have reference in most cases to
+the markings of the plumage, yet they partake of the geometric character
+of the designs used in ordinary vase painting. The ground is the usual
+yellowish gray of the slip, and nearly all the pieces belong to the lost
+color and alligator groups.</p>
+
+<div class = "figfloat">
+<p class = "illustration">
+<img src = "images/music253.png" width = "77" height = "51"
+alt = "music notation"></p>
+
+<p class = "midi"><a href = "music/melody253.midi">Play</a></p>
+</div>
+
+<p>A characteristic example is illustrated in Fig. 253. The head is
+large and flat and the painted devices are in the red and black of the
+lost color group. The three notes are as follows:</p>
+
+<span class = "pagenum">169</span>
+<a name = "page169" id = "page169"> </a>
+<!-- png 231 -->
+
+<p class = "illustration">
+<a name = "fig253" id = "fig253">&nbsp;</a><br>
+<img src = "images/fig253.png" width = "279" height = "223"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 253.</span> Bird shaped whistle, with
+decoration in black, lost color ware&mdash;1/1.</p>
+
+<div class = "figfloat">
+<p class = "illustration">
+<img src = "images/music254.png" width = "74" height = "49"
+alt = "music notation"></p>
+
+<p class = "midi"><a href = "music/melody254.midi">Play</a></p>
+</div>
+
+<p>The piece given in Fig. 254 has the shape and markings of a hawk or
+eagle. It belongs to the alligator ware and is elaborately finished
+<span class = "pagenum">170</span>
+<a name = "page170" id = "page170"> </a>
+<!-- png 232 -->
+in semigeometric devices in red and black. All of these devices refer
+more or less definitely to the markings of the plumage.</p>
+
+<p class = "illustration">
+<a name = "fig254" id = "fig254">&nbsp;</a><br>
+<img src = "images/fig254.png" width = "265" height = "347"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 254.</span> Bird shaped whistle, with
+conventional decoration in red and black, alligator ware&mdash;1/1.</p>
+
+<div class = "figfloat">
+<p class = "illustration">
+<img src = "images/music255.png" width = "74" height = "48"
+alt = "music notation"></p>
+
+<p class = "midi"><a href = "music/melody255.midi">Play</a></p>
+</div>
+
+<p>The example shown in Fig. 255 represents a bird with two heads, the
+shape and markings of which suggest one of the smaller song birds.</p>
+
+<p class = "illustration">
+<a name = "fig255" id = "fig255">&nbsp;</a><br>
+<img src = "images/fig255.png" width = "260" height = "230"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 255.</span> Two headed, bird shaped
+whistle, with conventional decoration in black, lost color
+ware&mdash;<ins class = "correction"
+title = ". missing">1/1.&nbsp;</ins></p>
+
+<p>I cannot say that the whistles were modeled and pitched with the idea
+of imitating the notes of particular birds, but it is possible for the
+practiced performer to reproduce the simpler songs and cries of birds
+with a good deal of accuracy.</p>
+
+<p class = "illustration">
+<a name = "fig256" id = "fig256">&nbsp;</a><br>
+<img src = "images/fig256.png" width = "199" height = "251"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 256.</span> Whistle in grotesque life
+form, with decorations in black and red, alligator ware&mdash;â…”.</p>
+
+<p>The human figure was occasionally utilized. The treatment, however,
+is extremely rude and conventional, the features having the
+<span class = "pagenum">171</span>
+<a name = "page171" id = "page171"> </a>
+<!-- png 233 -->
+peculiar squirrel-like character shown in the figurines already given.
+The unique piece given in Fig.&nbsp;256 represents a short, clumsy
+female figure with a squirrel face, carrying a vessel upon her back by
+means of a head strap, which is held in place by the hands. The
+mouthpiece of the whistle is in the right elbow and one sound hole is in
+the middle of the breast and the other in the left side. The costume and
+some of the details of anatomy are indicated by red and black lines in
+the original. Its notes are the same as those presented with <a href =
+"#fig249">Fig.&nbsp;249</a>.</p>
+
+
+<h4><a name = "objects_life" id = "objects_life">
+LIFE FORMS IN VASE PAINTING.</a></h4>
+
+<p>This section is to be devoted to a short study of the decorative
+system of the ancient Chiriquians, and more especially to a
+consideration of the treatment of life forms in vase painting. Many of
+the finest examples of these designs, so far as execution and effect in
+embellishment are concerned, have already been given; but it is
+desirable now to select and arrange a series to illustrate origins and
+processes of growth or modification.</p>
+
+<p>Elements of ornament flow into the ceramic art from a number of
+sources, but chiefly in two great currents: the one from art, and
+consisting chiefly of technical or mechanically produced phenomena, and
+hence geometric, and the other from nature, and carrying elements
+primarily delineative, and hence non-geometric. When once within the
+realm of decoration the various motives or elements are subject to
+modification by two classes of influences or conditioning forces: the
+technical restraints of the art and the esthetic forces of the human
+mind. Mechanical and geometric elements, although born within the art or
+its associated arts, are modified in the processes of adaptation to the
+changing requirements and conditions of the art and through the tendency
+towards elaboration under the guidance of the esthetic forces; left by
+themselves they remain, throughout all changes of use and modification
+of form, purely geometric. Imitative elements tend, under the same
+influences, to move in the direction of the unreal or geometric. In this
+way the realistic forms undergo marked changes, gradually assuming a
+geometric character and finally losing all semblance of nature.</p>
+
+<p>Now it must be noted that the decorations of any group of art
+products may embody both classes of elements or they may be restricted
+rather closely to either. This fact enables us to account for many of
+the strongly marked distinctions observed in the decorative systems of
+different communities, races, and times. In a recent study of ancient
+Pueblo art I traced the decoration to a mechanical origin, mainly in the
+art of basketry, and thus accounted for its highly geometric character.
+Chiriquian art presents a strong contrast to this, as the great body of
+elements are manifestly derived from nature by delineative imitation. It
+was further observed in Pueblo art that as
+<span class = "pagenum">172</span>
+<a name = "page172" id = "page172"> </a>
+<!-- png 234 -->
+time went on life forms were little by little introduced into its
+decoration and that in recent times they shared the honors equally with
+the primitive geometric forms. In Chiriquian art we find but meager
+traces of a primitive geometric system, and conclude that either the
+earliest art of the people did not give rise to such a system or that
+the graphic motives, entering gradually and steadily multiplying,
+supplanted the archaic forms, finally usurping nearly the entire field.
+As noticed in the preceding sections, there is always a certain amount
+of geometricity in the arrangement and the enframing of the designs, as
+well as a certain degree of convention in the treatment of even the most
+graphic motives; but these characters may be due to the restraining
+conditions of the art, rather than to the survival of original or
+ancestral features or characters.</p>
+
+<p>In beginning the study of Chiriquian decorative art I found it
+impossible to approach the subject advantageously from the geometric
+side, as was done in the Pueblo study, since life elements so thoroughly
+permeate every part of it. I&nbsp;have, therefore, turned about, and in
+the following study present first the more realistic delineations of
+nature, arranging long series of derivative shapes which descend through
+increasing degrees of convention to purely geometric forms. These
+remarks relate wholly to the plan or linear arrangement of the
+motives.</p>
+
+<p>As to method of realization, ceramic ornament may be arranged in two
+classes: the plastic or relieved and the non-plastic or flat. Life forms
+are freely rendered by both plastic and non-plastic methods, and in
+either style may range from the highly realistic to the purely
+geometric. As shown in a preceding section, plastic life forms in
+Chiriquian art appear to have been subject to two divergent lines of
+thought, the one trivial and the other serious. Through the one we have
+grotesque and perhaps even humorous representations of men and of
+animals. The figures are attached to the vessels for the
+purpose&mdash;perhaps for the exclusive purpose&mdash;of embellishment,
+and often with excellent success, as judged by our own standards of
+taste. The other deals with plastic representations apparently of a
+serious nature, although utilized also for embellishment. The animal
+forms employed are treated in a way to suggest that in the mind of the
+artist the creature bore a definite relation to the vessel or its use,
+a&nbsp;relationship originating in superstition and preserved throughout
+all changes of form. Their office was symbolic, and this office was
+probably not always lost sight of by the potter, even though, through
+the forces of convention, the animal shapes were reduced to mere knobs,
+ridges, or even to painted devices.</p>
+
+<p>In color delineations, although the same subjects are to a great
+extent employed, there is necessarily greater constraint&mdash;there is
+less freedom as well as less vigor in the presentation of natural forms.
+There is apparently no attempt at the grotesque or amusing. The
+<span class = "pagenum">173</span>
+<a name = "page173" id = "page173"> </a>
+<!-- png 235 -->
+variants are practically infinite. The work is more purely decorative
+and is perhaps less subject to the restraints of associated ideas and of
+use with particular vessels or in definite relations to other features
+of the vessel. At the same time it is manifest that these painted
+figures are not all merely meaningless decorations, but that many,
+throughout all degrees of modification, refer with greater or less
+clearness to natural originals, to ideas associated with these
+originals, or to the relationship of these originals to the vessel and
+its uses.</p>
+
+<p>It is clear, however, that a considerable body of nature-derived
+elements, plastic and painted, are employed as simple embellishments,
+having no other function. This suggests the separation of all
+decorations into two grand divisions, based upon the kind of thoughts
+associated with them. These divisions may be designated as significant
+and non-significant, the term significant referring not to the mere
+identification of a device with an original form or to its office as an
+ornament, but to its symbolism, to its mystic relation with the vessel
+and its uses. But I have to do here with the forms taken by motives,
+with their morphology rather than with their signification, as the
+latter must, with reference to archæologic material, remain greatly
+speculative.</p>
+
+<p>In the application of life forms in vase painting several classes of
+modifying and constraining agencies of a technical nature are present,
+and the following examples are grouped with the idea of defining these
+classes of forces and keeping them in a measure distinct.</p>
+
+<p class = "illustration">
+<a name = "fig257" id = "fig257">&nbsp;</a><br>
+<img src = "images/fig257.png" width = "281" height = "82"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 257.</span> Graphic delineation of the
+alligator, from a vase of the lost color group.</p>
+
+<p>Of all the animal forms utilized by the Chiriquians the alligator is
+the best suited to the purpose of this study, as it is presented most
+frequently and in the most varied forms. In Figs. 257 and 258 I
+reproduce drawings from the outer surface of a tripod bowl of the lost
+color group. Simple and formal as these figures are, the characteristic
+<span class = "pagenum">174</span>
+<a name = "page174" id = "page174"> </a>
+<!-- png 236 -->
+features of the creature&mdash;the sinuous body, the strong jaws, the
+upturned snout, the feet, and the scales&mdash;are forcibly expressed.
+It is not to be assumed that these examples represent the best
+delineative skill of the Chiriquian artist. The native painter must have
+executed very much superior work upon the more usual delineating
+surfaces, such as bark and skins. The examples here shown have already
+experienced decided changes through the constraints of the ceramic art,
+but are the most graphic delineations preserved to us. They are free
+hand products, executed by mere decorators, perhaps by women, who were
+servile copyists of the forms employed by those skilled in sacred
+art.</p>
+
+<p class = "illustration">
+<a name = "fig258" id = "fig258">&nbsp;</a><br>
+<img src = "images/fig258.png" width = "317" height = "101"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 258.</span> Graphic delineation of the
+alligator, from a vase of the lost color group.</p>
+
+<p>A third illustration from the same group of ware, given in
+Fig.&nbsp;259, shows, in some respects, a&nbsp;higher degree of
+convention. The scales are here represented by triangular dentals, which
+occupy the entire length of the back. These dentals are filled with the
+round dots that stand singly in the preceding cases.</p>
+
+<p class = "illustration">
+<a name = "fig259" id = "fig259">&nbsp;</a><br>
+<img src = "images/fig259.png" width = "336" height = "128"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. <ins class = "correction"
+title = ". missing">259.</ins></span> Conventional alligator, from the
+lost color ware.</p>
+
+<span class = "pagenum">175</span>
+<a name = "page175" id = "page175"> </a>
+<!-- png 237 -->
+<p>In another class of ware&mdash;the alligator group&mdash;the
+treatment is quite different, being decidedly more clumsy and realized
+by distinct processes; but prominence is given to a number of
+corresponding features. The strong curve of the back, the dentals and
+dots, and the muzzle and mouth refer apparently to the same creature.
+The curiously marked panel in the body of the last example is a unique
+feature, which appears, however, in a few other cases.</p>
+
+<p class = "illustration">
+<a name = "fig260" id = "fig260">&nbsp;</a><br>
+<img src = "images/fig260.png" width = "316" height = "127"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 260.</span> Style of convention in the
+alligator group of ware.</p>
+
+<p>These drawings occur upon the sides of vases, alternating with the
+plastic features, and are perhaps generally associated with such
+features in the expression of some mythical idea.</p>
+
+<p class = "illustration">
+<a name = "fig261" id = "fig261">&nbsp;</a><br>
+<img src = "images/fig261.png" width = "330" height = "168"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 261.</span> Style of convention in the
+alligator group of ware.</p>
+
+<p>The modeled creature is often represented with two heads instead of
+with a head and a tail, and the painted forms, in many cases, exhibit
+the same peculiarity as shown in Fig.&nbsp;262. I&nbsp;surmise that the
+employment of two heads arises from the need of securing perfect balance
+of parts rather than as an original product of the imagination.</p>
+
+<p class = "illustration">
+<a name = "fig262" id = "fig262">&nbsp;</a><br>
+<img src = "images/fig262.png" width = "339" height = "123"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 262.</span> Two headed form of the
+alligator.</p>
+
+<p>It will be interesting, as additional examples are presented, to note
+the effect of modification upon particular features of the animal, to
+observe how some come into prominence, representing the creature and the
+idea, while others fall into disuse and disappear. In nature the line of
+the body is perhaps the most strongly characteristic feature, and it is
+in art the most persistent. It survives in the stems of many
+conventional devices from which all other suggestions of the animal have
+vanished.</p>
+
+<p class = "illustration">
+<a name = "fig263" id = "fig263">&nbsp;</a><br>
+<img src = "images/fig263.png" width = "244" height = "149"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 263.</span> Figure of the alligator much
+simplified.</p>
+
+<p>The following examples depart still further from nature, approaching
+the border line between the distinctly imitative and the purely
+conventional or geometric phases. In the first (Fig.&nbsp;263) all the
+leading features are recognizable, but are very much simplified. The
+<span class = "pagenum">176</span>
+<a name = "page176" id = "page176"> </a>
+<!-- png 238 -->
+jaws are without teeth, the head is without eyes, and the body without
+indication of scales. The other example (Fig.&nbsp;264) is of a somewhat
+different type and may possibly refer to some other reptilian form, but
+many links connecting the two are found. The shape is more angular and
+is a step further removed from nature. From shapes as conventional as
+this we drop readily into purely geometric forms, as will be seen
+further on. These and the preceding drawings are all executed on broad
+surfaces, where fancy could have free play. The modifying or
+conventionalizing forces are, therefore, quite vague. Variation from
+natural forms is due partly to a lack of skill on the part of the
+painter, partly to the peculiar demands of ceramic embellishment, and
+partly to the traditional style of treatment acquired in still more
+primitive stages of culture and in other and unidentified branches of
+art.</p>
+
+<p class = "illustration">
+<a name = "fig264" id = "fig264">&nbsp;</a><br>
+<img src = "images/fig264.png" width = "252" height = "99"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 264.</span> The alligator much modified
+by ceramic influences.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig265" id = "fig265">&nbsp;</a><br>
+<img src = "images/fig265.png" width = "170" height = "91"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 265.</span></td>
+<td class = "illustration">
+<a name = "fig266" id = "fig266">&nbsp;</a><br>
+<img src = "images/fig266.png" width = "85" height = "86"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 266.</span></td>
+</tr>
+<tr>
+<td class = "illustration" colspan = "2">
+<a name = "fig267" id = "fig267">&nbsp;</a><br>
+<img src = "images/fig267.png" width = "342" height = "132"
+alt = "see caption"><br>
+&nbsp;<br>
+<span class = "smallcaps">Fig. 267.</span></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+Illustrations of the influence of the shape of spaces upon the
+delineation of animal forms.</td>
+</tr>
+</table>
+
+<p>I shall now call attention to some important individualized or well
+defined agencies of convention. First, and most potent, may be mentioned
+the enforced limits of the spaces to be decorated, which spaces take
+shape independently of the subject to be inserted. When the figures must
+occupy a narrow zone they are elongated, when they must occupy a square
+they are restricted longitudinally, and when they must occupy a circle
+they are of necessity coiled up. Fig.&nbsp;265
+<span class = "pagenum">177</span>
+<a name = "page177" id = "page177"> </a>
+<!-- png 239 -->
+illustrates the effect produced by crowding the oblong figure into a
+short rectangular space. The head is turned back over the body and the
+tail is thrown down along the side of the space. In Fig.&nbsp;266 the
+figure occupies a circle, and is in consequence closely coiled up,
+giving the effect of a serpent rather than an alligator. In
+Fig.&nbsp;267 the space is semicircular, and we observe peculiar
+conventional conditions, some of which may be due to other causes. For
+example, such spaces may originally have been filled with purely
+geometric figures, which tended to impart their own characters to the
+life forms that supplanted them.</p>
+
+<p class = "illustration">
+<a name = "fig268" id = "fig268">&nbsp;</a><br>
+<img src = "images/fig268.png" width = "271" height = "125"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 268.</span> Delineation retaining but
+slight traces of the life form.</p>
+
+<p class = "illustration">
+<a name = "fig269" id = "fig269">&nbsp;</a><br>
+<img src = "images/fig269.png" width = "295" height = "142"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 269.</span> Delineation retaining but
+slight traces of the life form.</p>
+
+<p class = "illustration">
+<a name = "fig270" id = "fig270">&nbsp;</a><br>
+<img src = "images/fig270.png" width = "253" height = "98"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 270.</span> Delineation retaining but
+slight traces of the life form.</p>
+
+<p>Now, it often happens that, as in the last example given, the animal
+form, literally rendered, does not fill the panels satisfactorily. The
+head and the tail do not correspond and there is a lack of balance. In
+such cases two heads have been preferred. The body is given a uniform
+double curve and the heads are turned down, as shown in Figs. 268 and
+269, or one may turn up and the other down, as seen in Fig.&nbsp;270.
+The two headed form may also arise from imitation of plastic forms, as I
+have already shown. The example given
+<span class = "pagenum">178</span>
+<a name = "page178" id = "page178"> </a>
+<!-- png 240 -->
+in Fig.&nbsp;268 is extremely interesting on account of its complexity
+and the novel treatment of the various features. The two feet are placed
+close together near the middle of the curved body, and on either side of
+these are the under jaws turned back and armed with dental projections
+for teeth. The characteristic scale symbols occur at intervals along the
+back; and very curiously at one place, where there is scant room, simple
+dots are employed, showing the identity of these two characters. Some
+curious auxiliary devices, the origin of which is obscure, are used to
+fill in marginal spaces. The shape given in Fig.&nbsp;269 is so highly
+modified that it is not recognizable as an animal form, excepting
+through a series of links connecting it with more realistic
+delineations. It is perfectly symmetrical and consists of a compound
+curve for the body, with hooks at the extremities and two appended hooks
+for legs. The spots symbolizing the scales are here placed within the
+body, showing another step toward complete annihilation of the natural
+forms and relations. Three additional examples, showing still higher
+degrees of convention, are presented in Figs. 271, 272, and 273. The
+series could be filled up and continued indefinitely, connecting the
+whole family of devices in which <ins class = "correction" title =
+"spelling unchanged: expected form is ‘dentils’">dentals</ins>, hooks,
+spots, and circles occur with the alligator radical or with other
+reptilian forms confused with the alligator through the carelessness or
+ignorance of the decorator. <!--I do not want to be a decorator --></p>
+
+<p class = "illustration">
+<a name = "fig271" id = "fig271">&nbsp;</a><br>
+<img src = "images/fig271.png" width = "240" height = "110"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 271.</span> Highly conventionalized
+alligator derivative.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig272" id = "fig272">&nbsp;</a><br>
+<img src = "images/fig272.png" width = "189" height = "104"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig273" id = "fig273">&nbsp;</a><br>
+<img src = "images/fig273.png" width = "180" height = "150"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 272.</span> Highly conventionalized
+alligator derivative.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 273.</span> Highly conventionalized
+alligator derivative.</td>
+</tr>
+</table>
+
+<p>In looking over a large series of the vases it will be seen that the
+tendency of decoration is toward the zonal arrangement, the spaces
+<span class = "pagenum">179</span>
+<a name = "page179" id = "page179"> </a>
+<!-- png 241 -->
+being narrow and long, even when divided into the usual number of
+panels. As a consequence the motives tend to take linear forms. Parts
+are repeated or greatly drawn out to fill the spaces. This phase of
+conventional evolution may be illustrated by a multitude of
+examples.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig274" id = "fig274">&nbsp;</a><br>
+<img src = "images/fig274a.png" width = "159" height = "55"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>a</i></td>
+<td class = "illustration">
+<img src = "images/fig274b.png" width = "164" height = "40"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>b</i></td>
+</tr>
+<tr>
+<td class = "illustration">
+<img src = "images/fig274c.png" width = "157" height = "42"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>c</i></td>
+<td class = "illustration">
+<img src = "images/fig274d.png" width = "154" height = "40"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>d</i></td>
+</tr>
+<tr>
+<td class = "illustration">
+<img src = "images/fig274e.png" width = "169" height = "41"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>e</i></td>
+<td class = "illustration">
+<img src = "images/fig274f.png" width = "180" height = "34"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>f</i></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+<span class = "smallcaps">Fig. 274.</span> Series of forms showing
+modification through use in narrow zones.</td>
+</tr>
+</table>
+
+<p>Beginning with an ordinary form in Fig. 274, <i>a</i>, we advance
+under the restraint of parallel border lines through the series, ending
+in a simple meander, <i>f</i>, the spaces about which are, however,
+filled out with the conventional scale symbols, the triangles inclosing
+dots. Thus we witness the transformation of the life form into a linear
+device, in which the flexures of the body are emphasized and multiplied
+without reference to nature, and there is little doubt that the series
+continues further, ending with simple curved lines and even with
+straight lines unaccompanied by auxiliary devices.</p>
+
+<p class = "illustration">
+<a name = "fig275" id = "fig275">&nbsp;</a><br>
+<img src = "images/fig275.png" width = "379" height = "123"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 275.</span> Running ornaments composed of
+life elements.</p>
+
+<p>Next to the body line the most important of the alligator derivatives
+is the notched or dotted hook, which in the lost color group stands
+sometimes for the whole creature, but more frequently for one or more of
+the members of its body, the snout, the tail, or the feet. It is
+employed singly or in various arrangements suited to the shape of the
+spaces to be filled or occurs in connection with the body line or stem,
+where, by systematic repetition, it serves to fill the triangular
+interspaces. Take, for example, an ornament (Fig.&nbsp;275) which
+encircles the shoulder of a handsome vase of the
+<span class = "pagenum">180</span>
+<a name = "page180" id = "page180"> </a>
+<!-- png 242 -->
+lost color group. The space is neatly filled with groupings in which the
+simple life coil elements are joined one to another in such a way as to
+give somewhat the effect of an ordinary running ornament. The same
+motive takes a different form in Fig.&nbsp;276, which is part of the
+decorated zone of an earthen drum (see <a href =
+"#fig235">Fig.&nbsp;235</a>). Here the body of the creature is
+represented by a wide meandered line, and to this the notched or
+scalloped hooks are attached with perfect regularity, one to each angle
+of the meandered body. In other examples the angular geometric character
+extends to every part of the detail and the curved hooks lose their last
+suggestion of nature and are entirely dropped or used separately.</p>
+
+<p class = "illustration">
+<a name = "fig276" id = "fig276">&nbsp;</a><br>
+<img src = "images/fig276.png" width = "365" height = "109"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 276.</span> Running ornaments composed of
+life motives.</p>
+
+<p>The rings, strokes, spots, and dentate figures that serve to
+represent the markings and scales of the reptile are among the most
+important of the derivative devices and occur in varied relations to
+other classes of derivatives. They also occur independently, either
+singly or in groupings. Thus we see that the alligator, in Chiriquian
+vase painting, is represented by an endless list of devices, and it is
+interesting to note that among these are several figures familiar to the
+civilized world in both symbolism and ornament.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig277" id = "fig277">&nbsp;</a><br>
+<img src = "images/fig277a.png" width = "140" height = "40"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>a</i></td>
+<td class = "illustration">
+<img src = "images/fig277b.png" width = "82" height = "41"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>b</i></td>
+<td class = "illustration">
+<img src = "images/fig277c.png" width = "98" height = "40"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>c</i></td>
+<td class = "illustration">
+<img src = "images/fig277d.png" width = "94" height = "41"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>d</i></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "4">
+<span class = "smallcaps">Fig. 277.</span> Series of derivatives of the
+alligator showing stages of simplification.</td>
+</tr>
+</table>
+
+<p>I present five series of figures designed to illustrate the stages
+through which life forms pass in descending from the realistic to highly
+specialized conventional shapes. In the first series (Fig.&nbsp;277), we
+begin with a meager but graphic sketch of the alligator; the second
+figure is hardly less characteristic, but is much simplified; in the
+third we have still three leading features of the creature: the body
+line, the spots, and the stroke at the back of the head; and in the
+fourth nothing remains but a compound, yoke-like curve, standing for the
+body of the creature, and a single dot.</p>
+
+<p class = "illustration">
+<a name = "fig278" id = "fig278">&nbsp;</a><br>
+<img src = "images/fig278.png" width = "438" height = "182"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 278.</span> Series showing stages in the
+simplification of animal characters.</p>
+
+<p>The figures of the second series (Fig. 278) are nearly all painted
+upon low round nodes placed about the body of the alligator vases and
+hence are inclosed in circles (see <a href =
+"#fig197">Fig.&nbsp;197</a>). The animal figure
+<span class = "pagenum">181</span>
+<a name = "page181" id = "page181"> </a>
+<!-- png 243 -->
+in the first example is coiled up like a serpent, but still preserves
+some of the well known characters of the alligator. In the second
+example we have a double hook near the center of the space which takes
+the place of the body, but the dotted triangles are placed separately
+against the encircling line. In <ins class = "correction" title =
+"text reads ‘he’">the</ins> next figure the body symbol is omitted and the
+three triangles remain to represent the animal. In the fourth there are
+four triangles, and the body device, being restored in red, takes the
+form of a cross. In the fifth two of the inclosing triangles are omitted
+and the idea is preserved by the simple dots. In the sixth the dots are
+placed within the bars of the cross, the triangles becoming mere
+interspaces; and in the seventh the dots form a line between the two
+encircling lines. This series could be filled up by other examples, thus
+showing by what infinitesimal steps the transformations take place. The
+round nodes upon which these medallion-like figures are drawn are
+survivals of the heads or other parts of animals originally modeled in
+the round, but in the processes of manufacture partially or wholly
+atrophied. It was sought to preserve the idea of the creature by the use
+of painted details, but these, as we have seen, were also in time
+reduced to formal marks, symbols doubtless in many cases of the
+conception to which the original plastic form referred.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig279" id = "fig279">&nbsp;</a><br>
+<img src = "images/fig279a.png" width = "133" height = "38"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>a</i></td>
+<td class = "illustration">
+<img src = "images/fig279b.png" width = "236" height = "56"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>b</i></td>
+</tr>
+<tr>
+<td class = "illustration">
+<img src = "images/fig279c.png" width = "209" height = "53"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>c</i></td>
+<td class = "illustration">
+<img src = "images/fig279d.png" width = "127" height = "45"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>d</i></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+<span class = "smallcaps">Fig. 279.</span> The scroll and fret derived
+from the body line of the alligator.</td>
+</tr>
+</table>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig280" id = "fig280">&nbsp;</a><br>
+<img src = "images/fig280a.png" width = "154" height = "63"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>a</i></td>
+<td class = "illustration">
+<img src = "images/fig280b.png" width = "198" height = "58"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>b</i></td>
+</tr>
+<tr>
+<td class = "illustration">
+<img src = "images/fig280c.png" width = "181" height = "52"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>c</i></td>
+<td class = "illustration">
+<img src = "images/fig280d.png" width = "167" height = "44"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>d</i></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">
+<span class = "smallcaps">Fig. 280.</span> Devices derived from drawings
+of parts of the life form.</td>
+</tr>
+</table>
+
+<p>The derivation of the fret and scroll&mdash;most admired of the
+decorative motives of numerous races&mdash;has been a fruitful source of
+discussion. The vase painting of Chiriqui serves to throw new light upon
+the subject. We learn by the series of steps illustrated in the annexed
+cuts that the alligator radical, under peculiar restraints and
+influences, assumes conventional forms that merge imperceptibly into
+these classic devices. In the third series given (Fig.&nbsp;279) the
+first figure is far removed from the realistic stage of representation,
+but it is one of the ordinary conventional guises of the alligator.
+Other still more conventional forms are seen in the three succeeding
+figures, the last of which is a typical rectangular fret link known and
+used by most nations of moderate culture. The derivatives in nearly all
+<span class = "pagenum">182</span>
+<a name = "page182" id = "page182"> </a>
+<!-- png 244 -->
+the preceding figures can be traced back to the body of the creature as
+a root, but there are many examples which seem to have come from the
+delineation of a part of the creature, as the head, foot, eye, or
+scales&mdash;abbreviated representatives of the whole creature. Such
+parts, assuming the role of radicals, pass also through a series of
+modifications, ending in purely geometric devices in the manner
+indicated in the following or fourth series of examples (Fig.&nbsp;280).
+In the first cut we have what appears to be the leg and foot of the
+favorite reptile, and following this are other forms that seem to refer
+to the same feature. Additional examples are shown in Figs. 281 and 282,
+which, while they doubtless arose more or less directly from the life
+form, are not so readily traceable through less conventional
+antecedents. The first forms part of the incised ornament of a small
+vase or needlecase and the second is a section of the zonal ornament of
+the tripod cup illustrated in <a href = "#fig203">Fig.&nbsp;203</a>, by
+reference to which it will be seen that the zone of devices serves to
+connect the head and the tail of the reptile, which are modeled as a
+part of the vase; the devices
+<span class = "pagenum">183</span>
+<a name = "page183" id = "page183"> </a>
+<!-- png 245 -->
+therefore represent the markings of the creature’s body, although they
+may originally have been derived from the figure of the whole or a part
+of the animal rather than from the markings of the skin. In other
+examples still more highly conventional figures are found to hold the
+same relation to the plastic representation of the extremities of the
+creature. They include the meander, the scroll, the fret, and the
+guilloche. We find that in the stone metates of many parts of Central
+America, nearly all of which are carved to imitate the puma, the head
+and tail of the creature are connected by bands of similar devices that
+encircle the margin of the mealing plate (see <a href =
+"#fig9">Fig.&nbsp;9</a>). The alligator form is therefore not
+necessarily the originator of all such devices. It is probable that any
+animal form extensively used by such lovers of decoration as the ancient
+inhabitants of Central America would be found thus interwoven with
+decoration. These considerations will serve to widen our views upon the
+origin and development of especial devices. As it now stands we are
+absolutely certain that no race, no art, no motive or element in nature
+or in art can claim the exclusive origination of any one of the well
+known or standard conventional devices, and that any race, art, or
+individual motive is capable of giving rise to any and to all such
+devices. Nothing can be more absurd than to suppose that the
+signification or symbolism attaching to a given form is uniform the
+world over, as the ideas associated with each must vary with the
+channels through which they were developed.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration">
+<a name = "fig281" id = "fig281">&nbsp;</a><br>
+<img src = "images/fig281.png" width = "121" height = "36"
+alt = "see caption"></td>
+<td class = "illustration">
+<a name = "fig282" id = "fig282">&nbsp;</a><br>
+<img src = "images/fig282.png" width = "130" height = "31"
+alt = "see caption"></td>
+</tr>
+<tr>
+<td class = "caption">
+<span class = "smallcaps">Fig. 281.</span> Devices incised in a
+needlecase.</td>
+<td class = "caption">
+<span class = "smallcaps">Fig. 282.</span> Devices representing the
+markings of a reptile’s body.</td>
+</tr>
+</table>
+
+<p>Other classes of geometric figures, derived chiefly from scale or
+skin markings, are given in the fifth series. In more realistic phases
+of representation the dentate and dotted devices are ranged along the
+body of the creature, as in nature, but as convention progresses they
+are used independently to fill up spaces, to form the septa of panels,
+&amp;c. Many illustrations appear in the preceding pages and additional
+examples are given in Fig.&nbsp;283. It is possible that these devices
+come from delineations of a number of distinct animal forms; but in the
+higher stages of convention confusion cannot be avoided, and must have
+existed to some extent in the mind of the decorator; they serve,
+however, to illustrate the stages of simplification through which all
+forms extensively used for a long period must pass. The laws of
+derivation, modification, and application in art are the same in
+all.</p>
+
+<table class = "picture">
+<tr>
+<td class = "illustration" colspan = "2">
+<a name = "fig283" id = "fig283">&nbsp;</a><br>
+<img src = "images/fig283a.png" width = "120" height = "46"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>a</i></td>
+<td class = "illustration" colspan = "2">
+<img src = "images/fig283b.png" width = "100" height = "47"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>b</i></td>
+<td class = "illustration">
+<img src = "images/fig283c.png" width = "64" height = "40"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>c</i></td>
+<td></td>
+</tr>
+<tr>
+<td class = "illustration">
+<img src = "images/fig283d.png" width = "71" height = "40"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>d</i></td>
+<td class = "illustration" colspan = "2">
+<img src = "images/fig283e.png" width = "61" height = "38"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>e</i></td>
+<td class = "illustration">
+<img src = "images/fig283f.png" width = "69" height = "39"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>f</i></td>
+<td class = "illustration">
+<img src = "images/fig283g.png" width = "70" height = "15"
+alt = "see caption"><br>
+&nbsp;<br>
+<i>g</i></td>
+</tr>
+<tr>
+<td class = "caption" colspan = "5">
+<span class = "smallcaps">Fig. 283.</span> Conventional figures derived
+from the markings of the bodies of animals.</td>
+</tr>
+</table>
+
+<span class = "pagenum">184</span>
+<a name = "page184" id = "page184"> </a>
+<!-- png 246 -->
+<p>It has now been shown that life forms and their varied derivatives
+constitute the great body of Chiriquian decorative motives; that when
+first introduced the delineations are more or less realistic, according
+to the skill of the artist or the demands of the art; but that in time,
+by a long series of abbreviations and alterations, they descend to
+simple geometric forms in which all visible connection with the
+originals is lost. The agencies through which this result is
+accomplished are chiefly the mechanical restraints of the art acting
+independently of voluntary modification and without direct exercise of
+esthetic desire.</p>
+
+<p>There may be forces at work of which we find no clear indications.
+Some of the conventional forms into which life forms are found to grade
+may be survivals of forms originating in other regions and belonging to
+other cultures which have through accidents of contact imposed
+themselves upon Chiriquian art; such are the scroll, the fret, and the
+guilloche; but the thorough manner in which such forms are interwoven
+with purely Chiriquian conceptions makes it impossible to substantiate
+such a theory. The conclusion most easily and most naturally reached is
+that all are probably indigenous to Chiriqui, and hence the striking
+deduction that <i>the processes of modification inherent in the art are
+of such a nature that any animal form extensively used in decoration may
+give rise to any or all of the highly conventional forms of
+ornament</i>.</p>
+
+<p>During the progress of this study a question has frequently been
+raised as to the extent to which the memory of the creature original or
+of its symbolism in first use was kept alive in the mind of the
+decorator. It is a well established fact that primitive peoples
+habitually invest inanimate objects with the attributes of living
+creatures. Thus the vessel, from the time it assumes individual shape
+and is fitted to perform a function, is thought of as a living being,
+and by the addition of plastic or painted details it becomes a
+particular creature, an alligator, a&nbsp;fish, or a puma, each of which
+is in most cases the symbol of some mythologic concept. When, through
+the changes of convention in infinite repetition, all resemblance to
+individual creatures was lost and mere knobs or simple geometric figures
+occupied the surface of the vessel, there is little doubt that many of
+these features still recalled to the mind of the potter the ultimate
+originals and the conceptions of which they were the representatives,
+and that others represented ideas, the outgrowth of or a development
+from primary ideas, while still others had acquired entirely new ideas
+from without. It cannot be denied, however, that there does come a time
+in the history of vase painting at which such associated ideas become
+vague and are lost and elements formerly significant are added and
+combinations of them are made for embellishment alone, without reference
+to meaning or appropriateness; but I am inclined to place this period a
+very long way from the initiatory stages of the art. It
+<span class = "pagenum">185</span>
+<a name = "page185" id = "page185"> </a>
+<!-- png 247 -->
+may not be possible to find evidence of the arrival of this period, as
+it is not necessarily marked by any loss of unity or
+consistency&mdash;striking characteristics of ancient American art; for
+such is the conservatism of indigenous methods that, unless there be
+forcible intrusion of exotic art, original forms and groupings may be
+perpetuated indefinitely and remain much the same in appearance after
+the associated ideas are modified or lost.</p>
+
+<p class = "illustration">
+<a name = "fig284" id = "fig284">&nbsp;</a><br>
+<img src = "images/fig284.png" width = "199" height = "184"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 284.</span> Vase with decorated zone
+containing remarkable devices&mdash;â…“.</p>
+
+<p class = "illustration">
+<a name = "fig285" id = "fig285">&nbsp;</a><br>
+<img src = "images/fig285.png" width = "424" height = "35"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Fig. 285.</span> Series of twelve conventional
+devices from the decorated zone of a vase.</p>
+
+<p>In our study of the forms and meanings of these devices it should not
+be forgotten that collateral branches of art are also simultaneously
+employing the same motives and reducing them through other similar
+classes of conventionalizing forces to corresponding forms. Recording
+arts&mdash;pictography, hieroglyphic and phonetic writing&mdash;carry
+life forms through all degrees of abbreviation and change, and all
+ceremonial and all domestic arts with which such forms are associated do
+the same; and it is not impossible that many conventional forms found
+upon pottery are borrowed outright from the other arts. It will be
+impossible to detect these borrowed elements unless very literally
+transferred from some art the style of which is well known. It would be
+comparatively easy to identify literal borrowings from phonetic art or
+even from hieroglyphic art, as the form and arrangement of the devices
+are quite unlike those observed in pure decoration. We do not know that
+Chiriquian culture had achieved a hieroglyphic or a phonetic system of
+writing, but it is worth while to call attention to the form and the
+manner of employment of some of the devices found upon the pottery. In
+Fig.&nbsp;284 I present an outline drawing of a vase, the shoulder of
+which is encircled by a broad zone of decoration. This zone is divided
+into panels by oblique lines. A&nbsp;row of rectangular compartments
+extends along the middle of the band and rows of triangular spaces occur
+at the sides. Each space is
+<span class = "pagenum">186</span>
+<a name = "page186" id = "page186"> </a>
+<!-- png 248 -->
+occupied by a device having one or more features suggesting a pictorial
+original and doubtless derived from one. In the main row there are
+twelve figures, no two of which are identical. Although we are unable to
+show that any of these characters had other than a purely decorative
+use, we see how richly the ancient peoples were supplied, through the
+conventionalizing agencies of the art, with devices that could have been
+employed as ideograms and letters where such were needed, and devices,
+too, that, from their derivation and use in the art, must in most cases
+have had ideas associated with them.</p>
+
+
+<h3><a name = "resume" id = "resume">RÉSUMÉ.</a></h3>
+
+<p>A brief summary of the more salient points of interest dwelt upon in
+this paper may very appropriately be given in this place. We find that a
+limited area&mdash;a small and obscure province of the isthmian
+region&mdash;possesses a wonderful wealth of art products the character
+of which indicates a long period of occupation by peoples of
+considerable culture. The art remains are perhaps as a whole inferior to
+those of the districts to the north and south, but they possess many
+features in common with the art of neighboring provinces. There is,
+however, at the same time, a&nbsp;well marked individuality. In
+conception and execution these works are purely aboriginal, and, so far
+as can be determined by the data at hand, are pre-Columbian, and
+possibly to a great extent remotely pre-Columbian. The discovery of
+articles of bronze, which metal we cannot prove to be of indigenous
+production, is the only internal evidence pointing toward the
+continuance of the ancient epoch of culture into post-Columbian times.
+The relics are obtained from tombs from which nearly all traces of human
+remains have disappeared.</p>
+
+<p>Art in stone covers the ground usually occupied by works in this
+material in other Central American countries, save in the matter of
+architecture, of which art there are but meager traces. There are rock
+inscriptions, statuettes and statues of rather rude character, shapely
+mealing stones, elaborately carved seats or stools, many celts of
+extremely neat workmanship, spear and arrow points of unique shape, and
+a very few beads and pendent ornaments. There are apparently no traces
+of implements of war.</p>
+
+<p>In metal there are numerous and somewhat remarkable works. They are
+of gold, gold-copper alloy, copper, and bronze. The objects are of small
+size, rarely reaching a pound in weight, and they are almost exclusively
+pendent ornaments. They were, for the most part, cast in molds, and in
+nine cases out of ten represent animal forms. A&nbsp;few bells are
+found, all of which are of bronze. Pieces formed of alloyed metal are
+usually washed or plated with pure gold.</p>
+
+<p>The great body of relics are in clay, and the workmanship displayed
+is often admirable. Vases are found in great numbers, and
+<span class = "pagenum">187</span>
+<a name = "page187" id = "page187"> </a>
+<!-- png 249 -->
+as a rule are small and shapely, and are so carefully and elaborately
+decorated as to lead to the inference that their office was in a great
+measure ceremonial. They take a high place among American fictile
+products for grace of form and beauty of decoration. There is neither
+glaze nor evidence of the use of a wheel. Besides vases we have several
+other classes of objects, which include grotesque, toy-like statuettes,
+small, covered receptacles resembling needlecases, seat-like objects
+elaborately modeled, spindle whorls, and musical instruments. The
+occurrence of numerous specimens of the two latter classes indicates
+that the arts of weaving and music were assiduously practiced.</p>
+
+<p>An examination of the esthetic features of the ceramic art has proved
+exceptionally instructive. We find much that is worthy of attention in
+the forms of vases as well as in the plastic or relieved features of
+embellishment, and a still richer field is opened by the study of the
+incised and painted&mdash;the flat&mdash;decorations.</p>
+
+<p>I have shown that the elements of decoration flow into the ceramic
+art chiefly through two channels, the one from art and the other from
+nature. Elements from art are mainly of mechanical origin, and are,
+therefore, non-imitative and geometric. Elements from nature imitate
+natural forms, and hence are primarily non-geometric. Elements from art,
+being mechanical, are meaningless or non-ideographic; those from nature
+are in early stages of art usually associated with mythologic
+conceptions, and hence are ideographic. All decorations may therefore
+have four dual classifications, as follows: First, with reference to
+method of realization, as plastic and flat; second, with reference to
+derivation, as mechanical and imitative; third, with reference to plan
+of manifestation, as geometric and non-geometric; and, fourth, with
+reference to the association of ideas, as significant and
+non-significant.</p>
+
+<p>I have found that the ceramic art, having acquired the various
+elements of ornament, carries them by methods of its own through many
+strange mutations of form. The effect upon life forms is of paramount
+importance, as is indicated by the following broad and striking
+generalization: The agencies of modification inherent in the art in its
+practice are such that any particular animal form extensively employed
+in decoration is capable of changing into or giving rise to any or to
+all of the highly conventional decorative devices upon which our leading
+ornaments, such as the meander, the scroll, the fret, the chevron, and
+the guilloche, are based. It is further seen, however, that ideographic
+elements are not necessarily restricted to decorative or symbolic
+functions, for the processes of simplification reduce them to forms well
+suited to employment in hieroglyphic and even in phonetic systems of
+expression. Such systems are probably made up to a great extent of
+characters the conformation of which is due to the unthinking&mdash;the
+mechanical&mdash;agencies of the various arts.</p>
+
+</div>
+<!-- end div maintext -->
+
+<hr class = "mid">
+
+<div class = "footnote">
+<h4>Footnotes</h4>
+
+<p><a name = "note1" id = "note1" href = "#tag1">1.</a>
+For physical features, see report of Lieutenant Norton (Report Chiriqui
+Commission, Ex. Doc. 41, 1860).</p>
+
+<p><a name = "note2" id = "note2" href = "#tag2">2.</a>
+J. King Merritt: “Report on the huacals or ancient graveyards of
+Chiriqui.� Bulletin of the American Ethnological Society, 1860.</p>
+
+<p><a name = "note3" id = "note3" href = "#tag3">3.</a>
+Bollaert: Antiquarian Researches in New Granada. London, 1860.</p>
+
+<p><a name = "note4" id = "note4" href = "#tag4">4.</a>
+A. De Zeltner: Notes sur les sépultures indiennes de département de
+Chiriqui.</p>
+
+<p><a name = "note5" id = "note5" href = "#tag5">5.</a>
+R. B. White: Jour. Anthrop. Inst. Great Britain and Ireland,
+p.&nbsp;241. February, 1884.</p>
+
+<p><a name = "note6" id = "note6" href = "#tag6">6.</a>
+J. King Merritt: Paper read before the American Ethnological Society,
+1860.</p>
+
+<p><a name = "note7" id = "note7" href = "#tag7">7.</a>
+B. B. White: Jour. Anthrop. Inst. Great Britain and Ireland,
+p.&nbsp;246. February, 1884.</p>
+
+<p><a name = "note8" id = "note8" href = "#tag8">8.</a>
+I am indebted to Mr. J. S. Diller, of the United States Geological
+Survey, for the determination of the species of stone in this series of
+objects.</p>
+
+<p><a name = "note9" id = "note9" href = "#tag9">9.</a>
+Seemann: Voy. Herald, Vol. I, p. 312.</p>
+
+<p><a name = "note10" id = "note10" href = "#tag10">10.</a>
+A. de Zeltner: Notes sur les sépultures indiennes du département de
+Chiriqui.</p>
+
+<p><a name = "note11" id = "note11" href = "#tag11">11.</a>
+Seemann: Voy. Herald, Vol. I, p. 313.</p>
+
+<p><a name = "note12" id = "note12" href = "#tag12">12.</a>
+Cullen’s Darien, p. 38.</p>
+
+<p><a name = "note13" id = "note13" href = "#tag13">13.</a>
+A. De Zeltner: Notes sur les sépultures indiennes, p.&nbsp;7.</p>
+
+<p><a name = "note14" id = "note14" href = "#tag14">14.</a>
+Herrera: Hist. America, Vol. VI, p. 369.</p>
+
+<p><a name = "note15" id = "note15" href = "#tag15">15.</a>
+Herrera: Hist. America, Vol. III, p. 287.</p>
+
+<p><a name = "note16" id = "note16" href = "#tag16">16.</a>
+Mr. Hawes’s letter answering questions about Chiriqui, read by Mr. Davis
+before the American Ethnological Society, April 17, 1860.</p>
+
+<p><a name = "note17" id = "note17" href = "#tag17">17.</a>
+Nadaillac: Prehistoric America, p. 450.</p>
+
+<p><a name = "note18" id = "note18" href = "#tag18">18.</a>
+Bollaert: Ethnological and Other Researches in New
+Granada,&nbsp;&amp;c.</p>
+
+<p><a name = "note19" id = "note19" href = "#tag19">19.</a>
+Bollaert: Antiquarian Researches in New Granada, plate facing
+p.&nbsp;31.</p>
+
+<p><a name = "note20" id = "note20" href = "#tag20">20.</a>
+A. De Zeltner: Notes sur les sépultures indiennes du département de
+Chiriqui.</p>
+
+</div>
+
+<div class = "index">
+
+<h2 class = "extended"><a name = "index" id = "index">
+INDEX.</a></h2>
+
+<div class = "index">
+<p>Alligator, utilization of, in Chiriquian art
+<a href = "#page130">130</a>-<a href = "#page140">140</a>,
+<a href = "#page166">166</a>,
+<a href = "#page173">173</a>-<a href = "#page176">176</a>,
+<a href = "#page178">178</a>, <a href = "#page080">80</a>,
+<a href = "#page183">183</a></p>
+<p>Arrowpoints and spearheads of Chiriqui <a href =
+"#page034">34</a></p>
+
+<p class = "letter">
+Balboa, ornaments captured by <a href = "#page035">35</a></p>
+<p>Black incised group of Chiriquian pottery
+<a href = "#page080">80</a></p>
+<p>Bollaert, W., cited <a href = "#page041">41</a>,
+<a href = "#page045">45</a></p>
+
+<p class = "letter">
+Castillo del Oro, name given by Columbus to Chiriqui
+<a href = "#page035">35</a></p>
+<p>Celts, collection of, from Chiriqui
+<a href = "#page029">29</a>-<a href = "#page034">34</a></p>
+<p>Costa Rica, origin of name of <a href = "#page035">35</a></p>
+
+<p class = "letter">
+Darien, capture of, by Balboa <a href = "#page035">35</a></p>
+<p>De Zeltner, A. See Zeltner, A. de.</p>
+<p>Diller, J. S., acknowledgment to <a href = "#page021">21</a>,
+<i>note</i></p>
+<p>Drums of ancient Chiriqui <a href = "#page157">157</a>,
+<a href = "#page160">160</a></p>
+
+<p class = "letter">
+El Dorado, origin of <a href = "#page035">35</a></p>
+
+<p class = "letter">
+Figurines of Chiriquian art
+<a href = "#page151">151</a>-<a href = "#page153">153</a></p>
+
+<p class = "letter">
+Hallock, W., on Chiriquian methods of casting
+<a href = "#page038">38</a></p>
+<p>Handled group of Chiriquian pottery
+<a href = "#page090">90</a>-<a href = "#page097">97</a></p>
+<p>Herrera, cited <a href = "#page035">35</a></p>
+<p>Huacals, exploration of, in Chiriqui <a href = "#page016">16</a>,
+<a href = "#page017">17</a></p>
+
+<p class = "letter">
+Kunz, G. F., on use of insects as models in casting metals
+<a href = "#page038">38</a></p>
+<p class = "indent">
+on Chiriquian methods of plating <a href = "#page039">39</a></p>
+
+<p class = "letter">
+“Lost color� of Chiriquian art, nature of
+<a href = "#page086">86</a></p>
+<p>Lost color group of Chiriquian pottery
+<a href = "#page113">113</a>-<a href = "#page130">130</a></p>
+
+<p class = "letter">
+McNiel, J. A., archeologic work of, in Chiriqui
+<a href = "#page014">14</a>, <a href = "#page015">15</a>,
+<a href = "#page020">20</a></p>
+<p>McNiel, J. A., cited <a href = "#page017">17</a>,
+<a href = "#page022">22</a>, <a href = "#page023">23</a>,
+<a href = "#page027">27</a>, <a href = "#page031">31</a>,
+<a href = "#page040">40</a>, <a href = "#page041">41</a>,
+<a href = "#page043">43</a>, <a href = "#page046">46</a>,
+<a href = "#page107">107</a></p>
+<p>Maroon group of Chiriquian pottery
+<a href = "#page107">107</a>-<a href = "#page109">109</a></p>
+<p>Mealing stones of Chiriqui
+<a href = "#page025">25</a>-<a href = "#page027">27</a></p>
+<p>Merritt, J. K., cited <a href = "#page014">14</a>,
+<a href = "#page016">16</a>, <a href = "#page049">49</a></p>
+<p class = "indent">
+exploration of Bugaba cemetery by <a href = "#page017">17</a>,
+<a href = "#page018">18</a>, <a href = "#page020">20</a></p>
+<p>Metates of Chiriqui, nature and use of
+<a href = "#page025">25</a>-<a href = "#page027">27</a></p>
+
+<p class = "letter">
+Nadaillac, Marquis, cited <a href = "#page014">14</a>,
+<a href = "#page038">38</a></p>
+<p class = "indent">
+on Chiriquian methods of casting <a href = "#page038">38</a></p>
+<p>Needlecases (?) of Chiriqui <a href = "#page150">150</a></p>
+<p>New Granada, burial customs in <a href = "#page019">19</a>,
+<a href = "#page020">20</a></p>
+
+<p class = "letter">
+Otis, F. M., paper on Panama ornaments by, mentioned
+<a href = "#page046">46</a></p>
+
+<p class = "letter">
+Piedra pintal, description of, by Seemann <a href = "#page021">21</a>,
+<a href = "#page022">22</a></p>
+<p>Pinart, A. L., cited <a href = "#page014">14</a>,
+<a href = "#page015">15</a>, <a href = "#page020">20</a>,
+<a href = "#page022">22</a></p>
+<p>Polychrome group of Chiriquian pottery
+<a href = "#page140">140</a>-<a href = "#page147">147</a></p>
+<p>Pottery of Chiriqui
+<a href = "#page053">53</a>-<a href = "#page186">186</a></p>
+
+<p class = "letter">
+Rattles of ancient Chiriqui <a href = "#page156">156</a>,
+<a href = "#page157">157</a></p>
+<p>Red line group of Chiriquian pottery
+<a href = "#page109">109</a>-<a href = "#page111">111</a></p>
+<p>Riggs, R. B., analyses by <a href = "#page049">49</a></p>
+
+<p class = "letter">
+Scarified group of Chiriquian pottery
+<a href = "#page087">87</a>-<a href = "#page090">90</a></p>
+<p>Seemann, description of piedra pintal by
+<a href = "#page021">21</a>, <a href = "#page022">22</a></p>
+<p>Spindle whorls of Chiriqui <a href = "#page149">149</a>,
+<a href = "#page150">150</a></p>
+<p>Stearns, J. B., specimens in archeological collections of
+<a href = "#page024">24</a>, <a href = "#page041">41</a>,
+<a href = "#page043">43</a>, <a href = "#page045">45</a>,
+<a href = "#page048">48</a>, <a href = "#page049">49</a></p>
+<p>Stools of ancient Chiriqui
+<a href = "#page154">154</a>-<a href = "#page156">156</a></p>
+
+<p class = "letter">
+Terra cotta group of Chiriquian pottery <a href = "#page067">67</a></p>
+<p>Tripod group of Chiriquian pottery
+<a href = "#page097">97</a>-<a href = "#page107">107</a></p>
+
+<p class = "letter">
+Whistles of ancient Chiriqui
+<a href = "#page164">164</a>-<a href = "#page171">171</a></p>
+<p>White, B. B., description of cemetery in New Granada by
+<a href = "#page019">19</a></p>
+<p>White line group of Chiriquian pottery
+<a href = "#page111">111</a>-<a href = "#page113">113</a></p>
+<p>Wind instruments of ancient Chiriqui
+<a href = "#page160">160</a>-<a href = "#page171">171</a></p>
+
+<p class = "letter">
+Zeltner, A. de, observations on graves in Chiriqui by
+<a href = "#page014">14</a>, <a href = "#page018">18</a>,
+<a href = "#page019">19</a>, <a href = "#page041">41</a>,
+<a href = "#page042">42</a></p>
+<p class = "indent">
+cited <a href = "#page020">20</a>, <a href = "#page022">22</a>,
+<a href = "#page027">27</a>, <a href = "#page043">43</a>,
+<a href = "#page045">45</a>, <a href = "#page140">140</a></p>
+<p class = "indent">
+description of Chiriquian vases by
+<a href = "#page145">145</a>-<a href = "#page147">147</a></p>
+</div>
+
+<hr class = "tiny">
+
+</div>
+
+<a name = "page188" id = "page188"> </a>
+<!-- png 250 -->
+
+<div class = "endnote">
+
+<h5><a name = "toc_errors" id = "toc_errors" href = "#contents">
+<b>Inconsistencies between Table of Contents and Body Text:</b></a></h5>
+
+<p class = "hanging">
+Peoples<br>
+<i>body text has “People�</i></p>
+<p class = "hanging">
+Celts &amp;c.<br>
+<i>body text has “Celts� alone</i></p>
+<p class = "hanging">
+Clay: Pottery<br>
+<i>body text has “Pottery� alone</i></p>
+<p class = "hanging">
+Clay: Miscellaneous objects<br>
+<i>body text has “Miscellaneous Objects of Clay�</i></p>
+<p class = "hanging">
+Résumé<br>
+<i>indented as if secondary to previous entry</i></p>
+
+<p>In the body text, the items “Spearheads� and “Needlecases� are
+written with parenthetical question mark&nbsp;(?).</p>
+
+<p>Under “Clay�, all sections listed in the Table of Contents as
+“Terra cotta group�, “Scarified group�... are shown in the body text
+as “The terra cotta group�, “The scarified group�...</p>
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Ancient art of the province of
+Chiriqui, Colombia, by William Henry Holmes
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diff --git a/30621-h/images/fig80.png b/30621-h/images/fig80.png
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diff --git a/30621-h/images/fig81.png b/30621-h/images/fig81.png
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diff --git a/30621-h/images/fig8a.png b/30621-h/images/fig8a.png
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diff --git a/30621-h/images/fig8b.png b/30621-h/images/fig8b.png
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+++ b/30621-h/images/fig8b.png
diff --git a/30621-h/images/fig9.png b/30621-h/images/fig9.png
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+++ b/30621-h/images/fig9.png
diff --git a/30621-h/images/fig90.png b/30621-h/images/fig90.png
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diff --git a/30621-h/images/fig91.png b/30621-h/images/fig91.png
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diff --git a/30621-h/images/fig93.png b/30621-h/images/fig93.png
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diff --git a/30621-h/images/fig98.png b/30621-h/images/fig98.png
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diff --git a/30621-h/images/fig99.png b/30621-h/images/fig99.png
new file mode 100644
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+++ b/30621-h/images/fig99.png
diff --git a/30621-h/images/map_large.jpg b/30621-h/images/map_large.jpg
new file mode 100644
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--- /dev/null
+++ b/30621-h/images/map_large.jpg
diff --git a/30621-h/images/map_thumb.jpg b/30621-h/images/map_thumb.jpg
new file mode 100644
index 0000000..356f603
--- /dev/null
+++ b/30621-h/images/map_thumb.jpg
diff --git a/30621-h/images/music239.png b/30621-h/images/music239.png
new file mode 100644
index 0000000..908f076
--- /dev/null
+++ b/30621-h/images/music239.png
diff --git a/30621-h/images/music241.png b/30621-h/images/music241.png
new file mode 100644
index 0000000..aa7bc6d
--- /dev/null
+++ b/30621-h/images/music241.png
diff --git a/30621-h/images/music241_chart.png b/30621-h/images/music241_chart.png
new file mode 100644
index 0000000..100f916
--- /dev/null
+++ b/30621-h/images/music241_chart.png
diff --git a/30621-h/images/music241_large.jpg b/30621-h/images/music241_large.jpg
new file mode 100644
index 0000000..9024173
--- /dev/null
+++ b/30621-h/images/music241_large.jpg
diff --git a/30621-h/images/music244.png b/30621-h/images/music244.png
new file mode 100644
index 0000000..9671fc8
--- /dev/null
+++ b/30621-h/images/music244.png
diff --git a/30621-h/images/music245.png b/30621-h/images/music245.png
new file mode 100644
index 0000000..1dd31bf
--- /dev/null
+++ b/30621-h/images/music245.png
diff --git a/30621-h/images/music247.png b/30621-h/images/music247.png
new file mode 100644
index 0000000..681babd
--- /dev/null
+++ b/30621-h/images/music247.png
diff --git a/30621-h/images/music248.png b/30621-h/images/music248.png
new file mode 100644
index 0000000..50ef9be
--- /dev/null
+++ b/30621-h/images/music248.png
diff --git a/30621-h/images/music249.png b/30621-h/images/music249.png
new file mode 100644
index 0000000..fddb184
--- /dev/null
+++ b/30621-h/images/music249.png
diff --git a/30621-h/images/music250.png b/30621-h/images/music250.png
new file mode 100644
index 0000000..e41c543
--- /dev/null
+++ b/30621-h/images/music250.png
diff --git a/30621-h/images/music251.png b/30621-h/images/music251.png
new file mode 100644
index 0000000..47f5a4e
--- /dev/null
+++ b/30621-h/images/music251.png
diff --git a/30621-h/images/music252.png b/30621-h/images/music252.png
new file mode 100644
index 0000000..a8f0848
--- /dev/null
+++ b/30621-h/images/music252.png
diff --git a/30621-h/images/music253.png b/30621-h/images/music253.png
new file mode 100644
index 0000000..0b919e2
--- /dev/null
+++ b/30621-h/images/music253.png
diff --git a/30621-h/images/music254.png b/30621-h/images/music254.png
new file mode 100644
index 0000000..e5aa566
--- /dev/null
+++ b/30621-h/images/music254.png
diff --git a/30621-h/images/music255.png b/30621-h/images/music255.png
new file mode 100644
index 0000000..c215194
--- /dev/null
+++ b/30621-h/images/music255.png
diff --git a/30621-h/music/melody239.ly b/30621-h/music/melody239.ly
new file mode 100644
index 0000000..b4e3084
--- /dev/null
+++ b/30621-h/music/melody239.ly
@@ -0,0 +1,26 @@
+\version "2.10.25" 
+\include "english.ly"
+
+
+melody = \relative c''''
+ { 
+  \clef treble
+  \key c \major
+  \time 4/4
+  \set Staff.midiInstrument = "recorder" 
+% \set Staff.midiInstrument = "taiko drum" 
+  \partial 4
+  fs4 \bar "||"
+} 
+
+  \score { 
+    \new Staff \melody 
+    \layout {
+       \context {
+       \Score
+       \remove Bar_number_engraver
+  }  } 
+  \midi { 
+    \context { \Score tempoWholesPerMinute = #(ly:make-moment 90 4) } 
+  }
+}
diff --git a/30621-h/music/melody239.midi b/30621-h/music/melody239.midi
new file mode 100644
index 0000000..1c15e08
--- /dev/null
+++ b/30621-h/music/melody239.midi
diff --git a/30621-h/music/melody241.ly b/30621-h/music/melody241.ly
new file mode 100644
index 0000000..7593334
--- /dev/null
+++ b/30621-h/music/melody241.ly
@@ -0,0 +1,27 @@
+\version "2.10.25" 
+\include "english.ly"
+
+
+melody = \relative c''
+ { 
+  \clef treble
+  \key c \major
+  \time 4/4
+  \set Staff.midiInstrument = "recorder" 
+% \set Staff.midiInstrument = "taiko drum" 
+  \cadenzaOn
+  b4 f' gs b r2 a4 b cs d
+  \cadenzaOff \bar "||"
+} 
+
+  \score { 
+    \new Staff \melody 
+    \layout {
+       \context {
+       \Score
+       \remove Bar_number_engraver
+  }  } 
+  \midi { 
+    \context { \Score tempoWholesPerMinute = #(ly:make-moment 90 4) } 
+  }
+}
diff --git a/30621-h/music/melody241.midi b/30621-h/music/melody241.midi
new file mode 100644
index 0000000..d89a503
--- /dev/null
+++ b/30621-h/music/melody241.midi
diff --git a/30621-h/music/melody244.ly b/30621-h/music/melody244.ly
new file mode 100644
index 0000000..5ff3775
--- /dev/null
+++ b/30621-h/music/melody244.ly
@@ -0,0 +1,26 @@
+\version "2.10.25" 
+\include "english.ly"
+
+
+melody = \relative c''''
+ { 
+  \clef treble
+  \key c \major
+  \time 5/4
+  \set Staff.midiInstrument = "recorder" 
+% \set Staff.midiInstrument = "taiko drum" 
+  b4 cs d ds e
+  \bar "||"
+} 
+
+  \score { 
+    \new Staff \melody 
+    \layout {
+       \context {
+       \Score
+       \remove Bar_number_engraver
+  }  } 
+  \midi { 
+    \context { \Score tempoWholesPerMinute = #(ly:make-moment 90 4) } 
+  }
+}
diff --git a/30621-h/music/melody244.midi b/30621-h/music/melody244.midi
new file mode 100644
index 0000000..c47ad86
--- /dev/null
+++ b/30621-h/music/melody244.midi
diff --git a/30621-h/music/melody245.ly b/30621-h/music/melody245.ly
new file mode 100644
index 0000000..51e72a8
--- /dev/null
+++ b/30621-h/music/melody245.ly
@@ -0,0 +1,27 @@
+\version "2.10.25" 
+\include "english.ly"
+
+
+melody = \relative c''
+ { 
+  \clef treble
+  \key c \major
+  \time 4/4
+  \set Staff.midiInstrument = "recorder" 
+% \set Staff.midiInstrument = "taiko drum" 
+  \cadenzaOn
+  fs4 gs a b r2 f4 g af bf % printed g unmarked, c flat
+  \cadenzaOff \bar "||"
+} 
+
+  \score { 
+    \new Staff \melody 
+    \layout {
+       \context {
+       \Score
+       \remove Bar_number_engraver
+  }  } 
+  \midi { 
+    \context { \Score tempoWholesPerMinute = #(ly:make-moment 90 4) } 
+  }
+}
diff --git a/30621-h/music/melody245.midi b/30621-h/music/melody245.midi
new file mode 100644
index 0000000..c2a6f28
--- /dev/null
+++ b/30621-h/music/melody245.midi
diff --git a/30621-h/music/melody247.ly b/30621-h/music/melody247.ly
new file mode 100644
index 0000000..f739232
--- /dev/null
+++ b/30621-h/music/melody247.ly
@@ -0,0 +1,26 @@
+\version "2.10.25" 
+\include "english.ly"
+
+
+melody = \relative c'''
+ { 
+  \clef treble
+  \key c \major
+  \time 3/4
+  \set Staff.midiInstrument = "recorder" 
+% \set Staff.midiInstrument = "taiko drum" 
+  b ds fs
+  \bar "||"
+} 
+
+  \score { 
+    \new Staff \melody 
+    \layout {
+       \context {
+       \Score
+       \remove Bar_number_engraver
+  }  } 
+  \midi { 
+    \context { \Score tempoWholesPerMinute = #(ly:make-moment 90 4) } 
+  }
+}
diff --git a/30621-h/music/melody247.midi b/30621-h/music/melody247.midi
new file mode 100644
index 0000000..d7ccc31
--- /dev/null
+++ b/30621-h/music/melody247.midi
diff --git a/30621-h/music/melody248.ly b/30621-h/music/melody248.ly
new file mode 100644
index 0000000..f1294b4
--- /dev/null
+++ b/30621-h/music/melody248.ly
@@ -0,0 +1,26 @@
+\version "2.10.25" 
+\include "english.ly"
+
+
+melody = \relative c''''
+ { 
+  \clef treble
+  \key c \major
+  \time 3/4
+  \set Staff.midiInstrument = "recorder" 
+% \set Staff.midiInstrument = "taiko drum" 
+  g bf c
+  \bar "||"
+} 
+
+  \score { 
+    \new Staff \melody 
+    \layout {
+       \context {
+       \Score
+       \remove Bar_number_engraver
+  }  } 
+  \midi { 
+    \context { \Score tempoWholesPerMinute = #(ly:make-moment 90 4) } 
+  }
+}
diff --git a/30621-h/music/melody248.midi b/30621-h/music/melody248.midi
new file mode 100644
index 0000000..9e571de
--- /dev/null
+++ b/30621-h/music/melody248.midi
diff --git a/30621-h/music/melody249.ly b/30621-h/music/melody249.ly
new file mode 100644
index 0000000..9dce5e3
--- /dev/null
+++ b/30621-h/music/melody249.ly
@@ -0,0 +1,27 @@
+\version "2.10.25" 
+\include "english.ly"
+
+% 249, 250 are the same exc octave
+
+melody = \relative c'''  % 250 is one octave lower
+ { 
+  \clef treble
+  \key c \major
+  \time 3/4
+  \set Staff.midiInstrument = "recorder" 
+% \set Staff.midiInstrument = "taiko drum" 
+  g bf c
+  \bar "||"
+} 
+
+  \score { 
+    \new Staff \melody 
+    \layout {
+       \context {
+       \Score
+       \remove Bar_number_engraver
+  }  } 
+  \midi { 
+    \context { \Score tempoWholesPerMinute = #(ly:make-moment 90 4) } 
+  }
+}
diff --git a/30621-h/music/melody249.midi b/30621-h/music/melody249.midi
new file mode 100644
index 0000000..8b2d5ab
--- /dev/null
+++ b/30621-h/music/melody249.midi
diff --git a/30621-h/music/melody250.ly b/30621-h/music/melody250.ly
new file mode 100644
index 0000000..89f403e
--- /dev/null
+++ b/30621-h/music/melody250.ly
@@ -0,0 +1,25 @@
+\version "2.10.25" 
+\include "english.ly"
+
+melody = \relative c''
+ { 
+  \clef treble
+  \key c \major
+  \time 3/4
+  \set Staff.midiInstrument = "recorder" 
+% \set Staff.midiInstrument = "taiko drum" 
+  g bf c
+  \bar "||"
+} 
+
+  \score { 
+    \new Staff \melody 
+    \layout {
+       \context {
+       \Score
+       \remove Bar_number_engraver
+  }  } 
+  \midi { 
+    \context { \Score tempoWholesPerMinute = #(ly:make-moment 90 4) } 
+  }
+}
diff --git a/30621-h/music/melody250.midi b/30621-h/music/melody250.midi
new file mode 100644
index 0000000..1775fb2
--- /dev/null
+++ b/30621-h/music/melody250.midi
diff --git a/30621-h/music/melody251.ly b/30621-h/music/melody251.ly
new file mode 100644
index 0000000..8580822
--- /dev/null
+++ b/30621-h/music/melody251.ly
@@ -0,0 +1,25 @@
+\version "2.10.25" 
+\include "english.ly"
+
+melody = \relative c''
+ { 
+  \clef treble
+  \key c \major
+  \time 3/4
+  \set Staff.midiInstrument = "recorder" 
+% \set Staff.midiInstrument = "taiko drum" 
+  f af bf
+  \bar "||"
+} 
+
+  \score { 
+    \new Staff \melody 
+    \layout {
+       \context {
+       \Score
+       \remove Bar_number_engraver
+  }  } 
+  \midi { 
+    \context { \Score tempoWholesPerMinute = #(ly:make-moment 90 4) } 
+  }
+}
diff --git a/30621-h/music/melody251.midi b/30621-h/music/melody251.midi
new file mode 100644
index 0000000..4f481df
--- /dev/null
+++ b/30621-h/music/melody251.midi
diff --git a/30621-h/music/melody252.ly b/30621-h/music/melody252.ly
new file mode 100644
index 0000000..30110e1
--- /dev/null
+++ b/30621-h/music/melody252.ly
@@ -0,0 +1,25 @@
+\version "2.10.25" 
+\include "english.ly"
+
+melody = \relative c''
+ { 
+  \clef treble
+  \key c \major
+  \time 3/4
+  \set Staff.midiInstrument = "recorder" 
+% \set Staff.midiInstrument = "taiko drum" 
+  bf d f
+  \bar "||"
+} 
+
+  \score { 
+    \new Staff \melody 
+    \layout {
+       \context {
+       \Score
+       \remove Bar_number_engraver
+  }  } 
+  \midi { 
+    \context { \Score tempoWholesPerMinute = #(ly:make-moment 90 4) } 
+  }
+}
diff --git a/30621-h/music/melody252.midi b/30621-h/music/melody252.midi
new file mode 100644
index 0000000..77cf389
--- /dev/null
+++ b/30621-h/music/melody252.midi
diff --git a/30621-h/music/melody253.ly b/30621-h/music/melody253.ly
new file mode 100644
index 0000000..36faf13
--- /dev/null
+++ b/30621-h/music/melody253.ly
@@ -0,0 +1,25 @@
+\version "2.10.25" 
+\include "english.ly"
+
+melody = \relative c'''
+ { 
+  \clef treble
+  \key c \major
+  \time 3/4
+  \set Staff.midiInstrument = "recorder" 
+% \set Staff.midiInstrument = "taiko drum" 
+  d fs a
+  \bar "||"
+} 
+
+  \score { 
+    \new Staff \melody 
+    \layout {
+       \context {
+       \Score
+       \remove Bar_number_engraver
+  }  } 
+  \midi { 
+    \context { \Score tempoWholesPerMinute = #(ly:make-moment 90 4) } 
+  }
+}
diff --git a/30621-h/music/melody253.midi b/30621-h/music/melody253.midi
new file mode 100644
index 0000000..acf2d1f
--- /dev/null
+++ b/30621-h/music/melody253.midi
diff --git a/30621-h/music/melody254.ly b/30621-h/music/melody254.ly
new file mode 100644
index 0000000..a3b0603
--- /dev/null
+++ b/30621-h/music/melody254.ly
@@ -0,0 +1,25 @@
+\version "2.10.25" 
+\include "english.ly"
+
+melody = \relative c'''
+ { 
+  \clef treble
+  \key c \major
+  \time 3/4
+  \set Staff.midiInstrument = "recorder" 
+% \set Staff.midiInstrument = "taiko drum" 
+  g a b
+  \bar "||"
+} 
+
+  \score { 
+    \new Staff \melody 
+    \layout {
+       \context {
+       \Score
+       \remove Bar_number_engraver
+  }  } 
+  \midi { 
+    \context { \Score tempoWholesPerMinute = #(ly:make-moment 90 4) } 
+  }
+}
diff --git a/30621-h/music/melody254.midi b/30621-h/music/melody254.midi
new file mode 100644
index 0000000..f5e5955
--- /dev/null
+++ b/30621-h/music/melody254.midi
diff --git a/30621-h/music/melody255.ly b/30621-h/music/melody255.ly
new file mode 100644
index 0000000..b6e0826
--- /dev/null
+++ b/30621-h/music/melody255.ly
@@ -0,0 +1,25 @@
+\version "2.10.25" 
+\include "english.ly"
+
+melody = \relative c'''
+ { 
+  \clef treble
+  \key c \major
+  \time 3/4
+  \set Staff.midiInstrument = "recorder" 
+% \set Staff.midiInstrument = "taiko drum" 
+  b d e
+  \bar "||"
+} 
+
+  \score { 
+    \new Staff \melody 
+    \layout {
+       \context {
+       \Score
+       \remove Bar_number_engraver
+  }  } 
+  \midi { 
+    \context { \Score tempoWholesPerMinute = #(ly:make-moment 90 4) } 
+  }
+}
diff --git a/30621-h/music/melody255.midi b/30621-h/music/melody255.midi
new file mode 100644
index 0000000..052567b
--- /dev/null
+++ b/30621-h/music/melody255.midi
diff --git a/30621.txt b/30621.txt
new file mode 100644
index 0000000..03ea8c2
--- /dev/null
+++ b/30621.txt
@@ -0,0 +1,6398 @@
+The Project Gutenberg EBook of Ancient art of the province of Chiriqui,
+Colombia, by William Henry Holmes
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Ancient art of the province of Chiriqui, Colombia
+       Sixth Annual Report of the Bureau of Ethnology to the
+       Secretary of the Smithsonian Institution, 1884-1885,
+       Government Printing Office, Washington, 1888, pages 3-188
+
+Author: William Henry Holmes
+
+Release Date: December 7, 2009 [EBook #30621]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ANCIENT ART--CHIRIQUI, COLOMBIA ***
+
+
+
+
+Produced by Louise Hope, PM for Bureau of American
+Ethnology, The Internet Archive: American Libraries and
+the Online Distributed Proofreading Team at
+https://www.pgdp.net (This file was produced from images
+generously made available by the Bibliothèque nationale
+de France (BnF/Gallica) at http://gallica.bnf.fr)
+
+
+
+
+
+
+[This text is intended for users whose text readers cannot use the
+"real" (Unicode/UTF-8) version, or even the simplified Latin-1 version.
+Major changes include:
+
+  all fractions have been unpacked to 1/2, 1/3 and so on
+  accents on French words are missing
+  "ae" is shown as two letters
+  the degree sign is written as "deg"]
+
+
+
+
+  ANCIENT ART
+
+  of the
+
+  PROVINCE OF CHIRIQUI, COLOMBIA.
+
+  by
+
+  WILLIAM H. HOLMES.
+
+
+
+
+CONTENTS.
+
+                                                        Page.
+  Introduction                                            13
+      Geography                                           13
+      Literature                                          14
+      Peoples                                             15
+      The cemeteries                                      16
+      The graves                                          17
+      Human remains                                       20
+      Placing of relics                                   21
+  Objects of art                                          21
+      Stone                                               21
+          Pictured rocks                                  21
+          Columns                                         22
+          Images                                          23
+          Mealing stones                                  25
+          Stools                                          27
+          Celts &c.                                       29
+          Spearheads                                      34
+          Arrowpoints                                     34
+          Ornaments                                       34
+      Metal                                               35
+        Gold and copper                                   35
+        Bronze                                            49
+      Clay: Pottery                                       53
+          Preliminary                                     53
+          How found                                       55
+          Material                                        55
+          Manufacture                                     56
+          Color                                           57
+          Use                                             57
+          Forms of vessels                                58
+          Decoration                                      62
+        Unpainted ware                                    66
+          Terra cotta group                               67
+          Black incised group                             80
+        Painted ware                                      84
+          Scarified group                                 87
+          Handled group                                   90
+          Tripod group                                    97
+          Maroon group                                   107
+          Red line group                                 109
+          White line group                               111
+          Lost color group                               113
+          Alligator group                                130
+          Polychrome group                               140
+          Unclassified                                   147
+      Clay: Miscellaneous objects                        149
+          Spindle whorls                                 149
+          Needlecases                                    150
+          Figurines                                      151
+          Stools                                         154
+          Musical instruments                            156
+              Rattles                                    156
+              Drums                                      157
+              Wind instruments                           160
+      Life forms in vase painting                        171
+  Resume                                                 186
+  [Index]
+
+
+
+
+ILLUSTRATIONS.
+
+                                                                Page.
+PLATE I. Map of Chiriqui                                          13
+
+Fig.  1. Section of oval grave                                    17
+      2. Section of a quadrangular grave                          18
+      3. Grave with pillars                                       18
+      4. Compound cist                                            19
+      5. Southwest face of the pictured stone                     22
+      6. A goddess of the ancient Chiriquians                     23
+      7. A god of the ancient Chiriquians                         24
+      8. Fragmentary human figure in gray basaltic rock           25
+      9. Mealing stone with large tablet ornamented with
+           animal heads                                           26
+     10. Puma shaped metate                                       27
+     11. Stool shaped object                                      28
+     12. Stool with columnar base                                 28
+     13. Stool with perforated base                               29
+     14. Large partially polished celt                            30
+     15. Celt of hexagonal section                                31
+     16. Small wide bladed celt                                   31
+     17. Celt with heavy shaft                                    31
+     18. Celt or ax with constriction near the top                31
+     19. Flaked and partially polished celt                       32
+     20. Well polished celt                                       32
+     21. Narrow pointed celt                                      32
+     22. Narrow pointed celt                                      32
+     23. Cylindrical celt with narrow point                       33
+     24. Leaf shaped objects suggesting spearpoints               34
+     25. Arrowpoints                                              34
+     26. Human figure, formed of copper-gold alloy                41
+     27. Grotesque human figure in gold                           42
+     28. Rudely shaped human figure in gold                       42
+     29. Grotesque human figure in nearly pure copper             43
+     30. Grotesque human figure in nearly pure gold               43
+     31. Rudely executed image of a bird in gold                  44
+     32. Image of a bird in gold                                  45
+     33. Puma shaped figure in gold                               45
+     34. Puma shaped figure in base metal                         45
+     35. Quadruped with grotesque face in base metal              46
+     36. Figure of a fish in gold                                 46
+     37. Large figure of a frog, in base metal plated
+           with gold                                              47
+     38. Small figure of a frog, in base metal plated
+           with gold                                              47
+     39. Figure of an alligator in gold                           48
+     40. Animal figure, in base metal plated with gold            48
+     41. Bronze bells plated or washed with gold                  50
+     42. Bronze bell with human features                          50
+     43. Triple bell or rattle found on the Rio Grande            51
+     44. Ancient Mexican bell                                     51
+     45. Fundamental forms of vases--convex outlines              58
+     46. Fundamental forms of vases--angular outlines             59
+     47. Vases of complex outlines--exceptional forms             59
+     48. Vases of compound forms                                  59
+     49. Square lipped vessel                                     59
+     50. Variations in the forms of necks and rims                60
+     51. Arrangement of handles                                   60
+     52. Types of annular bases or feet                           61
+     53. Forms of legs                                            61
+     54. Grotesque figure forming the handle of
+           a small vase                                           63
+     55. Grotesque figure forming the handle of
+           a small vase                                           63
+     56. Grotesque figure forming the handle of
+           a small vase                                           63
+     57. Monstrous figure with serpent shaped extremities         63
+     58. Monstrous figure with serpent shaped extremities         63
+     59. Grotesque figure                                         64
+     60. Grotesque figure                                         64
+     61. Grotesque figure                                         64
+     62. Figure of a monkey                                       64
+     63. Figure of a monkey                                       64
+     64. Figure of a monkey                                       64
+     65. Animal forms exhibiting long proboscis                   65
+     66. Vase illustrating ornamental use of animal figures       65
+     67. Vase illustrating ornamental use of animal figures       65
+     68. Vase illustrating ornamental use of animal figures       66
+     69. Vase illustrating ornamental use of animal figures       66
+     70. Series of bowls and cups of unpainted ware               67
+     71. Vase of graceful form                                    68
+     72. Vase of graceful form                                    68
+     73. Vase of fine form, ornamented with grotesque heads       68
+     74. Vase of fine form, ornamented with grotesque heads       69
+     75. Vase with ornament of applied nodes and fillets          69
+     76. Vase with mantle covered with incised figures            70
+     77. Vase with frieze of grotesque heads                      70
+     78. Vases with flaring rims and varied ornament              71
+     79. Vases with complex outlines and varied ornament          71
+     80. Large vase with two mouths and neatly
+           decorated necks                                        72
+     81. Large vase with high handles                             72
+     82. Top view of high handled vase                            73
+     83. Handled vase                                             73
+     84. Handled vase                                             73
+     85. Handled vase                                             73
+     86. Small cup with single handle, ornamented with
+           grotesque figure                                       74
+     87. Small cup with single handle, ornamented with
+           grotesque figure                                       74
+     88. Vase of eccentric form                                   74
+     89. Vessel illustrating forms of legs                        75
+     90. Vessel illustrating forms of legs                        75
+     91. Vessel with large legs, decorated with stellar
+           punctures                                              75
+     92. Vases of varied form with plain and animal
+           shaped legs                                            75
+     93. Large vase of striking shape                             76
+     94. Cup with legs imitating animal forms                     76
+     95. Cup with legs imitating a grotesque animal form          77
+     96. Cup with legs imitating the armadillo                    77
+     97. Cup with legs imitating the armadillo                    77
+     98. Cup with frog shaped legs                                77
+     99. Cup with legs imitating an animal and its young          77
+    100. Cups supported by grotesque heads                        77
+    101. Large cup supported by two grotesque figures             78
+    102. Cup with two animal heads attached to the sides          78
+    103. Cup with two animal heads attached to the sides          78
+    104. Vase shaped to imitate an animal form                    79
+    105. Vase shaped to imitate an animal form                    79
+    106. Vase shaped to imitate an animal form                    79
+    107. Fish shaped vessel                                       79
+    108. Top view of a fish shaped vessel                         80
+    109. Cup with grotesque head attached to the rim              80
+    110. Black cup with incised reptilian figures                 81
+    111. Black cup with incised reptilian figures                 81
+    112. Black vase with conventional incised pattern             81
+    113. Small cup with conventional incised pattern              82
+    114. Small tripod cup with upright walls                      82
+    115. Vase with flaring rim and legs imitating
+           animal heads                                           82
+    116. Vase modeled to represent the head of an animal          83
+    117. Pattern upon the back of the vase                        83
+    118. Tripod bowl of red scarified ware                        87
+    119. Tripod bowl of red scarified ware                        87
+    120. Oblong basin with scarified design                       88
+    121. Large scarified bowl with handles imitating
+           animal heads                                           88
+    122. Jar with flat bottom and vertical bands
+           of incised ornament                                    89
+    123. Vase with stand and vertical incised bands               89
+    124. Vase with handles, legs, and vertical ribs               89
+    125. Tripod with owl-like heads at insertion of legs          90
+    126. Tripod with legs rudely suggesting animal forms          90
+    127. Heavy red vase with four mouths                          90
+    128. Vase with horizontally placed handles and
+           rude designs in red                                    91
+    129. Unpolished vase with heavy handles and coated
+           with soot                                              92
+    130. Round bodied vase with unique handles and incised
+           ornament                                               92
+    131. Vase with grotesque figures attached to the handles      93
+    132. Vase with upright handles and winged lip                 93
+    133. Top view of vase with winged lip                         94
+    134. Vase with grotesque animal shaped handles                94
+    135. Vase with handles representing strange animals           95
+    136. Vase with handles representing grotesque figures         95
+    137. Vase with handles representing animal heads              96
+    138. Vase with arched handles embellished with life forms
+           in high relief                                         96
+    139. Vase with arched handles embellished with life forms
+           in high relief                                         97
+    140. Tripod vase with shallow basin and eccentric handles     99
+    141. Tripod vase with shallow basin and eccentric handles     99
+    142. Tripod vase with shallow basin and eccentric handles     99
+    143. Tripod vase of graceful shape and neat finish           100
+    144. Heavy tripod vase with widely spreading feet            100
+    145. Neatly modeled vase embellished with life forms and
+           devices in red                                        101
+    146. High tripod vase with incised designs and
+           rude figures in red                                   101
+    147. Handsome tripod vase with scroll ornament               102
+    148. Vase with lizard shaped legs                            102
+    149. Vase with scroll ornament                               103
+    150. Large vase with flaring rim and widespreading legs      103
+    151. Fragment of a tripod vase embellished with figure
+           of an alligator                                       104
+    152. Vase supported by grotesque human figures               105
+    153. Round bodied vase embellished with figures
+           of monsters                                           106
+    154. Cup with incurved rim and life form ornamentation       107
+    155. Cup with widely expanded rim and constricted neck       107
+    156. Small tripod cup with animal features in high relief    108
+    157. Handsome vase supported by three grotesque figures      108
+    158. Vase decorated with figures of frogs and devices
+           in red                                                110
+    159. Vase of unique shape and life form ornamentation        110
+    160. Two-handled vase with life form and linear
+           decoration                                            110
+    161. Small tripod vase with animal figures in white          111
+    162. Shapely vase with designs in white paint                112
+    163. Small red bottle with horizontal bands of ornament      115
+    164. Small red bottle with encircling geometric devices      115
+    165. Bottle with zone occupied by geometric devices          116
+    166. Bottle with broad zone containing geometric figures     116
+    167. Bottle with decoration of meandered lines               117
+    168. Bottle with arched panels and geometric devices         117
+    169. Bottle with arched panels and elaborate devices         118
+    170. Vase with rosette-like panels                           118
+    170a. Ornament from preceding vase                           118
+    171. Vase with rosette-like panels                           119
+    172. Vase with rosette-like panels                           119
+    173. Theoretical origin of the arched panels                 120
+    174. Theoretical origin of the arched panels                 120
+    175. Theoretical origin of the arched panels                 120
+    176. Vase decorated with conventional figures
+           of alligators                                         120
+    177. Portion of decorated zone illustrating treatment
+           of life forms                                         121
+    178. Portion of decorated zone illustrating treatment
+           of life forms                                         121
+    179. Vase decorated with highly conventional life forms      121
+    179a. Design from preceding vase                             122
+    180. Vase decorated with highly conventional life forms      122
+    181. Vase decorated with highly conventional life forms      123
+    182. Decorated panel with devices resembling
+           vegetal growths                                       124
+    183. Vase of unusual shape                                   124
+    184. Vase of unusual shape                                   124
+    185. Vase of unusual shape                                   124
+    186. Double vessel with high arched handle                   125
+    187. Double vessel with arched handle                        125
+    188. Vase embellished with life forms in color
+           and in relief                                         126
+    189. Vase modeled to represent a peccary                     127
+    190. Under surface of peccary vase                           127
+    191. Small vessel with human figures in high relief          127
+    192. Tripod cup with figures of the alligator                128
+    193. Large shallow tripod vase with geometric decoration     129
+    194. Large bottle shaped vase with high tripod
+           and alligator design                                  130
+    195. Large bottle with narrow zone containing figures
+           of the alligator                                      132
+    196. Vase with decorated zone containing four
+           arched panels                                         133
+    197. Vase with four round nodes upon which are painted
+           animal devices                                        133
+    198. Vases of varied form and decoration                     134
+    199. Alligator vase with conventional markings               135
+    200. Alligator vase with figures of the alligator painted
+           on the sides                                          135
+    201. Vase with serpent ornamentation                         136
+    202. Vase representing a puma with alligator figures
+           painted on sides                                      137
+    203. Shallow vase with reptilian features in relief
+           and in color                                          137
+    204. Vase with funnel shaped mouth                           138
+    205. Top view of vase in Fig. 204                            139
+    206. End view of vase in Fig. 204                            139
+    207. Large vase with decorations in red and black            140
+    208. Devices of the decorated zone of vase in Fig. 207,
+           viewed from above                                     141
+    209. Handsome vase with four handles and decorations
+           in black, red, and purple                             142
+    210. Painted design of vase in Fig. 209,
+           viewed from above                                     143
+    211. Vase of unusual shape with decoration in black,
+           red, and purple                                       144
+    212. Ornament occupying the interior surface of
+           the basin of vase in Fig. 211                         144
+    213. Large vase of fine shape and simple decorations         145
+    214. Vase with extraordinary decorative designs              146
+    215. Painted design of vase in Fig. 214, viewed
+           from above                                             147
+    216. Vase of unique form and decoration                      148
+    217. Painted design of vase in Fig. 216                      148
+    218. Spindle whorl with annular nodes                        149
+    219. Spindle whorl decorated with animal figures             149
+    220. Spindle whorl with perforations and incised
+           ornament                                              149
+    221. Needlecase                                              150
+    222. Needlecase                                              150
+    223. Needlecase with painted geometric ornament              151
+    224. Needlecase with incised geometric ornament              151
+    225. Needlecase with incised geometric ornament              151
+    226. Statuette                                               152
+    227. Statuette                                               152
+    228. Statuette                                               152
+    229. Statuette                                               152
+    230. Stool of plain terra cotta                              154
+    281. Stool of plain clay, with grotesque figures             155
+    232. Stool of plain terra cotta                              155
+    233. Rattle                                                  157
+    234. Section of rattle                                       157
+    235. Rattle, with grotesque figures                          157
+    236. Drum of gray unpainted clay                             158
+    237. Drum with painted ornament                              159
+    238. Painted design of drum in Fig. 237                      159
+    239. Double whistle                                          161
+    240. Section of double whistle                               161
+    241. Tubular instrument with two finger holes                162
+    242. Section of whistle                                      162
+    243. Small animal shaped whistle                             162
+    244. Small animal shaped whistle                             162
+    245. Top shaped whistle                                      163
+    246. Section, top, and bottom views of whistle               164
+    247. Drum shaped whistle                                     165
+    248. Vase shaped whistle                                     165
+    249. Crab shaped whistle                                     166
+    250. Alligator shaped whistle                                166
+    251. Cat shaped whistle                                      167
+    252. Whistle with four ocelot-like heads                     168
+    253. Bird shaped whistle                                     169
+    254. Bird shaped whistle                                     169
+    255. Bird shaped whistle                                     170
+    256. Whistle in grotesque life form                          170
+    257. Conventional figure of the alligator                    173
+    258. Conventional figure of the alligator                    173
+    259. Conventional figure of the alligator                    174
+    260. Conventional figure of the alligator                    174
+    261. Conventional figure of the alligator                    174
+    262. Conventional figure of the alligator                    175
+    263. Conventional figure of the alligator                    175
+    264. Conventional figure of the alligator                    176
+    265. Conventional figure derived from the alligator          176
+    266. Conventional figure derived from the alligator          176
+    267. Conventional figure derived from the alligator          176
+    268. Conventional figure derived from the alligator          177
+    269. Conventional figure derived from the alligator          177
+    270. Conventional figure derived from the alligator          177
+    271. Conventional figure derived from the alligator          178
+    272. Conventional figure derived from the alligator          178
+    273. Conventional figure derived from the alligator          178
+    274. Conventional figures derived from the alligator         179
+    275. Conventional figure derived from the alligator          179
+    276. Conventional figure derived from the alligator          180
+    277. Conventional figures derived from the alligator         180
+    278. Conventional figures derived from the alligator         181
+    279. Conventional figures derived from the alligator         182
+    280. Conventional figures derived from the alligator         182
+    281. Conventional figures derived from the alligator         182
+    282. Conventional figures derived from the alligator         182
+    283. Conventional figures derived from the alligator         183
+    284. Vase with decorated zone containing
+           remarkable devices                                    185
+    285. Series of devices                                       185
+
+
+
+
+  [Illustration:
+  BUREAU OF ETHNOLOGY
+  SIXTH ANNUAL REPORT PL. I.]
+
+
+
+
+ANCIENT ART OF THE PROVINCE OF CHIRIQUI.
+
+By William H. Holmes.
+
+
+
+
+INTRODUCTION.
+
+
+GEOGRAPHY.
+
+Until comparatively recent times the province of Chiriqui has remained
+almost unknown to the world at large. The isthmus was traversed a number
+of times by the conquerors, who published accounts of their discoveries,
+but it was reserved for the period of railroad and canal exploration to
+furnish trustworthy accounts of its character and inhabitants. The
+situation of Chiriqui is unique. Forming, politically, a part of South
+America, it belongs in reality to the North American continent. It
+occupies a part of the great southern flexure of the isthmus at a point
+where the shore lines begin finally to turn toward the north.
+
+The map accompanying this paper (Plate I) conveys a clear idea of the
+position and the leading topographic features of the province. The
+boundaries separating it from Veragua on the east and Costa Rica on the
+west run nearly north and south. The Atlantic coast line has a northwest
+and southeast trend and is indented by the bay or lagoon of Chiriqui.
+The Bay of David extends into the land on the south and the Gulf of
+Dolce forms a part of the western boundary. A range of mountains,
+consisting principally of volcanic products, extends midway along the
+province, forming the continental watershed.[1] The drainage comprises
+two systems of short rivers that run, one to the north and the other to
+the south, into the opposing oceans. Belts of lowland border the shore
+lines. That on the south side is from twenty to thirty miles wide and
+rises gradually into a plateau two or three thousand feet in elevation,
+which is broken by hills and cut by canyons. This belt affords a natural
+thoroughfare for peoples migrating from continent to continent, and
+doubtless formed at all periods an attractive district for occupation.
+It is in the middle portion of this strip of lowland, especially in the
+drainage area of the Bay of David, that the most plentiful evidences of
+ancient occupation are found. Scattering remains have been discovered
+all along, however, connecting the art of Costa Rica with that of
+Veragua, Panama, and the South American continent. The islands of the
+coast furnish some fragmentary monuments and relics, and there is no
+doubt that a vast quantity of material yet remains within the province
+to reward the diligent search of future explorers.
+
+    [Footnote 1: For physical features, see report of Lieutenant
+    Norton (Report Chiriqui Commission, Ex. Doc. 41, 1860).]
+
+
+LITERATURE.
+
+The antiquarian literature of the province is extremely meager, being
+confined to brief sketches made by transient visitors or based for the
+most part upon the testimony of gold hunters and government explorers,
+who took but little note of the unpretentious relics of past ages. As
+there are few striking monuments, the attention of archaeologists was not
+called to the history of primeval man in this region, and until recently
+the isthmus was supposed to have remained practically unoccupied by that
+group of cultured nations whose works in Peru and in Mexico excite the
+wonder of the world. But, little by little, it has been discovered that
+at some period of the past the province was thickly populated, and by
+races possessed of no mean culture.
+
+The most important contributions to the literature of this region, so
+far as they have come to my knowledge, are the following: A paper by Mr.
+Merritt, published by the American Ethnological Society;[2] a paper by
+Bollaert, published by the same society, and also a volume issued in
+London;[3] a valuable pamphlet, with photographic illustrations, by
+M. De Zeltner, French consul to Panama in 1860;[4] a short paper by
+Mr. A. L. Pinart, published in the Bulletin de la Societe de Geographie
+(Paris, 1885, p. 433), in which he gives valuable information in regard
+to the peoples, ancient and modern; and casual notes by a number of
+other writers, some of which will be referred to in the following pages.
+A pretty full list of authorities is given by Mr. H. H. Bancroft in his
+Native Races, Vol. V, p. 16.
+
+One of the most important additions to our knowledge of the province and
+its archaeologic treasures is furnished in the manuscript notes of Mr.
+J. A. McNiel, who made the greater part of the collection now deposited
+in the National Museum. This explorer has personally supervised the
+examination of many thousands of graves and has forwarded the bulk of
+his collections to the United States. His explorations have occupied a
+number of years, during which time he has undergone much privation and
+displayed great enthusiasm in pursuing the rather thorny pathways of
+scientific research. In the preparation of this paper his notes have
+been used as freely as their rather disconnected character warranted,
+and since Mr. McNiel's return to the United States, in July, 1886,
+I have been favored with a series of interviews with him, and by this
+means much important information has been obtained.
+
+    [Footnote 2: J. King Merritt: "Report on the huacals or ancient
+    graveyards of Chiriqui." Bulletin of the American Ethnological
+    Society, 1860.]
+
+    [Footnote 3: Bollaert: Antiquarian Researches in New Granada.
+    London, 1860.]
+
+    [Footnote 4: A. De Zeltner: Notes sur les sepultures indiennes
+    de departement de Chiriqui.]
+
+
+PEOPLE.
+
+At the present time this district is inhabited chiefly by Indians and
+natives of mixed, blood, who follow grazing and agriculture to a limited
+extent, but subsist largely upon the natural products of the country.
+These peoples are generally thought to have no knowledge or trustworthy
+tradition of the ancient inhabitants and are said to care nothing for
+the curious cemeteries among which they dwell, except as a source of
+revenue. Mr. A. L. Pinart states, however, that certain tribes on both
+sides of the continental divide have traditions pointing toward the
+ancient grave builders as their ancestors. There is probably no valid
+reason for assigning the remains of this region to a very high
+antiquity. The highest stage of culture here may have been either
+earlier or later than the period of highest civilization in Mexico and
+South America or contemporaneous with it. There is really no reason for
+supposing that the tribes who built these graves were not in possession
+of the country, or parts of it, at the time of the conquest. As to the
+affinities of the ancient middle isthmian tribes with the peoples north
+and south of them we can learn nothing positive from the evidences of
+their art. So far as the art of pottery has come within my observation,
+it appears to indicate a somewhat closer relationship with the ancient
+Costa Rican peoples than with those of continental South America; yet,
+in their burial customs, in the lack of enduring houses and temples, and
+in their use of gold, they were like the ancient peoples of middle and
+southern New Granada.[5]
+
+The relics preserved in our museums would seem to indicate one principal
+period of occupation or culture only; but there has been no intelligent
+study of the contents of the soil in sections exposed in modern
+excavations, the exclusive aim of collectors having generally been to
+secure either gold or showy cabinet specimens. The relics of very
+primitive periods, if such are represented, have naturally passed
+unnoticed. Mr. McNiel mentions the occurrence of pottery in the soil in
+which the graves were dug, but, regarding it as identical with that
+contained in the graves, he neglected to preserve specimens.
+
+In one instance, while on a visit to Los Remedios, a pueblo near the
+eastern frontier of Chiriqui, he observed a cultivated field about which
+a ditch some 8 or 9 feet in depth had been dug. In walking through this
+he found a continuous exposure of broken pottery and stone implements.
+Some large urns had been cut across or broken to conform to the slope of
+the ditch, and were exposed in section.
+
+Although not apparently representing a very wide range of culture or
+distinctly separated periods of culture, the various groups of relics
+exhibit considerable diversity in conception and execution,
+attributable, no doubt, to variations in race and art inheritance.
+
+    [Footnote 5: R. B. White: Jour. Anthrop. Inst. Great Britain and
+    Ireland, p. 241. February, 1884.]
+
+
+THE CEMETERIES.
+
+The ancient cemeteries, or huacals, as they are called throughout
+Spanish America, are scattered over the greater part of the Pacific
+slope of Chiriqui. It is said by some that they are rarely found in the
+immediate vicinity of the sea, but they occur in the river valleys, on
+the hills, the plateaus, the mountains, and in the deepest forests. They
+are very numerous, but generally of small extent. The largest described
+is said to cover an area of about twelve acres. They were probably
+located in the immediate vicinity of villages, traces of which, however,
+are not described by explorers; but there can be no doubt that diligent
+search will bring to light the sites of dwellings and towns. The absence
+of traces of houses or monuments indicates either that the architecture
+of this region was then, as now, of destructible material, or, which is
+not likely, that so many ages have passed over them that all traces of
+unburied art, wood, stone, or clay, have yielded to the "gnawing tooth
+of time."
+
+One of the most circumstantial accounts of these burial places is given
+by Mr. Merritt, who was also the first to make them known to science.[6]
+Mr. Merritt was director of a gold mine in Veragua, and in the summer of
+1859 spent several weeks in exploring the graves of Chiriqui; he
+therefore speaks from personal knowledge. In the autumn of 1858 two
+native farmers of the parish of Bugaba, or Bugava, discovered a golden
+image that had been exposed by the uprooting of a plant. They proceeded
+secretly to explore the graves, the existence of which had been known
+for years. In the following spring their operations became known to the
+people, and within a month more than a thousand persons were engaged in
+working these extraordinary gold mines. The fortunate discoverers
+succeeded in collecting about one hundred and thirty pounds weight of
+gold figures, most of which were more or less alloyed with copper. It is
+estimated that fifty thousand dollars' worth in all was collected from
+this cemetery, which embraced an area of twelve acres.
+
+Although there are rarely surface indications to mark the position of
+the graves, long experience has rendered it comparatively easy to
+discover them. The grave hunter carries a light iron rod, which he runs
+into the ground, and thus, if any hard substance is present, discovers
+the existence of a burial. It is mentioned by one or two writers that
+the graves are in many cases marked by stones, either loose or set in
+the ground in rectangular and circular arrangements. The graves do not
+often seem to have had a uniform position in relation to one another or
+to the points of the compass. In some cases they are clustered about a
+central tomb, and then assume a somewhat radiate arrangement; again,
+according to Mr. McNiel, they are sometimes placed end to end, occupying
+long trenches.
+
+    [Footnote 6: J. King Merritt: Paper read before the American
+    Ethnological Society, 1860.]
+
+
+THE GRAVES.
+
+Graves of a particular form are said to occur sometimes in groups
+occupying distinct parts of the cemetery, but the observations are not
+sufficiently definite to be of value. The graves vary considerably in
+form, construction, and depth, and are classified variously by
+explorers. In the Bugaba cemetery Mr. Merritt found two well marked
+varieties, the oval and the quadrangular, reference being had to the
+horizontal section. The oval grave pits were from 4-1/2 to 6 feet deep
+and from 3 to 4 feet in greatest diameter. A wall of rounded river
+stones 2-1/2 to 3 feet high lined the lower part of the pit, and from
+the top of this the entire space was closely packed with rounded stones.
+Within the faced up part of this cist the remains of the dead, the
+golden figures, pottery, and implements had been deposited. This form is
+illustrated in Fig. 1 by a vertical section constructed from the
+description given by Mr. Merritt.
+
+  [Illustration: Fig. 1. Section of oval grave.]
+
+The quadrangular graves were constructed in two somewhat distinct ways.
+One variety was identical in most respects with the oval form
+illustrated above. They were sometimes as much as 6 feet deep and
+frequently 4 by 7 feet in horizontal dimensions. In the other form a pit
+4 by 6-1/2 feet in diameter was sunk to the depth of about 3 feet.
+Underneath this another pit some 2 feet in depth was sunk, leaving an
+offset or terrace 8 or 10 inches in width all around. The smaller pit
+was lined with flat stones placed on edge. In this cist the human
+remains and the relics were placed and covered over with flat stones,
+which rested upon the terrace and prevented the superincumbent mass,
+which consisted of closely packed river stones, from crushing the
+contents. A section of this tomb is given in Fig. 2, also drawn from the
+description given by Mr. Merritt.
+
+  [Illustration: Fig. 2. Section of a quadrangular grave, showing the
+  surface pack of river stories and the positions of the slabs and
+  objects of art.]
+
+  [Illustration: Fig. 3. Grave with pillars, described by De Zeltner.]
+
+  [Illustration: Fig. 4. Compound cist, described by De Zeltner.]
+
+Mr. Merritt and others mention that in some of the graves pillars are
+employed to support the roof of the cist. These pillars are mentioned
+briefly by De Zeltner, from whose account the following illustrations
+are drawn. This author does not state that he made any personal
+investigations, and if his accounts were obtained from the natives their
+entire trustworthiness may very properly be questioned. The first two
+forms mentioned by him are similar to those already given. The third is
+described as having at the corners square pillars of stone to support
+the covering, which, however, is not described. The fourth has four
+pillars, placed in the corners of the pit. These serve to support a
+vault of flagstones. The walls between the pillars are faced with
+pebbles, as in the cases previously described. Fig. 3 will make this
+form clear at a glance. The fifth variety described by De Zeltner is
+quite extraordinary in construction. His account is somewhat confusing
+in a number of respects, and the section given in Fig. 4 cannot claim
+more than approximate accuracy in details and measurements. Near the
+surface a paving, perhaps of river stones, was found covering an area of
+about 10 by 13 feet. This paving was apparently the surface of a pack
+about 2 feet thick, and covered the mouth of the main pit, which was
+some 6 or 7 feet deep. Pillars of cobble stones about 10 inches in
+diameter occupied the corners of the pit, and probably served in a
+measure to support the paving. In the bottom of this excavation a second
+pit was dug, the mouth of which was also covered by a paving 2-1/2 by
+upwards of 3 feet in horizontal dimensions. This lower pit consisted of
+a shaft several feet in depth, by which descent was made into a chamber
+of inverted pyramidal shape. This chamber approximated 6 by 9 feet in
+horizontal dimensions and was some 4 or 5 feet deep. At the bottom of
+this cistern the human remains and most of the relics were deposited.
+The shaft was filled in with earth and the pavings described. The total
+depth, computed from the figures given, is about 18 feet, a most
+remarkable achievement for a barbarous people; yet this is equaled by
+the ancient tribes of the mainland of New Granada, where similar burial
+customs seem to have prevailed. Mr. White,[7] who traveled extensively
+in the northwestern part of the state, says:
+
+  A dry, elevated ridge, composed of easily excavated material, was
+  selected as the cemetery. A pit of only a yard or so in diameter was
+  sunk, sometimes vertically, sometimes at an angle, or sometimes it
+  varied from vertical to inclined. It was sunk to depths varying from
+  15 to 60 feet, and at the bottom a chamber was formed in the earth.
+  Here the dead was deposited, with his arms, tools, cooking utensils,
+  ornaments, and chattels generally, with maize and fermented liquor
+  made of maize. The chamber and passage were then rammed tightly full
+  of earth, and sometimes it would appear that peculiar earth, other
+  than that excavated on the spot, was used. One not unfrequently
+  detects a peculiar aromatic smell in the earth, and fragments of
+  charcoal are always found mixed with it in more or less quantity.
+
+M. De Zeltner describes other very simple graves which are filled in
+with earth, excepting a surface paving of pebbles.
+
+Mr. McNiel, who has examined more examples than any other white man, and
+over a wide district with David as a center, discredits the statements
+of De Zeltner in respect to the form illustrated in Fig. 4, and states
+that generally the graves do not differ greatly in shape and finish from
+the ordinary graves of to-day. He describes the pits as being oval and
+quadrangular and as having a depth ranging from a few feet to 18 feet.
+The paving or pack consists of earth and water worn stones, the latter
+pitched in without order and forming but a small percentage of the
+filling. He has never seen such stones used in facing the walls of the
+pit or in the construction of pillars. The flat stones which cover the
+cist are often 10 or 15 feet below the surface and are in some cases
+very heavy, weighing 300 pounds or more. A single stone is in cases
+large enough to cover the entire space, but more frequently two or more
+flat stones are laid side by side across the cavity. These are supported
+by river stones, a foot or more in length, set around the margin of the
+cist. He is of the opinion that both slabs and bowlders were in many
+cases carried long distances. No one of the pits examined was of the
+extraordinary form described in detail by De Zeltner and others.
+
+    [Footnote 7: B. B. White: Jour. Anthrop. Inst. Great Britain and
+    Ireland, p. 246. February, 1884.]
+
+
+HUMAN REMAINS.
+
+The almost total absence of human remains has frequently been remarked,
+and the theory is advanced that cremation must have been practiced. We
+have no evidence, however, of such a custom among the historic tribes of
+this region, and, besides, such elaborate tombs would hardly be
+constructed for the deposition of ashes. Yet, considering the depth of
+the graves, their remarkable construction, and the character of the soil
+selected for burial purposes, it is certainly wonderful that such meager
+traces of human remains are found. Pinart surmises, from the analogies
+of modern burial customs upon the north coast, that the bones only were
+deposited in the graves, the flesh having been allowed to decay by a
+long period of exposure in the open air. This, however, would probably
+not materially hasten the decay of the bones.
+
+Mr. Merritt states that human hair was obtained from graves at Bugaba,
+and that he has himself secured the enamel of a molar tooth from that
+locality. De Zeltner tells us that in three varieties of graves remains
+of skeletons are found, always, however, in a very fragile condition.
+One skull was obtained of sufficient stability to be cast in plaster,
+but De Zeltner is not certain that it belonged to the people who built
+the tombs.
+
+Mr. McNiel reports the occasional finding of bones, and a number of
+bundles of them are included in his collection. He reports that there
+are no crania and that nothing could be determined as to the position of
+the bodies when first buried.
+
+Pinart observes that in some cases the bodies or remnants of bodies were
+distributed about the margin of the pit bottom, with the various
+utensils in the center, and again that the remains were laid away in
+niches dug in the sides of the main pit.
+
+These scattering observations will serve to give a general idea of the
+modes of sepulture practiced in this region, but there must be a closer
+record of localities and a careful correlation of the varying phenomena
+of inhumation before either ethnology or archaeology can be greatly
+benefited.
+
+
+PLACING OF RELICS.
+
+The pieces of pottery, implements, and ornaments were probably buried
+with the dead, pretty much as are similar objects in other parts of
+America. The almost total disappearance of the human remains makes a
+determination of exact relative positions impossible. The universal
+testimony, however, is that all were not placed with the body, but that
+some were added as the grave was filled up, being placed in the crevices
+of the walls or pillars or thrown in upon the accumulating earth and
+pebbles of the surface pavement. The heavy implements of stone are
+rarely very far beneath the surface.
+
+
+
+
+OBJECTS OF ART.
+
+
+From the foregoing account it is apparent that our knowledge of the art
+of ancient Chiriqui must for the present be derived almost entirely from
+the contents of the tombs. The inhabitants were skillful in the
+employment and the manipulation of stone, clay, gold, and copper; and
+the perfection of their work in these materials, taken in connection
+with the construction of their remarkable tombs, indicates a culture of
+long standing and a capacity of no mean order.
+
+Of their architecture, agriculture, or textile art we can learn little
+or nothing.
+
+The relics represented in the collection of the National Museum consist
+chiefly of articles of stone, gold, copper, and clay.
+
+
+STONE.[8]
+
+Works executed in stone, excluding the tombs, may be arranged in the
+following classes: Pictured rocks, sculptured columns, images, mealing
+stones, stools, celts, arrowpoints, spearpoints (?), polishing stones,
+and ornaments.
+
+_Pictured rocks._--Our accounts of these objects are very meager. The
+only one definitely described is the "_piedra pintal_." A few of the
+figures engraved upon it are given by Seemann, from whom I quote the
+following paragraph:
+
+  At Caldera, a few leagues [north] from the town of David, lies a
+  granite block known to the country people as the piedra pintal, or
+  painted stone. It is 15 feet high, nearly 50 feet in circumference,
+  and flat on the top. Every part, especially the eastern side, is
+  covered with figures. One represents a radiant sun; it is followed
+  by a series of heads, all, with some variation, scorpions and
+  fantastic figures. The top and the other side have signs of a
+  circular and oval form, crossed by lines. The sculpture is ascribed
+  to the Dorachos (or Dorasques), but to what purpose the stone was
+  applied no historical account or tradition reveals.[9]
+
+  [Illustration: Fig. 5. Southwest face of the pictured stone.]
+
+These inscriptions are irregularly placed and much scattered. They are
+thought to have been originally nearly an inch deep, but in places are
+almost effaced by weathering, thus giving a suggestion of great
+antiquity. I have seen tracings of these figures made recently by Mr.
+A. L. Pinart which show decided differences in detail, and Mr. McNiel
+gives still another transcript. I present in Fig. 5 Mr. McNiel's sketch
+of the southwest face of the rock, as he has given considerably more
+detail than any other visitor. Mr. McNiel's sketches show seventeen
+figures on the opposite side of the rock. Seemann gives only twelve,
+while Mr. Pinart's tracings show upwards of forty upon the same face.
+These three copies would not be recognized as referring to the same
+original. That of Mr. Pinart seems to show the most careful study and is
+probably accurate. Good photographs would be of service in eliminating
+the inconvenient personal equation always present in the delineation of
+such subjects. These figures bear little resemblance to those painted
+upon the vases of this region.
+
+Other figures are said to be engraved upon the bowlders and stones used
+in constructing the burial cists. De Zeltner states that "one often
+meets with stones covered with rude allegorical designs, representing
+men, pumas (tigre?), and birds. It is particularly in such huacas as
+have pillars and a vault that these curious specimens of Indian art are
+found."[10]
+
+_Columns._--A number of authors speak casually of sculptured stone
+columns, none of which have been found in place. Seemann says that they
+may be seen in David, where they are used for building purposes,[11] but
+this is not confirmed by others. The sculptures are said to be in
+relief, like those of Yucatan and Peru. Cullen says that columns are
+found on the Island of Muerto, Bay of David.[12] Others are mentioned as
+having been seen in Veragua.
+
+_Images._--Objects that may properly be classed as images or idols are
+of rather rare occurrence. Half a dozen specimens are found in the
+McNiel collections. The most important of these represents a full length
+female figure twenty-three inches in height. It is executed in the
+round, with considerable attempt at detail (Fig. 6). I may mention, as
+strong characteristics, the flattened crown, encircled by a narrow
+turban-like band, the rather angular face and prominent nose, and the
+formal pose of the arms and hands. Besides the head band, the only other
+suggestion of costume is a belt about the waist.
+
+  [Illustration: Fig. 6. A goddess of the ancient Chiriquians. Gray
+  basalt--1/6.]
+
+The material is a compact, slightly vesicular, olive gray, basaltic
+rock. I have seen a few additional examples of this figure, and from the
+identity in type and detail conclude that the personage represented was
+probably an important one in the mythology of the Chiriquians. In
+general style there is a rather close correspondence with the sculptures
+of the Central American States. Some of the plastic characters exhibited
+in this work appear also in the various objects of clay, gold, and
+copper described further on.
+
+There is also a smaller, rudely carved, half length, human figure done
+in the same style. Besides these figures there are two large flattish
+stones, on one of which a rude image of a monkey has been picked, while
+the other exhibits the figure of a reptile resembling a lizard or a
+crocodile. The work is extremely rude and has the appearance of being
+unfinished. It seems that all of these objects were found upon the
+surface of the ground.
+
+In Figs. 7 and 8 I present two specimens of sculpture also collected by
+Mr. McNiel, and now in the possession of Mr. J. B. Stearns, of Short
+Hills, N.J. The example shown in Fig. 7 was obtained near the Gulf of
+Dolce, 82 deg 55' west. Three views are presented: profile, front, and
+back. It is carved from what appears to be a compact, grayish olive tufa
+or basalt, and represents a male personage, distinct in style from the
+female figure first presented. The head is rounded above, the arms are
+flattened against the sides, and the feet are folded in a novel position
+beneath the body. The height is 9 inches.
+
+  [Illustration: Fig. 7. A god of the ancient Chiriquians. Gray
+  volcanic rock--1/2.]
+
+The other specimen, Fig. 8, from near the same locality, is carved from
+a yellowish gray basalt which sparkles with numerous large crystals of
+hornblende. It is similar in style to the last, but more boldly
+sculptured, the features being prominent and the members of the body in
+higher relief. The legs are lost. Height, 5-1/4 inches.
+
+A remarkable figure of large size now in the National Museum was
+obtained from the Island of Cana or Cano by Mr. McNiel. It is nearly
+three feet in height and very heavy. The face has been mutilated. In
+general style it corresponds more closely to the sculpture of the
+Central American States than to that of Chiriqui.
+
+  [Illustration:
+  _a, b_
+  Fig. 8. Fragmentary human figure in gray basaltic rock--1/2.]
+
+_Mealing stones._--The metate, or hand mill, which consists of a concave
+tablet and a rubbing stone, was an important adjunct to the household
+appliances of nearly all the more cultured American nations. It is found
+not only in those plain substantial forms most suitable for use in
+grinding grain, seeds, and spices by manual means, but in many cases it
+has been elaborated into a work of art which required long and skilled
+labor for its production.
+
+In the province of Chiriqui these mills must have been numerous; but,
+since they are still in demand by the inhabitants of the region, many of
+the ancient specimens have been destroyed by use. It seems from all
+accounts that they were not very generally buried with the dead, but
+were left upon or near the surface of the ground, and were hence
+accessible to the modern tribes, who found it much easier to transport
+them to their homes than to make new ones.
+
+The metates of Chiriqui present a great diversity of form and possibly
+represent distinct peoples or different grades of culture. They are
+carved from volcanic rocks of a few closely related varieties, the
+texture of which is coarse and occasionally somewhat cellular, giving an
+uneven or pitted surface, well suited to the grinding of maize. Three
+classes, for convenience of description, may be distinguished, although
+certain characters are common to all and one form grades more or less
+completely into another. We have the plain slab or rudely hewn mass of
+rock, in the upper surface of which a shallow depression has been
+excavated; we have the carefully hewn oval slab supported by short legs
+of varied shape; and we have a large number of pieces elaborately
+sculptured in imitation of animal forms. The first variety is common to
+nearly all temperate and tropical America and does not require further
+attention here. The second variety exhibits considerable diversity in
+form. The tablet is oval, concave above, and of an even thickness. The
+periphery is often squared and is in many cases ornamented with carved
+figures, either geometric devices or rudely sculptured animal heads. The
+legs are generally three in number, but four is not unusual. They are
+mostly conical or cylindrical in shape and are rather short.
+
+The finest example of the second class has an oval plate 37 inches in
+length, 29 in width, and 2 inches thick, which is nearly symmetrical and
+rather deeply concave above. The central portions of the basin are worn
+quite smooth. Near the ends, within the basin, two pairs of small
+animal-like figures are carved, and ranged about the lower margin of the
+periphery are eighty-seven neatly sculptured heads of animals. There are
+four short cylindrical legs. This superb piece of work is shown in
+Fig. 9.
+
+  [Illustration: Fig. 9. Mealing stone with large tablet ornamented
+  with animal heads, from Gualaca--1/9.]
+
+Examples of the third class are all carved to imitate the puma or
+ocelot. The whole creature is often elaborately worked out in the round
+from a single massive block of stone. The thin tablet representing the
+body rests upon four legs. The head, which projects from one end of the
+tablet, is generally rather conventional in style, but is sculptured
+with sufficient vigor to recall the original quite vividly. The tail
+appears at the other end and curves downward, connecting with one of the
+hind feet, probably for greater security against mutilation. The head,
+the margin of the body, and the exterior surfaces of the legs are
+elaborately decorated with tasteful carving. The figures are geometric,
+and refer, no doubt, to the markings of the animal's skin. Nearly
+identical specimens are obtained from Costa Rica and other parts of
+Central America.
+
+A fine example of medium size is given in Fig. 10. The material is gray,
+minutely cellular, basaltic rock. The upper surface of the plate is
+polished by use. The entire length is 17 inches.
+
+  [Illustration: Fig. 10. Puma shaped metate of gray andesite, from
+  Rio Joca--1/4.]
+
+The largest specimen in the McNiel collection is 2 feet long, 18 inches
+wide, and 12 inches high. A similar piece has been illustrated by De
+Zeltner.
+
+The usual office of these metates is considered to be that of grinding
+corn, cocoa, and the like. The great elaboration observed in some
+examples suggests the idea that perhaps they were devoted exclusively to
+the preparation of material (meal or other substances) intended for
+sacred uses. A high degree of elaboration in art products results in
+many cases from their connection with superstitious usages.
+
+Speculating upon the use of these objects, De Zeltner mentions a mortar
+"whose pestle was nothing but a round stone, which still shows traces of
+gold here and there. It was evidently with the help of this rude
+instrument that the Indians reduced the gold to powder before fusing
+it."[13]
+
+The implement or pestle used in connection with these mealing tablets in
+crushing and grinding is often a simple river worn pebble, as mentioned
+above, but is more usually a cylindrical mass of volcanic rock, worked
+into nearly symmetric shape.
+
+_Stools._--The stool-like appearance of some of the objects described as
+metates suggests the presentation in this place of a group of objects
+that must for the present be classed as stools or seats, although their
+true or entire function is unknown to me. They are distinguished from
+the mealing stones by their circular plate, their sharply defined,
+upright, marginal rim, and the absence of signs of use.
+
+  [Illustration: Fig. 11. Stool shaped object carved from gray,
+  minutely cellular basalt--1/3.]
+
+  [Illustration: Fig. 12. Stool with columnar base, carved from gray
+  basaltic rock--1/3.]
+
+Two of these objects are from the vicinity of David. The largest and
+most interesting is illustrated in Fig. 11. It is carved from a piece of
+vesicular basaltic tufa and is in a perfect state of preservation. The
+height is 6 inches and the diameter of the top 10 inches, that of the
+base being a little less. The slightly concave upper surface is
+depressed about half an inch below the upright marginal band. The
+periphery is a little more than an inch in width and is decorated with a
+simple guilloche-like ornament in relief. The disk-like cap is connected
+by open lattice-like work with the ring which forms the base. The
+interior is neatly hollowed out. The open work of the sides consists of
+two elaborately carved figures of monkeys, alternating with two sections
+of trellis work, very neatly executed. The other specimen is somewhat
+less elaborate in its sculptured ornament.
+
+Outlines of two additional examples of these objects are given in Figs.
+12 and 13. The tablets are round, thick, and slightly concave above and
+are margined with rows of sculptured heads. The supporting column in the
+first is a plain shaft and the base is narrow and somewhat concave
+underneath. In the second the column is hollowed out and perforated.
+
+  [Illustration: Fig. 13. Stool with perforated base, carved from gray
+  basaltic rock--1/3.]
+
+As bearing upon the possible use of these specimens it should be noticed
+that similar stool-like objects are made of clay, the softness and
+fragility of which would render them unsuitable for use as mealing
+plates or mortars, and it would also appear that they are rather fragile
+for use as stools. I would suggest that they may have served as supports
+for articles such as vases or idols employed in religious rites, or
+possibly as altars for offerings.
+
+_Celts._--The class of implements usually denominated celts is
+represented by several hundred specimens, nearly all of which are in a
+perfect state of preservation. They are thoroughly well made and
+beautifully finished, and leave the impression upon the mind that they
+must represent the very highest plane of Stone Age art.
+
+Although varying widely in form and finish there is great homogeneity of
+characters, the marked family resemblance suggesting a single people and
+a single period or stage of culture. They are found in the cists along
+with other relics and are very generally distributed, a limited number,
+rarely more than three, being found in a single grave. They may be
+classified by shape into a number of groups, each of which, however,
+will be found to grade more or less completely into the others. They
+display all degrees of finish from the freshly flaked to the evenly
+picked and wholly polished surface. The edges or points of nearly all
+show the contour and polish that come from long though careful use. All
+are made of compact, dark, volcanic tufa that resembles very closely a
+fine grained slate. The following illustrations include all the more
+important types of form. There are but few specimens of very large size.
+That shown in Fig. 14 is 8-1/4 inches long, 4 inches wide, and
+seven-eighths of an inch thick. The blade is broad at the edge, rounded
+in outline, and well polished. The upper end terminates in a rather
+sharp point that shows the rough flaked surface of the original blocking
+out. The middle portion exhibits an evenly picked surface. The rock is a
+dark slaty looking tufa, the surface of which displays ring or
+rosette-like markings, reminding one of the polished surface of a
+section of fossil coral. These markings probably come from the
+decomposition of the mineral constituents of the rock.
+
+  [Illustration: Fig. 14. Large partially polished celt of mottled
+  volcanic tufa--1/2.]
+
+The implement given in Fig. 15 may be taken as a type of a large class
+of beautifully finished celts. It also is made of the dark tufa, very
+fine grained and compact, resembling slate. The beveled surfaces of the
+blade are well polished, the remainder of the surface being evenly
+picked. The hexagonal section is characteristic of the class, but it is
+not so decided in this as in some other pieces in which the whole
+surface is freshly ground.
+
+The contraction of the lateral outline and the sudden expansion on
+reaching the cutting edge noticed in this specimen are more clearly
+marked in other examples. The small celt shown in Fig. 16 is narrow
+above and quite wide toward the edge. A wide, thick specimen is given in
+Fig. 17. A specimen quite exceptional in Chiriqui is shown in Fig. 18.
+Mr. McNiel states that in many years' exploration this is the only piece
+seen that exhibits the constriction of outline characteristic of grooved
+axes.
+
+  [Illustration: Fig. 15. Celt of hexagonal section made of dark
+  compact tufa--1/2.]
+
+  [Illustration: Fig. 16. Small wide bladed celt made of dark
+  tufa--1/2.]
+
+  [Illustration: Fig. 17. Celt with heavy shaft made of dark speckled
+  tufa--1/2.]
+
+  [Illustration: Fig. 18. Celt or ax with constriction near the top.]
+
+  [Illustration: Fig. 19. Flaked and partially polished celt of dark
+  tufa--1/2.]
+
+  [Illustration: Fig. 20. Well polished celt of dark tufa--1/2.]
+
+Two superb implements are illustrated in Figs. 19 and 20, the one in the
+rough excepting at the cutting edge, where it is ground into the desired
+shape, and the other neatly polished over nearly the entire surface. The
+surfaces are somewhat whitened from decomposition, but within the rock
+is nearly black, and the eye could not distinguish it from a dark slate.
+The material is shown by microscopic test to be a volcanic tufa. These
+examples were evidently intended for more delicate work than the
+preceding. The shapes of the specimens illustrated in Figs. 21 and 22
+indicate a still different use. The upper end of the implement is large
+and rough, as if intended to facilitate holding or hafting, while the
+shaft diminishes in size below, terminating in a narrow, symmetrical,
+highly polished edge, a shape well calculated to unite delicacy and
+strength. The highest mechanical skill could hardly give to stone shapes
+more perfectly adapted to the manipulation of stone, metal, or other
+hard or compact substances. The material is a very dark, compact, fine
+grained tufa.
+
+  [Illustration: Fig. 21. Narrow pointed celt of dark tufa--1/2.]
+
+  [Illustration: Fig. 22. Narrow pointed celt of dark tufa--1/2.]
+
+  [Illustration: Fig. 23. Cylindrical celt with narrow point, of dark
+  tufa--1/2.]
+
+  [Illustration: Fig. 24. Leaf shaped objects suggesting spearpoints,
+  of dark tufa--1/2.]
+
+An additional example is given in Fig. 23. The shaft is cylindrical and
+terminates in a conical point at one end and in a very narrow, abrupt,
+cutting edge at the other. The whole surface is polished. The material
+is the same dark tufa.
+
+The class of objects illustrated in this and the two preceding cuts
+comprises but a small percentage of the chisel-like implements.
+
+_Spearheads (?)._--Another class of objects made of the same fine
+grained, slaty looking tufa is illustrated in Fig. 24. They resemble
+spearpoints, yet may have been devoted to a wholly different use. They
+are long, leaf-like flakes, triangular in section, slightly worked down
+by flaking, sharpened by grinding at the point, and slightly notched at
+the top, perhaps for hafting.
+
+_Arrowpoints._--The unique character of the arrowpoints of Chiriqui is
+already known to archaeologists. The most striking feature is the
+triangular section presented in nearly all cases and shown in the
+figures (Fig. 25). The workmanship is extremely rude. The material is
+generally a flinty jasper of reddish and yellowish hues. The number
+found is comparatively small. The specimens given are of average size.
+
+  [Illustration: Fig. 25. Arrowpoints of jasper--1/1.]
+
+_Ornaments._--It would seem from a study of our collections that
+ornaments of stone were seldom used by the inhabitants of Chiriqui.
+There are a few medium sized beads of agate and one pendant of dark
+greenish stone rudely shaped to resemble a human head. Ornaments of gold
+and copper were evidently much preferred.
+
+    [Footnote 8: I am indebted to Mr. J. S. Diller, of the United
+    States Geological Survey, for the determination of the species of
+    stone in this series of objects.]
+
+    [Footnote 9: Seemann: Voy. Herald, Vol. I, p. 312.]
+
+    [Footnote 10: A. de Zeltner: Notes sur les sepultures indiennes du
+    departement de Chiriqui.]
+
+    [Footnote 11: Seemann: Voy. Herald, Vol. I, p. 313.]
+
+    [Footnote 12: Cullen's Darien, p. 38.]
+
+    [Footnote 13: A. De Zeltner: Notes sur les sepultures indiennes,
+    p. 7.]
+
+
+METAL.
+
+GOLD AND COPPER.
+
+The Chiriquians, like many of their neighbors in the tropical portions
+of the American continent, were skilled in the working of metals. Gold,
+silver, copper, and tin--the last in alloys with copper forming
+bronze--are found in the graves. Gold is the most important, and is
+associated with all the others in alloys or as a surface coating. The
+inhabitants of the isthmus at the time of the discovery were rich in
+objects, chiefly ornaments, of this metal, and expeditions sent out
+under Balboa, Pizarro, and others plundered the natives without mercy.
+When the Indian village of Darien was captured by Balboa (1510) he
+obtained "plates of gold, such as they hang on their breasts and other
+parts, and other things, all of them amounting to ten thousand pesos of
+fine gold."[14] From an expedition to Nicaragua the same adventurers
+brought back to Panama the value of "112,524 pieces of eight in low
+gold, and 145 in pearls."[15] Early Spanish-American history abounds in
+stories of this kind. Among others we read that Columbus found the
+natives along the Atlantic coast of Chiriqui and Veragua so rich in
+objects of gold that he named the district _Castillo del Oro_. It is
+said that the illusory stories of an _El Dorado_ somewhere within the
+continent of South America arose from the lavish use of gold ornaments
+by the natives whom the Spaniards encountered, and that Costa Rica gets
+its name from the same circumstance. It is also recorded that the
+natives of various parts of Central and South America at the date of the
+conquest were in the habit of opening ancient graves for the purpose of
+securing mortuary trinkets. The whites have followed their example with
+the greatest eagerness. As far back as 1642 the Spaniards passed a law
+claiming all the gold found in the burial places of Spanish America,[16]
+the whole matter being treated merely as a means of revenue.
+
+The objects of gold for which the tombs of Chiriqui are justly famous
+are generally believed to have been simple personal ornaments, the
+jewelry of the primeval inhabitants, although it is highly probable that
+many of the figures, at least as originally employed, had an emblematic
+meaning. They were doubtless at all times regarded as possessed of
+potent charms, and thus capable of protecting and forwarding the
+interests of their owners. They have been found in great numbers within
+the last twenty-five years, but for the most part, even at this late
+date, have been esteemed for their money value only. Very many specimens
+found their way to this country, where they were either sold for
+curiosities or, after waiting long for a purchaser, even in the very
+shadow of our museums, were consigned to the melting pot. Many stories
+bearing upon this point have been told me. A Washington jeweler is
+represented as having exhibited in his window on Pennsylvania avenue
+about the year 1860 a remarkable series of these trinkets, most of which
+were afterwards sent to New York to be melted. About the same period a
+gentleman on entering a shop in San Francisco was accosted by a stranger
+who had his pockets well filled with these curious relics and wished to
+dispose of them for cash. A number of my acquaintances have neat but
+grotesque examples of these little images of gold attached to their
+watch guards, thus approving the taste of our prehistoric countrymen and
+at the same time demonstrating the identity of ideas of personal
+embellishment in all times and with all peoples.
+
+The ornaments are found only in a small percentage of the graves, those
+probably of persons sufficiently opulent to possess them in life;
+a majority of the graves contain none whatever. They are often found at
+the bottom of the pits, and probably in nearly the position occupied by
+them while still attached to the persons of the dead. It is said that
+occasionally they are found in niches at the sides of the graves, as if
+placed during the filling of the pit.
+
+Strangely enough, the gold is very generally alloyed with copper, the
+composite metal ranging from pure gold to pure copper. A small
+percentage of silver is also present in some of the specimens examined,
+but this is probably a natural alloy. In a few cases very simple figures
+appear to have been shaped from nuggets or masses of the native metals;
+this, however, is not susceptible of proof. The work is very skillfully
+done, so that we find it difficult to ascertain the precise methods of
+manipulation. The general effect in the more pretentious pieces
+resembles that of our filigree work, in which the parts are produced by
+hammering and united by soldering; yet there are many evidences of
+casting, and these must be considered with care. As a rule simple
+figures and some portions of composite figures present very decided
+indications of having been cast in molds, yet no traces of these molds
+have come to light, and there are none of those characteristic markings
+which result from the use of composite or "piece" molds. Wire was
+extensively used in the formation of details of anatomy and
+embellishment, and its presence does not at first seem compatible with
+ordinary casting. This wire, or pseudo-wire it may be, is generally
+about one-twenty-fifth of an inch in diameter.
+
+The manner in which the numerous parts or sections of complex figures
+are joined together is both interesting and perplexing. Evidences of the
+use of solder have been looked for in vain, and if such a medium was
+ever used it was identical in kind with the body of the object or so
+small in quantity as to escape detection. At the junction of the parts
+there are often decided indications of hammering, or at least of the
+strong pressure of an implement; but in pursuing the matter further we
+find a singular perfection in the joining, which amounts to a
+coalescence of the metals of the two parts concerned. There is no
+weakness or tendency to part along the contact surfaces, neither is
+there anything like the parting of parallel wires in coils or where a
+series of wires is joined side by side and carried through various
+convolutions. In a number of cases I made sections of coils and parts
+composed of a number of wires, in the hope of discovering evidences of
+the individuality of the strands, but the metal in the section is always
+homogeneous, breaking with a rough, granular fracture, and not more
+readily along apparent lines of junction than across them; and further,
+in studying in detail the surface of parts unpolished or protected from
+wear by handling, we find everywhere the granular and pitted unevenness
+characteristic of cast surfaces. This is true of the wire forms as well
+as of the massive parts, and, in addition to this, such defects occur in
+the wires as would hardly be possible if they were of wrought gold.
+
+All points considered, I am inclined to believe that the objects were
+cast, and cast in their entirety. It is plain, however, that the
+original model was made up of separately constructed parts of wire or
+wirelike strands and of eccentric and often rather massive parts, and
+that all were set together by the assistance of pressure, the
+indications being that the material used was sufficiently plastic to be
+worked after the manner of clay, dough, or wax. In one case, for
+example, the body of a serpent, consisting of two wires neatly twisted
+together, is held in the hand of a grotesque figure. The hand consists
+of four fingers made by doubling together two short pieces of wire. The
+coil has been laid across the hand and pressed down into it until half
+buried, and the ends of the fingers are drawn up around it without any
+indication of hammer strokes. Indeed, the effect is just such as would
+have been produced if the artist had worked in wax. Again, in the
+modeling of the eyes we have a good illustration. The eye is a minute
+ball cleft across the entire diameter by a sharp implement, thus giving
+the effect of the parted lids. Now, if the material had been gold or
+copper, as in the specimens, the ball would have been separated into two
+parts or hemispheres, which would not exhibit any great distortion; but
+as we see them here the parts are flattened and much drawn out by the
+pressure of the cutting edge, just as if the material had been decidedly
+plastic.
+
+It seems to me that the processes of manufacture must have been
+analogous to those employed by the more primitive metal workers of our
+own day. In Oriental countries delicate objects of bronze and other
+metals are made as follows: A model is constructed in some such material
+as wax or resin and over it are placed coatings of clay or other
+substance capable of standing great heat. These coatings, when
+sufficiently thickened and properly dried, form the mold, from which the
+original model is extracted by means of heat. The fused metal is
+afterwards poured in. As a matter of course, both the mold and the model
+are destroyed in each case, and exact duplications are not to be
+expected. Mr. George F. Kunz, of New York, with whom I have discussed
+this matter, states that he has seen live objects, such as insects, used
+as models in this way. Being coated with washes of clay or like
+substance until well protected and then heavily covered, they were
+placed in the furnace. The animal matter was thus reduced to ashes and
+extracted through small openings made for the purpose.
+
+As bearing upon this subject it should be mentioned that occasionally
+small figures in a fine reddish resin are obtained from the graves of
+Chiriqui. They are identical in style of modeling with the objects of
+gold and copper obtained from the same source.
+
+In discussing possible processes, Mr. William Hallock, of the division
+of chemistry and physics of the United States Geological Survey,
+suggested that if the various sections of a metal ornament were embedded
+in the surface of a mass of fire clay in their proper relations and
+contacts they could then be completely inclosed in the mass and
+subjected to heat until the metal melted and ran together. After
+cooling, the complete figure could be removed by breaking up the clay
+matrix. I imagine that in such work much difficulty would be experienced
+in securing proper contact and adjustment of parts of complex figures.
+It will likewise be observed that evidences of plasticity in the
+modeling material would not exist. I must not pass a suggestion of
+Nadaillac[17] which offers a possible solution of the problem of
+manipulation. Referring to a statement of the early Spanish explorers
+that smelting was unknown to the inhabitants of Peru, he states that it
+would be possible for a people in a low state of culture to discover
+that an amalgam of gold with mercury is quite plastic, and that after a
+figure is modeled in this composite metal the mercury may be dissipated
+by heat, leaving the form in gold, which then needs only to be polished.
+There is, however, no evidence whatever that these people had any
+knowledge of mercury.
+
+There is no indication of carving or engraving in the Chiriquian work.
+In finishing, some of the extremities seem to have been shaped by
+hammering. This was a mere flattening out of the feet or parts of the
+accessories, which required no particular skill and could have been
+accomplished with comparatively rude stone hammers. It is a remarkable
+fact that many, if not most, of the objects appear to be either plated
+or washed with pure gold, the body or foundation being of base gold or
+of nearly pure copper. This fact, coupled with that of the association
+of objects of bronze with the relics, leads us to inquire carefully into
+the possibilities of European influence or agency. I observe that recent
+writers do not seem to have questioned the genuineness of the objects
+described by them, but that at the same time no mention is made of the
+plating or washing. This latter circumstance leads to the inference that
+pieces now in my possession exhibiting this phenomenon may have been
+tampered with by the whites. In this connection attention should be
+called to the fact that history is not silent on the matter of plating.
+The Indians of New Granada are said to have been not only marvelously
+skillful in the manipulation of metals, but, according to Bollaert,
+Acosta declares that these peoples had much _gilt_ copper, "and the
+copper was gilt by the use of the juice of a plant rubbed over it, then
+put into the fire, when it took the gold color."[18] Just what this
+means we cannot readily determine, but we safely conclude that, whatever
+the process hinted at in these words, a thin surface deposit of pure
+gold, or the close semblance of it, was actually obtained. It is not
+impossible that an acid may have been applied which tended to destroy
+the copper of the alloy, leaving a deposit of gold upon the surface,
+which could afterwards be burnished down.
+
+It has been suggested to me that possibly the film of gold may in cases
+be the result of simple decay on the part of the copper of the alloy,
+the gold remaining as a shell upon the surface of the still undecayed
+portion of the composite metal; but the surface in such a case would not
+be burnished, whereas the show surfaces of the specimens recovered are
+in all cases neatly polished.
+
+If we should conclude that the ancient Americans were probably able to
+secure in some such manner a thin film of gold, it still remains to
+inquire whether there may not have been some purely mechanical means of
+plating. In some of the Chiriquian specimens a foundation of very base
+metal appears to have been plated with heavy sheet gold, which as the
+copper decays comes off in flakes. Occasional pieces have a blistered
+look as a consequence. Were these people able with their rude appliances
+to beat gold into very thin leaves? and Had they discovered processes by
+which these could be applied to the surfaces of objects of metal? are
+questions that should probably be answered in the affirmative.
+
+The flakes in some cases indicate a very great degree of thinness.
+Specimens of sheet gold ornaments found in the tombs are thicker, but
+are sufficiently thin to indicate that, if actually made by these
+people, almost any degree of thinness could be attained by them. It
+would probably not be difficult to apply thin sheet gold to the
+comparatively smooth surfaces of these ornaments and to fix it by
+burnishing.
+
+Mr. Kunz suggests still another method by means of which plating could
+have been accomplished. If a figure in wax were coated with sheet gold
+and then incased in a clay matrix, the wax could be melted out, leaving
+the shell of gold within. The cavity could then be filled with alloy,
+the clay could be removed, and the gold, which would adhere to the
+metal, could then be properly burnished down.
+
+It will be seen from this hasty review that, although we may conclude
+that casting and plating were certainly practiced by these peoples, we
+must remain in ignorance of the precise methods employed.
+
+Referring to the question of the authenticity of the specimens
+themselves, I may note that observations bearing upon the actual
+discovery of particular specimens in the tombs are unfortunately
+lacking. Mr. McNiel acknowledges that with all his experience in the
+work of excavation no single piece has been taken from the ground with
+his own hands, and he cannot say that he ever witnessed the exhumation
+by others, although he has been present when they were brought up from
+the pits. Generally the workmen secrete them and afterwards offer them
+for sale. He has, however, no shadow of a doubt that all the pieces
+procured by him came from the graves as reported by his collectors. The
+question of the authenticity of the gilding will not be satisfactorily
+or finally settled until some responsible collector shall have taken the
+gilded objects with his own hands from their undisturbed places in tombs
+known to be of pre-Columbian construction.
+
+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.
+
+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 archaeologists may have
+the opportunity of making personal observations of similar relics in
+place.
+
+The objects consist to a great extent of representations of life forms,
+in many cases more fanciful than real and often extremely grotesque.
+They include the human figure and a great variety of birds and beasts
+indigenous to the country, in styles resembling work in clay and stone
+of the same region. My illustrations show the actual sizes of the
+objects.
+
+  [Illustration: Fig. 26. Human figure with ridged crown, formed of
+  copper-gold alloy.]
+
+_The human figure._--Statuettes of men and women and of a variety of
+anthropomorphic figures of all degrees of elaboration abound. Fig. 26
+illustrates a plain, rude specimen belonging to the collection of J. B.
+Stearns. It was obtained by Mr. McNiel from near the south base of Mount
+Chiriqui. The body is solid and the surface is rough and pitted, as if
+from decay. In many respects it resembles the stone sculptures of the
+isthmus. The metal is nearly pure copper. A piece exhibiting more
+elaborate workmanship, illustrated by Bollaert,[19] is shown in Fig. 27.
+Another remarkable specimen is illustrated by De Zeltner, but the
+photograph published with his brochure is too indistinct to permit of
+satisfactory reproduction. He describes it in the following language:
+
+  The most curious piece in my collection is a gold figure of a man,
+  7 centimeters in height. The head is ornamented with a diadem
+  terminated on each side with the head of a frog. The body is nude,
+  except a girdle, also in the form of a plait, supporting a flat
+  piece intended to cover the privates, and two round ornaments on
+  each side. The arms are extended from the body; the well drawn hands
+  hold, one of them a short, round club, the other a musical
+  instrument, of which one end is in the mouth and the other forms an
+  enlargement like that of a flute, made of human bone. It is not
+  probable that this is a pipe. Both thighs have an enlargement, and
+  the toes are not marked in this little figurine.[20]
+
+  [Illustration: Fig. 27. Grotesque human figure in gold, from
+  Bollaert.]
+
+  [Illustration: Fig. 28. Rudely shaped and finished human figure in
+  gold.]
+
+In Fig. 28 we have a rather rudely made and finished piece collected by
+Mr. McNiel, and now owned by Mr. Stearns. It exhibits features
+corresponding with a number of those referred to by De Zeltner. The
+foundation is thin and is of base metal coated with pure gold. I present
+two additional examples of the human figure from the collection of Mr.
+Stearns. One of them (Fig. 29) is an interesting little statuette in
+dark copper that still retains traces of the former gilding of yellow
+gold. The crown is flat and is surrounded by a fillet of twisted wire.
+The face is grotesque, the nose being bulbous, the mouth large, and the
+lips protruding. The hands are represented as grasping cords of wire
+which connect the waist with the crown of the figure and seem to be
+intended for the bodies of serpents, the heads of which project from the
+sides of the headdress. Similar serpents project from the ankles. The
+feet are flattened out as if intended to be set in a crevice. The
+extremities--excepting the feet--and the ornaments are all formed of
+wire. The various parts of the figure have been modeled separately and
+set together while the material was in a plastic or semiplastic
+condition. This is clearly indicated by the sinking of one part into
+another at the points of contact.
+
+  [Illustration: Fig. 29. Grotesque human figure in nearly pure
+  copper, partially coated with yellow gold.]
+
+  [Illustration: Fig. 30. Grotesque human figure in nearly pure gold.]
+
+An excellent example of the more elaborate figures is shown in Fig. 30.
+It is of reddish gold, slightly alloyed apparently with copper, and has
+in finishing received a very thin wash or plating of yellow gold, which
+is worn off in exposed parts. The central feature of the rather
+complicated structure is a grotesque human figure, much like the
+preceding, and having counterparts in both clay and stone. The figure is
+backed up and strengthened by two curved and flattened bars of gold, one
+above and the other below, as seen in the cut. The figure is decked with
+and almost hidden by a profusion of curious details, executed for the
+most part in wire and representing serpents and birds. Three
+vulture-like heads project from the crown and overhang the face. Two
+serpents, the bodies of which are formed of plaited wire, issue from the
+mouth of the figure and are held about the neck by the hands. The heads
+of the serpents are formed of wire folded in triangular form and are
+supplied with double coils of wire at the sides, as if for ears, and
+with little balls of gold for eyes. Similar heads project from the sides
+of the head and from the feet of the image.
+
+The peculiarities of construction are seen to good advantage in this
+specimen. The figure is made up of a great number of separate pieces,
+united apparently by pressure or by hammering while the material was
+somewhat plastic. Upwards of eighty pieces can be counted. The larger
+pieces, forming the body and limbs, are hollow or concave behind. Nearly
+all the subordinate parts are constructed of wire.
+
+  [Illustration: Fig. 31. Rudely executed image of a bird in gold.]
+
+_The bird._--Images of birds are numerous and vary greatly in size and
+elaboration. They are usually represented with expanded wings and tails,
+the under side of the body being finished for show. The back is left
+concave and rough, as when cast, and is supplied with a ring for
+suspension or attachment, as seen in the profile view (Fig. 31). The
+owl, the eagle, the parrot, and various other birds are recognized,
+although determinations of varieties are not possible, as in many cases
+the forms are rude or greatly obscured by extraneous details. The
+example shown in Fig. 31 is of the simplest type and the rudest
+workmanship, and is apparently intended for some rapacious species,
+possibly a vulture. The body, wings, and tail are hammered quite thin
+and are left frayed and uneven on the edges. The material appears to be
+nearly pure copper plated with yellow gold. Specimens of this class are
+very numerous. One, presented in a publication of the Society of
+Northern Antiquaries, and now in the museum at Copenhagen, is thought to
+be intended for a fish hawk, as it carries a fish in its mouth. De
+Zeltner mentions a statuette in gold of a paroquet, whose head is
+ornamented with two winged tufts. Such a specimen may be seen in the
+collection of Mr. Stearns.
+
+  [Illustration: Fig. 32. Image of a bird in gold, from Bollaert.]
+
+Fig. 32 is reproduced from Bollaert. It represents a parrot and is very
+elaborately worked.
+
+  [Illustration: Fig. 33. Puma shaped figure in gold.]
+
+  [Illustration: Fig. 34. Puma shaped figure in base metal.]
+
+_The puma._--Representations of quadrupeds are common; a good example,
+copied from Bollaert, is given in Fig. 33. The animal intended is
+apparently a puma, a favorite subject with Chiriquian workers in clay
+and stone as well as in gold. The body is hollow and open beneath and
+the fore feet are finished with loops for suspension. A similar piece
+with head thrown back over the body is shown in Fig. 34. The metal in
+this case appears to be nearly pure copper.
+
+_Grotesque figure._--Another piece collected by Mr. McNiel is outlined
+in Fig. 35. The metal is quite base and the surface has been coated with
+gold, which is now nearly all rubbed off. The shape is that of a
+quadruped. The face has a rather grotesque, not to say satanic,
+expression. The details are not unlike those of other examples
+previously given.
+
+  [Illustration: Fig. 35. Quadruped with grotesque face in base
+  metal.]
+
+  [Illustration: Fig. 36. Figure of a fish in gold. From Harper's
+  Weekly, 1859.]
+
+_The fish._--The fish was a favorite subject with the ancient nations of
+South America, and is modeled in clay, woven into fabrics, and worked in
+metals with remarkable freedom. It was in great favor in Chiriqui and
+must have been of importance in the mythology of the country. It occurs
+most frequently in pottery, where it is executed in color and modeled in
+the round. The very grotesque specimen in gold shown in Fig. 36 is
+copied from Harper's Weekly of August 6, 1859, where it forms one of a
+number of illustrations of these curious ornaments. The paper is,
+I believe, by Dr. F. M. Otis, who had just returned from Panama. A very
+curious piece owned by Mrs. Philip Phillips, of Washington, represents a
+creature having some analogies with the fish figure of Otis. Issuing
+from the mouth is the same forked tongue, each part terminating in a
+serpent's head. The body is about two inches long and the back has five
+triangular perforations. The tail is forked and the four leg-like
+members terminate in conventional serpents' heads. The metal is pure or
+nearly pure gold.
+
+  [Illustration: Fig. 37. Large figure of a frog in base metal plated
+  with gold.]
+
+  [Illustration: Fig. 38. Small figure of a frog, in base metal plated
+  with gold.]
+
+_The frog._--The frog appears in the plastic art of Chiriqui more
+frequently perhaps than any other reptile. Its form is reproduced with
+much spirit and in greatly varying sizes, degrees of elaboration, and
+styles of presentation. It is probable that a number of species are
+represented. In Fig. 37 we have a large, rather plain specimen, now in
+the National Museum. The body and limbs are concave beneath, the metal
+being about one-sixteenth of an inch thick. Teeth are suggested by a
+number of perforations encircling the jaws and the eyes are minute hawk
+bells containing pellets of metal. The legs are placed in characteristic
+positions, and the hind feet are broad plates without indications of
+toes, a characteristic of these golden frogs. The framework or
+foundation is of copper, apparently nearly pure, and the surface is
+plated with thin sheet gold, which tends to flake off as the copper
+foundation corrodes.
+
+The minute, delicately finished example given in Fig. 38 contrasts
+strongly with the preceding. It is also of base metal plated with pure
+gold and belongs to the collection of Mr. Stearns.
+
+  [Illustration: Fig. 39. Figure of an alligator, in gold, published
+  in Harper's Weekly, 1859.]
+
+_The alligator._--The alligator, which appears so frequently in the
+pottery of Chiriqui, is only occasionally found in gold. A striking
+specimen, illustrated in Harper's Weekly of August 6, 1859, is given in
+Fig. 39. A similar piece, formed of base metal, is in the collection of
+Mr. Stearns.
+
+  [Illustration: Fig. 40. Animal figure, in base metal plated with
+  gold.]
+
+_The crayfish (?)._--In Fig. 40 we have a fine specimen, intended
+apparently to represent a crayfish or some similar crustacean form. The
+head is supplied with complicated yet graceful antenna-like appendages,
+made of wire neatly coiled and welded together by pressure or hammering.
+The eyes are globular and are encircled by the ends of a double loop of
+wire which extends along the back and incloses a line of minute balls or
+nodes. The peculiar wings and tail will be best understood by referring
+to the illustration. The foundation metal is much corroded, being dark
+and rotten, and the plating of reddish gold seems to have been coated
+with a thin film of yellow gold. The profile view gives a good idea of
+the thickness of the metal and of the relief of the parts. Two rings or
+loops of doubled wire are attached to the extreme end of the nose and a
+heavy ring for suspending is fixed to the under side of the head.
+
+_Miscellaneous._--Gold, pure and in the usual alloys, was also used in
+the manufacture of other articles, such as bells, beads, disks, balls,
+rings, whistles, thimble shaped objects, and amulets of varied shapes.
+Bells are more generally made of bronze, because, perhaps, of its
+greater degree of resonance. Thin plates, or rather circular sheets, of
+gold leaf are numerous. One mentioned by Bollaert was 7-1/4 inches in
+diameter. They are plain or crimped about the margins, indented in
+various ways, and sometimes perforated, apparently for suspension or
+attachment. Merritt mentions examples having holes which showed
+evidences of wear upon one side only, indicating attachment in a fixed
+position to some object or to some part of the costume. But one example
+is at hand, a thin sheet, three inches in diameter and crimped or
+indented neatly about the margin. Its thickness is about that of
+ordinary tinfoil.
+
+    [Footnote 14: Herrera: Hist. America, Vol. VI, p. 369.]
+
+    [Footnote 15: Herrera: Hist. America, Vol. III, p. 287.]
+
+    [Footnote 16: Mr. Hawes's letter answering questions about
+    Chiriqui, read by Mr. Davis before the American Ethnological
+    Society, April 17, 1860.]
+
+    [Footnote 17: Nadaillac: Prehistoric America, p. 450.]
+
+    [Footnote 18: Bollaert: Ethnological and Other Researches in New
+    Granada, &c.]
+
+    [Footnote 19: Bollaert: Antiquarian Researches in New Granada,
+    plate facing p. 31.]
+
+    [Footnote 20: A. De Zeltner: Notes sur les sepultures indiennes du
+    departement de Chiriqui.]
+
+BRONZE.
+
+_Bells._--Bells seem to have been in pretty general use by the more
+cultured American races previous to the conquest. The form best known is
+the hawk bell, or common sleighbell of the North. The globular body is
+suspended by a loop at the top and is slit on the under side, so that
+the tinkling of the small free pellets of metal may be audible. Such
+bells are found in considerable numbers in the graves of Chiriqui,
+although I have no positive assurance that any of the examples in my
+possession were actually taken from graves which contained typical
+Chiriquian relics of other classes. The specimens now in the National
+Museum (Fig. 41) are in most cases, if not in all, of bronze, as
+determined by Mr. R. B. Riggs, of the chemical laboratory of the United
+States Geological Survey. All have been cast in molds. In most cases
+there are traces of a plating of gold. The largest is 1-1/4 inches in
+height and three-fourths of an inch in diameter. It is surmounted by the
+rude figure of an animal, through or beneath the body of which is an
+opening for the attachment of a cord. Others have simple loops at the
+top. The small perforated specimen belongs to Mr. Stearns. The
+additional piece given in Fig. 42 is unique in conception. It represents
+a human head, which takes an inverted position when the bell is
+suspended. The lower part of the bell forms a conical crown to the head
+and the ring of suspension is attached to the chin. Double coils of wire
+take the place of the ears, and the other features are formed by setting
+on bits of the material used in modeling. This specimen belongs to the
+collection of Mr. Stearns. Many examples of more elaborate workmanship
+have been recovered from the tombs and are now to be found in the
+collections of America and Europe.
+
+  [Illustration: Fig. 41. Bronze bells plated or washed with gold.]
+
+  [Illustration: Fig. 42. Bronze bell with human features.]
+
+A specimen found many years ago on the Rio Grande, near Panama, and
+figured in Harper's Weekly, was of gold and showed specific variations
+from the Chiriquian pieces. It will be seen by reference to the outline
+given in Fig. 43 that three very neatly shaped and gracefully ornamented
+bells are mounted upon a circular plate to which a short handle is
+attached. It was evidently not intended for suspension, but rather to be
+held in the hand as a rattle.
+
+A question as to the authenticity of these bells as aboriginal works
+very naturally arises, and it may be difficult to show to the
+satisfaction of the skeptical mind that any particular specimen is not
+of European origin or inspiration. At the same time we are not without
+strong evidences that such bells were in use by the Americans before the
+advent of the whites. Historical accounts are not wanting, but I shall
+only stop to point out some of the internal evidences of the native art.
+The strongest argument is to be found in the presence of analogous
+features in other branches of the art and in other arts. The eyes of the
+golden figures of reptiles are in many cases minute hawk bells, and in
+works of clay, the purely aboriginal character of which has not been
+called in question, similar features are discovered. The American origin
+of the bell, therefore, is not to be questioned. The form originated, no
+doubt, in the rattle, at first a nutshell or a gourd; later it was
+modeled in clay, and in time the same idea was worked out in the legs
+and the ornaments of vessels and in the heads and other parts of animal
+forms, which were made hollow and supplied with tinkling pellets. With
+the acknowledged skill of these people in the working of metals, there
+is no reason why the bells described should not have been manufactured
+independently of European aid and influence, provided the requisite
+metal was at hand.
+
+  [Illustration: Fig. 43. Triple bell or rattle found on the Rio
+  Grande.]
+
+  [Illustration: Fig. 44. Ancient Mexican bell.]
+
+It should be observed that if these early American bells were copied
+from or based upon Spanish originals they would not probably vary
+greatly in type with the various sections from which they are recovered,
+but it is observed that marked and persistent differences do occur. The
+well known Mexican bell, an example of which is outlined in Fig. 44,
+although of bronze, is generically distinct in form and construction.
+
+
+In a brief review I may recall the more salient points regarding the use
+of metals in ancient Chiriqui. Gold, silver, copper, and apparently tin
+are represented.
+
+Gold and copper were very plentifully distributed among the isthmian
+races, but we have little information as to the sources of supply. Free
+gold is found in the stream beds of many localities, and copper was
+probably found in its native state in some convenient locality; yet it
+is not impossible that these metals were transported from distant
+regions, as the inhabitants of Chiriqui must have had considerable
+intercourse with those of Central America on the north and with those of
+Granada on the south. Silver and tin are found in alloys with gold and
+copper, but not as independent metals. The silver gold alloy is probably
+a natural compound. In no case have I found silver to exceed 6 per cent.
+of the composite metal. Tin was artificially alloyed with copper,
+forming bronze. The latter metal resembles our ordinary bronze in color
+and hardness, but I am unable to secure more than a qualitative analysis
+on account of the scarcity of specimens available for the purpose. We
+have no information in regard to the origin of the tin. It is not found
+in a native state, and since it seems hardly probable that the
+Chiriquians understood smelting ores we are left in doubt as to whether
+it was obtained from more cultured nations to the north or to the south
+or from transoceanic countries.
+
+The gold-copper alloys appear to range between pure gold and pure
+copper. If the bronze is of European origin, then we must conclude that
+all objects made of that metal are of post-Columbian manufacture. This
+question will probably be definitely settled in the near future.
+
+The greater number of the objects were formed by casting in molds.
+Hammering was but little practiced, excepting, apparently, in the
+formation of sheet gold, which was probably an indigenous product.
+Repousse work is not found, save as represented in the crimping and
+indenting of gold leaf. Engraving and carving were not practiced. It may
+be considered certain that gilding, or at least plating, was understood.
+
+The objects are obtained from ancient graves of which no record or
+reliable tradition is preserved. They are all ornaments, no coin,
+weapon, tool, or utensil having come to my notice. The absence of
+utensils and of hammered objects of any kind strikes me as being rather
+extraordinary, since it is popularly supposed that, in the normal
+succession of events, hammering should precede casting and that utensils
+should be made before elaborate ornaments.
+
+The work exhibits close analogies with that of the mainland of South
+America, but these analogies appear to be in material, treatment, and
+scope of employment rather than in the subject matter of the
+conceptions. The personages and zoomorphic characters represented are
+characteristically Chiriquian, and were derived no doubt from the
+mythology of the locality. These works affiliate with the various works
+in stone and clay, the art products of the province thus constituting a
+fairly homogeneous whole and being entirely free from traces of European
+influence.
+
+Metals do not come into use early in the history of a race, as they are
+not found in shapes or conditions suitable for immediate use, nor are
+they sufficiently showy when found to be especially desirable for
+ornaments. A long period must have elapsed before the use of metals was
+discovered, and a longer period must have passed before they were
+worked; and, in the light of our knowledge of the ancient tribes of the
+United States, it would seem that a considerable degree of culture may
+be achieved before the casting of metals is understood; but in the
+ordinary course of progress the discovery of methods of alloying rare
+metals would be far separated from that of the simple fusing and casting
+of a single metal, such as gold. The Chiriquian peoples not only had a
+knowledge of the methods of alloying gold with copper, and, apparently,
+copper with tin, but, if our data are correct, they were able to plate
+the baser metals and alloys with sheet gold, and, what is far more
+wonderful, to wash them with gold, producing an effect identical with
+that of our galvanic processes.
+
+The character of the conceptions embodied in the art unite with
+evidences of technical skill to prove to us that American culture, as
+represented by the metal ornaments of Chiriqui, was not the product of a
+day, but of long periods of experiment and progress.
+
+
+POTTERY.
+
+_Preliminary._--The importance of the potter's art to archaeology has
+often been pointed out. Baked clay is one of the most enduring materials
+utilized in art, and its employment by the races of men has fallen but
+little short of universal. The creations of that noblest of arts,
+architecture, and the antecedent forms of house building are necessarily
+left where erected, to be fed upon by the remorseless elements of
+nature, but the less pretentious utensil of clay accompanies its owner
+to the tomb, where it remains practically unchanged for ages.
+
+Many glimpses of the early history of the American races and of the
+progress of art in pre-Columbian times are obtained through these
+exhumed relics, and in no case have we a view more clear and
+comprehensive than that furnished in the series here presented. The
+graves of Chiriqui have yielded to a single explorer upwards of 10,000
+pieces of pottery, and this chiefly from an area perhaps not more than
+fifty miles square. These vessels constitute at least 90 per cent. of
+the known art of the ancient occupants of the province, and, although
+not so eloquent of the past as are the inscribed tablets of Assyria or
+the pictured vases of Greece, they tell a story of art and of peoples
+that without their aid would remain untold to the end of time.
+
+A careful study of the earthenware of this province leads to the
+conclusion that for America it represents a very high stage of
+development, and its history is therefore full of interest to the
+student of art. Its advanced development as compared with other American
+fictile products is shown in the perfection of its technique, in the
+high specialization of form, and in its conventional use of a wide range
+of decorative motives. There is no family of American ware that bears
+evidence of higher skill in the manipulation of clay or that indicates a
+more subtile appreciation of beauty of form, and no other that presents
+so many marked analogies to the classic forms of the Mediterranean.
+Strangely enough, too, notwithstanding the well established fact that
+only primitive methods of manufacture were known, there is a parallelism
+with wheel made ware that cannot but strike the student with amazement.
+
+In speaking thus of the whole body of ceramic products, I would not
+convey the impression that there is perfect homogeneity throughout, as
+if all were the work of a single people developed from within, and
+therefore free from the eccentricities that come from exotic influence.
+On the contrary, there is strong evidence of mixed conditions of races
+and of arts, the analysis of which, with our present imperfect data,
+will be extremely difficult. These evidences of mixed conditions are
+found in the marked diversity and individuality of character of the
+various groups of ware.
+
+It is impossible, without the aid of careful observations in the field,
+to arrive at any conclusion as to the relative age of the different
+varieties of ware. Appearances of age are deceptive; the newer looking
+varieties may be the older and those executed in the most primitive
+style may belong to the later period, for grades in culture are not
+chronologic.
+
+With reference to the principal groups of relics, we cannot do better
+than accept the statements of collectors that all are buried in like
+ways and in similar tombs, different varieties in many cases occurring
+in the same tomb. There are, however, in a few minor groups such marked
+distinctions in workmanship and style that we are compelled to attribute
+them to different periods or to distinct communities. The groups
+separated most completely from others are the scarified pottery
+presented first in the series of painted wares, the maroon group, which
+follows, and other varieties represented by fugitive pieces. The latter
+may have reached Chiriqui from neighboring provinces. There are certain
+pieces that speak decidedly of Costa Rican influence and others that
+find their counterparts in the Colombian states to the south.
+
+In art in clay in most countries the vessel is the leading idea, the
+center about which nearly the entire ceramic art is gathered. This is
+true in a marked degree in Chiriqui, and vessels are therefore given the
+first place in this paper. The less usual forms include drums, whistles,
+rattles, stools, spindle whorls, needlecases, and toy-like images, all
+of which present features of peculiar interest. These classes of objects
+are discussed in separate sections.
+
+There are few indications of an ambition to model natural forms or
+mythologic figures independently of utensils and useful objects, and,
+strange to say, no pieces are found that portray the human face and
+figure with even a fair degree of approach to nature.
+
+_How found._--In describing the graves and tombs in a previous section,
+I alluded to the manner in which the pottery was deposited. It appears
+to have been buried with the dead or thrown into the grave with the
+earth and stones with which the pit was filled. There was little
+regularity in the place or position of the vessels and many were broken
+when found. The precise use of the vessels, the character of the
+contents, or the relation of particular pieces to the remains of the
+dead cannot be determined. Although the human remains have almost
+entirely disappeared and there are no traces left of utensils of wood,
+bone, horn, or shell, the paste, slip, and colors are wonderfully well
+preserved and the surface is not even discolored by contact with the
+earth. When found, every crevice and cavity is completely filled with
+earth, and the paste is often so tender that the vessels have to be
+dried with great care before they can be handled with freedom. The
+number of pieces found in a grave sometimes reaches twenty, but the
+average is perhaps not above three or four.
+
+_Material._--The material used in the manufacture of this ware is
+remarkably uniform throughout the whole province, varying slightly with
+the locality, with the group, and with the character of the vessel
+constructed. Generally the paste consists of a matrix of fine clay
+tempered with finely pulverized sand, in which may be detected grains of
+quartz, feldspar, hornblende, augite, particles of iron oxide, &c.
+Argillaceous matter has been sparingly used, the sand in many cases
+comprising at least 75 per cent. of the mass. Many of the unpainted
+specimens, from which the polished slip has been removed, give off
+showers of fine sand when rubbed by the hand, and it is difficult to
+detect the presence of any finely comminuted matrix whatever. The thin
+slip employed in surface finish is more highly argillaceous than the
+paste. The clay used was probably mostly light in color, as the paste is
+now quite uniformly so. The baking was effected apparently without a
+very high degree of temperature and by methods that left few marks or
+discolorations upon the vessels. In hardness and durability the paste
+corresponds pretty closely with that of our red porous earthenware. The
+softer pieces can be scratched or even carved with a knife. Water will
+penetrate any of these vessels in a few minutes, but decay has probably
+tended to make the walls more porous.
+
+_Manufacture._--There is no piece of this ware that does not bear
+evidence of a high degree of skill on the part of the potter; and yet,
+owing to the thorough manner in which the work is finished, the precise
+methods of manipulation are not easily detected. So great is the
+symmetry and so graceful are the shapes that one is led to suspect the
+employment of mechanical devices of a high order. The casual observer
+would at once arrive at the conclusion that the wheel or molds had been
+used, but it is impossible to detect the use of any such appliances. We
+observe that irregular and complex forms, in the production of which
+mechanical appliances could not be used to advantage, are modeled with
+as much grace of contour and perfection of surface as are the simpler
+shapes that could be turned upon a wheel, and we conclude that with this
+remarkable people the hand and the eye were so highly educated that
+mechanical aids were not indispensable. I find no evidence that coil
+building was systematically practiced, but it is clear that parts of
+complex forms were modeled separately and afterwards united. The various
+ornaments in relief (the heads and other parts of animals) and the
+handles, legs, and bases of vessels were constructed separately and then
+luted on, and with such skill that the thinnest walls and the most
+complex and delicate forms were not injured in the process. The contact
+irregularities were then worked down, and every part of the surface,
+including the more important ornaments, were rendered smooth,
+preparatory to the application of the thin surface wash or slip. After
+the slip was applied and the clay became somewhat indurated, the surface
+was polished with smooth pebbles, the marks of which can be seen on the
+less accessible parts of the vessel. On the exposed surfaces of certain
+groups of ware the polish is in many cases so perfect that casual
+observers and inexperienced persons take it for a glaze. Incised figures
+and painted decorations were generally executed after the polishing was
+complete. Details of processes will be given as the various classes of
+ware pass under review.
+
+The methods of baking were apparently of a higher order than those
+practiced in many parts of America. One rarely discovers traces of the
+dark discolorations that result from primitive methods of baking, yet
+there are none of the contact marks that arise from the furnace firing
+of Spanish-American potters.
+
+_Color._--The colors of the ware and of the surface applications vary
+decidedly with the different groups. The prevailing colors of the paste
+may be defined as ranging from very light yellow grays to a variety of
+ochery yellows and very pale terra cotta reds. In one or two groups
+there is an approach to salmon and orange hues, and in another the color
+is black or dark brown. The color within the mass is in some cases
+darker than upon the surface, an effect produced in baking, and not
+through the use of different clays. The slip is usually lighter than the
+surface of the paste.
+
+The colors used in finishing and decorating are confined to reds,
+blacks, and purple grays. In one large group of ware the appearance of
+the delineations is such as to lead to the conclusion that the principal
+pigment or fluid employed in delineation has totally disappeared,
+carrying with it all underlying colors not of unusual permanence or not
+worked down with the polishing implement. The Aztec and other races of
+tropical America used an argillaceous, white pigment in decorating their
+wares, which has in many cases partially or wholly disappeared, carrying
+away considerable portions of the colors over which it was laid, while
+in other cases, and also in this Chiriqui ware, there is no trace of
+color remaining and we are left to surmise that the brush used probably
+contained merely a "taking out" medium. Red was profusely used and
+varies from a light vermilion to a deep maroon. In certain classes of
+vessels it was hastily daubed on, covering prominent parts of the
+surface or forming irregular spots, streaks, and rude figures. In two
+groups of ware it was used as the chief delineating color. In some cases
+it was employed as a wash or slip and was worked down with the polishing
+stone, and in this condition it was treated as a ground upon which to
+execute designs in other colors. It is always a fast color and is
+probably of mineral character.
+
+The blacks are of two kinds, which are used in distinct groups of ware:
+one, probably a mineral pigment, somewhat pasty when applied and quite
+permanent, is always used in delineating the ornamental figures; the
+other, possibly a vegetable tint, is always used as a ground upon which
+to execute designs in other mediums. It is confined to a single group of
+ware. It has in many cases disappeared entirely, and where remaining can
+be removed with ease by rubbing.
+
+A light purple tint is tastefully and sparingly employed in one group of
+ware. Browns and other hues occur but rarely and in all cases result
+from alterations of other colors produced in firing. The color effects
+of this pottery, although evidently much modified by age, are
+sufficiently rich to be highly pleasing to the eye.
+
+_Use._--The uses to which most classes of earthen products were applied
+are easily determined. Whistles, drums, rattles, and spindle whorls have
+definite duties to perform, and vessels, as to general scope of
+function, answer for themselves: but when we come to inquire into the
+particular uses of the various groups of vessels we are often at a loss.
+The majority of the pieces show no abrasion by handling or discoloration
+by fire or by contents, and I am inclined to believe that a large
+portion were taken directly from the furnace and deposited in the tombs.
+This implies manufacture for purely mortuary purposes.
+
+Two important groups, the high tripods and the two handled cups or pots,
+are generally discolored by use over fire, but we cannot say with
+confidence whether that use was a domestic one or whether it was
+ceremonial. The small size and the elaborate modeling of a majority of
+the pieces make it appear improbable that they were intended for use in
+ordinary cooking or even in the preparation of beverages. A few large
+plain caldrons are found, and these were probably domestic receptacles.
+All things considered, it would seem highly probable that the greater
+portion of the vessels exhumed from the graves were intended to be used
+for religious and mortuary purposes.
+
+The preceding paragraphs refer, for the most part, to the whole body of
+earthenware products, but throughout the rest of this section I shall
+treat of vessels only, except in the matter of decoration, which refers
+equally to all classes of objects.
+
+  [Illustration:
+  _a, b, c, d, e, f_
+  Fig. 45. Fundamental forms of vases--convex outlines.]
+
+  [Illustration:
+  _a, b, c, d, e_
+  Fig. 46. Fundamental forms of vases--angular outlines.]
+
+  [Illustration:
+  _a, b_
+  Fig. 47. Vases of complex outlines--exceptional forms.]
+
+_Forms of vessels._--Divesting the utensil of extraneous features, such
+as rims, handles, and legs, we have the following series of shapes,
+which shows a pretty full graduation of outline from extreme to extreme.
+Beginning with the simplest fundamental form, the shallow cup (Fig. 45,
+_a_), we ascend gradually to more complex outlines, such as are seen in
+the hemispherical bowl (_b_), the deep basin with slightly incurved rim
+(_c_), the globular form (_d_), and the elongated form (_e_).
+Occasionally we see an eccentric variation, such as is shown in _f_.
+Flat bottoms are unusual; a conical base is the rule. Outlines do not
+always exhibit these even, convex curves, but many are straight or
+concave in profile, as shown in Fig. 46. Complex forms are shown in
+Fig. 47, _a_ and _b_, and compound forms in Fig. 48, _a_ and _b_.
+Examples of these classes are numerous and important. The compound
+shapes result from the union of two or more simple forms. Eccentric
+forms are numerous and result in a majority of cases from the employment
+of some animal as a model. Thus, if an alligator or almost any quadruped
+is embodied in the vessel, the form tends to become elongated; if a crab
+or a fish is imitated, there is a tendency to flatness &c. The base is
+almost universally more or less conical, is rarely flat, and never
+concave, excepting as the result of the addition of an annular foot or
+stand. The radical shapes do not undergo any considerable change when
+rims, necks, handles, legs, and other appendages are added. The rim or
+lip is in many cases incurved, but as a rule it is turned outward. The
+margin is plain, symmetrical, and often considerably thickened. In a few
+instances the outline is rectangular or scalloped, as shown in Fig. 49,
+and the attachment of handles often leads to peculiar outlines, as will
+be seen further on.
+
+  [Illustration:
+  _a, b_
+  Fig. 48. Vases of compound forms.]
+
+  [Illustration: Fig. 49. Square lipped vessel.]
+
+  [Illustration:
+  _a, b, c, d_
+  Fig. 50. Variations in the forms of necks and rims--various groups
+  of ware.]
+
+The neck in its simplest form is a narrow upright band surrounding the
+orifice (Fig. 50, _a_) and is not differentiated from the rim.
+Variations in size and shape are shown in the remaining figures of the
+series. In _b_ it is a narrow constricted band beneath an overhanging
+rim, in _c_ it is upright and considerably elongated, and in _d_ it
+expands, giving a funnel shaped mouth. The exterior surface is very
+generally decorated with relieved or painted devices. High necked
+bottles and pitcher shaped vessels are unknown.
+
+  [Illustration:
+  _a, b, c, d, e, f_
+  Fig. 51. Arrangement of handles--various groups of ware.]
+
+Handles constitute a very interesting feature of this pottery and are
+much varied in shape and arrangement. In a few cases the handle is a
+single arch springing over the orifice, as seen in Fig. 51, _a_. Again,
+the handle is attached to one side, as in _b_, but as a rule handles
+occur in twos upon the shoulder, one on either side of the aperture.
+They are horizontally attached, as in _c_, or vertically placed, as in
+_d_, connecting the rim with the shoulder, or they occur low on the
+body, as in _e_. In rare cases there are four handles, which are
+arranged as seen in _f_ or are set on in pairs. In the elaboration of
+handles, the use made of animal forms is perhaps the most notable
+feature. Grotesque figures are made to take the place of handles or are
+attached to or placed near them. The treatment is so varied that I shall
+have to refer the student to the subsequent series of illustrations.
+
+Annular bases or feet were not in very general use in Chiriqui, although
+in some cases they are modeled with a great deal of grace. The shape
+varies from a simple ring, barely deep enough to give a firm support to
+the vessel when placed upon a level surface, to a long, attenuated
+column with flaring base. The latter is perhaps one of the nearest
+approaches which America has furnished to the slender foot
+characteristic of the wheel made ware of Mediterranean countries.
+
+  [Illustration:
+  _a, b, c, d_
+  Fig. 52. Types of annular bases or feet--various groups of ware.]
+
+  [Illustration:
+  _a_ Biscuit ware.
+  _b_ Biscuit ware.
+  _c_ Tripod group.
+  _d_ Red line group.
+  Fig. 53. Forms of legs--various groups of ware.]
+
+The vessel shown in Fig. 52, _a_, has a somewhat rudimentary foot;
+another, _b_, a firm, wide base, which is perforated to give lightness;
+an hourglass-like piece is shown in _c_, and a long, bell shaped foot is
+seen in _d_. In no part of the world do earthen vessels exhibit such a
+remarkable development of legs as in Southern Central America. The
+tripod is the favorite support, and in Chiriqui the forms are more
+graceful than in the neighboring provinces. In a few cases, where the
+body was modeled in close imitation of animal forms, four legs were
+used, but three were generally preferred, even for vessels of
+rectangular or irregular shapes. In the simplest form they are small
+conical knobs, placed rather close together about the base of the vessel
+(Fig. 53, _a_), but from these the dimensions increase until the size is
+out of all reasonable proportion. The maximum development in point of
+expansion is seen in _b_ and the greatest height in _c_. They are
+frequently modeled after life forms. In a few cases rings or loops are
+employed, as shown in _d_. The larger forms, and especially those
+imitating animals, are hollow and contain round pellets of clay that
+rattle when the vessel is moved. The manner in which the legs are
+attached to the body of the vessel leads me to observe that the vessel
+is independently a perfect utensil, and that in all probability the
+tripod was a feature acquired late in the progress of Chiriquian
+culture, as a result of some change in the surroundings of the people or
+in the uses to which the vessel was devoted. Annular bases and tripods
+would be of little use until level floors of unyielding material came
+into vogue.
+
+_Decoration._--In decoration the pottery of this province exhibits many
+remarkable features. The work resembles somewhat closely, in a number of
+its features, that of certain districts lying to the north and to the
+south, but at the same time it is possessed of very decided
+individuality. From an examination of the designs I conclude that they
+represent a period of culture considerably inferior to that of some more
+northern sections, although the ware itself is nowhere surpassed in
+grace of form and delicacy of finish.
+
+The ornamentation is pretty evenly divided between plastic and flat
+forms. The former include relieved features and intaglio features, which
+are executed in the plastic clay, and the latter comprise figures in
+color, penciled or painted upon the surface. Each style of work embodies
+its own peculiar class of conceptions. Relief work is generally
+realistic or grotesque; incised work is almost exclusively geometric,
+and embraces combinations of lines usually recognized as archaic. An
+occasional example is easily recognized as imitative. Painted figures
+are both geometric and imitative, the two forms blending imperceptibly.
+
+The more important plastic decorations consist of animal forms modeled
+in the round. Vegetable forms have not been employed. Fillets of clay
+imitating twisted cords are sparingly used in the decoration of necks
+and handles, and rows and groups of small nodes are similarly employed.
+The human figure is always treated in a conventional and usually in a
+grotesque manner. The animals imitated include a very large number of
+species. Crocodiles, pumas, armadillos, monkeys, crabs, lizards,
+scorpions, frogs, and fish appear very frequently. Many of the animals,
+owing to conventional treatment or to carelessness on the part of the
+modeler, are difficult of identification. These plastic forms occur in
+nearly all the groups of ware, and similar forms are found to a limited
+extent in gold, copper, and stone, as will be seen by reference to the
+illustrations already given. Their study will, I believe, give some
+insight into the mental characteristics of the Chiriquians. That their
+art, so far as these figures are concerned, was not serious is indicated
+by the sketchy, unsystematic nature of the work, and more especially by
+the grotesque and occasionally amusing representation of men and
+animals.
+
+The figures are usually placed upon the shoulder of the vessel or are
+attached to the legs and handles or form part of them. The favorite
+subjects are doleful little figures, human or partly so, fixed upon the
+vessel in a sitting posture, with legs and arms doubled up, and with
+expressions which appear to indicate a variety of exaggerated emotions
+(Figs. 54, 55, 56).
+
+  [Illustration:
+  Fig. 54.
+  Fig. 55.
+  Fig. 56.
+  Grotesque figures forming the handles of small vases--terra cotta
+  group.]
+
+  [Illustration:
+  Fig. 57.
+  Fig. 58.
+  Monstrous figures, with serpent-shaped extremities--handled group.]
+
+  [Illustration:
+  Fig. 59.
+  Fig. 60.
+  Fig. 61.
+  Grotesque figures--terra cotta group.]
+
+  [Illustration: Fig. 62. Figure of monkey--terra cotta group]
+
+  [Illustration:
+  Fig. 63.
+  Fig. 64.
+  Figures of monkeys--terra cotta group.]
+
+The exuberance of fancy often found vent in the production of
+monstrosities, such as are seen in Figs. 57 and 58, in which the arms
+and legs of the figures are writhing serpents, the faces expressing
+great agony; in other cases the figures are double; and again two bodies
+united at the waist have but one pair of legs. An unusually grotesque
+creature is seen in Figs. 59 and 60, and another is given in Fig. 61.
+Similar figures are worked in gold, one of which is now worn as a charm
+by Mr. J. B. Stearns. Figures of monkeys are shown in Figs. 62, 63, and
+64. One creature, represented as having a long, trunk-like snout, recurs
+frequently. Such a form discovered in the earlier days of archaeologic
+investigation would probably have given rise to many surmises as to the
+contemporaneous existence of man and the elephant in Chiriqui. In
+reality the original was probably some unassuming little inhabitant of
+the isthmian jungles. This creature is shown in profile in Fig. 65, _a_,
+and front views are given in _b_ and _c_. Innumerable examples,
+embracing most of the more important animals of Chiriqui, could be
+given, but in a majority of cases identification is difficult or
+impossible, as there has been little or no effort to reproduce nature
+with fidelity. But the chief interest surrounding these figures is not
+found in the variety of creatures shown or in the character of the
+delineation, but in the manner of their employment in the embellishment
+of ceramic forms. The ancient potter must have possessed a keen sense of
+grace of form and of the proper adjustment of parts. The most cultured
+taste could hardly improve upon the lines of the vases presented in
+Figs. 66 and 67, which employ the frog, and in Figs. 68 and 69, in which
+other creatures are used. Many equally pleasing examples are illustrated
+further on. The question very naturally arises as to whether these
+little figures had any meaning or performed any function aside from that
+of simple decoration. I feel inclined to take the view that in their
+present condition they are survivals of ideographic originals; that if
+their past could be unveiled we would find that in the primitive ages
+they were not exclusively employed for ornament. The animals made use of
+originally were the embodiment of mythologic conceptions, and their
+images were revered or served as fetiches or charms, and because of this
+they came to have a permanent place in art. They were applied to the
+vessel because its office had reference to them or because they were
+thought to have a beneficial effect upon its functions. It is evident
+that their employment was governed by well established rules and that
+they occupied places and occurred in numbers and relations not wholly
+dependent upon the judgment of the individual potter. We may suppose
+that they occur in twos because the handles with which they were
+associated occurred in twos; or, if they serve to take the place of the
+extremities of the animal forms in the semblance of which the vases were
+originally modeled, their positions may be related to the original
+positions of the heads and tails of those forms. It is not improbable
+that the conventional incised and relieved ornaments, the meanders,
+nodes, and varied marks refer also to the creatures or the markings of
+the creatures with which the vessel was associated.
+
+  [Illustration: Fig. 65. Animal forms exhibiting a long
+  proboscis--handled group.]
+
+  [Illustration:
+  Fig. 66.
+  Fig. 67.
+  Vases illustrating ornamental use of animal figures--terra cotta
+  group.]
+
+  [Illustration:
+  Fig. 68.
+  Fig. 69.
+  Vases illustrating ornamental use of animal figures--terra cotta
+  group.]
+
+It will be seen, from the above remarks, that we cannot fully determine
+to what extent these ancient decorators followed the traditional
+pathways of early ideographic usage or how much they were governed by
+those powers of esthetic discrimination known to us as taste.
+
+
+UNPAINTED WARE.
+
+For convenience of description I separate the pottery of Chiriqui into
+two grand divisions: the _unpainted_ ware and the _painted_ ware. Two
+important groups come under the first head. The first of these, the
+terra cotta or biscuit ware, comprises a larger number of pieces than
+any other group and is readily distinguished by its colors, which
+include only the pale grayish yellow and reddish tints of the burned
+clay. The second is limited to a small number of pieces and is black or
+very dark upon the surface and dark within the mass.
+
+_The terra cotta group._--This biscuit-like pottery is not in any way
+inferior to the painted varieties. It bears evidence of great freedom in
+handling, and serves, perhaps better than any other class of products,
+to illustrate the masterly skill and the refined taste of the ancient
+potter. It is said to occur in the same cemeteries and in the same
+graves with the more important varieties of painted ware. The function
+of these handsome vessels cannot be determined. It can hardly have been
+of a domestic nature, as they show no evidences of discoloration or
+wear, and we are left to speculate upon the possibility of a purely
+ceremonial use. The paste is moderately fine, but contains an extremely
+large share of gritty sand; the slip is thin and has received but a
+slight degree of polish, so that the surface has a dead, somewhat
+granular effect. As a rule the vases are of small size and are very thin
+walled. The forms are symmetrical and exceptionally graceful. The
+ornamentation includes incised figures (mostly geometric), raised
+decoration (of similar character), and animal forms in the round. The
+following illustrations are intended to epitomize the multitude of
+forms, as anything like a complete representation is out of the
+question.
+
+  [Illustration: Fig. 70. Series of bowls and cups of unpainted ware.]
+
+Bowls, which form a leading feature of the pottery of most primitive
+peoples, are here rarely seen, excepting as mounted upon tripods or
+annular bases. There are in the collection a number of small cups of
+hemispherical shape that may have served as spoons, ladles, or drinking
+vessels. A few of these are outlined in Fig. 70. Two have minute
+projections resembling handles affixed to the rim. In rare cases these
+are so prolonged as to be of service in handling the cup; but in no
+instance is there an approach to the long cylindrical handles seen in
+the earthenware of other districts.
+
+  [Illustration: Fig. 71. Vase of graceful form--1/2.]
+
+  [Illustration: Fig. 72. Vase of graceful form--1/2.]
+
+  [Illustration: Fig. 73. Vase of fine form, ornamented with grotesque
+  heads--1/2.]
+
+In following the form scale upward from these simple shapes we find the
+orifice becoming more constricted and the neck more pronounced. The
+margins are upright, incurved, or flaring, and give variety and grace to
+the outlines. A tendency toward elaboration of ornament accompanies the
+development of form. Bands of incised or relieved figures are carried
+around the neck, shoulder, and handles and are added in such a way as
+greatly to enhance the beauty of the vessel. The forms of these vessels
+are so graceful and the finish is so perfect that one is tempted to
+present an extended series, but it will be necessary to confine the
+illustrations to a limited number of type specimens. Fig. 71 shows a
+somewhat shallow form of great simplicity and grace. That in Fig. 72 is
+deeper, with a narrow neck and a more decidedly conical shape. Two
+minute grotesque figures are perched upon the shoulder. Fig. 73
+represents a larger vessel of good form, which has a neat incised
+pattern encircling the slightly incurved neck. Grotesque heads are set
+upon the shoulder. A form somewhat more refined is shown in Fig. 74. The
+neck is furnished with a relieved ornament, consisting of a meandered
+and indented fillet, accompanied by two rows of minute indented nodes.
+The heads are probably intended to represent the armadillo. They are
+hollow and contain movable pellets. The fillet ornaments are always
+tastefully treated, and in many cases represent twisted and plaited
+cords. Some are marked in herring bone fashion and others have
+transverse indentations. Small pellets of clay were much used and to
+excellent advantage. They were set on lightly with the fingers and
+firmly pressed down with minute pointed or edged tools and hollow straws
+or reeds (Figs. 75 and 76). Some of these nodes are finished to
+represent the heads of animals. This is done with an ease and a
+simplicity that call forth our admiration (Fig. 77).
+
+  [Illustration: Fig. 74. Vase of fine form, ornamented with grotesque
+  heads--1/2.]
+
+  [Illustration: Fig. 75. Vase with ornaments of applied nodes and
+  fillets--1/2.]
+
+  [Illustration: Fig. 76. Vase with mantle covered with incised
+  figures--1/2.]
+
+  [Illustration: Fig. 77. Vase with frieze of grotesque heads--1/2.]
+
+Fig. 78 illustrates a series of vases having flaring rims, the treatment
+otherwise being uniform with the preceding. We notice in these vessels a
+decided tendency towards complexity of outline. Three examples, shown in
+Fig. 79, have a two storied character, the upper part possibly being the
+outgrowth of the collar ornament seen in so many cases. The large
+specimen in the center is a handsome piece with square offset at the
+shoulder and a decidedly conical base. A chaste ornament in relief
+encircles the neck and two grotesque figures are seated upon opposite
+sides of the shoulder. The vase at the left has two orifices, set wide
+apart. The body is oblong and slightly flattened above. There are a
+number of vessels of this conformation in the collection, some of which
+have the mouths so close together that the margins or lips coalesce in
+part. A superb specimen of this class is illustrated in Fig. 80. The
+shape is thoroughly satisfactory to the eye, having a refinement of line
+rarely attained in native American work. Its symmetry suggests the use
+of the wheel, but the closest examination fails to detect a trace of
+mechanical appliance, save that left by the polishing stone. The
+decoration is simple and effective, consisting of minute nodes with
+annular indentations about the necks and of two grotesque figures,
+placed with consummate taste in the angles formed by the contact of the
+two necks.
+
+  [Illustration: Fig. 78. Vases with flaring rims and varied
+  ornament--1/5.]
+
+  [Illustration: Fig. 79. Vases with complex outlines and varied
+  ornament--1/3.]
+
+  [Illustration: Fig. 80. Large vase with two mouths and neatly
+  decorated necks--1/2.]
+
+  [Illustration: Fig. 81. Large vase with high handles--1/3.]
+
+A very small percentage of these vessels possess true handles, but
+these, in some of the examples, are worthy of high admiration. The
+specimen presented in Fig. 81 attracts attention at once on account of
+its resemblance to well known classic forms. It is evident, from a study
+of this piece, that only a step more was necessary to place these
+potters alongside of the highest masters of the art. The sharp high
+elbow and the broadening of the handles at their junction with the lip
+are notable features. The latter is shown more satisfactorily in
+Fig. 82, which is a top view of a companion piece. I wish to call
+attention here to a peculiar feature of these handles and one repeated
+in vessels of other classes. At the elbow of each handle we find a
+device in relief marked with herring bone indentations that would seem
+to represent a kind of textile attachment, as if, at some previous time
+and perhaps in an antecedent form of vessel, the upright and horizontal
+parts of the handles had been stitched or tied together at this point.
+Yet it is by no means certain that this feature is not the survival of
+some feature of an animal form into the semblance of which, as seen in
+other examples, this feature has a tendency to graduate.
+
+  [Illustration: Fig. 82. Top view of high handled vase--1/3.]
+
+  [Illustration:
+  Fig. 83.
+  Fig. 84.
+  Fig. 85.
+  Examples of handled vases--1/2.]
+
+These vessels are not numerous, but acquire importance from their large
+size, the larger being upwards of eight inches in height. A few pieces
+of nearly identical shape, but of small size, are found among the
+painted wares. Additional shapes are given in Figs. 83, 84, and 85, and
+serve to illustrate the extent of variation exhibited in this group of
+vases. The small shallow piece is exceptionally fine and the handles are
+furnished with animal features of a highly conventional type. An
+expansion of the handles somewhat similar to this is frequently seen in
+vessels of other classes, especially in those of the handled group.
+
+  [Illustration:
+  Fig. 86.
+  Fig. 87.
+  Small cup with single handle ornamented with grotesque figure--1/2.]
+
+Single handles of like character occur in a number of cases upon minute
+cups, an example of which is given in Fig. 86. It would seem that
+possibly in such cases the rim had been expanded and prolonged for the
+purpose of giving support to the animal figures with which the shoulders
+were embellished. The expansion is probably the outgrowth of the use of
+animal figures in connection with simple handles.
+
+  [Illustration: Fig. 88. Vase of eccentric form--1/2.]
+
+We have a number of vessels of this group the bodies of which imitate
+animal forms, but they are in nearly all cases furnished with legs.
+Rarely we meet with compound or eccentric forms. An interesting specimen
+of the latter class is seen in Fig. 88. Such shapes are common in Peru
+and are occasionally met with in Central America. The two strong handles
+are decorated with minute images of birds and the bottom is concave, an
+exceptional character in Chiriquian work.
+
+The illustration of this group of vessels would not be complete without
+a series of tripod vases. In shape of body these vases differ but little
+from the legless forms already given, excepting where the use of life
+forms has led to eccentric modifications. Very great interest attaches
+to the modeling of the tripod supports, upon which the potters have
+expended much time and ingenuity.
+
+  [Illustration:
+  Fig. 89.
+  Fig. 90.
+  Vessels illustrating forms of legs--1/2.]
+
+  [Illustration: Fig. 91. Vessel with large legs ornamented with
+  stellar punctures--1/2.]
+
+  [Illustration: Fig. 92. Vases of varied form with plain and with
+  animal shaped legs--1/3.]
+
+The illustrations given herewith are chosen from a great number of
+examples and are intended to convey an idea of the range of forms, both
+of the vessels and of their supports. Figs. 89 and 90 show plain forms
+of legs, all of which are hollow and contain small pellets of clay. The
+openings are generally wide vertical slits, and are placed in front, as
+seen in Fig. 89, or in the side, as in Fig. 90; but in exceptional cases
+they take other shapes and are scattered over the surface, as seen in
+Fig. 91. The legs are often remarkable in form, being swollen to an
+enormous size above and terminating in small rounded points below. The
+bowls are symmetrically shaped and graceful in outline. In Fig. 92 I
+present a group illustrating some of the more eccentric forms of bowls
+and a variety of their supports. A very superior piece and one of the
+largest of this style is shown in Fig. 93.
+
+  [Illustration: Fig. 93. Large vase of striking shape--1/2.]
+
+  [Illustration: Fig. 94. Cup with legs imitating animal forms--1/2.]
+
+It will be seen that in a number of cases the legs are modeled to
+represent animal forms. This feature is brought out more clearly in
+succeeding figures. The creatures represented are often grotesque, as
+seen in Figs. 94 and 95. The human form is rarely shown in a way to make
+it clearly distinguishable from the figures of monkeys and other
+animals. The armadillo is a favorite subject. An example of small
+dimensions is illustrated in Fig. 96, in which this animal is given in
+characteristic style, and a more pretentious piece is shown in Fig. 97.
+The characteristics of the creature are very simply but graphically
+expressed. In the first the hard ribbed and figured case is represented
+by applied fillets and nodes, and in the other by incised lines. The
+frog is also much used (Fig. 98). A rather remarkable conception is
+illustrated in Fig. 99. Upon the front of each leg is a curious little
+animal-like figure, to the front of which are bound two minute infantile
+creatures. In the piece presented in Fig. 100, the legs are grotesque
+heads, inverted, with wide open mouths and glaring eyes. The work upon
+this vase is very superior.
+
+  [Illustration: Fig. 95. Cup with legs imitating a grotesque animal
+  form--1/2.]
+
+  [Illustration:
+  Fig. 96.
+  Fig. 97.
+  Cups with legs imitating the armadillo--1/2.]
+
+  [Illustration: Fig. 98. Cup with frog shaped legs--1/2.]
+
+  [Illustration: Fig. 99. Cup with legs imitating an animal and its
+  young--1/2.]
+
+  [Illustration: Fig. 100. Cup supported by grotesque heads--1/2.]
+
+The remarkable specimen illustrated in Fig. 101 is furnished with unique
+supports. Two rudely modeled, semihuman, grotesque figures are affixed
+to the under surface of the bowl, supporting it with their backs.
+
+  [Illustration: Fig. 101. Large cup supported by two grotesque
+  figures--1/3.]
+
+  [Illustration: Fig. 102. Cup with two animal heads attached to the
+  sides--1/4.]
+
+  [Illustration: Fig. 103. Cup with two animal heads attached to the
+  sides--1/4.]
+
+The legs of these figures are spread out horizontally, so that a firm
+support is obtained. The periphery of the body of this vessel is
+encircled by a number of nodes and noded projections, which represent
+the heads, tails, and spines of two crab-like animals. The heads, with
+arms attached, appear at the right and left, and the tails occur at the
+front and back just over the heads of the supporting figures. The use of
+the crab in this way is quite common. Fish, birds, and a variety of
+quadrupeds are similarly treated. Some very interesting examples of
+double headed animal vases are found. Two of these are outlined in Figs.
+102 and 103, the first having a single orifice and the second a pair of
+orifices. In many cases the bowl of the vessel is considerably modified,
+to give a more decided resemblance to the body of the creature. This is
+well shown in Figs. 104-106. The first is probably intended for a bird:
+the second resembles an armadillo; and the third portrays a creature
+with ears and three horns. The oblong vessel shown in Fig. 107 is
+modeled after a curious fish, to which the Chiriquians seem to have
+attached considerable importance. It is represented with a wide mouth
+displaying teeth, two spines or horns upon the end of the snout, and
+fins upon the back and sides. Fig. 108 gives the top view of another
+fish vase, which is supported, as are the others, by three legs. The
+body is flat and is encircled by well modeled fins. The head is rather
+flat and has the eyes and nose on the upper surface. I close this series
+of illustrations with an outline of a fine vase (Fig. 109) the rim of
+which is decorated with a single head of extremely grotesque and
+repulsive character.
+
+  [Illustration: Fig. 104. Vase imitating an animal form--1/3.]
+
+  [Illustration: Fig. 105. Vase imitating an animal form--1/3.]
+
+  [Illustration: Fig. 106. Vase shaped to imitate an animal form--1/3.]
+
+  [Illustration: Fig. 107. Fish shaped vessel--1/3.]
+
+  [Illustration: Fig. 108. Top view of a fish shaped vessel--1/3.]
+
+  [Illustration: Fig. 109. Cup with grotesque head attached to the
+  rim--1/2.]
+
+_Black incised group._--This pottery, although closely related to the
+other varieties in its leading features, presents differences of a
+pronounced character. The number of specimens recovered is rather small.
+The largest piece has a capacity of perhaps a quart. Some of the forms
+are identical with those of other groups, but a few are peculiar to this
+ware. The color is black, brown, or dark gray, and in most cases the
+entire mass is quite dark. The decoration is executed in two somewhat
+distinct styles: in one the lines were scratched or engraved
+subsequently to the hardening of the clay; in the other they were deeply
+engraved with a sharp point while the clay was still moist. The lines
+are usually very deep and are filled with a white substance which
+renders the pattern distinctly visible upon the surface. It seems
+probable that the lines were engraved deeply with the intention of
+producing this effect. Type specimens are shown in Figs. 110 and 111.
+They are small globular bottles, with short necks and wide apertures and
+with handles placed at opposite sides of the lip, which is prolonged to
+meet them. The design covers a large part of the body and is separated
+into two parts by the handles and the undecorated panels that descend
+from them. The figures appear to be very highly conventionalized animal
+forms, probably serpents. The coiled ends of the ribbon-like dotted
+bands are evidently meant to suggest the heads of reptiles. The figures
+assume a variety of shapes and grade by degrees from the recognizable
+life forms into purely geometric patterns. Examples of the latter style
+are given in Figs. 112 and 113. The motives employed, although so
+conventionally treated, are pretty certainly identical in origin with
+the preceding.
+
+  [Illustration:
+  Fig. 110.
+  Fig. 111.
+  Black cups with incised reptilian figures--1/2.]
+
+  [Illustration: Fig. 112. Black vase with conventional incised
+  pattern--1/2.]
+
+There are a number of tripods in this group, some of which have the
+deeply incised ornaments and others the shallow ones. The shapes vary
+greatly, a few examples being decidedly Costa Rican in type. Pieces with
+round bodies have conical legs, like much of the Chiriquian ware, but
+those with shallow basins and angular, incurved, upright, or flaring
+rims have the Costa Rican tripod. Figs. 114 and 115 may serve to
+illustrate this variety. The first is a cup, with upright sides and
+thick rim, having an incised geometric pattern. The second is much more
+striking in appearance. The surface color is brownish gray in hue and
+the simple geometric design was scratched through into the lighter color
+beneath after the clay hardened. The legs represent the heads of animals
+conventionally treated and are hollow, containing movable pellets. This
+specimen is from latitude 8 deg 42' north, longitude 82 deg 52' west.
+Others of this class come from different parts of the province.
+
+  [Illustration: Fig. 113. Small cup with conventional incised
+  patterns--1/2.]
+
+  [Illustration: Fig. 114. Small tripod cup with upright walls and
+  legs imitating animal heads--1/2.]
+
+  [Illustration: Fig. 115. Vase with flaring rim and legs, imitating
+  animal heads--1/2.]
+
+To this class belongs also a small dark vase of peculiar shape and
+interesting decoration, which is illustrated in Fig. 116. The neck is
+large and the lip widely flaring, and the body is modeled in imitation
+of the head of some animal, possibly a peccary. The side representing
+the face is prolonged, giving an unsymmetric profile, as seen in the
+second figure. The eyes are set midway between the ears (which are
+placed at the sides) and the nostrils, and are inclosed by curious
+engraved figures, probably suggested by the markings of the animal
+portrayed. An arched ridge, representing the brows, connects the bridge
+of the nose with the ears. The most novel feature of this piece is the
+band of incised ornament that crosses the back of the head and serves
+probably to carry out the idea of the complete creature. As will be seen
+by reference to the figure, it is a guilloche-like interlacing of
+fillets, bordered and apparently held in place by longitudinal bands,
+beyond which the angles of the ornament project. The pattern is a
+modified form of one commonly seen upon the margins of the larger stone
+metates, and, although rarely met with in the pottery of Chiriqui, was a
+favorite motive with the potters of Costa Rica. This vessel comes from
+30 miles north-northwest of David.
+
+  [Illustration: Fig. 116. Vase modeled to resemble the head of an
+  animal--1/2.]
+
+  [Illustration: Fig. 117. Pattern upon the back of the vase presented
+  in Fig. 116.]
+
+The unpainted wares here so briefly described are typically Chiriquian,
+and are closely associated in the graves with most of the leading groups
+of art products of the province. It must be allowed that they take first
+rank in the isthmian states, if not in America, for simplicity and
+refinement of form, perfection of method, and purity of style.
+
+
+PAINTED WARE.
+
+The painted vases of Chiriqui embrace at least ten easily distinguished
+varieties of ware. The characters upon which the classification is based
+are somewhat heterogeneous and include material, color, shape, finish,
+ornamentation, method of manufacture, and evidences of use. No single
+character and no one group of characters can be relied upon to
+distinguish the different groups. We must depend, therefore, upon an
+assemblage of characters or upon one character in one place and another
+in another place. Observing a number of striking differences in two
+groups of ware, we arrive at the conclusion that these groups must have
+been the work of distinct communities; yet we find very marked
+differences in wares that (through the possession in common of some
+particular feature) we know to be the work of the same hands. We can,
+therefore, determine little in regard to the peoples concerned.
+
+I do not consider the presence in a single grave of two or more
+varieties sufficient proof of their common origin, for a number of
+distinct wares may come into the possession of one community through
+trade, conquest, or the spoliation of tombs; but a constant recurrence
+together of the same forms affords strong evidence that the objects were
+the work of the people with whom they were buried. Unfortunately our
+observations in the field are not sufficiently accurate to enable us to
+utilize associations or methods of occurrence in the graves as a means
+of classification.
+
+The following classification is, under the circumstances, the best that
+I can devise, and is of use mainly as a means of facilitating
+description. The name chosen generally indicates a leading or striking
+characteristic of the group.
+
+The _scarified_ group, separated widely from all other varieties.
+
+The _handled_ group and
+
+The _tripod_ group, apparently the work of one community and devoted to
+the same or similar uses.
+
+The _maroon_ group;
+
+The _red line_ group;
+
+The _white line_ group;
+
+The _lost color_ group;
+
+The _alligator_ group; and
+
+The _polychrome_ group, no two of which are sufficiently alike to make
+it certain, without extraneous evidence, that they were manufactured by
+the same community, yet all clearly belonging to one great family.
+
+These groups are presented in the order given.
+
+Before proceeding with the descriptions, however, there are some matters
+of a general nature that should be referred to. Technical questions have
+already received considerable attention, and I shall need only to refer
+here to the painted ornamentation, and at sufficient length to insure a
+clear understanding of its treatment and the scope of its subject
+matter.
+
+Painted vessels are embellished to some extent also by incising and
+modeling, and these methods are employed very much as in the unpainted
+pottery already described.
+
+Painted decoration is executed with much freedom and in many cases with
+considerable skill. It is greatly varied in method of treatment and
+embraces a wide range of motives. Geometric patterns occur in great
+variety, but are found to be of types peculiar to Isthmian America. The
+conventional meanders, frets, and scrolls so extensively employed in
+other regions are here almost unknown. Decorative motives derived from
+natural forms are abundant and afford an excellent opportunity to study
+the processes of conventional modification. These designs are often
+applied in a way to indicate that the decorator possessed a keen sense
+of the requirements of the vessel, although the treatment perhaps is not
+as universally satisfactory as is the treatment of plastic
+embellishment.
+
+The potter, in preparing the vessel for the decorator, ordinarily
+finished it with a slip or wash of fine clay, which varied in hue from a
+gray white to a pale orange. A slip of bright red tint was also
+extensively used. The more delicate hues formed an excellent ground upon
+which to work. The slip covered surface was generally polished, often to
+a high degree, with the usual polishing implements, the marks of which
+can be seen upon the less carefully finished surfaces. By observers
+unacquainted with aboriginal methods this polish is liable to be taken
+for a glaze, and it has been pronounced a vitreous glaze by a few
+writers. It is more noticeable upon specimens that have been handled a
+great deal, as is the case with whistles, needlecases, and the like.
+
+The colors utilized in decoration, so far as they have been preserved,
+are the ground tints, described above, and the delineating colors, the
+latter consisting of black, white, red in various hues, and a dull
+purple. An additional color (or perhaps a solution without particular
+color) extensively employed in the designs has totally disappeared. The
+nature of the various colors has not been determined, but it is probable
+that some were of mineral and others of vegetal origin.
+
+Red was often employed as a ground color, as stated above, and sometimes
+covered the whole surface, but more frequently occupied zones or panels.
+In such use it was applied and polished down with the slip. Red was also
+extensively used in the delineation of decorative figures in several of
+the groups of ware, and is in all cases a permanent color. The hues vary
+decidedly with the groups of products, suggesting differences in people
+or in environment. White may have been freely used, but it is preserved
+in a few cases only, in which it was used in the production of simple
+decorative patterns, and appears to have been a somewhat thick or pasty
+color. Black was extensively used and was of two distinct kinds: a thick
+permanent pigment, employed in the delineation of designs, and a thin
+color, not so permanent and employed exclusively as a ground upon which
+to execute designs in other mediums. The latter may possibly be of
+vegetal derivation. Its use was confined to a single variety of ware,
+the lost color group. The former was employed in all the other groups,
+with one exception, the red line group.
+
+The light purple tint is but sparingly used and only in the polychrome
+group. It is very effective in combination with the reds and blacks upon
+the orange ground of this ware. It is probably of a mineral nature.
+
+What I have denominated the lost color was a pigment, or "taking out"
+solution, extensively and exclusively employed in the decoration of one
+of the principal groups of ware. Its former existence is made known by
+its action upon the ground colors and upon the paste or slip within the
+areas covered by it. Where superimposed upon black, that color has in
+all cases been removed, exposing the underlying tints of the slip in
+which the designs are now manifested, the interspaces being still black.
+In some cases the lost color has not only removed the black ground, but
+has affected the slip beneath, removing it also, and to such a degree
+that the polished surface is destroyed and shallow intaglio lines occur,
+leaving the interspaces in relief. This circumstance enforces the idea
+that possibly the "lost color" was really not a color at all, but an
+acid which acted upon the ground colors at once, destroying the black
+entirely and leaving the effect now seen. This point must remain for the
+present undetermined.
+
+The figures in all cases appear to have been delineated with ordinary
+brushes and by purely free hand methods. The degree of skill varies
+greatly. The execution in the great body of the work is rather inferior
+and indicates a lack of skill and care, but in a limited number of
+pieces the manipulation is masterly.
+
+The designs are confined to the show spaces, being exterior in narrow
+necked vessels and generally interior in shallow forms.
+
+In arrangement upon the surfaces this decoration presents some novel
+features. The slight degree of uniformity in arrangement indicates the
+absence of any mechanical aid, such as the wheel, which device would
+tend to reduce all decoration to a series of horizontal zones. We
+observe indeed the occurrence of horizontal arrangements, but not to a
+degree greater than would naturally arise as a result of the
+conformation of the vessel. Upright, oblique, and arched arrangements
+are frequently met with, and all are safely attributable to the
+domination of spaces to be covered or to the influence of antecedent
+shapes. Examples and details are given as they come up in the various
+sections.
+
+_The scarified group._--This group is represented by about forty
+specimens and is worthy of especial attention. It comes from the graves
+of two localities, one near C. E. Taylor's hacienda, north of David, on
+the slopes of Mount Chiriqui, and the other at Alanje, southwest of
+David. As a variety of ware it stands so entirely alone that had it
+arrived unlabeled no one would have recognized its affinities with
+Chiriquian art. It is rather inferior in material, grace of form, and
+surface finish, and the decoration appears to belong to a lower grade of
+culture than that of the other groups. It is possibly the work of an
+inferior race in comparatively recent times.
+
+Nearly all the vessels are tripods, but a few have rounded or flat
+bottoms and a few are supplied with annular stands. The walls are thick
+and the shapes are uncouth or clumsy. The paste is coarse, poorly baked,
+and friable; near the surface it is a warm reddish or yellowish gray;
+within the mass it is a dark gray.
+
+  [Illustration: Fig. 118. Tripod bowl of red scarified ware--1/3.]
+
+  [Illustration: Fig. 119. Tripod bowl of red scarified ware--1/3.]
+
+The makers of this pottery, like their brother artificers, took especial
+pleasure in the modeling of life forms. The work exhibited in these
+specimens is, however, exceptionally rude. In some cases grotesque heads
+are attached to the rims of bowls; in others the head, tail, and feet of
+animals appear about the periphery of the vase; and in a number of cases
+the legs of the tripods are modeled to represent the forms of living
+creatures. Generally the feet are clumsy in shape and three toed,
+suggesting the feet of the tapir.
+
+These vessels are embellished by painting, incising, or scarifying and
+by modeling in relief. Color was not employed in the production of
+designs, but a dark Indian red pigment was daubed over that part of the
+surface not occupied by incised ornament. Little or no slip was used and
+the rude geometric patterns were executed with pointed tools in a very
+haphazard manner.
+
+  [Illustration: Fig. 120. Oblong basin with scarified design--1/3.]
+
+  [Illustration: Fig. 121. Large bowl with handles imitating animal
+  heads--1/3.]
+
+The bowls are more numerous than in any other group of the Chiriquian
+ware, but, as in the other groups, they are supplied with supports,
+either tripods, shaped like the feet of quadrupeds, or rude annular
+bases. In most cases the rim expands gradually from below, as seen in
+Fig. 118, or is recurved, as shown in Fig. 119. In a few cases the basin
+is oblong or boat shaped and the ends are pointed, as indicated in
+Fig. 120.
+
+An interesting specimen is illustrated in Fig. 121. At the opposite ends
+of the bowl portions of the rim are carried upward and inward, forming
+handle-like appendages, modeled to represent, rudely, the heads of
+animals. Details of form and ornament are well brought out in the cut.
+
+In Fig. 122 we have a high cylindrical shape with a flat bottom, the
+surface being scarified in vertical bands. A small pot, having an
+annular base and decoration similar to the preceding, is given in
+Fig. 123. In Fig. 124, instead of the vertical lines, we have a series
+of heavy ribs. Two strong vertically placed loops are fixed upon
+opposite sides of the shoulder and the base is supplied with the usual
+feet.
+
+  [Illustration: Fig. 122. Jar with flat bottom and vertical bands of
+  incised ornament--1/3.]
+
+  [Illustration: Fig. 123. Vase with stand and vertical incised
+  bands--1/3.]
+
+  [Illustration: Fig. 124. Vase with handles, legs, and vertical
+  ribs--1/3.]
+
+The tripods shown in Figs. 125 and 126 are somewhat mutilated, but they
+present features of interest in the novel shapes and the unique animal
+forms with which the legs are embellished. Each leg is represented as a
+complete animal, whose back or breast supports the vessel and whose
+cylindrical nether extremity rests upon the ground. The head in the
+first example resembles an owl and in the second reminds one of some
+crustacean form. An additional specimen of considerable interest is
+shown in Fig. 127. It is a heavy tripod, having four independent mouths,
+all opening into one chamber. The shape is unsatisfactory, being heavy
+and unsymmetrical. The exterior surface has the usual scarified figures
+and the interspaces and the entire inner surface of the vessel are
+painted red and rather carefully polished.
+
+  [Illustration: Fig. 125. Tripod with owl-like heads at insertion of
+  legs--1/3.]
+
+  [Illustration: Fig. 126. Tripod with legs rudely suggesting animal
+  forms--1/3.]
+
+  [Illustration: Fig. 127. Heavy red vase with four mouths--1/3.]
+
+_The handled group._--The series of vessels to which this name is given
+comprises a large number of pieces of unusually even characters. They
+are obtained from a pretty wide district to the north and west of David
+and occur in connection with other groups. They are notable for
+uniformity in size, shape, and finish and for the unmistakable evidences
+of use over fire which at least three-fourths of them show. With the
+exception of a few large caldrons, not yet assigned to a particular
+group, they are more like ordinary cooking vessels than any other group
+of Chiriquian ware. The size, however, is remarkably small, the average
+capacity being about a pint. Larger pieces contain a quart or three
+pints.
+
+The body is usually much compressed vertically and is flattish above and
+more or less conical below, giving a very graceful contour. The surface
+is rather rudely polished and the painting is done with notable
+carelessness, as if the intended use were not favorable to the
+preservation of the ornament. By means of a heavy brush, red figures,
+consisting of splotches, stripes, arches, and encircling bands, were
+applied to the yellowish gray surface and sometimes, as indicated by a
+smeared appearance, were polished down with an implement. It does not
+seem that a slip of ordinary white clay was very generally used. In a
+few cases a grayish blue tint appears upon some of the wider spaces.
+
+  [Illustration: Fig. 128. Vase with horizontally placed handles and
+  rude designs in red--1/2.]
+
+The handles are perhaps the most notable feature of this ware, and
+usually occur two to a vessel; rarely there is but one handle and in a
+few cases there are four. This group may be separated into at least four
+sections by the styles of handles. Vessels of the two more important
+sections have two handles each, which are placed vertically in one
+variety and horizontally in the other, reference being had to the
+position of the points of attachment. These differences of position have
+given rise to a marked difference in the shape of the orifice and of the
+lip. The handle is a simple loop, which in the one variety is placed as
+seen in Fig. 128 and in the other as in Fig. 132. In the latter case one
+end of the loop is fixed to the shoulder and the other end to the lip,
+which is uniformly prolonged at the contact and is also widened all
+around; the result is the curious winged outline shown in Fig. 133.
+
+A third variety of handle is a single arch, which spans the orifice and
+is attached to opposite sides of the expanded lip. In a fourth variety
+the looped handles are replaced by the heads of animals, which are set
+upon the shoulder of the vase, as are similar features in other groups
+of ware.
+
+  [Illustration: Fig. 129. Unpolished vase with heavy handles and
+  coated with soot--1/2.]
+
+  [Illustration: Fig. 130. Round bodied red vase with unique handles
+  and incised ornament--1/2.]
+
+A type specimen with the horizontal loop is shown in Fig. 128. The lip
+and a wide belt about the body are painted red and the shoulder is
+occupied by rudely executed arched strokes of the same color. A much
+less usual shape is given in Fig. 129, which exhibits some characters of
+contour that remind us of well known Grecian forms. Another novel
+variation from the type is seen in Fig. 130, in which the arch of each
+loop is divided by an upright piece. A neat incised ornament occupies
+the shoulder of this vessel and the remainder of the body is finished in
+pale red.
+
+It will be observed that the handles are rarely wholly plain. Each loop
+is supplied with one or more rings or ring-like fillets, or with small
+nodes, generally near the most prominent part of the curve or arch. By
+the study of a large number of specimens I am able to trace these
+puzzling features to their origin. They are the representatives of life
+forms which were originally modeled in full detail and which are still
+so modeled in many cases. The nodes and like features are atrophied
+heads, hands, or feet, and in some cases are marked with indentations
+that refer to the eyes or to the fingers or toes, and the round fillets
+stand for the arms and legs of animals, or, if notched in peculiar ways,
+may be referred to other originals, such as the mouths of fishes or the
+spines of crabs. Examples could be given showing all stages of the
+progress of simplification.
+
+  [Illustration: Fig. 131. Vase with grotesque figures attached to the
+  handles--1/2.]
+
+  [Illustration: Fig. 132. Vase with upright handles and winged
+  lip--1/2.]
+
+In Fig. 131 I present a fine example of the horizontal loop, in which
+the opposite ends are supported by grotesque animal figures, applied,
+however, in a way not detrimental to the grace and simplicity of the
+vessel.
+
+An example shown in Fig. 132 is of especial interest in this connection.
+The ornament upon the handle serves as a link between the realistic life
+form and the conventional nodes and fillets. In this case the node is
+supplied with eyes and a mouth, and the double roll of clay beneath is
+manifestly intended for the arms, the handle itself standing for the
+body. The loop is upright and joins the shoulder to the rim. The winged
+character produced by the expansion at the contact of handle and lip is
+shown to advantage in the top view (Fig. 133.) In some cases this
+expansion is so great as completely to hide the body of the vase when
+viewed from above.
+
+  [Illustration: Fig. 133. Top view of vase with winged lip--1/2.]
+
+  [Illustration: Fig. 134. Vase with grotesque animal shaped
+  handles--1/2.]
+
+Examples are outlined in Figs. 134 and 135 in which the life form is
+clearly defined. In the first we have a human-like figure, the face of
+which is entirely hidden by the hands. In the second we observe a
+curious little animal figure, with a long curved proboscis and a body
+covered with annular indentations. In general shape and in ornamentation
+these vases do not differ from the preceding. A remarkable piece, with
+two pairs of handles, is presented in Fig. 136. Grotesque figures are
+attached to the outer surface of the loops, one in each pair being
+placed in an inverted position. The two figures seen in the cut are
+simple, but those on the opposite pair of handles are compound, being
+double above the waist. The faces, hands, and feet of these figures are
+touched with red, and the lip and body of the vase are decorated with
+carelessly drawn stripes of red. In another case four plain handles are
+placed equidistantly about the neck of the vessel.
+
+  [Illustration: Fig. 135. Vase with handles representing strange
+  animals--1/2.]
+
+  [Illustration: Fig. 136. Vase with two pairs of handles ornamented
+  with grotesque figures--1/2.]
+
+In a third variety the loop is omitted entirely, the animal figure
+taking its place upon the shoulder of the vase. This feature appears in
+the specimen given in Fig. 137 and represents the front part of a
+reptile, the head being hollow and containing a large movable pellet.
+This is a handsome piece, well finished, and decorated in the usual
+broad way.
+
+  [Illustration: Fig. 137. Vase with handles representing animal
+  heads, which are hollow and contain pellets of clay--1/2.]
+
+  [Illustration: Fig. 138. Vase with arched handles embellished with
+  life forms in high relief--1/2.]
+
+A fourth variety is shown in Figs. 138 and 139, in which the handle
+spans the orifice as in an ordinary basket. The lip is flaring and is
+prolonged at the sides to meet the handle. In one case the outer surface
+of the handle is embellished with figures of frogs and serpents, or what
+seem to be intended for serpents, modeled in the round and rather
+imperfectly attached, and in the other with a pair of grotesque human
+figures set against the base of each end of the handle.
+
+  [Illustration: Fig. 139. Vase with arched handles embellished with
+  life forms in high relief--1/2.]
+
+Typical vessels of this class are in many cases mounted upon tripods,
+but, for convenience of description, these are classed with the
+succeeding group, which consists mainly, if not entirely, of the same
+variety of ware.
+
+To recapitulate, the striking characteristics of this group are the
+uniformity of size, shape, and handles, the rude finish and ruder
+ornamentation, and the very marked evidence of use over fire.
+
+_The tripod group._--Closely related in most respects to the group of
+ware just described is the striking series of vessels here presented. At
+first glance the resemblances are not apparent, but a careful study
+renders it clear that the vessels proper correspond closely in both
+groups. The basins are for the most part made in the same heavy, rudely
+finished style, the decoration is almost equally rude, and the size and
+the evidence of use over fire are the same. The strong contrast in
+appearance is due mainly to the presence of tripod supports in this
+group. The legs, which constitute such a striking feature, are merely
+appendages to the bodies of vases already perfect, and are evidently an
+acquired feature suggested by some change in function or in the habits
+of the people. In this way we are able to account for the rather uncouth
+look observed in so many cases, the legs being too long and too heavy to
+please the cultured taste; yet in many cases the parts are so adjusted
+as to give an impression of firmness and strength, united with a goodly
+share of grace of line.
+
+The legs are very generally modeled to represent animal forms. In a
+majority of cases the fish was chosen because, perhaps, its shape was
+suitable or because the fish bore some relation to the use to which the
+vessel was to be devoted. Lizards and mammals are also seen and the
+human form occasionally appears. In some cases the animal figure is
+attached to the upper part of the leg or is perched upon the hip, where
+that feature is pronounced. The body, or shaft, is hollow and contains
+pellets of clay, sometimes one only and again a dozen or more, and in
+order that these may be seen and heard variously shaped slits are cut in
+the sides or front of the legs. If the animal represented is a fish or
+lizard the entire body is modeled: the head is placed at the top, the
+under jaw or neck uniting with the body of the vessel; the tail rests
+upon the ground, and the fins or legs appear along the sides of the
+shaft. It should be observed that, while in Chiriqui the whole body of
+the creature is usually employed in forming the support, in Central
+America and Mexico the head alone is very generally used, the nose
+resting upon the ground. In less elaborate forms the legs are plain or
+have the merest hint of animal form in a node, a notched ridge, or a
+slightly modified extremity.
+
+Handles are present in a majority of cases and as in the preceding group
+take the form of loops or represent the forms of animals. The loops are
+generally attached in a vertical position, connecting the shoulder with
+the lip of the vessel, and are plain round ropes of clay or consist of
+two or three cords twisted or plaited together. A few eccentric forms
+occur and are illustrated early in this section.
+
+The animal shapes are often quite elaborate and appear to bear no
+relation to the creatures embodied in the legs of the vessel; neither
+does the position of the handles bear any uniform relation to the
+positions of the legs--another indication that the latter features are
+recent acquisitions, since features developed together are uniformly
+well adjusted.
+
+The rim or lip is generally heavy and flaring, and the neck, which is
+short and pretty sharply constricted, is decorated with incised patterns
+and with various applied ornaments in relief. The body is graceful in
+outline and more or less conical below. As a rule the surface is uneven
+and but slightly polished and the figures in red are rudely executed,
+but in the more pretentious pieces much care has been exercised in
+finishing and painting. Most of the vessels have been used over the fire
+and still retain the sooty incrustations. This ware comes from a wide
+range of territory to the north and west of David.
+
+The following illustrations represent some of the more important pieces
+and serve to give a partial idea of the range of form, size, and
+decoration.
+
+I present, first, three vases of rather eccentric shapes, the basins of
+which are shallow and in two cases are flat bottomed. The handles are of
+unusual shapes, consisting of modifications of the lip, as seen in the
+illustrations (Figs. 140-142). Life elements are present in all cases in
+connection with the handles and legs where these are preserved, but they
+are very meager and so abbreviated as to be identified with difficulty.
+Incised markings at the ends of the handles represent hands or feet and
+eyes are affixed to the upper part of the legs. The ware is identical
+with that of the preceding group.
+
+  [Illustration:
+  Fig. 140.
+  Fig. 141.
+  Fig. 142.
+  Tripod vases with shallow basins and eccentric handles--1/3.]
+
+A representative specimen of the fish legged vessels is presented in
+Fig. 143. It is one of the most graceful forms in the series and is
+neatly finished and embellished, but is thoroughly blackened with soot.
+The handles are formed of twisted fillets or ropes of clay and a narrow,
+incised, rope-like band encircles the lower part of the neck. Set upon
+the neck and alternating with the handles are two scrolls neatly formed
+of small round ropes of clay. The fishes forming the legs are very
+simply treated. The mouth at the apex is formed by laying on an oblong
+loop of clay and the eyes are represented by two round pellets set into
+the soft clay of the head and indented with a slit that gives to them
+the exact effect of screwheads. A pair of fins--small incised or
+channeled cones--is placed at the sides of the head and another at the
+sides of the body. The cavity contains a single ball of clay and the
+slit is long and wide.
+
+In other examples the fish form is much more elaborately modeled. The
+wide mouth exhibits a row of teeth and the body is well supplied with
+fins. The head in Fig. 144 reminds one forcibly of the catfish. The
+snout is furnished with two horn-like appendages; tooth-like features
+are formed by setting in pellets of clay, and the gills are indicated by
+a punctured excrescence at the side of the mouth. In other cases a high,
+sharp cone is set upon the middle of the head (Fig. 145). It is
+channeled down the sides, as if meant for a fin.
+
+  [Illustration: Fig. 143. Tripod vase of graceful shape and neat
+  finish--1/3.]
+
+  [Illustration: Fig. 144. Heavy tripod vase with widely spreading
+  feet--1/3.]
+
+The process of modeling these heads was about as follows: The upper end
+of the leg--the head of the fish--was first rounded off, giving the
+general shape; then parallel incisions were made to represent the teeth,
+and around these a fillet of clay was laid, forming the lips, which were
+then channeled with a sharp tool. Nodes or flattened pellets of clay,
+representing the gills, snout, and eyes, were then laid on and finished
+with incision-like indentations. The handles consist of bird-like heads,
+with protruding eyes and long bills that curve downward and connect with
+the shoulder of the vase. The body is rudely spotted with red.
+
+  [Illustration: Fig. 145. Neatly modeled vase embellished with life
+  forms and devices in red--1/3.]
+
+  [Illustration: Fig. 146. High tripod vase with incised designs and
+  rude figures in red--1/3.]
+
+A large, uncouth specimen is shown in Fig. 146. The legs are ponderous
+and are not neatly adjusted to the vessel. A meander pattern of incised
+lines encircles the neck and the body is rudely decorated with broad red
+stripes.
+
+  [Illustration: Fig. 147. Handsome tripod vase with scroll
+  ornament--1/3.]
+
+There is a general consistency in the use of life forms which is worthy
+of notice. The fish and other creatures used, although variously
+conceived and treated, are never confused. When the fish is employed no
+features suggesting other animals appear and when the heads of other
+creatures occupy the upper extremity of the leg all the details refer to
+these creatures with uniform consistency. In Fig. 147 we have an
+unusually graceful shape, decorated about the neck with scrolls and
+indented fillets. The legs represent some reptilian form resembling a
+lizard. The head projects from the hip and is conventionally treated.
+A round fillet fixed at its middle point to the muzzle of the creature
+is turned back at the sides of the head and coiled to form the eyes. The
+forelegs are attached at the sides near the top and the recurved
+terminal point is encircled by rings that stand for the coiled tail.
+
+  [Illustration: Fig. 148. Vase with lizard shaped legs--1/3.]
+
+  [Illustration: Fig. 149. Vase with scroll ornament--1/3.]
+
+  [Illustration: Fig. 150. Large vase with flaring rim and wide
+  spreading legs--1/3.]
+
+There is little room for doubt as to the kind of creature represented in
+the legs of the vase given in Fig. 148. The head, legs, and general
+shape are characteristic of the lizard. The vessel is small, plain, and
+neatly finished. In Fig. 149 the legs of the vessel, otherwise quite
+plain, are surmounted by heads that seem to represent a dog or some like
+animal. A series of neat vertically placed scrolls formed of round
+fillets encircles the neck, and below these is a band in relief
+imitating a twisted cord.
+
+A vase of unusually striking appearance is presented in Fig. 150. It is
+one of the largest tripods in the collection and is characterized by a
+high widely expanded lip and a long conical body and by legs of unusual
+size and conformation. Small animal figures are perched upon the
+projecting hips. The surface of the vessel is rudely finished and is
+much blackened by smoke about the upper part of the legs and the body.
+
+A unique use of the animal form is illustrated in Fig. 151, which shows
+a large fragment of one of these tripods. The figure of an alligator,
+modeled with a great deal of spirit, is attached to the side of the
+vessel, resting partly upon the leg and extending upward obliquely to
+the lip. A similar figure upon the opposite side of the same vase is
+represented as grasping the form of a man or boy in its formidable
+looking jaws.
+
+  [Illustration: Fig. 151. Fragment of a tripod vase embellished with
+  the figure of an alligator.]
+
+The alligator, rarely employed in this group of ware, is freely used in
+other groups and was probably a creature of importance in the mythology
+of Chiriqui.
+
+In one case only, so far as I have seen, is the human form employed in
+the supports of these vessels, and in that case, as will be seen in
+Fig. 152, the result is extremely grotesque. The shape of the basin is
+good and the thick, rounded lip and most of the surface are carefully
+polished. A disconnected meander of incised lines encircles the rather
+high neck, and parts of the body and its attached features are painted
+red. As usual this color was applied along with the slip and in
+polishing has become much mixed up with it, giving a mottled effect. The
+handles take the form of curious human-appearing figures which sit
+against the constricted neck, their heads supporting the rim and their
+feet resting upon the shoulder of the vessel. In one case the hands are
+held tightly against the lower part of the face and in the other they
+are bound together against the chin by a serpent-like cord of clay. The
+hollow figures forming the legs of the vase are as grotesque as could
+well be imagined. There is no head whatever, and the outlandish features
+are placed upon the front of the upper part of the body. The arms and
+hands take the conventional position characteristic of the statuary of
+the isthmian states and the only traces of costume are bands about the
+wrists and a girdle encircling the lower part of the body.
+
+  [Illustration: Fig. 152. Vase supported by grotesque human
+  figures--1/3.]
+
+I add, in Fig. 153, one more example, a large, full bodied vase, which,
+more decidedly perhaps than any of the foregoing, proclaims its
+relationship to the preceding group. If the three rather clumsy legs
+were knocked off there would remain a large beautifully shaped and
+finished vase, with a constricted but flaring rim not in any way
+distinguishable from those of the preceding group. The legs in this case
+are less perfectly adapted to the vessel than in the other examples, as
+if the potter, skillful in modeling the vessel, had only recently
+undertaken to add the tripod. The slit in the outer face of the leg is
+unusually wide and the inclosed ball is three-fourths of an inch in
+diameter. The most remarkable feature of this vessel is the pair of
+unique figures affixed to the upper surface of the body near the lip,
+and which would seem to be intended to represent semihuman monsters. The
+arms and legs are contorted and serpent-like in appearance and terminate
+in most cases in heads of serpents instead of in hands and feet. The
+attitude is expressive of agony or horror. It seems to me probable that,
+contrary to the rule in primitive art, these strange figures do not
+embody any well defined or serious conception, but are rather
+exhibitions of the fancy of the potter. They occupy small unpainted
+panels, which are finished in neat incised patterns. The remaining
+surface is a bright red.
+
+  [Illustration: Fig. 153. Round bodied vase embellished with figures
+  of monsters--1/3.]
+
+It may be noted, in recapitulation, that these vases, although
+elaborately modeled and often well finished, are rudely decorated and
+very generally show use over fire; that the legs, though often graceful
+and well proportioned, are in many cases clumsily adjusted to the body,
+giving a decidedly unsatisfactory result as a whole. This ware was
+devoted to domestic uses, or, if otherwise, in all probability to the
+burning of incense. Animal forms are freely employed, but in a rather
+rude way. The fish form is more generally used than any other, and is in
+all cases embodied in the legs of the vessel, the head joining the body
+of the vessel and the tail resting upon the ground. These
+representations exhibit all grades of elaboration from the fairly well
+modeled to the merest suggestion of animal character--any one feature,
+as the mouth, the eye, the fins, or the tail, being alone a sufficient
+suggestion of the creature to satisfy the potter and keep alive the idea
+of the fish. Other animal forms are employed in modeling the legs, and
+exhibit equally varying degrees of elaboration, and it is worthy of
+especial note that creatures are not confused or confounded, so far as I
+can discover, at any stage of the simplifying process--that a fish is
+still purely a fish if nothing is left to represent it but a node or an
+incision. There is no apparent relationship between the animal forms
+forming the legs and those attached to the body or to the rim of the
+vessel.
+
+
+The pottery of the two groups already presented exhibits characters so
+uniform throughout that there need be no hesitation in placing them
+together as the work of one community and of one period of practice of
+the art; but between these groups and those that follow there is a wide
+gap. The differences are so marked that, if they had come from widely
+separated localities, very intimate relationships would not have been
+suggested.
+
+  [Illustration: Fig. 154. Cup with incurved rim and life form
+  ornamentation--1/2.]
+
+  [Illustration: Fig. 155. Cup with widely expanded rim and
+  constricted neck--1/2.]
+
+_The maroon group._--For the want of a better name I have called the
+group first to be presented the maroon group, on account of its color.
+Our collection comprises not more than a dozen pieces of this ware. The
+locality from which they come is called Los Tenajos by Mr. McNiel, but
+he has not distinguished them in any way from the other varieties, and I
+am therefore unable to say whether or not they occur together with
+others or under identical conditions. In symmetry of outline, diversity
+of shape, and cleverness of modeling this ware takes a high rank, but
+there is no painted ornament. The surfaces are usually well polished,
+and all exposed parts have received a coat of purplish maroon colored
+paint. The paste contains a great deal of fine sand, and is yellowish
+upon the surface and generally quite dark within the mass. Considering
+the small number of pieces, the scale of form is remarkably varied.
+There are plain bowls with incurved rims and with flaring rims, vases
+with round bases, with annular stands, and with tripods, and life forms
+wholly unique. Perhaps the most usual form is that shown in Fig. 154,
+which represents a small cup with incurved rim and a narrow annular
+base. The shoulder is embellished with three groups of small nodes, of
+four each, which refer to some animal form. In other similar vases the
+form of the creature is given in more realistic guise. A larger vase,
+similar to this in most respects, has a rounded contour and incurved
+lip. The periphery is supplied with four plain nodes. Another, shown in
+Fig. 155, has a wide recurved rim, a character seen to equally good
+advantage in some of the following figures. In the small vase
+represented in Fig. 156 the treatment of animal forms in connection with
+the body of the vessel is shown to good advantage. The head, legs, and
+tail of what is probably intended to represent an alligator, modeled in
+the round, are attached to the periphery of the basin, and heads of some
+mammal are used for legs.
+
+  [Illustration: Fig. 156. Small tripod cup with animal features in
+  high relief--1/2.]
+
+  [Illustration: Fig. 157. Handsome vase supported by three grotesque
+  figures--1/2.]
+
+A most interesting tripod is shown in Fig. 157. The bowl is beautifully
+modeled, is symmetrical, and has a flaring rim, rounded and polished on
+the upper surface and drooping slightly at the outer margin. The body is
+hemispherical and is supported by three grotesque anthropomorphic
+figures that strongly remind us of the "mud head" masks used in one of
+the dances of the Zuni Indians. The head is a rounded ball, upon which
+pellets of clay are stuck to represent the features. The arms are set
+against the sides of the body, as in other isthmian specimens, the hips
+are excessively large, the legs straight, and the feet small and united
+to form the foot of the vessel. Nearly the entire surface is finished in
+a dark purplish red paint, which appears to have been polished down as a
+slip. A companion piece is considerably smaller and the supporting
+figures are very grotesque and somewhat crouched, as if bearing a very
+heavy weight.
+
+A number of large basins or caldrons, collected in Chiriqui, and
+fragments of vessels of extraordinary size resemble this ware in
+material, color, and finish. The rims of the larger pieces are upwards
+of an inch thick and the walls are in cases three-fourths of an inch
+thick. A number of large vessels of similar ware now in the National
+Museum were collected in Costa Rica and Nicaragua.
+
+_The red line group._--The group of vessels to which I have given this
+name is represented by about a dozen specimens, which indicate a wide
+range of form and exhibit a number of unique characters.
+
+The localities from which they are derived extend from 8 deg 20' to
+8 deg 40' north latitude and from 82 deg 40' to 82 deg 50' west
+longitude.
+
+The paste is of about the usual composition, but takes a variety of
+tints on burning, a light gray orange prevailing. The finish of the
+surface is about the same as in other groups. The decoration consists of
+life forms and their conventional representatives in relief and of
+carelessly executed geometric designs, the pigment used being a bright,
+sienna-like red.
+
+As will be seen by reference to the illustrations, the forms are varied
+and pleasing, but for the most part repeat outlines common to other
+groups. The handles, single or in twos, are upright loops, and the
+tripods are in nearly all cases looped or annular, an unusual feature in
+other groups.
+
+I present three illustrations, two of which were given in outline in the
+introductory pages. The first (Fig. 158) has a well proportioned,
+somewhat globular body, supported by three legs formed of looped bands
+of clay. On the shoulder are two small animal forms, probably meant for
+frogs. The spaces between these are occupied by panel-like arrangements
+of red lines. The surface is yellowish gray in color, excepting where
+blackened in the baking. The paste has cracked in firing, a feature
+observed in a number of pieces belonging to this group.
+
+  [Illustration: Fig. 158. Vase decorated with figures of frogs and
+  devices in red--1/2.]
+
+  [Illustration: Fig. 159. Vase of unique shape and life form
+  ornamentation--1/2.]
+
+  [Illustration: Fig. 160. Two handled vase with life form and linear
+  decoration--1/2.]
+
+A unique piece is represented in Fig. 159. The single handle is a high
+projecting loop and connects with the margin of the orifice, which rises
+to meet it, and with the lower part of the shoulder. An animal form,
+apparently anthropomorphic, is embodied in this vessel. The upper part
+of the vessel, separated by a slight constriction from the body proper,
+represents the head of the creature, the nose, mouth, and eyes appearing
+on the front and the ears at the sides. A few incised lines seen upon
+the inner surface of the handle stand for the hair. Upon the shoulder
+are two sharp nodes, standing for the breasts, and between these are
+markings that represent a necklace. A rude design in red lines covers
+the upper surface of the body.
+
+A graceful shape is illustrated in Fig. 160. The paste is a grayish
+orange on the surface and is rather dark within the thicker portions of
+the walls. The under surface is much blackened by use over fire. An
+interesting feature is seen upon the handles at the highest point of the
+loop. Instead of the single indented transverse fillet observed in
+similar forms in other groups, we have two such features, set about an
+inch apart, and between them are two indented nodes which stand for
+eyes, and a number of indentations within the space refer to other
+features of the animal suggested. Upon the shoulder and collar of the
+vessel are carelessly drawn geometric patterns in red lines.
+
+  [Illustration: Fig. 161. Small tripod vase with animal figures in
+  white--1/2.]
+
+_The white line group._--One group of vases, of which we have but four
+pieces, is characterized by the use of a whitish pigment in decoration.
+Not one of the collections that I have seen is well supplied with this
+class of ware, and hence little can be said of its varieties of form and
+ornament. All are tripods, but the shapes of the vessels vary
+considerably. Two small pieces are from latitude 8 deg 40' north and
+longitude 82 deg 32' west. One of these is shown in Fig. 161. They are
+small, rather carelessly finished tripods, with narrow necks and
+flattened bodies. The inner surface of the orifice and the under side of
+the body are painted a dull red. The remainder of the surface is a warm
+reddish gray, the color of the slip and the paste. The legs in the piece
+figured represent some small creature with a rabbit-like face and a body
+which tapers gradually to the base. Two feet are placed near the middle
+of the body, which is striped transversely with white lines. A white
+collar crosses the neck and the eyes are white dots. The upper surface
+of the vase is embellished with two animal figures, executed in a white
+earthy pigment. They may refer to the alligator, but the drawing is too
+conventional to admit of full identification. The companion piece is a
+little larger, and the upper surface is decorated with three groups of
+broad white stripes, bordered by rows of dots, which extend from the
+base of the neck to the periphery of the body. The legs are similar to
+those of the other piece. The little animal figure fixed to the upper
+end or hip is identical with that seen in the following illustration.
+
+  [Illustration: Fig. 162. Shapely vase with designs in white
+  paint--1/2.]
+
+The large tripod vase presented in Fig. 162 is distinct in many ways
+from anything in the collection and is remarkable for symmetry of form
+and neatness of finish. The body is a long, symmetrical cone and the
+legs are long, straight cylinders, neatly rounded off to a point below.
+A thick rim projects at a sharp angle and is rounded up toward the
+margin. The legs are hollow, and through two pairs of lateral slits a
+number of small pellets can be seen, which rattle when the vase is
+moved. Rudely modeled little animals, with erect ears, large feet, and
+conical tails, are fixed to the upper end of the legs. The ground color,
+the slip, and the paste are of a reddish gray cast. The greater part of
+the surface seems to have been painted red, but the vase has been used
+over fire to such an extent that little of the original color remains.
+The body and the legs have been decorated with geometric patterns in a
+whitish pigment that can be scraped off like indurated clay. The little
+animal figures were also painted white. A vase very similar to this,
+from which the legs have been removed, and the surface smoothed down,
+has a longer and more graceful body and a similar rim. Another piece,
+exhibiting similar yet even more strongly marked characteristics of
+shape, belongs to the collection of Mr. J. B. Stearns.
+
+_The lost color group._--In number of specimens this group is second to
+none, excepting perhaps that given under the head of terra cotta ware.
+Nine-tenths of the pieces may be classed as bottles, which have rather
+short, wide necks and globular bodies, slightly conical below and in
+cases flattened above. They range in size from one inch to nearly a foot
+in height, but the average capacity is not above a pint. Aside from the
+bottles there is a wide range of shapes. There are shallow bowls and
+various complex and compound forms. Animal forms are associated with all
+classes of vessels. Tripod supports are limited to rather modest
+proportions, and handles, although often present and greatly varied in
+style, do not constitute an important feature. These vessels are
+remarkably well preserved and exhibit few traces of abrasion by use or
+of blackening over fire. The paste is fine grained and usually of a
+light yellow gray tint throughout.
+
+The surface was finished either in a light colored slip or in a strong
+red pigment. In some cases the light tint was used exclusively and again
+the red covered the entire surface, but more frequently the two were
+used together, occupying distinct areas of the same vessel and forming
+the groundwork for decorative patterns in other colors. They were
+usually polished down with very great care, giving a glistening surface,
+upon which the markings of the tool can still be seen.
+
+I have already described the methods of decoration, but may review them
+briefly here. The bright red color, which forms such a prominent and
+pleasing feature, is, as stated above, only a ground tint and is not
+used in any case in the delineation of design. The actual patterns, so
+varied and interesting, were worked out in a pigment or fluid now
+totally lost, but which has left traces of its former existence through
+its effect upon the ground colors. In beginning the decoration, a thin
+black color, probably of vegetal character, was carried over the area to
+be treated, and upon this the figures were traced in the lost color.
+When this color (if it was indeed a pigment, and not merely an acid or
+"taking out" medium) disappeared, it carried with it the black tint
+beneath, exposing the light gray and red tints of the ground and leaving
+the interstices in black. The interstitial figures thus formed are often
+of such a character as to be taken for the true design. In examining the
+decoration of this ware it is essential that this fact should be kept in
+mind, as otherwise great confusion will result.
+
+The nature of the materials employed cannot be determined. Applied to
+the polished surface, they were easily removed. The black ground tint is
+now easily rubbed off and in most cases is much injured by handling or
+by contact with the soil. The lost color may have been similar to the
+white, argillaceous pigment used by the Aztecs, which has in many cases
+partially or wholly disappeared, leaving its marks upon the ground
+either by deadening the polish or by removing portions of the slip and
+the paste upon which it was laid, presenting the ornament in intaglio.
+
+The designs are infinitely varied in appearance and arrangement, yet are
+far from having a mixed or heterogeneous character. It is probably our
+lack of knowledge of the origin and history of the elements and their
+derivations that causes confusion. Both geometric and imitative elements
+abound and are blended in perfectly graded series. The treatment of
+geometric figures is peculiar to Chiriqui and in many respects is
+peculiar to this group of ware. Classic forms, such as the meander, the
+scroll, and the fret, rarely occur and are barely recognizable. It
+appears from a close study of all the work that motives derived from
+nature have greatly leavened the whole body of decoration. This matter
+will receive attention as the examples are presented and will be treated
+with greater care in a succeeding section.
+
+Plastic decoration, aside from the life forms so commonly associated
+with the body of the vase and with the handles and legs, is not of
+importance. The high degree of polish required in this ware tended to
+simplify all relieved features.
+
+The presence of life forms in relief has produced important
+modifications in the appearance and the arrangement of the painted
+devices, and in many cases there is a manifest correlation between the
+plastic and the painted forms: as, for example, when the body of the
+vase was thought of as the body of the animal, the extremities of which
+were placed upon its sides, the colored figures carried out the idea of
+the creature by imitating in a more or less conventional way the
+markings of the body. This will be understood through reference to the
+examples presented in the following pages.
+
+I will present, first, a series of bottles, selecting at the beginning
+those decorated in the more purely geometric style and gradually
+approaching those upon which animal forms are treated in a literal
+manner. The few pieces selected for illustration are totally inadequate
+to the proper representation of the group and must be regarded only as
+average specimens, more or less typical in character.
+
+I give first a number of examples in which the decorative devices are
+arranged in horizontal zones. In Fig. 163 broad bands of ornament,
+consisting of scalloped and plain lines, encircle the neck and the body
+of the vessel. In finishing this piece the whole surface was painted a
+rich red and highly polished; then a black coat was applied, covering
+the body from the lip to the base of the design; and finally the
+delineating fluid was applied, removing the black, as shown in the
+narrow lines, the sharply dentate bands, and the broad, plain band
+between. The second example (Fig. 164) varies somewhat in shape and
+design, but is identical in color and manipulation. The dark figures are
+merely the interspaces, although they appear at first glance to have
+been intended for the design proper.
+
+  [Illustration: Fig. 163. Small red bottle with horizontal bands of
+  ornament consisting of plain and scalloped lines--1/2.]
+
+  [Illustration: Fig. 164. Small red bottle with encircling geometric
+  devices--1/2.]
+
+In a numerous series of vessels the decorated bands are divided into
+compartments or panels, often four in number, which spaces are occupied
+by lines and figures of greatly diversified characters. In the example
+shown in Fig. 165 the ground color of the principal zone is in the light
+yellow gray tint of the slip, the remainder being red. This lends
+brilliancy to the effect.
+
+  [Illustration: Fig. 165. Bottle with zone occupied by geometric
+  devices--1/2.]
+
+  [Illustration: Fig. 166. Bottle with broad zone containing geometric
+  figures--1/2.]
+
+In the vase shown in Fig. 166 the treatment is in a general way the
+same, but the compartments are triangular and are separated by lines
+that form a disconnected meander. An additional example is given in
+Fig. 167. Here the principal zone is expanded to cover the whole upper
+surface of the vase, which was finished in the light colored slip to
+receive it. The principal lines are arranged to give the effect of rays
+when viewed from above, but as seen in the cut they give the effect of a
+carelessly connected meander. The groups of lines are bordered by series
+of dots. A great number of pieces are painted in this style. The effect
+is varied by altering the shape of the interspaces or by modifying the
+number and relationship of the lines, dots, and figures.
+
+  [Illustration: Fig. 167. Bottle with decoration of meandered
+  lines--1/2.]
+
+  [Illustration: Fig. 168. Bottle with arched panels and geometric
+  devices--1/2.]
+
+Somewhat similar also in general effect to the last example is the work
+upon another important series of vases. Instead of the simple meandered
+or zigzag arrangement of parts, two of the dividing lines of the zone
+run tangent to the neck of the vase on opposite sides, forming arched
+panels and leaving upright panels between. In the example presented in
+Fig. 168 the arched areas are filled in with lattice-like arrangements
+of lines. In others we have dots, checkers, and varied geometric
+combinations, and in very many cases the figures are derived from life
+forms. The same may be said of the devices that occupy the spaces
+between the arches. The piece shown in Fig. 169 exhibits a somewhat more
+elaborate treatment, but the motives and arrangements are much the same.
+These vessels are peculiar in the treatment of the ground. The entire
+surface is red, with the exception of narrow bands of light ground
+color, which outline the arches and encircle the periphery. In other
+cases these bands are red, the remainder of the ground being light.
+Series of lines are drawn from the lower border of the zone to the
+center of the base of the body.
+
+  [Illustration: Fig. 169. Bottle with arched panels and elaborate
+  devices--1/2.]
+
+  [Illustration: Fig. 170. Vase with rosette-like panels--1/2.]
+
+  [Illustration: Fig. 170_a_. Ornament from vase shown in Fig. 170.]
+
+In a small group of vases we have a radiate ornament within the arches
+and in a few cases the arched lines are continued down around the base
+of the vessel, forming vertical circles in which rosette-like designs
+are formed by repeating the radiate figures in an inverted position
+below the peripheral line. The elaboration in these circular inclosures
+is very remarkable, as will be seen by reference to the three examples
+given in Figs. 170, 171, and 172. In the first case the peripheral line
+is a red band nearly one-half an inch wide and the rays appear in groups
+above and below it. Within the four broader black rays (Fig. 170_a_),
+which are the interspaces or remnants of the ground, groups of lines
+have been drawn, in most cases curved at the inner ends like an opening
+frond and accompanied in all cases by series of dots. An examination of
+a number of vessels shows various degrees of convention. It is clear,
+however, that these devices, showing curves, hooks, and dots, are not of
+technical or mechanical origin, but that they refer to delineative
+originals of which they are survivals; but we must remain in the dark as
+to what the originals were or what was the precise nature of the idea
+associated with them in the mind of the decorator. Another question
+refers to the arrangement of the parts of the design in the five
+preceding figures. The distribution of the designs is a matter of great
+interest, and much may be learned from a close study of these specimens.
+
+  [Illustration: Fig. 171. Vase with rosette-like panels--1/2.]
+
+  [Illustration: Fig. 172. Vase with rosette-like panels--1/2.]
+
+Horizontal zones appear in the ceramic decoration of all countries, and
+result, no doubt, from technical causes; but the division of zones into
+compartments of peculiar shape is due to other influences. I believe the
+peculiar arched arrangement here seen results from the employment of
+plastic features, such as handles or life forms. The ancient races were
+accustomed to conceive of the vessel as the body of an animal, an idea
+originating in the association of mythologic conceptions with art. The
+head and the tail of the particular creature thought of were attached to
+opposite sides of the vase and consequently interfered with the original
+zonal arrangement of the design where it existed, or where it did not
+exist the sides were filled with devices representing the markings of
+the creature's body. The decoration now consisted of four parts, two in
+the round or in relief and two in color, the former occupying small
+areas and the latter wide areas, as seen in Fig. 173. The same result
+would spring from the use of two handles, such a common feature in this
+ware. The lateral spaces reached from the periphery to the base of the
+neck and were most readily and naturally separated from the plastic
+features by lines extending across the shoulder tangent to the neck and
+forming arches (Fig. 174). In time the plastic features, being difficult
+to manage, would gradually decrease in boldness of modeling and finally
+disappear, leaving a space upon which the life form could be symbolized
+in color (Fig. 175). Now it happens that in this collection we have a
+series of examples illustrating all stages of this change, the first,
+the middle, and the final steps being shown in the above figures.
+
+  [Illustration:
+  Fig. 173.
+  Fig. 174.
+  Fig. 175.
+  Theoretical origin of the arched panels.]
+
+  [Illustration: Fig. 176. Vase decorated with conventional figures of
+  alligators--1/2.]
+
+In multiplying these vessels the original forms and associations of
+decorative features are necessarily to some extent lost sight of; the
+panels change in shape, number, and relationships; and devices
+originally appropriate to particular spaces are employed
+indiscriminately, so that the uninitiated see nothing but confusion. All
+devices are delineations of or have more or less definite reference to
+the creature or spirit associated with the vessel.
+
+  [Illustration:
+  Fig. 177.
+  Fig. 178.
+  Portions of decorated zones illustrating treatment of life forms.]
+
+  [Illustration: Fig. 179. Vase decorated with highly conventional
+  life forms--1/2.]
+
+I will now pass over the many hundreds of pieces with designs too
+conventional to furnish a clew to the original animal forms, yet still
+suggesting their existence, to those in which the life forms can be
+traced with ease or in which they are delineated with a much nearer
+approach to nature. The manner of introducing life forms into the panels
+of the encircling zones is illustrated in the following figures. In the
+vase shown in Fig. 176 there are four panels, two short and two long,
+separated by vertical bands. The short panels are black, but the long
+ones are occupied by rudely drawn figures of alligators, some of which
+are very curiously abbreviated. At the right hand in the cut we have
+simply the head with its strong recurved jaws and notched crest. The
+principal figure at the left is a two headed alligator, the body being
+straight and supplied with two feet. The ground finish of the decorated
+band is in the light gray tint and the alligator figures and vertical
+septa now appear in that color. The ground of the remainder of the
+surface is red. It will be seen that in this case the panel outlines are
+rather elaborate and that the neck and base are striped in a way to
+enhance considerably the beauty of the vessel. Additional examples of
+animal devices are given in Figs. 177 and 178. The significance of the
+curious figure seen in the first is not easily determined, although we
+do not hesitate to assign to it an animal origin. There is a suggestion
+of two sitting figures placed back to back between the upright serrate
+lines. In the second piece, which is from another vessel, the space
+between the serrate lines is occupied by a sketchy figure which, in the
+phraseology of heraldry, may be likened to a monkey rampant.
+
+  [Illustration: Fig. 179_a_. Design from vase shown in Fig. 179.]
+
+  [Illustration: Fig. 180. Vase decorated with highly conventional
+  life forms--1/2.]
+
+In Figs. 179 and 180 I present very interesting examples in which the
+arched panels are used. In the first the compartments are occupied by a
+favorite Chiriquian motive, which consists of groups of lines curled up
+at one end like unfolding fronds. The whole group represents a very
+highly conventionalized animal figure (Fig. 179_a_). The devices
+occupying the upright panels take the place of the animal heads shown in
+several preceding figures. In the arched panels shown in Fig. 180 we
+have the frond-like motive treated in a manner to make it pretty certain
+that a reptilian form is intended. These figures are fully and
+systematically presented in a succeeding section.
+
+Many of these globular vases are unusually handsome. The polished ground
+is red or is varied with stripes or panels of the whitish slip. Over
+this ground the whole surface was painted black and then the lost color
+was employed to work out the design. The coiled figures were produced by
+drawing the lines in the lost color. The interspaces were then roughly
+gone over with the same pigment in such a way as to leave the figures
+inclosed within rather uneven black borders. The presentation of these
+ornaments brings me naturally to the consideration of a number of very
+puzzling forms which, if taken alone, must inevitably be referred to
+vegetal originals. In Fig. 181 we have a handsomely shaped vessel,
+finished in a polished red ground and decorated in the usual manner. In
+the main zone--here rather high up on the vase--there is a series of
+upright figures resembling stalks or stems with scroll-like branches
+springing from the sides. The stalks are probably the septa of the
+panels and the leaves are the usual reptilian symbols. About the widest
+part of the body of the vase is a band of ornament probably representing
+an animal.
+
+  [Illustration: Fig. 181. Vase decorated with highly conventional
+  life forms--1/2.]
+
+A still more remarkable ornament is shown in Fig. 182. The decorated
+zone of the vessel from which this is taken is divided into three
+panels, each of which contains stem-like figures terminating in flower
+shaped heads and uniting in a most remarkable way animal derivatives and
+vegetal forms. I am inclined to the view that here, as in the preceding
+case, the resemblance to a vegetal growth is purely adventitious.
+
+  [Illustration: Fig. 182. Decorated panel with devices resembling
+  vegetal growths, but probably of animal origin--1/2.]
+
+  [Illustration: Fig. 183. Example of vase of unusual shape--1/2.]
+
+  [Illustration:
+  Fig. 184.
+  Fig. 185.
+  Examples of vases of unusual shapes--1/2.]
+
+In striking contrast with the globular forms just given are the angular
+outlines presented in the following illustrations. The first is
+flattened above, the body being much expanded horizontally and having a
+sharp peripheral angle. Upon the shoulder, occupying the places of and
+probably standing for animal heads, are two cruciform nodes, about which
+the scroll-like decorations of the upper surface are coiled. We see by
+this that in the mind of the potter a correlation existed between the
+plastic and the painted devices even in these conventional decorations.
+The second illustration represents a neatly finished bottle, with
+upright sides and conical base, upon the shoulder of which minute animal
+figures are perched. The painted design is nearly obliterated. The third
+example is unique. The sides are upright and the bottom is flat. The
+ornament occupies the entire surface and is divided into two sections or
+zones by a red band about the middle.
+
+  [Illustration: Fig. 186. Double vessel with high arched handle--1/2.]
+
+Complex and compound forms are comparatively rare. A double vessel is
+shown in Fig. 186, and a second, varying somewhat from the first in
+shape and ornamentation, is presented in the succeeding figure. Vessels
+of this form are always small, but are neatly constructed and finished
+with much care. The strong handles are more or less arched and connect
+the inner margins of the two lips. The bodies of the twin cups are
+closely joined, but the two compartments are not connected.
+
+  [Illustration: Fig. 187. Double vessel with arched handle--1/2.]
+
+It seems impossible to present a satisfactory series of the plastic
+features characteristic of this group of products without extending this
+paper inordinately. Handles, legs, and life forms are varied and
+interesting; they are not so boldly treated, however, as in some of the
+other groups. This is a result perhaps of the unusual degree of polish
+given to all parts of the surface preparatory to the application of
+designs in color, the processes tending to subdue and simplify the
+salient features.
+
+  [Illustration: Fig. 188. Vase embellished with life forms, heads in
+  relief and other parts in color--1/2.]
+
+With reference to life forms it has already been pointed out that the
+painted figures generally imitate or typify animal forms, and it is
+important to note that these figures are in very many cases used as
+auxiliaries to plastic features in the development of particular
+conceptions. This is shown to advantage in Fig. 188, which illustrates a
+small, well formed bottle, having two large human-like heads attached to
+opposite sides of the body. There are no other plastic features, but the
+heads are supplied with arms and legs, rudely expressed in black lines,
+which are really the interspaces of the lines drawn in the lost color.
+These painted parts occupy the zone usually devoted to decoration and,
+as will be seen by reference to the cut, resemble closely the radiate or
+meandered figures seen in vases of the class shown in Fig. 167. The arms
+are joined to the lower part of the head and extend upward to the neck
+of the vessel, where they terminate in rudely suggested fingers. Rising
+to the right and left of the arms are legs terminating as do the arms.
+A double row of dots is carried along each member, and thus we have a
+suggestion of the relation of the dots and dotted lines, seen in more
+highly conventional forms, to the markings of the creature represented
+or symbolized. The grotesque faces are covered with lines which follow
+the forms as if imitating markings upon the skin. Another example,
+equally suggestive, also employing an animal form, is shown in Fig. 189.
+It is a cup, mounted upon three feet, which has attached to one side the
+head of a peccary, modeled with more than usual skill. The ears of the
+animal appear at the sides of the vessel and the tail is opposite the
+head. The lines and dots seen upon the head are carried along the sides
+of the vessel as far as the ears and undoubtedly represent the markings
+of the animal's skin. Behind the ears the markings are different in
+character and purely geometric. A view of the under side of the vessel
+is shown in Fig. 190 and illustrates a treatment characteristic of the
+tripod vases of this class. In other cases, instead of fixing the head
+of the animal upon one side and other members of the body upon other
+sides, two heads, or two complete creatures, are placed opposite each
+other.
+
+  [Illustration: Fig. 189. Vase modeled to represent a peccary--1/2.]
+
+  [Illustration: Fig. 190. Under surface of vase shown in Fig. 189.]
+
+  [Illustration: Fig. 191. Small vessel with human figures in high
+  relief and geometric color decoration--1/2.]
+
+I present next (Fig. 191) a piece in which there is no recognizable
+relationship between the painted and the plastic features. It is a small
+tripod cup with upright walls, upon which two characteristic Chiriquian
+human figures, male and female, are fixed. The painted figures upon the
+sides of the vessel are geometric, but refer possibly to some character
+or attribute of the modeled figures or are the survivals of figures
+belonging to vessels of this shape or style before the life forms were
+associated with them. The legs, however, so far as can be determined,
+are not related to the human motive, as they are modeled and painted to
+imitate the heads of alligators.
+
+I shall now present a few shallow bowls or pans mounted upon tripods.
+They vary in dimensions from a few inches in diameter to a foot or more
+and are strongly made, symmetrically formed, and neatly finished. The
+polished surfaces are mainly red. The designs were executed in the usual
+way in the lost color, upon a black ground, and are confined chiefly to
+the exterior surface. The alligator is the favorite motive, and in a
+number of cases is quite graphically, although still conventionally,
+rendered. As in the preceding examples, the animal heads represented in
+the legs do not always correspond to the creatures embodied in the
+painted decoration.
+
+  [Illustration: Fig. 192. Tripod cup, with figures of the
+  alligator--1/2.]
+
+In Fig. 192 we have a representative example of moderate size and
+ordinary finish. The decorated band is divided into panels, three of
+which are long and contain figures of the alligator. The other three are
+short and are filled with conventional devices, related perhaps to that
+animal. The legs are apparently intended to resemble the heads of
+alligators. A large piece, nearly twelve inches in diameter, is very
+similar in shape and decoration, but the legs resemble puma heads.
+
+The specimen shown in Fig. 193 is extremely well made and differs
+decidedly from the preceding. The sides are upright and the lip is
+recurved and thick. The legs represent some animal form with thick body,
+eyes at the top, and a tail-like appendage below that turns up and
+connects with the side of the body. The form of the bowl is symmetrical
+and the surface carefully finished and polished. The exterior design is
+divided into panels, as in the preceding case; the figures are simple
+and geometric. The inside of the upright portion of the wall is
+decorated with vertical lines and bands and the bottom is covered with
+an octopus-like figure, now partially obliterated.
+
+  [Illustration: Fig. 193. Large shallow tripod vase, with geometric
+  decoration--1/2.]
+
+The remarkable example shown in Fig. 194 illustrates a number of the
+points suggested in the preceding pages. It is a large bottle of the
+usual contour and color, mounted upon three high legs, which are slit on
+the inner surface and contain movable balls of clay. Two handles, placed
+at opposite sides of the neck, represent human or anthropomorphic
+figures. These figures and the neck and base of the vessel were finished
+in the red slip. The broad zone extending from the neck to some distance
+below the periphery was finished in the gray slip, with the exception of
+the frames of two panels beneath the handles and the foundation lines of
+two large figures of alligators, which are in red. The surface, when
+thus treated, was well polished and then a coat of black was laid upon
+it, and upon this details of the designs were drawn in the lost color.
+The figures of the alligators exhibit some striking peculiarities. The
+hooked snout, the hanging jaw, the row of dotted notches extending along
+the back, and especially the general curve of the body are worthy of
+attention. These features are seen to better advantage in the series of
+vases presented in the following section.
+
+Belonging to this group are many whistles, needlecases, and rattles, all
+of which are described under separate headings upon subsequent pages.
+
+  [Illustration: Fig. 194. Large bottle shaped vase, with high tripod
+  and alligator designs--1/2.]
+
+_The alligator group._--The group of ware to which I give the above name
+is perhaps the most interesting in the collection, although numerically
+inferior to some of those already presented. Its decoration is of a very
+striking character and may serve to throw much light upon the origin and
+evolution of certain linear devices, as it illustrates with more than
+usual clearness the processes of modification.
+
+I will first present a representative series of the vessels, in order
+that they may in a measure tell their own story; yet it is not possible
+without the direct aid of a full series of the objects themselves to
+convey a clear and comprehensive notion of the metamorphoses through
+which the forms and decorations pass.
+
+This group, like that last described, is composed chiefly of bottle
+shaped vases with globular bodies and short, wide necks; but there is no
+danger of confusion. By placing a series from each group side by side a
+number of marked differences may be noted. In the lost color group the
+neck is decided in form, the body is usually somewhat flattened above
+and is distinctly conical below, and the prevailing color is a rich dark
+red. In the alligator group the body is more nearly globular and the
+curves of the whole outline are more gentle; the prevailing color is a
+light yellowish gray. The reds and the blacks, which are used chiefly in
+the figures, are confined to rather limited areas.
+
+Besides the bottle shaped vases, there is a limited series of the usual
+forms, and a few pieces exhibit unique features. The management of life
+forms is especially instructive. Handles are rare and legs are usually
+not of especial interest, as they are plain cones or at most but rude
+imitations of the legs of animals. Shallow vessels are invariably
+mounted upon tripods and a few of the deeper forms are so equipped.
+Usually the sizes are rather small; but we occasionally observe a bottle
+having the capacity of a gallon or more. The materials do not differ
+greatly from those employed in other groups of ware. The paste is fine
+grained and light in color, sometimes reddish near the surface, and
+where quite thick is darker within the mass. A slip of light yellowish
+hue was in most cases applied to the entire surface. A red ochery
+pigment was in some instances used in finishing the lip and the base of
+the body, and occasionally the red pigment was applied as a base, a kind
+of sketch foundation for the decoration proper. For example, when the
+alligator was to appear upon the side of the vessel, the principal forms
+were traced in broad lines of the red color, and these were polished
+down with the slips. When the polishing process was complete, the
+details of the figure, were drawn in black and in cases partially in
+red. Black was the chief delineating color, the red having been confined
+to broad areas, to outlines, and to the enframing of panels. In
+execution, therefore, there is a decided contrast with the preceding
+group, and it may be added that there is an equally strong contrast in
+both treatment and subject matter of the ornament. The motives are
+derived almost wholly from life forms and retain for the most part
+features that suggest their origin. The subjects are chiefly reptilian,
+the alligator appearing in a majority of cases, and hence the name of
+the group.
+
+I present first a few examples of plain bottles which have no extraneous
+plastic features. The decorations are arranged in two ways, in zones
+about the upper part of the body or in circular areas, generally four in
+number, equidistantly placed about the shoulder of the vessel.
+
+  [Illustration: Fig. 195. Large bottle, with narrow zone containing
+  figures of the alligator--1/3.]
+
+An example of the first style is given in Fig. 195, which represents the
+largest piece in this group of ware. The form is symmetrical and very
+pleasing to the eye. The surface is not very highly polished and shows
+the marks of the polishing implement distinctly over the entire surface.
+Two black lines encircle the flat upper surface of the rim and the outer
+margin is red. The neck and a narrow zone at the upper part of the body
+are finished in a cream colored slip and the body below this is red. The
+narrow band of ornament occupies the lower margin of the light colored
+zone and consists of five encircling lines in black, three of which are
+above and two below a band one-half an inch wide, in which five much
+simplified figures of alligators are drawn. Besides these figures there
+are two vertical septum-like bands. Each of these consists of three
+lines bordered by dots, which probably have some relationship with the
+alligator. The decorated zone of these vessels is divided in various
+ways into panels, some of which are triangular, while others are
+rectangular or arched. The latter form is seen in Fig. 196. Five arches,
+having no border line above, are occupied by abbreviated alligator
+devices. The number of compartments ranges in other specimens from two
+to a dozen or more. They are filled in with various devices, to be
+described in detail further on.
+
+  [Illustration: Fig. 196. Vase with decorated zone containing four
+  arched panels--1/2.]
+
+  [Illustration: Fig. 197. Vase with four round nodes upon which
+  animal devices are painted--1/2.]
+
+A very peculiar form of decoration consists of circular or rosette-like
+ornaments, such as are shown in Fig. 197. Four slightly relieved nodes
+an inch or more in diameter are placed upon the shoulder of the vessel.
+These are encircled by red lines which inclose two black lines each, and
+within these are peculiar devices in black. Other vessels furnish
+figures of greatly diversified characters, most of which evidently refer
+to life forms. A full series of these is given in a subsequent section
+of this paper, where the origin of the nodes and the manner in which the
+painted figures probably became associated with them will be fully set
+forth.
+
+  [Illustration: Fig. 198. Vases of varied form and decoration.]
+
+In the series of outlines presented in Fig. 198, we have some of the
+varieties of form and decoration of both the ordinary bottles and the
+plainer tripod cups. Each example presents certain features of
+particular interest. The handsome little bottle (_d_) with the plastic
+ornament about the neck and the zone of geometric ornament in black and
+red lines is unique. The double necked bottle is an unusual form and its
+decoration consists of a strangely conceived representation of the
+alligator. The tripod vases are worthy of close attention: the piece
+illustrated in _b_ has a zone of ornament separated into three parts by
+vertical spaces, each part being enframed in black. The sections are
+divided by red lines into three panels, each of which contains a
+conventional figure of an alligator in black. The piece shown in _a_ is
+unique in its decoration. Four angular fret links in black are inclosed
+in as many panels, bordered by red and separated by blank spaces. These
+fret links, as I shall show further on, probably refer to or symbolize
+the alligator. The legs of the cups are all conical and are marked with
+short transverse lines in black, which have a direct reference to the
+markings of the animal to which the vase was consecrated. A careful
+study of the preceding illustrations leads to the conclusion that in the
+mind of the potters there was a close and important relationship between
+the vessel and the reptilian forms embodied in both plastic and surface
+embellishment. The series of examples which follow have a bearing upon
+this point. I shall begin with that in which the creature is most
+literally rendered.
+
+  [Illustration: Fig. 199. Alligator vase, with conventional
+  markings--1/2.]
+
+  [Illustration: Fig. 200. Alligator vase, with conventional figures
+  of the alligator painted on the sides--1/2.]
+
+In Fig. 199 the whole conformation of the vessel is considerably
+modified through the attempt to perfect the likeness of the alligator,
+whose head, tail, and legs are graphically rendered. The body, head, and
+tail are covered with nodes, each of which is encircled by a black ring
+and has a black dot upon the apex. Dotted rings and short strokes of
+black occupy the interspaces. These devices represent the spines and
+scales of the creature's skin. The legs are marked with horizontal
+stripes and oval spaces at the top inclose three dots each. The general
+color of the vessel is a dark brown. This piece should be compared with
+the alligator whistle shown in Fig. 250.
+
+A somewhat different treatment is shown in Fig. 200. Here the animal
+form has undergone considerable modification. There are but three
+legs--a concession to the conventional tripod--and the body exhibits,
+instead of the nodes and the markings of the creature's skin, two
+conventional drawings of the whole animal. Now, by higher and higher
+degrees of convention, we come to a long series of modified results
+which must be omitted for want of room. We find that the plastic
+features are gradually reduced until mere nodes appear where the head
+and the tail should be, and finally in the lower forms there remains but
+a blank panel or a painted device, as already shown in a preceding
+section. The painted devices are also reduced by degrees until all
+resemblance to nature is lost and geometric devices alone remain.
+I observe in this association of plastic and painted features a lack of
+the perfect consistency I had learned to expect in the work of primitive
+peoples. It is easy to see how, from painting the markings of the
+creature's skin upon the body of the vessel, the painter should come
+gradually to delineate parts of the creature or even the whole creature,
+but we should not expect him to paint a creature distinct in kind from
+that modeled, thus confusing or entirely separating the conceptions;
+this has been done, apparently, in the vase illustrated in Fig. 202,
+where the plastic form represents a puma and the painting upon the sides
+seems intended for an alligator. It will be seen from the figures given
+that the devices of the panels or sides do not necessarily represent the
+markings of the animal's body, as in Fig. 201, but that they may refer
+to the entire creature (Fig. 200) or even to what appears to be a
+totally distinct creature (Fig. 202).
+
+  [Illustration: Fig. 201. Vase having the head and tail of a serpent
+  projecting from opposite sides of the body and connected by a
+  meandered design which stands for the markings of the body--1/2.]
+
+If realistic or semirealistic delineations are confused in this way it
+is to be expected that highly conventional derivative figures, so
+numerous and varied, should be much less clearly distinguished; that
+indeed there should be no certainty whatever in the reference to
+originals. It is difficult to say of any particular conventional device
+that it originated in the figure of the animal as a whole rather than in
+some part or character of that animal or of some other animal.
+
+  [Illustration: Fig. 202. Vase representing a puma, with figures of
+  the alligator painted upon the sides--1/2.]
+
+  [Illustration: Fig. 203. Shallow vase with reptilian features in the
+  round and designs in red and black representing the markings of the
+  creature's body--1/2.]
+
+A very instructive example bearing upon this subject is shown in
+Fig. 203. Attached to one side of the basin is a pendent head resembling
+that of a serpent or a turtle. A kind of hood overhangs the head and
+extends in a ridge around the sides of the vessel, connecting with the
+tail of the creature, which is also pendent and hooded. Four legs
+support the vessel and are marked with transverse stripes of red and
+black paint. The upper surface of the head is covered with reticulated
+lines in black, and bands of conventional ornament in the same color
+extend around the sides of the vessel, uniting the head with the tail of
+the animal. A single band of ornament passes beneath the body, also
+connecting those members. It is plain that these painted bands serve to
+complete the representation of the reptile. But, as I have just shown,
+they are as likely to stand for the whole creature or to be the
+abbreviated representative of the whole creature as to represent merely
+the markings of the body. These devices, as arranged in the zone,
+resemble in a remarkable degree the conventional running scroll.
+
+  [Illustration: Fig. 204. Vase with funnel shaped mouth and square
+  body, supported by two grotesque figures and decorated with figures
+  of alligators and monkeys--1/2.]
+
+I have but one more example of the alligator vases to present, but it is
+perhaps the most remarkable piece in the collection (Fig. 204). It
+illustrates to good advantage both the skill and the strange fancy of
+these archaic potters. A large vase, having a high flaring rim and a
+subcubical body, is supported by two grotesque human appearing figures,
+whose backs are set against opposite ends of the vessel. The legs are
+placed wide apart, thus affording a firm support. The heads of the two
+figures project forward from the shoulder of the vase and are flattened
+in such a way as to give long oval outlines to the crowns which are
+truncated and furnished with long slit-like openings that connect
+through the head with the main chamber of the vessel. The openings are
+about two and a half inches long and one-eighth of an inch wide and are
+surrounded by a shallow channel in the flat, well polished upper
+surface. The extraordinary conformation of this part of the vessel
+recalls the well known whistling vases of South America; but this piece
+is too badly broken to admit of experiment to test its powers. It is
+generally likened to a money box. In order to convey a clear conception
+of the shape of the upper surface, I present a top view of the vessel
+(Fig. 205).
+
+  [Illustration: Fig. 205. Top view of vase in Fig. 204, showing the
+  main orifice and the oblong openings.]
+
+  [Illustration: Fig. 206. End view of vase in Fig. 204, showing front
+  view of grotesque figure. The red portions of the painted figures
+  are outlined with dots.]
+
+A front view of one of the supporting figures is shown in Fig. 206.
+Although certainly not intended to represent a human figure with
+accuracy, it is furnished with a crown, as are the figures in gold and
+stone, and is covered with devices that seem to refer to costume. The
+features are extremely grotesque, the nose resembling the beak of a bird
+and the mouth being a mere ridge, without indications of the lips. The
+face and the chest are painted with curious devices in red. The funnel
+and body of the vase are decorated with subjects that seem to have no
+connection with the plastic features and no relation to one another in
+subject matter. The upper panel, surrounded by a framework of black and
+red lines, contains the figure of an alligator much simplified and
+taking a peculiar position on account of the shape of the space into
+which it is crowded. The figure occupying the body panel is that of a
+very strangely conventionalized two tailed monkey and is enframed by a
+wide red line. On the shoulder of the vessel is an ornament consisting
+of a number of angular hooks attached to a straight line. The effect is
+like that of fretwork, but the figure is probably derived from a
+modified animal form. The paste of this vase is sandy and is reddish
+gray near the surface and quite dark within the mass. The modeling is
+thoroughly well done, and the surface, which is of a somber, yellowish
+gray tint, is highly polished. The figures are drawn chiefly in black,
+red being confined to broad lines and areas. De Zeltner published
+photographic illustrations of a similar vase with his pamphlet on the
+graves of Chiriqui. That specimen is now, I believe, in the hands of
+Prof. O. C. Marsh, of New Haven. It corresponds very closely in nearly
+every respect with the example here described.
+
+  [Illustration: Fig. 207. Large vase with decorations in red and
+  black--1/4.]
+
+_The polychrome group._--The National Museum collection contains but
+three examples of this most artistic of the wares of Chiriqui. Its claim
+to superiority rests upon a certain boldness and refinement of
+execution, combined with nobleness of outline and a type of design much
+in advance of other isthmian decoration. It is probably most nearly
+allied to the ware of the alligator group, and it possesses some of the
+characteristics of the best Central American work. Unlike the other
+wares of Chiriqui, this pottery has a bright salmon red paste and the
+slip proper is a delicate shade of the same color. In nearly all cases
+undecorated portions of the surface are finished in red, which appears
+to have been polished down as a slip. The designs are in three
+colors--black, a strong red, and a fine gray purple--which, in
+combination with the bright reddish ground, give a very rich effect. The
+first example, shown in Fig. 207, is a large, nearly symmetrical bottle
+with a short neck and a thick, flaring lip. The inner surface of the
+orifice and the lower half of the body are finished in red and the neck
+and shoulder in the salmon colored slip. A wide zone of ornament
+encircles the upper surface of the body. The designs are executed with
+great skill in red and black colors and include two highly conventional
+figures, probably of reptilian origin. The manner of their introduction
+into the zone is shown in Fig. 208. The oval faces are placed on
+opposite sides, taking the positions usually occupied by modeled heads.
+Each face is supplemented by a pair of arms which terminate in curiously
+conventional hands, and the two caudal appendages are placed midway
+between the faces, filling triangular areas. The body of the vase serves
+as a body for both creatures. In the illustration, the red of the
+design, which is carried over all of one face save the eyes and mouth
+and serves to emphasize the features of the other face, is indicated in
+vertical tint lines and the black is given in solid color. This vase is
+twelve inches in height.
+
+  [Illustration: Fig. 208. Devices of the decorated zone of vase shown
+  in Fig. 207.]
+
+  [Illustration: Fig. 209. Handsome vase with four handles and
+  decorations in black, red, and purple--2/3.]
+
+A second example, illustrated in Fig. 209, is a fine piece of somewhat
+unusual shape. The orifice is trumpet shaped and rather too wide for
+good proportion. The body is flattened above and conical below and is
+supported by a rather meager annular foot. The paste is of a light brick
+red color, and the slip, as seen in the ground of the decorated belt, is
+a pale gray orange. Undecorated portions of the surface are painted red.
+The ornamented zone is interrupted by two pairs of handle-like
+appendages set upon the outer part of the shoulder. These projections
+may possibly have served as handles, as they are perforated both
+horizontally and vertically, but they are at the same time undoubtedly
+conventionalized animal forms, the creature being represented by the
+four flattened, transversely marked arms or rays and an eye-like device
+painted upon the top of each figure. The painted devices are seen in
+plan in Fig. 210, where the relations of the relieved features to the
+zone of painted decoration are clearly shown. This zone is divided into
+panels of unequal dimensions, and within these a number of extraordinary
+devices are drawn in three colors, red, black, and purple. These are
+distinguished in the plan by peculiar tint lines. The designs are of
+such a character as to leave little doubt that they are ideographic,
+although at present it is impossible to guess the nature of the
+associated ideas. The annular foot observed in this specimen illustrates
+the first step in the development of a feature the final stage of which
+is shown in Fig. 211. The latter shape is such as would result from
+inverting the preceding form, removing the conical base of the body, and
+using the funnel shaped orifice as a stand. This highly developed shape
+implies a long practice of the art. The form is a usual one in Mexico
+and in Central America. The bowl is shallow and is set gracefully upon
+the stand, the whole shape closely resembling simple conditions of the
+classic kylix. The color of the paste is a pale brick red and that of
+the slip approaches orange. The walls are thick and even and the surface
+is very carefully polished.
+
+  [Illustration: Fig. 210. The painted designs of vase in Fig. 209
+  viewed from above.]
+
+The painted decoration is of unusual interest. The colors are so rich,
+the execution is so superior, and the conception so strange that we
+dwell upon it with surprise and wonder. The central portion of the bowl
+is occupied by what would seem to represent a fish painted in strong,
+firm, marvelously turned lines, and in a style of convention wholly
+unique. The outlines are in black and the spaces are filled in with red
+and purple or are left in the orange hue of the ground. An idea of the
+superior style of execution can be gained from Fig. 212. It will be
+impossible to characterize the details of the drawing in words. The
+strange position and shape of the head, the oddly placed eyes and mouth,
+and the totally incomprehensible treatment of the body can be
+appreciated, however, by referring to the illustration. A careful study
+leads inevitably to the conclusion that this was no ordinary decoration,
+no playing with lines, but a serious working out of a conception every
+part of which had its significance or its raison d'etre.
+
+  [Illustration: Fig. 211. Vase of unusual shape, with decoration in
+  black, red, and purple--1/3.]
+
+  [Illustration: Fig. 212. Ornament occupying the interior surface of
+  the basin of vase shown in Fig. 211.]
+
+The figures occupying the border zone of the bowl are worthy of careful
+inspection. It will be seen that the potter, even in this highly
+specialized condition of the utensil, has not lost sight of the
+conception that the vessel is the body of an animal, as we have seen so
+often in simpler forms, and that the symbols of the creature should
+appear upon it and encircle it. The zone is divided into two equal
+sections by small knobs, painted, as are the handle-like appendages in
+the preceding specimen, to represent some animal feature. The lateral
+sections are occupied by eye-like figures that stand for the markings of
+the body of the creature symbolized. They really occupy the spaces left
+by a continuous waved body or life line, which they serve to define.
+Devices of this class are most frequently met with in connection with
+representations of the alligator. They may, however, symbolize the
+serpent, as occasionally seen in the alligator group. Decorative
+conceptions so remarkable as these could arise only through one channel:
+the channel of mythology. The superstitions of men have imposed upon the
+art a series of conceptions fixed in character and limited to especial
+positions, relations, and forms of expression. It is useless to
+speculate upon the nature of the mythologic conceptions with an idea of
+arriving at any understanding of the religion of the people; but we do
+learn something of the stage of development, something of the condition
+of philosophy.
+
+  [Illustration: Fig. 213. Large vase of fine shape and simple
+  decorations. From De Zeltner--about 1/4.]
+
+I must not close this section without referring to some fine vases that
+belong apparently to this group and which were collected by De Zeltner
+and illustrated by photographs accompanying his pamphlet. They are now,
+I believe, in the possession of Prof. O. C. Marsh. The sketches given
+herewith are copied from De Zeltner's photographs and are probably
+somewhat defective in details of drawing. The piece illustrated in
+Fig. 213 is not described by the author, but is evidently a handsome
+vessel and is decorated in a very simple manner. A band of devices
+symbolizing the body of an animal encircles the middle portion of the
+vase. The height is about a foot.
+
+  [Illustration: Fig. 214. Vase with extraordinary decorative designs.
+  From De Zeltner--about 1/4.]
+
+A second piece (Fig. 214), of which two views are given by the same
+author, corresponds closely in many respects with the vase illustrated
+in Fig. 211 and is described in the following language:
+
+  My collection includes a cup (or chalice) of baked clay 25
+  centimeters in diameter, mounted on a hollow stand which gives it a
+  height of 18 centimeters, and the designs of which are very rich and
+  in perfect taste. The base is hollow and colored red, white, black,
+  and purple; it has four narrow openings or slits, and the design
+  represents plaits spirally arranged. The under side of the cup is
+  divided into four compartments, each of which incloses a dragon
+  painted in black and red on a white ground; the borders are
+  sometimes red, sometimes purple. The body of the dragon might have
+  been painted in China, so neat and intricate is the drawing.
+
+  The design upon the inside of the cup seems to resemble Egyptian
+  art. The body of a man is seen, painted in red, the arms and legs
+  separated, and the shoulders bearing the head of the dragon with
+  teeth and crest. The color is similar to the rest of the
+  piece--purple, white, and black. The intermediate spaces are filled
+  with very intricate designs.
+
+This extraordinary design is shown in Fig. 215, and it will be seen that
+it agrees in many respects with figures presented in the lost color and
+alligator groups. It is compound in character, however, the head
+referring to the alligator, the body and extremities perhaps to a man or
+to a monkey. The suggestion of the oriental dragon in this, as in other
+examples, is at once apparent, and the resemblance to certain
+conventional forms that come down to us from the earliest known period
+of Chinese art is truly remarkable. We cannot, of course, predicate
+identity of origin even upon absolute identity of appearances, but such
+correspondences are worthy of note, as they may in time accumulate to
+such an extent that the belief in a common origin will force itself
+upon us.
+
+  [Illustration: Fig. 215. Painted design of vase in Fig. 214, viewed
+  from above, thought to represent a dragon by De Zeltner; probably a
+  composite of the alligator and the monkey or man.]
+
+_Unclassified._--A small number of vases do not admit of classification
+under any of the preceding heads. In most cases, however, they are not
+of especial interest and may be passed over. They represent a number of
+varieties of ware and are possibly not all Chiriquian, their affinities
+being rather with the pottery of Costa Rica and Nicaragua. One
+remarkable piece, of which a sketch is given in Fig. 50, _c_, is of
+large size and is shaped somewhat like an hour glass, and on account of
+its peculiar form and markings may be said to resemble a corset. The
+upper end is somewhat the smaller, and the septum, which forms the
+bottom of the vessel, is placed about an inch above the base of the
+foot. The interior surface is smoothly polished and painted a dark dull
+red. The exterior is uncolored and neatly fluted. The series of vertical
+ribs of the upper end is separated from those of the base by a belt of
+horizontal flutings, and a wide smooth space extends from the top to the
+base, the lower section of which is occupied by a row of button-like,
+indented knobs. The use of this utensil may not have been peculiar, but
+its shape is wholly unique. It resembles most nearly the ware of the
+maroon group. Its height is twelve inches.
+
+Perhaps the most interesting of these unclassified vases is a somewhat
+fragmentary piece, of which an outline is given in Fig. 216. The ware
+closely resembles that of the alligator group in color of the paste and
+slip, but the base has been supplied with an annular stand, a feature
+not observed in that group, and the colors of the design, with the
+exception of the black, are unlike those used in Chiriquian vases.
+
+  [Illustration: Fig. 216. Vase of unique form and decoration--1/3.]
+
+  [Illustration: Fig. 217. Painted design of vase in Fig. 216 in
+  black, red, and gray.]
+
+It will be seen by reference to Fig. 217 that the painted figures are
+partially pictorial, the conventional scenes including the sun, the
+moon, and stars. The more conventional parts of the design are very
+curious and without doubt are symbolic. The border of fret work is
+Mexican in style. The sun, which is only partially exposed above the
+horizon, is outlined in red and is surrounded by red rays. The figures
+supposed to represent the moon and the stars are in black. In the
+illustration the reds of the original are represented by vertical tint
+lines and the brownish grays by horizontal tint lines. The black is in
+solid color.
+
+
+MISCELLANEOUS OBJECTS OF CLAY.
+
+As primitive peoples advance in culture and the various branches of art
+are differentiated, each of the materials employed is made to fill a
+wider and wider sphere of usefulness. Clay, applied at first to vessel
+making and used perhaps as an auxiliary in a number of arts in which it
+took no definite or individual shapes, gradually extended its dominion
+until almost every art was in a measure dependent upon it or in some way
+utilized it. The extent of this expansion of availability is in a
+general way a measure of the advancement of the races concerned. The
+Chiriquians employed clay in the construction of textile machinery, as
+shown by the occurrence of spindle whorls, and a number of small
+receptacles, probably needlecases, are constructed of that material. It
+was employed in the manufacture of stools, statuettes, drums, rattles,
+and whistles. With less cultured races, such as the Pueblo and mound
+builders of the north, such articles were rarely manufactured, while
+with the more cultured nations of Mexico and Peru a wider field was
+covered and the work was considerably superior.
+
+SPINDLE WHORLS.
+
+The art of weaving was carried to a high degree of perfection by many of
+the American races, but the processes employed were of the simplest
+kind. The threads were spun upon wooden spindles weighted with whorls of
+baked clay. These whorls are not plentiful in the graves of Chiriqui,
+but such as have been collected are quite similar in style to those of
+Mexico and Peru. In Figs. 218, 219, and 220 we have three examples
+modeled with considerable attention to detail but comparatively rude in
+finish. They are in the natural color of the baked clay and are but
+rudely polished. The first is encircled by a line of rough, indented
+nodes, the second is embellished with homely little animal figures, and
+the third with incised patterns and rude incisions.
+
+  [Illustration: Fig. 218. Spindle whorl in gray clay decorated with
+  annular nodes--1/1.]
+
+  [Illustration: Fig. 219. Spindle whorl of gray clay with animal
+  figures--1/1.]
+
+  [Illustration: Fig. 220. Spindle whorl of dark clay with
+  perforations and incised ornament--1/1.]
+
+NEEDLECASES (?).
+
+I have given this name to a rather large class of small oblong or oval
+receptacles that could have served to contain needles or any other small
+articles of domestic use or of the toilet. They consist of two parts,
+a vessel or body and a lid. The former takes a variety of cylindrical,
+subcylindrical, and doubly conical shapes, and the latter is conical and
+is in many cases furnished with a knob at the top for grasping with the
+fingers. The lid is attached or held in place by means of strings passed
+through small holes made for the purpose in corresponding margins of the
+two parts. These objects were in pretty general use in the province, as
+they are found to belong to a number of the groups of ware, being
+finished and decorated as are the ordinary vessels of these classes.
+A few type specimens are given in the following cuts. A fine example
+belonging to the unpainted ware is shown in outline in Fig. 221. It is
+five inches in height and three in diameter and is pleasing in shape.
+The specimen outlined in Fig. 222 is of the lost color group, but has
+lost nearly all traces of the decorative design.
+
+  [Illustration: Fig. 221. Needlecase of unpainted clay with conical
+  lid--1/2.]
+
+  [Illustration: Fig. 222. Needlecase, lost color group of ware--1/2.]
+
+A fine example, with high polish and elaborate decoration, is presented
+in Fig. 223. The lid is raised to show the position of the perforations.
+Two interesting examples belonging to the dark incised ware are shown in
+Figs. 224 and 225. The deeply incised design of the first is purely
+geometric, but is probably of graphic parentage, while that of the
+second, rather rudely scratched through the dark surface into the gray
+paste, is apparently a less highly conventionalized treatment of the
+same motive.
+
+  [Illustration: Fig. 223. Needlecase with painted geometric ornament,
+  belonging to the lost color group of ware--1/2.]
+
+  [Illustration: Fig. 224. Needlecase of gray clay with angular
+  incised geometric ornament--1/2.]
+
+  [Illustration: Fig. 225. Needlecase of gray clay with black polished
+  surface and incised ornament--1/2.]
+
+FIGURINES.
+
+I have already called attention to the fact that there is no such thing
+in Chiriquian ceramic art as a well modeled human figure and apparently
+no indication of an attempt to render the human physiognomy with
+accuracy. It is highly probable that the personages embodied in the
+mythology of the people took the forms of animals or were
+anthropomorphic and gave rise to the peculiar conceptions embodied in
+their arts. The strange objects herewith presented are rendered in a
+measure intelligible by the adoption of this hypothesis. These figurines
+are confined to the alligator group of ware and are quite numerous. They
+are small, carefully finished, and painted with care in red and black
+lines and figures. They are semihuman and appear to be arrayed in
+costume. The head of each is triangular in shape, having a sharp,
+projecting profile, with the mouth set back beneath the chin, reminding
+one of the face of a squirrel or some such rodent. The figures occupy a
+sitting posture. The legs are spread out horizontally, giving a firm
+support, and terminate in blunt cones, which are in some cases slightly
+bent up to represent feet. The hands rest upon the sides or thighs or
+clasp a small figure apparently intended for an infant, which, however,
+does not seem to have any human features. In one case this figure is
+placed upon the back of the figurine and appears to hold its place by
+means of four feet armed with claws (Fig. 226); in another it is held in
+front (Fig. 227). The neck is usually pierced to facilitate suspension,
+and the under side of the body--the sitting surface--is triply
+perforated, or punctured if solid, as if for the purpose of fixing the
+figure in an upright position to some movable support. The central
+perforation is round and the lateral ones, on the under side of the
+legs, are oblong. The largest specimen is six inches in height and the
+smallest about one and a half inches. They are rather elaborately
+painted with black and red devices which, by their peculiar geometric
+character, are undoubtedly intended to indicate the costume. The hair is
+represented by black stripes, which descend upon the neck, and the face
+is striped with red. They are found associated with other relics in the
+graves and were possibly only toys, but more probably were tutelary
+images or served some unknown religious purpose. The sex is usually
+feminine. Two additional examples showing side and back views are
+outlined in Figs. 228 and 229.
+
+  [Illustration: Fig. 226. Statuette, alligator group--1/1.]
+
+  [Illustration: Fig. 227. Statuette, alligator group--1/1.]
+
+  [Illustration: Fig. 228. Statuette of small size--1/1.]
+
+  [Illustration: Fig. 229. Statuette of largest size--1/2.]
+
+STOOLS.
+
+I have given this name to a class of stone carvings presented in a
+previous section, and, for want of a better name, give it also to a
+series of similar objects modeled in clay. These are among the most
+elaborate products of Chiriquian art. In all cases they are of the
+yellowish unpainted pottery and indicate much freedom and skill in the
+handling of clay. They do not show any well defined evidences of use,
+and as they are too slight and fragile to be used as ordinary seats we
+are left to surmise that they may have served some purpose in the
+religious rites of the ancient races. They are uniform in construction
+and general conformation and consist of a circular tablet supported by
+upright circular walls or by figures which rest upon a strong, ring
+shaped base. The tablet or plate is somewhat concave above, is less than
+an inch in thickness, and has a diameter of ten and one-fourth inches in
+the largest piece, descending to seven and one-half in the smallest. The
+margin is rounded and usually embellished with a beaded ornament
+consisting of grotesque heads, generally reptilian. The variations
+exhibited in details of modeling are well shown by the illustrations. In
+the example given in Fig. 230 the upright portion is a hollow cylinder,
+having four vertical slits, alternating with which are oblique bands of
+ornament in incised lines and punctures. The projecting margin of the
+tablet is encircled by a row of grotesque, monkey-like heads, facing
+downward.
+
+  [Illustration: Fig. 230. Stool of plain terra cotta, decorated with
+  grotesque heads and incised figures--1/3.]
+
+Fig. 231 illustrates a specimen in which three grotesque figures, with
+forbidding faces, alternate with as many flat columns embellished with
+rude figures of alligators. Eighteen grotesque, monkey-like heads occupy
+the lower margin of the seat plate in the spaces between the heads of
+the supporting figures. This specimen illustrates the favorite
+Chiriquian method of construction. The various parts were modeled
+separately in a rough way and then set into place in the order of their
+importance. When this was done and the insertions were neatly worked
+together with the fingers, a number of small instruments were employed
+in finishing: a sharp stylus for indicating parts of the costume, and
+blunt points and small tubular dies for adding intaglio details of
+anatomy, such as the navel, the pupils of the eyes, and the partings of
+the fingers and toes.
+
+  [Illustration: Fig. 231. Stool of plain clay, with grotesque
+  figures--1/2.]
+
+The discoidal plate of another specimen is supported by four absurdly
+grotesque monkeys, giving a general effect much like that of the last.
+
+  [Illustration: Fig. 232. Stool of plain terra cotta, with strange
+  figures--1/3.]
+
+A very remarkable piece is shown in Fig. 232. The tablet is supported by
+six grotesque figures, somewhat human in appearance, whose limbs are
+intertwined with serpents, suggesting the famous group of the Laocoon.
+The work is roughly done and the details are not carried out in a very
+consistent manner, as the arms and legs of the figures become confused
+with the reptiles and are as likely to terminate in a snake's head as in
+a hand or foot. The rudely shaped bodies are covered with indented
+circlets or with short incised lines. The material, color, and finish
+are as usual. The height is four and one-half inches and the diameter of
+the tablet ten inches.
+
+There are additional specimens in the National Museum. In one case, the
+largest specimen of the series, the tablet is supported by five upright
+female human figures and the margin is encircled by a cornice of
+forty-six neatly modeled reptilian heads. A small example differs
+considerably in general shape from those illustrated, the base being
+much smaller than the circular tablet. The supporting figures are two
+rudely modeled ocelots and two monkey-like figures, all of which are
+placed in an inverted position. Similar objects are obtained from the
+neighboring states of Central and South America.
+
+MUSICAL INSTRUMENTS.
+
+Something is already known of the musical instruments of the ancient
+Chiriquians through fugitive specimens that have found their way into
+collections in all parts of Europe and America. The testimony of the
+earthen relics--for no others are preserved to us--goes to show that the
+art of music was, in its rude way, very assiduously practiced, and that
+it probably constituted with these, as with most primitive communities,
+a serious and important feature in the various ceremonial exercises.
+Clay is naturally limited to the production of a small percentage of the
+musical instruments of any people, the various forms of woody growths
+being better adapted to their manufacture. We have examples of both
+instruments of percussion and wind instruments, the former class
+embracing drums and rattles and the latter whistles and clarionette-like
+pipes.
+
+_Rattles._--Besides the ordinary rattles attached to and forming parts
+of vessels, as already described, there are a number of small pieces
+that seem to have served exclusively as rattles, while some are rattle
+and whistle combined in one piece. In no case, however, would they seem
+to the unscientific observer to be more than mere toys, as they are of
+small size and the sounds emitted are too weak to be perceptible at any
+considerable distance. At the same time it is true that they may have
+had ceremonial offices of no little consequence to the primitive
+priesthood. The simple rattles are shaped like gourds, the body being
+globular and the neck or handle long and straight. Like the wares
+already described, they are finished and decorated, the majority
+belonging to the lost color group. The length varies from three to six
+or seven inches. A number of minute slit-like orifices or perforations
+for the emission of the sound occur about the upper part of the body
+(Fig. 233). A septum is placed in the lower part of the neck, so that
+the handle, which is hollow and open at the upper end, may serve as a
+whistle. In some cases the lower part of the neck is perforated for
+suspension at the point occupied by the septum, as imperfectly shown in
+the section (Fig. 234). The most interesting specimen in the collection
+is shown in Fig. 235; it is especially notable on account of its
+construction, which points clearly to the gourd as a prototype. The body
+is of the usual globular shape, slightly elongated above. The neck is
+represented as a separate piece lashed on with cords by means of
+perforations made for the purpose, just as are the handles of similar
+instruments constructed of gourds and reeds in Central American
+countries. The compartments of the handle and of the body are separate
+and the sound produced by the small oval pellets is emitted through
+slits of the usual form. The top of the handle is surmounted by a pair
+of grotesque human figures, male and female, placed back to back and
+united at the backs of the heads as seen in the cut. This object is gray
+in color and presents the roughened granular surface resulting from long
+exposure to the elements.
+
+  [Illustration: Fig. 233. Rattle decorated in the style of the lost
+  color group--1/2.]
+
+  [Illustration: Fig. 234. Section of rattle shown in Fig. 233.]
+
+  [Illustration: Fig. 235. Rattle of plain ware surmounted by two
+  grotesque figures--1/2.]
+
+_Drums._--The drum was a favorite instrument with the native American
+musician. Early explorers found its use next to universal, and the
+"tambour" is even now a characteristic feature of the musical
+paraphernalia of the Spanish-Americans. The primitive instrument was
+made by stretching a thin sheet of animal tissue over the orifice of a
+large gourd vessel or a vessel of wood or clay. The use of clay was
+probably exceptional, as there are but three specimens in our Chiriquian
+collection. The shape is somewhat like that of an hour glass, the upper
+part, however, being considerably larger than the base or stand. In all
+cases the principal rim is finished with especial reference to the
+attachment of the vibrating head. The example presented in Fig. 236 has
+a deeply scarified belt an inch wide encircling the rim, and below it is
+a narrow ridge, intended perhaps to facilitate the lashing or cementing
+on of the head. Two raised bands, intended to imitate twisted cords,
+encircle the most constricted part of the body, a single band similarly
+marked encircling the base. The surface is gray in color and but rudely
+polished. The walls are about three-eighths of an inch thick, the height
+sixteen and one-half inches, and the greatest diameter seven and
+one-half inches.
+
+  [Illustration: Fig. 236. Drum of gray unpainted clay--1/4.]
+
+The decorated specimen illustrated in Fig. 237 is imperfect, a few
+inches of the base having been lost. The shape is rather more elegant
+than that of the other specimen and the surface is neatly finished and
+polished. The ground color or slip is a warm yellow gray and the
+decoration is in red and black. The rim or upper margin is rather rudely
+finished and is painted red and on the exterior is made slightly concave
+and furnished with a raised band to facilitate the attachment of the
+head. The painted ornament encircles the body in four zones, two upon
+the upper portion and two upon the base. The designs occupying the body
+zones are unique and viewed in the light of their probable origin are
+extremely interesting. In another place further on in this paper I shall
+show that they are probably very highly conventionalized derivatives of
+the alligator radical, the meandered line representing the body of the
+creature and the scalloped hooks the extremities (Fig. 238). The two
+bands upon the base consist of geometric figures, the origin of which
+cannot be definitely determined, although they also probably refer to
+the alligator.
+
+  [Illustration: Fig. 237. Drum with painted ornament in the style of
+  the lost color group--1/9.]
+
+  [Illustration: Fig. 238. Conventional design on drum shown in
+  Fig. 237, composed of alligator derivatives.]
+
+In the collection there is a minute toy drum of the same general shape,
+and the same form reappears in some of the whistles, in one of which
+(Fig. 247) the skin head and its fastenings are all carefully reproduced
+in miniature. The immediate original of this particular form of drum was
+probably made of wood. A drum, recently brought from Costa Rica was made
+by hollowing out a cylindrical piece of wood and stretching a piece of
+snakeskin across the top. The shape is nearly identical with that of
+these earthen specimens.
+
+_Wind instruments._--Earthenware wind instruments are found in
+considerable numbers and are associated with other relics in the tombs.
+Nearly all are very simple in construction and are limited in musical
+power, receiving and perhaps generally deserving no better name than
+whistles or toys. A few pieces are more pretentious and yield a number
+of notes, and if operated by skilled performers or properly concerted
+are capable of producing pleasing melodies. It is not difficult to
+determine the powers of individual instruments, but we cannot say to
+what extent these powers were understood by the original owners, nor can
+we say whether or not they were intended to be played in unison in such
+a way as to give a certain desired succession of intervals. There are,
+however, in a large number of these instruments a uniformity in
+construction and a certain close correspondence in the number and degree
+of the sounds that indicate the existence of well established standards.
+It does not appear absolutely certain to me that the system of intervals
+was made to conform to that of any known scale; but a difficulty arises
+in attempting to determine this point, as most of the pieces are more or
+less mutilated. We find also that the note producible by any given stop
+is not fixed in pitch, but varies, with the force of the breath, two or
+even three full intervals. As a result of this a glide is possible to
+the skilled performer from note to note and any desired pitch can be
+taken.
+
+In material, finish, and decoration these objects do not differ from the
+ordinary pottery. A majority belong to the alligator group. The size is
+generally small, the largest specimen being about eight inches in
+length. The shapes are wonderfully varied and indicate a lively
+imagination on the part of the potter. Animal forms prevail very
+decidedly, that of the bird being a great favorite. In many cases the
+animals copied can be identified, but in others they cannot--perhaps
+from our lack of knowledge of the fauna of the province, perhaps from
+carelessness on the part of the artist or from the tendency to model
+grotesque and complicated shapes. The following creatures can be
+recognized: men, pumas, ocelots, armadillos, eagles, owls, ducks,
+parrots, several varieties of small birds, alligators, crabs, and
+scorpions. Vegetal forms, excepting where in use as instruments or
+utensils, as reeds and gourds, were not copied. In the National Museum
+collection there are two tubular pipes, probably modeled after reeds,
+and another resembles a gourd in shape. The construction of the
+whistling apparatus is identical in all cases and corresponds to that of
+our flageolets (see sections, Figs. 240 and 242). Plain tubes were
+doubtless also used as whistles, and all utensils of small size, such as
+needlecases and toy vases, can be made to give forth a note more or less
+shrill, according to the size of the chamber. The simplest form of
+whistle produces two shrill notes identical in pitch. The shape is
+double, suggesting a primitive condition of the tibiae pares of the
+Romans. The parts are pear or gourd shaped, are joined above and below,
+and have an opening between the necks. The two mouthpieces are so close
+together that both are necessarily blown at once. The note produced is
+pitched very high and is extremely penetrating, not to say ear
+splitting, making an excellent call for the jungles and forests of the
+tropics. A small specimen is presented full size in Fig. 239, and the
+section in Fig. 240 shows the relative positions of the mouthpieces, air
+passages, vent holes, and chambers.
+
+  [Illustration: Fig. 239. Double whistle, lost color ware--1/1.]
+
+  [Illustration: Fig. 240. Section of double whistle.]
+
+  [Music]
+
+Reed shaped instruments are furnished with passages and orifices
+corresponding to the other forms. The chamber is tubular and the lower
+end is open, and the finger holes, when present, are on the upper side
+of the cylinder. One example without finger holes has two notes nearly
+an octave apart, which are produced, the higher with the tube open and
+the lower with it closed. Perhaps the most satisfactory instrument in
+the whole collection, so far as range is concerned, is shown in
+Fig. 241, and a section is given in Fig. 242. It is capable of yielding
+the notes indicated in the accompanying scale: First, a normal series of
+eight sounds, produced as shown in the diagram, and, second, a series
+produced by blowing with greater force, one note two octaves above its
+radical and the others three octaves above. These notes are difficult to
+produce and hold and were probably not utilized by the native performer.
+
+  [Illustration: Fig. 241. Tubular instrument with two finger holes,
+  alligator group--1/1.]
+
+  [Illustration: Fig. 242. Section of whistle.]
+
+  [Music]
+
+Two little instruments of remarkable form and unusual powers stand quite
+alone among their fellows. One only is entire. It is made of dark clay
+and represents a creature not referable to any known form, so completely
+is it conventionalized. A fair idea of its appearance can be gained from
+Figs. 243 and 244. The first gives the side view and the second the top
+view. The mouthpiece is in what appears to be the forehead of the
+creature. The vent hole is beneath the neck and there are four minute
+finger holes, one in the middle of each of four flattish nodes, which
+have the appearance of large protruding eyes. A suspension hole passes
+through a node upon the top of the head. The capacity of this instrument
+is five notes, clear in tone and high in pitch. It is notable that the
+pitch of each stop, when open alone, is identical, the holes being of
+exactly the same size. In playing it does not matter in what order the
+fingers are moved. The lower note is made with all the holes closed and
+the ascending scale is produced by opening successively one, two, three,
+and four holes. The fragmentary piece is much smaller and the holes are
+extremely small.
+
+  [Illustration:
+  Fig. 243.
+  Fig. 244.
+  Small animal shaped whistle of blackish ware, with four finger
+  holes--1/1.]
+
+  [Music]
+
+Of a distinct type of form, although involving no new principle of
+construction, are two top-like or turnip shaped instruments, one of
+which is shown in Fig. 245. The form is symmetrical, the ornamentation
+tasteful, and the surface highly polished. The ware is of the alligator
+group and is decorated in red and black figures. A section is given in
+Fig. 246, _a_, and top and bottom views in _b_ and _c_. By reference to
+these a clear conception of the object can be formed. The companion
+piece is identical in size, shape, and conformation, and, strange to
+say, in musical notes also. The tones are not fixed, as each can be made
+to vary two or three degrees by changing the force of the breath. The
+tones produced by a breath of average force are indicated as nearly as
+may be in the accompanying scale. They will be found to occur nearer the
+lower than the upper limit of their ranges. It should be observed that
+the capacity for variation possessed by each of these notes enables the
+skilled performer to glide from one to the other without interruption.
+This instrument is, therefore, within its limited range, as capable of
+adjusting itself to any succession of intervals as is the trombone or
+the violin. I do not imagine, however, that the aboriginal performer
+made any systematic use of this power or that the instrument was
+purposely so constructed. It will be seen by reference to the scale that
+stopping the orifice in the end opposite the mouthpiece changes the
+notes half a tone, or perhaps, if accurately measured, a little less
+than that.
+
+  [Illustration: Fig. 245. Top shaped instrument, with three finger
+  holes, alligator ware--1/1.]
+
+  [Illustration:
+  _a, b, c_
+  Fig. 246. Section and vertical views of instrument shown in
+  Fig. 245.]
+
+  [Music]
+
+Our collection contains several dozen three note whistles or pipes. Most
+of these represent animal forms, which are treated in a more or less
+realistic way, but with a decided tendency toward the grotesque. Nearly
+all are of small size, the largest, an alligator form, having a length
+of about eight inches. In the animal figures the air chamber is within
+the body, but does not conform closely to the exterior shape. The
+mouthpieces and the orifices are variously placed, to suit the fancy of
+the modeler, but the construction and the powers are pretty uniform
+throughout. There are two finger holes, placed in some cases at equal
+and in others at unequal distances from the mouthpiece, but they are
+always of equal size and produce identical notes. The capacity is
+therefore three notes. The lower is produced when all the orifices are
+open, the higher when all are closed, and the middle when one hole--no
+matter which--is closed.
+
+Besides the animal forms there are a number of shapes copied from other
+musical instruments or from objects of art, such as vases. A very
+interesting specimen, illustrated in Fig. 247, modeled in imitation of a
+drum, has not only the general shape of that instrument, but the skin
+head, with its bands and cords of attachment, is truthfully represented.
+A curious conceit is here observed in the association of the bird--a
+favorite form for the whistles--with the drum. A small figure of a bird
+extends transversely across the body of the drum chamber, the back being
+turned from the observer in the cut. The tail serves for a mouthpiece,
+while the finger holes are placed in the breast of the bird, the
+position usually assigned to them in simple bird whistles; its three
+notes are indicated in the accompanying scale:
+
+  [Illustration: Fig. 247. Drum shaped whistle of plain ware, with
+  bird figure attached--1/1.]
+
+  [Illustration: Fig. 248. Vase shaped whistle, lost color ware--1/2.]
+
+  [Music]
+
+One specimen is vase or pitcher shaped, with base prolonged for a
+mouthpiece and with a neat handle (Fig. 248). The ground color is a dull
+red, upon which are traces of painted figures. Its notes are as follows:
+
+  [Music]
+
+A novel conceit is exhibited in the crab shaped instrument presented in
+Fig. 249, which gives a back view of the animal. On the opposite side
+are four small conical legs, upon which the object rests as does a vase
+upon its tripod. The mouthpiece is in the right arm, beneath which is
+the sound hole. The two finger holes are in the back behind the eyes of
+the creature and a suspension hole is seen in the left arm. The painted
+designs are in red and black lines upon a yellowish gray ground. The
+following scale indicates its capacity:
+
+  [Illustration: Fig. 249. Crab shaped whistle, alligator ware--1/1.]
+
+  [Music]
+
+The largest specimen in the collection, shown in Fig. 250, represents an
+alligator and is finished in the usual conventional style of the
+alligator group. The air chamber is large and the sounds emitted are
+full and melodious and are lower in pitch than those of any other
+instrument in the collection. The cavity in the mouth and head is
+separated from the body chamber, and, with the addition of earthern
+pellets, probably served as a rattle. The mouthpiece is in the tail and
+the finger holes are in the sides of the body.
+
+  [Illustration: Fig. 250. Alligator shaped whistle, alligator
+  ware--1/2.]
+
+  [Music]
+
+Mammals are very often reproduced in these instruments. What appears to
+be the ocelot or jaguar is the favorite subject. A representative
+specimen is shown in Fig. 251. The mouthpiece is in the tail and one of
+the sound holes is in the left shoulder and the other beneath the body.
+The head is turned to one side and the face is decidedly cat-like in
+expression. The decoration is in black and red and may be taken as a
+typical example of the conventional treatment of the markings of the
+bodies of such animals. The tips of the ears, feet, and tail are red.
+Rows of red strokes, alternating with black, extend in a broad stripe
+from the point of the nose to the base of the neck. Red panels,
+inclosing rows of red dots and enframed by black lines, cross the back.
+On the sides we have oblong spaces filled in with the conventional
+devices so common in other animal representations. The legs are striped
+and dotted after the usual manner.
+
+  [Music]
+
+  [Illustration: Fig. 251. Cat shaped whistle, alligator ware--1/1.]
+
+A unique form, and one that will be looked at with interest by
+comparative ethnologists on account of the treatment of the tongues, is
+given in Fig. 252. The instrument consists of an oblong body to which
+four ocelot heads are fixed, one at each end and the others at the
+sides. It rests upon four feet, in one of which the mouthpiece is
+placed. The finger holes are in the side of the body near the legs, as
+seen in the cut. The decoration, which consists of more or less
+conventional representations of the skin markings of the animal, is in
+black and red. Its notes are three, as follows:
+
+  [Illustration: Fig. 252. Whistle with four ocelot-like heads,
+  alligator ware--1/1.]
+
+  [Music]
+
+The prevalence of bird forms is due no doubt to the resemblance of the
+notes of primitive whistles to the notes of birds. The shape of the bird
+is also exceptionally convenient, as the body accommodates the air
+chamber, the tail serves as a mouthpiece, and the head is convenient for
+the attachment of a cord of suspension. A great variety of forms were
+modeled and range from the minute proportions of the smallest humming
+bird to those of a robin. The larger pieces represent birds of prey,
+such as hawks, eagles, and vultures, and the smaller are intended for
+parrots and song birds. The treatment is always highly conventional, yet
+in many cases the characteristic features of the species are forcibly
+presented. The painted devices have reference in most cases to the
+markings of the plumage, yet they partake of the geometric character of
+the designs used in ordinary vase painting. The ground is the usual
+yellowish gray of the slip, and nearly all the pieces belong to the lost
+color and alligator groups.
+
+A characteristic example is illustrated in Fig. 253. The head is large
+and flat and the painted devices are in the red and black of the lost
+color group. The three notes are as follows:
+
+  [Music]
+
+  [Illustration: Fig. 253. Bird shaped whistle, with decoration in
+  black, lost color ware--1/1.]
+
+The piece given in Fig. 254 has the shape and markings of a hawk or
+eagle. It belongs to the alligator ware and is elaborately finished in
+semigeometric devices in red and black. All of these devices refer more
+or less definitely to the markings of the plumage.
+
+  [Illustration: Fig. 254. Bird shaped whistle, with conventional
+  decoration in red and black, alligator ware--1/1.]
+
+  [Music]
+
+The example shown in Fig. 255 represents a bird with two heads, the
+shape and markings of which suggest one of the smaller song birds.
+
+  [Illustration: Fig. 255. Two headed, bird shaped whistle, with
+  conventional decoration in black, lost color ware--1/1.]
+
+  [Music]
+
+I cannot say that the whistles were modeled and pitched with the idea of
+imitating the notes of particular birds, but it is possible for the
+practiced performer to reproduce the simpler songs and cries of birds
+with a good deal of accuracy.
+
+  [Illustration: Fig. 256. Whistle in grotesque life form, with
+  decorations in black and red, alligator ware--2/3.]
+
+The human figure was occasionally utilized. The treatment, however, is
+extremely rude and conventional, the features having the peculiar
+squirrel-like character shown in the figurines already given. The unique
+piece given in Fig. 256 represents a short, clumsy female figure with a
+squirrel face, carrying a vessel upon her back by means of a head strap,
+which is held in place by the hands. The mouthpiece of the whistle is in
+the right elbow and one sound hole is in the middle of the breast and
+the other in the left side. The costume and some of the details of
+anatomy are indicated by red and black lines in the original. Its notes
+are the same as those presented with Fig. 249.
+
+
+LIFE FORMS IN VASE PAINTING.
+
+This section is to be devoted to a short study of the decorative system
+of the ancient Chiriquians, and more especially to a consideration of
+the treatment of life forms in vase painting. Many of the finest
+examples of these designs, so far as execution and effect in
+embellishment are concerned, have already been given; but it is
+desirable now to select and arrange a series to illustrate origins and
+processes of growth or modification.
+
+Elements of ornament flow into the ceramic art from a number of sources,
+but chiefly in two great currents: the one from art, and consisting
+chiefly of technical or mechanically produced phenomena, and hence
+geometric, and the other from nature, and carrying elements primarily
+delineative, and hence non-geometric. When once within the realm of
+decoration the various motives or elements are subject to modification
+by two classes of influences or conditioning forces: the technical
+restraints of the art and the esthetic forces of the human mind.
+Mechanical and geometric elements, although born within the art or its
+associated arts, are modified in the processes of adaptation to the
+changing requirements and conditions of the art and through the tendency
+towards elaboration under the guidance of the esthetic forces; left by
+themselves they remain, throughout all changes of use and modification
+of form, purely geometric. Imitative elements tend, under the same
+influences, to move in the direction of the unreal or geometric. In this
+way the realistic forms undergo marked changes, gradually assuming a
+geometric character and finally losing all semblance of nature.
+
+Now it must be noted that the decorations of any group of art products
+may embody both classes of elements or they may be restricted rather
+closely to either. This fact enables us to account for many of the
+strongly marked distinctions observed in the decorative systems of
+different communities, races, and times. In a recent study of ancient
+Pueblo art I traced the decoration to a mechanical origin, mainly in the
+art of basketry, and thus accounted for its highly geometric character.
+Chiriquian art presents a strong contrast to this, as the great body of
+elements are manifestly derived from nature by delineative imitation. It
+was further observed in Pueblo art that as time went on life forms were
+little by little introduced into its decoration and that in recent times
+they shared the honors equally with the primitive geometric forms. In
+Chiriquian art we find but meager traces of a primitive geometric
+system, and conclude that either the earliest art of the people did not
+give rise to such a system or that the graphic motives, entering
+gradually and steadily multiplying, supplanted the archaic forms,
+finally usurping nearly the entire field. As noticed in the preceding
+sections, there is always a certain amount of geometricity in the
+arrangement and the enframing of the designs, as well as a certain
+degree of convention in the treatment of even the most graphic motives;
+but these characters may be due to the restraining conditions of the
+art, rather than to the survival of original or ancestral features or
+characters.
+
+In beginning the study of Chiriquian decorative art I found it
+impossible to approach the subject advantageously from the geometric
+side, as was done in the Pueblo study, since life elements so thoroughly
+permeate every part of it. I have, therefore, turned about, and in the
+following study present first the more realistic delineations of nature,
+arranging long series of derivative shapes which descend through
+increasing degrees of convention to purely geometric forms. These
+remarks relate wholly to the plan or linear arrangement of the motives.
+
+As to method of realization, ceramic ornament may be arranged in two
+classes: the plastic or relieved and the non-plastic or flat. Life forms
+are freely rendered by both plastic and non-plastic methods, and in
+either style may range from the highly realistic to the purely
+geometric. As shown in a preceding section, plastic life forms in
+Chiriquian art appear to have been subject to two divergent lines of
+thought, the one trivial and the other serious. Through the one we have
+grotesque and perhaps even humorous representations of men and of
+animals. The figures are attached to the vessels for the
+purpose--perhaps for the exclusive purpose--of embellishment, and often
+with excellent success, as judged by our own standards of taste. The
+other deals with plastic representations apparently of a serious nature,
+although utilized also for embellishment. The animal forms employed are
+treated in a way to suggest that in the mind of the artist the creature
+bore a definite relation to the vessel or its use, a relationship
+originating in superstition and preserved throughout all changes of
+form. Their office was symbolic, and this office was probably not always
+lost sight of by the potter, even though, through the forces of
+convention, the animal shapes were reduced to mere knobs, ridges, or
+even to painted devices.
+
+In color delineations, although the same subjects are to a great extent
+employed, there is necessarily greater constraint--there is less freedom
+as well as less vigor in the presentation of natural forms. There is
+apparently no attempt at the grotesque or amusing. The variants are
+practically infinite. The work is more purely decorative and is perhaps
+less subject to the restraints of associated ideas and of use with
+particular vessels or in definite relations to other features of the
+vessel. At the same time it is manifest that these painted figures are
+not all merely meaningless decorations, but that many, throughout all
+degrees of modification, refer with greater or less clearness to natural
+originals, to ideas associated with these originals, or to the
+relationship of these originals to the vessel and its uses.
+
+It is clear, however, that a considerable body of nature-derived
+elements, plastic and painted, are employed as simple embellishments,
+having no other function. This suggests the separation of all
+decorations into two grand divisions, based upon the kind of thoughts
+associated with them. These divisions may be designated as significant
+and non-significant, the term significant referring not to the mere
+identification of a device with an original form or to its office as an
+ornament, but to its symbolism, to its mystic relation with the vessel
+and its uses. But I have to do here with the forms taken by motives,
+with their morphology rather than with their signification, as the
+latter must, with reference to archaeologic material, remain greatly
+speculative.
+
+In the application of life forms in vase painting several classes of
+modifying and constraining agencies of a technical nature are present,
+and the following examples are grouped with the idea of defining these
+classes of forces and keeping them in a measure distinct.
+
+  [Illustration: Fig. 257. Graphic delineation of the alligator, from
+  a vase of the lost color group.]
+
+  [Illustration: Fig. 258. Graphic delineation of the alligator, from
+  a vase of the lost color group.]
+
+Of all the animal forms utilized by the Chiriquians the alligator is the
+best suited to the purpose of this study, as it is presented most
+frequently and in the most varied forms. In Figs. 257 and 258 I
+reproduce drawings from the outer surface of a tripod bowl of the lost
+color group. Simple and formal as these figures are, the characteristic
+features of the creature--the sinuous body, the strong jaws, the
+upturned snout, the feet, and the scales--are forcibly expressed. It is
+not to be assumed that these examples represent the best delineative
+skill of the Chiriquian artist. The native painter must have executed
+very much superior work upon the more usual delineating surfaces, such
+as bark and skins. The examples here shown have already experienced
+decided changes through the constraints of the ceramic art, but are the
+most graphic delineations preserved to us. They are free hand products,
+executed by mere decorators, perhaps by women, who were servile copyists
+of the forms employed by those skilled in sacred art.
+
+  [Illustration: Fig. 259. Conventional alligator, from the lost color
+  ware.]
+
+A third illustration from the same group of ware, given in Fig. 259,
+shows, in some respects, a higher degree of convention. The scales are
+here represented by triangular dentals, which occupy the entire length
+of the back. These dentals are filled with the round dots that stand
+singly in the preceding cases.
+
+  [Illustration: Fig. 260. Style of convention in the alligator group
+  of ware.]
+
+  [Illustration: Fig. 261. Style of convention in the alligator group
+  of ware.]
+
+In another class of ware--the alligator group--the treatment is quite
+different, being decidedly more clumsy and realized by distinct
+processes; but prominence is given to a number of corresponding
+features. The strong curve of the back, the dentals and dots, and the
+muzzle and mouth refer apparently to the same creature. The curiously
+marked panel in the body of the last example is a unique feature, which
+appears, however, in a few other cases.
+
+These drawings occur upon the sides of vases, alternating with the
+plastic features, and are perhaps generally associated with such
+features in the expression of some mythical idea.
+
+The modeled creature is often represented with two heads instead of with
+a head and a tail, and the painted forms, in many cases, exhibit the
+same peculiarity as shown in Fig. 262. I surmise that the employment of
+two heads arises from the need of securing perfect balance of parts
+rather than as an original product of the imagination.
+
+  [Illustration: Fig. 262. Two headed form of the alligator.]
+
+It will be interesting, as additional examples are presented, to note
+the effect of modification upon particular features of the animal, to
+observe how some come into prominence, representing the creature and the
+idea, while others fall into disuse and disappear. In nature the line of
+the body is perhaps the most strongly characteristic feature, and it is
+in art the most persistent. It survives in the stems of many
+conventional devices from which all other suggestions of the animal have
+vanished.
+
+  [Illustration: Fig. 263. Figure of the alligator much simplified.]
+
+The following examples depart still further from nature, approaching the
+border line between the distinctly imitative and the purely conventional
+or geometric phases. In the first (Fig. 263) all the leading features
+are recognizable, but are very much simplified. The jaws are without
+teeth, the head is without eyes, and the body without indication of
+scales. The other example (Fig. 264) is of a somewhat different type and
+may possibly refer to some other reptilian form, but many links
+connecting the two are found. The shape is more angular and is a step
+further removed from nature. From shapes as conventional as this we drop
+readily into purely geometric forms, as will be seen further on. These
+and the preceding drawings are all executed on broad surfaces, where
+fancy could have free play. The modifying or conventionalizing forces
+are, therefore, quite vague. Variation from natural forms is due partly
+to a lack of skill on the part of the painter, partly to the peculiar
+demands of ceramic embellishment, and partly to the traditional style of
+treatment acquired in still more primitive stages of culture and in
+other and unidentified branches of art.
+
+  [Illustration: Fig. 264. The alligator much modified by ceramic
+  influences.]
+
+  [Illustration:
+  Fig. 265.
+  Fig. 266.
+  Fig. 267.
+  Illustrations of the influence of the shape of spaces upon the
+  delineation of animal forms.]
+
+I shall now call attention to some important individualized or well
+defined agencies of convention. First, and most potent, may be mentioned
+the enforced limits of the spaces to be decorated, which spaces take
+shape independently of the subject to be inserted. When the figures must
+occupy a narrow zone they are elongated, when they must occupy a square
+they are restricted longitudinally, and when they must occupy a circle
+they are of necessity coiled up. Fig. 265 illustrates the effect
+produced by crowding the oblong figure into a short rectangular space.
+The head is turned back over the body and the tail is thrown down along
+the side of the space. In Fig. 266 the figure occupies a circle, and is
+in consequence closely coiled up, giving the effect of a serpent rather
+than an alligator. In Fig. 267 the space is semicircular, and we observe
+peculiar conventional conditions, some of which may be due to other
+causes. For example, such spaces may originally have been filled with
+purely geometric figures, which tended to impart their own characters to
+the life forms that supplanted them.
+
+  [Illustration: Fig. 268. Delineation retaining but slight traces of
+  the life form.]
+
+  [Illustration: Fig. 269. Delineation retaining but slight traces of
+  the life form.]
+
+  [Illustration: Fig. 270. Delineation retaining but slight traces of
+  the life form.]
+
+Now, it often happens that, as in the last example given, the animal
+form, literally rendered, does not fill the panels satisfactorily. The
+head and the tail do not correspond and there is a lack of balance. In
+such cases two heads have been preferred. The body is given a uniform
+double curve and the heads are turned down, as shown in Figs. 268 and
+269, or one may turn up and the other down, as seen in Fig. 270. The two
+headed form may also arise from imitation of plastic forms, as I have
+already shown. The example given in Fig. 268 is extremely interesting on
+account of its complexity and the novel treatment of the various
+features. The two feet are placed close together near the middle of the
+curved body, and on either side of these are the under jaws turned back
+and armed with dental projections for teeth. The characteristic scale
+symbols occur at intervals along the back; and very curiously at one
+place, where there is scant room, simple dots are employed, showing the
+identity of these two characters. Some curious auxiliary devices, the
+origin of which is obscure, are used to fill in marginal spaces. The
+shape given in Fig. 269 is so highly modified that it is not
+recognizable as an animal form, excepting through a series of links
+connecting it with more realistic delineations. It is perfectly
+symmetrical and consists of a compound curve for the body, with hooks at
+the extremities and two appended hooks for legs. The spots symbolizing
+the scales are here placed within the body, showing another step toward
+complete annihilation of the natural forms and relations. Three
+additional examples, showing still higher degrees of convention, are
+presented in Figs. 271, 272, and 273. The series could be filled up and
+continued indefinitely, connecting the whole family of devices in which
+dentals, hooks, spots, and circles occur with the alligator radical or
+with other reptilian forms confused with the alligator through the
+carelessness or ignorance of the decorator.
+
+  [Illustration: Fig. 271. Highly conventionalized alligator
+  derivative.]
+
+  [Illustration: Fig. 272. Highly conventionalized alligator
+  derivative.]
+
+  [Illustration: Fig. 273. Highly conventionalized alligator
+  derivative.]
+
+In looking over a large series of the vases it will be seen that the
+tendency of decoration is toward the zonal arrangement, the spaces being
+narrow and long, even when divided into the usual number of panels. As a
+consequence the motives tend to take linear forms. Parts are repeated or
+greatly drawn out to fill the spaces. This phase of conventional
+evolution may be illustrated by a multitude of examples.
+
+  [Illustration:
+  _a, b, c, d, e, f_
+  Fig. 274. Series of forms showing modification through use in narrow
+  zones.]
+
+Beginning with an ordinary form in Fig. 274, _a_, we advance under the
+restraint of parallel border lines through the series, ending in a
+simple meander, _f_, the spaces about which are, however, filled out
+with the conventional scale symbols, the triangles inclosing dots. Thus
+we witness the transformation of the life form into a linear device, in
+which the flexures of the body are emphasized and multiplied without
+reference to nature, and there is little doubt that the series continues
+further, ending with simple curved lines and even with straight lines
+unaccompanied by auxiliary devices.
+
+  [Illustration: Fig. 275. Running ornaments composed of life
+  elements.]
+
+Next to the body line the most important of the alligator derivatives is
+the notched or dotted hook, which in the lost color group stands
+sometimes for the whole creature, but more frequently for one or more of
+the members of its body, the snout, the tail, or the feet. It is
+employed singly or in various arrangements suited to the shape of the
+spaces to be filled or occurs in connection with the body line or stem,
+where, by systematic repetition, it serves to fill the triangular
+interspaces. Take, for example, an ornament (Fig. 275) which encircles
+the shoulder of a handsome vase of the lost color group. The space is
+neatly filled with groupings in which the simple life coil elements are
+joined one to another in such a way as to give somewhat the effect of an
+ordinary running ornament. The same motive takes a different form in
+Fig. 276, which is part of the decorated zone of an earthen drum (see
+Fig. 235). Here the body of the creature is represented by a wide
+meandered line, and to this the notched or scalloped hooks are attached
+with perfect regularity, one to each angle of the meandered body. In
+other examples the angular geometric character extends to every part of
+the detail and the curved hooks lose their last suggestion of nature and
+are entirely dropped or used separately.
+
+  [Illustration: Fig. 276. Running ornaments composed of life
+  motives.]
+
+The rings, strokes, spots, and dentate figures that serve to represent
+the markings and scales of the reptile are among the most important of
+the derivative devices and occur in varied relations to other classes of
+derivatives. They also occur independently, either singly or in
+groupings. Thus we see that the alligator, in Chiriquian vase painting,
+is represented by an endless list of devices, and it is interesting to
+note that among these are several figures familiar to the civilized
+world in both symbolism and ornament.
+
+I present five series of figures designed to illustrate the stages
+through which life forms pass in descending from the realistic to highly
+specialized conventional shapes. In the first series (Fig. 277), we
+begin with a meager but graphic sketch of the alligator; the second
+figure is hardly less characteristic, but is much simplified; in the
+third we have still three leading features of the creature: the body
+line, the spots, and the stroke at the back of the head; and in the
+fourth nothing remains but a compound, yoke-like curve, standing for the
+body of the creature, and a single dot.
+
+  [Illustration:
+  _a, b, c, d_
+  Fig. 277. Series of derivatives of the alligator showing stages of
+  simplification.]
+
+The figures of the second series (Fig. 278) are nearly all painted upon
+low round nodes placed about the body of the alligator vases and hence
+are inclosed in circles (see Fig. 197). The animal figure in the first
+example is coiled up like a serpent, but still preserves some of the
+well known characters of the alligator. In the second example we have a
+double hook near the center of the space which takes the place of the
+body, but the dotted triangles are placed separately against the
+encircling line. In he next figure the body symbol is omitted and the
+three triangles remain to represent the animal. In the fourth there are
+four triangles, and the body device, being restored in red, takes the
+form of a cross. In the fifth two of the inclosing triangles are omitted
+and the idea is preserved by the simple dots. In the sixth the dots are
+placed within the bars of the cross, the triangles becoming mere
+interspaces; and in the seventh the dots form a line between the two
+encircling lines. This series could be filled up by other examples,
+thus showing by what infinitesimal steps the transformations take place.
+The round nodes upon which these medallion-like figures are drawn are
+survivals of the heads or other parts of animals originally modeled in
+the round, but in the processes of manufacture partially or wholly
+atrophied. It was sought to preserve the idea of the creature by the
+use of painted details, but these, as we have seen, were also in time
+reduced to formal marks, symbols doubtless in many cases of the
+conception to which the original plastic form referred.
+
+  [Illustration: Fig. 278. Series showing stages in the simplification
+  of animal characters.]
+
+  [Illustration:
+  _a, b, c, d_
+  Fig. 279. The scroll and fret derived from the body line of the
+  alligator.]
+
+  [Illustration:
+  _a, b, c, d_
+  Fig. 280. Devices derived from drawings of parts of the life form.]
+
+  [Illustration: Fig. 281. Devices incised in a needlecase.]
+
+  [Illustration: Fig. 282. Devices representing the markings of a
+  reptile's body.]
+
+The derivation of the fret and scroll--most admired of the decorative
+motives of numerous races--has been a fruitful source of discussion. The
+vase painting of Chiriqui serves to throw new light upon the subject. We
+learn by the series of steps illustrated in the annexed cuts that the
+alligator radical, under peculiar restraints and influences, assumes
+conventional forms that merge imperceptibly into these classic devices.
+In the third series given (Fig. 279) the first figure is far removed
+from the realistic stage of representation, but it is one of the
+ordinary conventional guises of the alligator. Other still more
+conventional forms are seen in the three succeeding figures, the last of
+which is a typical rectangular fret link known and used by most nations
+of moderate culture. The derivatives in nearly all the preceding figures
+can be traced back to the body of the creature as a root, but there are
+many examples which seem to have come from the delineation of a part of
+the creature, as the head, foot, eye, or scales--abbreviated
+representatives of the whole creature. Such parts, assuming the role of
+radicals, pass also through a series of modifications, ending in purely
+geometric devices in the manner indicated in the following or fourth
+series of examples (Fig. 280). In the first cut we have what appears to
+be the leg and foot of the favorite reptile, and following this are
+other forms that seem to refer to the same feature. Additional examples
+are shown in Figs. 281 and 282, which, while they doubtless arose more
+or less directly from the life form, are not so readily traceable
+through less conventional antecedents. The first forms part of the
+incised ornament of a small vase or needlecase and the second is a
+section of the zonal ornament of the tripod cup illustrated in Fig. 203,
+by reference to which it will be seen that the zone of devices serves to
+connect the head and the tail of the reptile, which are modeled as a
+part of the vase; the devices therefore represent the markings of the
+creature's body, although they may originally have been derived from the
+figure of the whole or a part of the animal rather than from the
+markings of the skin. In other examples still more highly conventional
+figures are found to hold the same relation to the plastic
+representation of the extremities of the creature. They include the
+meander, the scroll, the fret, and the guilloche. We find that in the
+stone metates of many parts of Central America, nearly all of which are
+carved to imitate the puma, the head and tail of the creature are
+connected by bands of similar devices that encircle the margin of the
+mealing plate (see Fig. 9). The alligator form is therefore not
+necessarily the originator of all such devices. It is probable that any
+animal form extensively used by such lovers of decoration as the ancient
+inhabitants of Central America would be found thus interwoven with
+decoration. These considerations will serve to widen our views upon the
+origin and development of especial devices. As it now stands we are
+absolutely certain that no race, no art, no motive or element in nature
+or in art can claim the exclusive origination of any one of the well
+known or standard conventional devices, and that any race, art, or
+individual motive is capable of giving rise to any and to all such
+devices. Nothing can be more absurd than to suppose that the
+signification or symbolism attaching to a given form is uniform the
+world over, as the ideas associated with each must vary with the
+channels through which they were developed.
+
+  [Illustration:
+  _a, b, c, d, e, f, g_
+  Fig. 283. Conventional figures derived from the markings of the
+  bodies of animals.]
+
+Other classes of geometric figures, derived chiefly from scale or skin
+markings, are given in the fifth series. In more realistic phases of
+representation the dentate and dotted devices are ranged along the body
+of the creature, as in nature, but as convention progresses they are
+used independently to fill up spaces, to form the septa of panels, &c.
+Many illustrations appear in the preceding pages and additional examples
+are given in Fig. 283. It is possible that these devices come from
+delineations of a number of distinct animal forms; but in the higher
+stages of convention confusion cannot be avoided, and must have existed
+to some extent in the mind of the decorator; they serve, however, to
+illustrate the stages of simplification through which all forms
+extensively used for a long period must pass. The laws of derivation,
+modification, and application in art are the same in all.
+
+It has now been shown that life forms and their varied derivatives
+constitute the great body of Chiriquian decorative motives; that when
+first introduced the delineations are more or less realistic, according
+to the skill of the artist or the demands of the art; but that in time,
+by a long series of abbreviations and alterations, they descend to
+simple geometric forms in which all visible connection with the
+originals is lost. The agencies through which this result is
+accomplished are chiefly the mechanical restraints of the art acting
+independently of voluntary modification and without direct exercise of
+esthetic desire.
+
+There may be forces at work of which we find no clear indications. Some
+of the conventional forms into which life forms are found to grade may
+be survivals of forms originating in other regions and belonging to
+other cultures which have through accidents of contact imposed
+themselves upon Chiriquian art; such are the scroll, the fret, and the
+guilloche; but the thorough manner in which such forms are interwoven
+with purely Chiriquian conceptions makes it impossible to substantiate
+such a theory. The conclusion most easily and most naturally reached is
+that all are probably indigenous to Chiriqui, and hence the striking
+deduction that _the processes of modification inherent in the art are of
+such a nature that any animal form extensively used in decoration may
+give rise to any or all of the highly conventional forms of ornament_.
+
+During the progress of this study a question has frequently been raised
+as to the extent to which the memory of the creature original or of its
+symbolism in first use was kept alive in the mind of the decorator. It
+is a well established fact that primitive peoples habitually invest
+inanimate objects with the attributes of living creatures. Thus the
+vessel, from the time it assumes individual shape and is fitted to
+perform a function, is thought of as a living being, and by the addition
+of plastic or painted details it becomes a particular creature, an
+alligator, a fish, or a puma, each of which is in most cases the symbol
+of some mythologic concept. When, through the changes of convention in
+infinite repetition, all resemblance to individual creatures was lost
+and mere knobs or simple geometric figures occupied the surface of the
+vessel, there is little doubt that many of these features still recalled
+to the mind of the potter the ultimate originals and the conceptions of
+which they were the representatives, and that others represented ideas,
+the outgrowth of or a development from primary ideas, while still others
+had acquired entirely new ideas from without. It cannot be denied,
+however, that there does come a time in the history of vase painting at
+which such associated ideas become vague and are lost and elements
+formerly significant are added and combinations of them are made for
+embellishment alone, without reference to meaning or appropriateness;
+but I am inclined to place this period a very long way from the
+initiatory stages of the art. It may not be possible to find evidence of
+the arrival of this period, as it is not necessarily marked by any loss
+of unity or consistency--striking characteristics of ancient American
+art; for such is the conservatism of indigenous methods that, unless
+there be forcible intrusion of exotic art, original forms and groupings
+may be perpetuated indefinitely and remain much the same in appearance
+after the associated ideas are modified or lost.
+
+  [Illustration: Fig. 284. Vase with decorated zone containing
+  remarkable devices--1/3.]
+
+  [Illustration: Fig. 285. Series of twelve conventional devices from
+  the decorated zone of a vase.]
+
+In our study of the forms and meanings of these devices it should not be
+forgotten that collateral branches of art are also simultaneously
+employing the same motives and reducing them through other similar
+classes of conventionalizing forces to corresponding forms. Recording
+arts--pictography, hieroglyphic and phonetic writing--carry life forms
+through all degrees of abbreviation and change, and all ceremonial and
+all domestic arts with which such forms are associated do the same; and
+it is not impossible that many conventional forms found upon pottery are
+borrowed outright from the other arts. It will be impossible to detect
+these borrowed elements unless very literally transferred from some art
+the style of which is well known. It would be comparatively easy to
+identify literal borrowings from phonetic art or even from hieroglyphic
+art, as the form and arrangement of the devices are quite unlike those
+observed in pure decoration. We do not know that Chiriquian culture had
+achieved a hieroglyphic or a phonetic system of writing, but it is worth
+while to call attention to the form and the manner of employment of some
+of the devices found upon the pottery. In Fig. 284 I present an outline
+drawing of a vase, the shoulder of which is encircled by a broad zone of
+decoration. This zone is divided into panels by oblique lines. A row of
+rectangular compartments extends along the middle of the band and rows
+of triangular spaces occur at the sides. Each space is occupied by a
+device having one or more features suggesting a pictorial original and
+doubtless derived from one. In the main row there are twelve figures, no
+two of which are identical. Although we are unable to show that any of
+these characters had other than a purely decorative use, we see how
+richly the ancient peoples were supplied, through the conventionalizing
+agencies of the art, with devices that could have been employed as
+ideograms and letters where such were needed, and devices, too, that,
+from their derivation and use in the art, must in most cases have had
+ideas associated with them.
+
+
+RESUME.
+
+A brief summary of the more salient points of interest dwelt upon in
+this paper may very appropriately be given in this place. We find that a
+limited area--a small and obscure province of the isthmian
+region--possesses a wonderful wealth of art products the character of
+which indicates a long period of occupation by peoples of considerable
+culture. The art remains are perhaps as a whole inferior to those of the
+districts to the north and south, but they possess many features in
+common with the art of neighboring provinces. There is, however, at the
+same time, a well marked individuality. In conception and execution
+these works are purely aboriginal, and, so far as can be determined by
+the data at hand, are pre-Columbian, and possibly to a great extent
+remotely pre-Columbian. The discovery of articles of bronze, which metal
+we cannot prove to be of indigenous production, is the only internal
+evidence pointing toward the continuance of the ancient epoch of culture
+into post-Columbian times. The relics are obtained from tombs from which
+nearly all traces of human remains have disappeared.
+
+Art in stone covers the ground usually occupied by works in this
+material in other Central American countries, save in the matter of
+architecture, of which art there are but meager traces. There are rock
+inscriptions, statuettes and statues of rather rude character, shapely
+mealing stones, elaborately carved seats or stools, many celts of
+extremely neat workmanship, spear and arrow points of unique shape, and
+a very few beads and pendent ornaments. There are apparently no traces
+of implements of war.
+
+In metal there are numerous and somewhat remarkable works. They are of
+gold, gold-copper alloy, copper, and bronze. The objects are of small
+size, rarely reaching a pound in weight, and they are almost exclusively
+pendent ornaments. They were, for the most part, cast in molds, and in
+nine cases out of ten represent animal forms. A few bells are found, all
+of which are of bronze. Pieces formed of alloyed metal are usually
+washed or plated with pure gold.
+
+The great body of relics are in clay, and the workmanship displayed is
+often admirable. Vases are found in great numbers, and as a rule are
+small and shapely, and are so carefully and elaborately decorated as to
+lead to the inference that their office was in a great measure
+ceremonial. They take a high place among American fictile products for
+grace of form and beauty of decoration. There is neither glaze nor
+evidence of the use of a wheel. Besides vases we have several other
+classes of objects, which include grotesque, toy-like statuettes, small,
+covered receptacles resembling needlecases, seat-like objects
+elaborately modeled, spindle whorls, and musical instruments. The
+occurrence of numerous specimens of the two latter classes indicates
+that the arts of weaving and music were assiduously practiced.
+
+An examination of the esthetic features of the ceramic art has proved
+exceptionally instructive. We find much that is worthy of attention in
+the forms of vases as well as in the plastic or relieved features of
+embellishment, and a still richer field is opened by the study of the
+incised and painted--the flat--decorations.
+
+I have shown that the elements of decoration flow into the ceramic art
+chiefly through two channels, the one from art and the other from
+nature. Elements from art are mainly of mechanical origin, and are,
+therefore, non-imitative and geometric. Elements from nature imitate
+natural forms, and hence are primarily non-geometric. Elements from art,
+being mechanical, are meaningless or non-ideographic; those from nature
+are in early stages of art usually associated with mythologic
+conceptions, and hence are ideographic. All decorations may therefore
+have four dual classifications, as follows: First, with reference to
+method of realization, as plastic and flat; second, with reference to
+derivation, as mechanical and imitative; third, with reference to plan
+of manifestation, as geometric and non-geometric; and, fourth, with
+reference to the association of ideas, as significant and
+non-significant.
+
+I have found that the ceramic art, having acquired the various elements
+of ornament, carries them by methods of its own through many strange
+mutations of form. The effect upon life forms is of paramount
+importance, as is indicated by the following broad and striking
+generalization: The agencies of modification inherent in the art in its
+practice are such that any particular animal form extensively employed
+in decoration is capable of changing into or giving rise to any or to
+all of the highly conventional decorative devices upon which our leading
+ornaments, such as the meander, the scroll, the fret, the chevron, and
+the guilloche, are based. It is further seen, however, that ideographic
+elements are not necessarily restricted to decorative or symbolic
+functions, for the processes of simplification reduce them to forms well
+suited to employment in hieroglyphic and even in phonetic systems of
+expression. Such systems are probably made up to a great extent of
+characters the conformation of which is due to the unthinking--the
+mechanical--agencies of the various arts.
+
+
+
+
+INDEX.
+
+
+  Alligator, utilization of, in Chiriquian art 130-140, 166, 173-176,
+      178, 80, 183
+  Arrowpoints and spearheads of Chiriqui 34
+
+  Balboa, ornaments captured by 35
+  Black incised group of Chiriquian pottery 80
+  Bollaert, W., cited 41, 45
+
+  Castillo del Oro, name given by Columbus to Chiriqui 35
+  Celts, collection of, from Chiriqui 29-34
+  Costa Rica, origin of name of 35
+
+  Darien, capture of, by Balboa 35
+  De Zeltner, A. See Zeltner, A. de.
+  Diller, J. S., acknowledgment to, 21, _note_
+  Drums of ancient Chiriqui 157, 160
+
+  El Dorado, origin of 35
+
+  Figurines of Chiriquian art 151-153
+
+  Hallock, W., on Chiriquian methods of casting 38
+  Handled group of Chiriquian pottery 90-97
+  Herrera, cited 35
+  Huacals, exploration of, in Chiriqui 16, 17
+
+  Kunz, G. F.
+    on use of insects as models in casting metals 38
+    on Chiriquian methods of plating 39
+
+  "Lost color" of Chiriquian art, nature of 86
+  Lost color group of Chiriquian pottery 113-130
+
+  McNiel, J. A., archeologic work of, in Chiriqui 14, 15, 20
+  McNiel, J. A., cited 17, 22, 23, 27, 31, 40, 41, 43, 46, 107
+  Maroon group of Chiriquian pottery 107-109
+  Mealing stones of Chiriqui 25-27
+  Merritt, J. K., cited 14, 16, 49
+    exploration of Bugaba cemetery by 17, 18, 20
+  Metates of Chiriqui, nature and use of 25-27
+
+  Nadaillac, Marquis, cited 14, 38
+    on Chiriquian methods of casting 38
+  Needlecases (?) of Chiriqui 150
+  New Granada, burial customs in 19, 20
+
+  Otis, F. M., paper on Panama ornaments by, mentioned 46
+
+  Piedra pintal, description of, by Seemann 21, 22
+  Pinart, A. L., cited 14, 15, 20, 22
+  Polychrome group of Chiriquian pottery 140-147
+  Pottery of Chiriqui 53-186
+
+  Rattles of ancient Chiriqui 156, 157
+  Red line group of Chiriquian pottery 109-111
+  Riggs, R. B., analyses by 49
+
+  Scarified group of Chiriquian pottery 87-90
+  Seemann, description of piedra pintal by 21, 22
+  Spindle whorls of Chiriqui 149, 150
+  Stearns, J. B., specimens in archeological collections of 24, 41,
+      43, 45, 48, 49
+  Stools of ancient Chiriqui 154-156
+
+  Terra cotta group of Chiriquian pottery 67
+  Tripod group of Chiriquian pottery 97-107
+
+  Whistles of ancient Chiriqui 164-171
+  White, B. B., description of cemetery in New Granada by 19
+  White line group of Chiriquian pottery 111-113
+  Wind instruments of ancient Chiriqui 160-171
+
+  Zeltner, A. de
+    observations on graves in Chiriqui by 14, 18, 19, 41, 42
+    cited 20, 22, 27, 43, 45, 140
+    description of Chiriquian vases by 145-147
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+Errors and Inconsistencies (noted by transcriber)
+
+Certain spellings such as "bowlder" are standard for the Bureau of
+Ethnology. They have not been individually noted.
+
+Table of Contents:
+
+  Peoples  [_body text has "People"_]
+  Celts &c.  [_final . missing; body text has "Celts" alone_]
+  Clay: Pottery  [_body text has "Pottery" alone_]
+  Clay: Miscellaneous objects
+    [_body text has "Miscellaneous Objects of Clay"_]
+  Resume  [_indented as if secondary to previous entry_]
+
+  _In the body text, the items "Spearheads" and "Needlecases" are
+  written with parenthetical question mark (?)._
+
+  _Under "Clay", all sections listed in the Table of Contents as
+  "Terra cotta group", "Scarified group"... are shown in the body text
+  as "The terra cotta group", "The scarified group"..._
+
+Main Text:
+
+  less elaborate in its sculptured ornament.  [_final . missing_]
+  tufa, the surface of which displays
+    [_line-break hyphen in "surface" missing_]
+  [Fig. 19 caption] ... partially polished celt
+    [_line-break hyphen in "polished" missing_]
+  surfaces of the specimens recovered
+    [_text has "speci-/imens" at line break_]
+  [Fig. 94 caption] ... animal forms--1/2.  [forms.--1/2]
+  Fig. 153.  [Fig 153.]
+  [Fig. 154 caption] ... ornamentation--1/2.  [_final . missing_]
+  called Los Tenajos by Mr. McNiel  [McNeil]
+  [Fig. 156 caption] ... high relief--1/2.  [relief.--1/2.]
+  [Fig. 183 caption] ... unusual shape--1/2.  [_final . missing_]
+  these were polished down with the slips.  [_final . missing_]
+  [Fig. 237 caption] ... lost color group--1/9.
+    [_fraction conjectural_]
+  [Fig. 255 caption] ... lost color ware--1/1.  [_final . missing_]
+  Fig. 259.  [_final . missing_]
+  devices in which dentals, hooks, spots
+    [_spelling unchanged: expected form is "dentils"_]
+  In the next figure the body symbol  [In he next]
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Ancient art of the province of
+Chiriqui, Colombia, by William Henry Holmes
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