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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 + +*** END OF THIS PROJECT GUTENBERG EBOOK ANCIENT ART--CHIRIQUI, COLOMBIA *** + +***** This file should be named 30621.txt or 30621.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/0/6/2/30621/ + +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) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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