generously made available by the ,bibliothque nationale de ,france 7,bn,f_/,gallica7 at http3_/_/gallica4bnf4fr7 ,this text is intended for users whose text readers cannot use the real 7,unicode_/,,utf-#h7 version4 ,a few fractions such as #a_/c have been unpacked1 and curly quotes and apostrophes have been replaced with the simpler typewriter form4 ,the fractions and have been retained1 as have a few accented letters and the combination4 ,,ancient ,,art of the ,,province ,,of ,,chiriqui1 ,,colombia4 by ,,william ,h4 ,,holmes4 ,,contents4 ,page4 ,introduction #ac ,geography #ac ,literature #ad ,peoples #ae ,the cemeteries #af ,the graves #ag ,human remains #bj ,placing of relics #ba ,objects of art #ba ,stone #ba ,pictured rocks #ba ,columns #bb ,images #bc ,mealing stones #be ,stools #bg ,celts c4 #bi ,spearheads #cd ,arrowpoints #cd ,ornaments #cd ,metal #ce ,gold and copper #ce ,bronze #di ,clay3 ,pottery #ec ,preliminary #ec ,how found #ee ,material #ee ,manufacture #ef ,color #eg ,use #eg ,forms of vessels #eh ,decoration #fb ,unpainted ware #ff ,terra cotta group #fg ,black incised group #hj ,painted ware #hd ,scarified group #hg ,handled group #ij ,tripod group #ig ,maroon group #ajg ,red line group #aji ,white line group #aaa ,lost color group #aac ,alligator group #acj ,polychrome group #adj ,unclassified #adg ,clay3 ,miscellaneous objects #adi ,spindle whorls #adi ,needlecases #aej ,figurines #aea ,stools #aed ,musical instruments #aef ,rattles #aef ,drums #aeg ,wind instruments #afj ,life forms in vase painting #aga ,rsum #ahf ,index ,,illustrations4 ,page4 ,,plate ,i4 ,map of ,chiriqui #ac ,fig4 #a4 ,section of oval grave #ag #b4 ,section of a quadrangular grave #ah #c4 ,grave with pillars #ah #d4 ,compound cist #ai #e4 ,southwest face of the pictured stone #bb #f4 ,a goddess of the ancient ,chiriquians #bc #g4 ,a god of the ancient ,chiriquians #bd #h4 ,fragmentary human figure in gray basaltic rock #be #i4 ,mealing stone with large tablet ornamented with animal heads #bf #aj4 ,puma shaped metate #bg #aa4 ,stool shaped object #bh #ab4 ,stool with columnar base #bh #ac4 ,stool with perforated base #bi #ad4 ,large partially polished celt #cj #ae4 ,celt of hexagonal section #ca #af4 ,small wide bladed celt #ca #ag4 ,celt with heavy shaft #ca #ah4 ,celt or ax with constriction near the top #ca #ai4 ,flaked and partially polished celt #cb #bj4 ,well polished celt #cb #ba4 ,narrow pointed celt #cb #bb4 ,narrow pointed celt #cb #bc4 ,cylindrical celt with narrow point #cc #bd4 ,leaf shaped objects suggesting spearpoints #cd #be4 ,arrowpoints #cd #bf4 ,human figure1 formed of copper-gold alloy #da #bg4 ,grotesque human figure in gold #db #bh4 ,rudely shaped human figure in gold #db #bi4 ,grotesque human figure in nearly pure copper #dc #cj4 ,grotesque human figure in nearly pure gold #dc #ca4 ,rudely executed image of a bird in gold #dd #cb4 ,image of a bird in gold #de #cc4 ,puma shaped figure in gold #de #cd4 ,puma shaped figure in base metal #de #ce4 ,quadruped with grotesque face in base metal #df #cf4 ,figure of a fish in gold #df #cg4 ,large figure of a frog1 in base metal plated with gold #dg #ch4 ,small figure of a frog1 in base metal plated with gold #dg #ci4 ,figure of an alligator in gold #dh #dj4 ,animal figure1 in base metal plated with gold #dh #da4 ,bronze bells plated or washed with gold #ej #db4 ,bronze bell with human features #ej #dc4 ,triple bell or rattle found on the ,rio ,grande #ea #dd4 ,ancient ,mexican bell #ea #de4 ,fundamental forms of vases--convex outlines #eh #df4 ,fundamental forms of vases--angular outlines #ei #dg4 ,vases of complex outlines--exceptional forms #ei #dh4 ,vases of compound forms #ei #di4 ,square lipped vessel #ei #ej4 ,variations in the forms of necks and rims #fj #ea4 ,arrangement of handles #fj #eb4 ,types of annular bases or feet #fa #ec4 ,forms of legs #fa #ed4 ,grotesque figure forming the handle of a small vase #fc #ee4 ,grotesque figure forming the handle of a small vase #fc #ef4 ,grotesque figure forming the handle of a small vase #fc #eg4 ,monstrous figure with serpent shaped extremities #fc #eh4 ,monstrous figure with serpent shaped extremities #fc #ei4 ,grotesque figure #fd #fj4 ,grotesque figure #fd #fa4 ,grotesque figure #fd #fb4 ,figure of a monkey #fd #fc4 ,figure of a monkey #fd #fd4 ,figure of a monkey #fd #fe4 ,animal forms exhibiting long proboscis #fe #ff4 ,vase illustrating ornamental use of animal figures #fe #fg4 ,vase illustrating ornamental use of animal figures #fe #fh4 ,vase illustrating ornamental use of animal figures #ff #fi4 ,vase illustrating ornamental use of animal figures #ff #gj4 ,series of bowls and cups of unpainted ware #fg #ga4 ,vase of graceful form #fh #gb4 ,vase of graceful form #fh #gc4 ,vase of fine form1 ornamented with grotesque heads #fh #gd4 ,vase of fine form1 ornamented with grotesque heads #fi #ge4 ,vase with ornament of applied nodes and fillets #fi #gf4 ,vase with mantle covered with incised figures #gj #gg4 ,vase with frieze of grotesque heads #gj #gh4 ,vases with flaring rims and varied ornament #ga #gi4 ,vases with complex outlines and varied ornament #ga #hj4 ,large vase with two mouths and neatly decorated necks #gb #ha4 ,large vase with high handles #gb #hb4 ,top view of high handled vase #gc #hc4 ,handled vase #gc #hd4 ,handled vase #gc #he4 ,handled vase #gc #hf4 ,small cup with single handle1 ornamented with grotesque figure #gd #hg4 ,small cup with single handle1 ornamented with grotesque figure #gd #hh4 ,vase of eccentric form #gd #hi4 ,vessel illustrating forms of legs #ge #ij4 ,vessel illustrating forms of legs #ge #ia4 ,vessel with large legs1 decorated with stellar punctures #ge #ib4 ,vases of varied form with plain and animal shaped legs #ge #ic4 ,large vase of striking shape #gf #id4 ,cup with legs imitating animal forms #gf #ie4 ,cup with legs imitating a grotesque animal form #gg #if4 ,cup with legs imitating the armadillo #gg #ig4 ,cup with legs imitating the armadillo #gg #ih4 ,cup with frog shaped legs #gg #ii4 ,cup with legs imitating an animal and its young #gg #ajj4 ,cups supported by grotesque heads #gg #aja4 ,large cup supported by two grotesque figures #gh #ajb4 ,cup with two animal heads attached to the sides #gh #ajc4 ,cup with two animal heads attached to the sides #gh #ajd4 ,vase shaped to imitate an animal form #gi #aje4 ,vase shaped to imitate an animal form #gi #ajf4 ,vase shaped to imitate an animal form #gi #ajg4 ,fish shaped vessel #gi #ajh4 ,top view of a fish shaped vessel #hj #aji4 ,cup with grotesque head attached to the rim #hj #aaj4 ,black cup with incised reptilian figures #ha #aaa4 ,black cup with incised reptilian figures #ha #aab4 ,black vase with conventional incised pattern #ha #aac4 ,small cup with conventional incised pattern #hb #aad4 ,small tripod cup with upright walls #hb #aae4 ,vase with flaring rim and legs imitating animal heads #hb #aaf4 ,vase modeled to represent the head of an animal #hc #aag4 ,pattern upon the back of the vase #hc #aah4 ,tripod bowl of red scarified ware #hg #aai4 ,tripod bowl of red scarified ware #hg #abj4 ,oblong basin with scarified design #hh #aba4 ,large scarified bowl with handles imitating animal heads #hh #abb4 ,jar with flat bottom and vertical bands of incised ornament #hi #abc4 ,vase with stand and vertical incised bands #hi #abd4 ,vase with handles1 legs1 and vertical ribs #hi #abe4 ,tripod with owl-like heads at insertion of legs #ij #abf4 ,tripod with legs rudely suggesting animal forms #ij #abg4 ,heavy red vase with four mouths #ij #abh4 ,vase with horizontally placed handles and rude designs in red #ia #abi4 ,unpolished vase with heavy handles and coated with soot #ib #acj4 ,round bodied vase with unique handles and incised ornament #ib #aca4 ,vase with grotesque figures attached to the handles #ic #acb4 ,vase with upright handles and winged lip #ic #acc4 ,top view of vase with winged lip #id #acd4 ,vase with grotesque animal shaped handles #id #ace4 ,vase with handles representing strange animals #ie #acf4 ,vase with handles representing grotesque figures #ie #acg4 ,vase with handles representing animal heads #if #ach4 ,vase with arched handles embellished with life forms in high relief #if #aci4 ,vase with arched handles embellished with life forms in high relief #ig #adj4 ,tripod vase with shallow basin and eccentric handles #ii #ada4 ,tripod vase with shallow basin and eccentric handles #ii #adb4 ,tripod vase with shallow basin and eccentric handles #ii #adc4 ,tripod vase of graceful shape and neat finish #ajj #add4 ,heavy tripod vase with widely spreading feet #ajj #ade4 ,neatly modeled vase embellished with life forms and devices in red #aja #adf4 ,high tripod vase with incised designs and rude figures in red #aja #adg4 ,handsome tripod vase with scroll ornament #ajb #adh4 ,vase with lizard shaped legs #ajb #adi4 ,vase with scroll ornament #ajc #aej4 ,large vase with flaring rim and widespreading legs #ajc #aea4 ,fragment of a tripod vase embellished with figure of an alligator #ajd #aeb4 ,vase supported by grotesque human figures #aje #aec4 ,round bodied vase embellished with figures of monsters #ajf #aed4 ,cup with incurved rim and life form ornamentation #ajg #aee4 ,cup with widely expanded rim and constricted neck #ajg #aef4 ,small tripod cup with animal features in high relief #ajh #aeg4 ,handsome vase supported by three grotesque figures #ajh #aeh4 ,vase decorated with figures of frogs and devices in red #aaj #aei4 ,vase of unique shape and life form ornamentation #aaj #afj4 ,two-handled vase with life form and linear decoration #aaj #afa4 ,small tripod vase with animal figures in white #aaa #afb4 ,shapely vase with designs in white paint #aab #afc4 ,small red bottle with horizontal bands of ornament #aae #afd4 ,small red bottle with encircling geometric devices #aae #afe4 ,bottle with zone occupied by geometric devices #aaf #aff4 ,bottle with broad zone containing geometric figures #aaf #afg4 ,bottle with decoration of meandered lines #aag #afh4 ,bottle with arched panels and geometric devices #aag #afi4 ,bottle with arched panels and elaborate devices #aah #agj4 ,vase with rosette-like panels #aah #agj;a4 ,ornament from preceding vase #aah #aga4 ,vase with rosette-like panels #aai #agb4 ,vase with rosette-like panels #aai #agc4 ,theoretical origin of the arched panels #abj #agd4 ,theoretical origin of the arched panels #abj #age4 ,theoretical origin of the arched panels #abj #agf4 ,vase decorated with conventional figures of alligators #abj #agg4 ,portion of decorated zone illustrating treatment of life forms #aba #agh4 ,portion of decorated zone illustrating treatment of life forms #aba #agi4 ,vase decorated with highly conventional life forms #aba #agi;a4 ,design from preceding vase #abb #ahj4 ,vase decorated with highly conventional life forms #abb #aha4 ,vase decorated with highly conventional life forms #abc #ahb4 ,decorated panel with devices resembling vegetal growths #abd #ahc4 ,vase of unusual shape #abd #ahd4 ,vase of unusual shape #abd #ahe4 ,vase of unusual shape #abd #ahf4 ,double vessel with high arched handle #abe #ahg4 ,double vessel with arched handle #abe #ahh4 ,vase embellished with life forms in color and in relief #abf #ahi4 ,vase modeled to represent a peccary #abg #aij4 ,under surface of peccary vase #abg #aia4 ,small vessel with human figures in high relief #abg #aib4 ,tripod cup with figures of the alligator #abh #aic4 ,large shallow tripod vase with geometric decoration #abi #aid4 ,large bottle shaped vase with high tripod and alligator design #acj #aie4 ,large bottle with narrow zone containing figures of the alligator #acb #aif4 ,vase with decorated zone containing four arched panels #acc #aig4 ,vase with four round nodes upon which are painted animal devices #acc #aih4 ,vases of varied form and decoration #acd #aii4 ,alligator vase with conventional markings #ace #bjj4 ,alligator vase with figures of the alligator painted on the sides #ace #bja4 ,vase with serpent ornamentation #acf #bjb4 ,vase representing a puma with alligator figures painted on sides #acg #bjc4 ,shallow vase with reptilian features in relief and in color #acg #bjd4 ,vase with funnel shaped mouth #ach #bje4 ,top view of vase in ,fig4 #bjd #aci #bjf4 ,end view of vase in ,fig4 #bjd #aci #bjg4 ,large vase with decorations in red and black #adj #bjh4 ,devices of the decorated zone of vase in ,fig4 #bjg1 viewed from above #ada #bji4 ,handsome vase with four handles and decorations in black1 red1 and purple #adb #baj4 ,painted design of vase in ,fig4 #bji1 viewed from above #adc #baa4 ,vase of unusual shape with decoration in black1 red1 and purple #add #bab4 ,ornament occupying the interior surface of the basin of vase in ,fig4 #baa #add #bac4 ,large vase of fine shape and simple decorations #ade #bad4 ,vase with extraordinary decorative designs #adf #bae4 ,painted design of vase in ,fig4 #bad1 viewed from above #adg #baf4 ,vase of unique form and decoration #adh #bag4 ,painted design of vase in ,fig4 #baf #adh #bah4 ,spindle whorl with annular nodes #adi #bai4 ,spindle whorl decorated with animal figures #adi #bbj4 ,spindle whorl with perforations and incised ornament #adi #bba4 ,needlecase #aej #bbb4 ,needlecase #aej #bbc4 ,needlecase with painted geometric ornament #aea #bbd4 ,needlecase with incised geometric ornament #aea #bbe4 ,needlecase with incised geometric ornament #aea #bbf4 ,statuette #aeb #bbg4 ,statuette #aeb #bbh4 ,statuette #aeb #bbi4 ,statuette #aeb #bcj4 ,stool of plain terra cotta #aed #bha4 ,stool of plain clay1 with grotesque figures #aee #bcb4 ,stool of plain terra cotta #aee #bcc4 ,rattle #aeg #bcd4 ,section of rattle #aeg #bce4 ,rattle1 with grotesque figures #aeg #bcf4 ,drum of gray unpainted clay #aeh #bcg4 ,drum with painted ornament #aei #bch4 ,painted design of drum in ,fig4 #bcg #aei #bci4 ,double whistle #afa #bdj4 ,section of double whistle #afa #bda4 ,tubular instrument with two finger holes #afb #bdb4 ,section of whistle #afb #bdc4 ,small animal shaped whistle #afb #bdd4 ,small animal shaped whistle #afb #bde4 ,top shaped whistle #afc #bdf4 ,section1 top1 and bottom views of whistle #afd #bdg4 ,drum shaped whistle #afe #bdh4 ,vase shaped whistle #afe #bdi4 ,crab shaped whistle #aff #bej4 ,alligator shaped whistle #aff #bea4 ,cat shaped whistle #afg #beb4 ,whistle with four ocelot-like heads #afh #bec4 ,bird shaped whistle #afi #bed4 ,bird shaped whistle #afi #bee4 ,bird shaped whistle #agj #bef4 ,whistle in grotesque life form #agj #beg4 ,conventional figure of the alligator #agc #beh4 ,conventional figure of the alligator #agc #bei4 ,conventional figure of the alligator #agd #bfj4 ,conventional figure of the alligator #agd #bfa4 ,conventional figure of the alligator #agd #bfb4 ,conventional figure of the alligator #age #bfc4 ,conventional figure of the alligator #age #bfd4 ,conventional figure of the alligator #agf #bfe4 ,conventional figure derived from the alligator #agf #bff4 ,conventional figure derived from the alligator #agf #bfg4 ,conventional figure derived from the alligator #agf #bfh4 ,conventional figure derived from the alligator #agg #bfi4 ,conventional figure derived from the alligator #agg #bgj4 ,conventional figure derived from the alligator #agg #bga4 ,conventional figure derived from the alligator #agh #bgb4 ,conventional figure derived from the alligator #agh #bgc4 ,conventional figure derived from the alligator #agh #bgd4 ,conventional figures derived from the alligator #agi #bge4 ,conventional figure derived from the alligator #agi #bgf4 ,conventional figure derived from the alligator #ahj #bgg4 ,conventional figures derived from the alligator #ahj #bgh4 ,conventional figures derived from the alligator #aha #bgi4 ,conventional figures derived from the alligator #ahb #bhj4 ,conventional figures derived from the alligator #ahb #bha4 ,conventional figures derived from the alligator #ahb #bhb4 ,conventional figures derived from the alligator #ahb #bhc4 ,conventional figures derived from the alligator #ahc #bhd4 ,vase with decorated zone containing remarkable devices #ahe #bhe4 ,series of devices #ahe ,illustration3 ,,bureau ,,of ,,ethnology ,,sixth ,,annual ,,report ,,pl4 ,i4 ,,ancient ,,art ,,of ,,the ,,province ,,of ,,chiriqui4 ,by ,william ,h4 ,holmes4 ,,introduction4 ,,geography4 ,until comparatively recent times the province of ,chiriqui has remained almost unknown to the world at large4 ,the isthmus was traversed a number of times by the conquerors1 who published accounts of their discoveries1 but it was reserved for the period of railroad and canal exploration to furnish trustworthy accounts of its character and inhabitants4 ,the situation of ,chiriqui is unique4 ,forming1 politically1 a part of ,south ,america1 it belongs in reality to the ,north ,american continent4 ,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 north4 ,the map accompanying this paper 7,plate ,i7 conveys a clear idea of the position and the leading topographic features of the province4 ,the boundaries separating it from ,veragua on the east and ,costa ,rica on the west run nearly north and south4 ,the ,atlantic coast line has a northwest and southeast trend and is indented by the bay or lagoon of ,chiriqui4 ,the ,bay of ,david extends into the land on the south and the ,gulf of ,dolce forms a part of the western boundary4 ,a range of mountains1 consisting principally of volcanic products1 extends midway along the province1 forming the continental watershed4#a ,the drainage comprises two systems of short rivers that run1 one to the north and the other to the south1 into the opposing oceans4 ,belts of lowland border the shore lines4 ,that on the south side is from twenty to thirty miles wide and rises gradually into a plateau two or three thousand feet in elevation1 which is broken by hills and cut by caons4 ,this belt affords a natural thoroughfare for peoples migrating from continent to continent1 and doubtless formed at all periods an attractive district for occupation4 ,it is in the middle portion of this strip of lowland1 especially in the drainage area of the ,bay of ,david1 that the most plentiful evidences of ancient occupation are found4 ,scattering remains have been discovered all along1 however1 connecting the art of ,costa ,rica with that of ,veragua1 ,panama1 and the ,south ,american continent4 ,the islands of the coast furnish some fragmentary monuments and relics1 and there is no doubt that a vast quantity of material yet remains within the province to reward the diligent search of future explorers4 ,footnote #a3 ,for physical features1 see report of ,lieutenant ,norton 7,report ,chiriqui ,commission1 ,ex4 ,doc4 #da1 #ahfj74 ,,literature4 ,the antiquarian literature of the province is extremely meager1 being confined to brief sketches made by transient visitors or based for the most part upon the testimony of gold hunters and government explorers1 who took but little note of the unpretentious relics of past ages4 ,as there are few striking monuments1 the attention of archologists was not called to the history of primeval man in this region1 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 world4 ,but1 little by little1 it has been discovered that at some period of the past the province was thickly populated1 and by races possessed of no mean culture4 ,the most important contributions to the literature of this region1 so far as they have come to my knowledge1 are the following3 ,a paper by ,mr4 ,merritt1 published by the ,american ,ethnological ,society2#b a paper by ,bollaert1 published by the same society1 and also a volume issued in ,london2#c a valuable pamphlet1 with photographic illustrations1 by ,m4 ,de ,zeltner1 ,french consul to ,panama in #ahfj2d a short paper by ,mr4 ,a4 ,l4 ,pinart1 published in the ,bulletin de la ,socit de ,gographie 7,paris1 #ahhe1 p4 #dcc71 in which he gives valuable information in regard to the peoples1 ancient and modern2 and casual notes by a number of other writers1 some of which will be referred to in the following pages4 ,a pretty full list of authorities is given by ,mr4 ,h4 ,h4 ,bancroft in his ,native ,races1 ,vol4 ,v1 p4 #af4 ,one of the most important additions to our knowledge of the province and its archologic treasures is furnished in the manuscript notes of ,mr4 ,j4 ,a4 ,mc,niel1 who made the greater part of the collection now deposited in the ,national ,museum4 ,this explorer has personally supervised the examination of many thousands of graves and has forwarded the bulk of his collections to the ,united ,states4 ,his explorations have occupied a number of years1 during which time he has undergone much privation and displayed great enthusiasm in pursuing the rather thorny pathways of scientific research4 ,in the preparation of this paper his notes have been used as freely as their rather disconnected character warranted1 and since ,mr4 ,mc,niel's return to the ,united ,states1 in ,july1 #ahhf1 ,i have been favored with a series of interviews with him1 and by this means much important information has been obtained4 ,footnote #b3 ,j4 ,king ,merritt3 ,report on the huacals or ancient graveyards of ,chiriqui4 ,bulletin of the ,american ,ethnological ,society1 #ahfj4 ,footnote #c3 ,bollaert3 ,antiquarian ,researches in ,new ,granada4 ,london1 #ahfj4 ,footnote #d3 ,a4 ,de ,zeltner3 ,notes sur les spultures indiennes de dpartement de ,chiriqui4 ,,people4 ,at the present time this district is inhabited chiefly by ,indians and natives of mixed1 blood1 who follow grazing and agriculture to a limited extent1 but subsist largely upon the natural products of the country4 ,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 dwell1 except as a source of revenue4 ,mr4 ,a4 ,l4 ,pinart states1 however1 that certain tribes on both sides of the continental divide have traditions pointing toward the ancient grave builders as their ancestors4 ,there is probably no valid reason for assigning the remains of this region to a very high antiquity4 ,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 it4 ,there is really no reason for supposing that the tribes who built these graves were not in possession of the country1 or parts of it1 at the time of the conquest4 ,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 art4 ,so far as the art of pottery has come within my observation1 it appears to indicate a somewhat closer relationship with the ancient ,costa ,rican peoples than with those of continental ,south ,america2 yet1 in their burial customs1 in the lack of enduring houses and temples1 and in their use of gold1 they were like the ancient peoples of middle and southern ,new ,granada4#e ,the relics preserved in our museums would seem to indicate one principal period of occupation or culture only2 but there has been no intelligent study of the contents of the soil in sections exposed in modern excavations1 the exclusive aim of collectors having generally been to secure either gold or showy cabinet specimens4 ,the relics of very primitive periods1 if such are represented1 have naturally passed unnoticed4 ,mr4 ,mc,niel mentions the occurrence of pottery in the soil in which the graves were dug1 but1 regarding it as identical with that contained in the graves1 he neglected to preserve specimens4 ,in one instance1 while on a visit to ,los ,remedios1 a pueblo near the eastern frontier of ,chiriqui1 he observed a cultivated field about which a ditch some #h or #i feet in depth had been dug4 ,in walking through this he found a continuous exposure of broken pottery and stone implements4 ,some large urns had been cut across or broken to conform to the slope of the ditch1 and were exposed in section4 ,although not apparently representing a very wide range of culture or distinctly separated periods of culture1 the various groups of relics exhibit considerable diversity in conception and execution1 attributable1 no doubt1 to variations in race and art inheritance4 ,footnote #e3 ,r4 ,b4 ,white3 ,jour4 ,anthrop4 ,inst4 ,great ,britain and ,ireland1 p4 #bda4 ,february1 #ahhd4 ,,the ,,cemeteries4 ,the ancient cemeteries1 or huacals1 as they are called throughout ,spanish ,america1 are scattered over the greater part of the ,pacific slope of ,chiriqui4 ,it is said by some that they are rarely found in the immediate vicinity of the sea1 but they occur in the river valleys1 on the hills1 the plateaus1 the mountains1 and in the deepest forests4 ,they are very numerous1 but generally of small extent4 ,the largest described is said to cover an area of about twelve acres4 ,they were probably located in the immediate vicinity of villages1 traces of which1 however1 are not described by explorers2 but there can be no doubt that diligent search will bring to light the sites of dwellings and towns4 ,the absence of traces of houses or monuments indicates either that the architecture of this region was then1 as now1 of destructible material1 or1 which is not likely1 that so many ages have passed over them that all traces of unburied art1 wood1 stone1 or clay1 have yielded to the gnawing tooth of time4 ,one of the most circumstantial accounts of these burial places is given by ,mr4 ,merritt1 who was also the first to make them known to science4#f ,mr4 ,merritt was director of a gold mine in ,veragua1 and in the summer of #ahei spent several weeks in exploring the graves of ,chiriqui2 he therefore speaks from personal knowledge4 ,in the autumn of #aheh two native farmers of the parish of ,bugaba1 or ,bugava1 discovered a golden image that had been exposed by the uprooting of a plant4 ,they proceeded secretly to explore the graves1 the existence of which had been known for years4 ,in the following spring their operations became known to the people1 and within a month more than a thousand persons were engaged in working these extraordinary gold mines4 ,the fortunate discoverers succeeded in collecting about one hundred and thirty pounds weight of gold figures1 most of which were more or less alloyed with copper4 ,it is estimated that fifty thousand dollars' worth in all was collected from this cemetery1 which embraced an area of twelve acres4 ,although there are rarely surface indications to mark the position of the graves1 long experience has rendered it comparatively easy to discover them4 ,the grave hunter carries a light iron rod1 which he runs into the ground1 and thus1 if any hard substance is present1 discovers the existence of a burial4 ,it is mentioned by one or two writers that the graves are in many cases marked by stones1 either loose or set in the ground in rectangular and circular arrangements4 ,the graves do not often seem to have had a uniform position in relation to one another or to the points of the compass4 ,in some cases they are clustered about a central tomb1 and then assume a somewhat radiate arrangement2 again1 according to ,mr4 ,mc,niel1 they are sometimes placed end to end1 occupying long trenches4 ,footnote #f3 ,j4 ,king ,merritt3 ,paper read before the ,american ,ethnological ,society1 #ahfj4 ,,the ,,graves4 ,graves of a particular form are said to occur sometimes in groups occupying distinct parts of the cemetery1 but the observations are not sufficiently definite to be of value4 ,the graves vary considerably in form1 construction1 and depth1 and are classified variously by explorers4 ,in the ,bugaba cemetery ,mr4 ,merritt found two well marked varieties1 the oval and the quadrangular1 reference being had to the horizontal section4 ,the oval grave pits were from #d to #f feet deep and from #c to #d feet in greatest diameter4 ,a wall of rounded river stones #b to #c feet high lined the lower part of the pit1 and from the top of this the entire space was closely packed with rounded stones4 ,within the faced up part of this cist the remains of the dead1 the golden figures1 pottery1 and implements had been deposited4 ,this form is illustrated in ,fig4 #a by a vertical section constructed from the description given by ,mr4 ,merritt4 ,illustration3 ,fig4 #a4 ,section of oval grave4 ,the quadrangular graves were constructed in two somewhat distinct ways4 ,one variety was identical in most respects with the oval form illustrated above4 ,they were sometimes as much as #f feet deep and frequently #d by #g feet in horizontal dimensions4 ,in the other form a pit #d by #f feet in diameter was sunk to the depth of about #c feet4 ,underneath this another pit some #b feet in depth was sunk1 leaving an offset or terrace #h or #aj inches in width all around4 ,the smaller pit was lined with flat stones placed on edge4 ,in this cist the human remains and the relics were placed and covered over with flat stones1 which rested upon the terrace and prevented the superincumbent mass1 which consisted of closely packed river stones1 from crushing the contents4 ,a section of this tomb is given in ,fig4 #b1 also drawn from the description given by ,mr4 ,merritt4 ,illustration3 ,fig4 #b4 ,section of a quadrangular grave1 showing the surface pack of river stories and the positions of the slabs and objects of art4 ,illustration3 ,fig4 #c4 ,grave with pillars1 described by ,de ,zeltner4 ,illustration3 ,fig4 #d4 ,compound cist1 described by ,de ,zeltner4 ,mr4 ,merritt and others mention that in some of the graves pillars are employed to support the roof of the cist4 ,these pillars are mentioned briefly by ,de ,zeltner1 from whose account the following illustrations are drawn4 ,this author does not state that he made any personal investigations1 and if his accounts were obtained from the natives their entire trustworthiness may very properly be questioned4 ,the first two forms mentioned by him are similar to those already given4 ,the third is described as having at the corners square pillars of stone to support the covering1 which1 however1 is not described4 ,the fourth has four pillars1 placed in the corners of the pit4 ,these serve to support a vault of flagstones4 ,the walls between the pillars are faced with pebbles1 as in the cases previously described4 ,fig4 #c will make this form clear at a glance4 ,the fifth variety described by ,de ,zeltner is quite extraordinary in construction4 ,his account is somewhat confusing in a number of respects1 and the section given in ,fig4 #d cannot claim more than approximate accuracy in details and measurements4 ,near the surface a paving1 perhaps of river stones1 was found covering an area of about #aj by #ac feet4 ,this paving was apparently the surface of a pack about #b feet thick1 and covered the mouth of the main pit1 which was some #f or #g feet deep4 ,pillars of cobble stones about #aj inches in diameter occupied the corners of the pit1 and probably served in a measure to support the paving4 ,in the bottom of this excavation a second pit was dug1 the mouth of which was also covered by a paving #b by upwards of #c feet in horizontal dimensions4 ,this lower pit consisted of a shaft several feet in depth1 by which descent was made into a chamber of inverted pyramidal shape4 ,this chamber approximated #f by #i feet in horizontal dimensions and was some #d or #e feet deep4 ,at the bottom of this cistern the human remains and most of the relics were deposited4 ,the shaft was filled in with earth and the pavings described4 ,the total depth1 computed from the figures given1 is about #ah feet1 a most remarkable achievement for a barbarous people2 yet this is equaled by the ancient tribes of the mainland of ,new ,granada1 where similar burial customs seem to have prevailed4 ,mr4 ,white1#g who traveled extensively in the northwestern part of the state1 says3 ,a dry1 elevated ridge1 composed of easily excavated material1 was selected as the cemetery4 ,a pit of only a yard or so in diameter was sunk1 sometimes vertically1 sometimes at an angle1 or sometimes it varied from vertical to inclined4 ,it was sunk to depths varying from #ae to #fj feet1 and at the bottom a chamber was formed in the earth4 ,here the dead was deposited1 with his arms1 tools1 cooking utensils1 ornaments1 and chattels generally1 with maize and fermented liquor made of maize4 ,the chamber and passage were then rammed tightly full of earth1 and sometimes it would appear that peculiar earth1 other than that excavated on the spot1 was used4 ,one not unfrequently detects a peculiar aromatic smell in the earth1 and fragments of charcoal are always found mixed with it in more or less quantity4 ,m4 ,de ,zeltner describes other very simple graves which are filled in with earth1 excepting a surface paving of pebbles4 ,mr4 ,mc,niel1 who has examined more examples than any other white man1 and over a wide district with ,david as a center1 discredits the statements of ,de ,zeltner in respect to the form illustrated in ,fig4 #d1 and states that generally the graves do not differ greatly in shape and finish from the ordinary graves of to-day4 ,he describes the pits as being oval and quadrangular and as having a depth ranging from a few feet to #ah feet4 ,the paving or pack consists of earth and water worn stones1 the latter pitched in without order and forming but a small percentage of the filling4 ,he has never seen such stones used in facing the walls of the pit or in the construction of pillars4 ,the flat stones which cover the cist are often #aj or #ae feet below the surface and are in some cases very heavy1 weighing #cjj pounds or more4 ,a single stone is in cases large enough to cover the entire space1 but more frequently two or more flat stones are laid side by side across the cavity4 ,these are supported by river stones1 a foot or more in length1 set around the margin of the cist4 ,he is of the opinion that both slabs and bowlders were in many cases carried long distances4 ,no one of the pits examined was of the extraordinary form described in detail by ,de ,zeltner and others4 ,footnote #g3 ,b4 ,b4 ,white3 ,jour4 ,anthrop4 ,inst4 ,great ,britain and ,ireland1 p4 #bdf4 ,february1 #ahhd4 ,,human ,,remains4 ,the almost total absence of human remains has frequently been remarked1 and the theory is advanced that cremation must have been practiced4 ,we have no evidence1 however1 of such a custom among the historic tribes of this region1 and1 besides1 such elaborate tombs would hardly be constructed for the deposition of ashes4 ,yet1 considering the depth of the graves1 their remarkable construction1 and the character of the soil selected for burial purposes1 it is certainly wonderful that such meager traces of human remains are found4 ,pinart surmises1 from the analogies of modern burial customs upon the north coast1 that the bones only were deposited in the graves1 the flesh having been allowed to decay by a long period of exposure in the open air4 ,this1 however1 would probably not materially hasten the decay of the bones4 ,mr4 ,merritt states that human hair was obtained from graves at ,bugaba1 and that he has himself secured the enamel of a molar tooth from that locality4 ,de ,zeltner tells us that in three varieties of graves remains of skeletons are found1 always1 however1 in a very fragile condition4 ,one skull was obtained of sufficient stability to be cast in plaster1 but ,de ,zeltner is not certain that it belonged to the people who built the tombs4 ,mr4 ,mc,niel reports the occasional finding of bones1 and a number of bundles of them are included in his collection4 ,he reports that there are no crania and that nothing could be determined as to the position of the bodies when first buried4 ,pinart observes that in some cases the bodies or remnants of bodies were distributed about the margin of the pit bottom1 with the various utensils in the center1 and again that the remains were laid away in niches dug in the sides of the main pit4 ,these scattering observations will serve to give a general idea of the modes of sepulture practiced in this region1 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 benefited4 ,,placing ,,of ,,relics4 ,the pieces of pottery1 implements1 and ornaments were probably buried with the dead1 pretty much as are similar objects in other parts of ,america4 ,the almost total disappearance of the human remains makes a determination of exact relative positions impossible4 ,the universal testimony1 however1 is that all were not placed with the body1 but that some were added as the grave was filled up1 being placed in the crevices of the walls or pillars or thrown in upon the accumulating earth and pebbles of the surface pavement4 ,the heavy implements of stone are rarely very far beneath the surface4 ,,objects ,,of ,,art4 ,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 tombs4 ,the inhabitants were skillful in the employment and the manipulation of stone1 clay1 gold1 and copper2 and the perfection of their work in these materials1 taken in connection with the construction of their remarkable tombs1 indicates a culture of long standing and a capacity of no mean order4 ,of their architecture1 agriculture1 or textile art we can learn little or nothing4 ,the relics represented in the collection of the ,national ,museum consist chiefly of articles of stone1 gold1 copper1 and clay4 ,,stone4#h ,works executed in stone1 excluding the tombs1 may be arranged in the following classes3 ,pictured rocks1 sculptured columns1 images1 mealing stones1 stools1 celts1 arrowpoints1 spearpoints 7871 polishing stones1 and ornaments4 ,pictured rocks4--,our accounts of these objects are very meager4 ,the only one definitely described is the piedra pintal4 ,a few of the figures engraved upon it are given by ,seemann1 from whom ,i quote the following paragraph3 ,at ,caldera1 a few leagues north from the town of ,david1 lies a granite block known to the country people as the piedra pintal1 or painted stone4 ,it is #ae feet high1 nearly #ej feet in circumference1 and flat on the top4 ,every part1 especially the eastern side1 is covered with figures4 ,one represents a radiant sun2 it is followed by a series of heads1 all1 with some variation1 scorpions and fantastic figures4 ,the top and the other side have signs of a circular and oval form1 crossed by lines4 ,the sculpture is ascribed to the ,dorachos 7or ,dorasques71 but to what purpose the stone was applied no historical account or tradition reveals4#i ,illustration3 ,fig4 #e4 ,southwest face of the pictured stone4 ,these inscriptions are irregularly placed and much scattered4 ,they are thought to have been originally nearly an inch deep1 but in places are almost effaced by weathering1 thus giving a suggestion of great antiquity4 ,i have seen tracings of these figures made recently by ,mr4 ,a4 ,l4 ,pinart which show decided differences in detail1 and ,mr4 ,mc,niel gives still another transcript4 ,i present in ,fig4 #e ,mr4 ,mc,niel's sketch of the southwest face of the rock1 as he has given considerably more detail than any other visitor4 ,mr4 ,mc,niel's sketches show seventeen figures on the opposite side of the rock4 ,seemann gives only twelve1 while ,mr4 ,pinart's tracings show upwards of forty upon the same face4 ,these three copies would not be recognized as referring to the same original4 ,that of ,mr4 ,pinart seems to show the most careful study and is probably accurate4 ,good photographs would be of service in eliminating the inconvenient personal equation always present in the delineation of such subjects4 ,these figures bear little resemblance to those painted upon the vases of this region4 ,other figures are said to be engraved upon the bowlders and stones used in constructing the burial cists4 ,de ,zeltner states that one often meets with stones covered with rude allegorical designs1 representing men1 pumas 7tigre871 and birds4 ,it is particularly in such huacas as have pillars and a vault that these curious specimens of ,indian art are found4#aj ,columns4--,a number of authors speak casually of sculptured stone columns1 none of which have been found in place4 ,seemann says that they may be seen in ,david1 where they are used for building purposes1#aa but this is not confirmed by others4 ,the sculptures are said to be in relief1 like those of ,yucatan and ,peru4 ,cullen says that columns are found on the ,island of ,muerto1 ,bay of ,david4#ab ,others are mentioned as having been seen in ,veragua4 ,images4--,objects that may properly be classed as images or idols are of rather rare occurrence4 ,half a dozen specimens are found in the ,mc,niel collections4 ,the most important of these represents a full length female figure twenty-three inches in height4 ,it is executed in the round1 with considerable attempt at detail 7,fig4 #f74 ,i may mention1 as strong characteristics1 the flattened crown1 encircled by a narrow turban-like band1 the rather angular face and prominent nose1 and the formal pose of the arms and hands4 ,besides the head band1 the only other suggestion of costume is a belt about the waist4 ,illustration3 ,fig4 #f4 ,a goddess of the ancient ,chiriquians4 ,gray basalt--#a_/f4 ,the material is a compact1 slightly vesicular1 olive gray1 basaltic rock4 ,i have seen a few additional examples of this figure1 and from the identity in type and detail conclude that the personage represented was probably an important one in the mythology of the ,chiriquians4 ,in general style there is a rather close correspondence with the sculptures of the ,central ,american ,states4 ,some of the plastic characters exhibited in this work appear also in the various objects of clay1 gold1 and copper described further on4 ,there is also a smaller1 rudely carved1 half length1 human figure done in the same style4 ,besides these figures there are two large flattish stones1 on one of which a rude image of a monkey has been picked1 while the other exhibits the figure of a reptile resembling a lizard or a crocodile4 ,the work is extremely rude and has the appearance of being unfinished4 ,it seems that all of these objects were found upon the surface of the ground4 ,in ,figs4 #g and #h ,i present two specimens of sculpture also collected by ,mr4 ,mc,niel1 and now in the possession of ,mr4 ,j4 ,b4 ,stearns1 of ,short ,hills1 ,n4,j4 ,the example shown in ,fig4 #g was obtained near the ,gulf of ,dolce1 #hb #ee west4 ,three views are presented3 profile1 front1 and back4 ,it is carved from what appears to be a compact1 grayish olive tufa or basalt1 and represents a male personage1 distinct in style from the female figure first presented4 ,the head is rounded above1 the arms are flattened against the sides1 and the feet are folded in a novel position beneath the body4 ,the height is #i inches4 ,illustration3 ,fig4 #g4 ,a god of the ancient ,chiriquians4 ,gray volcanic rock--4 ,the other specimen1 ,fig4 #h1 from near the same locality1 is carved from a yellowish gray basalt which sparkles with numerous large crystals of hornblende4 ,it is similar in style to the last1 but more boldly sculptured1 the features being prominent and the members of the body in higher relief4 ,the legs are lost4 ,height1 #e inches4 ,a remarkable figure of large size now in the ,national ,museum was obtained from the ,island of ,cana or ,cano by ,mr4 ,mc,niel4 ,it is nearly three feet in height and very heavy4 ,the face has been mutilated4 ,in general style it corresponds more closely to the sculpture of the ,central ,american ,states than to that of ,chiriqui4 ,illustration3 a1 b ,fig4 #h4 ,fragmentary human figure in gray basaltic rock--4 ,mealing stones4--,the metate1 or hand mill1 which consists of a concave tablet and a rubbing stone1 was an important adjunct to the household appliances of nearly all the more cultured ,american nations4 ,it is found not only in those plain substantial forms most suitable for use in grinding grain1 seeds1 and spices by manual means1 but in many cases it has been elaborated into a work of art which required long and skilled labor for its production4 ,in the province of ,chiriqui these mills must have been numerous2 but1 since they are still in demand by the inhabitants of the region1 many of the ancient specimens have been destroyed by use4 ,it seems from all accounts that they were not very generally buried with the dead1 but were left upon or near the surface of the ground1 and were hence accessible to the modern tribes1 who found it much easier to transport them to their homes than to make new ones4 ,the metates of ,chiriqui present a great diversity of form and possibly represent distinct peoples or different grades of culture4 ,they are carved from volcanic rocks of a few closely related varieties1 the texture of which is coarse and occasionally somewhat cellular1 giving an uneven or pitted surface1 well suited to the grinding of maize4 ,three classes1 for convenience of description1 may be distinguished1 although certain characters are common to all and one form grades more or less completely into another4 ,we have the plain slab or rudely hewn mass of rock1 in the upper surface of which a shallow depression has been excavated2 we have the carefully hewn oval slab supported by short legs of varied shape2 and we have a large number of pieces elaborately sculptured in imitation of animal forms4 ,the first variety is common to nearly all temperate and tropical ,america and does not require further attention here4 ,the second variety exhibits considerable diversity in form4 ,the tablet is oval1 concave above1 and of an even thickness4 ,the periphery is often squared and is in many cases ornamented with carved figures1 either geometric devices or rudely sculptured animal heads4 ,the legs are generally three in number1 but four is not unusual4 ,they are mostly conical or cylindrical in shape and are rather short4 ,the finest example of the second class has an oval plate #cg inches in length1 #bi in width1 and #b inches thick1 which is nearly symmetrical and rather deeply concave above4 ,the central portions of the basin are worn quite smooth4 ,near the ends1 within the basin1 two pairs of small animal-like figures are carved1 and ranged about the lower margin of the periphery are eighty-seven neatly sculptured heads of animals4 ,there are four short cylindrical legs4 ,this superb piece of work is shown in ,fig4 #i4 ,illustration3 ,fig4 #i4 ,mealing stone with large tablet ornamented with animal heads1 from ,gualaca--#a_/i4 ,examples of the third class are all carved to imitate the puma or ocelot4 ,the whole creature is often elaborately worked out in the round from a single massive block of stone4 ,the thin tablet representing the body rests upon four legs4 ,the head1 which projects from one end of the tablet1 is generally rather conventional in style1 but is sculptured with sufficient vigor to recall the original quite vividly4 ,the tail appears at the other end and curves downward1 connecting with one of the hind feet1 probably for greater security against mutilation4 ,the head1 the margin of the body1 and the exterior surfaces of the legs are elaborately decorated with tasteful carving4 ,the figures are geometric1 and refer1 no doubt1 to the markings of the animal's skin4 ,nearly identical specimens are obtained from ,costa ,rica and other parts of ,central ,america4 ,a fine example of medium size is given in ,fig4 #aj4 ,the material is gray1 minutely cellular1 basaltic rock4 ,the upper surface of the plate is polished by use4 ,the entire length is #ag inches4 ,illustration3 ,fig4 #aj4 ,puma shaped metate of gray andesite1 from ,rio ,joca--4 ,the largest specimen in the ,mc,niel collection is #b feet long1 #ah inches wide1 and #ab inches high4 ,a similar piece has been illustrated by ,de ,zeltner4 ,the usual office of these metates is considered to be that of grinding corn1 cocoa1 and the like4 ,the great elaboration observed in some examples suggests the idea that perhaps they were devoted exclusively to the preparation of material 7meal or other substances7 intended for sacred uses4 ,a high degree of elaboration in art products results in many cases from their connection with superstitious usages4 ,speculating upon the use of these objects1 ,de ,zeltner mentions a mortar whose pestle was nothing but a round stone1 which still shows traces of gold here and there4 ,it was evidently with the help of this rude instrument that the ,indians reduced the gold to powder before fusing it4#ac ,the implement or pestle used in connection with these mealing tablets in crushing and grinding is often a simple river worn pebble1 as mentioned above1 but is more usually a cylindrical mass of volcanic rock1 worked into nearly symmetric shape4 ,stools4--,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 seats1 although their true or entire function is unknown to me4 ,they are distinguished from the mealing stones by their circular plate1 their sharply defined1 upright1 marginal rim1 and the absence of signs of use4 ,illustration3 ,fig4 #aa4 ,stool shaped object carved from gray1 minutely cellular basalt--#a_/c4 ,illustration3 ,fig4 #ab4 ,stool with columnar base1 carved from gray basaltic rock--#a_/c4 ,two of these objects are from the vicinity of ,david4 ,the largest and most interesting is illustrated in ,fig4 #aa4 ,it is carved from a piece of vesicular basaltic tufa and is in a perfect state of preservation4 ,the height is #f inches and the diameter of the top #aj inches1 that of the base being a little less4 ,the slightly concave upper surface is depressed about half an inch below the upright marginal band4 ,the periphery is a little more than an inch in width and is decorated with a simple guilloche-like ornament in relief4 ,the disk-like cap is connected by open lattice-like work with the ring which forms the base4 ,the interior is neatly hollowed out4 ,the open work of the sides consists of two elaborately carved figures of monkeys1 alternating with two sections of trellis work1 very neatly executed4 ,the other specimen is somewhat less elaborate in its sculptured ornament4 ,outlines of two additional examples of these objects are given in ,figs4 #ab and #ac4 ,the tablets are round1 thick1 and slightly concave above and are margined with rows of sculptured heads4 ,the supporting column in the first is a plain shaft and the base is narrow and somewhat concave underneath4 ,in the second the column is hollowed out and perforated4 ,illustration3 ,fig4 #ac4 ,stool with perforated base1 carved from gray basaltic rock--#a_/c4 ,as bearing upon the possible use of these specimens it should be noticed that similar stool-like objects are made of clay1 the softness and fragility of which would render them unsuitable for use as mealing plates or mortars1 and it would also appear that they are rather fragile for use as stools4 ,i would suggest that they may have served as supports for articles such as vases or idols employed in religious rites1 or possibly as altars for offerings4 ,celts4--,the class of implements usually denominated celts is represented by several hundred specimens1 nearly all of which are in a perfect state of preservation4 ,they are thoroughly well made and beautifully finished1 and leave the impression upon the mind that they must represent the very highest plane of ,stone ,age art4 ,although varying widely in form and finish there is great homogeneity of characters1 the marked family resemblance suggesting a single people and a single period or stage of culture4 ,they are found in the cists along with other relics and are very generally distributed1 a limited number1 rarely more than three1 being found in a single grave4 ,they may be classified by shape into a number of groups1 each of which1 however1 will be found to grade more or less completely into the others4 ,they display all degrees of finish from the freshly flaked to the evenly picked and wholly polished surface4 ,the edges or points of nearly all show the contour and polish that come from long though careful use4 ,all are made of compact1 dark1 volcanic tufa that resembles very closely a fine grained slate4 ,the following illustrations include all the more important types of form4 ,there are but few specimens of very large size4 ,that shown in ,fig4 #ad is #h inches long1 #d inches wide1 and seven-eighths of an inch thick4 ,the blade is broad at the edge1 rounded in outline1 and well polished4 ,the upper end terminates in a rather sharp point that shows the rough flaked surface of the original blocking out4 ,the middle portion exhibits an evenly picked surface4 ,the rock is a dark slaty looking tufa1 the surface of which displays ring or rosette-like markings1 reminding one of the polished surface of a section of fossil coral4 ,these markings probably come from the decomposition of the mineral constituents of the rock4 ,illustration3 ,fig4 #ad4 ,large partially polished celt of mottled volcanic tufa--4 ,the implement given in ,fig4 #ae may be taken as a type of a large class of beautifully finished celts4 ,it also is made of the dark tufa1 very fine grained and compact1 resembling slate4 ,the beveled surfaces of the blade are well polished1 the remainder of the surface being evenly picked4 ,the hexagonal section is characteristic of the class1 but it is not so decided in this as in some other pieces in which the whole surface is freshly ground4 ,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 examples4 ,the small celt shown in ,fig4 #af is narrow above and quite wide toward the edge4 ,a wide1 thick specimen is given in ,fig4 #ag4 ,a specimen quite exceptional in ,chiriqui is shown in ,fig4 #ah4 ,mr4 ,mc,niel states that in many years' exploration this is the only piece seen that exhibits the constriction of outline characteristic of grooved axes4 ,illustration3 ,fig4 #ae4 ,celt of hexagonal section made of dark compact tufa--4 ,illustration3 ,fig4 #af4 ,small wide bladed celt made of dark tufa--4 ,illustration3 ,fig4 #ag4 ,celt with heavy shaft made of dark speckled tufa--4 ,illustration3 ,fig4 #ah4 ,celt or ax with constriction near the top4 ,illustration3 ,fig4 #ai4 ,flaked and partially polished celt of dark tufa--4 ,illustration3 ,fig4 #bj4 ,well polished celt of dark tufa--4 ,two superb implements are illustrated in ,figs4 #ai and #bj1 the one in the rough excepting at the cutting edge1 where it is ground into the desired shape1 and the other neatly polished over nearly the entire surface4 ,the surfaces are somewhat whitened from decomposition1 but within the rock is nearly black1 and the eye could not distinguish it from a dark slate4 ,the material is shown by microscopic test to be a volcanic tufa4 ,these examples were evidently intended for more delicate work than the preceding4 ,the shapes of the specimens illustrated in ,figs4 #ba and #bb indicate a still different use4 ,the upper end of the implement is large and rough1 as if intended to facilitate holding or hafting1 while the shaft diminishes in size below1 terminating in a narrow1 symmetrical1 highly polished edge1 a shape well calculated to unite delicacy and strength4 ,the highest mechanical skill could hardly give to stone shapes more perfectly adapted to the manipulation of stone1 metal1 or other hard or compact substances4 ,the material is a very dark1 compact1 fine grained tufa4 ,illustration3 ,fig4 #ba4 ,narrow pointed celt of dark tufa--4 ,illustration3 ,fig4 #bb4 ,narrow pointed celt of dark tufa--4 ,illustration3 ,fig4 #bc4 ,cylindrical celt with narrow point1 of dark tufa--4 ,illustration3 ,fig4 #bd4 ,leaf shaped objects suggesting spearpoints1 of dark tufa--4 ,an additional example is given in ,fig4 #bc4 ,the shaft is cylindrical and terminates in a conical point at one end and in a very narrow1 abrupt1 cutting edge at the other4 ,the whole surface is polished4 ,the material is the same dark tufa4 ,the class of objects illustrated in this and the two preceding cuts comprises but a small percentage of the chisel-like implements4 ,spearheads 7874--,another class of objects made of the same fine grained1 slaty looking tufa is illustrated in ,fig4 #bd4 ,they resemble spearpoints1 yet may have been devoted to a wholly different use4 ,they are long1 leaf-like flakes1 triangular in section1 slightly worked down by flaking1 sharpened by grinding at the point1 and slightly notched at the top1 perhaps for hafting4 ,arrowpoints4--,the unique character of the arrowpoints of ,chiriqui is already known to archologists4 ,the most striking feature is the triangular section presented in nearly all cases and shown in the figures 7,fig4 #be74 ,the workmanship is extremely rude4 ,the material is generally a flinty jasper of reddish and yellowish hues4 ,the number found is comparatively small4 ,the specimens given are of average size4 ,illustration3 ,fig4 #be4 ,arrowpoints of jasper--#a_/a4 ,ornaments4--,it would seem from a study of our collections that ornaments of stone were seldom used by the inhabitants of ,chiriqui4 ,there are a few medium sized beads of agate and one pendant of dark greenish stone rudely shaped to resemble a human head4 ,ornaments of gold and copper were evidently much preferred4 ,footnote #h3 ,i am indebted to ,mr4 ,j4 ,s4 ,diller1 of the ,united ,states ,geological ,survey1 for the determination of the species of stone in this series of objects4 ,footnote #i3 ,seemann3 ,voy4 ,herald1 ,vol4 ,i1 p4 #cab4 ,footnote #aj3 ,a4 de ,zeltner3 ,notes sur les spultures indiennes du dpartement de ,chiriqui4 ,footnote #aa3 ,seemann3 ,voy4 ,herald1 ,vol4 ,i1 p4 #cac4 ,footnote #ab3 ,cullen's ,darien1 p4 #ch4 ,footnote #ac3 ,a4 ,de ,zeltner3 ,notes sur les spultures indiennes1 p4 #g4 ,,metal4 ,,gold ,,and ,,copper4 ,the ,chiriquians1 like many of their neighbors in the tropical portions of the ,american continent1 were skilled in the working of metals4 ,gold1 silver1 copper1 and tin--the last in alloys with copper forming bronze--are found in the graves4 ,gold is the most important1 and is associated with all the others in alloys or as a surface coating4 ,the inhabitants of the isthmus at the time of the discovery were rich in objects1 chiefly ornaments1 of this metal1 and expeditions sent out under ,balboa1 ,pizarro1 and others plundered the natives without mercy4 ,when the ,indian village of ,darien was captured by ,balboa 7#aeaj7 he obtained plates of gold1 such as they hang on their breasts and other parts1 and other things1 all of them amounting to ten thousand pesos of fine gold4#ad ,from an expedition to ,nicaragua the same adventurers brought back to ,panama the value of #aab1ebd pieces of eight in low gold1 and #ade in pearls4#ae ,early ,spanish-,american history abounds in stories of this kind4 ,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 ,oro4 ,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 encountered1 and that ,costa ,rica gets its name from the same circumstance4 ,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 trinkets4 ,the whites have followed their example with the greatest eagerness4 ,as far back as #afdb the ,spaniards passed a law claiming all the gold found in the burial places of ,spanish ,america1#af the whole matter being treated merely as a means of revenue4 ,the objects of gold for which the tombs of ,chiriqui are justly famous are generally believed to have been simple personal ornaments1 the jewelry of the primeval inhabitants1 although it is highly probable that many of the figures1 at least as originally employed1 had an emblematic meaning4 ,they were doubtless at all times regarded as possessed of potent charms1 and thus capable of protecting and forwarding the interests of their owners4 ,they have been found in great numbers within the last twenty-five years1 but for the most part1 even at this late date1 have been esteemed for their money value only4 ,very many specimens found their way to this country1 where they were either sold for curiosities or1 after waiting long for a purchaser1 even in the very shadow of our museums1 were consigned to the melting pot4 ,many stories bearing upon this point have been told me4 ,a ,washington jeweler is represented as having exhibited in his window on ,pennsylvania avenue about the year #ahfj a remarkable series of these trinkets1 most of which were afterwards sent to ,new ,york to be melted4 ,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 cash4 ,a number of my acquaintances have neat but grotesque examples of these little images of gold attached to their watch guards1 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 peoples4 ,the ornaments are found only in a small percentage of the graves1 those probably of persons sufficiently opulent to possess them in life2 a majority of the graves contain none whatever4 ,they are often found at the bottom of the pits1 and probably in nearly the position occupied by them while still attached to the persons of the dead4 ,it is said that occasionally they are found in niches at the sides of the graves1 as if placed during the filling of the pit4 ,strangely enough1 the gold is very generally alloyed with copper1 the composite metal ranging from pure gold to pure copper4 ,a small percentage of silver is also present in some of the specimens examined1 but this is probably a natural alloy4 ,in a few cases very simple figures appear to have been shaped from nuggets or masses of the native metals2 this1 however1 is not susceptible of proof4 ,the work is very skillfully done1 so that we find it difficult to ascertain the precise methods of manipulation4 ,the general effect in the more pretentious pieces resembles that of our filigree work1 in which the parts are produced by hammering and united by soldering2 yet there are many evidences of casting1 and these must be considered with care4 ,as a rule simple figures and some portions of composite figures present very decided indications of having been cast in molds1 yet no traces of these molds have come to light1 and there are none of those characteristic markings which result from the use of composite or piece molds4 ,wire was extensively used in the formation of details of anatomy and embellishment1 and its presence does not at first seem compatible with ordinary casting4 ,this wire1 or pseudo-wire it may be1 is generally about one-twenty-fifth of an inch in diameter4 ,the manner in which the numerous parts or sections of complex figures are joined together is both interesting and perplexing4 ,evidences of the use of solder have been looked for in vain1 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 detection4 ,at the junction of the parts there are often decided indications of hammering1 or at least of the strong pressure of an implement2 but in pursuing the matter further we find a singular perfection in the joining1 which amounts to a coalescence of the metals of the two parts concerned4 ,there is no weakness or tendency to part along the contact surfaces1 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 convolutions4 ,in a number of cases ,i made sections of coils and parts composed of a number of wires1 in the hope of discovering evidences of the individuality of the strands1 but the metal in the section is always homogeneous1 breaking with a rough1 granular fracture1 and not more readily along apparent lines of junction than across them2 and further1 in studying in detail the surface of parts unpolished or protected from wear by handling1 we find everywhere the granular and pitted unevenness characteristic of cast surfaces4 ,this is true of the wire forms as well as of the massive parts1 and1 in addition to this1 such defects occur in the wires as would hardly be possible if they were of wrought gold4 ,all points considered1 ,i am inclined to believe that the objects were cast1 and cast in their entirety4 ,it is plain1 however1 that the original model was made up of separately constructed parts of wire or wirelike strands and of eccentric and often rather massive parts1 and that all were set together by the assistance of pressure1 the indications being that the material used was sufficiently plastic to be worked after the manner of clay1 dough1 or wax4 ,in one case1 for example1 the body of a serpent1 consisting of two wires neatly twisted together1 is held in the hand of a grotesque figure4 ,the hand consists of four fingers made by doubling together two short pieces of wire4 ,the coil has been laid across the hand and pressed down into it until half buried1 and the ends of the fingers are drawn up around it without any indication of hammer strokes4 ,indeed1 the effect is just such as would have been produced if the artist had worked in wax4 ,again1 in the modeling of the eyes we have a good illustration4 ,the eye is a minute ball cleft across the entire diameter by a sharp implement1 thus giving the effect of the parted lids4 ,now1 if the material had been gold or copper1 as in the specimens1 the ball would have been separated into two parts or hemispheres1 which would not exhibit any great distortion2 but as we see them here the parts are flattened and much drawn out by the pressure of the cutting edge1 just as if the material had been decidedly plastic4 ,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 day4 ,in ,oriental countries delicate objects of bronze and other metals are made as follows3 ,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 heat4 ,these coatings1 when sufficiently thickened and properly dried1 form the mold1 from which the original model is extracted by means of heat4 ,the fused metal is afterwards poured in4 ,as a matter of course1 both the mold and the model are destroyed in each case1 and exact duplications are not to be expected4 ,mr4 ,george ,f4 ,kunz1 of ,new ,york1 with whom ,i have discussed this matter1 states that he has seen live objects1 such as insects1 used as models in this way4 ,being coated with washes of clay or like substance until well protected and then heavily covered1 they were placed in the furnace4 ,the animal matter was thus reduced to ashes and extracted through small openings made for the purpose4 ,as bearing upon this subject it should be mentioned that occasionally small figures in a fine reddish resin are obtained from the graves of ,chiriqui4 ,they are identical in style of modeling with the objects of gold and copper obtained from the same source4 ,in discussing possible processes1 ,mr4 ,william ,hallock1 of the division of chemistry and physics of the ,united ,states ,geological ,survey1 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 together4 ,after cooling1 the complete figure could be removed by breaking up the clay matrix4 ,i imagine that in such work much difficulty would be experienced in securing proper contact and adjustment of parts of complex figures4 ,it will likewise be observed that evidences of plasticity in the modeling material would not exist4 ,i must not pass a suggestion of ,nadaillac#ag which offers a possible solution of the problem of manipulation4 ,referring to a statement of the early ,spanish explorers that smelting was unknown to the inhabitants of ,peru1 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 plastic1 and that after a figure is modeled in this composite metal the mercury may be dissipated by heat1 leaving the form in gold1 which then needs only to be polished4 ,there is1 however1 no evidence whatever that these people had any knowledge of mercury4 ,there is no indication of carving or engraving in the ,chiriquian work4 ,in finishing1 some of the extremities seem to have been shaped by hammering4 ,this was a mere flattening out of the feet or parts of the accessories1 which required no particular skill and could have been accomplished with comparatively rude stone hammers4 ,it is a remarkable fact that many1 if not most1 of the objects appear to be either plated or washed with pure gold1 the body or foundation being of base gold or of nearly pure copper4 ,this fact1 coupled with that of the association of objects of bronze with the relics1 leads us to inquire carefully into the possibilities of ,european influence or agency4 ,i observe that recent writers do not seem to have questioned the genuineness of the objects described by them1 but that at the same time no mention is made of the plating or washing4 ,this latter circumstance leads to the inference that pieces now in my possession exhibiting this phenomenon may have been tampered with by the whites4 ,in this connection attention should be called to the fact that history is not silent on the matter of plating4 ,the ,indians of ,new ,granada are said to have been not only marvelously skillful in the manipulation of metals1 but1 according to ,bollaert1 ,acosta declares that these peoples had much gilt copper1 and the copper was gilt by the use of the juice of a plant rubbed over it1 then put into the fire1 when it took the gold color4#ah ,just what this means we cannot readily determine1 but we safely conclude that1 whatever the process hinted at in these words1 a thin surface deposit of pure gold1 or the close semblance of it1 was actually obtained4 ,it is not impossible that an acid may have been applied which tended to destroy the copper of the alloy1 leaving a deposit of gold upon the surface1 which could afterwards be burnished down4 ,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 alloy1 the gold remaining as a shell upon the surface of the still undecayed portion of the composite metal2 but the surface in such a case would not be burnished1 whereas the show surfaces of the specimens recovered are in all cases neatly polished4 ,if we should conclude that the ancient ,americans were probably able to secure in some such manner a thin film of gold1 it still remains to inquire whether there may not have been some purely mechanical means of plating4 ,in some of the ,chiriquian specimens a foundation of very base metal appears to have been plated with heavy sheet gold1 which as the copper decays comes off in flakes4 ,occasional pieces have a blistered look as a consequence4 ,were these people able with their rude appliances to beat gold into very thin leaves8 and ,had they discovered processes by which these could be applied to the surfaces of objects of metal8 are questions that should probably be answered in the affirmative4 ,the flakes in some cases indicate a very great degree of thinness4 ,specimens of sheet gold ornaments found in the tombs are thicker1 but are sufficiently thin to indicate that1 if actually made by these people1 almost any degree of thinness could be attained by them4 ,it would probably not be difficult to apply thin sheet gold to the comparatively smooth surfaces of these ornaments and to fix it by burnishing4 ,mr4 ,kunz suggests still another method by means of which plating could have been accomplished4 ,if a figure in wax were coated with sheet gold and then incased in a clay matrix1 the wax could be melted out1 leaving the shell of gold within4 ,the cavity could then be filled with alloy1 the clay could be removed1 and the gold1 which would adhere to the metal1 could then be properly burnished down4 ,it will be seen from this hasty review that1 although we may conclude that casting and plating were certainly practiced by these peoples1 we must remain in ignorance of the precise methods employed4 ,referring to the question of the authenticity of the specimens themselves1 ,i may note that observations bearing upon the actual discovery of particular specimens in the tombs are unfortunately lacking4 ,mr4 ,mc,niel acknowledges that with all his experience in the work of excavation no single piece has been taken from the ground with his own hands1 and he cannot say that he ever witnessed the exhumation by others1 although he has been present when they were brought up from the pits4 ,generally the workmen secrete them and afterwards offer them for sale4 ,he has1 however1 no shadow of a doubt that all the pieces procured by him came from the graves as reported by his collectors4 ,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 construction4 ,there are many proofs1 however1 of the authenticity of the objects themselves4 ,it is asserted by a number of early writers that the ,american natives were1 on the arrival of the ,spaniards1 highly accomplished in metallurgy2 that they worked with blowpipes and cast in molds2 that the objects produced exhibited a high order of skill2 and that the native talent was directed with unusual force and uniformity toward the imitation of life forms4 ,it is said that the conquerors were struck with wonder at their skill in this last respect4 ,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 bronze1 or even lead1 would have served as well4 ,we also observe that there is absolutely no trace of peculiarly ,european material or methods of manipulation1 a condition hardly possible if the extensive reproductions were made by the whites4 ,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 origin4 ,an equally convincing argument is found in the fact that all the alloys liable to corrosion exhibit marked evidences of decay1 as if for a long period subject to the destructive agents of the soil4 ,in many cases the copper alloy base crumbles into black powder1 leaving only the flakes of the plating4 ,lastly and most important1 the strange creatures represented are in many cases identical with those embodied in clay and in stone1 and for these latter works no one will for a moment claim a foreign derivation4 ,considering all these arguments1 ,i arrive at the conclusion that the ornaments are1 in the main1 genuine antiquities1 and that1 if any deception at all has been practiced1 it is to be laid at the door of modern goldsmiths and speculators1 who1 according to ,mr4 ,mc,niel1 are known in a few cases to have doctored alloyed objects with washes of gold with the view of selling them as pure gold4 ,i present the following specimens with a reasonable degree of confidence that all1 or nearly all1 are of purely ,american fabrication1 and ,i sincerely hope that at no distant day competent archologists may have the opportunity of making personal observations of similar relics in place4 ,the objects consist to a great extent of representations of life forms1 in many cases more fanciful than real and often extremely grotesque4 ,they include the human figure and a great variety of birds and beasts indigenous to the country1 in styles resembling work in clay and stone of the same region4 ,my illustrations show the actual sizes of the objects4 ,illustration3 ,fig4 #bf4 ,human figure with ridged crown1 formed of copper-gold alloy4 ,the human figure4--,statuettes of men and women and of a variety of anthropomorphic figures of all degrees of elaboration abound4 ,fig4 #bf illustrates a plain1 rude specimen belonging to the collection of ,j4 ,b4 ,stearns4 ,it was obtained by ,mr4 ,mc,niel from near the south base of ,mount ,chiriqui4 ,the body is solid and the surface is rough and pitted1 as if from decay4 ,in many respects it resembles the stone sculptures of the isthmus4 ,the metal is nearly pure copper4 ,a piece exhibiting more elaborate workmanship1 illustrated by ,bollaert1#ai is shown in ,fig4 #bg4 ,another remarkable specimen is illustrated by ,de ,zeltner1 but the photograph published with his brochure is too indistinct to permit of satisfactory reproduction4 ,he describes it in the following language3 ,the most curious piece in my collection is a gold figure of a man1 #g centimeters in height4 ,the head is ornamented with a diadem terminated on each side with the head of a frog4 ,the body is nude1 except a girdle1 also in the form of a plait1 supporting a flat piece intended to cover the privates1 and two round ornaments on each side4 ,the arms are extended from the body2 the well drawn hands hold1 one of them a short1 round club1 the other a musical instrument1 of which one end is in the mouth and the other forms an enlargement like that of a flute1 made of human bone4 ,it is not probable that this is a pipe4 ,both thighs have an enlargement1 and the toes are not marked in this little figurine4#bj ,illustration3 ,fig4 #bg4 ,grotesque human figure in gold1 from ,bollaert4 ,illustration3 ,fig4 #bh4 ,rudely shaped and finished human figure in gold4 ,in ,fig4 #bh we have a rather rudely made and finished piece collected by ,mr4 ,mc,niel1 and now owned by ,mr4 ,stearns4 ,it exhibits features corresponding with a number of those referred to by ,de ,zeltner4 ,the foundation is thin and is of base metal coated with pure gold4 ,i present two additional examples of the human figure from the collection of ,mr4 ,stearns4 ,one of them 7,fig4 #bi7 is an interesting little statuette in dark copper that still retains traces of the former gilding of yellow gold4 ,the crown is flat and is surrounded by a fillet of twisted wire4 ,the face is grotesque1 the nose being bulbous1 the mouth large1 and the lips protruding4 ,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 serpents1 the heads of which project from the sides of the headdress4 ,similar serpents project from the ankles4 ,the feet are flattened out as if intended to be set in a crevice4 ,the extremities--excepting the feet--and the ornaments are all formed of wire4 ,the various parts of the figure have been modeled separately and set together while the material was in a plastic or semiplastic condition4 ,this is clearly indicated by the sinking of one part into another at the points of contact4 ,illustration3 ,fig4 #bi4 ,grotesque human figure in nearly pure copper1 partially coated with yellow gold4 ,illustration3 ,fig4 #cj4 ,grotesque human figure in nearly pure gold4 ,an excellent example of the more elaborate figures is shown in ,fig4 #cj4 ,it is of reddish gold1 slightly alloyed apparently with copper1 and has in finishing received a very thin wash or plating of yellow gold1 which is worn off in exposed parts4 ,the central feature of the rather complicated structure is a grotesque human figure1 much like the preceding1 and having counterparts in both clay and stone4 ,the figure is backed up and strengthened by two curved and flattened bars of gold1 one above and the other below1 as seen in the cut4 ,the figure is decked with and almost hidden by a profusion of curious details1 executed for the most part in wire and representing serpents and birds4 ,three vulture-like heads project from the crown and overhang the face4 ,two serpents1 the bodies of which are formed of plaited wire1 issue from the mouth of the figure and are held about the neck by the hands4 ,the heads of the serpents are formed of wire folded in triangular form and are supplied with double coils of wire at the sides1 as if for ears1 and with little balls of gold for eyes4 ,similar heads project from the sides of the head and from the feet of the image4 ,the peculiarities of construction are seen to good advantage in this specimen4 ,the figure is made up of a great number of separate pieces1 united apparently by pressure or by hammering while the material was somewhat plastic4 ,upwards of eighty pieces can be counted4 ,the larger pieces1 forming the body and limbs1 are hollow or concave behind4 ,nearly all the subordinate parts are constructed of wire4 ,illustration3 ,fig4 #ca4 ,rudely executed image of a bird in gold4 ,the bird4--,images of birds are numerous and vary greatly in size and elaboration4 ,they are usually represented with expanded wings and tails1 the under side of the body being finished for show4 ,the back is left concave and rough1 as when cast1 and is supplied with a ring for suspension or attachment1 as seen in the profile view 7,fig4 #ca74 ,the owl1 the eagle1 the parrot1 and various other birds are recognized1 although determinations of varieties are not possible1 as in many cases the forms are rude or greatly obscured by extraneous details4 ,the example shown in ,fig4 #ca is of the simplest type and the rudest workmanship1 and is apparently intended for some rapacious species1 possibly a vulture4 ,the body1 wings1 and tail are hammered quite thin and are left frayed and uneven on the edges4 ,the material appears to be nearly pure copper plated with yellow gold4 ,specimens of this class are very numerous4 ,one1 presented in a publication of the ,society of ,northern ,antiquaries1 and now in the museum at ,copenhagen1 is thought to be intended for a fish hawk1 as it carries a fish in its mouth4 ,de ,zeltner mentions a statuette in gold of a paroquet1 whose head is ornamented with two winged tufts4 ,such a specimen may be seen in the collection of ,mr4 ,stearns4 ,illustration3 ,fig4 #cb4 ,image of a bird in gold1 from ,bollaert4 ,fig4 #cb is reproduced from ,bollaert4 ,it represents a parrot and is very elaborately worked4 ,illustration3 ,fig4 #cc4 ,puma shaped figure in gold4 ,illustration3 ,fig4 #cd4 ,puma shaped figure in base metal4 ,the puma4--,representations of quadrupeds are common2 a good example1 copied from ,bollaert1 is given in ,fig4 #cc4 ,the animal intended is apparently a puma1 a favorite subject with ,chiriquian workers in clay and stone as well as in gold4 ,the body is hollow and open beneath and the fore feet are finished with loops for suspension4 ,a similar piece with head thrown back over the body is shown in ,fig4 #cd4 ,the metal in this case appears to be nearly pure copper4 ,grotesque figure4--,another piece collected by ,mr4 ,mc,niel is outlined in ,fig4 #ce4 ,the metal is quite base and the surface has been coated with gold1 which is now nearly all rubbed off4 ,the shape is that of a quadruped4 ,the face has a rather grotesque1 not to say satanic1 expression4 ,the details are not unlike those of other examples previously given4 ,illustration3 ,fig4 #ce4 ,quadruped with grotesque face in base metal4 ,illustration3 ,fig4 #cf4 ,figure of a fish in gold4 ,from ,harper's ,weekly1 #ahei4 ,the fish4--,the fish was a favorite subject with the ancient nations of ,south ,america1 and is modeled in clay1 woven into fabrics1 and worked in metals with remarkable freedom4 ,it was in great favor in ,chiriqui and must have been of importance in the mythology of the country4 ,it occurs most frequently in pottery1 where it is executed in color and modeled in the round4 ,the very grotesque specimen in gold shown in ,fig4 #cf is copied from ,harper's ,weekly of ,august #f1 #ahei1 where it forms one of a number of illustrations of these curious ornaments4 ,the paper is1 ,i believe1 by ,dr4 ,f4 ,m4 ,otis1 who had just returned from ,panama4 ,a very curious piece owned by ,mrs4 ,philip ,phillips1 of ,washington1 represents a creature having some analogies with the fish figure of ,otis4 ,issuing from the mouth is the same forked tongue1 each part terminating in a serpent's head4 ,the body is about two inches long and the back has five triangular perforations4 ,the tail is forked and the four leg-like members terminate in conventional serpents' heads4 ,the metal is pure or nearly pure gold4 ,illustration3 ,fig4 #cg4 ,large figure of a frog in base metal plated with gold4 ,illustration3 ,fig4 #ch4 ,small figure of a frog1 in base metal plated with gold4 ,the frog4--,the frog appears in the plastic art of ,chiriqui more frequently perhaps than any other reptile4 ,its form is reproduced with much spirit and in greatly varying sizes1 degrees of elaboration1 and styles of presentation4 ,it is probable that a number of species are represented4 ,in ,fig4 #cg we have a large1 rather plain specimen1 now in the ,national ,museum4 ,the body and limbs are concave beneath1 the metal being about one-sixteenth of an inch thick4 ,teeth are suggested by a number of perforations encircling the jaws and the eyes are minute hawk bells containing pellets of metal4 ,the legs are placed in characteristic positions1 and the hind feet are broad plates without indications of toes1 a characteristic of these golden frogs4 ,the framework or foundation is of copper1 apparently nearly pure1 and the surface is plated with thin sheet gold1 which tends to flake off as the copper foundation corrodes4 ,the minute1 delicately finished example given in ,fig4 #ch contrasts strongly with the preceding4 ,it is also of base metal plated with pure gold and belongs to the collection of ,mr4 ,stearns4 ,illustration3 ,fig4 #ci4 ,figure of an alligator1 in gold1 published in ,harper's ,weekly1 #ahei4 ,the alligator4--,the alligator1 which appears so frequently in the pottery of ,chiriqui1 is only occasionally found in gold4 ,a striking specimen1 illustrated in ,harper's ,weekly of ,august #f1 #ahei1 is given in ,fig4 #ci4 ,a similar piece1 formed of base metal1 is in the collection of ,mr4 ,stearns4 ,illustration3 ,fig4 #dj4 ,animal figure1 in base metal plated with gold4 ,the crayfish 7874--,in ,fig4 #dj we have a fine specimen1 intended apparently to represent a crayfish or some similar crustacean form4 ,the head is supplied with complicated yet graceful antenna-like appendages1 made of wire neatly coiled and welded together by pressure or hammering4 ,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 nodes4 ,the peculiar wings and tail will be best understood by referring to the illustration4 ,the foundation metal is much corroded1 being dark and rotten1 and the plating of reddish gold seems to have been coated with a thin film of yellow gold4 ,the profile view gives a good idea of the thickness of the metal and of the relief of the parts4 ,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 head4 ,miscellaneous4--,gold1 pure and in the usual alloys1 was also used in the manufacture of other articles1 such as bells1 beads1 disks1 balls1 rings1 whistles1 thimble shaped objects1 and amulets of varied shapes4 ,bells are more generally made of bronze1 because1 perhaps1 of its greater degree of resonance4 ,thin plates1 or rather circular sheets1 of gold leaf are numerous4 ,one mentioned by ,bollaert was #g inches in diameter4 ,they are plain or crimped about the margins1 indented in various ways1 and sometimes perforated1 apparently for suspension or attachment4 ,merritt mentions examples having holes which showed evidences of wear upon one side only1 indicating attachment in a fixed position to some object or to some part of the costume4 ,but one example is at hand1 a thin sheet1 three inches in diameter and crimped or indented neatly about the margin4 ,its thickness is about that of ordinary tinfoil4 ,footnote #ad3 ,herrera3 ,hist4 ,america1 ,vol4 ,,vi1 p4 #cfi4 ,footnote #ae3 ,herrera3 ,hist4 ,america1 ,vol4 ,,iii1 p4 #bhg4 ,footnote #af3 ,mr4 ,hawes's letter answering questions about ,chiriqui1 read by ,mr4 ,davis before the ,american ,ethnological ,society1 ,april #ag1 #ahfj4 ,footnote #ag3 ,nadaillac3 ,prehistoric ,america1 p4 #dej4 ,footnote #ah3 ,bollaert3 ,ethnological and ,other ,researches in ,new ,granada1 c4 ,footnote #ai3 ,bollaert3 ,antiquarian ,researches in ,new ,granada1 plate facing p4 #ca4 ,footnote #bj3 ,a4 ,de ,zeltner3 ,notes sur les spultures indiennes du dpartement de ,chiriqui4 ,,bronze4 ,bells4--,bells seem to have been in pretty general use by the more cultured ,american races previous to the conquest4 ,the form best known is the hawk bell1 or common sleighbell of the ,north4 ,the globular body is suspended by a loop at the top and is slit on the under side1 so that the tinkling of the small free pellets of metal may be audible4 ,such bells are found in considerable numbers in the graves of ,chiriqui1 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 classes4 ,the specimens now in the ,national ,museum 7,fig4 #da7 are in most cases1 if not in all1 of bronze1 as determined by ,mr4 ,r4 ,b4 ,riggs1 of the chemical laboratory of the ,united ,states ,geological ,survey4 ,all have been cast in molds4 ,in most cases there are traces of a plating of gold4 ,the largest is #a inches in height and three-fourths of an inch in diameter4 ,it is surmounted by the rude figure of an animal1 through or beneath the body of which is an opening for the attachment of a cord4 ,others have simple loops at the top4 ,the small perforated specimen belongs to ,mr4 ,stearns4 ,the additional piece given in ,fig4 #db is unique in conception4 ,it represents a human head1 which takes an inverted position when the bell is suspended4 ,the lower part of the bell forms a conical crown to the head and the ring of suspension is attached to the chin4 ,double coils of wire take the place of the ears1 and the other features are formed by setting on bits of the material used in modeling4 ,this specimen belongs to the collection of ,mr4 ,stearns4 ,many examples of more elaborate workmanship have been recovered from the tombs and are now to be found in the collections of ,america and ,europe4 ,illustration3 ,fig4 #da4 ,bronze bells plated or washed with gold4 ,illustration3 ,fig4 #db4 ,bronze bell with human features4 ,a specimen found many years ago on the ,rio ,grande1 near ,panama1 and figured in ,harper's ,weekly1 was of gold and showed specific variations from the ,chiriquian pieces4 ,it will be seen by reference to the outline given in ,fig4 #dc that three very neatly shaped and gracefully ornamented bells are mounted upon a circular plate to which a short handle is attached4 ,it was evidently not intended for suspension1 but rather to be held in the hand as a rattle4 ,a question as to the authenticity of these bells as aboriginal works very naturally arises1 and it may be difficult to show to the satisfaction of the skeptical mind that any particular specimen is not of ,european origin or inspiration4 ,at the same time we are not without strong evidences that such bells were in use by the ,americans before the advent of the whites4 ,historical accounts are not wanting1 but ,i shall only stop to point out some of the internal evidences of the native art4 ,the strongest argument is to be found in the presence of analogous features in other branches of the art and in other arts4 ,the eyes of the golden figures of reptiles are in many cases minute hawk bells1 and in works of clay1 the purely aboriginal character of which has not been called in question1 similar features are discovered4 ,the ,american origin of the bell1 therefore1 is not to be questioned4 ,the form originated1 no doubt1 in the rattle1 at first a nutshell or a gourd2 later it was modeled in clay1 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 forms1 which were made hollow and supplied with tinkling pellets4 ,with the acknowledged skill of these people in the working of metals1 there is no reason why the bells described should not have been manufactured independently of ,european aid and influence1 provided the requisite metal was at hand4 ,illustration3 ,fig4 #dc4 ,triple bell or rattle found on the ,rio ,grande4 ,illustration3 ,fig4 #dd4 ,ancient ,mexican bell4 ,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 recovered1 but it is observed that marked and persistent differences do occur4 ,the well known ,mexican bell1 an example of which is outlined in ,fig4 #dd1 although of bronze1 is generically distinct in form and construction4 ,in a brief review ,i may recall the more salient points regarding the use of metals in ancient ,chiriqui4 ,gold1 silver1 copper1 and apparently tin are represented4 ,gold and copper were very plentifully distributed among the isthmian races1 but we have little information as to the sources of supply4 ,free gold is found in the stream beds of many localities1 and copper was probably found in its native state in some convenient locality2 yet it is not impossible that these metals were transported from distant regions1 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 south4 ,silver and tin are found in alloys with gold and copper1 but not as independent metals4 ,the silver gold alloy is probably a natural compound4 ,in no case have ,i found silver to exceed #f per cent4 of the composite metal4 ,tin was artificially alloyed with copper1 forming bronze4 ,the latter metal resembles our ordinary bronze in color and hardness1 but ,i am unable to secure more than a qualitative analysis on account of the scarcity of specimens available for the purpose4 ,we have no information in regard to the origin of the tin4 ,it is not found in a native state1 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 countries4 ,the gold-copper alloys appear to range between pure gold and pure copper4 ,if the bronze is of ,european origin1 then we must conclude that all objects made of that metal are of post-,columbian manufacture4 ,this question will probably be definitely settled in the near future4 ,the greater number of the objects were formed by casting in molds4 ,hammering was but little practiced1 excepting1 apparently1 in the formation of sheet gold1 which was probably an indigenous product4 ,repouss work is not found1 save as represented in the crimping and indenting of gold leaf4 ,engraving and carving were not practiced4 ,it may be considered certain that gilding1 or at least plating1 was understood4 ,the objects are obtained from ancient graves of which no record or reliable tradition is preserved4 ,they are all ornaments1 no coin1 weapon1 tool1 or utensil having come to my notice4 ,the absence of utensils and of hammered objects of any kind strikes me as being rather extraordinary1 since it is popularly supposed that1 in the normal succession of events1 hammering should precede casting and that utensils should be made before elaborate ornaments4 ,the work exhibits close analogies with that of the mainland of ,south ,america1 but these analogies appear to be in material1 treatment1 and scope of employment rather than in the subject matter of the conceptions4 ,the personages and zomorphic characters represented are characteristically ,chiriquian1 and were derived no doubt from the mythology of the locality4 ,these works affiliate with the various works in stone and clay1 the art products of the province thus constituting a fairly homogeneous whole and being entirely free from traces of ,european influence4 ,metals do not come into use early in the history of a race1 as they are not found in shapes or conditions suitable for immediate use1 nor are they sufficiently showy when found to be especially desirable for ornaments4 ,a long period must have elapsed before the use of metals was discovered1 and a longer period must have passed before they were worked2 and1 in the light of our knowledge of the ancient tribes of the ,united ,states1 it would seem that a considerable degree of culture may be achieved before the casting of metals is understood2 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 metal1 such as gold4 ,the ,chiriquian peoples not only had a knowledge of the methods of alloying gold with copper1 and1 apparently1 copper with tin1 but1 if our data are correct1 they were able to plate the baser metals and alloys with sheet gold1 and1 what is far more wonderful1 to wash them with gold1 producing an effect identical with that of our galvanic processes4 ,the character of the conceptions embodied in the art unite with evidences of technical skill to prove to us that ,american culture1 as represented by the metal ornaments of ,chiriqui1 was not the product of a day1 but of long periods of experiment and progress4 ,,pottery4 ,preliminary4--,the importance of the potter's art to archology has often been pointed out4 ,baked clay is one of the most enduring materials utilized in art1 and its employment by the races of men has fallen but little short of universal4 ,the creations of that noblest of arts1 architecture1 and the antecedent forms of house building are necessarily left where erected1 to be fed upon by the remorseless elements of nature1 but the less pretentious utensil of clay accompanies its owner to the tomb1 where it remains practically unchanged for ages4 ,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 relics1 and in no case have we a view more clear and comprehensive than that furnished in the series here presented4 ,the graves of ,chiriqui have yielded to a single explorer upwards of #aj1jjj pieces of pottery1 and this chiefly from an area perhaps not more than fifty miles square4 ,these vessels constitute at least #ij per cent4 of the known art of the ancient occupants of the province1 and1 although not so eloquent of the past as are the inscribed tablets of ,assyria or the pictured vases of ,greece1 they tell a story of art and of peoples that without their aid would remain untold to the end of time4 ,a careful study of the earthenware of this province leads to the conclusion that for ,america it represents a very high stage of development1 and its history is therefore full of interest to the student of art4 ,its advanced development as compared with other ,american fictile products is shown in the perfection of its technique1 in the high specialization of form1 and in its conventional use of a wide range of decorative motives4 ,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 form1 and no other that presents so many marked analogies to the classic forms of the ,mediterranean4 ,strangely enough1 too1 notwithstanding the well established fact that only primitive methods of manufacture were known1 there is a parallelism with wheel made ware that cannot but strike the student with amazement4 ,in speaking thus of the whole body of ceramic products1 ,i would not convey the impression that there is perfect homogeneity throughout1 as if all were the work of a single people developed from within1 and therefore free from the eccentricities that come from exotic influence4 ,on the contrary1 there is strong evidence of mixed conditions of races and of arts1 the analysis of which1 with our present imperfect data1 will be extremely difficult4 ,these evidences of mixed conditions are found in the marked diversity and individuality of character of the various groups of ware4 ,it is impossible1 without the aid of careful observations in the field1 to arrive at any conclusion as to the relative age of the different varieties of ware4 ,appearances of age are deceptive2 the newer looking varieties may be the older and those executed in the most primitive style may belong to the later period1 for grades in culture are not chronologic4 ,with reference to the principal groups of relics1 we cannot do better than accept the statements of collectors that all are buried in like ways and in similar tombs1 different varieties in many cases occurring in the same tomb4 ,there are1 however1 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 communities4 ,the groups separated most completely from others are the scarified pottery presented first in the series of painted wares1 the maroon group1 which follows1 and other varieties represented by fugitive pieces4 ,the latter may have reached ,chiriqui from neighboring provinces4 ,there are certain pieces that speak decidedly of ,costa ,rican influence and others that find their counterparts in the ,colombian states to the south4 ,in art in clay in most countries the vessel is the leading idea1 the center about which nearly the entire ceramic art is gathered4 ,this is true in a marked degree in ,chiriqui1 and vessels are therefore given the first place in this paper4 ,the less usual forms include drums1 whistles1 rattles1 stools1 spindle whorls1 needlecases1 and toy-like images1 all of which present features of peculiar interest4 ,these classes of objects are discussed in separate sections4 ,there are few indications of an ambition to model natural forms or mythologic figures independently of utensils and useful objects1 and1 strange to say1 no pieces are found that portray the human face and figure with even a fair degree of approach to nature4 ,how found4--,in describing the graves and tombs in a previous section1 ,i alluded to the manner in which the pottery was deposited4 ,it appears to have been buried with the dead or thrown into the grave with the earth and stones with which the pit was filled4 ,there was little regularity in the place or position of the vessels and many were broken when found4 ,the precise use of the vessels1 the character of the contents1 or the relation of particular pieces to the remains of the dead cannot be determined4 ,although the human remains have almost entirely disappeared and there are no traces left of utensils of wood1 bone1 horn1 or shell1 the paste1 slip1 and colors are wonderfully well preserved and the surface is not even discolored by contact with the earth4 ,when found1 every crevice and cavity is completely filled with earth1 and the paste is often so tender that the vessels have to be dried with great care before they can be handled with freedom4 ,the number of pieces found in a grave sometimes reaches twenty1 but the average is perhaps not above three or four4 ,material4--,the material used in the manufacture of this ware is remarkably uniform throughout the whole province1 varying slightly with the locality1 with the group1 and with the character of the vessel constructed4 ,generally the paste consists of a matrix of fine clay tempered with finely pulverized sand1 in which may be detected grains of quartz1 feldspar1 hornblende1 augite1 particles of iron oxide1 c4 ,argillaceous matter has been sparingly used1 the sand in many cases comprising at least #ge per cent4 of the mass4 ,many of the unpainted specimens1 from which the polished slip has been removed1 give off showers of fine sand when rubbed by the hand1 and it is difficult to detect the presence of any finely comminuted matrix whatever4 ,the thin slip employed in surface finish is more highly argillaceous than the paste4 ,the clay used was probably mostly light in color1 as the paste is now quite uniformly so4 ,the baking was effected apparently without a very high degree of temperature and by methods that left few marks or discolorations upon the vessels4 ,in hardness and durability the paste corresponds pretty closely with that of our red porous earthenware4 ,the softer pieces can be scratched or even carved with a knife4 ,water will penetrate any of these vessels in a few minutes1 but decay has probably tended to make the walls more porous4 ,manufacture4--,there is no piece of this ware that does not bear evidence of a high degree of skill on the part of the potter2 and yet1 owing to the thorough manner in which the work is finished1 the precise methods of manipulation are not easily detected4 ,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 order4 ,the casual observer would at once arrive at the conclusion that the wheel or molds had been used1 but it is impossible to detect the use of any such appliances4 ,we observe that irregular and complex forms1 in the production of which mechanical appliances could not be used to advantage1 are modeled with as much grace of contour and perfection of surface as are the simpler shapes that could be turned upon a wheel1 and we conclude that with this remarkable people the hand and the eye were so highly educated that mechanical aids were not indispensable4 ,i find no evidence that coil building was systematically practiced1 but it is clear that parts of complex forms were modeled separately and afterwards united4 ,the various ornaments in relief 7the heads and other parts of animals7 and the handles1 legs1 and bases of vessels were constructed separately and then luted on1 and with such skill that the thinnest walls and the most complex and delicate forms were not injured in the process4 ,the contact irregularities were then worked down1 and every part of the surface1 including the more important ornaments1 were rendered smooth1 preparatory to the application of the thin surface wash or slip4 ,after the slip was applied and the clay became somewhat indurated1 the surface was polished with smooth pebbles1 the marks of which can be seen on the less accessible parts of the vessel4 ,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 glaze4 ,incised figures and painted decorations were generally executed after the polishing was complete4 ,details of processes will be given as the various classes of ware pass under review4 ,the methods of baking were apparently of a higher order than those practiced in many parts of ,america4 ,one rarely discovers traces of the dark discolorations that result from primitive methods of baking1 yet there are none of the contact marks that arise from the furnace firing of ,spanish-,american potters4 ,color4--,the colors of the ware and of the surface applications vary decidedly with the different groups4 ,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 reds4 ,in one or two groups there is an approach to salmon and orange hues1 and in another the color is black or dark brown4 ,the color within the mass is in some cases darker than upon the surface1 an effect produced in baking1 and not through the use of different clays4 ,the slip is usually lighter than the surface of the paste4 ,the colors used in finishing and decorating are confined to reds1 blacks1 and purple grays4 ,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 disappeared1 carrying with it all underlying colors not of unusual permanence or not worked down with the polishing implement4 ,the ,aztec and other races of tropical ,america used an argillaceous1 white pigment in decorating their wares1 which has in many cases partially or wholly disappeared1 carrying away considerable portions of the colors over which it was laid1 while in other cases1 and also in this ,chiriqui ware1 there is no trace of color remaining and we are left to surmise that the brush used probably contained merely a taking out medium4 ,red was profusely used and varies from a light vermilion to a deep maroon4 ,in certain classes of vessels it was hastily daubed on1 covering prominent parts of the surface or forming irregular spots1 streaks1 and rude figures4 ,in two groups of ware it was used as the chief delineating color4 ,in some cases it was employed as a wash or slip and was worked down with the polishing stone1 and in this condition it was treated as a ground upon which to execute designs in other colors4 ,it is always a fast color and is probably of mineral character4 ,the blacks are of two kinds1 which are used in distinct groups of ware3 one1 probably a mineral pigment1 somewhat pasty when applied and quite permanent1 is always used in delineating the ornamental figures2 the other1 possibly a vegetable tint1 is always used as a ground upon which to execute designs in other mediums4 ,it is confined to a single group of ware4 ,it has in many cases disappeared entirely1 and where remaining can be removed with ease by rubbing4 ,a light purple tint is tastefully and sparingly employed in one group of ware4 ,browns and other hues occur but rarely and in all cases result from alterations of other colors produced in firing4 ,the color effects of this pottery1 although evidently much modified by age1 are sufficiently rich to be highly pleasing to the eye4 ,use4--,the uses to which most classes of earthen products were applied are easily determined4 ,whistles1 drums1 rattles1 and spindle whorls have definite duties to perform1 and vessels1 as to general scope of function1 answer for themselves3 but when we come to inquire into the particular uses of the various groups of vessels we are often at a loss4 ,the majority of the pieces show no abrasion by handling or discoloration by fire or by contents1 and ,i am inclined to believe that a large portion were taken directly from the furnace and deposited in the tombs4 ,this implies manufacture for purely mortuary purposes4 ,two important groups1 the high tripods and the two handled cups or pots1 are generally discolored by use over fire1 but we cannot say with confidence whether that use was a domestic one or whether it was ceremonial4 ,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 beverages4 ,a few large plain caldrons are found1 and these were probably domestic receptacles4 ,all things considered1 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 purposes4 ,the preceding paragraphs refer1 for the most part1 to the whole body of earthenware products1 but throughout the rest of this section ,i shall treat of vessels only1 except in the matter of decoration1 which refers equally to all classes of objects4 ,illustration3 a1 b1 c1 d1 e1 f ,fig4 #de4 ,fundamental forms of vases--convex outlines4 ,illustration3 a1 b1 c1 d1 e ,fig4 #df4 ,fundamental forms of vases--angular outlines4 ,illustration3 a1 b ,fig4 #dg4 ,vases of complex outlines--exceptional forms4 ,forms of vessels4--,divesting the utensil of extraneous features1 such as rims1 handles1 and legs1 we have the following series of shapes1 which shows a pretty full graduation of outline from extreme to extreme4 ,beginning with the simplest fundamental form1 the shallow cup 7,fig4 #de1 a71 we ascend gradually to more complex outlines1 such as are seen in the hemispherical bowl 7b71 the deep basin with slightly incurved rim 7c71 the globular form 7d71 and the elongated form 7e74 ,occasionally we see an eccentric variation1 such as is shown in f4 ,flat bottoms are unusual2 a conical base is the rule4 ,outlines do not always exhibit these even1 convex curves1 but many are straight or concave in profile1 as shown in ,fig4 #df4 ,complex forms are shown in ,fig4 #dg1 a and b1 and compound forms in ,fig4 #dh1 a and b4 ,examples of these classes are numerous and important4 ,the compound shapes result from the union of two or more simple forms4 ,eccentric forms are numerous and result in a majority of cases from the employment of some animal as a model4 ,thus1 if an alligator or almost any quadruped is embodied in the vessel1 the form tends to become elongated2 if a crab or a fish is imitated1 there is a tendency to flatness c4 ,the base is almost universally more or less conical1 is rarely flat1 and never concave1 excepting as the result of the addition of an annular foot or stand4 ,the radical shapes do not undergo any considerable change when rims1 necks1 handles1 legs1 and other appendages are added4 ,the rim or lip is in many cases incurved1 but as a rule it is turned outward4 ,the margin is plain1 symmetrical1 and often considerably thickened4 ,in a few instances the outline is rectangular or scalloped1 as shown in ,fig4 #di1 and the attachment of handles often leads to peculiar outlines1 as will be seen further on4 ,illustration3 a1 b ,fig4 #dh4 ,vases of compound forms4 ,illustration3 ,fig4 #di4 ,square lipped vessel4 ,illustration3 a1 b1 c1 d ,fig4 #ej4 ,variations in the forms of necks and rims--various groups of ware4 ,the neck in its simplest form is a narrow upright band surrounding the orifice 7,fig4 #ej1 a7 and is not differentiated from the rim4 ,variations in size and shape are shown in the remaining figures of the series4 ,in b it is a narrow constricted band beneath an overhanging rim1 in c it is upright and considerably elongated1 and in d it expands1 giving a funnel shaped mouth4 ,the exterior surface is very generally decorated with relieved or painted devices4 ,high necked bottles and pitcher shaped vessels are unknown4 ,illustration3 a1 b1 c1 d1 e1 f ,fig4 #ea4 ,arrangement of handles--various groups of ware4 ,handles constitute a very interesting feature of this pottery and are much varied in shape and arrangement4 ,in a few cases the handle is a single arch springing over the orifice1 as seen in ,fig4 #ea1 a4 ,again1 the handle is attached to one side1 as in b1 but as a rule handles occur in twos upon the shoulder1 one on either side of the aperture4 ,they are horizontally attached1 as in c1 or vertically placed1 as in d1 connecting the rim with the shoulder1 or they occur low on the body1 as in e4 ,in rare cases there are four handles1 which are arranged as seen in f or are set on in pairs4 ,in the elaboration of handles1 the use made of animal forms is perhaps the most notable feature4 ,grotesque figures are made to take the place of handles or are attached to or placed near them4 ,the treatment is so varied that ,i shall have to refer the student to the subsequent series of illustrations4 ,annular bases or feet were not in very general use in ,chiriqui1 although in some cases they are modeled with a great deal of grace4 ,the shape varies from a simple ring1 barely deep enough to give a firm support to the vessel when placed upon a level surface1 to a long1 attenuated column with flaring base4 ,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 countries4 ,illustration3 a1 b1 c1 d ,fig4 #eb4 ,types of annular bases or feet--various groups of ware4 ,illustration3 a ,biscuit ware4 b ,biscuit ware4 c ,tripod group4 d ,red line group4 ,fig4 #ec4 ,forms of legs--various groups of ware4 ,the vessel shown in ,fig4 #eb1 a1 has a somewhat rudimentary foot2 another1 b1 a firm1 wide base1 which is perforated to give lightness2 an hourglass-like piece is shown in c1 and a long1 bell shaped foot is seen in d4 ,in no part of the world do earthen vessels exhibit such a remarkable development of legs as in ,southern ,central ,america4 ,the tripod is the favorite support1 and in ,chiriqui the forms are more graceful than in the neighboring provinces4 ,in a few cases1 where the body was modeled in close imitation of animal forms1 four legs were used1 but three were generally preferred1 even for vessels of rectangular or irregular shapes4 ,in the simplest form they are small conical knobs1 placed rather close together about the base of the vessel 7,fig4 #ec1 a71 but from these the dimensions increase until the size is out of all reasonable proportion4 ,the maximum development in point of expansion is seen in b and the greatest height in c4 ,they are frequently modeled after life forms4 ,in a few cases rings or loops are employed1 as shown in d4 ,the larger forms1 and especially those imitating animals1 are hollow and contain round pellets of clay that rattle when the vessel is moved4 ,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 utensil1 and that in all probability the tripod was a feature acquired late in the progress of ,chiriquian culture1 as a result of some change in the surroundings of the people or in the uses to which the vessel was devoted4 ,annular bases and tripods would be of little use until level floors of unyielding material came into vogue4 ,decoration4--,in decoration the pottery of this province exhibits many remarkable features4 ,the work resembles somewhat closely1 in a number of its features1 that of certain districts lying to the north and to the south1 but at the same time it is possessed of very decided individuality4 ,from an examination of the designs ,i conclude that they represent a period of culture considerably inferior to that of some more northern sections1 although the ware itself is nowhere surpassed in grace of form and delicacy of finish4 ,the ornamentation is pretty evenly divided between plastic and flat forms4 ,the former include relieved features and intaglio features1 which are executed in the plastic clay1 and the latter comprise figures in color1 penciled or painted upon the surface4 ,each style of work embodies its own peculiar class of conceptions4 ,relief work is generally realistic or grotesque2 incised work is almost exclusively geometric1 and embraces combinations of lines usually recognized as archaic4 ,an occasional example is easily recognized as imitative4 ,painted figures are both geometric and imitative1 the two forms blending imperceptibly4 ,the more important plastic decorations consist of animal forms modeled in the round4 ,vegetable forms have not been employed4 ,fillets of clay imitating twisted cords are sparingly used in the decoration of necks and handles1 and rows and groups of small nodes are similarly employed4 ,the human figure is always treated in a conventional and usually in a grotesque manner4 ,the animals imitated include a very large number of species4 ,crocodiles1 pumas1 armadillos1 monkeys1 crabs1 lizards1 scorpions1 frogs1 and fish appear very frequently4 ,many of the animals1 owing to conventional treatment or to carelessness on the part of the modeler1 are difficult of identification4 ,these plastic forms occur in nearly all the groups of ware1 and similar forms are found to a limited extent in gold1 copper1 and stone1 as will be seen by reference to the illustrations already given4 ,their study will1 ,i believe1 give some insight into the mental characteristics of the ,chiriquians4 ,that their art1 so far as these figures are concerned1 was not serious is indicated by the sketchy1 unsystematic nature of the work1 and more especially by the grotesque and occasionally amusing representation of men and animals4 ,the figures are usually placed upon the shoulder of the vessel or are attached to the legs and handles or form part of them4 ,the favorite subjects are doleful little figures1 human or partly so1 fixed upon the vessel in a sitting posture1 with legs and arms doubled up1 and with expressions which appear to indicate a variety of exaggerated emotions 7,figs4 #ed1 #ee1 #ef74 ,illustration3 ,fig4 #ed4 ,fig4 #ee4 ,fig4 #ef4 ,grotesque figures forming the handles of small vases--terra cotta group4 ,illustration3 ,fig4 #eg4 ,fig4 #eh4 ,monstrous figures1 with serpent-shaped extremities--handled group4 ,illustration3 ,fig4 #ei4 ,fig4 #fj4 ,fig4 #fa4 ,grotesque figures--terra cotta group4 ,illustration3 ,fig4 #fb4 ,figure of monkey--terra cotta group ,illustration3 ,fig4 #fc4 ,fig4 #fd4 ,figures of monkeys--terra cotta group4 ,the exuberance of fancy often found vent in the production of monstrosities1 such as are seen in ,figs4 #eg and #eh1 in which the arms and legs of the figures are writhing serpents1 the faces expressing great agony2 in other cases the figures are double2 and again two bodies united at the waist have but one pair of legs4 ,an unusually grotesque creature is seen in ,figs4 #ei and #fj1 and another is given in ,fig4 #fa4 ,similar figures are worked in gold1 one of which is now worn as a charm by ,mr4 ,j4 ,b4 ,stearns4 ,figures of monkeys are shown in ,figs4 #fb1 #fc1 and #fd4 ,one creature1 represented as having a long1 trunk-like snout1 recurs frequently4 ,such a form discovered in the earlier days of archologic investigation would probably have given rise to many surmises as to the contemporaneous existence of man and the elephant in ,chiriqui4 ,in reality the original was probably some unassuming little inhabitant of the isthmian jungles4 ,this creature is shown in profile in ,fig4 #fe1 a1 and front views are given in b and c4 ,innumerable examples1 embracing most of the more important animals of ,chiriqui1 could be given1 but in a majority of cases identification is difficult or impossible1 as there has been little or no effort to reproduce nature with fidelity4 ,but the chief interest surrounding these figures is not found in the variety of creatures shown or in the character of the delineation1 but in the manner of their employment in the embellishment of ceramic forms4 ,the ancient potter must have possessed a keen sense of grace of form and of the proper adjustment of parts4 ,the most cultured taste could hardly improve upon the lines of the vases presented in ,figs4 #ff and #fg1 which employ the frog1 and in ,figs4 #fh and #fi1 in which other creatures are used4 ,many equally pleasing examples are illustrated further on4 ,the question very naturally arises as to whether these little figures had any meaning or performed any function aside from that of simple decoration4 ,i feel inclined to take the view that in their present condition they are survivals of ideographic originals2 that if their past could be unveiled we would find that in the primitive ages they were not exclusively employed for ornament4 ,the animals made use of originally were the embodiment of mythologic conceptions1 and their images were revered or served as fetiches or charms1 and because of this they came to have a permanent place in art4 ,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 functions4 ,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 potter4 ,we may suppose that they occur in twos because the handles with which they were associated occurred in twos2 or1 if they serve to take the place of the extremities of the animal forms in the semblance of which the vases were originally modeled1 their positions may be related to the original positions of the heads and tails of those forms4 ,it is not improbable that the conventional incised and relieved ornaments1 the meanders1 nodes1 and varied marks refer also to the creatures or the markings of the creatures with which the vessel was associated4 ,illustration3 ,fig4 #fe4 ,animal forms exhibiting a long proboscis--handled group4 ,illustration3 ,fig4 #ff4 ,fig4 #fg4 ,vases illustrating ornamental use of animal figures--terra cotta group4 ,illustration3 ,fig4 #fh4 ,fig4 #fi4 ,vases illustrating ornamental use of animal figures--terra cotta group4 ,it will be seen1 from the above remarks1 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 taste4 ,,unpainted ,,ware4 ,for convenience of description ,i separate the pottery of ,chiriqui into two grand divisions3 the unpainted ware and the painted ware4 ,two important groups come under the first head4 ,the first of these1 the terra cotta or biscuit ware1 comprises a larger number of pieces than any other group and is readily distinguished by its colors1 which include only the pale grayish yellow and reddish tints of the burned clay4 ,the second is limited to a small number of pieces and is black or very dark upon the surface and dark within the mass4 ,the terra cotta group4--,this biscuit-like pottery is not in any way inferior to the painted varieties4 ,it bears evidence of great freedom in handling1 and serves1 perhaps better than any other class of products1 to illustrate the masterly skill and the refined taste of the ancient potter4 ,it is said to occur in the same cemeteries and in the same graves with the more important varieties of painted ware4 ,the function of these handsome vessels cannot be determined4 ,it can hardly have been of a domestic nature1 as they show no evidences of discoloration or wear1 and we are left to speculate upon the possibility of a purely ceremonial use4 ,the paste is moderately fine1 but contains an extremely large share of gritty sand2 the slip is thin and has received but a slight degree of polish1 so that the surface has a dead1 somewhat granular effect4 ,as a rule the vases are of small size and are very thin walled4 ,the forms are symmetrical and exceptionally graceful4 ,the ornamentation includes incised figures 7mostly geometric71 raised decoration 7of similar character71 and animal forms in the round4 ,the following illustrations are intended to epitomize the multitude of forms1 as anything like a complete representation is out of the question4 ,illustration3 ,fig4 #gj4 ,series of bowls and cups of unpainted ware4 ,bowls1 which form a leading feature of the pottery of most primitive peoples1 are here rarely seen1 excepting as mounted upon tripods or annular bases4 ,there are in the collection a number of small cups of hemispherical shape that may have served as spoons1 ladles1 or drinking vessels4 ,a few of these are outlined in ,fig4 #gj4 ,two have minute projections resembling handles affixed to the rim4 ,in rare cases these are so prolonged as to be of service in handling the cup2 but in no instance is there an approach to the long cylindrical handles seen in the earthenware of other districts4 ,illustration3 ,fig4 #ga4 ,vase of graceful form--4 ,illustration3 ,fig4 #gb4 ,vase of graceful form--4 ,illustration3 ,fig4 #gc4 ,vase of fine form1 ornamented with grotesque heads--4 ,in following the form scale upward from these simple shapes we find the orifice becoming more constricted and the neck more pronounced4 ,the margins are upright1 incurved1 or flaring1 and give variety and grace to the outlines4 ,a tendency toward elaboration of ornament accompanies the development of form4 ,bands of incised or relieved figures are carried around the neck1 shoulder1 and handles and are added in such a way as greatly to enhance the beauty of the vessel4 ,the forms of these vessels are so graceful and the finish is so perfect that one is tempted to present an extended series1 but it will be necessary to confine the illustrations to a limited number of type specimens4 ,fig4 #ga shows a somewhat shallow form of great simplicity and grace4 ,that in ,fig4 #gb is deeper1 with a narrow neck and a more decidedly conical shape4 ,two minute grotesque figures are perched upon the shoulder4 ,fig4 #gc represents a larger vessel of good form1 which has a neat incised pattern encircling the slightly incurved neck4 ,grotesque heads are set upon the shoulder4 ,a form somewhat more refined is shown in ,fig4 #gd4 ,the neck is furnished with a relieved ornament1 consisting of a meandered and indented fillet1 accompanied by two rows of minute indented nodes4 ,the heads are probably intended to represent the armadillo4 ,they are hollow and contain movable pellets4 ,the fillet ornaments are always tastefully treated1 and in many cases represent twisted and plaited cords4 ,some are marked in herring bone fashion and others have transverse indentations4 ,small pellets of clay were much used and to excellent advantage4 ,they were set on lightly with the fingers and firmly pressed down with minute pointed or edged tools and hollow straws or reeds 7,figs4 #ge and #gf74 ,some of these nodes are finished to represent the heads of animals4 ,this is done with an ease and a simplicity that call forth our admiration 7,fig4 #gg74 ,illustration3 ,fig4 #gd4 ,vase of fine form1 ornamented with grotesque heads--4 ,illustration3 ,fig4 #ge4 ,vase with ornaments of applied nodes and fillets--4 ,illustration3 ,fig4 #gf4 ,vase with mantle covered with incised figures--4 ,illustration3 ,fig4 #gg4 ,vase with frieze of grotesque heads--4 ,fig4 #gh illustrates a series of vases having flaring rims1 the treatment otherwise being uniform with the preceding4 ,we notice in these vessels a decided tendency towards complexity of outline4 ,three examples1 shown in ,fig4 #gi1 have a two storied character1 the upper part possibly being the outgrowth of the collar ornament seen in so many cases4 ,the large specimen in the center is a handsome piece with square offset at the shoulder and a decidedly conical base4 ,a chaste ornament in relief encircles the neck and two grotesque figures are seated upon opposite sides of the shoulder4 ,the vase at the left has two orifices1 set wide apart4 ,the body is oblong and slightly flattened above4 ,there are a number of vessels of this conformation in the collection1 some of which have the mouths so close together that the margins or lips coalesce in part4 ,a superb specimen of this class is illustrated in ,fig4 #hj4 ,the shape is thoroughly satisfactory to the eye1 having a refinement of line rarely attained in native ,american work4 ,its symmetry suggests the use of the wheel1 but the closest examination fails to detect a trace of mechanical appliance1 save that left by the polishing stone4 ,the decoration is simple and effective1 consisting of minute nodes with annular indentations about the necks and of two grotesque figures1 placed with consummate taste in the angles formed by the contact of the two necks4 ,illustration3 ,fig4 #gh4 ,vases with flaring rims and varied ornament--#a_/e4 ,illustration3 ,fig4 #gi4 ,vases with complex outlines and varied ornament--#a_/c4 ,illustration3 ,fig4 #hj4 ,large vase with two mouths and neatly decorated necks--4 ,illustration3 ,fig4 #ha4 ,large vase with high handles--#a_/c4 ,a very small percentage of these vessels possess true handles1 but these1 in some of the examples1 are worthy of high admiration4 ,the specimen presented in ,fig4 #ha attracts attention at once on account of its resemblance to well known classic forms4 ,it is evident1 from a study of this piece1 that only a step more was necessary to place these potters alongside of the highest masters of the art4 ,the sharp high elbow and the broadening of the handles at their junction with the lip are notable features4 ,the latter is shown more satisfactorily in ,fig4 #hb1 which is a top view of a companion piece4 ,i wish to call attention here to a peculiar feature of these handles and one repeated in vessels of other classes4 ,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 attachment1 as if1 at some previous time and perhaps in an antecedent form of vessel1 the upright and horizontal parts of the handles had been stitched or tied together at this point4 ,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 which1 as seen in other examples1 this feature has a tendency to graduate4 ,illustration3 ,fig4 #hb4 ,top view of high handled vase--#a_/c4 ,illustration3 ,fig4 #hc4 ,fig4 #hd4 ,fig4 #he4 ,examples of handled vases--4 ,these vessels are not numerous1 but acquire importance from their large size1 the larger being upwards of eight inches in height4 ,a few pieces of nearly identical shape1 but of small size1 are found among the painted wares4 ,additional shapes are given in ,figs4 #hc1 #hd1 and #he1 and serve to illustrate the extent of variation exhibited in this group of vases4 ,the small shallow piece is exceptionally fine and the handles are furnished with animal features of a highly conventional type4 ,an expansion of the handles somewhat similar to this is frequently seen in vessels of other classes1 especially in those of the handled group4 ,illustration3 ,fig4 #hf4 ,fig4 #hg4 ,small cup with single handle ornamented with grotesque figure--4 ,single handles of like character occur in a number of cases upon minute cups1 an example of which is given in ,fig4 #hf4 ,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 embellished4 ,the expansion is probably the outgrowth of the use of animal figures in connection with simple handles4 ,illustration3 ,fig4 #hh4 ,vase of eccentric form--4 ,we have a number of vessels of this group the bodies of which imitate animal forms1 but they are in nearly all cases furnished with legs4 ,rarely we meet with compound or eccentric forms4 ,an interesting specimen of the latter class is seen in ,fig4 #hh4 ,such shapes are common in ,peru and are occasionally met with in ,central ,america4 ,the two strong handles are decorated with minute images of birds and the bottom is concave1 an exceptional character in ,chiriquian work4 ,the illustration of this group of vessels would not be complete without a series of tripod vases4 ,in shape of body these vases differ but little from the legless forms already given1 excepting where the use of life forms has led to eccentric modifications4 ,very great interest attaches to the modeling of the tripod supports1 upon which the potters have expended much time and ingenuity4 ,illustration3 ,fig4 #hi4 ,fig4 #ij4 ,vessels illustrating forms of legs--4 ,illustration3 ,fig4 #ia4 ,vessel with large legs ornamented with stellar punctures--4 ,illustration3 ,fig4 #ib4 ,vases of varied form with plain and with animal shaped legs--#a_/c4 ,the illustrations given herewith are chosen from a great number of examples and are intended to convey an idea of the range of forms1 both of the vessels and of their supports4 ,figs4 #hi and #ij show plain forms of legs1 all of which are hollow and contain small pellets of clay4 ,the openings are generally wide vertical slits1 and are placed in front1 as seen in ,fig4 #hi1 or in the side1 as in ,fig4 #ij2 but in exceptional cases they take other shapes and are scattered over the surface1 as seen in ,fig4 #ia4 ,the legs are often remarkable in form1 being swollen to an enormous size above and terminating in small rounded points below4 ,the bowls are symmetrically shaped and graceful in outline4 ,in ,fig4 #ib ,i present a group illustrating some of the more eccentric forms of bowls and a variety of their supports4 ,a very superior piece and one of the largest of this style is shown in ,fig4 #ic4 ,illustration3 ,fig4 #ic4 ,large vase of striking shape--4 ,illustration3 ,fig4 #id4 ,cup with legs imitating animal forms--4 ,it will be seen that in a number of cases the legs are modeled to represent animal forms4 ,this feature is brought out more clearly in succeeding figures4 ,the creatures represented are often grotesque1 as seen in ,figs4 #id and #ie4 ,the human form is rarely shown in a way to make it clearly distinguishable from the figures of monkeys and other animals4 ,the armadillo is a favorite subject4 ,an example of small dimensions is illustrated in ,fig4 #if1 in which this animal is given in characteristic style1 and a more pretentious piece is shown in ,fig4 #ig4 ,the characteristics of the creature are very simply but graphically expressed4 ,in the first the hard ribbed and figured case is represented by applied fillets and nodes1 and in the other by incised lines4 ,the frog is also much used 7,fig4 #ih74 ,a rather remarkable conception is illustrated in ,fig4 #ii4 ,upon the front of each leg is a curious little animal-like figure1 to the front of which are bound two minute infantile creatures4 ,in the piece presented in ,fig4 #ajj1 the legs are grotesque heads1 inverted1 with wide open mouths and glaring eyes4 ,the work upon this vase is very superior4 ,illustration3 ,fig4 #ie4 ,cup with legs imitating a grotesque animal form--4 ,illustration3 ,fig4 #if4 ,fig4 #ig4 ,cups with legs imitating the armadillo--4 ,illustration3 ,fig4 #ih4 ,cup with frog shaped legs--4 ,illustration3 ,fig4 #ii4 ,cup with legs imitating an animal and its young--4 ,illustration3 ,fig4 #ajj4 ,cup supported by grotesque heads--4 ,the remarkable specimen illustrated in ,fig4 #aja is furnished with unique supports4 ,two rudely modeled1 semihuman1 grotesque figures are affixed to the under surface of the bowl1 supporting it with their backs4 ,illustration3 ,fig4 #aja4 ,large cup supported by two grotesque figures--#a_/c4 ,illustration3 ,fig4 #ajb4 ,cup with two animal heads attached to the sides--4 ,illustration3 ,fig4 #ajc4 ,cup with two animal heads attached to the sides--4 ,the legs of these figures are spread out horizontally1 so that a firm support is obtained4 ,the periphery of the body of this vessel is encircled by a number of nodes and noded projections1 which represent the heads1 tails1 and spines of two crab-like animals4 ,the heads1 with arms attached1 appear at the right and left1 and the tails occur at the front and back just over the heads of the supporting figures4 ,the use of the crab in this way is quite common4 ,fish1 birds1 and a variety of quadrupeds are similarly treated4 ,some very interesting examples of double headed animal vases are found4 ,two of these are outlined in ,figs4 #ajb and #ajc1 the first having a single orifice and the second a pair of orifices4 ,in many cases the bowl of the vessel is considerably modified1 to give a more decided resemblance to the body of the creature4 ,this is well shown in ,figs4 #ajd-ajf4 ,the first is probably intended for a bird3 the second resembles an armadillo2 and the third portrays a creature with ears and three horns4 ,the oblong vessel shown in ,fig4 #ajg is modeled after a curious fish1 to which the ,chiriquians seem to have attached considerable importance4 ,it is represented with a wide mouth displaying teeth1 two spines or horns upon the end of the snout1 and fins upon the back and sides4 ,fig4 #ajh gives the top view of another fish vase1 which is supported1 as are the others1 by three legs4 ,the body is flat and is encircled by well modeled fins4 ,the head is rather flat and has the eyes and nose on the upper surface4 ,i close this series of illustrations with an outline of a fine vase 7,fig4 #aji7 the rim of which is decorated with a single head of extremely grotesque and repulsive character4 ,illustration3 ,fig4 #ajd4 ,vase imitating an animal form--#a_/c4 ,illustration3 ,fig4 #aje4 ,vase imitating an animal form--#a_/c4 ,illustration3 ,fig4 #ajf4 ,vase shaped to imitate an animal form--#a_/c4 ,illustration3 ,fig4 #ajg4 ,fish shaped vessel--#a_/c4 ,illustration3 ,fig4 #ajh4 ,top view of a fish shaped vessel--#a_/c4 ,illustration3 ,fig4 #aji4 ,cup with grotesque head attached to the rim--4 ,black incised group4--,this pottery1 although closely related to the other varieties in its leading features1 presents differences of a pronounced character4 ,the number of specimens recovered is rather small4 ,the largest piece has a capacity of perhaps a quart4 ,some of the forms are identical with those of other groups1 but a few are peculiar to this ware4 ,the color is black1 brown1 or dark gray1 and in most cases the entire mass is quite dark4 ,the decoration is executed in two somewhat distinct styles3 in one the lines were scratched or engraved subsequently to the hardening of the clay2 in the other they were deeply engraved with a sharp point while the clay was still moist4 ,the lines are usually very deep and are filled with a white substance which renders the pattern distinctly visible upon the surface4 ,it seems probable that the lines were engraved deeply with the intention of producing this effect4 ,type specimens are shown in ,figs4 #aaj and #aaa4 ,they are small globular bottles1 with short necks and wide apertures and with handles placed at opposite sides of the lip1 which is prolonged to meet them4 ,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 them4 ,the figures appear to be very highly conventionalized animal forms1 probably serpents4 ,the coiled ends of the ribbon-like dotted bands are evidently meant to suggest the heads of reptiles4 ,the figures assume a variety of shapes and grade by degrees from the recognizable life forms into purely geometric patterns4 ,examples of the latter style are given in ,figs4 #aab and #aac4 ,the motives employed1 although so conventionally treated1 are pretty certainly identical in origin with the preceding4 ,illustration3 ,fig4 #aaj4 ,fig4 #aaa4 ,black cups with incised reptilian figures--4 ,illustration3 ,fig4 #aab4 ,black vase with conventional incised pattern--4 ,there are a number of tripods in this group1 some of which have the deeply incised ornaments and others the shallow ones4 ,the shapes vary greatly1 a few examples being decidedly ,costa ,rican in type4 ,pieces with round bodies have conical legs1 like much of the ,chiriquian ware1 but those with shallow basins and angular1 incurved1 upright1 or flaring rims have the ,costa ,rican tripod4 ,figs4 #aad and #aae may serve to illustrate this variety4 ,the first is a cup1 with upright sides and thick rim1 having an incised geometric pattern4 ,the second is much more striking in appearance4 ,the surface color is brownish gray in hue and the simple geometric design was scratched through into the lighter color beneath after the clay hardened4 ,the legs represent the heads of animals conventionally treated and are hollow1 containing movable pellets4 ,this specimen is from latitude #h #db north1 longitude #hb #eb west4 ,others of this class come from different parts of the province4 ,illustration3 ,fig4 #aac4 ,small cup with conventional incised patterns--4 ,illustration3 ,fig4 #aad4 ,small tripod cup with upright walls and legs imitating animal heads--4 ,illustration3 ,fig4 #aae4 ,vase with flaring rim and legs1 imitating animal heads--4 ,to this class belongs also a small dark vase of peculiar shape and interesting decoration1 which is illustrated in ,fig4 #aaf4 ,the neck is large and the lip widely flaring1 and the body is modeled in imitation of the head of some animal1 possibly a peccary4 ,the side representing the face is prolonged1 giving an unsymmetric profile1 as seen in the second figure4 ,the eyes are set midway between the ears 7which are placed at the sides7 and the nostrils1 and are inclosed by curious engraved figures1 probably suggested by the markings of the animal portrayed4 ,an arched ridge1 representing the brows1 connects the bridge of the nose with the ears4 ,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 creature4 ,as will be seen by reference to the figure1 it is a guilloche-like interlacing of fillets1 bordered and apparently held in place by longitudinal bands1 beyond which the angles of the ornament project4 ,the pattern is a modified form of one commonly seen upon the margins of the larger stone metates1 and1 although rarely met with in the pottery of ,chiriqui1 was a favorite motive with the potters of ,costa ,rica4 ,this vessel comes from #cj miles north-northwest of ,david4 ,illustration3 ,fig4 #aaf4 ,vase modeled to resemble the head of an animal--4 ,illustration3 ,fig4 #aag4 ,pattern upon the back of the vase presented in ,fig4 #aaf4 ,the unpainted wares here so briefly described are typically ,chiriquian1 and are closely associated in the graves with most of the leading groups of art products of the province4 ,it must be allowed that they take first rank in the isthmian states1 if not in ,america1 for simplicity and refinement of form1 perfection of method1 and purity of style4 ,,painted ,,ware4 ,the painted vases of ,chiriqui embrace at least ten easily distinguished varieties of ware4 ,the characters upon which the classification is based are somewhat heterogeneous and include material1 color1 shape1 finish1 ornamentation1 method of manufacture1 and evidences of use4 ,no single character and no one group of characters can be relied upon to distinguish the different groups4 ,we must depend1 therefore1 upon an assemblage of characters or upon one character in one place and another in another place4 ,observing a number of striking differences in two groups of ware1 we arrive at the conclusion that these groups must have been the work of distinct communities2 yet we find very marked differences in wares that 7through the possession in common of some particular feature7 we know to be the work of the same hands4 ,we can1 therefore1 determine little in regard to the peoples concerned4 ,i do not consider the presence in a single grave of two or more varieties sufficient proof of their common origin1 for a number of distinct wares may come into the possession of one community through trade1 conquest1 or the spoliation of tombs2 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 buried4 ,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 classification4 ,the following classification is1 under the circumstances1 the best that ,i can devise1 and is of use mainly as a means of facilitating description4 ,the name chosen generally indicates a leading or striking characteristic of the group4 ,the scarified group1 separated widely from all other varieties4 ,the handled group and ,the tripod group1 apparently the work of one community and devoted to the same or similar uses4 ,the maroon group2 ,the red line group2 ,the white line group2 ,the lost color group2 ,the alligator group2 and ,the polychrome group1 no two of which are sufficiently alike to make it certain1 without extraneous evidence1 that they were manufactured by the same community1 yet all clearly belonging to one great family4 ,these groups are presented in the order given4 ,before proceeding with the descriptions1 however1 there are some matters of a general nature that should be referred to4 ,technical questions have already received considerable attention1 and ,i shall need only to refer here to the painted ornamentation1 and at sufficient length to insure a clear understanding of its treatment and the scope of its subject matter4 ,painted vessels are embellished to some extent also by incising and modeling1 and these methods are employed very much as in the unpainted pottery already described4 ,painted decoration is executed with much freedom and in many cases with considerable skill4 ,it is greatly varied in method of treatment and embraces a wide range of motives4 ,geometric patterns occur in great variety1 but are found to be of types peculiar to ,isthmian ,america4 ,the conventional meanders1 frets1 and scrolls so extensively employed in other regions are here almost unknown4 ,decorative motives derived from natural forms are abundant and afford an excellent opportunity to study the processes of conventional modification4 ,these designs are often applied in a way to indicate that the decorator possessed a keen sense of the requirements of the vessel1 although the treatment perhaps is not as universally satisfactory as is the treatment of plastic embellishment4 ,the potter1 in preparing the vessel for the decorator1 ordinarily finished it with a slip or wash of fine clay1 which varied in hue from a gray white to a pale orange4 ,a slip of bright red tint was also extensively used4 ,the more delicate hues formed an excellent ground upon which to work4 ,the slip covered surface was generally polished1 often to a high degree1 with the usual polishing implements1 the marks of which can be seen upon the less carefully finished surfaces4 ,by observers unacquainted with aboriginal methods this polish is liable to be taken for a glaze1 and it has been pronounced a vitreous glaze by a few writers4 ,it is more noticeable upon specimens that have been handled a great deal1 as is the case with whistles1 needlecases1 and the like4 ,the colors utilized in decoration1 so far as they have been preserved1 are the ground tints1 described above1 and the delineating colors1 the latter consisting of black1 white1 red in various hues1 and a dull purple4 ,an additional color 7or perhaps a solution without particular color7 extensively employed in the designs has totally disappeared4 ,the nature of the various colors has not been determined1 but it is probable that some were of mineral and others of vegetal origin4 ,red was often employed as a ground color1 as stated above1 and sometimes covered the whole surface1 but more frequently occupied zones or panels4 ,in such use it was applied and polished down with the slip4 ,red was also extensively used in the delineation of decorative figures in several of the groups of ware1 and is in all cases a permanent color4 ,the hues vary decidedly with the groups of products1 suggesting differences in people or in environment4 ,white may have been freely used1 but it is preserved in a few cases only1 in which it was used in the production of simple decorative patterns1 and appears to have been a somewhat thick or pasty color4 ,black was extensively used and was of two distinct kinds3 a thick permanent pigment1 employed in the delineation of designs1 and a thin color1 not so permanent and employed exclusively as a ground upon which to execute designs in other mediums4 ,the latter may possibly be of vegetal derivation4 ,its use was confined to a single variety of ware1 the lost color group4 ,the former was employed in all the other groups1 with one exception1 the red line group4 ,the light purple tint is but sparingly used and only in the polychrome group4 ,it is very effective in combination with the reds and blacks upon the orange ground of this ware4 ,it is probably of a mineral nature4 ,what ,i have denominated the lost color was a pigment1 or taking out solution1 extensively and exclusively employed in the decoration of one of the principal groups of ware4 ,its former existence is made known by its action upon the ground colors and upon the paste or slip within the areas covered by it4 ,where superimposed upon black1 that color has in all cases been removed1 exposing the underlying tints of the slip in which the designs are now manifested1 the interspaces being still black4 ,in some cases the lost color has not only removed the black ground1 but has affected the slip beneath1 removing it also1 and to such a degree that the polished surface is destroyed and shallow intaglio lines occur1 leaving the interspaces in relief4 ,this circumstance enforces the idea that possibly the lost color was really not a color at all1 but an acid which acted upon the ground colors at once1 destroying the black entirely and leaving the effect now seen4 ,this point must remain for the present undetermined4 ,the figures in all cases appear to have been delineated with ordinary brushes and by purely free hand methods4 ,the degree of skill varies greatly4 ,the execution in the great body of the work is rather inferior and indicates a lack of skill and care1 but in a limited number of pieces the manipulation is masterly4 ,the designs are confined to the show spaces1 being exterior in narrow necked vessels and generally interior in shallow forms4 ,in arrangement upon the surfaces this decoration presents some novel features4 ,the slight degree of uniformity in arrangement indicates the absence of any mechanical aid1 such as the wheel1 which device would tend to reduce all decoration to a series of horizontal zones4 ,we observe indeed the occurrence of horizontal arrangements1 but not to a degree greater than would naturally arise as a result of the conformation of the vessel4 ,upright1 oblique1 and arched arrangements are frequently met with1 and all are safely attributable to the domination of spaces to be covered or to the influence of antecedent shapes4 ,examples and details are given as they come up in the various sections4 ,the scarified group4--,this group is represented by about forty specimens and is worthy of especial attention4 ,it comes from the graves of two localities1 one near ,c4 ,e4 ,taylor's hacienda1 north of ,david1 on the slopes of ,mount ,chiriqui1 and the other at ,alanje1 southwest of ,david4 ,as a variety of ware it stands so entirely alone that had it arrived unlabeled no one would have recognized its affinities with ,chiriquian art4 ,it is rather inferior in material1 grace of form1 and surface finish1 and the decoration appears to belong to a lower grade of culture than that of the other groups4 ,it is possibly the work of an inferior race in comparatively recent times4 ,nearly all the vessels are tripods1 but a few have rounded or flat bottoms and a few are supplied with annular stands4 ,the walls are thick and the shapes are uncouth or clumsy4 ,the paste is coarse1 poorly baked1 and friable2 near the surface it is a warm reddish or yellowish gray2 within the mass it is a dark gray4 ,illustration3 ,fig4 #aah4 ,tripod bowl of red scarified ware--#a_/c4 ,illustration3 ,fig4 #aai4 ,tripod bowl of red scarified ware--#a_/c4 ,the makers of this pottery1 like their brother artificers1 took especial pleasure in the modeling of life forms4 ,the work exhibited in these specimens is1 however1 exceptionally rude4 ,in some cases grotesque heads are attached to the rims of bowls2 in others the head1 tail1 and feet of animals appear about the periphery of the vase2 and in a number of cases the legs of the tripods are modeled to represent the forms of living creatures4 ,generally the feet are clumsy in shape and three toed1 suggesting the feet of the tapir4 ,these vessels are embellished by painting1 incising1 or scarifying and by modeling in relief4 ,color was not employed in the production of designs1 but a dark ,indian red pigment was daubed over that part of the surface not occupied by incised ornament4 ,little or no slip was used and the rude geometric patterns were executed with pointed tools in a very haphazard manner4 ,illustration3 ,fig4 #abj4 ,oblong basin with scarified design--#a_/c4 ,illustration3 ,fig4 #aba4 ,large bowl with handles imitating animal heads--#a_/c4 ,the bowls are more numerous than in any other group of the ,chiriquian ware1 but1 as in the other groups1 they are supplied with supports1 either tripods1 shaped like the feet of quadrupeds1 or rude annular bases4 ,in most cases the rim expands gradually from below1 as seen in ,fig4 #aah1 or is recurved1 as shown in ,fig4 #aai4 ,in a few cases the basin is oblong or boat shaped and the ends are pointed1 as indicated in ,fig4 #abj4 ,an interesting specimen is illustrated in ,fig4 #aba4 ,at the opposite ends of the bowl portions of the rim are carried upward and inward1 forming handle-like appendages1 modeled to represent1 rudely1 the heads of animals4 ,details of form and ornament are well brought out in the cut4 ,in ,fig4 #abb we have a high cylindrical shape with a flat bottom1 the surface being scarified in vertical bands4 ,a small pot1 having an annular base and decoration similar to the preceding1 is given in ,fig4 #abc4 ,in ,fig4 #abd1 instead of the vertical lines1 we have a series of heavy ribs4 ,two strong vertically placed loops are fixed upon opposite sides of the shoulder and the base is supplied with the usual feet4 ,illustration3 ,fig4 #abb4 ,jar with flat bottom and vertical bands of incised ornament--#a_/c4 ,illustration3 ,fig4 #abc4 ,vase with stand and vertical incised bands--#a_/c4 ,illustration3 ,fig4 #abd4 ,vase with handles1 legs1 and vertical ribs--#a_/c4 ,the tripods shown in ,figs4 #abe and #abf are somewhat mutilated1 but they present features of interest in the novel shapes and the unique animal forms with which the legs are embellished4 ,each leg is represented as a complete animal1 whose back or breast supports the vessel and whose cylindrical nether extremity rests upon the ground4 ,the head in the first example resembles an owl and in the second reminds one of some crustacean form4 ,an additional specimen of considerable interest is shown in ,fig4 #abg4 ,it is a heavy tripod1 having four independent mouths1 all opening into one chamber4 ,the shape is unsatisfactory1 being heavy and unsymmetrical4 ,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 polished4 ,illustration3 ,fig4 #abe4 ,tripod with owl-like heads at insertion of legs--#a_/c4 ,illustration3 ,fig4 #abf4 ,tripod with legs rudely suggesting animal forms--#a_/c4 ,illustration3 ,fig4 #abg4 ,heavy red vase with four mouths--#a_/c4 ,the handled group4--,the series of vessels to which this name is given comprises a large number of pieces of unusually even characters4 ,they are obtained from a pretty wide district to the north and west of ,david and occur in connection with other groups4 ,they are notable for uniformity in size1 shape1 and finish and for the unmistakable evidences of use over fire which at least three-fourths of them show4 ,with the exception of a few large caldrons1 not yet assigned to a particular group1 they are more like ordinary cooking vessels than any other group of ,chiriquian ware4 ,the size1 however1 is remarkably small1 the average capacity being about a pint4 ,larger pieces contain a quart or three pints4 ,the body is usually much compressed vertically and is flattish above and more or less conical below1 giving a very graceful contour4 ,the surface is rather rudely polished and the painting is done with notable carelessness1 as if the intended use were not favorable to the preservation of the ornament4 ,by means of a heavy brush1 red figures1 consisting of splotches1 stripes1 arches1 and encircling bands1 were applied to the yellowish gray surface and sometimes1 as indicated by a smeared appearance1 were polished down with an implement4 ,it does not seem that a slip of ordinary white clay was very generally used4 ,in a few cases a grayish blue tint appears upon some of the wider spaces4 ,illustration3 ,fig4 #abh4 ,vase with horizontally placed handles and rude designs in red--4 ,the handles are perhaps the most notable feature of this ware1 and usually occur two to a vessel2 rarely there is but one handle and in a few cases there are four4 ,this group may be separated into at least four sections by the styles of handles4 ,vessels of the two more important sections have two handles each1 which are placed vertically in one variety and horizontally in the other1 reference being had to the position of the points of attachment4 ,these differences of position have given rise to a marked difference in the shape of the orifice and of the lip4 ,the handle is a simple loop1 which in the one variety is placed as seen in ,fig4 #abh and in the other as in ,fig4 #acb4 ,in the latter case one end of the loop is fixed to the shoulder and the other end to the lip1 which is uniformly prolonged at the contact and is also widened all around2 the result is the curious winged outline shown in ,fig4 #acc4 ,a third variety of handle is a single arch1 which spans the orifice and is attached to opposite sides of the expanded lip4 ,in a fourth variety the looped handles are replaced by the heads of animals1 which are set upon the shoulder of the vase1 as are similar features in other groups of ware4 ,illustration3 ,fig4 #abi4 ,unpolished vase with heavy handles and coated with soot--4 ,illustration3 ,fig4 #acj4 ,round bodied red vase with unique handles and incised ornament--4 ,a type specimen with the horizontal loop is shown in ,fig4 #abh4 ,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 color4 ,a much less usual shape is given in ,fig4 #abi1 which exhibits some characters of contour that remind us of well known ,grecian forms4 ,another novel variation from the type is seen in ,fig4 #acj1 in which the arch of each loop is divided by an upright piece4 ,a neat incised ornament occupies the shoulder of this vessel and the remainder of the body is finished in pale red4 ,it will be observed that the handles are rarely wholly plain4 ,each loop is supplied with one or more rings or ring-like fillets1 or with small nodes1 generally near the most prominent part of the curve or arch4 ,by the study of a large number of specimens ,i am able to trace these puzzling features to their origin4 ,they are the representatives of life forms which were originally modeled in full detail and which are still so modeled in many cases4 ,the nodes and like features are atrophied heads1 hands1 or feet1 and in some cases are marked with indentations that refer to the eyes or to the fingers or toes1 and the round fillets stand for the arms and legs of animals1 or1 if notched in peculiar ways1 may be referred to other originals1 such as the mouths of fishes or the spines of crabs4 ,examples could be given showing all stages of the progress of simplification4 ,illustration3 ,fig4 #aca4 ,vase with grotesque figures attached to the handles--4 ,illustration3 ,fig4 #acb4 ,vase with upright handles and winged lip--4 ,in ,fig4 #aca ,i present a fine example of the horizontal loop1 in which the opposite ends are supported by grotesque animal figures1 applied1 however1 in a way not detrimental to the grace and simplicity of the vessel4 ,an example shown in ,fig4 #acb is of especial interest in this connection4 ,the ornament upon the handle serves as a link between the realistic life form and the conventional nodes and fillets4 ,in this case the node is supplied with eyes and a mouth1 and the double roll of clay beneath is manifestly intended for the arms1 the handle itself standing for the body4 ,the loop is upright and joins the shoulder to the rim4 ,the winged character produced by the expansion at the contact of handle and lip is shown to advantage in the top view 7,fig4 #acc47 ,in some cases this expansion is so great as completely to hide the body of the vase when viewed from above4 ,illustration3 ,fig4 #acc4 ,top view of vase with winged lip--4 ,illustration3 ,fig4 #acd4 ,vase with grotesque animal shaped handles--4 ,examples are outlined in ,figs4 #acd and #ace in which the life form is clearly defined4 ,in the first we have a human-like figure1 the face of which is entirely hidden by the hands4 ,in the second we observe a curious little animal figure1 with a long curved proboscis and a body covered with annular indentations4 ,in general shape and in ornamentation these vases do not differ from the preceding4 ,a remarkable piece1 with two pairs of handles1 is presented in ,fig4 #acf4 ,grotesque figures are attached to the outer surface of the loops1 one in each pair being placed in an inverted position4 ,the two figures seen in the cut are simple1 but those on the opposite pair of handles are compound1 being double above the waist4 ,the faces1 hands1 and feet of these figures are touched with red1 and the lip and body of the vase are decorated with carelessly drawn stripes of red4 ,in another case four plain handles are placed equidistantly about the neck of the vessel4 ,illustration3 ,fig4 #ace4 ,vase with handles representing strange animals--4 ,illustration3 ,fig4 #acf4 ,vase with two pairs of handles ornamented with grotesque figures--4 ,in a third variety the loop is omitted entirely1 the animal figure taking its place upon the shoulder of the vase4 ,this feature appears in the specimen given in ,fig4 #acg and represents the front part of a reptile1 the head being hollow and containing a large movable pellet4 ,this is a handsome piece1 well finished1 and decorated in the usual broad way4 ,illustration3 ,fig4 #acg4 ,vase with handles representing animal heads1 which are hollow and contain pellets of clay--4 ,illustration3 ,fig4 #ach4 ,vase with arched handles embellished with life forms in high relief--4 ,a fourth variety is shown in ,figs4 #ach and #aci1 in which the handle spans the orifice as in an ordinary basket4 ,the lip is flaring and is prolonged at the sides to meet the handle4 ,in one case the outer surface of the handle is embellished with figures of frogs and serpents1 or what seem to be intended for serpents1 modeled in the round and rather imperfectly attached1 and in the other with a pair of grotesque human figures set against the base of each end of the handle4 ,illustration3 ,fig4 #aci4 ,vase with arched handles embellished with life forms in high relief--4 ,typical vessels of this class are in many cases mounted upon tripods1 but1 for convenience of description1 these are classed with the succeeding group1 which consists mainly1 if not entirely1 of the same variety of ware4 ,to recapitulate1 the striking characteristics of this group are the uniformity of size1 shape1 and handles1 the rude finish and ruder ornamentation1 and the very marked evidence of use over fire4 ,the tripod group4--,closely related in most respects to the group of ware just described is the striking series of vessels here presented4 ,at first glance the resemblances are not apparent1 but a careful study renders it clear that the vessels proper correspond closely in both groups4 ,the basins are for the most part made in the same heavy1 rudely finished style1 the decoration is almost equally rude1 and the size and the evidence of use over fire are the same4 ,the strong contrast in appearance is due mainly to the presence of tripod supports in this group4 ,the legs1 which constitute such a striking feature1 are merely appendages to the bodies of vases already perfect1 and are evidently an acquired feature suggested by some change in function or in the habits of the people4 ,in this way we are able to account for the rather uncouth look observed in so many cases1 the legs being too long and too heavy to please the cultured taste2 yet in many cases the parts are so adjusted as to give an impression of firmness and strength1 united with a goodly share of grace of line4 ,the legs are very generally modeled to represent animal forms4 ,in a majority of cases the fish was chosen because1 perhaps1 its shape was suitable or because the fish bore some relation to the use to which the vessel was to be devoted4 ,lizards and mammals are also seen and the human form occasionally appears4 ,in some cases the animal figure is attached to the upper part of the leg or is perched upon the hip1 where that feature is pronounced4 ,the body1 or shaft1 is hollow and contains pellets of clay1 sometimes one only and again a dozen or more1 and in order that these may be seen and heard variously shaped slits are cut in the sides or front of the legs4 ,if the animal represented is a fish or lizard the entire body is modeled3 the head is placed at the top1 the under jaw or neck uniting with the body of the vessel2 the tail rests upon the ground1 and the fins or legs appear along the sides of the shaft4 ,it should be observed that1 while in ,chiriqui the whole body of the creature is usually employed in forming the support1 in ,central ,america and ,mexico the head alone is very generally used1 the nose resting upon the ground4 ,in less elaborate forms the legs are plain or have the merest hint of animal form in a node1 a notched ridge1 or a slightly modified extremity4 ,handles are present in a majority of cases and as in the preceding group take the form of loops or represent the forms of animals4 ,the loops are generally attached in a vertical position1 connecting the shoulder with the lip of the vessel1 and are plain round ropes of clay or consist of two or three cords twisted or plaited together4 ,a few eccentric forms occur and are illustrated early in this section4 ,the animal shapes are often quite elaborate and appear to bear no relation to the creatures embodied in the legs of the vessel2 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 acquisitions1 since features developed together are uniformly well adjusted4 ,the rim or lip is generally heavy and flaring1 and the neck1 which is short and pretty sharply constricted1 is decorated with incised patterns and with various applied ornaments in relief4 ,the body is graceful in outline and more or less conical below4 ,as a rule the surface is uneven and but slightly polished and the figures in red are rudely executed1 but in the more pretentious pieces much care has been exercised in finishing and painting4 ,most of the vessels have been used over the fire and still retain the sooty incrustations4 ,this ware comes from a wide range of territory to the north and west of ,david4 ,the following illustrations represent some of the more important pieces and serve to give a partial idea of the range of form1 size1 and decoration4 ,i present1 first1 three vases of rather eccentric shapes1 the basins of which are shallow and in two cases are flat bottomed4 ,the handles are of unusual shapes1 consisting of modifications of the lip1 as seen in the illustrations 7,figs4 #adj-adb74 ,life elements are present in all cases in connection with the handles and legs where these are preserved1 but they are very meager and so abbreviated as to be identified with difficulty4 ,incised markings at the ends of the handles represent hands or feet and eyes are affixed to the upper part of the legs4 ,the ware is identical with that of the preceding group4 ,illustration3 ,fig4 #adj4 ,fig4 #ada4 ,fig4 #adb4 ,tripod vases with shallow basins and eccentric handles--#a_/c4 ,a representative specimen of the fish legged vessels is presented in ,fig4 #adc4 ,it is one of the most graceful forms in the series and is neatly finished and embellished1 but is thoroughly blackened with soot4 ,the handles are formed of twisted fillets or ropes of clay and a narrow1 incised1 rope-like band encircles the lower part of the neck4 ,set upon the neck and alternating with the handles are two scrolls neatly formed of small round ropes of clay4 ,the fishes forming the legs are very simply treated4 ,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 screwheads4 ,a pair of fins--small incised or channeled cones--is placed at the sides of the head and another at the sides of the body4 ,the cavity contains a single ball of clay and the slit is long and wide4 ,in other examples the fish form is much more elaborately modeled4 ,the wide mouth exhibits a row of teeth and the body is well supplied with fins4 ,the head in ,fig4 #add reminds one forcibly of the catfish4 ,the snout is furnished with two horn-like appendages2 tooth-like features are formed by setting in pellets of clay1 and the gills are indicated by a punctured excrescence at the side of the mouth4 ,in other cases a high1 sharp cone is set upon the middle of the head 7,fig4 #ade74 ,it is channeled down the sides1 as if meant for a fin4 ,illustration3 ,fig4 #adc4 ,tripod vase of graceful shape and neat finish--#a_/c4 ,illustration3 ,fig4 #add4 ,heavy tripod vase with widely spreading feet--#a_/c4 ,the process of modeling these heads was about as follows3 ,the upper end of the leg--the head of the fish--was first rounded off1 giving the general shape2 then parallel incisions were made to represent the teeth1 and around these a fillet of clay was laid1 forming the lips1 which were then channeled with a sharp tool4 ,nodes or flattened pellets of clay1 representing the gills1 snout1 and eyes1 were then laid on and finished with incision-like indentations4 ,the handles consist of bird-like heads1 with protruding eyes and long bills that curve downward and connect with the shoulder of the vase4 ,the body is rudely spotted with red4 ,illustration3 ,fig4 #ade4 ,neatly modeled vase embellished with life forms and devices in red--#a_/c4 ,illustration3 ,fig4 #adf4 ,high tripod vase with incised designs and rude figures in red--#a_/c4 ,a large1 uncouth specimen is shown in ,fig4 #adf4 ,the legs are ponderous and are not neatly adjusted to the vessel4 ,a meander pattern of incised lines encircles the neck and the body is rudely decorated with broad red stripes4 ,illustration3 ,fig4 #adg4 ,handsome tripod vase with scroll ornament--#a_/c4 ,there is a general consistency in the use of life forms which is worthy of notice4 ,the fish and other creatures used1 although variously conceived and treated1 are never confused4 ,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 consistency4 ,in ,fig4 #adg we have an unusually graceful shape1 decorated about the neck with scrolls and indented fillets4 ,the legs represent some reptilian form resembling a lizard4 ,the head projects from the hip and is conventionally treated4 ,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 eyes4 ,the forelegs are attached at the sides near the top and the recurved terminal point is encircled by rings that stand for the coiled tail4 ,illustration3 ,fig4 #adh4 ,vase with lizard shaped legs--#a_/c4 ,illustration3 ,fig4 #adi4 ,vase with scroll ornament--#a_/c4 ,illustration3 ,fig4 #aej4 ,large vase with flaring rim and wide spreading legs--#a_/c4 ,there is little room for doubt as to the kind of creature represented in the legs of the vase given in ,fig4 #adh4 ,the head1 legs1 and general shape are characteristic of the lizard4 ,the vessel is small1 plain1 and neatly finished4 ,in ,fig4 #adi the legs of the vessel1 otherwise quite plain1 are surmounted by heads that seem to represent a dog or some like animal4 ,a series of neat vertically placed scrolls formed of round fillets encircles the neck1 and below these is a band in relief imitating a twisted cord4 ,a vase of unusually striking appearance is presented in ,fig4 #aej4 ,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 conformation4 ,small animal figures are perched upon the projecting hips4 ,the surface of the vessel is rudely finished and is much blackened by smoke about the upper part of the legs and the body4 ,a unique use of the animal form is illustrated in ,fig4 #aea1 which shows a large fragment of one of these tripods4 ,the figure of an alligator1 modeled with a great deal of spirit1 is attached to the side of the vessel1 resting partly upon the leg and extending upward obliquely to the lip4 ,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 jaws4 ,illustration3 ,fig4 #aea4 ,fragment of a tripod vase embellished with the figure of an alligator4 ,the alligator1 rarely employed in this group of ware1 is freely used in other groups and was probably a creature of importance in the mythology of ,chiriqui4 ,in one case only1 so far as ,i have seen1 is the human form employed in the supports of these vessels1 and in that case1 as will be seen in ,fig4 #aeb1 the result is extremely grotesque4 ,the shape of the basin is good and the thick1 rounded lip and most of the surface are carefully polished4 ,a disconnected meander of incised lines encircles the rather high neck1 and parts of the body and its attached features are painted red4 ,as usual this color was applied along with the slip and in polishing has become much mixed up with it1 giving a mottled effect4 ,the handles take the form of curious human-appearing figures which sit against the constricted neck1 their heads supporting the rim and their feet resting upon the shoulder of the vessel4 ,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 clay4 ,the hollow figures forming the legs of the vase are as grotesque as could well be imagined4 ,there is no head whatever1 and the outlandish features are placed upon the front of the upper part of the body4 ,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 body4 ,illustration3 ,fig4 #aeb4 ,vase supported by grotesque human figures--#a_/c4 ,i add1 in ,fig4 #aec1 one more example1 a large1 full bodied vase1 which1 more decidedly perhaps than any of the foregoing1 proclaims its relationship to the preceding group4 ,if the three rather clumsy legs were knocked off there would remain a large beautifully shaped and finished vase1 with a constricted but flaring rim not in any way distinguishable from those of the preceding group4 ,the legs in this case are less perfectly adapted to the vessel than in the other examples1 as if the potter1 skillful in modeling the vessel1 had only recently undertaken to add the tripod4 ,the slit in the outer face of the leg is unusually wide and the inclosed ball is three-fourths of an inch in diameter4 ,the most remarkable feature of this vessel is the pair of unique figures affixed to the upper surface of the body near the lip1 and which would seem to be intended to represent semihuman monsters4 ,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 feet4 ,the attitude is expressive of agony or horror4 ,it seems to me probable that1 contrary to the rule in primitive art1 these strange figures do not embody any well defined or serious conception1 but are rather exhibitions of the fancy of the potter4 ,they occupy small unpainted panels1 which are finished in neat incised patterns4 ,the remaining surface is a bright red4 ,illustration3 ,fig4 #aec4 ,round bodied vase embellished with figures of monsters--#a_/c4 ,it may be noted1 in recapitulation1 that these vases1 although elaborately modeled and often well finished1 are rudely decorated and very generally show use over fire2 that the legs1 though often graceful and well proportioned1 are in many cases clumsily adjusted to the body1 giving a decidedly unsatisfactory result as a whole4 ,this ware was devoted to domestic uses1 or1 if otherwise1 in all probability to the burning of incense4 ,animal forms are freely employed1 but in a rather rude way4 ,the fish form is more generally used than any other1 and is in all cases embodied in the legs of the vessel1 the head joining the body of the vessel and the tail resting upon the ground4 ,these representations exhibit all grades of elaboration from the fairly well modeled to the merest suggestion of animal character--any one feature1 as the mouth1 the eye1 the fins1 or the tail1 being alone a sufficient suggestion of the creature to satisfy the potter and keep alive the idea of the fish4 ,other animal forms are employed in modeling the legs1 and exhibit equally varying degrees of elaboration1 and it is worthy of especial note that creatures are not confused or confounded1 so far as ,i can discover1 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 incision4 ,there is no apparent relationship between the animal forms forming the legs and those attached to the body or to the rim of the vessel4 ,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 art2 but between these groups and those that follow there is a wide gap4 ,the differences are so marked that1 if they had come from widely separated localities1 very intimate relationships would not have been suggested4 ,illustration3 ,fig4 #aed4 ,cup with incurved rim and life form ornamentation--4 ,illustration3 ,fig4 #aee4 ,cup with widely expanded rim and constricted neck--4 ,the maroon group4--,for the want of a better name ,i have called the group first to be presented the maroon group1 on account of its color4 ,our collection comprises not more than a dozen pieces of this ware4 ,the locality from which they come is called ,los ,tenajos by ,mr4 ,mc,niel1 but he has not distinguished them in any way from the other varieties1 and ,i am therefore unable to say whether or not they occur together with others or under identical conditions4 ,in symmetry of outline1 diversity of shape1 and cleverness of modeling this ware takes a high rank1 but there is no painted ornament4 ,the surfaces are usually well polished1 and all exposed parts have received a coat of purplish maroon colored paint4 ,the paste contains a great deal of fine sand1 and is yellowish upon the surface and generally quite dark within the mass4 ,considering the small number of pieces1 the scale of form is remarkably varied4 ,there are plain bowls with incurved rims and with flaring rims1 vases with round bases1 with annular stands1 and with tripods1 and life forms wholly unique4 ,perhaps the most usual form is that shown in ,fig4 #aed1 which represents a small cup with incurved rim and a narrow annular base4 ,the shoulder is embellished with three groups of small nodes1 of four each1 which refer to some animal form4 ,in other similar vases the form of the creature is given in more realistic guise4 ,a larger vase1 similar to this in most respects1 has a rounded contour and incurved lip4 ,the periphery is supplied with four plain nodes4 ,another1 shown in ,fig4 #aee1 has a wide recurved rim1 a character seen to equally good advantage in some of the following figures4 ,in the small vase represented in ,fig4 #aef the treatment of animal forms in connection with the body of the vessel is shown to good advantage4 ,the head1 legs1 and tail of what is probably intended to represent an alligator1 modeled in the round1 are attached to the periphery of the basin1 and heads of some mammal are used for legs4 ,illustration3 ,fig4 #aef4 ,small tripod cup with animal features in high relief--4 ,illustration3 ,fig4 #aeg4 ,handsome vase supported by three grotesque figures--4 ,a most interesting tripod is shown in ,fig4 #aeg4 ,the bowl is beautifully modeled1 is symmetrical1 and has a flaring rim1 rounded and polished on the upper surface and drooping slightly at the outer margin4 ,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 ,zui ,indians4 ,the head is a rounded ball1 upon which pellets of clay are stuck to represent the features4 ,the arms are set against the sides of the body1 as in other isthmian specimens1 the hips are excessively large1 the legs straight1 and the feet small and united to form the foot of the vessel4 ,nearly the entire surface is finished in a dark purplish red paint1 which appears to have been polished down as a slip4 ,a companion piece is considerably smaller and the supporting figures are very grotesque and somewhat crouched1 as if bearing a very heavy weight4 ,a number of large basins or caldrons1 collected in ,chiriqui1 and fragments of vessels of extraordinary size resemble this ware in material1 color1 and finish4 ,the rims of the larger pieces are upwards of an inch thick and the walls are in cases three-fourths of an inch thick4 ,a number of large vessels of similar ware now in the ,national ,museum were collected in ,costa ,rica and ,nicaragua4 ,the red line group4--,the group of vessels to which ,i have given this name is represented by about a dozen specimens1 which indicate a wide range of form and exhibit a number of unique characters4 ,the localities from which they are derived extend from #h #bj to #h #dj north latitude and from #hb #dj to #hb #ej west longitude4 ,the paste is of about the usual composition1 but takes a variety of tints on burning1 a light gray orange prevailing4 ,the finish of the surface is about the same as in other groups4 ,the decoration consists of life forms and their conventional representatives in relief and of carelessly executed geometric designs1 the pigment used being a bright1 sienna-like red4 ,as will be seen by reference to the illustrations1 the forms are varied and pleasing1 but for the most part repeat outlines common to other groups4 ,the handles1 single or in twos1 are upright loops1 and the tripods are in nearly all cases looped or annular1 an unusual feature in other groups4 ,i present three illustrations1 two of which were given in outline in the introductory pages4 ,the first 7,fig4 #aeh7 has a well proportioned1 somewhat globular body1 supported by three legs formed of looped bands of clay4 ,on the shoulder are two small animal forms1 probably meant for frogs4 ,the spaces between these are occupied by panel-like arrangements of red lines4 ,the surface is yellowish gray in color1 excepting where blackened in the baking4 ,the paste has cracked in firing1 a feature observed in a number of pieces belonging to this group4 ,illustration3 ,fig4 #aeh4 ,vase decorated with figures of frogs and devices in red--4 ,illustration3 ,fig4 #aei4 ,vase of unique shape and life form ornamentation--4 ,illustration3 ,fig4 #afj4 ,two handled vase with life form and linear decoration--4 ,a unique piece is represented in ,fig4 #aei4 ,the single handle is a high projecting loop and connects with the margin of the orifice1 which rises to meet it1 and with the lower part of the shoulder4 ,an animal form1 apparently anthropomorphic1 is embodied in this vessel4 ,the upper part of the vessel1 separated by a slight constriction from the body proper1 represents the head of the creature1 the nose1 mouth1 and eyes appearing on the front and the ears at the sides4 ,a few incised lines seen upon the inner surface of the handle stand for the hair4 ,upon the shoulder are two sharp nodes1 standing for the breasts1 and between these are markings that represent a necklace4 ,a rude design in red lines covers the upper surface of the body4 ,a graceful shape is illustrated in ,fig4 #afj4 ,the paste is a grayish orange on the surface and is rather dark within the thicker portions of the walls4 ,the under surface is much blackened by use over fire4 ,an interesting feature is seen upon the handles at the highest point of the loop4 ,instead of the single indented transverse fillet observed in similar forms in other groups1 we have two such features1 set about an inch apart1 and between them are two indented nodes which stand for eyes1 and a number of indentations within the space refer to other features of the animal suggested4 ,upon the shoulder and collar of the vessel are carelessly drawn geometric patterns in red lines4 ,illustration3 ,fig4 #afa4 ,small tripod vase with animal figures in white--4 ,the white line group4--,one group of vases1 of which we have but four pieces1 is characterized by the use of a whitish pigment in decoration4 ,not one of the collections that ,i have seen is well supplied with this class of ware1 and hence little can be said of its varieties of form and ornament4 ,all are tripods1 but the shapes of the vessels vary considerably4 ,two small pieces are from latitude #h #dj north and longitude #hb #cb west4 ,one of these is shown in ,fig4 #afa4 ,they are small1 rather carelessly finished tripods1 with narrow necks and flattened bodies4 ,the inner surface of the orifice and the under side of the body are painted a dull red4 ,the remainder of the surface is a warm reddish gray1 the color of the slip and the paste4 ,the legs in the piece figured represent some small creature with a rabbit-like face and a body which tapers gradually to the base4 ,two feet are placed near the middle of the body1 which is striped transversely with white lines4 ,a white collar crosses the neck and the eyes are white dots4 ,the upper surface of the vase is embellished with two animal figures1 executed in a white earthy pigment4 ,they may refer to the alligator1 but the drawing is too conventional to admit of full identification4 ,the companion piece is a little larger1 and the upper surface is decorated with three groups of broad white stripes1 bordered by rows of dots1 which extend from the base of the neck to the periphery of the body4 ,the legs are similar to those of the other piece4 ,the little animal figure fixed to the upper end or hip is identical with that seen in the following illustration4 ,illustration3 ,fig4 #afb4 ,shapely vase with designs in white paint--4 ,the large tripod vase presented in ,fig4 #afb is distinct in many ways from anything in the collection and is remarkable for symmetry of form and neatness of finish4 ,the body is a long1 symmetrical cone and the legs are long1 straight cylinders1 neatly rounded off to a point below4 ,a thick rim projects at a sharp angle and is rounded up toward the margin4 ,the legs are hollow1 and through two pairs of lateral slits a number of small pellets can be seen1 which rattle when the vase is moved4 ,rudely modeled little animals1 with erect ears1 large feet1 and conical tails1 are fixed to the upper end of the legs4 ,the ground color1 the slip1 and the paste are of a reddish gray cast4 ,the greater part of the surface seems to have been painted red1 but the vase has been used over fire to such an extent that little of the original color remains4 ,the body and the legs have been decorated with geometric patterns in a whitish pigment that can be scraped off like indurated clay4 ,the little animal figures were also painted white4 ,a vase very similar to this1 from which the legs have been removed1 and the surface smoothed down1 has a longer and more graceful body and a similar rim4 ,another piece1 exhibiting similar yet even more strongly marked characteristics of shape1 belongs to the collection of ,mr4 ,j4 ,b4 ,stearns4 ,the lost color group4--,in number of specimens this group is second to none1 excepting perhaps that given under the head of terra cotta ware4 ,nine-tenths of the pieces may be classed as bottles1 which have rather short1 wide necks and globular bodies1 slightly conical below and in cases flattened above4 ,they range in size from one inch to nearly a foot in height1 but the average capacity is not above a pint4 ,aside from the bottles there is a wide range of shapes4 ,there are shallow bowls and various complex and compound forms4 ,animal forms are associated with all classes of vessels4 ,tripod supports are limited to rather modest proportions1 and handles1 although often present and greatly varied in style1 do not constitute an important feature4 ,these vessels are remarkably well preserved and exhibit few traces of abrasion by use or of blackening over fire4 ,the paste is fine grained and usually of a light yellow gray tint throughout4 ,the surface was finished either in a light colored slip or in a strong red pigment4 ,in some cases the light tint was used exclusively and again the red covered the entire surface1 but more frequently the two were used together1 occupying distinct areas of the same vessel and forming the groundwork for decorative patterns in other colors4 ,they were usually polished down with very great care1 giving a glistening surface1 upon which the markings of the tool can still be seen4 ,i have already described the methods of decoration1 but may review them briefly here4 ,the bright red color1 which forms such a prominent and pleasing feature1 is1 as stated above1 only a ground tint and is not used in any case in the delineation of design4 ,the actual patterns1 so varied and interesting1 were worked out in a pigment or fluid now totally lost1 but which has left traces of its former existence through its effect upon the ground colors4 ,in beginning the decoration1 a thin black color1 probably of vegetal character1 was carried over the area to be treated1 and upon this the figures were traced in the lost color4 ,when this color 7if it was indeed a pigment1 and not merely an acid or taking out medium7 disappeared1 it carried with it the black tint beneath1 exposing the light gray and red tints of the ground and leaving the interstices in black4 ,the interstitial figures thus formed are often of such a character as to be taken for the true design4 ,in examining the decoration of this ware it is essential that this fact should be kept in mind1 as otherwise great confusion will result4 ,the nature of the materials employed cannot be determined4 ,applied to the polished surface1 they were easily removed4 ,the black ground tint is now easily rubbed off and in most cases is much injured by handling or by contact with the soil4 ,the lost color may have been similar to the white1 argillaceous pigment used by the ,aztecs1 which has in many cases partially or wholly disappeared1 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 laid1 presenting the ornament in intaglio4 ,the designs are infinitely varied in appearance and arrangement1 yet are far from having a mixed or heterogeneous character4 ,it is probably our lack of knowledge of the origin and history of the elements and their derivations that causes confusion4 ,both geometric and imitative elements abound and are blended in perfectly graded series4 ,the treatment of geometric figures is peculiar to ,chiriqui and in many respects is peculiar to this group of ware4 ,classic forms1 such as the meander1 the scroll1 and the fret1 rarely occur and are barely recognizable4 ,it appears from a close study of all the work that motives derived from nature have greatly leavened the whole body of decoration4 ,this matter will receive attention as the examples are presented and will be treated with greater care in a succeeding section4 ,plastic decoration1 aside from the life forms so commonly associated with the body of the vase and with the handles and legs1 is not of importance4 ,the high degree of polish required in this ware tended to simplify all relieved features4 ,the presence of life forms in relief has produced important modifications in the appearance and the arrangement of the painted devices1 and in many cases there is a manifest correlation between the plastic and the painted forms3 as1 for example1 when the body of the vase was thought of as the body of the animal1 the extremities of which were placed upon its sides1 the colored figures carried out the idea of the creature by imitating in a more or less conventional way the markings of the body4 ,this will be understood through reference to the examples presented in the following pages4 ,i will present1 first1 a series of bottles1 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 manner4 ,the few pieces selected for illustration are totally inadequate to the proper representation of the group and must be regarded only as average specimens1 more or less typical in character4 ,i give first a number of examples in which the decorative devices are arranged in horizontal zones4 ,in ,fig4 #afc broad bands of ornament1 consisting of scalloped and plain lines1 encircle the neck and the body of the vessel4 ,in finishing this piece the whole surface was painted a rich red and highly polished2 then a black coat was applied1 covering the body from the lip to the base of the design2 and finally the delineating fluid was applied1 removing the black1 as shown in the narrow lines1 the sharply dentate bands1 and the broad1 plain band between4 ,the second example 7,fig4 #afd7 varies somewhat in shape and design1 but is identical in color and manipulation4 ,the dark figures are merely the interspaces1 although they appear at first glance to have been intended for the design proper4 ,illustration3 ,fig4 #afc4 ,small red bottle with horizontal bands of ornament consisting of plain and scalloped lines--4 ,illustration3 ,fig4 #afd4 ,small red bottle with encircling geometric devices--4 ,in a numerous series of vessels the decorated bands are divided into compartments or panels1 often four in number1 which spaces are occupied by lines and figures of greatly diversified characters4 ,in the example shown in ,fig4 #afe the ground color of the principal zone is in the light yellow gray tint of the slip1 the remainder being red4 ,this lends brilliancy to the effect4 ,illustration3 ,fig4 #afe4 ,bottle with zone occupied by geometric devices--4 ,illustration3 ,fig4 #aff4 ,bottle with broad zone containing geometric figures--4 ,in the vase shown in ,fig4 #aff the treatment is in a general way the same1 but the compartments are triangular and are separated by lines that form a disconnected meander4 ,an additional example is given in ,fig4 #afg4 ,here the principal zone is expanded to cover the whole upper surface of the vase1 which was finished in the light colored slip to receive it4 ,the principal lines are arranged to give the effect of rays when viewed from above1 but as seen in the cut they give the effect of a carelessly connected meander4 ,the groups of lines are bordered by series of dots4 ,a great number of pieces are painted in this style4 ,the effect is varied by altering the shape of the interspaces or by modifying the number and relationship of the lines1 dots1 and figures4 ,illustration3 ,fig4 #afg4 ,bottle with decoration of meandered lines--4 ,illustration3 ,fig4 #afh4 ,bottle with arched panels and geometric devices--4 ,somewhat similar also in general effect to the last example is the work upon another important series of vases4 ,instead of the simple meandered or zigzag arrangement of parts1 two of the dividing lines of the zone run tangent to the neck of the vase on opposite sides1 forming arched panels and leaving upright panels between4 ,in the example presented in ,fig4 #afh the arched areas are filled in with lattice-like arrangements of lines4 ,in others we have dots1 checkers1 and varied geometric combinations1 and in very many cases the figures are derived from life forms4 ,the same may be said of the devices that occupy the spaces between the arches4 ,the piece shown in ,fig4 #afi exhibits a somewhat more elaborate treatment1 but the motives and arrangements are much the same4 ,these vessels are peculiar in the treatment of the ground4 ,the entire surface is red1 with the exception of narrow bands of light ground color1 which outline the arches and encircle the periphery4 ,in other cases these bands are red1 the remainder of the ground being light4 ,series of lines are drawn from the lower border of the zone to the center of the base of the body4 ,illustration3 ,fig4 #afi4 ,bottle with arched panels and elaborate devices--4 ,illustration3 ,fig4 #agj4 ,vase with rosette-like panels--4 ,illustration3 ,fig4 #agj;a4 ,ornament from vase shown in ,fig4 #agj4 ,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 vessel1 forming vertical circles in which rosette-like designs are formed by repeating the radiate figures in an inverted position below the peripheral line4 ,the elaboration in these circular inclosures is very remarkable1 as will be seen by reference to the three examples given in ,figs4 #agj1 #aga1 and #agb4 ,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 it4 ,within the four broader black rays 7,fig4 #agj;a71 which are the interspaces or remnants of the ground1 groups of lines have been drawn1 in most cases curved at the inner ends like an opening frond and accompanied in all cases by series of dots4 ,an examination of a number of vessels shows various degrees of convention4 ,it is clear1 however1 that these devices1 showing curves1 hooks1 and dots1 are not of technical or mechanical origin1 but that they refer to delineative originals of which they are survivals2 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 decorator4 ,another question refers to the arrangement of the parts of the design in the five preceding figures4 ,the distribution of the designs is a matter of great interest1 and much may be learned from a close study of these specimens4 ,illustration3 ,fig4 #aga4 ,vase with rosette-like panels--4 ,illustration3 ,fig4 #agb4 ,vase with rosette-like panels--4 ,horizontal zones appear in the ceramic decoration of all countries1 and result1 no doubt1 from technical causes2 but the division of zones into compartments of peculiar shape is due to other influences4 ,i believe the peculiar arched arrangement here seen results from the employment of plastic features1 such as handles or life forms4 ,the ancient races were accustomed to conceive of the vessel as the body of an animal1 an idea originating in the association of mythologic conceptions with art4 ,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 existed1 or where it did not exist the sides were filled with devices representing the markings of the creature's body4 ,the decoration now consisted of four parts1 two in the round or in relief and two in color1 the former occupying small areas and the latter wide areas1 as seen in ,fig4 #agc4 ,the same result would spring from the use of two handles1 such a common feature in this ware4 ,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 7,fig4 #agd74 ,in time the plastic features1 being difficult to manage1 would gradually decrease in boldness of modeling and finally disappear1 leaving a space upon which the life form could be symbolized in color 7,fig4 #age74 ,now it happens that in this collection we have a series of examples illustrating all stages of this change1 the first1 the middle1 and the final steps being shown in the above figures4 ,illustration3 ,fig4 #agc4 ,fig4 #agd4 ,fig4 #age4 ,theoretical origin of the arched panels4 ,illustration3 ,fig4 #agf4 ,vase decorated with conventional figures of alligators--4 ,in multiplying these vessels the original forms and associations of decorative features are necessarily to some extent lost sight of2 the panels change in shape1 number1 and relationships2 and devices originally appropriate to particular spaces are employed indiscriminately1 so that the uninitiated see nothing but confusion4 ,all devices are delineations of or have more or less definite reference to the creature or spirit associated with the vessel4 ,illustration3 ,fig4 #agg4 ,fig4 #agh4 ,portions of decorated zones illustrating treatment of life forms4 ,illustration3 ,fig4 #agi4 ,vase decorated with highly conventional life forms--4 ,i will now pass over the many hundreds of pieces with designs too conventional to furnish a clew to the original animal forms1 yet still suggesting their existence1 to those in which the life forms can be traced with ease or in which they are delineated with a much nearer approach to nature4 ,the manner of introducing life forms into the panels of the encircling zones is illustrated in the following figures4 ,in the vase shown in ,fig4 #agf there are four panels1 two short and two long1 separated by vertical bands4 ,the short panels are black1 but the long ones are occupied by rudely drawn figures of alligators1 some of which are very curiously abbreviated4 ,at the right hand in the cut we have simply the head with its strong recurved jaws and notched crest4 ,the principal figure at the left is a two headed alligator1 the body being straight and supplied with two feet4 ,the ground finish of the decorated band is in the light gray tint and the alligator figures and vertical septa now appear in that color4 ,the ground of the remainder of the surface is red4 ,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 vessel4 ,additional examples of animal devices are given in ,figs4 #agg and #agh4 ,the significance of the curious figure seen in the first is not easily determined1 although we do not hesitate to assign to it an animal origin4 ,there is a suggestion of two sitting figures placed back to back between the upright serrate lines4 ,in the second piece1 which is from another vessel1 the space between the serrate lines is occupied by a sketchy figure which1 in the phraseology of heraldry1 may be likened to a monkey rampant4 ,illustration3 ,fig4 #agi;a4 ,design from vase shown in ,fig4 #agi4 ,illustration3 ,fig4 #ahj4 ,vase decorated with highly conventional life forms--4 ,in ,figs4 #agi and #ahj ,i present very interesting examples in which the arched panels are used4 ,in the first the compartments are occupied by a favorite ,chiriquian motive1 which consists of groups of lines curled up at one end like unfolding fronds4 ,the whole group represents a very highly conventionalized animal figure 7,fig4 #agi;a74 ,the devices occupying the upright panels take the place of the animal heads shown in several preceding figures4 ,in the arched panels shown in ,fig4 #ahj we have the frond-like motive treated in a manner to make it pretty certain that a reptilian form is intended4 ,these figures are fully and systematically presented in a succeeding section4 ,many of these globular vases are unusually handsome4 ,the polished ground is red or is varied with stripes or panels of the whitish slip4 ,over this ground the whole surface was painted black and then the lost color was employed to work out the design4 ,the coiled figures were produced by drawing the lines in the lost color4 ,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 borders4 ,the presentation of these ornaments brings me naturally to the consideration of a number of very puzzling forms which1 if taken alone1 must inevitably be referred to vegetal originals4 ,in ,fig4 #aha we have a handsomely shaped vessel1 finished in a polished red ground and decorated in the usual manner4 ,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 sides4 ,the stalks are probably the septa of the panels and the leaves are the usual reptilian symbols4 ,about the widest part of the body of the vase is a band of ornament probably representing an animal4 ,illustration3 ,fig4 #aha4 ,vase decorated with highly conventional life forms--4 ,a still more remarkable ornament is shown in ,fig4 #ahb4 ,the decorated zone of the vessel from which this is taken is divided into three panels1 each of which contains stem-like figures terminating in flower shaped heads and uniting in a most remarkable way animal derivatives and vegetal forms4 ,i am inclined to the view that here1 as in the preceding case1 the resemblance to a vegetal growth is purely adventitious4 ,illustration3 ,fig4 #ahb4 ,decorated panel with devices resembling vegetal growths1 but probably of animal origin--4 ,illustration3 ,fig4 #ahc4 ,example of vase of unusual shape--4 ,illustration3 ,fig4 #ahd4 ,fig4 #ahe4 ,examples of vases of unusual shapes--4 ,in striking contrast with the globular forms just given are the angular outlines presented in the following illustrations4 ,the first is flattened above1 the body being much expanded horizontally and having a sharp peripheral angle4 ,upon the shoulder1 occupying the places of and probably standing for animal heads1 are two cruciform nodes1 about which the scroll-like decorations of the upper surface are coiled4 ,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 decorations4 ,the second illustration represents a neatly finished bottle1 with upright sides and conical base1 upon the shoulder of which minute animal figures are perched4 ,the painted design is nearly obliterated4 ,the third example is unique4 ,the sides are upright and the bottom is flat4 ,the ornament occupies the entire surface and is divided into two sections or zones by a red band about the middle4 ,illustration3 ,fig4 #ahf4 ,double vessel with high arched handle--4 ,complex and compound forms are comparatively rare4 ,a double vessel is shown in ,fig4 #ahf1 and a second1 varying somewhat from the first in shape and ornamentation1 is presented in the succeeding figure4 ,vessels of this form are always small1 but are neatly constructed and finished with much care4 ,the strong handles are more or less arched and connect the inner margins of the two lips4 ,the bodies of the twin cups are closely joined1 but the two compartments are not connected4 ,illustration3 ,fig4 #ahg4 ,double vessel with arched handle--4 ,it seems impossible to present a satisfactory series of the plastic features characteristic of this group of products without extending this paper inordinately4 ,handles1 legs1 and life forms are varied and interesting2 they are not so boldly treated1 however1 as in some of the other groups4 ,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 color1 the processes tending to subdue and simplify the salient features4 ,illustration3 ,fig4 #ahh4 ,vase embellished with life forms1 heads in relief and other parts in color--4 ,with reference to life forms it has already been pointed out that the painted figures generally imitate or typify animal forms1 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 conceptions4 ,this is shown to advantage in ,fig4 #ahh1 which illustrates a small1 well formed bottle1 having two large human-like heads attached to opposite sides of the body4 ,there are no other plastic features1 but the heads are supplied with arms and legs1 rudely expressed in black lines1 which are really the interspaces of the lines drawn in the lost color4 ,these painted parts occupy the zone usually devoted to decoration and1 as will be seen by reference to the cut1 resemble closely the radiate or meandered figures seen in vases of the class shown in ,fig4 #afg4 ,the arms are joined to the lower part of the head and extend upward to the neck of the vessel1 where they terminate in rudely suggested fingers4 ,rising to the right and left of the arms are legs terminating as do the arms4 ,a double row of dots is carried along each member1 and thus we have a suggestion of the relation of the dots and dotted lines1 seen in more highly conventional forms1 to the markings of the creature represented or symbolized4 ,the grotesque faces are covered with lines which follow the forms as if imitating markings upon the skin4 ,another example1 equally suggestive1 also employing an animal form1 is shown in ,fig4 #ahi4 ,it is a cup1 mounted upon three feet1 which has attached to one side the head of a peccary1 modeled with more than usual skill4 ,the ears of the animal appear at the sides of the vessel and the tail is opposite the head4 ,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 skin4 ,behind the ears the markings are different in character and purely geometric4 ,a view of the under side of the vessel is shown in ,fig4 #aij and illustrates a treatment characteristic of the tripod vases of this class4 ,in other cases1 instead of fixing the head of the animal upon one side and other members of the body upon other sides1 two heads1 or two complete creatures1 are placed opposite each other4 ,illustration3 ,fig4 #ahi4 ,vase modeled to represent a peccary--4 ,illustration3 ,fig4 #aij4 ,under surface of vase shown in ,fig4 #ahi4 ,illustration3 ,fig4 #aia4 ,small vessel with human figures in high relief and geometric color decoration--4 ,i present next 7,fig4 #aia7 a piece in which there is no recognizable relationship between the painted and the plastic features4 ,it is a small tripod cup with upright walls1 upon which two characteristic ,chiriquian human figures1 male and female1 are fixed4 ,the painted figures upon the sides of the vessel are geometric1 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 them4 ,the legs1 however1 so far as can be determined1 are not related to the human motive1 as they are modeled and painted to imitate the heads of alligators4 ,i shall now present a few shallow bowls or pans mounted upon tripods4 ,they vary in dimensions from a few inches in diameter to a foot or more and are strongly made1 symmetrically formed1 and neatly finished4 ,the polished surfaces are mainly red4 ,the designs were executed in the usual way in the lost color1 upon a black ground1 and are confined chiefly to the exterior surface4 ,the alligator is the favorite motive1 and in a number of cases is quite graphically1 although still conventionally1 rendered4 ,as in the preceding examples1 the animal heads represented in the legs do not always correspond to the creatures embodied in the painted decoration4 ,illustration3 ,fig4 #aib4 ,tripod cup1 with figures of the alligator--4 ,in ,fig4 #aib we have a representative example of moderate size and ordinary finish4 ,the decorated band is divided into panels1 three of which are long and contain figures of the alligator4 ,the other three are short and are filled with conventional devices1 related perhaps to that animal4 ,the legs are apparently intended to resemble the heads of alligators4 ,a large piece1 nearly twelve inches in diameter1 is very similar in shape and decoration1 but the legs resemble puma heads4 ,the specimen shown in ,fig4 #aic is extremely well made and differs decidedly from the preceding4 ,the sides are upright and the lip is recurved and thick4 ,the legs represent some animal form with thick body1 eyes at the top1 and a tail-like appendage below that turns up and connects with the side of the body4 ,the form of the bowl is symmetrical and the surface carefully finished and polished4 ,the exterior design is divided into panels1 as in the preceding case2 the figures are simple and geometric4 ,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 figure1 now partially obliterated4 ,illustration3 ,fig4 #aic4 ,large shallow tripod vase1 with geometric decoration--4 ,the remarkable example shown in ,fig4 #aid illustrates a number of the points suggested in the preceding pages4 ,it is a large bottle of the usual contour and color1 mounted upon three high legs1 which are slit on the inner surface and contain movable balls of clay4 ,two handles1 placed at opposite sides of the neck1 represent human or anthropomorphic figures4 ,these figures and the neck and base of the vessel were finished in the red slip4 ,the broad zone extending from the neck to some distance below the periphery was finished in the gray slip1 with the exception of the frames of two panels beneath the handles and the foundation lines of two large figures of alligators1 which are in red4 ,the surface1 when thus treated1 was well polished and then a coat of black was laid upon it1 and upon this details of the designs were drawn in the lost color4 ,the figures of the alligators exhibit some striking peculiarities4 ,the hooked snout1 the hanging jaw1 the row of dotted notches extending along the back1 and especially the general curve of the body are worthy of attention4 ,these features are seen to better advantage in the series of vases presented in the following section4 ,belonging to this group are many whistles1 needlecases1 and rattles1 all of which are described under separate headings upon subsequent pages4 ,illustration3 ,fig4 #aid4 ,large bottle shaped vase1 with high tripod and alligator designs--4 ,the alligator group4--,the group of ware to which ,i give the above name is perhaps the most interesting in the collection1 although numerically inferior to some of those already presented4 ,its decoration is of a very striking character and may serve to throw much light upon the origin and evolution of certain linear devices1 as it illustrates with more than usual clearness the processes of modification4 ,i will first present a representative series of the vessels1 in order that they may in a measure tell their own story2 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 pass4 ,this group1 like that last described1 is composed chiefly of bottle shaped vases with globular bodies and short1 wide necks2 but there is no danger of confusion4 ,by placing a series from each group side by side a number of marked differences may be noted4 ,in the lost color group the neck is decided in form1 the body is usually somewhat flattened above and is distinctly conical below1 and the prevailing color is a rich dark red4 ,in the alligator group the body is more nearly globular and the curves of the whole outline are more gentle2 the prevailing color is a light yellowish gray4 ,the reds and the blacks1 which are used chiefly in the figures1 are confined to rather limited areas4 ,besides the bottle shaped vases1 there is a limited series of the usual forms1 and a few pieces exhibit unique features4 ,the management of life forms is especially instructive4 ,handles are rare and legs are usually not of especial interest1 as they are plain cones or at most but rude imitations of the legs of animals4 ,shallow vessels are invariably mounted upon tripods and a few of the deeper forms are so equipped4 ,usually the sizes are rather small2 but we occasionally observe a bottle having the capacity of a gallon or more4 ,the materials do not differ greatly from those employed in other groups of ware4 ,the paste is fine grained and light in color1 sometimes reddish near the surface1 and where quite thick is darker within the mass4 ,a slip of light yellowish hue was in most cases applied to the entire surface4 ,a red ochery pigment was in some instances used in finishing the lip and the base of the body1 and occasionally the red pigment was applied as a base1 a kind of sketch foundation for the decoration proper4 ,for example1 when the alligator was to appear upon the side of the vessel1 the principal forms were traced in broad lines of the red color1 and these were polished down with the slips4 ,when the polishing process was complete1 the details of the figure1 were drawn in black and in cases partially in red4 ,black was the chief delineating color1 the red having been confined to broad areas1 to outlines1 and to the enframing of panels4 ,in execution1 therefore1 there is a decided contrast with the preceding group1 and it may be added that there is an equally strong contrast in both treatment and subject matter of the ornament4 ,the motives are derived almost wholly from life forms and retain for the most part features that suggest their origin4 ,the subjects are chiefly reptilian1 the alligator appearing in a majority of cases1 and hence the name of the group4 ,i present first a few examples of plain bottles which have no extraneous plastic features4 ,the decorations are arranged in two ways1 in zones about the upper part of the body or in circular areas1 generally four in number1 equidistantly placed about the shoulder of the vessel4 ,illustration3 ,fig4 #aie4 ,large bottle1 with narrow zone containing figures of the alligator--#a_/c4 ,an example of the first style is given in ,fig4 #aie1 which represents the largest piece in this group of ware4 ,the form is symmetrical and very pleasing to the eye4 ,the surface is not very highly polished and shows the marks of the polishing implement distinctly over the entire surface4 ,two black lines encircle the flat upper surface of the rim and the outer margin is red4 ,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 red4 ,the narrow band of ornament occupies the lower margin of the light colored zone and consists of five encircling lines in black1 three of which are above and two below a band one-half an inch wide1 in which five much simplified figures of alligators are drawn4 ,besides these figures there are two vertical septum-like bands4 ,each of these consists of three lines bordered by dots1 which probably have some relationship with the alligator4 ,the decorated zone of these vessels is divided in various ways into panels1 some of which are triangular1 while others are rectangular or arched4 ,the latter form is seen in ,fig4 #aif4 ,five arches1 having no border line above1 are occupied by abbreviated alligator devices4 ,the number of compartments ranges in other specimens from two to a dozen or more4 ,they are filled in with various devices1 to be described in detail further on4 ,illustration3 ,fig4 #aif4 ,vase with decorated zone containing four arched panels--4 ,illustration3 ,fig4 #aig4 ,vase with four round nodes upon which animal devices are painted--4 ,a very peculiar form of decoration consists of circular or rosette-like ornaments1 such as are shown in ,fig4 #aig4 ,four slightly relieved nodes an inch or more in diameter are placed upon the shoulder of the vessel4 ,these are encircled by red lines which inclose two black lines each1 and within these are peculiar devices in black4 ,other vessels furnish figures of greatly diversified characters1 most of which evidently refer to life forms4 ,a full series of these is given in a subsequent section of this paper1 where the origin of the nodes and the manner in which the painted figures probably became associated with them will be fully set forth4 ,illustration3 ,fig4 #aih4 ,vases of varied form and decoration4 ,in the series of outlines presented in ,fig4 #aih1 we have some of the varieties of form and decoration of both the ordinary bottles and the plainer tripod cups4 ,each example presents certain features of particular interest4 ,the handsome little bottle 7d7 with the plastic ornament about the neck and the zone of geometric ornament in black and red lines is unique4 ,the double necked bottle is an unusual form and its decoration consists of a strangely conceived representation of the alligator4 ,the tripod vases are worthy of close attention3 the piece illustrated in b has a zone of ornament separated into three parts by vertical spaces1 each part being enframed in black4 ,the sections are divided by red lines into three panels1 each of which contains a conventional figure of an alligator in black4 ,the piece shown in a is unique in its decoration4 ,four angular fret links in black are inclosed in as many panels1 bordered by red and separated by blank spaces4 ,these fret links1 as ,i shall show further on1 probably refer to or symbolize the alligator4 ,the legs of the cups are all conical and are marked with short transverse lines in black1 which have a direct reference to the markings of the animal to which the vase was consecrated4 ,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 embellishment4 ,the series of examples which follow have a bearing upon this point4 ,i shall begin with that in which the creature is most literally rendered4 ,illustration3 ,fig4 #aii4 ,alligator vase1 with conventional markings--4 ,illustration3 ,fig4 #bjj4 ,alligator vase1 with conventional figures of the alligator painted on the sides--4 ,in ,fig4 #aii the whole conformation of the vessel is considerably modified through the attempt to perfect the likeness of the alligator1 whose head1 tail1 and legs are graphically rendered4 ,the body1 head1 and tail are covered with nodes1 each of which is encircled by a black ring and has a black dot upon the apex4 ,dotted rings and short strokes of black occupy the interspaces4 ,these devices represent the spines and scales of the creature's skin4 ,the legs are marked with horizontal stripes and oval spaces at the top inclose three dots each4 ,the general color of the vessel is a dark brown4 ,this piece should be compared with the alligator whistle shown in ,fig4 #bej4 ,a somewhat different treatment is shown in ,fig4 #bjj4 ,here the animal form has undergone considerable modification4 ,there are but three legs--a concession to the conventional tripod--and the body exhibits1 instead of the nodes and the markings of the creature's skin1 two conventional drawings of the whole animal4 ,now1 by higher and higher degrees of convention1 we come to a long series of modified results which must be omitted for want of room4 ,we find that the plastic features are gradually reduced until mere nodes appear where the head and the tail should be1 and finally in the lower forms there remains but a blank panel or a painted device1 as already shown in a preceding section4 ,the painted devices are also reduced by degrees until all resemblance to nature is lost and geometric devices alone remain4 ,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 peoples4 ,it is easy to see how1 from painting the markings of the creature's skin upon the body of the vessel1 the painter should come gradually to delineate parts of the creature or even the whole creature1 but we should not expect him to paint a creature distinct in kind from that modeled1 thus confusing or entirely separating the conceptions2 this has been done1 apparently1 in the vase illustrated in ,fig4 #bjb1 where the plastic form represents a puma and the painting upon the sides seems intended for an alligator4 ,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 body1 as in ,fig4 #bja1 but that they may refer to the entire creature 7,fig4 #bjj7 or even to what appears to be a totally distinct creature 7,fig4 #bjb74 ,illustration3 ,fig4 #bja4 ,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--4 ,if realistic or semirealistic delineations are confused in this way it is to be expected that highly conventional derivative figures1 so numerous and varied1 should be much less clearly distinguished2 that indeed there should be no certainty whatever in the reference to originals4 ,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 animal4 ,illustration3 ,fig4 #bjb4 ,vase representing a puma1 with figures of the alligator painted upon the sides--4 ,illustration3 ,fig4 #bjc4 ,shallow vase with reptilian features in the round and designs in red and black representing the markings of the creature's body--4 ,a very instructive example bearing upon this subject is shown in ,fig4 #bjc4 ,attached to one side of the basin is a pendent head resembling that of a serpent or a turtle4 ,a kind of hood overhangs the head and extends in a ridge around the sides of the vessel1 connecting with the tail of the creature1 which is also pendent and hooded4 ,four legs support the vessel and are marked with transverse stripes of red and black paint4 ,the upper surface of the head is covered with reticulated lines in black1 and bands of conventional ornament in the same color extend around the sides of the vessel1 uniting the head with the tail of the animal4 ,a single band of ornament passes beneath the body1 also connecting those members4 ,it is plain that these painted bands serve to complete the representation of the reptile4 ,but1 as ,i have just shown1 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 body4 ,these devices1 as arranged in the zone1 resemble in a remarkable degree the conventional running scroll4 ,illustration3 ,fig4 #bjd4 ,vase with funnel shaped mouth and square body1 supported by two grotesque figures and decorated with figures of alligators and monkeys--4 ,i have but one more example of the alligator vases to present1 but it is perhaps the most remarkable piece in the collection 7,fig4 #bjd74 ,it illustrates to good advantage both the skill and the strange fancy of these archaic potters4 ,a large vase1 having a high flaring rim and a subcubical body1 is supported by two grotesque human appearing figures1 whose backs are set against opposite ends of the vessel4 ,the legs are placed wide apart1 thus affording a firm support4 ,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 vessel4 ,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 flat1 well polished upper surface4 ,the extraordinary conformation of this part of the vessel recalls the well known whistling vases of ,south ,america2 but this piece is too badly broken to admit of experiment to test its powers4 ,it is generally likened to a money box4 ,in order to convey a clear conception of the shape of the upper surface1 ,i present a top view of the vessel 7,fig4 #bje74 ,illustration3 ,fig4 #bje4 ,top view of vase in ,fig4 #bjd1 showing the main orifice and the oblong openings4 ,illustration3 ,fig4 #bjf4 ,end view of vase in ,fig4 #bjd1 showing front view of grotesque figure4 ,the red portions of the painted figures are outlined with dots4 ,a front view of one of the supporting figures is shown in ,fig4 #bjf4 ,although certainly not intended to represent a human figure with accuracy1 it is furnished with a crown1 as are the figures in gold and stone1 and is covered with devices that seem to refer to costume4 ,the features are extremely grotesque1 the nose resembling the beak of a bird and the mouth being a mere ridge1 without indications of the lips4 ,the face and the chest are painted with curious devices in red4 ,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 matter4 ,the upper panel1 surrounded by a framework of black and red lines1 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 crowded4 ,the figure occupying the body panel is that of a very strangely conventionalized two tailed monkey and is enframed by a wide red line4 ,on the shoulder of the vessel is an ornament consisting of a number of angular hooks attached to a straight line4 ,the effect is like that of fretwork1 but the figure is probably derived from a modified animal form4 ,the paste of this vase is sandy and is reddish gray near the surface and quite dark within the mass4 ,the modeling is thoroughly well done1 and the surface1 which is of a somber1 yellowish gray tint1 is highly polished4 ,the figures are drawn chiefly in black1 red being confined to broad lines and areas4 ,de ,zeltner published photographic illustrations of a similar vase with his pamphlet on the graves of ,chiriqui4 ,that specimen is now1 ,i believe1 in the hands of ,prof4 ,o4 ,c4 ,marsh1 of ,new ,haven4 ,it corresponds very closely in nearly every respect with the example here described4 ,illustration3 ,fig4 #bjg4 ,large vase with decorations in red and black--4 ,the polychrome group4--,the ,national ,museum collection contains but three examples of this most artistic of the wares of ,chiriqui4 ,its claim to superiority rests upon a certain boldness and refinement of execution1 combined with nobleness of outline and a type of design much in advance of other isthmian decoration4 ,it is probably most nearly allied to the ware of the alligator group1 and it possesses some of the characteristics of the best ,central ,american work4 ,unlike the other wares of ,chiriqui1 this pottery has a bright salmon red paste and the slip proper is a delicate shade of the same color4 ,in nearly all cases undecorated portions of the surface are finished in red1 which appears to have been polished down as a slip4 ,the designs are in three colors--black1 a strong red1 and a fine gray purple--which1 in combination with the bright reddish ground1 give a very rich effect4 ,the first example1 shown in ,fig4 #bjg1 is a large1 nearly symmetrical bottle with a short neck and a thick1 flaring lip4 ,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 slip4 ,a wide zone of ornament encircles the upper surface of the body4 ,the designs are executed with great skill in red and black colors and include two highly conventional figures1 probably of reptilian origin4 ,the manner of their introduction into the zone is shown in ,fig4 #bjh4 ,the oval faces are placed on opposite sides1 taking the positions usually occupied by modeled heads4 ,each face is supplemented by a pair of arms which terminate in curiously conventional hands1 and the two caudal appendages are placed midway between the faces1 filling triangular areas4 ,the body of the vase serves as a body for both creatures4 ,in the illustration1 the red of the design1 which is carried over all of one face save the eyes and mouth and serves to emphasize the features of the other face1 is indicated in vertical tint lines and the black is given in solid color4 ,this vase is twelve inches in height4 ,illustration3 ,fig4 #bjh4 ,devices of the decorated zone of vase shown in ,fig4 #bjg4 ,illustration3 ,fig4 #bji4 ,handsome vase with four handles and decorations in black1 red1 and purple--#b_/c4 ,a second example1 illustrated in ,fig4 #bji1 is a fine piece of somewhat unusual shape4 ,the orifice is trumpet shaped and rather too wide for good proportion4 ,the body is flattened above and conical below and is supported by a rather meager annular foot4 ,the paste is of a light brick red color1 and the slip1 as seen in the ground of the decorated belt1 is a pale gray orange4 ,undecorated portions of the surface are painted red4 ,the ornamented zone is interrupted by two pairs of handle-like appendages set upon the outer part of the shoulder4 ,these projections may possibly have served as handles1 as they are perforated both horizontally and vertically1 but they are at the same time undoubtedly conventionalized animal forms1 the creature being represented by the four flattened1 transversely marked arms or rays and an eye-like device painted upon the top of each figure4 ,the painted devices are seen in plan in ,fig4 #baj1 where the relations of the relieved features to the zone of painted decoration are clearly shown4 ,this zone is divided into panels of unequal dimensions1 and within these a number of extraordinary devices are drawn in three colors1 red1 black1 and purple4 ,these are distinguished in the plan by peculiar tint lines4 ,the designs are of such a character as to leave little doubt that they are ideographic1 although at present it is impossible to guess the nature of the associated ideas4 ,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 ,fig4 #baa4 ,the latter shape is such as would result from inverting the preceding form1 removing the conical base of the body1 and using the funnel shaped orifice as a stand4 ,this highly developed shape implies a long practice of the art4 ,the form is a usual one in ,mexico and in ,central ,america4 ,the bowl is shallow and is set gracefully upon the stand1 the whole shape closely resembling simple conditions of the classic kylix4 ,the color of the paste is a pale brick red and that of the slip approaches orange4 ,the walls are thick and even and the surface is very carefully polished4 ,illustration3 ,fig4 #baj4 ,the painted designs of vase in ,fig4 #bji viewed from above4 ,the painted decoration is of unusual interest4 ,the colors are so rich1 the execution is so superior1 and the conception so strange that we dwell upon it with surprise and wonder4 ,the central portion of the bowl is occupied by what would seem to represent a fish painted in strong1 firm1 marvelously turned lines1 and in a style of convention wholly unique4 ,the outlines are in black and the spaces are filled in with red and purple or are left in the orange hue of the ground4 ,an idea of the superior style of execution can be gained from ,fig4 #bab4 ,it will be impossible to characterize the details of the drawing in words4 ,the strange position and shape of the head1 the oddly placed eyes and mouth1 and the totally incomprehensible treatment of the body can be appreciated1 however1 by referring to the illustration4 ,a careful study leads inevitably to the conclusion that this was no ordinary decoration1 no playing with lines1 but a serious working out of a conception every part of which had its significance or its raison d'tre4 ,illustration3 ,fig4 #baa4 ,vase of unusual shape1 with decoration in black1 red1 and purple--#a_/c4 ,illustration3 ,fig4 #bab4 ,ornament occupying the interior surface of the basin of vase shown in ,fig4 #baa4 ,the figures occupying the border zone of the bowl are worthy of careful inspection4 ,it will be seen that the potter1 even in this highly specialized condition of the utensil1 has not lost sight of the conception that the vessel is the body of an animal1 as we have seen so often in simpler forms1 and that the symbols of the creature should appear upon it and encircle it4 ,the zone is divided into two equal sections by small knobs1 painted1 as are the handle-like appendages in the preceding specimen1 to represent some animal feature4 ,the lateral sections are occupied by eye-like figures that stand for the markings of the body of the creature symbolized4 ,they really occupy the spaces left by a continuous waved body or life line1 which they serve to define4 ,devices of this class are most frequently met with in connection with representations of the alligator4 ,they may1 however1 symbolize the serpent1 as occasionally seen in the alligator group4 ,decorative conceptions so remarkable as these could arise only through one channel3 the channel of mythology4 ,the superstitions of men have imposed upon the art a series of conceptions fixed in character and limited to especial positions1 relations1 and forms of expression4 ,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 people2 but we do learn something of the stage of development1 something of the condition of philosophy4 ,illustration3 ,fig4 #bac4 ,large vase of fine shape and simple decorations4 ,from ,de ,zeltner--about 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 pamphlet4 ,they are now1 ,i believe1 in the possession of ,prof4 ,o4 ,c4 ,marsh4 ,the sketches given herewith are copied from ,de ,zeltner's photographs and are probably somewhat defective in details of drawing4 ,the piece illustrated in ,fig4 #bac is not described by the author1 but is evidently a handsome vessel and is decorated in a very simple manner4 ,a band of devices symbolizing the body of an animal encircles the middle portion of the vase4 ,the height is about a foot4 ,illustration3 ,fig4 #bad4 ,vase with extraordinary decorative designs4 ,from ,de ,zeltner--about 4 ,a second piece 7,fig4 #bad71 of which two views are given by the same author1 corresponds closely in many respects with the vase illustrated in ,fig4 #baa and is described in the following language3 ,my collection includes a cup 7or chalice7 of baked clay #be centimeters in diameter1 mounted on a hollow stand which gives it a height of #ah centimeters1 and the designs of which are very rich and in perfect taste4 ,the base is hollow and colored red1 white1 black1 and purple2 it has four narrow openings or slits1 and the design represents plaits spirally arranged4 ,the under side of the cup is divided into four compartments1 each of which incloses a dragon painted in black and red on a white ground2 the borders are sometimes red1 sometimes purple4 ,the body of the dragon might have been painted in ,china1 so neat and intricate is the drawing4 ,the design upon the inside of the cup seems to resemble ,egyptian art4 ,the body of a man is seen1 painted in red1 the arms and legs separated1 and the shoulders bearing the head of the dragon with teeth and crest4 ,the color is similar to the rest of the piece--purple1 white1 and black4 ,the intermediate spaces are filled with very intricate designs4 ,this extraordinary design is shown in ,fig4 #bae1 and it will be seen that it agrees in many respects with figures presented in the lost color and alligator groups4 ,it is compound in character1 however1 the head referring to the alligator1 the body and extremities perhaps to a man or to a monkey4 ,the suggestion of the oriental dragon in this1 as in other examples1 is at once apparent1 and the resemblance to certain conventional forms that come down to us from the earliest known period of ,chinese art is truly remarkable4 ,we cannot1 of course1 predicate identity of origin even upon absolute identity of appearances1 but such correspondences are worthy of note1 as they may in time accumulate to such an extent that the belief in a common origin will force itself upon us4 ,illustration3 ,fig4 #bae4 ,painted design of vase in ,fig4 #bad1 viewed from above1 thought to represent a dragon by ,de ,zeltner2 probably a composite of the alligator and the monkey or man4 ,unclassified4--,a small number of vases do not admit of classification under any of the preceding heads4 ,in most cases1 however1 they are not of especial interest and may be passed over4 ,they represent a number of varieties of ware and are possibly not all ,chiriquian1 their affinities being rather with the pottery of ,costa ,rica and ,nicaragua4 ,one remarkable piece1 of which a sketch is given in ,fig4 #ej1 c1 is of large size and is shaped somewhat like an hour glass1 and on account of its peculiar form and markings may be said to resemble a corset4 ,the upper end is somewhat the smaller1 and the septum1 which forms the bottom of the vessel1 is placed about an inch above the base of the foot4 ,the interior surface is smoothly polished and painted a dark dull red4 ,the exterior is uncolored and neatly fluted4 ,the series of vertical ribs of the upper end is separated from those of the base by a belt of horizontal flutings1 and a wide smooth space extends from the top to the base1 the lower section of which is occupied by a row of button-like1 indented knobs4 ,the use of this utensil may not have been peculiar1 but its shape is wholly unique4 ,it resembles most nearly the ware of the maroon group4 ,its height is twelve inches4 ,perhaps the most interesting of these unclassified vases is a somewhat fragmentary piece1 of which an outline is given in ,fig4 #baf4 ,the ware closely resembles that of the alligator group in color of the paste and slip1 but the base has been supplied with an annular stand1 a feature not observed in that group1 and the colors of the design1 with the exception of the black1 are unlike those used in ,chiriquian vases4 ,illustration3 ,fig4 #baf4 ,vase of unique form and decoration--#a_/c4 ,illustration3 ,fig4 #bag4 ,painted design of vase in ,fig4 #baf in black1 red1 and gray4 ,it will be seen by reference to ,fig4 #bag that the painted figures are partially pictorial1 the conventional scenes including the sun1 the moon1 and stars4 ,the more conventional parts of the design are very curious and without doubt are symbolic4 ,the border of fret work is ,mexican in style4 ,the sun1 which is only partially exposed above the horizon1 is outlined in red and is surrounded by red rays4 ,the figures supposed to represent the moon and the stars are in black4 ,in the illustration the reds of the original are represented by vertical tint lines and the brownish grays by horizontal tint lines4 ,the black is in solid color4 ,,miscellaneous ,,objects ,,of ,,clay4 ,as primitive peoples advance in culture and the various branches of art are differentiated1 each of the materials employed is made to fill a wider and wider sphere of usefulness4 ,clay1 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 shapes1 gradually extended its dominion until almost every art was in a measure dependent upon it or in some way utilized it4 ,the extent of this expansion of availability is in a general way a measure of the advancement of the races concerned4 ,the ,chiriquians employed clay in the construction of textile machinery1 as shown by the occurrence of spindle whorls1 and a number of small receptacles1 probably needlecases1 are constructed of that material4 ,it was employed in the manufacture of stools1 statuettes1 drums1 rattles1 and whistles4 ,with less cultured races1 such as the ,pueblo and mound builders of the north1 such articles were rarely manufactured1 while with the more cultured nations of ,mexico and ,peru a wider field was covered and the work was considerably superior4 ,,spindle ,,whorls4 ,the art of weaving was carried to a high degree of perfection by many of the ,american races1 but the processes employed were of the simplest kind4 ,the threads were spun upon wooden spindles weighted with whorls of baked clay4 ,these whorls are not plentiful in the graves of ,chiriqui1 but such as have been collected are quite similar in style to those of ,mexico and ,peru4 ,in ,figs4 #bah1 #bai1 and #bbj we have three examples modeled with considerable attention to detail but comparatively rude in finish4 ,they are in the natural color of the baked clay and are but rudely polished4 ,the first is encircled by a line of rough1 indented nodes1 the second is embellished with homely little animal figures1 and the third with incised patterns and rude incisions4 ,illustration3 ,fig4 #bah4 ,spindle whorl in gray clay decorated with annular nodes--#a_/a4 ,illustration3 ,fig4 #bai4 ,spindle whorl of gray clay with animal figures--#a_/a4 ,illustration3 ,fig4 #bbj4 ,spindle whorl of dark clay with perforations and incised ornament--#a_/a4 ,,needlecases 7874 ,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 toilet4 ,they consist of two parts1 a vessel or body and a lid4 ,the former takes a variety of cylindrical1 subcylindrical1 and doubly conical shapes1 and the latter is conical and is in many cases furnished with a knob at the top for grasping with the fingers4 ,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 parts4 ,these objects were in pretty general use in the province1 as they are found to belong to a number of the groups of ware1 being finished and decorated as are the ordinary vessels of these classes4 ,a few type specimens are given in the following cuts4 ,a fine example belonging to the unpainted ware is shown in outline in ,fig4 #bba4 ,it is five inches in height and three in diameter and is pleasing in shape4 ,the specimen outlined in ,fig4 #bbb is of the lost color group1 but has lost nearly all traces of the decorative design4 ,illustration3 ,fig4 #bba4 ,needlecase of unpainted clay with conical lid--4 ,illustration3 ,fig4 #bbb4 ,needlecase1 lost color group of ware--4 ,a fine example1 with high polish and elaborate decoration1 is presented in ,fig4 #bbc4 ,the lid is raised to show the position of the perforations4 ,two interesting examples belonging to the dark incised ware are shown in ,figs4 #bbd and #bbe4 ,the deeply incised design of the first is purely geometric1 but is probably of graphic parentage1 while that of the second1 rather rudely scratched through the dark surface into the gray paste1 is apparently a less highly conventionalized treatment of the same motive4 ,illustration3 ,fig4 #bbc4 ,needlecase with painted geometric ornament1 belonging to the lost color group of ware--4 ,illustration3 ,fig4 #bbd4 ,needlecase of gray clay with angular incised geometric ornament--4 ,illustration3 ,fig4 #bbe4 ,needlecase of gray clay with black polished surface and incised ornament--4 ,,figurines4 ,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 accuracy4 ,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 arts4 ,the strange objects herewith presented are rendered in a measure intelligible by the adoption of this hypothesis4 ,these figurines are confined to the alligator group of ware and are quite numerous4 ,they are small1 carefully finished1 and painted with care in red and black lines and figures4 ,they are semihuman and appear to be arrayed in costume4 ,the head of each is triangular in shape1 having a sharp1 projecting profile1 with the mouth set back beneath the chin1 reminding one of the face of a squirrel or some such rodent4 ,the figures occupy a sitting posture4 ,the legs are spread out horizontally1 giving a firm support1 and terminate in blunt cones1 which are in some cases slightly bent up to represent feet4 ,the hands rest upon the sides or thighs or clasp a small figure apparently intended for an infant1 which1 however1 does not seem to have any human features4 ,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 7,fig4 #bbf72 in another it is held in front 7,fig4 #bbg74 ,the neck is usually pierced to facilitate suspension1 and the under side of the body--the sitting surface--is triply perforated1 or punctured if solid1 as if for the purpose of fixing the figure in an upright position to some movable support4 ,the central perforation is round and the lateral ones1 on the under side of the legs1 are oblong4 ,the largest specimen is six inches in height and the smallest about one and a half inches4 ,they are rather elaborately painted with black and red devices which1 by their peculiar geometric character1 are undoubtedly intended to indicate the costume4 ,the hair is represented by black stripes1 which descend upon the neck1 and the face is striped with red4 ,they are found associated with other relics in the graves and were possibly only toys1 but more probably were tutelary images or served some unknown religious purpose4 ,the sex is usually feminine4 ,two additional examples showing side and back views are outlined in ,figs4 #bbh and #bbi4 ,illustration3 ,fig4 #bbf4 ,statuette1 alligator group--#a_/a4 ,illustration3 ,fig4 #bbg4 ,statuette1 alligator group--#a_/a4 ,illustration3 ,fig4 #bbh4 ,statuette of small size--#a_/a4 ,illustration3 ,fig4 #bbi4 ,statuette of largest size--4 ,,stools4 ,i have given this name to a class of stone carvings presented in a previous section1 and1 for want of a better name1 give it also to a series of similar objects modeled in clay4 ,these are among the most elaborate products of ,chiriquian art4 ,in all cases they are of the yellowish unpainted pottery and indicate much freedom and skill in the handling of clay4 ,they do not show any well defined evidences of use1 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 races4 ,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 strong1 ring shaped base4 ,the tablet or plate is somewhat concave above1 is less than an inch in thickness1 and has a diameter of ten and one-fourth inches in the largest piece1 descending to seven and one-half in the smallest4 ,the margin is rounded and usually embellished with a beaded ornament consisting of grotesque heads1 generally reptilian4 ,the variations exhibited in details of modeling are well shown by the illustrations4 ,in the example given in ,fig4 #bcj the upright portion is a hollow cylinder1 having four vertical slits1 alternating with which are oblique bands of ornament in incised lines and punctures4 ,the projecting margin of the tablet is encircled by a row of grotesque1 monkey-like heads1 facing downward4 ,illustration3 ,fig4 #bcj4 ,stool of plain terra cotta1 decorated with grotesque heads and incised figures--#a_/c4 ,fig4 #bca illustrates a specimen in which three grotesque figures1 with forbidding faces1 alternate with as many flat columns embellished with rude figures of alligators4 ,eighteen grotesque1 monkey-like heads occupy the lower margin of the seat plate in the spaces between the heads of the supporting figures4 ,this specimen illustrates the favorite ,chiriquian method of construction4 ,the various parts were modeled separately in a rough way and then set into place in the order of their importance4 ,when this was done and the insertions were neatly worked together with the fingers1 a number of small instruments were employed in finishing3 a sharp stylus for indicating parts of the costume1 and blunt points and small tubular dies for adding intaglio details of anatomy1 such as the navel1 the pupils of the eyes1 and the partings of the fingers and toes4 ,illustration3 ,fig4 #bca4 ,stool of plain clay1 with grotesque figures--4 ,the discoidal plate of another specimen is supported by four absurdly grotesque monkeys1 giving a general effect much like that of the last4 ,illustration3 ,fig4 #bcb4 ,stool of plain terra cotta1 with strange figures--#a_/c4 ,a very remarkable piece is shown in ,fig4 #bcb4 ,the tablet is supported by six grotesque figures1 somewhat human in appearance1 whose limbs are intertwined with serpents1 suggesting the famous group of the ,laocon4 ,the work is roughly done and the details are not carried out in a very consistent manner1 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 foot4 ,the rudely shaped bodies are covered with indented circlets or with short incised lines4 ,the material1 color1 and finish are as usual4 ,the height is four and one-half inches and the diameter of the tablet ten inches4 ,there are additional specimens in the ,national ,museum4 ,in one case1 the largest specimen of the series1 the tablet is supported by five upright female human figures and the margin is encircled by a cornice of forty-six neatly modeled reptilian heads4 ,a small example differs considerably in general shape from those illustrated1 the base being much smaller than the circular tablet4 ,the supporting figures are two rudely modeled ocelots and two monkey-like figures1 all of which are placed in an inverted position4 ,similar objects are obtained from the neighboring states of ,central and ,south ,america4 ,,musical ,,instruments4 ,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 ,america4 ,the testimony of the earthen relics--for no others are preserved to us--goes to show that the art of music was1 in its rude way1 very assiduously practiced1 and that it probably constituted with these1 as with most primitive communities1 a serious and important feature in the various ceremonial exercises4 ,clay is naturally limited to the production of a small percentage of the musical instruments of any people1 the various forms of woody growths being better adapted to their manufacture4 ,we have examples of both instruments of percussion and wind instruments1 the former class embracing drums and rattles and the latter whistles and clarionette-like pipes4 ,rattles4--,besides the ordinary rattles attached to and forming parts of vessels1 as already described1 there are a number of small pieces that seem to have served exclusively as rattles1 while some are rattle and whistle combined in one piece4 ,in no case1 however1 would they seem to the unscientific observer to be more than mere toys1 as they are of small size and the sounds emitted are too weak to be perceptible at any considerable distance4 ,at the same time it is true that they may have had ceremonial offices of no little consequence to the primitive priesthood4 ,the simple rattles are shaped like gourds1 the body being globular and the neck or handle long and straight4 ,like the wares already described1 they are finished and decorated1 the majority belonging to the lost color group4 ,the length varies from three to six or seven inches4 ,a number of minute slit-like orifices or perforations for the emission of the sound occur about the upper part of the body 7,fig4 #bcc74 ,a septum is placed in the lower part of the neck1 so that the handle1 which is hollow and open at the upper end1 may serve as a whistle4 ,in some cases the lower part of the neck is perforated for suspension at the point occupied by the septum1 as imperfectly shown in the section 7,fig4 #bcd74 ,the most interesting specimen in the collection is shown in ,fig4 #bce2 it is especially notable on account of its construction1 which points clearly to the gourd as a prototype4 ,the body is of the usual globular shape1 slightly elongated above4 ,the neck is represented as a separate piece lashed on with cords by means of perforations made for the purpose1 just as are the handles of similar instruments constructed of gourds and reeds in ,central ,american countries4 ,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 form4 ,the top of the handle is surmounted by a pair of grotesque human figures1 male and female1 placed back to back and united at the backs of the heads as seen in the cut4 ,this object is gray in color and presents the roughened granular surface resulting from long exposure to the elements4 ,illustration3 ,fig4 #bcc4 ,rattle decorated in the style of the lost color group--4 ,illustration3 ,fig4 #bcd4 ,section of rattle shown in ,fig4 #bcc4 ,illustration3 ,fig4 #bce4 ,rattle of plain ware surmounted by two grotesque figures--4 ,drums4--,the drum was a favorite instrument with the native ,american musician4 ,early explorers found its use next to universal1 and the tambour is even now a characteristic feature of the musical paraphernalia of the ,spanish-,americans4 ,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 clay4 ,the use of clay was probably exceptional1 as there are but three specimens in our ,chiriquian collection4 ,the shape is somewhat like that of an hour glass1 the upper part1 however1 being considerably larger than the base or stand4 ,in all cases the principal rim is finished with especial reference to the attachment of the vibrating head4 ,the example presented in ,fig4 #bcf has a deeply scarified belt an inch wide encircling the rim1 and below it is a narrow ridge1 intended perhaps to facilitate the lashing or cementing on of the head4 ,two raised bands1 intended to imitate twisted cords1 encircle the most constricted part of the body1 a single band similarly marked encircling the base4 ,the surface is gray in color and but rudely polished4 ,the walls are about three-eighths of an inch thick1 the height sixteen and one-half inches1 and the greatest diameter seven and one-half inches4 ,illustration3 ,fig4 #bcf4 ,drum of gray unpainted clay--4 ,the decorated specimen illustrated in ,fig4 #bcg is imperfect1 a few inches of the base having been lost4 ,the shape is rather more elegant than that of the other specimen and the surface is neatly finished and polished4 ,the ground color or slip is a warm yellow gray and the decoration is in red and black4 ,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 head4 ,the painted ornament encircles the body in four zones1 two upon the upper portion and two upon the base4 ,the designs occupying the body zones are unique and viewed in the light of their probable origin are extremely interesting4 ,in another place further on in this paper ,i shall show that they are probably very highly conventionalized derivatives of the alligator radical1 the meandered line representing the body of the creature and the scalloped hooks the extremities 7,fig4 #bch74 ,the two bands upon the base consist of geometric figures1 the origin of which cannot be definitely determined1 although they also probably refer to the alligator4 ,illustration3 ,fig4 #bcg4 ,drum with painted ornament in the style of the lost color group--#a_/i4 ,illustration3 ,fig4 #bch4 ,conventional design on drum shown in ,fig4 #bcg1 composed of alligator derivatives4 ,in the collection there is a minute toy drum of the same general shape1 and the same form reappears in some of the whistles1 in one of which 7,fig4 #bdg7 the skin head and its fastenings are all carefully reproduced in miniature4 ,the immediate original of this particular form of drum was probably made of wood4 ,a drum1 recently brought from ,costa ,rica was made by hollowing out a cylindrical piece of wood and stretching a piece of snakeskin across the top4 ,the shape is nearly identical with that of these earthen specimens4 ,wind instruments4--,earthenware wind instruments are found in considerable numbers and are associated with other relics in the tombs4 ,nearly all are very simple in construction and are limited in musical power1 receiving and perhaps generally deserving no better name than whistles or toys4 ,a few pieces are more pretentious and yield a number of notes1 and if operated by skilled performers or properly concerted are capable of producing pleasing melodies4 ,it is not difficult to determine the powers of individual instruments1 but we cannot say to what extent these powers were understood by the original owners1 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 intervals4 ,there are1 however1 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 standards4 ,it does not appear absolutely certain to me that the system of intervals was made to conform to that of any known scale2 but a difficulty arises in attempting to determine this point1 as most of the pieces are more or less mutilated4 ,we find also that the note producible by any given stop is not fixed in pitch1 but varies1 with the force of the breath1 two or even three full intervals4 ,as a result of this a glide is possible to the skilled performer from note to note and any desired pitch can be taken4 ,in material1 finish1 and decoration these objects do not differ from the ordinary pottery4 ,a majority belong to the alligator group4 ,the size is generally small1 the largest specimen being about eight inches in length4 ,the shapes are wonderfully varied and indicate a lively imagination on the part of the potter4 ,animal forms prevail very decidedly1 that of the bird being a great favorite4 ,in many cases the animals copied can be identified1 but in others they cannot--perhaps from our lack of knowledge of the fauna of the province1 perhaps from carelessness on the part of the artist or from the tendency to model grotesque and complicated shapes4 ,the following creatures can be recognized3 men1 pumas1 ocelots1 armadillos1 eagles1 owls1 ducks1 parrots1 several varieties of small birds1 alligators1 crabs1 and scorpions4 ,vegetal forms1 excepting where in use as instruments or utensils1 as reeds and gourds1 were not copied4 ,in the ,national ,museum collection there are two tubular pipes1 probably modeled after reeds1 and another resembles a gourd in shape4 ,the construction of the whistling apparatus is identical in all cases and corresponds to that of our flageolets 7see sections1 ,figs4 #bdj and #bdb74 ,plain tubes were doubtless also used as whistles1 and all utensils of small size1 such as needlecases and toy vases1 can be made to give forth a note more or less shrill1 according to the size of the chamber4 ,the simplest form of whistle produces two shrill notes identical in pitch4 ,the shape is double1 suggesting a primitive condition of the tibi pares of the ,romans4 ,the parts are pear or gourd shaped1 are joined above and below1 and have an opening between the necks4 ,the two mouthpieces are so close together that both are necessarily blown at once4 ,the note produced is pitched very high and is extremely penetrating1 not to say ear splitting1 making an excellent call for the jungles and forests of the tropics4 ,a small specimen is presented full size in ,fig4 #bci1 and the section in ,fig4 #bdj shows the relative positions of the mouthpieces1 air passages1 vent holes1 and chambers4 ,illustration3 ,fig4 #bci4 ,double whistle1 lost color ware--#a_/a4 ,illustration3 ,fig4 #bdj4 ,section of double whistle4 ,music ,reed shaped instruments are furnished with passages and orifices corresponding to the other forms4 ,the chamber is tubular and the lower end is open1 and the finger holes1 when present1 are on the upper side of the cylinder4 ,one example without finger holes has two notes nearly an octave apart1 which are produced1 the higher with the tube open and the lower with it closed4 ,perhaps the most satisfactory instrument in the whole collection1 so far as range is concerned1 is shown in ,fig4 #bda1 and a section is given in ,fig4 #bdb4 ,it is capable of yielding the notes indicated in the accompanying scale3 ,first1 a normal series of eight sounds1 produced as shown in the diagram1 and1 second1 a series produced by blowing with greater force1 one note two octaves above its radical and the others three octaves above4 ,these notes are difficult to produce and hold and were probably not utilized by the native performer4 ,illustration3 ,fig4 #bda4 ,tubular instrument with two finger holes1 alligator group--#a_/a4 ,illustration3 ,fig4 #bdb4 ,section of whistle4 ,music ,two little instruments of remarkable form and unusual powers stand quite alone among their fellows4 ,one only is entire4 ,it is made of dark clay and represents a creature not referable to any known form1 so completely is it conventionalized4 ,a fair idea of its appearance can be gained from ,figs4 #bdc and #bdd4 ,the first gives the side view and the second the top view4 ,the mouthpiece is in what appears to be the forehead of the creature4 ,the vent hole is beneath the neck and there are four minute finger holes1 one in the middle of each of four flattish nodes1 which have the appearance of large protruding eyes4 ,a suspension hole passes through a node upon the top of the head4 ,the capacity of this instrument is five notes1 clear in tone and high in pitch4 ,it is notable that the pitch of each stop1 when open alone1 is identical1 the holes being of exactly the same size4 ,in playing it does not matter in what order the fingers are moved4 ,the lower note is made with all the holes closed and the ascending scale is produced by opening successively one1 two1 three1 and four holes4 ,the fragmentary piece is much smaller and the holes are extremely small4 ,illustration3 ,fig4 #bdc4 ,fig4 #bdd4 ,small animal shaped whistle of blackish ware1 with four finger holes--#a_/a4 ,music ,of a distinct type of form1 although involving no new principle of construction1 are two top-like or turnip shaped instruments1 one of which is shown in ,fig4 #bde4 ,the form is symmetrical1 the ornamentation tasteful1 and the surface highly polished4 ,the ware is of the alligator group and is decorated in red and black figures4 ,a section is given in ,fig4 #bdf1 a1 and top and bottom views in b and c4 ,by reference to these a clear conception of the object can be formed4 ,the companion piece is identical in size1 shape1 and conformation1 and1 strange to say1 in musical notes also4 ,the tones are not fixed1 as each can be made to vary two or three degrees by changing the force of the breath4 ,the tones produced by a breath of average force are indicated as nearly as may be in the accompanying scale4 ,they will be found to occur nearer the lower than the upper limit of their ranges4 ,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 interruption4 ,this instrument is1 therefore1 within its limited range1 as capable of adjusting itself to any succession of intervals as is the trombone or the violin4 ,i do not imagine1 however1 that the aboriginal performer made any systematic use of this power or that the instrument was purposely so constructed4 ,it will be seen by reference to the scale that stopping the orifice in the end opposite the mouthpiece changes the notes half a tone1 or perhaps1 if accurately measured1 a little less than that4 ,illustration3 ,fig4 #bde4 ,top shaped instrument1 with three finger holes1 alligator ware--#a_/a4 ,illustration3 a1 b1 c ,fig4 #bdf4 ,section and vertical views of instrument shown in ,fig4 #bde4 ,music ,our collection contains several dozen three note whistles or pipes4 ,most of these represent animal forms1 which are treated in a more or less realistic way1 but with a decided tendency toward the grotesque4 ,nearly all are of small size1 the largest1 an alligator form1 having a length of about eight inches4 ,in the animal figures the air chamber is within the body1 but does not conform closely to the exterior shape4 ,the mouthpieces and the orifices are variously placed1 to suit the fancy of the modeler1 but the construction and the powers are pretty uniform throughout4 ,there are two finger holes1 placed in some cases at equal and in others at unequal distances from the mouthpiece1 but they are always of equal size and produce identical notes4 ,the capacity is therefore three notes4 ,the lower is produced when all the orifices are open1 the higher when all are closed1 and the middle when one hole--no matter which--is closed4 ,besides the animal forms there are a number of shapes copied from other musical instruments or from objects of art1 such as vases4 ,a very interesting specimen1 illustrated in ,fig4 #bdg1 modeled in imitation of a drum1 has not only the general shape of that instrument1 but the skin head1 with its bands and cords of attachment1 is truthfully represented4 ,a curious conceit is here observed in the association of the bird--a favorite form for the whistles--with the drum4 ,a small figure of a bird extends transversely across the body of the drum chamber1 the back being turned from the observer in the cut4 ,the tail serves for a mouthpiece1 while the finger holes are placed in the breast of the bird1 the position usually assigned to them in simple bird whistles2 its three notes are indicated in the accompanying scale3 ,illustration3 ,fig4 #bdg4 ,drum shaped whistle of plain ware1 with bird figure attached--#a_/a4 ,illustration3 ,fig4 #bdh4 ,vase shaped whistle1 lost color ware--4 ,music ,one specimen is vase or pitcher shaped1 with base prolonged for a mouthpiece and with a neat handle 7,fig4 #bdh74 ,the ground color is a dull red1 upon which are traces of painted figures4 ,its notes are as follows3 ,music ,a novel conceit is exhibited in the crab shaped instrument presented in ,fig4 #bdi1 which gives a back view of the animal4 ,on the opposite side are four small conical legs1 upon which the object rests as does a vase upon its tripod4 ,the mouthpiece is in the right arm1 beneath which is the sound hole4 ,the two finger holes are in the back behind the eyes of the creature and a suspension hole is seen in the left arm4 ,the painted designs are in red and black lines upon a yellowish gray ground4 ,the following scale indicates its capacity3 ,illustration3 ,fig4 #bdi4 ,crab shaped whistle1 alligator ware--#a_/a4 ,music ,the largest specimen in the collection1 shown in ,fig4 #bej1 represents an alligator and is finished in the usual conventional style of the alligator group4 ,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 collection4 ,the cavity in the mouth and head is separated from the body chamber1 and1 with the addition of earthern pellets1 probably served as a rattle4 ,the mouthpiece is in the tail and the finger holes are in the sides of the body4 ,illustration3 ,fig4 #bej4 ,alligator shaped whistle1 alligator ware--4 ,music ,mammals are very often reproduced in these instruments4 ,what appears to be the ocelot or jaguar is the favorite subject4 ,a representative specimen is shown in ,fig4 #bea4 ,the mouthpiece is in the tail and one of the sound holes is in the left shoulder and the other beneath the body4 ,the head is turned to one side and the face is decidedly cat-like in expression4 ,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 animals4 ,the tips of the ears1 feet1 and tail are red4 ,rows of red strokes1 alternating with black1 extend in a broad stripe from the point of the nose to the base of the neck4 ,red panels1 inclosing rows of red dots and enframed by black lines1 cross the back4 ,on the sides we have oblong spaces filled in with the conventional devices so common in other animal representations4 ,the legs are striped and dotted after the usual manner4 ,music ,illustration3 ,fig4 #bea4 ,cat shaped whistle1 alligator ware--#a_/a4 ,a unique form1 and one that will be looked at with interest by comparative ethnologists on account of the treatment of the tongues1 is given in ,fig4 #beb4 ,the instrument consists of an oblong body to which four ocelot heads are fixed1 one at each end and the others at the sides4 ,it rests upon four feet1 in one of which the mouthpiece is placed4 ,the finger holes are in the side of the body near the legs1 as seen in the cut4 ,the decoration1 which consists of more or less conventional representations of the skin markings of the animal1 is in black and red4 ,its notes are three1 as follows3 ,illustration3 ,fig4 #beb4 ,whistle with four ocelot-like heads1 alligator ware--#a_/a4 ,music ,the prevalence of bird forms is due no doubt to the resemblance of the notes of primitive whistles to the notes of birds4 ,the shape of the bird is also exceptionally convenient1 as the body accommodates the air chamber1 the tail serves as a mouthpiece1 and the head is convenient for the attachment of a cord of suspension4 ,a great variety of forms were modeled and range from the minute proportions of the smallest humming bird to those of a robin4 ,the larger pieces represent birds of prey1 such as hawks1 eagles1 and vultures1 and the smaller are intended for parrots and song birds4 ,the treatment is always highly conventional1 yet in many cases the characteristic features of the species are forcibly presented4 ,the painted devices have reference in most cases to the markings of the plumage1 yet they partake of the geometric character of the designs used in ordinary vase painting4 ,the ground is the usual yellowish gray of the slip1 and nearly all the pieces belong to the lost color and alligator groups4 ,a characteristic example is illustrated in ,fig4 #bec4 ,the head is large and flat and the painted devices are in the red and black of the lost color group4 ,the three notes are as follows3 ,music ,illustration3 ,fig4 #bec4 ,bird shaped whistle1 with decoration in black1 lost color ware--#a_/a4 ,the piece given in ,fig4 #bed has the shape and markings of a hawk or eagle4 ,it belongs to the alligator ware and is elaborately finished in semigeometric devices in red and black4 ,all of these devices refer more or less definitely to the markings of the plumage4 ,illustration3 ,fig4 #bed4 ,bird shaped whistle1 with conventional decoration in red and black1 alligator ware--#a_/a4 ,music ,the example shown in ,fig4 #bee represents a bird with two heads1 the shape and markings of which suggest one of the smaller song birds4 ,illustration3 ,fig4 #bee4 ,two headed1 bird shaped whistle1 with conventional decoration in black1 lost color ware--#a_/a4 ,music ,i cannot say that the whistles were modeled and pitched with the idea of imitating the notes of particular birds1 but it is possible for the practiced performer to reproduce the simpler songs and cries of birds with a good deal of accuracy4 ,illustration3 ,fig4 #bef4 ,whistle in grotesque life form1 with decorations in black and red1 alligator ware--#b_/c4 ,the human figure was occasionally utilized4 ,the treatment1 however1 is extremely rude and conventional1 the features having the peculiar squirrel-like character shown in the figurines already given4 ,the unique piece given in ,fig4 #bef represents a short1 clumsy female figure with a squirrel face1 carrying a vessel upon her back by means of a head strap1 which is held in place by the hands4 ,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 side4 ,the costume and some of the details of anatomy are indicated by red and black lines in the original4 ,its notes are the same as those presented with ,fig4 #bdi4 ,,life ,,forms ,,in ,,vase ,,painting4 ,this section is to be devoted to a short study of the decorative system of the ancient ,chiriquians1 and more especially to a consideration of the treatment of life forms in vase painting4 ,many of the finest examples of these designs1 so far as execution and effect in embellishment are concerned1 have already been given2 but it is desirable now to select and arrange a series to illustrate origins and processes of growth or modification4 ,elements of ornament flow into the ceramic art from a number of sources1 but chiefly in two great currents3 the one from art1 and consisting chiefly of technical or mechanically produced phenomena1 and hence geometric1 and the other from nature1 and carrying elements primarily delineative1 and hence non-geometric4 ,when once within the realm of decoration the various motives or elements are subject to modification by two classes of influences or conditioning forces3 the technical restraints of the art and the esthetic forces of the human mind4 ,mechanical and geometric elements1 although born within the art or its associated arts1 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 forces2 left by themselves they remain1 throughout all changes of use and modification of form1 purely geometric4 ,imitative elements tend1 under the same influences1 to move in the direction of the unreal or geometric4 ,in this way the realistic forms undergo marked changes1 gradually assuming a geometric character and finally losing all semblance of nature4 ,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 either4 ,this fact enables us to account for many of the strongly marked distinctions observed in the decorative systems of different communities1 races1 and times4 ,in a recent study of ancient ,pueblo art ,i traced the decoration to a mechanical origin1 mainly in the art of basketry1 and thus accounted for its highly geometric character4 ,chiriquian art presents a strong contrast to this1 as the great body of elements are manifestly derived from nature by delineative imitation4 ,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 forms4 ,in ,chiriquian art we find but meager traces of a primitive geometric system1 and conclude that either the earliest art of the people did not give rise to such a system or that the graphic motives1 entering gradually and steadily multiplying1 supplanted the archaic forms1 finally usurping nearly the entire field4 ,as noticed in the preceding sections1 there is always a certain amount of geometricity in the arrangement and the enframing of the designs1 as well as a certain degree of convention in the treatment of even the most graphic motives2 but these characters may be due to the restraining conditions of the art1 rather than to the survival of original or ancestral features or characters4 ,in beginning the study of ,chiriquian decorative art ,i found it impossible to approach the subject advantageously from the geometric side1 as was done in the ,pueblo study1 since life elements so thoroughly permeate every part of it4 ,i have1 therefore1 turned about1 and in the following study present first the more realistic delineations of nature1 arranging long series of derivative shapes which descend through increasing degrees of convention to purely geometric forms4 ,these remarks relate wholly to the plan or linear arrangement of the motives4 ,as to method of realization1 ceramic ornament may be arranged in two classes3 the plastic or relieved and the non-plastic or flat4 ,life forms are freely rendered by both plastic and non-plastic methods1 and in either style may range from the highly realistic to the purely geometric4 ,as shown in a preceding section1 plastic life forms in ,chiriquian art appear to have been subject to two divergent lines of thought1 the one trivial and the other serious4 ,through the one we have grotesque and perhaps even humorous representations of men and of animals4 ,the figures are attached to the vessels for the purpose--perhaps for the exclusive purpose--of embellishment1 and often with excellent success1 as judged by our own standards of taste4 ,the other deals with plastic representations apparently of a serious nature1 although utilized also for embellishment4 ,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 use1 a relationship originating in superstition and preserved throughout all changes of form4 ,their office was symbolic1 and this office was probably not always lost sight of by the potter1 even though1 through the forces of convention1 the animal shapes were reduced to mere knobs1 ridges1 or even to painted devices4 ,in color delineations1 although the same subjects are to a great extent employed1 there is necessarily greater constraint--there is less freedom as well as less vigor in the presentation of natural forms4 ,there is apparently no attempt at the grotesque or amusing4 ,the variants are practically infinite4 ,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 vessel4 ,at the same time it is manifest that these painted figures are not all merely meaningless decorations1 but that many1 throughout all degrees of modification1 refer with greater or less clearness to natural originals1 to ideas associated with these originals1 or to the relationship of these originals to the vessel and its uses4 ,it is clear1 however1 that a considerable body of nature-derived elements1 plastic and painted1 are employed as simple embellishments1 having no other function4 ,this suggests the separation of all decorations into two grand divisions1 based upon the kind of thoughts associated with them4 ,these divisions may be designated as significant and non-significant1 the term significant referring not to the mere identification of a device with an original form or to its office as an ornament1 but to its symbolism1 to its mystic relation with the vessel and its uses4 ,but ,i have to do here with the forms taken by motives1 with their morphology rather than with their signification1 as the latter must1 with reference to archologic material1 remain greatly speculative4 ,in the application of life forms in vase painting several classes of modifying and constraining agencies of a technical nature are present1 and the following examples are grouped with the idea of defining these classes of forces and keeping them in a measure distinct4 ,illustration3 ,fig4 #beg4 ,graphic delineation of the alligator1 from a vase of the lost color group4 ,illustration3 ,fig4 #beh4 ,graphic delineation of the alligator1 from a vase of the lost color group4 ,of all the animal forms utilized by the ,chiriquians the alligator is the best suited to the purpose of this study1 as it is presented most frequently and in the most varied forms4 ,in ,figs4 #beg and #beh ,i reproduce drawings from the outer surface of a tripod bowl of the lost color group4 ,simple and formal as these figures are1 the characteristic features of the creature--the sinuous body1 the strong jaws1 the upturned snout1 the feet1 and the scales--are forcibly expressed4 ,it is not to be assumed that these examples represent the best delineative skill of the ,chiriquian artist4 ,the native painter must have executed very much superior work upon the more usual delineating surfaces1 such as bark and skins4 ,the examples here shown have already experienced decided changes through the constraints of the ceramic art1 but are the most graphic delineations preserved to us4 ,they are free hand products1 executed by mere decorators1 perhaps by women1 who were servile copyists of the forms employed by those skilled in sacred art4 ,illustration3 ,fig4 #bei4 ,conventional alligator1 from the lost color ware4 ,a third illustration from the same group of ware1 given in ,fig4 #bei1 shows1 in some respects1 a higher degree of convention4 ,the scales are here represented by triangular dentals1 which occupy the entire length of the back4 ,these dentals are filled with the round dots that stand singly in the preceding cases4 ,illustration3 ,fig4 #bfj4 ,style of convention in the alligator group of ware4 ,illustration3 ,fig4 #bfa4 ,style of convention in the alligator group of ware4 ,in another class of ware--the alligator group--the treatment is quite different1 being decidedly more clumsy and realized by distinct processes2 but prominence is given to a number of corresponding features4 ,the strong curve of the back1 the dentals and dots1 and the muzzle and mouth refer apparently to the same creature4 ,the curiously marked panel in the body of the last example is a unique feature1 which appears1 however1 in a few other cases4 ,these drawings occur upon the sides of vases1 alternating with the plastic features1 and are perhaps generally associated with such features in the expression of some mythical idea4 ,the modeled creature is often represented with two heads instead of with a head and a tail1 and the painted forms1 in many cases1 exhibit the same peculiarity as shown in ,fig4 #bfb4 ,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 imagination4 ,illustration3 ,fig4 #bfb4 ,two headed form of the alligator4 ,it will be interesting1 as additional examples are presented1 to note the effect of modification upon particular features of the animal1 to observe how some come into prominence1 representing the creature and the idea1 while others fall into disuse and disappear4 ,in nature the line of the body is perhaps the most strongly characteristic feature1 and it is in art the most persistent4 ,it survives in the stems of many conventional devices from which all other suggestions of the animal have vanished4 ,illustration3 ,fig4 #bfc4 ,figure of the alligator much simplified4 ,the following examples depart still further from nature1 approaching the border line between the distinctly imitative and the purely conventional or geometric phases4 ,in the first 7,fig4 #bfc7 all the leading features are recognizable1 but are very much simplified4 ,the jaws are without teeth1 the head is without eyes1 and the body without indication of scales4 ,the other example 7,fig4 #bfd7 is of a somewhat different type and may possibly refer to some other reptilian form1 but many links connecting the two are found4 ,the shape is more angular and is a step further removed from nature4 ,from shapes as conventional as this we drop readily into purely geometric forms1 as will be seen further on4 ,these and the preceding drawings are all executed on broad surfaces1 where fancy could have free play4 ,the modifying or conventionalizing forces are1 therefore1 quite vague4 ,variation from natural forms is due partly to a lack of skill on the part of the painter1 partly to the peculiar demands of ceramic embellishment1 and partly to the traditional style of treatment acquired in still more primitive stages of culture and in other and unidentified branches of art4 ,illustration3 ,fig4 #bfd4 ,the alligator much modified by ceramic influences4 ,illustration3 ,fig4 #bfe4 ,fig4 #bff4 ,fig4 #bfg4 ,illustrations of the influence of the shape of spaces upon the delineation of animal forms4 ,i shall now call attention to some important individualized or well defined agencies of convention4 ,first1 and most potent1 may be mentioned the enforced limits of the spaces to be decorated1 which spaces take shape independently of the subject to be inserted4 ,when the figures must occupy a narrow zone they are elongated1 when they must occupy a square they are restricted longitudinally1 and when they must occupy a circle they are of necessity coiled up4 ,fig4 #bfe illustrates the effect produced by crowding the oblong figure into a short rectangular space4 ,the head is turned back over the body and the tail is thrown down along the side of the space4 ,in ,fig4 #bff the figure occupies a circle1 and is in consequence closely coiled up1 giving the effect of a serpent rather than an alligator4 ,in ,fig4 #bfg the space is semicircular1 and we observe peculiar conventional conditions1 some of which may be due to other causes4 ,for example1 such spaces may originally have been filled with purely geometric figures1 which tended to impart their own characters to the life forms that supplanted them4 ,illustration3 ,fig4 #bfh4 ,delineation retaining but slight traces of the life form4 ,illustration3 ,fig4 #bfi4 ,delineation retaining but slight traces of the life form4 ,illustration3 ,fig4 #bgj4 ,delineation retaining but slight traces of the life form4 ,now1 it often happens that1 as in the last example given1 the animal form1 literally rendered1 does not fill the panels satisfactorily4 ,the head and the tail do not correspond and there is a lack of balance4 ,in such cases two heads have been preferred4 ,the body is given a uniform double curve and the heads are turned down1 as shown in ,figs4 #bfh and #bfi1 or one may turn up and the other down1 as seen in ,fig4 #bgj4 ,the two headed form may also arise from imitation of plastic forms1 as ,i have already shown4 ,the example given in ,fig4 #bfh is extremely interesting on account of its complexity and the novel treatment of the various features4 ,the two feet are placed close together near the middle of the curved body1 and on either side of these are the under jaws turned back and armed with dental projections for teeth4 ,the characteristic scale symbols occur at intervals along the back2 and very curiously at one place1 where there is scant room1 simple dots are employed1 showing the identity of these two characters4 ,some curious auxiliary devices1 the origin of which is obscure1 are used to fill in marginal spaces4 ,the shape given in ,fig4 #bfi is so highly modified that it is not recognizable as an animal form1 excepting through a series of links connecting it with more realistic delineations4 ,it is perfectly symmetrical and consists of a compound curve for the body1 with hooks at the extremities and two appended hooks for legs4 ,the spots symbolizing the scales are here placed within the body1 showing another step toward complete annihilation of the natural forms and relations4 ,three additional examples1 showing still higher degrees of convention1 are presented in ,figs4 #bga1 #bgb1 and #bgc4 ,the series could be filled up and continued indefinitely1 connecting the whole family of devices in which dentals1 hooks1 spots1 and circles occur with the alligator radical or with other reptilian forms confused with the alligator through the carelessness or ignorance of the decorator4 ,illustration3 ,fig4 #bga4 ,highly conventionalized alligator derivative4 ,illustration3 ,fig4 #bgb4 ,highly conventionalized alligator derivative4 ,illustration3 ,fig4 #bgc4 ,highly conventionalized alligator derivative4 ,in looking over a large series of the vases it will be seen that the tendency of decoration is toward the zonal arrangement1 the spaces being narrow and long1 even when divided into the usual number of panels4 ,as a consequence the motives tend to take linear forms4 ,parts are repeated or greatly drawn out to fill the spaces4 ,this phase of conventional evolution may be illustrated by a multitude of examples4 ,illustration3 a1 b1 c1 d1 e1 f ,fig4 #bgd4 ,series of forms showing modification through use in narrow zones4 ,beginning with an ordinary form in ,fig4 #bgd1 a1 we advance under the restraint of parallel border lines through the series1 ending in a simple meander1 f1 the spaces about which are1 however1 filled out with the conventional scale symbols1 the triangles inclosing dots4 ,thus we witness the transformation of the life form into a linear device1 in which the flexures of the body are emphasized and multiplied without reference to nature1 and there is little doubt that the series continues further1 ending with simple curved lines and even with straight lines unaccompanied by auxiliary devices4 ,illustration3 ,fig4 #bge4 ,running ornaments composed of life elements4 ,next to the body line the most important of the alligator derivatives is the notched or dotted hook1 which in the lost color group stands sometimes for the whole creature1 but more frequently for one or more of the members of its body1 the snout1 the tail1 or the feet4 ,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 stem1 where1 by systematic repetition1 it serves to fill the triangular interspaces4 ,take1 for example1 an ornament 7,fig4 #bge7 which encircles the shoulder of a handsome vase of the lost color group4 ,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 ornament4 ,the same motive takes a different form in ,fig4 #bgf1 which is part of the decorated zone of an earthen drum 7see ,fig4 #bce74 ,here the body of the creature is represented by a wide meandered line1 and to this the notched or scalloped hooks are attached with perfect regularity1 one to each angle of the meandered body4 ,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 separately4 ,illustration3 ,fig4 #bgf4 ,running ornaments composed of life motives4 ,the rings1 strokes1 spots1 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 derivatives4 ,they also occur independently1 either singly or in groupings4 ,thus we see that the alligator1 in ,chiriquian vase painting1 is represented by an endless list of devices1 and it is interesting to note that among these are several figures familiar to the civilized world in both symbolism and ornament4 ,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 shapes4 ,in the first series 7,fig4 #bgg71 we begin with a meager but graphic sketch of the alligator2 the second figure is hardly less characteristic1 but is much simplified2 in the third we have still three leading features of the creature3 the body line1 the spots1 and the stroke at the back of the head2 and in the fourth nothing remains but a compound1 yoke-like curve1 standing for the body of the creature1 and a single dot4 ,illustration3 a1 b1 c1 d ,fig4 #bgg4 ,series of derivatives of the alligator showing stages of simplification4 ,the figures of the second series 7,fig4 #bgh7 are nearly all painted upon low round nodes placed about the body of the alligator vases and hence are inclosed in circles 7see ,fig4 #aig74 ,the animal figure in the first example is coiled up like a serpent1 but still preserves some of the well known characters of the alligator4 ,in the second example we have a double hook near the center of the space which takes the place of the body1 but the dotted triangles are placed separately against the encircling line4 ,in he next figure the body symbol is omitted and the three triangles remain to represent the animal4 ,in the fourth there are four triangles1 and the body device1 being restored in red1 takes the form of a cross4 ,in the fifth two of the inclosing triangles are omitted and the idea is preserved by the simple dots4 ,in the sixth the dots are placed within the bars of the cross1 the triangles becoming mere interspaces2 and in the seventh the dots form a line between the two encircling lines4 ,this series could be filled up by other examples1 thus showing by what infinitesimal steps the transformations take place4 ,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 round1 but in the processes of manufacture partially or wholly atrophied4 ,it was sought to preserve the idea of the creature by the use of painted details1 but these1 as we have seen1 were also in time reduced to formal marks1 symbols doubtless in many cases of the conception to which the original plastic form referred4 ,illustration3 ,fig4 #bgh4 ,series showing stages in the simplification of animal characters4 ,illustration3 a1 b1 c1 d ,fig4 #bgi4 ,the scroll and fret derived from the body line of the alligator4 ,illustration3 a1 b1 c1 d ,fig4 #bhj4 ,devices derived from drawings of parts of the life form4 ,illustration3 ,fig4 #bha4 ,devices incised in a needlecase4 ,illustration3 ,fig4 #bhb4 ,devices representing the markings of a reptile's body4 ,the derivation of the fret and scroll--most admired of the decorative motives of numerous races--has been a fruitful source of discussion4 ,the vase painting of ,chiriqui serves to throw new light upon the subject4 ,we learn by the series of steps illustrated in the annexed cuts that the alligator radical1 under peculiar restraints and influences1 assumes conventional forms that merge imperceptibly into these classic devices4 ,in the third series given 7,fig4 #bgi7 the first figure is far removed from the realistic stage of representation1 but it is one of the ordinary conventional guises of the alligator4 ,other still more conventional forms are seen in the three succeeding figures1 the last of which is a typical rectangular fret link known and used by most nations of moderate culture4 ,the derivatives in nearly all the preceding figures can be traced back to the body of the creature as a root1 but there are many examples which seem to have come from the delineation of a part of the creature1 as the head1 foot1 eye1 or scales--abbreviated representatives of the whole creature4 ,such parts1 assuming the role of radicals1 pass also through a series of modifications1 ending in purely geometric devices in the manner indicated in the following or fourth series of examples 7,fig4 #bhj74 ,in the first cut we have what appears to be the leg and foot of the favorite reptile1 and following this are other forms that seem to refer to the same feature4 ,additional examples are shown in ,figs4 #bha and #bhb1 which1 while they doubtless arose more or less directly from the life form1 are not so readily traceable through less conventional antecedents4 ,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 ,fig4 #bjc1 by reference to which it will be seen that the zone of devices serves to connect the head and the tail of the reptile1 which are modeled as a part of the vase2 the devices therefore represent the markings of the creature's body1 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 skin4 ,in other examples still more highly conventional figures are found to hold the same relation to the plastic representation of the extremities of the creature4 ,they include the meander1 the scroll1 the fret1 and the guilloche4 ,we find that in the stone metates of many parts of ,central ,america1 nearly all of which are carved to imitate the puma1 the head and tail of the creature are connected by bands of similar devices that encircle the margin of the mealing plate 7see ,fig4 #i74 ,the alligator form is therefore not necessarily the originator of all such devices4 ,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 decoration4 ,these considerations will serve to widen our views upon the origin and development of especial devices4 ,as it now stands we are absolutely certain that no race1 no art1 no motive or element in nature or in art can claim the exclusive origination of any one of the well known or standard conventional devices1 and that any race1 art1 or individual motive is capable of giving rise to any and to all such devices4 ,nothing can be more absurd than to suppose that the signification or symbolism attaching to a given form is uniform the world over1 as the ideas associated with each must vary with the channels through which they were developed4 ,illustration3 a1 b1 c1 d1 e1 f1 g ,fig4 #bhc4 ,conventional figures derived from the markings of the bodies of animals4 ,other classes of geometric figures1 derived chiefly from scale or skin markings1 are given in the fifth series4 ,in more realistic phases of representation the dentate and dotted devices are ranged along the body of the creature1 as in nature1 but as convention progresses they are used independently to fill up spaces1 to form the septa of panels1 c4 ,many illustrations appear in the preceding pages and additional examples are given in ,fig4 #bhc4 ,it is possible that these devices come from delineations of a number of distinct animal forms2 but in the higher stages of convention confusion cannot be avoided1 and must have existed to some extent in the mind of the decorator2 they serve1 however1 to illustrate the stages of simplification through which all forms extensively used for a long period must pass4 ,the laws of derivation1 modification1 and application in art are the same in all4 ,it has now been shown that life forms and their varied derivatives constitute the great body of ,chiriquian decorative motives2 that when first introduced the delineations are more or less realistic1 according to the skill of the artist or the demands of the art2 but that in time1 by a long series of abbreviations and alterations1 they descend to simple geometric forms in which all visible connection with the originals is lost4 ,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 desire4 ,there may be forces at work of which we find no clear indications4 ,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 art2 such are the scroll1 the fret1 and the guilloche2 but the thorough manner in which such forms are interwoven with purely ,chiriquian conceptions makes it impossible to substantiate such a theory4 ,the conclusion most easily and most naturally reached is that all are probably indigenous to ,chiriqui1 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 ornament4 ,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 decorator4 ,it is a well established fact that primitive peoples habitually invest inanimate objects with the attributes of living creatures4 ,thus the vessel1 from the time it assumes individual shape and is fitted to perform a function1 is thought of as a living being1 and by the addition of plastic or painted details it becomes a particular creature1 an alligator1 a fish1 or a puma1 each of which is in most cases the symbol of some mythologic concept4 ,when1 through the changes of convention in infinite repetition1 all resemblance to individual creatures was lost and mere knobs or simple geometric figures occupied the surface of the vessel1 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 representatives1 and that others represented ideas1 the outgrowth of or a development from primary ideas1 while still others had acquired entirely new ideas from without4 ,it cannot be denied1 however1 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 alone1 without reference to meaning or appropriateness2 but ,i am inclined to place this period a very long way from the initiatory stages of the art4 ,it may not be possible to find evidence of the arrival of this period1 as it is not necessarily marked by any loss of unity or consistency--striking characteristics of ancient ,american art2 for such is the conservatism of indigenous methods that1 unless there be forcible intrusion of exotic art1 original forms and groupings may be perpetuated indefinitely and remain much the same in appearance after the associated ideas are modified or lost4 ,illustration3 ,fig4 #bhd4 ,vase with decorated zone containing remarkable devices--#a_/c4 ,illustration3 ,fig4 #bhe4 ,series of twelve conventional devices from the decorated zone of a vase4 ,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 forms4 ,recording arts--pictography1 hieroglyphic and phonetic writing--carry life forms through all degrees of abbreviation and change1 and all ceremonial and all domestic arts with which such forms are associated do the same2 and it is not impossible that many conventional forms found upon pottery are borrowed outright from the other arts4 ,it will be impossible to detect these borrowed elements unless very literally transferred from some art the style of which is well known4 ,it would be comparatively easy to identify literal borrowings from phonetic art or even from hieroglyphic art1 as the form and arrangement of the devices are quite unlike those observed in pure decoration4 ,we do not know that ,chiriquian culture had achieved a hieroglyphic or a phonetic system of writing1 but it is worth while to call attention to the form and the manner of employment of some of the devices found upon the pottery4 ,in ,fig4 #bhd ,i present an outline drawing of a vase1 the shoulder of which is encircled by a broad zone of decoration4 ,this zone is divided into panels by oblique lines4 ,a row of rectangular compartments extends along the middle of the band and rows of triangular spaces occur at the sides4 ,each space is occupied by a device having one or more features suggesting a pictorial original and doubtless derived from one4 ,in the main row there are twelve figures1 no two of which are identical4 ,although we are unable to show that any of these characters had other than a purely decorative use1 we see how richly the ancient peoples were supplied1 through the conventionalizing agencies of the art1 with devices that could have been employed as ideograms and letters where such were needed1 and devices1 too1 that1 from their derivation and use in the art1 must in most cases have had ideas associated with them4 ,r,,sum4 ,a brief summary of the more salient points of interest dwelt upon in this paper may very appropriately be given in this place4 ,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 culture4 ,the art remains are perhaps as a whole inferior to those of the districts to the north and south1 but they possess many features in common with the art of neighboring provinces4 ,there is1 however1 at the same time1 a well marked individuality4 ,in conception and execution these works are purely aboriginal1 and1 so far as can be determined by the data at hand1 are pre-,columbian1 and possibly to a great extent remotely pre-,columbian4 ,the discovery of articles of bronze1 which metal we cannot prove to be of indigenous production1 is the only internal evidence pointing toward the continuance of the ancient epoch of culture into post-,columbian times4 ,the relics are obtained from tombs from which nearly all traces of human remains have disappeared4 ,art in stone covers the ground usually occupied by works in this material in other ,central ,american countries1 save in the matter of architecture1 of which art there are but meager traces4 ,there are rock inscriptions1 statuettes and statues of rather rude character1 shapely mealing stones1 elaborately carved seats or stools1 many celts of extremely neat workmanship1 spear and arrow points of unique shape1 and a very few beads and pendent ornaments4 ,there are apparently no traces of implements of war4 ,in metal there are numerous and somewhat remarkable works4 ,they are of gold1 gold-copper alloy1 copper1 and bronze4 ,the objects are of small size1 rarely reaching a pound in weight1 and they are almost exclusively pendent ornaments4 ,they were1 for the most part1 cast in molds1 and in nine cases out of ten represent animal forms4 ,a few bells are found1 all of which are of bronze4 ,pieces formed of alloyed metal are usually washed or plated with pure gold4 ,the great body of relics are in clay1 and the workmanship displayed is often admirable4 ,vases are found in great numbers1 and as a rule are small and shapely1 and are so carefully and elaborately decorated as to lead to the inference that their office was in a great measure ceremonial4 ,they take a high place among ,american fictile products for grace of form and beauty of decoration4 ,there is neither glaze nor evidence of the use of a wheel4 ,besides vases we have several other classes of objects1 which include grotesque1 toy-like statuettes1 small1 covered receptacles resembling needlecases1 seat-like objects elaborately modeled1 spindle whorls1 and musical instruments4 ,the occurrence of numerous specimens of the two latter classes indicates that the arts of weaving and music were assiduously practiced4 ,an examination of the esthetic features of the ceramic art has proved exceptionally instructive4 ,we find much that is worthy of attention in the forms of vases as well as in the plastic or relieved features of embellishment1 and a still richer field is opened by the study of the incised and painted--the flat--decorations4 ,i have shown that the elements of decoration flow into the ceramic art chiefly through two channels1 the one from art and the other from nature4 ,elements from art are mainly of mechanical origin1 and are1 therefore1 non-imitative and geometric4 ,elements from nature imitate natural forms1 and hence are primarily non-geometric4 ,elements from art1 being mechanical1 are meaningless or non-ideographic2 those from nature are in early stages of art usually associated with mythologic conceptions1 and hence are ideographic4 ,all decorations may therefore have four dual classifications1 as follows3 ,first1 with reference to method of realization1 as plastic and flat2 second1 with reference to derivation1 as mechanical and imitative2 third1 with reference to plan of manifestation1 as geometric and non-geometric2 and1 fourth1 with reference to the association of ideas1 as significant and non-significant4 ,i have found that the ceramic art1 having acquired the various elements of ornament1 carries them by methods of its own through many strange mutations of form4 ,the effect upon life forms is of paramount importance1 as is indicated by the following broad and striking generalization3 ,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 ornaments1 such as the meander1 the scroll1 the fret1 the chevron1 and the guilloche1 are based4 ,it is further seen1 however1 that ideographic elements are not necessarily restricted to decorative or symbolic functions1 for the processes of simplification reduce them to forms well suited to employment in hieroglyphic and even in phonetic systems of expression4 ,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 arts4 ,,index4 ,alligator1 utilization of1 in ,chiriquian art #acj-adj1 #aff1 #agc-agf1 #agh1 #hj1 #ahc ,arrowpoints and spearheads of ,chiriqui #cd ,balboa1 ornaments captured by #ce ,black incised group of ,chiriquian pottery #hj ,bollaert1 ,w41 cited #da1 #de ,castillo del ,oro1 name given by ,columbus to ,chiriqui #ce ,celts1 collection of1 from ,chiriqui #bi-cd ,costa ,rica1 origin of name of #ce ,darien1 capture of1 by ,balboa #ce ,de ,zeltner1 ,a4 ,see ,zeltner1 ,a4 de4 ,diller1 ,j4 ,s41 acknowledgment to1 #ba1 note ,drums of ancient ,chiriqui #aeg1 #afj ,el ,dorado1 origin of #ce ,figurines of ,chiriquian art #aea-aec ,hallock1 ,w41 on ,chiriquian methods of casting #ch ,handled group of ,chiriquian pottery #ij-ig ,herrera1 cited #ce ,huacals1 exploration of1 in ,chiriqui #af1 #ag ,kunz1 ,g4 ,f4 on use of insects as models in casting metals #ch on ,chiriquian methods of plating #ci ,lost color of ,chiriquian art1 nature of #hf ,lost color group of ,chiriquian pottery #aac-acj ,mc,niel1 ,j4 ,a41 archeologic work of1 in ,chiriqui #ad1 #ae1 #bj ,mc,niel1 ,j4 ,a41 cited #ag1 #bb1 #bc1 #bg1 #ca1 #dj1 #da1 #dc1 #df1 #ajg ,maroon group of ,chiriquian pottery #ajg-aji ,mealing stones of ,chiriqui #be-bg ,merritt1 ,j4 ,k41 cited #ad1 #af1 #di exploration of ,bugaba cemetery by #ag1 #ah1 #bj ,metates of ,chiriqui1 nature and use of #be-bg ,nadaillac1 ,marquis1 cited #ad1 #ch on ,chiriquian methods of casting #ch ,needlecases 787 of ,chiriqui #aej ,new ,granada1 burial customs in #ai1 #bj ,otis1 ,f4 ,m41 paper on ,panama ornaments by1 mentioned #df ,piedra pintal1 description of1 by ,seemann #ba1 #bb ,pinart1 ,a4 ,l41 cited #ad1 #ae1 #bj1 #bb ,polychrome group of ,chiriquian pottery #adj-adg ,pottery of ,chiriqui #ec-ahf ,rattles of ancient ,chiriqui #aef1 #aeg ,red line group of ,chiriquian pottery #aji-aaa ,riggs1 ,r4 ,b41 analyses by #di ,scarified group of ,chiriquian pottery #hg-ij ,seemann1 description of piedra pintal by #ba1 #bb ,spindle whorls of ,chiriqui #adi1 #aej ,stearns1 ,j4 ,b41 specimens in archeological collections of #bd1 #da1 #dc1 #de1 #dh1 #di ,stools of ancient ,chiriqui #aed-aef ,terra cotta group of ,chiriquian pottery #fg ,tripod group of ,chiriquian pottery #ig-ajg ,whistles of ancient ,chiriqui #afd-aga ,white1 ,b4 ,b41 description of cemetery in ,new ,granada by #ai ,white line group of ,chiriquian pottery #aaa-aac ,wind instruments of ancient ,chiriqui #afj-aga ,zeltner1 ,a4 de observations on graves in ,chiriqui by #ad1 #ah1 #ai1 #da1 #db cited #bj1 #bb1 #bg1 #dc1 #de1 #adj description of ,chiriquian vases by #ade-adg 99 99 99 99 99 99 99 99 99 99 99 99 99 99 ,errors and ,inconsistencies 7noted by transcriber7 ,certain spellings such as bowlder are standard for the ,bureau of ,ethnology4 ,they have not been individually noted4 ,table of ,contents3 ,peoples body text has ,people ,celts c4 final 4 missing2 body text has ,celts alone ,clay3 ,pottery body text has ,pottery alone ,clay3 ,miscellaneous objects body text has ,miscellaneous ,objects of ,clay ,rsum indented as if secondary to previous entry ,in the body text1 the items ,spearheads and ,needlecases are written with parenthetical question mark 7874 ,under ,clay1 all sections listed in the ,table of ,contents as ,terra cotta group1 ,scarified group444 are shown in the body text as ,the terra cotta group1 ,the scarified group444 ,main ,text3 less elaborate in its sculptured ornament4 final 4 missing tufa1 the surface of which displays line-break hyphen in surface missing ,fig4 #ai caption 444 partially polished celt line-break hyphen in polished missing surfaces of the specimens recovered text has speci-_/imens at line break ,fig4 #id caption 444 animal forms--4 forms4-- ,fig4 #aec4 ,fig #aec4 ,fig4 #aed caption 444 ornamentation--4 final 4 missing called ,los ,tenajos by ,mr4 ,mc,niel ,mc,neil ,fig4 #aef caption 444 high relief--4 relief4--4 ,fig4 #ahc caption 444 unusual shape--4 final 4 missing these were polished down with the slips4 final 4 missing ,fig4 #bcg caption 444 lost color group--#a_/i4 fraction conjectural ,fig4 #bee caption 444 lost color ware--#a_/a4 final 4 missing ,fig4 #bei4 final 4 missing devices in which dentals1 hooks1 spots spelling unchanged3 expected form is dentils ,in the next figure the body symbol ,in he next