Chapter V: Part 5

In the series of outlines presented in Fig. 198, we have some of the varieties of form and decoration of both the ordinary bottles and the plainer tripod cups. Each example presents certain features of particular interest. The handsome little bottle (_d_) with the plastic ornament about the neck and the zone of geometric ornament in black and red lines is unique. The double necked bottle is an unusual form and its decoration consists of a strangely conceived representation of the alligator. The tripod vases are worthy of close attention: the piece illustrated in _b_ has a zone of ornament separated into three parts by vertical spaces, each part being enframed in black. The sections are divided by red lines into three panels, each of which contains a conventional figure of an alligator in black. The piece shown in _a_ is unique in its decoration. Four angular fret links in black are inclosed in as many panels, bordered by red and separated by blank spaces. These fret links, as I shall show further on, probably refer to or symbolize the alligator. The legs of the cups are all conical and are marked with short transverse lines in black, which have a direct reference to the markings of the animal to which the vase was consecrated. A careful study of the preceding illustrations leads to the conclusion that in the mind of the potters there was a close and important relationship between the vessel and the reptilian forms embodied in both plastic and surface embellishment. The series of examples which follow have a bearing upon this point. I shall begin with that in which the creature is most literally rendered.

In Fig. 199 the whole conformation of the vessel is considerably modified through the attempt to perfect the likeness of the alligator, whose head, tail, and legs are graphically rendered. The body, head, and tail are covered with nodes, each of which is encircled by a black ring and has a black dot upon the apex. Dotted rings and short strokes of black occupy the interspaces. These devices represent the spines and scales of the creature's skin. The legs are marked with horizontal stripes and oval spaces at the top inclose three dots each. The general color of the vessel is a dark brown. This piece should be compared with the alligator whistle shown in Fig. 250.

A somewhat different treatment is shown in Fig. 200. Here the animal form has undergone considerable modification. There are but three legs--a concession to the conventional tripod--and the body exhibits, instead of the nodes and the markings of the creature's skin, two conventional drawings of the whole animal. Now, by higher and higher degrees of convention, we come to a long series of modified results which must be omitted for want of room. We find that the plastic features are gradually reduced until mere nodes appear where the head and the tail should be, and finally in the lower forms there remains but a blank panel or a painted device, as already shown in a preceding section. The painted devices are also reduced by degrees until all resemblance to nature is lost and geometric devices alone remain. I observe in this association of plastic and painted features a lack of the perfect consistency I had learned to expect in the work of primitive peoples. It is easy to see how, from painting the markings of the creature's skin upon the body of the vessel, the painter should come gradually to delineate parts of the creature or even the whole creature, but we should not expect him to paint a creature distinct in kind from that modeled, thus confusing or entirely separating the conceptions; this has been done, apparently, in the vase illustrated in Fig. 202, where the plastic form represents a puma and the painting upon the sides seems intended for an alligator. It will be seen from the figures given that the devices of the panels or sides do not necessarily represent the markings of the animal's body, as in Fig. 201, but that they may refer to the entire creature (Fig. 200) or even to what appears to be a totally distinct creature (Fig. 202).

If realistic or semirealistic delineations are confused in this way it is to be expected that highly conventional derivative figures, so numerous and varied, should be much less clearly distinguished; that indeed there should be no certainty whatever in the reference to originals. It is difficult to say of any particular conventional device that it originated in the figure of the animal as a whole rather than in some part or character of that animal or of some other animal.

A very instructive example bearing upon this subject is shown in Fig. 203. Attached to one side of the basin is a pendent head resembling that of a serpent or a turtle. A kind of hood overhangs the head and extends in a ridge around the sides of the vessel, connecting with the tail of the creature, which is also pendent and hooded. Four legs support the vessel and are marked with transverse stripes of red and black paint. The upper surface of the head is covered with reticulated lines in black, and bands of conventional ornament in the same color extend around the sides of the vessel, uniting the head with the tail of the animal. A single band of ornament passes beneath the body, also connecting those members. It is plain that these painted bands serve to complete the representation of the reptile. But, as I have just shown, they are as likely to stand for the whole creature or to be the abbreviated representative of the whole creature as to represent merely the markings of the body. These devices, as arranged in the zone, resemble in a remarkable degree the conventional running scroll.

I have but one more example of the alligator vases to present, but it is perhaps the most remarkable piece in the collection (Fig. 204). It illustrates to good advantage both the skill and the strange fancy of these archaic potters. A large vase, having a high flaring rim and a subcubical body, is supported by two grotesque human appearing figures, whose backs are set against opposite ends of the vessel. The legs are placed wide apart, thus affording a firm support. The heads of the two figures project forward from the shoulder of the vase and are flattened in such a way as to give long oval outlines to the crowns which are truncated and furnished with long slit-like openings that connect through the head with the main chamber of the vessel. The openings are about two and a half inches long and one-eighth of an inch wide and are surrounded by a shallow channel in the flat, well polished upper surface. The extraordinary conformation of this part of the vessel recalls the well known whistling vases of South America; but this piece is too badly broken to admit of experiment to test its powers. It is generally likened to a money box. In order to convey a clear conception of the shape of the upper surface, I present a top view of the vessel (Fig. 205).

A front view of one of the supporting figures is shown in Fig. 206. Although certainly not intended to represent a human figure with accuracy, it is furnished with a crown, as are the figures in gold and stone, and is covered with devices that seem to refer to costume. The features are extremely grotesque, the nose resembling the beak of a bird and the mouth being a mere ridge, without indications of the lips. The face and the chest are painted with curious devices in red. The funnel and body of the vase are decorated with subjects that seem to have no connection with the plastic features and no relation to one another in subject matter. The upper panel, surrounded by a framework of black and red lines, contains the figure of an alligator much simplified and taking a peculiar position on account of the shape of the space into which it is crowded. The figure occupying the body panel is that of a very strangely conventionalized two tailed monkey and is enframed by a wide red line. On the shoulder of the vessel is an ornament consisting of a number of angular hooks attached to a straight line. The effect is like that of fretwork, but the figure is probably derived from a modified animal form. The paste of this vase is sandy and is reddish gray near the surface and quite dark within the mass. The modeling is thoroughly well done, and the surface, which is of a somber, yellowish gray tint, is highly polished. The figures are drawn chiefly in black, red being confined to broad lines and areas. De Zeltner published photographic illustrations of a similar vase with his pamphlet on the graves of Chiriqui. That specimen is now, I believe, in the hands of Prof. O. C. Marsh, of New Haven. It corresponds very closely in nearly every respect with the example here described.

_The polychrome group._--The National Museum collection contains but three examples of this most artistic of the wares of Chiriqui. Its claim to superiority rests upon a certain boldness and refinement of execution, combined with nobleness of outline and a type of design much in advance of other isthmian decoration. It is probably most nearly allied to the ware of the alligator group, and it possesses some of the characteristics of the best Central American work. Unlike the other wares of Chiriqui, this pottery has a bright salmon red paste and the slip proper is a delicate shade of the same color. In nearly all cases undecorated portions of the surface are finished in red, which appears to have been polished down as a slip. The designs are in three colors--black, a strong red, and a fine gray purple--which, in combination with the bright reddish ground, give a very rich effect. The first example, shown in Fig. 207, is a large, nearly symmetrical bottle with a short neck and a thick, flaring lip. The inner surface of the orifice and the lower half of the body are finished in red and the neck and shoulder in the salmon colored slip. A wide zone of ornament encircles the upper surface of the body. The designs are executed with great skill in red and black colors and include two highly conventional figures, probably of reptilian origin. The manner of their introduction into the zone is shown in Fig. 208. The oval faces are placed on opposite sides, taking the positions usually occupied by modeled heads. Each face is supplemented by a pair of arms which terminate in curiously conventional hands, and the two caudal appendages are placed midway between the faces, filling triangular areas. The body of the vase serves as a body for both creatures. In the illustration, the red of the design, which is carried over all of one face save the eyes and mouth and serves to emphasize the features of the other face, is indicated in vertical tint lines and the black is given in solid color. This vase is twelve inches in height.

A second example, illustrated in Fig. 209, is a fine piece of somewhat unusual shape. The orifice is trumpet shaped and rather too wide for good proportion. The body is flattened above and conical below and is supported by a rather meager annular foot. The paste is of a light brick red color, and the slip, as seen in the ground of the decorated belt, is a pale gray orange. Undecorated portions of the surface are painted red. The ornamented zone is interrupted by two pairs of handle-like appendages set upon the outer part of the shoulder. These projections may possibly have served as handles, as they are perforated both horizontally and vertically, but they are at the same time undoubtedly conventionalized animal forms, the creature being represented by the four flattened, transversely marked arms or rays and an eye-like device painted upon the top of each figure. The painted devices are seen in plan in Fig. 210, where the relations of the relieved features to the zone of painted decoration are clearly shown. This zone is divided into panels of unequal dimensions, and within these a number of extraordinary devices are drawn in three colors, red, black, and purple. These are distinguished in the plan by peculiar tint lines. The designs are of such a character as to leave little doubt that they are ideographic, although at present it is impossible to guess the nature of the associated ideas. The annular foot observed in this specimen illustrates the first step in the development of a feature the final stage of which is shown in Fig. 211. The latter shape is such as would result from inverting the preceding form, removing the conical base of the body, and using the funnel shaped orifice as a stand. This highly developed shape implies a long practice of the art. The form is a usual one in Mexico and in Central America. The bowl is shallow and is set gracefully upon the stand, the whole shape closely resembling simple conditions of the classic kylix. The color of the paste is a pale brick red and that of the slip approaches orange. The walls are thick and even and the surface is very carefully polished.

The painted decoration is of unusual interest. The colors are so rich, the execution is so superior, and the conception so strange that we dwell upon it with surprise and wonder. The central portion of the bowl is occupied by what would seem to represent a fish painted in strong, firm, marvelously turned lines, and in a style of convention wholly unique. The outlines are in black and the spaces are filled in with red and purple or are left in the orange hue of the ground. An idea of the superior style of execution can be gained from Fig. 212. It will be impossible to characterize the details of the drawing in words. The strange position and shape of the head, the oddly placed eyes and mouth, and the totally incomprehensible treatment of the body can be appreciated, however, by referring to the illustration. A careful study leads inevitably to the conclusion that this was no ordinary decoration, no playing with lines, but a serious working out of a conception every part of which had its significance or its raison d'être.

The figures occupying the border zone of the bowl are worthy of careful inspection. It will be seen that the potter, even in this highly specialized condition of the utensil, has not lost sight of the conception that the vessel is the body of an animal, as we have seen so often in simpler forms, and that the symbols of the creature should appear upon it and encircle it. The zone is divided into two equal sections by small knobs, painted, as are the handle-like appendages in the preceding specimen, to represent some animal feature. The lateral sections are occupied by eye-like figures that stand for the markings of the body of the creature symbolized. They really occupy the spaces left by a continuous waved body or life line, which they serve to define. Devices of this class are most frequently met with in connection with representations of the alligator. They may, however, symbolize the serpent, as occasionally seen in the alligator group. Decorative conceptions so remarkable as these could arise only through one channel: the channel of mythology. The superstitions of men have imposed upon the art a series of conceptions fixed in character and limited to especial positions, relations, and forms of expression. It is useless to speculate upon the nature of the mythologic conceptions with an idea of arriving at any understanding of the religion of the people; but we do learn something of the stage of development, something of the condition of philosophy.

I must not close this section without referring to some fine vases that belong apparently to this group and which were collected by De Zeltner and illustrated by photographs accompanying his pamphlet. They are now, I believe, in the possession of Prof. O. C. Marsh. The sketches given herewith are copied from De Zeltner's photographs and are probably somewhat defective in details of drawing. The piece illustrated in Fig. 213 is not described by the author, but is evidently a handsome vessel and is decorated in a very simple manner. A band of devices symbolizing the body of an animal encircles the middle portion of the vase. The height is about a foot.

A second piece (Fig. 214), of which two views are given by the same author, corresponds closely in many respects with the vase illustrated in Fig. 211 and is described in the following language:

My collection includes a cup (or chalice) of baked clay 25
centimeters in diameter, mounted on a hollow stand which gives it a
height of 18 centimeters, and the designs of which are very rich and
in perfect taste. The base is hollow and colored red, white, black,
and purple; it has four narrow openings or slits, and the design
represents plaits spirally arranged. The under side of the cup is
divided into four compartments, each of which incloses a dragon
painted in black and red on a white ground; the borders are
sometimes red, sometimes purple. The body of the dragon might have
been painted in China, so neat and intricate is the drawing.

The design upon the inside of the cup seems to resemble Egyptian
art. The body of a man is seen, painted in red, the arms and legs
separated, and the shoulders bearing the head of the dragon with
teeth and crest. The color is similar to the rest of the
piece--purple, white, and black. The intermediate spaces are filled
with very intricate designs.

This extraordinary design is shown in Fig. 215, and it will be seen that it agrees in many respects with figures presented in the lost color and alligator groups. It is compound in character, however, the head referring to the alligator, the body and extremities perhaps to a man or to a monkey. The suggestion of the oriental dragon in this, as in other examples, is at once apparent, and the resemblance to certain conventional forms that come down to us from the earliest known period of Chinese art is truly remarkable. We cannot, of course, predicate identity of origin even upon absolute identity of appearances, but such correspondences are worthy of note, as they may in time accumulate to such an extent that the belief in a common origin will force itself upon us.

_Unclassified._--A small number of vases do not admit of classification under any of the preceding heads. In most cases, however, they are not of especial interest and may be passed over. They represent a number of varieties of ware and are possibly not all Chiriquian, their affinities being rather with the pottery of Costa Rica and Nicaragua. One remarkable piece, of which a sketch is given in Fig. 50, _c_, is of large size and is shaped somewhat like an hour glass, and on account of its peculiar form and markings may be said to resemble a corset. The upper end is somewhat the smaller, and the septum, which forms the bottom of the vessel, is placed about an inch above the base of the foot. The interior surface is smoothly polished and painted a dark dull red. The exterior is uncolored and neatly fluted. The series of vertical ribs of the upper end is separated from those of the base by a belt of horizontal flutings, and a wide smooth space extends from the top to the base, the lower section of which is occupied by a row of button-like, indented knobs. The use of this utensil may not have been peculiar, but its shape is wholly unique. It resembles most nearly the ware of the maroon group. Its height is twelve inches.

Perhaps the most interesting of these unclassified vases is a somewhat fragmentary piece, of which an outline is given in Fig. 216. The ware closely resembles that of the alligator group in color of the paste and slip, but the base has been supplied with an annular stand, a feature not observed in that group, and the colors of the design, with the exception of the black, are unlike those used in Chiriquian vases.

It will be seen by reference to Fig. 217 that the painted figures are partially pictorial, the conventional scenes including the sun, the moon, and stars. The more conventional parts of the design are very curious and without doubt are symbolic. The border of fret work is Mexican in style. The sun, which is only partially exposed above the horizon, is outlined in red and is surrounded by red rays. The figures supposed to represent the moon and the stars are in black. In the illustration the reds of the original are represented by vertical tint lines and the brownish grays by horizontal tint lines. The black is in solid color.

MISCELLANEOUS OBJECTS OF CLAY.

As primitive peoples advance in culture and the various branches of art are differentiated, each of the materials employed is made to fill a wider and wider sphere of usefulness. Clay, applied at first to vessel making and used perhaps as an auxiliary in a number of arts in which it took no definite or individual shapes, gradually extended its dominion until almost every art was in a measure dependent upon it or in some way utilized it. The extent of this expansion of availability is in a general way a measure of the advancement of the races concerned. The Chiriquians employed clay in the construction of textile machinery, as shown by the occurrence of spindle whorls, and a number of small receptacles, probably needlecases, are constructed of that material. It was employed in the manufacture of stools, statuettes, drums, rattles, and whistles. With less cultured races, such as the Pueblo and mound builders of the north, such articles were rarely manufactured, while with the more cultured nations of Mexico and Peru a wider field was covered and the work was considerably superior.

SPINDLE WHORLS.

The art of weaving was carried to a high degree of perfection by many of the American races, but the processes employed were of the simplest kind. The threads were spun upon wooden spindles weighted with whorls of baked clay. These whorls are not plentiful in the graves of Chiriqui, but such as have been collected are quite similar in style to those of Mexico and Peru. In Figs. 218, 219, and 220 we have three examples modeled with considerable attention to detail but comparatively rude in finish. They are in the natural color of the baked clay and are but rudely polished. The first is encircled by a line of rough, indented nodes, the second is embellished with homely little animal figures, and the third with incised patterns and rude incisions.

NEEDLECASES (?).

I have given this name to a rather large class of small oblong or oval receptacles that could have served to contain needles or any other small articles of domestic use or of the toilet. They consist of two parts, a vessel or body and a lid. The former takes a variety of cylindrical, subcylindrical, and doubly conical shapes, and the latter is conical and is in many cases furnished with a knob at the top for grasping with the fingers. The lid is attached or held in place by means of strings passed through small holes made for the purpose in corresponding margins of the two parts. These objects were in pretty general use in the province, as they are found to belong to a number of the groups of ware, being finished and decorated as are the ordinary vessels of these classes. A few type specimens are given in the following cuts. A fine example belonging to the unpainted ware is shown in outline in Fig. 221. It is five inches in height and three in diameter and is pleasing in shape. The specimen outlined in Fig. 222 is of the lost color group, but has lost nearly all traces of the decorative design.

A fine example, with high polish and elaborate decoration, is presented in Fig. 223. The lid is raised to show the position of the perforations. Two interesting examples belonging to the dark incised ware are shown in Figs. 224 and 225. The deeply incised design of the first is purely geometric, but is probably of graphic parentage, while that of the second, rather rudely scratched through the dark surface into the gray paste, is apparently a less highly conventionalized treatment of the same motive.

FIGURINES.

I have already called attention to the fact that there is no such thing in Chiriquian ceramic art as a well modeled human figure and apparently no indication of an attempt to render the human physiognomy with accuracy. It is highly probable that the personages embodied in the mythology of the people took the forms of animals or were anthropomorphic and gave rise to the peculiar conceptions embodied in their arts. The strange objects herewith presented are rendered in a measure intelligible by the adoption of this hypothesis. These figurines are confined to the alligator group of ware and are quite numerous. They are small, carefully finished, and painted with care in red and black lines and figures. They are semihuman and appear to be arrayed in costume. The head of each is triangular in shape, having a sharp, projecting profile, with the mouth set back beneath the chin, reminding one of the face of a squirrel or some such rodent. The figures occupy a sitting posture. The legs are spread out horizontally, giving a firm support, and terminate in blunt cones, which are in some cases slightly bent up to represent feet. The hands rest upon the sides or thighs or clasp a small figure apparently intended for an infant, which, however, does not seem to have any human features. In one case this figure is placed upon the back of the figurine and appears to hold its place by means of four feet armed with claws (Fig. 226); in another it is held in front (Fig. 227). The neck is usually pierced to facilitate suspension, and the under side of the body--the sitting surface--is triply perforated, or punctured if solid, as if for the purpose of fixing the figure in an upright position to some movable support. The central perforation is round and the lateral ones, on the under side of the legs, are oblong. The largest specimen is six inches in height and the smallest about one and a half inches. They are rather elaborately painted with black and red devices which, by their peculiar geometric character, are undoubtedly intended to indicate the costume. The hair is represented by black stripes, which descend upon the neck, and the face is striped with red. They are found associated with other relics in the graves and were possibly only toys, but more probably were tutelary images or served some unknown religious purpose. The sex is usually feminine. Two additional examples showing side and back views are outlined in Figs. 228 and 229.

STOOLS.

I have given this name to a class of stone carvings presented in a previous section, and, for want of a better name, give it also to a series of similar objects modeled in clay. These are among the most elaborate products of Chiriquian art. In all cases they are of the yellowish unpainted pottery and indicate much freedom and skill in the handling of clay. They do not show any well defined evidences of use, and as they are too slight and fragile to be used as ordinary seats we are left to surmise that they may have served some purpose in the religious rites of the ancient races. They are uniform in construction and general conformation and consist of a circular tablet supported by upright circular walls or by figures which rest upon a strong, ring shaped base. The tablet or plate is somewhat concave above, is less than an inch in thickness, and has a diameter of ten and one-fourth inches in the largest piece, descending to seven and one-half in the smallest. The margin is rounded and usually embellished with a beaded ornament consisting of grotesque heads, generally reptilian. The variations exhibited in details of modeling are well shown by the illustrations. In the example given in Fig. 230 the upright portion is a hollow cylinder, having four vertical slits, alternating with which are oblique bands of ornament in incised lines and punctures. The projecting margin of the tablet is encircled by a row of grotesque, monkey-like heads, facing downward.

Fig. 231 illustrates a specimen in which three grotesque figures, with forbidding faces, alternate with as many flat columns embellished with rude figures of alligators. Eighteen grotesque, monkey-like heads occupy the lower margin of the seat plate in the spaces between the heads of the supporting figures. This specimen illustrates the favorite Chiriquian method of construction. The various parts were modeled separately in a rough way and then set into place in the order of their importance. When this was done and the insertions were neatly worked together with the fingers, a number of small instruments were employed in finishing: a sharp stylus for indicating parts of the costume, and blunt points and small tubular dies for adding intaglio details of anatomy, such as the navel, the pupils of the eyes, and the partings of the fingers and toes.

The discoidal plate of another specimen is supported by four absurdly grotesque monkeys, giving a general effect much like that of the last.

A very remarkable piece is shown in Fig. 232. The tablet is supported by six grotesque figures, somewhat human in appearance, whose limbs are intertwined with serpents, suggesting the famous group of the Laocoön. The work is roughly done and the details are not carried out in a very consistent manner, as the arms and legs of the figures become confused with the reptiles and are as likely to terminate in a snake's head as in a hand or foot. The rudely shaped bodies are covered with indented circlets or with short incised lines. The material, color, and finish are as usual. The height is four and one-half inches and the diameter of the tablet ten inches.

There are additional specimens in the National Museum. In one case, the largest specimen of the series, the tablet is supported by five upright female human figures and the margin is encircled by a cornice of forty-six neatly modeled reptilian heads. A small example differs considerably in general shape from those illustrated, the base being much smaller than the circular tablet. The supporting figures are two rudely modeled ocelots and two monkey-like figures, all of which are placed in an inverted position. Similar objects are obtained from the neighboring states of Central and South America.

MUSICAL INSTRUMENTS.

Something is already known of the musical instruments of the ancient Chiriquians through fugitive specimens that have found their way into collections in all parts of Europe and America. The testimony of the earthen relics--for no others are preserved to us--goes to show that the art of music was, in its rude way, very assiduously practiced, and that it probably constituted with these, as with most primitive communities, a serious and important feature in the various ceremonial exercises. Clay is naturally limited to the production of a small percentage of the musical instruments of any people, the various forms of woody growths being better adapted to their manufacture. We have examples of both instruments of percussion and wind instruments, the former class embracing drums and rattles and the latter whistles and clarionette-like pipes.

_Rattles._--Besides the ordinary rattles attached to and forming parts of vessels, as already described, there are a number of small pieces that seem to have served exclusively as rattles, while some are rattle and whistle combined in one piece. In no case, however, would they seem to the unscientific observer to be more than mere toys, as they are of small size and the sounds emitted are too weak to be perceptible at any considerable distance. At the same time it is true that they may have had ceremonial offices of no little consequence to the primitive priesthood. The simple rattles are shaped like gourds, the body being globular and the neck or handle long and straight. Like the wares already described, they are finished and decorated, the majority belonging to the lost color group. The length varies from three to six or seven inches. A number of minute slit-like orifices or perforations for the emission of the sound occur about the upper part of the body (Fig. 233). A septum is placed in the lower part of the neck, so that the handle, which is hollow and open at the upper end, may serve as a whistle. In some cases the lower part of the neck is perforated for suspension at the point occupied by the septum, as imperfectly shown in the section (Fig. 234). The most interesting specimen in the collection is shown in Fig. 235; it is especially notable on account of its construction, which points clearly to the gourd as a prototype. The body is of the usual globular shape, slightly elongated above. The neck is represented as a separate piece lashed on with cords by means of perforations made for the purpose, just as are the handles of similar instruments constructed of gourds and reeds in Central American countries. The compartments of the handle and of the body are separate and the sound produced by the small oval pellets is emitted through slits of the usual form. The top of the handle is surmounted by a pair of grotesque human figures, male and female, placed back to back and united at the backs of the heads as seen in the cut. This object is gray in color and presents the roughened granular surface resulting from long exposure to the elements.

_Drums._--The drum was a favorite instrument with the native American musician. Early explorers found its use next to universal, and the "tambour" is even now a characteristic feature of the musical paraphernalia of the Spanish-Americans. The primitive instrument was made by stretching a thin sheet of animal tissue over the orifice of a large gourd vessel or a vessel of wood or clay. The use of clay was probably exceptional, as there are but three specimens in our Chiriquian collection. The shape is somewhat like that of an hour glass, the upper part, however, being considerably larger than the base or stand. In all cases the principal rim is finished with especial reference to the attachment of the vibrating head. The example presented in Fig. 236 has a deeply scarified belt an inch wide encircling the rim, and below it is a narrow ridge, intended perhaps to facilitate the lashing or cementing on of the head. Two raised bands, intended to imitate twisted cords, encircle the most constricted part of the body, a single band similarly marked encircling the base. The surface is gray in color and but rudely polished. The walls are about three-eighths of an inch thick, the height sixteen and one-half inches, and the greatest diameter seven and one-half inches.

The decorated specimen illustrated in Fig. 237 is imperfect, a few inches of the base having been lost. The shape is rather more elegant than that of the other specimen and the surface is neatly finished and polished. The ground color or slip is a warm yellow gray and the decoration is in red and black. The rim or upper margin is rather rudely finished and is painted red and on the exterior is made slightly concave and furnished with a raised band to facilitate the attachment of the head. The painted ornament encircles the body in four zones, two upon the upper portion and two upon the base. The designs occupying the body zones are unique and viewed in the light of their probable origin are extremely interesting. In another place further on in this paper I shall show that they are probably very highly conventionalized derivatives of the alligator radical, the meandered line representing the body of the creature and the scalloped hooks the extremities (Fig. 238). The two bands upon the base consist of geometric figures, the origin of which cannot be definitely determined, although they also probably refer to the alligator.

In the collection there is a minute toy drum of the same general shape, and the same form reappears in some of the whistles, in one of which (Fig. 247) the skin head and its fastenings are all carefully reproduced in miniature. The immediate original of this particular form of drum was probably made of wood. A drum, recently brought from Costa Rica was made by hollowing out a cylindrical piece of wood and stretching a piece of snakeskin across the top. The shape is nearly identical with that of these earthen specimens.

_Wind instruments._--Earthenware wind instruments are found in considerable numbers and are associated with other relics in the tombs. Nearly all are very simple in construction and are limited in musical power, receiving and perhaps generally deserving no better name than whistles or toys. A few pieces are more pretentious and yield a number of notes, and if operated by skilled performers or properly concerted are capable of producing pleasing melodies. It is not difficult to determine the powers of individual instruments, but we cannot say to what extent these powers were understood by the original owners, nor can we say whether or not they were intended to be played in unison in such a way as to give a certain desired succession of intervals. There are, however, in a large number of these instruments a uniformity in construction and a certain close correspondence in the number and degree of the sounds that indicate the existence of well established standards. It does not appear absolutely certain to me that the system of intervals was made to conform to that of any known scale; but a difficulty arises in attempting to determine this point, as most of the pieces are more or less mutilated. We find also that the note producible by any given stop is not fixed in pitch, but varies, with the force of the breath, two or even three full intervals. As a result of this a glide is possible to the skilled performer from note to note and any desired pitch can be taken.

In material, finish, and decoration these objects do not differ from the ordinary pottery. A majority belong to the alligator group. The size is generally small, the largest specimen being about eight inches in length. The shapes are wonderfully varied and indicate a lively imagination on the part of the potter. Animal forms prevail very decidedly, that of the bird being a great favorite. In many cases the animals copied can be identified, but in others they cannot--perhaps from our lack of knowledge of the fauna of the province, perhaps from carelessness on the part of the artist or from the tendency to model grotesque and complicated shapes. The following creatures can be recognized: men, pumas, ocelots, armadillos, eagles, owls, ducks, parrots, several varieties of small birds, alligators, crabs, and scorpions. Vegetal forms, excepting where in use as instruments or utensils, as reeds and gourds, were not copied. In the National Museum collection there are two tubular pipes, probably modeled after reeds, and another resembles a gourd in shape. The construction of the whistling apparatus is identical in all cases and corresponds to that of our flageolets (see sections, Figs. 240 and 242). Plain tubes were doubtless also used as whistles, and all utensils of small size, such as needlecases and toy vases, can be made to give forth a note more or less shrill, according to the size of the chamber. The simplest form of whistle produces two shrill notes identical in pitch. The shape is double, suggesting a primitive condition of the tibiæ pares of the Romans. The parts are pear or gourd shaped, are joined above and below, and have an opening between the necks. The two mouthpieces are so close together that both are necessarily blown at once. The note produced is pitched very high and is extremely penetrating, not to say ear splitting, making an excellent call for the jungles and forests of the tropics. A small specimen is presented full size in Fig. 239, and the section in Fig. 240 shows the relative positions of the mouthpieces, air passages, vent holes, and chambers.

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Reed shaped instruments are furnished with passages and orifices corresponding to the other forms. The chamber is tubular and the lower end is open, and the finger holes, when present, are on the upper side of the cylinder. One example without finger holes has two notes nearly an octave apart, which are produced, the higher with the tube open and the lower with it closed. Perhaps the most satisfactory instrument in the whole collection, so far as range is concerned, is shown in Fig. 241, and a section is given in Fig. 242. It is capable of yielding the notes indicated in the accompanying scale: First, a normal series of eight sounds, produced as shown in the diagram, and, second, a series produced by blowing with greater force, one note two octaves above its radical and the others three octaves above. These notes are difficult to produce and hold and were probably not utilized by the native performer.

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Two little instruments of remarkable form and unusual powers stand quite alone among their fellows. One only is entire. It is made of dark clay and represents a creature not referable to any known form, so completely is it conventionalized. A fair idea of its appearance can be gained from Figs. 243 and 244. The first gives the side view and the second the top view. The mouthpiece is in what appears to be the forehead of the creature. The vent hole is beneath the neck and there are four minute finger holes, one in the middle of each of four flattish nodes, which have the appearance of large protruding eyes. A suspension hole passes through a node upon the top of the head. The capacity of this instrument is five notes, clear in tone and high in pitch. It is notable that the pitch of each stop, when open alone, is identical, the holes being of exactly the same size. In playing it does not matter in what order the fingers are moved. The lower note is made with all the holes closed and the ascending scale is produced by opening successively one, two, three, and four holes. The fragmentary piece is much smaller and the holes are extremely small.

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Of a distinct type of form, although involving no new principle of construction, are two top-like or turnip shaped instruments, one of which is shown in Fig. 245. The form is symmetrical, the ornamentation tasteful, and the surface highly polished. The ware is of the alligator group and is decorated in red and black figures. A section is given in Fig. 246, _a_, and top and bottom views in _b_ and _c_. By reference to these a clear conception of the object can be formed. The companion piece is identical in size, shape, and conformation, and, strange to say, in musical notes also. The tones are not fixed, as each can be made to vary two or three degrees by changing the force of the breath. The tones produced by a breath of average force are indicated as nearly as may be in the accompanying scale. They will be found to occur nearer the lower than the upper limit of their ranges. It should be observed that the capacity for variation possessed by each of these notes enables the skilled performer to glide from one to the other without interruption. This instrument is, therefore, within its limited range, as capable of adjusting itself to any succession of intervals as is the trombone or the violin. I do not imagine, however, that the aboriginal performer made any systematic use of this power or that the instrument was purposely so constructed. It will be seen by reference to the scale that stopping the orifice in the end opposite the mouthpiece changes the notes half a tone, or perhaps, if accurately measured, a little less than that.

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Our collection contains several dozen three note whistles or pipes. Most of these represent animal forms, which are treated in a more or less realistic way, but with a decided tendency toward the grotesque. Nearly all are of small size, the largest, an alligator form, having a length of about eight inches. In the animal figures the air chamber is within the body, but does not conform closely to the exterior shape. The mouthpieces and the orifices are variously placed, to suit the fancy of the modeler, but the construction and the powers are pretty uniform throughout. There are two finger holes, placed in some cases at equal and in others at unequal distances from the mouthpiece, but they are always of equal size and produce identical notes. The capacity is therefore three notes. The lower is produced when all the orifices are open, the higher when all are closed, and the middle when one hole--no matter which--is closed.

Besides the animal forms there are a number of shapes copied from other musical instruments or from objects of art, such as vases. A very interesting specimen, illustrated in Fig. 247, modeled in imitation of a drum, has not only the general shape of that instrument, but the skin head, with its bands and cords of attachment, is truthfully represented. A curious conceit is here observed in the association of the bird--a favorite form for the whistles--with the drum. A small figure of a bird extends transversely across the body of the drum chamber, the back being turned from the observer in the cut. The tail serves for a mouthpiece, while the finger holes are placed in the breast of the bird, the position usually assigned to them in simple bird whistles; its three notes are indicated in the accompanying scale:

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One specimen is vase or pitcher shaped, with base prolonged for a mouthpiece and with a neat handle (Fig. 248). The ground color is a dull red, upon which are traces of painted figures. Its notes are as follows:

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A novel conceit is exhibited in the crab shaped instrument presented in Fig. 249, which gives a back view of the animal. On the opposite side are four small conical legs, upon which the object rests as does a vase upon its tripod. The mouthpiece is in the right arm, beneath which is the sound hole. The two finger holes are in the back behind the eyes of the creature and a suspension hole is seen in the left arm. The painted designs are in red and black lines upon a yellowish gray ground. The following scale indicates its capacity:

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The largest specimen in the collection, shown in Fig. 250, represents an alligator and is finished in the usual conventional style of the alligator group. The air chamber is large and the sounds emitted are full and melodious and are lower in pitch than those of any other instrument in the collection. The cavity in the mouth and head is separated from the body chamber, and, with the addition of earthern pellets, probably served as a rattle. The mouthpiece is in the tail and the finger holes are in the sides of the body.

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Mammals are very often reproduced in these instruments. What appears to be the ocelot or jaguar is the favorite subject. A representative specimen is shown in Fig. 251. The mouthpiece is in the tail and one of the sound holes is in the left shoulder and the other beneath the body. The head is turned to one side and the face is decidedly cat-like in expression. The decoration is in black and red and may be taken as a typical example of the conventional treatment of the markings of the bodies of such animals. The tips of the ears, feet, and tail are red. Rows of red strokes, alternating with black, extend in a broad stripe from the point of the nose to the base of the neck. Red panels, inclosing rows of red dots and enframed by black lines, cross the back. On the sides we have oblong spaces filled in with the conventional devices so common in other animal representations. The legs are striped and dotted after the usual manner.

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A unique form, and one that will be looked at with interest by comparative ethnologists on account of the treatment of the tongues, is given in Fig. 252. The instrument consists of an oblong body to which four ocelot heads are fixed, one at each end and the others at the sides. It rests upon four feet, in one of which the mouthpiece is placed. The finger holes are in the side of the body near the legs, as seen in the cut. The decoration, which consists of more or less conventional representations of the skin markings of the animal, is in black and red. Its notes are three, as follows:

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The prevalence of bird forms is due no doubt to the resemblance of the notes of primitive whistles to the notes of birds. The shape of the bird is also exceptionally convenient, as the body accommodates the air chamber, the tail serves as a mouthpiece, and the head is convenient for the attachment of a cord of suspension. A great variety of forms were modeled and range from the minute proportions of the smallest humming bird to those of a robin. The larger pieces represent birds of prey, such as hawks, eagles, and vultures, and the smaller are intended for parrots and song birds. The treatment is always highly conventional, yet in many cases the characteristic features of the species are forcibly presented. The painted devices have reference in most cases to the markings of the plumage, yet they partake of the geometric character of the designs used in ordinary vase painting. The ground is the usual yellowish gray of the slip, and nearly all the pieces belong to the lost color and alligator groups.

A characteristic example is illustrated in Fig. 253. The head is large and flat and the painted devices are in the red and black of the lost color group. The three notes are as follows:

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The piece given in Fig. 254 has the shape and markings of a hawk or eagle. It belongs to the alligator ware and is elaborately finished in semigeometric devices in red and black. All of these devices refer more or less definitely to the markings of the plumage.

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The example shown in Fig. 255 represents a bird with two heads, the shape and markings of which suggest one of the smaller song birds.

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I cannot say that the whistles were modeled and pitched with the idea of imitating the notes of particular birds, but it is possible for the practiced performer to reproduce the simpler songs and cries of birds with a good deal of accuracy.

The human figure was occasionally utilized. The treatment, however, is extremely rude and conventional, the features having the peculiar squirrel-like character shown in the figurines already given. The unique piece given in Fig. 256 represents a short, clumsy female figure with a squirrel face, carrying a vessel upon her back by means of a head strap, which is held in place by the hands. The mouthpiece of the whistle is in the right elbow and one sound hole is in the middle of the breast and the other in the left side. The costume and some of the details of anatomy are indicated by red and black lines in the original. Its notes are the same as those presented with Fig. 249.

LIFE FORMS IN VASE PAINTING.

This section is to be devoted to a short study of the decorative system of the ancient Chiriquians, and more especially to a consideration of the treatment of life forms in vase painting. Many of the finest examples of these designs, so far as execution and effect in embellishment are concerned, have already been given; but it is desirable now to select and arrange a series to illustrate origins and processes of growth or modification.