86 BULLETIN 14 7, UNITED STATES NATIONAL MUSEUM 



that even from the simple selection illustrated in this monograph 

 a variation of forms and designs representing distinct culture in- 

 fluences and periods might be recognized. The unusual features 

 of 6, Plate 19, have been considered. It is also possible that 7 and 8, 

 Plate 19, represent a variation in type indicative of influence from 

 without the peninsula. Nos. 5 and 9 are readily recognized as typical 

 of the generalized Tainoan form of anthropomorphic or zoomorphic 

 figurine head. No. 5 is represented as peering into the shallow ves- 

 sel, while 9 is molded as to look away from the earthenware vessel 

 on which it is luted. The more decorative form of handle illustrated 

 as 4, on Plate 19, Cat. No. 341025, U.S.N.M., has also been described 

 by Doctor Fewkes from Porto Rico, although the type is common 

 to the San Juan site in Samana. The use of the raised circle and 

 dot in a novel manner is very effective and is repeated in 5 on Plate 

 20, Cat. No. 341025, U.S.N.M. 



In 3, Plate 20. a unique representation of a manatee is illus- 

 trated. One flipper appears emerging from underneath the head of 

 the figure. Nothing more is presented. This omission of nonessen- 

 tials is a method of artistry typical of several groups of aboriginal 

 Indians. The tribes of the Pacific Northwest coast practice the same 

 technic in their wood carving when representing their totemic animal 

 crests. 



Generally it is impossible to recognize the species of zoomorphic 

 figurines modeled in clay by the aboriginal potters of Samana. It is 

 occasionally possible, however, to identify a figurine as the repre- 

 sentation of one of the various groups of animals as mammal, bird, 

 fish, sea or land mammal, or as anthropomorphic; more definite 

 identifications are almost always untrustworthy because of the con- 

 ventionalized technic of the artist. Undoubtedly some of the figurine 

 heads are intended to represent zemis or personal totems belonging 

 to an individual, family, or clan. Undoubtedly, also, some of the 

 figurines heads which resemble animal heads in their form are con- 

 ventionalized presentations of the human head, and, conversely, the 

 realism of design bespeaks an old and deeply rooted culture, not 

 necessarily a high culture, but one thriving throughout a long period 

 in isolation. Realism in decorative design, then, often assumes no 

 particular significance, but is simply presented and without cere- 

 monial importance. 



It is impossible, for instance, to determine whether 4 and 5, Plate 

 20; 4, 5 and 9, Plate 19; and 2, Plate 21, were intended as zoomor- 

 phic or anthropomorphic figurines. It is possible that the personages 

 or creatures represented are for the most part ceremonial and be- 

 longed to the social and religious life of the tribe. In other words, 

 the vast number of modelines and decoratives designs in clay chiefly 



