NO. I HONDURAS — STRONG, KIDDER, AND PAUL 5 1 



Lehmann (1910, p. 740 and illus. 8, p. 736) believes that copulation, 

 not dancing-, is indicated by this design and supports his view by a 

 drawing of a Salvadorean example. To us, the latter seems no more 

 definite than do the Ulua examples here illustrated (pi. 8, a, h, 

 and fig. 14). In the light of Palacio's information regarding the cere- 

 monial importance of the mutilation of male genitalia among Pipil 

 and Lenca, we rather incline to connect this widespread design with 

 phallic rather than procreative rites. Undoubtedly, the correlation of 

 outer dancing figures with a unique design inside such vessels (fig. 14) 

 is significant. This peculiar, and always slightly variable, inner design 

 suggests some sort of record. It occurs inside " dancing figure " and 

 certain processional vases and bowls from the Ulua River, Comayagua 

 River, and Lake Yojoa. We suspect it also occurs inside Salvadorean 

 vessels. This is an extremely interesting problem which at this time 

 may only be mentioned in passing. Associated with the " dancers " 

 are sherds decorated with isolated, processional figures. Like the 

 " dancers ", these are usually well proportioned and graceful. The 

 manner in which they are fitted into the simpler but more beautiful 

 panels and design areas contrasts markedly with the florid, over-all 

 designs of the upper levels. With these more realistic figures occur a 

 variety of conventionalized human head designs (pi. 8, a, b). Simi- 

 larly, the squat, conventionalized deity or priest figures (pi. 8, d, 

 and fig. 13) also occur in association with the well-proportioned 

 " dancers " and processional figures. Flat bases are most common in 

 this level, and tripod feet are usually solid and rectangular or ovoid, 

 though a few cylindrical feet occur. Lugs and annular bases do not 

 occur in our sample. Levels D are identical with levels C so far as the 

 Mayoid cylindrical vase shapes and designs are concerned. As was 

 true of the Bold Geometric ware there is here also a slight but obvious 

 development from the realistic to the conventional in painted decora- 

 tions. It is significant, however, that during the time involved in 

 these stylistic changes, neither the basic form of the Mayoid straight- 

 walled vase or the Bold Geometric monkey-handled pot changed in 

 any very marked degree. 



Fragments of Mayoid sculptured ware, as well as some examples 

 of carved designs, come from B and C. From levels C there are two 

 fragments from small jars in imitation Ulua marble bowl style (com- 

 pare pi. 6, e, /). Here, as at Las Flores, Mayoid sculptured ware 

 and imitation Ulua marble bowl incised ware are in close association. 

 At Las Flores, excavation 2, these are in the lowest levels ; at Santa 

 Rita, excavation i, in the two middle levels. 



