ARCHAEOLOGICAL RESEARCHES IN NICARAGUA. 



23 



In a, Fig. 23, is illustrated the simplest form of the fret used. In Xo. 310 

 there is a band above and below the main panels inside and out. In that on the 

 outer margin of the rim, a alternates with c, while in the other three bands it 

 alternates with b. The number of points on the upper left hand side of c varies 

 from two to four, always facing the same way, not right and left, as in the foot- 



Fig. 24. 



Pig. 25. 



Fig. 26. 



No. 22,365. 



No. 22,817. 



No. 22,381. 



prints of the Aztec picture-writings. Fig. 24 presents the common form, drawn 

 from left to right. This is reversed in Figs. 25 and 26, the only exceptions. In 

 Fig. 27 there is a combination of a scallop and a form even simpler than a in 

 Fig. 23 ; and Fig. 28 shows, in a, a slight modification of b, Fig. 23 occupying the 



Fig. 27. Pig. 28. 



No. 22,309. 



No. 22,353. 



space left after the introduction of five of the figures b. The figures resembling 

 foot-prints occur on seventeen and the fret on fourteen pieces. Instead of the 

 development of the simplest and purest form into the meander, current fret, and 

 other graceful patterns discussed by Prof. Hartt,* these painters dropped into 

 awkward conventional expressions of the greatest variety and irregularity in 

 detail. The illustrations show the utter impossibility of a clear written descrip- 

 tion of these figures. They occur on sixteen specimens of the collection, and 

 range from that in Fig. 29, which is very slightly different from c, Fig. 23, up to 

 the remarkable forms in Figs. 34 and 35. 



Pig. 29. 



Fig. 30. 



Fig. 81. 



No. 22,867. 

 Fig. 32. 



No. 22,378. 



Fig. 33. 



No. 300. 

 Fisr. 34. 



No. 28,817. 



No. 304. 



No. 22,311. 



* Evolution in Ornament: C. F. Hartt in Popular Science Monthly, January, 1875. 



