56 A STUDY OF CHIRIQUIAN ANTIQUITIES. 



were also added, but even these did not suffice to obliterate evidence of the fact 

 that the vessel had passed through the calabash stage. All such vessels we 

 shall call pftytomorphic. Almost ninety-eight per cent of the whole Chiriquian 

 collection, painted and unpainted, belong to this class. The zoomorphic class is 

 manifestly of later development. It includes all pieces that, taken as a whole, 

 form each a complete zoomorphic unit. Animal forms appear, of course, in the 

 phytomorphic class, but only as supports, handles or ornamental features. 



In studying the elaboration of simple forms, it is often possible to determine 

 which is the earlier and which the derived. In comparing one group with another, 

 however, the evidence is not so abundant, yet it may be possible to determine 

 which group is the earlier and which the later. 



But when it comes to individual specimens, it would be impossible, in the 

 present state of our 'knowledge, to say that any or all of the specimens of terra 

 cotta ware antedate any or all of the examples of the alligator group, for example. 

 Nevertheless, my personal belief is that the ancient inhabitants of Chiriqui were 

 making biscuit ware of a high order of excellence before they ever learned to 

 paint figures of the alligator that occur so often in the group of that name. 



The armadillo group certainly stands for a high degree of perfection in the 

 potter's art. But a high grade of excellence may appear at an early stage in 

 any great art-awakening, as is attested by the paleolithic sculpture, engraving and 

 frescoes of the Dordogne, France, the Phidian age in Greek sculpture, and the 

 Italian paintings of the XVth and XVIth centuries. 



Perhaps the chief reason for believing that the armadillo group represents an 

 early stage of excellence lies in the fact that individuality is stamped on almost 

 every piece. The fundamental forms are few ; but the variations in the execution 

 of these forms are multifarious. The modeling seldom fails to please, and the 

 interior is finished with the same care as the exterior, with the exception of the 

 zone nearest a constricted mouth that is too small to admit the hand of the 

 modeler. The ornamentation is confined to figures in the round, and patterns 

 incised and in relief; but is always as tasteful as it is rich in variety. 



Contrast these manifold variations in form and ornamentation with the monotony 

 of the handled group, for instance, and the latter's shop-made character becomes 

 most striking. With the addition of the new element of color, one would expect 

 to see progress in ornament if not in form, yet such is not the case. The same 

 unattractive form is repeated again and again, the only variable factor being in 

 the treatment of the handles. 



From the view-point of form, the lost color group and the alligator group are 

 also more monotonous than is the armadillo group, and less attention is paid to 

 modeling. This is particularly true of the interior of the vessels, which is left 

 in the rough, thus causing the sides to be thick in some places and thin in others. 

 The bottom is generally quite thick. The latter condition may have been intentional 

 in order to secure more stable equilibrium. Such work may be compared to 

 that of an artist who is in too great haste to give up drawing for the palette 

 and brush. 



The Armadillo Motive. Among the animals represented in this group, the arma- 

 dillo is easily predominant. In speaking of the American zoological provinces 



