58 



A STUDY OF CHIKIQUIAN ANTIQUITIES. 



were seized upon to take the place of the whole. Finally a single band of the 

 carapace was chosen, not only to stand for the whole animal, but also to be used 

 as an ornamental motive pure and simple. 



Three realistic armadillos support the tripod shown in figure 75. The work 

 has an unfinished appearance, but the parts are all represented, even to the three 

 regions of the carapace. In figure 76, the parts are all present, but the legs of 

 the armadillo are reduced to feet only. In a specimen from Escaria (fig. 77) the 



Fig. 75. Bowl supported by three realistic armadillos, 

 dillo ware. '/> 



Arma- 



Fig. 76. Howl with similar tripod supports 

 the extremities of the armadillo being 

 reduced to feet only. Armadillo ware. V 1 



reduction is carried further by the total elimination of the hindlegs and hindfeet. 

 The one essential feature of the armadillo is the carapace. This persists after all 

 other parts have been eliminated, as shown in figure 78, where it is represented 

 by horizontally arranged incisions. 



A more detailed series showing the gradual elimination of parts is given in 

 Plate IX. The armadillo is represented in the round in figure a. The simple 



g' 77- Tripod bowl in which the hindlegs and feet of the 

 armadillo are eliminated from the supports. Armadillo 

 ware. '/ 



Fig 78. Tripod the supports of which are 

 ornamented with carapace motives only. Ar- 

 madillo ware. V 



tripod support in figure b is incised to represent the carapace ; an indifferent head 

 is added and the hindfeet are brought forward close to the forefeet. In figure c, 

 the hindfeet have entirely disappeared and the forefeet are conventionalized, a 

 flattened node with parallel incisions representing toes. This becomes eventually 

 a decorative motive that is used independently of the armadillo or any other animal 

 form. The head is considerably reduced and simplified in figures d and e, the 



