THE ARMADILLO GROUP. 



59 



legs and feet having disappeared completely. In the latter figure, the carapace is 

 suggested by the nail marks of what appears to be a female hand. In figure </, 

 the head and forefeet reappear as plain nodes, while the carapace is wanting. 

 The series ends (fig. f) with simple tripod supports horizontally incised to represent 

 the carapace, the armadillo motive par excellence. 



Fig. 79. Vase with shoulder ornament in which the 

 carapace motive is present on ventral surface only. 

 Armadillo ware. '/" 



Fig. 80. Vase with shoulder ornament showing 

 but two divisions of the ventrally placed cara- 

 pace. Armadillo ware. '/ 



We have seen that many tripod supports were fashioned to resemble the 

 armadillo, sometimes highly realistic and sometimes conventionalized. In eighty- 

 one of the biscuit vases, the head of the armadillo is employed as a shoulder 

 ornament, the back of the head always being turned toward the aperture of the 

 vase. The carapace, there- 

 fore, if it were visible at 

 all, would have to be shifted 

 from the dorsal to the ventral 

 side. Such is the case in 

 figure 79, where the three 

 regions of the carapace are 

 indicated by the indented 

 horizontal fillets, each being 

 interrupted for a space in 

 the median ventral line, 

 which is only a concession Fi &- 8l -- Vase ^ ith sho ! del : rna - 



7 ment and only one division of 



to realism, since the bands the ventrally placed carapace. 



Armadillo ware. '/' 



Fig. 82. Cup with shoulder 

 ornament on which an un- 

 broken band represents the 

 ventrally placed carapace mo- 

 tive. Armadillo ware. '/' 



do not reach the median 



line in nature. A ventral 



view would include the margins of the carapace on either side. It is important 



to note, however, that no attempt is made to represent the dorsal part of the 



carapace where it would not be easily visible. Only two divisions of the cara- 



