THE ALLIGATOR GROUP. 



133 



ondary curved lines fill in the remaining spaces between the upper and lower 

 boundary lines. This design is repeated three times with but slight variations. 

 A similar motive is seen in figure 6, where there is an additional body-curve in 

 each group, and the design itself is simplified. 



The elaborate motive on the shoulder of the vase reproduced in figure c is 

 referable to the alligator, the spine symbols being easily recognizable. It is 

 repeated on the opposite side with some modification (fig. 226 a). Alternating 

 with these are much smaller and simpler alligator motives (fig. 2266 and c). The 



a be 



Fig. 226 a c. Conventionalized alligator designs. '' 



narrow shoulder zone in figure d is divided into two panels, each being ornamented 

 with the dorsal-view motive three parallel lines, the outer ones bearing spines along 

 their external margins. The decorative motive in figure e may be a variant of the 

 same thing. The shoulder of one vase (fig. _/) is decorated with concentric rings. 

 These are variously connected so as to form pairs ; in one instance there is a single 

 group, attached to the outer ring of which are two spirals obviously representing the 

 second group. The relationship between spirals and concentric rings in Egyptian 

 art has been pointed out by Goodyear. 1 



Kig. 227. Vase whose shoulder zone includes six 

 arched panels filled with scale symbols ; from 

 Divala. Alligator ware, '/a 



Fig. 228. Vase whose three arched panels arc asso- 

 ciated with scale motives. Alligator ware. '/ 



It has been noted that the curved band representing the body-line of the al- 

 ligator is usually accompanied by spots, used as scale symbols. This combination 

 is seen in figure 227, a vase from Divala. The narrow shoulder zone includes six 

 small arched panels, each filled with spots. The alternating spaces are undecorated. 

 A similar motive is seen in other specimens, where the arched panels are 



1 Wm. H. Goodyear. Grammar of the lotus, PI. VIII. London, 1891. 



