154 A STUDY OF CHIRIQUIAN ANTIQUITIES. 



ception, execution, balance and symbolism, this scroll is indeed a masterpiece, 

 one that baffles the skill of a modern artist to copy faithfully. 



The next vase (PL XLIV, fig. &) in the series is in perfect condition. The form 

 though eccentric is graceful. The usual annular base is present. The lower half 

 of the oval body is finished in what might be called a red (light maroon) slip. 

 The same finish is given to the orifice and neck. Below and encircling the latter 

 is a broad band of a brighter red ; the same that is used as a delineating color. 

 On the upper zone and at each end of the oval body is a bovine' head in relief, 

 turned to the right at an angle of 90. The hollow interiors of the two heads 

 communicate with that of the main body of the vase. Alternating with these 

 heads are two long panels painted over a salmon-colored slip. The black frames 

 for the panels are bounded above and below by continuous black bands and 

 beneath the lower of these is a bright red band bordering on a dark red slip. 

 The colors therefore consist of two shades of red, pale salmon, black and purple. 



The panel design is the same as in the two preceding a highly ornamental 

 running scroll, four half-units being employed on one side and six on the 

 other. The growth of the scroll however is from left to right in both panels ; 

 the reverse of that noted in the foregoing examples. Beginning also with a 

 sigmoid scroll, it grows in a natural way by budding or branching instead' of 

 by a series of interlocked S's in other words, it might be called the direct or 

 branching scroll as opposed to the interlocked or reverse type, otherwise known as 

 the Vitruvian scroll. The volutes are tipped with purple and red alternately. The 

 characteristic alligator motive is woven into the design as was noted in the preced- 

 ing examples. The decorative motive on the body of the previously mentioned 

 pitcher belonging to the Peabody Museum of Harvard University is also the 

 branching scroll, similar to that seen in figure 254. 



The features of the two heads in relief are emphasized by the skilful use of red 

 and black colors over a salmon slip. Of special interest is the treatment of the 

 black bands over the eyes, giving to the slip the effect of a delineating color. At- 

 tention should also be called to the shading of the muzzle by means of black lines. 



The use of the scroll or spiral ornament is not confined to any particular land 

 or people. It has developed in various centers and at various times and has been 

 spread over the face of the earth both by borrowing contemporaries^ and by 

 descendants. Many attempts have been made to trace its origin. In Egypt, it 

 is supposed to have come from the curling sepals of the lotus 1 and to have been 

 carried with the Egyptian civilization into Europe. In our own country it reached 

 a high degree of development in the lower Mississippi valley and in the pueblo 

 region of the Southwest. Holmes 2 would trace the origin of the scroll to the 

 coiled fillet of clay with which the potter began his vessel ; to the basket-maker's 

 platted or twisted splints of wood ; to the spire of a conch-shell, or to the linear 

 representation of waves of water. 



Of the two types of scrollwork (each with its variants), the classic Vitruvian 

 or reverse scroll and the direct or branching scroll, the latter would seem to 



1 Op. cit. 



2 W. H. Holmes, Origin and development of form and ornament in ceramic art. Fourth 

 ann. rept., Bur. ethnol., 456, 1882- '83. 



