180 



A STUDY OF CHIRIQUIAN ANTIQUITIES. 



leg, also one in the cavity common to both head and neck, so that we have to 

 do with a rattle as well as a whistle. The representation of the armadillo (fig. 303). 



Fig. 300. Whistle in the shape of a quadruped. 

 Lost color ware. '/ 



Fig. 301. Whistle in which the head has the ap- 

 pearance of being removable. Lost color ware. '/< 



although not more realistic than the foregoing, evinces a higher degree of pro- 

 fessional skill. The characteristics of the carapace are brought out by relief as 



well as by the red and black 

 colors common to all alligator 

 ware. The neck is perforated 

 for suspension. 



The primitive artists may 

 or may not have been divided 

 into incipient schools of 

 thought and expression. If 

 they were, the influence of 

 academic canons must 'have 

 been strong. The animal in 

 repose, that is to say not in 

 action, was the chosen model. 

 Once in a while however an 

 artist breaks the bonds of 

 classic restraint and produces 

 new and admirable results, 

 as in the case of the bird 

 alighting. Another notable 

 example may be seen in the 

 squirrel (fig. 304) feeding 

 on a nut that is held be- 

 tween the uplifted forefeet, 

 the body lifted and supported 

 by the hindlegs. The mul- 

 tiple alligator motive is paint- 

 303. Whistle representing the armadillo. Alligator ware. '/ ed On both'sides of the body. 



Fig. 302. Figurine serving as both whistle and rattle. Armadillo ware.'/* 



