MUSICAL INSTRUMENTS. 



187 



except that the size of the mouth is somewhat exaggerated. The lips are parted, 

 revealing the teeth, which are closed. The region about the mouth is painted 

 red. Alternating groups of black and red longitudinal lines cover the face from 

 the hair down to the level of the nostrils. There is a black pattern about the eyes 

 not unlike a pair of goggles, except that there is no connection over the bridge 

 of the nose. The black hair is combed 

 back and brought together forming 

 the mouthpiece to the whistle. Strange 

 to say, no effort was made at model- 

 ing -the ears, which stand out at 

 right angles to the sides of the head. 

 The left ear is perforated for sus- 

 pension. 



In figure 320 the artist reverts once 

 more to the primitive stereotyped 

 form resembling the head of a ro- 

 dent or of a bird almost as much as ^^^KBb^^Sii W^ 

 it does that of man. The mouth- 

 piece at the back is treated as if it 

 were the tail of an animal. One 

 finger-hole is in front of the right 

 ear and the other near the top of 

 the head on the same side. As in 



the preceding figure, the face is marked by alternating groups of black and red 

 lines, which in this case are wavey instead of straight. Much ingenuity was 

 exercised in representing the eye by means of intaglio. 



Kigurc 319. -Whistle representing a carefully modeled human 

 head. Alligator ware. V* 



gird 



ig. 320. Whistle representing the human head. 

 Alligator ware. '/ 



Fig. 321. Diminutive tripod with bird-shaped whistle 

 attached to one side. Armadillo ware. '/ 



The series of whistles ends with a diminutive tripod bowl (fig. 321), to one side 

 of which is attached an air-chamber with mouthpiece. This whistling apparatus 

 takes the form of a bird, the head of which has been broken off. The very 

 small finger-holes are placed on either side of the missing head. The tones 



