210 A STUDY OF CHIRIQUIAN ANTIQUITIES. 



meters broad by 6 centimeters high and contains gold to the value of about $125. 

 Instead of two human figures, there are eight, all of them holding the conch-shell 

 to the lips. The two central figures are large and their bodies are converted into 

 bells; about them are grouped the six small figures. Among the clay whistles is 

 one (see fig. 315) that represents a monkey holding a fish before its mouth. It 

 would be interesting to know whether these representations all refer to the same 

 myth and what connection, if any, they might have with a similar theme in 

 Peruvian art, viz., a bird holding a fish. 



A fine example of the human figurine is reproduced in color (PI. XLVIII, fig. e). 

 The eyes, mouth, nose and ears are all prominent, the latter resembling coils of 

 wire. The arms are half extended, the right hand holding what may be inter- 

 preted as a rattle (see fig. 273) and the left, a long rod, probably a flute, one end 

 of which is in the mouth and the other, enlarged at the end by a double coil of 

 wire, is free. The long fingers are executed with care. The brow is adorned 

 with what appears to be a three-ply braid, to each end of which is attached a 

 snake's head. The only articles of apparel consist of a loin-girdle terminating in 

 a coil at either side, a small square apron covering the pubis, and knee-bands. 

 The whole is cast as one piece, with the head, body and legs hollow and left 

 open at the back. This specimen was purchased from de Zeltner, whose relatively 

 small collection contained many choice examples of ceramic as well as the gold- 

 smith's art. His description differs from my own in respect to the head-dress 

 and the object held in the right hand. He also thought that the flattening of the 

 feet was intended to suggest a kind of footwear, while in my opinion it means 

 nothing more than does the characteristic flattening of the hindfeet of the frog. 

 It has already been suggested that the lateral flattening of the frog's feet gave 

 greater stability, when suspended from the neck of the wearer. A like increase 

 of stability is here provided for in the lateral extension of the arms and in the ob- 

 jects held in the hands. There is therefore no need of an exaggerated flattening 

 of the feet. Wherever there is but a single median ring for suspension, the 

 extremities are flattened and extended laterally to give balance ; and where 

 they are not so expanded, the desired state of equilibrium is attained in 

 another way ; i. e., by two lateral rings for suspension. It has been suggested 

 that the feet were flattened in order that they might be inserted in a crevice, 

 thus supporting the figurine in an erect position. There is some evidence tending 

 to prove that the larger pieces, especially those mounted on a vertically flattened 

 horizontal bar, may have been thus placed or else simply rested against a wall 

 or other suitable object ; for in the large figurine of the alligator-god (see 

 PI. XLVIII, fig. g}. the ring for suspension at the back bears no marks of wear, 

 while the lower edge of the bar at the feet is worn much more than is the 

 upper edge of the bar at the head. 



This same deity is represented by numerous gold figurines, which however 

 are usually much smaller and simpler than the foregoing. It may have been a 

 god similar to Pan of Greek mythology. Another example is given in Plate XLIX 

 (fig. 6), where the attitude is the same, the rattle being nearly always in the 

 right hand and the flute or stick in the left. There is a simple fillet of gold 

 about the loins, and the knee-bands have dropped till they might be called anklets. 



