A Survey of Ancient Peruvian Art. 347 



of two thick rings with a tassel or tassels hanging from them: 

 (4) The beginnings of a marked tendency toward bilateral sym- 

 metry, both of line and of color: (5) The continuance in the 

 "Multiple-headed God" motif of the rich coloration found in the 

 "Centipede God" motif. (Joyce's Plate I shows the presence 

 of buff, blue, yellow, purplish-red, pink, white and black.) The 

 mouth-mask and ceremonial staff usually do not appear in the 

 "Multiple-headed God" motif designs. 



The "Centipede God" and the "Multiple-headed God" appear 

 to be the chief personages of Proto-Nasca vase-painting. They 

 do not, however, by any means include all the forms that go 

 to make up this complex art. Space permits us to mention only 

 one other constantly recurring feature. This is the human face 

 which is to be seen in our Plate IV, Figure 2, and in Joyce's 

 Plate I, at the base of the vessels. When this face appears 

 thus, painted, not modelled, it strongly suggests the modelled 

 faces that appear in Plate II, Figure i. The manner in which 

 the eyes are shown, the hair-dressing, the nose and the mouth 

 are all strikingly alike in both the modelled and the painted 

 versions of the motif. At the same time, it should be noticed 

 that very often lines suggestive of tears run down a short dis- 

 tance from the eyes of the painted forms, but not from those 

 of the modelled ones. 



What has been said of Proto-Nasca art is, of course, very 

 far from beginning to be an exhaustive study of that subject. 

 It is, however, enough to give a fair idea of the chief features 

 of that culture. It is but right to say, nevertheless, that aside 

 from the vases bearing decorations more or less anthropomor- 

 phic or zoomorphic, whether modelled and painted or merely 

 painted, there is another class of Proto-Nasca vessels which, 

 though having the rich coloration and the same general technique 

 of the other classes, is merely decorated with such patterns as 

 dots, lines and so on like those which appear in some of Ber- 

 thon's Plates (1911). 



We will now attempt to draw up a classification of the sub- 

 types of Proto-Nasca pottery. Then we will take up the ques- 

 tion of Proto-Nasca textiles. 



Although all Proto-Nasca pottery may be said to be distin-" 

 guished by a subordination of form to color and of realism to 



Trans. Conn. Acad., Vol. XXI 24 1917 ^ 



