354 Philip Ainsworth Means, 



nection with the Proto-Chimu art. All the figures are represented 

 as running toward the Weeping God, and the speed of their 

 motion is well indicated by their cloak-like garments which are 

 streaming out behind them. 



Repetition and re-statement of decorative motifs and themes, 

 together with the tendency toward symmetry, may be said to be 

 the underlying principle of the conventionalities of Tiahuanaco 

 II art as embodied in the monolithic gateway. It is especially 

 noted in the frieze which runs the whole length of the gateway 

 just below the Weeping God and just above the doorway. 

 Tltjbughout that whole composition fragments and portions of 

 motifs already noted can be picked out.^* 



Aside from the typical Tiahuanaco II decorations on the several 

 gateways at Tiahuanaco (the others are unimportant), the same 

 or similar motifs appear on the pottery from that vicinity. The 

 American Museum of Natural History has a fine collection of 

 Tiahuanaco II pottery from Copacabana and Tiahuanaco. In 

 general the tonality is rather sombre, red and black being the 

 most frequent colors. Sometimes, however, white and orange also 

 appear. In the Peabody Museum at Harvard University there is 

 a small but excellent cup of this period decorated with the face 

 of the Weeping God. Sometimes, as in the case of some of the 

 New York specimens, the Weeping God appears in the pottery 

 without his tears; at other times the decoration takes the form 

 of parts of the secondary motifs, such as puma- or bird-heads 

 in the Tiahuanaco style, or variations of the second type of tab 

 on the Weeping God's headdress (i. e. the "ribbon-and-stone- 

 ring" motif). Cups, bowls, ollas and vessels with spouts like 

 those on teapots are the commoner forms. One of the New 

 York specimens measures almost a foot across although it is but 

 a fragment. Modelled puma-heads in clay also occur. In short, 

 the plastic art of the Tiahuanaco II period, although it is none 

 too plentifully represented in our museums, is richly diversified. 



Our Plate VIII, Fig^ure i, shows a poncho from Tiahuanaco 

 now in the x\merican Museum of Natural History, New York. 

 The writer believes that, although it bears none of the motifs 

 so far shown to have been typical of Tiahuanaco II art, it does 

 bear a swastika-like motif on its border, and is therefore to be 



" See Posnansky, 1914, Plates LXXIII-LXXXI. 



