366 Philip Ainsworth Means, 



as possible to the outlines of natural models. The outcome of 

 this seeking is skillful modelling and the correct number of such 

 parts as fingers and toes. In Proto-Nasca art, on the other 

 hand, the principle of simplification finds reaction in the diminish- 

 ing of the tendency toward modelled representation and of the 

 habit of carefully representing the correct number of fingers and 

 toes. The result is a simplification of the form of the vessels 

 and of the outlines of the hands at the expense of truth. The 

 principle of simplification makes itself still more felt in the tran- 

 sition from Proto-Nasca to Tiahuanaco II. In the former it 

 had only begun to make itself apparent; modelling, of a simpli- 

 fied sort, to be sure, still survived, as did also five-fingered hands. 

 In Tiahuanaco II, however, pottery with modelled forms of men 

 or animals is more rare, though modelling in stone is still found, 

 probably on account of the influence of Tiahuanaco I. But five- 

 fingered hands are here in the minority to a decided degree. 

 Simplification has caused the vanishing of realistic hands from 

 the decoration on the monolithic gateway. The status remains 

 the same in coast Tiahuanaco II. In the greater Chavin stone, 

 however, we find the last result of the influence of the principle 

 of simplification. In this stone the modelling is at its lowest 

 ebb, and the hands, with but three digits here, have lost nearly 

 all semblance to reality, and have become mere elements in the 

 scheme of decoration. Thus we see that simplification leads us, 

 step by step, down the line of the arts of this period — Proto- 

 Chimu, Proto-Nasca, Tiahuanaco II — in the order named, with 

 the Chavin stone as the culmination of its influence. 



Let us now find out what application the principle of Elaborcp- 

 tion has to these arts. In Proto-Chimu we found that fangs, 

 eye-painting, animal-masks, animal-disguises and other similar 

 features were represented. Each of these is acted upon by the 

 principle of elaboration. Fangs, it is true, are not a prominent 

 element of Proto-Nasca art. But they appear with great prom- 

 inence in Tiahuanaco art, both of the mountains and of the coast, 

 and on the Chavin stones they often form an element of decora- 

 tion of the highest importance. Eye-painting, animal-masks and 

 animal-disguises all survive in Proto-Nasca art and are all more 

 elaborate there than in Proto-Chimu. So much so, in fact, that 

 their development can go but little further, and they almost dis- 

 appear in Tiahuanaco II art. It may be suggested, however, 



