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BUREAU OF AMERICAN ETHNOLOGY 



[Bull. 193 



Figure 42. — Macaracas type, Higo variety, crocodile poses, a, Lothrop, 1942, 

 fig. 193, b; b, He-4, Find 368-2; c, Lothrop, 1942, pi. 2, b. 



They also occur on gold work and on the unpainted pottery of Vera- 

 guas. Very often the style of representation is clear cut as in the 

 El Hatillo type. At other times the styles appear to blend as is the 

 case between the Code and Azuero styles, where poses, general layout 

 and, sometimes, smaller design elements are often shared. At the 

 El Hatillo site as represented by the material at the Peabody Museum, 

 one particular style showed considerable consistency, especially in its 

 smaller elements. For example, crocodile heads in the Higo variety 

 are shown in profile with a barbed nose which is curled upward 

 (fig. 40, f). Feet (hind legs) and, generally, "hands" (forelegs) are 

 represented by many narrow, parallel black lines (fig. 40, h, i) in con- 

 trast to the treatment frequently found in the Code style in which 

 the feet are given color-filled claws (fig. 40, m). In the "dancing 

 crocodile" pose hands may be treated as bird claws (fig. 40, j), that is, 

 depicted with an opposed talon. The plumes or feathers streaming 

 from the head and back of the figure are barbed in the Higo variety 

 (fig. 40, Z) ; in the Code style this barbed effect is achieved by color- 

 filled claws. In the Higo variety representations at the El HatiUo 

 site, the body of the figure is treated with solid red fiU as against the 

 tendency at other sites to elaborate the body cavity with clawed 

 scrolls. Finally, the Code-style "dragon belt" motif, a secondary, 

 smaller crocodile motif occurring alongside the larger figure, appears 

 to be lacking in this variety. 



