l(,l) ANCIENT ART OF" THE PKOVIXCE UV CHIKIyll. 



very highly coiivciitioiializi'il di'rivative.s of the alligator radical, the 

 meandered line rt'iiicsciilin-- the liixlyof the creature and the scal- 

 loped hooks the ext ii-iuit ics ( Ki^-. ^js). The two bands upon the base 

 consist of geometric figures, the origin of which cannot be definitely 

 determined, although they also probably refer to the alligator. 



In the collection there is a minute toy drum of the same general 

 shape, and the same form reappears in some of the whistles, in one 

 of which (Fig. 347) the skin head and its fastenings are all carefully 

 rr-]iroilu('i'd in miniature. The immediate original of this particular 

 form of ili-um was prolialily made of wood. A drum recently brought 

 from Costa Rica was made by hollowing out a cylindrical ])iece of 

 wood and stretching a piece of snakeskin across the top. The shajH' 

 is nearly identical with that of these earthen specimens. 



Wind instruments. — Earthenware wind instruiiniits are found in 

 considerable numbers and are associated with otiici' I'elics in the 

 tombs. Nearly all are very simj)le in construction and are limited 

 in musical power, receiving and perhaps generally deserving no bet- 

 ter name than whistles or toys. A few jjieces are more pretentious 

 and yield a number of notes, and if operated by skilled ])erfoi-mersoi- 

 projierly concerted are capable of producing pliNisin-;- melodies. It is 

 not diflicult to determine the powers of individual i nsi ni ments. but we 

 cannot say to what extent these powers were understood by the origi- 

 nal owners, nor can we say whether or not they vvere intended to be 

 played in unison in such a way as ta give a certain desired succes- 

 sion of intervals. There are, however, in a large number of these in- 

 struments a uniformity in construction and a certain close corre- 

 spondence in the number and degree of the soiin<ls that indicate the 

 e.xistence of well established standards. Itdors nol apiicai-aliscjlutely 

 certain to me that the system of intervals was made tu coufurui to that 

 of any known scale; but a difficulty arises in attempting to determine 

 this point, as most of the pieces are more or less mutilated. We find 

 also that the note proilucible by any ,<;iveu std]) is not fixed in pitch, 

 but varies, wilji the foive of Ihe Incalli, 1 wo or e\-en three full inter- 

 vals. As a result of this a gliilc is jiossihh.' to the skilled performer 

 from note to note and any desired pitch can be taken. 



In material, finish, and decoration these objects do not differ from 

 the ordinary pottery. A majority l)elong to the alligator group. The 

 size is generally small, the largest specimen being about eight inches 

 in length. The shapes are wonderfully varied and indicate a lively 

 imagination on the part of the potter. Animal forms prevail very 

 decidedly, that of the bird being a great favorite. In many cases the 

 animals copied can be identified, but in others they cannot — perhaps 

 from our lack of knowledge of the fauna of the jjrovince, perhaps from 

 carelessness on the part of the artist or from the tendency to model gro- 

 tesque and complicated shapes. The following creatures can be rec- 

 ognized: men, pumas, ocelots, armadillos, eagles, owls, ducks, parrots, 



