THE ALLIGATOR GROUP. 



131 



A series of motives, each representig the double-headed alligator, is seen in 

 figure 219. The unmistakable elements are: the downward swing of the body- 

 line, which is angular instead of curved ; scale motives in the first two ; and 

 spine motives in all, those in a being particularly characteristic. These four tracings 

 are from one vase, filling: a narrow zone on its shoulder. 



Fig. 219 a—d- — Series of motives, each representing the double-headed alligator. V s 



In figure 220, there is a separate body-curve for each alligator: in the hollow 

 of each curve is a dash of paint to represent the body-markings, distinct scale 

 motives being attached to two of the three. The design in figure 221 is similar 

 but more simplified. The four strokes of the brush at each bend in the compound 

 body-line seem to suggest the union of four separate alligator motives, just as 

 the preceding figure suggests three. 



Fig. 220. — Multiple alligator motive. '/> 



Fig. 221. — Simplified multiple alligator 

 motive. V> 



Figure 222 probably represents two body-lines combined, each being accompanied 

 by a single scale symbol. The body-curves of two alligators are often joined in 

 such a manner as to form a sigmoid curve, as in figure 223, a simple type in 

 which the scale motives are left out. 



In figure 224 there is a simple horizontal body-curve, with a distinct differentia- 

 tion of head and tail, and with a spot in the hollow of the curve to indicate the 

 dermal markings — in other words, the alligator is in profile. This is an excellent 

 example of conventionalism by means of a wholesale reduction and simplification 

 of parts — conventionalism that has reached the hieroglyphic stage. How easy 

 it would have been to make use of this readily executed symbol in a system of 



Fig 



Fig. 223. 



Fig. 224. 



225. 



Fig. 222. — Detail probably representing two body-lines, each with a single scale symbol. V» 



Fig. 223. — Sigmoid curve representing two body-curves. 'I' 



Fig. 224. — Conventionalized alligator in profile ; hieroglyphic stage. *'* 



Fig. 225. — Wholesale reduction and simplification of the alligator in profile. a /> 



writing as did the ancient Egyptians, for example. It could have stood for the 

 word alligator or for some attribute of that animal. There is however no evidence 

 that the ancient Chiriquians made any such use of it. They were content ap- 

 parently to employ this symbol in a decorative and ceremonial sense only. The 

 spine motive and the scale-group motive, both of which have already been described. 



