132 A STUDY OF CHIRIQUIAN ANTIQUITIES. 



could also have been employed as hieroglyphs combined with or in place of the 

 motive representing the whole animal. 



Wholesale reduction and simplification of the profile view of the alligator is 

 seen in figure 225 : nothing being left but the body-line, which is produced by a 

 short stroke of the brush. This form of the alligator motive usually occurs in 

 series, the alternate units being inverted. 



Familiarity with the foregoing illustrations from tracings will make it possible 

 to follow the rapidly progressive steps in the process of conventionalization 

 portra3'ed in Plate XXXIV. Both duplication and elimination are noted in 

 figure a. There is a head, for example, at either end of the common bod)', 

 and, for lack of space, only one is provided with a nuchal appendage. The 

 eyes and teeth are placed in an angle below each lower jaw. The space on the 

 right, being larger, is filled in with three black spots instead of one. The 

 black outlines are broken at all the ends of the red framework, while in places 

 they are doubled. The design on the opposite side is practically the same except 

 that the nuchal appendage is more conspicuous. A similar conception of the 

 alligator motive may be seen in figure b, except that it is treated in a still more 

 summary fashion. The nuchal appendage has disappeared entirely, but the curve 

 of the back that is common to both heads is quite characteristic. This small 

 vase, is slightly angular at the periphery. 



The vase reproduced in figure c is divided into zones. The lower is red. The 

 upper is outlined by two red bands. Within these are two black bands, which 

 in turn limit the field containing the symbols of life forms, the latter also in black 

 on a pale yellow paste. The neck is unadorned, while the lip and inner surface 

 of the aperture are finished in a red pigment. The characteristic curve of the back 

 is to be noted in the alligator motives. Fore- and hind-feet point in the same 

 direction ; otherwise it would be impossible to distinguish the head from the tail. 

 In one instance, the body-line of the alligator takes the form of a simple scroll. 

 Two dorsal-view motives serve to divide this narrow zone into two panels. 



An interesting vase from Divala is shown in figure d. The lower zone is red. 

 The black and red bands and the alligator motives (in black) of the upper zone 

 are on a pale yellow slip, which is continuous over the neck. The lip and inner 

 surface of the aperture are finished in red. A series of alligator motives, all 

 essentially alike, but illustrating progressive reduction and elimination of parts 

 is carried around the shoulder in a continuous panel (see fig. 219). 



In figure e, the horizontal plane of greatest diameter is situated much nearer 

 the neck than is usual for this group. The broad lower zone is red. The black 

 and red bands of the upper zone enclose two panels. Each of these is filled by 

 a row of alligator symbols in black. The ends of the body-line are folded back 

 until they almost meet. Within are spots (two to four) representing the dermal 

 markings. The alternate motives are inverted. This is also true of figure /, where 

 simplification and general reduction reach their limit, the abbreviated body not 

 being accompanied by markings of any kind. 



The significance of some of the zonal shoulder decorations in Plate XXXV is 

 more or less problematical. The alligator motive is recognizable in figure a. 

 Two or three body-lines are united, the free ends being treated as heads. Sec- 



