THE ALLIGATOR GROUP. 139 



zontal diameter. Nevertheless the interior is painted red. The lip and outer sur- 

 face, except the delineating colors, are finished in a thick coat of cream slip. The 

 zone between the rim and the base of the supports is banded horizontally and 

 divided into three panels, each of which contains scroll patterns, whole as well 

 as broken. In figure / we have once more the attractive shoulder decoration 

 consisting of three arched panels (see PI. XXXVI). The well-preserved red and 

 black delineating colors have an effective background in the generous use of a 

 pale yellow slip. 



A number of the tripods combine plastic and relief decoration, as may be seen 

 in Plate XL. The head and tail are applied to the shoulder of the vase without 

 affecting the general globular form of the body, which is nevertheless intended 

 to take the place of the animal body. The identity of the animal representation 

 in the round can not always be determined with certainty. It may or may not 

 refer to the same animal as the accompanying forms executed in color. This is 

 probably the case in figure a. The life form painted on either side is the alligator, 

 with the characteristic attitude of the jaws, nuchal appendage and downward curve 

 of the body. 



Somewhat similar in general outline as well as decoration is the tripod vase 

 represented in figure b. The life form in the round may be the alligator, partic- 

 ularly since there are two painted scale symbols on the back of the head. This 

 view is strengthened by the fact that the two alligators painted on the sides are 

 oriented in such a manner as to correspond to the form in relief, i. e., all three heads 

 are pointing in the same direction. The tendency of the artist if not restrained by 

 other considerations is to paint an animal form on one side, and after revolving 

 the vase until the opposite side appears, paint the second figure exactly as he 

 did the first. The two thus form a procession. This is true in almost every in- 

 stance, but is not in case of this specimen where the two painted life forms, if 

 they could move forward would meet each other, instead of falling one behind 

 the other. The typical features of the alligator are emphasized in both. 



There is a peculiar combination of relief and painted decoration in figure c. 

 The relief portions of this vase consist of a simplified head with longitudinal black 

 bands ; eyes (or breasts) set far apart and surrounded by black circles ; long 

 curved fillets of clay representing eyebrows, or arms, edged with black bands and 

 also marked by cross bands; and, on the opposite side, a similar fillet to represent 

 the tail. This is straight, being carried from the neck of the vase downward to 

 the level of its greatest horizontal circumference. The head and eyes in relief 

 are supplemented by painted representations of toothed jaws on either side of 

 a median plane. The throat is painted red ; which color is also carried downward 

 on the shoulder of the vase like a bib or apron. Between the tail and the curved 

 eyebrow (or arm) on each side are panels, both containing representations in 

 black of the alligator. One of these (fig. 241 a) is unmistakable, with its upturned 

 snout and long nuchal appendage which, like the head, back and tail, carries a 

 series of scale symbols. The lower jaw serves as a foreleg. The other (fig. 241 b) 

 could not be recognized but for its association with this particular class of ware. 



Figure d presents no original features. The sculptured head and tail (the latter 

 bent sidewise) are not distinctive. The two panels are decorated with scale-group 



