144 A STUDY OF CHIRIQUIAN ANTIQUITIES. 



the presence of the worthless member might have been easily distributed among 

 the other three. This probably accounts for the prevalence of the tripod. 



The globular body of the vase becomes the trunk of a jaguar by the addition 

 of the head and tail of that animal. They are both hollow, thus adding much 

 to the capacity of the vessel as a whole. The external contour lines are exceed- 

 ingly graphic. The surface of the interior is everywhere smoothed down with 

 care, especial attention being given to contact lines at the base of neck and of 

 tail. The features of the head are in relief, which is strengthened by the judicious 

 use of paint. The thick lips are parted, both rows of teeth being visible. The 

 four overlapping canines seem to reach from the upper to the lower jaw as in 

 other representations of the dentition of the jaguar (PL XLI, fig. c ; also text-fig. 

 244). The fields of black spots about the eyes and on the throat evidently have 

 reference to the markings of the jaguar's skin. This is not true however of the 

 remarkable series of patterns that cover the top of the head, the neck, sides, and 

 tail to its tip, except the under surface, which like the belly is unmarked by 

 delineating colors. 



There are 89 panels, no two being alike in size and shape. They approximate 

 squares, rectangles, trapezoids, trapezia and triangles. The outlines of the pattern 

 follow those of the containing panel. The markings of the inner field include 

 lines that meet or cross each other, sometimes forming simple or compressed 

 meanders. These lines and meanders are always accompanied by dots on one 

 or both sides. In a few small panels, dots only are to be found. There are no 

 circles or dotted circles. In other words, these panel patterns have no reference 

 to the markings on the jaguar's skin. They are repetitions, with variations, of the 

 well-known alligator motive. The panels themselves may be a concession to the 

 ocellated patches on the jaguar's coat, but there the comparison ends. 



In an outline drawing, Holmes 1 figures a vase of the alligator group, with 

 shoulder zone divided into panels that enclose somewhat similar patterns, except 

 that dots are used sparingly and in a few instances the characteristic plumelike 

 spine symbol is recognized. These devices originated in the alligator motive. 

 Holmes did not refer them to the alligator, although he believed them to have 

 " features suggesting a pictorial original and doubtless derived from one." The 

 same writer raises the question whether these ancient peoples might not have 

 been " supplied, through the conventionalizing agencies of the art, with devices 

 that could have been employed as ideograms and letters." 



A dorsal view (fig. b) of this interesting piece impressses one not only with 

 the variety of the patterns, but also with the skill displayed in the arrangement 

 of the panels. Luckily for the artistic effect of the whole, bilateral symmetry was 

 not thought of or else was studiously avoided. 



The bowl of the vessel is completely lost in the body of the animal, when we 

 come to such examples as the one reproduced in figure c, where only the neck 

 and rim emerge above the animal's back. The tapir is chosen for representation, 

 probably Tapirus bairdii, since this species is known to exist in Panama. The 

 specimen is carefully finished. The short tail and legs, as well as the long pro- 



1 Op. cit, fig. 284 (see also fig. 285). 



