HOLMES ANNIVERSARY VOLUME 



The second group of effigy vases is much more homogeneous than 

 the first. All the pieces are made in the same way and differ from 

 each other only in details of the representations. In construction they 

 are very simple; half the rim of a standard jar is carried up and partly 

 over the orifice in a kind of hood (fig. 2). The hoods are modeled, by 

 repousse work and by the addition of lumps and strips of clay, into 

 surprisingly life-like head-portraits of human beings (see pi. 11, figs. 

 5 and 8, and pi. ill, figs. 1, 3, 7, 9), animals (pi. 1, figs. 11 to 14), 



birds (pi. I, fig. 9). The photographs show 

 better than can any description the char- 

 acter of these vases. It should be noticed, 

 however, that the shape and decoration of 

 the bodies of the pots are the same as in 

 standard jars. Only in the pot shown in 

 plate 1, figure 14, where between regular 

 design panels there are painted the fore- 

 legs of the animal whose head appears on 

 the rim, is there any attempt at introduc- 

 ing zoic features into the body decoration. 

 The painting on the heads is a mixture of 

 lines, dots, and bits of color, intended to 

 heighten the realism of the representation; 

 and geometrical elements borrowed from 

 the regular design system and introduced 

 to fill spaces, such as foreheads and cheeks, 

 which would otherwise have remained 

 blank. 

 The true effigies (third group), of which there are six in the collec- 

 tion, all represent human beings (pi. in). The bodies are squarish and 

 are shaped with a heavy sort of naturalism to suggest the human 

 torso; the division of the buttocks is indicated on the back, the breasts 

 protrude in front, the upper parts of the legs are hollow, and the heads 

 are built up on the rim in hoods like those of the preceding class. All 

 other features are made by surface modeling with strips or lumps of 

 clay (as lower legs, arms, ears, etc.), details being brought out by 

 incisions (as in the fingers and toes), by painting (eyelashes, brows), 

 or by a combination of the two (eyes, mouths). The figures sit with 

 the legs straight out (pi. Ill, figs. 5, 8, 12), squat with the knees drawn 

 up (pi. ill, fig. 2), or with one leg doubled under (pi. ill, fig. 10). All 

 are nude, for the decorations which are placed wherever there is a 

 flat blank space do not suggest any known form of body covering; 

 and the realistic portrayal of the breasts, nipples, and genitals argues 



Fig. 2. — "Hood-effigy." 



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