THE ANCIENT INDIAN POTTERY OF MARAJO, BRAZIL. 269 
is washed white, both inside and out, and the lines are engraved, 
together with the S-shaped design, which corresponds with the 
chair-shaped figure on the burial vase represented in fig. 65. This 
pattern, with its various modifications, resembles so closely the 
design occurring on the face of the image, fig. 68, and elsewhere, 
that all seem to be but different. expressions of the same pri- 
mary idea, which, in the beginning, at least, probably had some = 
nificance. The S-shaped design like that on the head, fig. 68, 
sometimes formed by regular curves, but these are occasionally an- 
gular, in which case, the figure resembles the Greek fret. The op- 
posing curves are always drawn with a double line, but the curves 
. a, a,” Ornaments on fragment of pottery; b, b', Fragment of a flat dish; e, Ornament on 
a tie cùp; F and 9. Ornamer oie on fray gments of pottery; hy, Bead of pottery; k, engraved 
objec , Fig. 65; n, Fragment of ladle 
are either not united at all in the middle of the figure, or if united, 
it is by a single line. In a@ and a, fig. 72, from the same piece of 
pottery, and f, same figure, we have three modifications of the de- 
sign, with curves united. In b and b’, fig. 72,* showing both sides 
of a fragment of a flat plate, they are not united. In some cases, 
as in f, b, and b’, fig. 72, the figure is ornamented by coarse shad- 
ing between the double lines or by perpendicular loops or lines. 
On b’ is a cross of the ordinary Christian type, but it is well known 
that this emblem is one of the simplest of ornaments in use, not 
only among pagan nations long before the Christian era, but to-day. 
* The longest di ter of this specimen is four and a quarter inches. 
