146 MEXICO AND CENTRAL AMERICA 
esting in view of the character of Totonacan art which 
also shows a strong strain of Mayan feeling and tech- 
nique in certain products but an unmistakable likeness 
to the archaic art of the Mexican highlands in certain 
other products. The pottery faces in the archaic style 
are advanced beyond the average of such work and 
probably represent a late phase. It is possible to bring 
forward examples of every degree of transition from the 
— ae € @® -s> C=" 
1 2 3 4 5 6 7 
Fig. 54. The Eyes of Totonacan Figurines. 
archaic style to the classical Mayan of Tabasco and 
Chiapas. Curiously enough, it does not seem possible 
to extend these linking likenesses to the Huastecas. 
A series of eyes showing Totonacan modifications of 
the styles prevalent on the archaic pottery heads of the 
Highlands is given in Fig. 54. In some cases we find the 
simple single or double groove eyes and in other cases 
these eyes are made more conspicuous by the use of 
black bituminous paint. The eyeball is developed at 
the end of the series. 
The smiling or laughing faces have a much higher 
technique and are perhaps the finest examples of clay 
modeling from the New World. These heads have 
tubular extensions at the back and were possibly set into 
temple walls. The faces and foreheads are broadened 
in accordance with the esthetic type of a forehead flat- 
tening people. While the faces vary so much in minor 
details as to create the impression that they are por- 
traits of actual persons they are alike in method of 
modeling. Nearly all are laughing or smiling in a very 
contagious fashion. Sometimes the tip of the tongue is 
