Fig. 105.—Bird design, Bakaïri, Central Brazil; after Von den Steinen.
In Europe and in our own country we can study analogous transformations.
More or less recognisable animals break out, as it were into scrolls and floral devices, as on Samian vases (Plate [VI.], Fig. 1), on Gaulish swords (Fig. 2), on Pompeian walls (Fig. 3), and on the gold ornaments of Tuscany (Fig. 5). In Fig. 4, Plate [VI.], we have on an ancient pot from New Mexico a decorative treatment of birds which recalls that of the mural paintings of Pompeii.
Often in Greece and Italy symmetrical scrolls are associated with a head. (Plate [VI.], Fig. 6.) The scrolls themselves may, in some cases, be an animal form which has ended in a flourish, as is taking place in Plate [VI.], Fig. 5; or in others they may be the remnants of plant motive.
Dr. Colley March calls attention to old bench-ends of English churches, notably those in Cornwall, which are frequently surmounted by a crouching quadruped; at a later period this appears to be converted into a single scroll like that which adorned the old pews in Ormskirk Church. (Plate [VI.], Fig. 7.)
An ancient silver plate (Plate [VI.], Fig. 8), found in a tumulus at Largo, Fifeshire, is decorated with the distorted fore-half of an animal. The transformation is advanced to flamboyant curves in the zoomorph of the Dunnichen Stone (Plate [VI.], Fig. 9); but the head and ear and legs can still be distinguished. It is not quite certain what animal this is intended to represent. Earl Southesk[102] believes it to be the horse, which was sacred to Frey, and is a special symbol of the sun. The second figure is very remarkable, but it seems to be an extreme and foliated form of the same zoomorph.
There are numerous examples of linear series of animals in the early art of Egypt, Assyria, Greece, and other artistic centres, but these do not appear to have developed into patterns, possibly because the units were readily recognisable, on the other hand, serially repeated conventionalised zoomorphs frequently metamorphose into patterns. These patterns by repeated copying tend to become simplified till finally not only is all trace of the original long lost, but the resultant pattern may so resemble other simple patterns as to be indistinguishable from them. This may easily lead to confusion and cause the designs to be classed as one. We thus come to the conclusion that before any pattern can be termed the same as another, its life-history must be studied, otherwise analogy may be confused with homology, and false relationships erected. Things which are similar are not necessarily the same.
At the extreme south-east end of New Guinea and in the adjacent archipelago the most frequent designs are beautiful scroll patterns, which are subject to many variations. I have already[103] described many of these, and so there is no need to again repeat what I have said, except to remind the reader that all these patterns are variations of serially repeated conventionalised heads of the frigate-bird. I shall again allude to this bird when I deal with the relation of religion to art.