d. This is doubtless meant to represent a figure clothed down to the feet.
e. Here the human figure is formed of black lines, connected at right angles with complementary red lines. A wide top-piece covers the head, which consists of two small rectangles, leaving room only to indicate the eyes, while the mouth, placed rather too low down, is suggested by a red stroke. The arms are bent downwards; hands and feet with triple articulation. Within the red and black frame the figure is encircled by crosses, dots, and a conventional star.
f. Human figure filling most of the space, which is inclosed only by a narrow edging. Surface painting distinguishes the wide body, which is rounded off below and to which the triangular head is fitted above. Hands with five, feet with three, articulations; crenelled head gear; necklace suggested by dots; the corners of the ground-surface filled in with rectangular sharply-edged ornaments.
g. Human figure consisting of two disconnected parts; triangular head and body; hands and feet with two articulations; frame of red and black dovetailed teeth.
Fig. 1167.—Human form. Peru.
Wiener (i), describing illustrations reproduced here as Fig. 1167, says:
The tissue found at Moché, a, represents a man with flattened head, exaggerated ears, and the thumb of the right hand too much developed. When correlated with that from Ancon, b, with its coarse paintings, it becomes a sort of caligraphy in which all the letters are traced with the greatest care, while b, and also the sepulchral inscription c, found at the same place, become cursive.
The design a of this series presents peculiarities found in Zuñi drawings on pottery. The appendages from the side of the head among the latter denote large coils of hair so arranged by tying. Their significance is that the wearer is an unmarried woman. The remaining designs also resemble types of human figures found upon Zuñi and Pueblo pottery, being rather of a decorative character than having special significance.