The vessel shown in Fig. 52, a, has a somewhat rudimentary foot; another, b, a firm, wide base, which is perforated to give lightness; an hourglass-like piece is shown in c, and a long, bell shaped foot is seen in d. In no part of the world do earthen vessels exhibit such a remarkable development of legs as in Southern Central America. The tripod is the favorite support, and in Chiriqui the forms are more graceful than in the neighboring provinces. In a few cases, where the body was modeled in close imitation of animal forms, four legs were used, but three were generally preferred, even for vessels of rectangular or irregular shapes. In the simplest form they are small conical knobs, placed rather close together about the base of the vessel (Fig. 53, a), but from these the dimensions increase until the size is out of all reasonable proportion. The maximum development in point of expansion is seen in b and the greatest height in c. They are frequently modeled after life forms. In a few cases rings or loops are employed, as shown in d. The larger forms, and especially those imitating animals, are hollow and contain round pellets of clay that rattle when the vessel is moved. The manner in which the legs are attached to the body of the vessel leads me to observe that the vessel is independently
a perfect utensil, and that in all probability the tripod was a feature acquired late in the progress of Chiriquian culture, as a result of some change in the surroundings of the people or in the uses to which the vessel was devoted. Annular bases and tripods would be of little use until level floors of unyielding material came into vogue.
 a Biscuit ware. |  b Biscuit ware. |  c Tripod group. |  d Red line group. |
| Fig. 53. Forms of legs—variousgroups of ware. | |||
[ Decoration.—]
In decoration the pottery of this province exhibits many remarkable features. The work resembles somewhat closely, in a number of its features, that of certain districts lying to the north and to the south, but at the same time it is possessed of very decided individuality. From an examination of the designs I conclude that they represent a period of culture considerably inferior to that of some more northern sections, although the ware itself is nowhere surpassed in grace of form and delicacy of finish.
The ornamentation is pretty evenly divided between plastic and flat forms. The former include relieved features and intaglio features, which are executed in the plastic clay, and the latter comprise figures in color, penciled or painted upon the surface. Each style of work embodies its own peculiar class of conceptions. Relief work is generally realistic or grotesque; incised work is almost exclusively geometric, and embraces combinations of lines usually recognized as archaic. An occasional example is easily recognized as imitative. Painted figures are both geometric and imitative, the two forms blending imperceptibly.
The more important plastic decorations consist of animal forms modeled in the round. Vegetable forms have not been employed. Fillets of clay imitating twisted cords are sparingly used in the decoration of necks and handles, and rows and groups of small nodes are similarly employed. The human figure is always treated in a conventional and usually in a grotesque manner. The animals imitated include a very large number of species. Crocodiles, pumas, armadillos, monkeys, crabs, lizards, scorpions, frogs, and fish appear very frequently. Many of the animals, owing to conventional treatment or to carelessness on the part of the modeler, are difficult of identification. These plastic forms occur in nearly all the groups of ware, and similar forms are found to a limited extent in gold, copper, and stone, as will be seen by reference to the illustrations already given. Their study will, I believe, give some insight into the mental characteristics of the Chiriquians. That their art, so far as these figures are concerned, was not serious is indicated by the sketchy, unsystematic nature of the work, and more especially by the grotesque and occasionally amusing representation of men and animals.
The figures are usually placed upon the shoulder of the vessel or are attached to the legs and handles or form part of them. The favorite subjects are doleful little figures, human or partly so, fixed upon the vessel in a sitting posture, with legs and arms doubled up,