seen in Fig. 173. The same result would spring from the use of two handles, such a common feature in this ware. The lateral spaces reached from the periphery to the base of the neck and were most readily and naturally separated from the plastic features by lines extending across the shoulder tangent to the neck and forming arches (Fig. 174). In time the plastic features, being difficult to manage, would gradually decrease in boldness of modeling and finally disappear, leaving a space upon which the life form could be symbolized in color (Fig. 175). Now it happens that in this collection we have a series of examples illustrating all stages of this change, the first, the middle, and the final steps being shown in the above figures.
In multiplying these vessels the original forms and associations of decorative features are necessarily to some extent lost sight of; the panels change in shape, number, and relationships; and devices originally appropriate to particular spaces are employed indiscriminately, so that the uninitiated see nothing but confusion. All devices are delineations of or have more or less definite reference to the creature or spirit associated with the vessel.
Fig. 176. Vase decorated with conventional figures of alligators—½.
I will now pass over the many hundreds of pieces with designs too conventional to furnish a clew to the original animal forms, yet still suggesting their existence, to those in which the life forms can be traced with ease or in which they are delineated with a much nearer approach to nature. The manner of introducing life forms into the panels of the encircling zones is illustrated in the following figures. In the vase shown in Fig. 176 there are four panels, two short and two long, separated by vertical bands. The short panels are black, but the long ones are occupied by rudely drawn figures of alligators, some of which are very curiously abbreviated. At the right hand in the cut we have simply the head with its strong recurved jaws and notched crest. The principal figure at the left is a two headed alligator, the body being straight and supplied with two feet. The ground finish of the decorated band is in the light gray tint and the alligator figures and vertical septa now appear in that color. The ground of the remainder of the surface is red. It will be seen that in this case the panel outlines are rather elaborate and that the neck and base are striped in a way to enhance considerably the beauty of the vessel. Additional examples of animal devices are given in Figs. 177 and 178. The significance of the curious figure
seen in the first is not easily determined, although we do not hesitate to assign to it an animal origin. There is a suggestion of two sitting figures placed back to back between the upright serrate lines. In the second piece, which is from another vessel, the space between the serrate lines is occupied by a sketchy figure which, in the phraseology of heraldry, may be likened to a monkey rampant.
