_Preliminary._--The importance of the potter's art to archæology has
often been pointed out. Baked clay is one of the most enduring materials
utilized in art, and its employment by the races of men has fallen but
little short of universal. The creations of that noblest of arts,
architecture, and the antecedent forms of house building are necessarily
left where erected, to be fed upon by the remorseless elements of
nature, but the less pretentious utensil of clay accompanies its owner
to the tomb, where it remains practically unchanged for ages.
Many glimpses of the early history of the American races and of the
progress of art in pre-Columbian times are obtained through these
exhumed relics, and in no case have we a view more clear and
comprehensive than that furnished in the series here presented. The
graves of Chiriqui have yielded to a single explorer upwards of 10,000
pieces of pottery, and this chiefly from an area perhaps not more than
fifty miles square. These vessels constitute at least 90 per cent. of
the known art of the ancient occupants of the province, and, although
not so eloquent of the past as are the inscribed tablets of Assyria or
the pictured vases of Greece, they tell a story of art and of peoples
that without their aid would remain untold to the end of time.
A careful study of the earthenware of this province leads to the
conclusion that for America it represents a very high stage of
development, and its history is therefore full of interest to the
student of art. Its advanced development as compared with other American
fictile products is shown in the perfection of its technique, in the
high specialization of form, and in its conventional use of a wide range
of decorative motives. There is no family of American ware that bears
evidence of higher skill in the manipulation of clay or that indicates a
more subtile appreciation of beauty of form, and no other that presents
so many marked analogies to the classic forms of the Mediterranean.
Strangely enough, too, notwithstanding the well established fact that
only primitive methods of manufacture were known, there is a parallelism
with wheel made ware that cannot but strike the student with amazement.
In speaking thus of the whole body of ceramic products, I would not
convey the impression that there is perfect homogeneity throughout, as
if all were the work of a single people developed from within, and
therefore free from the eccentricities that come from exotic influence.
On the contrary, there is strong evidence of mixed conditions of races
and of arts, the analysis of which, with our present imperfect data,
will be extremely difficult. These evidences of mixed conditions are
found in the marked diversity and individuality of character of the
various groups of ware.
It is impossible, without the aid of careful observations in the field,
to arrive at any conclusion as to the relative age of the different
varieties of ware. Appearances of age are deceptive; the newer looking
varieties may be the older and those executed in the most primitive
style may belong to the later period, for grades in culture are not
chronologic.
With reference to the principal groups of relics, we cannot do better
than accept the statements of collectors that all are buried in like
ways and in similar tombs, different varieties in many cases occurring
in the same tomb. There are, however, in a few minor groups such marked
distinctions in workmanship and style that we are compelled to attribute
them to different periods or to distinct communities. The groups
separated most completely from others are the scarified pottery
presented first in the series of painted wares, the maroon group, which
follows, and other varieties represented by fugitive pieces. The latter
may have reached Chiriqui from neighboring provinces. There are certain
pieces that speak decidedly of Costa Rican influence and others that
find their counterparts in the Colombian states to the south.
In art in clay in most countries the vessel is the leading idea, the
center about which nearly the entire ceramic art is gathered. This is
true in a marked degree in Chiriqui, and vessels are therefore given the
first place in this paper. The less usual forms include drums, whistles,
rattles, stools, spindle whorls, needlecases, and toy-like images, all
of which present features of peculiar interest. These classes of objects
are discussed in separate sections.
There are few indications of an ambition to model natural forms or
mythologic figures independently of utensils and useful objects, and,
strange to say, no pieces are found that portray the human face and
figure with even a fair degree of approach to nature.
_How found._--In describing the graves and tombs in a previous section,
I alluded to the manner in which the pottery was deposited. It appears
to have been buried with the dead or thrown into the grave with the
earth and stones with which the pit was filled. There was little
regularity in the place or position of the vessels and many were broken
when found. The precise use of the vessels, the character of the
contents, or the relation of particular pieces to the remains of the
dead cannot be determined. Although the human remains have almost
entirely disappeared and there are no traces left of utensils of wood,
bone, horn, or shell, the paste, slip, and colors are wonderfully well
preserved and the surface is not even discolored by contact with the
earth. When found, every crevice and cavity is completely filled with
earth, and the paste is often so tender that the vessels have to be
dried with great care before they can be handled with freedom. The
number of pieces found in a grave sometimes reaches twenty, but the
average is perhaps not above three or four.
_Material._--The material used in the manufacture of this ware is
remarkably uniform throughout the whole province, varying slightly with
the locality, with the group, and with the character of the vessel
constructed. Generally the paste consists of a matrix of fine clay
tempered with finely pulverized sand, in which may be detected grains of
quartz, feldspar, hornblende, augite, particles of iron oxide, &c.
Argillaceous matter has been sparingly used, the sand in many cases
comprising at least 75 per cent. of the mass. Many of the unpainted
specimens, from which the polished slip has been removed, give off
showers of fine sand when rubbed by the hand, and it is difficult to
detect the presence of any finely comminuted matrix whatever. The thin
slip employed in surface finish is more highly argillaceous than the
paste. The clay used was probably mostly light in color, as the paste is
now quite uniformly so. The baking was effected apparently without a
very high degree of temperature and by methods that left few marks or
discolorations upon the vessels. In hardness and durability the paste
corresponds pretty closely with that of our red porous earthenware. The
softer pieces can be scratched or even carved with a knife. Water will
penetrate any of these vessels in a few minutes, but decay has probably
tended to make the walls more porous.
_Manufacture._--There is no piece of this ware that does not bear
evidence of a high degree of skill on the part of the potter; and yet,
owing to the thorough manner in which the work is finished, the precise
methods of manipulation are not easily detected. So great is the
symmetry and so graceful are the shapes that one is led to suspect the
employment of mechanical devices of a high order. The casual observer
would at once arrive at the conclusion that the wheel or molds had been
used, but it is impossible to detect the use of any such appliances. We
observe that irregular and complex forms, in the production of which
mechanical appliances could not be used to advantage, are modeled with
as much grace of contour and perfection of surface as are the simpler
shapes that could be turned upon a wheel, and we conclude that with this
remarkable people the hand and the eye were so highly educated that
mechanical aids were not indispensable. I find no evidence that coil
building was systematically practiced, but it is clear that parts of
complex forms were modeled separately and afterwards united. The various
ornaments in relief (the heads and other parts of animals) and the
handles, legs, and bases of vessels were constructed separately and then
luted on, and with such skill that the thinnest walls and the most
complex and delicate forms were not injured in the process. The contact
irregularities were then worked down, and every part of the surface,
including the more important ornaments, were rendered smooth,
preparatory to the application of the thin surface wash or slip. After
the slip was applied and the clay became somewhat indurated, the surface
was polished with smooth pebbles, the marks of which can be seen on the
less accessible parts of the vessel. On the exposed surfaces of certain
groups of ware the polish is in many cases so perfect that casual
observers and inexperienced persons take it for a glaze. Incised figures
and painted decorations were generally executed after the polishing was
complete. Details of processes will be given as the various classes of
ware pass under review.
The methods of baking were apparently of a higher order than those
practiced in many parts of America. One rarely discovers traces of the
dark discolorations that result from primitive methods of baking, yet
there are none of the contact marks that arise from the furnace firing
of Spanish-American potters.
_Color._--The colors of the ware and of the surface applications vary
decidedly with the different groups. The prevailing colors of the paste
may be defined as ranging from very light yellow grays to a variety of
ochery yellows and very pale terra cotta reds. In one or two groups
there is an approach to salmon and orange hues, and in another the color
is black or dark brown. The color within the mass is in some cases
darker than upon the surface, an effect produced in baking, and not
through the use of different clays. The slip is usually lighter than the
surface of the paste.
The colors used in finishing and decorating are confined to reds,
blacks, and purple grays. In one large group of ware the appearance of
the delineations is such as to lead to the conclusion that the principal
pigment or fluid employed in delineation has totally disappeared,
carrying with it all underlying colors not of unusual permanence or not
worked down with the polishing implement. The Aztec and other races of
tropical America used an argillaceous, white pigment in decorating their
wares, which has in many cases partially or wholly disappeared, carrying
away considerable portions of the colors over which it was laid, while
in other cases, and also in this Chiriqui ware, there is no trace of
color remaining and we are left to surmise that the brush used probably
contained merely a "taking out" medium. Red was profusely used and
varies from a light vermilion to a deep maroon. In certain classes of
vessels it was hastily daubed on, covering prominent parts of the
surface or forming irregular spots, streaks, and rude figures. In two
groups of ware it was used as the chief delineating color. In some cases
it was employed as a wash or slip and was worked down with the polishing
stone, and in this condition it was treated as a ground upon which to
execute designs in other colors. It is always a fast color and is
probably of mineral character.
The blacks are of two kinds, which are used in distinct groups of ware:
one, probably a mineral pigment, somewhat pasty when applied and quite
permanent, is always used in delineating the ornamental figures; the
other, possibly a vegetable tint, is always used as a ground upon which
to execute designs in other mediums. It is confined to a single group of
ware. It has in many cases disappeared entirely, and where remaining can
be removed with ease by rubbing.
A light purple tint is tastefully and sparingly employed in one group of
ware. Browns and other hues occur but rarely and in all cases result
from alterations of other colors produced in firing. The color effects
of this pottery, although evidently much modified by age, are
sufficiently rich to be highly pleasing to the eye.
_Use._--The uses to which most classes of earthen products were applied
are easily determined. Whistles, drums, rattles, and spindle whorls have
definite duties to perform, and vessels, as to general scope of
function, answer for themselves: but when we come to inquire into the
particular uses of the various groups of vessels we are often at a loss.
The majority of the pieces show no abrasion by handling or discoloration
by fire or by contents, and I am inclined to believe that a large
portion were taken directly from the furnace and deposited in the tombs.
This implies manufacture for purely mortuary purposes.
Two important groups, the high tripods and the two handled cups or pots,
are generally discolored by use over fire, but we cannot say with
confidence whether that use was a domestic one or whether it was
ceremonial. The small size and the elaborate modeling of a majority of
the pieces make it appear improbable that they were intended for use in
ordinary cooking or even in the preparation of beverages. A few large
plain caldrons are found, and these were probably domestic receptacles.
All things considered, it would seem highly probable that the greater
portion of the vessels exhumed from the graves were intended to be used
for religious and mortuary purposes.
The preceding paragraphs refer, for the most part, to the whole body of
earthenware products, but throughout the rest of this section I shall
treat of vessels only, except in the matter of decoration, which refers
equally to all classes of objects.
[Illustration:
_a, b, c, d, e, f_
Fig. 45. Fundamental forms of vases--convex outlines.]
[Illustration:
_a, b, c, d, e_
Fig. 46. Fundamental forms of vases--angular outlines.]
[Illustration:
_a, b_
Fig. 47. Vases of complex outlines--exceptional forms.]
_Forms of vessels._--Divesting the utensil of extraneous features, such
as rims, handles, and legs, we have the following series of shapes,
which shows a pretty full graduation of outline from extreme to extreme.
Beginning with the simplest fundamental form, the shallow cup (Fig. 45,
_a_), we ascend gradually to more complex outlines, such as are seen in
the hemispherical bowl (_b_), the deep basin with slightly incurved rim
(_c_), the globular form (_d_), and the elongated form (_e_).
Occasionally we see an eccentric variation, such as is shown in _f_.
Flat bottoms are unusual; a conical base is the rule. Outlines do not
always exhibit these even, convex curves, but many are straight or
concave in profile, as shown in Fig. 46. Complex forms are shown in
Fig. 47, _a_ and _b_, and compound forms in Fig. 48, _a_ and _b_.
Examples of these classes are numerous and important. The compound
shapes result from the union of two or more simple forms. Eccentric
forms are numerous and result in a majority of cases from the employment
of some animal as a model. Thus, if an alligator or almost any quadruped
is embodied in the vessel, the form tends to become elongated; if a crab
or a fish is imitated, there is a tendency to flatness &c. The base is
almost universally more or less conical, is rarely flat, and never
concave, excepting as the result of the addition of an annular foot or
stand. The radical shapes do not undergo any considerable change when
rims, necks, handles, legs, and other appendages are added. The rim or
lip is in many cases incurved, but as a rule it is turned outward. The
margin is plain, symmetrical, and often considerably thickened. In a few
instances the outline is rectangular or scalloped, as shown in Fig. 49,
and the attachment of handles often leads to peculiar outlines, as will
be seen further on.
[Illustration:
_a, b_
Fig. 48. Vases of compound forms.]
[Illustration: Fig. 49. Square lipped vessel.]
[Illustration:
_a, b, c, d_
Fig. 50. Variations in the forms of necks and rims--various groups
of ware.]
The neck in its simplest form is a narrow upright band surrounding the
orifice (Fig. 50, _a_) and is not differentiated from the rim.
Variations in size and shape are shown in the remaining figures of the
series. In _b_ it is a narrow constricted band beneath an overhanging
rim, in _c_ it is upright and considerably elongated, and in _d_ it
expands, giving a funnel shaped mouth. The exterior surface is very
generally decorated with relieved or painted devices. High necked
bottles and pitcher shaped vessels are unknown.
[Illustration:
_a, b, c, d, e, f_
Fig. 51. Arrangement of handles--various groups of ware.]
Handles constitute a very interesting feature of this pottery and are
much varied in shape and arrangement. In a few cases the handle is a
single arch springing over the orifice, as seen in Fig. 51, _a_. Again,
the handle is attached to one side, as in _b_, but as a rule handles
occur in twos upon the shoulder, one on either side of the aperture.
They are horizontally attached, as in _c_, or vertically placed, as in
_d_, connecting the rim with the shoulder, or they occur low on the
body, as in _e_. In rare cases there are four handles, which are
arranged as seen in _f_ or are set on in pairs. In the elaboration of
handles, the use made of animal forms is perhaps the most notable
feature. Grotesque figures are made to take the place of handles or are
attached to or placed near them. The treatment is so varied that I shall
have to refer the student to the subsequent series of illustrations.
Annular bases or feet were not in very general use in Chiriqui, although
in some cases they are modeled with a great deal of grace. The shape
varies from a simple ring, barely deep enough to give a firm support to
the vessel when placed upon a level surface, to a long, attenuated
column with flaring base. The latter is perhaps one of the nearest
approaches which America has furnished to the slender foot
characteristic of the wheel made ware of Mediterranean countries.
[Illustration:
_a, b, c, d_
Fig. 52. Types of annular bases or feet--various groups of ware.]
[Illustration:
_a_ Biscuit ware.
_b_ Biscuit ware.
_c_ Tripod group.
_d_ Red line group.
Fig. 53. Forms of legs--various groups of ware.]
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.
_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, and with
expressions which appear to indicate a variety of exaggerated emotions
(Figs. 54, 55, 56).
[Illustration:
Fig. 54.
Fig. 55.
Fig. 56.
Grotesque figures forming the handles of small vases--terra cotta
group.]
[Illustration:
Fig. 57.
Fig. 58.
Monstrous figures, with serpent-shaped extremities--handled group.]
[Illustration:
Fig. 59.
Fig. 60.
Fig. 61.
Grotesque figures--terra cotta group.]
[Illustration: Fig. 62. Figure of monkey--terra cotta group]
[Illustration:
Fig. 63.
Fig. 64.
Figures of monkeys--terra cotta group.]
The exuberance of fancy often found vent in the production of
monstrosities, such as are seen in Figs. 57 and 58, in which the arms
and legs of the figures are writhing serpents, the faces expressing
great agony; in other cases the figures are double; and again two bodies
united at the waist have but one pair of legs. An unusually grotesque
creature is seen in Figs. 59 and 60, and another is given in Fig. 61.
Similar figures are worked in gold, one of which is now worn as a charm
by Mr. J. B. Stearns. Figures of monkeys are shown in Figs. 62, 63, and
64. One creature, represented as having a long, trunk-like snout, recurs
frequently. Such a form discovered in the earlier days of archæologic
investigation would probably have given rise to many surmises as to the
contemporaneous existence of man and the elephant in Chiriqui. In
reality the original was probably some unassuming little inhabitant of
the isthmian jungles. This creature is shown in profile in Fig. 65, _a_,
and front views are given in _b_ and _c_. Innumerable examples,
embracing most of the more important animals of Chiriqui, could be
given, but in a majority of cases identification is difficult or
impossible, as there has been little or no effort to reproduce nature
with fidelity. But the chief interest surrounding these figures is not
found in the variety of creatures shown or in the character of the
delineation, but in the manner of their employment in the embellishment
of ceramic forms. The ancient potter must have possessed a keen sense of
grace of form and of the proper adjustment of parts. The most cultured
taste could hardly improve upon the lines of the vases presented in
Figs. 66 and 67, which employ the frog, and in Figs. 68 and 69, in which
other creatures are used. Many equally pleasing examples are illustrated
further on. The question very naturally arises as to whether these
little figures had any meaning or performed any function aside from that
of simple decoration. I feel inclined to take the view that in their
present condition they are survivals of ideographic originals; that if
their past could be unveiled we would find that in the primitive ages
they were not exclusively employed for ornament. The animals made use of
originally were the embodiment of mythologic conceptions, and their
images were revered or served as fetiches or charms, and because of this
they came to have a permanent place in art. They were applied to the
vessel because its office had reference to them or because they were
thought to have a beneficial effect upon its functions. It is evident
that their employment was governed by well established rules and that
they occupied places and occurred in numbers and relations not wholly
dependent upon the judgment of the individual potter. We may suppose
that they occur in twos because the handles with which they were
associated occurred in twos; or, if they serve to take the place of the
extremities of the animal forms in the semblance of which the vases were
originally modeled, their positions may be related to the original
positions of the heads and tails of those forms. It is not improbable
that the conventional incised and relieved ornaments, the meanders,
nodes, and varied marks refer also to the creatures or the markings of
the creatures with which the vessel was associated.
[Illustration: Fig. 65. Animal forms exhibiting a long
proboscis--handled group.]
[Illustration:
Fig. 66.
Fig. 67.
Vases illustrating ornamental use of animal figures--terra cotta
group.]
[Illustration:
Fig. 68.
Fig. 69.
Vases illustrating ornamental use of animal figures--terra cotta
group.]
It will be seen, from the above remarks, that we cannot fully determine
to what extent these ancient decorators followed the traditional
pathways of early ideographic usage or how much they were governed by
those powers of esthetic discrimination known to us as taste.