A characteristic example is illustrated in Fig. 253. The head is large and flat and the painted devices are in the red and black of the lost color group. The three notes are as follows:
[Illustration: Fig. 253. Bird shaped whistle, with decoration in black, lost color ware--1/1.]
The piece given in Fig. 254 has the shape and markings of a hawk or eagle. It belongs to the alligator ware and is elaborately finished in semigeometric devices in red and black. All of these devices refer more or less definitely to the markings of the plumage.
[Illustration: Fig. 254. Bird shaped whistle, with conventional decoration in red and black, alligator ware--1/1.]
The example shown in Fig. 255 represents a bird with two heads, the shape and markings of which suggest one of the smaller song birds.
[Illustration: Fig. 255. Two headed, bird shaped whistle, with conventional decoration in black, lost color ware--1/1.]
I cannot say that the whistles were modeled and pitched with the idea of imitating the notes of particular birds, but it is possible for the practiced performer to reproduce the simpler songs and cries of birds with a good deal of accuracy.
[Illustration: Fig. 256. Whistle in grotesque life form, with decorations in black and red, alligator ware--⅔.]
The human figure was occasionally utilized. The treatment, however, is extremely rude and conventional, the features having the peculiar squirrel-like character shown in the figurines already given. The unique piece given in Fig. 256 represents a short, clumsy female figure with a squirrel face, carrying a vessel upon her back by means of a head strap, which is held in place by the hands. The mouthpiece of the whistle is in the right elbow and one sound hole is in the middle of the breast and the other in the left side. The costume and some of the details of anatomy are indicated by red and black lines in the original. Its notes are the same as those presented with Fig. 249.
This section is to be devoted to a short study of the decorative system of the ancient Chiriquians, and more especially to a consideration of the treatment of life forms in vase painting. Many of the finest examples of these designs, so far as execution and effect in embellishment are concerned, have already been given; but it is desirable now to select and arrange a series to illustrate origins and processes of growth or modification.