l.

These potters dealt with the human figure in a very bold manner for
savages. They were evidently capable of representing many creatures
with accuracy, but preferred grotesque or conventional forms. A man or
a woman is generally modeled with a large body and a curious hunched
back, the vertebrae appearing along the prominent ridge. The shoulder
blades are usually shown with anatomical distinctness, if not with
precision; the arms are long and slender and the hands rest upon the
knees or the sides. The position assumed is mostly that of kneeling
or squatting, the feet being doubled up beneath and uniting with the
bottom of the vessel.

[Illustration: FIG. 448.--Bottle: Arkansas.--1/3.]

[Illustration: FIG. 449.--Bottle: Arkansas.--1/3.]

[Illustration: FIG. 450.--Bottle: Arkansas.--1/3.]

[Illustration: FIG. 451.--Bottle: Arkansas.--1/3.]

These effigy vases are numerous, and greatly varied in size and color.
They are mostly of the dark ware, but are found painted plain red
or in red and white figures, some of which represent parts of the
costume, others, emblematic devices. The largest specimen with which
I am acquainted is illustrated in Fig. 452. It is well modeled, a good
deal of attention having been given to the details of anatomy. The
back is very much humped, and the vertebrae are represented by a series
of knobs. The position of the feet beneath the body is, perhaps,
worthy of notice. This is shown in Fig. 453_b_. It will be seen that
the knees, calves, ankles, and the various parts of the feet are
indicated with an approach to accuracy. The projecting back is seen
below. The bottom of the vessel is nearly flat, and the legs are
modeled in low relief upon it. Other positions are shown in Fig. 453.

[Illustration: FIG. 452.--Effigy bottle: Arkansas.--1/3.]

Fig. 454 illustrates a characteristic profile.

[Illustration: FIG. 453.--Positions of feet.]

One of these vases has a cross painted upon the breast of the
personage represented. The kneeling position, taken in connection with
the cross, leads to the thought that perhaps the potter lived in the
period of the French missionary, and attempted to model him in clay.
There is, however, no indication of costume, and the painting, with
the exception of the cross, is in a purely aboriginal style of design.
The ground color of the vase is, as usual, a moderately dark gray
brown, and the painted figures are laid on in thick, blackish paint.
Lines partial