Gift of Thomas Watters, Jr.

Museum Expedition 1903, Museum Collection Fund

Museum Expedition 1903, Museum Collection Fund

The exact function of monumental stone slabs such as this one is unknown because only a few have been found in situ. One example was discovered upright in a cemetery, and scholars believe that such intricately carved stone monuments could have been used as grave markers for important individuals. In the manner of modern-day headstones, the base would have been buried in the ground. This stela is topped with three kneeling human figures wearing jaguar masks. The back of the slab is decorated with eighteen crouching jaguars. The jaguar may have been a totem animal or clan symbol of the deceased.


La función exacta de bloques monumentales de piedra como éste es desconocida, ya que solo unos pocos han sido encontrados in situ. Un ejemplo fue descubierto verticalmente en un cementerio, y académicos creen que monumentos de piedra intrincadamente tallados pueden haberse usado como marcadores de tumbas para individuos importantes. A la manera de lápidas modernas, la base habría estado enterrada. Esta estela está coronada por tres figuras humanas arrodilladas llevando mascaras de jaguar. El reverso de la piedra está decorado con dieciocho jaguares agazapados. El jaguar puede haber sido un animal totémico o un símbolo del clan del difunto.

The backboard for the cradle is missing, only the quilled ornaments remain. These consist of two large sections of smoked skin, which wrapped around the cradle and were decorated with orange, white, red, brown, light blue and yellow porcupine quills. The design may be called "otter tail” design as the fretwork moves from left to right as if the otter was doing this: jump-jump-slide-jump-jump. Another suggestion is that he "fret" design may be an abstract thunderbird. There are also two straps decorated with quill wrapped thongs, tin cones, and blue and white pony beads. The cradle model is exceptional in two respects. First it is a model and only 3 are known. (The other being in the NMAI and the Peabody Salem Essex). This suggests it was might have been made for sale as pieces that are missing perhaps were not made, or were lost after it was acquired. The cradle decorations are displayed on this mount condensed, as the piece would have been longer. The rectangular piece below might not be in correct location. B Hail, "Hau, Kola,” pg. 144, fig. 127, shows an early Dakota cradle with three of these rectangular forms dangling down from the bottom of the cradle board not from the wrappings.

Shortly after Britain seized Jamaica from Spain in 1655, local workshops began manufacturing two uniquely Caribbean types of decorative art objects: costly tortoiseshell boxes and comb sets. These luxury goods were typically made for a British market as either souvenirs or exotic gifts from the islands. They were often engraved with Jamaica’s new coat of arms, which included an indigenous Arawak man and woman (see illustration), and evocations of the island’s abundant natural resources.


Poco después de que los ingleses incautaran Jamaica a España en 1655, los talleres locales comenzaron a producir dos tipos de objetos decorativos únicos del Caribe: costosas cajas de carey y juegos de peines. Estos bienes de lujo se fabricaban generalmente para el mercado británico como recuerdos de viajes o regalos exóticos de las islas. Frecuentemente se grababan con el nuevo escudo de armas de Jamaica, que incluía un hombre y una mujer indígenas arawak (ver ilustración) e ilustraciones de los abundantes recursos naturales de las islas.

Gift of Adelaide Goan

Henry L. Batterman Fund and the Frank Sherman Benson Fund

By exchange

Frank Sherman Benson Fund and the Henry L. Batterman Fund