What I have denominated the lost color was a pigment, or “taking out” solution, extensively and exclusively employed in the decoration of one of the principal groups of ware. Its former existence is made known by its action upon the ground colors and upon the paste or slip within the areas covered by it. Where superimposed upon black, that color has in all cases been removed, exposing the underlying tints of the slip in which the designs are now manifested, the interspaces being still black. In some cases the lost color has not only removed the black ground, but has affected the slip beneath, removing it also, and to such a degree that the polished surface is destroyed and shallow intaglio lines occur, leaving the interspaces in relief. This circumstance enforces the idea that possibly the “lost color” was really not a color at all, but an acid which acted upon the ground colors at once, destroying the black entirely and leaving the effect now seen. This point must remain for the present undetermined. The figures in all cases appear to have been delineated with ordinary brushes and by purely free hand methods. The degree of skill varies greatly. The execution in the great body of the work is rather inferior and indicates a lack of skill and care, but in a limited number of pieces the manipulation is masterly. The designs are confined to the show spaces, being exterior in narrow necked vessels and generally interior in shallow forms. In arrangement upon the surfaces this decoration presents some novel features. The slight degree of uniformity in arrangement indicates the absence of any mechanical aid, such as the wheel, which device would tend to reduce all decoration to a series of horizontal zones. We observe indeed the occurrence of horizontal arrangements, but not to a degree greater than would naturally arise as a result of the conformation of the vessel. Upright, oblique, and arched arrangements are frequently met with, and all are safely attributable to the domination of spaces to be covered or to the influence of antecedent shapes. Examples and details are given as they come up in the various sections. _The scarified group._--This group is represented by about forty specimens and is worthy of especial attention. It comes from the graves of two localities, one near C. E. Taylor’s hacienda, north of David, on the slopes of Mount Chiriqui, and the other at Alanje, southwest of David. As a variety of ware it stands so entirely alone that had it arrived unlabeled no one would have recognized its affinities with Chiriquian art. It is rather inferior in material, grace of form, and surface finish, and the decoration appears to belong to a lower grade of culture than that of the other groups. It is possibly the work of an inferior race in comparatively recent times.