[80] Samuel Kirkland Lothrop. Pottery of Costa Rica and Nicaragua, New York, Museum of the American Indian, Heye Foundation, 1926. [81] Marshall H. Saville, The Antiquities of Manabi, Ecuador, New York, 1910. [82] See a relief ornament on a red ware vessel from Banana, Belgian Congo, Annales du Musée du Congo; Notes analytiques sur les collections ethnographiques, Vol. 2, Brussels, 1907, Les industries indigènes, Pl. III, fig. 34. The characteristic slit rattle feet of Chiriqui pottery prove even more conclusively than the application of fillets and nodes, that the art forms of this province must be considered as a special development of forms characteristic of a much wider area. This type of foot is widely spread beyond the territory in which the fish forms prevailed.[83] [83] See Franz Boas y Manuel Gamio, Album de colecciones arqueológicas, México, 1912, Plates 36, 42, 51. We are thus led to the conclusion that the use of the nodes and fillets for building up armadillo motives, are historically related to the method of decorating vessels by means of the attachment of separate pieces. The armadillo motive can then be only a specialized application of building up animal motives from the elements in question. The elements themselves must not be considered primarily as symbols of the armadillo, nor can all the animals built up of these elements be interpreted as armadillos. The essential point of this consideration lies in the wide distribution of technical and formal motives over large areas, although differing in details in various localities. These technical and formal motives are the materials with which the artist operates and they determine the particular form which a geometrical motive or a life motive takes. If the notched fillet and node are the material with which the hand and the mind of the artist operate, they will occur in all his representations.