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  NeAnA 
 
 THE FAMOUS 
 
 ALVARADO. 
 COLLECTION 
 
 ECUADOR 
 
 FINE ARTS DIVISION 
 TOPEKA PUBLIC LIBRARY 
 TOPEKA, KANSAS 
 
 THE ANDERSON GALLERIES 
 NEW YORK 
 
ont 
 
ca) 9 
 
 ae a ee 
 
THE FAMOUS 
 
 ALVARADO COLLECTION 
 
 GATHERED DURING MORE THAN THREE CENTURIES 
 BY THE ALVARADO FAMILY, ILLUSTRATING 
 THE ANCIENT ART OF 
 
 ECUADOR 
 
 AND CONSIGNED BY 
 
 SENOR DON JESUS ALVARADO 
 
 TO BE SOLD 
 ON THE AFTERNOONS OF 
 MARCH 21, 22, 23 ann 24, 1917 
 
 AT 2:30 O'CLOCK 
 
 On Public Exhibition from Wednesday, March 14th 
 
 THE ANDERSON GALLERIES 
 
 Mapison AVENUE AT FoRTIETH STREET 
 
 LF b00- 
 
CONDITIONS OF SALE 
 
 1. All bids to be per Lor as numbered in the Catalogue. 
 
 2. The highest bidder to be the buyer; in all cases of disputed 
 bids the lot shall be resold, but the Auctioneer will use his judg- 
 ment as to the good faith of all claims and his decision shall be 
 final. He also reserves the right to reject any fractional or 
 nominal bid which in his- judgment may delay or injuriously 
 affect the sale. 
 
 3. Buyers to give their names and addresses and to make 
 such cash payments on account as may be required, in default 
 of which the lots purchased to be resold immediately. 
 
 4. The lots to be taken away at the buyer’s expense and risk 
 within twenty-four hours from the conclusion of the sale, and 
 the remainder of the purchase money to be absolutely paid on 
 or before delivery, in default of which The Anderson Galleries, 
 Incorporated, will not be responsible if the lot or lots be lost, 
 stolen, damaged, or destroyed, but they will be left at the sole 
 risk of the purchaser, and subject to storage charges. 
 
 5. To prevent inaccuracy in delivery, and inconvenience in 
 the settlement of purchases, no lot will be delivered during the 
 sale. 
 
 6. All lots will be exposed. for public exhibition in The 
 Anderson Galleries before the date of sale, for examination by 
 intending purchasers, and The Anderson Galleries, Incorporated, 
 will not be responsible for the correctness of the description, 
 authenticity, genuineness, or for any defect or fault in or concern- 
 ing any lot, and makes no warranty whatever, but will sell each 
 lot exactly as it is, wirHouT REcouRsE. But upon receiving be- 
 fore the date of sale, expert opinion in writing that any lot is 
 not as represented, The Anderson Galleries, Incorporated, will 
 use every effort to furnish proof to the contrary, and in default 
 of such proof the lot will be sold subject to the declaration of 
 the aforesaid expert, he being liable to the owner or owners 
 thereof for damage or injury occasioned by such declaration. 
 
 7. Terms Casu. Upon failure to comply with the above con- 
 ditions any sum deposited as part payment shall be forfeited, 
 and all such lots as remain uncleared after twenty-four hours 
 
from the conclusion of the sale, will be resold by either private 
 or public sale at such time as The Anderson Galleries, Incorpo- 
 rated, shall determine, without further notice, and if any deficiency 
 arises from such resale it shall be made good by the defaulter at 
 this sale together with all the expenses incurred thereby. This 
 condition shall be without prejudice to the right of The Anderson 
 Galleries, Incorporated, to enforce the contract with the buyer, 
 without such re-sale. 
 
 8. Brps. We make no charge for executing orders for our 
 customers and use all bids competitively, buying at the lowest 
 price permitted by other bids. 
 
 9. The Anderson Galleries, Incorporated, will afford every 
 facility for the employment of carriers and packers by the 
 purchasers, but will not be responsible for any damage arising 
 from the acts of such carriers and packers. 
 
 Priced Copy of this Catalogue may be secured for $2.00 
 
 The Anderson Galleries 
 
 INCORPORATED 
 Mapison AVENUE AT FortTieTtTH STREET, NEw York. 
 TELEPHONE, Murray Hi, 7680 
 
 SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN. 
 
INTRODUCTION 
 
 This is the catalogue of the famous Alvarado Collection, 
 slowly gathered during more than three centuries, illustrating 
 the ancient art of the natives of Ecuador. It was exhibited at 
 the Panama Exposition, where it aroused great interest and 
 curiosity, and it is the largest and most important collection of 
 the kind ever offered for sale in America. 
 
 The Collection includes Pottery of the Inca and pre-Inca 
 periods, utensils, ornaments, crucifixes, tabernacles, wrought-iron 
 locks, inlaid coffers, a very remarkable group of sculptures, the 
 beautiful Ming jar in which the first wheat was carried to Ecua- 
 dor, many fine rugs of ancient weaving, and several important 
 historical pieces. 
 
 About 1533, after Prizarro and his Spanish followers had 
 conquered Peru, a part of his army under Benalcazar sujugated 
 Quito. Pizarro immediately took possession of it and the recent 
 Kingdom of Quito was made a presidency of the Spanish vice- 
 royalty of Peru. Among the Spanish soldiers were five members 
 of the Alvarado family, of whom the most famous was Don Pedro, 
 the ancestor of the Sefior Don Jesis Alvarado, the scholarly 
 antiquary and distinguished citizen of Ecuador, whose collection 
 is now to be sold. 
 
 From the Sixteenth Century the Alvarados have been a 
 family of collectors. The gathering of this collection began near- 
 ly 400 years ago, when Lorenzo de Aldana, the famous Spanish 
 soldier, gave to Don Pedro his coat of mail (see Number 571). 
 From that time on no opportunity to acquire rare and beautiful 
 objects of Ecuadorian art has been neglected. 
 
 Nearly a century before the arrival of the Spaniards the 
 Incas subjugated Quito, and the arts of Quito were influenced by 
 the Inca regime. A few examples of this period are exhibited. 
 
 After the Spanish domination the Indians of Quito con- 
 tinued for many years to make their primitive pottery and im- 
 plements, and many interesting pieces have been excavated by 
 the searching parties that the Alvarado family sent out from time 
 to time during the centuries. One of the most important of the 
 finds was the Idol of the Shirys (see Number 93) which is 
 probably of the Eighth Century. 
 
In early times the churches and monasteries (more than 
 fifty in Quito alone) encouraged the production of paintings, 
 sculptures, fine metal work, and rare inlaid furniture; the 
 Mestizos (those of mixed blood) showed great inventive genius, 
 and the native Indians were their rivals in artistic ability. Early 
 in the Nineteenth Century many revolutions broke out. A remind- 
 er of that of 1812 is the small ball padlock used for manacling 
 (see Number 349) which was found under the house in which 
 some revolutionists were captured. On May 22, 1822, Quito 
 threw off the Spanish yoke, and the Mate Cup (see Number 576) 
 
 which was presented to Simon Bolivar (E] Libertador) at this 
 
 time is one of the many historic treasures in this collection. 
 After independence was gained the arts of Ecuador dwindled 
 amid the insurrections and dictatorships. The churches and mon- 
 asteries felt the effect of the changes in government; in 1899 
 they were restrained from collecting their tithes; in 1904 their 
 lands were declared the property of the state, and when the 
 bishops found themselves without sufficient funds to adminster 
 their hospitals and missions and ordered the sale of many of 
 their treasures, the Alvarados came generously to the assistance 
 of the Church and purchased many interesting tabernacles, 
 wrought-iron locks, vestments, and beautiful sculptures, all of 
 which were the work of the artists of other centuries. The Col- 
 lection, therefore, embraces a great variety of rare and valuable 
 objects, covers a wide field, and cannot fail to be of the highest 
 interest to collectors, archeologists, and museums. 
 
 FRANK H. G. KEEBLE. 
 
ORDER OF SALES 
 
 FIRST SESSION 
 Wednesday Afternoon, March 21, 1917 
 
 De eee 
 CESS O26) 6,0 6 6 @ ve © 
 
 BG 0a Se ere 6a 6 ee 
 
 ECUADORIAN POTTERY SHOWING INCA INFLUENCE........... 
 
 INDIAN COSTUMES AND A SHRUNKEN HEAD, MopERN INDIAN 
 FIGURES, AND A LARGE NUMBER OF ITEMS ILLUSTRATING 
 THE WORK OF THE ECUADORIAN INDIAN OF TO-DAY 
 
 e) 0 + w 5 5 %@ 
 
 SECOND SESSION 
 Thursday Afternoon, March 22, 1917 
 
 VARIOUS OBJECTS (IMCUADORIAN OR FOUND IN ECUADOR).... 
 Meee ION OF SPANISH POOKS . 60808 es a oR ee ce wae 
 
 PeocAne PANELS AND PMBROIDERIES..< i. 00c00. 06800-00006 
 Pe eeetTANO FT ATNTED CRUCIFIXES 6355 0020 Cacncaeediwnccean 
 INLAID BOXES, MIRRORS, BRACKETS AND CARVED DPANELS.... 
 
 THIRD SESSION 
 Friday Afternoon, March 23, 1917 
 
 HARLY ECUADORIAN PAINTINGS IN CARVED F'RAMES......... 
 ECUADORIAN INLAID CHESTS, COFFERS, AND DESKS.......... 
 ECUADORIAN WROUGHT IRON LOCKS AND ARMS............. 
 MEME MTIRE A POSED UNS 5 Ar ater aatcse Rea ued wna Whe Boe Cieta Gok ws WR ee iw Se ak 
 PAINTED SCULPTURE 
 
 6 8 6 8 ee Fe 6, 6s wT Oe 6 e616 (BEwse) Se 6 © les « « 6 & @ «8 6 0 
 
 FOURTH SESSION 
 Saturday Afternoon, March 24, 1917 
 
 PACED SCULPTURE (CONTINUED) occ eeth seo eae dion os ce oes 
 HARLY ECUADORIAN PAINTINGS IN CARVED F'RAMES.......... 
 BROCADE VESTMENTS 
 Pree A OAT OF MATE Cnt gata oo Nee Paw ieilay eo ele al © kas ayn e ane 
 eee ATS. WW HEAT JAR. «56500 oo asetadots wou hs lain’ a Gale ce te aleee whee 
 PrerrrorivaARn’s MWATW OURS Coon. ce che eta cae eed 
 SEVENTEENTH CENTURY SPANISH PAINTINGS.............. 
 TipreaNkCtrs, SHRINES, AND OCUSTODIA ]. nyse ote sane os 
 INLAID Boxes, LEATHER TRUNKS, CHAIRS, AND MIRRORS..... 
 
 and. dl sige Hee oe ed SS ese. eae a Ce eee, @ SCs) ae Ol erence: @ 
 
 LOTS 
 1- 62 
 65- 93 
 94- 98 
 99-134 
 
 135-150 
 
 151-167 
 168-172 
 173-199 
 200-237 
 238-244 
 245-305 
 
 Ce oO 
 
 es) 
 (ob) Geo) orn ry 
 H= CO oy Oo 
 
 (7) 
 
 to oO 
 
 466-53 
 539-547 
 DA8-577 
 
“VIRGIN SANTISIMA CON EL NINO” 
 CARVED FIGURE BY AVILA 
 
 [ NUMBER 510] 
 
FIRST SESSION 
 WEDNESDAY AFTERNOON, MARCH 21, 1917 
 
 AT 2:30 O°CLOCK 
 
 Lots 1 to 150 
 
 STONE AND COPPER WEAPONS, UTENSILS, 
 
 JEWELRY, AND POTTERY OF THE INCAS 
 
 (Armas de Piedra y Cobre, Utensilios, Joyeria y Objetros 
 
 de Barro de los Incas) 
 
 This interesting collection of Ecuadorian Indian Pottery, 
 
 Necklaces, Implements and Head-dresses was not only formed 
 by the Alvarados but in most instances was dug out by their 
 research parties. The Shirys Indian Idol from the Oriente 
 Region was discovered by Sefior Don Jess Alvarado and is con- 
 sidered unique. In cataloguing, care has been taken to give the 
 exact location where and the depth at which the objects were 
 found. 
 
 1 
 
 to 
 
 AMULET, PRE-INCA, XVtH CENTURY 
 (Amuleto, Pre-Incaico, Siglo XV.) 
 
 Curiously carved in bone, head of a man; pinkish red in 
 color. Found in Cajfiar, Province of Cafiar, at the depth 
 of 3 metres. Length, 2% inches. 
 
 SLUNG SHOTS, PRE-INCA, XIVtrH CENTURY 
 (Dos Bolas De Cobre, Pre-Incaico, Siglo XIV.) 
 
 Two solid copper balls used in early warfare. Found in 
 Sigsig, Province of Azuay, at the depth of 4 metres. 
 
 TWO UTENSILS, PRE-INCA, XIVru CENTURY 
 (Dos Utensilos, Pre-Incaico, Siglo XIV.) 
 
 One in silver and one in stone. Found in Cafiar, Province 
 of Cafiar, at the depth of 2 metres. 
 
 9 
 
THREE PENDANTS, PRE-INCA 
 (Tres Pendientes, Pre-Incaico. ) 
 
 Composed of polished shells. Found in Cafiar, Province 
 of Cafiar, at the depth of 3 metres. 
 
 SMALL PLATE, PRE-INCA, XVrnH CENTURY 
 (Platito, Pre-Incaico, Siglo XV.) 
 
 Modelled of light red clay, decorated with bands and vari- 
 ous lines in dark red. Found in Cotocollao, Province of 
 Pichincha, at the depth of 3.5 metres. 
 
 Diameter, 314 inches. 
 
 TWO POLISHING STONES, PRE-INCA 
 (Dos Herramientas De Piedra, Pre-Incaico.) 
 Reddish stone, used for polishing. 
 
 A. Found in Cuenca, Province of Azuay, at the depth of 
 3 metres. 
 
 B. Found in Inga Pirca, Province of Cafiar, at the depth 
 of 3 metres. 
 
 EARRING, PRE-INCA, XIVru CENTURY 
 (Zarcillo, Pre-Incaico, Siglo XIV.) 
 
 Composed of small beads of various colors. Found in Chor- 
 deleg, Province of Azuay, at the depth of 3.25 metres. 
 
 Length, 4 inches. 
 
 EARRING, PRE-INCA, XIVtru CENTURY 
 (Zarcillo, Pre-Incaico, Siglo XIV.) 
 Found in Sigsig, Province of Azuay. Length, 10 inches. 
 
 EARRING, PRE-INCA, XIVru CENTURY 
 (Zarcillo, Pre-Incaico, Siglo XIV.) 
 
 Composed of shell, bone and coral beads. Found in Chor- 
 deleg, Province of Azuay, at the depth of 2.50 metres. 
 
 Length, 4 inches. 
 10 
 
10 
 
 11 
 
 12 
 
 13: 
 
 14 
 
 EARRING, PRE-INCA, XIVrH CENTURY 
 
 (Zarcillo, Pre-Incaico, Siglo XIV.) 
 
 Composed of beads made from Pusulana or Ecuadorian 
 voleanic deposit, curious turquoise stop. Found in Cajfiar, 
 Province of Canar, at the depth of 2.5 metres. 
 
 Length 27 inches. 
 
 EARRING, PRE-INCA, XIVtrnH CENTURY 
 (Zarcillo, Pre-Incaico, Siglo XIV.) 
 
 Malachite, composed of round beads and a finely worked 
 cartouche drop. Found in Cafiar, Province of Cafiar, at the 
 depth of 2 metres. Length 3 inches. 
 
 EARRING, PRE-INCA, XIVrH CENTURY 
 (Zarcillo, Pre-Incaico, Siglo XIV.) 
 
 Composed of wheel-shaped beads in coral and shell with 
 malachite drop. Found in Biblian, Province of Cafiar. 
 
 Length, 31% inches. 
 
 STONE HATCHETS, PRE-INCA, XIVru CENTURY 
 
 (Hachitas De Piedra, Pre-Incaico, Siglo XIV.) 
 
 A. Found in EI] Angel, Province of Carchi, at the depth of 
 3 metres. Length, 5 inches. 
 
 B. Found in Tumbaco, Province of Pichincha, at the depth 
 of 1 metre. 
 
 STONE HATCHETS, PRE-INCA, XIVtuH CENTURY 
 (Dos Hachitas De Piedra, Pre-Incaico, Siglo XIV.) 
 a: Found in La Magdalena, Province of Pichincha, at the 
 depth of 2 metres. 
 Height, 234 inches; width, 3% inches. 
 B. Found in Machachi, Province of Pichincha, at the depth 
 of 2.2 metres. Height, 414 inches; width, 2% inches. 
 
 11 
 
15 
 
 16 
 
 17 
 
 18 
 
 19 
 
 STONE HATCHETS, PRE-INCA, XIVrH CENTURY 
 
 (Hachitas De Piedra, Pre-Incaico, Siglo XIV.) 
 
 A. Found in Cayambe, Province of Pichincha, at the depth 
 of 3 metres. Height, 414 inches; width, 3 inches. 
 
 B- Found in Otavalo, Province of Imbabura, at the depth 
 of 2 metres. Height, 314 inches; width, 27% inches. 
 
 STONE HATCHETS, PRE-INCA, XVtu CENTURY 
 
 (Hachitas De Piedra, Pre-Incaico, Siglo XV.) 
 
 A. Found in El] Angel, Province of Carchi, at the depth of 
 3.20 metres. Height, 5 inches; width, 234 inches. 
 
 B. Found in Cuenca, Province of Azuay, at the depth of 3 
 metres. Height, 454 inches; width, 214 inches. 
 
 STONE HATCHETS, PRE-INCA, XIVru CENTURY 
 (Hachitas De Piedra, Pre-Incaico, Siglo XIV.) 
 A Found in Sigsig, Province of Azuay, at the depth of 2 
 
 metres. Height, 314 inches; width, 2 inches. 
 B. Found in Cayambe, Province of Pichincha, at the depth 
 of 2.5 metres. Height, 414 inches; width, 3 inches. 
 
 STONE HATCHETS, PRE-INCA, XVru CENTURY 
 (Hachitas De Piedra, Pre-Incaico, Siglo XV.) 
 a. Found in Cuenca, Province of Azuay, at the depth of 
 2 metres. Height, 234 inches; width, 2 inches. 
 B. Lower part missing. Found in Machachi, Province of 
 Pichincha, at the depth of 2.21 metres. 
 Height, 214 inches; width, 3 inches. 
 
 STONE HATCHETS, PRE-INCA, XVru CENTURY 
 (Hachitas De Piedra, Pre-Incaico, Siglo XV.) 
 A. Found in Quito, Province of Pichincha, at the depth of 
 
 2.6 metres. Height, 3% inches; width, 3 inches. 
 Bs. Found in Quito, Province of Pichincha, at the depth of 
 2.6 metres. Height, 31% inches; width, 314 inches. 
 
 12 
 
21 
 
 22 
 
 24 
 
 STONE HATCHETS, PRE-INCA, XVrtru CENTURY 
 (Hachitas De Piedra, Pre-Incaico, Siglo XV.) 
 A. Found in Cafiar, Province of Cajiar, at the depth of 
 
 1.1 metres. Height, 17 inches; width, 2% inches. 
 
 B. Found in Cotocollao, Province of Pichincha, at the depth 
 of 3.1 metres. Height, 3% inches; width, 334 inches. 
 
 STONE KNUCKLES, PRE-INCA, XIVruo CENTURY 
 (Rompecabezas De Piedra, Pre-Incaico, Siglo XIV.) 
 A. Found in Quito, Province of Pichincha, at the depth 
 
 of 3.5 metres. Diameter, 34 inches. 
 
 B. Found in Quito, Province of Pichincha, at the depth of 
 3.5 metres. _ Diameter, 4 inches. 
 
 TEMPERED COPPER HATCHET, PRE-INCA, XIVtu 
 CENTURY 
 
 (Hachita De Cobre, Pre-Incaico, Siglo XIV.) 
 
 Found in Cafiar, Province of Cafiar, at the depth of 3 
 metres. Height, 4 feet; width, 4 inches. 
 
 TEMPERED COPPER HATCHET, PRE-INCA, XIIItn 
 CENTURY 
 
 (Hachita De Cobre, Pre-Incaico, Siglo XIII.) 
 
 Found in Azoguez, Province of Cafiar, at the depth of 2 
 metres. Height, 3% inches; width, 3 inches. 
 
 TEMPERED COPPER HATCHET, PRE-INCA, XIIItx 
 CENTURY 
 (Hachita De Cobre, Pre-Incaico, Siglo XIII.) 
 Found in Cuenca, Province of Azuay, at the depth of 3 
 metres. Height, 314 inches; width, 3% inches. 
 138 
 
25 
 
 26 
 
 27 
 
 28 
 
 29 
 
 30 
 
 TEMPERED COPPER HATCHET, PRE-INCA, XIIItH 
 CENTURY 
 
 (Hachita De Cobre, Pre-Incaico, Siglo XIII.) 
 
 Found in Cuenca, Province of Azuay, at the depth of 3.5 
 metres. Height, 4 inches; width, 5 inches. 
 
 KNUCKLES IN COPPER, PRE-INCA, XIVtn CEN- 
 TURY 
 
 (Rompecabezas De Cobre, Pre-Incaico, Siglo XIV.) 
 
 Found in Quito, Province of Pichincha, at the depth of 3 
 metres. Diameter, 4 inches. 
 
 STONE KNUCKLES, PRE-INCA, XIVruo CENTURY 
 (Rompecabezas De Piedra, Pre-Incaico, Siglo XIV.) 
 
 Found in Cafiar, Province of Cafiar, at the depth of 4 
 metres. Diameter, 3 inches, 
 
 EAR DROP, PRE-INCA, XIVrtrH CENTURY 
 (Zarcillo, Pre-Incaico, Siglo XIV.) 
 
 Composed of flat wheel-shaped beads with a long oval drop 
 and curiously carved pendant, coral, olivine, and shell. 
 
 Length, 31% inches. 
 
 EARRING, PRE-INCA, XIVtuo CENTURY 
 (Zarcillo, Pre-Incaico, Siglo XIV.) 
 
 Composed of irregular beads made of bone and shells. 
 Found in Cuenca, Province of Azuay. 
 
 Length, 41% inches. 
 
 NECKLACE, PRE-INCA, XIVrno CENTURY 
 (Collar, Pre-Incaico, Siglo XIV.) 
 
 Composed of wheel-shaped beads of coral and bone. Found 
 in Chordeleg, Province of Azuay, at the depth of 3.5 metres. 
 
 Length, 34 inches. 
 14 
 
31 
 
 32 
 
 33 
 
 34 
 
 35 
 
 36 
 
 NECKLACE, PRE-INCA, XIVru CENTURY 
 (Collar, Pre-Incaico, Siglo XIV.) 
 
 Composed of irregular wheel-shaped beads of human bones; 
 two curious tablet pendants. Found in Cafiar, Province of 
 Cafiar, at the depth of 3 metres. Length, 101% inches. 
 
 STONE AXE, PRE-INCA, XIVru CENTURY 
 (Hacha De Piedra, Pre-Incaico, Siglo XIV.) 
 
 Remarkably worked and finely polished. Found in Quito, 
 Province of Pichincha, at the depth of 5 metres. 
 
 SILVER SHAWL PIN, PRE-INCA, XIIItH CENTURY 
 (Tupo De Plata, Pre-Incaico, Siglo XIII.) 
 
 Long pin with flat irregular head. Found in Gualaceo, 
 Province of Azuay, at the depth of 2 metres. 
 
 Length, 534 inches. 
 
 COPPER SCARF PIN, PRE-INCA, XIV to CENTURY 
 (Tupo De Cobre, Pre-Incaico, Siglo XIV.) 
 
 Curiously worked with moulded knob and small pierced 
 flange. Found in Chordeleg, Province of Azuay, at the 
 depth of 1.6 metres. Length, 2 inches. 
 
 SILVER SHAWL PIN, PRE-INCA, XIVru CENTURY 
 (Tupo De Plata, Pre-Incaico, Siglo XIV.) 
 
 Long pin, flat top (imperfect). Found in Chordeleg, Prov- 
 ince of Azuay, at the depth of 4 metres. Length, 4 inches. 
 
 SILVER SHAWL PIN, PRE-INCA, XIVru CENTURY 
 (Tupo De Plata, Pre-Incaico, Siglo XIV.) 
 
 Long pin and remains of a flat head. Found in Gualaceo, 
 Province of Azuay, at the depth of 2 metres. 
 
 Length, 414 inches. 
 15 
 
37 
 
 38 
 
 39 
 
 40 
 
 4] 
 
 SHEET OF SILVER, PRE-INCA, XIVru CENTURY 
 (Plancha De Plata, Pre-Incaico, Siglo XIV.) 
 
 Showing that even at this date the Indians could beat silver. 
 Found in Cafiar, Province of Cajiar, at the depth of 2 metres. 
 
 Length, 414 inches; width, 2% inches. 
 
 LANCE HEAD, TEMPERED COPPER, PRE-INCA, 
 XIlIrH CENTURY 
 
 (Punta De Lanza De Cobre, Pre-Incaico, Siglo XIII.) 
 
 Round section. Found at Chordeleg, Province of Azuay, 
 at the depth of 3 metres. Length, 6 inches. 
 
 LANCE, HEAD, TEMPERED COPPER, PRE-INCA, 
 XIVtru CENTURY 
 
 (Punta De Lanza De Cobre, Pre-Incaico, Siglo XIV.) 
 
 Square section (a formidable weapon). Found in Cotoco- 
 lao, Province of Pichincha, at the depth of 1.5 metres. 
 
 Length, 734 inches. 
 
 SCARF PIN, TEMPERED COPPER, PRE-INCA, 
 XIVtH CENTURY 
 
 (Tupo De Cobre, Pre-Incaico, Siglo XIV.) 
 
 The finial is a crowned rooster under a pierced flange. Found 
 in Inga Pirca, Province of Cafiar, at the depth of 2 metres. 
 
 Length, 37% inches. 
 
 EAR DROP, PRE-INCA, XIVrH CENTURY 
 (Zarcillo, Pre-Incaico, Siglo XIV.) 
 
 Composed of coral and shell beads. Found in Inga Pirca, 
 Province of Cafiar, at the depth of 2.5 metres. 
 
 Length, 3% inches. 
 16 
 
42 
 
 43 
 
 44 
 
 45 
 
 46 
 
 TILE OF CEMENT, PRE-INCA, XIVtuH CENTURY 
 (Plancha De Piedra Artificial, Pre-Incaico, Siglo XIV.) 
 
 These tiles were used to line the burial chamber of a king 
 and were of different sizes. Found in Inga Pirca, Province 
 of Cafar, at the depth of 4.2 metres. 
 
 Height, 434 inches; width, 4% inches. 
 
 END OF TRUNCHEON OF COPPER, PRE-INCA, 
 XIVtu CENTURY 
 
 (Cabo De Baston, Pre-Incaico, Siglo XIV.) 
 
 Found in Sigsig, Province of Azuay, at the depth of 2 
 metres. Length, 234 inches. 
 
 SCEPTRE OF A RULER OF THE CANARIS INDI- 
 ANS, PRE-INCA, XIIItH CENTURY 
 
 (Cetro De Una Autoridad, Pre-Incaico, Siglo XIII.) 
 
 Curiously carved in wood of the native palm tree, which is 
 harder than ebony yet very flexible. The finders of this 
 rare object were so anxious to strip it of its gold and em- 
 eralds than they hacked it almost to pieces. Found in Inga 
 Pirca, Province of Cafiar, at the depth of 4.25 metres. 
 
 Length, 23 inches. 
 
 AMULET, PRE-INCA, XIVtH CENTURY 
 (Amuleto, Pre-Incaico, Siglo XIV.) 
 
 Carved stone in the form of an animal’s head. Found in 
 Cafiar, Province of Cafiar, at the depth of 2 metres. 
 
 LARGE COPPER RING AND SPEARHEAD, PRE- 
 INCA, XIVtuH CENTURY 
 
 (Argolla y Punta De Lanza De Cobre, Pre-Incaico, Siglo 
 XIV.) 
 
 Found in Chordeleg, Province of Azuay, at the depth of 4 
 metres. Diameter, 17 inches. 
 
 17 
 
48 
 
 49 
 
 50 
 
 STONE LETTERS, PRE-INCA, XIVrtrH CENTURY 
 
 (Letras De Piedra, Pre-Incaico, Siglo XIV.) 
 
 These curious devices were used by the early Indians to 
 
 communicate with one another. 
 
 A. Found in Cuenca, Province of Azuay, at the depth of 
 2.5 metres. 
 
 B. Found in Cafiar, Province of Cafiar, at the depth of 
 5 metres. 
 
 c. Found in Cafiar, Province of Cafiar, at the depth of 
 3 metres. 
 
 p- Found in Cafiar, Province of Cafiar, at the depth of 
 3 metres. 
 
 STONE LETTERS, PRE-INCA, XIVtH CENTURY 
 
 (Letras De Piedra, Pre-Incaico, Siglo XIV.) 
 
 A. Found at Azogues, Province of Cafiar, at the depth of 
 3 metres. 
 
 B. Found at Tumbaco, Province of Pichincha, at the depth - 
 of 2 metres. 
 
 c. Found in Cuenca, Province of Azuay, at the depth of 
 1.5 metres. 
 
 p. Found in Cuenca, Province of Azuay, at the depth of 
 3.2 metres. 
 
 WHISTLES IN POTTERY, PRE-INCA, XVtu CEN- 
 TURY 
 (Silbatos, Pre-Incaico, Siglo XV.) 
 A. Found in Cuenca, Province of Azuay, at the depth of 
 3 metres. 
 B- Found in Azogues, Province of Cafiar, at the depth of 
 2.5 metres. 3 
 
 SMALL IDOL, PRE-INCA, XIIItrH CENTURY 
 (Idolo, Pre-Incaico, Siglo XIII.) 
 
 Carved in bone in the primitive form of a human figure. 
 Found in Gualaceo, Province of Azuay, at the depth of 3 
 metres. 
 
 18 
 
51 
 
 53 
 
 54 
 
 STONE WHISTLES, PRE-INCA, XIVrH CENTURY 
 
 (Silbatos De Piedra, Pre-Incaico, Siglo XIV.) 
 
 A. Curiously carved in shape of a bird. Found in Cuenca, 
 Province of Azuay, at the depth of 5 metres. 
 
 B. Found in Azogues, Province of Cafiar, at the depth of 
 2.5 metres. 
 
 SIX STONE LETTERS, PRE-INCA, XIVrtru CENTURY 
 
 Seis Letras De Piedra, Pre-Incaico, Siglo XIV.) 
 
 A. Found in Cuenca, Province of Azuay, at the depth of 
 3 metres. 
 
 B. Found in Azogues, Province of Canar, at the depth of 
 2.5 metres. 
 
 c. Found in Cafiar, Province of Cafiar, at the depth of 
 3.5 metres. 
 
 p. Found in Cafiar, Province of Cafiar, at the depth of 
 2.8 metres. 
 
 gE. Found in Chordeleg, Province of Azuay, at the depth of 
 2 metres. | 
 
 Fr. Found in Cafiar, Province of Cafiar, at the depth of 
 3 metres. . 
 
 TWO STONE PESTALS, PRE-INCA, XVrtru CENTURY 
 (Dos Manos De Mortero De Piedra, Pre-Incaico, Siglo XV.) 
 
 a. Found in Quito, Province of Pichincha, at the depth of 
 5 metres. 
 
 B. Bell shape, found in Cuenca, Province of Azuay, at the 
 depth of 1 metre. 
 
 FRAGMENTS OF A CROWN, PRE-INCA, XIVrH 
 CENTURY 
 
 (Fragmentos De Corona, Pre-Incaico, Siglo XIV.) 
 
 Gold plated on copper. Found in Cafiar, Province of Caifiar, 
 at the depth of 3.5 metres. 
 
 19 
 
on 
 Or 
 
 56 
 
 57 
 
 58 
 
 TWO COPPER DRILLS, PRE-INCA, XVtu CENTURY 
 (Dos Instrumentos De Cobre, Pre-Incaico, Siglo XV.) 
 
 Double pointed, tempered copper, used for drilling. Found 
 in Cafiar, Province of Cafiar, at the depth of 2.5 metres. 
 Lengths, 414 inches and 434 inches. 
 
 DRILL HANDLES, PRE-INCA, XVru CENTURY 
 (Herramientas De Hueso, Pre-Incaico, Siglo XV.) 
 Carved in bone with holes on either end for holding drill. 
 
 A. Found in Cuenca, Province of Azuay, at the depth of 
 2 metres. 
 
 B. Found in Sigsig, Province of Cafiar, at the depth of 
 3 metres. Length, 234 inches. 
 
 TWO DRILL SETS, PRE-INCA, XIVta CENTURY 
 
 (Dos Herramientas, Pre-Incaico, Siglo XIV.) 
 
 A. Found in Cafiar, Province of Cafiar, at the depth of 
 3 metres. 
 
 Bs. Found in Cantén Paute, Province of Azuay, at the 
 depth of 3 metres. 
 
 FOUR RECKONING STONES, PRE-INCA, XIVru 
 CENTURY 
 
 (Cuatro Fichas, Pre-Inciaco, Siglo XIV.) 
 
 A. Two dark brown stones used for counting. Found in 
 Sigsig, Province of Azuay, at the depth of 1.8 metres. 
 
 B. Small brown stone, elliptical, deeply incised, used for 
 counting. Found in Gualaceo, Province of Azuay, at 
 the depth of 2 metres. 
 
 c. Small oblong stone, with four holes drilled through 
 side. Found in Cuenca, Province of Azuay, at the 
 depth of 4 metres. Length, 1% inches. 
 
 20 
 
59 
 
 60 
 
 61 
 
 62 
 
 TURQUOISE MATRIX, PRE-INCA 
 (Turquesa, Pre-Incaico.) 
 
 Large heart-shape, natural shape, used as a pendant. Found 
 in Cafiar, Province of Cafiar, at the depth of 3.5 metres. 
 
 COPPER’ LETTER AND AMULET, PRE-INCA, 
 XIVtu CENTURY 
 
 (Letra De Cobre y Amuleto, Pre-Incaico, Siglo XIV.) 
 
 Found in Azogues, Province of Cafiar, at the depth of 2.5 
 metres. 
 
 FOSSIL MOLAR, PRE-INCA 
 (Fosil De Molar, Pre-Incaico.) 
 
 The tooth of an antediluvian monster. Found after a land- 
 slide in E] Angel, Province of Carchi, at the depth of 116 
 metres. 
 
 INDIAN SKULL, PRE-INCA 
 
 (Calavera De Indio, Pre-Incaico. ) 
 
 Found by Sefior Don David Alvarado, with a number of 
 Indian objects in Cafiar, Province of Cafiar, at the depth 
 of 4 metres. 
 
 TWO HIGH BOWLS, PRE-INCA, XIVrH CENTURY 
 
 (Dos Ollitas, Pre-Incaico, Siglo XIV.) 
 
 A. Globular, with short out-turned neck, light black bis- 
 cuit. Found in Cayambe, Province of Pichincha, at the 
 depth of 3.5 metres. Height, 4 inches. 
 
 B. Bulbous, with short flaring neck, bottom terminating 
 into four pointed feet. Light red biscuit. Found at 
 El Angel, Province of Carchi, at the depth of 3.2 
 metres. Height, 3% inches. 
 
 a 
 
64 
 
 65 
 
 66 
 
 67 
 
 STANDING DISH, PRE-INCA, XIVtrH CENTURY 
 (Compotera, Pre-Incaico, Siglo XIV.) 
 
 Flaring dish, supported on a high, hollow, flaring foot. Lip 
 chipped. Red biscuit with traces of black. Found in 
 Cayambe, Province of Pichincha, at the depth of 2.5 metres. 
 
 Height, 514 inches. 
 
 WATER BOTTLE, PRE-INCA, XIVtuH CENTURY 
 (Vasija, Pre-Incaico, Siglo XIV.) 
 
 Bottle-shape, with slightly flaring neck, modelled in form 
 of a head; two animal heads on shoulders. Reddish brown 
 biscuit. Found in Sigsig, Province of Azuay, at the depth 
 of 3.6 metres. Height, 71% inches. 
 
 HIGH JAR AND VESSEL FOR CHICHA, PRE-INCA, 
 XIVtu CENTURY 
 
 (Olla y Vasija, Pre-Incaico, Siglo XIV.) 
 
 A. Bulbous, slightly flaring lip, brownish red biscuit with 
 traces of black; hard, smooth surface. Found in Ca- 
 yambe, Province of Pichincha, at the depth of 2.5 
 metres. Height, 614 inches. 
 
 B. The neck and twisted handle are set in an egg-shape 
 bowl. Dark brown biscuit. All over markings, even 
 smooth surface. (Neck imperfect.) Found in Cayam- 
 be, Province of Pichincha, at the depth of 3 metres. 
 
 Length, 7% inches. 
 
 TWO LOW BOWLS, PRE-INCA, XIVtH CENTURY 
 (Dos Vasos, Pre-Incaico, Siglo XIV.) 
 
 Aa. Depressed bowl shape with narrow lip, two knobs on 
 sides, light buff biscuit with black markings. Found 
 in E] Batdn, Province of Pichincha, at the depth of 
 2.1 metres. Height, 41% inches. 
 
 B. Depressed shape, red brown biscuit, hard smooth sur- 
 face with traces of primitive decoration in black. Found 
 in Azogues, Province of Cafiar, at the depth of 2.8 
 metres. Diameter, 4 inches. 
 
 bo 
 bo 
 
68 
 
 69 
 
 ip 
 
 HEAD OF IDOL, PRE-INCA, XIVrH CENTURY 
 (Vaso Idolo, Pre-Incaico, Siglo XIV.) 
 
 Curiously carved head of stone. Found in Cafiar, Province 
 of Cafiar, at the depth of 2.8 metres. Height, 2% inches. 
 
 LOW POT AND TRIPOD BOWL, PRE-INCA, XIVtH 
 CENTURY 
 
 (Dos Ollas, Pre-Incaico, Siglo XIV.) 
 
 A. Squat shape, with straight collar on front of which is 
 modelled a curious head; shoulders incised with a series 
 of angular lines and dots; light reddish biscuit and 
 traces of black. Found in Province of Pichincha near 
 Quito, at the depth of 2.6 metres. Height, 314 inches. 
 
 B. Bulbous, short neck supported by three legs. Reddish 
 biscuit. (Lip and legs chipped.) Found in Cayambe, 
 Province of Pichincha, at the depth of 2 metres. 
 
 Height, 4 inches. 
 
 TWO BOWLS, PRE-INCA, XIVru CENTURY 
 
 (Dos Ollas, Pre-Incaico, Siglo XIV.) 
 
 A. Globular, with narrow expanding neck, reddish biscuit 
 with irregular black markings. Found in El Angel, 
 Province of Carchi, at the depth of 2.3 metres. ; 
 
 Height, 4 inches. 
 
 B. Bulbous shape, with short neck. Light reddish biscuit, 
 smooth even surface. (Lip chipped.) Found in Ca- 
 yambe, Province of Pichincha, at the depth of 1.8 
 metres. Height, 4 inches. 
 
 TWO BOWLS, PRE-INCA, XIVrtru CENTURY 
 (Dos Platos, Pre-Incaico, Siglo XIV.) 
 a. Wide expanding body rising from slightly spreading 
 foot; brownish biscuit with iron rust patina. Found in 
 E] Angel, Province of Carchi, at the depth of 4 metres. 
 Diameter, 7 inches. 
 B. Expanding bowl on short expanding foot; blackish 
 brown biscuit. Found in Cayambe, Province of Pichin- 
 cha, at the depth of 1 metre. Diameter, 61% inches. 
 
 23 
 
~I 
 AS) 
 
 TWO BOWLS, PRE-INCA, XIVru CENTURY 
 (Dos Platos, Pre-Incaico, Siglo XIV.) 
 
 A. 
 
 Small expanding bowl of brownish red biscuit with 
 black markings; fine smooth surface. Found in Ca- 
 yambe, Province of Pichincha, at the depth of 3 metres. 
 
 Diameter, 414 inches. ‘ 
 Irregular expanding bowl, dull red biscuit with traces 
 
 of black decoration. Found in Cotocollao, Province of 
 Pichincha, at the depth of 2.5 metres. 
 
 Diameter, 514 inches. 
 
 TWO BOWLS, PRE-INCA, XVru CENTURY 
 (Ponchera y Tacita, Pre-Incaico, Siglo XIV.) 
 
 ibe 
 
 Expanding shape, light reddish biscuit. . Found in 
 Cotocollao, Province of Pichincha, at the depth of 4 
 metres. Diameter, 7 inches. - 
 
 Semi-spherical shape, of dull red biscuit with irreg- 
 ular black markings. Found in Ibarra, Province of 
 Imbabura, at the depth of 2.6 metres. 
 
 Diameter, 414 inches. 
 
 SMALL BOWLS, PRE-INCA, XIVtu CENTURY 
 (Ollitas, Pre-Incaico, Siglo XIV.) 
 
 AY 
 
 Globular, with rounded base, short flaring neck; reddish 
 brown biscuit, finely pebbled surface. Found in El 
 Angel, Province of Carchi, at the depth of 3.2 metres. 
 
 Height, 334 inches. | 
 Globular, with short flaring neck, red biscuit. (Neck 
 
 imperfect.) Found in Cotocollao, Province of Pichin- 
 cha, at the depth of 3 metres. Height, 314 inches. 
 Round under body, sloping shoulder, short expanding 
 neck; black biscuit, finely pebbled surface. (Handles 
 missing and lip chipped.) Found in Guapulo, Prov- 
 ince of Pichincha, at the depth of 3 metres. 
 
 Height, 334 inches. 
 
 24: 
 
75 LOW BOWL AND SMALL VASE, PRE-INCA, XIVruH 
 
 CENTURY 
 
 (Platito y Ollita, Pre-Incaico, Siglo XIV.) 
 
 fas 
 
 Semi-circular, red biscuit. (Repaired.) Found in El 
 Angel, Province of Carchi, at the depth of 3 metres. 
 
 Height, 414 inches. 
 Bottle-shaped, red biscuit. Found in Cuenca, Prov- 
 ince of Azuay, at the depth of 3.6 metres. 
 
 Height, 24% inches. 
 
 76 TWO BOWLS, PRE-INCA, XIVtH CENTURY 
 (Tacita y Olla, Pre-Incaico, Siglo XIV.) 
 
 A. 
 
 Bowl shape, expanding from a small foot, sloping 
 shoulder and short neck. Reddish brown biscuit with 
 black markings. (Neck and foot imperfect.) Found 
 in Cayambe, Province of Pichincha, at the depth of 4 
 metres. ' Height, 6 inches. 
 
 Globular shape, light brown biscuit with slight glaze. 
 Found in Quito, Province of Pichincha, at the depth of 
 2.5 metres. 
 
 77 PITCHER AND COUPE, PRE-INCA, XIIItH CEN- 
 
 TURY 
 
 (Jarrita y Ollita, Pre-Incaico, Siglo XIII.) 
 
 A. 
 
 Curious depressed globular body, with long flaring neck 
 which is modelled with a rudimentary human head, 
 small handle, three pointed feet. Found in Cajfiar, 
 Province of Cafiar, at the depth of 2.8 metres. 
 Height, 5 inches. 
 [See Illustration | 
 
 Pointed base, sloping sides, wide expanding mouth and 
 two small strap handles. Light yellow biscuit. Found 
 with the contents in Cafiar, Province of Cafiar, at the 
 depth of 2.5 metres. Height, 344 inches. 
 
 25 
 
78 
 
 79 
 
 80 
 
 81 
 
 ‘TWO BOWLS, PRE-INCA, XIVtuo CENTURY 
 
 (Dos Ollas, Pre-Incaico, Siglo XIV.) 
 
 A. Bulbous shape, with short neck, dark brown biscuit. 
 Found at Chaupi Cruz, Province of Pichincha, at the 
 depth of 2.5 metres. Height, 41% inches. 
 
 B. Globular, with short flaring neck, two handles at top, 
 dark brown biscuit, smooth surface. Found in Quito, 
 Province of Pichincha, at the depth of 1.5 metres. 
 
 Height, 4 inches. 
 
 TWO BOWLS, PRE-INCA, XVtrH CENTURY 
 
 (Dos Fruteros, Pre-Incaico, Siglo XV.) 
 
 A. Expanding bowl, spreading foot; dull red_ biscuit. 
 Found in Cayambe, Province of Pichincha, at the depth 
 of 2.6 metres. _ Diameter, 7 inches. 
 
 B. Rudimentary foot, deep yellow biscuit, interior pebble 
 finished and dceorated with red lines, zigzags and ber- 
 ries on blackish ground. (Lip imperfect.) Found in 
 Inga Pirca,. Province of Cafiar, at the depth of 2.8 
 metres. Diameter, 6% inches. 
 
 TWO BOWLS, PRE-INCA, XIVtuH CENTURY 
 
 (Plato y Mulo, Pre-Incaico, Siglo XIV.) 
 
 A. Globular, with short neck, reddish brown biscuit, peb- 
 bled surface. Found at Quito, Province of Pichincha, 
 at the depth of 2.5 metres. Diameter, 434 inches. 
 
 B. Depressed edge, rounding to the foot. Red biscuit, 
 decorated with cream lineal marking and panels. Found 
 at Chordeleg, Province of Azuay, at the depth of 2.6 
 metres. Diameter, 7% inches. 
 
 COUPE, PRE-INCA, XIVtuo CENTURY 
 
 (Copa, Pre-Incaico, Siglo XIV.) 
 
 Globular body, with wide, large flaring moulded neck and 
 lip; small expanding foot, roughly moulded handle. Raised 
 ornamentation of oval bosses placed diagonally. Red bis- 
 cuit, pebble finished. Found in Cuenca, Province of Azuay, 
 at the depth of 2.8 metres. Height, 4 inches. 
 
 26 
 
82 
 
 83 
 
 84 
 
 PITCHER AND THREE BOWLS, PRE-INCA, XIVru 
 CENTURY 
 
 (Jarrita y Tres Ollitas, Pre-Incaico, Siglo XIV.) 
 
 A. Roughly modelled, expanding foot, strap handle and 
 shaped spout; light brown biscuit. Found in Cayambe, 
 Province of Pichincha, at the depth of 3 metres. 
 
 Height, 31% inches. 
 B. Bell-shaped, sharply sloping to the foot, narrow and 
 expanding neck, red biscuit. (Handle missing and neck 
 
 imperfect.) Found at Cayambe, Province of Pichincha, 
 at the depth of 3 metres. Height, 31% inches. 
 
 c. Depressed circular body, slightly flaring short neck, 
 reddish brown biscuit, pebbled surface. (Neck chipped.) 
 Found in El] Quinche, Province of Pichincha, at the 
 depth of 2.8 metres. Height, 31% inches. 
 
 p. Globular, flaring neck and foot, red biscuit. (Large 
 side handle missing.) Found in El Angel, Province of 
 Carchi, at the depth of 3.25 metres. 
 
 Height, 3% inches. 
 
 DECORATED BOWL, PRE-INCA, XIIIrH CENTURY 
 (Olla, Pre-Incaico, Siglo XIII.) 
 
 Globular, with large reeded shoulder, short straight mould- 
 ed collar. Brown biscuit with black fire markings. Found 
 at El Angel, Province of Carchi, at the depth of 3 metres. 
 
 Diameter, 51% inches. 
 
 TWO BOWLS, PRE-INCA, XIIlItrH CENTURY 
 (Dos Mulos, Pre-Incaico, Siglo XIII.) 
 
 a. Flaring, straightish sides, deep clay-colored biscuit. 
 Found in La Magdalena, Province of Pichincha, at the 
 depth of 2.5 metres. Diameter, 814 inches. 
 
 sp. Flaring body, deep expanding foot, blackish brown bis- 
 cuit. Found in Cayambe, Province of Pichincha, at the 
 depth of 3.5 metres. Diameter, 7 inches. 
 
 27 
 
85 
 
 86 
 
 87 
 
 88 
 
 TWO-HANDLED WATER BOTTLE, PRE-INCA, 
 XVrH CENTURY 
 
 (Cantaro, Pre-Incaico, Siglo XV.) 
 
 Oviform, a small raised spike on shoulder, short quick flar- 
 ing lip, two strap handles, decorated in red over a brown 
 biscuit. Found in Chordeleg, Province of Azuay, at the 
 depth of 3.1 metres. Height, 7 inches. 
 
 WATER BOTTLE, PRE-INCA, XVtru CENTURY 
 (Cantaro, Pre-Incaico, Siglo XV.) 
 
 Flattened, globular body, with incurving neck, spike on 
 shoulder, pointed base, strap handles (one missing) ; brown 
 biscuit. Found in Machachi, Province of Pichincha, at the 
 depth of 5 metres. - _Height, 914 inches. 
 
 CREMATORY URN, PRE-INCA, XIVruo CENTURY 
 (Vasija Cineraria, Pre-Incaico, Siglo XIV.) 
 
 Elliptical body, the short wide expanding neck set out of 
 the center, supported on three feet. (One imperfect.) 
 Found in Cayambe, Province of Pichincha, at the depth of 
 2.5 metres. Length, 9% inches. 
 
 TWO LARGE BOWLS, PRE-INCA, XVrH CENTURY 
 (Dos Mulos, Pre-Incaico, Siglo XV.) 
 
 A. Rounded sides curiously brought to four small pointed 
 rests, toothed rim, red biscuit; exterior has been deco- 
 rated with lines, triangles and basket pattern in dark 
 brown. Found in Machachi, Province of Pichincha, at 
 the depth of 5 metres. Diameter, 7% inches. 
 
 B. Globular, with short expanding neck; rich red biscuit, 
 very finely pebbled surface. Found in Cuenca, Proy- 
 ince of Azuay, at the depth of 2.8 metres. 
 
 Diameter, 71% inches. 
 
 28 
 
89 
 
 90 
 
 91 
 
 92 
 
 SMALL WATER BOTTLE, PRE-INCA, XVtuH CEN- 
 TURY 
 
 (Cantarito, Pre-Incaico, Siglo XV.) 
 Squatty bottle shape, with slightly expanding neck (handle 
 
 missing); brown biscuit, fine smooth surface. Found in 
 Quito, Province of Pichincha, at the depth of 3.8 metres. 
 
 Height, 61% inches. 
 
 WATER BOTTLE, PRE-INCA, XVtu CENTURY 
 (Cantaro, Pre-Incaico, Siglo XV.) 
 
 Inverted pear-shape, with short flaring neck; light red bis- 
 cuit, decorated with basket weave pattern. Found in El 
 Angel, Province of Carchi, at the depth of 2 metres. 
 
 Height, 1114 inches. 
 
 TWO WHISTLES AND. JAR, PRE-INCA, XIVrtH 
 CENTURY 
 
 (Dos Silbatos y Ollita, Pre-Incaico, Siglo XIV.) 
 Of artificial stone. 
 
 A. In the form of an animal’s head. 
 
 B. Spherical. 
 
 c. Club-foot shape. 
 Found in Quito, Province of Pichincha, at the depth of 
 3.5 metres. 
 
 WATER BOTTLE AND VASE, PRE-INCA, X1VtH 
 CENTURY | 
 
 (Cantaro y Vaso, Pre-Incaico, Siglo XIV.) 
 
 a. Globular, with pointed base decorated, lined on front. 
 Imperfect. Found in El Quinche, Province of Pichin- 
 cha, at the depth of 4 metres. Height, 8 inches. 
 
 s. Depressed base, double collared neck, imperfect. Found 
 in Quito, Province of Pichincha, at the depth of 3.2 
 metres. Height, 7% inches. 
 
 29 
 
93 
 
 94 
 
 95 
 
 UNIQUE IDOL OF THE SHIRYS INDIANS, PRE- 
 INCA, XIVtu CENTURY 
 
 (Idolo de Los Indios Shirys, Pre-Incaico, Siglo XIV.) 
 
 Elongated mushroom form, modelled on the top is rudimen- 
 tary human head. The body is decorated with hieroglyph- 
 ics which have never been deciphered. This idol was sup- 
 posed to be made by the priests or “Cushipatas,’ and was 
 publically worshipped as the God of Procreation. Found in 
 
 ‘the Oriente Ecuatoriano Regién Amazonas, at the depth of 
 
 3 metres. Height, 14 inches. 
 [See Illustration | 
 
 GOURD-SHAPED BOWL, PERUVIAN INCA, XIVru 
 CENTURY 
 
 (Vasito y Ollita, Inca Peruano, Siglo XIV.) 
 
 A. Wide open neck, brown biscuit, with a slip of deep red, 
 pebble polished; traces of scroll decoration in cream 
 color. Found in Chordeleg, Province of Azuay, at the 
 depth of 2 metres. Height, 3 inches. 
 
 B. Globular, short neck, modelled in the form of a crouch- 
 ing monkey; light brown biscuit, finely pebble polished. 
 (One only of two small handles remaining.) Deco- 
 rated on shoulder with interlacing diamond pattern in 
 red. Found in El Angel, Province of Carchi, at the 
 depth of 2 metres. Height, 314 inches. 
 
 WATER BOTTLE, PERUVIAN INCA, XVru CEN- 
 TURY 
 
 (Cantaro, Inca Peruano, Siglo XV.) 
 
 Bell-shaped body, pointed base, long tapering neck with 
 wide flaring lip and small pierced knobs (for carrying). 
 Two strap handles, grotesque animal head in relief on body. 
 Finely pebbled red biscuit, the front decorated with band 
 holding diamond on deep cream ground outlined with deep 
 crimson. (Neck chipped and one handle missing.) Found 
 in Cotocolao, Province of Pichincha, at the depth of 3 
 metres. Height, 10% inches. 
 
 30 
 
[¢6 aaaNON] 
 VONT- Gadd 
 SNVIGNI SAUIHS 
 GHL AO IOGI GNOIND 
 
 [LL WAGWON | 
 
 daHHOwLId 
 VONT Hdd 
 
 [oll saaNON] 
 GONGN TANI VONI 
 GALLLOd VHOIHO ANOIND 
 
96 WATER BOTTLE AND BOWL, PERUVIAN INCA, 
 
 97 
 
 98 
 
 XIVru CENTURY 
 (Vasija y Azafate, Inca Peruano, Siglo XIV.) 
 
 A. Bell-shaped body with pointed base, two strap handles, 
 long, graceful, trumpet neck with two modelled and 
 pierced discs (for hanging), curious rudimentary ani- 
 mal head in relief on shoulder. Finely potted in a 
 reddish biscuit, decorated on front and neck with three 
 panels of fern design in black. Found in Cuenca, Prov- 
 ince of Azuay, at the depth of 2.5 metres. 
 
 Height, 54% inches. 
 
 B. Half circular body on deep flaring foot, light brown bis- 
 cuit. The interior decorated in red and ivory with 
 circles and a seven-pointed star. Found in El Angel, 
 Province of Carchi, at the depth of 3.4 metres. 
 
 Diameter, 614 inches. 
 
 TWO SMALL BOWLS, INCA INFLUENCE, XVrH_ 
 CENTURY 
 
 (Dos Ollitas, Influencia Inca, Siglo XV.) 
 
 A. Depressed globular shape, light brown biscuit, coated 
 with a red slip pebble polished, slight traces of deco- 
 ration. Found near Cuenca, in Province of Azuay, at 
 the depth of 2.5 metres. Diameter, 414 inches. 
 
 B. Globular, short expanding neck, small rudimentary 
 handles, grey biscuit, with red slip finely pebbled, 
 slight traces of decoration. Found in Cotocollao, Prov- 
 ince of Pichincha, at the depth of 4 metres. 
 
 Diameter, 5 inches. 
 
 LOW VASE, PERUVIAN INCA, XVtH CENTURY 
 (Olla, Inca Peruano, Siglo XV.) 
 Flattened globular, incursive neck slightly expanding at lip. 
 Grey biscuit, painted with rudimentary scrolls and flow- 
 ers, around neck and body, shoulder with lines in dark brown 
 and light red on old ivory ground. Found in Leon, Prov- 
 ince of Leon, at the depth of 2.8 metres. 
 
 Height, 71% inches. 
 
 32 
 
99 
 
 MEDAL IN COPPER, INCA, LATE XVIruH CENTURY 
 (Medalla De Cobre, Incaico, Siglo XVI.) 
 
 Oval, with bust of Pizarro, supposed to have been made by 
 the Incas. Found in Quito, Province of Pichincha, at the 
 depth of 3.5 metres. Height, 134 inches. 
 
 100 WATER BOTTLE, INCA INFUENCE, XVru CEN- 
 
 101 
 
 102 
 
 103 
 
 TURY 
 (Cantarito, Influencia Inca, Siglo XV.) 
 Gourd-shaped, the neck modelled in the form of a crowned 
 human head; grey biscuit with red slip, fine pebble finish. 
 Found in Cuenca, Province of Azuay, at the depth of 2.5 
 metres. Height, 5 inches. 
 
 CONCH SHELL, INCA INFLUENCE, XVru CEN- 
 TURY 
 
 (Caracol, Influencia Inca, Siglo XV.) 
 
 Finely modelled shell, pierced to hang, light buff biscuit, 
 
 traces of decoration. Found in Cuenca, Province of Azuay, 
 at the depth of 2 metres. Length, 6 inches. 
 
 WATER BOTTLE, INCA INFLUENCE, XVru CEN- 
 TURY 
 
 (Vasija, Influencia Inca, Siglo XV.) 
 
 In the form of a duck, dark brown biscuit with black 
 
 markings, fine pebble finish. A tubular spout rising from 
 
 its back, round hole in its head. Found in Cafiar, Prov- 
 
 ince of Cafiar, at the depth of 3 metres. 
 
 WATER BOTTLE, INCA INFLUENCE, XVrtu CEN- 
 TURY 
 (Vasija, Influencia Inca, Siglo XV.) 
 Club-shape, the neck modelled with a human head, red bis- 
 cuit, crude decoration, possibly of a later date. Found in 
 Azogues, Province of Cafiar, at the depth of 3 metres. 
 Height, 8 inches. 
 
 35 
 
104 
 
 106 
 
 107 
 
 SMALL CUP AND IDOL, INCA INFLUENCE, XVrtTH 
 CENTURY 
 
 (Copita é Idolo, Influencia Inca, Siglo XV.) 
 
 A. Egg-shaped with expanding lip, two strap handles, 
 greyish red biscuit. Found in Chordeleg, Province of 
 Azuay, at the depth of 3 metres. Height, 234 inches. 
 
 sp. A woman’s trunk and arms. (Head missing.) Found 
 in Biblian, Province of Cafar, at the depth of 2.6 
 metres. Height, 514 inches. 
 
 HIGH BOWL, INCA INFLUENCE, XVrtuH CENTURY 
 (Olla, Influencia Inca, Siglo XV.) 
 
 Globular with expanding neck, red biscuit, finely pebbled 
 finish. Found in Quito, Province of Pichincha, at the 
 depth of 3.2 metres. Height, 414 inches. 
 
 BOWL, INCA INFLUENCE, XVru CENTURY 
 Olla, Influencia Inca, Siglo XV.) 
 
 Depressed globular, short expanding neck, on the sides are 
 four spear-shape projections, red biscuit. Found in Quito, 
 Province of Pichincha, at the depth of 2 metres. 
 
 Diameter, 51% inches. 
 
 BOWLS, INCA INFLUENCE, XVItn CENTURY 
 
 (Olla y Ponchera, Influencia Inca, Siglo XVI.) 
 
 A. Depressed globular, with incurving and flaring neck; 
 a fine piece of potting. Red biscuit. (Lip broken.) 
 Found in La Magdalena, Province of Pichincha, at 
 the depth of 2 metres. Diameter, 51% inches. 
 
 B. Rounded base, with curious moulded shoulder and ex- 
 panding lip. Red biscuit. (Lip chipped.) Found 
 in Cayambe, Province of Pichincha. 
 
 Diameter, 614 inches. 
 
 34 
 
108 
 
 109 
 
 110 
 
 111 
 
 TWO SMALL BOWLS, INCA INFLUENCE, XVIru 
 CENTURY 
 
 (Dos Ollitas, Influencia Inca, Siglo XVI.) 
 
 A. Body with pointed center, which is enhanced with a 
 large beaded rim; short, quick flaring lip and foot. 
 Red biscuit, pebble polished finish. (Lip imperfect.) 
 Found in El Angel, Province of Carchi, at the depth 
 of 3.5 inches. Diameter, 5 inches. 
 
 B. Slanting shoulder, slightly expanding neck, grey bis- 
 cuit, black pebble finish. (Rim imperfect.) Found 
 in Ibarra, Province of Imbabura, at the depth of 1.6 
 metres. Diameter, 314 inches. 
 
 SMALL BOWL, INCA INFLUENCE, XVtH CEN- 
 
 TURY 
 (Ollita, Influencia Inca, Siglo XV.) 
 Globular, but pointed in section, slightly flaring short 
 neck, enhanced with two well modelled monkey handles. 
 Red biscuit, decorated in darker red vertical lines. (Lip 
 imperfect.) Found in El Angel, Province of Carchi, at 
 the depth of 3 metres. Diameter, 41% inches. 
 
 UNIQUE CHICHA BOTTLE, INCA INFLUENCE, 
 XVruH CENTURY 
 
 (Botella Rara Para Chicha, Influencia Inca, Siglo XV.) 
 
 Modelled in form of a large-bodied man without legs, 
 holding in his hands a small vessel to drink from; strong 
 
 stem handle, red biscuit. Found in El Tambo, Province 
 
 of Cafiar, at the depth of 3.2 metres. Height, 7 inches. 
 [See Illustration | 
 
 WATER BOTTLE, INCA INFLUENCE, XVru CEN- 
 TURY 
 
 (Vasija, Influencia Inca, Siglo XV.) 
 
 Club-shaped, the neck modelled with a human head; red 
 
 biscuit, pebble polished. (Lip imperfect.) | Found in 
 
 Cuenca, Province of Azuay, at the depth of 2.2 metres. 
 
 Height, 7% inches. 
 
112 LARGE BOWL, INCA INFLUENCE, XVru CEN- 
 
 114 
 
 115 
 
 TURY 
 
 (Olla, Influencia Inca, Siglo XV.) 
 
 Globular, with short flaring neck; on the shoulder is a 
 sleeping human figure modelled in full relief. Grey bis- 
 cuit with light red slip, decorated on shoulder with key 
 panel under figure and continuous basket pattern. (Lip 
 chipped.) Found in Cotocollao, Province of Pinchincha, at 
 the depth of 3.2 metres. Diameter, 7 inches. 
 
 TWO BOWLS, INCA INFLUENCE, XVtu CENTURY 
 
 (Mulo y Ollita, Influencia Inca, Siglo XV.) 
 
 A. Semi-globular, with high expanding foot. Red bis- 
 cuit. (Lip imperfect.) Found in Inga Pirca, Prov- 
 ince of Cafiar, at the depth of 3.2 metres. 
 
 | Diameter, 5 inches. 
 
 B. Globular, with wide flaring throat. Light red biscuit, 
 
 decorated with curious lined triangles in darker red. 
 
 (Lip imperfect.) Found in Inga Pirca, Province of 
 Cafiar, at the depth of 3.2 metres. 
 
 Diameter, 414 inches. 
 
 WATER BOTTLE, INCA INFLUENCE, XIVtu CEN- 
 TURY 
 
 (Vasija, Influencia Inca, Siglo XIV.) 
 
 Globular, with flaring neck modelled in shape of a human 
 face, over shoulders two arms are moulded in relief. 
 Red biscuit, pebble polished. (Lip imperfect.) Found 
 in Sigsig, Province of Azuay, at the depth of 3.5 metres. 
 
 Height, 51% inches. 
 
 RARE DISH, INCA INFLUENCE 
 (Bandeja Rara, Influencia Inca.) 
 Oblong shape, with rounded corners supported by a cir- 
 cular flaring foot. Red biscuit, pebble polished. Found 
 in El Angel, Province of Carchi, at the depth of 3.6 metres. 
 Length, 51% inches; width, 4% inches. 
 36 
 
116 
 
 117 
 
 118 
 
 119 
 
 BOWL AND WATER BOTTLE, INCA INFLUENCE, 
 XVtH CENTURY 
 
 (Mulo y Botella, Influencia Inca, Siglo XV.) 
 
 A. Semi-globular, small flaring foot; brown biscuit, deco- 
 rated with dark red scrolls. (Lip imperfect.) Found 
 in El Angel, Province of Carchi, at the depth of 3.5 
 metres. Diameter, 5% inches. 
 
 B. Pointed foot, slightly depressed body with broadening 
 shoulders, narrow moulded straight neck; dark red- 
 dish brown biscuit, pebble polish. Found in Cuenca, 
 Province of Azuay, at the depth of 2 metres. 
 
 Height. 61% inches. 
 
 STANDING COUPE, INCA INFLUENCE, XVtH 
 CENTURY 
 
 (Ponchera, Influencia Inca, Siglo XV.) 
 
 Wide expanding bowl, spreading foot pierced in three 
 places. Red biscuit, pebble polish, exterior decorated 
 with black triangular figures. (Foot imperfect.) Found 
 in Cuenca, Province of Azuay, at the depth of 3 metres. 
 
 Height, 514 inches. 
 
 WATER BOTTLE, INCA INFLUENCE, XVru CEN- 
 AAA 'g 
 
 (Cantarito, Influencia Inca, Siglo XV.) 
 
 Globular with flaring neck; red biscuit, pebble polish. 
 
 Found in Chillogallo, Province of Pichincha, at the depth 
 
 of 3 metres. Height, 514 inches. 
 
 WATER BOTTLE, INCA INFLUENCE, XVru CEN- 
 TURY 
 (Cantarito, Influencia Inca, Siglo XV.) 
 Globular shape, with short tapering neck; red_ biscuit, 
 upper part of lighter color, pebble polished. Found in 
 El Angel, Province of Carchi, at the depth of 3 metres. 
 Height, 61% inches. 
 
 37 
 
121 
 
 122 
 
 123 
 
 TWO SMALL BOWLS, INCA INFLUENCE, XVrtH 
 CENTURY 
 
 (Dos Ollitas, Influencia Inca, Siglo XV.) 
 
 A- Globular, short narrow neck, modelled and pierced 
 strap handles (one missing), light red biscuit, pebble 
 polished. Found in El Angel, Province of Carchi, at 
 the depth of 2.6 metres. Diameter, 314 inches. 
 
 B. Small globular shape, short slightly flaring neck; 
 brown biscuit with black markings, pebble polished. 
 Found in El Angel, Province of Carchi, at the depth 
 of 2.5 metres. Height, 314 inches. 
 
 TWO BOWLS, INCA INFLUENCE, XVru CENTURY 
 
 (Dos Vasijas, Influencia Inca, Siglo XV.) 
 
 A. Half-round body with sloping shoulders, short slightly 
 flaring neck, with two modelled and pierced handles 
 decorated with raised beads. Red biscuit, pebble pol- 
 ished. Found in Cuenca, Province of Azuay, at the 
 depth of 3 metres. Diameter, 51% inches. 
 
 B. Half-round body, with flat shoulders terminating with 
 a short, quick flaring neck; brownish red biscuit, peb- 
 
 ble polished. Found in Cuenca, Province of Azuay, 
 at the depth of 2.8 metres. Diameter, 61% inches. 
 
 BOWL, INCA INFLUENCE, XVru CENTURY 
 (Copa, Influencia Inca, Siglo XV.) 
 
 Expanding from a small spreading foot, sloping shoulders, 
 faint black decoration on a light red biscuit, pebble polish- 
 ed. Found in El Angel, Province of Carchi, at the depth 
 of 3 metres. Height, 4 inches. 
 
 BOWL, INCA INFLUENCE, XVItH CENTURY 
 (Olla, Influencia Inca, Siglo XVI.) 
 
 Finely potted, thin light red biscuit, globular with quick 
 graceful flaring neck. Spotted with what seems to be gold. 
 Found in El Angel, Province of Carchi. 
 
 Diameter, 5 inches. 
 
 38 
 
124 BOWLS, INCA INFLUENCE, XVItrH CENTURY 
 (Vasijas, Influencia Inca, Siglo XVI. 
 
 A. 
 
 Globular with flaring neck, light buff biscuit, slight 
 decoration of red vertical lines. Found in E] Angel, 
 Province of Carchi, at the depth of 1.8 metres. 
 
 Height, 4 inches. 
 Half round body, quick sloping shoulders, short neck, 
 strap handles (one missing). Light buff biscuit, cur- 
 ious line of red markings on shoulder. Found in El] 
 Angel, Province of Carchi, at the depth of 3.2 metres. 
 
 Diameter, 5 inches. 
 
 125 TWO SMALL BOWLS, INCA INFLUENCE, XVru 
 
 CENTURY 
 
 (Dos Ollitas, Influencia Inca, Siglo XV.) 
 
 Ae 
 
 Squat shape, sloping shoulder with sharp flaring neck ; 
 red biscuit, pebble polish, decorated on bottom with 
 light brown lines. Found in El Angel, Province of 
 Carchi. Diameter, 414 inches. 
 Globular, narrow flat neck, two small pierced handles; 
 red biscuit, pebble polished. (Lip imperfect.) Found | 
 in Cuenca, Province of Azuay, at the depth of 2.8 
 metres. Diameter, 314 inches. 
 
 126 TWO SMALL BOWLS, INCA INFLUENCE, XVtH 
 
 CENTURY 
 
 (Dos Ollitas, Influencia Inca, Siglo XV.) 
 
 A. 
 
 Globular, flaring neck, red biscuit, pebble polished. 
 Found in Cotocollao, Province of Pichincha, at the 
 depth of 3 metres. Diameter, 4 inches. 
 Globular, short quick flaring neck, terminating in four 
 short feet, red biscuit with black markings. Found in 
 El Angel, Province of Carchi, at the depth of 3.2 metres 
 
 Diameter, 414 inches. 
 
 39 
 
129 
 
 130 
 
 TWO SMALL BOWLS, INCA INFLUENCE, XVrH 
 CENTURY 
 (Jarrita y Mulito, Influencia Inca, Siglo XV.) 
 
 A. Globular, flaring neck, red biscuit, pebble polished. 
 (Lip imperfect.) Found in Cayambe, Province of 
 Pichincha, at the depth of 3 metres. 
 
 Height, 3% inches. 
 B. Round depressed shape, light brown biscuit, pebble 
 
 polished. Found at Cotocollao, Province of Pichincha, 
 at the depth of 2.6 metres. Diameter, 414 inches. 
 
 WHISTLE, INCA INFLUENCE, XVItH CENTURY 
 (Silbato, Influencia, Siglo XVI.) 
 Modelled in light buff colored biscuit in shape of barrel, 
 
 Found in Bajios, Province of Tungurahua, at the depth of 
 1.5 metres. Height, 3% inches. 
 
 WATER BOTTLE, INCA INFLUENCE, XVtu CEN- 
 TURY | 
 
 (Cantarito, Influencia Inca, Siglo XV.) 
 
 Bell shape, pointed foot, graceful flaring neck, two small 
 
 knobs on lip (one missing). Strap handles and curious 
 
 animal head in full relief on shoulder, buff colored bis- 
 
 cuit with red markings. Found in Chordeleg, Province 
 of Azuay, at the depth of 3.6 metres. 
 
 Height, 634 inches. 
 
 BOWL, INCA INFLUENCE, XVruH CENTURY 
 (Mulo, Influencia Inca, Siglo XV.) 
 
 Expanding from a small spreading foot, flat lip, finely 
 modelled of reddish brown biscuit. Found in El] Angel, 
 Province of Carchi, at the depth of 2.5 metres. 
 
 Diameter, 534 inches. 
 40 
 
131 
 
 132 
 
 133 
 
 BOWL, INCA INFLUENCE, XVrtru CENTURY 
 (Olla, Influencia Inca, Siglo XV.) 
 Expanding short neck, sloping shoulders overhanging a 
 half-round bowl. Light red biscuit decorated with dark 
 red basket weave pattern. Found in El Angel, Province 
 of Carchi, at the depth of 3 metres. 
 
 Diameter, 61% inches. 
 
 TWO SMALL BOWLS, INCA INFLUENCE, XVrtTH 
 CENTURY 
 (Copa y Copita, Influencia Inca, Siglo XV.) 
 
 A. Bulbous shape rising from a slightly spreading foot, 
 flaring neck, light red biscuit decorated with red ver- 
 tical lines. Found in El Angel, Province of Carchi, 
 at the depth of 2.3 metres. Height, 314 inches. 
 
 B. Semi-circular body, short spreading foot, quick slop- 
 ing shoulders, short flaring neck. Red biscuit, pebble 
 polished. Found in El] Angel, Province of Carchi. 
 
 Height, 3 inches. 
 
 LARGE BOWL, INCA INFLUENCE, XVItuH CEN- 
 TURY 
 
 (Frutero, Influencia Inca, Siglo XV.) 
 
 Standing on a deep foot, spreading lip. Found in El 
 Angel, Province of Carchi, at the depth of 1.2 metres. 
 Diameter, 71% inches. 
 
 LOW DISH, INCA INFLUENCE 
 (Casuela, Influencia Inca.) 
 
 Two strap handles, decorated band. Found in El Angel, 
 
 - Province of Carchi, at the depth of 1.2 metres. 
 
 Diameter, 534 inches. 
 41 
 
INDIAN COSTUMES AND UTENSILS OF THE 
 
 135 
 
 136 
 
 137 
 
 LATE XVIIIth AND XIXth CENTURIES 
 MOSTLY FROM THE REGION 
 ORIENTE ECUADOR 
 
 (Vestuarios y Utileria de los Salvajes, Region Oriente 
 Ecuatoriano, Siglos XVIII. y XIX.) 
 
 SHRUNKEN HEAD OF AN INDIAN CHIEF 
 ‘(Una Tzantza.) 
 
 This head of Narigosa, famous warrior of the Huambiza 
 Indians, was captured by the Ayuli Indians, who reduced 
 it to its present size and held it as a great war trophy. 
 The manner in which the reduction was made, retaining 
 the hair and skin intact, has long been a matter of curi- 
 osity and speculation. 
 
 [See Illustration | 
 
 GALA UNIFORM OF CHIEF 
 (Llanchama. ) 
 
 Coat, head dress, and lance of the chief Narigosa, Huam- 
 biza tribe, of the Ecuadorian Oriente. Decorated with 
 feathers of the Guacamayo bird, monkeys’ teeth and beads 
 on a fibre coat. 
 
 [See Illustration] 
 
 BREAST PIECE AND HEAD DRESS 
 (Pechera y Corona.) 
 Deer skin ornamented with feathers, beans and shells. 
 
 Head dress feathers. Zaparos Indians of the Oriente, 
 Ecuador. 
 
 TUNIC OF INDIAN AND TWO FANS 
 
 (Tapa Rabo y Dos Abanicos. ) 
 
 Deer skin ornamented with fruit pits, and shells; the 
 fans are of feathers. Worn by chief’s wife of the Zaparos 
 Indians. Region of the Oriente, Ecuador. 
 
 42 
 
SHRUNKEN HEAD OF THE INDIAN CHIEF NARIGOSA 
 [ NUMBER 135] 
 
 GALA UNIFORM AND SPEAR NARIGOSA 
 [NUMBER 136] 
 
139 
 
 140 
 
 142 
 
 143 
 
 FEATHER TUNIC, HEAD DRESS AND THREE 
 IMPLEMENTS OF WAR 
 
 (Tapa Rabo, Corona y Tres Instrumentos De Guerra.) 
 
 The costume of a Canelos Indian chief. Region’ of the 
 Oriente, Ecuador. 
 
 HAMMOCK, SMALL BAG, AND FISHING NET 
 (Hamaca, Mochila y Red De Pescar.) 
 
 Each made of one continuous piece of twine. By the 
 Canelos Indians of the Regién Oriente of Ecuador. 
 
 TWO INDIAN NECKLACES 
 (Dos Collares Indios.) . 
 
 A. Found in the region of the Oriente Ecuador. 
 
 B. Found in Cafiar, Province of Cafiar. 
 
 NINE VARIOUS SHAPED GOURDS 
 (Nueve Calabazos Surtidos.) 
 
 Decorated in various manners. Made by the Canelos and 
 Quito Indians. 
 
 THREE BASKETS 
 (Tres Canastitas. ) 
 
 Assorted sizes. Made by the Canelos Indians of the 
 Regién Oriente, Ecuador. 
 
 SEVEN NECKLACES 
 (Siete Collares. ) 
 
 Variously decorated with monkey teeth, beads, and pits. 
 Made by the Canelos Indians of the Region Oriente, Ecu- 
 ador. 
 
 44 
 
146 
 
 147 
 
 148 
 
 149 
 
 150 
 
 FIVE COMBS, FLOUR SEIVE. FOUR ARMLETS 
 AND BEAD DECORATION 
 
 (Cinco Peines, Cedazo Para Harina, Cuatro Brazaletes y 
 
 Guallca.) 
 
 Interesting objects. Made by the Canelos Indians of the 
 Region Oriente Ecuador. 
 
 TWELVE WATER COLORS 
 (Doce Acuarelas.) 
 
 Illustrating early XIXth Century phases of life of the 
 Indians of Quito. Executed by an Indian of Quito. 
 
 HUNTING CAPE 
 (Capa Para Cazar.) 
 
 Curious. decoy worn while hunting; made by the Canelos 
 Indians of the Region Oriente, Ecuador. 
 
 FOUR GROUPS AND TWENTY-SIX FIGURES 
 (Cuatro Grupos y Veintiseis Figuras.) 
 
 Illustrating the various phases of the XXth century, life 
 of the Indians of Quito and neighborhood. Executed by 
 an Indian, Rodriquez, specially for Sefior Don Jesits 
 Alvarado. 
 
 NINETEEN FIGURES 
 (Diez y Nueve Figuras.) 
 
 Illustrating the various phases of the XXth century life 
 of the Canelos Indians of the Region Oriente, Ecuador. 
 Executed by an Indian, Rodriquez, specially for Sefior 
 Don Jestis Alvarado. 
 
 SIXTY-TWO VARIOUS OBJECTS 
 (Sesenta y Dos Articulos Surtidos.) 
 
 Illustrating the manufactures of Ecuadorian Indians from 
 Quito, Cuenca and Ibarra, all of the XXth century. 
 
 45 
 
SECOND SESSION 
 
 THURSDAY AFTERNOON, MARCH 22, 1917 
 
 AT 2:30 O:CLOCE 
 
 Lots [51 to 305 
 
 PAINTINGS BY XVIIth CENTURY ECUADORIAN 
 ARTISTS, BROCADES AND EMBROIDERIES, 
 CRUCIFIXES, BEAUTIFUL WORK IN 
 CARVED WOOD 
 
 (Cuadros por Artistas Ecuadorianos: del Siglo XVII., 
 Brocatos y Bordados, Crucifijos, Preciosos 
 Trabajos Tallados en Madera) 
 
 151 OLIVE WOOD ROSARY 
 (Rosario De Madera De Olivo.) 
 
 Cross from Lourdes. Made in Jerusalem; found in Ecua- 
 dor about 1850. 
 
 152 COLLECTION OF SILVER AND COPPER COINS 
 (Monetario. ) 
 
 Sixty-five silver coins, assorted, weighing 8 ounces. Five 
 copper coins, assorted. 
 
 153 CURIOUS LEATHER INK STAND 
 (Tintero Raro De Cuero.) 
 
 Club shaped, made out of solid hide, by an Indian of 
 Quito. Originally owned by the Presidente de la Real 
 Audiencia de Quito (Conde Ruiz de Castilla). XVIIIth 
 
 century. 
 
 46 ..- 
 
154 
 
 157 
 
 BIRTHDAY FELICITATION 
 (Felicitacion De Onomastico. ) 
 
 Curiously decorated with a needlepoint on fine paper; a 
 heart with inscription in the center, on the field are 
 curious birds, flowers, animals and human figures, draped 
 border, trimmed with eight green tassels. Early XVIIIth 
 century. The fashionable greeting of its day. Made by 
 a Mestizo of Quito. Framed. 
 
 Height, 12 inches; width, 1634 inches. 
 
 TWO ENGLISH DISHES 
 (Dos Fuentes Ingleses.) 
 
 Early blue and white Staffordshire ware decorated with 
 landscapes. Found in Quito. 
 
 Lengths, 10%4 inches and 15 inches. 
 
 TWO ENGLISH PLATES 
 (Dos Platos Ingleses. ) 
 
 Early blue and white Staffordshire ware “Waverly” and 
 “Ruins of Tintern Abbey.” Found in Quito. 
 
 Diameter, 10 inches. 
 
 TWO ENGLISH PITCHERS 
 (Dos Jarritas Inglesas.) 
 
 Early copper lustre decorated with flowers in high col- 
 ors. Found in Quito. 
 Heights, 4 inches and 3 inches. 
 
 PAINTED MARBLE PANEL 
 
 (Cuadro Pintado En Marmol.) 
 
 Painted by an artist of Quito in the XVIIIth Century. 
 Height, 10% inches; width, 634 inches. 
 
 —_—— 
 
 “aif We SEUL ‘ 
 Ny 
 OF ~ 
 
 FF ; 
 ui bed ART 
 
 \ 
 
 fs ee 
 Ky } 
 Ney. ig) THE 
 
159 
 
 160 
 
 161 
 
 162 
 
 163 
 
 164 
 
 THREE FRAMED ENGRAVINGS 
 (Tres Grabados En Marcos.) 
 
 ‘“Passién de Jests” two) “San Camilo de Lelis Fundador.” 
 Found in Ecuador. 
 
 PAINTED CONCH SHELL 
 (Caracol, Pintado.) 
 
 “Nuestra Sefiora del Rosario.” The interior is painted 
 with the Virgin standing and holding the infant Christ in 
 her left hand; in her right hand is a rosary. Quito, | 
 XVITIth Century. Length, 91% inches. 
 
 TWO PAINTED LEAD PANELS 
 (Dos Alto Relieves De Estafio, Pintados.) 
 
 “Sabana Santa” y “San Pedro.” These interesting re- 
 ligious tokens were made in Quito in the late XVIIIth 
 Century. Height, 4 inches; width, 234 inches. 
 
 GLASS CANDLESTICK 
 (Candelero De Vidrio.) 
 
 An Egyptian figure, seated, the Bobeche formed of crude- 
 ly worked iron. Of milky white glass, late XVIIIth Cen- 
 tury. Found in Quito. Height, 1114 inches. 
 
 PAINTED MARBLE PANEL 
 (Cuadro Pintado En Marmol.) 
 
 “San José.” Painted by an artist of Quito in the XVIIIth 
 Century. Height, 1014 inches; width, 8 inches. 
 
 PAINTED MARBLE PANEL 
 (Cuadro Pintado En Marmol.) 
 
 “San Antonio de Padua.” Painted by an artist of Quito 
 in the XVIIIth Century. 
 
 Height, 734 inches; width, 534 inches. 
 48 
 
105 
 
 166 
 
 167 
 
 168 
 
 169 
 
 REMARKABLE FILAGREE SILVER CIGAR CASE 
 Cigarrera Singular De Filigrana De Plata.) 
 
 Enriched with broken oval panel enclosing flowers, birds 
 and curious animals in filagree, flowered ground, oval 
 section, top opens. (Slight defects.) Made in Cuenca 
 
 in the XVIIIth Century by a Mestizo. Was the property 
 
 of Marquis de Villa Orellana. Engraved Cuenca, Ecua- 
 dor 1758. . Height, 434 inches. 
 
 CHINESE PAINTING ON GLASS 
 (Cuadro Chino En Vidrio.) 
 
 Two figures in Chinese costumes standing before a bal- 
 ustrade. Framed. 
 
 Height, 101% inches; width, 1334 inches. 
 
 PAINTED MARBLE PANEL 
 (Cuadro Pintado En Marmol.) 
 
 “Profeta Malaquias.”’ Painted by a pupil of Samaniego, 
 XVIIIth Century. Fragment. 
 
 Height, 8 inches; width, 11 inches. 
 
 COLLECTION OF SPANISH BOOKS 
 
 (Coleccion de Libros Espanoles) 
 
 JUZGADOS MILITARES DE ESPANA Y SUS 
 
 INDIAS. (Larriategui). Vols. 3 and 4. Madrid, 
 1789; Institutiones Politicas. (Dela Torre). Vols. 1 and 
 4. Madrid, 1747; Vida de Papa Clemente XIV. (Carac- 
 ciolo). Madrid, 1786, and others (mainly odd). 13 vols., 
 various sizes and bindings. 
 
 FLORILEGIO MEDICINIAL, (Esteyneffer), Madrid, 
 n. d.; Floresta de Dissertaciones Historico-Medicas (Cer- 
 
 vi). Valencia, 1743; Curia Hilippica. (Volano). Val- 
 ladolid, 1612 and others. 9 vols. mainly square 8vo, 
 vellum. 
 
 49 
 
1 
 
 1 
 
 1 
 
 0 
 
 1 
 
 2 
 
 173 
 
 1 
 
 4 
 
 AUTOS SACRAMENTALES (Calderon). Vols. 3 and 
 5. Madrid, 1759; Memorias Politicas (Felipe), Vol. 3. 
 Madrid, 1792; Febrero Reformado y Anotado, o Libreria 
 de Escribanos (Gutierrez), 4 odd volumes, and others. 
 12 vols. Folio and smaller, vellum and calf (some odd 
 and imperfect). 
 
 BOGOTA IMPRINT. Gramatica y Ortografia de la 
 Lengua Castellana. 12mo, originally limp vellum, with 
 
 fasteners. Bogota: Imp. de Espinosa, 1826. 
 VERY SCARCE. 
 
 CARCILASO DE LA VEGA. La Florida del Inca. Fo- 
 lio, limp vellum (damaged, title wanting, last two leaves 
 of Table missing, and a few margins defective, slightly 
 affecting text.) Madrid, 1723. 
 
 Scarce. This edition is edited by Nicolas Rodriguez 
 Franco. The text of the work, occupying 268pp. is prac- 
 tically perfect, except as above stated, in the six parts 
 as issued. 
 
 PAINTINGS IN CARVED FRAMES 
 
 (Cuadros en Marcos Tallados) 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “VIRGEN DEL aMoR.” By an Ecuadorian artist of the 
 XVIIIth Century. Frame by a Mestizo of Quito, carved 
 and inlaid with segments of mirrors. 
 
 Total height, 1474 inches; width, 10% inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “INFANTE DIOS DE AMoR.” By an Ecuadorian artist of the 
 XVIIIth Century. Frame carved in native wood by a 
 Mestizo of Quito. 
 
 Total height, 187@ inches; width, 117 inches. 
 50 
 
176 
 
 177 
 
 178 
 
 179 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “SAN FRANCISCO DE Asis.” By an Ecuadorian artist of the 
 late XVIIIth Century. Frame carved of native wood by 
 an Ecuadorian. Height, 10 inches; width, 7 inches. 
 
 PAINTING IN CARVED FRAME 
 
 (Cuadro y Marco Tallado.) 
 
 “VIRGEN DEL RosARIO.” By an Ecuadorian artist, XVIIIth 
 Century. Circular frame carved in native mahogany by 
 an Indian of Cuenca. From Iglesia de Santo Domingo, 
 Quito. Diameter, 12 inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “SAN ANTONIO DE PADUA.” By an Ecuadorian artist of the 
 early XVIIIth Century. Frame carved by a Cuenca In- 
 dian. From Convento de San Francisco, Quito. 
 
 Total height, 1214 inches; width, 7 inches. 
 
 PAINTING IN CARVED FRAME 
 
 (Cuadro y Marco Tallado.) 
 
 “VIRGEN DEL CONSUELO.” By an Ecuadorian Indian of 
 Quito. XVIIth Century. Frame carved in native mahog- 
 
 any by a Cuenca Indian. From Iglesia de San Roque, 
 Cuenca. Total height, 13 inches; width, 11 inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 “SAN VICENTE DE PAUL.” By an Ecuadorian of the late 
 XVIIth Century. Frame carved of native mahogany by 
 an Indian of Quito. 
 
 Total height, 1514 inches; width, 1334 inches. 
 
 51 
 
180 
 
 181 
 
 182 
 
 183 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “VIRGEN DE LA LECHE.” By an artist of Quito, in the 
 XVIIIth Century. Frame carved in native mahogany 
 by an Ecuadorian Mestizo; Spanish motifs. From Mon- 
 asterio del Carmen Alto, Quito. 
 
 Total height, 16 inches; width, 14 inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “SAN NICOLAS DE BARY.” By an Ecuadorian artist of the 
 XVITIth Century. Frame of native wood carved by a 
 Cuenca Indian. 
 
 Total height, 1134 inches; width, 834 inches. 
 
 PAINTED BANNER 
 (Estandarte Pintado.) 
 
 “NUESTRA SENORA DE LAS MERCEDES.” Painted on leather by 
 an Indian of Cuenca, XVIIth Century. 
 
 Total height, 2114 inches; width, 18% inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “SAN IGNACIO.” Painted on glass by an artist of Quito, 
 XVIIth Century. Shaped frame in crimson lacgé. (Glass 
 cracked. ) Total height, 16 inches; width, 10%4 inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “SAN PEDRO ALCANTARA. Painted on glass by an artist 
 of Quito. Frame carved by an Indian of Cuenca, XVIIth 
 Century. 
 
 Total height, 1334 inches; width, 13 inches. 
 
 52 
 
186 
 
 187 
 
 188 
 
 189 
 
 190 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “MARIA Y EL NINO.” Painted by an Ecuadorian artist of 
 the XVIIIth Century. Frame carved by a Mestizo of 
 Quito. Total height, 35’ inches; width, 26% inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “SAN JOSE CON EL NINO.” Painted by an Ecuadorian artist 
 of the XVIIth Century. Frame carved by a Cuenca In- 
 dian of the XVIIIth Century. 
 
 Total height, 68 inches; width, 34 inches. 
 
 PAINTING ON LEATHER 
 (Cuadro Pintado En Cuero.) 
 
 “LA VIRGEN DE LA MERCED.” Painted by a Cuenca Indian 
 in the late XVIIth Century. Height, 13% inches. 
 
 PAINTING IN GLASS FRAME 
 (Cuadro En Marco De Vidrio.) 
 
 “LA VIRGEN CON EL NINO.” Oval, on metal, painted by an 
 XVIIIth Century artist of Quito. Segmented, enamelled 
 blue frame. Height, 9 inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “VIRGEN DE LA CHIQUINQUIRA.” By a Cuenca Indian of 
 Ecuador in the XVIIth Century. Frame carved by an 
 Indian. ‘Total height, 2414 inches; width, 1614 inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “san VICENTE.” By an Ecuadorian artist, XVIIIth Cen- 
 tury. Frame carved in native wood by Quito Indian. 
 
 Total Height, 12% inches; width, 9 inches. 
 
 53 
 
191 
 
 192 
 
 193 
 
 194 
 
 195 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “LA SANTISIMA TRINIDAD.” By an Ecuadorian artist of 
 the XVIIIth Century. Frame carved by a Mestizo of 
 Quito. Total height, 1614 inches; width, 12 inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “saN MATEO.” By an Ecuadorian artist of Quito, XVIIIth 
 Century. Frame carved of native mahogany by a Cuenca 
 Indian of the same period. From Iglesia de San Sebas- 
 tian, Quito. 
 
 Total height, 1414 inches; width, 12 inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “SAN MARTIN.» By an Ecuadorian artist of Quito, XVIIth 
 Century. Frame carved in native wood by an Ecuadorian. 
 Total height, 8 inches; width, 6% inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “LA VIRGEN DEL QUINCHE” (an original native conception). 
 By an Ecuadorian Indian of Quito. Frame carved of 
 native wood by Quito Mestizo. 
 
 Total height, 10 inches; width, 8% inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “sEsus pIos DE amor.” By an Ecuadorian artist of the 
 XVIIIth Century. Frame carved by a Mestizo of Quito. 
 
 Total height, 2014 inches; width, 16 inches. 
 54 
 
196 
 
 197 
 
 198 
 
 199 
 
 200 
 
 TWO PAINTED AND CARVED PANELS 
 (Dos Cuadros y Marcos Tallados. ) 
 
 “ANGELES DE LA PASION.” By an Ecuadorian artist of the 
 XVIIth Century in Quito. Frames carved in mahogany 
 by a Mestizo of Quito. 
 
 Total height, 13 inches; width, 5% inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “VIRGEN DEL ROSARIO.” By an Ecuadorian artist of the 
 XVIIIth Century. Frame carved by a native of Quito. 
 
 Total height, 22 inches; width, 127% inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “EL CORAZON DE Jesus.” By an Ecuadorian artist of the 
 XVIIIth Century. Frame carved by native of Quito. 
 
 Total height, 28 inches; width, 17 inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “MATER AMABILIS.” By an Ecuadorian artist of Quito in 
 the early XVIIIth Century. Frame carved by a Cuenca 
 Indian. Total height, 3414 inches; width, 17 inches, 
 
 BROCADES AND EMBROIDERIES 
 (Brocatos y Bordados) 
 
 BROCADE MANIPULE AND STOLE, VENETIAN, 
 XVIItrH CENTURY 
 (Manipulo y Estola De Brocato, Venecia, Siglo XVII.) 
 Floral scroll pattern in gilded threads and deep salmon 
 pink. 
 55 
 
202 
 
 203 
 
 205 
 
 206 
 
 TWO BROCADE FRAGMENTS, SPANISH, XVIIItx 
 CENTURY 
 
 (Dos Retasos De Brocato, Espafiol, Siglo XVIII.) 
 Differing patterns, blue and gold. 
 
 TWO BROCADE STOLES, SPANISH, XVIItH CEN- 
 TURY 
 (Dos Estolas De Brocato, Espafiol, Siglo XVIII.) 
 
 Green ground with silver flowers; silver ground with salm- 
 on pink flowers. 
 
 TWO ORNAMENTS FOR SAINTS DRESS, ECUA- 
 DORIAN, XVIIItrse CENTURY 
 
 (Singulo Bordado Para Santa, Ecuatoriano, Siglo XVIII.) 
 
 Two embroidered hearts are held by sprigged silver ground. 
 (Velvet connecting band missing.) Made by a Nun in 
 Monasterio del Carmen Alto, Quito. , 
 
 BROCADE MANIPULE AND STOLE, VENETIAN, 
 XVIItH CENTURY 
 
 (Manfpulo y Estola De Brocato, Venecia, Siglo XVII.) 
 
 Conventionalized flower and scrolls in gold and silver and 
 silk threads on crimson ground, galloon trimmed. 
 
 TWO: EMBROIDERED VELVET SCAPULAS, ECUA- 
 
 DORIAN, XVIIIrH CENTURY 
 (Dos Escapularios De Terciopelo Bordados, Ecuatoriano, 
 Siglo XVIII.) 
 
 Crimson velvet embroidered with silver leaves and span- 
 gles. Made by a Nun in the Monasterio de Santa Clara, 
 Quito. 
 
 TWO BROCADE STOLES, SPANISH 
 (Dos Estolas De Brocato, Espafiol.) 
 Silver flowers and scrolls on salmon ground; ivory and 
 
 silver on crimson silk ground. 
 
 56 
 
207 
 
 210 
 
 211 
 
 FIVE CURIOUS EMBROIDERED HEARTS, ECUA- 
 DORIAN, XVIIItH CENTURY 
 
 (Cinco Corazones Raros, Bordados, Ecuatoriano, Siglo 
 
 XVIIL.) 
 
 Silver openwork hearts enriched with raised flowers in 
 colored silks. Made by a Nun in the Monasterio de Santa 
 Clara, Quito. 
 
 DOUBLE SCAPULA EMBROIDERED, ECUADORI- 
 AN, XVIIItrH CENTURY 
 
 (Un Par De Escapularios Bordados, Ecuatoriano, Siglo 
 XVIII.) 
 
 Finely embroidered with figures, enriched with small pearls 
 and gold threads. The heads of carved bone. Miniature 
 work by a Nun of the Monasterio de Santa Clara, Quito. 
 
 THREE EMBROIDERED SCAPULAS, ECUADOR- 
 IAN, XVIIvH CENTURY 
 
 (Tres Escapularios Bordados, Ecuatoriano, Siglo XVIII.) 
 
 Similar to the preceding. Made by a Nun in the Monas- 
 terio de Santa Clara, Quito. 
 
 BROCADE WAFER HOLDER, LOUIS XVI. 
 (Guarda Hostia De Brocato, Luis XVI.) 
 
 Sprigged pattern on salmon silk, shot with gilt threads; 
 silver galloon trimming, held by elaborate cord hinges. 
 Height, 10 inches; width, 7% inches. 
 
 THREE MANIPULES, LATE XVIItH CENTURY 
 
 (Tres Manipulos, Siglo XVII.) 
 
 Silver and salmon brocade; crimson and ivory velvet; floral 
 on ivory satin ground. . 
 
 57 
 
212 
 
 213 
 
 216 
 
 FIVE FRAGMENTS OF BROCADE 
 (Cinco Retasos De Brocato.) 
 
 Of various designs, shapes and pattern; XVIIIth Century 
 and earlier. From Monasterio del Carmen Alto, Quito. 
 
 EMBROIDERED MANIPULE, ECUADORIAN, 
 LATE XVIItnH CENTURY 
 
 (Manfpulo Bordado, Ecuatoriano, Siglo XVII.) 
 
 Embroidered floriated cross, sprigs and scrolls of flowers 
 
 in gilded silver and colored silk threads on a silver ground, 
 
 fringed. Made by a Nun in Monasterio del Carmen Alto, 
 Quito. 
 
 LACE CUFF, ECUADORIAN, LATE -XVIItnH CEN- 
 TURY 
 
 (Pufio De Encaje, Ecuatoriano, Siglo XVII.) 
 
 Dainty scrolls of flowers on square mesh (known as Point 
 de Flandre). Made by a Nun in the Monasterio del Car- 
 men Alto, Quito. Length, 1014 inches; width, 4% inches. 
 
 TWO RELIQUARIES, ECUADORIAN, XVIIITtH CEN- 
 TURY 
 
 (Dos Relicarios, Ecuatoriano, Siglo XVIII.) 
 Circular with convex glasses, curious wreaths of miniature 
 flowers with figure of the Virgin in the center. Two glasses 
 
 broken. Made by a Nun in the Monasterio de Santa Clara, 
 Quito. 
 
 EMBROIDERED PICTURE, ECUADORIAN, XVIIrx 
 CENTURY 
 
 (Cuadro Bordado, Ecuatoriano, Siglo XVII.) 
 “SAN VICENTE.” ‘The saint is before the cross and preaches 
 to the multitude. Executed in colored silks, the heads and 
 hands painted. Made by a Nun in the Monasterio de las 
 Catalinas, Quito. 
 
 Height, 12'4 inches; width, 10 inches. 
 
 58 
 
217 
 
 218 
 
 219 
 
 220 
 
 221 
 
 BROCADE WAFTER HOLDER, LOUIS SEIZE 
 (Guarda Hostia De Brocato.) 
 
 Flowered pattern on light mulberry ground. Galloon trim- 
 ming, elaborate cord hinges. 
 
 Height, 8% inches; width, 6 inches. 
 
 MANIPULE AND STOLE, ECUADORIAN 
 (Manipulo y Estola, Ecuatoriano.) 
 
 Cloth of silver trimmed with gilded galloon. 
 
 BROCADE WAFER HOLDER, VENETIAN, XVIIrx 
 CENTURY 
 (Guarda Hostia de Brocato, Venecia, Siglo XVII.) 
 Flowers and scrolls of gilded threads on cloth of silver 
 ground. Trimmed with gilded galloon. 
 Height, 934 inches; width, 7! inches. 
 
 BROCADE PANEL, LOUIS SEIZE 
 (Retaso Brocato, Luis XVI.) 
 
 Repeating sinuous scrolls composed of ribbons and sprays 
 of flowers, executed in various stitches of gold thread, 
 touched with blue silk, enclose dainty bouquets of flowers, 
 in pastel colored silks on a cloth of silver ground.  Tri- 
 angular. t Height, 27 inches; width, 37 inches. 
 
 BROCADE COVER, LOUIS QUIZE 
 
 (Sobremesa De Brocato, Luis XV.) 
 
 Beautiful interlacing ribbons and scrolls from which spring 
 fine flower sprays worked in a great variety of stitches in 
 silver threads. The dainty damask ground of salmon and 
 ivory silk shows curious pagodas, floral sprays and other 
 objects. Lining (imperfect) striped silk in two tones of 
 brown, on the darker a wonderful lace pattern is woven. 
 
 Size, 20 inches square. 
 
 D9 
 
(A9) 
 co 
 cod 
 
 225 
 
 226 
 
 RARE CLOTH OF SILVER AND VELVET COVER, 
 SPANISH, LATE XVIIItrH CENTURY 
 
 (Sobremesa Rara De Tela De Plata y Terciopelo, Espafiol, 
 Siglo XVIII.) 
 
 On the silver ground are simple interlacing floral scrolls of 
 cut and uncut velvet, in salmon pink. Trimmed with a fine 
 open work scalloped gilded silver lace. 
 
 Size, 19 inches x 20 inches. 
 
 BROCADE WAFER HOLDER, SPANISH, XVIItxH 
 CENTURY 
 
 (Guarda Hostia De Brocato, Espafiol, Siglo XVII.) 
 
 Rosette and basket pattern in silver and heliotrope. Sil- 
 ver galloon trimming, elaborate cord hinges and tassels of 
 heliotrope silk. Height, 934 inches; width, 74 inches. 
 
 BROCADE WAFER HOLDER, LOUIS XVI. 
 (Guarda Hostia De Brocato, Luis XVI.) 
 
 Bouquets of flowers in natural colors on a pink ground 
 shot with silver, silver galloon trimming. 
 
 Height, 8% inches; width, 7 inches. 
 
 EMBROIDERED CHALICE COVER, ECUADORIAN, 
 XVIIItrH CENTURY 
 
 (Tapa Calix Bordado, Ecuatoriano, Siglo XVIII.) 
 
 Center an heart enhanced with sprays of flowers, border a 
 sinuous stem of gold from which spring sprays of flowers 
 at intervals, worked solid in brilliant natural colored silks 
 on an ivory satin ground. Trimmed with gilded galloon.. 
 Executed by a Nun of the Monasterio del Carmen, Alto, 
 Quito. Size, 21 inches square. 
 
 BROCADE COVER, SPANISH, XVIItrH CENTURY 
 (Sobremesa De Brocato, Espajiol, Siglo XVII.) 
 
 Basket and rosette pattern in heliotrope and ivory shot 
 with silver, trimmed with wide floral patterned silver gal- 
 loon. Size, 1614 inches square. 
 
 60 
 
227 
 
 228 
 
 229 
 
 230 
 
 231 
 
 BROCADE COVER, VENETIAN, XVIItH CENTURY 
 (Sobremesa De Brocato De Venecia, Siglo XVII.) 
 
 Beautiful bouquet of highly conventionalized flowers, rib- 
 bon and floral scroll surround. Executed in a variety of 
 silver threads on a fine crimson corded silk ground. 
 
 Size, 18 inches square. 
 
 BROCADE COVER, VENETIAN, XVIIru CENTURY 
 (Sobremesa De Brocato De Venecia, Siglo XVII.) 
 
 Intricate pattern of conventionalized flowers, fruit and 
 scrolls in silks, silver and gold on a cloth of silver ground. 
 Trimmed with silver gilt galloon. 
 
 Size, 18 inches x 20 inches. 
 
 BROCADE COVER, FLORENTINE, XVIIts CEN- 
 PU IY: 
 
 (Sobremesa De Brocato De Florencia, Siglo, XVII. 
 
 From the four corners spring branches of fruit and flowers 
 in brilliant natural colored silks enhanced with gold threads, 
 ground of ivory satin. Size, 17 inches x 18 inches. 
 
 BROCADE COVER, LOUIS XVI. 
 (Sobremesa De Brocato, Luis XVI.) 
 
 Dainty floral stripes on silver ground alternating with 
 stripes of pink, shot with silver and with green. 
 Size, 17'4 inches square. 
 
 EMBROIDERED SHAWL, PHILIPPINO, LATE 
 XVITIrH CENTURY 
 
 (Pafiolén Bordado, Filipino, Siglo XVIII.) 
 
 Large bouquets of flowers at two corners and small con- 
 
 necting border finished on both sides, in a varying tone 
 
 of rich tobacco color. (Imperfect.) 
 Size, 5 feet square. 
 
 61 
 
(aS) 
 ©9 
 iS 3) 
 
 234 
 
 236 
 
 BROCADE SHAWL, SPANISH, XIXtH CENTURY 
 (Panolon De Brocato, Espajiol, Siglo XIX.) 
 
 Large bouquets and sinuous garland border, in varying 
 pinks, deep fringe. Size, 5 feet square. 
 
 BROCADE SHAWL, SPANISH, XIXtH CENTURY 
 
 (Panolon De Brocato, Espafiol, Siglo XIX.) 
 
 Bouquets of large flowers and garlands in natural color- 
 
 ed silks on black damask ground, fringed. (Imperfect.) 
 Size, 5. feet’ x DB feet. tienes 
 
 EMBROIDERED SHAWL, PHILIPPINO, LATE 
 XVIlItu CENTURY 
 
 (Paifiol6n Bordado, Filipino, Siglo XVIII.) 
 Sprigs of yellow flowers cover the field, at two corners 
 are flower and bird scrolls, small scroll border. Executed 
 in yellow silk and finished on both sides of the back silk 
 crepe, deep fringe. (Imperfect. ) 
 
 Size, 4 feet 8 inches square. 
 
 HORSE HAIR PANEL 
 (Tela De Cerda De Caballo.) 
 
 Made by the Guango Bolo Indians, in the mountains to 
 the south of Quito. These Indians rarely leave their 
 mountain fastnesses except at night to steal the tails of 
 their neighbors horses. This cloth has been made since 
 the middle of the XVIIIth Century by these Indians. 
 
 Size, 12 inches x 18 inches. 
 
 GILDED -CORD AND TASSELS, ECUADORIAN, 
 LATE XVIIIru CENTURY 
 
 (Cordén De Hilo De Oro, Ecuatoriano, Siglo XVIII.) 
 
 Interesting wound cord and bullion tassels. 
 
 Length, 8 feet. 
 62 
 
237 
 
 240 
 
 241 
 
 TWO WOVEN PANELS 
 
 (Dos Pedazos De Tela De Algodén.) 
 
 One has reversed animals set in quaint panel, the other of 
 
 conventionalized scrolls and flowers in blue and white. 
 
 Made by the Indians of Cuenca, late XVIIth Century. 
 Height, 17 inches; width, 50 inches. 
 
 COLLECTION OF CRUCIFIXES 
 
 (Coleccion de Crucifijos) 
 
 PAINTED WOOD CRUCIFIX 
 
 (Cruz De Madera, Pintada.) 
 
 Curiously decorated with a series of painted oval medal- 
 lions in which are the Holy Spirit, the Dolorosa, the 
 Saviour and St. Joseph and Infant. Executed in Quito, 
 late XVIIth Century. Height, 22 inches. 
 
 INLAID CRUCIFIX 
 
 (Cruz Embutida.) 
 
 “Jesiis en la Cruz y las insignias de la passion.” Straight 
 cross inlaid with tortoise shell and bone on which is en- 
 graved the figure of the Saviour and the symbols of the 
 passion. (Parts of the inlay are missing.) Quito, XVIIth 
 Century. Height, 16 inches. 
 
 PAINTED WOOD CRUCIFIX 
 
 (Cruz De Madera, Pintada.) 
 
 “Jess en la Cruz.” On the straight cross is painted the 
 Saviour. By Guaman. Height, 1334 inches. 
 
 PAINTED WOOD CRUCIFIX 
 
 (Cruz De Madera, Pintada.) 
 
 “Jests en la Cruz y su Santisima Madre.” On the straight 
 cross is painted the Saviour; at the foot of the cross is 
 the Blessed Mother. Painted in Quito, in the XVIIth 
 Century. Height, 15 inches. 
 
 65 
 
242 
 
 243 
 
 244 
 
 245 
 
 246 
 
 PAINTED WOOD CRUCIFIX 
 (Cruz De Madera, Pintada.) 
 
 “Jesus en la Cruz y su Santisima Madre.’ Painted on the 
 straight cross is the Saviour, at the foot of the cross is the 
 Blessed Mother. Executed in Quito, late XVIIth Cen- 
 tury. From the Convento de San Francisco, Quito. 
 
 Height, 21 inches. 
 
 INLAID CRUCIFIX 
 
 (Cruz Embutida.) 
 
 Curiously inlaid with raised squares of tortoise shell di- 
 agonally placed, the alternating triangles are of ivory en- 
 graved with flowers. Has been repaired. Quito, XVIIth 
 Century. Height, 17 inches. 
 
 CRUCIFIX OF ENAMELLED GLASS 
 (Cruz De Vidrio Esmaltado.) 
 
 Cross with trefoil ends enriched with gilded and enamel 
 green glass. Pedestal of carved and gilded wood in the 
 form of an inverted capital. Made in Cuenca, XVIIIth 
 Century. Height, 29 inches. 
 
 BEAUTIFUL WORK IN CARVED WOOD 
 
 (Precioso Trabajos Tallados en Madera) 
 
 SIX INLAID PANELS. (FRAGRAMENTS) 
 (Seis Fragmentos Embutidos.) 
 
 Illustrating the inlaid work of Quito in the XVIIIth 
 Century. 
 
 FOUR INLAID PANELS. (FRAGMENTS) 
 (Cuatro Fragmentos Embutidos.) 
 
 Illustrating the inlaid work of Quito in the XVIIIth 
 Century. 
 
 64 
 
247 
 
 248 
 
 249 
 
 250 
 
 251 
 
 FIVE INLAID PANELS. (FRAGMENTS) 
 (Cinco Fragmentos Embutidos.) 
 
 Illustrating the inlaid work of Quito in the late XVIIIth 
 Century. 
 
 TWO MIRRORS IN CARVED WOOD AND GILDED 
 FRAMES 
 (Dos Espejos En Marcos Tallados De Madera, Dorados.) 
 
 One of the XVIth Century and the other XVIIIth Cen- 
 tury. Made in Quito. Height, 7 inches. 
 
 TWO CARVED WOOD AND PAINTED PANELS 
 (Dos Altos Relieves Tallados De Madera, Pintados.) 
 “SAN FERNANDO REY DE CASTILLA.” “SAN PEDRO.” Oval, 
 bust length; in gilded scrolled frames. Made in Quito, 
 XVIIth Century. From Convento de San Francisco, 
 Quito. Height, 17 inches. 
 
 MIRROR IN CARVED WOOD AND PAINTED 
 FRAME , 
 (Espejo En Marco Tallado De Madera, Ddrado.) 
 Three oval openings. Cherubs at side and base, scroll top. 
 XVIIth Century, made in Cuenca. 
 Height, 12%4 inches; width, 10 inches. 
 
 CARVED WOOD AND PAINTED PANEL 
 
 (Panel De Madera, Tallado y Pintado.) 
 
 “SaN FRANCISCO DE asis.”” In high relief; the robed Saint 
 stands on a curious pedestal, in his left hand is a skull, a 
 gilded shell nimbus on his head; framed. Made in Qui- 
 to, late XVIth Century. Found in the Monasterio de la 
 Concepcion. Height, 19% inches. 
 
 65 
 
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 Sr 
 
 CARVED WOOD LECTERN 
 (Atril De Madera Tallado.) 
 
 The book holder is in the form of a shell; scrolled supports 
 on oblong base; gilded. Made in Quito, XVIIIth Cen- 
 tury. Height, 12 inches. 
 
 TWO CARVED WOOD AND PAINTED BRACKETS 
 (Dos Repisas De Madera, Talladas y Pintadas.) 
 
 ~ Curious supports of triple beads with mirror panels be- 
 
 tween. Made by an Indian of Quito, XVIIIth Cen- 
 tury. From Iglesia de Guapulo, Quito. 
 Height, 1014 inches. 
 
 TWO CARVED WOOD AND PAINTED BRACKETS 
 (Dos Repisas De Madera, Talladas y Pintadas.) ; 
 
 Similar to preceding, but without mirror panel. From 
 Iglesia de Guapulo, Quito. Height, 10 inches. 
 
 MIRROR IN CARVED WOOD AND PAINTED 
 FRAME 
 
 (Espejo En Marco Tallado De Madera, Dorado.) 
 
 Elaborate design of scrolls and shells. Made by an In- 
 dian of Quito, XVIIIth Century. 
 Height, 24 inches; width, 1614 inches. 
 
 MIRROR IN CARVED WOOD AND GILDED 
 FRAME 
 (Espejo En Marco Tallado De Madera, Dorado.) 
 
 Shaped frame of scrolls, flowers and shells. Made by an 
 Indian of Quito, late XVIIth Century. 
 Height, 2414 inches; width, 17% inches. 
 
 66 
 
257 
 
 258 
 
 261 
 
 SMALL INLAID CHEST 
 (Gabetita Embutida. ) 
 Composed of two drawers, which with the top are inlaid 
 
 with ivory, engraved with heads of various caciques. Made 
 in Cuenca, late XVIIth Century. 
 
 Height, 4 inches; width, 8 inches; depth, 414 inches. 
 
 SMALL INLAID COFFER 
 
 (Cofre Pequefio Embutido.) 
 
 Rounded top, curiously inlaid with boxwood lines in geo- 
 
 metric and floral patterns on native mahogany. Wrought 
 
 iron lock, hasp and hinges. Made in Cuenca, late XVIIth 
 
 Century. No key. Height, 5% inches. 
 Width, 87 inches; depth, 5 inches. 
 
 SMALL INLAID BOX 
 (Cajita Embutida.) 
 Curiously inlaid and part etched with hot point, deco- 
 rated with quaint animals and geometric pattern. Made 
 at Tulcan, late XVIIIth Century. 
 
 Height, 4 inches; width, 7 inches; depth, 434 inches. 
 
 CARVED WOOD AND PAINTED PANEL 
 (Alto Relieve Tallado De Madera, Pintado.) 
 “san JERONIMO.” In high relief; the bearded Saint is nude 
 to the waist; he holds a crucifix in his left hand, at his 
 feet are the devil, a skull and the holy scriptures; curious 
 
 archaic frame. Made in Cuenca, XVIIth Century. 
 Height, 12 inches. 
 
 TWO CARVED WOOD AND PAINTED PANELS 
 (Dos Altos Relieves Tallados De Madera, Pintados. ) 
 
 “51, CORAZON DE JESUS Y MARIA.” In low relief, both are 
 bust length and are in very unusual gilded frames. Made 
 in Quito, late XVIth Century. Height, 15 inches. 
 
 67 
 
262 
 
 208 
 
 264 
 
 265 
 
 SMALL CARVED BOX 
 (Cajita Tallada.) 
 
 Curiously cut in native mahogany with rosette pattern. 
 Made in Cuenca, by an Indian of the XVIIIth Century. 
 
 Height, 31% inches; width, 614 inches; depth, 3% inches. 
 
 ILLUMINATED ALTAR PIECE 
 (Retablo, Decorado.) 
 
 The obverse decorated with a vase of flowers standing on a 
 fluted pedestal, from which emerge floral sprays; above is 
 a canopy of scrolls and flowers and two floral panels, all 
 in delicate colors on a silver background. The reverse is 
 divided into three panels, which are occupied by detached 
 castles, chateau, churches, shell scrolls and flower sprays, 
 quaintly executed in the Chinese manner in gold, silver 
 and blues on a brilliant background. Made in Quito, late 
 XVIIIth Century. From Iglesia del Quinche, Quito. In 
 modern frame. 
 
 Height of panel, 4014 inches; width, 32% inches. 
 
 LACQUERED BOX 
 (Cajita Rara, Esmaltada.) 
 
 Curiously lacquered with vase of flowers and scroll on 
 black ground. Wrought iron lock and hinges. No key. 
 Made at Ibarra, late XVIIth Century. 
 
 Height, 434 inches; width, 1114 inches; depth, 474 inches. 
 
 TWO CARVED WOOD AND PAINTED PANELS 
 (Dos Altos Relieves Tallados De Madera, Pintados.) 
 
 “SENOR DE LA CANA Y JESUS NAZARENO. One oval, bust 
 length with hands crossed; the other seated, draped with 
 lion cloth and palm branch in hand and crowned with 
 thorns. Made in Quito, late XVIIth Century. From 
 Convento de San Agustin, Quito. 
 
 68 
 
266 
 
 267 
 
 268 
 
 269 
 
 270 
 
 CARVED WOOD AND PAINTED PANEL 
 (Alto Relieve Tallado De Madera, Pintado.) 
 
 “JESUS ATADO A LA CoLUMNA.” In high relief; the emac- 
 iated figure stands at the column. Made in Quito, XVIIth 
 Century. Height, 91% inches. 
 
 SMALL INLAID COFFER 
 (Cofre Pequefio, Embutido. ) 
 
 Canted top, curiously inlaid with animals, inside of top, a 
 bull fight. Made at Ibarra, XVIIIth Century. 
 
 Height, 6 inches; width, 1034 inches; depth, 5% inches. 
 
 SMALL LACQUERED COFFER 
 (Cofre Pequefio, Esmaltado.) 
 
 Semi-circular on top, decorated with panels of figures, 
 animals and scrolls, and black scrolled borders. Wrought 
 iron lock hasp, and hinges. No key. Made by an Indian 
 of Tulcan, late XVIIth Century. Height, 6% inches. 
 
 Width, 10 inches; depth, 5% inches. 
 
 SMALL INLAID COFFER 
 
 (Cofre Pequefio, Embutido. ) 
 
 Slightly rounded top, quaintly inlaid in boxwood lines on 
 
 native mahogany with animals and scrolls. Wrought iron 
 
 lock and hinges. No key. Made by an Indian of Ibarra, 
 
 late XVIIth Century. Height, 7% inches. 
 Width, 11 inches; depth, 6 inches. 
 
 RARE LEATHER JARDINIERE 
 (Florero Raro De Cuero.) 
 
 Oblong, undressed hide, quaint cut out panels of leather 
 showing animals and scrolls are applied to the four sides. 
 Made by a Cuenca Indian in the early XVIIIth Century. 
 Height, 414 inches; width, 614 inches; length, 414 inches. 
 
 69 
 
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 THREE RARE CUT LEATHER PANELS 
 (Tres Paneles Raros De Cuero Calado.) 
 
 Oblong undressed hide, cut out and showing figures and 
 animals. Used for various decorations. Made by a Cu- 
 enca Indian in the early XVIIIth Century. 
 
 Height, 614 inches; width, 121% inches. 
 
 TWO MIRRORS IN CARVED WOOD FRAMES 
 (Dos Espejos En Marcos Tallados De Madera.) 
 
 Shaped frames of scrolls, shells and flowers. Made by an 
 Indian of Quito, late XVIIth Century. 
 
 Height, 25 inches; width, 1614 inches. 
 
 TWO MIRRORS IN CARVED WOOD FRAMES 
 (Dos Espejos En Marcos Tallados.) 
 Similar to the preceding. 
 
 TWO CARVED WOOD PANELS 
 
 (Dos Altos Relieves Tallados De Madera, Pintados.) 
 “CORAZON DE JESUS Y INMACULADA.” 
 
 A. Carved in Capuli wood, bust length, draped, the orb 
 
 in his left hand, and his right hand held up in exhor- 
 tation. 
 
 B. Bust length, with hands folded in prayer, painted in 
 naturalistic colors and gilded. Made in Quito, late 
 XVIIth Century. 
 
 MIRROR IN CARVED WOOD AND GILDED 
 FRAME 
 
 (Espejo En Marco Tallado De Madera, Dorado.) 
 
 Conventionalized flowers and bold scrolls in gilding are 
 on a crimson background. Made by a Mestizo of Quito, 
 early XVIIth Century. 
 
 Height, 201% inches; width, 18% inches. 
 ee {!) 
 
276 
 
 278 
 
 279 
 
 CURIOUS LEATHER COFFER 
 (Cofre Raro De Cuero.) 
 
 The body is made from hide with the hair still on it, over 
 which are applied interesting panels of sundried leather, 
 cut out with figures and scrolls. Made by an Indian of 
 Cuenca. Height, 11 inches. 
 
 Width, 17 inches; depth, 11 inches. 
 
 SMALL CARVED LEATHER DESK 
 (Escritorito De Cuero Cabado.) 
 Slant top, with scalloped valance. Most curiously deco- 
 rated with many figures and carnival scene. Circular 
 pierced wrought iron lock and hasp. No key. Made in 
 Ortavalo, Ibarra, early XVIIIth Century. 
 
 Height, 8 inches; width, 181% inches; depth, 16% inches. 
 
 SMALL CARVED LEATHER BOX 
 (Cajita De Cuero Cabado.) 
 
 Heavy hide, top decorated with double-headed eagle, small- 
 er flanking birds and floral scrolls, entwined rope border. 
 Sides with animals, birds and scrolls; inside lid painted 
 with a landscape. “San Antonio de Padua.” Diamond- 
 shaped pierced wrought iron lock, offset hasp and hinges 
 to match. No key. Made in Ibarra, late XVIIth Cen- 
 tury. From Iglesia de Santo Domingo, Ibarra. 
 
 Height, 6 inches; width, 16 inches; depth, 1414 inches. 
 
 SMALL CARVED LEATHER BOX 
 
 (Cajita De Cuero Cabado.) 
 
 Heavy hide, top decorated with geometric medallion sur- 
 
 rounded by animals and flower scroll panels; shaped val- 
 
 ance, sides with panelled floral scrolls. Circular wrought 
 
 iron lock and hinges. No key. Made in Ibarra, late 
 
 XVIIth Century. : Height, 534 inches. 
 Width, 161% inches; depth, 11 inches. 
 
 71 
 
280 
 
 282 
 
 283 
 
 SMALL INLAID CHEST 
 (Cajita Embutida.) 
 
 Composed of one large drawer holding two secret draw- 
 ers, inlaid with many rare woods on native mahogany. 
 Top and sides inlaid with panel of flowers; front with an 
 extensive view of the City of Quito. Made in Quito, early 
 XVIIIth Century. Height, 61% inches. 
 
 Width, 17 inches; depth, 14 inches. 
 
 TWO CARVED WOOD AND PAINTED PANELS 
 (Dos Altos Relieves Tallados De Madera Pintados.) 
 
 “CARAS DE ANGELES.” ‘The winged cherubs’ heads are on 
 a gilded and moulded background. Made in Quito, late 
 XVIIth Century. Part missing. Height, 734 inches. 
 
 BONE CARVINGS IN A BOTTLE 
 (Piezas De Hueso En Una Botella.) 
 
 “SIMBOLOS DE LA PASION.” The many symbols of the 
 passion have been skillfully introduced into the narrow 
 necked bottle. Quito, XIXth Century. 
 
 CARVED WOOD BRACKET 
 
 (Repisa De Madera Tallada.) 
 
 Fluted frieze with inverted canopy under, enriched with 
 
 scrolls and flower in relief. Made in Quito in the late 
 
 XVIIth Century. From Iglesia de Guapulo, Quito. 
 Height, 12 inches. 
 
 THREE CARVED WOOD AND PAINTED BRACK- 
 ETS . 
 
 (Tres Repisas De Madera, Talladas y Pintadas.) 
 
 Front of three tapering panels enriched with quaint medal- 
 lions of mirror and carved with flower sprays which are 
 gilded; the apron inlaid with mirror. Made by an In- 
 dian of Quito, XVIIIth Century. From Iglesia de Guap- 
 ulo, Quito. Height, 9 inches. 
 
285 
 
 286 
 
 287 
 
 288 
 
 289 
 
 MIRROR IN CARVED WOOD AND PAINTED 
 FRAME 
 
 Arched top, with rosette center inlaid with small mirror 
 panels illuminated with flowers. Side and base of rococo 
 scrolls. Made by the Cuenca Indians, XVIIIth Century. 
 
 Height, 48 inches; width, 3414 inches. 
 
 SMALL EMBOSSED LEATHER BOX 
 (Cajita De Cuero Repujado. ) 
 
 Heavy hide, decorated with bands of foliated scrolls. Cir- 
 cular wrought iron lock. Key and hasp missing. Made 
 in Ibarra, late XVIIth Century. Height, 714 inches. 
 
 Width, 16 inches; depth, 714 inches. 
 
 SMALL CARVED COFFER 
 (Cofre Pequefio, Tallado.) 
 
 Slightly curved top, carved with floral scrolls in native 
 mahogany. Circular wrought iron lock, hasp and hinges. 
 Key and part of hasp missing. Made in Quito, late 
 XVIth Century. 
 
 Height, 8 inches; width, 16 inches; depth, 8 inches. 
 
 DOUBLE MIRROR IN CARVED WOOD FRAME 
 AND PAINTED PANEL 
 (Espejo Doble En Marco Tallado De Madera, Pintado.) 
 
 Double arched top, surrounded by shell pattern holding 
 lattices of mirror; frame scrolled and rosetted. Made by 
 the Cuenca Indians, XVIIIth Century. 
 
 Height, 40 inches; width, 28 inches. 
 
 TWO MIRRORS IN CARVED AND PAINTED 
 WOOD FRAMES 
 (Dos Espejos En Marcos Tallados De Madera, Pintados.) 
 
 Oval; shaped scroll tops and aprons in the Venetian man- 
 ner. Made of Copuli wood by a Cuenca Indian, early 
 XVIIIth Century. Height, 39 inches; width, 27% inches. 
 
 73 
 
290 
 
 291 
 
 292 
 
 293 
 
 MIRROR IN CARVED WOOD AND GILDED 
 FRAME 
 
 (Espejo En Marco Tallado De Madera, Dorado.) 
 English, XVIIIth Century. The moulded broken cor- 
 ners hold sprays of flowers; frieze with curious leaf sprays 
 and rosettes. Shaped shell and scroll apron. Found in 
 Quito, in the early XI Xth Century. 
 
 Height, 40 inches; width, 24 inches. 
 
 INLAID MOTHER-OF-PEARL BOX 
 (Cajita Embutida Con Madreperla.) 
 
 Entire exterior panelled and inlaid with mother-of-pearl 
 lines and primitive floral motives on rosewood and tortoise 
 shell. Circular wrought iron lock and hasp. No key. 
 Entire interior inlaid with bands of various colored woods. 
 Made in Quito, late XVIIth Century. Used in the “Mon- 
 asterio de Santa Clara,’ for the sacred vessels of the 
 Church. Height, 9 inches. 
 
 Width, 21 inches; depth, 11% inches. 
 
 SMALL INLAID CHEST 
 
 (Gabetita, Embutida.) 
 
 Hinged fall front; interior has seven drawers inlaid with 
 
 mytihical animals; fine wrought iron drop handles; ex- 
 
 terior inlaid with banded panels of boxwood on native ma- 
 
 hogany. Circular wrought iron lock, hasp and two carry- 
 
 ing handles. No key. Made at Ibarra, late XVIIth Cen- 
 
 tury. Height, 11 inches. 
 Width, 17%4 inches; depth, 12 inches. 
 
 THREE MIRRORS IN CARVED WOOD FRAMES 
 (Tres Espejos En Marcos De Madera Tallada.) 
 
 Deeply shaped frames, in the rococo manner. Three 
 brackets at top. Part of one top missing. Made by an 
 Indian of Quito, in the XVIIIth Century. 
 
 Height, 3214 inches; width, 19 inches. 
 74 
 
294 
 
 295 
 
 296 
 
 297 
 
 SMALL CARVED LEATHER BOX 
 
 (Cajita De Cuero Cabado.) 
 
 Deep valanced top, central panel of two facing lions, bor- 
 der of flower scrolls interrupted with the sun in two places, 
 sides match. Circular wrought iron lock, offset hasp and 
 hinges to match. No key. Made in Latacunga, XVIIth 
 Century. This box was discovered in 1901, in the Hacien- 
 da Province of Leon, which formerly belonged to the Mar- 
 quis de San Mateo. It then contained the famous jewels 
 of the last Marchioness, who died about 1675. 
 
 Height, 6 inches; width, 16 inches; depth, 13% inches. 
 
 MIRROR IN CARVED WOOD FRAME 
 (Espejo En Marco Tallado De Madera.) 
 Shaped frame with rococo shell surround. Made by an 
 Indian of Cuenca, XVIIIth Century. 
 Height, 40 inches; width, 26 inches. 
 
 CARVED TRUNK 
 (Bail, Tallado.) 
 
 Boldly carved with repeating foliated pateras, Gothic in 
 feeling; small circular wrought iron lock and hasp. No 
 key. Made by an Indian of Cuenca, late XVIth Century. 
 Height, 104 inches; width, 29 inches; depth, 131% inches. 
 
 INLAID TRUNK 
 
 (Bail, Embutido.) 
 
 Slightly rounded top, entire exterior and inside of top 
 
 finely inlaid with boxwood lines on native mahogany with 
 
 panelled floral scroll pattern, the inside of top is further 
 
 enhanced by a central panel of crowned double eagle 
 
 flanked by two lions. Chiseled and pierced circular lock, 
 
 curious offset hasp and hinges to match. No key. Made 
 
 in Quito, late XVIIth Century, Height, 12% inches. 
 Width, 26% inches; depth, 13 inches. 
 
 75 
 
298 
 
 299 
 
 300 
 
 301 
 
 MIRROR IN CARVED WOOD FRAME 
 
 (Espejo En Marco De Madera Tallada.) 
 
 Irregularly ornamented with scrolls and grapes. Made 
 
 by an Indian of Cuenca, late XVIIIth Century. 
 Height, 331% inches; width, 23% inches. 
 
 INLAID TRUNK 
 (Bail, Embulido.) 
 
 Slightly rounded top, entire exterior and inside of top in- 
 laid with boxwood lines on native mahogany of an ex- 
 tremely interesting panelled pattern of floral scrolls. 
 Pierced wrought iron hinges. No key, lock or hasp. Made 
 in Quito, late XVIIth Century. Height, 13 inches. 
 
 Width, 25" inches; depth, 12 inches. 
 
 INLAID BOX 
 (Gabetita Embutida. ) 
 
 Composed of one large drawer divided into four compart- 
 ments with two secret drawers under. Entire exterior in- 
 laid with fine lines of boxwood on native mahogany with 
 beautiful panelled geometric and floral scroll pattern. 
 Circular chiseled and pierced wrought iron lock with finely 
 pillared hasp terminating with a rosette. Made in Quito, 
 late XVIIth Century. Height, 77% inches. 
 
 Width, 187% inches; depth, 15% inches. 
 
 SMALL INLAID DESK 
 (Escritorito Embutido.) 
 Slanting and lifting flap top, one drawer, interior filled 
 with four drawers, curiously inlaid with various colored 
 woods on native mahogany, flap shows “Rescue,’ by a 
 mounted huntsman of another from a panther; inside a 
 bull fight, drawers with flowers and animals. Made in 
 Cuenca, XVIIIth Century. Height, 7 inches. 
 Width, 211% inches; depth, 18% inches. 
 76 
 
302 
 
 303 
 
 304 
 
 305 
 
 TWO-FOLD INLAID SCREEN 
 
 (Biombo Embutido De Dos Puertas.) 
 
 Arched top, occupied by a many pointed star on which 
 are gazing two diminutive human beings. Under are two 
 panels of large bouquets of flowers, numerous animals and 
 human figures. Inlaid with many colored woods on na- 
 
 tive mahogany. Made by a Mestizo of Quito, in the 
 XVITIth Century. 
 
 Height, each panel, 52 inches; width, 13 inches. 
 
 MIRROR IN CARVED WOOD FRAME 
 (Espejo En Marco De Madera Tallada.) 
 Arched top, with rococo scrolls and rosette center. Made 
 by a Cuenca Indian, XVIIIth Century. 
 Height, 50 inches; width, 24 inches. 
 
 SMALL INLAID TRUNK 
 (Batl Pequefio Embutido.) 
 
 Slightly rounded top; entire exterior and inside of top 
 inlaid with boxwood lines on native mahogany of an ex- 
 tremely interesting panelled pattern of geometric floral 
 scrolls. Pierced wrought iron lock and hinges. No key 
 or hasp. Made in Quito, late XVIIth Century. 
 
 Height, 12 inches; width, 25 inches; depth, 12 inches. 
 
 SMALL INLAID CHEST 
 (Gabetita Embutida. ) 
 
 Composed of one large drawer, which is fitted with four 
 compartments and two secret drawers; entire exterior in- 
 laid with fine lines of boxwood on native mahogany with 
 beautiful panelled geometric and fforal scroll pattern. 
 Circular chiseled and pierced wrought iron lock with finely 
 pillared hasp terminating with a rosette. No key. Made 
 in Quito, late XVIIth Century. Height, 8 inches. 
 
 Width, 17 inches; depth, 15 inches. 
 17 7 
 
THIRD SESSION 
 
 FRIDAY AFTERNOON, MARCH 23, 1917 
 
 AT 2:30 O°CLOCK 
 
 Lots 306 to 465 
 
 PAINTINGS BY ECUADORIAN ARTISTS, PAINTED 
 SCULPTURE, BEAUTIFUL WORK IN WOOD 
 AND IRON, ANCIENT WEAPONS, 
 ANCIENT HAND-WOVEN RUGS 
 (Cuadros por Artistas Ecuatorianos, Esculturas Pintadas, 
 
 Preciosos Trabajos en Madera y Hierro, Alfombras 
 Antiquas Tejidasa Mano) 
 
 306 PAINTING IN CARVED INDIAN FRAME 
 (Cuadro y Marco Tallado.) 
 
 “SAN ANTONIO DE PADUA.” By an Ecuadorian artist of 
 Quito, XVIIIth Century. Frame curiously carved in na- 
 tive wood by an Indian of Quito; Louis XV. motives. 
 Enameled and touched with crimson. From Iglesia de la 
 
 Merced, Quito. 
 Total height, 32 inches; width, 18% inches. 
 
 307 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “SAN JOSE Y NINO.” By an Ecuadorian artist of Quito. 
 Late XVIIth Century. Frame carved in native mahogany 
 by a Mestizo of Quito. 
 
 Total height, 1414 inches; width, 12 inches. 
 78 
 
308 
 
 309 
 
 310 
 
 311 
 
 312 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “MARIA MAGDALENA.” Painted on glass by an Ecuadorian 
 artist of the XVIIth Century at Quito. Frame carved by 
 a Mestizo of Quito. 
 
 Total height, 11 inches; width, 94 inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “SAN PABLO PRIMER ERMITANO.” By an Ecuadorian artist 
 of the XVIIIth Century. Carved frame of native wood. 
 Spanish motif, early XVIIIth Century: 
 
 Total height, 2734 inches; width, 23 inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “ESPOSA DE UN CASIQUE.” Painted by a Cuenca Indian; 
 the frame also carved by an Indian; XVIIIth Century. 
 Total height, 3414 inches; width, 17 inches. 
 
 PAINTING IN FRAME 
 (Cuadro y Marco.) 
 
 “LA HUIDA A EGIPToO.” By an Ecuadorian artist of the 
 XVIIth Century. Tortoise shell frame, inlaid with en- 
 graved ivory. Total height, 914 inches; width, 8 inches. 
 
 PAINTING IN FRAME 
 (Cuadro y Marco.) 
 “SAN FRANCISCO DE Asis.” Painted on glass by an Ecua- 
 
 ‘dorian artist of Quito, in the XVIIth Century. Venetian 
 
 mirror glass frame, early XVIIIth Century. From Con- 
 vento de San Francisco, Quito. 
 Total height, 4276 inches; width, 22 inches. 
 
 79 
 
314 
 
 316 
 
 317 
 
 PAINTING IN CARVED: FRAME 
 (Cuadro y Marco Tallado.) 
 
 “‘ADORACION DE Los REYES.” By an Ecuadorian artist of 
 Quito, XVIIIth Century. Inscription on back of copper 
 panel. Frame carved by a Mestizo. From Iglesia de la 
 Merced, Quito. 
 
 Total height, 21 inches; width, 18% inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “NINO DE LA ESPINA.” By an Ecuadorian artist of the 
 XVIIIth Century. Frame carved by a Mestizo in style 
 of Louis XV. 
 
 Total height, 2414 inches; width, 11% inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “san TADEO.” By an Ecuadorian artist of the XVIIIth 
 Century. Frame carved in native mahogany by an Indian 
 of Quito, motifs of Louis XV. From Convento de San 
 Francisco, Quito. : 
 
 Total height, 2814 inches; width, 13 inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “SAN ANTONIO DE PabuUA.” XVIIth Century. By an 
 Ecuadorian artist from Quito. Frame carved of native 
 mahogany. From Convento de San Francisco, Quito. 
 
 Total height, 10 inches; width, 8 inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “VIRGEN DEL ESPERITU SANTO.” By an Ecuadorian Mestizo 
 of the XVIIIth Century. The frame of native mahogany, 
 carved by a Cuenca Indian. From Monasterio de la Con- 
 cepcion, Quito. Total height, 46 inches; width, 23 inches. 
 
 80 
 
318 
 
 319 
 
 320 
 
 321 
 
 322 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 “PADRE CELESTIAL.” By an Ecuadorian artist of the 
 
 XVIIIth Century. (School of Samaniego.) Frame carved 
 of native wood by a Mestizo. 
 
 Total height, 1544 inches; width, 13% inches. 
 
 PAINTING IN CARVED FRAME 
 
 (Cuadro y Marco Tallado.) 
 
 “ASUNCION DE LA VIRGEN-” Painted by an Ecuadorian 
 Indian of the early XVIIIth Century. Frame curiously 
 carved, gilded and colored; made by an Indian of Cu- 
 enca. From Monasterio del Carmen Alto, Quito. 
 
 Total height, 50'4 inches; width, 31% inches. 
 
 PAINTING IN CARVED FRAME 
 
 (Cuadro y Marco Tallado.) 
 
 “SAN ANTONIO DE PADUA.” Painted by an Ecuadorian art- 
 ist of Quito; early XVIIIth Century. The frame quaint- 
 ly carved in native wood; of an earlier period and made in 
 Quito. From the oldest church in Quito, Iglesia del Belén. 
 
 Total height, 26 inches; width, 19 inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 “niNos sANTOS MARTIRES.” By an Ecuadorian artist of the 
 XVIIIth Century. The frame carved in native wood; of 
 the same period and made in Quito. From Monasterio 
 de las Catalinas, Quito. 
 
 Total height, 22 inches; width, 21% inches. 
 
 PAINTING IN CARVED FRAME 
 
 (Cuadro y Marco Tallado.) 
 
 “ncce Homo.” Painted by an Ecuadorian artist of Quito, 
 
 late XVIIth Century. Frame curiously carved in Spanish 
 
 manner by a Mestizo of Quito. From Iglesia del Belen. 
 Total height, 2814 inches; width, 23 inches. 
 
 81 
 
323 
 
 324 
 
 325 
 
 826 
 
 PAINTING IN CARVED INDIAN FRAME 
 (Cuadro y Marco Tallado.) 
 
 “BUEN pasToR.” Painted by an Ecuadorian artist of 
 Quito, late XVIIth Century. Frame curiously carved in 
 native wood by an Indian of Quito; Louis XV. motive. 
 Enameled and touched with crimson. From Iglesia de 
 la Merced, Quito. 
 
 Total height, 32 inches; width, 1814 inches. 
 
 PAINTING IN CARVED INDIAN FRAME 
 (Cuadro y Marco Tallado.) 
 
 “SAN CAYETANO.” Painted by an Ecuadorian artist of 
 Quito, of the XVIIth Century. Frame of native wood by 
 a Cuenca Indian; curious mirror enrichments, XVIIIth 
 Century; top added. From Iglesia de la Merced, Quito. 
 
 Total height, 32 inches; width, 1714 inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 “potorosa.” Painted by an Ecuadorian artist of Quito, 
 late XVIIth Century. Frame curiously carved in native 
 mahogany by a Cuenca Indian in the XVIIIth Century. 
 From Convento de San Francisco, Quito. 
 
 Total height, 3714 inches; width, 19% inches. 
 
 BEAUTIFUL WORK IN WOOD 
 
 (Preciosos Trabajos en Madera) 
 
 SMALL INLAID CHEST 
 (Gabetita Embutida.) 
 Fall front; interior fitted with four drawers; exterior in- 
 laid on native mahogany with panelled lines; interior of 
 fall with vases of flowers, drawers with geometric figures, 
 which are adorned by beautiful wrought iron open pendant 
 handles. Made in Cuenca, XVIIIth Century. 
 
 Height, 8 inches; width, 18 inches; depth, 12 inches. 
 
 82 
 
327 
 
 328 
 
 329 
 
 RARE CARVED AND GILT COFFER 
 (Cofre Raro, Tallado y Dorado.) 
 
 Flat curved top; exterior carved in low relief in native 
 mahogany with fruit and flower scrolls and birds, gilded, 
 background of Venetian red; back painted with flowers, 
 chiseled and pierced circular, wrought iron lock, many pil- 
 lared hasp and shell terminal hinges. Small parts of lock, 
 hasp and key missing. Made in Quito, XVIIth Century. 
 Used in Monasterio del Carmen Alto, for the vessels of 
 the holy communion. Height, 12 inches. 
 
 Width, 23% inches; depth, 11% inches. 
 
 INLAID TORTOISE SHELL CHEST 
 
 (Gabeta Embutida Con Carey.) 
 
 Hinged top, front composed of four small drawers, square 
 
 central drawer and compartment on top. Front of draw- 
 
 ers inlaid in tortoise shell and ivory with reversed animals 
 
 and scrolls with crown between. The central drawer en- 
 
 graved with “San Antonio de Padua.” Wrought iron 
 
 hinges. Made in Quito, early XVIIIth Century. 
 Height, 101% inches; width, 171% inches. 
 
 Depth, 12% inches. 
 
 RARE INLAID CHEST 
 (Gabeta Rara Embutida.) 
 Fall front and hinged top; interior fitted with six draw- 
 ers curiously carved with animals in low relief and col- 
 ored. Mahogany skilfully inlaid. The exterior with 
 primitive floral panels in colored woods, borders and in- 
 terior of foliated scrolls in boxwood. Fine pierced and 
 chiseled wrought iron circular lock, rare double pillared 
 hasp and shell terminal hinges. No key. Made in Quito, 
 late XVIth Century. Height, 131% inches. 
 Width, 17 inches; depth, 13 inches. 
 
 83 
 
330 
 
 331 
 
 332 
 
 333 
 
 SMALL PAINTED DESK 
 
 (Escritorito Pintado.) 
 
 Shaped front, slanting and lifting top and one drawer; in- 
 
 terior fitted with five drawers. Flap painted with alle- 
 
 gorical hunting scene, interior with oval panel of “San 
 
 Nicolas,” flanked with bride and groom. Made in Quito, 
 
 late XVIIIth Century. Height, 104 inches. 
 Width, 15 inches; depth, 15 inches. 
 
 SMALL INLAID DESK 
 
 (Escritorito Embutido. ) 
 
 Lifting and slanting top; interior fitted with four drawers; 
 exterior and interior enhanced with floral and fruit scrolls, 
 butterflies and masks in various colored woods on native 
 mahogany. Made in Cuenca, XVIIIth Century. 
 Height, 7 inches; width, 2314 inches; depth, 1834 inches. 
 
 INLAID CHEST 
 (Gabeta Embutida.) 
 
 Fall front; interior fitted with eleven varied moulded draw- 
 ers and one square central drawer pillared and arched. 
 Finely inlaid with boxwood and rosewood on native ma- 
 hogany in geometric and floral scrolls. Circular wrought 
 iron lock and rosetted hasp. No key. Made in Cuenca, 
 late XVIth Century. Height, 141% inches. 
 
 Width, 20 inches; depth, 13 inches. 
 
 ILLUMINATED LECTERN 
 (Atril Esmaltado.) 
 Folding of native mahogany; arched base, decorated with 
 panels of birds and fruit, and flower scrolls in crimson, 
 green and blue, gilded scroll borders. Center panel has 
 double-headed eagle marked with the Bishop’s initials, 
 M.A.R. Made in Cuenca by a Mestizo in the late XVIIth 
 Century. Presented to the Bishop of Cuenca. 
 
 Height, 11 inches; length, 10 inches. 
 
 84 
 
334 
 
 335 
 
 336 
 
 337 
 
 INLAID CHEST 
 (Gabeta Embutida.) 
 
 Fall front and hinged top; has three drawers and one 
 compartment. Inlaid inside and out with panelled geo- 
 metric scrolls and boxwood lines and other woods on na- 
 tive mahogany. Wrought iron circular lock, hasp and shell 
 terminal hinges. No key. Made in Cuenca, late XVIth 
 Century. Height, 9% inches. 
 
 Width, 15 inches; depth, 12 inches. 
 
 INLAID COFFER 
 (Cofre Embutido. ) 
 
 Canted top, inlaid with boxwood lines on native mahogany 
 with panels and borders of geometric and floral patterns 
 on the top, sides and front. Fine wrought iron circuler 
 pierced lock, rare pillared hasp and shell terminal hinges. 
 No key. Made in Cuenca, XVIIth Century. 
 
 Height, 16 inches; width, 25 inches; depth, 12 inches. 
 
 INLAID TORTOISE SHELL CHEST 
 (Gabeta Embutida Con Carey.) 
 
 Composed of ten drawers of various sizes, nine are pan- 
 elled with engraved bone in which animals and landscapes 
 appear. ‘The center canopied and similar, with figure of 
 “Virgen de la Rosario.” All drawers are bordered with 
 tortoise shell and moulded rosewood. From Monasterio 
 de las Catalinas, Quito. Height, 1314 inches. 
 
 Width, 28'% inches; depth, 11 inches. 
 
 SMALL INLAID TRUNK 
 (Baul Pequefio Embutido. ) 
 
 Slightly rounded top, enhanced on the four sides and in- 
 terior of top with boxwood on native mahogany. The top, 
 sides and interior of quaint honseysuckle pattern, which 
 is repeated in the borders, the front of foliated scroll and 
 conventionalized animals. Circular wrought iron lock, 
 
 hasp and hinges of the period. No key. Made in Cuenca, 
 
 XVIIth Century. Height, 12% inches. 
 Width, 26% inches; depth, 12 inches. 
 
 85 
 
3388 INLAID AND PAINTED DOOR PANEL ‘ 
 
 (Panel Embutido y Pintado.) 
 
 Architectural in form, with tympanum, columns and ped- 
 estals. The tympanum is of ivory, engraved “Padre Ce- 
 lestial,” frieze of engraved floral scrolls. The background 
 and columns are of tortoise shell. Center panel painted. 
 “San Francisco.” Part of moulding missing. Made in 
 Quito in the late XVIIth Century. From Monasterio de 
 las Catalinas, Quito. 
 
 Height, 20 inches; width, 15 inches. 
 
 OBJECTS IN WROUGHT IRON 
 
 (Cerrajeria) 
 
 It was natural in the early days of the conquest of South 
 America for the Spaniard to turn his hand to working in iron, 
 in order to supply himself with the means of defense and con- 
 quest, as described in Prescott’s “Conquest of Peru.”’ When 
 more settled conditions came, and arms were not wanted in the 
 same degree, the metal worker turned his hand to works of a 
 more peaceful character, producing some unrivalled specimens 
 at the forge. The Mestizo was skillful and practically monopo- 
 lized the working of iron. Many of these locks adorned the 
 treasure chests of various churches, which were left to decay 
 after their contents had been looted or dispersed, at the time 
 of the revolution in Ecuador. 
 
 339 WROUGHT IRON LOCK AND HASP 
 (Chapa y Aldaba De Hierro, Caladas.) 
 Pierced circular lock, with border of shells and scrolls; 
 center of two facing lions. The hinged hasp with twisted 
 pillared canopy, finished at the lower terminal with a 
 raised rosette, the other end, the upper, is pierced with 
 two birds. Both are interestingly chiseled. Made in 
 Quito, early XVIIth Century. 
 Diameter, 51% inches; hasp, length, 11% inches. 
 
 86 
 
340 
 
 341 
 
 342 
 
 343 
 
 WROUGHT IRON LOCK 
 (Chapa De Hierro, Calada.) 
 
 Circular, with scalloped edge enclosing a border of pierced 
 foliated scrolls; interestingly chiseled. Made in Cuenca, 
 late XVIth Century. Diameter, 6% inches. 
 
 WROUGHT IRON LOCK AND HASP 
 (Chapa y Aldaba De Hierro, Caladas.) 
 
 Circular pierced lock, with bold scroll and shell border, 
 plain center. The hinged hasp has a finely moulded shaft 
 terminating in open scrolls and a knob rosette, at the top 
 tapering strap and shell, curiously chiseled. Made in 
 Cuenca, late XVIth Century. 
 
 Diameter, 514 inches; hasp, length, 12% inches. 
 
 WROUGHT IRON LOCK AND HASP 
 (Chapa y Aldaba De Hierro, Caladas.) 
 
 Circular pierced lock, with scalloped edge, zigzag rim, 
 center plain. Hinged hasp with moulded triangular 
 pillar terminating in a knob rosette, upper part scrolled 
 on the edges, the strap finished with a fine shell orna- 
 ment. Made in Cuenca, early XVIIth Century. 
 
 Diameter, 534 inches; hasp, length, 14% inches. 
 
 WROUGHT IRON LOCK AND HASP 
 (Chapa y Aldaba De Hierro, Caladas.) 
 
 Lock in the form of an escutecheon, with the plain center 
 
 shield bordered with bold foliated scrolls. Pillared off- 
 
 set hasp, terminating in a shell, a lifting knob at lower 
 end. Made in Cuenca, XVIIth Century. 
 
 Lock, height, 8 inches; width, 6% inches. 
 
 Hasp, length, 14% inches. 
 
 87 
 
344 
 
 345 
 
 346 
 
 347 
 
 348 
 
 WROUGHT IRON LOCK AND HASP 
 (Chapa y Aldaba De Hierro, Caladas.) 
 
 Circular pierced lock, face slightly curved, scallop and 
 shell border. Curious hinged strap hasp, terminating at 
 the top with trefoil ornament, below a moulded and scrolled 
 shaft. Made in Cuenca, XVIIIth Century. 
 
 Diameter, 43 inches; hasp, length, 9% inches. 
 
 WROUGHT IRON LOCK 
 (Chapa De Hierro, Calada.) 
 
 In the form of an escutcheon, center shield plain with 
 pierced border of bold foliated scrolls and two reversed 
 dolphins on the top. Made in Cuenca, XVIIth Century. 
 
 Height, 8% inches; width, 6 inches. 
 
 WROUGHT IRON LOCK AND SEVEN ANGLE 
 BANDS : 
 
 (Chapa y Siete Esquinas De Hierro, Caladas.) 
 
 Lock in the form of an escutcheon, plain center bordered 
 by quaint open work scrolls and strap work. Corner miss- 
 ing. The angle:bands terminate at both ends with pointed 
 open scrolls. Made in Cuenca, late XVIth Century 
 
 Lock, height, 614 inches; bands, length, 6 inches. 
 
 WROUGHT IRON LOCK 
 (Chapa De Hierro, Calada.) 
 
 Circular, with plain center and pierced scroll border. Side 
 missing. Made in Cuenca, early XVIIth Century. 
 
 Diameter, 634 inches. 
 
 WROUGHT IRON LOCK 
 (Chapa De Hierro, Calada.) 
 
 Circular, with pierced foliated scroll center, border of strap 
 work, shells and foliated scrolls. Made in Quito, late 
 XVIIth Century. Diameter, 7 inches. 
 
 88 
 
349 
 
 350 
 
 352 
 
 WROUGHT IRON BALL PADLOCK 
 
 (Candado De Hierro.) 
 
 Curious ball padlock; originally used by the Spaniards 
 to secure the handcuffs and anklets of the Revolutionary 
 prisoners taken in the unsuccessful rising in Quito. This 
 padlock was dug up under the rooms of the house in which 
 these patriots were trapped. 
 
 WROUGHT IRON LOCK AND HASP 
 
 (Chapa y Aldaba De Hierro, Caladas.) 
 
 Circular, pierced back, scalloped edge, border and center 
 
 of foliated scrolls and strap work. Hinged strap hasp 
 
 terminating in shell, has moulded shaft with rosette knob. 
 
 Has traces of gilding. Made in Quito, XVIIth Century. 
 Diameter, 7% inches; hasp, length, 1214 inches. 
 
 WROUGHT IRON LOCK AND HASP 
 (Chapa y Aldaba De Hierro, Caladas.) 
 Pierced lock in the shape of an escutcheon, plain center 
 shield with border of bold foliated scrolls and shells. Sim- 
 ple hinged strap terminating in a raised leaf lifting piece. 
 Height, 8 inches; width, 634 inches. 
 Length 8 inches. 
 
 WROUGHT IRON LOCK AND HASP 
 (Chapa y Aldaba De Hierro, Caladas.) 
 Circular, pierced lock; center enhanced with two mythical 
 animals and scrolls under which are remains of a thin plate 
 of gold, the elaborate border is a series of facing monkeys 
 between foliated scrolls, all delicately chiseled. Remark- 
 able hasp with double canopy and lantern, double pierced 
 back, terminating in a pineapple knob. (One pendant 
 missing.) Traces of gilding are visible. Made at the 
 apogee of the forge in Quito, middle of the XVIIth Cen- 
 tury. From Iglesia de la Merced, Quito. 
 
 Diameter; 734 inches; hasp, length, 8 inches. 
 
 8) 
 
354 
 
 356 
 
 357 
 
 WROUGHT IRON KEY AND TWO HANDLES 
 
 -(Llave y Dos Tiraderas De Hierro Caladas.) 
 
 Key with open shell bow. Handles oval drops with rosette 
 backs. Made in Quito, XVIIth Century. 
 
 WROUGHT IRON LOCK AND HASP 
 (Chapa y Aldaba De Hierro, Caladas.) 
 
 Circular, pierced lock; center of two facing scrolled grif- 
 fins; intricate interlacing border of foliated scrolls, all 
 beautifully chiseled. Hinged strap hasp of open scrolls 
 terminating in a lobe at the top, finished at the base with 
 a turned over leaf. Made in Quito, late XVIth Century. 
 From Iglesia de la Merced, Quito. 
 
 Diameter, 734 inches; hasp, length, 1434 inches. 
 
 THREE WROUGHT IRON LOCKS 
 (Tres Chapas De Hierro, Caladas.) 
 
 In the form of escutcheons with open work borders. Made 
 in Cuenca, XVIIth Century. 
 Heights, 7 inches, 41% inches and 4 inches. 
 
 THREE WROUGHT IRON SPURS AND STIRRUP 
 (Tres Espuelas y Estribo De Hierro.) 
 Made in Quito, XVIIIth Century. 
 
 WROUGHT IRON LOCK AND HASP 
 
 (Chapa y Aldaba De Hierro, Caladas.) 
 
 Circular, pierced lock, center of foliated scrolls, behind 
 which is a thin plate of gold; crown rim and fleur de lys 
 border finished with beaded rim. Elaborate hinged strap 
 hasp with shell terminal, lower part a double canopy pen- 
 dented, holding a rosetted eagle in full relief. (One 
 pendant missing.) All rarely chiseled. Made in Quito, 
 late XVIth Century. 
 
 Diameter, 8 inches; hasp, length, 14 inches. 
 [See Illustration | 
 90 
 
* 2 4 SR eae cee 
 i : oF sess 
 aay ; 
 
 DP a 
 Ky 
 & 
 
 >. 
 
 ae 
 
 nee, 
 
 o Ae 
 Sag igs 
 
 hs 
 
 WROUGHT IRON LOCKS AND HASPS 
 
 | NUMBER 363] 
 
358 
 
 359 
 
 360 
 
 361 
 
 WROUGHT IRON LOCK AND HASP 
 
 (Chapa y Aldaba De Hierro, Caladas.) 
 
 Circular, pierced lock; plain center, with interesting crown 
 rim, border of foliated floral scrolls. Remarkable hinged 
 hasp, triple canopy, first holding rosetted scroll, second 
 an arched gallery, third with twisted columns and pend- 
 ants; under is a supporting leaf occupied by a rosette and 
 bird in full relief. Made in Quito, early XVIIth Cen- 
 tury. 
 
 WROUGHT IRON LOCK AND HASP 
 
 (Chapa y Aldaba De Hierro, Caladas.) 
 
 Circular, pierced lock; center plain, curious crown rim, 
 deep border of facing birds in foliated scrolled arbors. 
 Hinged hasp of shell and two pendented canopies and 
 twisted shaft terminating in a shield and pineapple knob; 
 all finely chiseled. Made in Quito, late XVIth Century. 
 From Iglesia de Santo Domingo. (Two pendants miss- 
 ing.) Diameter, 8 inches; hasp, length, 1114 inches. 
 
 WROUGHT IRON LOCK AND HASP 
 (Chapa y Aldaba De Hierro, Caladas.) 
 
 Circular, pierced lock; center plain, with double border of 
 
 scroll and shell motives. Hinged hasp with two raised 
 
 rosettes and open scroll terminal. Made in Quito, XVIIth 
 Century. From Monasterio de Santa Clara, Quito. 
 
 Diameter, 734 inches; hasp, length, 13% inches. 
 
 WROUGHT IRON LOCK AND HASP 
 (Chapa y Aldaba De Hierro, Caladas.) 
 
 Circular, pierced lock; with boldly scrolled border. Hinged 
 hasp, with shell and zigzag pattern, shell terminal and 
 rosetted lifting knob. Made in Quito, early XVIIIth 
 Century. From Monasterio de Santa Clara. 
 
 Diameter, 5% inches; hasp, length, 9% inches. 
 
 92 
 
362 
 
 363 
 
 364 
 
 365 
 
 WROUGHT IRON LOCK AND HASP 
 (Chapa y Aldaba De Hierro, Caladas.) 
 
 Circular, pierced lock; heart and scroll border. Hinged 
 hasp, moulded and foliated shaft with rudimentary bird 
 lifting piece, strap and shell terminal. Made in Quito, 
 XVIIth Century. 
 
 Diameter, 6 inches; hasp, length, 15 inches. 
 
 WROUGHT IRON LOCK AND HASP 
 (Chapa y Aldaba De Hierro, Caladas.) 
 
 Lock in the shape of the church’s coat-of-arms; center 
 plain, moulded rim, charming border of beautiful open 
 foliated scrolls and shells. Hinged hasp, with twisted 
 strap and scrolled shell terminal; below a rosette, mould- 
 ed and twisted shaft, under which is a spread eagle in full 
 relief. (Part of rim missing.) Made at the apogee of 
 the forge in Quito, in the middle of the XVIIth Cen- 
 tury. From Iglesia de Merced, Quito. Height, 8% inches. 
 
 Width, 6 inches; hasp, length, 1814 inches. 
 
 [See Illustration | 
 
 WROUGHT IRON HASP 
 (Aldaba De Hierro, Calada.) 
 
 Beautiful triple pendented canopy; the first has scrolled 
 sides and holds a pineapple; the second a pierced gallery; 
 the third flaring columns with caps and moulded bases; 
 under are two raised rosettes. Above is a strap terminat- 
 ing in a shell. Remarkably fine work of the middle of 
 the XVIIth Century, Quito . Length, 1114 inches. 
 
 WROUGHT IRON LOCK AND HASP 
 (Chapa y Aldaba De Hierro, Caladas.) 
 Circular, pierced lock; center with facing winged griffins 
 and scrolls; deep border of intricate floral scrolls; finely 
 chiseled. Hinged pillar hasp boldly moulded, pineapple 
 lifting knob. Made in Quito, late XVIth Century. From 
 the Convento de San Diego, Quito. 
 
 Diameter, 72 inches; hasp, length, 9 inches. 
 
 93 
 
366 
 
 367 
 
 368 
 
 369 
 
 370 
 
 WROUGHT IRON LOCK AND HASP 
 
 (Chapa y Aldaba De Hierro, Caladas.) 
 
 Lock in the form of an escutcheon; plain center, deep open 
 border of foliated scrolls. Hinged strap hasp with lifting 
 curled piece, open shell and scroll terminal. Made in Cu- 
 enca, early XVIIIth Century. From Monasterio de la 
 Concepcion. Height, 7 inches; hasp, length, 14 inches. 
 
 TWO WROUGHT IRON HASPS AND TWO HINGES — 
 (Dos Aladabas y Dos Visagras De Hierro, Caladas.) 
 
 Two hinges with open lobed terminals; strap hinged hasp 
 matching hinges. Hinged hasp with twisted strap and 
 shell terminal and foliated and moulded shaft. Made in 
 Quito, XVIIth Century. Ue 
 
 WROUGHT IRON LOCK AND HASP 
 (Chapa y Aldaba De Hierro, Caladas.) 
 
 Circular, pierced lock; plain center, deep border of repeat- 
 ing palmette motives. Hinged hasp with moulded shaft. 
 Made in Quito, XVIIth Century. | 
 
 Diameter, 614 inches; hasp, length, 1414 inches. 
 
 ANCIENT WEAPONS 
 
 (Armas Antiguas) 
 
 FLINT LOCK GUN 
 (Fusil De Chispa.) 
 Spanish, XVIIth Century. Found in Quito. 
 Length, 3434 inches. 
 
 FLINT LOCK GUN 
 
 (Fusil De Chispa.) 
 
 Spanish, late XVIIth Century. Found in Quito. 
 Length, 42 inches. 
 
 94 
 
372 
 
 373 
 
 EARLY FRENCH RIFLE 
 (Escopeta Francesa.) 
 
 Made in Rouen by Buhot, XVIIIth Century. Originally 
 belonged to Mariano Alvarado, and bears his initials. 
 
 Length, 40 inches. 
 
 SHORT CARBINE 
 (Carabina Pequeifia.) 
 
 Spanish, reconstructed in Quito; used by the revolution- 
 ary army in Ecuador. Length, 21 inches. 
 
 TWO REVOLVERS AND TWO PISTOLS 
 (Dos Revolveres y Dos Pistolas.) 
 
 Used by the revolutionary army in Ecuador. 
 
 LANCE HEAD 
 
 (Lanza.) 
 
 The head of the shaft is a griffin’s head, with small ruby 
 
 eyes. The finely etched blade holds among floral decora- 
 
 tion a coat-of-arms and the following inscriptions: “Dedi- 
 
 cado al exmo Capitan General de Ejercito Sor Don Ig- 
 
 nascio de Venitemilla.” A notable consul of the early 
 
 revolutionary period. Made in Otavalo, Ecuador. 
 Length, 18 inches. 
 
COLLECTION OF 
 RARE ECUADORIAN HAND WOVEN RUGS 
 
 (Coleccion de Tapiceria Nacional) 
 
 These rugs were rightly esteemed precious, and commanded 
 high prices on account of their remarkable wearing quality, 
 their high, soft, lustrous pile, and the wonderful retention of 
 their colors. They were chiefly woven in the neighborhoods of 
 Quito, Ibarra, and Latacunga by the Indians of these districts 
 (a few, perhaps, by Mestizos). The wonderful native wool of 
 the llama, in combination with the use of their vegetable dyes, 
 was responsible for these fine productions. Even Europe had 
 nothing at that day more luxurious or more elaborate. The 
 earliest were made in the latter end of the XVIIth Century, and 
 their weaving was continued until about eighty years ago, when 
 cheap and showy European rugs sealed their doom. Many a 
 grand dame or her maid in the early days of Quito went to 
 mass carrying a rodapie or prayer rug to soften the cold stone 
 steps of the altar. The examples shown in this collection are 
 probably the only remaining pieces to be had, as these rugs 
 have become extremely scarce. 
 
 875 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 Late XVIIIth Century. The center a running hound in 
 a field. Interesting scroll and floral border, in which ap- 
 pear at the base the head and body of two dogs; above in 
 the center is a shell and a field of green. Executed in bril- 
 liant natural colors on a light tan ground. 
 
 Size, 3632 inches x 351% inches. 
 
 876 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 Late XVIIIth Century. Border formed of large leaves, 
 connected by a small spray. Executed in pale lavender, 
 tan and ivory on a lustrous black ground. 
 
 Size, 27 inches x 23 inches. 
 96 
 
377 
 
 379 
 
 380 
 
 381 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 Late XVIIIth Century. Wreath of large hibiscus flow- 
 ers. Executed in pinks, green and yellows on a blue 
 black ground. Size, 26 inches square. 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 Late XVIIIth Century. Large flower border in blues, 
 lavender, yellow, rose, black and green on a ground of rich 
 dark blue. Size, 29 inches x 31 inches. 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 Late XVIIIth Century. Large hibiscus flowers form the 
 center and border. Executed in rose, lavender, ivory and 
 pale greens on a lustrous black ground. 
 
 Size, 31 inches square. 
 
 ECUADORIAN RUG 
 
 (Alfombra Nacional.) 
 
 Late XVIIIth Century. Center a diamond medallion from 
 which emanate quaint flowers surrounded by pointed green 
 leaves, border holds dotted scallops. Executed in crim- 
 son and green on a deep ivory ground. 
 
 Size, 38 inches x 41 inches. 
 
 ECUADORIAN PRAYER RUG 
 
 (Rodapie Nacional.) 
 
 Late XVIIIth Century. Center an elongated bouquet of 
 flowers, two smaller at either end, narrow guilloche bor- 
 der. Executed in rose, crimson, pale lavender, greens and 
 ivory on a light tan ground. Size, 63 inches x 32 inches. 
 
 97 
 
382 
 
 383 
 
 384 
 
 386 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 XVIIth Century. Curious repeating pattern of interlacing 
 flower sprays, leaf border. Executed in pinks, ivory, yel- 
 low and pale greens on a brown black ground. 
 
 Size, 39 inches x 35 inches. 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 Early XVIIIth Century. Four lobed center medallion 
 occupied by a large bouquet of flowers; at the corners 
 are foliated scrolls. Executed in a dull coloring of rose, 
 tan, green, brown and ivory ground of immediate center 
 outside border is black. Size, 36 inches x 35 inches. 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 Late XVIIIth Century. Oval medallion formed of alter- 
 nating flowers and diapered panels from which spring 
 sprays of flowers; the center a rosette and garlands. 
 Executed in various shades of rose, deep brown, lavender 
 and green on a tan ground. Size, 38 inches x 32% inches. 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 Early XVIIIth Century. A large flower wreath executed 
 in rich blues, pale peach and ivory on a brown black 
 ground. Size, 36 inches x 35 inches. 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 Early XVIIIth Century. A medallion formed of shell- 
 shaped scrolls, flowers and leaves is occupied by a bou- 
 quet of large flowers. Executed in green, black, pink and 
 ivory on a rich rose ground. Size, 35 inches square. 
 
 98 
 
387 
 
 388 
 
 389 
 
 390 
 
 391 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 Early XVIIIth Century. Lozenge-shape laurel wreath 
 with the initials of the owner, M. C., occupying the center. 
 Executed in very pale lavender on a black ground. 
 
 Size, 32 inches x 30 inches. 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 Late XVIIth Century. Border of angular floral and leaf 
 motives in pale lavender and ivory on a lustrous black 
 ground. Size, 35 inches x 34 inches. 
 
 ECUADORIAN PRAYER RUG 
 (Rodapie Nacional.) 
 XIXth Century. A pointer at the edge of a pool in which 
 
 is a duck. Vases of flowers at either end in natural colors 
 on brown black ground. Size, 6014 inches x 19 inches. 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 The center is occupied by a cat, under are the initials 
 M. C. D. B.; banded border of S scrolls. Executed in 
 
 orange on a rich crimson ground. 
 
 Size, 28 inches x 26 inches. 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 Early XIXth Century. Four lobed floral medallion cen- 
 
 ter; in rose, lavender and green on an ivory ground. Quaint 
 floral spray border on a green ground. 
 Size, 34 inches x 30 inches. 
 
 99 
 
392 
 
 393 
 
 394 
 
 395 
 
 396 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 Rare; XVIIth Century. The center is occupied by a run- 
 ning hound, foliage at the four corners; a narrow band 
 border. Executed in pale grey, yellow and brown on a 
 lustrous black ground. Size, 34 inches x 31 inches. 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 XVIIth Century. An irregular wreath holding pomegran- 
 ate motives and flowers with sprays of smaller flowers 
 growing to the center, forming a square-shaped wreath in 
 which are the initials of the late owner, A. C. Executed 
 in an ivory tan on rich, lustrous black ground. (Needs 
 slight repairs.) Size, 41 inches x 39 inches. 
 
 ECUADORIAN RUG 
 
 (Alfombra Nacional.) 
 
 XVIIth Century. The center is occupied by four large 
 floral sprays springing from the corners. Lavender, pink 
 and ivory on a rich dark brown ground. Border of rich 
 ivory with brown dots in the form of scallops. 
 
 Size, 3344 inches x 35% inches. 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 Late XVIIth Century. An irregular spray of large flow- 
 ers occupies the center, the corners hold conventional floral 
 sprays. Executed in lavender, pink, ivory and black on 
 a rich yellow ground. Size, 32 inches x 30) inches. 
 
 ECUADORIAN RUG 
 
 (Alfombra Nacional.) 
 
 Late XVIIth Century. Diamond floral medallion in cen- 
 ter, surrounded by the name of the owner. Intricate floral 
 border, from which spring to the center four floral sprays. 
 Executed in pale lavender, ivory and dull yellow on a 
 black ground. Size, 35 inches x 33% inches. 
 
 100 
 
397 
 
 398 
 
 399 
 
 4.00 
 
 401 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 Late XVIIth Century. Enhanced with a wreath of large 
 flowers ; in the center a rosette; executed in lavenders, soft 
 yellows, ivory and black on a soft dull spring green ground. 
 
 Size, 351% inches x 33% inches. 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 XVIIth Century. Center a four-lobed floral pattern, in 
 which appear Inca motives; narrow floral border. Dark 
 rich coloring of crimson, blue, black and yellow on a deep 
 tobacco colored background. Size, 31 inches square. 
 
 ECUADORIAN RUG 
 
 (Alfombra Nacional.) 
 
 XVITIth Century. Placed at each corner pointing to the 
 center are sprays of pink flowers on a background of rich 
 brown. The border is of curious scallops in coloring to 
 match center. | Size, 39% inches x 39 inches. 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 Late XVIIth Century. An all over repeating pattern of 
 geometric floral medallions alternating with primitive leaf 
 motives. Executed in blues, crimsons, lavenders, yellows 
 and ivories on a background of soft olive green. 
 
 Size, 52 inches x 40 inches. 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 Late XVIIth Century. Irregular octagonal floral medal- 
 lion center; border curious floral sprays. Executed in 
 lavender, rose, dull yellow, green, black and ivory on a 
 dull brownish olive ground. Size, 40 inches x 34 inches. 
 
 101 
 
402 
 
 403 
 
 404 
 
 406 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 Late XVIIth Century. <A central rose emits in the form 
 of a cross, four tulip-like flowers and diagonally four 
 leaves and husks; the border is of quaint scallops. Exe- 
 
 cuted in rose lavender and ivory on a pale olive green 
 ground. Size, 3814 inches x 33% inches. 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 Late XVIIth Century. A mythical lion and a strange bird 
 occupy the center; large detached hibiscus flowers form an 
 irregular border. Executed in dull pinks, greens, laven- 
 ders, yellow and rich ivories on a brown black ground. 
 
 Size, 3414 inches x 38 inches. 
 [See Illustration | 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 Late XVIIth Century. A central bouquet of flowers; at 
 the corners floral sprays; charming floral scroll border; 
 executed in lavenders, pink, old gold, greens and ivory 
 on a black background. Size, 321% inches x 31 inches. 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 Late XVIIth Century. A wreath of pink hibiscus and 
 dull pale green leaves encloses a wreath of small pink 
 flowers; sprays are at the corners; background of soft 
 olive green. (Needs repairing.) ; 
 Size, 38 inches x 40 inches. 
 
 ECUADORIAN RUG 
 (Alfombra Nacional.) 
 
 Late XVIIth Century. From the central floral bouquet 
 spring four sprays of flowers; dull soft rose, pale greens 
 and ivory on a brown black background; border of quaint 
 floral scallops to match. Size, 361% inches x 34 inches, 
 
 102 
 
ECUADORIAN RUG, LATE XVIIth CENTURY 
 [NUMBER 403] 
 
PAINTED SCULPTURE 
 (Escultura Pintada) 
 
 This rare group of Ecuadorian sculptures, mostly in wood and 
 carefully decorated in colors, shows a finely developed school, with 
 which those of no other colony of any nation of the XVIIth and 
 XVIIIth Centuries can compare; it is also remarkable that this 
 work in almost every instance was the product of native Indians 
 or the Mestizos (those of mixed blood). The traditions and fine 
 work seem to have had continuity till the revolution and throwing 
 off of the Spanish yoke. The numerous churches and religious in- 
 stitutions in Quito fostered art in all its forms, notably the cruci- 
 fixions, which were not only known all over the continent of South 
 America, but those of Velez and other sculptors reveived European 
 commissions. Through the care of the Alvarado family it is 
 fortunately possible to give the names of many of the sculptors 
 who gave these interesting objects to the world. Many pieces are 
 of extremely hard mahogany; on the other hand, some are of balsa, 
 a very soft and light wood that is indigenous to Ecuador. The 
 quaint group of caricatures are of the early part of the last century 
 and were used to provoke mirth at grand banquets of that period. 
 
 The following sculptors are represented, and the dates of 
 their work are approximately placed. It is also noteworthy 
 that examples of these Ecuadorian sculptors are to be found in 
 various museums in Europe: 
 
 AVILA, a Mestizo of Quito, noted for his finely sculptured figures 
 in the Church of San Francisco in his native city. XVIIth Century. 
 
 CASPICARA, See Chilli. 
 
 CEVALLOS, Mestizo of Quito, late X VIIIth Century. 
 
 CHILLI, Manuel, known as Caspicara, an Indian of Quito, formed 
 a school with many pupils, late X VIIth Century. 
 
 CHIRIBOGA, Mestizo of Quito, XVIIIth Century. 
 
 CARRILLO, Domingo-Mestizo of Quito, pupil of Unda, XIXth Cen- 
 tury. 
 
 DAVALOS, Magdalena, Mestizo of Quito, XIXth Century. 
 
 GUIRACOCHA, Indian of Cuenca, XIXth Century. 
 
 GUAMAN, Indian of Cuenca, pupil of Caspicara, early XVIIIth 
 Century. 
 
 Lopez, Jacinto-Mestizo of Quito, early XVIIIth Century, a noted 
 pupil of Caspiscara, referred to by Padro Velasco in his work “The 
 History of Ecuador.” . 
 
 LEGARDA, Bernardo-Mestizo of Quito, X VIIIth Century. 
 
 OLMOs, known as Pampite or Pampita, an Indian of Quito, pupil 
 of Caspicara, X VIIIth Century. 
 
 PaALacios, Mestizo of Quito, XVIIIth Century. 
 
 PAMPITE, see Olmos. 
 
 RopRIGUEZ, M., Indian of Quito, early XIXth Centyry. 
 
 Unpba, Indian of Quito, desciple of Pampite, early XIXth Century. 
 
 VELEZ, Mestizo of Cuenca, early XITXth Century. 
 
 ZANGURIMA, Indian of Cuenca, XVIIIth Century. 
 
 104 
 
407 
 
 408 
 
 409 
 
 410 
 
 CARVED WOOD AND PAINTED GROUP 
 (Grupo Escultado De Madera, Pintada.) 
 
 “DOS CARAS DE ANGELES.” Looking slightly towards one 
 another, their wings folded. Executed by Carrillo. 
 
 Height, 414 inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada De Madera, Pintada.) 
 
 “un BUEY.” The bull is reclining 
 
 g, its head raised, bellow- 
 
 ing. Executed by M. Rodriguez. Length, 9 inches. 
 
 CARVED WOOD AND PAINTED GROUP 
 (Grupo Escultado De Madera, Pintada.) 
 
 “Humpa A EGIPTO.” The Holy Mother is seated in a chair, 
 mounted on the back of an ass, she holds in her arms the 
 infant Christ. Executed by Domingo Carrillo. From 
 Monasterio de San Juan, Quito. Height, 12% inches. 
 
 CARVED WOOD AND PAINTED GROUP 
 (Grupo Escultado De Madera, Pintada.) 
 
 ‘Dos NINOS ENTRELAZADOS Y DESNUDOS.”’ The two young 
 boys are nude, one has his arms round the other in a re- 
 straining embrace. Executed by Palacios after Pampite. 
 
 Height, 12% inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultado De Madera, Pintada.) 
 “VIRGEN sANTISIMA.”. The robed figure is in a kneeling 
 posture; the robes are interestingly illuminated. Executed 
 by M. Rodriguez. (‘Two hands missing. ) 
 
 Height, 12 inches. 
 
 105 
 
412 
 
 413 
 
 414 
 
 415 
 
 416 
 
 417 
 
 HEAD MODELLED IN WAX 
 (Cabeza De Cera.) 
 
 “‘sesucRiIsTO. The head turns to the left; the hair is of 
 carved wood. By Velez. From Iglesia de la Merced, 
 Cuenca. Height, 6 inches. 
 
 CARVED MARBLE FIGURE 
 (Figura Escultada De Marmol.) 
 
 “un LEON.” The lion rests on his haunches, his mouth 
 open, roaring. Executed by Guaman. 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada De Madera, Pintada.) 
 
 “aTteTA.’ The athlete is nude, ready for the contest. 
 Executed by M. Rodriguez. Height, 61% inches. 
 
 CARVED AND GILDED CROSS 
 (Cruz Escultada De Madera, Dorada.) 
 
 Straight cross, enhanced with curious rope moulding, set 
 on foliated base and standing on an oblong moulded and 
 scrolled pedestal. Quito, XVIIth Century. 
 
 Height, 34 inches. 
 
 CARVED WOOD AND GILDED FIGURE 
 (Figura Escultada De Madera, Dorada.) 
 
 “UN LEON SOBRE EN PEDESTAL.” A lion supports a shield 
 on which is a small painting of St. Martin; foliated and 
 moulded pedestal. Quito, late XVIIth Century. 
 
 Height, 154 inches. 
 
 CARVED WOOD AND PAINTED BUST 
 (Busto Escultado De Madera, Pintado.) 
 “RETRATO DE SENOR ESPINOZA.” An Ecuadorian minister. 
 
 Height, 7 inches. 
 106 
 
418 
 
 419 
 
 420 
 
 421 
 
 422 
 
 423 
 
 hand. One hand missing. By Velez. 
 
 FOUR MASKS OF SAINTS 
 (Cuatro Mascarillas De Santos. ) 
 
 €€ 
 
 SAN ANTONIO DE PADUA,” “LA VIRGEN DEL CARMEN,” 
 “e 3 ° . : 
 poLorosa, all in lead painted; “sesucristo” carved in 
 
 ivory. Modelled by Velez. From Iglesia del Buen Pastor, 
 Quito. 
 
 CARVED IVORY FIGURE 
 (Figura Escultada De Marfil.) 
 
 “SAN ANTONIO DE PADUA.” Standing with tome in his right 
 
 Height, 514 inches. 
 
 TWO MASKS OF THE VIRGIN 
 (Dos Mascarellas De La Virgen.) 
 
 One of lead and the other painted. Finely modelled by 
 Velez. From Iglesia del Buen Pastor, Quito. 
 
 MASK OF A SAINT 
 (Mascarilla De Un Santo.) 
 
 “san JUAN.” Life sized, finely modelled in lead and paint- 
 ed. By Velez. From Iglesia del Buen Pastor, Quito. 
 
 SKULL, CARVED AND PAINTED WOOD 
 (Calavera, De Madera Escultada y Pintada.) 
 
 A devoteés relic, executed by a pupil of Caspicara. Quito, 
 XVIIIth Century. 
 
 HORSE, CARVED AND PAINTED WOOD 
 (Caballo De Madera Escultado y Pintado.) 
 
 In resting position; executed by a pupil of Caspicara. 
 Quito, XVIIIth Century. Length, 11 inches. 
 
 107 
 
4:2 4: 
 
 425 
 
 4.26 
 
 427 
 
 428 
 
 GROUP IN WAX 
 (Grupo De Cera.) 
 
 An old Mestizo is having a thorn removed from his foot 
 by his wife; costumes of the region of Tulcan. Executed 
 by Carrillo. 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada De Madera Pintada.) 
 
 “SAN JUAN EVANGELIsTA.” Standing and exhorting to 
 good deeds; robed in crimson mantle and green undertunic. 
 Both hands missing. Executed by Bernardo Legardo. 
 
 Height, 1114 inches. 
 
 CARVED BONE FIGURE IN SHRINE 
 (Figura Escultada De Hueso, En Urna.) 
 
 “LA VIRGEN Y EL NINO.” Standing in regal robes, holding 
 the child Jesus in her left hand. Executed by a pupil of 
 Avila. Shrine of Venetian mirror. 
 
 Total height, 10 inches. 
 
 PAINTED FIGURES IN A SHRINE 
 (Figuras Pintadas En Urna.) 
 
 “SANTISIMA VIRGEN ENTRANDO EN EL CIELO.” The Vir- 
 gin is surrounded by many cherubim; above is the celes- 
 tial Father, modelled in composition by Guaman. | 
 
 Height, 10% inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura De Madera Pintada.) 
 
 “nino pios.” In full relief, reclining with outstretched 
 hands and eyes turned heavenward. Robed in lace and 
 gauze. Executed by Unda. Length, 14 inches. 
 
 108 
 
430 
 
 4:31 
 
 432 
 
 433 
 
 CARVED WOOD AND PAINTED PANEL 
 (Alto Relieve Tallado De Madera Pintada.) 
 
 “SAN LORENZO.” In high relief; the full-length robed 
 figure stands with a tome in his right hand and supports 
 himself on a large gridiron with his left; on a gilded back- 
 ground; curious leaf moulded frame. Executed by Ber- 
 nardo Legardo. From the Monasterio de la Concepcién. 
 
 Height, 37 inches. 
 
 CARVED WOOD AND PAINTED PANEL 
 (Alto Relieve Tallado De Madera Pintada.) 
 
 “JESUS NAZARENO. In high relief, seated figure with tied 
 hands; exhausted by torture. Executed in Quito in the late 
 XVIIth Century. Height, 11 inches. 
 
 CARVED MARBLE AND PAINTED CROSS 
 (Cruz Tallada De Marmol, Pintada.) 
 
 ‘““ADORACION DE LA cruz.” The green cross is surrounded 
 at the top by curious Gothic carving; under are two panels 
 holding winged saints; the base is similarly treated to the 
 top. Made in Quito, late XVIth Century. 
 
 Height, 10 inches. 
 
 TWO CARVED WOOD AND PAINTED FIGURES 
 (Dos Figuras Escultadas De Madera, Pintadas.) 
 
 “aDAN Y EVA.” Two graceful standing figures, natural- 
 istically painted. Executed by a disciple of Caspicara, late 
 XVIIth Century. Height, 9% inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 
 (Figura Escultada De Madera, Pintada.) 
 
 “uN HoLGAZAN.” The insolent bandit stands with his 
 arms folded in his tattered coat. Executed by M. Rodri- 
 guez, after Caspicara. Height, 7% inches. 
 
 109 
 
434 PAINTED FIGURE 
 
 435 
 
 436 
 
 (Figura Pintada.) 
 “NINO bios.” Modelled in composition. The reclining 
 Christ is gently sleeping. Executed by M. Rodriguez. 
 
 Length, 6% inches. 
 
 CARVED WOOD AND PAINTED GROUP 
 (Grupo Escultada De Madera, Pintada.) 
 
 “DOS NINOS ENTRELAZADOS Y DESNUDOS.” The two young 
 
 boys are nude, one has his arms round the other in a re- 
 
 straining embrace. Executed by a pupil of Pampite. 
 Height, 8% inches. 
 
 CARVED WOOD AND PAINTED GROUP 
 (Grupo Escultado De Madera Pintado.) 
 
 “pos Musas.” Two Muses in flowing robes are seated on 
 a rocky base, evidently in the act of singing. Executed 
 by M. Rodriguez. Length, 9 inches. 
 
 CARVED AND PAINTED FIGURES 
 
 (Figuras Escultadas y Pintadas) 
 
 The following interesting figures of Shepherds, Shepherd- 
 
 esses and Peasants Carrying Their Offerings were placed on the 
 altars of the various churches, emblematic of their donors’ faith, 
 devotion, and hope for the recovery of the sick, either man or 
 
 beast. 
 
 THESE FIGURES WERE AN ORIGINAL CONCEPTION IN ECUADOR AND 
 WERE MOSTLY EXECUTED BY THE INDIANS OF CUENCA. 
 
 437 
 
 TWO CARVED AND PAINTED FIGURES 
 (Dos Figuras Escultadas De Madera, Pintadas.) 
 
 “DOS PASTORES CON SUS PRESENTES:” One peasant boy 
 standing, the other seated, each with his offerings. From 
 Iglesia de la Merced, Cuenca. Height, 2% inches. 
 
 110 
 
438 
 
 439 
 
 4:40 
 
 44] 
 
 4.4.2 
 
 443 
 
 TWO CARVED WOOD AND PAINTED FIGURES 
 (Dos Figuras Escultadas De Madera, Pintadas.) 
 
 “DOS PASTORAS CON SUS PRESENTES.” Two peasant women 
 with their offerings, kneeling at their devotions.” 
 
 Height, 7'4 inches. 
 
 TWO CARVED WOOD AND PAINTED FIGURES 
 (Dos Figuras Escultadas De Madera, Pintadas.) 
 
 ce . ”) . 
 DOS PASTORES CON SUS PRESENTES. A peasant and his 
 wife carrying their offerings. Height, 10% inches. 
 
 TWO CARVED WOOD AND PAINTED FIGURES 
 (Dos Figuras Escultadas De Madera, Pintadas.) 
 
 “DOs PASTORES CON SUS PRESENTES.” A peasant and his 
 wife carrying their offerings. From Iglesia de la Merced, 
 Cuenca. Height, 10 inches. 
 
 TWO CARVED WOOD AND PAINTED FIGURES 
 (Dos Figuras Escultadas De Madera, Pintadas.) 
 
 “Dos PASTORES CON sUS PRESENTES.” A shepherd and 
 shepherdess kneeling with their offerings. From Iglesia 
 de la Merced, Cuenca. Height, 51% inches. 
 
 TWO CARVED WOOD AND PAINTED FIGURES 
 (Dos Figuras Escultadas De Madera, Pintadas.) 
 
 “DOS PASTORES CON SUS PRESENTES.” ‘Two peasants carry- 
 ing their offerings. From Iglesia de la’ Merced, Cuenca. 
 
 Respective heights, 6 inches and 7 inches. 
 
 TWO CARVED WOOD AND PAINTED FIGURES 
 (Dos Figuras Escultadas De Madera, Pintadas.) 
 
 “Dos PASTORES CON SUS PRESENTES.” ‘I'wo peasants carry- 
 ing their offerings. From Iglesia de la Merced, Cuenca, 
 Respective heights, 9 inches and 10 inches. 
 
 TUT 
 
444 
 
 445 
 
 4.4.6 
 
 44:7 
 
 448 
 
 TWO CARVED WOOD AND PAINTED FIGURES 
 (Dos Figuras Escultadas De Madera, Pintadas.) 
 
 “DOS PASTORES CON SUS PRESENTES. A seated peasant; 
 his daughter standing. From Iglesia de la Merced, Cu- 
 enca. Respective heights, 6 inches and 8% inches. 
 
 TWO CARVED WOOD AND PAINTED FIGURES 
 (Dos Figuras Escultadas De Madera, Pintadas.) 
 
 “DOS PASTORES CON SUS PRESENTES.” Two peasants carry- 
 ing their offerings. From Iglesia de la Merced, Cuenca. 
 
 Height, 5 inches. 
 
 TWO CARVED WOOD AND PAINTED FIGURES 
 
 “Dos PASTORES CON SUS PRESENTES.” A peasant and_his 
 daughter carrying their offerings. From Iglesia de la 
 Merced, Cuenca. 
 
 Respective heights, 314 inches and 4 inches. 
 
 SIX CARVED TAGUA AND PAINTED MINIA- 
 TURES 
 
 (Seis Miniaturas Escultadas De Tagua, Pintadas.) 
 
 “DOS PASTORES CON SUS PRESENTES.” ~Four standing peas- 
 ant women and two seated peasants, all with their offer- 
 ings. Vegetable ivory (Tagua). School of Rodriguez. 
 
 FIVE CARVED TAGUA AND PAINTED MINIA- 
 TURES 
 
 (Cinco Miniaturas Escultadas De Tagua, Pintadas.) 
 
 “DOS PASTORES PRESENTES.” Various animals; a bull, 
 llama, dog, llamas and fowl, and a hen with her chickens. 
 Vegetable ivory. School of Rodriguez. 
 
 112 
 
A GROUP OF FIGURES 
 (Un Grupo de Figuras) 
 
 Illustrating the phases of Ecuadorian life in the early XIXth 
 Century. The Indians of Cuenca (Ecuador) made a special 
 feature of these interesting carvings. 
 
 449 
 
 451 
 
 452 
 
 TWO CARVED WOOD AND PAINTED FIGURES 
 (Dos Figuras Escultadas De Madera, Pintadas.) 
 Two itinerant musicians. 
 
 Heights, 1014 inches and 9% inches. 
 
 TWO CARVED WOOD FIGURES 
 (Dos Figuras Escultadas De Madera.) 
 Two musicians. Executed by Carrillo. 
 Height, 10 inches. 
 
 TWO CARVED WOOD AND PAINTED FIGURES 
 (Dos Figuras Escultadas De Madera, Pintadas.) 
 
 Two Indian peasants, male and female. Height, 9 inches. 
 
 TWO CARVED WOOD AND PAINTED FIGURES 
 (Dos Figuras Escultadas De Madera, Pintadas.) 
 
 Two altar boys in their ceremonial robes. (One hand 
 missing. ) Heights, 814 inches and 9 inches. 
 
 THREE CARVED WOOD AND PAINTED FIGURES 
 (Tres Figuras Escultadas De Madera, Pintadas.) 
 
 Ibarra Indian woman with quaint head-dress; servant girl 
 in green hat; Cuenca woman with an infant on her back 
 and a number of rabbits in her right hand. 
 
 Height, 7% inches. 
 
 113 
 
454 
 
 455 
 
 456 
 
 457 
 
 THREE CARVED WOOD AND PAINTED FIGURES 
 
 (Tres Figuras Escultadas De Madera, Pintadas.) 
 
 A rake in his red cloak; a peasant drinking; a dancer. 
 Heights, 9 inches, 8 inches and 8% inches. 
 
 CARVED WOOD FIGURE 
 (Figura Escultada De Madera.) 
 
 A notorious beggar. (One hand missing.) Executed by 
 Carrillo. Height, 11 inches. 
 
 SEVEN CARVED AND PAINTED MINIATURES 
 (Siete Miniaturas Escultadas, Pintadas.) 
 
 Four medallions of taqua, sacred subjects on both sides; 
 the sleeping infant Christ in taqua; San Vicinte and the 
 
 sleeping infant Christ on a cross both in bone. All exe- 
 cuted by M. Rodriguez. | 
 
 CARVED AND PAINTED TAQUA MINIATURE 
 GROUP ; 
 
 (Grupo Miniatura Escultado De Tagua, Pintado.) 
 
 “FAMILIA sAGRADA.”’ The Virgin and St. Joseph at the 
 
 left and right in supplication before an altar, the Holy 
 
 Spirit surrounded by cherubim hovers above; semi-glob- 
 
 ular. Executed in taqua, by M. Rodriguez. From Iglesia 
 de Chillogallo, Quito. 
 
 TWO CARVED AND PAINTED TAQUA MINIA- 
 TURES 
 
 (Dos Miniaturas Escultadas De Tagua, Pintadas. ) 
 
 “PADRE CELESTIAL.” One, the Holy Father, emerges from 
 the clouds; the other, He stands with orb in left hand. 
 Executed by M. Rodriguez. (Hand missing.) 
 
 114 
 
459 
 
 460 
 
 461 
 
 402 
 
 TWO BONE CARVINGS 
 
 (Dos Piezas De Hueso.) 
 
 Skull in miniature; slide for cords of a priest’s robe, en- 
 hanced with two reversed birds. School of Rodriguez. 
 
 FIVE CARVED TAQUA AND PAINTED MINIA- 
 TURES 
 
 (Cinco Miniaturas Escultadas De Tagua Pintadas.) 
 
 Two standing Dolorosas, sleeping infant and Christ, cherub 
 and saint’s head. School of Rodriguez. 
 
 TWO CARVED TAQUA AND PAINTED MINIA- 
 TURES 
 
 (Dos Miniaturas Escultadas De Tagua, Pintadas.) 
 
 “ANUNSIACION Y NACIMENTO.” The Annunciation has a 
 
 background of a shell. The birth of Christ has the dove 
 
 hovering over; on the reverse is John the Baptist. Exe- 
 
 cuted by a pupil of Rodriguez. 
 
 TWO CARVED TAQUA AND PAINTED MINIA- 
 TURES 
 (Dos Miniaturas Escultadas De Tagua, Pintadas.) © 
 
 “SANTISIMA TRINIDAD, Y LA VIRGEN.” The Holy Trinity 
 occupies a flat shell; the Virgin kneels. Executed by a 
 pupil of Rodriguez. 
 
 TWO CARVED WOOD AND PAINTED FIGURES 
 (Dos Figuras Escultadas De Madera, Pintadas.) 
 “pos ANGELES.” Standing, in red tunic; face and hands 
 of ivory. (Foot missing.) The smaller with red loin 
 cloth. Quito, late XVIIth Century. 
 
 Respective heights, 434 inches and 3 inches. 
 
 115 
 
464 
 
 465 
 
 MARBLE HOLY WATER STOUP 
 (Fuente De Marmol.) 
 
 Circular, with flat handle; curiously decorated with alter- 
 nating and shaped flutings and floral sprays. By Guaman. 
 | Diameter, 37% inches. 
 
 CARVED COCOANUT CUP 
 (Coco Tallado.) 
 
 Curiously decorated with central star, hatched background 
 and irregular border of draped canopies and floral sprays; 
 silver rim. Made by an Indian of Cuenca, late XVIIIth 
 Century. Diameter, 434 inches. 
 
 116 
 
FOURTH SESSION 
 
 SATURDAY AFTERNOON, MARCH 24, 1917 
 AL 2730, O CLOCK 
 
 Lots 466 to 629 
 
 CARVED CARCICATURES AND FIGURES, 
 EMBROIDERIES AND BROCADES, HISTORIC 
 COAT OF MAIL, PAINTINGS, AND 
 ANCIENT FURNITURE 
 
 (Caricaturas y Figuras Escultadas, Bordados y Brocatos, 
 Historica Cota De Malla, Cuadros, y Muebles Antiquos) 
 
 In the late XVIIIth Century a quaint custom was inaugu- 
 rated by one of the grandees of Spain while visiting Ecuador. He 
 saw the work of the expert carvers, and determined to surprise 
 his guests at an important banquet by placing these humorous 
 tokens at their plates. The vogue for these figures continued 
 well into the XIXth Century. Most of these interesting speci- 
 mens were the work of Cuenca Indians. 
 
 466 TWO CARICATURES IN CARVED AND PAINTED 
 
 WOOD 
 (Dos Caricaturas Escultadas De Madera, Pintadas.) 
 Two standing male figures. Height, 71% inches. 
 
 467 TWO CARICATURES IN CARVED AND PAINTED 
 WOOD 
 
 (Dos Caricaturas Escultadas De Madera, Pintadas.) 
 
 One standing and one seated figure of a noted monk, who 
 delighted in a good time, always taking his guitar with 
 him to amuse his host. Heights, 514 inches and 5 inches. 
 
 117 
 
468 
 
 469 
 
 471 
 
 472 
 
 A473 
 
 TWO CARCIATURES IN CARVED AND PAINTED 
 WOOD 
 
 (Dos Caricaturas Escultadas De Madera, Pintadas.) 
 Two standing male figures. Height, 6 inches. 
 
 TWO CARICATURES IN CARVED AND PAINTED 
 WOOD — 
 
 (Dos Caricaturas Escultadas De Madera, Pintadas.) 
 Two standing figures; one male and one female. 
 Respective heights, 714 inches and 5% inches. 
 
 TWO CARICATURES IN CARVED AND PAINTED 
 WOOD 
 
 (Dos Caricaturas Escultadas De Madera, Pintadas.) 
 Two standing male figures; rustic bases. 
 
 Height, 9 inches. 
 
 TWO CARICATURES IN CARVED AND PAINTED 
 WOOD 
 
 (Dos Caricaturas Escultadas De Madera, Pintadas.) 
 Two standing figures; one male and one female. 
 Height, 7 inches. 
 
 TWO CARICATURES IN CARVED AND PAINTED 
 WwooD 
 (Dos Caricaturas Escultadas De Madera, Pintadas.) 
 
 Two standing figures; one male and one female; latter on 
 rustic base. Respective heights, 7 inches and 9 inches. 
 
 TWO CARICATURES IN CARVED AND PAINTED 
 WwooD 
 
 (Dos Caricaturas Escultadas De Madera, Pintadas.) 
 
 Two standing figures; one male and one female. 
 
 Height, 614 inches. 
 118 
 
474 
 
 475 
 
 476 
 
 ATT 
 
 478 
 
 CARICATURE IN CARVED AND PAINTED WOOD 
 (Caricatura Escultada De Madera, Pintada.) 
 Standing male figure. Height, 814 inches. 
 
 TWO CARICATURES IN CARVED AND PAINTED 
 WOOD 
 
 (Dos Caricaturas Escultadas De Madera, Pintadas.) 
 
 Two standing figures; a noted Actor and a noted Actress. 
 (Hand missing of Actor.) 
 
 Respective heights, 744 inches and 8% inches. 
 
 TWO MINIATURE CARICATURES CARVED IN 
 VEGETABLE IVORY 
 
 (Dos Caricaturas Miniaturas Escultadas De Tagua, Pin- 
 tadas. ) 
 
 Standing male figure; seated female figure. 
 
 CARVED AND PAINTED FIGURES 
 
 (Figuras Escultadas y Pintadas) 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada de Madera, Pintada.) 
 
 “un Bury.’ The reclining bull is seen with his head 
 raised; a noble conception. Executed by M. Rodriguez. 
 
 Length, 10% inches. 
 
 CARVED BONE RELIQUARY 
 (Relicario Escultado De Hueso.) 
 “peLEN.” Bethlehem is seen in the distance and a pool 
 
 is in the foreground. In curious oval frame. Executed 
 by Zangurima. From Monasterio de la Concepcion, Quito. 
 Length, 7 inches. 
 
 119 
 
479 
 
 480 
 
 481 
 
 482 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada de Madera, Pintada.) 
 
 “MATER DOLOROSA.” Standing, sorrowful in expression, 
 fine draperies of black and gold. (Two arms missing.) 
 Executed by M. Rodriguez. Height, 17 inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada de Madera, Pintada.) 
 
 “SAN GABRIEL ARCANGEL.” Robed standing figure, with 
 arms extended; the robes illuminated with flowers and 
 gilding. Executed by Pampite, early XVIIIth Century. 
 From Iglesia de Santa Barbara, Quito. 
 
 Height, 534 inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada de Madera, Pintada.) 
 
 “MARIA MAGDALENA. ‘The kneeling figure with hands 
 clasped in the attitude of prayer. Executed by Avila. 
 From Iglesia de Santa Barbara, Quito. 
 
 Height, 714 inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada de Madera, Pintada.) 
 
 “san Jose.” The robed and standing figure is in the at- 
 titude of supplication; robe finely illuminated in colors and 
 gilding. Executed by Bernardo Legarda. 
 
 Height, 11 inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 
 (Figura Escultada de Madera, Pintada.) 
 
 “immacuLaDA. The robed figure stands on a crescent 
 moon, a serpent and clouds, supported on an oblong scrolled 
 pedestal. Executed by Bernardo Legarda. From Con- 
 vento de San Francisco, Quito. Height, 12 inches. 
 
 120 
 
48 4 
 
 485 
 
 486 
 
 487 
 
 488 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada de Madera, Pintada.) 
 
 “SAN MATEO AposToL.” Robed and standing with hands 
 folded in prayer, head directed heavenward; the hand- 
 some robes are finely illuminated with flowers and gilding. 
 Executed by Bernardo Legarda. From Convento de San 
 Francisco, Quito. Height, 111% inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada de Madera, Pintada.) 
 
 “SAN GABRIEL ARCANGEL.” Standing figure in flowing and 
 illuminated robes. Executed by a pupil of Avila. (Both 
 arms missing.) From Convento de San Francisco, Quito. 
 
 Height, 17 inches. 
 
 [See Illustration | 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada de Madera, Pintada.) 
 “pva.” The nude kneeling figure of Eve with hands par- 
 
 tially covering her modest face, supported on a pedestal, 
 
 enhanced with scrolls and two cherubs’ heads. Executed 
 by Zangurima. Total height, 14 inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 
 (Figura Escultada de Madera, Pintada.) 
 
 “NINO DE LA ESPINA.” The seated boy has his right leg 
 crossed over his knee and diligently tries to extract a 
 thorn; robe illuminated with green, crimson and gilded; 
 on a finely scrolled pedestal. Executed by Bernardo Le- 
 garda. Total height, 1114 inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 
 (Figura Escultada de Madera, Pintada.) 
 
 “nfo pros.” The robed kneeling Saviour has the lamb 
 in his right hand; the robe is illuminated in gold and crim- 
 
 son. Executed in Balsa wood by Guaman. 
 Height, 11 inches. 
 
 121 
 
489 
 
 490 
 
 491 
 
 492 
 
 493 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada de Madera, Pintada.) 
 “UN HOLGAZAN.” The bandit stands with arms folded in 
 
 his tattered coat. An air of bravado pervades the whole 
 figure. Executed by Caspicara. Height, 11 inches. 
 
 CARVED WOOD AND PAINTED RELIQUARY 
 (Relicario Escultada De Madera, Pintada.) 
 
 “JESES NAZARENO.” Crowned bust, foliated base resting 
 on an oblong moulded pedestal. In the center of the 
 breast is a circular opening to receive the offerings of the 
 faithful. Executed oye a Mestizo of Quito, late XVIIth 
 Century. Height, 17 inches 
 
 CARVED WOOD AND PAINTED CRUCIFIX 
 
 foe Escultada De Madera, Pintada.) 
 
 “JESUS CRUCIFICADO.” On a rustic cross is the wel fig- 
 ure, a loin cloth knotted around His body; the cross is 
 
 supported on a rocky base, which holds a serpent and a 
 skull. Executed by M. Rodriguez. 
 
 Total height, 11 inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada de Madera, Pintada.) 
 
 “JESUS GLORIOSO.” Seated on celestial clouds, a crimson 
 drapery over the right arm and covering the lower portion 
 of body. Executed by Unda. From Monasterio del Car- 
 men Alto, Quito. Height, 12 inches. 
 
 CARVED WOOD GROUP 
 (Grupo Escultada De Madera.) 
 
 “CUPIDO DOMANDO AL LEON.” Cupid stands with his ar- 
 rows in his right hand and hold the lion’s mane with his 
 left. Executed in native mahogany by Unda. 
 
 Length, 13 inches. 
 
 122 
 
4.04: 
 
 495 
 
 496 
 
 497 
 
 4.98 
 
 CARVED WOOD AND PAINTED FIGURE IN 
 SHRINE 
 
 - (Figura Escultada De Madera, Pintada, En Nicho.) 
 
 “MARIA MAGDALENA.” In flowing robes kneeling with her 
 hands crossed on her breast in the attitude of prayer. The 
 Magdalena occupies a shrine which is carved with scrolls 
 and medallions; these are painted in the interior with fig- 
 ures of saints, XVIIth Century. Quito. Executed by 
 Pampite. 
 
 Height of figure, 9 inches; height of shrine, 141% inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 
 (Figura Escultada de Madera, Pintada.) 
 
 “PADRE CELESTIAL.” Bust length, emanating from clouds, 
 the orb in his left hand and the right hand extended in 
 
 exhortation. Executed by a Mestizo, a pupil of Zangu- 
 rima, XVIIIth Century. Height, 81% inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 “VIRGEN MARIA.” In kneeling posture; robes interestingly 
 
 illuminated. Executed by Avila, XVIIth Century. 
 (Arms missing.) Height, 6 inches. 
 
 CARVED WOOD AND PAINTED FIGURE IN 
 CANOPY 
 
 (Figura Escultada De Madera, Pintada En Nicho.) 
 
 “san JUAN BaAuTIsTA.” The robed figure of the Baptist 
 stands with a conventional shell in his right hand. Exe- 
 cuted by Pampite. The canopy is elongated shell-shaped, 
 enhanced with floral sprays and gilded terminals; on a 
 modern moulded base. Height of figure, 12 inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada de Madera, Pintada.) 
 
 “oracion.” Kneeling figure of young saint with hands 
 crossed on his breast. Executed by Bernardo Legarda. 
 Height, 3% inches. 
 
 123 
 
499 
 
 500 
 
 501 
 
 502 
 
 SCULPTURED MARBLE AND PAINTED FIGURE 
 (Figura Escultada De Marmol, Pintada.) 
 
 “ceRES.” Standing nude figure save for a crimson drap- 
 ery thrown over her shoulder; right hand supports a shield 
 and left hand rests on a cornucopia which hangs from her 
 shoulder. A lamb is at the left. Executed by Zangurima. 
 (Head of lamb missing and parts chipped.) 
 
 Height, 714 inches. 
 
 CARVED WOOD AND PAINTED GROUP 
 
 (Grupo Escultada De Madera, Pintada.) 
 
 “HERCULES LUCHANDO CON EL ToRO.” Hercules has the 
 
 bull at his mercy, his right hand is on its haunches, with 
 
 his left he holds the animal to earth by one of its horns, 
 
 his right knee is on its shoulder. Executed by Guaman. 
 Height, 18 inches. 
 
 CARVED WOOD AND PAINTED GROUP 
 (Grupo Escultada De Madera, Pintada.) 
 
 “Dos NINOS ENTRELAZADOS Y DESNuUDOS.”’ The two young 
 boys are nude, one has his arms round the other in a re- 
 straining embrace. Executed by Pampite. (One hand 
 missing. ) Height, 81% inches. 
 
 CARVED WOOD AND PAINTED CRUCIFIX 
 (Cruz Escultada De Madera, Pintada.) 
 
 “JESUS CRUCIFICADO.” On a rustic cross is the Holy fig- 
 ure, a loin cloth knotted around His body. Executed by 
 Chiriboga. Total height, 34 inches. 
 
 CARVED WOOD AND PAINTED CRUCIFIX 
 (Cruz Escultada De Madera, Pintada.) 
 
 “smsus cRUcIFICADO.” On a rustic cross is the Holy fig- 
 ure, a loin cloth knotted around His body; on circular 
 moulded base. Executed by Velez. 
 
 Total height, 26 inches. 
 124 
 
504 
 
 505 
 
 506 
 
 507 
 
 508 
 
 SCULPTURED MARBLE AND PAINTED FIGURE 
 (Figura Escultada De Marmol, Pintada.) 
 
 “MARIA EGIPcIACA.” In high relief, with a rock as a back- 
 ground, stands the interesting figure reading a book; sup- 
 ported on a carved and gilded wood base. Executed by 
 Jacinto Lopez, early XVIIIth Century. From Monas- 
 terio de la Concepcién, Quito. Height, 7 inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada de Madera, Pintada.) 
 
 “poLtorosa.” Standing with her hands clasped on her 
 bosom in the act of prayer. Robed in a dress of crimson, 
 over which is an ample blue mantle. Executed by M. 
 Rodriguez. From Iglesia de San Roque, Cuenca. 
 
 Height, 11 inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 
 (Figura Escultada De Madera, Pintada.) 
 
 “SAN FRANCISCO DE asis.” The dignified saint stands in 
 full canonicals, a tome in his left hand; he is expounding, 
 his right hand is extended. Executed by M. Rodriguez. 
 From Iglesia de San Roque, Cuenca. Height, 8% inches. 
 
 CARVED WOOD AND PAINTED GROUP 
 
 (Grupo Escultado De Madera, Pintado.) 
 
 “HuIpA A EGIPTO.” The Holy Mother is seated in a chair, 
 mounted on the back of an ass. She holds in her arms 
 the infant Christ. Executed by M. Rodriguez. From 
 Monasterio de San Juan, Quito. Height, 8 inches. 
 
 CARVED WOOD AND PAINTED CRUCIFIX 
 
 (Cruz Escultada De Madera, Pintada.) 
 
 “Jesus crucIFICADO.” On a straight black cross is the 
 Saviour with a loin cloth knotted around His body. Exe- 
 cuted by M. Rodriguez. Total height, 67% inches. 
 
 125 
 
509 
 
 510 
 
 Sit 
 
 TWO CARVED WOOD AND GILDED BRACKETS 
 (Dos Repisas Escultadas De Madera, Dorados.) 
 
 Semi-circular, with panelled mirror backs and apron; in- 
 verted canopy-shaped supports of open scrolls, held to- 
 gether by floral motives; floral hangers and pendants. Late 
 XVIIIth Century. Made by a Mestizo of Quito. 
 
 Height, 16 inches; width, 13% inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 
 (Figura Escultada De Madera, Pintada.) 
 
 “VIRGEN SANTISIMA CON EL NINO.” The primitive figure 
 holds the Child on her left arm and stands on a cherub’s 
 head and cushion; supported on an oblong moulded base. 
 One of the earliest pieces of Ecuadorian sculpture extant. 
 Executed by Avila. (One arm missing.) 
 
 Height, 22 inches. 
 
 [See Frontispiece | 
 
 MINIATURE RELIQUARY 
 
 (Relicario Miniatura.) 
 
 “NACIMENTO Y CRUCIFICACION.” Finely executed with 
 one subject on front and another on reverse; oval scrolled 
 silver frame. Executed by M. Rodriguez. From Monas- 
 terio de Santa Clara, Quito. 
 
 PAINTED WOOD CRUCIFIX 
 
 (Cruz De Madera Pintada.) 
 
 “JESUS CRUCIFICADO.’ On a straight wood cross, the 
 
 Saviour hangs with a loin cloth round His body. By the 
 
 earliest sculptor of Quito, supposed to be the master of 
 
 Avila, XVIth Century. Total height, 39 inches. 
 Found in the ruins of a chureh in Uyumbicho, Province 
 
 of Pichincha. 
 
 126 
 
513 
 
 516 
 
 517 
 
 CARVED WOOD AND PAINTED FIGURE 
 
 (Figura Escultada De Madera, Pintada. ) 
 
 “SAN JUAN.” The youthful figure is clothed in a long 
 blue dress, over which is thrown a rich crimson mantle. 
 
 Executed by M. Rodriguez. Height, 1014 inches. 
 
 CARVED WOOD AND PAINTED GROUP 
 (Grupo Escultado De Madera, Pintado.) 
 “JESUS Y SAN PEDRO.” Standing on a moulded pedestal 
 near a column is the Saviour in His agony, kneeling nearby 
 is St. Peter. Executed by M. Rodriguez. 
 
 Height, 8 inches. 
 
 CARVED WOOD CRUCIFIX 
 
 (Cruz Escultada de Madera.) 
 
 “JESUS CRUCIFICADO.” On a rustic straight cross hangs 
 the Saviour with a knotted loin cloth round His body. 
 Executed by M. Rodriguez. Mounted in a frame curiously 
 inlaid with flowers and fruit. From Iglesia de la Merced, 
 Quito. Total height, 1014 inches. 
 
 CARVED WOOD AND PAINTED PANEL 
 
 (Alto Relieve Escultado De Madera, Pintado.) 
 
 “saN JUAN BAUTISTA. Three-quarter length, the Bap- 
 tist stands with his left hand supported on a cross; over 
 his shaggy skin loin covering is thrown a handsome crim- 
 son and gilded drapery. Moulded and rococo frame. By 
 Bernardo Legardo. From the Monasterio de la Concepcion, 
 Quito. Height, 39% inches; width, 29 inches. 
 
 CARVED WOOD AND GILDED FIGURE IN NICHE 
 (Figura Escultada De Madera, Dorada, En Nicho.) 
 
 “on EspectRo.” The spectre is set in a scrolled and 
 moulded niche. _ Used by a devotee preparing for her end. 
 Executed by Guaman. Height, 1414 inches. 
 
 127 
 
518 
 
 519 
 
 520 
 
 521 
 
 522 
 
 TWO CARVED WOOD AND PAINTED FIGURES 
 (Dos Figuras Escultadas De Madera, Pintadas.) 
 
 “SAN FRANCISCO Y SAN ANTONIO.” Two kneeling figures, 
 in their habits. (Hands missing.) By Caspicara. From 
 Iglesia del Quinche, Quito. Height, 31% inches. 
 
 CARVED IVORY CRUCIFIX 
 
 (Cruz Escultada De Marfil.) 
 
 “JESUS CRUCIFICADOS.” Straight cross of native mahogany, 
 
 mounted with scrolled silver tips and hanging chain. The 
 
 Saviour hangs on the cross with a loin cloth round His 
 
 body and is crowned with thorns. Executed in ivory by 
 
 Caspicara. From Iglesia de la Magdalena, Quito. 
 Total height, 121% inches. 
 
 CARVED IVORY CRUCIFIX 
 (Cruz Escultada De Marfil.) 
 “JESUS CRUCIFICADO.” Straight cross of native mahogany, 
 with moulded silver tips. The Saviour hangs with a loin 
 cloth knotted round His body. Executed by Caspicara. 
 From Iglesia de la Magdalena, Quito. 
 
 ; Total height, 201% inches. 
 
 [See Illustration | 
 
 CARVED AND PAINTED WOOD CRUCIFIX 
 (Cruz Escultada De Madera, Pintada.) 
 
 “sEsus cRucIFICADO.” On a straight cross of rounded 
 stems the Saviour hangs with a knotted loin cloth round 
 His body; naturalistically painted. Executed by Pampite. 
 
 Total height, 2814 inches. 
 
 CARVED WOOD AND IVORY PAINTED FIGURE 
 (Figura Escultada De Madera y Marfil, Pintada.) 
 
 “TA VIRGEN Y EL NINO.” Standing, the infant in Her left 
 hand. Head and child are of ivory. (One hand missing.) 
 Executed by Avila. Height, 51% inches. 
 
 128 
 
CARVED IVORY CRUCIFIX BY CASPICARA 
 
 [NUMBER 520] 
 
523 
 
 524 
 
 525 
 
 527 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada De Madera, Pintada.) 
 
 “san Jose.” Standing with hands extended; finely deco- 
 rated tunic; flowing mantle over shoulders. (One hand 
 damaged.) Executed by Caspicara. Height, 14 inches. 
 
 [See Illustration | 
 
 CARVED WOOD AND PAINTED CRUCIFIX 
 (Cruz Escultada De Madera, Pintada.) 
 
 “JESUS CRUCIFICADO.” On a moulded straight cross hangs 
 the Saviour with a knotted loin cloth round His body. 
 Executed by Guaman. From Monasterio de la Concep- 
 cién, Quito. Total height, 22 inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada De Madera, Pintada.) 
 
 “JESUCRISTO.” Standing on clouds, a rich crimson mantle 
 wound round the lower part of body and thrown over the 
 left shoulder. Executed by Guiracocha. From Iglesia 
 de San Blas, Cuenca. Height, 9 inches. 
 
 CARVED IVORY AND PAINTED FIGURE 
 (Figura Escultada De Marfil, Pintada.) 
 
 “san JUAN.” Standing figure in the habit of a monk. 
 (One arm missing.) Executed by Avila. 
 Height, 7 inches. 
 
 CARVED IVORY AND WOOD, PAINTED FIGURE 
 (Figura Escultada De Marfil y Madera, Pintada.) 
 
 “IMMACULADA.” Draped and standing on a crescent moon. 
 
 (Two hands missing.) Executed by Avila. 
 Height, 8 inches. 
 130 
 
[es¢ aaawoNn] (L6F ‘ON Jo Adourg puy) 
 
 VUVOIdSVO Ad [OSG waaWoN ] [cgp ataWwaN] 
 GASOL NVS VIIAY Ad THINAVYD NVS 
 
 GHHNOlt AHAUVO SVNOL ‘AUNDIA WIdUvIN ; HUNO GHAUVO 
 
 «“ ee ae 
 
 Se ee = Sete. a oe ay 
 
528 
 
 529 
 
 530 
 
 531 
 
 532 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada De Madera, Pintada.) 
 
 “EL BUEN PasToR.” Seated on a rock and drawing the 
 lamb towards himself. Executed by Avila. 
 
 Height, 8%4 inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada De Madera, Pintada.) 
 
 “IMMACULADA.” Draped with flowing robes, standing on 
 a crescent moon, a serpent and clouds. (Two hands and 
 serpent’s head missing.) Executed by Avila. 
 
 Height, 8 inches. 
 
 MARBLE FIGURE 
 (Figura Escultada De Marmol.) 
 
 “EL PROFETA JONAS.” Standing on the head of a large 
 fish, whose body extends up the back of the figure; wearing 
 hooded cloak and carrying in right hand a crown of thorns 
 and in left the three nails from the cross; on modern 
 moulded base. Executed by Avila. From Monasterio de 
 Santa Clara, Quito. Height, 15 inches. 
 
 [See Illustration | 
 
 ‘CARVED WOOD AND PAINTED FIGURE 
 
 (Figura Escultada De Madera, Pintada.) 
 
 “SAN VICENTE FERRER. The robed standing figure holds 
 a tome and skull in his left hand, his right hand extended 
 in exhortation. Executed by Caspicara, late XVIIth Cen- 
 tury. Height, 51%. inches. 
 
 CARVED WOOD AND PAINTED FIGURE 
 (Figura Escultada De Madera, Pintada.) 
 
 “NINO DE LA SILLA.” In full relief; seated in carved and 
 gilded chair. The tunic is illuminated in gilded and rose 
 colored flowers on proce: Roe by Magdalena Dava- 
 los. Height, 20 inches. 
 
 132. 
 
535 
 
 536 
 
 537 
 
 CARVED WOOD AND PAINTED FIGURE 
 
 (Figura De Madera, Pintada.) 
 
 “SAN SEBASTIAN.” In full relief; standing and tied to a 
 tree; nude save for a loin cloth. Executed by Magdalena 
 Davalos. Height, 7 inches. 
 
 CARVED STONE AND PAINTED PANEL 
 
 (Alto Relieve Tallado De Piedra, Pintado.) 
 
 “VIRGEN DEL RosARIO.” ‘The central figure is under a 
 canopy; to the right is Santa Catalina with the cross, and 
 to the left Santo Domingo receiving the Rosary. Made 
 in Quito, early XVIIth Century. From Iglesia del 
 Quinche, Quito. Height, 11 inches. 
 
 PAINTED BANNER 
 (Estandarte Pintado.) 
 
 “poLorosa.” Painted by an artist of Quito, early XVIIIth 
 Century. Mounted on carved top and base. From Iglesia 
 de la Merced, Cuenca. 
 
 Total height, 2514 inches; width, 15 inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro En Marco Tallado.) 
 “SAN PEDRO ALCANTARA.” Painted on marble by an artist 
 of Quito, XVIIth Century. Carved frame of the same 
 period by a Mestizo. 
 
 Total height, 2214 inches; width, 13 inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro En Marco Tallado.) 
 “PAMILIA SAGRADA.” By an Ecuadorian artist of the 
 XVIIIth Century. Frame carved by a Mestizo of Quito 
 in the XVIIIth Century, style of Louis XV. 
 
 Total height, 4114 inches; width, 30 inches. 
 
 133 
 
538 
 
 539 
 
 540 
 
 541 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “SAN JOSE CON EL NINO.” Painted by an Ecuadorian art- 
 ist of the XVIIth Century. Frame carved by an Ecua- 
 dorian of the XVIIIth Century in style of Louis XV. 
 From Iglesia de Merced. 
 
 Total height, 53 inches; width, 38% inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “sanra Lucia: Painted by an Ecuadorian Indian of the 
 XIXth Century. Frame carved by a Cuenca Indian of the 
 XVIIIth Century. 
 
 Total height, 3414 inches; width, 17% inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “VIRGEN DE LA CUEVA SANTA’ (a_ native conception.) 
 Painted by an Ecuadorian artist of Cuenca, late XVIIth 
 Century. Frame carved in native wood by an Indian of 
 Quito, Louis XV. motives. Enameled and touched with 
 crimson, XVIIIth Century. 
 
 Total height, 34 inches; width, 19 inches. 
 
 PAINTING IN TORTOISE SHELL FRAME 
 (Cuadro En Marco Marfil.) 
 
 “LA DOLOROSA CON EL CRISTO MUERTO. Painted by an 
 artist of the early XVIIIth Century of Quito. Frame of 
 the same period. 
 
 Total height, 13 inches; width, 11% inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 
 “SANTA MARGARITA.” Painted by an Ecuadorian artist of 
 Quito, early XVIIIth Century. Finely carved frame of 
 native mahogany made in Quito; very interesting Louis 
 XV. motives. Total height, 41 inches; width, 27 inches. 
 
 134 
 
ah alee 
 
 543 
 
 544: 
 
 545 
 
 546 
 
 547 
 
 PAINTING IN CARVED FRAME 
 
 (Cuadro y Marco Tallado.) 
 
 “UNA ABADESA.” Painted by an Ecuadorian artist of the 
 School of Samaniego, XVIIIth Century. Frame of native 
 wood carved by an Ecuadorian Indian. From Convento 
 de San Francisco, Quito. 
 
 Total height, 17!4 inches; width, 12 inches. 
 
 PAINTING IN CARVED FRAME 
 (Cuadro y Marco Tallado.) 
 “poLtorosa.' By a pupil of Contreras. Ecuadorian, 
 XVIIIth Century. Frame carved in native wood by a 
 Mestizo of Quito; Spanish manner. From Iglesia de San 
 Sebastian, Quito. 
 
 Total height, 231% inches; width, 19 inches. 
 
 PAINTING IN CARVED FRAME 
 
 (Cuadro En Marco Tallado.) 
 
 “poLorosa.” Painted on copper by an Ecuadorian artist 
 of the XVIIIth Century. Frame carved by a Mestizo of 
 the XVIIIth Century. From Monasterio del Carmen Alto, 
 Quito. Total height, 14 inches; width, 127% inches. 
 
 PAINTING IN CARVED FRAME 
 
 (Cuadro y Marco Tallado.) 
 
 “LA VIRGEN DEL QUINCHE” (an original conception of Qui- 
 to.) Painted by an Ecuadorian Indian of Quito, of the 
 early XVIIIth Century. Frame carved by an Indian of 
 Quito; style of Louis XV. From Iglesia del Quinche, 
 Quito. Total height, 11 inches; width, 77 inches. 
 
 PAINTED BANNER 
 (Estandarte Pintado.) 
 “SANTA ROSA DE LIMA Y SANTA MARIANA DE JESUS DE QUITO, 
 A LA SANTISIMA TRINIDAD OFRECIENDO LOS CORAZONES.” 
 Painted by an early XVIIIth Century artist of Quito. 
 Carved crown and base, by a Mestizo of Quito. 
 
 Total height, 60 inches; width, 33% inches. 
 
 135 
 
549 
 
 EMBROIDERIES AND BROCADES 
 (Bordados y Brocatos) 
 
 EMBROIDERED ORNAMENT FOR SAINT’S ROBE, 
 ECUADORIAN, XVIIIru CENTURY 
 
 (Singulo Bordado Para Santa, Ecuatoriano, Siglo, XVIII.) 
 
 Two white satin hearts embroidered with sprigs of flowers, 
 
 in silks, spangles and gold and silver threads, hung from 
 
 wide silver galloon and banded. Made by a nun in Mon- 
 
 asterio del Carmen Alto, Quito. 
 
 BROCADE MANIPULE AND STOLE, SPANISH, 
 XVIItH CENTURY 
 
 (Manipulo y Estola De Brocato Espanol, Siglo XVII.) 
 
 Basket and rosette pattern in heliotrope and ivory, shot 
 
 with silver. Trimmed with silver galloon, fringe and 
 
 tassels. 
 
 TWO BROCADE PANELS, FRENCH, XVIIItH 
 CENTURY 
 (Dos Retasos De Brocato, Frances, Siglo XVIII.) 
 Motives of entwining flower sprays in natural colored 
 silks, cloth of gold ground, on which is silver leafage. Two 
 sides of each trimmed with silver galloon. Triangular. 
 Height, 44 inches; width, 17% inches. 
 
 SAINT’S DRESS, VENETIAN, EARLY XVIIItH 
 
 CENTURY 
 (Tunico De Santo, Venecia, Siglo, XVIII.) 
 Beautiful trailing vines of flowers in natural colored silks 
 and silver threads are over leafage of pale silk, outlined 
 with crimson. The entire ground is of gilded threads. 
 A lovely glow of pale peach pervades the whole. Collar 
 and hem trimmed with silver galloon. From Iglesia del 
 Tejar, Quito. 
 
 136 
 
552 
 
 555 
 
 556 
 
 BROCADE MANIPULE AND STOLE, LOUIS XVI. 
 (Manipulo y Estola De Brocato, Luis XVI.) 
 
 Flowered mulberry silk, enhanced with gold threads. 
 Trimmed with gilded galloon. 
 
 BROCADE CHASUBLE, VENETIAN, XVIItH CEN- 
 TURY 
 
 (Casulla De Brocato De Venecia, Siglo XVII.) 
 
 On a solid cloth of silver ground is an intricate pattern of 
 interlacing flower scrolls and highly conventionalized flow- 
 ers. Executed in natural colored silks, partial outlining 
 of mulberry trimmed with gilt scalloped edge galloon. 
 From Iglesia de la Merced, Quito. 
 
 BROCADE CHASUBLE, FLORENTINE, XVIItTH 
 CENTURY 
 
 (Casulla De Brocado De Florencia, Siglo XVII.) 
 
 Beautiful flowers and fruit are growing on twisted tree 
 stem in silver threads, the flowers and fruit in lovely pastel 
 colored silks, on a mouse grey satin ground. Trimmed 
 with gilded galoon. From Iglesia de la Merced, Quito. 
 
 VELVET WAFER HOLDER, LOUIS XVI. 
 (Guarda Hostia De Terciopelo, Luis XVI.) 
 
 Delicate floral pattern of lustrous cut and uncut black vel- 
 vet. Trimmed with gilded braid. 
 
 Size, 9 inches x 7% inches. 
 
 BROCADE CHASUBLE, LOUIS XVI. 
 
 (Casulla De Brcoato, Luis XVI.) 
 
 Repeating volute floral scrolls with bouquet fie a central 
 motive. Executed in gold threads of various stitches, the 
 flowers natural colored silks on a ground of pale mulberry ; 
 trimmed with a patterned silver galloon. From Iglesia 
 
 de la Merced, Quito. 
 137 
 
557 
 
 558 
 
 559 
 
 560 
 
 BROCADE CHASUBLE, LOUIS XV. 
 
 (Casulla De Brocato, Luis XV.) 
 
 Beautiful interlacing ribbons and scrolls from which spring 
 fine flower sprays, worked in a great variety of stitches in 
 silver threads. The dainty damask ground, salmon and 
 ivory silk shows curious pagodas, floral sprays and other 
 objects. The pillar is of golden striped silk, on which 
 are dainty velvet sprays in dull pink. Trimmed with a 
 
 fine wavy patterned silver galloon. From Iglesia de la 
 Merced, Quito. 
 
 BROCADE CHASUBLE, SPANISH, XVIItH CEN- 
 PUR 
 
 (Casulla De Brocato, Espanol, Siglo XVII.) 
 
 The pillar of pomegranate motives in silver and ivory on 
 heliotrope silk ground intermittently embroidered. The 
 field of basket and rosette pattern in coloring to match. 
 Trimmed with an unusual patterned wide silver galloon. 
 From Iglesia del Tejar, Quito. 
 
 [See Illustration | 
 
 TWO BROCADE STOLES, LOUIS XVI. 
 (Dos Estolas De Brocato, Luis XV.) 
 
 Pink and silver with floral stripe; flower sprays in natural 
 colors with gilded thread ground. 
 
 TWO BROCADE PANELS, VENETIAN, LATE 
 XVIIrH CENTURY 
 
 (Dos Retazos Os De Brocato De Venecia, Siglo XVJI.) 
 Cloth of silver ground, curious sinuous leafy scrolls and 
 rosetted zigzags of gold thread have implanted on them 
 and hold flower sprays and bouquets in natural colored 
 silk. Triangular panels. 
 
 Height, 41 inches; width, 25 inches. 
 
 138 
 
IIth CENTURY 
 
 XV 
 
 LATE 
 558 | 
 
 , SPANISH, 
 [ NUMBER 
 
 CHASUBLE 
 
561 
 
 562 
 
 564 
 
 BROCADE CHASUBLE, LOUIS XVI. 
 (Casulla De Brocato, Luis XVI.) 
 
 The pillar of trailing sprays alternating with dainty bou- 
 quets of flowers in natural colored silks on salmon pink 
 and ivory shot silver ground; the flanking panels are of 
 wave stripes shot with silver, holding repeating doves with 
 wreaths in their beaks. Trimmed with rare patterned sil- 
 ver galloon. From Iglesia del Tejar, Quito. 
 
 CLOTH OF SILVER CHASUBLE, ECUADORIAN 
 EARLY XVIIItrH CENTURY 
 
 (Casulla Tela De Plata, Ecuadoriana, Siglo XVIII.) 
 
 Pillared front, back panelled in form of a cross, trimmed 
 with gilded braid. The panels are embroidered in gilded 
 threads with sprays of quaint flowers and hearts. The 
 cross holds a monstrance, two rosettes, spray and heart, 
 embroidered by the nuns of the Monasterio del Carmen 
 Alto. Late XVIIIth Century, Quito. 
 
 BROCADE WAFER HOLDER, LOUIS XVI. 
 (Guarda Hostia De Brocato, Luis XVI.) 
 
 Sprigs in light blue silk on shot silver ground. Silver 
 galloon border. Height, 914 inches; width, 7 inches. 
 
 BROCADE CHASUBLE, SPANISH, XVIIItH CEN- 
 TURY 
 
 (Casulla De Brocato, Espafiol, Siglo XVIII.) 
 
 The pillar is of gold leafage and flowers trimmed with both 
 silver and gilded galloon. The surround is of scrolls and 
 sprays of flowers in which a palmetto motive is conspic- 
 uously worked in silver gilded, and yellow silk threads 
 on a rich crimson corded silk trimmed with both gilded 
 and silver galloon on the edge. Lined with yellow silk. 
 From Iglesia del Tejar, Quito. 
 
 140 
 
a 
 
 565 
 
 566 
 
 567 
 
 568 
 
 RARE CLOTH OF SILVER AND VELVET CHAS- 
 UBLE, SPANISH, LATE XVIIrH CENTURY 
 
 (Casulla Rara Tela De Plata y Terciopelo, Espafiola, 
 
 (Siglo XVII.) 
 
 On the silver ground are simple interlacing floral scrolls 
 
 of cut and uncut velvet in salmon pink. Trimmed with a 
 
 fine open work scalloped gilded silver lace. From Iglesia 
 de la Merced, Quito. 
 
 BROCADE CHASUBLE, VENETIAN, XVIItn CEN- 
 TURY 
 
 (Casulla De Brocato De Venecia, Siglo XVII.) 
 
 A noble Renaissance pattern. The central conventional- 
 ized bouquet of flowers and fruit repeats, and is flanked 
 with intricate floral scrolls worked in silver threads of 
 various stitches; ground of firmly woven crimson corded 
 
 silk. From Iglesia del Tejar, Quito. 
 
 BROCADE CHASUBLE, SPANISH, LATE XVIItu 
 CENTURY 
 
 (Casulla De Brocato, Espafiol, Siglo XVII.) 
 
 Charming ribbon with zigzag edge interspersed with floral 
 sprays. The pillar in silver and gilded threads and two 
 tones of blue silk; the flanking panels are the same pat- 
 tern, only in two tones of rich red. (The galloon trim- 
 ming is missing.) From Iglesia del Tejar, Quito. 
 
 TWO BROCADE PANELS, FLORENTINE, XVIItH 
 CENTURY 
 
 (Dos Retazos De Brocato De Florencia, Siglo XVII.) 
 Repeating pattern, four irregular clusters of flowers, fruit 
 and shells surround a four lobed central floral motive. Ex- 
 ecuted in brilliant natural colored silk on a figured blue 
 and silver background. (One panel imperfect.) Two 
 parts of a large cape. 
 
 Height, 42 inches; width, 42 inches. 
 
 141 
 
569 
 
 570 
 
 BROCADE CHASUBLE, VENETIAN, XVIItH CEN- 
 TURY 
 
 (Casulla De Brocato, De Venecia, Siglo XVII.) 
 
 Reversed trailing flower scrolls hold at intervals bouquets 
 of beautiful flowers, lavishly enhanced with gold and silver 
 threads in many stitches and golden straw colored silk on 
 a ground of pale delicate apricot.. From Iglesia del Tejar, 
 Quito. 
 
 MAGNIFICENT BROCADE CAPE, VENETIAN, 
 LATE XVIItx CENTURY 
 
 (Capa Elegante De Brocato De Venecia, Siglo XVII.) 
 
 Elaborate reversed scrolls of silver threads repeat and 
 hold between them bouquets of rare flowers. Executed 
 in rich crimson, blue, green and mulberry silk on an ivory 
 damask ground, profusely trimmed with gilded openwork 
 lace. Lined with crimson. 
 
 HISTORIC COAT OF MAIL 
 (Historica Cota de Malla) 
 
 COAT OF MAIL 
 (Cota De Malla.) 
 
 Spanish, XVIth Century, made for Count Lorenzo de 
 Aldana, Conquistador of Colombia and companion in arms 
 of the more famous Francisco Pizarro. Aldana wore 
 this coat of mail in his various campaigns against the 
 Incas and the dissenting Spaniards. He was decorated 
 and rewarded by Jaime I. of Spain for his fidelity and 
 many achievements. The crest seen on the coat of mail 
 was also given to him and is illustrated in the ‘‘Diccionario 
 Enciclopedico Espasa.” This coat was presented to one 
 of the ancestors of the Alvarados while Aldana was pass- 
 
 Ing through Quito previous to his return to Spain. 
 
 Height, 25 inches. 
 
 [See Illustration | 
 142 
 
er ae ee 
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 eres 
 
 wees eee ese 
 
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 COOOCES CEM ee 
 
 SOP ehP SEC CORR ERE OS heehee ee EES 
 ee ee eb we ke ee we ne © ee OS SN 
 , Ce ee te ee 
 Ow Be 
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 pee eos 
 
 ALDANA’S COAT OF MAIL 
 
 Ve ep ee eR Re 8 
 Re RC 
 
 E 
 [NUMBER 571] 
 
 ORENS EERE DO we 
 NEN RN Re Y 
 
 tee? 
 
 * 
 
 COUNT LORENZO D 
 
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 —, 
 
572 
 
 573 
 
 574 
 
 BROCADE PANEL, SPANISH, EARLY XVIIItH 
 CENTURY 
 
 (Retazo De Brocato, Espafiol, Siglo XVIII.) 
 
 Wavy ribbon of silver, edged with small flowers, from 
 which spring large flower sprays. Executed in dull crim- 
 son, silver and ivory on a salmon pink ground. (Pieced.) 
 
 Size, 6 feet x 2 feet 6 inches. 
 
 VELVET CHASUBLE, EARLY LOUIS XVI. 
 
 (Casulla De Terciopelo, Luis XVI.) 
 
 Rare lustrous black ciselé velvet. Detached sprays of 
 lilies and dainty garlands of small flowers. Front and 
 back panelled and trimmed with patterned galloon. From 
 Iglesia del Tejar, Quito. | 
 
 HISTORIC MING JAR 
 
 (Jarron Historico Ming) 
 
 LARGE CHINESE JAR WITH IRON COVER 
 (Jarron Chino Con Tapa De Hierro.) 
 
 Eight spear-shaped panels are occupied by growing flow- 
 ering plants, on the shoulder the symbols of the eight 
 precious objects, at the foot a series of small spear-shaped 
 panels with chrysanthemums in reserve decorated in superb 
 cobalt blue. The body is covered with the original bamboo 
 lattice and carrying handle. Ming Period, 1368-1644. 
 The iron cover is hinged to a reinforcing collar and is 
 chiseled with quaint animals, double hinged strap hasp 
 for lock with curious additional pin fastener at front. oNE 
 OF THE JARS IN WHICH THE FIRST WHEAT WAS BROUGHT 
 FROM SPAIN TO ECUADOR IN THE LATE XVITH CENTURY. 
 This wheat was planted in the Plaza facing the Convento 
 de San Francisco and the jar was treasured in the con- 
 vent itll recently acquired by Sefior Don David Alvarado. 
 
 Height, 19% inches. 
 [See Illustration | 
 144 
 
ae es) a oe 
 
 MING 
 
 FAMOUS WHEAT JAR. 
 
 [NUMBER 574] 
 
575 
 
 576 
 
 BROCADE PANEL, FRENCH, LATE XVIItn CEN- 
 TURY 
 
 (Retazo De Brocato, Frances, Siglo XVII.) 
 
 Central motive of flowers and shell forms, from either 
 side of which spring floral scrolls. Flowers of natural 
 colored silks, scrolls of gold threads and ground of deep 
 ivory. Lined with fine blue damask of the period. Tri- 
 angular. Height, 46 inches; width, 50 inches. 
 
 SIMON BOLIVAR’S CUP 
 
 (Matecito de, Simon Bolivar) 
 
 EL LIBERTADOR’S (SIMON BOLIVAR) MAT 
 CUP 
 
 (Copa Del Libertador (Simén Bolivar.) 
 
 Half a cocoanut shell carved in low relief; with a close 
 fitting silver lining, mounted with a silver rim, the lion of 
 Ecuador and a hanging chain with snap to fasten to the 
 belt. Decorated in low relief as follows: The celebrated 
 General on his favorite charger is seen waving his thanks 
 to the people of Quito, he is triumphantly riding over the 
 deposed Spanish viceroy and the coat of arms of Castille; 
 flanking him are his two famous generals, A. J. de Sucré 
 and M. Cordova; hovering above is the angel announcing 
 his victory and holding a tablet with the inscription “Liv- 
 ertad.” At the foot is a combat between an eagle and a 
 lion. Executed by M. Rodriguez. Presented to Bolivar 
 immediately after the notable day of May 24, 1822, and 
 used by him in all his subsequent campaigns. 
 
 Length, 5 inches; height, 2'% inches. 
 
 [See Illustration | 
 
a 
 
 (OX A nd | 
 
 / 
 SIMON BOLIVAR’S MATE CUP 
 
 | NUMBER 576] 
 
577 
 
 579 
 
 580 
 
 BROCADE CAPE, LOUIS XVI. 
 (Capa De Brocato, Luis XVI.) 
 
 Repeating white floral scrolls, flank repeating heart shaped 
 medallions of flowers. Executed in gold threads of vari- 
 ous stitches, the flowers in natural colored silks; ground 
 of pale mulberry damask. Collar and front trimmed with 
 fine wide openwork gilded silver lace. From Iglesia de 
 la Merced, Quito. Depth, 4 feet; width, 8 feet. 
 
 BROCADE FRAGMENT, VENETIAN, XVIIrH CEN- 
 TURY 7 
 (Retazo De Brocato De Venecia, Siglo XVII.) 
 
 Waves of silver thread enclose. conventional fruit and 
 flowers in silver; ground of crimson silk. 
 
 BROCADE PANEL, FRENCH, LATE XVIItH CEN- 
 TURY 
 
 (Retaso De Brocato, Frances, Siglo XVII.) 
 
 Center panel of crimson silk flanked by panels occupied 
 
 by sprigs of crimson and blue flowers, reversed and reg 
 
 ularly placed in shaped medallions of champagne silk, 
 
 shot with silver. Lined with crimson silk. Triangular. 
 Height, 38 inches; width, 32 inches. 
 
 BROCADE PANEL, VENETIAN, XVIItH CENTURY 
 (Retazo De Brocato, Frances, Siglo XVII.) 
 
 A motive of lobed fruit and honeysuckle form is repeated 
 and flanks highly conventionalized growing fruit and leaf- 
 age. The pattern almost covers the green silk ground and 
 is worked in gilded threads of great variety of stitches. 
 Triangular panel. Height, 42 inches; width, 38 inches. 
 
 148 
 
581 
 
 583 
 
 584: 
 
 COLLECTION OF PAINTINGS 
 
 (Coleccion de Cuadros) 
 
 PAINTING IN FRAME 
 
 (Cuadro En Marco.) 
 
 “INMACULADA.” On oval copper panel, by Antonio Mor- 
 eno, Spanish XVIIIth Century. Height, 67 inches. 
 Etched on the back is an inscription, which may be trans- 
 lated as follows: “This was painted by Don Antonio 
 Moreno for Sefior Conde de Villaespesa as a gift to Don 
 Jose Rivas Esteves y Coll of Madrid 1715. Its value is 
 260 pesetas.” 
 
 DOU@hoemtEormN TINGS ON GLASS IN. CARVED 
 FRAMES 
 (Cuatro Cuadros Pintados En Vidrio, Con Marcos Tal- 
 lados.) 
 “LAS CUATRO ESTACIONES.” Interestingly painted with 
 mirror backs. School of Watteau. Shaped carved frames 
 of the XVIIIth Century. (One glass repaired.) 
 Total height, 24% inches. 
 
 PAINTING IN FRAME 
 
 (Cuadro En Marco.) 
 
 “SAN ANTONIO DE PADUA CON EL NINO.” Oval, Spanish, 
 early XVIIth Century. Bought from the descendants of 
 a noble Spanish family in Quito. Height, 17 inches. 
 
 PAINTING IN CARVED WOOD FRAME 
 (Cuadro En Marco De Madera, Tallado.) 
 
 “SAN FRANCISCO.” On copper panel, Spanish, early XVIIth 
 Century. Frame carved by a Mestizo of Quito, XVIIth 
 Century. Found in the Monasterio de Santa Clara, Quito. 
 
 Total height, 2014 inches; width, 1776 inches. 
 149 
 
585 
 
 586 
 
 587 
 
 PAINTING IN CARVED FRAME 
 (Cuadro En Marco Tallado.) 
 “JESUS ATADO A LA COLUMNA.” By Josef Ribera, known 
 as “El Spagnoletto,’ Spanish 1588-1656. Remarkable 
 carved frame of the late XVIIth Century. 
 
 Height, 4314 inches. 
 
 PAINTING IN CARVED AND GILT FRAME 
 (Cuadro En Marco Tallado, Dorado.) 
 “RETRATO DEL NINO JOSE MANUEL VILLANDRANDO.” On 
 metal panel, by Juan de Pareja, pupil of Velasquez, Span- 
 ish 1606-1670. The subject was the son of a distinguished 
 Spaniard, who while visiting with his son in Quito gave 
 this portrait to a friend on his return to Spain. Frame 
 interestingly carved of the period. 
 
 Total height, 34 inches; width, 27 inches. 
 
 IMPORTANT ART OBJECTS 
 (Importantes Objetos de Arte) 
 
 BEAUTIFULLY CARVED TABERNACLE 
 (Nicho Tallado Adornado.) — 
 Interior of the round top is carved with leaf scrolls. Two 
 curved doors are panelled with scrolls and rosettes. The 
 back is occupied by a crucifix on which is a carved and 
 painted figure of the Saviour; five niches holding effigies 
 of saints are under. Two flanking columns with Corin- 
 thian caps support a floral and scrolled canopy; at the 
 base is a carved and painted figure, “Maria Magdelena.” 
 Kneeling with hand clasped in the attitude of contrition. 
 Executed by M. Rodriguez, a noted sculptor of Quito. 
 The exterior is elaborately carved with foliated scrolls. 
 The exterior and interior enhanced with gilding. Ex- 
 ecuted by Caspicara, a noted sculptor of Quito in the late 
 XVIIth Century. From Iglesia de Guadpulo, near Quito. 
 Height of Figure, 7% inches. 
 Tabernacle: height, 27 inches; width, 20 inches. 
 
 [See Illustration ]| 
 150 
 
[18¢ 4aaWwoN | 
 
 QATOVNUAAV EE GAaAIN ANV GHAUVO 
 
588 
 
 589 
 
 ELABORATE TABERNACLE 
 (Tabernaculo Adornado. ) 
 
 The crowned top lifts and is carved to imitate the clouds, 
 two curved doors open to the left and right and are each 
 adorned with four columned niches in which are effigies 
 of saints scupltured in wood and painted. The back is 
 panelled with flowers and finely moulded; carved ped- 
 estal supports, a finely carved and painted figure, “Dolor- 
 osa.” A standing and mournful figure in ample robes, 
 her right hand extended, the other on her breast. Executed 
 by M. Rodriguez, distinguished sculptor of Quito. The 
 interior of the tabernacle is enriched with gilding and 
 polychrome decoration. Executed by Caspicara, a noted 
 sculptor of Quito in the late XVIIth Century. From 
 Iglesia de Guapulo, near Quito. 
 Height, 33 inches; width, 2114 inches. 
 Height of Figure, 10% inches. 
 
 RARE: TRIPTYCH 
 (Retablo Raro.) 
 
 The center panel is painted in oils with Jestis Crucificado 
 and also holds seven shaped medallions framed in Venetian 
 glass with subjects illustrating the life of Christ; at the 
 base, painted in oils, is the Bishop at prayer. The left 
 and right wings are occupied, top and bottom with the 
 four patron saints of the Bishop and two framed central 
 medallions, the one on the left represents the artist re- 
 sponsible for this work, “J. Venalcdzar.” The back- 
 ground of the interior and the exterior is of black lacqué 
 finely decorated in flower sprays in colors. Pediment is 
 lattice with foliated scrolls over same and is gilded. Made 
 
 -in Quito in the late XVIIIth Century for Bishop Paredes, 
 
 who held the Episcopacies of Quito in Ecuador and San- 
 tander in Spain; the Bishop used this triptych in his 
 pastoral visit in his diocese. It was purchased from Mr. 
 Juan Borja, of Quito, a relative of the late Bishop. 
 
 Height, 43 inches; width open, 33 inches. 
 [See Illustration | 
 152 
 
ODO See : 
 PPLE LEI EE Pe 
 s 
 
 a eS ee Cee) A. Bees Pe Ce me en ee ee Le ee eee” 
 
 AZA 
 
 C 
 
 4 
 
 Al 
 
 VEN 
 
 ED BY J. 
 
 TRIPTYCH PAINT 
 
 . = ee we e  eae See 
 
 UMBER 589] 
 
 N 
 
 [ 
 
590 INTERESTING SHRINE AND PORTRAIT OF 
 
 591 
 
 592 
 
 OWNER 
 (Urna Original y Retrato De La Duena.) 
 
 “NACIMIENTO DE JEsUs-:” The top lifts disclosing on its 
 interior, the Father Celestial surrounded by a choir of 
 cherubim playing musical instruments. The front falls 
 and forms a foreground on which is a mirrored lake, be- 
 yond to left and right is the town of Bethlehem, in the 
 center resting on a mirrored and canopied cradle is the 
 infant Christ. Exterior is painted in tempera with flow- 
 er sprays, birds and churches in brilliant colors on a cream 
 ground. The accompanying portrait on metal is of the 
 original owner, “Condesa Eugenia Ruis de Castilla.” It 
 was presented as a birthday gift by the Corregidor of 
 Cuenca, Don Agustin Correa. The portrait was painted 
 by José Duchicela, a Quichua Indian of Cuenca. This 
 unique shrine was conceived and executed by Zangurima, 
 an Indian of Cuenca, early XVIIIth Century. The figure 
 of Christ was carved and painted by Carrillo. 
 
 Height, 23 inches; width, 321% inches; depth, 17 inches. 
 
 THREE PAINTED STONES (FRAGMENTS) 
 (Tres Cuadros Pintados En Piedra. Fragmentos.) 
 
 “VIRGEN DE LAS LAJAS, (2) “VIRGEN DE LA ROSARIO.” These 
 interesting objects painted in the XVIIth Century were cut 
 from the living rock in the wilderness, many leagues from 
 Quito, where previously they had been painted by a de- 
 vout artist, so that those who passed might pray. An- 
 swering a purpose similar to the crosses erected in Europe. 
 
 CUSTODA WITH MIRROR PANELS 
 
 (Custodia Espejos.) 
 
 The halo is formed of many small spear-shaped mirrors 
 and is supported by a shaft composed of many sections 
 all covered with small mirrors. The base is carved with 
 cherubs’ heads and scrolls. Several small mirrors missing. 
 Made in Quito, late XVIIth Century. From Monasterio 
 de Santa Clara, Quito. Height, 62 inhces. 
 
 154 
 
593 
 
 594 
 
 595 
 
 RARE INLAID TABERNACLE 
 (Tabernaculo Raro, Embutido.) 
 
 Architectural in form representing the Facade of a noble 
 building. The central round arched and columned porch 
 is flanked by eight arched windows. Inlaid background 
 of engraved ivory and tortoise shell. The columns of the 
 porch are of tortoise shell and the eight windows are of 
 bone. Mirror backs to porch and windows. Made in 
 Quito, in the early XVIIIth Century, for the Monasterio 
 de Santa Clara, Quito. 
 
 Height, 39 inches; width, 2114 inches. 
 
 RARE STANDING MATE CUP AND SORBETE 
 (Matecito Sobre Cuatro Piernas.) 
 
 Etched by a hot point on the lower part of gourd, by a 
 Mestizo of Quito, late XVIIth Century. Body decorated 
 with panels in which are four cranes. Finely mounted in 
 silver with deep rim, four quaint scrolled legs and two 
 handles in the form of scrolls surmounted by eagles with 
 semi-circular shell back plates. The sorbete or silver 
 straw is tubular with perforated end chamber in the form 
 of a duck. Height, 5 inches. 
 
 CHINESE JAR 
 
 (Jarron Chino.) 
 
 Short neck, inverted pear-shaped body, enhanced with 
 
 four red Jui pattern lobes falling from the shoulder, which 
 
 hold crysanthemums and other flowers in reserve, the neck 
 
 has repeating spear-shaped leaves on alternating red and 
 
 green. At the base are four flower sprays in red, yellow 
 
 and green. (Cracked.) Ming Dynasty, 1368-1644. Ac- 
 
 quired from the Monasterio de Santa Clara, Quito. 
 Height, 1214 inches. 
 
 155 
 
596 
 
 597 
 
 598 
 
 RARE STANDING MATE CUP AND SORBETE 
 (Matecito Con Cuatro Pies y Sorbete.) 
 
 Etched by a hot point on the lower portion of a mate 
 gourd by a Mestizo of Quito, late XVIIth Century. The 
 delightful design of flowers and fruit scrolled, panelled 
 border, follows the contour of the vessel and forms a semi- 
 circle round the handles. The field is occupied by flower 
 and fruit trees in the branches of which are seen many 
 birds and animals. Finely mounted in silver with deep 
 rim, four scrolled feet supports and two scroll and heart- 
 shaped handles. The silver sorbette (or straw) is tubular 
 with end perforated chamber in the form of a flower. Once 
 the property of San Martin. Height, 5 inches. 
 
 ANCIENT CARVED FURNITURE 
 (Muebles Antiquos Tallados) 
 
 CARVED WOOD CHEST 
 
 (Caja De Madera Tallada.) 
 
 Native mahogany; top, front and ends carved with a bor- 
 
 der of rosettes, scrolled leafage and flowers, in low re- 
 
 lief, shows distinct gothic influence. Rare pierced wrought 
 
 iron circular lock with fine pillared hasp. No key. Made 
 
 in Quito in the early XVIIth Century. From Iglesia del 
 
 Tejar, Quito. Height, 19 inches. 
 Width, 43 inches; depth, 20 inches. 
 
 SMALL INLAID CHEST 
 (Gabetita, Embutida.) 
 Hinged front, composed of three drawers inlaid with 
 strange animals, the exterior inlaid with box wood lines on 
 native mahogany in geometric medallion pattern. Cir- 
 cular wrought iron lock with hasp. Made in Quito, XVIIth 
 Century. Height, 614 inches. 
 Width, 914 inches; depth, 7% inches. 
 156 
 
599 
 
 600 
 
 601 
 
 602 
 
 MIRROR IN CARVED AND GILDED WOOD FRAME 
 (Espejo En Marco De Madera Tallada, Dorado.) 
 Moulded frame with scrolled pediment terminating in a 
 shell and rosette. Made by a Mestizo of Quito. 
 
 Height, 4014 inches; width, 26 inches. 
 
 CARVED LEATHER TRUNK 
 (Caja De Cuero Cabado.) 
 
 Shaped top with overhanging scalloped valance of leather, 
 center a boar hunt with a border of mythical animals, vases 
 of flowers, pomegranates and the sun in splendor. The 
 front enhanced with a vase from which emanate scrolls 
 in which are birds and lions. Fine pierced wrought iron 
 circular lock and carrying side handles. No key. Lined 
 with XVIIIth Century printed linen. Made in Cuenca, 
 early XVIIth Century. From Iglesia de la Merced, Cu- 
 enca. Height, 16 inches. 
 
 Width, 34 inches; depth, 18 inches. 
 
 MIRROR IN CARVED AND GILDED WOOD FRAME 
 (Espejo En Marco De Madera Tallada, Dorado.) 
 The frame is pierced with bold foliated scrolls. Inner 
 frame of shells and leaves of a later period. Made in 
 Quito, XVIIth Century. 
 
 Height, 33 inches; width, 30% inches. 
 
 SMALL INLAID CHEST 
 
 (Gabetita Embutida. ) 
 
 Fall front hinged; interior filled with four drawers, all 
 
 surfaces inlaid with boxwood lines on native mahogany 
 
 with intricate scrolled panels. Circular wrought iron lock 
 
 and pillared hasp. No key. Made in Quito, XVIIth 
 
 Century. Height, 91% inches. 
 Width, 1514 inches; depth, 12 inches. 
 
 157 
 
603 
 
 604 
 
 605 
 
 INLAID SECRETARY 
 (Gabeta Embutida.) 
 
 Fall front, ends, and top inlaid with an intricate pattern 
 of floral scrolls and arabesques, two borders of interlacing 
 floral scrolls, boxwood lines on native mahogany. Finely 
 wrought and pierced iron circular lock with geometric and 
 floral gothic motives, hasp top portion similar to lock, 
 the hinged lower part, composed of a serpent in full relief 
 supporting a pendented canopy. (Lock is lined with 
 crimson velvet.) No key. Rare animal-head carrying 
 handles on the sides. Interior fitted with eighteen pillared 
 and moulded drawers of various sizes, curiously ornament- 
 ed with incised decoration on boxwood of winged cupid 
 heads and a great variety of animals, the incising is col- 
 ored with reds and blues to give relief. Inside of fall 
 inlaid to match exterior. Made in Quito, in the late XVIIth 
 Century. From Monasterio de San Juan, Quito. 
 
 Height, 2514 inches; width, 35 inches; depth, 17% inches. 
 
 ARM CHAIR IN CARVED LEATHER 
 (Sill6n De Cuero Cabado.) 
 
 Native mahogany, flat scroll arms, turned front supports 
 and stretchers; front carved with acanthus scrolls. The 
 back panel enhanced with a fountain and a grove of trees, 
 surrounded by scrolls, studded with fine old brass nails. 
 
 INLAID IVORY AND TORTOISE SHELL COFFER 
 (Cofre Embutido Con Marfil y Carey.) 
 
 Canted top, elaborately inlaid with bands of ivory in the 
 form of round, oval, and lozenge shaped medallions and 
 panels engraved with foliated scrolls, cherubs’ heads and 
 the symbols of the passion. Front enhanced with an 
 eight-pointed star which holds a heart and various imple- 
 ments; background is of tortoise shell. Circular wrought 
 iron lock, hasp and hinges to match. No key. Made in 
 Quito, XVIIIth Century. Used in the Monasterio de la 
 Concepcion for the sacred vessels of the church. 
 
 Height, 13 inches; width, 1414 inches; depth, 9% inches. 
 
 [See Illustration | 
 158 
 
INLAID IVORY AND TORTOISE-SHELL COFFER 
 [NUMBER 605] 
 
606 
 
 607 
 
 608 
 
 LEATHER TRAVELLING SECRETARY 
 (Gabeta De Cuero.) 
 
 Covered with fine brown hide and studded with two rows 
 of brass nails, also round escutcheon. Fine wrought iron 
 hasp with leaf terminal; animal head and moulded carrying 
 handles on sides. Interior fitted with large central drawer 
 composed of arched panel with Corinthian columns, inlaid 
 with cross on sunburst, has secret drawer under; surround- 
 ed by fourteen small moulded drawers, inlaid with scrolls 
 and arabesques of boxwood on native mahogany. Inside 
 of fall front inlaid in a similar manner to drawers. No 
 
 ‘lock or key. Made in Quito, XVIIth Century. A Pre- 
 
 late’s travelling desk. . Height, 24 inches. 
 Width, 32 inches; depth, 16 inches. 
 
 MIRROR IN CARVED WOOD AND GILDED FRAME 
 (Espejo En Marco Tallado De Madera, Pintado.) 
 Deeply cut with gilded scrolls on crimson ground. Made 
 by Mestizo of Quito, XVIIth Century. 
 
 _ Height, 33 inches; width, 26 inches. 
 
 EXTRAORDINARY INLAID DOME TOP TRUNK 
 (Baul Embutido.) 
 
 Elaborately inlaid with acajon and boxwood on light native 
 mahogany, top panels of interlacing strapwork bordered 
 with narrower panels of similar strapwork leaves and 
 rosettes; front and ends match. Pierced wrought iron 
 circular lock with hasp, openwork hinges with spear-shaped 
 ends of gothic character, finely enhanced with lines and 
 berries; wrought iron key. The extraordinary hasp is 
 composed of a pillared tabernacle with two seated doves 
 over, supporting the tabernacle is a dove with outspread 
 wings. Made in Quito, early XVIIth Century. 
 
 Height, 25 inches; width, 39% inches; depth, 18 inches. 
 [See Illustration | 
 160 
 
] 
 KUOINGO WIAX ‘MNOUL dOL qamWwod AIvV INI 
 
 [S09 Hast 
 
 i sie lg AO EERE € 
 
609 
 
 610 
 
 611 
 
 612 
 
 CARVED MAHOGANY CHEST 
 (Caja De Madera Tallada.) 
 
 An incised geometric pattern of gothic character enhances 
 the top, ends and front. Fine wrought iron lock with 
 pierced gothic border. Hasp pillared and moulded. No 
 key. Made in Quito, early XVIth Century. 
 
 Height, 23 inches; width, 58 inches; depth, 22 inches. 
 
 CARVED LEATHER TRUNK 
 (Caja De Cuero Cabado. ) 
 
 Curved top with scalloped valance; curiously decorated 
 with three geometric medallions and wave scroll border, 
 front and ends with the border and round corners. Wrought 
 iron circular lock, spoon-shaped hasp, animal head carry- 
 ing handles. No key. Lined with quaint old printed 
 linen. Made in Cuenca, XVIIth Century. . 
 
 Height, 1814 inches; width, 42 inches; depth, 21 inches. 
 
 MIRROR IN CARVED WOOD AND GILDED FRAME 
 (Espejo En Marco Tallado De Madera.) | 
 Deeply moulded frame with leaf motives at intervals. Top 
 with canted corners and large shell pediment. Made at 
 Quito by a Mestizo, XVIIth Century. 
 
 Height, 32 inches; width, 21 inches. 
 
 TWO-FOLD INLAID SCREEN 
 (Biombo Embutido De Dos Puertas.) 
 
 Arched top and panelled. The center is a huge bouquet 
 of flowers in a vase standing on the ground and birds are 
 perched on the flowers. On either are two figures and 
 numerous animals; the arch is filled with a view of the 
 City of Quito, under which is a garland of flowers. ‘The 
 border is an elaborate interlacing fruit and flower scroll. 
 The reverse is similarly treated, executed in many colored 
 woods on native mahogany. Made by a Mestizo of Quito, 
 in the XVIIIth Century. Originally two cabinet doors. 
 Each panel, height, 50 inches; width, 23 inches. 
 
 162 
 
ee Le aA me gu 
 
 ae, ae 
 
 613 
 
 614 
 
 615 
 
 616 
 
 ARM CHAIR IN CARVED LEATHER 
 (Sillon De Cuero Cabado.) 
 
 Flat scroll arms, turned supports of native mahogany. 
 The illuminated back is enhanced with three figures in 
 court costumes, standing in a garden; scroll border. Seat 
 of leaf scrolls. (Slightly imperfect.) Modern Quito, 
 XVIIth Century. 
 
 ARM CHAIR IN CARVED LEATHER 
 (Sillo6n De Cuero Cabado.) 
 
 Frame of native mahogany, turned front supports, flat 
 scroll arms, quainty panelled front stretcher. Seat and 
 back illuminated leather. Back panel enhanced with a 
 fountain and an avenue of trees which terminates in a me- 
 dallion, flower scroll surround, studded with old brass nails. 
 Made in Quito, XVIIth Century. (Imperfect.) 
 
 CARVED LEATHER TRUNK 
 
 (Baul De Cuero Cabado.) 
 
 Dome top, scalloped valance decorated with deep border 
 
 of scrolls and flowers and inscribed ‘‘Seysoel Anode, 1765.” 
 
 Front has two facing crowned lions and scrolls, ends are 
 
 scrolled. Pierced circular wrought iron lock, spoon shaped 
 
 hasp, two carrying handles. No key. Made in Cuenca, 
 
 XVIIIth Century. Height, 171% inches. 
 Width, 40 inches; depth, 21 inches. 
 
 MIRROR IN VENETIAN MIRROR FRAME 
 (Espejo En Marco De Espejo De Venecia.) 
 
 Frame cut on the reverse side with a design of scrolls, 
 canopies and leaves. The pediment holds a female figure 
 playing the guitar; surrounding scrolls. Late XVIIIth 
 Century. Height, 521% inches; width, 2614 inches. 
 
 163 
 
617 
 
 618 
 
 619 
 
 620 
 
 SMALL INLAID TABLE DESK 
 (Escritorito Penquifio Embutido. ) 
 
 Slant hinged top and one drawer, interior fitted with five 
 drawers inlaid with floral scrolls on native mahogany. 
 Made at Ibarra, late XVIIIth Century. 
 
 Height, 14 inches; width, 1714 inches; depth, 10% inches. 
 
 SQUAT CHAIR IN CARVED LEATHER 
 
 (Silla De Cuero Cabado.) 
 
 The back panel enhanced with a double Ser part gilded 
 and touched with red and blue. Seat of fine arabesques, 
 studded with curious brass nails. (In bad condition.) 
 Made in Cuenca, in the late XVIIth Century. 
 
 CARVED LEATHER TRUNK 
 
 (Baul De Cuero Cabado.) 
 
 Dome top, center panel inscribed ‘““Solde Dona Rafaela, De 
 Gallego, F. Hornide, Apto De 778.” Under is a tulip 
 scroll, deeply cut border of acanthus scrolls, carnations, 
 and pomegranates, front panel has similar border. Cir- 
 cular wrought iron lock, rosette hasp, and two carrying 
 handles. No key. Made in Quito, XVIIIth Century. 
 Height, 211% inches; width, 331% inches; depth, 24 inches. 
 
 SMALL INLAID COFFER 
 (Cofre Pequefio, Embutido.) 
 Native mahogany, the top, sides, back, front, inside of 
 top and part of sides entirely covered with an inlay of 
 boxwood lines forming panels which contain arabesques 
 and intricate scrolls. Circular pierced wrought iron lock 
 with twisted pillared hasp terminating in a shell; hinges 
 match. Made in Quito, in the XVIIth Century. 
 
 Height, 10 inches; width, 17 inches; depth, 9 inches. 
 
 164 
 
621 
 
 622 
 
 624 
 
 MIRROR IN CARVED WOOD AND GILDED FRAME 
 (Espejo En Marco De Madera Tallada, Dorado.) 
 Carved and pierced with double shell and scroll top, sides 
 similar in a smaller scale, apron with scrolls and flowers. 
 By a Mestizo of Quito, early XVIIIth Century. 
 Height, 32 inches; width, 3214 inches. 
 
 LARGE INLAID COFFER 
 (Cofre Grande Embutido. ) 
 
 Canted top, front, sides, back and top, inlaid with broken 
 corner panels enclosing delicate scrolls. Executed in the 
 most refined manner in holly and ebony on native mahog- 
 any. Pierced circular wrought iron lock of geometric 
 scrolls. Hinges of openwork, shell and floral pattern, 
 two animal head carrying handles. Hasp and key missing. 
 Made in Quito, XVIIth Century. Height, 19% inches. 
 
 Width, 33 inches; depth, 16 inches. 
 
 MARVELLOUSLY INLAID CHEST 
 
 (Caja Admirablemente Embutida.) 
 
 Canted top inlaid with intricate geometric scroll pattern of 
 boxwood and coco-bola. Pierced wrought iron circular lock 
 enhanced with curious grotesque aniamls and shell border, 
 top corners at opening bound with quaint openwork rim, 
 part of hasp only. No key. Side carrying handles to 
 match. Made in Quito, XVIIth Century. 
 
 Height, 21 inches; width, 3114 inches; depth, 14 inches. 
 
 CURIOUS CARVED CHEST 
 
 (Caja Rara Embutida.) 
 
 Geometric ornamentation of a strong native character but 
 imitating European work. Ornamentation has been gilded. 
 Rudimentary hasp and lock plate. No key. Made by 
 a Cuenca Indian, XVIIth Century. 
 
 Height, 1614 inches; width, 28 inches; depth, 16% inches. 
 
 165 
 
625 
 
 626 
 
 627 
 
 INLAID CABINET 
 (Gabeta Embutida.) 
 
 Composed of nine drawers. Finely inlaid with engraved 
 ivory and ebony. In the center an oval panel of arabesques 
 in which are human figures and animals, the surrounding 
 drawers enhanced with rabbits and foxes. Top, sides and 
 back inlaid with ivory lines; wrought iron carrying han- 
 dles. Spanish, XVIIth Century. The travelling cabinet 
 of a Spanish dignitary. Height, 19 inches. 
 
 Width, 27 inches; depth, 1614 inches. 
 
 ARM CHAIR IN CARVED LEATHER 
 (Sill6n De Cuero Cabado.) 
 
 The back depicts a combat, a mounted cavalier has just 
 run his opponent through the body with his sword, in the 
 foreground is the body of a slain man, remarkable scroll 
 surround; seat etched with arabesques, studded with fine 
 old star-shaped nails. Flat scroll arms, turned supports, 
 scalloped and carved stretcher. Made in Latacunga, 
 XVIIth Century. 
 
 PRELATE’S ARM CHAIR 
 
 (Sillon De Obispo.) 
 
 The back carved with shell and leaf scrolls holding in the 
 center an escutcheon on which appears a foliated cross 
 which is elongated into two curves at the base, three white 
 stars enhance the various fields. Flat arms supported by 
 cupid, fruit and leaf terminals, gilded and part in lacquer; 
 arms and seat upholstered. Made in Quito, in the early 
 XVIIIth Century. Presented by the Monks of Monasterio 
 del Carmen to Bishop Paredes of Quito. . 
 
 [See Illustration | 
 166 
 
PRELATE’S CHAIR 
 
 [NUMBER 627] 
 
628 
 
 LACQUERED AND GILDED BED 
 (Cama Esmaltada y Dorada.) 
 
 Twisted columns with leafage, gilded and moulded top 
 holding elaborate gilded leaf scrolls and medallion, carved 
 in a hard wood resembling satinwood. The background 
 is of green lacquer enhanced with gilded scrolls. 
 (Side rails missing.) In a remarkable fine condition. 
 Made in Quito, XVIIIth Century. Found in a Hacienda 
 in the Province of Pinchincha and acquired from a de- 
 scendant of the Marquis de Selva Alegre (a Courtier of 
 Fernando VII., of Spain, the original owner.) 
 
 Height, 5 feet; width, 4 feet. 
 
 ELABORATELY CARVED BED 
 (Cama Tallada, Adornada.) 
 
 The foot board formed of curiously turned ballusters in 
 two sections, enriched with a double eagle with outspread 
 wings, a small mirror adorns its breast, an allegory re- 
 flecting as far as Spain to Ecuador. The head board is 
 similar but holds a salamander and has an intricately carv- 
 ed pediment of shells and floral scrolls. Original gilding. 
 (No side rails.) Made in Quito, late XVIIth Century. 
 
 Height, 4 feet 3 inches; width, 3 feet 11 inches. 
 
 CENTER 168 
 
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