,transcriber ,note3 ,bold text in the original version has been marked like this4 ,,university ,,of ,,california ,,publications ,,anthropological ,,records ,,volume ,,xvi #aiee-aifa ,,university ,,of ,,california ,,press ,,berkeley ,,and ,,los ,,angeles #aifa ,,kraus ,,reprint ,,co4 ,millwood1 ,new ,york #aigf ,,university ,,of ,,california ,,press ,,berkeley ,,and ,,los ,,angeles ,,california ,,cambridge ,,university ,,press ,,london1 ,,england ,reprinted with the permission of the ,university of ,california ,press ,,kraus ,,reprint ,,co4 ,a ,u4,s4 ,division of ,kraus-,thomson ,organization ,limited ,printed in ,u4,s4,a4 ,,contents #a4 ,mohave ,pottery1 by ,a4 ,l4 ,kroeber and ,michael ,j4 ,harner #a #b4 ,the ,aboriginal ,population of the ,san ,joaquin ,valley1 ,california1 by ,s4 ,f4 ,cook #ca #c4 ,the ,aboriginal ,population of the ,north ,coast of ,california1 by ,s4 ,f4 ,cook #ha #d4 ,the ,aboriginal ,population of ,alameda and ,contra ,costa ,counties1 ,california1 by ,s4 ,f4 ,cook #aca #e4 ,california ,athabascan ,groups1 by ,martin ,a4 ,baumhoff #aeg #f4 ,colonial ,expeditions to the ,interior of ,california1 ,central ,valley1 #ahjj-ahbj1 by ,s4 ,f4 ,cook #bci #g4 ,shoshone-,bannock ,subsistence and ,society1 by ,robert ,f4 ,murphy and ,yolanda ,murphy #bic #h4 ,a ,burial ,cave in ,baja ,california1 ,the ,palmer ,collection1 #ahhg1 by ,william ,c4 ,massey and ,carolyn ,m4 ,osborne #cci #i4 ,washo ,religion1 by ,james ,f4 ,downs #cfe ,,mohave ,,pottery ,,by ,a4 ,l4 ,,kroeber ,,and ,,michael ,j4 ,,harner ,,anthropological ,,records ,vol4 #af1 ,no4 #a ,,university ,,of ,,california ,,anthropological ,,records ,editors 7,berkeley73 ,r4 ,l4 ,olson1 ,r4 ,f4 ,heizer1 ,t4 ,d4 ,mc,cown1 ,j4 ,h4 ,rowe ,volume #af1 ,no4 #a1 pp4 #a-cj1 plates #a-h1 #b figures in text ,submitted by editors ,august #d1 #aied ,issued ,may #f1 #aiee ,price1 #ge cents ,university of ,california ,press ,berkeley and ,los ,angeles ,california ,cambridge ,university ,press ,london1 ,england ,manufactured in the ,united ,states of ,america ,,foreword ,the pottery here described was collected fifty years ago by ,kroeber and is all in the ,university's ,museum of ,anthropology4 ,it is described for ethnological comparability by ,kroeber1 with emphasis on use1 shape1 painted design1 and names of designs2 and for archaeological utilization by ,harner1 with special attention to ware1 temper1 firing1 hardness1 forms1 paint and color1 and technological considerations generally4 ,the two parts were written independently4 ,they overlap here and there1 especially on vessel shapes2 but1 after a few duplications were excised1 it has seemed advantageous1 after adding a brief concordance of terms employed by the two authors1 to let the independent treatments of shapes stand double4 ,no comparisons with other native ceramic arts1 recent or ancient1 are undertaken by us4 ,a4 ,l4 ,k4 ,m4 ,j4 ,h4 ,,contents ,,part ,i4 ,,ethnographical ,,analysis ,by ,a4 ,l4 ,kroeber ,page ,pottery shapes recognized by the ,mohave #a ,pottery objects other than vessels #b ,technological notes #b ,description of the pottery #c ,plate #a3 ,bowls #c ,plate #b3 ,bowls #c ,plate #c3 ,platters #d ,plate #d3 ,spoons #e ,plate #e3 ,jars1 pots1 jugs1 cups #f ,plate #f3 ,bowls1 platters1 parchers1 canteens #g ,plate #g3 ,spoon backs1 toys1 pipes1 pot rests #g ,plate #h3 ,jar1 cup1 platter1 bowls1 spoons #h ,summary of shapes #h ,summary of painted designs and elements #i ,the ,mohave pottery style #aj ,appendix ,i4 ,memoranda on the destroyed ,academy collection #ab ,appendix ,,ii4 ,a small ,mohave bowl #ab ,appendix ,,iii4 ,granite temper and limonite pigment examination1 by ,professor ,charles ,meyer #ac ,appendix ,,iv4 ,mohave pottery in other museums #ac ,appendix ,v4 ,correlation of ,kroeber and ,harner shape classes #ac ,,part ,,ii4 ,a ,,description ,,for ,,the ,,archaeologist ,,parker ,,red-,,on-,,buff1 ,,fort ,,mohave ,,variant1 ,,and ,,parker ,,buff1 ,,fort ,,mohave ,,variant ,by ,michael ,j4 ,harner ,introduction #ae ,parker ,red-on-,buff1 ,fort ,mohave variant #af ,parker ,buff1 ,fort ,mohave variant #ah ,bibliography #bj ,plates #bc ,,mohave ,,pottery ,,part ,i ,,ethnographical ,,analysis ,,by ,a4 ,l4 ,,kroeber ,,pottery ,,shapes ,,recognized ,,by ,,the ,,mohave ,the generic ,mohave name for pottery vessels seems to be kwki1#a the word for bowl4 #a ,orthography3 1 1 like th in thick1 this2 s1 somewhat retroflex2 t1 much like ,english ch2 ly1 ny1 palatalized l1 n1 like ,castilian ll1 7y is never a vowel in the transcription used72 v1 bilabial2 t1 retroflex2 '1 glottal stop2 q1 a back k2 h is rather faint initially1 but rough1 nearly like ,spanish j when medial1 final 7or initial through slurring of an unaccented initial vowel74 ,unaccented phonemic a is sounded a or e indifferently4 ,length is not indicated in this paper4 ,the acute accent on vowels indicates a stressed syllable1 which is also raised in pitch4 ,the shapes for which ,mohave names were obtained are mainly those which segregate out objectively on examination of a collection3 kwki1 an open bowl with slightly everted lip1 often with a band of mesquite bark--both bean mesquite and screw mesquite are specified in my notes--tied around the neck4 ,the shape is shown in pls4 #a1 #b1 #f1;a-c1 #h1;d-h2 the name kwki was specifically applied to #a1;d1 #b1;b1 #b1;h1 #f1;a4 kaya1 a platter1 that is1 a low round bowl or flat dish without neck or everted lip1 was applied to pl4 #c1;d4 ,the shape is shown in pls4 #c1;a-d1 g1 #h1;c4 kayka1 pl4 #c1;c1 or kakpa1 also a platter1 but oval1 and smaller4 ,pls4 #c1;e1 f1 h-j1 #f1;d1 e4 kam'ta1 a spoon1 ladle1 dipper1 or scoop1 more or less triangular4 ,pls4 #d1 #g1;a-i1 #h1;i-k4 ,subclasses were not named to me1 except for kam'ta ahm1 those with a quail head at the handle4 katla1 bi-pointed tray for parching4 ,pl4 #f1;f1 g4 ,it will be observed that the last five names all begin with ka-4 ,the name suyre was given to pl4 #f1;c1 which is intermediate between bowl and platter4 tskyena is a cook pot4 ,pl4 #e1;c4 tuvva1 a large cook pot1 a foot and a half to two feet high4 ,i have seen one of these in use1 full to the brim with maize1 beans1 and fish1 being stirred by an old man with three arrow weed sticks tied in the middle2 but ,i did not secure one4 ,it is set on three conical supports of pottery as shown in pl4 #g1n1 o4 ,a still larger pot1 up to a yard in diameter1 too big to cook in1 was sometimes made to ferry small children across the river1 a swimmer pushing the vessel 7,handbook1 #aibe1 p4 #gci74 ,i would imagine it would be least likely to tip over if made in the shape of a giant kwki bowl4 hpurui1 water jar1 as kept around the house1 olla shaped1 pls4 #e1;a1 b1 #h1;a4 ,the name contains the stem for water3 7a7h4 ,i happened not to secure the name of the small-mouthed canteen water jar used in traveling1 as shown in pl4 #f1;h4 ,a small-mouthed jar with short side-spout at one end1 too large for travel and probably used chiefly for storage of seeds1 is called hpurui hanem1 duck jar1 from its resemblance to the floating bird4 ,pl4 #f1;i4 ,there are also handled jugs1 pl4 #e1;d-g1 and handled cups1 pls4 #e1;h-i1 #h1;b1 which ,i suspect of having been devised after contact with ,americans1 although some specimens show use and the painted designs are in good ,mohave style4 ,my doubts are strengthened by my having obtained no specific name for either handled shape3 the high jug1 #e1;g1 was called a jar1 hpurui2 the low jug1 #e1;e1 kwki1 bowl2 and in #aijj ,i bought a cup for which the name kwki aha-suraiti was given4 ,in the dreamed ,mastamh myth of the origin of culture 7,,ar #aa3a1 #aidh1 see #g3gf1 p4 #fc71 the culture hero calls some of the principal vessel forms by two sets of names1 the first being recondite1 twisted1 or punning4 ,the list is3 to bring water in 7u7ms-toym#b hpurui to cook in ums-te-to'ro tskyena to cook in ums-te-hamka#c tuvva spoon1 ladle ums-uyla kam'ta food platter han'am kakpa bowl ums-ia tskyena parching dish ums-eyavkwa-havk#d katla arrow weed stirrer ums-kasra so'na #b ,ums- is frequent in ritual names4 ,it may be a form of humar1 child4 #c ,hamk7a7 is three--because of the three pot rests4 #d ,havk is two--because of the two hornlike ends4 ,it will be noted that handled jugs and handled cups are lacking from this list1 though so are canteens and round platters4 ,small-and-flaring-necked spheroid jars1 holding a gallon or more1 are found in the region1 and in #aijj ,i secured two ,mohave examples which were destroyed in #aijf with the ,academy of ,sciences building4 ,they served to store seeds1 and seem often to have been hidden in caves and out-of-the-way spots by ,shoshonean desert tribes4 ,i secured one near ,needles in #aijh1 now no4 #achge in the ,museum of ,anthropology1 but it belonged to a ,chemehuevi woman who was born in ,chemehuevi ,valley and was in #aijh living in ,mohave ,valley1 married to a ,mohave who was himself half-,chemehuevi4 ,she had made the jar many years before3 in fact1 it was the first and last pottery vessel she attempted1 she said4 ,the ware is definitely paler than ,mohave pottery3 a sort of half-yellow4 ,it bears on its upper half a red pattern1 but this is fainter than most ,mohave patterns1 and most resembles occasional fishnet patterns on the under sides or backs of ,mohave bowls1 platters1 or spoons4 ,it has #db vertical 7radiating7 lines and #g horizontal 7encircling7 lines1 resulting in #beb hollow quadrilaterals4 ,the vessel also has two mends or strengthenings with lumps of black gum4 ,the overall height1 #bbe mm41 is #ge per cent of the maximum body diameter1 #cjj mm41 which comes at about #ajj mm41 or less than halfway up4 ,the mouth and neck diameters are #fi and #eh mm41 or #bc per cent and #ai per cent of the body diameter4 ,,pottery ,,objects ,,other ,,than ,,vessels ,two figures idly modeled1 or serving as toys--made for sale1 it was said--were found in a household3 a lizard and a hummingbird1 plate #g1;j1k1 nos4 #agbf1 #agbg4 ,they seem at least partly baked1 but have since been washed with yellow ocher1 which would turn to red on baking4 ,the bird also has a white-painted beak and spots4 ,i saw pottery human figures and dolls1 both with and without hair of shredded cottonwood bark1 cradles1 etc41 offered for sale by ,mohave women to tourists on the station platform--,needles was a scheduled #be-minute meal stop for most trains4 ,i did not purchase any of these1 nor any small platters or handled jugs or cups1 which were sometimes also offered4 ,this was perhaps a mistake2 but ,i was eager to impress on the ,indians generally that my interest was in native1 nontourist objects4 ,while material was occasionally brought to me in town1 this was uncommon1 and ,i secured most of it from ,mohave houses1 especially native-style ones across the river in ,arizona4 ,typically1 the bows and arrows hawked by a few old men at the trains for twenty-five cents were not the plain long ,mohave willow bows1 but red- and blue-painted miniature willow imitations of the ,chemehuevi retroflex horn or composite bow4 ,pipes1 short and tubular1 are made of pottery4 ,plate #g1l 7no4 #dbfd71 was made for a boy1 and was unfinished1 remaining unbaked4 ,plate #g1m 7no4 #achgj71 is a fragment1 #fb mm4 long1 about #aa through the mouth end1 #ai at the break1 buff-colored1 with gray 7overfired7 paste at the fracture4 ,i secured at least one other pipe1 no4 #agai1 which cannot at present be found in the ,museum4 ,pot rests1 put under the large tuvva cookpots1 were made of clay1 as shown in plate #g1n1o4 ,in #aijd ,i secured an arrow-straightener of pottery1 no4 #dcfg1 shown in ,handbook1 plate #di1;f4 ,it carries a longitudinal ridge1 a sort of notched comb2 presumably to receive1 after being heated1 the joints of arrows of cane or reed4 ,however1 cane arrows1 though known to the ,mohave1 were only occasionally used4 ,the usual ones of arrow weed1 without foreshaft or attached head1 were simply warmed and bent by hand4 ,,technological ,,notes ,i saw pottery made about #aijb-aijd1 and have little to add to the record4 ,clay is tempered with sandstone crushed on the metate1 and built up by coiling4 ,the start of a vessel may be spiral1 but its body consists of concentric rings4 ,the paste is rolled out into a slim sausage1 the length of which is roughly estimated on the vessel4 ,it is then laid on the last preceding coil1 and any excess pinched off4 ,it is beaten1 with a light and rapid patting with a wooden paddle1 against a smooth cobble held inside1 and its edge finished flat by scraping between the thumbnail and index finger4 ,then the next coil is added4 ,the maker sits with the growing vessel on the thighs of her stretched legs1 or with one leg flat in front of her and the other doubled under4 ,the paint is yellow ocher1 which is put on with a little stick and burns dull red4 ,the patterns are carelessly done1 and often shaky4 7,handbook1 pp4 #gcg-gch47 ,in #aijd1 ,i added the following in notebook #fj-cc3 ,a dish bowl is modeled with the rim incurved or vertical4 ,finally1 the rim is turned outward with the fingers1 a few inches at a time2 to make the slight neck which after firing is bound with screw-mesquite a'se fiber4 ,a small oval platter seen made was built up circularly with rolls of clay1 then additional pieces were added on two sides and paddled even4 ,i noted that no slip was being used by ,mohave potters1 nor does examination reveal any4 ,in #aijd1 notebook #fj-cd1 ,i noted3 ,if dishes crack1 they are mended by hair binding1 or now a wire1 being passed between two perforations4 ,i did not note how the holes were bored1 nor whether the hair was human or horse4 ,no4 #dcbf is a small piece of rock such as was crushed and metate-ground for temper4 ,it is not sandstone1 as ,i stated in #aibc1 but granite1 according to my colleague ,professor ,charles ,meyer1 whose courtesy is acknowledged and whose information is summarized in ,appendix ,,iii4 ,no4 #dbie consists of several small slabs of yellow oxide of iron1 for grinding up as design paint1 which on firing makes the red ocher color which is both darker and more saturatedly red than the light reddish-buff ground color of ,mohave pottery4 ,its composition is also given in ,appendix ,,iii on the basis of ,professor ,meyer's examination4 ,both it and no4 #dced were obtained at matekwa-kutyep1 yellow paint wide open1 a spot in a wash cutting across the peneplain from ,avimota1 ,mt4 ,manchester1 in ,nevada opposite ,fort ,mohave4 ,several samples of material that might help further elucidate the technology of ,mohave pottery have unfortunately been misplaced in the ,museum since at least several years4 ,quite possibly they have been put together into one tray1 which was then mislaid4 ,they include3 #agei1 sample of pottery clay4 #dcbf1 sample of pottery temper1 presumably after grinding4 #dbie1 #dced1 sample of yellow ocher for painting designs4 #dbgg1 piece of broken pot4 #achga1 two sherds4 #agai1 pottery pipe4 ,another lot of similar accessories was once included in a collection belonging to the ,california ,academy of ,sciences and is listed in ,appendix ,i4 ,i secured half a dozen paddles1 kanki1 for smoothing the fresh coils of pottery vessels4 ,all of these prove to have been cut from white oak staves of whiskey barrels1 whose two-way curvature perhaps suggested to the ,mohave their adaptability for the purpose4 ,four of the six pieces still show staining by iron barrel hoops4 ,three1 however1 had had their concavity partly whittled flat4 ,i presume that in the old days paddles were made of cottonwood or mesquite4 ,the length and width dimensions of the blades1 that is1 exclusive of handles1 are3 #dbgf444444 #aag #ij #dcaa444444 #aac #ajj #dcdf444444 #aah #ajj flattened #dcdg444444 #ajj #hj flattened #dcdh444444 #gj #ej with #b last makes a #c-size nest #achci444444adj #ge flat1 almost biconvex ,the second and last of these paddles are accompanied by their anvils--waterworn stones4 ,no4 #dcab is somewhat three-cornered1 #ij-ie mm4 in length1 #dc mm4 thick1 has one flattish side1 one convex1 and weighs #ah oz4 ,no4 #achdj1 though got four years later1 is quite similar3 #he-ij mm41 #dh mm4 thick1 one side flattish1 weight also #ah oz4 ,,description ,,of ,,the ,,pottery ,all pieces are actually inscribed with and cataloged under a number beginning with the prefix #a-1 which denotes provenience from native ,california4 ,this prefix1 being unvarying1 is omitted in the present treatise4 ,the objects described were collected by myself in three lots1 in ,mohave ,valley1 on both sides of the ,colorado ,river1 as follows3 ,in #aijb ,accession #dj ,specimens #a-agaj-agfj ,in #aijd ,acc4 #ace-ach ,specs4 #a-dbei-dcha ,in #aijh ,acc4 #cbe ,specs4 #a-acgga-acgge ,of these nearly #cjj objects1 some #gj are of pottery4 ,an earlier collection1 made in #aijj for the ,california ,academy of ,sciences1 was destroyed by fire on the day of the ,san ,francisco earthquake1 ,april #ah1 #aijf4 ,some notations on it were preserved and are summarized in ,appendix ,i4 ,,plate #a3 ,,bowls a1 #acggc1 diameter #beh mm41 height #abg mm4 b1 #agcc1 d4 #bcc1 h4 #agg4 ,design3 ta-lame-lame1 patches 7874 ,the painting is very uneven4 c1 #acggb1 d4 #bha1 h4 #adj4 d1 #agae1 d4 #bfi1 h4 #aea4 ,design1 linear3 ta-tsir-qa-7t7sirqa face paint2 dots3 belly of yellow-hammer 7red-shafted flicker1 kukh74 ,the outside is striped4 ,the execution is experienced1 sure1 light1 and effective4 e1 #acggd1 d4 #bdj1 h4 #adb4 ,the designs inside are similar to those of d1 and are repeated on the outside of the vessel4 f1 #acggh1 d4 #aie1 h4 #ig4 g1 #acghj1 d4 #aha1 h4 #hi4 h1 #acggi1 d4 #ahe1 h4 #hg4 ,of these #h bowls1 #c 7f1 g1 h1 evidently from one household7 run from #aha to #aie mm4 in diameter2 the other #e1 from #bcc to #bha mm4 ,proportions of height to diameter are1 seriated3 #dg1 #di1 #di1 #ej1 #ej1 #ej1 #ef1 #ei4 ,the pattern is fundamentally the same on the inside of all #h bowls1 except that spotting is omitted in f4 ,it consists of triple-line bars that branch at an acute angle2 one fork soon ends1 the second goes on and merges with a branch from another bar1 and so on in a complex pattern extending over the entire inside4 ,the forks--which are also junctions--each contain a small solid-filled triangle1 into which the thin middle line of each bar runs4 ,or1 the middle lines might be said to emerge from the points of the solid triangles4 ,the two remaining lines of the bars are therefore mere borders or shadows3 they never touch a solid triangle4 ,the dead ends of the forking branches point at each other1 or inward toward the center1 in most cases3 a1 b1 d1 f1 g1 h4 ,in c they point parallel2 e is unskillfully painted and lacks the dead or free ends4 ,this pattern is complex and calls for skill in execution4 e is a botch1 a irregularly crowded1 g1 h simplified and open2 the rest show successful control1 especially b1 c1 d4 ,only b differs in that the dead or free branches each end in a solid circle4 ,the solid triangles tend to vary somewhat in shape1 from equilateral to narrow isosceles1 even in well painted bowls3 cf4 b1 c2 this variation is perhaps unavoidable4 ,this pattern is the most ambitious of ,mohave design treatments4 ,the outer side of these bowls is painted with vertical stripes down from the rim #f times4 ,usually they are thinnish lines1 in c wider stripes4 ,bowls e and f partly repeat the inside pattern on their outside4 ,,plate #b3 ,,bowls a1 #acgga1 diameter #bdf-bfj mm4 slightly oval1 height #aae-aah mm41 thickness #g4e mm4 toward bottom4 ,weight #ch oz4 ,there is a neck band of mesquite bark4 b1 #dcba1 d4 #bhb1 h4 #aej4 ,design3 kan'1 7,maricopa7 basketry pattern4 c1 #acgge1 d4 #bfj1 h4 #ajj4 ,almost as flat as the platters of pl4 #c1 but there is a neck1 and it is bound4 d1 #agdj1 d4 #baj1 h4 #ajd4 ,design3 coyote teeth4 e1 #acggf1 d4 #bff 7#bfj-bgb71 h4 #adj1 thickness toward bottom #i1 at neck #d-d4e1 at lip #e4 ,both paste and surface are unusually yellowish4 ,a neck-binding has been lost1 leaving a #bj-mm4 wide yellowish strip paler than the darkened general surface4 ,wt4 #cg oz4 f41 #agcb1 d4 #bbg1 h4 #acj4 ,wt4 #ce oz4 ,design1 inside3 humanape1 butterfly2 outside1 hotahpave face paint4 g1 #agad1 d4 #agg1 h4 #aba4 ,the ,h_/,d proportion1 #fh per cent1 is1 with pl4 #h1;h1 the highest of all bowls4 ,i called it a deep pot when ,i acquired it4 ,wt4 #bc oz4 ,design1 outside3 7i7yamtupe7a7 face paint4 h1 #dbib1 model1 i4e41 made for sale1 d4 #adi1 h4 #gg4 ,design1 inside1 halyta1 spider2 outside1 atc'ara1 fish tail4 ,this vessel1 as well as the platter #dbid1 pl4 #c1;j1 was secured from the wife of ,tokwaa1 ,muskmelon2 he gave the account of ,olive ,oatman's return published in #aiea in ,no4 #d of the ,publications of the ,kroeber ,anthropological ,society1 also dictated a myth about the origin of war1 and was accorded a running or mourning ceremony on his death4 ,he is a historic character1 having been encountered by the ,ives party in #aheh and mentioned in ,mllhausen4 ,he was one of the nine hostages imprisoned at ,fort ,yuma and escaped from there--a disturbance that ended in the defeat of the ,mohave in battle by ,armistead later in #ahei4 ,these #h bowls vary more in proportion than those of plate #a4 ,h_/,d ratio runs1 seriated3 #ch1 #de1 #ej1 #eb1 #ec1 #eg1 #fh per cent1 average #eb1 as against #ea per cent average for plate #a4 ,the lowest bowl in the present lot is c1 with a next2 the highest is g4 ,these three are outside the limits of plate #a4 ,the interior designs are less uniform than in plate #a4 a and b show an overall interior pattern of solid rhomboidal quadrilaterals or hexagons reduced to triangles in the interstices and toward the rim2 each such figure being surrounded by #c thin parallel lines4 ,where the outermost of these enclosing lines intersect1 two of the four angles are solidified1 producing secondary hourglass figures4 ,the effect is a bit like a tortoise carapace2 but the design was named only for b1 and then as recalling an overall pattern of basketry1 which the ,mohave do not themselves weave or coil though they know and use it4 ,in a1 there are four large hexagons filling most of the field 7actually one is more pentagonal1 one heptagonal72 along the edges are four lenticular areas1 each enclosing two triangles2 two of these lenses show in the photograph4 ,in b1 the figures are grouped in four parallel tiers extending across the bowl4 ,in b1 the outside carries vertical stripes2 in a1 eight right-slanting and eight left-slanting lines enclosing as many diamonds and hourglass figures1 with solid filling of the upper and lower corners of the diamonds and meeting corners of the hourglasses4 c and d are crossed by rows of solid triangles touching at the corners4 ,these aim at being equilateral in c 7the flattest of the bowls71 so that the intervening background spaces are also roughly equilateral1 and there is an overall dark-light effect4 ,but in d the triangles are narrower-based1 or isosceles1 and their points meet the bases instead of the corners of triangles in the tier above1 so that the effect is one of pattern in rows rather than overall4 ,this is the design that was called coyote teeth2 which fairly agrees with plate #d1l1q4 f also has solid triangles1 but they meet point to point1 leaving light rhomboids between their two rows4 ,the center is a lightly quartered circle2 toward the rim1 there is a row of smaller1 double1 point-to-point 7hourglass7 triangles1 each set over the outer point of a rhomboid4 ,these outer triangles are each crossed by a bar of light background--a feature not repeated in the collection1 and seeming strange to me2 but it does yield a pair of miniature solid triangles--that favorite ,mohave design device--in the waist of each outer hourglass4 ,the miniature solid angle also recurs in the central quartering4 ,the solid middle triangles as well as the medium-sized ones toward the rim are followed outside their edge 7or inside the light rhomboids7 by a row of dots4 ,these rows of dots1 with faint lines1 further extend to the actual rim of the vessel1 completing skewed hexagonal shapes of their own 7one is heptagonal74 ,the design name given1 butterfly1 probably applies to the point-to-point large solid triangles1 possibly to the rhomboids4 ,on the outside1 to which the design name halter face paint applies1 there are eight double-outlined hourglass triangle pairs1 meeting tips solid1 the rest of their interiors and the intervening hexagons being stippled with oval1 streakish dots4 ,cf4 the outside of a4 e has been much rubbed in the middle1 but the design toward the rim is allied to those of the bowls in plate #a--triple lines turning back or forking at acute angles4 ,only the solid small triangles at junctures and ends seem to be lacking4 ,the outside carries #eh vertical stripes averaging about #d mm4 wide4 g is the tallest bowl1 with a height-diameter ratio of more than #b_/c1 due in part to a semiconical bottom4 ,it is considerably worn inside1 and food has spilled over and crusted part of the outside4 ,the discernible interior design is in a band below the rim4 ,this is crossed by a series of diagonals sloping downward to the right1 with a little solid filling triangle in the acute angle made by the diagonal with the border of the band4 ,in addition1 a left-sloping diagonal extends down from the rim to the middle of the right-sloping one1 with a filling triangle at the juncture4 ,the outside is continuously covered by what in other vessels was usually called fish bones--but here was named 7i7yam-tuperta1 a face paint--#ai columns of downward and #ai of upward pointing zigzags1 all points filled in red4 ,eight such horizontally progressing zigzag lines are still perceptible2 there may have been one or two more1 but not over ten altogether4 ,this pattern is most effective in a fairly high field 7it is common in spoons71 such as this tall bowl affords on its exterior4 h has free-standing eight-legged spider figures interspersed with dots4 ,a spider design recurs in plate #c1;i2 and in #c1;j a similar figure is called tortoise4 ,the stripes and lines of the outside were called fish tail--it is not quite apparent why4 ,in summary for exterior designs1 a and f have hourglasses1 g the zigzag fish bones1 the others in this plate radial or vertical lines1 wholly or partly widened in e1 h to stripes4 ,,plate #c3 ,,platters ,plate #c shows flat bowls1 dishes1 or plates1 more or less platterlike1 sometimes round and sometimes oval4 ,they differ from the bowls of plates #a and #b in being lower1 in having no neck1 and no outcurved rim4 ,pl4 ,no4 ,d7,l7 ,w ,w_/,l ,h ,h_/,d ,th4,curv4 7per cent7 7per cent7 ---------------------------------------- ----------- #c1;a#acghdbgb 444 #gi #bi #e4j #ccj #c1;b#acghcbhc 444 #hh #ca #e4j #cdh #c1;c#agac #bfb 444 #gg #bi #e4e #cbj #c1;d#agbb #bjb 444 #ga #ce #e4e #bgj #c1;e1 f#acghebff #bae #ha #ff #bh #f4e #cjc #c1;g#agea #ade99 444 #dh #cc #f4j #aie #c1;h#acghfaff #adg #hi #ei #ch #e4e #bag #c1;i#agch #aeg #ace #hf #dc #bi4e #e4j #aia #c1;j#dbid #aee #aba #gh #dd #cb #e4e #agh ---------------------------------------- ----------- ,note3 ,d7,l71 diameter or greatest length2 ,th41 thickness2 ,curv41 length of tape laid curving along diam4 or max4 length of under side2 99#adg long1 #adc wide1 but round in intent2 ,mean of ,h_/,l and ,w_/,l4 ,all dimensions in mm4 ,it will be seen that the ,h_/,d ratio is from #bh to #ch per cent2 whereas that for bowls is from #ch to #fh per cent1 with #ba out of #bd between #de and #fa4 ,platters i and j were described when collected as dish-like spoons or scoops2 j1 like plate #b1;h1 is from ,tokwaa's household4 ,designs ,as regards painted design1 a and b revert to the all-over regular forking of plate #a1 but with dark background instead of light or spot-studded1 so that the pattern really is negative in effect4 ,it is probably significant that the only two platelike bowls carrying this design should be the only ones to present it negatively4 ,the pattern is well executed in both4 ,it is of course somewhat easier to carry out regularly on a flattish plate than in an up-curving bowl4 d was called himka lamelame1 its back leaves 7or patches8--cf4 pl4 #d1;d74 ,this presumably refers to the large dot-studded hexagonal areas--hexagonal at least in intent4 ,my notes also name a titk face-paint design1 which would then be the name of the interconnected hourglass figures which constitute the primary or positive element of the patterning4 ,the combination of these two design elements recurs on the exterior of the jar of plate #h1;a4 ,the back or under side of d in the present plate is boldly checkered1 as shown in plate #h1;c4 ,it is possible that the leaf name refers to this checker4 c and g were both designated as fish backbone1 which as a pattern we have already encountered on bowl #b1;g1 though there on the outer side and named after a face paint3 parallel zigzags with solid-filled angles4 ,the idea seems to be that of a fish backbone as it might be drawn out with ribs attached--herringbone in our own nomenclature4 ,then #c1;g would be the more representational form with the vertebral column left in--though it is also partway transitional to the triple-line angle-and-forking pattern of plate #a and of #c1;a1b above4 ,the simpler1 merely parallel-chevron form of the design--with the vertebrae omitted--is perhaps more usual1 and is shown recurring in e and in plate #d1;f1k4 ,the under side of c has #fg vertical 7radiating7 lines4--,plate #c1;g1 no4 #agea1 was obtained from ,nyavarup along with no4 #agdi1 plate #d1o1 which see4 ,nyavarup1 like ,tokwaa1 was a historic character1 having been encountered by the ,ives party in #aheh and mentioned in ,mllhausen4 ,in #aijb he told me the creation1 which will be published as myth no4 #i4 f is the under or convex side of e1 but its spots 7#ab-ad mm4 diameter7 reappear as the sole inside pattern in h1 and between the tortoises of j4 ,the inside dots of h and the outside ones of f were however put on differently3 in h in rows across the oval1 in f irregularly or perhaps spirally4 ,the under side of h also has dots1 fainter than on the front4 ,in j the dots seem inserted with reference to the larger figures of tortoises4 ,these tortoises of j are definitely similar to the halyta spiders of plate #b1;h1 but are also distinctive1 with enclosed-line quadrilateral body1 #c-toed legs at corners1 and head and tail4 ,both #c1;j and #b1;h however were made to sell1 are more representational than most ,mohave pottery paintings1 and should be viewed with a degree of reserve1 though ,i believe that their designs have basis in native usage4 #c1;i as halyta1 spider1 is puzzling as to why its name1 and is also abnormal formally4 ,,plate #d3 ,,spoons ,these are ladles1 dippers1 scoops1 as one will1 but ,i retain the spoon which the ,mohave most often gave as their ,english term for native kam'ta4 ,they are of course not taken into the mouth1 but held to it while gruel flows out2 or perhaps more often they serve as a convenient holder of an individual or temporary portion which is scooped into the mouth with two or three fingers which are then sucked off4 ,they also serve to ladle boiled food from large cook pots into bowls or platters4 ,i give1 first1 identifications1 sizes1 and design names2 then shapes2 and finally a discussion of painted patterns4 ,identifications a1 #achjj1 length #agd mm4 b1 #agca1 l4 #bja4 ,called kas'uyule4 ,design doubtfully recorded as hotahpave face paint4 c1 #achjb1 l4 #ahb4 d1 #dcbj1 l4 #age4 ,design name3 ta-hlame-hlame1 patches1 and butterfly inside1 humanape iyaly 7in the mouth874 e1 #agcf1 l4 #abc2 handle hollow1 rattling1 twitiwit4 f1 #gjih1 from older ,university collections 7pre-#aija71 ,mohave provenience assumed1 not recorded2 l4 #aid2 handle hollow1 rattling4 g1 #agcg1 l4 #age4 ,design name3 kyauelkyau1 angled1 zigzag4 h1 #achjc1 l4 #bbe4 i1 #achje1 l4 #agh4 j1 #achjd1 l4 #aij4 k1 #agdg1 l4 #ahf4 l1 #agcj1 l4 #aih4 ,design name3 coyote teeth4 m1 #achji1 l4 #bjg4 n1 #achaj1 l4 #aef4 o1 #agdi1 l4 #aac4 ,design name3 fish backbone4 ,this piece was obtained from ,nyavarup3 see pl4 #c1;g4 p1 #agab1 l4 #aee4 ,design name3 raccoon hand4 q1 #dcai1 l4 #bbe4 ,design name3 coyote teeth4 r1 #dcef1 l4 #agg4 s1 #achjg1 l4 #baj4 ,shapes ,hollow1 rattling handles1 consisting of a three-cornered box1 are found on e1f1r4 ,in each case1 the end is modeled into a rude quail's head1 showing eyes and beak 7or topknot874 ,some rudiments of a quail head1 but without hollow compartment1 appear also in a-d1q2 possibly in i1k4 ,the foregoing have the outer edges1 toward the top1 somewhat raised and a bit incurved4 ,this sort of an edge shows also in g1h1j1 which however possess no rudiments of the quail's head4 ,the edge faces forward 7if the hollow of the spoon is regarded as its front74 ,another group of spoons have their edge rather turned outward--that is1 away from the hollow4 ,this group includes l-p and s4 ,these average somewhat flatter1 and the apex is generally rounder1 than in those with forward-turned edge3 see especially n1o1p1s2 also m2 only l comes to a point4 ,also1 the total width ratio is greater in this group4 ,the classification thus is3 ,a4 ,edge raised1 turned forward2 apex pointed #a4 ,quail head apex1 hollow rattling compartment #b4 ,quail head or rudiment #c4 ,plain apex ,b4 ,edge facing outward1 top usually rounder1 total shape shallow1 broad4 ,additional spoons are shown in plates #g1;i and #h1;i-k2 and in #g1;a-h appear the back patterns of eight spoons whose fronts are reproduced in plate #d4 ,this comes to a total of #bc pieces2 which seriate in size1 and group as to subclass1 as follows3 ,pl4 ,l4 7mm47 ,subclass -------------------------------------- #g1;i #bbf ,b #d1;h #bbe ,a#c #d1q #bbe ,a#br #d1s #baj ,b #d1m #bjg ,b #d1;b #bja ,a#br #d1l #aih ,b #d1;f #aid ,a#aq #d1;j #aij ,a#c #d1k #ahf ,a#br #d1;c #ahb ,a#br #d1;i #agh ,a#br #d1r #agg ,a#aq #d1;g #age ,a#c #d1;d #age ,a#br #d1;a #agd ,a#br #h1k #afg ,a #d1n #aef ,b #d1p #aee ,b #h1;j #adj ,b #h1;i #ace ,b #d1;e #abc ,a#aq #d1o #aac ,b ---------------------------------- ,note ,a3 ,handle retroflex ,it will be seen that all four subclasses of spoons are represented by examples both above and below the median #agh mm4 length4 ,also1 the three longest spoons in the collection belong to three different subclasses4 ,the salient feature is that the blunt-ended ,b spoons have a bimodal distribution3 from #aih mm4 up1 from #aef down4 ,i should not be surprised if ,b forms turned up in the intervening range2 but ,i should expect the bimodality to remain even if many additional specimens became available4 ,for the rest1 it may be significant that the pointed-end classes ,a#b1 ,a#c are unrepresented below #agj2 and the clear quail-head 7and rattle-box7 class ,a#a not above #aie4 ,it may be that beyond a certain size the firing of the juxtaposed solid head and hollow rattle was difficult for the ,mohave4 ,designs ,the great majority of spoons are painted inside1 usually outside 7on the back7 also1 though there mostly with longitudinal lines or stripes only4 ,the angled-and-forking overall pattern so characteristic of bowls occurs in spoons1 but is rare3 b is an example4 ,the area of a scoop is generally hardly wide and large enough for this design4 ,in b it reduces in effect to a sort of cramped swastika4 ,one of the two most frequent patterns of spoons is that of g1h1i1j1m--the last in negative effect and unsprinkled with dots4 ,the central feature is a column of three 7or two and a half7 rhomboids4 ,these are flanked and meshed by four 7or three7 triangles4 ,the rhomboids and the triangles are separated by three lines1 making1 with their own boundaries1 five parallel lines in all 7though this number is sometimes reduced72 and where points of triangles meet 7and sometimes of rhomboids also7 the corners are solid4 ,it is obvious that this pattern is related in several features to the commonest pattern of bowls1 but with adaptation to a more cramped field--chiefly by omission of forking and back-angled elements4 ,the only name obtained--once--was kyauelkyau1 which is said to mean zigzag or angled4 ,another spoon pattern has two or three tiers of light rhomboids separated by pairs of dark triangles1 apex to apex 7hourglass73 see a1d4 ,there is no thin-line bordering or separating in this pattern4 ,for d1 the design names cited were ta-hlame-hlame1 patches1 and butterfly inside2 but ,i do not know which of these names refers to the hollow rhomboids and which to the paired solid triangles4 ,another tiered design arrangement is shown in l and q4 ,both were called coyote teeth1 which speaks for itself4 ,it will be seen that the teeth are in opposite rows1 geared into diastemas--which does not hold for plate #b1;d4 ,in one of these spoons the solid-color teeth have a line border1 in the other a row of dots4 ,in both there are two longer double-toothed bands across the middle1 two shorter one-way-facing bands of teeth at the ends4 ,coyote teeth appears as a face paint--a cross-barred line--in ,handbook1 figure #fa1;b4 ,a second design of outstanding frequency in spoons is represented by e1f1k1o1 7s74 ,it was twice designated as fish backbone 7with adhering ribs74 ,the backbone itself appears only twice in the five examples in plate #d 7e1o71 and is by no means dominant then4 ,the sets of parallel ribs or chevrons number from #aj to nearly #bj1 and make either #c or #e bends 7i4e41 are formed by #d or #f lines74 ,the bends are filled in with small solid triangles in f1k1s4 ,rows of dots show in e and s4 ,other designs each occur only once in the collection4 c1 polka dots only4 n1 a fishnetlike design1 no name obtained1 vertical corners filled in solidly4 p1 raccoon hand 7first mistranslated otter1 but the otter is water-raccoon in ,mohave71 with five hollow-line toes1 background of fine dots4 ,there is some reminiscence of the forking bowl design1 but without angling back or hooks4 s1 perhaps a simplified version of the pattern of g-j1m8 ,there is no marked correlation between any of these designs and the shape classes of spoons that have been defined4 ,,plate #e3 ,,jars1 ,,pots1 ,,jugs1 ,,cups a1 water jar1 #agbc1 recorded as hpurui1 small olla for seeds1 or for water in summer2 diameter mouth #abh mm41 height #bjj mm4 ,neck d4 about #hc per cent of mouth1 body d4 about double that of neck and greater than height4 ,there is an annular base which is not present in the two other water jars4 ,design3 titk style of face paint4 b1 water jar1 #acgib1 mouth d4 #agg1 h4 #aid4 ,neck d4 #ha per cent of mouth1 body d4 equals height4 c1 fire-blackened cook pot1 #acghi1 mouth d4 #bej1 h4 #aib4 ,neck d1 #bbg1 body d4 #bej4 d1 handled jug 7spoutless pitcher71 #agbe1 mouth d4 #he1 h4 #ie4 ,design3 ta-skilye-skilye1 viz41 outside points of chin tattooing4 e1 handled jug1 #agbd1 mouth d4 #hf1 h4 #ij4 ,design3 hotahpave1 viz41 halter pattern of face painting4 f1 handled jug1 #acgie1 mouth d4 #aje1 h4 #adg4 ,this piece had not been used when collected1 and may have been a model for sale4 g1 handled jug1 #agci1 called hpurui1 jar1 mouth d4 #ib1 h4 #adj4 ,design3 fish backbone4 h1 small1 handled cup1 #acgif1 mouth d4 #hh1 h4 #dg4 ,used and somewhat worn4 i1 handled cup1 #b-gcei1 mouth d4 #abh1 h4 #ij4 ,from older 7pre-#aija7 ,university collections1 provenience and collector not recorded4 ,assumed to be ,mohave1 but condition suggests the vessel was made for sale and not used4 ,the two water jars are of about the same height1 toward #h in41 but a is smaller-mouthed and bigger-bellied than b4 ,the neck diameters are around #e_/f to #d_/e of the mouths4 a is somewhat greater through the body than it is high2 b1 nearly the same4 ,another and larger jar is shown in plate #h1;a4 ,the cook pot1 c1 has the opening as large as the body diameter2 the neck is only #i to #aj per cent smaller than the mouth1 the height only #gg per cent of the width4 ,this pot is somewhat higher in silhouette proportion than any of the bowls1 but not much higher than the highest of them1 viz41 #b1;g and #h1;h4 ,the four handled jugs fall into two classes3 d and e1 medium2 f and g1 high4 ,in the former1 the height is about a tenth greater than the mouth diameter1 in the latter1 about a half greater4 ,also1 in the medium jugs1 the base of the handle springs from the lower half of the vessel2 in the high ones1 from the middle or above4 ,in all cases the handle rises somewhat above the lip4 ,the neck is less than the mouth by #ab to #ae per cent4 ,the cups are like the jugs except that they are lower and the main painted designs come inside4 ,in fact1 the cups seem to be small bowls with a handle attached4 ,i am quite uncertain whether the handled jugs and cups are native ,mohave forms or derived in imitation of ,caucasian shapes4 ,it is unclear what specific function their handles would have served in ,mohave life1 in sand-floored houses empty of furniture or apparatus4 ,yet probably g and certainly h have been used4 ,and the ware of the jugs and cups1 as well as their painted designs1 are typical ,mohave4 ,they look like an acculturation acceptance--a new trait adopted into the old native pattern4 ,the problem will probably be solved when enough datable precontact and protocontact ware from the ,mohave and kindred ,yuman tribes becomes available4 ,with these round vessels the forking-and-angled design of the bowl interiors recurs3 in the jar a1 the jug f1 on the interior of cup i4 ,it will be seen that these come with and without dot stippling4 ,the pattern of jug d was called tattoo points2 but it is the same as the coyote teeth of plate #d1l1q4 ,similarly1 e1 though called hotahpave halter1 resembles plate #d1;g-i2 and g1 called fish backbone1 lines up with the fish backbone designs on spoons3 plate #d1;e1f1k1o1s4 ,,plate #f3 ,,bowls1 ,,platters1 ,,parchers1 ,,canteens a1 bowl1 #dbic2 diameter #aea mm41 height #gf mm4 ,design3 inside1 raccoon hand2 outside1 fish bone1 atc iska4#e ,this is from ,tokwaa's wife4 b1 broken bowl1 #dbhb2 d4 #aeg1 h4 #he4 ,design2 raccoon hand4 c4 large bowl or platter1 #agde1 of type called suyre1 d4 #ccj1 h4 #abe4 ,weight1 #dd oz4 ,the flanges to hold mesquite bark binding in place are unusually prominent4 ,this is the largest and second heaviest round vessel in the collection2 but it is low1 #ch per cent of the diameter--at the minimum for bowls1 maximum for platters4 ,it is not strictly a bowl1 because there is no neck constriction3 the vessel curves in unbroken convexity up to the rim4 ,on the other hand it is not a typical platter because it has flanges and is bound like a bowl4 ,there are #aa of these flanges1 #be to #ce mm4 long1 projecting #e to #h mm41 and spaced quite irregularly1 with #abj1 #ie1 #ij1 #ee1 #he1 #fe1 #aae1 #ie1 #ge1 #abj1 #ge mm4 between their centers4 #e ,atc is fish1 iska is bone1 but the form mostly obtained was 7i7ta1 backbone4 ,the bowls a and b are grouped together because of their raccoon-hand designs2 compare also plate #d1p4 ,bowl a looks unused and may have been made for sale2 b has been used and is probably from the same house1 though almost certainly not painted by the same person4 ,the large platter-bowl c has its painted design built up around four big rhomboids or hexagons1 nearly rounded into pointed ovoids with triple solid tips2 between which similarly pointed triangles project toward the center from the rim4 ,the oval platters d and e1 nos4 #agch1 #dbid1 are the convex backs or under sides of plate #c1;i1j4 ,the former looks used1 the latter new and perhaps for sale4 ,the tortoises on the under 7#f1;e7 and tortoise carapace on the upper 7#c1;j7 side of the same piece seem an exaggeration from normal ,mohave style4 ,in my field catalogue ,i entered d as dish-like spoon2 and e1 two years later1 simply as oval spoon1 which is confirmed by the notation3 kam'ta kapeta1 viz41 tortoise spoon4 ,the two katla or parchers1 f and g1 having adjacent numbers1 #acghg and #acghh1 are probably out of one household--a conservative one1 inasmuch as they were secured in #aijh4 ,they differ slightly in proportions1 yet are closely similar4 ,piece f1 the longer and flatter1 has its ends brought into a semblance of the abbreviated quail beaks and eyes found on some spoons--class ,a#b4 ,the rims of both f and g are transversely flat and wiped or pinched over inward to extra thickness1 then scored regularly with a fingernail or stick2 in g the outer edge has also been lightly punch-marked4#f #f ,in #aijd1 ,i saw in a native house upriver from ,fort ,mohave a bi-pointed parcher or katla which had nose and eyes at the ends like those on quail spoons2 and another which had along the edge a line of overlapping impressions that might have been made by the square corner of a board or tool4 ,this description suggests #f1;f and #f1;g1 which ,i secured four years later at ,needles4 ,the canteen in its net1 h1 no4 #acgic1 has evidently seen use4 ,this was the kind taken on journeys4 ,there is a faded design of three vertical figures in double outline4 ,each of these consists of three near-rhomboids set on top of one another1 with the joints between them open1 so that the three of them appear as a single figure4 ,within each of the figures and between them there are dots #d-f mm4 in diameter4 ,the bottom of the vessel is unpainted4 ,the plain duck seed-bin or canteen i1 no4 #dbig1 would be practical for use sitting in the sand in the house or under the ramada shade4 ,it contained melon seeds when ,i purchased it4 ,,plate #g3 ,,spoon ,,backs1 ,,toys1 ,,pipes1 ,,pot ,,rests a1 back of spoon #achjc shown in pl4 #d1;h2 l4 #bbe mm4 b1 back of #achji shown in pl4 #d1m2 l4 #bjg4 c1 back of #agdi shown in pl4 #d1o2 l4 #aac4 d1 back of #achaj shown in pl4 #d1n2 l4 #aef4 e1 back of #agcf shown in pl4 #d1;e2 l4 #abc4 f1 back of #agdg shown in pl4 #d1k2 l4 #ahf4 g1 back of #agca shown in pl4 #d1;b2 l4 #bja4 h1 back of #achjb shown in pl4 #d1;c2 l4 #ahb4 i1 back of #achjh2 l4 #bbf2 front not shown4 j1 lizard figure1 #agbf2 max4 l4 #aaj4 ,probably a toy or amusement2 not used ritually4 k1 hummingbird figure1 #agbg2 l41 beak to tail1 #ed4 l1 clay pipe1 #dbfd1 boy's1 unbaked1 unfinished2 l4 #ee4 m1 clay pipe1 #achgj2 broken1 #fb mm4 remaining4 n1o1 clay pot rests1 #dbhc;b1 #dbhc;c2 h4 #ib1 #he4 ,the convex backs of spoons a-i are not the only painted ones1 but show the more ambitious attempts1 if this adjective is applicable to rudeness of their degree4 ,the prevalent painting is lengthwise striping1 though crosswise 7i71 and both ways 7d71 occur4 ,the lengthwise stripes may be plain lengthwise lines 7b1g72 heavy stripes with light 7e7 or with rows of dots 7f72 flanked by multiple zigzags and forming the fish backbone design 7c1h72 negative effect 7e74 ,piece a is irregularly interesting3 three diagonally curved lines sweep across the convex back1 and are subdivided by transverse lines into about a dozen triangles and quadrilaterals of unlike shapes2 nine of these contain a polygonal spot or daub4 ,,plate #h3 ,,jar1 ,,cup1 ,,platter1 ,,bowls1 ,,spoons ,this plate comprises vessels of various shapes which ,i had at first intended not to illustrate or which had been overlooked4 a1 large water jar1 #acgia1 classing with pl4 #e1;a1b4 ,rim diameter #bee mm41 neck #bbg1 maximum body diameter #cae1 height #bee4 ,the design is of large solid hourglass figures separating rhomboidal-hexagonal areas each bordered by double lines and containing about #ce oval-round spots about #g-ab mm4 across4 ,the pattern recalls that of the interior of pl4 #c1;d4 b1 handled cup1 #chdjf1 of the type of pl4 #e1;h1i4 ,mohave provenience assumed4 ,rim d4 #ajj1 h4 #gj4 ,interior design1 #f radiating lanceolate or petaloid areas1 double-line bordered1 containing from #cc to #ej spots4 ,there are small solid triangles where the petal borders meet1 and dots also in the peripheral spaces4 ,the handle is striped crosswise2 the outside of the vessel1 vertically4 ,compare pl4 #e1;h1i4 c1 under side of platter #agbb1 front shown in pl4 #c1;d2 d4 #bjc mm4 ,the design is a solid dark and light checker of #be whole or partial squares4 d1 bowl1 #agba1 d4 #bbj mm41 h4 #ace1 ratio #fa per cent4 ,design3 the forked-and-angled pattern1 crudely executed1 and called tetk face paint4 ,the dots were named hathk1 rows of tattoo dots4 ,the outside is painted with crossing lines1 forming triangles and diamonds1 called saka1 small net4 e1 large bowl1 #agdf1 d4 #cbj1 h4 #aej1 ratio #dg per cent4 ,wt4 #da oz4 ,the interior design1 called atalyke hamalye1 leaves of an edible tuber-bearing plant1 is fishnetlike3 thin lines forming squares bisected by diagonals running one way2 or1 a network of right-angled triangles turning somewhat irregular toward the vessel's rim4 ,opposite acute angles filled in solid4 ,this design apparently was begun by drawing #e parallel lines across the interior1 demarcating #f segments4 ,these were then crossed1 nearly vertically1 by #f lines2 and then by #f diagonals4 ,outside1 vertical stripes #aj or more mm4 wide4 ,there are three peglike projections1 irregularly spaced1 to keep binding from slipping4 ,two1 broken off1 are #g-h mm4 across2 the third projects #aa mm4 f1g are outside-painted bowls1 both with height #dh per cent of their rim diameter1 almost the same as e4 f1 #acggg1 d4 #caj1 h4 #aej2 thickness near bottom #g-i mm41 at neck #d4e-f1 at lip #f4e-g2 wt4 #dh oz4--heaviest piece in the collection4 g1 #acgha1 d4 #afe1 h4 #hj2 wt4 #ad oz4 ,the design of f is negative in effect3 a band of light diamonds reserved on darker background2 they are about twice as high as wide1 and each is inner-outlined with a dark border4 ,the interior is dark and worn smooth4 ,the pattern of g is irregular3 diagonals sloping to the right1 with left-sloping ones crossing every other one of these2 but to the side1 the left-sloping lines come thicker1 the right-sloping ones are omitted4 h1 #acgij1 is a fire-blackened bowl that has been cooked in and the contents run over2 d4 #ahe1 h4 #abe1 ratio #fh per cent4 ,this is the maximum for a ,mohave bowl1 though equaled by pl4 #b1;g2 and the shape is still that of a bowl rather than of a pot 7olla7 such as pl4 #e1;c4 ,the ratio of rim1 neck1 and body diameters is #ajj1 #ie1 #ig per cent for #h1;h1 whereas the pot #e1;c has #ajj1 #ia1 #ajj per cent1 and its height is #gg instead of #fh per cent4 i1j1k1 #achaa1 #agej1 #achjf1 are spoons1 the first blunt-topped1 the last with #ace back-curved handle4 ,the maximum lengths are #ace1 #adj1 #afg mm4 ,the patterns are as follows4 i1 no4 #achaa1 outlined diamonds and triangles containing from #i to #d dots4 ,the surface is worn1 and the arrangement of figures of the two shapes may have been more regular than now appears2 but the painting was slovenly at best4 j1 no4 #agej1 very similar to the fishbone design of plate #d1o4 ,there are #ab thinnish cross lines1 each with four upward angles4 #h1;j and #d1o are very similar and bear adjoining numbers1 #agej and #agdi1 and were almost certainly the product of the same hand4 h1 #achjf1 parallel line-angles1 pointed right1 then left1 then again right across the front of the hollow of the scoop4 ,these angles are formed by #ah or #ai cross lines4 ,,summary ,,of ,,shapes ,bowls3 kwki4 ,diameter about twice the height2 neck concave1 often strengthened with a lashing of mesquite bark2 lip gently everted2 principal design inside2 outside design usually mere lines1 stripes1 rows of dots4 ,h_/,d down to #ch per cent1 usually #de-fa per cent1 in two cases #fh per cent--one of these has been cooked in4 7,pls4 #a1;a-h1 #b1;a-h1 #f1;a-c1 #h1;d-h47 ,round platter or plate3 kaya4 ,lipless2 continuous curvature4 ,principal design inside 7above74 ,h_/,d #bi-ce percent4 7,pls4 #c1;a-d1 g1 #h1;c47 ,oval platter3 kayka or kakpa4 ,like the last except for being oval1 with width_/length percentage between #gh and #hi4 ,they also average smaller than the round plates--modes around #afj mm4 and #bfj mm4 respectively2 but the two classes do overlap in size4 7,pls4 #c1;e-f1 h-j1 #f1;d-e47 ,spoon1 ladle1 dipper1 scoop3 kam'ta4 ,these are oval trays brought at one end to 7,a7 a point or rude quail's head1 or 7,b7 to a sharp rounding or blunt point4 ,the second type is obviously related in form to the oval platters2 though most spoons are longer than most platters4 ,their range is from #aac to #bbf mm4 ,painted design on the inner side varied2 on the back it is usually simpler1 but also varied4 ,a few spoons are built up at the handle into a hollow box that rattles4 ,parcher3 katla4 ,as the spoons can be construed as oval platters pointed at one end1 the parchers--used to shake live coals with grain or seeds--are two-ended1 with well-raised points4 ,they are about twice as long as spoons1 and longer than any known platters or bowls3 #cdj-che mm41 with a width about seven-tenths that4 ,they are wholly unpainted4 7,pl4 #f1;f1 g47 ,the five foregoing shapes are all open and relatively flat4 ,there are about the same number of tall shapes--pots1 jars1 jugs1 etc4 ,but these are represented by notably fewer specimens4 ,whether this disproportion existed in precontact times1 ,i do not know4 ,it is possible that cooking vessels and containers of ,american make had begun to crowd out native forms by #aijb-aijh faster than bowls1 platters1 and spoons were being displaced4 ,cook pot3 tskyena4 ,the single specimen available1 #e1;c1 is about the size of a bowl but higher 7#gg per cent as against #fh per cent maximum72 mouth and body diameter the same1 neck constricted #i to #aj per cent4 ,no handles1 paint1 or decoration4 ,large cook pot3 tuvva4 ,set on three rests4 ,it may have been proportionally higher than the tskyena1 but my recollection is fifty years old4 ,water jar3 hpurui4 ,unhandled1 painted4 ,the largest dimension is the body diameter1 usually below the middle4 ,next largest dimension is the height1 though in one case this is about equaled by the mouth diameter4 ,the neck has from #hj to #hg per cent the diameter of the mouth4 ,one specimen 7#e1;a7 differs from the two others in showing considerably more taper from body to neck and mouth and in having an annular base4 ,the contained volume would be around a gallon or up4 7,pls4 #e1;a1 b1 #h1;a47 ,oval seed-storage jar 7or canteen7 with short side spout3 hpurui hanem1 duck jar from its shape4 ,the single specimen is unpainted4 7,pl4 #f1;i47 ,seed jar with small flaring mouth4 ,see ,appendix ,i4 ,canteen for carrying in sling or net4 ,short spout on top1 as in a basket or gourd4 ,one specimen1 painted4 7,pl4 #f1;h47 ,handled jug3 no native name obtained1 except hpurui1 jar1 or kwki1 bowl4 ,may be a postcontact form4 ,higher than wide2 no spout4 ,painted outside4 7,pl4 #e1;d-g47 ,handled cup3 also unnamed1 except perhaps kwki1 and perhaps postcontact4 ,wider than high4 ,painted design mainly inside4 7,pls4 #e1;h-i1 #h1;b47 ,,transitional ,,and ,,exceptional ,,pieces ,bowls with principal painting outside3 #h1;f1 g4 ,bowls of height more than two-thirds diameter3 #b1;g1 base somewhat conical2 #h1;h1 fire blackened4 ,bowl with cylindrical projections to prevent slip of neck binding3 #h1;e4 ,transition bowl-platter with #aa flanges to hold binding2 no neck or recurved rim2 ,h_/,d ratio #ch per cent on border between bowl and round platter classes4 ,the diameter is greater than that of any other bowl or platter in the collection 7#h1;e is next71 and the weight is second heaviest 7#h1;f being first73 #f1;c4 ,called suyre4 ,spoon with ribbon handle curled back 7only handled spoon73 #h1k4 ,water jar with annular base 7found otherwise only on handled jugs71 and considerably reduced neck and mouth3 #e1;a4 ,,summary ,,of ,,painted ,,designs ,,and ,,elements ,angled-and-forked continuous pattern3 usually of triple lines2 background stippled or empty4 ,bowls #a1;a-h1 #b1;e1 #h1;d2 platters #c1;a-b1 #c1;g 7called fish bones72 spoon #d1;b2 jar #e1;a1 jug #e1;g2 cup #e1;i4 ,i did not obtain a name for this design as an overall pattern4 ,some element in it1 perhaps the filled-in angle1 was twice denominated titk face paint4 ,hourglass figures3 7#a7 as principal design1 bowl #b1;f2 platter #c1;d2 spoons #d1;a1 #d1;d 7in rows71 #d1q2 jar #h1;a2 jug #e1;e4 7#b7 as secondary design element with rhomboids1 bowls #b1;a1 b2 spoons #d1;g1 h1 i1 j1 m with diamonds in column4 ,the hourglass figure can of course be construed as the filled-in angle enlarged4 ,quadrilaterals-hexagons1 shifting from one to the other according to exigencies of the field4 ,the mark designates painted figures1 that are dark2 others are open1 left as part of the lighter background1 or stippled4 ,a4 ,four central polygons3 bowls #b1;a1 #f1;c 7in this1 rounded into ovals74 ,b4 ,more than four3 bowls #b1;b1 #b1;f2 platter #c1;d2 jug #e1;e2 cup #h1;b4 ,c4 ,in rows3 spoons #d1;a1 d2 jar #h1;a4 ,d4 ,in columns3 spoons #d1;g1 h1 i1 j1 m4 ,rows of dark and light triangles3 bowls #b1;a1 b2 spoons #d1l1 q 7these spaced and geared72 #b1;b1 #d1l1 q named coyote teeth2 jug #e1;d1 named tattoo points4 ,fishbone 7fish backbone7 pattern3 of parallel angled lines1 from one to four chevrons in each line4 ,usually about half the angles are filled in2 this is indicated by the asterisk 994 ,a4 ,with vertebral column shown by central line3 platter 99#c1;g 7transitional to angled-and-forked pattern72 spoons #d1;e 7with stippling71 99#d1o1 #g1;h outside1 #h1;j2 jug 99#e1;g4 ,b4 ,without vertebral column1 zigzag parallels only3 ,bowl 99#b1;g2 platters 99#c1;c1 99#c1;e2 spoons 99#d1;f1 99#d1k1 99#d1s1 #g1;c outside1 #h1k 7direction of angles unusual74 ,c4 7,named fishbone or fishtail1 but design of straight stripes only3 bowl #b1;h outside2 spoon #g1;e outside47 ,circular center of design3 bowl #b1;f2 oval platter #f1;d2 cup #h1;b4 ,fishnetlike design1 crossing lines1 square or diagonal4 ,asterisk 99 denotes filled-in angles4 ,a4 ,on inside of vessel3 bowls 99#h1;e1 perhaps #b1;g2 spoons 99#d1n1 #h1;i 7really rows of polygons1 stippled74 ,b4 ,on outside of vessel3 bowls #h1;c 7bold checker71 #h1;f1 #h1;g2 spoons #g1;a 7with blobs in centers71 #g1;d4 ,large polka dots as design3 platters #c1;f outside1 #c1;h1 #c1;j 7combined with tortoises72 spoons #d1;c1 #g1;a 7central blobs in polygon71 #g1;f 7with stripes74 ,stippling3 more or less as shading or value effect or border4 ,a4 ,of areas3 bowls #a1;a1 b1 c1 d1 e1 g1 h1 #b1;e1 h1 #h1;d2 platters1 #c1;d1 7#c1;j72 spoons #d1;b1 e1 g1 i1 j1 q1 r1 #h1;i2 jars #e1;b1 #h1;a2 jug #e1;f2 cups #e1;i1 #h1;b4 ,b4 ,row of spots as outer or inner border3 bowl #f1;a2 platter #c1;g2 spoons #d1;h1 p1 q2 canteen #f1;h4 ,solid angles1 corners filled in3 7see 99 under fishbone and fishnet patterns2 and regular in angled-and-forked47 ,total occurrence is in more than thirty vessels4 ,bowls #a1;a-h1 #b1;a1 b1 7c71 f1 g outside1 #f1;c1 #h1;d1 e2 platters #c1;a1 b1 c1 d1 e1 g2 spoons #d1;b1 f1 g1 h1 i1 k1 m1 n1 r1 s2 jar #e1;a2 jugs #e1;e1 f1 f2 cups #e7;h71 i1 #h1;b4 ,negative 7dark7 effect3 ,a4 ,dark background1 pattern light3 bowl #h1;f outside2 platters #c1;a1 b2 spoon #d1m4 ,b4 ,dark and light areas alternating evenly3 bowls #b1;c1 d2 platter #h1;c outside4 ,c4 ,seeming negative1 owing to masses of dark polygons3 bowls #b1;a1 7b74 ,,summary ,,of ,,design ,,names ,designs are named most frequently after animals or their parts1 once after a leaf4 ,next most frequent are names derived from patterns of face painting or tattooing4 ,a few are descriptive1 like patches1 zigzag4 ,animals or parts4 ,fish 7back7bone3 #c1;c1 #c1;g1 #d1o1 #d1q1 #e1;g1 #f1;a outside ,fish tail 7873 #b1;h outside ,coyote teeth3 #b1;d1 #d1l1 #d1q ,raccoon hand3 #f1;a1 #f1;b1 #d1p ,yellowhammer belly3 #a1;a ,tortoise3 #c1;j1 #f1;e outside ,spider3 #b1;h1 #c1;i1 #f1;d outside ,butterfly3 #b1;f2 in mouth1 #d1;d ,plant parts4 7,cottonwood7 leaves3 #c1;d1 #h1;e ,of these1 coyote teeth1 yellow-hammer belly1 butterfly1 and 7atalyka7 leaf occur also as names of face paintings 7,handbook1 p4 #gcb1 fig4 #fa1;b-e74 ,the ,handbook 7p4 #gch7 mentions a few additional names for pottery designs3 rain1 rainbow 7this also a face painting71 melon markings4 ,face paintings or tattoo4 titk3 #c1;d1 #e1;a4 ,this seems to denote an element in what ,i have called the forked-and-angled pattern of plate #a4 ,also recorded as titgk4 hotahpave1 halter3 #b1;f1 #e1;e4 ,it seems to refer to paired crossing lines as part of hourglass figures4 ,in ,handbook 7fig4 #fa1;i-j7 it appears as point-to-point chevrons on the cheeks4 ta-tsirqa-tsirqa3 #a1;d4 ,in ,handbook 7fig4 #fa1k1 l7 it appears as sharp points under the eyes 7cf4 ibid41 fig4 #fa1;g1 h1 ha-tsira-tsirk1 a vertical line down from the eye74 ta-skilye-skilye3 #e1;d4 ,reference is to a column of horizontal points at the edge of one style of women's chin tattoo4 7,see ,handbook1 p4 #eba1 fig4 #df1q47 iya-m-tupe7r7t7a73 #b1;g4 ,iya is the mouth2 tupeta1 to hold back or cover4 ,adjectivally descriptive4 ta-hlame-hlame1 patches3 #a1;b1 #d1;d kyauelkyau1 angled1 zigzag3 #d1;g kan' 7871 patterned3 #b1;b ,it is evident that there is no deeper symbolic significance in the pattern names4 ,they are like our crow's foot1 horseshoe1 pigtail1 fleur-de-lys1 diamond1 spade1 wavy1 broken--metaphorically or directly descriptive4 ,the ,mohave in addition have available a number of striking and familiar types of designs with which women ornament their faces4 ,in their actual1 though of course transient1 face decoration1 the ,mohave1 though not quite the artistic equals of the ,seri1 paint with far more care1 neatness1 and precision than they bestow on their pottery4 ,it is significant that it is the patterns of pottery that are named after those painted on their cheeks1 not the reverse4 ,,the ,,mohave ,,pottery ,,style ,mohave pottery was made in a culture which set little intrinsic value on anything technological and looked upon economic acquisition as in itself unworthy and fit only for dissipation4 ,artifacts were used but not prized2 and they all perished upon their owner's death4 ,certain qualities of ,mohave pottery are expectable as a product of this atmosphere3 lack of evenness and finish or precision1 the appearance of haste or indifference in manufacture4 ,surfaces are not quite true or even1 thicknesses variable1 firing intensity somewhat spotty2 diameters vary enough for the eye to see some lopsidedness from the round1 or sway in the level of a rim4 ,particularly in the painted designs1 which do not contribute to functional use1 inequalities1 crowding1 wavering lines1 departures from symmetry1 are all conspicuous4 ,at the same time the ware is never incompetent4 ,it has reasonable strength1 toughness1 hardness for its purpose4 ,its shapes are definite and well standardized4 ,it never tries merely to get by4 ,this is proved by the fact that1 except for vessels like cook pots and parchers1 where decoration would be wasted1 painting is the rule1 and mostly1 painting on both sides4 ,the execution of this painting is often enough slovenly2 but it is firm in aim4 ,there are a series of design patterns more or less fitted to the several shapes2 there is considerable choice between these1 and even more freedom of adaptation to shape of field4 ,timidity was not one of the earmarks of the ,mohave potter2 if her pattern came out neatly1 well and good2 if uneven or crowded1 there was no harm done4 ,standards were not particularly high1 especially not as regards exactness2 but they called for vigor of approach4 ,emphasis is on the overall effect of pattern1 not on its items4 ,the continuous forked-and-angled design1 the combinations of hourglass figures1 of spaced rhomboids or hexagons1 even the simpler fishbone pattern--all have this total-field approach1 with relative indifference to figure elements that got squeezed1 stretched1 or distorted4 ,some of these patterns1 especially the forked-and-angled continuous or interlocking one1 are not easy to plan or apply with reference to a given field1 whether circular or otherwise2 yet they are attempted again and again with a slapdash gusto4 ,elements like the triple line1 or an extra line shadowing the edge of a solid area1 or a row of dots following an inner or outer contour1 or the filling either of figures or background with stippled spots1 and the superabundant solid-filled angles--either opposite or apart--are simple enough to execute in themselves2 but the frequency of their use1 often of two or three of them at once1 are evidence that the ,mohave potter was at least not skimping her decoration1 even though she was unworried if it came out skew or ragged4 ,after all1 these details might have simply been left out instead of being executed4 ,in fundamental form1 the bowls1 platters1 parchers are pleasing2 and in design and its relation to its field1 vessels like #a1;b1 c1 #b1;g1 #c1;a1 b--or #c1;c1 e1 #e1;g2 or #d1;g2 h1 m1 p2 or #c1;d1 #d1r--show concepts that in the hands of a more interested or aesthetically more experienced population would have had definite potentialities4 ,there is then a standard in the ,mohave pottery art1 and behind this a tradition4 ,how this tradition grew will be gradually worked out as a corpus of published data on the ceramic wares of other tribes of the region becomes available1 and especially as archaeological information accumulates4 ,personally1 ,i have always assumed that ,colorado ,river ware as represented by historic ,yuma and ,mohave pottery was a variant in a cotradition that includes also ,hohokam1 much of ,sonora1 and probably southern ,california4 ,this seems also the basic view of ,malcom ,rogers1 ,schroeder1 ,treganza1 ,meighan1 my present collaborator ,harner1 and the few others who have concerned themselves with ,colorado ,valley pottery4 ,but of course the full story is long and complex2 and the present description and ,harner's analysis are merely thresholds from which the problem can be really entered4 ,rogers' ,yuman ,pottery ,making is a useful preliminary survey and stimulating4 ,meanwhile a ,patayan tradition has been set up for the mountains and desert east of the ,mohave habitat along the ,colorado4 ,but we have scant information on the ,patayan development1 and that little seems quite different from the historic ,mohave one4 ,so far as there may be resemblances1 ,i hope that our present detailed contribution will induce those who know ,patayan to point out in print such similarities as they discern4 ,,appendix ,i ,,memoranda ,,on ,,the ,,destroyed ,,academy ,,collection ,the ,mohave ethnological collection which was destroyed by fire at the ,california ,academy of ,sciences in ,san ,francisco in #aijf consisted of #fg items1 according to a record preserved in my notebook #g4 ,of these #fg1 #cb were pottery vessels and #ab were ceramic ancillaries4 ,the latter consisted of four paddles1 three pebbles used as anvils1 yellow pigment1 two samples of potter's clay1 one of clay pounded small1 and a sample of fine-crushed rock for tempering4 ,the vessels comprised3 #aa bowls1 one of them of kwki shape2 mostly listed by me as dishes2 they may include some platters #c bowllike vessels1 listed as3 kwki1 small pot2 suyre1 round dish2 temtive1 pot with designs inside and out #a dish1 corrugated outside #i spoons #a fire-blackened pot #a cup1 named as kwki aha-suraiti #a jar1 hpurui1 water jug #b seed jars1 described as3 #be1 water jug1 wheat jar1 aha-te-kemauvite1 in halves1 rejoined with mesquite gum2 and #ci1 jar1 top sealed with mesquite gum2 contains melon seeds for roasting and pounding2 to take them out1 the mouth of the jar is set on hot coals #b parchers1 double-ended #a jar with rope handle 7canteen like pl4 #f1 h8 or a water jar carried by a rope around its neck87 ,i do not know whether in #aijj ,i meant the same by jar1 jug1 pot as now4 ,my dish of then may have included some platters as well as bowls4 ,i was not using the term bowl2 and pot seems to have designated sometimes a cook pot or olla1 sometimes simply any open pottery vessel1 including bowls4 ,nor can ,i imagine now what ,i may have meant by the corrugation on a dish4 ,a cup is mentioned1 but called a special kind of kwki4 ,if the hpurui1 water jug was handled1 it would show that handled jugs were called by the same name as widemouthed jars1 hpurui4 ,the two seed jars were evidently of the small-necked and small-mouthed type discussed in connection with the ,chemehuevi seed jar no4 #achge4 ,the design names obtained in #aijj were3 ,fish bones1 fish back1 usually written atcitatr 7 atita73 on four spoons and one dish4 ,spider1 haldda 7for halyta71 on one pot4 ,i sketched the core of the pattern3 an hourglass figure 7meeting angles7 with double lines from the corners4 ,cottonwood leaf1 on three spoons and the jar with rope handle ,matitiav leaf 7a bush growing away from river71 on one spoon ,turtle 7viz41 carapace markings71 on one spoon ,hotaxpam1 on the temtive pot1 also on one spoon2 described as a red ,x painted below the eyes by women2 hotaxpave1 halter1 the cross-strap being near the horse's eye ,kari hanyra1 basket pattern1 on the outside of a dish ,rain1 kovau1 on two dish-pots2 on the outside in at least one ,rainbow1 kwalisei1 on the outside of two dishes and one spoon4 ,i think these are simply stripes or parallel lines on the under side4 ,rainbow occurs also as a design on women's wooden dice1 and as a face paint4 ,fishnet1 once on the outside of a dish ,melon markings1 kamto hanyra1 on one of the seed-water jars ,clouds were given as the name of the corrugations on dish no4 #df4 ,i evidently asked a foolish question4 ,handbook of ,california ,indians 7fig4 #fd1 p4 #gch7 shows a typical bowl and spoon from this ,academy collection1 which ,i had drawn before their destruction4 ,the bowl pattern is outside1 consists of heavy stripes and thin lines1 and was called rain4 ,the spoon pattern was probably on the inside1 was called fish backbone1 and is similar to that of plate #d1;f1 k1 s4 ,,appendix ,,ii ,a ,,small ,,mohave ,,bowl ,about #aijh ,i was given or purchased as a souvenir a small bowl which is now ,peabody ,museum no4 #ed-da-aj_/cddfa4 ,it is a typical bowl except for being smaller than any in the ,university collection4 ,it is #abc mm4 in diameter1 #fd in height2 ,h_/,d ratio is therefore #eb per cent4 ,the ridge is finished with a horizontally flat edge #d-e mm4 wide4 ,i estimate the mean thickness of the ware as around #d mm4 ,the weight is #g oz4 ,there is a mesquite lashing below the rim with three knots in it4 ,the inner side is worn by use1 and parts of the design are no longer plain4 ,the basic element is the raccoon hand1 of which there were originally #bj to #bd units4 ,each of these consists of a solid red triangle1 isosceles or equilateral1 with sides of #ae-bj mm4 ,from each triangle project four digits--bars #f-ab mm4 long4 ,the hands are scattered rather evenly over the field1 but pointing in all directions3 toward the center1 toward the rim1 or across the circle4 ,between the hand units there are red dots #b-c mm4 in diameter4 ,the under side carries #da vertical 7radiating7 lines #a-b mm4 wide and #cj-hj mm4 long4 ,,appendix ,,iii ,,granite ,,temper ,,and ,,limonite ,,pigment ,,examination ,by ,,professor ,,charles ,,meyer ,the piece of granite1 no4 #dcbf1 used for temper is high in quartz 7#bj-be per cent7 and potash feldspar 7#ce-dj per cent71 with perhaps #aj per cent of black mica now chloritized4 ,the remainder is probably soda-rich plagioclase1 a feldspar4 ,this is a very acid granite1 silica probably constituting around #gj per cent of the total mass4 ,as a result1 as the rock surface weathered1 it would not wash off as clay but would maintain hard spicules and sharp angles of quartz useful as temper4 ,the limonite pigment1 no4 #dbie1 ,fe#b,o#cn77,h#b,o1 has mostly crystallized on exposure to become toethite1 ,fe#b,o#cn,h#b,o4 ,if originally derived from a sulphide1 none of this seems to remain4 ,some clay is contained and a little quartz silt2 also some carbonate in the form of calcite1 which acts as a cement for the whole2 but the total of silicates and carbonates1 that is1 noniron oxide1 is not over #aj per cent4 ,on roasting1 the water content is driven off1 and the remaining ,fe#b,o#c is red4 ,a reducing heating with carbon however produces magnetic powder ,fe#c,o#d1 a black pigment4 ,,appendix ,,iv ,,mohave ,,pottery ,,in ,,other ,,museums ,in #aicd ,f4 ,h4 ,douglas1 of the ,denver ,art ,museum1 wrote my colleague ,gifford about ,mohave pottery which he had seen on display in various museums1 without special search of catalogues or storerooms4 ,the list may still be useful4 ,u4 ,s4 ,national ,museum3 #be vessels1 mostly old1 many collected by ,palmer1 some evidently mislabeled ,diegueo or ,pimo4 ,one anvil stone4 ,yuma1 a bowl and a #e-necked vase1 from ,palmer2 the ,yuma went in for fancy or tourist pieces earlier than the ,mohave4 ,cocopa1 ,mc,gee got #d plates1 a ,mohave type dipper1 unpainted1 #b paddles4 ,peabody ,museum1 ,harvard3 #aj vessels collected by ,edward ,palmer in #ahgf1 viz41 #a very large jar1 #b other jars1 #a tiny jar1 #c bowls1 #c dippers2 also #b pottery dolls1 a paddle1 an anvil stone1 a vessel of mud and straw4 ,there is also a pottery doll secured by ,jules ,marcou in #ahed--;he must have been on the ,whipple ,expedition6 ,i have seen this lot and1 like everything ,palmer got1 it is excellent4 ,together with ,national ,museum pieces1 these of ,palmer's are the most important collection of ,mohave pottery extant4 ,there seem to be no handled vessels2 but there are dolls--besides ,marcou's4 ,the ,palmer collections1 formed twenty-five to thirty years before mine1 will be the touchstone of the purity of mine4 ,from having seen the ,palmer material1 ,i am confident that ,mohave native ware had not been seriously impaired technologically or stylistically by #aijb-aijh2 but it must have been affected somewhat--the railroad came through in #ahhf--;and it will be desirable to know at what points it had begun to change4--,a4 ,l4 ,k4 ,chicago ,natural ,history ,museum3 #h vessels 7bowls1 dippers1 jars1 canteen71 also #c dolls1 collected in #aija4 ,the date points to ,owen1 who was in southern ,california about then4 ,from ,yuma1 one painted1 one unpainted bowl4 ,museum of the ,american ,indian3 #ae assorted pieces1 #c of them unpainted4 ,same number from ,yuma4 ,possibly ,edward ,davis of ,mesa ,grande collected these4 ,university of ,pennsylvania3 #b ,yuma pottery dolls4 ,denver ,art ,museum3 #c human-headed vases1 pre-#aijj4 ,also #e brand-new pieces bought at ,needles in #aicd4 ,it is curious that none of these collections have been described1 except possibly for stray pieces in nonethnographic connections4 ,they aggregate into a group probably at least as large as that discussed here2 perhaps considerably larger when the storerooms shall have been examined4 ,,appendix ,v ,,correlation ,,of ,,kroeber ,,and ,,harner ,,shape ,,classes ,kroeber ,harner ,bowl ,i ,platter ,,ii ,bowl1 deep ,,iii ,cook pot ,,iv ,water jar ,v1 ,,vi ,canteen ,,vii ,handled cup ,,viii1 ,,ix ,handled jug ,x ,spoon 7scoop7 ,,xi-,,xvi ,parcher ,,xvii-,,xviii ,illustration3 ,fig4 #a4 ,profile shape types4 ,exterior to left2 section to right4 ,,part ,,ii ,a ,,description ,,for ,,the ,,archaeologist ,,parker ,,red-,,on-,,buff1 ,,fort ,,mohave ,,variant ,,and ,,parker ,,buff1 ,,fort ,,mohave ,,variant ,,by ,,michael ,j4 ,,harner ,,introduction ,the following analysis of the ,mohave pottery collected by ,professor ,kroeber is primarily for the use of the archaeologist to aid him in identifying historic ,mohave ceramics4 ,not represented in the collection is pottery made by the ,mohave south of ,parker4 ,some typological differences may exist between the pottery of those settlements and the pottery in ,kroeber's collection1 which is from ,mohave ,valley4 ,in addition1 the evidence seems to indicate that ,mohave ceramics were undergoing changes in the late historic period4 ,since the historic period can be considered to extend back to the time of the first ,spanish contacts1 other chronologically significant historic ,mohave pottery types or type variants may be discerned through additional research4 ,for these reasons ,fort ,mohave is introduced here as a variant or subtype name in preference to using ,historic ,mohave which is felt to be too inclusive a term4 ,in referring to historic ,mohave pottery1 ,malcolm ,rogers 7#aide1 p4 #agi7 once used the name ,needles ,red-on-,buff4 ,however1 the description of ,needles ,red-on-,buff by ,colton 7#aici1 pp4 #ab-ac7 and the use of that type name by ,schroeder 7#aieb1 p4 #cb7 indicate that each has in mind a type distinguishable from the pottery described in this paper4 ,at the same time1 ,schroeder 7#aieb1 p4 #bj7 clearly considers that his ,parker types include historic ,mohave pottery within their typological range1 and ,i am of the same opinion4 ,the descriptions of ,parker ,red-on-,buff1 ,parker ,buff1 and ,parker ,stucco by ,schroeder 7#aieb1 pp4 #ai-bb7 agree in basic characteristics with most of the pottery described in the present paper4 ,however1 some forms which do not seem to occur prehistorically in the ,lower ,colorado ,buff ,ware1 such as cups1 ring bases and keels1 are present in the late historic collection described here4 ,such new forms can be of definite use as chronological diagnostics1 but it is difficult to justify setting up a new type on the basis of them alone4 ,consequently1 the qualification ,fort ,mohave variant has been added to the ,parker type names to denote this late historic pottery complex4 ,when more detailed descriptions are available for the earlier ceramics of the ,parker ,series1 the typological contrast may prove to be of sufficient scope to warrant classifying the ,fort ,mohave variants as full-fledged types4 ,in any case1 such descriptions must be made before useful comparisons can be attempted4 ,the description which follows does not include pottery figurines1 toys1 rattles1 pipes1 or pot rests4 ,also one undecorated jar#g was not included in the study4 #g ,,ucma no4 #a_/dbig4 ,pl4 #f1;i4 ,techniques of description used here are almost entirely based upon ,colton and ,hargrave 7#aicg71 ,shepard 7,,ms71 and ,gifford 7#aiec72 the latter paper being also the source of the paint permanency scale4#h ,color analysis is based upon the ,munsell ,soil ,color ,chart and hardness tests upon ,moh's scale4 ,depth and diameter measurements refer to exterior dimensions4 #h ,i wish to thank ,a4 ,h4 ,schroeder4 ,r4 ,c4 ,euler1 and ,h4 ,s4 ,colton for their constructive criticism of this description4 ,illustration3 ,fig4 #b4 ,rim and lip types4 ,interior to left2 exterior to right4 ,since the size of the collection leaves much to be desired1 particularly as regards ,parker ,buff1 ,fort ,mohave variant1 the writer wishes to emphasize that the definitions of these variants are only tentative and hopes that others will not hesitate to revise them in the light of additional evidence4 ,,parker ,,red-,,on-,,buff1 ,,fort ,,mohave ,,variant ,,general ,,description ,synonym3 ,none4 ,variant named for3 ,fort ,mohave ,reservation4 ,illustrations3 ,this publication4 ,type specimens3 ,mohave pottery collection at the ,university of ,california ,museum of ,anthropology4 ,type sites3 ,all specimens were collected ethnographically on the ,fort ,mohave ,reservation in the vicinity of ,needles1 ,california4 ,cultural association3 ,historic ,mohave4 ,time3 ,in use and collected during the years #aijb through #aijh4 ,size of sample3 #cc bowls2 #d jars2 #g cups2 and #bi scoops4 ,,analysis ,construction technique3 ,coiling4 ,finishing technique3 ,paddle and anvil4 ,firing3 ,fully to incompletely oxidized4 ,paste3 ,color4--,range3 hue #b4e,,yr to #aj,r2 value #f to #g2 chroma #d to #f4 ,most common3 #b4e,,yr #f_/e 7between a weak reddish orange and a weak orange47 ,temper4--,size3 average 4#d mm4 7fine72 maximum #a4d mm4 7coarse72 minimum microscopic4 ,greatest range between average and maximum observed in a single vessel is 4#d to #a4c mm4 ,kind3 predominantly white angular and subangular particles 7feldspar7 together with a small amount of white rounded particles 7quartz74 ,some mica 7copper-colored7 is present1 but except for a few vessels is hardly noticeable4#i ,no sherd temper is visible4 ,amount3 ,when seen in cross section the amount of the paste surface occupied by temper particles ranges from ca4 #cj per cent to ca4 #ej per cent2 the average being ca4 #dj per cent4 #i ,mineral identifications were kindly made by ,dr4 ,adolf ,pabst1 ,department of ,geological ,sciences1 ,university of ,california4 ,carbon streak4--,none4 ,texture4--,rough4 ,hardness4--,where the paste is buff-colored3 range of hardness is #b to #f4e2 average is #d4 ,where the paste is grayish3 range #c4e to #h4e2 average #f4e4 ,these hardness ratings can be in error 4#e owing to variability in the mineral set used for testing4 ,fracture4--,medium to crumbling4 ,surface finish3 ,anvil depressions are generally discernible on interior surfaces of vessels4 ,surfaces are uniformly smoothed1 but not polished4 ,all vessels are unslipped 7a few scoops have a sliplike surface appearance1 owing to one or both of their surfaces being completely painted over2 but the painting marks make it evident that these are not applications of the clay wash that characterizes a true slip474 ,surface color3 ,bowls4--,exterior3 range of hue #aj,r to #aj,,yr2 value #b to #h2 chroma #a to #f4 ,most common3 #e,,yr #f_/d 7pale neutral brown74 ,interior3 range of hue #b4e,,yr to #aj,,yr2 value #c to #h2 chroma #a to #h4 ,most common3 #b4e,,yr #f_/g 7weak to moderate orange74 ,jars4--,exterior3 range of hue #aj,r to #aj,,yr2 value #c to #g2 chroma #a to #h4 ,most common3 sample insufficient4 ,interior3 range of hue and value same as for exterior surface2 chroma #a to #f4 ,most common3 sample insufficient4 ,cups4--,exterior3 range of hue #aj,r to #aj,,yr2 value #c to #h2 chroma #a to #g4 ,most common3 #b4e,,yr #f_/f 7moderate orange pink74 ,interior3 range of hue and chroma same as for exterior surface2 value #d to #h4 ,most common3 #e,,yr #g_/d 7between moderate orange-pink and weak yellowish orange74 ,scoops4--7,for colors of completely painted-over surfaces1 consult section on ,decoration47 ,exterior3 range of hue #b4e,,yr to #g4e,,yr2 value #b to #h2 chroma #a to #f4 ,most common3 #e,,yr #e_/d 7between pale reddish brown and moderate yellowish brown74 ,interior3 range of hue and value same as for exterior2 chroma #a to #g4 ,most common3 #e,,yr #f_/d 7between weak reddish orange and light yellowish brown74 ,fire clouds3 ,placement4--,occur on any part of the exteriors of all classes of vessels2 never occur on the interiors of bowls1 but sometimes on the interiors of jars1 cups and scoops4 ,indistinct in shape4 ,amount4--,every vessel has at least one fire cloud on its exterior surface4 ,presence of fire clouds on the interior surface is more variable4 ,fire clouds are extremely variable in size4 ,bowls3 ,exterior3 as many as #ad per vessel4 ,often cover more than one-half of the surface4 ,interior3 no fire clouds4 ,jars3 ,exterior3 as many as #d per vessel4 ,cover less than half of the surface4 ,interior3 ranges from being entirely free of fire clouds to being completely blackened through use4 ,cups3 ,exterior3 as many as #d per vessel1 and at least #a4 ,interior3 with the exception of #a cup1 which has #a small fire cloud1 they are lacking4 ,scoops3 ,exterior3 as many as #ab per vessel4 ,often cover more than one-half of the surface4 ,interior3 not more than #a4 ,occur only occasionally4 ,color4--,value #b to #g1 chroma #a 7light gray to near black74 ,hue depends upon vessel surface color4 ,form3 ,bowls3 ,straight wall 7circular and oval74-- ,profile form types3 ,i 7circular bowls7 and ,,ii 7oval bowls74 ,lip and rim types3 ,lip type ,b4 ,rim types #a1 #b1 and #c4 ,types #a and #b occur on both circular and oval bowls1 type #a being the more common4 ,type #c occurs on a single circular bowl4 ,shoulders3 ,none4 ,base3 ,rounded4 ,diameter range3 7a7 for circular bowls1 #ab4c to #cc4j cm42 7b7 for oval bowls1 maximum length ranges from #ae4d to #bf4h cm4 and maximum width from #ab4j to #ba4f cm4 ,depth range3 7a7 for circular bowls1 #f4j to #ac4d cm42 7b7 for oval bowls1 #d4e to #f4f cm4 when measured at the point of maximum length and #c4a to #e4e cm4 when measured at the point of maximum width4 ,wall thickness range3 7a7 at rim1 #d to #i mm42 7b7 at a distance of #a cm4 below rim1 #d to #g4e mm42 7c7 at center of vessel base1 #d to #i mm4 ,additional features3 ,none1 with the exception of the largest circular straight walled bowl1 which has pottery knobs4 7a7 ,nature of feature3 short oval pottery knobs apparently for the purpose of holding in place vegetal bindings which were sometimes wrapped around vessels at the lip4 7b7 ,placement3 encircle the vessel at the lip and project horizontally from it2 tops of the knobs are #ae to #bj mm4 below the rim4 7c7 ,dimensions3 knobs project from the vessel #i to #ab mm4 ,their dimensions horizontally range from #cj to #ch mm41 and vertically range from #ba to #bd mm4 7d7 ,method of attachment3 affixed to vessel before firing4 7e7 ,number3 #aa4 ,bowls3 ,recurved wall bowls4-- ,profile form types3 ,range from type ,,iii to type ,,iv4 ,lip and rim types3 ,lip type ,a4 ,rim types #a and #b1 sometimes grading into types #d and #e4 ,type #a is the most common2 types #d and #e the least4 ,shoulders3 ,rounded4 ,base3 ,rounded4 ,mouth diameter range3 #ad4a to #cb4j cm4 ,depth range3 #g4i to #af4c cm4 ,wall thickness range3 7a7 at rim1 #d to #i mm42 7b7 at point of greatest incurve1 #c4e to #h4e mm42 7c7 at vessel base1 #c4e to #aj mm4 ,additional features3 ,a minority of the recurved wall bowls have pottery knobs4 7a7 ,nature of feature3 short oval knobs or longer conical knobs 7the latter on only one vessel7 apparently for the purpose of holding in place vegetal bindings which were sometimes wrapped around vessels at the lip4 7b7 ,placement3 ,knobs encircle the vessel at the lip and project horizontally2 tops of the oval knobs are #ag to #da mm4 below the rim2 tops of the conical knobs are #bc to #bh mm4 below the rim4 7c7 ,dimensions3 oval knobs project #d to #i mm4 from the vessel2 range in horizontal length from from #ad to #eh mm42 range in vertical length from #h to #bb mm4 ,conical knobs project from the vessel ca4 #ab mm4 7only one is unbroken and measurable72 basal diameter is #h mm4 7d7 ,method of attachment3 affixed to the vessel before firing4 7e7 ,number per vessel3 varies for oval knobs1 #c1 #d1 or #f2 the one vessel having conical knobs has #c4 ,jars3 wide mouth4-- ,profile form types3 ,v and ,,vi 7the latter type having an annular base74 ,lip and rim types3 ,lip type ,a4 ,rim types #a and #b4 ,shoulders3 ,rounded4 ,bases3 ,rounded1 sometimes with the addition of an annular base4 ,mouth diameter range3 #ab4f to #be4a cm4 ,depth range3 #ai4b to #be4d cm4 ,wall thickness range3 7a7 at rim1 #d to #h mm42 7b7 at point of greatest incurve1 #d to #e mm42 7c7 at center of vessel base1 #d4e to #e4e mm4 ,additional features3 ,one jar has an annular base1 probably in imitation of such bases on chinaware4 ,dimensions3 diameter1 #aj4b cm42 thickness at rim of base ring1 #f4d to #h4j mm4 ,base ring lip is type ,d2 rim of ring is type #b4 ,jar3 narrow mouth 7canteen74-- ,profile form type3 ,,vii4 ,lip and rim types3 ,lip type ,c4 ,rim type #f4 ,shoulders3 ,rounded4 ,base3 ,rounded4 ,mouth diameter3 #c4i cm4 ,depth3 #ah4b cm4 ,wall thickness range3 7a7 at rim1 #d to #e mm42 7b7 at a distance of #a cm4 below rim1 #g mm42 7c7 at center of vessel base1 #f mm4 ,additional features3 ,none4 ,cups4-- ,profile form types3 ,,viii1 ,,ix1 and ,x 7the latter two types having annular bases74 ,lip and rim types3 ,lip type ,a4 ,rim types #a and #b1 sometimes grading into #d and #e respectively4 ,shoulders3 ,rounded4 ,bases3 ,rounded1 often with the addition of an annular base4 ,mouth diameter range3 #h4d to #ab4h cm4 ,depth range3 #d4e to #ad4h cm4 ,wall thickness range3 7a7 at rim1 #d to #g mm42 7b7 at point of greatest incurve1 #c to #f mm42 7c7 at center of vessel base1 #f to #h4e mm4 for cups without an annular base and #i to #ab mm4 for cups with an annular base4 ,additional features3 ,loop handles3 7a7 ,nature of feature3 single pottery loop per cup4 7b7 ,placement3 upper end of handle at rim of vessel2 bottom edge of lower end of handle is from #c4f to #g4e cm4 below rim4 7c7 ,dimensions3 range of maximum distance between inside surface of loop and exterior surface of the nearest part of vessel proper1 #ab4e to #cc4h mm42 range of handle width 7tangent to vessel7 #aa to #cj4i mm42 range of handle thickness 7perpendicular to vessel71 #f to #ad4b mm4 ,loop handle edges can be classified as to rim type3 types #a1 #b1 #c1 #e occur4 ,annular bases3 7a7 ,nature of feature3 a ring base is often characteristic of the cups1 probably in imitation of such bases on chinaware4 7b7 ,dimensions3 diameter range1 #e4h to #g4a cm42 thickness at ring rim1 #d to #h mm4 ,lips of base ring are types ,d1 ,e1 ,f1 or ,g4 ,rims of base ring are types #a1 #b1 #c1 #d1 or #e4 ,scoops without rattle handles4-- ,profile form types3 ,,xi ranging to ,,xii and1 in one case1 modified to ,,xiii2 type ,,xiv represents the scoops with modeling4 ,lip and rim types3 ,lip type ,b4 ,rim type #a1 sometimes grading into rim type #d at the lower1 circular end of the scoop4 ,shoulders3 ,none4 ,base3 ,rounded4 ,diameter range3 7a7 for scoops without modeling1 maximum length ranges from #aj4i to #bb4f cm4 and maximum width ranges from #g4a to #af4a cm42 7b7 for modeled scoops1 maximum length ranges from #ac4d cm4 to #bg4h cm4 and maximum width from #h4h to #ag4j cm4 ,depth range3 7a7 for scoops without modeling1 depth ranges from #b4f to #e4c cm4 when measured at the point of maximum length and #b4d to #e4a cm4 when measured at the point of maximum width4 ,wall thickness range3 7presence or absence of modeling does not seem to correlate with any variation in wall thickness7 7a7 at rim1 #d to #e mm42 7b7 at a distance of #a cm4 below rim1 #d4e to #h4e mm42 7c7 at center of vessel base1 #d4e to #ad mm4 ,additional features3 ,none for the scoops without modeling1 with the exception of one vessel which has a curved handle 7see profile form type ,,xiii7 #db4a mm4 long4 ,scoops with modeling have two types of features3 ,keels3 7a7 ,nature of feature3 a keel-like ridge characterizes every scoop with modeling4 7b7 ,placement3 ,along the exterior surface of the vessel1 starting at the handle end and tapering in the amount of projection as it approaches the base of the scoop4 7c7 ,dimensions3 range of keel projection from surface proper of vessel1 ca4 #e to ca4 #ae mm4 ,keel lip is type ,g4 ,keel rim is type #e4 7d7 ,method of attachment3 either molded from the coils of the vessel proper or affixed before firing4 ,eyes3 7a7 ,nature of feature3 round to oval lumps of clay occurring on most of the vessels having keels1 and on no others4 7b7 ,placement3 the two eyes are located on opposite sides of the keel at the juncture of the keel and the vessel proper on the handle of the scoop4 7c7 ,dimensions3 diameter of eyes ranges from #e to #bd mm42 they project #b4g to #h4c mm4 from the surface of the vessel4 7d7 ,method of attachment3 affixed before firing4 ,scoops with rattle handles4--,differ from scoops without rattle handles as follows4 ,profile form types3 range from ,,xv to ,,xvi4 ,diameter range3 range of maximum length1 #ab4b to #ah4i cm42 of maximum width1 #f4i to #i4b cm4 ,depth range3 at the point of maximum length1 #c4a to #f4d cm42 at the point of maximum width1 #b4h to #c4c cm4 ,wall thickness range3 7a7 at rim1 #c4e to #f4f mm42 7b7 at a distance of #a cm4 below the rim1 #d4e to #h4e mm42 7c7 at center of vessel base1 #e4e to #i mm4 ,additional features3 ,all rattle-handled scoops have the eyes and keel previously described4 ,rattle handle3 7a7 ,nature of feature3 a single closed compartment containing some loose1 small1 hard objects 7probably pebbles or pottery pellets74 7b7 ,placement3 located in the handle of the scoop and with its length oriented along the length of the handle4 7c7 ,dimensions3 compartment occupies less than one-half the total length of the vessel4 ,its exact dimensions are uncertain1 since none of the handles are broken open2 probably the interior length ranges from ca4 #cj to ca4 #di mm4 and the interior width from ca4 #cb to ca4 #ee mm4 ,decoration3 ,paint4--7a7 ,color3 range of hue #g4e,r to #b4e,,yr2 range of value #b to #e2 range of chroma #b to #h4 ,most common color3 #aj,r #c_/c 7a dark red74 7b7 ,material3 iron1 from limonite4 7c7 ,permanency3 averages the same for interiors and exteriors of vessels4 ,approximately #ej per cent of the tests yielded a rating of #a1 with the remaining #ej per cent about equally divided among ratings #b1 #c1 and #d4 7d7 ,polishing over decoration3 ,none4 ,design4--,the reader is referred to the discussion of this subject by ,kroeber in ,part ,i4 ,,comparison ,the reader is referred to the corresponding section for ,parker ,buff1 ,fort ,mohave ,variant4 ,,range ,the reader is referred to the corresponding section for ,parker ,buff1 ,fort ,mohave ,variant4 ,,parker ,,buff1 ,,fort ,,mohave ,,variant ,,general ,,description ,synonym3 ,none4 ,variant named for3 ,fort ,mohave ,reservation4 ,illustrations3 ,this publication4 ,type specimens3 ,mohave pottery collection at the ,university of ,california ,museum of ,anthropology2 specifically1 specimens #a_/acghh1 #a_/acghi1 #a_/acgij1 and #a_/aegjg4 ,type sites3 ,same as for ,parker ,red-on-,buff1 ,fort ,mohave variant4 ,cultural association3 ,same as for ,parker ,red-on-,buff1 ,fort ,mohave variant4 ,time3 ,same as for ,parker ,red-on-,buff1 ,fort ,mohave variant4 ,size of sample3 #b bowls2 #b parchers4 ,,analysis ,construction technique and finishing technique3 ,the same as for ,parker ,red-on-,buff1 ,fort ,mohave variant2 firing and paste characteristics are likewise within the range described for that type4 ,surface finish3 ,anvil depressions are generally discernible on interior surfaces of vessels4 ,all vessels are unslipped4 ,interior surfaces of all vessels and the exterior of one parcher and part of the exterior of the other are smooth1 but not polished4 ,the exterior surfaces of the bowls and part of the exterior of one of the parchers have an extremely rough1 granular surface1 called stucco4 ,surface color3 ,exterior surfaces of bowls are covered with the soot from cooking fires4 ,interior surfaces of parchers and one bowl are likewise uniformly blackened through use4 ,otherwise the surface color is visible and within the range described for ,parker ,red-on-,buff1 ,fort ,mohave variant4 ,fire clouds3 ,these are partially visible on the exteriors of the parchers and may be present on the exterior and interior surfaces elsewhere4 ,however1 the considerable smoke-blackening prevents adequate observation of them 7removal of a portion of the soot on the exterior of one bowl revealed one such cloud74 ,form3 ,bowls4-- ,profile form type3 ,,iv4 ,lip and rim types3 ,lip type ,a4 ,rim types #a and #b1 sometimes grading into types #d and #e respectively4 ,shoulders3 ,rounded4 ,base3 ,rounded4 ,mouth diameter range3 #ah4e to #be cm4 ,depth range3 #ac4d to #ai4h cm4 ,wall thickness range3 7a7 at rim1 #e to #i mm42 7b7 at point of greatest incurve1 #c4e to #e mm42 7c7 at center of vessel base1 #f to #h mm4 ,parchers4--,these are boatlike1 double-pointed shapes4 ,profile form types3 ,,xvii and ,,xviii4 ,lip and rim types3 ,lip type ,b4 ,rim types #a and #b4 ,shoulders3 ,none4 ,base3 ,rounded4 ,diameter range3 range in maximum length is #cd to #ch4a cm42 range in maximum width is #bc4i to #bf4f cm4 ,depth range3 at point of maximum length1 #ac4g to #ac4i cm42 at point of maximum width1 #h4f to #h4h cm4 ,wall thickness range3 7a7 at rim1 #g to #i mm42 7b7 at a distance of #a cm4 below the rim1 #e to #f4e mm42 7c7 at center of vessel base1 #e4e to #g4e mm4 ,additional features3 ,on one of the bowls and on both of the parching trays the topmost coil1 constituting the rim and upper part of the lip1 is not completely flattened1 resulting in what is sometimes called a folded rim4 ,this makes the rim and the lip thicker in cross section4 ,this folded rim is characterized by a treatment of parallel1 angular 7fingernail87 indentations both on the interior and exterior surfaces4 ,the distance from the rim to the bottom edge of the fold ranges from #b4d to #g mm4 ,painted decoration3 ,none4 ,,comparison ,differs from ,parker ,red-on-,buff1 ,fort ,mohave variant1 in not having painted decoration2 and in having a stucco surface and_/or an indented folded rim4 ,the parcher is a form which does not occur among the painted vessels 7i4e41 as ,parker ,red-on-,buff1 ,fort ,mohave variant7 in the collection4 ,,range ,incompletely determined4 ,at least from the northern end of ,mohave ,valley south along the ,colorado ,river to the valley below ,parker4 ,,bibliography ,colton1 ,harold ,s4 #aici4 ,an ,archaeological ,survey of ,northwestern ,arizona including the ,description of ,fifteen ,new ,pottery ,types4 ,bull4 #af1 ,museum of ,northern ,arizona4 ,flagstaff4 ,colton1 ,harold ,s41 and ,lyndon ,l4 ,hargrave #aicg4 ,handbook of ,northern ,arizona ,pottery ,wares1 ,bull4 #aa1 ,museum of ,northern ,arizona4 ,flagstaff4 ,gifford1 ,james 7ed47 #aiec4 ,a ,guide to the ,description of ,pottery ,types in the ,southwest4 ,department of ,anthropology1 ,university of ,arizona4 ,tucson4 7,mimeo47 ,munsell ,color ,co41 ,inc4 ,munsell ,soil ,color ,chart1 ,hues--#g4e,r ,thru #e,y4 ,baltimore4 ,rogers1 ,malcolm ,j4 #aicf4 ,yuman ,pottery ,making4 ,san ,diego ,museum ,papers1 ,no4 #b4 ,san ,diego4 #aide4 ,an ,outline of ,yuman ,prehistory4 ,southwestern ,journal of ,anthropology1 #a 7#b73afg-aih4 ,albuquerque4 ,schroeder1 ,albert ,h4 #aieb4 ,a ,brief ,survey of the ,lower ,colorado ,river from ,davis ,dam to the ,international ,border4 ,bureau of ,reclamation ,reproduction ,unit1 ,region ,three4 ,boulder ,city4 ,shepard1 ,anna ,o4 ,,ms4 ,the ,description of ,pottery ,color4 ,,plates ,illustration3 ,plate #a4 ,bowls ,illustration3 ,plate #b4 ,bowls ,illustration3 ,plate #c4 ,platters ,illustration3 ,plate #d4 ,spoons ,illustration3 ,plate #e4 ,jars1 pots1 jugs1 cups ,illustration3 ,plate #f4 ,bowls1 platters1 parchers1 canteens ,illustration3 ,plate #g4 ,spoon backs1 toys1 pipes1 pot rests ,illustration3 ,plate #h4 ,jar1 cup1 platter1 bowls1 spoons