,,smithsonian ,,institution----,,bureau ,,of ,,ethnology4 ,,pottery ,,of ,,the ,,ancient ,,pueblos4 ,,by ,,william ,h4 ,,holmes4 ,,contents4 ,page4 ,introductory #bfe ,pueblo art #bff ,distribution #bff ,character #bff ,treatment #bff ,the ceramic art #bfg ,age #bfg ,material #bfg ,tempering #bfg ,construction #bfh ,surface finish #bfh ,firing #bfh ,glaze #bfh ,hardness #bfi ,color #bfi ,form #bfi ,origin of forms #bfi ,handles #bga ,ornament #bga ,origin of ornament #bgb ,use #bgb ,classification #bgb ,coil-made ware #bgc ,coiling #bgc ,coiling of the ,pueblos #bgc ,coiling of other peoples #bge ,origin of the coil #bgg ,the coil in ornamentation #bgh ,other varieties of ornament #bhb ,material #bhc ,color1 etc4 #bhc ,form #bhc ,use #bhc ,illustrations of vessels #bhd ,district of the ,rio ,san ,juan #bhd ,district of the ,rio ,virgen #bhg ,district of the ,little ,colorado #bib ,pecos and the ,rio ,grande #bih ,district of the ,rio ,gila #bii ,imitation coiled ware #bii ,plain ware #bii ,painted ware #cjb ,preliminary remarks #cjb ,color of designs #cjb ,execution #cjb ,stages of ornament #cjc ,classification of ware #cjd ,white ware #cje ,classification by forms #cjf ,bowls #cjf ,ollas #cjf ,bottles #cjf ,handled vessels #cjf ,eccentric and life forms #cjg ,illustrations #cjg ,district of the ,rio ,virgen #cjg ,bowls #cjh ,ollas #cad ,handled vessels #cad ,district of the ,rio ,san ,juan #cae ,bowls #caf ,handled cups #cah ,ollas #cah ,handled vases #cai ,district of the ,colorado ,chiquito #cba ,bowls #cbb ,ollas #cce ,bottles #cdc ,handled vessels #cdf ,eccentric and life forms #cec ,concluding remarks #ceh ,,illustrations4 ,fig4 #baj4--,origin of forms #bgj #baa4--,origin of forms #bgj #bab4--,origin of forms #bgj #bac4--,origin of forms #bgj #bad4--,origin of forms #bgj #bae4--,origin of handles #bga #baf4--,origin of handles #bga #bag4--;,beginning of the coil #bgd #bah4--,section of coil-made vessel #bgd #bai4--,ordinary superposition of coils #bgg #bbj4--;,coiled and plain surface #bgh #bba4--,rib-like coil #bgi #bbb4--,rib-like coil #bgi #bbc4--;,indented pattern #bhj #bbd4--,thumb-nail indentation #bhj #bbe4--,wave-like indentation #bha #bbf4--,wave-like indentation #bha #bbg4--;,impressions of finger tips #bha #bbh4--;,implement indentations #bha #bbi4--,nail markings #bhb #bcj4--;,incised lines #bhb #bca4--;,incised pattern #bhb #bcb4--;,applied fillet #bhc #bcc4--;,examples of relief ornaments #bhc #bcd4--;,examples of relief ornaments #bhc #bce4--;,examples of relief ornaments #bhc #bcf4--;,examples of relief ornaments #bhc #bcg4--;,examples of relief ornaments #bhc #bch4--;,examples of relief ornaments #bhc #bci4--,vase from a cliff house1 ,mancos ,caon #bhe #bdj4--,vase from ,epsom ,creek #bhg #bda4--,vase from tumulus at ,saint ,george #bhh #bdb4--,vase from tumulus at ,saint ,george #bhi #bdc4--,vase from tumulus at ,saint ,george #bij #bdd4--;,bowl from tumulus at ,saint ,george #bia #bde4--,vase from ,parowan1 ,utah #bia #bdf4--;,cup from central ,utah #bib #bdg4--,vase from ,zui #bic #bdh4--,vase from ,zui #bid #bdi4--,mug from ,tusayan #bid #bej4--,vase from ,tusayan #bie #bea4--,vase from ,tusayan #bif #beb4--,vessel from ,tusayan #bif #bec4--,vase from ,tusayan #big #bed4--;,bowl from ,cibola #big #bee4--;,bottle from tumulus at ,saint ,george #cjj #bef4--,vase from tumulus at ,saint ,george #cja #beg4--,vase from tumulus at ,saint ,george #cja #beh4--;,bowl from tumulus at ,saint ,george #cjh #bei4--;,bowl from tumulus at ,saint ,george #cji #bfj4--;,bowl from tumulus at ,saint ,george #cji #bfa4--,painted design #caj #bfb4--;,bowl from ,kanab1 ,utah #caj #bfc4--,painted design #caa #bfd4--;,bowl from ,kanab1 ,utah #caa #bfe4--,painted design #caa #bff4--;,bowl from tumulus at ,saint ,george #cab #bfg4--,painted design #cab #bfh4--;,bowl from ,tusayan #cab #bfi4--;,bowl from tumulus at ,saint ,george #cac #bgj4--;,bowl from tumulus at ,saint ,george #cac #bga4--,pitcher from tumulus at ,saint ,george #cad #bgb4--;,bowl from ,montezuma ,caon #caf #bgc4--;,bowl from ,san ,juan ,valley #caf #bgd4--;,bowl from ,san ,juan ,valley #cag #bge4--;,bowl from ,san ,juan ,valley #cag #bgf4--,painted design #cah #bgg4--;,handled cup from ,montezuma ,caon #cah #bgh4--;,handled cup from ,montezuma ,caon #cah #bgi4--,vase from ,san ,juan ,valley #cah #bhj4--,vase from ,san ,juan ,valley #cai #bha4--,vase lid from ,san ,juan ,valley #cai #bhb4--,vase lid from ,san ,juan ,valley #cai #bhc4--;,handled bottle from ,san ,juan ,valley #cai #bhd4--;,handled bottle from ,san ,juan ,valley #cbj #bhe4--;,handled mug from ,san ,juan ,valley #cbj #bhf4--;,handled mug from ,san ,juan ,valley #cbj #bhg4--;,handled mug from ,san ,juan ,valley #cbj #bhh4--;,handled mug from southern ,utah #cbj #bhi4--;,bowl from ,tusayan #cbb #bij4--;,bowl from ,tusayan #cbc #bia4--,painted design #cbc #bib4--;,bowl from ,tusayan #cbd #bic4--,painted design #cbe #bid4--;,handled bowl from ,tusayan #cbe #bie4--,painted design #cbf #bif4--,original form of painted design #cbf #big4--;,handled cup from ,tusayan #cbg #bih4--;,handled cup from ,tusayan #cbg #bii4--;,dipper from ,tusayan #cbg #cjj4--;,dipper from ,tusayan #cbh #cja4--;,figure of bird #cbh #cjb4--;,dipper from ,tusayan #cbh #cjc4--,painted design #cbi #cjd4--,painted design #cbi #cje4--,unit of the design #cbi #cjf4--;,bowl from ,tusayan #ccj #cjg4--;,bowl from ,tusayan #cca #cjh4--;,bowl from ,tusayan #cca #cji4--;,bowl from ,tusayan #ccb #caj4--;,bowl from ,tusayan #ccb #caa4--,painted design #ccc #cab4--;,bowl from ,tusayan #ccc #cac4--;,bowl from ,tusayan #ccd #cad4--,vase from ,tusayan #ccd #cae4--,vase from ,tusayan #cce #caf4--,vase from ,tusayan #cce #cag4--,vase from ,tusayan #ccf #cah4--,vase from ,tusayan #ccf #cai4--,painted design #ccg #cbj4--,vase from ,tusayan #ccg #cba4--,vase from ,tusayan #cch #cbb4--,painted design #cch #cbc4--,unit of the design #cci #cbd4--,vase from ,tusayan #cci #cbe4--,painted design #cdj #cbf4--,unit of the design #cdj #cbg4--,vase from ,tusayan #cda #cbh4--,painted design #cdb #cbi4--,unit of the design #cdb #ccj4--,vase from ,tusayan #cdc #cca4--,vase from ,cibola #cdc #ccb4--,vase from ,cibola #cdd #ccc4--,painted design #cde #ccd4--,painted design #cde #cce4--,vase from ,tusayan #cdf #ccf4--;,handled vase from ,tusayan #cdf #ccg4--,painted design #cdg #cch4--;,handled mug from ,tusayan #cdg #cci4--,painted design #cdh #cdj4--,vase from ,tusayan #cdh #cda4--,painted design #cdh #cdb4--;,handled cup from ,cibola #cdi #cdc4--,painted ornament #cdi #cdd4--,painted ornament #cdi #cde4--,painted ornament #cej #cdf4--,painted ornament #cej #cdg4--,vase from ,tusayan #cej #cdh4--,vase from ,tusayan #cea #cdi4--;,bottle from ,tusayan #cea #cej4--;,bottle from ,tusayan #ceb #cea4--;,bottle from ,tusayan #ceb #ceb4--,vase from eastern ,arizona #cec #cec4--,vase from eastern ,arizona #ced #ced4--,vase from ,tusayan #ced #cee4--,vase from ,tusayan #cee #cef4--,vase from ,tusayan #cee #ceg4--,vase from ,tusayan #cef #ceh4--,vase from ,cibola #ceg #cei4--,vase from ,arizona #ceh #cfj4--;,bird-shaped cup from ,tusayan #ceh ,,pottery ,,of ,,the ,,ancient ,,pueblos4 ,by ,,william ,h4 ,,holmes4 ,,introductory4 ,a study of the pottery of the ancient ,pueblo peoples is here commenced in accordance with plans formed years ago by the ,director of the ,bureau of ,ethnology4 ,his aim was to present to the world a monographic work upon the splendid material obtained by the ,bureau1 including with it the important collections made previously by himself4 ,the preparation of this work has been postponed from time to time with the view of completing the collections1 which were being enriched by annual visits to the ,pueblo country4 ,meantime ,i began the study of the collection for the purpose of securing at the start a satisfactory classification of the material on hand4 ,the present paper is the first result of that study4 ,i have1 however1 taken up only the more ancient groups of ware1 leaving the rest for subsequent papers4 ,a comparative study is not attempted1 for the reason that a detailed examination of all the groups to be considered is absolutely essential to satisfactory results4 ,conclusions drawn from partial observations lead generally to error4 ,there were great difficulties in the way of treating satisfactorily the modern varieties of ware1 as no one had sufficient familiarity with the language of the ,pueblo tribes to discuss the ideographic phases of the ornamentation4 ,mr4 ,f4 ,h4 ,cushing's studies bid fair to supply this want1 and his recent return from ,zui has led to the preparation of the valuable paper presented in this volume4 ,mr4 ,james ,stevenson1 who has procured a large portion of the collection of modern pottery1 has published catalogues with copious illustrations4 ,most of the cuts have been prepared under my supervision1 and have been selected with the view of securing engravings of a full series of typical examples for a final work4 ,,pueblo ,,art4 ,,distribution4--,the ancient ,pueblo peoples dwelt in a land of caons and high plateaus4 ,they had their greatest development in the valley of the ,rio ,colorado1 where they delighted to haunt the shadows of the deepest gorges and build their dwellings along the loftiest cliffs4 ,the limits of their territory are still in a measure undefined4 ,we discover remnants of their arts in the neighboring valleys of ,great ,salt ,lake1 the ,arkansas1 and the ,rio ,grande1 and southward we can trace them beyond the ,rio ,gila into the table-lands of ,chihuahua and ,sonora4 ,thus outlined1 we have an area of more than one hundred thousand square miles1 which has at times more or less remote been occupied by tribes of town-building and pottery-making ,indians4 ,,character4--,high and desert-like as this land is1 it has borne a noble part in fostering and maturing a culture of its own--a culture born of unusual needs1 shaped by exceptional environment1 and limited by the capacities of a peculiar people4 ,cliff houses and cavate dwellings are not new to architecture1 and pottery resembling the ,pueblo ware in many respects may be found wherever man has developed a corresponding degree of technical skill2 yet there is an individuality in these ,pueblo remains that separates them distinctly from all others and lends a keen pleasure to their investigation4 ,,treatment4--,the study of prehistoric art leads inevitably to inquiries into the origin of races4 ,solutions of these questions have generally been sought through migrations1 and these have been traced in a great measure by analogies in archologic remains2 but in such investigation one important factor has been overlooked1 namely1 the laws that govern migrations of races do not regulate the distribution of arts4 ,the pathways do not correspond1 but very often conflict4 ,the arts migrate in ways of their own4 ,they pass from place to place and from people to people by a process of acculturation1 so that peoples of unlike origin practice like arts1 while those of like origin are found practicing unlike arts4 ,the threads of the story are thus so entangled that we find it impossible to trace them backward to their beginnings4 ,for the present1 therefore1 ,i do not propose to study the arts of this province with the expectation that they will furnish a key to the origin of the peoples1 or to the birthplace of their arts1 but ,i shall treat them with reference rather to their bearing upon the processes by which culture has been achieved and the stages through which it has passed1 keeping always in mind that a first requisite in this work is a systematic and detailed study of the material to be employed4 ,,the ,,ceramic ,,art4 ,,age4--,the ceramic art of the ancient ,pueblos is practically a unit4 ,we find in its remains few indications of distinct periods4 ,there is nothing to carry us back to a remote past4 ,the oldest specimens known are nearly as high in the scale as the latest4 ,in the deposits of caves and burial-grounds we find1 so far1 nothing more archaic than in the ruins of once populous villages and beneath the fallen walls of hewnstone cliff houses4 ,in methods of manufacture and in styles of ornamentation there is no specific distinction4 ,once introduced1 there is much in the character of the country to develop this art4 ,the people were sedentary1 and thus able to practice the art continuously for a long period2 and in a country so arid there was often great need of vessels suitable for the transportation and storage of water4 ,,material4--,nature was lavish in her supply of the material needed4 ,suitable clay could be found in nearly every valley1 both in the well-exposed strata and in the sediment of streams4 ,i have noticed that after the passage of a sudden storm over the mesa country1 and the rapid disappearance of the transient flood1 the pools of the arroyos would retain a sediment of clay two or three inches thick1 having a consistency perfectly suited to the hand of the potter4 ,this ,i have taken without tempering and have made imitations of the handsome vases whose remnants ,i could pick up on all sides4 ,in drying and burning1 these vessels were liable to crack and fall to pieces2 but ,i see no reason why1 with the use of proper tempering materials1 this natural paste might not be successfully employed4 ,it would not be difficult1 however1 to find the native clay among the sedimentary formations of this district4 ,usually the clay has been very fine grained1 and when used without coarse tempering the vessels have an extremely even and often a conchoidal fracture4 ,,tempering4--,the materials used in tempering do not often come into notice4 ,it appears that1 in a majority of cases1 fine sand1 probably derived from naturally disintegrated rocks1 was employed4 ,a large percentage of rather coarse sand is found in the more roughly finished coil-made ware1 but vessels intended for smooth finish have little perceptible tempering material4 ,the speckled appearance of some of the abraded surfaces suggests the use of pulverized potsherds1 a practice frequently resorted to by the modern tribes4 ,in some localities1 notably in the south1 we find a slight admixture of mica1 which may have come from the use of pulverized micaceous rock4 ,,construction4--,no one can say just how the materials were manipulated1 fashioned into vessels1 and baked2 yet many facts can be gleaned from a critical examination of the vessels themselves2 and an approximate idea of the various processes employed may be formed by a study of the methods of modern potters of the same region or of corresponding grades of culture4 ,it is evident that the vessels were built and finished by the hands alone2 no wheel was used1 although supports1 such as shallow earthen vessels1 baskets1 and gourds were certainly employed to a considerable extent4 ,primitive processes of building have varied considerably4 ,the simplest method perhaps was that of shaping a single mass of clay by pressure with the fingers1 either with or without the assistance of a mold or support4 ,the mold would be useful in shaping shallow vessels1 such as plates1 cups1 and bowls4 ,the walls of vessels of eccentric forms or having constricted apertures would be carried upward by the addition of small more or less elongated masses of clay1 with no support but the hand or an implement held in the hand4 ,casting proper1 in regularly constructed molds1 was practiced only by the more cultured races1 such as the ,peruvians4 ,a variety of methods may have been employed in the construction of a single piece4 ,,surface ,,finish4--,a great deal of attention was given to surface finish4 ,in the coiled ware the imbricate edges of the fillets were generally either smoothed down and obliterated entirely1 or treated in such a way as to give a variety of pleasing effects of relief decoration4 ,vessels with smooth surfaces1 whether built by coiling1 modeling1 or molding1 very often received a thin coat of fine liquid clay1 probably after partial drying and polishing4 ,this took the place of the enamels used by more accomplished potters1 and being usually white1 it gave a beautiful surface upon which to execute designs in color4 ,before the color was applied the surface received a considerable degree of polish by rubbing with a suitable implement of stone or other material4 ,attention was given chiefly to surfaces exposed to view--the interior of bowls and the exterior of narrow-necked vases4 ,,firing4--,the firing of the ancient ware seems to have been carefully and successfully accomplished4 ,the methods probably did not differ greatly from those practiced by the modern ,pueblo tribes4 ,the ware is1 as a rule1 light in color1 but is generally much clouded by the dark spots that result from imperfections in the methods of applying the fire4 ,the heat was rarely great enough to produce anything like vitrifaction of the surface1 and the paste is seldom as hard as our stone ware4 ,,glaze4--,a great deal has been said about the glaze of native ,american wares1 which exists1 if at all1 through accident4 ,the surface of the white ware of nearly all sections received a high degree of mechanical polish1 and the effect of firing was often to heighten this and give at times a slightly translucent effect2 a result of the spreading or sinking of the coloring matter of the designs4 ,,hardness4--,the paste exposed in fractured edges can be scratched with a steel point1 and often with ease4 ,some of the white pottery of ancient ,tusayan can be carved almost as readily as chalk or sun-dried clay4 ,at the same time all localities furnish occasionally specimens that through the accidents of firing have the ring and hardness of stoneware4 ,the ancient pottery is generally superior in hardness to that produced by the historic tribes4 ,,color4--,this pottery presents a pleasing variety of color1 although the light grays prevail1 especially in the more archaic varieties4 ,the general color probably depended greatly upon the natural constituents of the clay and the degree of heat applied1 and these conditions varied with the locality and the people4 ,reds and browns result from the presence of iron1 which may have been oxidized in burning1 or the red oxides may have been used in rare cases as coloring matter in kneading the clay4 ,the surface is often lighter than the mass2 a condition probably resulting from the presence of vegetable matter in the clay1 which is destroyed on the surface and remains unchanged within4 ,in the south the colors of the paste are often slightly reddish or yellowish in hue4 ,it is notable that a small percentage of the ware of all localities is red4 ,this gives rise to the suggestion that vessels of this color probably had some especial or sacred use4 ,color is known to have an intimate connection with superstitious observances among many barbarian peoples4 ,,form4--,in form the ancient ware is universally simple and pleasing4 ,many shapes known to both civilized and barbarian art are absent4 ,high-necked bottles and shallow plates are of rare occurrence1 and pitchers1 canteens or lenticular bottles1 and vessels with legs and stands are unknown4 ,there is a notable dearth of life forms1 a circumstance that would seem to indicate the rather tardy development of a taste for modeling--a condition which may have resulted from the comparatively recent origin or introduction of art in clay4 ,vessels with full globular bodies prevail4 ,the bottoms are generally round or a little pointed1 indicating primitive conditions of life and suggesting great simplicity in methods of manufacture and in the models copied4 ,origin of ,forms4--,there can be no doubt that ceramic forms are to a great extent derivative1 and the search for their originals will constitute a most important feature in our studies4 ,turning to nature for possible originals1 we find them liberally supplied by both the animal and the vegetable kingdom4 ,the shells of the sea shore were probably among the first receptacles for food and drink4 ,we have examples of pottery from the mounds in the ,mississippi ,valley1 representing three or four distinct varieties of shells4 ,the shells of turtles and the horns of cattle and other animals have also served as models4 ,illustration3 ,,fig4 #baj4--,origin of forms4 ,illustration3 ,,fig4 #baa4--,origin of forms4 ,the vegetable world furnishes many originals2 the gourd1 for example1 was utilized at a very early date4 ,its forms are greatly varied1 and must have given rise to many primitive shapes of vessels in clay1 and perhaps in wicker-work and wood4 ,one of the ordinary forms cut off midway would suggest the series of bowls outlined in ,fig4 #baj4 ,simply perforated it would give rise to the series illustrated in ,fig4 #baa4 ,illustration3 ,,fig4 #bab4--,origin of forms4 ,illustration3 ,,fig4 #bac4--,origin of forms4 ,illustration3 ,,fig4 #bad4--,origin of forms4 ,wide-mouthed vases would be suggested as indicated in ,fig4 #bab1 bottles as shown in ,fig4 #bac1 and eccentric forms as seen in ,fig4 #bad4 ,these particular examples are presented in illustration of the manner in which forms may be derived and nothing more1 as there are many possible origins of the same forms4 ,in a separate paper ,i have amplified this topic1 and have discussed the relative importance of the influence of natural and artificial products upon the conformation of utensils of clay4 ,,handles4--,in searching for the first suggestions of handles we must certainly go back to the very beginnings of art1 when men and women employed leaves or vines to carry their children or their food1 or to suspend them for safety from the trees of the forest4 ,the art of basketry would naturally fall heir to this use of handles4 ,clay1 bronze1 and iron1 when they came into use1 would also inherit some of the forms thus developed4 ,there are1 however1 other sources of equal importance1 among which are animal forms1 such as horns1 and various forms of vegetable growth1 such as the gourd4 ,the latter may again serve as an illustration4 ,by cutting the body of the gourd longitudinally at one side of the axis1 we have dippers with straight or curved necks or handles4 ,the primitive potter would in like manner have the suggestion of a handled vessel in clay1 which1 carried forward by the ever active spirit of improvement1 would in time give us the series shown in ,figs4 #bae and #baf3 ,illustration3 ,,fig4 #bae4--,origin of handles4 ,illustration3 ,,fig4 #baf4--,origin and development of handles ,,ornament4--,the shapes of vessels are1 in a measure1 ornamental1 but it is difficult to say just how much the necessary or functional characters of particular forms have given way to decorative modifications4 ,pure ornament is a feature not essential to the vessel4 ,its ideas may be expressed by three principal methods3 by relieved1 by flat1 and by intaglio figures4 ,relief ornament was not extensively employed by the ancient ,pueblos4 ,the forms are few and simple1 and nearly all are traceable to constructional or to functional features4 ,thus the ornamental crenulated surface of the coiled ware is constructional1 consisting as it does of ridges1 resulting from the method of building4 ,the knobs1 isolated coils1 and festooned fillets are probably1 in some cases1 atrophied forms of handles4 ,intaglio decoration is still more rare4 ,it consists of incised1 impressed1 and punctured figures4 ,no designs of importance are produced by this method1 the most notable being the simple patterns traced by the finger or a sharp implement upon the relieved edges of fillets in the coiled ware4 ,with these people1 the highest class of decoration consisted of designs in color4 ,this topic is fully discussed in a subsequent section4 ,origin of ornament4--,it is probable that before pottery came into use the decorative art had been cultivated in other fields1 and we shall need to look both to nature and to antecedent arts for the originals of many decorative ideas4 ,from a remote period man has been able to appreciate beauty4 ,the first exercise of taste would probably be in the direction of personal adornment1 and would consist in the choice of colors or articles thought to enhance attractiveness1 or in the grouping and modification of objects at first functional in character4 ,later1 taste would be exercised on a variety of subjects1 and finally it would extend to all things in use4 ,man may have recognized the comeliness of the first simple articles employed in his humble arts1 but when he came to attempt the multiplication of these articles artificially1 utility was probably the only thought4 ,in reproducing them1 however1 non-essential features would be copied automatically1 and the work of art would through this accident inherit purely ornamental attributes4 ,thus it appears that the first ideas of decoration do not necessarily originate in the mind of the potter1 but that1 like the shapes of art products1 they may be derived1 unconsciously1 from nature4 ,this is an important consideration4 ,at a later stage new forms of ornament are derived in a like manner from constructional features of the various arts4 ,invention of decorative motives is not to be expected of a primitive1 tradition-following people4 ,advance is greatly by utilization of accidents4 ,,use4--,a satisfactory classification of this pottery by functional characters will be most difficult to make4 ,in the early stages of its manufacture it was confined chiefly1 if not solely1 to the alimentary arts4 ,a differentiation of use would take place when certain vessels were set aside for special departments of the domestic work4 ,thus we would have vessels for eating1 for cooking1 for carrying1 and for storage4 ,when vessels came to be used in superstitious exercises1 certain forms were probably set aside for especial ceremonies4 ,with some peoples1 particular forms were dedicated to mortuary uses1 but we have no clew to any such custom among the ancient ,pueblos1 as the same vessel served for food both before and after death1 and cinerary vessels were not called for4 ,certain classes of the ruder and plainer ware are found to be blackened by smoke4 ,these were evidently cooking vessels4 ,the painted pottery rarely shows evidences of such use4 ,bowls were probably employed chiefly in preparing and serving food4 ,the larger vessels were devoted to carrying and storing water1 fruits1 grains1 and miscellaneous articles4 ,smaller vessels were used as receptacles for paint1 grease1 and the like4 ,the ancient people had not yet devoted their ceramic art to trivial uses--there are no toys1 no rattles1 and no grotesque figures4 ,,classification4--,in treating a subject covering so wide a field1 and embracing such a diversity of products1 a careful classification of the material is called for4 ,three grand divisions of the ceramic work of this province may be made on a time basis1 namely3 prehistoric1 transitional1 and modern4 ,at present ,i have to deal chiefly with the prehistoric1 but must also pay some attention to the transitional1 as it embraces many features common both to the archaic and to the modern art4 ,in discussing the prehistoric pottery ,i find it convenient to consider it under the three heads1 coiled ware1 plain ware1 and painted ware4 ,this classification is unsatisfactory1 as it is based upon somewhat imperfectly differentiated characters4 ,the smooth vessel is in many cases a coil-built one with obliterated coils1 and a painted vessel a smooth one with the addition of designs in color4 ,very little of the pottery was left plain1 but the coiled and painted varieties are fully represented in every locality4 ,i place the coiled ware first because to all appearances it is the most archaic variety and one which is rarely made at the present day4 ,i suspect that the pieces made by modern potters serve to supply the wants of the collectors rather than to meet the requirements of traditional art4 ,among the collections in the ,national ,museum are found many crude attempts to manufacture this ware by potters who did not comprehend the secrets of its construction1 or who thought to produce the coiled effect by the cheap device of scarifying and indenting the surface of a plain vessel4 ,close relations are established between the coiled and the painted pottery1 not only by the identity of materials1 form1 color1 and time1 but by the union of the two methods of finishing1 the coiling and painting1 in one and the same vessel1 as may be seen in the examples given in in the following pages4 ,,coil-,,made ,,ware4 ,,coiling4--,the art of building vessels by means of coils of clay has been practiced by many widely separated communities1 and is1 therefore1 certainly not peculiar to the ancient ,pueblos4 ,a careful study of the ceramic field shows considerable diversity in the treatment of the coil4 ,the most striking variation1 the employment of the coil as a means of embellishment1 is1 so far as my observation extends1 peculiar to the ,pueblo peoples4 ,with others it is a feature of construction simply4 ,the preliminary steps are with all primitive potters in a general sense the same4 ,the first care is to secure suitable clay and to have it properly purified and tempered4 ,after this the treatment varies greatly4 ,coiling of the ,pueblos4--,the ancient ,pueblo potter rolled out long1 slender fillets or ropes of clay1 varying in width and thickness to suit the size and character of the vessel to be constructed4 ,they were usually perhaps from one-fourth to one-half of an inch in thickness4 ,when they were properly trimmed and smoothed the potter began by taking the end of a single strip between his fingers and proceeded to coil it upon itself1 gradually forming a disk1 as shown in ,fig4 #bag1 which represents the base of a large vase from the ,san ,juan ,valley4 ,illustration3 ,,fig4 #bag4--;,beginning of the coil4 ,illustration3 ,,fig4 #bah4--,section of coil-made vessel4 ,at first the fillets overlapped only a little1 but as the disk grew large and was rounded upward to form the body of the vessel1 the imbrication became more pronounced4 ,the fillet was placed obliquely1 as shown in the section1 ,fig4 #bah1 and was exposed on the exterior side to probably one-half of its width4 ,strip after strip of clay was added1 the ends being carefully joined1 so that the continuity might not be broken until the vessel was completed4 ,the rim generally consisted of a broad strip1 thickened a little at the lip1 and somewhat recurved4 ,the exterior imbricate edges were carefully preserved1 while those on the inner surface were totally obliterated1 first by pressure1 and finally by smoothing down with an implement1 or with the fingers1 imprints of the latter being frequently visible4 ,so thoroughly were the fillets pressed down and welded together that the vessels seldom fracture more readily along the lines of junction than in other directions4 ,the fact that the spiral ridges of the bottom are frequently without abrasion1 as shown in ,fig4 #bag1 suggests an idea in regard to the manipulation of the coil4 ,while building the upper part of the vase the base would necessarily rest upon some sort of support and the soft ridges would suffer from abrasion4 ,in preventing such defacement1 an interior support1 such as a mold or the base of another vessel1 must have been used1 in which case the vessel was necessarily built in an inverted position4 ,at the same time it is clear that this would be practicable only with bowls or with very wide-mouthed vessels1 as the mold1 if rigid1 could not be removed through a restricted aperture4 ,in pressing the coil down1 in welding it to the preceding turn1 internal support would be necessary1 as otherwise the strain would warp the walls4 ,a curved trowel or a rounded pebble could be used as long as the aperture would admit the hand1 but no support excepting the fingers1 or an implement shaped for the purpose1 could be used beyond this stage4 ,the whole process was a most delicate one1 requiring patience and skill4 ,in this respect it contrasted strongly with the coiling of other peoples4 ,as indicated by numerous specimens1 the coil was sometimes laid on the inside of a shallow basket or bowl1 the surface of the vessel showing a combination of basket-markings and nearly obliterated spiral creases4 ,this device served a good purpose in starting the vessel1 the upper part being completed by free-hand coiling4 ,coiling of other peoples4--,the art1 as practiced by the ,indians of ,louisiana1 is graphically described by ,dumont4 ,the following paragraph is translated from his work3 ,moreover1 the industry of these 7savage7 girls and women is admirable4 ,i have already alluded to the skill with which1 with their fingers only1 and without a wheel1 they make large pieces of pottery4 ,the following is their method of work3 ,after having collected a quantity of the proper kind of earth1 and having cleaned it thoroughly1 they take shells which they break up and reduce to a very fine1 loose powder2 they mix this fine dust with the earth which they have collected1 and1 moistening the whole with a little water1 work it with their hands and feet into a paste1 from which they make rolls six or seven feet long and as thick as they may desire4 ,if they wish to make a dish or a vase1 they take one of these rolls by the end1 and marking on this lump with the thumb of the left hand the center of the vessel1 they turn the roll around this center with admirable rapidity and dexterity1 describing a spiral4 ,from time to time they dip their fingers into the water1 which they are always careful to have near them1 and1 with the right hand1 they flatten the inside and the outside of the vase1 which without this would be uneven4 ,in this way they make all kinds of earthen utensils1 dishes1 plates1 bowls1 pots1 and jugs1 some of which hold as much as #dj or even #ej pints4 ,this pottery does not require much preparation for baking4 ,after having dried it in the shade1 they make a large fire1 and as soon as they think they have enough embers they clean a place in the middle1 and1 arranging the pieces of pottery1 cover them with charcoal4 ,it is thus that the pieces are given the necessary heating 7cooking71 after which they are as strong as our pottery4 ,there is no doubt but that we must attribute their strength to the mixture which these women make of powdered shells with the earth which they employ4#a ,professor ,c4 ,f4 ,hartt has furnished many facts in regard to the manufacture of pottery by the ,brazilian ,indians4 ,according to his account the women of ,santarem model the bottom of a vessel from a lump of clay in the usual way4 ,then a piece of clay is rolled under the hand into a long1 rope-like cylinder4 ,this rope is then coiled around the edge of the bottom of the vessel1 being flattened sidewise by pinching with the fingers of the left hand1 and caused to adhere to the bottom4 ,on this1 coil after coil is laid in like manner1 each being flattened as before4 ,after a few have been added they are worked into shape with the fingers1 which are occasionally moistened in water1 and the irregularities produced by the coils are caused to disappear4 ,the vessel is formed by the hand alone and the surface is smoothed down by means of a bit of gourd or a shell1 which is from time to time dipped in water4 ,if the vessel be large it is now set away in the shade for a while to dry a little1 after which new coils are added as above1 no other instrument being used except the hands and the gourd or shell1 with which alone the vessel may receive not only an extremely regular form1 but also a very smooth surface4 99 99 99 ,the coils are so worked together that from a simple inspection of the vessel it is impossible to determine how it was built up4 ,i should never have suspected that the pottery of ,pacoval had been made by coiling1 were it not that ,i found the coils still ununited on the inner surface of the heads of idols4#b ,prof4 ,hartt states1 also1 on the authority of ,dr4 de ,magalhaes1 that the pottery of the several tribes of the ,araquaya ,river is always made by coiling1 the surface being worked down by the hand and water and the aid of a spoon-like trowel made of bamboo4 ,humboldt makes a similar statement in regard to the tribes of the ,orinoco4 ,mr4 ,e4 ,a4 ,barber#c relates1 on the authority of ,captain ,john ,moss1 a resident1 for a long time1 of southwestern ,colorado1 that the ,ute ,indians manufacture pottery at the present time1 and that they probably follow the methods of the ,mokis1 from whom they learned the art4 #a ,mmoires sur la ,louisiane4 ,butel-,dumont4 ,vol4 ,,ii1 pp4 #bga-bgc4 ,paris1 #agec4 #b ,hartt3 ,american ,naturalist1 ,february1 #ahgi1 pp4 #hc-hf4 #c ,barber3 ,american ,naturalist1 ,vol4 ,x1 p4 #dab4 ,captain ,moss states that ,they use marl1 which they grind between two rocks to a very fine powder4 ,they then mix this with water and knead it as we would dough4 ,afterwards they roll it out into a rope-like state about one inch in diameter and several yards in length4 ,they then commence at the bottom of the jar1 or whatever vessel they may be making1 and coil the clay-rope layer on layer until they have the bottom and three inches of the sides laid up4 ,the tools for smoothing and joining the layers together are a paddle made out of wood and perfectly smooth1 and an oval-shaped polished stone4 ,both of these tools are dipped in the water 7salt water is preferred71 the stone is held in the left hand and on the inside of the vessel1 and the paddle is applied vigorously until the surfaces are smooth4 ,the method thus described by these authors was1 probably1 almost universally practiced4 ,illustration3 ,,fig4 #bai4--,ordinary superposition of coils4 ,section4 ,i have specimens from a number of the ,eastern and ,southern ,states that fracture along the line of junction1 showing clearly the width of the fillets and the manner of their attachment4 ,i picked up a small specimen at ,avoca1 ,north ,carolina1 which has broken along the line of junction1 giving the section illustrated in ,fig4 #bai4 ,it will be seen that there is no overlapping as in the ,pueblo work1 the attachment being accomplished by pressure and by drawing both edges of the coil down over the convex edge of the preceding coil4 ,i have similar specimens from the modern ,pueblos1 from ,florida1 from ,mexico1 and from ,brazil4 ,it will readily be seen that this method of building differs essentially from that practiced so successfully by the ancient ,pueblos4 ,,origin ,,of ,,the ,,coil4--,this use of the coil is but a refinement of the most simple possible method of construction1 that of building by the addition of small masses of clay4 ,a disk or shallow cup can be formed successfully by the fingers alone from a single lump of clay1 but to carry the wall upward by pressure or by blows from a paddle would result in a weak1 frayed edge4 ,to counteract or prevent this tendency small elongated masses are used1 which are laid one upon another along the growing margin4 ,from this1 in the most natural manner possible1 we arrive at the use of the long1 even rope or fillet4 ,the imbrication or overlapping of the coil practiced by the ,pueblos may have originated in the effort to secure a more stable union of the parts which had to be welded together by pressure4 ,it would also almost necessarily arise from the attempt to lay the coil upon or within a mold or support4 ,there is a possibility that it may have been suggested by features of construction observed in other arts--the overlapping parts of a roof1 of a plate or scale garment1 or of a coiled basket4 ,the latter is especially suggestive1 since we must generally look for the origin of features of the ceramic art in the features of closely associated arts4 ,,the ,,coil ,,in ,,ornamentation4--,ordinarily the coil has not been expected to contribute to the beauty of the vessel1 but the ,pueblo tribes made it a prominent feature in decoration4 ,the primitive potter as he laid his rude coils noticed that the ridges thus produced served to enhance the appearance of the vessel4 ,he also observed that the series of indentations left on the outer surface of the fillet in pressing it down gave a pleasing effect1 and made use of the suggestion4 ,improving upon the accidents of manufacture1 he worked out a variety of decorative devices4 ,in some cases the coiled ridges are confined to particular parts of the vessel1 the other parts having been worked down or originally constructed by plain modeling4 ,numerous examples have the body quite plain1 the collar alone retaining the spiral ridges of the coil4 ,fig4 #bea illustrates a very good example of this peculiarity4 ,illustration3 ,,fig4 #bbj4--;,coiled and plain surface4 ,section4 ,the fragment shown in ,fig4 #bbj is from the neck of a pot-shaped vase4 ,the surface has been plain below and the fillets of the upper part have been pressed down evenly with the thumb1 leaving the extreme edge of the overlapping band in sharp relief1 as shown more clearly in the section4 ,the whole coil is sometimes left plain1 as in ,figs4 #bba and #bbb1 in which cases the edges have been carefully pressed down and smoothed with the fingers4 ,illustration3 ,,fig4 #bba4--,rib-like coil4 ,section4 ,illustration3 ,,fig4 #bbb4--,rib-like coil4 ,section4 ,a great variety of devices were resorted to to diversify and decorate the ribbed spirals1 and in this the innate good taste of the ,indian exhibits itself to much advantage4 ,the coil is often indented or crimped throughout1 from the center of the bottom to the rim of the vessel4 ,at times a few turns at the beginning are left plain1 as shown in ,fig4 #bag1 while again alternate bands1 consisting of several turns each1 are not crimped1 as clearly brought out by an example from ,southern ,utah1 illustrated in the ,art ,review for ,july1 #ahgd1 by ,f4 ,w4 ,putnam1 and also by two fine specimens recently collected by ,e4 ,w4 ,nelson near ,springerville1 ,arizona4 ,the decided taste of this ancient people for ornament is still further indicated by attempts to elaborate more intricate patterns by means of thumb-nail indentations4 ,the idea may have been borrowed from basketry4 ,the fragment given in ,fig4 #bbc illustrates the method of procedure4 ,we have some very fine vessels of this class from ,springerville1 and others from the province of ,tusayan in which the entire surface is covered with checkered or meandered patterns4 ,an excellent example is shown in ,fig4 #bec4 ,we shall appreciate the cleverness of this work more fully when we remember that the separate thumb indentations forming the figures of the pattern are made in each coil as it is laid and pressed into place and before the succeeding turn is made4 ,illustration3 ,,fig4 #bbc4--;,indented pattern4 ,illustration3 ,,fig4 #bbd4--,nail indentations4 ,these curious decorative effects were still further elaborated by diversifying the character of the indentations of the coil4 ,in ,fig4 #bbd we have a most successful effort in this direction4 ,the fillets are alternately crimped and plain4 ,the thumb1 in pressing down the one1 has been applied with such force that the nail has cut entirely through it1 indenting the plain layer below and causing the two to coalesce4 ,this specimen was obtained from the caon of the ,rio ,mancos4 ,certain districts are particularly rich in remains of this peculiar ware and furnish many examples of crimped ornament4 ,the remarkable desert-like plateau lying north of the ,grand ,caon of the ,colorado contains many house and village sites4 ,at intervals along the very brink of the great chasm we come upon heaps of stones and razed walls of houses about which are countless fragments of this ware4 ,these are identical in nearly every character with the pottery of ,saint ,george on the west1 of the ,san ,juan on the east1 and of the ,gila on the south4 ,a few miles south of ,kanab stands a little hill--an island in the creek bottom--which is literally covered with the ruins of an ancient village1 and the great abundance of pottery fragments indicates that it was1 for a long period1 the home of cliff-dwelling peoples4 ,in no other case have ,i found so complete an assortment of all the varieties of coil-ornamentation4 ,all the forms already given are represented and a number of new ones are added4 ,illustration3 ,,fig4 #bbe4--,wave-like indentation4 ,illustration3 ,,fig4 #bbf4--,wave-like indentation4 ,in the example given in ,fig4 #bbe the fillets are deeply indented1 giving a wave-like effect4 ,another pretty variety is seen in ,fig4 #bbf4 ,illustration3 ,,fig4 #bbg4--;,impressions of finger-tips4 ,illustration3 ,,fig4 #bbh4--;,implement indentations4 ,one of the most successful of these archaic attempts at relief embellishment is illustrated in the fragment shown in ,fig4 #bbg4 ,the raised edge of the fillet is pinched out at regular intervals1 producing rows of sharp-pointed beads4 ,over the entire surface impressions of the fine lines of the finger-tips are still distinctly visible4 ,the dotted lines show the direction of the coil4 ,the indenting was not always done with the thumb or finger-tips1 but a variety of implements were used4 ,the vase1 of which ,fig4 #bbh shows a small fragment1 had a figure worked upon it by indenting the soft coils with a sharp implement4 ,illustration3 ,,fig4 #bbi4--,nail markings4 ,the coil ridges were sometimes worked down into more regular forms by means of an implement and were left plain or were interrupted by transverse lines4 ,lines of nail marking are shown in ,fig4 #bbi4 ,these lines are occasionally combined in rude patterns4 ,illustration3 ,,fig4 #bcj4--;,incised lines4 ,in the specimen illustrated in ,fig4 #bcj1 incised lines are drawn across the ridges of the coil4 ,illustration3 ,,fig4 #bca4--;,incised pattern4 ,,other ,,varieties ,,of ,,ornament4--,i have already remarked that certain styles of decoration are confined to somewhat definite geographic limits4 ,in the ancient ,pueblo district we find that painted designs and coil ornaments are co-extensive1 while within this area there are but rare examples of incised designs1 stamped figures1 or cord-marking4 ,we find basket indentations1 but these are in all cases the accidents of manufacture4 ,the coil has often been laid upon the inner surface of a basket4 ,the fragment shown in ,fig4 #bca was picked up on the site of an ancient ,pueblo village near ,abiquiu1 ,new ,mexico4 ,it is a portion of the neck and upper part of the body of a small vase which was covered by a simple pattern of intaglio lines1 produced with a bone or wooden stylus4 ,ornaments in relief1 aside from the coil and forms resulting directly from its use1 were sparingly employed and are of comparatively little interest4 ,they consist of straight1 curved1 or crimped fillets1 applied to the surface of the vessel as shown in ,fig4 #bcb4 ,additional examples are given in ,figs4 #bcc1 #bcd1 and #bce4 ,nodes1 cones1 and other forms are also used as seen in ,figs4 #bcf1 #bcg1 and #bch4 ,these are usually placed about the neck of the vessel1 occupying the places of the handles4 ,illustration3 ,,fig4 #bcb4--;,applied fillet4 ,,material4--,the clay used in this ware was in some sections tempered with a large percentage of rather coarse silicious sand1 which gives to the surface a rough1 granular look4 ,in the south the paste seems to be finer grained than in the northern districts4 ,,color1 ,,etc4--,the color of the paste is generally gray1 but in the province of ,tusayan it is frequently yellow4 ,in some cases the surface has received a wash of fine liquid clay1 and a few bowls from the ,little ,colorado and ,gila ,valleys have designs in white paint covering the exterior surface4 ,this ware is always well baked and extremely hard4 ,illustration3 ,,fig4 #bcc4 ,,fig4 #bcd4 ,,fig4 #bce4 ,,fig4 #bcf4 ,,fig4 #bcg4 ,,fig4 #bch4 ,examples of relief ornaments4 ,,form4--,the forms are not nearly so varied as are those of the painted ware4 ,the leading variety is a round-bodied1 wide-mouthed olla or pot1 with flaring rim4 ,bottles are of rare occurrence1 and bowls are not nearly so plentiful as in other varieties of pottery4 ,life and eccentric forms are occasionally found4 ,many small vessels of the more elongated shapes are furnished with handles1 which are in most cases placed vertically upon the neck1 and consist of single or double bands or ropes or of two or more strands twisted together4 ,,use4--,as a rule the forms are such as have been devoted by most peoples to culinary uses1 and in many cases the entire exterior surface is coated with soot4 ,plain vessels of similar outlines are used by the modern tribes of this province for cooking and serving food4 ,examples having very neatly or elaborately finished surfaces have apparently not been used over a fire4 ,those of large size doubtless served for the transportation and storage of water4 ,,illustrations ,,of ,,vessels4 ,as it is my desire to give this paper something of a monographic completeness1 ,i shall present a typical series of the best preserved vessels of this class along with some notices of the circumstances under which they were discovered4 ,the treatment by districts or localities is for convenience simply1 and has no reference to distinctions in the character of the ware4 ,,district ,,of ,,the ,,rio ,,san ,,juan4 ,our first expeditions into the land of the cliff-dwellers were full of interest4 ,we were not1 however1 the first explorers4 ,the miners of the silver-bearing mountains to the north had made occasional excursions into the sinuous caons of the plateau district1 and failing to bring back the coveted gold1 told tales of the marvelous cities of the cliffs1 and speculated upon discovering in the dbris of ancient temples and tombs a portion of the fabled gold and jewels of the provinces of ,cibola and ,tusayan4 ,notwithstanding our entire freedom from expectations in this direction1 the thought gave color to our anticipations1 and it was not an uncommon occurrence to hear1 about the slumbering camp fire1 half jocular references to the great pots of gold moons that some one had whispered might be hidden away in the inaccessible cliffs that overshadowed us4 ,i shall not soon forget the incidents connected with the discovery of a pair of fine water-jars--one of which is illustrated in ,fig4 #bci4 ,on the occasion of our first passage down the caon of the ,rio ,mancos#d ,i made the discovery of a group of fine cliff-houses on the south side1 far up in the vertical walls4 ,on our return ,i made it a point to camp for the night directly below these houses1 although a dense growth of underbrush had to be cut away to give room for our beds by the side of the sluggish stream4 #d ,tenth ,annual ,report ,u4 ,s4 ,geological ,survey of the ,territories1 p4 #cid4 ,the two finest houses were set in shallow1 wind-worn caves1 several hundred feet above the valley4 ,one was almost directly above the other1 the upper being reached by a number of notches picked in the nearly vertical rock-face4 ,i had ascended alone and was busily engaged in studying the upper house and tracing the plans of its fallen walls1 when ,i heard a voice echoing among the cliffs4 ,descending hastily to the lower house ,i found that one of my men had followed me and was excitedly scratching with a stick among the debris of fallen walls4 ,he had just discovered the rim of a buried pot1 and was fairly breathless from the anticipation of piles of moons4 ,by the aid of my geologic hammer we soon had the upper part of the neck uncovered1 but hesitated a moment with bated breath before venturing to raise the rough stone lid4 ,but there was no treasure--only a heap of dust4 ,i was content1 however1 and when by a little further search we came upon a second vessel1 a mate to the first1 the momentary shades of disappointment vanished4 ,illustration3 ,,fig4 #bci4--;,coiled vase from a cliff-house in the ,mancos ,caon1 ,colorado4--#a_/c4 ,these vessels had been placed in a small recess1 where the falling walls had not reached them1 and were standing just as they had been left by their ancient possessors4 ,the more perfect one1 which had lost only a small chip from the rim1 ,i determined to bring away entire4 ,this ,i succeeded in doing by wrapping it in a blanket1 and by means of straps1 slinging it across my back4 ,i carried it thus for a number of days over the rough trails of the caons and plateaus4 ,the other1 which was badly cracked when found1 was pulled apart and packed away in one of the mess chests4 ,it is now with its mate in the ,national ,museum1 perfectly restored4 ,the unbroken vessel is shown in ,fig4 #bci about one-third its real height4 ,its capacity is nearly four gallons4 ,the clay is tempered with a large portion of sand1 some grains of which are quite coarse4 ,the color of the paste is a light gray1 apparently not having been greatly changed by the baking4 ,a few dark contact clouds appear on the sides of the body4 ,the walls are quite thin for a vessel of its size and are of very uniform thickness4 ,the entire weight hardly exceeds that of a common wooden pail of the same capacity4 ,the mouth is wide and the rim1 which is made of a plain rough band1 is one inch wide and abruptly recurved4 ,the vessel can hardly be said to have a neck1 as the walls round gradually outward from the rim to the periphery of the body1 which is full and nearly symmetrical4 ,the narrow strands of clay have been coiled with something less than average care1 the exposed surfaces being wide in places and in others very narrow4 ,the thumb indentations have been carelessly made4 ,two small conical bits of clay are affixed to the neck as if to represent handles4 ,these may have been intended for ornaments1 but are as likely to owe their presence to some little superstition of the archaic artisans4 ,the companion vessel has also a capacity of about four gallons4 ,its form differs from that of its mate1 being considerably more elongated above and having a more pronounced neck4 ,the material is about the same1 but the color is darker and the workmanship is superior4 ,the surface is coated with soot1 indicating use over a fire in cooking food or in boiling water4 ,the coil was laid with a good deal of care and the indentation was done in a way to produce a series of sharp points along the margin of the coil4 ,the interior of the rim was finished with a polishing stone4 ,a small cord of clay was neatly coiled into a double scroll and attached to the narrowest part of the vessel1 corresponding in position to the knobs in the other example4 ,this ornament1 though small1 is nevertheless effective4 ,similar scrolls are found upon vases from many parts of the ,pueblo ,province4 ,it is an interesting fact that this vessel had been successfully mended by its owners4 ,a small perforation near the base had been stopped by cementing a bit of pottery to the inside with clay paste4 ,these vases were evidently the most important of the household utensils of the cliff-dwellers1 especially as in this place water had to be carried1 at least during a part of the year1 from the creek five hundred feet below4 ,it is probable that baskets and skins were sometimes used for carrying water1 and that the earthen vessels were used as coolers1 as are similar vessels among many primitive peoples4 ,that they were used for carrying water up the cliffs is indicated by the fragments that lie upon the slopes and point out the location of houses invisible from the trails below4 ,a large fragment of a similar olla was picked up in the valley of ,epsom ,creek1 southeast ,utah4 ,this vessel was larger1 neater in finish1 and more elegant in shape1 than either of those described4 ,a sufficiently large fragment was discovered to show satisfactorily the character of the rim1 the outline of the body1 and the details of surface finish4 7,fig4 #bdj47 ,the rim is but slightly recurved and the neck is high and upright4 ,the body swelled to a diameter of about eighteen inches at the greatest circumference4 ,the paste1 as usual1 indicates a gray clay tempered with coarse sand4 ,the inside is smooth and the walls are remarkably thin for so large a vessel1 being about one-fourth of an inch in thickness4 ,the coil is very neatly laid and indented1 a variety to the effect being given by leaving occasional plain bands4 ,this vessel is described by ,w4 ,h4 ,jackson in the ,bulletin of the ,u4 ,s4 ,geological ,survey of the ,territories1 ,vol4 ,,ii4 ,illustration3 ,,fig4 #bdj4--,part of a large vase from ,epsom ,creek1 ,utah4--#a_/h4 ,fragments of this class of ware are found throughout the caoned region of southern ,utah and for an undetermined distance into ,nevada4 ,i have already described fragmentary specimens from ,kanab and therefore pass on to the west4 ,,district ,,of ,,the ,,rio ,,virgen4 ,the most notable collection of this coiled ware ever yet made in any one locality is from a dwelling-site tumulus near ,saint ,george1 ,utah1 nearly three hundred miles west of the ,rio ,mancos4 ,about the year #ahge1 the curator of the ,national ,museum obtained information of a deposit of ancient relics at the above locality1 and in #ahgf a collector was sent out to make an investigation4 ,the result1 so far as collections go1 was most satisfactory1 and the account furnished gives an insight into the customs of this ancient people not yet obtained from any other source4 ,on the ,santa ,clara ,river1 a tributary of the ,rio ,virgen1 about three miles from the ,mormon town of ,saint ,george1 a low mound1 which ,i suppose to have been a sort of village-site tumulus1 was found4 ,the outline was irregular1 but had originally been approximately circular4 ,it was less than ten feet in height1 and covered about half an acre4 ,one side had been undermined and carried away by the stream4 ,the work of exhumation was most successfully accomplished by means of water4 ,a small stream was made to play upon the soft alluvium1 of which the mound was chiefly composed4 ,the sensations of the collector1 as skeleton after skeleton and vase after vase appeared1 must have been highly pleasurable4 ,it is thought that the inhabitants of this place1 like many other primitive peoples1 buried their dead beneath their dwellings1 which were then burned down or otherwise destroyed4 ,as time passed on and the dead were forgotten1 other dwellings were built upon the old sites1 until quite a mound was formed in which all the less perishable remains were preserved in successive layers4 ,following the customs of most primitive peoples1 the belongings of the deceased were buried with them4 ,earthen vessels were found in profusion4 ,with a single body1 there were sometimes as many as eight vases1 the children having been in this respect more highly favored than the adults4 ,there seems to have been no system in the arrangement either of the bodies or of the accompanying relics4 ,the majority of the vases were either plain or decorated in color1 but many of the larger specimens were of the coiled variety4 ,about sixty vessels were recovered4 ,those of the former classes will be described under their proper headings4 ,illustration3 ,,fig4 #bda4--,vessel from the tumulus1 at ,saint ,george4--#a_/c4 ,the shapes of the corrugated vases are of the simplest kind4 ,the prevailing form corresponds very closely with the ,cliff ,house specimen illustrated in ,fig4 #bci4 ,one unusually large example was brought back in fragments1 but has since been successfully restored4 ,it stands nearly seventeen inches high and is sixteen inches in diameter4 ,the plain part of the rim is one and one-half inches wide1 and the lip is well rounded and strongly recurved4 ,the lines are quite graceful1 the neck expanding below into a globular body which is just a little pointed at the base4 ,the color is dark1 from use over the fire4 ,the fillets of clay were narrow and very neatly crimped4 ,roughly estimated1 there were at least three hundred feet of the coil used4 ,the vessel has a capacity of about ten gallons4 ,illustration3 ,,fig4 #bdb4--,vase from the tumulus at ,saint ,george4--#a_/b4 ,vases of this particular outline may be found1 varying in size from these grand proportions to small cups an inch or two in height4 ,of a somewhat different type is the vessel shown in ,fig4 #bda4 ,the outline is symmetrical4 ,the neck is comparatively high and wide and swells out gently to the widest part of the body1 the base being almost hemispherical4 ,a band about the neck is coiled and roughly indented1 while the body is quite smooth4 ,the plain band about the mouth is broad and sharply recurved4 ,the coils are wide and deeply indented4 ,they have been smoothed down somewhat while the clay was still soft4 ,the vase shown in ,fig4 #bdb is characterized by its upright rim1 elongated neck1 round body1 and plain broad coils4 ,the fillets are set one upon another1 apparently without the usual imbrication4 ,this latter feature occurs in a number of cases in the vessels of this locality4 ,the bottle given in ,fig4 #bdc is quite comely in shape4 ,the neck expands gracefully from the rim to its junction with the body1 which swells out abruptly to its greatest fullness4 ,the coil is not neatly laid4 ,the indentation began with the coil1 but was almost obliterated on the lower part of the vessel while the clay was yet soft4 ,the fillets are not so well smoothed down on the interior surface as usual1 a ridged appearance being the result4 ,this comes from the difficulty of operating within a much restricted aperture4 ,the color is gray1 with a few effective clouds of black1 the result of firing4 ,another1 of similar form1 was taken from the collection by unknown persons4 ,illustration3 ,,fig4 #bdc4--,vase from the tumulus at ,saint ,george4--#a_/b4 ,the only example of coiled ware from this locality having a handle is a small mug4 ,its body is shaped much like the larger vessels1 but it is less regular in outline4 ,the single vertically placed handle1 now partially broken away1 was attached to the side of the body near the top1 and consisted of a rough cord of clay less than half an inch in diameter4 ,the ,saint ,george tumulus furnished a number of vessels with smooth1 unpainted surfaces1 very similar in form and size to the coiled vessels4 ,they are generally blackened by use over fire1 and1 like the large coiled pots1 were evidently used for culinary purposes4 ,a few smaller vessels of the same style of finish exhibit forms characteristic of the painted ware1 as will be seen by reference to the illustrations of these two groups4 ,from the same source we have two bowls of especial interest1 as they have coiled exteriors and polished and painted interiors4 ,one of these is illustrated in ,fig4 #bdd4 ,they form an important link between the two varieties of ware1 demonstrating the fact that both styles belong to the same age and to the same people4 ,a similar bowl1 found in possession of the ,zui ,indians1 is illustrated in another part of this paper1 ,fig4 #bed4 ,another was obtained at ,moki4 ,fragments of identical vessels are found occasionally throughout the whole ,pueblo district4 ,one piece from the ,san ,juan ,valley has figures painted upon the coiled exterior surface1 the interior being polished and unpainted4 ,specimens from the vicinity of ,springerville1 ,arizona1 have designs in white painted over the coiled surface4 ,a large number of well-made1 hemispherical bowls from this locality have a coiled band about the exterior margin1 but are otherwise plain and well polished4 ,some are brownish or reddish in color4 ,many of them have been used over the fire4 ,illustration3 ,,fig4 #bdd4--;,bowl with coiled exterior and painted interior3 ,saint ,george4--#a_/b4 ,illustration3 ,,fig4 #bde4--,vase from ,parowan1 ,utah4--#a_/b4 ,the ceramic remains of ,utah present some puzzling features4 ,as we go north from the ,rio ,virgen there is an apparent gradation from the typical ,pueblo ware to a distinct group characteristic of ,salt ,lake ,valley4 ,the interesting problems suggested by this condition of things cannot be discussed in this place1 and ,i will stop only to present a specimen of the coiled ware from ,parowan1 which is in some respects the finest example known4 ,the form1 so far as it is preserved1 seems unusually graceful1 and the laying and indenting of the coil is surprisingly perfect4 ,this vase is in the ,salt ,lake ,museum1 and the cut1 ,fig4 #bde1 is made from a photograph furnished by ,prof4 ,marcus ,e4 ,jones4 ,vessels with similar finish have recently been obtained from graves at ,fillmore1 ,utah1 by ,dr4 ,h4 ,c4 ,yarrow1 and1 singularly enough1 identical work is seen in some very fine pieces obtained by ,mr4 ,nelson from ruined pueblos in middle eastern ,arizona4 ,illustration3 ,,fig4 #bdf4--;,cup from central ,utah4--#a_/c4 ,an interesting little cup1 said to have been found in central ,utah1 illustrates some of the peculiar characters of the more northern examples of this ware4 ,the vessel has apparently been built with coils1 as usual1 but the surface is worked over in such a way as to obscure the spiral ridges4 ,the rim is upright and plain4 ,the high1 wide neck has a series of narrow1 vertical flutings1 made with a round-pointed implement1 or possibly with the finger tip4 ,a band of four channels encircles the middle of the body1 the lower part of which is covered with oblique markings4 ,the handle is large and round1 and is attached above to the top of the rim1 and below to the middle of the body4 ,this cup is now in the museum at ,salt ,lake4 ,the photograph from which the engraving is made was obtained through ,professor ,jones4 ,,district ,,of ,,the ,,little ,,colorado4 ,the region now inhabited by the ,pueblo tribes seems to have been a favorite residence of the ancient peoples4 ,ruins and remains of ceramic art may be found at every turn1 and it is a common thing to find ancient vessels in possession of the ,pueblo ,indians4 ,this is especially true of the ,zuis and ,mokis1 from whom considerable collections have been obtained4 ,these vessels have apparently been culled from the sites of ancient ruins1 from cave and cliff-houses1 and possibly in some cases from burial places4 ,recently1 since they have become valuable in trade1 the country about ,moki has been ransacked by both ,indians and whites1 and many valuable specimens have been acquired4 ,within recent years a number of expeditions have been sent into this region4 ,to these the caons and cliffs have yielded many specimens4 ,both ,mr4 ,stevenson and ,mr4 ,victor ,mindeleff have brought in excellent examples1 a few of which have already been illustrated in the publications of the ,bureau of ,ethnology4 ,i must not fail to mention the very extensive collection of ,mr4 ,t4 ,v4 ,keam and his associate1 ,mr4 ,john ,stephen1 examples from which ,i am permitted to illustrate in this paper4 ,most of the pieces described by ,mr4 ,stevenson are small and not at all pleasing in appearance4 ,they comprise ollas and handled mugs of an elongated scrotoid or sack shape1 the widest part of the body being1 as a rule1 near the base1 while the upper part is elongated into a heavy neck1 to which a recurved rim has been added4 ,a number of examples1 illustrated in the ,second ,annual ,report of the ,bureau of ,ethnology1 were obtained from the ,zui ,indians1 and are thought by ,mr4 ,stevenson to have come from the ,caon de ,chelly4 ,illustration3 ,,fig4 #bdg4--,vessel from ,zui4--#a_/d4 ,a large1 very badly constructed specimen is given in ,fig4 #bdg4 ,the rim is roughly finished1 the body unsymmetrical1 and the bottom slightly flattened4 ,the coils differ greatly in width1 and are carelessly joined and unevenly indented4 ,the rudeness of workmanship noticed in this case is characteristic of many of the specimens from ,zui4 ,illustration3 ,,fig4 #bdh4--,vessel from ,zui4--#a_/b4 ,illustration3 ,,fig4 #bdi4--;,handled mug from ,tusayan4--#a_/b4 ,a rudely constructed cylindrical cup1 of the wide-mouthed1 narrow-bodied variety1 is illustrated in ,fig4 #bdh4 ,the bottom was flattened by contact with some hard1 scarred surface before the clay hardened4 ,two round1 tapering1 serpent-like fillets of clay have been fixed in a vertical position upon opposite sides of the vessel4 ,there are a number of handled vessels of this class4 ,they are mostly rather rudely made and unsymmetrical4 ,they are small in size and were probably devoted to ordinary domestic uses4 ,a good specimen from the ,keam collection is shown in ,fig4 #bdi4 ,the handle in this case is a large loop made of three ropes of clay placed side by side4 ,in one case there are three strands set side by side1 and joined near the ends4 ,in another case the strands have been twisted1 giving a rope-like effect4 ,these forms closely resemble wicker handles in appearance and manner of attachment1 and are probably to some extent derived from them1 although there is no reason why the ropes of clay1 in constant use by potters1 should not be joined in pairs1 or even twisted1 if greater strength or variety were desired4 ,vessels from the province of ,tusayan may often be identified by their color1 which1 like that of the transition and modern wares of the same region1 is often a rich yellow1 sometimes approaching an orange4 ,this color is probably a result of changes in the natural constituents of the clay employed4 ,illustration3 ,,fig4 #bej4--,yellow vase from ,tusayan4--#a_/c4 ,an excellent example of the yellow coiled vases is illustrated in ,fig4 #bej4 ,it has a new look1 and probably belongs to a later period than the light gray ware of the district4 ,it is symmetrical1 and the coil is neatly laid and indented4 ,portions of the sides and base were blackened in firing4 ,there are a number of fine specimens of this class in the ,keam collection1 all obtained from the ancient province of ,tusayan4 ,a small1 wide-necked pot is shown in ,fig4 #bea4 ,the surface is smooth1 with the exception of a narrow band or collar about the neck1 formed of a few indented coils4 ,other vessels closely resembling this in style are much larger and heavier4 ,illustration3 ,,fig4 #bea4--,yellow vase from ,tusayan4--#a_/c4 ,illustration3 ,,fig4 #beb4--,vessel from ,tusayan4--#a_/c4 ,a vessel of very archaic appearance is illustrated in ,fig4 #beb4 ,in form1 color1 and finish it differs from the preceding example4 ,the mouth is almost as wide as the body at its greatest circumference1 the color is gray1 and the coils are narrow and regularly indented4 ,a minute coiled fillet is attached to the rim for ornament4 ,the vessel illustrated in ,fig4 #bec is one of the most noteworthy of its class4 ,in form and construction it does not differ essentially from specimens already described1 but the decoration is superior4 ,the coils are indented in such a way as to produce a pattern of triangular figures1 which is carried over the entire surface of the vessel4 ,it belongs to the ,keam collection1 and comes from the province of ,tusayan4 ,illustration3 ,,fig4 #bec4--,large vase from ,tusayan4--#a_/d4 ,illustration3 ,,fig4 #bed4--;,bowl from ,cibola4--#a_/b4 ,from ,cibola we have a bowl1 the exterior of which is coiled and the interior polished and painted4 ,it is undoubtedly of the most archaic variety of ware1 and is almost a duplicate of the example from the ,saint ,george tumulus1 shown in ,fig4 #bdd4 ,the interior is encircled by a series of five triangular volutes in black lines1 and the exterior exhibits a very neatly laid and indented coil4 ,fig4 #bed4 ,,pecos ,,and ,,the ,,rio ,,grande4 ,in ,new ,mexico1 upwards of four hundred miles east of ,saint ,george1 in the handsome upland valley of the ,rio ,pecos1 we have the most easterly of the ancient ,pueblo remains4 ,the site was occupied at the time of the conquest1 but is now wholly deserted1 a small remnant of the people having gone to dwell with their kindred at ,jmez4 ,the site of this village has been thoroughly examined by that learned gentleman1 ,mr4 ,a4 ,f4 ,bandelier4 ,it is his opinion that the remains show at least two distinct periods of occupation1 the first being marked chiefly by a stratum of ashes1 pottery1 etc41 of great horizontal extent4 ,this underlies more recent deposits which belong to the people found in possession1 and whose arts are nearly identical with those of the existing ,pueblos4 ,the underlying stratum is characterized by great quantities of fragmentary coiled ware uniform with that of more western localities4 ,at the same time there is almost a total absence of painted pottery4 ,the conclusion reached by ,mr4 ,bandelier is that probably the coiled pottery wherever found marks the occupancy of a people antecedent to those who made painted ware4 ,it is my impression1 as already stated1 that the coiled form may be the most archaic of the ancient ,pueblo pottery1 yet ,i think it best to notice two things in regard to the conditions at ,pecos4 ,in the first place1 it should be remembered that the painted pottery found by ,mr4 ,bandelier is said to resemble that of ,nambe of to-day1 nothing being said of the painted ware characteristic of the ancient ruins of the west1 and which is always found associated with the coiled fragments1 as at ,saint ,george1 in the same graves and even in the same vessel1 ,fig4 #bdd4 ,we would not expect in ,pecos1 or in any other place1 to find modern ,pueblo ware like the more recent pottery from ,pecos intimately associated with the ancient ware either painted or corrugated4 ,the only strange feature at ,pecos is that the coiled fragments are not associated with ancient painted ware as in other places4 ,mr4 ,bandelier advances the idea that this deposit of corrugated ware may represent the site of an ancient pottery1 where the vessels were laid out in heaps surrounded by fuel and burned as by the modern ,pueblo potters1 the broken pieces being left on the ground1 forming finally a considerable stratum4 ,if this is correct1 then the true explanation probably is that on this spot only the one variety of pottery was made1 the painted pottery of the same locality1 if such was in use1 being made by potters in other parts of the village4 ,unless there is an actual superposition of the ancient painted ware upon deposits of the coiled variety1 we learn nothing of chronological importance4 ,the valley of the ,rio ,grande has furnished but few specimens of the coiled ware1 although it is known to occur along nearly its entire course through ,new ,mexico4 ,,district ,,of ,,the ,,rio ,,gila4 ,the broad area drained by the ,gila ,river and its tributaries abounds in ruins and relics1 but its exploration is yet very incomplete4 ,coiled pottery identical1 in nearly every respect1 with that of the more northern valleys is abundant1 but it is sometimes associated with painted wares very different in style from those of the cliff-house districts4 ,it will probably be found that the ceramic products of the ,rio ,gila and the ,rio ,grande are much less homogeneous than those of the ,colorado ,chiquito1 the ,san ,juan1 and the ,rio ,virgen4 ,,imitation ,,coil-,,ware4 ,i have already mentioned the occurrence in the ,pueblo towns of modern coiled pottery1 and also that there are seen1 occasionally1 vessels in which the coiled effect is rudely imitated by means of scarifying and indenting the plastic surface4 ,specimens of the latter class are generally small rude bottles with wide recurved lips and slightly conical bases4 ,they are very rudely made and clumsy and are but slightly baked1 and on account of the omission of proper tempering material are extremely brittle4 ,they are new looking1 and in no case show indications of use1 and ,i have seen no example worthy of a place upon our museum shelves save as illustrating the trickery of the makers4 ,it is possible that they are made by the ,mokis1 but if so by very unskilled persons who have neither understood the methods nor employed the same materials as the professional potters4 ,i consider it highly probable that some clever ,navajo has thought1 by imitating archaic types of ware1 to outwit collectors and turn an honest penny4 ,,plain ,,ware4 ,all the groups of pottery furnish examples of plain vessels4 ,these are generally rudely finished and heavy1 as if intended for the more ordinary domestic uses1 such as the cooking of food and the storing of provisions and water4 ,the material is coarser than in the nicely finished pieces and the surface is without the usual slip and without polish or applied color4 ,the characters of these utensils are quite uniform throughout very widely separated districts1 so that it is more difficult to assign a single vessel to its proper family than in the case of decorated wares4 ,we have from ,saint ,george and other localities examples of plain vessels that belong1 without a doubt1 to the coiled variety1 the resemblance in material1 color1 shape1 and finish being quite marked4 ,these vessels are plentiful in the province of ,tusayan1 and many of them1 as indicated by their color1 construction1 and texture1 belong to the yellow and orange groups of ancient coiled ware4 ,there is in many cases an easily discernible gradation from the wholly coiled through the partially coiled to the plain ware4 ,in some cases the coil has been so imperfectly smoothed down that obscure ribs encircle the vessel indicating its direction1 and in other cases fractures extend along the junction lines1 separating the vessel when broken1 into its original coils4 ,these vessels are large and heavy1 with wide mouths and full bodies1 which are occasionally somewhat compressed laterally1 giving an oval aperture4 ,similar pithoi like vessels are in daily use by the ,mokis and also by the ,zuis1 ,acomas1 ,yumas1 and others4 ,they are employed in cooking the messes for feasts and large gatherings1 for dyeing wool1 and for storing various household materials4 ,the modern work is so like the ancient that it is difficult in many cases to distinguish the one from the other4 ,besides the typical pot or cask there are many varieties of plain vessels1 some of which appear to be closely related to1 or even identical with1 the classes usually finished in color4 ,these include bowls1 pots1 and bottles4 ,i present three examples from the tumulus at ,saint ,george1 ,utah4 ,the little bottle1 shown in ,fig4 #bee1 is remarkable in having a subtriangular shape1 three nearly symmetrical nodes occurring about the most expanded part of the body4 ,an interesting series of similar vessels has been obtained from ,tusayan1 some of which are decidedly askoidal in shape4 ,illustration3 ,,fig4 #bee4--;,bottle from the tumulus at ,saint ,george4--#a_/b4 ,similar to the last in general outline is the curious vessel given in ,fig4 #bef4 ,it was obtained in ,southern ,utah1 and is now in possession of the ,salt ,lake ,city ,museum4 ,the three nodes are very prominent and curve upwards at the points like horns4 ,an upright handle is attached to the side of the neck4 ,illustration3 ,,fig4 #bef4--,vase from the tumulus at ,saint ,george4--#a_/b4 ,a large bottle-shaped vessel from the same locality is illustrated in ,fig4 #beg4 ,the neck is short and widens rapidly below4 ,the body is large and globular1 and is furnished with two small perforated ears placed at the sides near the top4 ,there are a number of similar examples in the collection from this place4 ,we have also a number of handled cups1 mostly with globular bodies and wide apertures4 ,all are quite plain4 ,illustration3 ,,fig4 #beg4--,vase from the tumulus at ,saint ,george4--#a_/c4 ,examples from this and other sections could be multiplied indefinitely1 but since the forms are all repeated in more highly finished pieces it is needless to present them4 ,,painted ,,ware4 ,,preliminary ,,remarks4--,it is with a peculiar sense of delight that we enter upon the study of a group of art products so full of new and interesting features4 ,every object of antiquity has its charm for us1 but there is an especial fascination about the works of a people like the cliff-dwellers1 whose long forgotten history takes the form of a romance in our imaginations4 ,in the study of these relics we have the additional charm engendered by a contemplation of new forms of beauty1 and we follow the stages of their evolution from the initial steps to the end with ever increasing zest4 ,the ceramic art of classic and oriental countries has exerted a powerful influence upon existing culture1 and is therefore much nearer the heart of the general student than the work of the ,american races2 but it will not do for science to underrate the value of a study of the latter4 ,its thorough examination cannot fail to furnish many illustrations of the methods by which arts grow and races advance in culture1 and1 supplemented by a study of the art of the modern peoples1 it will serve to illustrate the interesting phenomena attending the contact of widely separated grades of art4 ,in the introductory pages ,i have considered many of the technical questions of construction and ornamentation4 ,before entering upon detailed descriptions of the specimens1 ,i desire to give a brief review of the subject of painted decoration4 ,,color ,,of ,,designs4--,the colors employed are doubtless generally of a mineral character1 although carbonaceous matter derived directly from vegetable sources may have been used to some extent4 ,they comprised white1 black1 red1 and various shades of brown1 and were applied to the surfaces of the vessels by means of brushes not inferior in efficiency to those employed by the potters of more enlightened races4 ,,execution4--,the technical skill of the artist has not generally been of a high order1 although examples are found that indicate a trained eye and a skilled hand4 ,the designs are painted upon the show spaces of the vessels1 which have been tinted and polished with especial reference to their reception4 ,large apertured vessels1 such as dishes1 cups1 and bowls1 are decorated chiefly upon the inner surface4 ,the design often occupies only a band about the rim1 but not infrequently covers the entire inner surface4 ,high or incurved rims have in some cases received figures upon the exterior margin4 ,vessels with constricted necks have exterior decorations only4 ,the placing of the designs was governed1 to a great extent1 by the contour of the vessel1 although there was no fixed rule4 ,the grouping of the figures is possibly a little more irregular in the more archaic forms1 but in nearly all cases there is a tendency toward arrangement in zones horizontally encircling the vessel4 ,this feature is suggestive of the use of the wheel or of the influence of wheel-made decoration2 but there is probably a pre-ceramic reason for this peculiarity1 to be sought in the decoration of antecedent vessels of more pronounced surface or constructional characters1 such as basketry4 ,this arrangement may also be attributed in a measure to the conformation of the vessel decorated4 ,it will be observed that generally the neck furnishes the space for one zone of devices and the body that for another1 while the shoulder1 where wide or particularly accentuated1 suggests the introduction of a third4 ,in vessels of irregular form the figures take such positions as happen to have been suggested to the decorator by the available spaces1 by the demands of superstition1 or the dictates of fancy pure and simple4 ,it appears that the artist never worked in a hap-hazard manner1 yet never by rule or by pattern4 ,the conception of the intended design was well formed in the mind1 and the decoration commenced with a thorough understanding of the requirements of the vessel under treatment and of the effect of each added line upon the complete result4 ,the vessels1 being for the most part free-hand products1 are necessarily varied in form and proportion1 and the mobility of method in decoration is therefore a necessary as well as a natural condition4 ,in accommodating the ordinary geometric figures to the variously curved and uneven surfaces1 there were no erasures and1 apparently1 no embarrassments4 ,this feature of the art shows it to be a native and spontaneous growth--the untrammeled working out of traditional conceptions by native gifts4 ,,stages ,,of ,,ornament4--,in the transmission of a nation's art inheritance from generation to generation1 all the original forms of ornament undergo changes by alterations1 eliminations1 or additions4 ,at the end of a long period we find the style of decoration so modified as to be hardly recognizable as the work of the same people2 yet rapid changes would not occur in the uninterrupted course of evolution1 for there is a wonderful stability about the arts1 institutions1 and beliefs of primitive races4 ,change of environment has a decided tendency to modify1 and contact with other peoples1 especially if of a high grade of culture1 is liable to revolutionize the whole character of the art4 ,the manufactures of our modern tribes show abundant evidence of the demoralizing effect upon native art of contact with the whites4 ,there are no such features in the prehistoric art4 ,first stage4--,in the early stages of art the elements used in embellishment are greatly non-ideographic1 and the forms of expression are chiefly geometric4 ,the elements or motives are limited in number and are in a measure common to all archaic art4 ,they embrace dots1 straight lines1 and various angular and curvilinear figures1 which in their higher stages become checkers1 zigzags1 chevrons1 complex forms of meanders1 fretted figures1 and scrolls1 with an infinite variety of combination and detail4 ,at the same time there is no confusion4 ,the processes by which the parts are segregated are as well regulated as are the processes of natural growth4 ,this phase of decoration seems to be the prevailing one in the earlier stages of ,pueblo art4 ,second stage4--,a second phase or stage is marked by the free introduction of ideographic devices of pictorial origin into decoration4 ,these are drawn1 to a great extent1 from that most prolific source of artistic conceptions1 mythology4 ,this stage is the second in ,pueblo art4 ,the period or stage of culture at which such elements are introduced varies with different peoples4 ,it is possible that ideographic and non-ideographic devices may enter art simultaneously4 ,this is certainly to be expected in the ceramic art1 which comes into existence rather late in the course of progress4 ,third stage4--,in strong contrast with the preceding stages is the state of modern ,pueblo decoration4 ,contact with the whites has led to the introduction of life forms and varied pictorial delineations4 ,these conditions belong to a stage in advance of the position reached in the natural course of growth4 ,ideographic1 non-ideographic1 and purely pictorial characters are combined in the most heterogeneous manner in the decoration of a single vessel4 ,the decorator has ceased to work under the guidance of his instincts as a rule unerring1 and now1 like the mass of his more highly civilized brethren1 he must grope in darkness until culture shall come to his aid with canons of taste--the product of intellect4 ,,classification ,,of ,,ware4--,in the treatment of this great group1 or rather collection of groups1 of pottery a scheme of classification is the first thing to be considered4 ,in glancing over the field we notice that a whitish ware1 having a certain range of material1 finish1 form1 and decoration1 is very widely distributed1 that1 in fact1 it is found over nearly the entire area known to have been occupied by the ,pueblo tribes4 ,we find1 however1 that within this area there are varieties of this particular group distinguished by more or less pronounced peculiarities of color1 form1 and ornament1 resulting from dissimilarity of environment rather than from differences in time1 race1 or method of construction4 ,this group is associated1 in nearly every locality1 with the archaic coiled ware1 and together they are especially typical of the first great period of ,pueblo art4 ,its makers were the builders of the cliff dwellings1 of the round towers1 and of countless stone pueblos4 ,distinct from the preceding1 and apparently occupying an intermediate place in time and culture between the primitive and the recent wares1 we have a number of pretty well defined groups4 ,at least two of these are peculiar to the ancient province of ,tusayan4 ,the vessels of one of these groups are noticeable for their rounded symmetrical bodies1 their finely textured paste1 and their delicate creamy shades of color4 ,the designs are well executed and display unusual refinement of taste4 ,another1 and probably the more important variety1 is characterized1 first1 by peculiarities of form1 the body being doubly conical and the bottom deeply indented2 second1 by richness of color1 orange and yellow tints prevailing2 and1 third1 by the striking individuality and remarkable execution of the painted designs4 ,in the valley of the ,little ,colorado and extending southward to the ,gila1 we find remnants of a group of highly colored pottery differing from the preceding and1 in many respects1 from the widely distributed red ware of the north1 specimens of which occur in connection with the white ware4 ,the surfaces are painted red and profusely decorated in white1 black1 and red lines and figures4 ,still another variety is obtained from this region4 ,as indicated by collections from ,saint ,john and ,springerville1 it consists greatly of bowls1 the colors1 forms1 and decorations having decided points of resemblance to corresponding features of the cream-colored ware of ancient ,tusayan4 ,there are still other groups1 probably of intermediary periods1 whose limits are not yet well defined1 examples of which are found in possession of the ,pueblo ,indians4 ,at ,pecos the art was practiced long after the advent of the conquerors1 and later specimens show the archaic decorative ideas worked out in ,spanish glaze4 ,the deserted pueblos of the ,rio ,grande furnish antique forms that show wide distinctions from the ancient wares of the west4 ,another variety peculiar to the southwest shows indications of having been carried down to the present in the work of the ,indians of the ,lower ,colorado ,valley4 ,each of these groups and such new ones as may be discovered will be made the subject of careful study4 ,the remainder of this paper will be devoted to a single group--the first mentioned in the preceding list4 ,,white ,,ware4 ,the coiled ware has already been presented in some detail4 ,most nearly related to it in material1 form1 color1 and distribution is the archaic white ware1 the pottery par excellance of the ,cliff-,dwellers4 ,it is easily recognized1 even from small fragments1 whether found in the valley of the ,colorado1 of the ,rio ,grande1 or of the ,gila1 although each locality has its slight peculiarities of texture1 tint1 shape1 and ornamentation4 ,as a rule the material is a fine-grained clay1 tempered with fine sand1 the surfaces of the vessels being coated with a thin wash of very fine white clay4 ,the ware is nearly always well baked and hard1 breaking with a saccharoidal1 rarely with a conchoidal1 fracture4 ,the surface is1 as a rule1 well polished1 but often slightly undulating4 ,the color of the paste is generally gray within the mass and white upon the surface4 ,associated with the white ware in most localities we find a small percentage of red ware nearly identical in all save color with the white ware4 ,the forms are comparatively few and simple1 a full1 well-rounded body1 as with the coiled ware1 being a strong characteristic4 ,the ornamentation is generally in black paint1 exceptionally in red and white1 and consists to a great extent of geometric figures1 often rather rudely drawn4 ,very rarely we observe an attempt to delineate a life form--human or animal1 never vegetable4 ,,classification ,,by ,,form4--,the ware of each province is conveniently presented in form-groups1 beginning with the more simple shapes and advancing to the more complex4 ,,bowls4--,bowl-shaped vessels have been in great favor with all the ,pueblo peoples1 and in ancient times1 especially in the north and west1 predominated very decidedly over all other forms4 ,this is naturally a favorite shape with primitive peoples1 as it is the most simple and probably that first developed4 ,a long experience would be necessary for the evolution of narrow-necked or complex forms4 ,our collections contain many examples of ancient bowls1 perfectly preserved1 but if this were not the case the shapes are so simple that it would be an easy matter to make satisfactory restorations from fragments4 ,there is considerable diversity of outline1 yet all may be conveniently classed under two heads3 the hemispherical and the heart-shaped4 ,the former are much more plentiful and were probably the favorite food vessels of the people4 ,as a rule they are plain segments of spheres4 ,the rims are1 in rare cases1 oval in outline1 and a few are elongated at the ends4 ,heart-shaped bowls are characterized by a somewhat conical base and a deeply incurved rim1 sometimes much depressed about the contracted mouth4 ,the forms are often elegant1 and the painted designs are generally well executed and pleasing to the eye4 ,,ollas4--,between bowls and pot-shaped vases or ollas there is but a step--the addition of an upright or recurving band forming a neck4 ,in vessels of the latter class the body is almost universally globular1 often tapering a very little below4 ,occasionally there is a slight flattening of the bottom and very rarely a concavity4 ,the neck is seldom high1 but varies greatly in size and shape4 ,these vessels correspond to the water vases of the modern tribes4 ,,bottles4--,bottle-shaped vessels are very widely distributed4 ,they differ from the ollas in one respect only--the necks are narrower and higher4 ,they are rarely flattened1 as are the modern ,pueblo bottles known as canteens4 ,,handled ,,vessels4--,smaller vessels of nearly all shapes are at times furnished with handles4 ,the origin of certain forms of these has received attention in the introductory pages4 ,they vary in style with the shape of the vessel to which they are attached4 ,bowls exhibit two well-marked varieties--a cylindrical form and a simple loop4 ,those of the former often imitate the handle-like neck of a gourd1 and archaic specimens from various parts of the ,pueblo province are so literally copied that the small curved stem of the gourd is represented4 ,this feature in some cases becomes a loop at the end of the handle1 serving to suspend the vessel1 like the ring attached to our dipper handles4 ,specimens from the headwaters of the ,colorado ,chiquito have the ends of the handles modeled to represent the head of a serpents or other creatures4 ,a loop sometimes takes the place of the cylindrical handle1 and is attached to the side of the bowl in a vertical or a horizontal position4 ,it may be long or short1 wide or narrow1 simple or compound1 and is not always evenly curved4 ,in certain forms of cups the vertically-placed loop occupies the whole length of the vessel1 suggesting well-known forms of the beer-mug4 ,high-necked cups1 vases1 and bottles have rather long1 vertically-placed loops1 giving a pitcher-like effect4 ,these may consist of two or more strands placed side by side or twisted together4 ,rarely an animal form is imitated1 the fore feet of the creature resting upon the rim of the vessel and the hind feet upon the shoulder4 ,perforated knobs often take the place of the loops1 and unperforated nodes and projections of varied shapes are not unusual4 ,some of these1 placed upon the upper part of the neck1 represent the heads of animals4 ,a novel handle is sometimes seen in the ancient vases of ,cibola and ,tusayan4 ,while the clay was still soft a deep abrupt indentation was made in the lower part of the vessel1 sufficiently large to admit the ends of two or three fingers1 thus giving a hold that facilitated the handling of the vessel4 ,i have seen no looped handles arching the aperture of the vessel1 as in the modern meal baskets of the ,zuis4 ,,eccentric ,,and ,,life ,,forms4--,the simple potter of early ,pueblo times seems barely to have reached the period of eccentric and compound forms1 and animal and grotesque shapes1 so common in the pottery of the mound-builders of the ,mississippi valley1 the ,mexicans1 and the ,peruvians1 are of rather rare occurrence4 ,the last section of this paper is devoted to life and eccentric forms4 ,for convenience of treatment1 the following illustrations will be presented by districts1 beginning at the northwest4 ,,illustrations4 ,,district ,,of ,,the ,,rio ,,virgen4 ,under the head of coiled pottery ,i have given a detailed description of the remarkable dwelling-site tumulus at ,saint ,george1 ,utah1 which has furnished such a complete set of the fictile works of the cliff-house potter1 the first collection of importance known to have been made by exhumation4 ,i will now present the painted ware and point out its very interesting local peculiarities4 ,all the ordinary shapes are present excepting the olla4 ,vessels of this form are all of the plain or coiled varieties4 ,the paste is gray and the surface color is usually a light gray4 ,a small percentage of the vessels are painted or stained red4 ,the designs are all executed in black1 and are for the most part nicely drawn4 ,they differ slightly in a number of ways from those of other districts1 their relationships being1 with a few exceptions1 more intimate with the ware of the ,rio ,san ,juan4 ,a characteristic of this pottery is the thinness of the walls and the hardness and tenacity of the paste4 ,in form a striking feature is the occurrence of bowls of oval form1 and in one case such a bowl has sides cut down or scalloped and ends prolonged4 ,the oval form is sometimes seen in other districts1 and the elongation of portions of the rim is a feature especially characteristic of the ,pima and ,mojave work of to-day4 ,,bowls4--,i have already shown in ,fig4 #bdd a small bowl from this locality1 in which a coiled exterior is combined with a polished and painted interior4 ,this is an unusual combination1 the exterior commonly being plain4 ,the following examples are grouped1 as far as possible1 according to their painted designs4 ,a usual and very widely distributed decoration consists of a belt of figures encircling the inner margin4 ,in its simplest condition it is only a single broad line1 but more frequently it is elaborated into a tasteful border so wide as to leave only a small circle of the plain surface in the bottom of the vessel4 ,the figures present much variety of effect1 but combine only a few elements or ideas1 as the following figures will amply show4 ,all are rectilinear1 or as nearly so as the conformation of the vessels will permit4 ,no example of exterior decoration occurs4 ,as my illustrations are necessarily limited to a few pieces1 those having the simpler combinations of lines are omitted1 and such only are given as exhibit the decorations of this district to the best advantage4 ,the bowl shown in ,fig4 #beh may be regarded as a typical example4 ,illustration3 ,,fig4 #beh4--;,bowl3 ,tumulus at ,saint ,george4--#a_/c4 ,it is a plain hemisphere of gray clay1 with roughly finished exterior and whitened and polished interior surface4 ,it is eight inches in diameter and nearly four inches deep4 ,the painted design occupies a band about two inches wide1 and consists of two broad bordering lines inclosing meandered lines4 ,the triangular interspaces are occupied by serrate figures1 giving to the whole ornament an appearance characteristic of textile borders4 ,two small bowls have borders in which the meandered lines are in the natural color of the ground1 the triangular spaces being filled in with black4 ,in one case the effect of the guilloche is given in the same manner4 ,few vessels exhibit a more characteristic example of the ornamentation of this ware than that given in ,fig4 #bei4 ,it is identical in surface finish with the last1 excepting that the exterior has been painted red4 ,an exceptional feature may be noticed in the shaping of the rim1 which has been brought to a sharp edge4 ,illustration3 ,,fig4 #bei4--;,bowl3 ,tumulus at ,saint ,george4--#a_/c4 ,the design occupies the usual space1 and consists of a very elaborately meandered or fretted line1 which is so involved that the eye follows it with difficulty4 ,four units of the combination complete the circuit of the vessel4 ,in another specimen1 which also has the design divided into four parts1 the lower line of each part is made straight1 by which means the space left in the bottom of the vessel is square instead of round1 as in the other cases4 ,illustration3 ,,fig4 #bfj4--;,bowl3 ,tumulus at ,saint ,george4--#a_/b4 ,another variety of decoration1 quite characteristic of this region1 consists of a band of fret-work dashed boldly across the inner surface of the bowl1 giving a most striking result4 ,these figures appear to be fragments of continuous borders1 taken from their proper connections and made to do duty on a surface that had ordinarily been left without decoration4 ,this observation has led to the proper interpretation of many enigmatic combinations at first thought to have especial application and significance4 ,illustration3 ,,fig4 #bfa4--,painted device4 ,the handsome shallow bowl presented in ,fig4 #bfj has been badly broken and carefully mended while still in the hands of its aboriginal owners4 ,it is ten and one-half inches in diameter1 and only three and three-fourths inches in depth4 ,the surface finish is identical with that of the preceding example4 ,the design1 which consists of a single segment of a chain of fret-work1 is drawn in broad1 steady lines4 ,fig4 #bfa4 ,not unlike the last in its leading features is the vessel illustrated in ,fig4 #bfb4 ,the label indicates that it was collected at ,kanab1 ,utah1 a ,mormon village ninety miles east of ,saint ,george4 ,the design is carried over the whole inner surface1 and is somewhat difficult to analyze4 ,there is little doubt1 however1 that it consists of portions of fretted or meandered patterns arbitrarily selected from basketry or other geometrically embellished articles1 and applied to this use4 ,the complete device is shown in ,fig4 #bfc4 ,illustration3 ,,fig4 #bfb4--;,bowl from ,kanab4--#a_/d4 ,the following examples are unique in their styles of decoration4 ,the first1 ,fig4 #bfd1 resembles the preceding save in its painted device4 ,like a few others1 it has been badly fractured and carefully mended by its ,indian owners4 ,it was obtained also at ,kanab1 and is nine inches in diameter by four and one-half in height4 ,the design is cruciform in arrangement1 the four parts being joined in pairs by connecting lines4 ,it exhibits some very unusual features 7,fig4 #bfe71 and we are led to suspect that it may in some way have been significant1 or at least that it is a copy of some emblematic device4 ,illustration3 ,,fig4 #bfc4--,painted device4 ,the almost total absence of life forms in the art of the primitive ,pueblos has often been remarked4 ,one example only has been discovered in this region4 ,this occurs in a subject painted on the inner surface of a rather rude1 oblong1 bowl1 from the ,saint ,george tumulus1 ,fig4 #bff4 ,a checkered belt in black extends longitudinally across the bowl4 ,at the sides of this1 near the middle1 are two human figures1 executed in the most primitive style1 as shown in ,fig4 #bfg4 ,their angular forms are indicative of textile influence4 ,the middle part of the bowl is broken out1 so that the feet of one figure and the head of the other are lost4 ,illustration3 ,,fig4 #bfd4--;,bowl from ,kanab4--#a_/c4 ,illustration3 ,,fig4 #bfe4--,painted device4 ,these figures resemble those painted upon and picked in the rocks of the pueblo region1 and the triangular head is sometimes seen in the ceramic decoration of modern tribes4 ,a bowl with similar figures was brought from ,tusayan by ,mr4 ,mindeleff4 ,it is illustrated in ,fig4 #bfh4 ,illustration3 ,,fig4 #bff4--;,bowl with human figures3 ,tumulus at ,saint ,george4--#a_/c4 ,illustration3 ,,fig4 #bfg4--,painted design4 ,illustration3 ,,fig4 #bfh4--;,bowl with human figures3 ,province of ,tusayan4--#a_/c4 ,among the many fine things from the mound at ,saint ,george are a few red bowls4 ,they were made of a slightly reddish clay1 or the paste has reddened uniformly in burning1 and a slip or wash of bright red color has been applied to the surface4 ,the designs are painted in black1 but differ in style from any of the preceding4 ,this work corresponds very closely indeed with the decorations of similar vessels from the ,little ,colorado4 ,the marked peculiarities of the ornamentation and color of these bowls give rise to the idea that they may have been intended for some especial service of a ceremonial character4 ,it is not impossible1 however1 that these vessels reached very distant localities by means of trade4 ,a representative example is shown in ,fig4 #bfi4 ,the broad interior band of ornament is divided into four compartments by vertical panels of reticulated lines4 ,the compartments are occupied by groups of disconnected rectangular fret-links on a ground of oblique stripes4 ,illustration3 ,,fig4 #bfi4--,red bowl3 ,tumulus at ,saint ,george4--#a_/c4 ,the heart-shaped bowls previously mentioned include medium sized and small vases1 with slightly conical bases1 distended shoulders1 and much constricted1 often depressed1 apertures4 ,they are of very general distribution1 but like the hemispherical red bowls are rarely found in numbers4 ,it is probable that they were devoted to ceremonial rather than to domestic uses4 ,the shapes are generally pleasing to the eye2 the finish is exceptionally fine1 and the designs1 though simple1 are applied with more than usual care4 ,a very good specimen from the tumulus at ,saint ,george is illustrated in ,fig4 #bgj4 ,illustration3 ,,fig4 #bgj4--;,heart-shaped bowl of red ware3 ,tumulus at ,saint ,george4--#a_/c4 ,the bottom in this case is slightly flattened1 and the incurved lip but slightly sunken4 ,the paste is a light red and the surface has received a coat of bright red color4 ,the design is in black1 is extremely simple1 and rather carelessly drawn4 ,the principal figure seems to be a very simple form of the favorite device--the meander4 ,a large fine bowl much like the preceding1 and obtained from the same locality1 is owned by the ,salt ,lake ,city ,museum4 ,the design is of the same class1 but very much more elaborate4 ,another example from ,saint ,george is smaller and yellowish-gray in color1 with figures in red and black4 ,at ,kanab ,i picked up fragments of a small vessel1 highly polished and of a rich1 brownish-purple color1 the designs being in black4 ,another fragment showed designs in bright red and black upon a yellowish ground4 ,,ollas4--,i have already called attention to the fact1 that the ,saint ,george tumulus furnished no example of ollas or large-necked vases of the painted variety1 vessels of this class being plain or of the coiled ware4 ,in the vicinity1 however1 ,i collected fragments of the white painted pottery derived from large vessels of this class1 very much like the large1 handsome vessels of ancient ,tusayan4 ,a number of such fragments come from the vicinity of ,kanab4 ,plain vessels of this shape were obtained from the tumulus at ,saint ,george4 ,they are identical in every other respect1 save the presence of designs1 with the painted pottery4 ,some have received a wash of red1 while it is not improbable that others have lost their color or decorative figures by wear or weather4 ,illustration3 ,,fig4 #bga4--,red pitcher3 ,tumulus at ,saint ,george4--#a_/c4 ,,handled ,,vessels4--,from the tumulus at ,saint ,george we have a very excellent example of pitcher1 which is shown in ,fig4 #bga4 ,the shape is not quite satisfactory1 the neck being clumsy1 but the workmanship is exceptionally good4 ,the surface is even and well polished and the color is a strong red4 ,the painted design in black1 upon the red ground1 consists of a number of meandered lines1 to which are added at intervals small dentate figures1 as seen in the cut4 ,,district ,,of ,,the ,,rio ,,san ,,juan4 ,in a number of ways the valley of the ,rio ,san ,juan possesses unusual interest to the antiquarian4 ,until within the latter half of the nineteenth century1 it remained wholly unknown4 ,the early ,spanish expeditions are not known to have penetrated its secluded precincts1 and its cliff-houses1 its ruined pueblos and curious towers have been so long deserted that it is doubtful whether even a tradition of their occupation has been preserved1 either by the nomadic tribes of the district or by the modern pueblos of the south4 ,certain it is that no foreign hand has influenced the art of this district1 and no ,spanish adventurer has left traces of his presence4 ,the ceramic remains are more uniform in character and apparently more archaic in decoration than those of any other district4 ,they belong almost exclusively to two varieties1 the coiled ware and the white ware with black figures4 ,the former has already been described1 the latter must now pass under review4 ,it is unfortunate that so few entire vessels of the painted pottery have been found in this region4 ,the fragments1 however1 are very plentiful1 and by proper study of these a great deal can be done to restore the various forms of vessels4 ,in my paper upon this region1 in the ,annual ,report of the ,survey of the ,territories for #ahgf1 ,i gave a pretty careful review of the material then in hand4 ,finding that in very few cases were there whole vessels representing the achievements of the ancient potter and decorator1 ,i presented a number of restorations from the better class of fragments4 ,this was done in a way that could lead to no serious misapprehension1 as the fragments used were always clearly indicated4 ,the expert need never go astray in his estimate of the character of the vessel to which given pieces belonged1 and his restoration from them gives a completeness of conception to the reader or student at a distance that could never be acquired by the most careful study of illustrations of the fragments4 ,the fragments are exceedingly plentiful about camp sites and ruins1 and fairly whiten the debris slopes beneath the houses in the cliffs4 ,i found my mind so diverted by these fascinating relics that it was often difficult to keep the geologic problems of the district properly in view4 ,no tumuli or burial places were observed1 but ,i suspect that careful search will bring them to light1 and that they will yield much richer results than the scattered fragments of the surface4 ,the district now under consideration comprises the entire drainage of the ,rio ,san ,juan4 ,it includes the well-known valleys of the ,animas1 the ,la ,plata1 the ,mancos1 the ,mc,elmel1 and the ,montezuma on the north1 and the ,chaco and the de ,chelly on the south4 ,on the north ,i include also a portion of the valley of the ,rio ,dolores4 ,the center of the district will not be very far distant from the corner stone of the four political divisions of ,colorado1 ,new ,mexico1 ,arizona1 and ,utah4 ,the collections from the valley of the ,rio de ,chelly1 one of the richest sections of this district1 are very badly scattered1 and the vessels cannot be identified4 ,many fine things have been carried away to the south and are now in the collections from ,cibola and ,tusayan2 while others have been brought east by the various expeditions without a proper record of the locality4 ,this is to be regretted1 as it makes it impossible to study the shades of distinction between the wares of neighboring localities4 ,bowls were very numerous and greatly varied in size1 finish1 and ornamentation4 ,many have received painted designs both inside and out4 ,this occurs with those having nearly upright rims4 ,handled-cups of hemispherical shape are also common1 but the heart-shaped bowls are of rare occurrence4 ,bottle-shaped vessels and ollas have not1 as in the south1 formed a prominent feature4 ,for some of the latter very neat lids have been made1 the rims being shaped for their reception4 ,upright vessels with handles are common4 ,eccentric or animal forms have not been found4 ,,bowls4--,the arrangement of the designs upon the bowls is far from uniform4 ,in a great majority of cases1 however1 they occupy belts encircling the inner and outer margin4 ,the fragmentary condition of the remains makes it impossible to restore designs that covered the entire surface of the vessels4 ,the decorations comprise nearly all the usual elements and motives4 ,in ,fig4 #bgb we have a small bowl from ,montezuma ,caon1 ,utah4 ,in form it is a deep hemisphere4 ,the design is upon the interior surface1 and consists of a broad band bordered by heavy lines and filled in with vertical lines4 ,the rim is ornamented with seven pairs of dots4 ,fig4 #bgc is restored from a fragment obtained in southwest ,colorado4 ,it shows an interior ornament consisting of a well-drawn chain of volutes4 ,illustration3 ,,fig4 #bgb4--;,bowl3 ,montezuma ,caon4--#a_/c4 ,illustration3 ,,fig4 #bgc4--;,bowl3 ,rio ,san ,juan--#a_/c4 ,many of the bowls were large and handsomely finished1 both surfaces being whitened and polished4 ,a superior example is given in ,fig4 #bgd4 ,neat borders have been applied to both interior and exterior surfaces4 ,they are suggestive of patterns produced through the technique of textile products1 and consist of interrupted forms of the meander4 ,i have restored from small fragments in this and other cases1 for the reason that no large fragments of the finer vessels are preserved4 ,illustration3 ,,fig4 #bgd4--;,bowl3 ,rio ,san ,juan4 ,illustration3 ,,fig4 #bge4--;,bowl3 ,rio ,san ,juan4 ,fig4 #bge illustrates a very pleasing vessel4 ,it is hemispherical1 and about eleven inches in diameter4 ,a narrow zone of ornament based upon the meander encircles the exterior margin of the rim1 and a broad1 carefully drawn design1 consisting of two parallel meanders1 ,fig4 #bgf1 occupies the interior4 ,it will be seen that the meandered fillets are in white1 and the bordering stripes and the upper and lower rows of triangular interspaces are in solid black1 while the median band and its connecting triangles are obliquely striped4 ,it should be noticed that the oblique portions of the meanders are indented or stepped4 ,this is a very usual occurrence in these decorations1 and may be taken as a pretty decided indication that they were copied1 more or less directly1 from textile ornamentation in which all oblique lines are necessarily stepped4 ,illustration3 ,,fig4 #bgf4--,painted design4 ,illustration3 ,,figs4 #bgg and #bgh4--;,handled cups3 ,montezuma ,caon4--#a_/c4 ,,handled ,,cups4--,small cups were generally furnished with handles and probably served as ladles and spoons4 ,an entire specimen is rarely found4 ,two are illustrated in ,figs4 #bgg and #bgh4 ,they were obtained by ,w4 ,h4 ,jackson from the ruins of ,montezuma ,caon4 ,the handles of these vessels vary a great deal2 some are flat1 while others are round1 consisting either of a single or a looped roll of clay2 some are hollow1 resembling the handles of gourds1 and a few are made of twisted fillets4 ,this latter form belongs generally to upright cups4 ,illustration3 ,,fig4 #bgi4--,vase3 ,rio ,san ,juan4 ,,ollas4--,it is quite impossible to make satisfactory restorations of the vases or ollas from the small fragments recovered4 ,the evidence is sufficient1 however1 to show that vessels of this class were numerous1 and often large4 ,i have made two restorations of small examples belonging to this class1 of which there are fragments showing the neck and upper part of the bodies4 ,the bottoms are so universally rounded that ,i have drawn full globular shapes2 ,figs4 #bgi and #bhj4 ,the most striking character of ,fig4 #bgi is the shape of the rim1 which is fashioned for the reception of a lid4 ,the same feature is noticed in a small vessel obtained at ,zui4 ,illustration3 ,,fig4 #bhj4--,vase3 ,rio ,san ,juan4 ,examples of lids from the ,san ,juan ,valley are shown in ,figs4 #bha and #bhb4 ,they were evidently designed for vessels of the class just described4 ,the specimen given in ,fig4 #bha is neatly finished and embellished1 and the quality of the ware is very superior4 ,illustration3 ,,fig4 #bha4--,vase lid3 ,rio ,san ,juan4 ,illustration3 ,,fig4 #bhb4--,vase lid3 ,rio ,san ,juan4 ,,handled ,,vases4--,many small vessels were furnished with handles1 some horizontal and others vertical4 ,of the first variety is the example shown in ,fig4 #bhc4 ,the fragment was obtained from the great ruin at ,aztec ,springs1 ,colorado4 ,it shows a small1 symmetrical vessel1 with black lines and devices4 ,the handle1 which probably had a companion on the opposite side1 is strong and neatly made4 ,figure #bhd represents a very pretty little vessel1 brought by ,mr4 ,w4 ,h4 ,jackson from the ,caon de ,chelly4 ,it is of the usual gray polished ware1 the base being somewhat roughened by use4 ,the design consists of encircling lines combined with a belt of disconnected triangular hooks or fret-links4 ,illustration3 ,,fig4 #bhc4--;,handled bottle3 ,rio ,san ,juan4 ,handled mugs with round bodies and wide high necks were in great favor with the ,san ,juan potter4 ,there are but two entire specimens in the collection4 ,these were obtained by ,capt4 ,moss1 of ,parrott1 who stated that they1 with other relics1 had been exhumed from a grave in the ,san ,juan ,valley4 ,both are comparatively rude in construction1 and seem to be considerably weathered4 ,the one shown in ,fig4 #bhe is decorated with a classic meander which encircles the body of the vessel4 ,the other1 illustrated in ,fig4 #bhf1 has the upper part covered with simple figures resembling bird tracks4 ,among the most novel works of the ancient potter are the flat-bottomed mugs with upright sides1 and with vertical handles which extend the whole length of the vessel1 giving very much the appearance of a ,german beer mug4 ,for a long time it was thought improbable that a vessel of this character should be the bona fide work of the cliff-dweller1 for his status of culture seemed to call for globular bodies and rounded bases4 ,but so many examples have been found that there is no longer room for doubt4 ,illustration3 ,,fig4 #bhd4--,small bottle3 ,rio ,san ,juan4--#a_/c4 ,illustration3 ,,fig4 #bhe4--;,handled mug3 ,rio ,san ,juan4--#a_/c4 ,illustration3 ,,fig4 #bhf4--;,handled mug3 ,rio ,san ,juan4--#a_/c4 ,illustration3 ,,fig4 #bhg4--;,handled mug3 ,rio ,san ,juan4--#a_/b4 ,illustration3 ,,fig4 #bhh4--;,handled mug3 ,southern ,utah4--#a_/b4 ,fig4 #bhg is restored from a large fragment brought from the ,san ,juan ,valley4 ,its walls widen a little below1 and the very pretty ornament is somewhat unevenly applied4 ,the handle is made of a double rope of clay1 and extends from the lip to the base4 ,the example shown in ,fig4 #bhh was obtained in the vicinity of ,provo1 ,utah1 by ,capt4 ,g4 ,m4 ,wheeler's expedition4 ,it is so like those from the ,san ,juan that ,i place it here for comparison4 ,it is a little wider toward the base1 and is nearly symmetrical4 ,it is four inches in height and the same in diameter4 ,a very similar vessel1 probably from the ,province of ,tusayan1 is found in the ,keam collection4 ,,district ,,of ,,the ,,colorado ,,chiquito4 ,the collection from this district1 which includes the ancient provinces of ,cibola and ,tusayan1 is already very large1 and much more material will yet accrue1 for pottery fanciers have taken up the search1 and both whites and ,indians are on the qui vive for additional examples of the artistic and showy specimens4 ,the ,national ,museum has procured many fine pieces through the agents of the ,bureau of ,ethnology1 and the collection of ,mr4 ,keam is especially rich in the pottery of ,tusayan4 ,some of the finer examples of the latter collection are selected for illustration4 ,it seems unaccountable that such a large number of the ancient vessels should be preserved1 and that too in a country where vessels are constantly in demand4 ,many have been picked up by the ,pueblo tribes and laid away for especial uses or possibly as heirlooms2 but many of those secured by recent collectors were obtained from the sites of ancient settlements1 from burial places1 and from caves1 and brought directly to the market so recently made for them4 ,there can be no doubt that many of the specimens accredited to this district have come from neighboring or distant provinces2 yet within the valley of the ,little ,colorado there are such wide variations from predominant types that foreign pieces cannot be readily detected4 ,many of the finer pieces of the white ware are rather new looking and show very superior taste and skill4 ,the indications are that the manufacture of this white ware was kept up in portions of this district down to a comparatively recent date1 possibly until the coming of the ,europeans4 ,it will probably be impossible to determine just why and how the archaic types gave way to the transitional and modern4 ,it may be found1 however1 that the influence of the ,spaniard was a factor in the change4 ,beside the archaic white ware and its closely associated red ware the province of ,tusayan furnishes two or three distinct varieties1 all of which1 unlike that ware1 are apparently confined to very limited districts4 ,these have been briefly described on a preceding page4 ,many pieces of the white ware are of large size and of elegant shape and finish4 ,some of the ollas and bottles are masterpieces of the art4 ,the texture of the paste is fine and the color is often quite white4 ,the designs are uniformly in black and are superior in execution and conception to those of the north4 ,,bowls4--,the bowls are very generally hemispherical4 ,the finish1 like that of the pottery of the ,san ,juan and the ,rio ,virgen1 is rather rough on the exterior1 and whitened and polished on the inner surface4 ,the painted figures are confined to the interior1 and are highly elaborated combinations of the usual geometric motives4 ,they are generally made up of four sections of double-zoned borders such as occur on the exterior of vases1 cut out1 as it were1 and fitted into the bowl in a cruciform arrangement1 a plain square remaining in the bottom of the vessel4 ,see ,fig4 #bia4 ,there are1 however1 many examples which consist of two encircling zones of ornament identical in style and arrangement with examples from the ,rio ,virgen1 ,figs4 #bcj and #bca1 and from the ,rio ,san ,juan1 ,figs4 #bdh1 #bei1 and #bgd4 ,in ,fig4 #bhi we have a representative example of the bowls of ancient ,tusayan4 ,the outer surface is rudely trowel-finished1 but the inside is well polished4 ,the painted design consists of four parts arranged about a central square4 ,each part comprises a number of alternate bands of straight and zigzag lines4 ,illustration3 ,,fig4 #bhi4--;,bowl3 ,province of ,tusayan4--#a_/c4 ,the superb bowl presented in ,fig4 #bij is nearly fifteen inches in diameter and seven inches deep4 ,it is hemispherical but not quite symmetrical4 ,having been broken1 it was mended by its owners after their aboriginal fashion4 ,two pairs of holes have been bored on opposite sides of a long fracture for the insertion of thongs4 ,other perforations have been commenced but do not penetrate the vessel4 ,the walls are upwards of one-eighth of an inch in thickness near the rim1 but are less than that throughout the body of the bowl4 ,the paste is of a dark gray color1 speckled with ashy-white particles1 which may be pulverized potsherds4 ,the interior surface is finished with a slip of white clay and has received a fair degree of polish4 ,the exterior is only trowel-finished and is much scarified by use4 ,the interior is embellished with a very elaborate design1 which is given with all possible accuracy in a plain projection1 in ,fig4 #bia4 ,the work does not exhibit a great deal of skill or neatness in execution1 but the whole design is carefully made out and well adjusted to the deeply concave surface4 ,an analysis of this figure is easily given4 ,it is a cruciform arrangement of four portions of rather elaborate double borders4 ,each part consists of two parallel bands1 a principal and a subordinate1 separated by parallel lines and taking the relation to each other always noticed in the two belts of designs painted upon the exterior of vases4 ,two of the sections are alike4 ,the others differ from these and from each other4 ,illustration3 ,,fig4 #bij4--;,bowl3 ,province of ,tusayan4--#a_/c4 ,illustration3 ,,fig4 #bia4--,painted design4 ,one figure1 consisting of three linked volutes1 is defined in white by painting around it a black ground4 ,the artist in painting this vessel has probably not thought of achieving anything beyond the filling up neatly of the four spaces1 and has followed the usual practice of borrowing his motives from other objects2 yet it will not be wise to conclude that these figures are really meaningless combinations of lines4 ,the persistency and individuality of certain motives makes it almost certain that they are not the result of aimless elaboration1 and that the potter understood their significance4 ,they are too purely geometric1 however1 to furnish any clew to us through internal evidence4 ,we have no resource beyond the analogies of historic art4 ,modern tribes use the current meander to symbolize water1 and a leading motive in many of these designs--the linked scroll running through a field of serrate lines--is wonderfully like some forms of the ,aztec symbol for water1 as may be seen by reference to the ,mexican codices4 ,illustration3 ,,fig4 #bib4--;,bowl3 ,province of ,tusayan4--#a_/b4 ,another very excellent example of these bowls is presented in ,fig4 #bib4 ,it is small and shallow1 measuring six and a half inches in diameter and two and a half in depth4 ,the material is somewhat soft and chalky4 ,the walls are thick and the surface is well finished4 ,the painted design is cruciform1 like the preceding1 but is much more simple and satisfactory4 ,it is interesting to note the changes rung upon the few simple motives employed in these designs4 ,again apparently each of the four parts is a fragment of a double border1 cut up and fitted into the concave surface4 ,the bands with oblique1 dotted1 or stepped lines1 ,fig4 #bic1 are repetitions of the neck belt of a bottle-shaped vase or basket1 and the other bands with their chaste fret-work repeat a section of the body zone4 ,illustration3 ,,fig4 #bic4--,painted design4 ,bowls and cups of the hemispherical model are very often supplied with handles4 ,like other bowls1 they are embellished with painted designs derived from vases or from textile sources4 ,in order of evolution1 they probably follow the plain form--the handles being added to facilitate use4 ,illustration3 ,,fig4 #bid4--;,handled bowl3 ,province of ,tusayan4--#a_/c4 ,the principal varieties of handles have already been described4 ,the bowl illustrated in ,fig4 #bid is furnished with a single semicircular loop4 ,in form1 finish1 and color it is the same as that of the other bowls1 and the painted design has a similar derivation and arrangement4 ,in the collection we have a fine large red bowl1 now in a fragmentary state4 ,it is eleven inches in diameter and six inches deep4 ,a small loop is attached to the outside near the margin4 ,it has a very decided resemblance in color1 finish1 and ornamentation to the red bowls of the ,rio ,virgen4 ,the color of both the surface and the mass is a dull red4 ,a broad band of bright red paint encircles the exterior1 leaving a plain marginal band of the ground color and a plain area of the same upon the bottom4 ,the painted design1 which covers the inner surface is shown in ,fig4 #bie4 ,we discover in it at first sight a type to all appearances totally distinct from the usual devices of this locality1 but a closer study reveals the existence of the favorite motive--the meander--doubled up across the middle in a way to challenge detection1 with the ever-present auxiliary band above and below4 ,the curiously complex and very pleasing ornament is amplified in ,fig4 #bif4 ,illustration3 ,,fig4 #bie4--,painted design4 ,illustration3 ,,fig4 #bif4--,original form of painted design4 ,one small cup or bowl has two ears1 not semicircular1 but rectangular1 which are placed horizontally and project in sharp points at the corners4 ,the neat little vessel given in ,fig4 #big has a much elongated horizontal loop1 carelessly made and rudely attached4 ,the bowl is handsomely finished4 ,the margin is ornamented with a series of closely placed transverse lines or dots1 a character appearing more frequently in the northern ware4 ,the interior design is made up of four independent parts as usual4 ,the cup presented in ,fig4 #bih serves to illustrate another variety of handle--a large vertical loop1 extending from rim to base1 like those on the upright cups given in ,figs4 #bhg and #bhh4 ,the paste is very fine grained1 and breaks with a conchoidal fracture4 ,the color is gray and the paint reddish from the firing4 ,the bottom is flat1 a rare occurrence in the more archaic1 pottery4 ,the painted design is based upon the meander1 and occupies nearly the entire exterior surface of the cup4 ,the handle has two bird-track shaped figures on its outer surface4 ,illustration3 ,,fig4 #big4--;,handled cup3 ,province of ,tusayan4--#a_/c4 ,illustration3 ,,fig4 #bih4--;,handled cup3 ,province of ,tusayan4--#a_/c4 ,illustration3 ,,fig4 #bii4--;,dipper3 ,province of ,tusayan4--#a_/c4 ,vessels with long cylindrical handles are distributed over a very extended district1 but in ,tusayan they are of a better class of ware than elsewhere4 ,here the handles are long and stout and frequently terminate in a loop1 probably intended for the attachment of a cord4 ,the bowl is often graceful in form and tasteful in ornament4 ,one of the finer examples is illustrated in ,fig4 #bii4 ,it is of the chalky ware1 and has a very good surface finish4 ,the handle is one inch in diameter and five inches long4 ,it is hollow and terminates in a narrow loop4 ,it is decorated with two groups of spirally inclined lines4 ,the interior decoration of the bowl furnishes a most excellent example of the crucifrm designs previously described4 ,this is well shown in ,fig4 #cjj4 ,the exterior surface is embellished with a most primitive drawing of a bird1 ,fig4 #cja--;a striking illustration of the pictorial accomplishments of these classic decorators4 ,subjects of this class are of rare occurrence upon the ancient white ware4 ,illustration3 ,,fig4 #cjj4--;,dipper3 ,province of ,tusayan4--#a_/c4 ,illustration3 ,,fig4 #cja4--;,figure of bird from exterior of dipper4 ,illustration3 ,,fig4 #cjb4--;,dipper3 ,province of ,tusayan4--#a_/c4 ,the dipper presented in ,fig4 #cjb is somewhat inferior in workmanship to the preceding example4 ,the handle is plain and terminates in a horizontal loop4 ,the painted design is not arranged about a square1 as in the examples given1 but leaves a space in the center of the bowl resembling a four-cornered star4 ,this shape is1 however1 the result of accident4 ,the four parts are units of an elaborate border1 not severed from their original connection1 but contorted from crowding into the circular space4 ,the design drawn upon a plain surface is shown in ,fig4 #cjc4 ,projected in a straight line1 as in ,fig4 #cjd1 it is readily recognized as the lower three-fourths of a zone of scroll ornamentation4 ,a unit of the design drawn in black is shown in ,fig4 #cje4 ,the meander is developed in the white color of the ground1 and consists of two charmingly varied threads running side by side through a field of black1 bordered by heavy black lines4 ,the involute ends of the units are connected by two minute auxiliary scrolls4 ,illustration3 ,,fig4 #cjc4--,painted design4 ,illustration3 ,,fig4 #cjd4--,painted design4 ,illustration3 ,,fig4 #cje4--,unit of the design drawn in black4 ,bowls heretofore referred to as heart-shaped are of frequent occurrence in the valley of the ,little ,colorado4 ,a number have been obtained by the ,bureau of ,ethnology directly from the ,pueblo ,indians1 while a few very superior specimens are in the collection of ,mr4 ,keam4 ,a somewhat globular example is represented in ,fig4 #cjf4 ,illustration3 ,,fig4 #cjf4--;,heart-shaped bowl3 ,province of ,tusayan4--#a_/b4 ,it is remarkable in having four zones of devices4 ,the narrow belt next the lip contains a single line of bird-track figures4 ,the others exhibit simple forms of the meander4 ,it is interesting to notice the variety of treatment4 ,in the upper band we have a chain of units imperfectly connected4 ,in the others there are series of triangular links quite disconnected from each other4 ,all are defined in white by painting in a ground of black4 ,this district has furnished few vessels of more exquisite form and decoration than that shown in ,fig4 #cjg4 ,it is from the ,keam collection4 ,the outlines are exceptionally symmetrical1 and the design1 developed in the white of the ground1 is drawn with more than usual care4 ,the figures are severely simple1 however1 and comprise but one motive--the typical scroll1 which is arranged in three zones1 separated by parallel lines4 ,the spaces are filled in with serrate lines1 parallel with the connecting fillets or stems of the volutes1 as in the case given in ,fig4 #bij4 ,another smaller vessel from the same collection is simple and unpretentious1 but so thoroughly satisfactory in every respect that one could hardly suggest an improvement4 ,the surface is well polished4 ,the ground color is whitish1 and the design--a chain of classic scrolls--is produced in white by filling up the interstices with black4 ,it is a noteworthy fact that the base of this cup has been perforated1 apparently for use as a strainer4 ,nearly a hundred small round holes have been made while the clay was still soft4 ,a pottery ladle from this region1 now in the ,national collection1 exhibits the same feature4 ,illustration3 ,,fig4 #cjg4--;,bowl3 ,province of ,tusayan4--#a_/c4 ,i add another example from the ,keam collection1 ,fig4 #cji4 ,the margins of the figures are serrate and the volutes1 which are in white1 have clumsy1 disconnected stems4 ,illustration3 ,,fig4 #cjh4--;,bowl3 ,province of ,tusayan4--#a_/c4 ,the vessel presented in ,fig4 #caj has a flattened upper surface1 an angular shoulder1 and a high body1 slightly conical below4 ,the painted design is nearly obliterated in places by abrasion or weathering1 but is correctly presented in ,fig4 #caa1 which gives the three zones in horizontal projection4 ,this brings out a very marked feature1 the cruciform arrangement of the parts1 which would not be apparent in a vertical projection4 ,illustration3 ,,fig4 #cji4--;,bowl3 ,province of ,tusayan4--#a_/b4 ,illustration3 ,,fig4 #caj4--;,bowl3 ,province of ,tusayan4--#a_/b4 ,the two inner circles occupy the upper surface of the vessel and the outer one the most expanded portion of the body4 ,the inner belt is separated into four panels or compartments by as many series of transverse lines1 the panels being filled in with longitudinal1 broken lines4 ,the second band is also divided by four series of straight lines1 but the compartments are occupied by scrolls in white1 bordered by serrate wings in black4 ,the outer band exhibits a very curious combination of features1 the whole figure1 however1 being based upon the meander4 ,it is probable that the grouping in fours is accidental1 the division of a surface into four being much more readily accomplished than into any other number above two4 ,illustration3 ,,fig4 #caa4--,painted design4 ,there are few better examples of the skill and good taste of the ancient potter than the bowl illustrated in ,fig4 #cab4 ,the body is much flattened and the incurved margin considerably depressed4 ,the color is reddish1 both on the surface and in the mass1 while the upper part is painted a bright red4 ,upon this color1 encircling the shoulder and extending inward toward the lip1 is a handsome design in black and white lines4 ,this is nearly obliterated1 but enough is left to show that it consists of a highly elaborated rectilinear meander pattern1 the idea being developed apparently in the light ground color4 ,the painted lines are in black bordered with fine white stripes--a common occurrence in the south4 ,illustration3 ,,fig4 #cab4--,red bowl3 ,province of ,tusayan4--#a_/c4 ,we have in the ,museum an exquisitely shaped vessel of this class obtained from the ,zui ,indians4 ,the material and color are identical with the red specimen from ,saint ,george4 ,the whole surface is painted red and a neat border design in black is worked over this4 ,the lip is not so much depressed as in the preceding examples4 ,two perforations occur near the margin1 through which the ,zuis have passed a buckskin thong4 ,another plain bowl is very much compressed vertically4 ,illustration3 ,,fig4 #cac4--,oblong bowl3 ,province of ,tusayan4--#a_/c4 ,oblong bowls are not a prominent feature in ,pueblo pottery4 ,a few examples were found at ,saint ,george1 ,utah1 but these are of the shallow variety4 ,the only oblong bowl with incurved rim yet sent in is shown in ,fig4 #cac4 ,it is six inches long and four inches wide4 ,the ornamentation consists of three lines of meanders1 that upon the flat upper surface being irregular and not continuous4 ,illustration3 ,,fig4 #cad4--;,globular vase3 ,province of ,tusayan4--#a_/c4 ,in ,fig4 #cad we see another variation from the two usual forms of bowls4 ,this vessel is globular1 and the aperture quite large4 ,two small nodes attached to the sides and vertically perforated serve as handles4 ,the ornamentation consists of a number of disconnected and greatly varied bands of meandered lines and figures1 obliquely placed4 ,the ornamented surface is separated into two parts by vertical panels at the handles4 ,this affords a suggestion1 of an adventitious or mechanical origin for the vertical bands which are so prominent a feature in modern ,pueblo pottery4 ,one of these is partially visible at the right side in the cut4 ,illustration3 ,,fig4 #cae4--,vase3 ,province of ,tusayan4--#a_/c4 ,,ollas4--,a typical example of the chalky ware of ,tusayan is illustrated in ,fig4 #cae4 ,it is a wide1 low vase of symmetrical form4 ,the body is flattened above and hemispherical below4 ,the material is almost as white and as soft as chalk4 ,the design comprises two zones of devices4 ,one occupies the upright neck1 and consists of encircling lines interrupted by vertical bands4 ,the other1 upon the flattened shoulder1 is based upon the meander4 ,both are bordered by wide bands in the dark color and an additional band encircles the body4 ,illustration3 ,,fig4 #caf4--,vase3 ,province of ,tusayan4--#a_/c4 ,another handsome little vase is presented in ,fig4 #caf4 ,the two meanders show very diverse styles of treatment4 ,in the upper the lines are all oblique1 while in the lower they are chiefly rectangular and much prolonged horizontally4 ,corresponding treatment of the two bands occurs in other vessels4 ,the vessel shown in ,fig4 #cag is very different in appearance from the two preceding1 and is much larger and ruder in finish4 ,the surface has been finished with the trowel or hand without polishing4 ,it is ten inches high and the same in width4 ,the whole decoration consists of interlinked meander-units not arranged in belts1 but thrown together in a careless manner across the body of the vase4 ,in the ,keam collection there is a water bottle nearly twice as large as this1 similar in shape and finish1 but having a very different though equally rude painted design4 ,this collection contains also the large pot-like vessel or cauldron shown in ,fig4 #cah4 ,the walls are heavy1 the lip is rounded1 and the form is such as to be very serviceable for ordinary domestic use4 ,the ornamentation consists of two bands of figures1 the upper1 as usual1 being very simple4 ,the figures of the body zone are in black upon the light ground4 ,two sets1 or pairs1 of the triangular links make the circuit of the vessel1 the entire ornament appearing in ,fig4 #cai4 ,illustration3 ,,fig4 #cag4--,vase3 ,province of ,tusayan4--#a_/c4 ,illustration3 ,,fig4 #cah4--,vase3 ,province of ,tusayan4--#a_/d4 ,illustration3 ,,fig4 #cai4--,painted design4 ,illustration3 ,,fig4 #cbj4--,vase3 ,province of ,tusayan4--#a_/c4 ,there is1 however1 something less simple and consistent in the ornament seen in ,fig4 #cbj4 ,the connecting stems of the units are heavy dark lines4 ,the ends of the links are but imperfectly developed or are obscured by elaboration giving a suggestion of degeneracy1 but the whole result is highly pleasing4 ,the shape is an exceptional one1 the body being flattened to a greater degree than usual4 ,the ground color and the paste are quite white1 yet there is in the design and its treatment a suggestion of the decoration of the cream colored ware of ,tusayan4 ,this suggestion is emphasized by the occurrence of the two pairs of dark strokes on the neck--a feature more usual in the yellow wares4 ,illustration3 ,,fig4 #cba4--,vase3 ,province of ,tusayan4--#a_/c4 ,illustration3 ,,fig4 #cbb4--,painted design4 ,in #ahhc ,mr4 ,mindeleff brought in two superb examples of ancient water vases4 ,they are excellent illustrations of the skill and taste of the ancient ,pueblo potter4 ,the example illustrated in ,fig4 #cba is ten and a half inches in height and twelve inches in diameter4 ,its form is symmetrical and graceful4 ,the surface has been whitened1 but is somewhat uneven and not highly polished4 ,the painted design is well preserved1 and consists of two broad belts of devices4 ,the upper1 occupying the sloping neck1 is a very simple combination of lines1 based upon a single white meandered line1 and the lower is quite complex and encircles the widest part of the body4 ,the latter appears at first sight to be rather complicated1 but is easily resolved into its elements4 ,illustration3 ,,fig4 #cbc4--,unit of the design4 ,illustration3 ,,fig4 #cbd4--,vase3 ,province of ,tusayan4--#a_/c4 ,the zone is five and a half inches in width and consists of two lines of highly elaborated meanders combined in a most ingenious and pleasing manner4 ,the design is projected in ,fig4 #cbb and compares favorably with the exquisite diaper patterns of oriental decorators4 ,a single unit of its structure is given in ,fig4 #cbc4 ,the triangular spaces along the border are filled in with fragments of designs harmonious in style with the principal figures4 ,certain spaces of the expanded connecting fillets of the units1 are filled in with serrate or dotted lines4 ,some portion of the design seem to be developed in the white ground1 as1 for instance1 the figures in the lateral triangles4 ,illustration3 ,,fig4 #cbe4--,painted design4 ,illustration3 ,,fig4 #cbf4--,unit of the design4 ,the boldness of the primitive decorator is well shown in the manipulation of these large vases4 ,simplicity and breadth were not sacrificed when it became necessary to carry the oft-repeated figures over the broad surface of such a vessel as that shown in ,fig4 #cbd1 whose height and width measure fourteen inches each4 ,in shape1 in surface treatment1 and in the arrangement of the broad belts of decoration this vessel corresponds very closely with the preceding1 but the favorite motives are executed in the white color of the ground1 and are thrown across the surface of the vessel with charming freedom and boldness4 ,the upper zone encircling the neck is occupied by a large1 rather rudely drawn chain of scrolls developed in the white ground by painting the interspaces black4 ,the broad belt of figures encircling the body of the vase is not filled out as in the preceding case1 the lower series of triangular spaces being plain4 ,the principal feature consists of a single line of the fret-work developed in the white ground4 ,this is shown in ,fig4 #cbe4 ,a unit of the design is given in black in ,fig4 #cbf4 ,the connecting curve or stem of the unit incloses a rectangular space1 through which the fillet returns in a series of fine scrolls4 ,the interlocked ends of the units of the principal chain have terminations or hooks angular in two cases and curved in another1 demonstrating the identity of the curvilinear and the rectilinear forms of this ornament4 ,the small isolated stepped figure between the hooks tells1 ,i imagine1 of a textile ancestry4 ,illustration3 ,,fig4 #cbg4--,large vase3 ,province of ,tusayan4--#a_/i4 ,in ,fig4 #cbg we have another vase of still higher grade--a very masterpiece of fictile work4 ,it is next to the largest piece of the ancient ware yet described1 being twenty-four inches in diameter and upward of twenty inches in height4 ,the form is not quite symmetrical1 but the outline is highly satisfactory4 ,the body is full and slightly conical at the base1 and above joins the neck with a graceful convex curve4 ,the surface is even and well polished1 and the painted design is executed with great precision4 ,the motives employed are identical with the preceding4 ,scrolls and fretted figures are carried around the neck1 shoulder1 and body in three bands suited exactly in width and in size of parts to the conformation of the vessel4 ,the simple scrolls of the upper part need no explanation1 and a careful analysis of the broader band1 as projected in ,fig4 #cbh1 furnishes a key to its rather extraordinary construction4 ,the dark lines are drawn with mechanical exactness1 and the delicate white lines1 in which many of the finer details are worked out1 are left with a nicety of handling worthy of the most skilled decorator4 ,by a reference to the outline given in ,fig4 #cbi it will be seen that the whole ornament hangs upon a single thread woven into a chain of delicate fret-work running through the middle of the design4 ,the long connecting band of each unit consists of two lines 7taking the black lines as representative of the idea or motive71 which separate in the middle part1 inclosing a wide rectangular space4 ,this is filled with geometric ornamentation in white lines upon a black ground1 as shown in ,fig4 #cbh4 ,the triangular spaces above are occupied by checker-work of light and heavy lines4 ,the very marked rectangular character of this handsome design indicates familiarity with the textile embodiment of the motive4 ,illustration3 ,,fig4 #cbh4--,painted design4 ,illustration3 ,,fig4 #cbi4--,unit of the design4 ,illustration3 ,,fig4 #ccj4--,vase3 ,province of ,tusayan4--#a_/c4 ,illustration3 ,,fig4 #cca4--,vase3 ,province of ,cibola4--#a_/c4 ,,bottles4--,under this head ,i desire to present a number of vases having high1 narrow necks4 ,few examples of the pottery of any people show bolder and more successful treatment than the specimen illustrated in ,fig4 #ccj4 ,it is a large1 full-bodied bottle1 the neck and lip of which unfortunately are lost4 ,the restored outline can profess to be approximate only4 ,the surface is well polished1 though gray from age4 ,two masterly scrolls1 formed each of a broad black line bordered by white lines1 are thrown across opposite sides of the vase4 ,the ground upon which they are drawn is filled in with series of lines which accommodate themselves very gracefully to the surface of the vessel and to the scrolls4 ,a number of ancient vessels1 found in the hands of the ,zui ,indians1 were probably obtained by them from some of the neighboring ruins1 although in a few cases they may have been carried from distant places in the north or west4 ,the finer examples correspond very closely to the ware of which multitudes of fragments are found at old ,zui1 ,san ,antonio ,springs1 ,nutria1 and other places in or near the province of ,cibola4 ,they seem to be identical also in many respects with the better class of the white ware of ,tusayan4 ,the forms are very much the same and the ornaments exhibit similar arrangements of identical motives4 ,illustration3 ,,fig4 #ccb4--,vase3 ,province of ,cibola4--#a_/c4 ,the superb vessel illustrated in ,fig4 #cca1 is a typical example of the work of the ancient potters of ,cibola4 ,in form it falls but little short of perfect symmetry4 ,the body is nearly globular1 being slightly compressed vertically4 ,the neck is small and the lip slightly recurved4 ,the surface1 originally white1 now darkened from use1 is well polished excepting where roughened by age4 ,in ,fig4 #ccc we have a partial projection of the painted design obtained by viewing the vase vertically4 ,this may be described as a rosette of spiral rays which consist of gracefully meandered lines alternating with groups of plain stripes4 ,these are developed in the light color of the vase by painting in a black ground4 ,viewed from the side the decoration is seen to consist of the two usual zones--a narrow one about the neck1 occupied by a meander1 and a broad one covering the greater part of the body1 crossed obliquely by a number of bands of ornament4 ,a similar vase1 also from ,zui1 is illustrated in ,fig4 #ccb4 ,it is much darkened by use and age and has suffered considerably from wear and tear4 ,the ornament consists of three zones1 a band of stepped figures about the neck1 a handsome meander-chain with terraced links upon the rounded collar1 and a broad belt of radiating meanders encircling the body4 ,a vertical view showing the two outer lines of decoration is given in ,fig4 #ccd4 ,a peculiar feature in this vessel is the indented finger-hold seen in the lower part of the body1 ,fig4 #ccb4 ,in both form and ornament these bottles exhibit decided resemblances to wicker vessels4 ,the introduction of stepped figures and spiral rays sufficiently demonstrates the textile origin of the painted designs4 ,illustration3 ,,fig4 #ccc4--,painted design4 ,illustration3 ,,fig4 #ccd4--,painted design4 ,a few bottles are larger than the examples given4 ,one having a high narrow neck is seventeen inches high and sixteen in diameter of body4 ,generally vases of this shape are below medium size1 and they are very often supplied with handles or perforated knobs1 either upon the shoulder or the neck4 ,in a few cases only the necks are high and slender like the bottles of the mound-builders of the middle ,mississippi region4 ,the vessel illustrated in ,fig4 #cce is not properly classified either with the preceding or with the following group1 but ,i place it here on account of its peculiar painted device1 which appears in other forms and connections in the two succeeding figures4 ,the ornament as usual occupies two zones1 each of which has three groups of vertical lines alternating with as many star-like figures resembling somewhat the ,maltese cross4 ,the latter device may possibly have been introduced to represent some idea1 and ,i have no doubt that almost any member of the modern tribes could be induced to give a full explanation of its significance4 ,it would1 however1 be his idea only and not necessarily that of the ancient potter4 ,illustration3 ,,fig4 #cce4--,vase3 ,province of ,tusayan4--#a_/c4 ,illustration3 ,,fig4 #ccf4--;,handled vase3 ,province of ,tusayan4--#a_/b4 ,,handled ,,vessels4--,handled vessels of this province are greatly varied4 ,examples of the dippers have already been given4 ,besides them there is a long series of vessels with more or less constricted necks2 the handles of which are of three or four pretty distinct varieties1 including the long vertical loop connecting the rim with the shoulder or body1 the strong horizontal loop set at the base of the neck1 and the perforated knob placed upon the shoulder4 ,there are also a few examples of cup-shaped projections1 ,fig4 #cea1 and heads of animals1 ,fig4 #ceb1 which are set upon the neck near the rim and seem to be survivals of handles or ornaments merely4 ,illustration3 ,,fig4 #ccg4--,painted design4 ,illustration3 ,,fig4 #cch4--;,handled mug3 ,province of ,tusayan--#a_/b4 ,the vessel shown in ,fig4 #ccf has an interesting combination of decorative features4 ,i present it here1 although a little out of place in my classification by form1 in order to point out the similarity between its decoration and that of ,fig4 #cce4 ,it is a handsome mug of hard gray ware1 finished with a white slip1 and decorated with painted designs in the prevailing arrangement4 ,four equidistant nodes of large size are placed about the shoulder of the vessel4 ,these occur along the middle of the lower zone of painted devices1 the notable feature being that the volutes of the painted scroll-work encircle the nodes and inclose1 between their interlinked points1 cross-like devices1 resembling those found upon the preceding specimen4 ,these crosses occupy the apices of the nodes1 as shown in the illustration4 ,the painted design is given in ,fig4 #ccg4 ,the design proper--the interlinked scrolls--is in white1 the dark color being used as a ground to develop it4 ,this is true of a great majority of the examples presented4 ,the same device1 with a slightly different combination1 is seen in ,fig4 #cch1 which illustrates a small jug from the ,keam collection4 ,the design is well shown in ,fig4 #cci1 and in this case it will readily be seen that the motive proper is in white1 while the black hooks and the connecting lozenge-shaped figures1 forming the cross1 represent the ground4 ,this association of the cross with the linking of the scrolls is suggestive of a possible origin of the device as used independently in the instance given in ,fig4 #cce4 ,illustration3 ,,fig4 #cci4--,painted design4 ,illustration3 ,,fig4 #cdj4--,vase3 ,province of ,tusayan4--#a_/c4 ,illustration3 ,,fig4 #cda4--,painted design4 ,i shall now present a small group of handled vessels of varying characters upon which we have some illustrations of a peculiar treatment of meander motives4 ,illustration3 ,,fig4 #cdb4--;,handled cup3 ,province of ,cibola4--#a_/c4 ,illustration3 ,,fig4 #cdc4--,painted ornament4 ,the vessel illustrated in ,fig4 #cdj belongs to the ,keam collection4 ,the decoration is very simple and consists of a novel combination of running scrolls4 ,the design is produced by filling in the space between two separate chains of scrolls in black with fine oblique lines1 ,fig4 #cda4 ,identical treatment of the meander is found upon a mug brought from ,zui and illustrated by ,mr4 ,stevenson in the ,second ,annual ,report of the ,bureau of ,ethnology4 ,fig4 #cdb4 ,this will be apparent when the design1 ,fig4 #cdc1 is placed by the side of the preceding4 ,the first is drawn in curved black lines1 the ground remaining white1 the second is in rectilinear white lines1 the ground being black4 ,illustration3 ,,fig4 #cdd4--,painted ornament4 ,two others of like character1 one angular and the other curvilinear1 are found upon small red vessels from ,tusayan1 ,figs4 #cdd and #cde4 ,still another noteworthy example is found upon the interior surface of a red bowl from ,cibola1 which1 when projected in a straight line1 gives the handsome ornament illustrated in ,fig4 #cdf4 ,illustration3 ,,fig4 #cde4--,painted ornament4 ,illustration3 ,,fig4 #cdf4--,painted ornament4 ,there is in the ,keam collection a very interesting vessel1 having two heavy horizontal loops attached to opposite sides of the body4 ,the painted figure consists chiefly of a rectangular meander in white bordered by black and forming a wide zone about the body of the vessel4 ,the spaces are filled in with fine parallel oblique lines4 ,with the addition of a foot this vessel would be found to resemble1 in both form and ornament1 some early varieties of the ,greek kylix4 ,illustration3 ,,fig4 #cdg4--;,handled vase3 ,province of ,tusayan4--#a_/c4 ,the wide-mouthed vase shown in ,fig4 #cdh differs very decidedly in style from the last4 ,it is finer in texture and much more carefully finished4 ,the form is decidedly antique4 ,the painted design is quite indistinct1 the color having rubbed off or faded out4 ,the work has been neatly done with a fine brush and exhibits some new features in point of detail4 ,if we trace out the figures1 however1 we will see that there are no new motives1 the meander forming the basis of all4 ,there is a double line of figures1 the upper one being the more simple1 as usual4 ,illustration3 ,,fig4 #cdh4--,vase3 ,province of ,tusayan4--#a_/c4 ,illustration3 ,,fig4 #cdi4--;,bottle3 ,province of ,tusayan4--#a_/b4 ,in the bottle illustrated in ,fig4 #cdi the usual motives have been employed4 ,a few heavy lines serve to give emphasis to the lip1 while a band of linked scrolls is carried around the shoulder1 bordered by simple parallel lines4 ,unpretentious as the work is1 it has a very pleasing effect4 ,the shape is repeated in modern ,pueblo pottery4 ,it is the original of the canteen1 which has acquired the flattened form through accident1 or change in the habits of the people employing it4 ,a very superior example of these bottles is given in ,fig4 #cej4 ,the body is somewhat flattened and the sides are nearly perpendicular1 giving two well defined spaces for decoration1 the one above and the other about the middle of the body4 ,the latter space is occupied by a very slender1 meandered line in white1 the interspaces being filled in with black4 ,four links encircle the vessel1 two oblong ones occurring upon the sides and two short ones beneath the handles4 ,the upper surface is decorated with a band of scrolls1 four in number1 partially defined in white by painting the space on one side black4 ,there are two low1 knob-like1 vertically perforated handles on the shoulder of the vessel4 ,illustration3 ,,fig4 #cej4--;,bottle3 ,province of ,tusayan4--#a_/b4 ,illustration3 ,,fig4 #cea4--;,bottle3 ,province of ,tusayan4--#a_/b4 ,the vessel shown in ,fig4 #cea is interesting on account of the peculiar knobs or ears placed on the sides of the neck1 near the lip4 ,they rudely resemble the corolla of a flower1 but suggest as well the wheel-like coils of hair gathered up at the sides of the head by the women of ,moki4 ,they were probably associated with some superstition of the ancients4 ,the neck of the bottle is unusually high4 ,the shape is quite graceful and the painted decoration is simple and effective4 ,illustration3 ,,fig4 #ceb4--,vase3 ,eastern ,arizona4--#a_/b4 ,in a collection recently sent from the vicinity of ,springerville1 ,arizona1 by ,e4 ,w4 ,nelson1 there are a number of vessels similar in appearance to the preceding1 but with shorter necks and rounder bodies4 ,they are small1 well-finished1 and in some cases quite new looking4 ,the designs in black are nicely executed and exhibit considerable refinement of taste4 ,one having a small animal head attached to the side of the neck is illustrated in ,fig4 #ceb4 ,a broad meandered border encircles the neck1 and a superb pattern1 consisting of four ingeniously combined horizontal chains of meanders in white covers the upper three fourths of the body4 ,eccentric and life forms4--,in the collection made by ,mr4 ,nelson there are several eccentric forms4 ,one1 a two-storied vessel of good proportion1 neat finish and ornamentation1 is illustrated in ,fig4 #cec4 ,the form is an exceptional one in the ancient ware1 but is frequently seen in modern work of the ,pueblos and other tribes4 ,it had its origin perhaps in a double-lobed form of the gourd1 or possibly the idea was suggested by the superposition of one vessel upon another4 ,as previously observed1 the ,pueblo ware is characterized1 in a general way1 by great simplicity of form4 ,there is1 however1 one small group of eccentric forms within which we find a pretty wide range of outline1 a few specimens exhibiting undoubted resemblances to life forms4 ,nearly all are bottles with handles and lobed bodies1 often unsymmetrical4 ,the handle in each case connects the lip with the shoulder or body of the vessel4 ,the lobes are generally three in number and are rarely of equal dimensions1 one being more or less prolonged4 ,illustration3 ,,fig4 #cec4--,vase of eccentric form3 ,eastern ,arizona4--#a_/c4 ,it is very difficult to say where these curious forms originated1 or in what direction they were developing4 ,did the archaic potter1 by exaggerating the accidental eccentricities of early and simple forms1 arrive at these grotesque shapes1 did use determine their conformation1 or must we look for their originals in antecedent utensils derived from1 or made in direct imitation of1 life forms8 ,illustration3 ,,fig4 #ced4--,vase of eccentric form3 ,tusayan4--#a_/b4 ,it is manifestly useless to seek for their antecedents within the limits of the ceramic art4 ,a few are of such a shape as to suggest the skin vessels so often used by primitive peoples1 and their origin in this manner would be entirely consistent with the laws of art growth4 ,one variety is shaped somewhat like a shoe or moccasin4 ,another takes the form of a bird4 ,in regard to their origin it would indeed be a marvel if they should be found to represent an intermediate step between the skin vessels of primitive peoples and the conventional pitcher of civilization1 as corresponding shapes are thought to do in ,eastern countries4 ,illustration3 ,,fig4 #cee4--,vase of eccentric form3 ,tusayan4--#a_/c4 ,within the ,pueblo province these vessels are widely but not very generally distributed1 so far as specimens at hand show4 ,i have already described two examples1 ,figs4 #bee and #bef1 from ,saint ,george1 ,utah1 which are of the simplest type1 having three nodes with no suggestion of life form4 ,illustration3 ,,fig4 #cef4--,vase of eccentric form3 ,tusayan4--#a_/b4 ,in ,fig4 #ced we have a small1 well-finished cup of white ware1 from ,tusayan1 similar in outline to the ,saint ,george specimens4 ,one of the three somewhat pointed nodes is considerably more prominent than the others4 ,the handle is unique1 being modeled apparently after the curved neck of a gourd1 the pointed tip touching but not uniting with the body of the vessel4 ,this vessel is handsomely decorated with two bands of scrolls4 ,that upon the neck is of a usual form consisting of three sets of linked scrolls with zigzag or stepped connecting fillets4 ,the scrolls of the lower bands interlock upon the three nodes and are connected by broad ,z-shaped stems also stepped or notched4 ,this specimen is from the ,keam collection4 ,another smaller vessel1 still more unique in character1 is illustrated in ,fig4 #cee4 ,one of the nodes is very much prolonged1 giving1 with the upright neck1 a form rudely suggestive of a bird4 ,the ornament1 like the last1 consists of two bands4 ,the upper is of diamond-shaped figures in white upon a black ground1 and the lower of a cleverly managed meander1 which is made to conform neatly to the eccentricities of the body4 ,the hooks encircle the nodes as in the preceding case4 ,a smaller specimen is given in ,fig4 #cef4 ,the node next the handle being prolonged resembles the tail of a bird1 while the other nodes1 which would occupy the place of the two prominences of the breast1 are barely suggested4 ,the decoration is extremely simple4 ,illustration3 ,,fig4 #ceg4--,vase of eccentric form3 ,tusayan4--#a_/b4 ,a fine specimen of these novel vessels is illustrated in ,fig4 #ceg4 ,the body is much prolonged on one side and has no prominence whatever at the breast points4 ,the handle is but slightly arched and connects the rim with the extreme point of the projecting lobe4 ,there is here a rather decided suggestion of a skin or intestine vessel4 ,it is but a step from this form to the well-known shoe or moccasin shape of a later period of ,pueblo art1 a form known in nearly all centers of ancient ,american culture4 ,the decoration is simple and unique1 consisting of a meandered figure in white upon a black ground1 with parallel bordering lines in black4 ,it connects opposite sides of the rim passing beneath the projecting lobe4 ,a number of the best examples are in the ,national collection4 ,one of these1 ,fig4 #ceh1 is figured by ,mr4 ,stevenson in the ,third ,annual ,report of the ,bureau of ,ethnology4 ,it might be described as shoe-shaped1 yet we are forcibly reminded of the headless body of a bird1 the rather square projecting breast being a marked feature4 ,the painted ornament consists of broad zigzag1 meandered bands filled in with fine oblique stripes4 ,illustration3 ,,fig4 #ceh4--,vase of eccentric form3 ,cibola4--#a_/c4 ,one of the finest specimens is presented in ,fig4 #cei4 ,the triangular or three-lobed form of body is still noticeable1 two of the points forming the breast1 and the other1 much prolonged1 standing for the tail of the bird4 ,the meaning of the latter feature is made plain by the painted figure4 ,a conventional design1 consisting of concentric1 plain and zigzag lines1 occupies the back1 and terminates behind in a row of pinnate marks1 evidently a conventional drawing of the tail4 ,the wings are indicated at the sides by a design like that upon the back4 ,the breast is embellished with a series of oblong dots probably intended for feathers4 ,in this case the neck1 which is high and narrow1 has three prominences near the top2 one at the front represents the bill of the bird1 and others at the sides are meant for eyes4 ,a handle has connected the head with the middle of the back4 ,this is nearly all broken away and the stumps have been perforated for the insertion of cords4 ,a serrate collar in black encircles the neck4 ,the original of this vase was obtained in the ,pueblo country and belongs to ,dr4 ,sheldon ,jackson4 ,a specimen recently acquired by the ,national ,museum is superior to this in its decorative treatment4 ,the body has four lobes1 one for the breast1 another for the tail1 and one for each of the wings4 ,each of these lobes is made the center about which the volutes of the very elaborate scroll-work are turned4 ,i shall give one more illustration1 ,fig4 #cfj4 ,this is taken from the ,keam collection and represents a bird4 ,the vessel is quite distinct in shape from those previously given1 being much like the bird vessels of the mound-builders4 ,it is a cup with constricted rim1 the head1 tail1 and wings of the bird projecting horizontally from the outer margin of the rim4 ,it is of the white ware and has had a painted design in black lines1 now nearly obliterated4 ,illustration3 ,,fig4 #cei4--;,bird-shaped vase3 ,arizona4--#a_/c4 ,illustration3 ,,fig4 #cfj4--;,bird-shaped cup3 ,tusayan4--#a_/b4 ,,concluding ,,remarks4 ,two great groups of ceramic products have now been presented--the coiled ware and the white decorated ware4 ,these groups belong to the first great period of pueblo art in clay4 ,their chronological identity is sometimes questioned1 the coiled ware to all appearances being the more archaic4 ,it is simple in form and rude in finish1 is without painted ornament1 and was relegated to the more ordinary uses4 ,these and other features give countenance to the theory of greater antiquity2 but the intimate association of the two groups in nearly every locality indicates close identity in time4 ,it cannot be said that the other classes of ware found within the same province belong to different times or to distinct races1 but they are widely separated in many important characters from the two leading groups4 ,they exhibit greater variety of form1 less constraint in decoration1 and greatly improved technique1 points tending to prove advance in culture1 and1 presumably1 in time4 ,the more closely the ceramic art of the ancient peoples is studied the more decidedly it appears that it was profoundly influenced by the textile arts1 and especially by basketry4 ,the latter art was practiced from remote antiquity1 and within historic times the manufacture of baskets has been the most important industry of the tribes of the ,pacific slope of temperate ,north ,america4 ,ceramic shapes1 wherever found within this region1 coincide closely with textile outlines1 and the geometric ornamentation can be traced to textile prototypes originating in the technical peculiarities of construction4 ,another point brought out by the preceding studies follows naturally the foregoing statement4 ,there are in the pueblo country no primitive forms of earthenware4 ,this may lead to the inference that the pueblo tribes migrated from other regions in which the earlier stages of the art had existed1 but taken in connection with the lack of individuality in the potter's art1 and its evident dependence upon the textile art1 it leads decidedly to the conclusion that art in clay was acquired by these tribes in comparatively recent times4 ,the ancient pueblos practised the art of basketry1 but clearly remained ignorant of the plastic art1 until by some accident of environment it was introduced or discovered4 ,under the influence of the sister art1 pottery at once took a high stand4 ,during the first stages1 however1 it was a servile art1 reproducing the forms and decorations of basketry4 ,the true plastic characters of clay remained practically undiscovered1 and is only now1 under the influence of the ,european1 dawning upon the conservative mind of the inhabitant of the plateaus4 ,besides basketry1 it is probable that the early pueblos made use of gourds and of tissue vessels1 traces of their influence occurring quite frequently1 but there is no indication whatever of the presence of carvings in shell1 wood1 and stone4 ,i do not wish in this place to dwell upon the details of pueblo ornament4 ,a single example will serve to illustrate the origin and character of the leading decorative conceptions4 ,glancing through the series of vases illustrated under painted ware1 we find that ninety-four out of one hundred designs are meanders1 or are based upon the meander4 ,beginning with the simple waved or broken line we pass up through all grades of increasing complexity to chains of curvilinear and rectilinear meanders in which the links are highly individualized1 being composed of a sigmoid line1 terminating in reversed hooks2 but in no case do we reach a loop in the curved forms or an intersection in the angular forms4 ,the typical intersecting ,greek fret does not therefore occur1 nor1 ,i may add1 is it found anywhere in native ,american art4 ,the constructional characters of the art in which these linear forms developed1 although they encouraged geometrical elaboration1 forbade intersections or crossings of a line upon itself1 and the genius of the decorator had never freed itself from this bondage4 ,the forms imposed upon decoration by the textile art are necessarily geometric and rectilinear1 and their employment in other and less conventional arts1 has been too limited to destroy or even greatly modify these characters4 ,the study of ,pueblo art embodied in the preceding pages tells the simple story of the evolution of art--and especially of decorative art--in a period when the expanding mind of primitive man1 still held in the firm grasp of instinctive and traditional methods--the bonds of nature--was steadily working out its sthetic destiny4 ,,index4 ,,page ,abiquin1 ,n4 ,mex41 ,pottery of #bhb ,acoma pottery #cjj ,age of pueblo ceramic art #bfg ,american ,naturalist on pottery #bgf ,animas ,valley #cae ,antiquity of coiled ware and white ware1 ,relative #ceh-cei ,araqnaya coiled pottery #bgf ,arizona1 ,coiled ware from #bgi pottery #bia1 #cec-ceh ,art1 ,pueblo #bff ,review1 cited on coiled ware #bgi ,artist in ancient pottery1 ,freedom of #cjc ,avoca1 ,n4 ,c41 ,coiled pottery from #bgg ,aztec ,springs ruin #cai ,bandelier1 ,a4 ,f41 on pueblo pottery #bih ,barber1 ,e4 ,a41 on ,ute pottery #bgf-bgg ,basket marked pottery #bhb ,basketry a primitive art #cei ,bottles #bhc1 #cja1 #cjf1 #cbj1 #cdc1 #cde1 #cea1 #ceb ,bowls #bhc1 #cjf1 #cjh-cad1 #caf1 #cbb-ccd ,brazilian ,indian coiled pottery #bgf1 #bgg ,burial of dead under dwellings #bhh ,burial of property with the dead #bhh ,caon de ,chelly1 ,pottery of #bic1 #cai ,cave-houses #bhd-bhf1 #bic ,ceramic art1 ,the #bfg forms1 ,origin of #bfi ,chaco ,valley #cae ,character of ,pueblo art #bff ,chiquito1 ,colorado #cjf ,cihola pottery #big1 #cjg1 #caf1 #cba1 #cdc1 #cdd1 #cef ,classification of pottery #bgb1 #cjd1 #cjf ,cliff-dwellers #cjd1 #cje ,cliff-dwellings #bhd-bhf1 #bic ,coil in ornamentation1 ,the #bgh-bhb ,coiled ware and white ware1 ,relative antiquity of #ceh-cei imitated #bii ,coiling of the ,pueblos #bgc-bge ,coil-made pottery #bgc-bii ,color of coiled pottery #bhc of designs in pottery #cjb of ,pueblo pottery #bfi ,colorado ,chiquito #cjf pottery #cba-ceg ,indian pottery #bgf plateau house sites #bha pottery #bha1 #cje ruin #cai ,construction1 ,pueblo ceramic #bfh ,cooking1 ,pottery for #bgb1 #bhc ,crimped coil on pottery #bgi1 #bhj1 #bhb ,cross1 ,ideographic #cde ,cups #cdi ,distribution of ,pueblo art #bff ,domestic pottery #bgb1 #bhc1 #cjf ,dumont describes pottery #bge1 #bgf ,eccentric forms of pottery #bhc1 #cjg1 #cec ,epsom ,creek pottery1 ,utah #bhf-bhg ,execution of design in painted pottery #cjb ,fillmore1 ,utah1 ,pottery from grave at #bib ,firing of ,pueblo pottery #bfh ,flat heads #cdj ornaments #bga ,florida coiled pottery #bgg ,form in pottery1 ,origin of #bfi ,gila pottery #bha1 #bhc ,glaze of ,pueblo pottery #bfh ,gourds copied in pottery #bgj1 #cjf1 #cec ,guilloche #cji ,handled vessels #bga1 #cjj1 #cad1 #cai1 #cbe1 #cdj ,hartt1 ,prof4 ,c4 ,f41 on ,indian pottery in ,brazil #bgf ,humboldt1 ,w4 ,o41 on coiled pottery of the ,orinoco #bgf ,indented pottery patterns #bhj ,indian coiled pottery of ,brazil #bgf ,individuality of pottery designs #cje ,intaglio ornament #bga ,jackson1 ,dr4 ,sheldon2 ,indian vases #ceg ,jackson1 ,w4,h41 on pottery #bhg1 #cah1 #cai ,jones1 ,prof4 ,marcus ,e41 on pottery of ,utah #bib ,kanab1 ,pottery from #bha1 #bhg1 #caj1 #cad ,keam1 ,t4 ,v41 ,pottery collection of #bic1 #bif1 #cba1 #ccj1 #ccf1 #cdh1 #cee ,la ,plata ,valley #cae ,life forms in pottery #bhc1 #cjg1 #cec ,little ,colorado1 ,pottery of the #bhc1 #bib1 #cba1 #ccj ,louisiana1 ,coiled ,indian ware in #bge-bgf ,mc,elmel ,valley #cae ,magalhaes1 ,dr41 on coiled pottery of the ,araguaya ,river #bgf ,mancos ,valley #cae ,material used in pottery #bfg1 #bhc ,meander in ornament #cei ,mended ,pueblo pottery #bhf ,mexico1 ,coiled pottery from #bgg ,mindeleff1 ,victor1 collected pottery #bic1 #caa1 #cch ,miscellaneous ornamentation of pottery #bhc ,moki pottery #bgg1 #bij1 #bic1 #bii ,monteztuna ,caon #cae1 #cah ,mormon town #bhg1 #caj ,mortuary pottery #bgb ,moss1 ,capt4 ,john1 on ,ute pottery #bgf1 #cai ,mound village1 ,utah #bhg-bhh ,muge #cjg1 #cbj1 #cdg ,national ,museum1 ,pottery in #bhe1 #bhg1 #cba1 #cca1 #ccc1 #ceg ,navajo pottery #bii ,nelson1 ,e4 ,w41 obtained pottery #bgi1 #bib1 #cec ,nevada1 ,pueblo pottery in #bhg ,new ,mexico pottery #bhb1 #bih ,north ,carolina coiled pottery #bgg ,nutria pottery #cdd ,ollas #bhc-bhg1 #bic1 #cjf1 #cad1 #cah1 #cce ,origin of ceramic forms #bfi1 #bgb the coil #bgg ,orinoco1 ,coiled pottery of the #bgf ,ornament1 ,ceramic #bga1 #bgh-bhb1 #cjc1 #cje1 #ccg1 #cei ,painted pottery #cjb-cjg ,parowan pottery #bib ,pitcher forms #cjg ,plain pottery #bii-cja ,pottery ,catalogue of ,jaines ,stevenson #bfe developed from basketry #cei mended by ,pueblos #bhf ,property buried with the dead #bhh ,provo1 ,utah1 ,pottery from #cba ,pueblo art #bff coiled ware #bgc-bge ,putnam1 ,prof4 ,f4 ,w41 cited #bgi ,relief ornament #bga1 #bhb ,rio de ,chelley ,valley #caf ,dolores ,valley #caf ,gila pottery #bha1 #bhc1 #bii ,grande pottery #bih1 #cje ,mancos cliff-houses #bhd-bhf 1 ,pottery of the #bha1 #bhd-bhf ,pecos1 ,pottery of the #bih1 #cje ,san ,juan1 ,pottery of the #cae-cba ,virgen1 ,pottery of the #bhg-bib1 #cjg-cae ,saint ,george tumulus1 ,utah1 ,pottery from #bha1 #bhg-bia1 #cjj1 #cjg1 #cab1 #ccd ,saint ,john1 ,pottery from #cje ,salt ,lake ,city ,museum1 ,pottery in #bib1 #cjj ,salt ,lake ,valley1 ,pottery of #bib ,san ,antonio ,springs1 ,pottery at #cdd ,juan pottery #bgd1 #bha1 #bhd-bhg1 #bia ,santa ,clara ,river1 ,pottery on #bhg ,santarem1 ,brazil1 ,coiled pottery at #bgf ,springerville1 ,ariz41 ,pottery at #bgi1 #bia1 #cje1 #cec ,stages of ornament for painted pottery #cjc-cjd ,stephen1 ,john1 on pottery #bic ,stevenson1 ,james1 on pottery #bfe1 #bic1 #ceg ,storage of water1 ,pottery for #bhd ,surface finish of ,pueblo pottery #bfh ,tempering materials in pottery #bfg ,transportation1 of water1 ,pottery for #bhd ,tusayan pottery #bfi1 #bgi1 #bhc1 #bid1 #cjj1 #cjd1 #cjg1 #caa1 #caf1 #cba1 #ceh ,utah pottery4 7,see ,saint ,george and ,springerville7 #bgi1 #bhf-bia1 #cjj ,ute pottery #bgf-bgg ,vases #cja1 #cce-cea ,vegetable forms copied in pottery #bgj ,village site mound or tumulus #bhg ,water1 ,pottery for transportation and storage of #bhd ,white ware #bfi1 #cjd1 #cje-ceh and coiled ware1 ,relative antiquity of #ceh-cei ,yarrow1 ,dr4 ,h4 ,c41 obtained pottery in ,utah #bib ,yuma1 ,pottery of #cjj ,zui pottery #bij1 #bic1 #cjj1 #ccc1 #cdd 99 99 99 99 99 ,transcriber's ,note3 ,italics denoted by underscores4 ,alternative spellings retained4 ,punctuation normalized without comment4 ,minor typos corrected without comment4 ,image scaling factors 7#a_/b etc47 only usful for comparing relative sizes between objects1 not actual sizes4