Chapter I: Part 1

[Transcriber's Note: Punctuation in catalog entries has been silently regularized. Other errors are noted at the end of the text. Letters that could not be displayed in 7-bit ASCII have been "unpacked" and shown between brackets: [-a] [-E] [-e] [-I] [-o] [-u] vowel with macron [)e] [)i] [)o] vowel with breve [ae] a with umlaut ' accented syllable Simplified names: Zuni, Canon (tilde omitted) Santa Fe (accent on "e" omitted) Figures with captions in CAPITALS were printed in color.]

* * * * *

SMITHSONIAN INSTITUTION--BUREAU OF ETHNOLOGY.

ILLUSTRATED CATALOGUE
OF THE
COLLECTIONS OBTAINED FROM THE INDIANS
OF
NEW MEXICO AND ARIZONA IN 1879.

BY

JAMES STEVENSON.

* * * * *

NOTE.

The following catalogue of the collections made during 1879 was prepared for the First Annual Report of the Bureau of Ethnology, but owing to want of space was not included in that volume. Before the necessity of this action was made apparent the matter had been stereotyped and it was impossible to change the figure numbers, etc. This will explain the seeming irregularity in the numbering of the figures--the first one of this paper following the last one of the above-mentioned report. The second catalogue, that of the collection of 1880, also included in this volume, has been made to correspond with the first, the figure numbers following in regular order.

LETTER OF TRANSMITTAL

WASHINGTON, _January 3, 1881_.

SIR: I have the honor to submit herewith an illustrated catalogue exhibiting in part the results of the ethnologic and archaeologic explorations made under your direction in New Mexico and Arizona during the summer of 1879.

As you are already familiar with the mode of travel and the labor necessary in making such investigations and explorations, as well as the incidents common to such undertakings, and as I do not consider them of any special interest or value to the catalogue, I have omitted such details.

I beg, however, in this connection, to refer to the services of Messrs. F. H. Cushing, ethnologist of the Smithsonian Institution, and J. K. Hillers, photographic artist of the Bureau of Ethnology, both of whom accompanied me on the expedition.

Mr. Cushing's duties were performed with intelligence and zeal throughout. After the field-work of the season was completed he remained with the Indians for the purpose of studying the habits, customs, manners, political and religious organizations, and language of the people; also to explore the ancient caves of that region. His inquiries will prove of the utmost interest and importance to science. Mr. Hillers labored with equal zeal and energy. His work is of the greatest value in illustrating some of the most interesting features of our investigations. He made a large series of negatives depicting nearly every feature of the Pueblo villages and their inhabitants. The beauty and perfection of the photographs themselves fully attest the value and importance of his work.

I would extend most cordial thanks to General Sherman for the special interest he manifested in our work, and for directions given by him to the officers of the Army serving in the West to assist us in carrying out the objects of the expedition; and to the officers who so cordially rendered such aid.

To General Edward Hatch, commanding the district of New Mexico, we are indebted for valuable information and material assistance, which were liberally granted, and to which in great part our success was due. The party also received valuable aid from Gen. George P. Buell, U.S.A., who was in command at Fort Wingate during our work at Zuni, for which I am pleased to extend thanks. The large number and variety of objects collected by the members of the expedition, and the many difficulties incident to such undertakings, as well as the limited time devoted to the preparation of the catalogue, will account for any imperfections it may contain.

Hoping, however, that, notwithstanding these, it may serve useful ends in the continuation of such work,

I am, very respectfully, your obedient servant,

JAMES STEVENSON.

Prof. J. W. POWELL,

_Director Bureau of Ethnology_.

CONTENTS.

LETTER OF TRANSMITTAL 311
INTRODUCTION 319
Articles of stone 320
Articles of clay 322
Vegetal substances 334
Collection from Zuni 337
Articles of stone 337
Axes, hammers, and mauls 337
Metates, or grain-grinders, and pestles 340
Mortars, pestles, etc 340
Miscellaneous objects 342
Articles of clay 343
Water vases 343
Water jugs and jars 347
Jugs of fanciful forms 349
Pitchers 349
Cups or cup-shaped vessels 350
Eating bowls 350
Cooking vessels 358
Ladles 360
Baskets 360
Paint cups 362
Condiment cups 363
Effigies 364
Statuettes 366
Clays and pigments 367
Vegetal substances 368
Basketry 368
Pads 369
Domestic implements, toys, etc 370
Foods 372
Medicines and dyes 372
Animal substances 373
Horn and bone 373
Skin 373
Woven fabrics 373
Collection from Wolpi 375
Articles of stone 375
Axes, hammers, etc 375
Metates, or grain-grinders, and pestles 376
Mortars, pestles, etc 377
Miscellaneous objects 377
Articles of clay 378
Water vases 378
Water jugs and jars 379
Toy-like water vessels 381
Cups 382
Eating bowls 382
Cooking vessels 385
Toy-like vessels 385
Ladles 385
Miscellaneous 387
Statuettes 387
Vegetal substances 389
Basketry 389
Domestic implements, toys, etc 391
Ornamental objects 393
Statuettes 395
Animal substances 396
Horn and bone 396
Skin 397
Woven fabrics 398
Collection from Laguna 399
Articles of clay 399
Water vases 399
Water jugs and jars 401
Pitchers 401
Effigies 402
Eating bowls 403
Collection from Acoma 404
Articles of clay 404
Water vases 404
Pitchers 405
Eating bowls 405
Collection from Cochiti 405
Articles of clay 405
Water vessels 405
Eating bowls 408
Ornaments, effigies, and toys 408
Collection from Santo Domingo 409
Articles of Clay 409
Water vessels 409
Collection from Tesuke 410
Articles of stone 410
Metates, mortars, etc 410
Articles of clay 410
Water vases 410
Water jugs and jars 413
Pitchers 413
Eating bowls 413
Cooking vessels 414
Toys 414
Vegetal substances 414
Medicines 414
Collection from Santa Clara 415
Articles of clay 415
Water vases 415
Eating bowls 415
Cooking vessels 416
Effigies 416
Collection from San Juan 416
Articles of clay 416
Eating bowls 416
Collection from Jemez 417
Articles of clay 417
Collection from the Jicarilla Apaches 417
Articles of clay 417
Collection from Old Pecos 418
Articles of stone 418
Articles of clay 418
Articles of wood 419
Collection from the Canon de Chelly 419
Articles of clay 419
Water vessels 419
Bowls 420
Cooking vessels 420
Collection from Pictograph Rocks 420
Articles of clay 420
Collection from other localities 421
Articles of clay 421
Miscellaneous 421
Statuettes 421

LIST OF ILLUSTRATIONS.

Figs. 347-352. Zuni grooved axes 338 Fig. 353. Zuni mortar and pestle 340 Fig. 354. Zuni crucible 340 Fig. 355. Zuni skinning-knife 340 Fig. 356. Zuni sandstone mold 340 Fig. 357. Zuni spear-head 340 Fig. 358. Zuni mortar and pestle 340 Figs. 359-360. Zuni water vases 342 Figs. 361-362. Zuni water vases 343 Figs. 363-364. Zuni water vases 344 Figs. 365-366. Zuni water vases 344 Figs. 367-368. Zuni water vases 344 Figs. 369-370. Zuni water vases 344 Figs. 371-372. Zuni water vases 345 Figs. 373-374. Zuni water vases 345 Figs. 375-378. Zuni water vases 346 Fig. 379. Zuni canteen 347 Fig. 380. Zuni eating bowl 347 Fig. 381. Zuni water vase 347 Fig. 382. Zuni eating bowl 347 Figs. 383-384. Zuni water vases 347 Figs. 385-387. Zuni canteens 348 Figs. 388-391. Zuni canteens 348 Figs. 392-394. Zuni canteens 349 Figs. 395-397. Zuni canteens 349 Fig. 398. Zuni canteen 350 Fig. 399. Zuni water vase 350 Fig. 400. Zuni canteen 350 Fig. 401. Zuni eating bowl 350 Fig. 402. Zuni canteen 350 Figs. 403-406. Zuni water pitchers 350 Fig. 407. Zuni water pitcher 350 Figs. 408-409. Zuni cups 350 Figs. 410-412. Zuni eating bowls 350 Figs. 413-415. Zuni eating bowls 352 Figs. 416-418. Zuni eating bowls 354 Figs. 419-421. Zuni eating bowls 356 Figs. 422-424. Zuni eating bowls 356 Figs. 425-427. Zuni eating bowls 357 Figs. 428-430. Zuni eating bowls 358 Figs. 431-436. Zuni cooking vessels 359 Figs. 437-441. Zuni ladles 360 Figs. 442-447. Zuni clay baskets 361 Figs. 448-453. Zuni clay baskets 361 Figs. 454-457. Zuni paint cups 364 Figs. 458-459. Zuni condiment cups 364 Figs. 460-461. Zuni effigies 365 Figs. 462-463. Zuni effigies 365 Figs. 464-467. Zuni effigies 365 Figs. 468-469. Zuni effigies 365 Figs. 470-471. Zuni effigies 365 Figs. 472-476. Zuni effigies 366 Figs. 477-480. Zuni effigies 366 Figs. 481-483. Zuni moccasins 367 Figs. 484-485. Zuni basketry 370 Fig. 486. Zuni pad 370 Fig. 487. Zuni toy cradle 370 Fig. 488. Zuni basketry 370 Fig. 489. Zuni toy cradle 370 Fig. 490. Zuni ladle 370 Fig. 491. Zuni war-club 372 Figs. 492-493. Zuni dance ornaments 372 Fig. 494. Zuni rotary drill 372 Fig. 495. Zuni wooden, spade 372 Fig. 496. Zuni wooden digger 372 Fig. 497. Zuni rattle 371 Fig. 498. Zuni rattle 373 Fig. 499. Zuni hopple 373 Figs. 500-502. Zuni woven sashes 373 Fig. 503. Zuni head dress 374 Figs. 504-507. Wolpi axes 375 Fig. 508. Wolpi metate 375 Fig. 509. Wolpi ancient pipe 378 Fig. 510. Wolpi stone effigy 378 Fig. 511. Wolpi neck ornament 378 Figs. 512-513. Wolpi effigies 378 Fig. 514. Wolpi water vase 379 Figs. 515-516. Wolpi pots 379 Figs. 517-519. Wolpi vessels 381 Figs. 520-522. Wolpi water jars 382 Fig. 523. Wolpi eating bowl 385 Fig. 524. Wolpi cooking vessel 385 Fig. 525. Wolpi ladle 385 Figs. 526-529. Wolpi ladles 386 Fig. 530. Wolpi basket 386 Fig. 531. Wolpi basin 388 Fig. 532. Wolpi vase and bowl attached 388 Figs. 533-534. Wolpi clay statuettes 388 Figs. 535-536. Wolpi baskets 389 Figs. 537-538. Wolpi baskets 390 Fig. 539. Wolpi basket 390 Fig. 540. Wolpi floor mat 390 Figs. 541-542. Wolpi baskets 390 Figs. 543-545. Wolpi baskets 391 Fig. 546. Wolpi weaving stick 392 Fig. 547. Wolpi spindle whorl 392 Fig. 548-549. Wolpi rabbit sticks 392 Fig. 550. Wolpi rake 393 Fig. 551. Wolpi drumstick 393 Fig. 552. Wolpi treasure-box 393 Fig. 553. Wolpi dance gourd 393 Fig. 554. Wolpi treasure-box 393 Figs. 555-558. Wolpi dance ornaments 393 Fig. 559. Wolpi head-dress 394 Fig. 560. Wolpi gourd rattle 394 Fig. 561. Wolpi musical instrument 394 Fig. 562. Wolpi gourd rattle 394 Figs. 563-565. Wolpi ornaments 394 Figs. 566-569. Wolpi effigies 395 Figs. 570-572. Wolpi effigies 396 Fig. 573. Wolpi horn ladle 397 Fig. 574. Wolpi horn rattle 397 Fig. 575. Wolpi perforator 397 Fig. 576. Wolpi arrow straightener 397 Fig. 577. Wolpi wristlet 398 Fig. 578. Wolpi moccasin 398 Fig. 579. Wolpi wristlet 398 Fig. 580. Wolpi riding whip 398 Fig. 581. Wolpi drum 399 Figs. 582-583. Wolpi blanket 399 Fig. 584. Wolpi anklets 399 Figs. 585-587. Laguna water vases 400 Figs. 588-591. Laguna water vases 400 Fig. 592. Laguna water pitcher 400 Figs. 593-596. Laguna water jars 401 Figs. 597-600. Laguna effigies 402 Figs. 601-604. Laguna effigies 402 Figs. 605-609. Laguna effigies 402 Figs. 610-612. Laguna water vases 403 Figs. 613-615. Laguna eating bowls 403 Figs. 616-617. Laguna eating bowls 403 Figs. 618-619. Acoma water vases 404 Figs. 620-622. Acoma water vases 404 Figs. 623-624. Cochiti water vessels 406 Figs. 625-626. Cochiti water vessels 406 Figs. 627-628. Cochiti water vessels 406 Figs. 629-630. Cochiti water vessels 407 Figs. 631-632. Cochiti water vessels 407 Figs. 633-634. Cochiti water vessels 407 Figs. 635-636. Cochiti water vessels 407 Figs. 637-638. Cochiti water vessels 408 Figs. 639-640. Cochiti water vessels 408 Figs. 641-642. Cochiti water vessels 408 Figs. 643-644. Cochiti water vessels 408 Figs. 645-647. Cochiti effigies 409 Figs. 648-649. Santo Domingo drinking vessels 410 Fig. 650. Tesuke mortar and pestle 410 Figs. 651-652. Tesuke water vases 412 Figs. 653-654. Tesuke water vases 412 Fig. 655. Tesuke water jar 414 Fig. 656. Tesuke effigy 414 Fig. 657. Tesuke cooking vessel 414 Fig. 658. Tesuke effigy 414 Fig. 659. Tesuke cooking vessel 414 Figs. 660-662. Santa Clara water vases 416 Figs. 663-664. Santa Clara eating bowls 416 Figs. 665-666. Santa Clara effigies 416 Fig. 667. Santa Clara eating bowl 416 Fig. 668. Santa Clara platter 416 Fig. 669. Santa Clara eating bowl 416 Figs. 670-672. Santa Clara water jars 416 Figs. 673-675. San Juan eating bowls 416 Fig. 676. Jemez water vessel 417 Figs. 677-680. Water vessels from Canon De Chelly 418 Figs. 681-683. Water vessels from Canon De Chelly 420 Figs. 684-686. Bowls from Canon De Chelly 420 Figs. 687-692. Pitchers from Canon De Chelly 420 Figs. 693-696. Cooking vessels from Canon De Chelly 420 Fig. 697. Corrugated vessel from Pictograph rocks 420 Map showing location of the pueblos of Arizona and New Mexico 319

SMITHSONIAN INSTITUTION. BUREAU OF ETHNOLOGY. J. W. POWELL, DIRECTOR.

MAP

SHOWING LOCATION OF THE PUEBLOS OF ARIZONA AND NEW MEXICO]

* * * * *

ILLUSTRATED CATALOGUE OF THE COLLECTIONS
OBTAINED FROM THE INDIANS
OF NEW MEXICO AND ARIZONA IN 1879.

By JAMES STEVENSON.

* * * * *

INTRODUCTION

It is not my intention in the present paper--which is simply what it purports to be, a _catalogue_--to attempt any discussion of the habits, customs, or domestic life of the Indian tribes from whom the articles were obtained; nor to enter upon a general comparison of the pottery and other objects with articles of a like character of other, nations or tribes. Occasionally attention may be called to striking resemblances between certain articles and those of other countries, where such comparison will aid in illustrating form or character.

The collection contains two thousand eight hundred and fifty-eight specimens. Although it consists very largely of vessels and other articles of pottery, yet it embraces almost every object necessary to illustrate the domestic life and art of the tribes from whom the largest number of the specimens were obtained. It includes, in addition to pottery, implements of war and hunting, articles used in domestic manufactures, articles of clothing and personal adornment, basketry, trappings for horses, images, toys, stone implements, musical instruments, and those used in games and religious ceremonies, woven fabrics, foods prepared and unprepared, paints for decorating pottery and other objects, earths of which their pottery is manufactured, mineral pigments, medicines, vegetable dyestuffs, &c. But the chief value of the collection is undoubtedly the great variety of vessels and other articles of pottery which it contains. In this respect it is perhaps the most complete that has been made from the pueblos. Quite a number of articles of this group may perhaps be properly classed as "ancient," and were obtained more or less uninjured; but by far the larger portion are of modern manufacture.

ARTICLES OF STONE.

These consist of pestles and mortars for grinding pigments; circular mortars, in which certain articles of food are bruised or ground; _metates_, or stones used for grinding wheat and corn; axes, hatchets, celts, mauls, scrapers &c.

The cutting, splitting, pounding, perforating, and scraping implements are generally derived from schists, basaltic, trachytic, and porphyritic rocks, and those for grinding and crushing foods are more or less composed of coarse lava and compact sandstones. Quite a number of the metate rubbing stones and a large number of the axes are composed of a very hard, heavy, and curiously mottled rock, a specimen of which was submitted to Dr. George W. Hawes, Curator of Mineralogy to the National Museum, for examination, and of which he says:

"This rock, which was so extensively employed by the Pueblo Indians for the manufacture of various utensils, has proved to be composed largely of quartz, intermingled with which is a fine, fibrous, radiated substance, the optical properties of which demonstrate it to be fibrolite. In addition, the rock is filled with minute crystals of octahedral form which are composed of magnetite, and scattered through the rock are minute yellow crystals of rutile. The red coloration which these specimens possess is due to thin films of hematite. The rock is therefore fibrolite schist, and from a lithological standpoint it is very interesting. The fibrolite imparts the toughness to the rock, which, I should judge, would increase its value for the purposes to which the Indians applied it."

The axes, hatchets, mauls, and other implements used for cutting, splitting, or piercing are generally more or less imperfect, worn, chipped, or otherwise injured. This condition is to be accounted for by the fact that they are all of ancient manufacture; an implement of this kind being rarely, if ever, made by the Indians at the present day. They are usually of a hard volcanic rock, not employed by the present inhabitants in the manufacture of implements. They have in most cases been collected from the ruins of the Mesa and Cliff dwellers, by whose ancestors they were probably made. I was unable to learn of a single instance in which one of these had been made by the modern Indians. In nearly all cases the edges, once sharp and used for cutting, splitting, or piercing, are much worn and blunt from use in pounding or other purposes than that for which they were originally intended. On more than one occasion I have observed a woman using the edge of a handsome stone axe in pulverizing volcanic rock to mix with clay for making pottery. Nearly all the edged stone implements are thus injured. Those showing the greatest perfection were either too small to utilize in this manner or had but recently been discovered when we obtained them.

The grinders and mortars are frequently found composed of softer rock, either ferruginous sandstone or gritty clays. For a more complete knowledge of these stone implements we must depend on a comparative study of large collections from different localities, and such information as the circumstances attending their discovery may impart, rather than upon their present condition or the uses for which they are now employed.

Metates or grain-grinders, pestles and rubbing stones belong to the milling industry among the Indians. The metates are generally quite large and heavy, and could not well be transported with the limited means at the command of Indians. They are therefore well adapted to the uses of village Indians, who remain permanently in a place and prosecute agricultural pursuits. They are generally of rectangular shape, and from 10 to 20 inches in length by 6 to 12 in width, and are composed of various kinds of rock, the harder, coarse-grained kinds being preferable, though in some instances sandstone is employed; the most desirable stone is porous lava. These stones are sometimes carried with families of the Pueblos moving short distances to the valleys of streams in which they have farms in cultivation. In the permanent villages they are arranged in small rectangular bins (see Fig. 508), each about 20 inches wide and deep, the whole series ranging from 5 to 10 feet in length, according to the number of bins or divisions. The walls are usually of sandstone. In each compartment one of these metates or grinding stones is firmly set at a proper angle to make it convenient to the kneeling female grinder. In this arrangement of the slabs those of different degrees of texture are so placed as to produce an increased degree of fineness to the meal or flour as it is passed from one to the other. But a small number of these slabs were collected on account of their great weight. Accompanying these metates are long, slim, flat stones, which are rubbed up and down the slabs, thus crushing the grain. These hand-stones are worn longitudinally into various shapes; some have two flat sides, while the third side remains oval. The same variety exists in regard to the texture of these rubbing-stones, as in the concave grinders.

The pueblo of Zuni, from which the most important portion of the collection was obtained, is situated in New Mexico, near the western border, about two hundred miles southwest from Santa Fe.

At the time of Coronado's visit to this country the pueblo was located at what is now known as "Old Zuni," on the summit of a high _mesa_. The modern Zuni is situated upon a knoll in the valley of the Zuni River, about two miles from the site of the old town. Certain writers have regarded Zuni, or rather "Old Zuni," as one of the "Seven Cities of Cibola." The evidences found at and around both the old and present Zuni are certainly not sufficient to warrant this view, and further and more careful investigations are necessary.

Zuni, although lying on the line of travel of military expeditions, emigrant trains, and trade between the Pacific coast and the Rio Grande, the foreigners visiting them have seldom remained long in their village; nor has the advancing wave of Caucasian settlement approached sufficiently near to exert any marked influence on their manners and customs; at least the form and decoration of their pottery bear no marked evidence of the influence of the more highly civilized races.

The collection made here by the expedition was more extensive than that from any other place, and numbers about fifteen hundred objects, of which by far the larger part is composed of earthenware articles. These include large and small water vases, canteens of various sizes and shapes, cooking cups, and pottery baskets used in their dances, paint-pots, ladles, water jugs, eating bowls, spoons, pepper and salt boxes, pitchers, bread-bowls, Navajo water jugs, treasure boxes, water vases, cups, cooking pots, skillets, ancient pottery, animals, and grotesque images. It belongs mostly to the variety of cream-white pottery, decorated in black and brown colors; a portion is red ware, with color decorations in black. There are also several pieces without ornamentation, and one or two pieces of black ware, but the latter were most probably obtained from other tribes, and possibly the same is true in reference to a few pieces of other kinds which present unusual figures or forms.

A slight glance at the figures depicted on the _tinajas_, or water vases, will suffice to show any one who has examined the older pottery of this region, specimens and fragments of which are found among the ruins, that a marked change has taken place in their ideas of beauty. Although the rigid, angular, zigzag, and geometric figures are yet found in their decorations, they have largely given way to carved lines, rounded figures, and attempts to represent natural objects.

A few apparently conventional figures are still generally retained, as around the outside of the necks of the vases and on the outer surface of the bowls, probably suggested originally by the rigid outlines of their arid country, and in fact by their buildings. The figure of the elk or deer is a very marked feature in the ornamentation of their white ware, and is often found under an arch. Another very common figure is that of a grotesquely-shaped bird, found also on the necks of water vases and the outer surface of bowls.

ARTICLES OF CLAY.

Tinajas, or water vases, are called in the Zuni tongue _tk[-a]h-wi-n[-a]-k[-a]-t[-e]hl-le_. They are usually from 8 to 12 inches in height, and from 12 to 15 in diameter. A smaller size of the same form of vessels, which are from 5 to 7 inches in height and from 8 to 10 in diameter, are called _det-ts[-a]n-n[-a]_. They are of three colors, cream white, polished red, and black: there are in the collection comparatively few of the second, and but one of the last variety. The decorations are chiefly in black and brown, but four or five pieces being in black. The decorations of the cream-white group present some four general types--those represented by Figs. 359, 363, 364, and ----, in which the uncolored circular space forms the distinguishing characteristic; those of which Fig. 360 may be considered a representative, of which type there are but two specimens in the collection; those represented by Fig. 361, and those distinguished by the rosette (see Figs. 366, 367, 368, and 370).

The following appear to be unique: (39935) Fig. 371, (40785) Fig. 375, (41149) Fig. 372, and (41167) Fig. 374.

By a careful study of these decorations we find that they consist chiefly of the following figures, which are combined in various ways: triangular figures, usually on the neck; large open circles, frequently in a diamond figure, as in Fig. 359 (39871); scrolls; or arches as in Figs. 361, 362, &c.

In no instance do we find the meander or Greek fret on these, or in fact any other Zuni vessels. A marked characteristic of the decorations on the pottery of this pueblo is the absence of vines and floral figures so common on those of some of the other pueblos. The nearest approach to the vine is the double line of scrolls seen in (40785) Fig. 375. Although the checkered figure is common on bowls, the Zuni artists have appreciated the fact that it would be out of place on the convex surface of the water vase. The elks or deer--for it is difficult to tell which are intended--are usually marked with a circular or crescent-shaped spot, in white, on the rump, and a red diamond placed over the region of the heart, with a line of the same color extending from it to the mouth, both margined with white; the head of the animal is always toward the right.

As will be observed by examining the decorated pieces, the surface is divided into zones by lines--sometimes single, sometimes double, but generally slender--one near the base, one or two around the middle, one at the shoulder, and one at the rim; thus forming one zone embracing the neck, and two or three on the body, exclusive of the undecorated base. Sometimes there is but one zone on the body as seen in Figs. 364 (40322) and 359 (39871); sometimes two, as shown in Figs. 367 (40317) and 370 (41146); but often three, the middle one quite narrow, as seen in Figs. 361 (39934) and 362 (41150). Although not always shown in the figures, the lines at the rim, shoulder, and bottom are seldom wanting in Zuni vases. The zones are often interrupted by broad perpendicular stripes or inclosed spaces in which circles, scroll figures, or rosettes are inserted.

Measurements of these vessels show considerable uniformity of proportion, the widely exceptional specimens being also exceptional in decorations. As indicating size and proportion I give here the measurements of some typical as well as some abnormal specimens.

The figures show the height, the diameter of the body at the widest part, and the diameter of the mouth in inches.

+-----------------------------------+--------+-----------+----------+
| | Height.| Diameter | Diameter |
| Number. | | of body. | of mouth.|
+-----------------------------------+--------+-----------+----------+
| 1 | 8.25 | 12.00 | 6.75 |
| 2 | 10.25 | 13.75 | 7.50 |
| 3 | 11.00 | 13.25 | 7.15 |
| 4 | 12.00 | 14.50 | 8.50 |
| 5 | 10.75 | 14.50 | 8.25 |
| 6 | 11.00 | 13.00 | 8.00 |
| 7 | 7.25 | 10.00 | 5.00 |
| 8 | 7.00 | 9.25 | 5.40 |
| 9 | 4.25 | 6.75 | 4.60 |
| 10 | 4.40 | 5.50 | 3.75 |
| 11 | 3.50 | 4.50 | 3.25 |
| 12 | 3.50 | 4.25 | 2.90 |
| 13 | 7.75 | 8.00 | 5.75 |
| 14 | 9.00 | 9.75 | 6.50 |
+-----------------------------------+--------+-----------+----------+

If we reduce these to proportion, using the diameter of body as the unit of measurement, the result is as follows:

+--------+--------+-----------++--------+--------+-----------+
| Number.| Height.| Diameter || Number.| Height.| Diameter |
| | | of mouth. || | | of mouth. |
+--------+--------+-----------++--------+--------+-----------+
| 1 | .69 | .56 || 8 | .81 | .59 |
| 2 | .75 | .54 || 9 | .63 | .68 |
| 3 | .83 | .54 || 10 | .80 | .68 |
| 4 | .81 | .58 || 11 | .78 | .72 |
| 5 | .74 | .57 || 12 | .82 | .68 |
| 6 | .84 | .61 || 13 | .97 | .72 |
| 7 | .72 | .50 || 14 | .91 | .67 |
+--------+--------+-----------++--------+--------+-----------+

From this it will be seen that No. 148, which is represented by Fig. 373 (39774), is unusually broad in proportion to the height. Nos. 152 and 153 vary to the extreme in the other direction; No. 153 is shown in Fig. 364 (40322). Excluding these and taking the means of the large and small kinds separately we find the average ratios to be as follows:

Height. Diameter
of mouth.
Large .78 .57
Small .78 .61

Most of the water jugs of both the Shinumos and Zunians are in the form of canteens, usually more or less spherical, and varying in capacity from a pint to four gallons. On each side there is a small handle in the form of a loop or knob, through or around which is placed a small shawl or strip of cloth, or a cord long enough to pass over the forehead so as to suspend the vessel against the back just below the shoulders. The other jugs are of various fanciful shapes, which will be noted in the catalogue. A large portion are of plain brown ware, a few plain white, and others white with colored decorations. Various names are used apparently to designate the different kinds rather than the uses for which they are intended.

The decorations, when present, are always on the upper side, which is more convex than the lower, or side on which it is intended the vessel shall lie when not in use. In the ornamented white ware the lower portion is usually red or brown.

As all these clay fabrics are the work of North American Indians, it is scarcely necessary for me to say that they are unglazed, a characteristic, so far as I am aware, of all aboriginal pottery.

Some of the specimens, especially of the black ware, show a smooth finish, and may perhaps, without violence to the term, be classed as lustrous. This is not the effect of a varnish or partial glazing, but is a polish, produced generally, if not always, by rubbing with a polishing stone.

Although, as a rule, the paste of which the ware is made is comparatively free from foreign matter, yet many pieces, especially of the decorated ware, when broken, show little whitish or ash-colored specks. These, when found in aboriginal pottery east of the Mississippi, have, I believe, been without question considered as fragments or particles of shell broken up and mixed with the paste. This may be correct in reference to the pottery found east of and in the Mississippi Valley, but this whitish and grayish matter in the pottery of the Indians of New Mexico and Arizona is in most cases pulverized pottery, which is crushed and mixed with the paste. Black lava is sometimes crushed and used in the same manner.

The principal material used is a clay, apparently in its natural state, varying in color according to locality. Although comparatively free from pebbles or lumps of foreign matter, we detect in some of the coarser specimens small particles of mica and grains of other materials, and in one broken specimen the elytron of a small coleopterous insect. But as a general rule, the paste appears to have been free from foreign matter.

A slight glance at this large collection is sufficient to show that the potters worked by no specific rule, and that they did not use patterns. While it is apparent that only a few general forms were adopted, and that, with few exceptions, the entire collection may be grouped by these, yet no two specimens are exactly alike; they differ in size, or vary more or less in form. The same thing is also true in reference to the ornamentation: while there is a striking similarity in general characteristics, there is an endless variety in details. No two similar pieces can be found bearing precisely the same ornamental pattern.

Much the larger portion of the collection consists of vessels of various kinds, such as bowls, cooking utensils, canteens, bottles, jars, pitchers, cups, ladles, jugs, water vases, ornamental vessels, paint-pots, &c. These vary in size from the large vase, capable of holding ten gallons, to the little cup and canteen, which will contain less than half a pint. The other and much smaller portion includes all those articles which cannot be classed as vessels, such as images, toys, toilet articles, representations of animals, &c. The collection can perhaps be most satisfactorily classified by reference to the coloring, ornamentation, and quality, thus:

1. _The red or uncolored pottery_, which is without ornamentation of any kind. Some of this is coarse and rough, and in this case always more than ordinarily thick; but the larger portion has the surface smooth and often polished. The color varies from the natural dull leaden hue of the clay, to a bright brick red, the latter largely predominating.

2. _The brown ware_, or that which shows an admixture of mica. This, although uniformly without color decorations, is occasionally marked with impressed figures and lines. Although inferior in quality, being coarse and fragile, it presents more symmetrical though less varied forms than are usually found in the preceding group. The influence of contact with the European races is here very apparent, as, for example, in the true pitcher and other common utensils and an apparent attempt at glazing.

3. _The black ware_ which is without ornamentation. This variety in quality and character is precisely like the polished red of the first group; but is slightly in advance of that in regard to finish, and perhaps, as heretofore remarked, may be classed as lustrous, while the red may be classed as semi-lustrous. The paste of which this black ware is formed appears to have been better prepared than that of the preceding varieties, and is the hardest and firmest in the collection.

4. _The cream-white pottery decorated in colors_. This extensive group, which includes fully two-thirds of the entire collection, embraces almost every known form of earthenware manufactured by the tribes from whom it was obtained. The paste of which it is formed is similar in character to that of the black ware. When broken the fracture shows very distinctly the effect of burning, the interior being of the natural leaden color, shading off to a dull grayish white as it approaches the outer surface. The opaque or creamy-white color of the surface is produced by a coating of opaque whitewash. Upon this white surface the figures are afterwards drawn.

The only colors used in decorating pottery are black, red, and some shade of brown. But of this we will speak more fully when we come to describe the peculiar methods practiced by the different tribes in making and adorning pottery.

Although there is a strong general similarity in this colored ornamentation, the great variety of details renders it difficult to classify the figures so as to convey a correct idea of them to the reader. We shall therefore have to refer him to the numerous cuts and the colored plates which have been introduced for the purpose of illustrating the catalogue.

The following general statement is about all that can be said in reference to them before descending to specific details.

So far as the coloring is concerned they are of two kinds, those having the figures wholly black, and those which are partly black and partly brown or red. The differences in the decorated pottery appear to be always accompanied by certain other variations sufficient to warrant speaking of them as different varieties or groups. The former (those having the figures wholly black), which are made of the ordinary plastic blue clay, have only the upper half or two-thirds of the body of the vessel overlaid with the white coating for receiving the decorations, the lower part being uncoated, and of the natural pale red or salmon color produced by burning, but usually well polished. As additional distinguishing features of this group we notice that the shape is more generally globular, the workmanship rather superior, and the pottery somewhat harder and less friable than that of the other group; the angular and geometrical figures formed by straight lines are more common in this group; here we also find the meander or Greek fret correctly drawn, the vine, and several other designs rarely or never found in the other group. The figures of animals, which are common to both varieties, are in the former more usually distributed in zones or groups, while in the latter they are generally placed singly in inclosed spaces. The latter variety, in which we see the curve freely used, shows an evident advance over the ornamentation of the older pottery of this region; and while the figures must be classed as rude, and the outlines are less sharp, and not so well defined as in the older specimens, yet they indicate clearly a mental advance in the greater variety of conception.

The figures of this entire class, as regards forms, may be grouped under three general headings: first, the geometrical, which is the most common; second, the figures of animals; and, third, rude attempts at floral decorations, which forms are rather rare. Strange to say, in but few instances can any attempt at representing the human form or any part of it be discovered in these color decorations.

The geometric figures present an endless variety; but we notice, as is shown by the cuts and plates, that triangles with an elongate acuminate apex and the zigzag are very common in the black-brown decorations. The checkered figure also is not uncommon. The animals most frequently represented are the elk or deer and birds. The floral decorations are chiefly vines well drawn, and rude attempts at representing trees, and the flowers of various species of _Helianthus_.

5. _Red ware with color decorations_. This ware is represented by but few vessels, which are in every respect similar to the best variety of the red pottery heretofore mentioned, except that it is marked with figures in black, many of which are decorated only on the upper portions around the neck or rim.

6. _The ancient pottery_, of which Figs. 680 (40816) and 693 (40817) are good examples.

The Pueblo tribes of New Mexico and Arizona, with rare exceptions, manufacture earthenware vessels for domestic use. The Pueblo of Taos may be mentioned as one of these exceptions; although the manner of living, the general habits, and characteristics of the tribe are similar to those of the other Pueblo Indians, and although they make use of pottery for domestic purposes, they do not manufacture it. Some pieces, such as water jars and vessels used for cooking, are made in the village, but this occurs only in such families as have intermarried with other tribes where the manufacture of the native ware is carried on.

The Pueblos among whom the manufacture of pottery or earthenware utensils may be classed as a conspicuous feature of their peculiar civilization at the present time, are situated geographically as follows: San Juan, Santa Clara, San Ildefonso, Cochiti, Santo Domingo, San Felipe, Sandia, and Isleta, located on the Rio Grande; Pojake, Tesuke, Nambe, Jamez, Zia or Silla, Santa Ana, Laguna, and Acoma, situated on the tributaries of the Rio Grande; Zuni, and some small pueblos of the same tribe all within the borders of New Mexico. Zuni however is located on the Rio Zuni, which flows into the Little Colorado River.

The Moki pueblos, numbering seven in all, are embraced in what is called the Province of Tusyan, and are located within the Territory of Arizona, near its northeastern corner.

The Zunians and Shinumos, although situated farther from civilized people and less influenced by their usages than any of the other Indians mentioned, surpass all the other tribes in the manufacture of all kinds of earthenware. The collections made from these tribes, as will be seen by reference to the catalogue, exceed, both in number and variety, those from all the others combined. The collection as enumerated in the catalogue includes specimens from all the pueblos referred to.

Although the uses of these articles are to a great extent the same among all the Pueblo tribes, and the shapes and forms are apparently similar, yet to the experienced eye there is no difficulty in detecting the peculiarities which distinguish one from the other, or at least in assigning them to the tribes with which they originated.

It will be observed by reference both to the colored and wood-cut illustrations that there are special distinctions between the ornamentation of the pottery of the pueblos of the Rio Grande Valley and of those situated on the tributaries of the Rio Colorado. In the decorations of the former the birds and vine are conspicuous and constantly recurring features, while in the Zuni and Shinumo pottery the elk, domestic animals, and birds peculiar to these arid regions are the figures most frequently used. The difference is easily accounted for when we are informed of the fact that the former tribes reside in the valley of the Rio Grande, which is well adapted to the culture of the grape as well as other crops. The ever-present vine and the numerous birds which flock to this fertile valley will naturally suggest figures for decoration. On the other hand, the Zunians and Shinumos reside in regions almost destitute of water, and hence without any attractive vegetation; therefore their designs are drawn chiefly from the sharp outlines of their dwellings, their domestic animals, birds, and the elk and antelope that graze in the little grassy oases. None of these are actually drawn from nature, but from imagination and memory, as they never have an object before them in molding or painting.

In none of the cases referred to do we observe any attempts to imitate the exact forms or ceramic designs of the so-called ancient pottery, fragments and sometimes entire vessels of which are found throughout this southwestern region. This seems strange from the fact that in the use of stone implements we find but few which are the result of their own handiwork. The old ruins are searched, and from them, and the debris about them, stone pestles, mortars, hammers, hatchets, rubbing stones, scrapers, picks, spear and arrow heads, and polishing stones are collected by the inhabitants of nearly all the pueblos, and are kept and used by them.

The clay mostly used by the Zunians in the manufacture of pottery is a dark, bluish, carbonaceous, clayey shale found in layers usually near the tops of the mesas. Several of these elevated mesas are situated near Zuni, from which the natives obtain this material. This carbonaceous clay is first mixed with water and then kneaded as a baker kneads dough until it reaches the proper consistency; with this, crushed volcanic lava is sometimes mixed; but the Zunians more frequently pulverize fragments of broken pottery, which have been preserved for this purpose. This seems to prevent explosion, cracking, or fracture by rendering the paste sufficiently porous to allow the heat to pass through without injurious effect. When the clayey dough is ready to be used a sufficient quantity is rolled into a ball. The dough, if worked by a careful artist, is first tested as to its fitness for molding by putting a piece of the paste to the tongue, the sensitiveness of which is such as to detect any gritty substance or particles, when the fingers fail to do so. The ball is hollowed out with the fingers into the shape of a bowl (this form constituting the foundation for all varieties of earthenware) and assumes the desired form by the addition of strips of the clay; all traces of the addition of each strip are removed before another is added, by the use of a small trowel fashioned from a piece of gourd or fragment of pottery, the only tool employed in the manufacture of pottery.

The bottoms of old water jars and bowls form stands for the articles while being worked by the potter. The bowls are filled with sand when objects of a globular form are to be made. Although I have often watched the process, yet in no instance have I ever observed the use of a potter's wheel, measuring instrument, or model of any kind. The makers, who are always females, depend entirely on memory and skill derived from practice to accomplish their work. The vessels when completely formed are laid in some convenient place to sun-dry. A paint or solution is then made, either of a fine white calcareous earth, consisting mainly of carbonate of lime, or of a milk-white indurated clay, almost wholly insoluble in acids, and apparently derived from decomposed feldspar with a small proportion of mica. This solution is applied to the surface of the vessel and allowed to dry; it is then ready for the decorations.

The pigments from which the paints are derived for decorative purposes are also found in the vicinity of the mesas, and are employed by the Indians in the production of two colors, each of which varies slightly according to the intensity of heat in the process of baking, or the manner in which it is applied. One varies from a black to a blackish-brown, the other from a light brick red to a dark dull red color. The material which produces these colors is generally found in a hard, stony condition, and is ground in a small stone mortar, just as we reduce India ink for use. When the pigment is properly reduced, and mixed with water so as to form a thin solution, it is applied with brushes made of the leaves of the yucca. These brushes are made of flat pieces of the leaf, which are stripped off and bruised at one end, and are of different sizes adapted to the coarse or fine lines the artist may wish to draw. In this manner all the decorations on the pottery are produced.

The substance used in producing the black ware is a clayey brown hematite, or ferruginous indurated clay, quite hard. The material used to produce the red or brown colors is a yellowish impure clay, colored from oxide of iron; indeed it is mainly clay, but contains some sand and a very small amount of carbonate of lime. These are the principal ingredients and methods involved in the manufacture of Zuni pottery.

The method practiced by the Zunians in baking pottery differs somewhat from that employed by the tribes who make quantities of black and red ware. It seems to be a necessity on the part of the Zunians to observe the greatest care in this operation. Their pottery is nearly all decorated and must be baked free from contact with the peculiar fuel used for that purpose. During the baking process it sometimes happens that a piece of the fuel, which is composed of dried manure carefully built up oven-shaped around the vessels to be baked, falls against the vessel. In every such instance a carbonized or smoky spot is left on the jar or bowl, which is regarded by the Indians as a blemish. The kiln is carefully watched until the fuel is thoroughly burnt to a white ash, when the vessels can be removed without danger of such blemishes.

The mode of manufacturing pottery adopted at the pueblos of the Rio Grande Valley is quite similar to that described as practiced by the Zuni, Shinumo, Acoma, and Laguna Indians, but there is considerable difference in the method of decorating and polishing. Polishing is practiced chiefly by the Indians of the eastern pueblos, and but little by those of the more western region.

The pueblos of Santa Clara, Cochiti, San Juan, Tesuke, &c., manufacture large quantities of pottery for sale in addition to that made for their own use. It is in these eastern pueblos that the black polished ware is chiefly found, and it is in the production of this class of ware that the chief difference in the ceramic art between the two sections exists. The clays used in the manufacture of this ware are of the same character as those of which the other is made; the paste is prepared in the same way, so that when the vessels are formed and ready for the kiln they are of the color of the original clay. In other words, the change to the black color is not produced in making the paste or in moulding or forming the vessel, but during the process of baking. The manner of forming the vessel is the same as with the western tribes; and when, formed it is dried in the sun in the same way; after this a solution of very fine ochre-colored clay is applied to the outside and inside near the top, or to such parts of the surface as are to be polished. While this solution thus applied is still moist, the process of polishing begins by rubbing the parts thus washed with smooth, fine-grained stones until quite dry and glossy. The parts thus rubbed still retain the original red color of the clay. The vessels are again placed in the sun and allowed to become thoroughly dry, when they are ready for baking. It is in this part of the process that the great differences in color are produced. The vessels are placed together in a heap on a level spot of ground and carefully covered over with coarsely broken dried manure obtained from the corrals. The kiln thus formed is then ignited at several points.

It is proper to add here that the clays used by the Santa Clara Indians are of a brick-red color, containing an admixture of very fine sand, which, no doubt, prevents cracking in burning, and hence dispenses with the necessity of using lava or pottery fragments, as is the custom of the Indians of the western pueblos. The burning is carried on until a sufficient degree of heat is obtained properly to bake the vessels, which still retain their original red brick color. At this juncture such of the vessels as it is desired have remain in that condition are removed from the fire and allowed to cool, when they are ready for use. Those which the artists intend to color black are allowed to remain and another application of fuel, finely pulverized, is made, completely covering and smothering the fire. This produces a dense, dark smoke, a portion of which is absorbed by the baking vessels and gives them the desired black color. It is in this manner that the black ware of these eastern pueblos is produced.

It is said that among the Cochiti, Santa Clara, and some other Pueblos a vegetable matter is employed to produce some of their decorative designs; this, however, I was unable to verify, though some of the Indians assured me of the fact, and furnished me a bunch of the plant, which Dr. Vasey, of the Agricultural Department, found to be _Cleome integrifolia_, a plant common throughout the Western Territories. A few specimens of the ware, some burnt and some unburnt, said to be decorated with the oil or juice of this plant were secured.

As heretofore remarked, notwithstanding the variety in ornamentation, there are really but few different figures, and these are mostly quite simple. Any one interested in the study of Indian art can find in the figures and plates of this catalogue all the original conceptions of the artists of the Pueblo Indians as depicted by them.

While it is of value in the study of ethnology, and as affording a means of comparison in the study of archaeology, there is nothing in the composition or ornamentation, or in the form of the vessels, that ceramic artists of the civilized races would desire to copy.