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.
As a means of reference in the study of ancient American pottery, I
consider the collection invaluable, as it can scarcely be possible that
the forms and decorations contain nothing that has been handed down from
a former age. Although the figures used have no symbolic characters
connected with them in the mind of the modern artist, yet it is more
than probable that at least some of them did have such a meaning to the
ancient artists. For example, the little tadpole-shaped figure on the
clay baskets used in their dances and sacred ceremonies by the Zunians
is understood by them to represent a little water articulate, which, as
heretofore stated, is probably the larva of some insect or crustacean,
very common in the pools and sluggish streams of the country inhabited
by these Indians. Now, it is possible that this figure has been used
with the same meaning from time immemorial, but I find, as pointed out
to me by Prof. Cyrus Thomas, that almost exactly the same figure is on a
vessel pictured on Plate VII of the manuscript Troano, where a religious
ceremony of some kind is evidently represented. The same figure is also
found in Landa's character for the Maya day _Cib_, a word signifying
copal, a gum or resin formerly used in religious ceremonies as incense.
I find also on Plate XXXV of the same manuscript the figures of bowls or
pots with legs similar to those of the Zuni. I do not point out these
resemblances as proof of any relation between the two races, but as mere
illustrations of what possibly may be learned by a careful study of the
forms and decorations of this pottery. It may also be well to add here
another fact to which Professor Thomas calls my attention, viz., the
similarity between the manner of wearing the hair by the Shinumo women,
_i.e._, in knots at the side, as represented by the female images, and
that of the ancient Maya women, as shown in numerous figures on the
manuscript Troano. Any one familiar with General Cesnola's collection
from Cyprus cannot fail to be reminded of it when he examines this
collection of Indian pottery; especially the colors used and the general
character of the specimens; but an inspection of the two collections is
necessary in order to have this general resemblance brought to mind, as
it does not appear so distinctly on a comparison of the published
figures only. The figures on Plate XLIV of his "Cyprus" bear quite a
striking resemblance to those on some specimens of Cochiti ware. The
quadruple cup, Fig. 25, page 406, is almost exactly like the Zuni
quadruple cups, and was probably used for the same purpose. The same
type of multiple cups is also shown in Plate IX of the same work. The
two tea-pot-like vessels represented on Plate VIII, as well as the two
bird-shaped pieces on the same plate, are much, like the similar vessels
of Cochiti pottery, several of which are figured in this catalogue.
The resemblance of this Indian ware, in the form of the vessels, to that
found in the ancient mounds of this country is so marked that it is
scarcely necessary to remind the reader of the fact, but it may be well
to call attention to the much, larger proportion of water vessels among
the Indian pottery than is seen in collections from the mounds. This,
however, may perhaps be accounted for by the scarcity of water in the
western region.
The custom of the Zuni artists of making a diamond or triangle over the
region of the heart of the elk and deer figures with a line running to
the mouth, although somewhat singular, is quite consistent with the
Indian practice of symbolic writing. I was informed by the Zuni Indians
that it was intended to denote that "the mouth speaks from the heart." A
similar mark occurs in the decoration of the vase figured in Cesnola's
"Cyprus," page 268.
Contemporaneous and somewhat closely related tribes may use widely
different figures in the decoration of their ware, and hence it is
unsafe, in studying ancient specimens, to draw hasty conclusions from
slight differences in this respect; and I think I may also safely add
that a comparatively short period of time, a century or so at most, may
suffice to bring about a great change in the same tribe in the form and
manner of decorating their pottery. It also shows us that the ware of a
given tribe, which does not bear the impress of civilized influence,
can, by a careful study, be distinguished in nearly all cases from that
of any other tribe. I feel so confident of the truth of this statement,
that I would not hesitate to undertake to pick out all pieces of Zuni
ornamented ware from a collection of thousands of specimens of modern
Pueblo Indian pottery if indiscriminately mixed together.
The Shinumo pottery in general appearance and form bears a strong
resemblance to that of Zuni; in fact it is almost impossible to separate
the ornamented bowls and water vases of the two if mingled together.
There are certain figures found in the one which never occur in the
other, but there are a number of designs, especially of those most
generally seen, that are quite common to the pottery of both tribes.
The different varieties of ware, the red or brown without decorations,
the white with decorations, and the black are in general use with the
tribe, and specimens of each are contained in the collection. But few
specimens of the purely micaceous ware are found, either in Zuni or
Wolpi.
The preponderance of the large round water jugs in the Shinumo
collection over that of Zuni is noticeable. This form of vessel seems
to be more in use by tribes whose villages are quite remote from water
or which are situated on high mesas difficult of access. The kinds of
vessels, however, which are common with the Zunians are also common with
the Shinumos, and those intended for the same use are generally of the
same shape or similar in form. But, as with the decorations, there are
also vessels so markedly distinct and variant from those we find at Zuni
as to show very readily at least tribal distinctions between the ceramic
artists and manufacturers.
The proximity of Laguna to Acoma led us to anticipate what we afterward
found, viz., a great similarity in the forms of their vessels, and
also in their manner of ornamentation. The principal differences consist
in the more profuse use of the forms of birds and flowers, the first
evidently representing prairie grouse and the last some form of
sunflower. There is an absence of the geometrical forms, of lines
and angles commonly observed on the works of more distant pueblos.
Quite a number of animal representations, made hollow for use as
drinking vessels, were obtained, displaying grotesquely imitative forms
of deer, elk, sheep, big-horn, antelope, and other animals with which
they are familiar. All of these objects have more color laid on them
than is to be found on the pottery of their neighbors of Acoma, the
birds and animals being painted in a light rufous fawn color not in use
elsewhere, and the only instance of the employment of green is on a
tinaja of this pueblo used in coloring some foliage.
VEGETAL SUBSTANCES.
This class of ware comprises a very diversified group of objects;
indeed, so great is the variety that I will not attempt a general
description of them. Specific reference will be made to the objects
as they occur in their places in the catalogue.
The objects of basketry or wicker-work are quite varied in form,
construction, and decoration. Those made by the Zuni Indians are so rude
and coarse as not to entitle them to any merit. The larger baskets made
by this tribe are used for carrying corn, melons, peppers, &c. The
smaller are used for holding beans, shelled corn, and other coarse
small materials.
The basketry of the Shinumos is of a finer and more finished quality.
Among these are many jug or canteen shaped baskets, from which, no
doubt, many of the forms of their pottery water vessels have been
copied. These are sometimes globular, with large round bodies and small
necks. They are generally very closely woven and are then coated over
with a resin or gum which renders them capable of holding water. Like
some of their water jugs, in pottery, they have small horsehair ears
or loops attached to the sides through which strings are passed for
carrying them either over the head or shoulder. This class of water jug
basketry all show evidences of age, and it is possible that they were
manufactured by the Apaches or other tribes skilled in the art. The flat
kinds are designed to hold fine grain and meal, and are also frequently
used for winnowing. This is done by placing a small quantity of grain in
the basket, and by a skillful motion throwing the grain up into the wind
and again catching it as it comes down. This motion is kept up until the
wind has separated the chaff from, the grain. Many of the flat baskets
are decorated in colors, as will be seen by the accompanying
illustrations.
It is quite probable that most of the finer ware of this class is
manufactured by the Apache Indians, who are celebrated for this work,
and finds its way among the Pueblos through the medium of barter.
The basketry of the Zunians is usually made of small round willows and
the stem of the yucca, the leaves of which attain a long slender growth
in that region. It is quite certain that the basketry used for holding
water is not manufactured by the Zunians, and probably not by the
Shinumos, though many are found with them.
As previously stated, the basketry manufactured by the Shinumo Indians
is of a more finished class and of a greater variety than that made and
used by any of the other Pueblos, as will be seen by reference to the
accompanying illustrations. Among the examples of this ware, obtained at
Wolpi, is a large number of the flat or saucer-shaped kind; these vary
both in size and character of construction as well as decoration. The
manner of making one form of this class is quite interesting as well as
curious. A rope-like withe of the fiber of the yucca, made quite fine,
is wrapped with flat strips of the same plant. In forming the basket
with this rope the workman commences at the center, or bottom, and
coils the rope round, attaching it by a method of weaving, until, by
successive layers of the rope, it attains the desired dimensions. These
are quite highly and prettily ornamented in black, white, and yellow,
and are compact and strong. Another variety of baskets of similar shape
and size, and also fancifully ornamented, was obtained from the same
Indians. These are made from small round willows. They exhibit less
skill in construction, but are handsomely ornamented. Another kind was
also obtained from the Shinumos, which, however, are attributed to the
Apaches and probably found their way into the Moki villages through
trade. These are large bowl-shaped baskets, almost watertight, but
generally used as flour and meal baskets. They are also ornamented
black and yellow, produced by weaving the material of different colors
together while making the basket.
There are many other forms and varieties, which will be referred to at
the proper time, as they occur in the catalogue.
The Pueblos employ a variety of plants and herbs for medicinal and
dyeing purposes, some of which were collected. Their botanical names
were not determined, but they are indigenous to the regions inhabited
by the Indians using them.
Ornaments and musical instruments employed in dances and religious
ceremonies do not differ much among the Pueblo Indians; the principal
ones being the drum, rattle, notched sticks, a kind of fife, and a
turtle-shell rattle. The latter instrument is the shell of a turtle,
around the edges of which the toes of goats and calves are attached;
this produces a very peculiar rattling sound. The shell is usually
attached to the leg near the knee.
COLLECTIONS FROM ZUNI.
ARTICLES OF STONE.
_AXES, HAMMERS, AND MAULS._
1. (40139). Flat rubbing or grinding stone of silicified wood.
2. (40551). Stone axe, _[-o]'-l[-a]-ki-le_, with groove near the larger
end.
3. (40552). Imperfectly-made stone axe, _[-o]'-l[-a]-ki-le_, grooved at
each edge; basalt.
4. (40553). Large axe, with groove around the middle; sandstone.
5. (40554). Axe, grooved at the middle, square and flat on top; basalt.
6. (40555). Small centrally-grooved axe; schistose rock.
7. (40556). Axe, grooved in the middle.
8. (40557). Axe, grooved near the blunt end, which is shaped similarly
to the edge.
9. (40558). Axe, grooved near the end.
10. (40559). Small hatchet, _[-o]'-l[-a]-ki-le_, of basalt doubly
grooved, edge beveled from both sides, hammer end about one and a half
inches in diameter.
11. (40560). Grooved axe, _[-o]'-l[-a]-ki-le_, of fine black basalt,
well polished; groove well worn. The face or side is intended to be
near the holder when in use. Fig. 352. This specimen was found in
Arizona, near Camp Apache, and was presented by Mrs. George P. Buell.
It is one of the largest in the collection with such perfect finish.
12. (40561). Grooved in the center; of porous basalt.
13. (40562). Hammer grooved in the center, rounded off at each end.
14. (40563). Small hatchet-shaped instrument, square at the back, and
rounded at the front edge.
15. (40563a). Rudely-made axe, grooved near the blunt end.
16. (40564). Small axe, with a groove round the body quite near the
blunt end; basalt.
17. (40565). Axe, three and a half inches long.
18. (40566). Quite small, probably a hatchet, of firm basalt, grooved
near the hammer end.
19. (40567). Much larger than the last, basaltic; groove quite deep and
smooth, hammer end circular, large, and blunt.
20. (40568). Grooved axe of quartzitic rock.
21. (40569). Pick-shaped axe, grooved entirely around, with imperfect
depressions which were in the water-worn boulder from which it was
made; about six inches in length.
22. (40570). Boulder of sandstone with groove near the middle.
23. (40571). Flat basaltic boulder, grooved near the center, straight on
the back, and tapering above and below the groove.
24. (40572). Small basaltic hammer and axe with groove near the large
end.
25. (40573). Small grooved axe composed of hard sandstone; hammer end
large, edge quite perfect.
26. (40574). Small boulder of basalt, ground to an edge at one end and
rounded off at the other; doubly grooved.
27. (40575). Large basaltic stone considerably chipped off from pounding
hard substances, grooved near the center, both ends quite blunt;
probably used as a pounding stone.
28. (40576). Flat basaltic boulder, used as a pounder.
29. (40577). Basaltic hatchet grooved in the middle; quite rough.
30. (40578). Grooved axe of a very heavy, solid character, apparently
designed more for mauling than cutting.
31. (40579). Large, heavy basaltic hammer and axe with groove around the
body near the hammer end; about seven inches long.
32. (40580). Axe, grooved in the middle, upper or hammer end unusually
long in proportion to the size.
33. (40581). Flat axe made from a water-worn boulder, oval in outline,
both edges designed for cutting or splitting. Deep groove encircling
the body, with protrusions above and below it to prevent the handle
from slipping out; greenstone.
34. (40582). Hard, fine-grained sandstone axe wedge-shaped, without a
groove.
35. (40583). Grooved axe with round body.
36. (40584). Fig. 349. Axe with a broad, shallow groove near the upper
end, which is much narrower and smaller than the lower; of mottled
volcanic rock, white, green, and black.
37. (40585). Axe grooved in the middle, irregular in shape, and much
chipped off at the lower edge and rounded off at the top.
38. (40806). Made from a very fine, hard metamorphic rock, small enough
to be classed as a hatchet; crescent-shaped at the top.
39. (40703). Fig. 348. A very dark brown axe, speckled with reddish
spots. This axe bears a much finer polish than most of those in the
collection.
40. (40704). Axe, grooved near the upper end, which is cone-shaped.
41. (40705). An almost square axe of basaltic rock, grooved on the
sides, flat on top.
42. (40706). Axe of quartzitic rock, flat and thin; grooved.
43. (40900). Long, narrow axe, grooved near the upper end.
44. (40901). Axe, made from a water-worn boulder, almost to its present
shape.
45. (40902). Small, round axe of basalt, having a shallow groove near
the larger end.
46. (40903). Grooved basaltic axe.
47. (40904). Maul, with rough surface, one side flat, the other convex,
with a groove.
[Illustration:
Fig. 347 (42229) (1/3)
Fig. 348 (40703) (1/3)
Fig. 349 (40584) (1/3)
Fig. 350 (39903) (1/3)
Fig. 351 (42205) (1/3)
Fig. 352 (40560) (1/3)
Figs. 347-352.--Zuni Grooved Axes.]
48. (40258). Double-grooved axe of porphyry, well polished and quite
perfect.
49. (41260). Grooved axe of compact sandstone; wedge-shaped.
50. (42204). Stone maul of basalt, with groove; very rough.
51. (42205). Grooved axe of basalt. Fig. 351. This specimen was obtained
at Fort Wingate, in New Mexico, but was probably found in or around
some of the ruins.
52. (42229). This is one of the finest specimens in the collection, and,
as shown by the cut, Fig. 347, has the handle attached, ready for use.
This is formed of a willow withe bent round the axe and doubled,
extending out far enough to form a handle and wrapped with a buckskin
string; of compact basalt.
53. (42230). Shallow-grooved axe of basalt.
54. (42231). Axe, with a shallow groove near the larger end.
55. (42232). Axe of basalt, grooved on the sides.
56. (42233). Grooved axe, in size and shape the same as (42226).
57. (42234). Grooved axe of a peculiar black mottled rock, with white,
marble-like streaks through it; groove surrounding it in the center.
58. (42235). Irregularly-shaped axe with a wide and deep groove
surrounding it, curiously mottled with reddish and green streaks.
Specimens of this kind are quite rare.
59. (42236). Grooved axe; sides well polished and exhibiting peculiar
reddish spots.
60. (42237). Small grooved axe of metamorphic rock.
61. (42238). Grooved axe.
62. (42239). Small grooved axe of schistose rock, much flaked off at
each end.
63. (42240). Axe, grooved on three sides; similar in size and shape to
(42223).
64. (42241). Grooved axe with flattened top.
65. (42242). Same as the preceding.
66. (42242). Grooved axe with two edges.
67. (42244). Celt-shaped axe of basalt; it appears to have been used as
a rubbing stone.
68. (39869). Zuni maul with circular groove around the centre, used
generally for grinding or pounding soft foods, such as red-pepper
pods; of porous lava.
69. (39903). Double-edged axe, _[-o]'-l[-a]-ki-le_, with groove around
the middle; volcanic rock, from Zuni. See Fig. 350.
70. (42349). Rounded end of a sandstone metate grinder converted into a
flat hammer by grooving it at the opposite edges.
71. (41291). Pounder of sandstone. It was originally a common axe. Thumb
and finger depression on the sides.
72. (40871). Lava Chili pounder with cap-shaped ends; grooved.
73. (40906). Lava rock pounder; small.
_METATES, OR GRAIN-GRINDERS, AND PESTLES._
74. (40870). Square red sandstone metate.
75. (42280). Flat sandstone grinding slab.
76-82. The following numbers represent the rubbers accompanying the
metates. The Indian name is _y[ae]'-l[)i]n-ne_: 76, (40909); 77,
(40910); 78, (40911); 79, (40912); 80, (40913); 81, (40914); 82,
(41259); sandstone rubber.
_MORTARS, PESTLES, ETC._
These are found in use at all the pueblos, but are more common in Zuni
and the Moki villages than elsewhere, as these Indians use mineral
pigments more extensively and in greater variety than any of the others.
The pestles and mortars obtained from these tribes are all too small to
be used for any other purpose than grinding pigments. Many of them
appear to be quite old, and were probably handed down from distant
ancestors, or obtained from the ruins. Some of them are evidently of
modern manufacture.
83. (40707). Mortar; a round, flat, quartzitic boulder with round cavity
on one side about one inch in diameter and half an inch deep, and a
square depression on the other about an inch deep and two inches in
width; indigo still clinging to the surface of the depression.
84. (40708). Mortar of quartzite, the body nearly square and flat;
depression round and about four inches in diameter, quite shallow.
85. (40709). Mortar of coarse-grained sandstone, almost perfectly round,
the cavity quite deep, and lined with red ochre or vermilion.
86. (40710). Mortar of a flat sandstone with irregular rim about four
inches in diameter.
87. (40711). Paint mortar of a small round quartz boulder.
88. (40712). Mortar of fine-grained sandstone about six inches long by
three wide; sides square. This mortar was in use by the Zunians for
the purpose of grinding a pigment of yellowish impure clay, colored by
the oxide of iron, with which they decorate their pottery, and which
produces the brown and reddish-brown colors.
89. (40713). Small mortar of sandstone.
90. (40714). Mortar made from a flat water-worn quartz boulder with a
circular depression about half an inch deep. The bottom of this mortar
shows evidence of its having been used as a grinding stone previous to
being converted into a mortar, or it may have been used for both
purposes, as both the paint cavity and the rubbing side show recent
use.