which had jumped into the olla during the night. In the animal’s
attempt to climb out, the vessel suffered some rather severe bumps. The
story of the kitten’s adventure was told before the crack was noticed.
Later it was used to explain the presence of the imperfection.
[38] The expression “get warm” comes from the fact that while the
vessel is damp the evaporating moisture causes it to feel cool; when
thoroughly dry it feels warm.
[39] The red slips are not used today in the designs, although some of
the older vessels contain red elements which appear to have been made
of the dark-red slip.
[40] Stevenson says of the Zuñi: “This solution (of a fine white
calcareous earth) is applied to the surface of the vessel and allowed
to dry; it is then ready for the decorations” (1883, pp. 329, 330).
Mrs. Stevenson, writing at a later date, gives more details: “A white
clay is dissolved in water and then made into cones which are dried
in the sun. When required for use these cones are rubbed to powder on
a stone, again mixed with water, and applied in a liquid state to the
object with a rabbit-skin mop. Polishing-stones are used to finish the
surface” (1904, p. 375).
[41] At Santa Clara and San Juan some polished ware is polished only
from the rim to the shoulder and the lower half is apparently unslipped.
[42] Stevenson in speaking of the polished black pottery of the Rio
Grande pueblos says: “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 part 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” (1883, p. 331). Mrs. Stevenson
also gives an account somewhat similar: “In many of the pueblos the
pottery is undecorated, the surface being finished in plain red or
black. The ware is made of a yellowish clay, in the manner heretofore
described, and the vessels are placed in the sun, where they remain for
hours. They are then washed with a solution of red ochre, and while wet
the process of polishing begins, the woman with untiring energy going
over the surface again and again with her polishing-stone, every little
while passing a wet cloth over the vessel to keep the surface moist.
When the polishing is completed, the vessel is again placed in the sun
for a short time before receiving its final baking in the oven” (1904,
p. 375.)
[43] This second potter, however, did use lard in polishing vessels to
which the red slip had been applied.
[44] The substitution of the chamois for a cloth was inaugurated by the
potter using it.
[45] The use of this paint for producing designs upon polished black
ware was discovered by Maria Martinez in June, 1921. On inquiring why
other potters did not copy the process, it was learned that because of
certain taboo-like restrictions the secret of making this kind of ware
would not be disclosed until a year after its discovery. Although the
matter could not be further investigated because of the unwillingness
of the Indians to discuss such things, it would appear that we have in
this case a sort of primitive patent-right. At the present time (1925)
practically all San Ildefonso potters make this ware, which has proved
extraordinarily popular; Maria, however, still produces by far the
finest pieces (see pl. 8, a).
[46] Occasionally such precautions are disregarded, apparently through
laziness. One potter did her painting in the same room in which some
meat was being cooked. The combined odors of the cooking meat and the
guaco attracted all the flies in the neighborhood, but fortunately
screens kept some of them out of the room.
[47] Stevenson gives no details of the painting at Zuñi; “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” (1883,
p. 330). Mrs. Stevenson is just as brief: “After a thorough drying of
this foundation, the slip, the designs are painted with brushes made
of yucca needles, the pigments having been ground in stone mortars and
made into a paste with water to which a syrup of yucca fruit is added”
(1904, p. 375). The stone mortar for pigment grinding may be seen in
pl. 31, a.
[48] On pp. 78 to 84 will be found notes on the actual painting of
several typical designs.
[49] One woman tried her best to teach me how to tell these shades
apart, but it proved utterly impossible for me to distinguish the
darker from the lighter.
[50] This variant in polished black ware is a new departure. It was
discovered, probably accidentally, by one of the San Ildefonso potters
early in the summer of 1921. The process by which the red blotch is
made has not as yet been brought completely under control.
[51] It is interesting to note that in making the preliminary pencil
draft, she uses entirely different strokes from those made by the brush.
[52] The subject of symbolism is touched upon in this report only with
the greatest diffidence. No two students of Southwestern ceramics seem
to entertain the same theory, in all details, upon this subject. The
statements made here are given for what they may be worth. The time
devoted to the work did not permit of a careful and exhaustive study of
the subject.
[53] One potter, after glancing at a small vessel which was undoubtedly
old, informed the writer that it had once belonged to the “summer
people”, a social-religious division of the community.