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diff --git a/39528-h/39528-h.htm b/39528-h/39528-h.htm new file mode 100644 index 0000000..8f90c53 --- /dev/null +++ b/39528-h/39528-h.htm @@ -0,0 +1,3577 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of Mohave Pottery, by A. L. Kroeber and Michael J. Harner. + </title> + <link rel="coverpage" href="images/cover.jpg" /> + <style type="text/css"> + +body {margin-left: 10%; + margin-right: 10%;} +h1,h2 {text-align: center; /* all headings centered */ + clear: both;} +p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em;} +table {margin-left: auto; margin-right: auto;} +.tdl {text-align: left; vertical-align: bottom;} +.tdr {text-align: right; vertical-align: bottom;} +.tdc {text-align: center; vertical-align: bottom;} +.pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right;} /* page numbers */ +.blockquot {margin-left: 5%; + margin-right: 10%;} +.center {text-align: center;} +.smcap {font-variant: small-caps;} +.caption {text-align: center; + font-weight: bold;} +td.toprow {border-bottom: solid 1px; + border-top: solid 1px; + border-left: solid 1px; + border-right: solid 1px;} +td.columns{border-right: solid 1px; + border-left: solid 1px;} +hr.c60 {width: 60%; + margin-top: 1.5em; + margin-bottom: 1.5em;} +.small {font-size: small;} +.large {font-size: large;} +.i2 {margin-left: 2em;} +.p2 {margin-top: 2em;} +.p4 {margin-top: 4em;} +.indent {margin-left: 15%; + margin-right: 5%; + font-size: 1em;} +.hanging {margin-left: 3em; + text-indent: -2em;} + +/* Footnotes */ +.footnotes {border: dashed 1px;} +.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} +.fnanchor {vertical-align: super; + font-size: .8em; + text-decoration: + none;} + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Mohave Pottery, by +Alfred L. Kroeber and Michaell J. Harner + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Mohave Pottery + +Author: Alfred L. Kroeber + Michaell J. Harner + +Release Date: April 24, 2012 [EBook #39528] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK MOHAVE POTTERY *** + + + + +Produced by Chris Curnow, Katie Hernandez, Joseph Cooper and the +Online Distributed Proofreading Team at http://www.pgdp.net + + + + + +</pre> + + +<h2>UNIVERSITY OF CALIFORNIA PUBLICATIONS<br /> +ANTHROPOLOGICAL RECORDS</h2> +<p class="small center">VOLUME XVI<br /> +1955-1961</p> +<p class="center">UNIVERSITY OF CALIFORNIA PRESS<br /> +BERKELEY AND LOS ANGELES<br /> +1961</p> +<p class="center">KRAUS REPRINT CO.<br /> +Millwood, New York<br /> +1976</p> + +<p class="center"><span class="smcap">University of California Press</span><br /> +<span class="smcap">Berkeley and Los Angeles</span><br /> +<span class="smcap">California</span></p> +<p class="center"><span class="smcap">Cambridge University Press<br /> +London, England</span></p> +<p class="center"><i>Reprinted with the permission of the<br /> +University of California Press</i></p> +<p class="center">KRAUS REPRINT CO.</p> +<p class="center">A U.S. Division of Kraus-Thomson Organization Limited</p> +<p class="center">Printed in U.S.A.</p> + +<hr class="c60" /> +<h2 class="p4">CONTENTS</h2> + + +<div class="center"> +<table border="0" cellpadding="4" cellspacing="0" summary="contents"> +<tr> +<td class="tdl">1. Mohave Pottery, by A. L. Kroeber and Michael J. Harner</td> +<td class="tdr">1</td> +</tr> +<tr> +<td class="tdl">2. The Aboriginal Population of the San Joaquin Valley, California, by S. F. Cook</td> +<td class="tdr">31</td> +</tr> +<tr> +<td class="tdl">3. The Aboriginal Population of the North Coast of California,<br /> +<span class="i2"> by S. F. Cook</span></td> +<td class="tdr">81</td> +</tr> +<tr> +<td class="tdl">4. The Aboriginal Population of Alameda and Contra Costa Counties,<br /> +<span class="i2"> California, by S. F. Cook</span></td> +<td class="tdr">131</td> +</tr> +<tr> +<td class="tdl">5. California Athabascan Groups, by Martin A. Baumhoff</td> +<td class="tdr">157</td> +</tr> +<tr> +<td class="tdl">6. Colonial Expeditions to the Interior of California, Central Valley,<br /> +<span class="i2"> 1800-1820, by S. F. Cook</span></td> +<td class="tdr">239</td> +</tr> +<tr> +<td class="tdl">7. Shoshone-Bannock Subsistence and Society, by Robert F. Murphy and<br /><span class="i2"> Yolanda Murphy</span></td> +<td class="tdr">293</td> +</tr> +<tr> +<td class="tdl">8. A Burial Cave in Baja California, The Palmer Collection, 1887, by William<br /><span class="i2"> C. Massey and Carolyn M. Osborne</span></td> +<td class="tdr">339</td> +</tr> +<tr> +<td class="tdl">9. Washo Religion, by James F. Downs</td> +<td class="tdr">365</td></tr> +</table> +</div> + +<hr class="c60" /> +<h1 class="p4">MOHAVE POTTERY</h1> +<p class="center"><span class="small">BY</span></p> +<p class="center"><span class="large">A. L. KROEBER AND MICHAEL J. HARNER</span></p> +<p class="center"><span class="small">ANTHROPOLOGICAL RECORDS<br />Vol. 16, No. 1</span></p> +<p><span class="pagenum"><a name="Page_i" id="Page_i">[i]</a></span></p> +<p class="center">UNIVERSITY OF CALIFORNIA</p> +<p class="center">ANTHROPOLOGICAL RECORDS</p> +<p class="center">Editors (Berkeley): R. L. Olson, R. F. Heizer, T. D. McCown, J. H. Rowe +Volume 16, No. 1, pp. 1-30, plates 1-8, 2 figures in text</p> +<p class="center">Submitted by editors August 4, 1954<br /> +Issued May 6, 1955<br /> +Price, 75 cents</p> +<p class="center">University of California Press<br /> +Berkeley and Los Angeles<br /> +California</p> +<p class="center">Cambridge University Press<br /> +London, England</p> +<p class="center">Manufactured in the United States of America<span class="pagenum"><a name="Page_ii" id="Page_ii">[ii]</a></span></p> + +<hr class="c60" /> +<p class="center large p2">FOREWORD</p> + +<p>The pottery here described was collected fifty years ago by Kroeber and is all in the +University's Museum of Anthropology.</p> + +<p>It is described for ethnological comparability by Kroeber, with emphasis on use, +shape, painted design, and names of designs; and for archaeological utilization by +Harner, with special attention to ware, temper, firing, hardness, forms, paint and +color, and technological considerations generally. The two parts were written independently. +They overlap here and there, especially on vessel shapes; but, after a +few duplications were excised, it has seemed advantageous, after adding a brief concordance +of terms employed by the two authors, to let the independent treatments of +shapes stand double.</p> + +<p>No comparisons with other native ceramic arts, recent or ancient, are undertaken +by us.</p> + +<p class="right"> +A. L. K.<br /> +M. J. H.</p> +<p><span class="pagenum"><a name="Page_iv" id="Page_iv">[iv]</a></span></p> +<hr class="c60" /> +<h2>CONTENTS</h2> +<p class="center"><span class="small">PART I. ETHNOGRAPHICAL ANALYSIS</span></p> +<p class="center">By A. L. Kroeber</p> +<div class="center"> +<table border="0" cellpadding="4" cellspacing="0" summary="contents part 1"> +<tr> + <td class="tdl"> </td> + <td class="tdr">Page</td> +</tr> +<tr> + <td class="tdl">Pottery shapes recognized by the Mohave</td> + <td class="tdr"><a href="#Page_1">1</a></td> +</tr> +<tr> + <td class="tdl">Pottery objects other than vessels</td> + <td class="tdr"><a href="#Page_2">2</a></td> +</tr> +<tr> + <td class="tdl">Technological notes</td> + <td class="tdr"><a href="#Page_2">2</a></td> +</tr> +<tr> + <td class="tdl">Description of the pottery</td> + <td class="tdr"><a href="#Page_3">3</a></td> +</tr> +<tr> + <td class="tdl"><span class="i2">Plate 1: Bowls</span></td> + <td class="tdr"><a href="#Page_3">3</a></td> +</tr> +<tr> + <td class="tdl"><span class="i2">Plate 2: Bowls</span></td> + <td class="tdr"><a href="#Page_3">3</a></td> +</tr> +<tr> + <td class="tdl"><span class="i2">Plate 3: Platters</span></td> + <td class="tdr"><a href="#Page_4">4</a></td> +</tr> +<tr> + <td class="tdl"><span class="i2">Plate 4: Spoons</span></td> + <td class="tdr"><a href="#Page_5">5</a></td> +</tr> +<tr> + <td class="tdl"><span class="i2">Plate 5: Jars, pots, jugs, cups</span></td> + <td class="tdr"><a href="#Page_6">6</a></td> +</tr> +<tr> + <td class="tdl"><span class="i2">Plate 6: Bowls, platters, parchers, canteens</span></td> + <td class="tdr"><a href="#Page_7">7</a></td> +</tr> +<tr> + <td class="tdl"><span class="i2">Plate 7: Spoon backs, toys, pipes, pot rests</span></td> + <td class="tdr"><a href="#Page_7">7</a></td> +</tr> +<tr> + <td class="tdl"><span class="i2">Plate 8: Jar, cup, platter, bowls, spoons</span></td> + <td class="tdr"><a href="#Page_8">8</a></td> +</tr> +<tr> + <td class="tdl">Summary of shapes</td><td class="tdr"><a href="#Page_8">8</a></td> +</tr> +<tr> + <td class="tdl">Summary of painted designs and elements</td> + <td class="tdr"><a href="#Page_9">9</a></td> +</tr> +<tr> + <td class="tdl">The Mohave pottery style</td> + <td class="tdr"><a href="#Page_10">10</a></td> +</tr> +<tr> + <td class="tdl">Appendix I. Memoranda on the destroyed Academy collection</td> + <td class="tdr"><a href="#Page_12">12</a></td> +</tr> +<tr> + <td class="tdl">Appendix II. A small Mohave bowl</td> + <td class="tdr"><a href="#Page_12">12</a></td> +</tr> +<tr> + <td class="tdl">Appendix III. Granite temper and limonite pigment examination,<br /><span class="i2">by Professor Charles Meyer</span></td> + <td class="tdr"><a href="#Page_13">13</a></td> +</tr> +<tr> + <td class="tdl">Appendix IV. Mohave pottery in other museums</td> + <td class="tdr"><a href="#Page_13">13</a></td> +</tr> +<tr> + <td class="tdl">Appendix V. Correlation of Kroeber and Harner shape classes</td> + <td class="tdr"><a href="#Page_13">13</a></td> +</tr> +<tr> +<td><p class="center"><span class="small">PART II. A DESCRIPTION FOR THE ARCHAEOLOGIST<br /> +PARKER RED-ON-BUFF, FORT MOHAVE VARIANT,<br /> +AND PARKER BUFF, FORT MOHAVE VARIANT</span></p> +<p class="center">By Michael J. Harner</p></td> +</tr> +<tr> + <td class="tdl">Introduction</td> + <td class="tdr"><a href="#Page_15">15</a></td> +</tr> +<tr> + <td class="tdl">Introduction</td> + <td class="tdr"><a href="#Page_15">15</a></td> +</tr> +<tr> + <td class="tdl">Parker Red-on-Buff, Fort Mohave variant</td> + <td class="tdr"><a href="#Page_16">16</a></td> +</tr> +<tr> + <td class="tdl">Parker Buff, Fort Mohave variant</td> + <td class="tdr"><a href="#Page_18">18</a></td> +</tr> +<tr> + <td class="tdl">Bibliography</td> + <td class="tdr"><a href="#Page_20">20</a></td> +</tr> +<tr> + <td class="tdl">Plates</td> + <td class="tdr"><a href="#Page_23">23</a></td> +</tr> +</table></div> +<p><a name="Page_v" id="Page_v"></a></p> +<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p> + +<hr class="c60" /> +<h1>MOHAVE POTTERY</h1> + +<hr class="c60" /> +<h2 class="p4">PART I<br /> +ETHNOGRAPHICAL ANALYSIS</h2> +<p class="center">BY</p> +<p class="center"><span class="small">A. L. KROEBER</span></p> +<p class="p2 center"><b>POTTERY SHAPES RECOGNIZED BY THE MOHAVE</b></p> + +<p>The generic Mohave name for pottery vessels seems +to be kwáθki,<a name="FNanchor_1" id="FNanchor_1"></a><a href="#Footnote_1" class="fnanchor">[1]</a> the word for bowl.</p> + +<p>The shapes for which Mohave names were obtained are +mainly those which segregate out objectively on examination +of a collection:</p> + +<blockquote><p>kwáθki, an open bowl with slightly everted lip, +often with a band of mesquite bark—both bean mesquite +and screw mesquite are specified in my notes—tied +around the neck. The shape is shown in pls. +1, 2, 6,<i>a</i>-<i>c</i>, 8,<i>d</i>-<i>h</i>; the name kwáθki was specifically +applied to 1,<i>d</i>, 2,<i>b</i>, 2,<i>h</i>, 6,<i>a</i>.</p> + +<p>kayéθa, a platter, that is, a low round bowl or flat +dish without neck or everted lip, was applied to pl. 3,<i>d</i>. +The shape is shown in pls. 3,<i>a</i>-<i>d</i>, <i>g</i>, 8,<i>c</i>.</p> + +<p>kayúka, pl. 3,<i>c</i>, or kakápa, also a platter, but oval, +and smaller. Pls. 3,<i>e</i>, <i>f</i>, <i>h</i>-<i>j</i>, 6,<i>d</i>, <i>e</i>.</p> + +<p>kam'óta, a spoon, ladle, dipper, or scoop, more +or less triangular. Pls. 4, 7,<i>a</i>-<i>i</i>, 8,<i>i</i>-<i>k</i>. Subclasses +were not named to me, except for kam'óta ahmá, +those with a quail head at the handle.</p> + +<p>katéla, bi-pointed tray for parching. Pl. 6,<i>f</i>, <i>g</i>.</p> + +<p>It will be observed that the last five names all +begin with ka-.</p> + +<p>The name suyíre was given to pl. 6,<i>c</i>, which is +intermediate between bowl and platter.</p> + +<p>táskyena is a cook pot. Pl. 5,<i>c</i>.</p> + +<p>tšuváva, a large cook pot, a foot and a half to two +feet high. I have seen one of these in use, full to the +brim with maize, beans, and fish, being stirred by +an old man with three arrow weed sticks tied in the +middle; but I did not secure one. It is set on three +conical supports of pottery as shown in pl. 7,<i>n</i>, <i>o</i>.</p> + +<p>A still larger pot, up to a yard in diameter, too +big to cook in, was sometimes made to ferry small +children across the river, a swimmer pushing the +vessel (Handbook, 1925, p. 739). I would imagine it +would be least likely to tip over if made in the shape +of a giant kwáθki bowl.</p> + +<p>hápurui, water jar, as kept around the house, "olla" +shaped, pls. 5,<i>a</i>, <i>b</i>, 8,<i>a</i>. The name contains the stem +for water: (a)há.</p> + +<p>I happened not to secure the name of the small-mouthed +canteen water jar used in traveling, as shown +in pl. 6,<i>h</i>.</p> + +<p>A small-mouthed jar with short side-spout at one +end, too large for travel and probably used chiefly for +storage of seeds, is called hápurui hanemó, "duck +jar," from its resemblance to the floating bird. Pl. +6,<i>i</i>.</p> + +<p>There are also handled jugs, pl. 5,<i>d</i>-<i>g</i>, and handled +cups, pls. 5,<i>h</i>-<i>i</i>, 8,<i>b</i>, which I suspect of having been +devised after contact with Americans, although some +specimens show use and the painted designs are in +good Mohave style. My doubts are strengthened by my +having obtained no specific name for either handled +shape: the high jug, 5,<i>g</i>, was called a jar, hápurui; +the low jug, 5,<i>e</i>, kwáθki, bowl; and in 1900 I bought a +cup for which the name kwáθki aha-suraitši was given.</p></blockquote> + +<p>In the dreamed Mastamhó myth of the origin of culture +(AR 11:1, 1948, see 7:76, p. 63), the culture hero calls +some of the principal vessel forms by two sets of names, +the first being recondite, twisted, or punning. The list is:</p> + +<div class="center"> +<table border="0" cellpadding="1" cellspacing="0" summary="phrases with translation"> +<tr> + <td class="tdl">to bring water in</td> + <td class="tdl"><span class="i2">(u)más-toyám<a name="FNanchor_2" id="FNanchor_2"></a><a href="#Footnote_2" class="fnanchor">[2]</a></span></td> + <td class="tdl"><span class="i2">hápurui</span></td> +</tr> +<tr> + <td class="tdl">to cook in</td> + <td class="tdl"><span class="i2">umás-te-to'óro</span></td> + <td class="tdl"><span class="i2">táskyena</span></td> +</tr> +<tr> + <td class="tdl">to cook in</td> + <td class="tdl"><span class="i2">umás-te-hamóka<a name="FNanchor_3" id="FNanchor_3"></a><a href="#Footnote_3" class="fnanchor">[3]</a></span></td> + <td class="tdl"><span class="i2">tšuváva</span></td> +</tr> +<tr> + <td class="tdl">spoon, ladle</td> + <td class="tdl"><span class="i2">umás-uyúla</span></td> + <td class="tdl"><span class="i2">kam'óta</span></td> +</tr> +<tr> + <td class="tdl">food platter</td> + <td class="tdl"><span class="i2">han'amé</span></td> + <td class="tdl"><span class="i2">kakápa</span></td> +</tr> +<tr> + <td class="tdl">bowl</td> + <td class="tdl"><span class="i2">umás-iáđa</span></td> + <td class="tdl"><span class="i2">táskyena</span></td> +</tr> +<tr> + <td class="tdl">parching dish</td> + <td class="tdl"><span class="i2">umás-eyavkwa-havík<a name="FNanchor_4" id="FNanchor_4"></a><a href="#Footnote_4" class="fnanchor">[4]</a></span></td> + <td class="tdl"><span class="i2">katéla</span></td> +</tr> +<tr> + <td class="tdl">arrow weed stirrer</td> + <td class="tdl"><span class="i2">umás-kasára</span></td> + <td class="tdl"><span class="i2">so'óna</span></td> +</tr> +</table></div> + +<p>It will be noted that handled jugs and handled cups are +lacking from this list, though so are canteens and round +platters.</p> + +<p>Small-and-flaring-necked spheroid jars, holding a +gallon or more, are found in the region, and in 1900 I +secured two Mohave examples which were destroyed in +1906 with the Academy of Sciences building. They served +to store seeds, and seem often to have been hidden in +caves and out-of-the-way spots by Shoshonean desert +tribes. I secured one near Needles in 1908, now no. 13875 +in the Museum of Anthropology, but it belonged to a Chemehuevi +woman who was born in Chemehuevi Valley and was +in 1908 living in Mohave Valley, married to a Mohave who +was himself half-Chemehuevi. She had made the jar many +years before: in fact, it was the first and last pottery +vessel she attempted, she said. The ware is definitely +paler than Mohave pottery: a sort of half-yellow. It bears +on its upper half a red pattern, but this is fainter than +most Mohave patterns, and most resembles occasional +fishnet patterns on the under sides or backs of Mohave +bowls, platters, or spoons. It has 42 vertical (radiating) +lines and 7 horizontal (encircling) lines, resulting in 252 +hollow quadrilaterals. The vessel also has two mends or +strengthenings with lumps of black gum. The overall +height, 225 mm., is 75 per cent of the maximum body +diameter, 300 mm., which comes at about 100 mm., or +less than halfway up. The mouth and neck diameters are +69 and 58 mm., or 23 per cent and 19 per cent of the +body diameter.</p><p><span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span></p> + +<p class="p2 center"><b>POTTERY OBJECTS OTHER THAN VESSELS</b></p> + +<p>Two figures idly modeled, or serving as toys—made +for sale, it was said—were found in a household: a +lizard and a hummingbird, plate 7,<i>j</i>,<i>k</i>, nos. 1726, 1727. +They seem at least partly baked, but have since been +washed with yellow ocher, which would turn to red on +baking. The bird also has a white-painted beak and spots.</p> + +<p>I saw pottery human figures and dolls, both with and +without hair of shredded cottonwood bark, cradles, etc., +offered for sale by Mohave women to tourists on the +station platform—Needles was a scheduled 25-minute +meal stop for most trains. I did not purchase any of these, +nor any small platters or handled jugs or cups, which +were sometimes also offered. This was perhaps a mistake; +but I was eager to impress on the Indians generally that +my interest was in native, nontourist objects. While +material was occasionally brought to me in town, this +was uncommon, and I secured most of it from Mohave +houses, especially native-style ones across the river in +Arizona. Typically, the bows and arrows hawked by a +few old men at the trains for twenty-five cents were not +the plain long Mohave willow bows, but red- and blue-painted +miniature willow imitations of the Chemehuevi +retroflex horn or composite bow.</p> + +<p>Pipes, short and tubular, are made of pottery. Plate +7,<i>l</i> (no. 4264), was made for a boy, and was unfinished, +remaining unbaked. Plate 7,<i>m</i> (no. 13870), is a fragment, +62 mm. long, about 11 through the mouth end, 19 at the +break, buff-colored, with gray (overfired) paste at the +fracture. I secured at least one other pipe, no. 1719, +which cannot at present be found in the Museum.</p> + +<p>Pot rests, put under the large tšuváva cookpots, were +made of clay, as shown in plate 7,<i>n</i>,<i>o</i>.</p> + +<p>In 1904 I secured an arrow-straightener of pottery, +no. 4367, shown in Handbook, plate 49,<i>f</i>. It carries a +longitudinal ridge, a sort of notched comb; presumably +to receive, after being heated, the joints of arrows of +cane or reed. However, cane arrows, though known to +the Mohave, were only occasionally used. The usual ones +of arrow weed, without foreshaft or attached head, were +simply warmed and bent by hand.</p> + +<p class="p2 center"><b>TECHNOLOGICAL NOTES</b></p> + +<p>I saw pottery made about 1902-1904, and have little to +add to the record.</p> + +<blockquote><p>Clay is tempered with sandstone crushed on the +metate, and built up by coiling. The start of a vessel +may be spiral, but its body consists of concentric +rings. The paste is rolled out into a slim sausage, the +length of which is roughly estimated on the vessel. It +is then laid on the last [preceding] coil, and any excess +pinched off. It is beaten, with a light and rapid +patting with a wooden paddle, against a smooth cobble +held inside, and its edge finished flat by scraping between +the thumbnail and index finger. Then the next +coil is added. The maker sits with the growing vessel +on the thighs of her stretched legs, or with one leg +flat in front of her and the other doubled under. The +paint is yellow ocher, which is put on with a little +stick and burns dull red. The patterns are carelessly +done, and often shaky. (Handbook, pp. 737-738.)</p> + +<p>In 1904, I added the following in notebook 60-33:</p> + +<p>A "dish" [bowl] is modeled with the rim incurved +[or vertical]. Finally, the rim is turned outward with +the fingers, a few inches at a time; [to make the slight +neck which] after firing is bound with screw-mesquite +[a'íse] fiber. A small oval platter seen made was built +up circularly with rolls of clay, then additional pieces +were added on two sides and paddled even.</p></blockquote> + +<p>I noted that no slip was being used by Mohave potters, +nor does examination reveal any.</p> + +<p>In 1904, notebook 60-34, I noted: "If dishes crack, +they are mended by hair binding, or now a wire, being +passed between two perforations." I did not note how the +holes were bored, nor whether the hair was human or horse.</p> + +<p>No. 4326 is a small piece of rock such as was crushed +and metate-ground for temper. It is not sandstone, as I +stated in 1923, but granite, according to my colleague +Professor Charles Meyer, whose courtesy is acknowledged +and whose information is summarized in Appendix III.</p> + +<p>No. 4295 consists of several small slabs of yellow oxide +of iron, for grinding up as design paint, which on firing +makes the red ocher color which is both darker and more +saturatedly red than the light reddish-buff ground color of +Mohave pottery. Its composition is also given in Appendix +III on the basis of Professor Meyer's examination. Both it +and no. 4354 were obtained at matekwaθ-kutšyep, "yellow +paint wide open," a spot in a wash cutting across the peneplain +from Avimota, Mt. Manchester, in Nevada opposite +Fort Mohave.</p> + +<p>Several samples of material that might help further +elucidate the technology of Mohave pottery have unfortunately +been misplaced in the Museum since at least several +years. Quite possibly they have been put together into one +tray, which was then mislaid. They include:</p> + +<blockquote> +<p>1759, sample of pottery clay.</p> +<p>4326, sample of pottery temper, presumably after grinding.</p> +<p>4295, 4354, sample of yellow ocher for painting designs.</p> +<p>4277, piece of broken pot.</p> +<p>13871, two sherds.</p> +<p>1719, pottery pipe.</p></blockquote> + +<p>Another lot of similar accessories was once included +in a collection belonging to the California Academy of +Sciences and is listed in Appendix I.</p> + +<p>I secured half a dozen paddles, kanóθki, for smoothing +the fresh coils of pottery vessels. All of these prove to +have been cut from white oak staves of whiskey barrels, +whose two-way curvature perhaps suggested to the Mohave +their adaptability for the purpose. Four of the six pieces +still show staining by iron barrel hoops. Three, however, +had had their concavity partly whittled flat. I presume +that in the old days paddles were made of cottonwood or +mesquite. The length and width dimensions of the "blades," +that is, exclusive of handles, are:</p> + +<blockquote> +<p>4276.......117...90</p> +<p>4311.......113..100</p> +<p>4346.......118..100 flattened</p> +<p>4347.......100...80 flattened</p> +<p>4348.........70...50 with 2 last makes a 3-size nest</p> +<p>13839......140...75 flat, almost biconvex</p> +</blockquote> + +<p>The second and last of these paddles are accompanied +by their "anvils"—waterworn stones. No. 4312 is somewhat +three-cornered, 90-95 mm. in length, 43 mm. thick, +has one flattish side, one convex, and weighs 18 oz. No. +13840, though got four years later, is quite similar: 85-90 +mm., 48 mm. thick, one side flattish, weight also 18 oz.<span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span></p> + + +<p class="p2 center"><b>DESCRIPTION OF THE POTTERY</b></p> + +<p>All pieces are actually inscribed with and cataloged +under a number beginning with the prefix 1-, which denotes +provenience from native California. This prefix, being +unvarying, is omitted in the present treatise.</p> + +<p>The objects described were collected by myself in three +lots, in Mohave Valley, on both sides of the Colorado +River, as follows:</p> + +<div class="center"> +<table border="0" cellpadding="3" cellspacing="0" summary="pottery"> +<tr> + <td class="tdl">In 1902</td> + <td class="tdl"> </td> + <td class="tdl">Accession 40 </td> + <td class="tdl"> </td> + <td class="tdl">Specimens 1-1710-1760</td> +</tr> +<tr> + <td class="tdl">In 1904</td> + <td class="tdl"> </td> + <td class="tdl">Acc. 135-138</td> + <td class="tdl"> </td> + <td class="tdl">Specs. 1-4259-4381</td> +</tr> +<tr> + <td class="tdl">In 1908</td> + <td class="tdl"> </td> + <td class="tdl">Acc. 325</td> + <td class="tdl"> </td> + <td class="tdl">Specs. 1-13771-13775</td> +</tr> +</table> +</div> + +<p>Of these nearly 300 objects, some 70 are of pottery.</p> + +<p>An earlier collection, made in 1900 for the California +Academy of Sciences, was destroyed by fire on the day of +the San Francisco earthquake, April 18, 1906. Some notations +on it were preserved and are summarized in Appendix +I.</p> + +<p class="p2 center"><b>PLATE 1: BOWLS</b></p> + +<blockquote><p><i>a</i>, 13773, diameter 258 mm., height 127 mm.</p> +<p><i>b</i>, 1733, d. 233, h. 177. Design: ta-lame-θlame, +"patches" (?). The painting is very uneven.</p> +<p><i>c</i>, 13772, d. 281, h. 140.</p> +<p><i>d</i>, 1715, d. 269, h. 151. Design, linear: ta-tsir-qa-(t)sirqa +face paint; dots: belly of yellow-hammer +(red-shafted flicker, kukhó). The outside is striped. +The execution is experienced, sure, light, and effective.</p> +<p><i>e</i>, 13774, d. 240, h. 142. The designs inside are +similar to those of <i>d</i>, and are repeated on the outside +of the vessel.</p> +<p><i>f</i>, 13778, d. 195, h. 97.</p> +<p><i>g</i>, 13780, d. 181, h. 89.</p> +<p><i>h</i>, 13779, d. 185, h. 87.</p></blockquote> + +<p>Of these 8 bowls, 3 (<i>f</i>, <i>g</i>, <i>h</i>, evidently from one household) +run from 181 to 195 mm. in diameter; the other 5, +from 233 to 281 mm. Proportions of height to diameter +are, seriated: 47, 49, 49, 50, 50, 50, 56, 59.</p> + +<p>The pattern is fundamentally the same on the inside of +all 8 bowls, except that spotting is omitted in <i>f</i>. It consists +of triple-line bars that branch at an acute angle; +one fork soon ends, the second goes on and merges with +a branch from another bar, and so on in a complex pattern +extending over the entire inside. The forks—which +are also junctions—each contain a small solid-filled triangle, +into which the thin middle line of each bar runs. +Or, the middle lines might be said to emerge from the +points of the solid triangles. The two remaining lines of +the bars are therefore mere borders or shadows: they +never touch a solid triangle. The dead ends of the forking +branches point at each other, or inward toward the center, +in most cases: <i>a</i>, <i>b</i>, <i>d</i>, <i>f</i>, <i>g</i>, <i>h</i>. In <i>c</i> they point parallel; +<i>e</i> is unskillfully painted and lacks the dead or free ends.</p> + +<p>This pattern is complex and calls for skill in execution. +<i>e</i> is a botch, <i>a</i> irregularly crowded, <i>g</i>, <i>h</i> simplified +and open; the rest show successful control, especially +<i>b</i>, <i>c</i>, <i>d</i>. Only <i>b</i> differs in that the dead or free +branches each end in a solid circle. The solid triangles +tend to vary somewhat in shape, from equilateral to +narrow isosceles, even in well painted bowls: cf. <i>b</i>, <i>c</i>; +this variation is perhaps unavoidable.</p> + +<p>This pattern is the most ambitious of Mohave design +treatments.</p> + +<p>The outer side of these bowls is painted with vertical +stripes down from the rim 6 times. Usually they are +thinnish lines, in <i>c</i> wider stripes. Bowls <i>e</i> and <i>f</i> partly +repeat the inside pattern on their outside.</p> + +<p class="p2 center"><b>PLATE 2: BOWLS</b></p> + +<blockquote><p><i>a</i>, 13771, diameter 246-260 mm. slightly oval, +height 115-118 mm., thickness 7.5 mm. toward bottom. +Weight 38 oz. There is a neck band of mesquite bark.</p> +<p><i>b</i>, 4321, d. 282, h. 150. Design: kan'ú, (Maricopa) +basketry pattern.</p> +<p><i>c</i>, 13775, d. 260, h. 100. Almost as flat as the +platters of pl. 3, but there is a neck, and it is bound.</p> +<p><i>d</i>, 1740, d. 210, h. 104. Design: coyote teeth.</p> +<p><i>e</i>, 13776, d. 266 (260-272), h. 140, thickness +toward bottom 9, at neck 4-4.5, at lip 5. Both paste +and surface are unusually yellowish. A neck-binding +has been lost, leaving a 20-mm. wide yellowish strip +paler than the darkened general surface. Wt. 37 oz.</p> +<p><i>f.</i>, 1732, d. 227, h. 130. Wt. 35 oz. Design, inside: +humanape, butterfly; outside, hotahpave face paint.</p> +<p><i>g</i>, 1714, d. 177, h. 121. The H/D proportion, 68 +per cent, is, with pl. 8,<i>h</i>, the highest of all bowls. I +called it a "deep pot" when I acquired it. Wt. 23 oz. +Design, outside: (i)yamtšupeṭ(a) face paint.</p> +<p><i>h</i>, 4292, "model," i.e., made for sale, d. 149, h. +77. Design, inside, halytôṭa, spider; outside, atcí'ara, +fish tail. This vessel, as well as the platter 4294, pl. +3,<i>j</i>, was secured from the wife of Tokwaθa, "Muskmelon"; +he gave the account of Olive Oatman's return +published in 1951 in No. 4 of the Publications of the +Kroeber Anthropological Society, also dictated a myth +about the origin of war, and was accorded a running or +mourning ceremony on his death. He is a historic +character, having been encountered by the Ives party +in 1858 and mentioned in Möllhausen. He was one of +the nine hostages imprisoned at Fort Yuma and escaped +from there—a disturbance that ended in the defeat of the +Mohave in battle by Armistead later in 1859.</p></blockquote> + +<p>These 8 bowls vary more in proportion than those of +plate 1. H/D ratio runs, seriated: 38, 45, 50, 52, 53, 57,<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span> +68 per cent, average 52, as against 51 per cent average +for plate 1. The lowest bowl in the present lot is <i>c</i>, with +<i>a</i> next; the highest is <i>g</i>. These three are outside the +limits of plate 1.</p> + +<p>The interior designs are less uniform than in plate 1.</p> + +<p><i>a</i> and <i>b</i> show an overall interior pattern of solid rhomboidal +quadrilaterals or hexagons reduced to triangles in +the interstices and toward the rim; each such figure being +surrounded by 3 thin parallel lines. Where the outermost +of these enclosing lines intersect, two of the four angles +are solidified, producing secondary hourglass figures. +The effect is a bit like a tortoise carapace; but the design +was named only for <i>b</i>, and then as recalling an overall +pattern of basketry, which the Mohave do not themselves +weave or coil though they know and use it. In <i>a</i>, there +are four large hexagons filling most of the field (actually +one is more pentagonal, one heptagonal); along the edges +are four lenticular areas, each enclosing two triangles; +two of these lenses show in the photograph. In <i>b</i>, the +figures are grouped in four parallel tiers extending across +the bowl. In <i>b</i>, the <i>outside</i> carries vertical stripes; in <i>a</i>, +eight right-slanting and eight left-slanting lines enclosing +as many diamonds and hourglass figures, with solid filling +of the upper and lower corners of the diamonds and +meeting corners of the hourglasses.</p> + +<p><i>c</i> and <i>d</i> are crossed by rows of solid triangles touching +at the corners. These aim at being equilateral in <i>c</i> +(the flattest of the bowls), so that the intervening background +spaces are also roughly equilateral, and there is +an overall dark-light effect. But in <i>d</i> the triangles are +narrower-based, or isosceles, and their points meet the +bases instead of the corners of triangles in the tier above, +so that the effect is one of pattern in rows rather than +overall. This is the design that was called "coyote teeth"; +which fairly agrees with plate 4,<i>l</i>,<i>q</i>.</p> + +<p><i>f</i> also has solid triangles, but they meet point to point, +leaving light rhomboids between their two rows. The +center is a lightly quartered circle; toward the rim, there +is a row of smaller, double, point-to-point (hourglass) +triangles, each set over the outer point of a rhomboid. +These outer triangles are each crossed by a bar of light +background—a feature not repeated in the collection, and +seeming strange to me; but it does yield a pair of miniature +solid triangles—that favorite Mohave design device—in +the waist of each outer hourglass. The miniature +solid angle also recurs in the central quartering. The +solid middle triangles as well as the medium-sized ones +toward the rim are followed outside their edge (or inside +the light rhomboids) by a row of dots. These rows of dots, +with faint lines, further extend to the actual rim of the +vessel, completing skewed hexagonal shapes of their own +(one is heptagonal). The design name given, "butterfly," +probably applies to the point-to-point large solid triangles, +possibly to the rhomboids. On the <i>outside</i>, to which the +design name "halter face paint" applies, there are eight +double-outlined hourglass triangle pairs, meeting tips +solid, the rest of their interiors and the intervening hexagons +being stippled with oval, streakish dots. Cf. the +outside of <i>a</i>.</p> + +<p><i>e</i> has been much rubbed in the middle, but the design +toward the rim is allied to those of the bowls in plate 1—triple +lines turning back or forking at acute angles. +Only the solid small triangles at junctures and ends seem +to be lacking. The <i>outside</i> carries 58 vertical stripes +averaging about 4 mm. wide.</p> + +<p><i>g</i> is the tallest bowl, with a height-diameter ratio of +more than 2/3, due in part to a semiconical bottom. It is +considerably worn inside, and food has spilled over and +crusted part of the outside. The discernible interior design +is in a band below the rim. This is crossed by a +series of diagonals sloping downward to the right, with a +little solid filling triangle in the acute angle made by the +diagonal with the border of the band. In addition, a left-sloping +diagonal extends down from the rim to the middle +of the right-sloping one, with a filling triangle at the +juncture. The <i>outside</i> is continuously covered by what in +other vessels was usually called "fish bones"—but here +was named (i)yam-tšuperta, a face paint—19 columns of +downward and 19 of upward pointing zigzags, all points +filled in red. Eight such horizontally progressing zigzag +lines are still perceptible; there may have been one or +two more, but not over ten altogether. This pattern is +most effective in a fairly high field (it is common in spoons), +such as this tall bowl affords on its exterior.</p> + +<p><i>h</i> has free-standing eight-legged spider figures interspersed +with dots. A spider design recurs in plate 3,<i>i</i>; +and in 3,<i>j</i> a similar figure is called tortoise. The stripes +and lines of the <i>outside</i> were called "fish tail"—it is not +quite apparent why.</p> + +<p>In summary for exterior designs, <i>a</i> and <i>f</i> have hourglasses, +<i>g</i> the zigzag fish bones, the others in this plate +"radial" or vertical lines, wholly or partly widened in <i>e</i>, +<i>h</i> to stripes.</p> + + +<p class="p2 center"><b>PLATE 3: PLATTERS</b></p> + +<p>Plate 3 shows flat bowls, dishes, or plates, more or +less platterlike, sometimes round and sometimes oval. +They differ from the bowls of plates 1 and 2 in being lower, +in having no neck, and no outcurved rim.</p> + +<div class="center"> +<table border="0" cellpadding="4" cellspacing="0" summary="platter descriptions"> +<tr> + <td class="tdc toprow">Pl.</td> + <td class="tdc toprow">No.<br /> + (per cent)</td> + <td class="tdc toprow">D(L)<br /> + (per cent)</td> + <td class="tdc toprow">W</td> + <td class="tdc toprow">W/L</td> + <td class="tdc toprow">H</td> + <td class="tdc toprow">H/D</td> + <td class="tdc toprow">Th.</td> + <td class="tdc toprow">Curv.</td> +</tr> +<tr> + <td class="tdl columns">3,<i>a</i></td> + <td class="tdr columns">13784</td> + <td class="tdr columns">272</td> + <td class="tdr columns">...</td> + <td class="tdr columns"> </td> + <td class="tdr columns">79</td> + <td class="tdr columns">29</td> + <td class="tdr columns">5.0</td> + <td class="tdr columns">330</td> +</tr> +<tr> + <td class="tdl columns">3,<i>b</i></td> + <td class="tdr columns">13783</td> + <td class="tdr columns">283</td> + <td class="tdr columns">...</td> + <td class="tdr columns"> </td> + <td class="tdr columns">88</td> + <td class="tdr columns">31</td> + <td class="tdr columns">5.0</td> + <td class="tdr columns">348</td> +</tr> +<tr> + <td class="tdl columns">3,<i>c</i></td> + <td class="tdr columns">1713</td> + <td class="tdr columns">262</td> + <td class="tdr columns">...</td> + <td class="tdr columns"> </td> + <td class="tdr columns">77</td> + <td class="tdr columns">29</td> + <td class="tdr columns">5.5</td> + <td class="tdr columns">320</td> +</tr> +<tr> +<td class="tdl columns">3,<i>d</i></td> +<td class="tdr columns">1722</td> +<td class="tdr columns">202</td> +<td class="tdr columns">...</td> +<td class="tdl columns"> </td> +<td class="tdr columns">71</td> +<td class="tdr columns">35</td> +<td class="tdr columns">5.5</td> +<td class="tdr columns">270</td> +</tr> +<tr> +<td class="tdl columns">3,<i>e</i>,<i>f</i></td> +<td class="tdr columns">13785</td> +<td class="tdr columns">266</td> +<td class="tdr columns">215</td> +<td class="tdr columns">81</td> +<td class="tdr columns">66</td> +<td class="tdr columns">28<sup>+</sup></td> +<td class="tdr columns">6.5</td> +<td class="tdr columns">303</td> +</tr> +<tr> +<td class="tdl columns">3,<i>g</i></td> +<td class="tdr columns">1751</td> +<td class="tdr columns">145*</td> +<td class="tdr columns">...</td> +<td class="tdr columns"> </td> +<td class="tdr columns">48</td> +<td class="tdr columns">33</td> +<td class="tdr columns">6.0</td> +<td class="tdr columns">195</td> +</tr> +<tr> +<td class="tdl columns">3,<i>h</i></td> +<td class="tdr columns">13786</td> +<td class="tdr columns">166</td> +<td class="tdr columns">147</td> +<td class="tdr columns">89</td> +<td class="tdr columns">59</td> +<td class="tdr columns">38<sup>+</sup></td> +<td class="tdr columns">5.5</td> +<td class="tdr columns">217</td> +</tr> +<tr> +<td class="tdl columns">3,<i>i</i></td> +<td class="tdr columns">1738</td> +<td class="tdr columns">157</td> +<td class="tdr columns">135</td> +<td class="tdr columns">86</td> +<td class="tdr columns">43</td> +<td class="tdr columns">29.5<sup>+</sup></td> +<td class="tdr columns">5.0</td> +<td class="tdr columns">191</td> +</tr> +<tr> +<td class="tdl columns">3,<i>j</i></td> +<td class="tdr columns">4294</td> +<td class="tdr columns">155</td> +<td class="tdr columns">121</td> +<td class="tdr columns">78</td> +<td class="tdr columns">44</td> +<td class="tdr columns">32<sup>+</sup></td> +<td class="tdr columns">5.5</td> +<td class="tdr columns">178</td></tr> +</table></div> + +<blockquote><p><i>Note:</i> D(L), diameter <i>or</i> greatest length; Th., thickness; +Curv., length of tape laid curving along diam. or +max. length of under side; *147 long, 143 wide, but +round in intent; <sup>+</sup>Mean of H/L and W/L. All dimensions +in mm.</p></blockquote> + +<p>It will be seen that the H/D ratio is from 28 to 38 per +cent; whereas that for bowls is from 38 to 68 per cent, +with 21 out of 24 between 45 and 61.</p> + +<p>Platters <i>i</i> and <i>j</i> were described when collected as +"dish-like spoons" or scoops; <i>j</i>, like plate 2,<i>h</i>, is from +Tokwaθa's household.<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span></p> + +<p class="center"><b><i>Designs</i></b></p> + +<p>As regards painted design, <i>a</i> and <i>b</i> revert to the all-over +regular forking of plate 1, but with dark background +instead of light or spot-studded, so that the pattern really +is negative in effect. It is probably significant that the +only two platelike bowls carrying this design should be +the only ones to present it negatively. The pattern is +well executed in both. It is of course somewhat easier to +carry out regularly on a flattish plate than in an up-curving +bowl.</p> + +<p><i>d</i> was called "himáka lameθlame, its back leaves" +(or "patches"?—cf. pl. 4,<i>d</i>). This presumably refers to +the large dot-studded hexagonal areas—hexagonal at +least in intent. My notes also name a "tšitθôk face-paint" +design, which would then be the name of the interconnected +hourglass figures which constitute the primary or +positive element of the patterning. The combination of +these two design elements recurs on the exterior of the +jar of plate 8,<i>a</i>. The back or <i>under</i> side of <i>d</i> in the present +plate is boldly checkered, as shown in plate 8,<i>c</i>. It +is possible that the leaf name refers to this checker.</p> + +<p><i>c</i> and <i>g</i> were both designated as fish backbone, which +as a pattern we have already encountered on bowl 2,<i>g</i>, +though there on the outer side and named after a face +paint: parallel zigzags with solid-filled angles. The idea +seems to be that of a fish backbone as it might be drawn +out with ribs attached—"herringbone" in our own nomenclature. +Then 3,<i>g</i> would be the more representational +form with the vertebral column left in—though it is also +partway transitional to the triple-line angle-and-forking +pattern of plate 1 and of 3,<i>a</i>,<i>b</i> above. The simpler, +merely parallel-chevron form of the design—with the +vertebrae omitted—is perhaps more usual, and is shown +recurring in <i>e</i> and in plate 4,<i>f</i>,<i>k</i>. The under side of <i>c</i> +has 67 vertical (radiating) lines.—Plate 3,<i>g</i>, no. 1751, +was obtained from Nyavarup along with no. 1749, plate +4,<i>o</i>, which see. Nyavarup, like Tokwaθa, was a historic +character, having been encountered by the Ives party in +1858 and mentioned in Möllhausen. In 1902 he told me the +creation, which will be published as myth no. 9.</p> + +<p><i>f</i> is the <i>under</i> or convex side of <i>e</i>, but its spots (12-14 +mm. diameter) reappear as the sole inside pattern in <i>h</i>, +and between the tortoises of <i>j</i>. The inside dots of <i>h</i> and +the outside ones of <i>f</i> were however put on differently: in +<i>h</i> in rows across the oval, in <i>f</i> irregularly or perhaps +spirally. The under side of <i>h</i> also has dots, fainter than +on the front. In <i>j</i> the dots seem inserted with reference +to the larger figures of tortoises.</p> + +<p>These tortoises of <i>j</i> are definitely similar to the +halytôṭa spiders of plate 2,<i>h</i>, but are also distinctive, +with enclosed-line quadrilateral body, 3-toed legs at +corners, and head and tail. Both 3,<i>j</i> and 2,<i>h</i> however +were made to sell, are more representational than most +Mohave pottery paintings, and should be viewed with a +degree of reserve, though I believe that their designs +have basis in native usage.</p> + +<p>3,<i>i</i> as halytôṭa, spider, is puzzling as to why its name, +and is also abnormal formally.</p> + +<p class="p2 center"><b>PLATE 4: SPOONS</b></p> + +<p>These are ladles, dippers, scoops, as one will, but I +retain the "spoon" which the Mohave most often gave as +their English term for native kam'óta. They are of course +not taken into the mouth, but held to it while gruel flows +out; or perhaps more often they serve as a convenient +holder of an individual or temporary portion which is +scooped into the mouth with two or three fingers which +are then sucked off. They also serve to ladle boiled food +from large cook pots into bowls or platters.</p> + +<p>I give, first, identifications, sizes, and design names; +then shapes; and finally a discussion of painted patterns.</p> + +<p class="center"><i><b>Identifications</b></i></p> + +<blockquote> +<p><i>a</i>, 13800, length 174 mm.</p> +<p><i>b</i>, 1731, l. 201. Called kas'uyule. Design doubtfully +recorded as hotahpave face paint.</p> +<p><i>c</i>, 13802, l. 182.</p> +<p><i>d</i>, 4320, l. 175. Design name: ta-hlame-hlame, +"patches," and "butterfly inside," humanape iyaly ("in +the mouth"?).</p> +<p><i>e</i>, 1736, l. 123; handle hollow, rattling, "tšíwitši-witš."</p> +<p><i>f</i>, 7098, from older University collections (pre-1901), +Mohave provenience assumed, not recorded; l. +194; handle hollow, rattling.</p> +<p><i>g</i>, 1737, l. 175. Design name: kyauelkyau, "angled, +zigzag."</p> +<p><i>h</i>, 13803, l. 225.</p> +<p><i>i</i>, 13805, l. 178.</p> +<p><i>j</i>, 13804, l. 190.</p> +<p><i>k</i>, 1747, l. 186.</p> +<p><i>l</i>, 1730, l. 198. Design name: coyote teeth.</p> +<p><i>m</i>, 13809, l. 207.</p> +<p><i>n</i>, 13810, l. 156.</p> +<p><i>o</i>, 1749, l. 113. Design name: fish backbone. This +piece was obtained from Nyavarup: see pl. 3,<i>g</i>.</p> +<p><i>p</i>, 1712, l. 155. Design name: raccoon hand.</p> +<p><i>q</i>, 4319, l. 225. Design name: coyote teeth.</p> +<p><i>r</i>, 4356, l. 177.</p> +<p><i>s</i>, 13807, l. 210.</p></blockquote> + +<p class="center"><b><i>Shapes</i></b></p> + +<p>Hollow, rattling handles, consisting of a three-cornered +box, are found on <i>e</i>,<i>f</i>,<i>r</i>. In each case, the end is modeled +into a rude quail's head, showing eyes and beak (or topknot?).</p> + +<p>Some rudiments of a quail head, but without hollow compartment, +appear also in <i>a</i>-<i>d</i>,<i>q</i>; possibly in <i>i</i>,<i>k</i>.</p> + +<p>The foregoing have the outer edges, toward the top, +somewhat raised and a bit incurved. This sort of an edge +shows also in <i>g</i>,<i>h</i>,<i>j</i>, which however possess no rudiments +of the quail's head. The edge faces forward (if the hollow +of the spoon is regarded as its front).</p> + +<p>Another group of spoons have their edge rather turned +outward—that is, away from the hollow. This group includes +<i>l</i>-<i>p</i> and <i>s</i>. These average somewhat flatter, and +the apex is generally rounder, than in those with forward-turned +edge: see especially <i>n</i>,<i>o</i>,<i>p</i>,<i>s</i>; also <i>m</i>; only <i>l</i> +comes to a point. Also, the total width ratio is greater in +this group.</p> + +<p>The classification thus is:</p> + +<p>A. Edge raised, turned forward; apex pointed<br /> +<span class="i2">1. Quail head apex, hollow rattling compartment</span><br /> +<span class="i2">2. Quail head or rudiment</span><br /> +<span class="i2">3. Plain apex</span><br /> +B. Edge facing outward, top usually rounder, total<br /> +<span class="i2">shape shallow, broad.</span><br /> +</p> + +<p>Additional spoons are shown in plates 7,<i>i</i> and 8,<i>i</i>-<i>k</i>; +and in 7,<i>a</i>-<i>h</i> appear the <i>back</i> patterns of eight spoons<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span> +whose fronts are reproduced in plate 4. This comes to a +total of 23 pieces; which seriate in size, and group as to +subclass, as follows:</p> + +<div class="center"> +<table border="0" cellpadding="4" cellspacing="0" summary="spoons"> +<tr> + <td class="tdc toprow">Pl.</td> + <td class="tdc toprow">L. (mm.)</td> + <td colspan="4" class="tdc toprow">Subclass</td> +</tr> +<tr> + <td class="tdl columns">7,<i>i</i></td> + <td class="tdl columns">226</td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="tdl columns">B</td> +</tr> +<tr> + <td class="tdl columns">4,<i>h</i></td> + <td class="tdl columns">225</td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="tdl columns">A3</td> + <td class="columns"> </td> +</tr> +<tr> + <td class="tdl columns">4,<i>q</i></td> + <td class="tdl columns">225</td> + <td class="columns"> </td> + <td class="tdl columns">A2r</td> + <td class="columns"> </td> + <td class="columns"> </td> +</tr> +<tr> + <td class="tdl columns">4,<i>s</i></td> + <td class="tdl columns">210</td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="tdl columns">B</td> +</tr> +<tr> + <td class="tdl columns">4,<i>m</i></td> + <td class="tdl columns">207</td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="tdl columns">B</td> +</tr> +<tr> + <td class="tdl columns">4,<i>b</i></td> + <td class="tdl columns">201</td> + <td class="columns"> </td> + <td class="tdl columns">A2r</td> + <td class="columns"> </td> + <td class="columns"> </td> +</tr> +<tr> + <td class="tdl columns">4,<i>l</i></td> + <td class="tdl columns">198</td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="tdl columns">B</td> +</tr> +<tr> + <td class="tdl columns">4,<i>f</i></td> + <td class="tdl columns">194</td> + <td class="tdl columns">A1q</td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="columns"> </td> +</tr> +<tr> + <td class="tdl columns">4,<i>j</i></td> + <td class="tdl columns">190</td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="tdl columns">A3</td> + <td class="columns"> </td> +</tr> +<tr> + <td class="tdl columns">4,<i>k</i></td> + <td class="tdl columns">186</td> + <td class="columns"> </td> + <td class="tdl columns">A2r</td> + <td class="columns"> </td> + <td class="columns"> </td> +</tr> +<tr> + <td class="tdl columns">4,<i>c</i></td> + <td class="tdl columns">182</td> + <td class="columns"> </td> + <td class="tdl columns">A2r</td> + <td class="columns"> </td> + <td class="columns"> </td> +</tr> +<tr> + <td class="tdl columns">4,<i>i</i></td> + <td class="tdl columns">178</td> + <td class="columns"> </td> + <td class="tdl columns">A2r</td> + <td class="columns"> </td> + <td class="columns"> </td> +</tr> +<tr> + <td class="tdl columns">4,<i>r</i></td> + <td class="tdl columns">177</td> + <td class="tdl columns">A1q</td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="columns"> </td> +</tr> +<tr> + <td class="tdl columns">4,<i>g</i></td> + <td class="tdl columns">175</td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="tdl columns">A3</td> + <td class="columns"> </td> +</tr> +<tr> + <td class="tdl columns">4,<i>d</i></td> + <td class="tdl columns">175</td> + <td class="columns"> </td> + <td class="tdl columns">A2r</td> + <td class="columns"> </td> + <td class="columns"> </td> +</tr> +<tr> + <td class="tdl columns">4,<i>a</i></td> + <td class="tdl columns">174</td> + <td class="columns"> </td> + <td class="tdl columns">A2r</td> + <td class="columns"> </td> + <td class="columns"> </td> +</tr> +<tr> + <td class="tdl columns">8,<i>k</i></td> + <td class="tdl columns">167</td> + <td class="tdl columns">[A]</td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="columns"> </td> +</tr> +<tr> + <td class="tdl columns">4,<i>n</i></td> + <td class="tdl columns">156</td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="tdl columns">B</td> +</tr> +<tr> + <td class="tdl columns">4,<i>p</i></td> + <td class="tdl columns">155</td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="tdl columns">B</td> +</tr> +<tr> + <td class="tdl columns">8,<i>j</i></td> + <td class="tdl columns">140</td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="tdl columns">B</td> +</tr> +<tr> + <td class="tdl columns">8,<i>i</i></td> + <td class="tdl columns">135</td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="tdl columns">B</td> +</tr> +<tr> + <td class="tdl columns">4,<i>e</i></td> + <td class="tdl columns">123</td> + <td class="tdl columns">A1q</td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="columns"> </td> +</tr> +<tr> + <td class="tdl columns">4,<i>o</i></td> + <td class="tdl columns">113</td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="columns"> </td> + <td class="tdl columns">B</td> +</tr> +</table></div> +<p class="center">Note A: Handle retroflex</p> + +<p>It will be seen that all four subclasses of spoons are +represented by examples both above and below the median +178 mm. length. Also, the three longest spoons in the +collection belong to three different subclasses. The +salient feature is that the blunt-ended "B" spoons have a +bimodal distribution: from 198 mm. up, from 156 down. +I should not be surprised if B forms turned up in the intervening +range; but I should expect the bimodality to remain +even if many additional specimens became available.</p> + +<p>For the rest, it may be significant that the pointed-end +classes A2, A3 are unrepresented below 170; and the +clear quail-head (and rattle-box) class A1 not above 195. +It may be that beyond a certain size the firing of the juxtaposed +solid head and hollow rattle was difficult for the +Mohave.</p> + +<p class="center"><b><i>Designs</i></b></p> + +<p>The great majority of spoons are painted inside, usually +outside (on the back) also, though there mostly with longitudinal +lines or stripes only.</p> + +<p>The angled-and-forking overall pattern so characteristic +of bowls occurs in spoons, but is rare: <i>b</i> is an example. +The area of a scoop is generally hardly wide and large +enough for this design. In <i>b</i> it reduces in effect to a sort +of cramped swastika.</p> + +<p>One of the two most frequent patterns of spoons is that +of <i>g</i>,<i>h</i>,<i>i</i>,<i>j</i>,<i>m</i>—the last in negative effect and unsprinkled +with dots. The central feature is a column of three (or two +and a half) rhomboids. These are flanked and meshed by +four (or three) triangles. The rhomboids and the triangles +are separated by three lines, making, with their own +boundaries, five parallel lines in all (though this number +is sometimes reduced); and where points of triangles meet +(and sometimes of rhomboids also) the corners are solid. +It is obvious that this pattern is related in several features +to the commonest pattern of bowls, but with adaptation to +a more cramped field—chiefly by omission of forking and +back-angled elements. The only name obtained—once—was +kyauelkyau, which is said to mean zigzag or angled.</p> + +<p>Another spoon pattern has two or three tiers of light +rhomboids separated by pairs of dark triangles, apex to +apex (hourglass): see <i>a</i>,<i>d</i>. There is no thin-line bordering +or separating in this pattern. For <i>d</i>, the design names +cited were ta-hlame-hlame, "patches," and "butterfly inside"; +but I do not know which of these names refers to the +hollow rhomboids and which to the paired solid triangles.</p> + +<p>Another tiered design arrangement is shown in <i>l</i> and <i>q</i>. +Both were called coyote teeth, which speaks for itself. It +will be seen that the teeth are in opposite rows, geared +into diastemas—which does not hold for plate 2,<i>d</i>. In one +of these spoons the solid-color teeth have a line border, +in the other a row of dots. In both there are two longer +double-toothed bands across the middle, two shorter one-way-facing +bands of teeth at the ends. "Coyote teeth" appears +as a face paint—a cross-barred line—in Handbook, +figure 61,<i>b</i>.</p> + +<p>A second design of outstanding frequency in spoons is +represented by <i>e</i>,<i>f</i>,<i>k</i>,<i>o</i>, (s). It was twice designated as +fish backbone (with adhering ribs). The backbone itself +appears only twice in the five examples in plate 4 (<i>e</i>,<i>o</i>), +and is by no means dominant then. The sets of parallel +ribs or chevrons number from 10 to nearly 20, and make +either 3 or 5 bends (i.e., are formed by 4 or 6 lines). The +bends are filled in with small solid triangles in <i>f</i>,<i>k</i>,<i>s</i>. +Rows of dots show in <i>e</i> and <i>s</i>.</p> + +<p>Other designs each occur only once in the collection.</p> + +<p><i>c</i>, polka dots only.</p> + +<p><i>n</i>, a fishnetlike design, no name obtained, vertical +corners filled in solidly.</p> + +<p><i>p</i>, raccoon hand (first mistranslated "otter," but the +otter is "water-raccoon" in Mohave), with five hollow-line +toes, background of fine dots. There is some reminiscence +of the forking bowl design, but without angling back or hooks.</p> + +<p><i>s</i>, perhaps a simplified version of the pattern of <i>g</i>-<i>j</i>,<i>m</i>?</p> + +<p>There is no marked correlation between any of these +designs and the shape classes of spoons that have been +defined.</p> + +<p class="p2 center"><b>PLATE 5: JARS, POTS, JUGS, CUPS</b></p> + +<blockquote><p><i>a</i>, water jar, 1723, recorded as "hápurui, small +olla for seeds, or for water in summer"; diameter +mouth 128 mm., height 200 mm. Neck d. about 83 per +cent of mouth, body d. about double that of neck and +greater than height. There is an annular base which is +not present in the two other water jars. Design: tšitθôk +style of face paint.</p> + +<p><i>b</i>, water jar, 13792, mouth d. 177, h. 194. Neck d. +81 per cent of mouth, body d. equals height.</p> + +<p><i>c</i>, fire-blackened cook pot, 13789, mouth d. 250, h. +192. Neck d, 227, body d. 250.</p> + +<p><i>d</i>, handled jug (spoutless pitcher), 1725, mouth d. +85, h. 95. Design: ta-skilye-skilye, viz., outside +points of chin tattooing.</p> + +<p><i>e</i>, handled jug, 1724, mouth d. 86, h. 90. Design: +hotahpave, viz., halter pattern of face painting.</p> + +<p><i>f</i>, handled jug, 13795, mouth d. 105, h. 147. This +piece had not been used when collected, and may have +been a model for sale.</p> + +<p><i>g</i>, handled jug, 1739, called hápurui, jar, mouth d. +92, h. 140. Design: fish backbone.</p> +<p><span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span></p> +<p><i>h</i>, small, handled cup, 13796, mouth d. 88, h. 47. +Used and somewhat worn.</p> + +<p><i>i</i>, handled cup, 2-7359, mouth d. 128, h. 90. From +older (pre-1901) University collections, provenience +and collector not recorded. Assumed to be Mohave, +but condition suggests the vessel was made for sale +and not used.</p></blockquote> + +<p>The two water jars are of about the same height, +toward 8 in., but <i>a</i> is smaller-mouthed and bigger-bellied +than <i>b</i>. The neck diameters are around 5/6 to 4/5 of the +mouths. <i>a</i> is somewhat greater through the body than it +is high; <i>b</i>, nearly the same. Another and larger jar is +shown in plate 8,<i>a</i>.</p> + +<p>The cook pot, <i>c</i>, has the opening as large as the body +diameter; the neck is only 9 to 10 per cent smaller than +the mouth, the height only 77 per cent of the width. This +pot is somewhat higher in silhouette proportion than any +of the bowls, but not much higher than the highest of them, +viz., 2,<i>g</i> and 8,<i>h</i>.</p> + +<p>The four handled jugs fall into two classes: <i>d</i> and <i>e</i>, +medium; <i>f</i> and <i>g</i>, high. In the former, the height is about +a tenth greater than the mouth diameter, in the latter, +about a half greater. Also, in the medium jugs, the base +of the handle springs from the lower half of the vessel; +in the high ones, from the middle or above. In all cases +the handle rises somewhat above the lip. The neck is less +than the mouth by 12 to 15 per cent.</p> + +<p>The cups are like the jugs except that they are lower +and the main painted designs come inside. In fact, the +cups seem to be small bowls with a handle attached.</p> + +<p>I am quite uncertain whether the handled jugs and cups +are native Mohave forms or derived in imitation of Caucasian +shapes. It is unclear what specific function their +handles would have served in Mohave life, in sand-floored +houses empty of furniture or apparatus. Yet probably <i>g</i> +and certainly <i>h</i> have been used. And the ware of the jugs +and cups, as well as their painted designs, are typical +Mohave. They look like an "acculturation acceptance"—a +new trait adopted into the old native pattern. The +problem will probably be solved when enough datable precontact +and protocontact ware from the Mohave and kindred +Yuman tribes becomes available.</p> + +<p>With these round vessels the forking-and-angled design +of the bowl interiors recurs: in the jar <i>a</i>, the jug <i>f</i>, +on the interior of cup <i>i</i>. It will be seen that these come +with and without dot stippling. The pattern of jug <i>d</i> was +called tattoo points; but it is the same as the coyote teeth +of plate 4,<i>l</i>,<i>q</i>. Similarly, <i>e</i>, though called hotahpave +halter, resembles plate 4,<i>g</i>-<i>i</i>; and <i>g</i>, called fish backbone, +lines up with the fish backbone designs on spoons: +plate 4,<i>e</i>,<i>f</i>,<i>k</i>,<i>o</i>,<i>s</i>.</p> + + +<p class="p2 center"><b>PLATE 6: BOWLS, PLATTERS, +PARCHERS, CANTEENS</b></p> + +<blockquote><p><i>a</i>, bowl, 4293; diameter 151 mm., height 76 mm. +Design: inside, raccoon hand; outside, fish bone, atcí +isáka.<a name="FNanchor_5" id="FNanchor_5"></a><a href="#Footnote_5" class="fnanchor">[5]</a> This is from Tokwaθa's wife.</p> + +<p><i>b</i>, broken bowl, 4282; d. 157, h. 85. Design; +raccoon hand.</p> + +<p><i>c</i>. large bowl or platter, 1745, of type called suyíre, +d. 330, h. 125. Weight, 44 oz. The flanges to hold +mesquite bark binding in place are unusually prominent.</p> + +<p>This is the largest and second heaviest round vessel +in the collection; but it is low, 38 per cent of the +diameter—at the minimum for bowls, maximum for +platters. It is not strictly a bowl, because there is no +neck constriction: the vessel curves in unbroken convexity +up to the rim. On the other hand it is not a +typical platter because it has flanges and is bound like +a bowl. There are 11 of these flanges, 25 to 35 mm. +long, projecting 5 to 8 mm., and spaced quite irregularly, +with 120, 95, 90, 55, 85, 65, 115, 95, 75, 120, +75 mm. between their centers.</p></blockquote> + +<p>The bowls <i>a</i> and <i>b</i> are grouped together because of +their raccoon-hand designs; compare also plate 4,<i>p</i>. +Bowl <i>a</i> looks unused and may have been made for sale; +<i>b</i> has been used and is probably from the same house, +though almost certainly not painted by the same person.</p> + +<p>The large platter-bowl <i>c</i> has its painted design built +up around four big rhomboids or hexagons, nearly rounded +into pointed ovoids with triple solid tips; between which +similarly pointed triangles project toward the center from +the rim.</p> + +<p>The oval platters <i>d</i> and <i>e</i>, nos. 1738, 4294, are the +convex backs or under sides of plate 3,<i>i</i>,<i>j</i>. The former +looks used, the latter new and perhaps for sale. The tortoises +on the under (6,<i>e</i>) and tortoise carapace on the +upper (3,<i>j</i>) side of the same piece seem an exaggeration +from normal Mohave style. In my field catalogue I +entered <i>d</i> as "dish-like spoon"; and <i>e</i>, two years later, +simply as "oval spoon," which is confirmed by the notation: +kam'óta kapeta, viz., "tortoise spoon."</p> + +<p>The two katéla or parchers, <i>f</i> and <i>g</i>, having adjacent +numbers, 13787 and 13788, are probably out of one household—a +conservative one, inasmuch as they were secured +in 1908. They differ slightly in proportions, yet are closely +similar. Piece <i>f</i>, the longer and flatter, has its ends +brought into a semblance of the abbreviated quail beaks +and eyes found on some spoons—class A2. The rims of +both <i>f</i> and <i>g</i> are transversely flat and wiped or pinched +over inward to extra thickness, then scored regularly +with a fingernail or stick; in <i>g</i> the outer edge has also +been lightly punch-marked.<a name="FNanchor_6" id="FNanchor_6"></a><a href="#Footnote_6" class="fnanchor">[6]</a></p> + +<p>The canteen in its net, <i>h</i>, no. 13793, has evidently seen +use. This was the kind taken on journeys. There is a +faded design of three vertical figures in double outline. +Each of these consists of three near-rhomboids set on +top of one another, with the joints between them open, so +that the three of them appear as a single figure. Within +each of the figures and between them there are dots 4-6 +mm. in diameter. The bottom of the vessel is unpainted.</p> + +<p>The plain duck seed-bin or canteen <i>i</i>, no. 4297, would +be practical for use sitting in the sand in the house or +under the ramada shade. It contained melon seeds when I +purchased it.</p> + + +<p class="p2 center"><b>PLATE 7: SPOON BACKS, TOYS, +PIPES, POT RESTS</b></p> + +<blockquote><p><i>a</i>, back of spoon 13803 shown in pl. 4,<i>h</i>; l. 225 mm.</p> +<p><i>b</i>, back of 13809 shown in pl. 4,<i>m</i>; l. 207.</p> +<p><i>c</i>, back of 1749 shown in pl. 4,<i>o</i>; l. 113.<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span></p> +<p><i>d</i>, back of 13810 shown in pl. 4,<i>n</i>; l. 156.</p> +<p><i>e</i>, back of 1736 shown in pl. 4,<i>e</i>; l. 123.</p> +<p><i>f</i>, back of 1747 shown in pl. 4,<i>k</i>; l. 186.</p> +<p><i>g</i>, back of 1731 shown in pl. 4,<i>b</i>; l. 201.</p> +<p><i>h</i>, back of 13802 shown in pl. 4,<i>c</i>; l. 182.</p> +<p><i>i</i>, back of 13808; l. 226; front not shown.</p> +<p><i>j</i>, lizard figure, 1726; max. l. 110. Probably a toy +or amusement; not used ritually.</p> +<p><i>k</i>, hummingbird figure, 1727; l., beak to tail, 54.</p> +<p><i>l</i>, clay pipe, 4264, boy's, unbaked, unfinished; +l. 55.</p> +<p><i>m</i>, clay pipe, 13870; broken, 62 mm. remaining.</p> +<p><i>n</i>,<i>o</i>, clay pot rests, 4283b, 4283c; h. 92, 85.</p></blockquote> + +<p>The convex backs of spoons <i>a</i>-<i>i</i> are not the only painted +ones, but show the more ambitious attempts, if this adjective +is applicable to rudeness of their degree. The prevalent +painting is lengthwise striping, though crosswise (<i>i</i>), +and both ways (<i>d</i>), occur. The lengthwise stripes may be +plain lengthwise lines (<i>b</i>,<i>g</i>); heavy stripes with light (<i>e</i>) +or with rows of dots (<i>f</i>); flanked by multiple zigzags and +forming the fish backbone design (<i>c</i>,<i>h</i>); negative effect +(<i>e</i>). Piece <i>a</i> is irregularly interesting: three diagonally +curved lines sweep across the convex back, and are subdivided +by transverse lines into about a dozen triangles +and quadrilaterals of unlike shapes; nine of these contain +a polygonal spot or daub.</p> + +<p class="p2 center"><b>PLATE 8: JAR, CUP, PLATTER, +BOWLS, SPOONS</b></p> + +<p>This plate comprises vessels of various shapes which +I had at first intended not to illustrate or which had been +overlooked.</p> + +<blockquote><p><i>a</i>, large water jar, 13791, classing with pl. 5,<i>a</i>,<i>b</i>. +Rim diameter 255 mm., neck 227, maximum body +diameter 315, height 255. The design is of large solid +hourglass figures separating rhomboidal-hexagonal +areas each bordered by double lines and containing +about 35 oval-round spots about 7-12 mm. across. +The pattern recalls that of the interior of pl. 3,<i>d</i>.</p> + +<p><i>b</i>, handled cup, 38406, of the type of pl. 5,<i>h</i>,<i>i</i>. +Mohave provenience assumed. Rim d. 100, h. 70. +Interior design, 6 radiating lanceolate or petaloid +areas, double-line bordered, containing from 33 to +50 spots. There are small solid triangles where the +"petal" borders meet, and dots also in the peripheral +spaces. The handle is striped crosswise; the outside +of the vessel, vertically. Compare pl. 5,<i>h</i>,<i>i</i>.</p> + +<p><i>c</i>, <i>under</i> side of platter 1722, front shown in pl. 3,<i>d</i>; +d. 203 mm. The design is a solid dark and light checker +of 25 whole or partial squares.</p> + +<p><i>d</i>, bowl, 1721, d. 220 mm., h. 135, ratio 61 per +cent. Design: the forked-and-angled pattern, crudely +executed, and called teítθôk face paint. The dots were +named hatúhk, rows of tattoo dots. The <i>outside</i> is +painted with crossing lines, forming triangles and +diamonds, called sóaka, small net.</p> + +<p><i>e</i>, large bowl, 1746, d. 320, h. 150, ratio 47 per +cent. Wt. 41 oz. The interior design, called atalyke +hamalye, leaves of an edible tuber-bearing plant, is +fishnetlike: thin lines forming squares bisected by +diagonals running one way; or, a network of right-angled +triangles turning somewhat irregular toward +the vessel's rim. Opposite acute angles filled in solid. +This design apparently was begun by drawing 5 parallel +lines across the interior, demarcating 6 segments. +These were then crossed, nearly vertically, by 6 +lines; and then by 6 diagonals. <i>Outside</i>, vertical stripes +10 or more mm. wide. There are three peglike projections, +irregularly spaced, to keep binding from slipping. +Two, broken off, are 7-8 mm. across; the third +projects 11 mm.</p> + +<p><i>f</i>,<i>g</i> are <i>outside</i>-painted bowls, both with height 48 +per cent of their rim diameter, almost the same as <i>e</i>. +<i>f</i>, 13777, d. 310, h. 150; thickness near bottom 7-9 +mm., at neck 4.5-6, at lip 6.5-7; wt. 48 oz.—heaviest +piece in the collection. <i>g</i>, 13781, d. 165, h. 80; wt. +14 oz. The design of <i>f</i> is negative in effect: a band +of light diamonds reserved on darker background; they +are about twice as high as wide, and each is inner-outlined +with a dark border. The interior is dark and +worn smooth. The pattern of <i>g</i> is irregular: diagonals +sloping to the right, with left-sloping ones crossing +every other one of these; but to the side, the left-sloping +lines come thicker, the right-sloping ones are +omitted.</p> + +<p><i>h</i>, 13790, is a fire-blackened bowl that has been +cooked in and the contents run over; d. 185, h. 125, +ratio 68 per cent. This is the maximum for a Mohave +bowl, though equaled by pl. 2,<i>g</i>; and the shape is still +that of a bowl rather than of a pot (olla) such as pl. 5,<i>c</i>. +The ratio of rim, neck, and body diameters is 100, 95, +97 per cent for 8,<i>h</i>, whereas the pot 5,<i>c</i> has 100, 91, +100 per cent, and its height is 77 instead of 68 per cent.</p> + +<p><i>i</i>,<i>j</i>,<i>k</i>, 13811, 1750, 13806, are spoons, the first +blunt-topped, the last with 135° back-curved handle. +The maximum lengths are 135, 140, 167 mm. The +patterns are as follows.</p></blockquote> + +<p><i>i</i>, no. 13811, outlined diamonds and triangles containing +from 9 to 4 dots. The surface is worn, and the arrangement +of figures of the two shapes may have been more regular +than now appears; but the painting was slovenly at best.</p> + +<p><i>j</i>, no. 1750, very similar to the fishbone design of plate +4,<i>o</i>. There are 12 thinnish cross lines, each with four upward +angles. 8,<i>j</i> and 4,<i>o</i> are very similar and bear adjoining +numbers, 1750 and 1749, and were almost certainly +the product of the same hand.</p> + +<p><i>h</i>, 13806, parallel line-angles, pointed right, then left, +then again right across the front of the hollow of the scoop. +These angles are formed by 18 or 19 cross lines.</p> + +<p class="p2 center"><b>SUMMARY OF SHAPES</b></p> + +<p><i>Bowls</i>: kwáθki. Diameter about twice the height; neck +concave, often strengthened with a lashing of mesquite +bark; lip gently everted; principal design inside; outside +design usually mere lines, stripes, rows of dots. H/D +down to 38 per cent, usually 45-61 per cent, in two cases +68 per cent—one of these has been cooked in. (Pls. 1,<i>a</i>-<i>h</i>, +2,<i>a</i>-<i>h</i>, 6,<i>a</i>-<i>c</i>, 8,<i>d</i>-<i>h</i>.)</p> + +<p><i>Round platter or plate</i>: kayéθa. Lipless; continuous +curvature. Principal design inside (above). H/D 29-35 +percent. (Pls. 3,<i>a</i>-<i>d</i>, <i>g</i>, 8,<i>c</i>.)</p> + +<p><i>Oval platter</i>: kayúka or kakápa. Like the last except +for being oval, with width/length percentage between 78 +and 89. They also average smaller than the round plates—modes +around 160 mm. and 260 mm. respectively; but +<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span>the two classes do overlap in size. (Pls. 3,<i>e</i>-<i>f</i>, <i>h</i>-<i>j</i>, +6,<i>d</i>-<i>e</i>.)</p> + +<p><i>Spoon</i>, <i>ladle</i>, <i>dipper</i>, <i>scoop</i>: kam'óta. These are +oval trays brought at one end to (A) a point or rude quail's +head, or (B) to a sharp rounding or blunt point. The +second type is obviously related in form to the oval +platters; though most spoons are longer than most platters. +Their range is from 113 to 226 mm. Painted design +on the inner side varied; on the back it is usually +simpler, but also varied. A few spoons are built up at +the "handle" into a hollow box that rattles.</p> + +<p><i>Parcher</i>: katéla. As the spoons can be construed as +oval platters pointed at one end, the parchers—used to +shake live coals with grain or seeds—are two-ended, +with well-raised points. They are about twice as long as +spoons, and longer than any known platters or bowls: +340-385 mm., with a width about seven-tenths that. They +are wholly unpainted. (Pl. 6,<i>f</i>, <i>g</i>.)</p> + +<p>The five foregoing shapes are all "open" and relatively +flat. There are about the same number of "tall" shapes—pots, +jars, jugs, etc. But these are represented by +notably fewer specimens. Whether this disproportion +existed in precontact times, I do not know. It is possible +that cooking vessels and containers of American make +had begun to crowd out native forms by 1902-1908 faster +than bowls, platters, and spoons were being displaced.</p> + +<p><i>Cook pot</i>: táskyena. The single specimen available, +5,<i>c</i>, is about the size of a bowl but higher (77 per cent +as against 68 per cent maximum); mouth and body diameter +the same, neck constricted 9 to 10 per cent. No +handles, paint, or decoration.</p> + +<p><i>Large cook pot</i>: tšuváva. Set on three rests. It may +have been proportionally higher than the táskyena, but +my recollection is fifty years old.</p> + +<p><i>Water jar</i>: hápurui. Unhandled, painted. The largest +dimension is the body diameter, usually below the middle. +Next largest dimension is the height, though in one case +this is about equaled by the mouth diameter. The neck +has from 80 to 87 per cent the diameter of the mouth.</p> + +<p>One specimen (5,<i>a</i>) differs from the two others in showing +considerably more taper from body to neck and mouth +and in having an annular base. The contained volume +would be around a gallon or up. (Pls. 5,<i>a</i>, <i>b</i>, 8,<i>a</i>.)</p> + +<p><i>Oval seed-storage jar (or canteen) with short side +spout</i>: hápurui hanemó, "duck jar" from its shape. The +single specimen is unpainted. (Pl. 6,<i>i</i>.)</p> + +<p><i>Seed jar with small flaring mouth.</i> See Appendix I.</p> + +<p><i>Canteen for carrying</i> in sling or net. Short spout on +top, as in a basket or gourd. One specimen, painted. +(Pl. 6,<i>h</i>.)</p> + +<p><i>Handled jug</i>: no native name obtained, except hápurui, +jar, or kwáθki, bowl. May be a postcontact form. Higher +than wide; no spout. Painted outside. (Pl. 5,<i>d</i>-<i>g</i>.)</p> + +<p><i>Handled cup</i>: also unnamed, except perhaps kwáθki, +and perhaps postcontact. Wider than high. Painted design +mainly inside. (Pls. 5,<i>h</i>-<i>i</i>, 8,<i>b</i>.)</p> + +<p class="p2 center"><b>TRANSITIONAL AND EXCEPTIONAL +PIECES</b></p> + +<p>Bowls with principal painting outside: 8,<i>f</i>, <i>g</i>.</p> + +<p>Bowls of height more than two-thirds diameter: 2,<i>g</i>, +base somewhat conical; 8,<i>h</i>, fire blackened.</p> + +<p>Bowl with cylindrical projections to prevent slip of +neck binding: 8,<i>e</i>.</p> + +<p>Transition bowl-platter with 11 flanges to hold binding; +no neck or recurved rim; H/D ratio 38 per cent on +border between bowl and round platter classes. The diameter +is greater than that of any other bowl or platter in +the collection (8,<i>e</i> is next), and the weight is second +heaviest (8,<i>f</i> being first): 6,<i>c</i>. Called suyíre.</p> + +<p>Spoon with ribbon handle curled back (only "handled" +spoon): 8,<i>k</i>.</p> + +<p>Water jar with annular base (found otherwise only on +handled jugs), and considerably reduced neck and mouth: +5,<i>a</i>.</p> + +<p class="p2 center"><b>SUMMARY OF PAINTED DESIGNS AND ELEMENTS</b></p> + +<p><i>"Angled-and-forked" continuous pattern</i>: usually of +triple lines; background stippled or empty. Bowls 1,<i>a</i>-<i>h</i>, +2,<i>e</i>, 8,<i>d</i>; platters 3,<i>a</i>-<i>b</i>, 3,<i>g</i> (called "fish bones"); spoon +4,<i>b</i>; jar 5,<i>a</i>, jug 5,<i>g</i>; cup 5,<i>i</i>. I did not obtain a name +for this design as an overall pattern. Some element in it, +perhaps the filled-in angle, was twice denominated +tšitθôk face paint.</p> + +<p><i>"Hourglass" figures</i>: (1) as principal design, bowl +2,<i>f</i>; platter 3,<i>d</i>; spoons 4,<i>a</i>, 4,<i>d</i> (in rows), 4,<i>q</i>; jar 8,<i>a</i>; +jug 5,<i>e</i>. (2) as secondary design element with rhomboids, +bowls 2,<i>a</i>, <i>b</i>; spoons 4,<i>g</i>, <i>h</i>, <i>i</i>, <i>j</i>, <i>m</i> with diamonds in column. +The hourglass figure can of course be construed as +the "filled-in angle" enlarged.</p> + +<p><i>Quadrilaterals-hexagons</i>, shifting from one to the +other according to exigencies of the field. The mark <sup>+</sup> +designates painted figures, that are dark; others are +open, left as part of the lighter background, or stippled.</p> + +<blockquote><p>A. Four central polygons: bowls <sup>+</sup>2,<i>a</i>, <sup>+</sup>6,<i>c</i> (in this, +rounded into ovals).</p> +<p>B. More than four: bowls <sup>+</sup>2,<i>b</i>, 2,<i>f</i>; platter 3,<i>d</i>; +jug 5,<i>e</i>; cup 8,<i>b</i>.</p> +<p>C. In rows: spoons 4,<i>a</i>, <i>d</i>; jar 8,<i>a</i>.</p> +<p>D. In columns: spoons 4,<i>g</i>, <i>h</i>, <i>i</i>, <i>j</i>, <sup>+</sup><i>m</i>.</p></blockquote> + +<p><i>Rows of dark and light triangles</i>: bowls 2,<i>a</i>, <i>b</i>; spoons +4,<i>l</i>, <i>q</i> (these spaced and "geared"); 2,<i>b</i>, 4,<i>l</i>, <i>q</i> named +coyote teeth; jug 5,<i>d</i>, named tattoo points.</p> + +<p><i>Fishbone (fish backbone) pattern</i>: of parallel angled +lines, from one to four chevrons in each line. Usually +about half the angles are filled in; this is indicated by the +asterisk *.</p> + +<blockquote><p>A. With vertebral column shown by central line: +platter *3,<i>g</i> (transitional to angled-and-forked +pattern); spoons 4,<i>e</i> (with stippling), *4,<i>o</i>, 7,<i>h</i> +outside, 8,<i>j</i>; jug *5,<i>g</i>.</p> +<p>B. Without vertebral column, zigzag parallels only: +Bowl *2,<i>g</i>; platters *3,<i>c</i>, *3,<i>e</i>; spoons *4,<i>f</i>, *4,<i>k</i>, +*4,<i>s</i>, 7,<i>c</i> outside, 8,<i>k</i> (direction of angles unusual).</p> +<p>C. (Named fishbone or fishtail, but design of straight +stripes only: bowl 2,<i>h</i> outside; spoon 7,<i>e</i> outside.)</p></blockquote> + +<p><i>Circular center of design</i>: bowl 2,<i>f</i>; oval platter 6,<i>d</i>; +cup 8,<i>b</i>.</p> + +<p><i>Fishnetlike design</i>, crossing lines, square or diagonal. +Asterisk * denotes filled-in angles.<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span></p> + +<blockquote><p>A. On inside of vessel: bowls *8,<i>e</i>, perhaps 2,<i>g</i>; +spoons *4,<i>n</i>, 8,<i>i</i> (really rows of polygons, +stippled).</p> +<p>B. On outside of vessel: bowls 8,<i>c</i> (bold checker), +8,<i>f</i>, 8,<i>g</i>; spoons 7,<i>a</i> (with blobs in centers), 7,<i>d</i>.</p></blockquote> + +<p><i>Large polka dots</i> as design: platters 3,<i>f</i> outside, 3,<i>h</i>, +3,<i>j</i> (combined with tortoises); spoons 4,<i>c</i>, 7,<i>a</i> (central +blobs in polygon), 7,<i>f</i> (with stripes).</p> + +<p><i>Stippling</i>: more or less as shading or value effect or +border.</p> + +<blockquote><p>A. Of areas: bowls 1,<i>a</i>, <i>b</i>, <i>c</i>, <i>d</i>, <i>e</i>, <i>g</i>, <i>h</i>, 2,<i>e</i>, <i>h</i>, +8,<i>d</i>; platters, 3,<i>d</i>, (3,<i>j</i>); spoons 4,<i>b</i>, <i>e</i>, <i>g</i>, <i>i</i>, <i>j</i>, +<i>q</i>, <i>r</i>, 8,<i>i</i>; jars 5,<i>b</i>, 8,<i>a</i>; jug 5,<i>f</i>; cups 5,<i>i</i>, 8,<i>b</i>.</p> +<p>B. Row of spots as outer or inner border: bowl 6,<i>a</i>; +platter 3,<i>g</i>; spoons 4,<i>h</i>, <i>p</i>, <i>q</i>; canteen 6,<i>h</i>.</p></blockquote> + +<p><i>Solid angles, corners filled in</i>: (see * under fishbone +and fishnet patterns; and regular in "angled-and-forked.") +Total occurrence is in more than thirty vessels. Bowls +1,<i>a</i>-<i>h</i>, 2,<i>a</i>, <i>b</i>, (<i>c</i>), <i>f</i>, <i>g</i> outside, 6,<i>c</i>, 8,<i>d</i>, <i>e</i>; platters +3,<i>a</i>, <i>b</i>, <i>c</i>, <i>d</i>, <i>e</i>, <i>g</i>; spoons 4,<i>b</i>, <i>f</i>, <i>g</i>, <i>h</i>, <i>i</i>, <i>k</i>, <i>m</i>, <i>n</i>, <i>r</i>, +<i>s</i>; jar 5,<i>a</i>; jugs 5,<i>e</i>, <i>f</i>, <i>f</i>; cups 5(<i>h</i>), <i>i</i>, 8,<i>b</i>.</p> + +<p><i>Negative (dark) effect</i>:</p> + +<blockquote><p>A. Dark background, pattern light: bowl 8,<i>f</i> outside; +platters 3,<i>a</i>, <i>b</i>; spoon 4,<i>m</i>.</p> +<p>B. Dark and light areas alternating evenly: bowls +2,<i>c</i>, <i>d</i>; platter 8,<i>c</i> outside.</p> +<p>C. Seeming negative, owing to masses of dark polygons: +bowls 2,<i>a</i>, (<i>b</i>).</p></blockquote> + +<p class="p2 center"><b>SUMMARY OF DESIGN NAMES</b></p> + +<p>Designs are named most frequently after animals or +their parts, once after a leaf. Next most frequent are +names derived from patterns of face painting or tattooing. +A few are descriptive, like "patches," "zigzag."</p> + +<p><i>Animals or parts.</i></p> + +<blockquote><p>Fish (back)bone: 3,<i>c</i>, 3,<i>g</i>, 4,<i>o</i>, 4,<i>q</i>, 5,<i>g</i>, 6,<i>a</i> +outside</p> +<p>Fish tail (?): 2,<i>h</i> outside</p> +<p>Coyote teeth: 2,<i>d</i>, 4,<i>l</i>, 4,<i>q</i></p> +<p>Raccoon hand: 6,<i>a</i>, 6,<i>b</i>, 4,<i>p</i></p> +<p>Yellowhammer belly: 1,<i>a</i></p> +<p>Tortoise: 3,<i>j</i>, 6,<i>e</i> outside</p> +<p>Spider: 2,<i>h</i>, 3,<i>i</i>, 6,<i>d</i> outside</p> +<p>Butterfly: 2,<i>f</i>; "in mouth," 4,<i>d</i></p></blockquote> + +<p><i>Plant parts.</i></p> + +<blockquote><p>(Cottonwood) leaves: 3,<i>d</i>, 8,<i>e</i></p></blockquote> + +<p>Of these, coyote teeth, yellow-hammer belly, butterfly, +and (atalyka) leaf occur also as names of face paintings +(Handbook, p. 732, fig. 61,<i>b</i>-<i>e</i>).</p> +<p>The Handbook (p. 738) mentions a few additional names +for pottery designs: rain, rainbow (this also a face painting), +melon markings.</p> + +<p><i>Face paintings or tattoo.</i></p> + +<blockquote><p>tšitθôk: 3,<i>d</i>, 5,<i>a</i>. This seems to denote an element +in what I have called the forked-and-angled pattern of +plate 1. Also recorded as tšitgôk.</p> + +<p>hotahpave, "halter": 2,<i>f</i>, 5,<i>e</i>. It seems to refer to +paired crossing lines as part of hourglass figures. In +Handbook (fig. 61,<i>i</i>-<i>j</i>) it appears as point-to-point +chevrons on the cheeks.</p> + +<p>ta-tsirqa-tsirqa: 1,<i>d</i>. In Handbook (fig. 61,<i>k</i>, <i>l</i>) it +appears as sharp points under the eyes (cf. ibid., fig. +61,<i>g</i>, <i>h</i>, "ha-tsira-tsirk," a vertical line down from +the eye).</p> + +<p>ta-skilye-skilye: 5,<i>d</i>. Reference is to a column of +horizontal points at the edge of one style of women's +chin tattoo. (See Handbook, p. 521, fig. 46,<i>q</i>.)</p> + +<p>iya-m-tšupe(r)t(a): 2,<i>g</i>. Iya is the mouth; tšupeta, +to hold back or cover.</p></blockquote> + +<p><i>"Adjectivally" descriptive.</i></p> + +<blockquote><p>ta-hlame-hlame, "patches": 1,<i>b</i>, 4,<i>d</i></p> +<p>kyauelkyau, "angled, zigzag": 4,<i>g</i></p> +<p>kan'ú (?), "patterned": 2,<i>b</i></p></blockquote> + +<p>It is evident that there is no deeper symbolic significance +in the pattern names. They are like our crow's +foot, horseshoe, pigtail, fleur-de-lys, diamond, spade, +wavy, broken—metaphorically or directly descriptive. +The Mohave in addition have available a number of striking +and familiar types of designs with which women ornament +their faces.</p> + +<p>In their actual, though of course transient, face decoration, +the Mohave, though not quite the artistic equals of +the Seri, paint with far more care, neatness, and precision +than they bestow on their pottery. It is significant +that it is the patterns of pottery that are named after +those painted on their cheeks, not the reverse.</p> + +<p class="p2 center"><b>THE MOHAVE POTTERY STYLE</b></p> + +<p>Mohave pottery was made in a culture which set little +intrinsic value on anything technological and looked upon +economic acquisition as in itself unworthy and fit only for +dissipation. Artifacts were used but not prized; and they +all perished upon their owner's death.</p> + +<p>Certain qualities of Mohave pottery are expectable as +a product of this atmosphere: lack of evenness and finish +or precision, the appearance of haste or indifference in +manufacture. Surfaces are not quite true or even, thicknesses +variable, firing intensity somewhat spotty; diameters +vary enough for the eye to see some lopsidedness +from the round, or sway in the level of a rim. Particularly +in the painted designs, which do not contribute to +functional use, inequalities, crowding, wavering lines, +departures from symmetry, are all conspicuous.</p> + +<p>At the same time the ware is never incompetent. It +has reasonable strength, toughness, hardness for its +purpose. Its shapes are definite and well standardized. +It never tries merely to get by. This is proved by the +fact that, except for vessels like cook pots and parchers, +where decoration would be wasted, painting is the rule, +and mostly, painting on both sides. The execution of this +painting is often enough slovenly; but it is firm in aim. +There are a series of design patterns more or less fitted +to the several shapes; there is considerable choice between +these, and even more freedom of adaptation to +shape of field. Timidity was not one of the earmarks of +the Mohave potter; if her pattern came out neatly, well<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span> +and good; if uneven or crowded, there was no harm done. +Standards were not particularly high, especially not as +regards exactness; but they called for vigor of approach. +Emphasis is on the overall effect of pattern, not on its +items. The continuous forked-and-angled design, the +combinations of hourglass figures, of spaced rhomboids +or hexagons, even the simpler fishbone pattern—all have +this total-field approach, with relative indifference to +figure elements that got squeezed, stretched, or distorted.</p> + +<p>Some of these patterns, especially the forked-and-angled +continuous or interlocking one, are not easy to +plan or apply with reference to a given field, whether +circular or otherwise; yet they are attempted again and +again with a slapdash gusto.</p> + +<p>Elements like the triple line, or an extra line shadowing +the edge of a solid area, or a row of dots following +an inner or outer contour, or the filling either of figures +or background with stippled spots, and the superabundant +solid-filled angles—either opposite or apart—are simple +enough to execute in themselves; but the frequency of +their use, often of two or three of them at once, are evidence +that the Mohave potter was at least not skimping +her decoration, even though she was unworried if it came +out skew or ragged. After all, these details might have +simply been left out instead of being executed.</p> + +<p>In fundamental form, the bowls, platters, parchers +are pleasing; and in design and its relation to its field, +vessels like 1,<i>b</i>, <i>c</i>, 2,<i>g</i>, 3,<i>a</i>, <i>b</i>—or 3,<i>c</i>, <i>e</i>, 5,<i>g</i>; or 4,<i>g</i>; +<i>h</i>, <i>m</i>, <i>p</i>; or 3,<i>d</i>, 4,<i>r</i>—show concepts that in the hands of +a more interested or aesthetically more experienced population +would have had definite potentialities.</p> + +<p>There is then a standard in the Mohave pottery art, +and behind this a tradition. How this tradition grew will +be gradually worked out as a corpus of published data on +the ceramic wares of other tribes of the region becomes +available, and especially as archaeological information +accumulates. Personally, I have always assumed that +Colorado River ware as represented by historic Yuma +and Mohave pottery was a variant in a cotradition that +includes also Hohokam, much of Sonora, and probably +southern California. This seems also the basic view +of Malcom Rogers, Schroeder, Treganza, Meighan, +my present collaborator Harner, and the few others +who have concerned themselves with Colorado Valley +pottery. But of course the full story is long and +complex; and the present description and Harner's +analysis are merely thresholds from which the problem +can be really entered. Rogers' "Yuman Pottery Making" +is a useful preliminary survey and stimulating. Meanwhile +a Patayan tradition has been set up for the mountains +and desert east of the Mohave habitat along the +Colorado. But we have scant information on the Patayan +development, and that little seems quite different from +the historic Mohave one. So far as there may be resemblances, +I hope that our present detailed contribution will +induce those who know Patayan to point out in print such +similarities as they discern.<span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span></p> + +<hr class="c60" /> +<h2 class="p4">APPENDIX I</h2> + +<p class="center"><b>MEMORANDA ON THE DESTROYED ACADEMY COLLECTION</b></p> + +<p>The Mohave ethnological collection which was destroyed +by fire at the California Academy of Sciences in +San Francisco in 1906 consisted of 67 items, according +to a record preserved in my notebook 7. Of these 67, +32 were pottery vessels and 12 were ceramic ancillaries. +The latter consisted of four paddles, three pebbles used +as anvils, yellow pigment, two samples of potter's clay, +one of clay pounded small, and a sample of fine-crushed +rock for tempering.</p> + +<p>The vessels comprised:</p> + +<blockquote><p>11 bowls, one of them of kwáθki shape; mostly +listed by me as "dishes"; they may include some +platters</p> +<p>3 bowllike vessels, listed as: "kwáθki, small +pot"; "suyíre, round dish"; "tšemátšive, pot with +designs inside and out"</p> +<p>1 "dish, corrugated outside"</p> +<p>9 spoons</p> +<p>1 fire-blackened pot</p> +<p>1 cup, named as "kwáθki aha-suraitši"</p> +<p>1 jar, "hápurui, water jug"</p> +<p>2 seed jars, described as: "25, water jug, wheat +jar, aha-tše-kemauvitše, in halves, rejoined with +mesquite gum"; and "39, jar, top sealed with mesquite +gum; contains melon seeds for roasting and pounding; +to take them out, the mouth of the jar is set on hot +coals"</p> +<p>2 parchers, double-ended</p> +<p>1 jar with rope handle (canteen like pl. 6, <i>h</i>? or a +water jar carried by a rope around its neck?)</p></blockquote> + +<p>I do not know whether in 1900 I meant the same by jar, +jug, pot as now. My "dish" of then may have included +some platters as well as bowls. I was not using the term +"bowl"; and "pot" seems to have designated sometimes a +cook pot or olla, sometimes simply any open pottery +vessel, including bowls. Nor can I imagine now what I +may have meant by the "corrugation" on a dish. A cup +is mentioned, but called a special kind of kwáθki. If the +"hápurui, water jug" was handled, it would show that +handled jugs were called by the same name as widemouthed +jars, hápurui. The two seed jars were evidently +of the small-necked and small-mouthed type discussed in +connection with the Chemehuevi seed jar no. 13875.</p> + +<p>The design names obtained in 1900 were:</p> + +<blockquote><p>Fish bones, fish back, usually written atciθtatr +(= atšitaṭ): on four spoons and one "dish."</p> + +<p>Spider, haldâda (for halytôṭa), on one "pot." I +sketched the core of the pattern: an hourglass figure +(meeting angles) with double lines from the corners.</p> + +<p>Cottonwood leaf, on three spoons and the jar +with rope handle</p> + +<p>Matitšiav leaf (a bush growing away from river), +on one spoon</p> + +<p>Turtle (viz., carapace markings), on one spoon</p> + +<p>Hotaxpam, on the tšemátšive "pot," also on one +spoon; described as a red X painted below the eyes +by women; hotaxpave, halter, the cross-strap being +near the horse's eye</p> + +<p>Kari hanyóra, "basket pattern," on the outside of +a dish</p> + +<p>Rain, kovau, on two dish-pots; on the outside in at +least one</p> + +<p>Rainbow, kwalisei, on the outside of two "dishes" +and one spoon. I think these are simply stripes or +parallel lines on the under side. Rainbow occurs also +as a design on women's wooden dice, and as a face +paint.</p> + +<p>Fishnet, once on the outside of a "dish"</p> + +<p>Melon markings, kamíto hanyóra, on one of the +seed-water jars</p> + +<p>Clouds were given as the name of the "corrugations" +on dish no. 46. I evidently asked a foolish question.</p></blockquote> + +<p>Handbook of California Indians (fig. 64, p. 738) shows +a typical bowl and spoon from this Academy collection, +which I had drawn before their destruction. The bowl +pattern is outside, consists of heavy stripes and thin lines, +and was called "rain." The spoon pattern was probably +on the inside, was called "fish backbone," and is similar +to that of plate 4,<i>f</i>, <i>k</i>, <i>s</i>.</p> + +<hr class="c60" /> +<h2 class="p4">APPENDIX II</h2> + +<p class="center"><b>A SMALL MOHAVE BOWL</b></p> + +<p>About 1908 I was given or purchased as a souvenir +a small bowl which is now Peabody Museum no. 54-41-10/34461. +It is a typical bowl except for being smaller +than any in the University collection.</p> + +<p>It is 123 mm. in diameter, 64 in height; H/D ratio is +therefore 52 per cent. The ridge is finished with a horizontally +flat edge 4-5 mm. wide. I estimate the mean +thickness of the ware as around 4 mm. The weight is 7 oz. +There is a mesquite lashing below the rim with three +knots in it.</p> + +<p>The inner side is worn by use, and parts of the design +are no longer plain. The basic element is the raccoon hand, +of which there were originally 20 to 24 units. Each of these +consists of a solid red triangle, isosceles or equilateral, +with sides of 15-20 mm. From each triangle project four +digits—bars 6-12 mm. long. The hands are scattered +rather evenly over the field, but pointing in all directions: +toward the center, toward the rim, or across the circle. +Between the hand units there are red dots 2-3 mm. in +diameter.</p> + +<p>The under side carries 41 vertical (radiating) lines 1-2 +mm. wide and 30-80 mm. long.<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span></p> + +<hr class="c60" /> +<h2 class="p4">APPENDIX III</h2> + +<p class="center"><b>GRANITE TEMPER AND LIMONITE PIGMENT EXAMINATION</b><br /> +<b>By</b><br /> +<b>PROFESSOR CHARLES MEYER</b></p> + +<p>The piece of granite, no. 4326, used for temper is +high in quartz (20-25 per cent) and potash feldspar (35-40 +per cent), with perhaps 10 per cent of black mica +now chloritized. The remainder is probably soda-rich +plagioclase, a feldspar. This is a very acid granite, +silica probably constituting around 70 per cent of the +total mass. As a result, as the rock surface weathered, +it would not wash off as clay but would maintain hard +spicules and sharp angles of quartz useful as temper.</p> + +<p>The limonite pigment, no. 4295, Fe<sub>2</sub>O<sub>3</sub>ˇn(+)H<sub>2</sub>O, has +mostly crystallized on exposure to become toethite, +Fe<sub>2</sub>O<sub>3</sub>ˇnH<sub>2</sub>O. If originally derived from a sulphide, none +of this seems to remain. Some clay is contained and a +little quartz silt; also some carbonate in the form of +calcite, which acts as a cement for the whole; but the +total of silicates and carbonates, that is, noniron oxide, +is not over 10 per cent. On roasting, the water content +is driven off, and the remaining Fe<sub>2</sub>O<sub>3</sub> is red. A reducing +heating with carbon however produces magnetic +powder Fe<sub>3</sub>O<sub>4</sub>, a black pigment.</p> + +<hr class="c60" /> +<h2 class="p4">APPENDIX IV</h2> + +<p class="center"><b>MOHAVE POTTERY IN OTHER MUSEUMS</b></p> + +<p>In 1934 F. H. Douglas, of the Denver Art Museum, +wrote my colleague Gifford about Mohave pottery which +he had seen on display in various museums, without +special search of catalogues or storerooms. The list +may still be useful.</p> + +<p>U. S. National Museum: 25 vessels, mostly old, many +collected by Palmer, some evidently mislabeled Diegueńo +or Pimo. One anvil stone. [<i>Yuma</i>, a bowl and a 5-necked +vase, from Palmer; the Yuma went in for "fancy" or +tourist pieces earlier than the Mohave. <i>Cocopa</i>, McGee +got 4 plates, a Mohave type dipper, unpainted, 2 paddles.]</p> + +<p>Peabody Museum, Harvard: 10 vessels collected by +Edward Palmer in 1876, viz., 1 very large jar, 2 other +jars, 1 tiny jar, 3 bowls, 3 dippers; also 2 pottery dolls, +a paddle, an anvil stone, a "vessel of mud and straw." +There is also a pottery doll secured by Jules Marcou in +1854—he must have been on the Whipple Expedition! [I +have seen this lot and, like everything Palmer got, it is +excellent. Together with National Museum pieces, these +of Palmer's are the most important collection of Mohave +pottery extant. There seem to be no handled vessels; but +there are dolls—besides Marcou's. The Palmer collections, +formed twenty-five to thirty years before mine, +will be the touchstone of the "purity" of mine. From +having seen the Palmer material, I am confident that +Mohave native ware had not been <i>seriously</i> impaired +technologically or stylistically by 1902-1908; but it must +have been affected somewhat—the railroad came through +in 1886—and it will be desirable to know at what points it +had begun to change.—A. L. K.]</p> + +<p>Chicago Natural History Museum: 8 vessels (bowls, +dippers, jars, canteen), also 3 dolls, collected in 1901. +[The date points to Owen, who was in southern California +about then. From Yuma, one painted, one unpainted bowl.]</p> + +<p>Museum of the American Indian: 15 assorted pieces, +3 of them unpainted. [Same number from <i>Yuma</i>]. [Possibly +Edward Davis of Mesa Grande collected these.]</p> + +<p>University of Pennsylvania: [2 <i>Yuma</i> pottery dolls].</p> + +<p>Denver Art Museum: 3 human-headed vases, pre-1900. +Also 5 brand-new pieces bought at Needles in 1934.</p> + +<p>It is curious that none of these collections have been +described, except possibly for stray pieces in nonethnographic +connections. They aggregate into a group probably +at least as large as that discussed here; perhaps +considerably larger when the storerooms shall have been +examined.</p> + +<hr class="c60" /> +<h2 class="p4">APPENDIX V</h2> + +<p class="center"><b>CORRELATION OF KROEBER AND HARNER SHAPE CLASSES</b></p> + + +<div class="center"> +<table border="0" cellpadding="1" cellspacing="0" summary="shape classes"> +<tr> + <td class="tdc"><i>Kroeber</i></td><td> </td> + <td class="tdc"><i>Harner</i></td> +</tr> +<tr> + <td class="tdl">Bowl</td><td> </td> + <td class="tdl">I</td> +</tr> + <tr><td class="tdl">Platter</td><td> </td> + <td class="tdl">II</td> +</tr> +<tr> + <td class="tdl">Bowl, deep</td><td> </td> + <td class="tdl">III</td> +</tr> +<tr> + <td class="tdl">Cook pot</td><td> </td> + <td class="tdl">IV</td> +</tr> +<tr> + <td class="tdl">Water jar</td><td> </td> + <td class="tdl">V, VI</td> +</tr> +<tr> + <td class="tdl">Canteen</td><td> </td> + <td class="tdl">VII</td> +</tr> +<tr> + <td class="tdl">Handled cup</td><td> </td> + <td class="tdl">VIII, IX</td> +</tr> +<tr> + <td class="tdl">Handled jug</td><td> </td> + <td class="tdl">X</td> +</tr> +<tr> + <td class="tdl">Spoon (scoop)</td><td> </td> + <td class="tdl">XI-XVI</td> +</tr> +<tr> + <td class="tdl">Parcher</td><td> </td> + <td class="tdl">XVII-XVIII</td> +</tr> +</table> +</div> +<p><span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span></p> + +<p class="center"><img src="images/i065.jpg" width="40%" alt="Fig. 1." title="" /><br /> +<span class="caption">Fig. 1. Profile shape types. Exterior to left; section to right.</span> +</p> +<p><span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span></p> + +<hr class="c60" /> +<h2 class="p4">PART II</h2> + +<p class="center"><b>A DESCRIPTION FOR THE ARCHAEOLOGIST</b></p> + +<p class="center"><b>PARKER RED-ON-BUFF, FORT MOHAVE VARIANT +AND PARKER BUFF, FORT MOHAVE VARIANT</b></p> + +<p class="center">BY</p> + +<p class="center">MICHAEL J. HARNER</p> + + +<p class="p2 center"><b>INTRODUCTION</b></p> + +<p>The following analysis of the Mohave pottery collected +by Professor Kroeber is primarily for the use of the +archaeologist to aid him in identifying historic Mohave +ceramics. Not represented in the collection is pottery +made by the Mohave south of Parker. Some typological +differences may exist between the pottery of those settlements +and the pottery in Kroeber's collection, which is +from Mohave Valley. In addition, the evidence seems to +indicate that Mohave ceramics were undergoing changes +in the late historic period. Since the historic period can +be considered to extend back to the time of the first Spanish +contacts, other chronologically significant "historic" +Mohave pottery types or type variants may be discerned +through additional research. For these reasons "Fort +Mohave" is introduced here as a variant or subtype name +in preference to using "Historic Mohave" which is felt to +be too inclusive a term.</p> + +<p>In referring to historic Mohave pottery, Malcolm +Rogers (1945, p. 179) once used the name "Needles Red-on-Buff." +However, the description of Needles Red-on-Buff +by Colton (1939, pp. 12-13) and the use of that type +name by Schroeder (1952, p. 32) indicate that each has in +mind a type distinguishable from the pottery described +in this paper. At the same time, Schroeder (1952, p. 20) +clearly considers that his Parker types include historic +Mohave pottery within their typological range, and I am +of the same opinion. The descriptions of Parker Red-on-Buff, +Parker Buff, and Parker Stucco by Schroeder (1952, +pp. 19-22) agree in basic characteristics with most of the +pottery described in the present paper. However, some +forms which do not seem to occur prehistorically in the +Lower Colorado Buff Ware, such as cups, ring bases +and keels, are present in the late historic collection +described here. Such new forms can be of definite use +as chronological diagnostics, but it is difficult to justify +setting up a new type on the basis of them alone. Consequently, +the qualification "Fort Mohave variant" has +been added to the Parker type names to denote this late +historic pottery complex. When more detailed descriptions +are available for the earlier ceramics of the Parker +Series, the typological contrast may prove to be of sufficient +scope to warrant classifying the Fort Mohave variants +as full-fledged types. In any case, such descriptions +must be made before useful comparisons can be attempted.</p> + +<p>The description which follows does not include pottery +figurines, toys, rattles, pipes, or pot rests. Also one +undecorated jar<a name="FNanchor_7" id="FNanchor_7"></a><a href="#Footnote_7" class="fnanchor">[7]</a> was not included in the study.</p> + +<p>Techniques of description used here are almost entirely +based upon Colton and Hargrave (1937), Shepard +(MS), and Gifford (1953); the latter paper being also the +source of the paint permanency scale.<a name="FNanchor_8" id="FNanchor_8"></a><a href="#Footnote_8" class="fnanchor">[8]</a> Color analysis is +based upon the Munsell Soil Color Chart and hardness +tests upon Moh's scale. Depth and diameter measurements +refer to exterior dimensions.</p> + +<p class="center"><img src="images/i068.png" width="40%" alt="Fig. 2" title="" /><br /> +<span class="caption">Fig. 2. Rim and lip types. Interior to left; exterior to right.</span> +</p> + +<p>Since the size of the collection leaves much to be desired, +particularly as regards Parker Buff, Fort Mohave +variant, the writer wishes to emphasize that the definitions +of these variants are only tentative and hopes that +others will not hesitate to revise them in the light of additional +evidence.</p> + +<p><span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span></p> +<p class="p4 center"><b>PARKER RED-ON-BUFF, FORT MOHAVE VARIANT</b></p> + +<p class="p2 center"><b>GENERAL DESCRIPTION</b></p> +<p><b>Synonym</b>: None.</p> +<p><b>Variant named for</b>: Fort Mohave Reservation.</p> +<p><b>Illustrations</b>: This publication.</p> +<p><b>Type specimens</b>: Mohave pottery collection at the University +of California Museum of Anthropology.</p> +<p><b>Type sites</b>: All specimens were collected ethnographically +on the Fort Mohave Reservation in the vicinity +of Needles, California.</p> +<p><b>Cultural association</b>: Historic Mohave.</p> +<p><b>Time</b>: In use and collected during the years 1902 through +1908.</p> +<p><b>Size of sample</b>: 33 bowls; 4 jars; 7 cups; and 29 scoops.</p> + +<p class="p2 center"><b>ANALYSIS</b></p> +<p><b>Construction technique</b>: Coiling.</p> +<p><b>Finishing technique</b>: Paddle and anvil.</p> +<p><b>Firing</b>: Fully to incompletely oxidized.</p> +<p><b>Paste</b>:</p> +<blockquote><p><i>Color.</i>—Range: hue 2.5YR to 10R; value 6 to 7; chroma +4 to 6. Most common: 2.5YR 6/5 (between a weak +reddish orange and a weak orange.)</p> +<p><i>Temper.</i>—Size: average .4 mm. (fine); maximum 1.4 +mm. (coarse); minimum microscopic. Greatest +range between average and maximum observed in +a single vessel is .4 to 1.3 mm. Kind: predominantly +white angular and subangular particles (feldspar) +together with a small amount of white rounded +particles (quartz). Some mica (copper-colored) is +present, but except for a few vessels is hardly +noticeable.<a name="FNanchor_9" id="FNanchor_9"></a><a href="#Footnote_9" class="fnanchor">[9]</a> No sherd temper is visible. Amount: +When seen in cross section the amount of the paste +surface occupied by temper particles ranges from +ca. 30 per cent to ca. 50 per cent; the average +being ca. 40 per cent.</p> +<p><i>Carbon streak.</i>—None.</p> +<p><i>Texture.</i>—Rough.</p> +<p><i>Hardness.</i>—Where the paste is buff-colored: range of +hardness is 2 to 6.5; average is 4. Where the paste +is grayish: range 3.5 to 8.5; average 6.5. These +hardness ratings can be in error ą .5 owing to +variability in the mineral set used for testing.</p> + +<p><i>Fracture.</i>—Medium to crumbling.</p></blockquote> + +<p><b>Surface finish</b>: Anvil depressions are generally discernible +on interior surfaces of vessels. Surfaces are uniformly +smoothed, but not polished. All vessels are +unslipped (a few scoops have a sliplike surface appearance, +owing to one or both of their surfaces being completely +painted over; but the painting marks make it +evident that these are not applications of the clay wash +that characterizes a true slip.).</p> + +<p><b>Surface color</b>:</p> + +<blockquote><p><i>Bowls.</i>—Exterior: range of hue 10R to 10YR; value 2 +to 8; chroma 1 to 6. Most common: 5YR 6/4 (pale +neutral brown). Interior: range of hue 2.5YR to +10YR; value 3 to 8; chroma 1 to 8. Most common: +2.5YR 6/7 (weak to moderate orange).</p> + +<p><i>Jars.</i>—Exterior: range of hue 10R to 10YR; value 3 to +7; chroma 1 to 8. Most common: sample insufficient. +Interior: range of hue and value same as for +exterior surface; chroma 1 to 6. Most common: +sample insufficient.</p> + +<p><i>Cups.</i>—Exterior: range of hue 10R to 10YR; value 3 to +8; chroma 1 to 7. Most common: 2.5YR 6/6 (moderate +orange pink). Interior: range of hue and +chroma same as for exterior surface; value 4 to 8. +Most common: 5YR 7/4 (between moderate orange-pink +and weak yellowish orange).</p> + +<p><i>Scoops.</i>—(For colors of completely painted-over surfaces, +consult section on "Decoration.") Exterior: +range of hue 2.5YR to 7.5YR; value 2 to 8; chroma +1 to 6. Most common: 5YR 5/4 (between pale reddish +brown and moderate yellowish brown). Interior: +range of hue and value same as for exterior; chroma +1 to 7. Most common: 5YR 6/4 (between weak reddish +orange and light yellowish brown).</p></blockquote> + +<p><b>Fire clouds</b>:</p> + +<blockquote><p><i>Placement.</i>—Occur on any part of the exteriors of all +classes of vessels; never occur on the interiors of +bowls, but sometimes on the interiors of jars, cups +and scoops. Indistinct in shape.</p> + +<p><i>Amount.</i>—Every vessel has at least one fire cloud on +its exterior surface. Presence of fire clouds on the +interior surface is more variable. Fire clouds are +extremely variable in size.</p> + +<blockquote><p> +Bowls: Exterior: as many as 14 per vessel. +Often cover more than one-half of the surface. +Interior: no fire clouds. +<br /> +Jars: Exterior: as many as 4 per vessel. Cover +less than half of the surface. Interior: ranges +from being entirely free of fire clouds to being +completely blackened through use. +<br /> +Cups: Exterior: as many as 4 per vessel, and +at least 1. Interior: with the exception of 1 +cup, which has 1 small fire cloud, they are +lacking. +<br /> +Scoops: Exterior: as many as 12 per vessel. +Often cover more than one-half of the surface. +Interior: not more than 1. Occur only occasionally. +</p></blockquote> + +<p><i>Color.</i>—Value 2 to 7, chroma 1 (light gray to near +black). Hue depends upon vessel surface color.</p></blockquote> + +<p><b>Form</b>:</p> + +<blockquote><p><i>Bowls: Straight wall (circular and oval).</i>—</p> + +<blockquote><p> +Profile form types: I (circular bowls) and II +(oval bowls). +<br /> +Lip and rim types: Lip type B. Rim types 1, 2, +and 3. Types 1 and 2 occur on both circular +and oval bowls, type 1 being the more common. +Type 3 occurs on a single circular bowl. +<br /> +Shoulders: None. +<br /> +Base: Rounded. +<br /> +Diameter range: (a) for circular bowls, 12.3 to +33.0 cm.; (b) for oval bowls, maximum length +ranges from 15.4 to 26.8 cm. and maximum +width from 12.0 to 21.6 cm. +<br /> +Depth range: (a) for circular bowls, 6.0 to 13.4 +cm.; (b) for oval bowls, 4.5 to 6.6 cm. when +measured at the point of maximum length and +3.1 to 5.5 cm. when measured at the point of +maximum width. +<br /><span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span> +Wall thickness range: (a) at rim, 4 to 9 mm.; +(b) at a distance of 1 cm. below rim, 4 to +7.5 mm.; (c) at center of vessel base, 4 to +9 mm.<br /> +<br /> +Additional features: None, with the exception +of the largest circular straight walled bowl, +which has pottery knobs. (a) Nature of +feature: short oval pottery knobs apparently +for the purpose of holding in place vegetal +bindings which were sometimes wrapped +around vessels at the lip. (b) Placement: +encircle the vessel at the lip and project +horizontally from it; tops of the knobs are +15 to 20 mm. below the rim. (c) Dimensions: +knobs project from the vessel 9 to +12 mm. Their dimensions horizontally range +from 30 to 38 mm., and vertically range +from 21 to 24 mm. (d) Method of attachment: +affixed to vessel before firing. (e) Number: +11. +</p></blockquote> + +<p><i>Bowls: Recurved wall bowls.</i>—</p> + +<blockquote><p> +Profile form types: Range from type III to type +IV. +<br /> +Lip and rim types: Lip type A. Rim types 1 and +2, sometimes grading into types 4 and 5. +Type 1 is the most common; types 4 and 5 +the least. +<br /> +Shoulders: Rounded. +<br /> +Base: Rounded. +<br /> +Mouth diameter range: 14.1 to 32.0 cm. +<br /> +Depth range: 7.9 to 16.3 cm. +<br /> +Wall thickness range: (a) at rim, 4 to 9 mm.; +(b) at point of greatest incurve, 3.5 to 8.5 +mm.; (c) at vessel base, 3.5 to 10 mm. +<br /> +Additional features: A minority of the recurved +wall bowls have pottery knobs. (a) Nature of +feature: short oval knobs or longer conical +knobs (the latter on only one vessel) apparently +for the purpose of holding in place vegetal +bindings which were sometimes wrapped +around vessels at the lip. (b) Placement: +Knobs encircle the vessel at the lip and project +horizontally; tops of the oval knobs are +17 to 41 mm. below the rim; tops of the conical +knobs are 23 to 28 mm. below the rim. +(c) Dimensions: oval knobs project 4 to 9 mm. +from the vessel; range in horizontal length from +from 14 to 58 mm.; range in vertical length +from 8 to 22 mm. Conical knobs project from +the vessel ca. 12 mm. (only one is unbroken +and measurable); basal diameter is 8 mm. +(d) Method of attachment: affixed to the vessel +before firing. (e) Number per vessel: +varies for oval knobs, 3, 4, or 6; the one +vessel having conical knobs has 3. +</p></blockquote> + +<p><i>Jars: wide mouth.</i>—</p> + +<blockquote><p> +Profile form types: V and VI (the latter type +having an annular base). +<br /> +Lip and rim types: Lip type A. Rim types 1 and +2. +<br /> +Shoulders: Rounded. +<br /> +Bases: Rounded, sometimes with the addition +of an annular base. +<br /> +Mouth diameter range: 12.6 to 25.1 cm. +<br /> +Depth range: 19.2 to 25.4 cm. +<br /> +Wall thickness range: (a) at rim, 4 to 8 mm.; +<br /> +(b) at point of greatest incurve, 4 to 5 mm.; +<br /> +(c) at center of vessel base, 4.5 to 5.5 mm. +<br /> +Additional features: One jar has an annular +base, probably in imitation of such bases on +chinaware. Dimensions: diameter, 10.2 cm.; +thickness at rim of base ring, 6.4 to 8.0 mm. +Base ring lip is type D; rim of ring is type 2. +</p></blockquote> + +<p><i>Jar:</i> narrow mouth (canteen).—</p> + +<blockquote><p> +Profile form type: VII. +<br /> +Lip and rim types: Lip type C. Rim type 6. +<br /> +Shoulders: Rounded. +<br /> +Base: Rounded. +<br /> +Mouth diameter: 3.9 cm. +<br /> +Depth: 18.2 cm. +<br /> +Wall thickness range: (a) at rim, 4 to 5 mm.; +(b) at a distance of 1 cm. below rim, 7 mm.; +(c) at center of vessel base, 6 mm. +<br /> +Additional features: None. +</p></blockquote> + +<p><i>Cups.</i>—</p> + +<blockquote><p> +Profile form types: VIII, IX, and X (the latter +two types having annular bases). +<br /> +Lip and rim types: Lip type A. Rim types 1 and +2, sometimes grading into 4 and 5 respectively. +<br /> +Shoulders: Rounded. +<br /> +Bases: Rounded, often with the addition of an +annular base. +<br /> +Mouth diameter range: 8.4 to 12.8 cm. +<br /> +Depth range: 4.5 to 14.8 cm. +<br /> +Wall thickness range: (a) at rim, 4 to 7 mm.; +(b) at point of greatest incurve, 3 to 6 mm.; +(c) at center of vessel base, 6 to 8.5 mm. +for cups without an annular base and 9 to 12 +mm. for cups with an annular base.</p> + +<p>Additional features:</p> + +<p>Loop handles: (a) Nature of feature: single +pottery loop per cup. (b) Placement: upper +end of handle at rim of vessel; bottom edge +of lower end of handle is from 3.6 to 7.5 +cm. below rim. (c) Dimensions: range of +maximum distance between inside surface +of loop and exterior surface of the nearest +part of vessel proper, 12.5 to 33.8 mm.; +range of handle width (tangent to vessel) +11 to 30.9 mm.; range of handle thickness +(perpendicular to vessel), 6 to 14.2 mm. +Loop handle edges can be classified as to +rim type: types 1, 2, 3, 5 occur. +<br /> +Annular bases: (a) Nature of feature: a ring +base is often characteristic of the cups, +probably in imitation of such bases on +chinaware. (b) Dimensions: diameter +range, 5.8 to 7.1 cm.; thickness at ring +rim, 4 to 8 mm. Lips of base ring are +types D, E, F, or G. Rims of base ring +are types 1, 2, 3, 4, or 5.</p> +</blockquote> + +<p><i>Scoops without rattle handles.</i>—</p> + +<blockquote><p> +Profile form types: XI ranging to XII and, in +one case, modified to XIII; type XIV represents +the scoops with modeling. +<br /> +Lip and rim types: Lip type B. Rim type 1, +sometimes grading into rim type 4 at the +lower, circular end of the scoop. +<br /> +Shoulders: None. +<br /> +Base: Rounded. +<br /> +Diameter range: (a) for scoops without modeling, +maximum length ranges from 10.9 to +22.6 cm. and maximum width ranges from +7.1 to 16.1 cm.; (b) for modeled scoops, maximum +length ranges from 13.4 cm. to 27.8 cm. +and maximum width from 8.8 to 17.0 cm. +<br /> +Depth range: (a) for scoops without modeling, +depth ranges from 2.6 to 5.3 cm. when +<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span>measured at the point of maximum length and +2.4 to 5.1 cm. when measured at the point of +maximum width. +<br /> +Wall thickness range: (presence or absence of +modeling does not seem to correlate with any +variation in wall thickness) (a) at rim, 4 to +5 mm.; (b) at a distance of 1 cm. below rim, +4.5 to 8.5 mm.; (c) at center of vessel base, +4.5 to 14 mm. +<br /> +Additional features: None for the scoops without +modeling, with the exception of one vessel +which has a curved handle (see profile form +type XIII) 42.1 mm. long. Scoops with modeling +have two types of features: +<br /> +"Keels": (a) Nature of feature: a keel-like +ridge characterizes every scoop with +modeling. (b) Placement: Along the exterior +surface of the vessel, starting at +the handle end and tapering in the amount +of projection as it approaches the base of +the scoop. (c) Dimensions: range of keel +projection from surface proper of vessel, +ca. 5 to ca. 15 mm. Keel lip is type G. +Keel rim is type 5. (d) Method of attachment: +either molded from the coils of the +vessel proper or affixed before firing. +<br /> +"Eyes": (a) Nature of feature: round to oval +lumps of clay occurring on most of the +vessels having keels, and on no others. +(b) Placement: the two "eyes" are located +on opposite sides of the keel at the juncture +of the keel and the vessel proper on the +handle of the scoop. (c) Dimensions: diameter +of "eyes" ranges from 5 to 24 mm.; +they project 2.7 to 8.3 mm. from the surface +of the vessel. (d) Method of attachment: +affixed before firing. +</p></blockquote> + +<p><i>Scoops with rattle handles.</i>—Differ from scoops without +rattle handles as follows.</p> + +<blockquote><p> +Profile form types: range from XV to XVI. +<br /> +Diameter range: range of maximum length, 12.2 +to 18.9 cm.; of maximum width, 6.9 to 9.2 cm. +<br /> +Depth range: at the point of maximum length, +3.1 to 6.4 cm.; at the point of maximum width, +2.8 to 3.3 cm. +<br /> +Wall thickness range: (a) at rim, 3.5 to 6.6 mm.; +(b) at a distance of 1 cm. below the rim, 4.5 +to 8.5 mm.; (c) at center of vessel base, 5.5 +to 9 mm. +<br /> +Additional features: All rattle-handled scoops +have the "eyes" and "keel" previously described. +<br /> +Rattle handle: (a) Nature of feature: a single +closed compartment containing some loose, +small, hard objects (probably pebbles or +pottery pellets). (b) Placement: located +in the handle of the scoop and with its length +oriented along the length of the handle. (c) +Dimensions: compartment occupies less +than one-half the total length of the vessel. +Its exact dimensions are uncertain, since +none of the handles are broken open; probably +the interior length ranges from ca. 30 +to ca. 49 mm. and the interior width from +ca. 32 to ca. 55 mm.</p></blockquote> +</blockquote> +<p><b>Decoration:</b></p> + +<blockquote><p><i>Paint.</i>—(a) Color: range of hue 7.5R to 2.5YR; range +of value 2 to 5; range of chroma 2 to 8. Most common +color: 10R 3/3 (a dark red). (b) Material: iron, +from limonite. (c) Permanency: averages the same +for interiors and exteriors of vessels. Approximately +50 per cent of the tests yielded a rating of 1, with +the remaining 50 per cent about equally divided +among ratings 2, 3, and 4. (d) Polishing over decoration: +None.</p> + +<p><i>Design.</i>—The reader is referred to the discussion of +this subject by Kroeber in Part I.</p></blockquote> + +<p class="p2 center"><b>COMPARISON</b></p> + +<p>The reader is referred to the corresponding section +for Parker Buff, Fort Mohave Variant.</p> + +<p class="p2 center"><b>RANGE</b></p> + +<p>The reader is referred to the corresponding section +for Parker Buff, Fort Mohave Variant.</p> + +<p class="p2 center"><b>PARKER BUFF, FORT MOHAVE VARIANT</b></p> + +<p class="center"><b>GENERAL DESCRIPTION</b></p> + +<p><b>Synonym</b>: None.</p> +<p><b>Variant named for</b>: Fort Mohave Reservation.</p> +<p><b>Illustrations</b>: This publication.</p> +<p><b>Type specimens</b>: Mohave pottery collection at the University +of California Museum of Anthropology; specifically, +specimens 1/13788, 1/13789, 1/13790, and +1/15707.</p> +<p><b>Type sites</b>: Same as for Parker Red-on-Buff, Fort Mohave +variant.</p> +<p><b>Cultural association</b>: Same as for Parker Red-on-Buff, +Fort Mohave variant.</p> +<p><b>Time</b>: Same as for Parker Red-on-Buff, Fort Mohave +variant.</p> +<p><b>Size of sample</b>: 2 bowls; 2 parchers.</p> + +<p class="p2 center"><b>ANALYSIS</b></p> + +<p><b>Construction technique and finishing technique</b>: The same +as for Parker Red-on-Buff, Fort Mohave variant; firing +and paste characteristics are likewise within the range +described for that type.</p> + +<p><b>Surface finish</b>: Anvil depressions are generally discernible +on interior surfaces of vessels. All vessels are +unslipped. Interior surfaces of all vessels and the exterior +of one parcher and part of the exterior of the +other are smooth, but not polished. The exterior surfaces +of the bowls and part of the exterior of one of +the parchers have an extremely rough, granular surface, +called "stucco."</p> + +<p><b>Surface color</b>: Exterior surfaces of bowls are covered +with the soot from cooking fires. Interior surfaces of +<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span>parchers and one bowl are likewise uniformly blackened +through use. Otherwise the surface color is +visible and within the range described for Parker +Red-on-Buff, Fort Mohave variant.</p> + +<p><b>Fire clouds</b>: These are partially visible on the exteriors +of the parchers and may be present on the exterior +and interior surfaces elsewhere. However, the considerable +smoke-blackening prevents adequate observation +of them (removal of a portion of the soot on the +exterior of one bowl revealed one such cloud).</p> + +<p><b>Form</b>:</p> + +<blockquote><p><i>Bowls.</i>—</p> + +<blockquote><p> +Profile form type: IV. +<br /> +Lip and rim types: Lip type A. Rim types 1 and 2, +sometimes grading into types 4 and 5 respectively. +<br /> +Shoulders: Rounded. +<br /> +Base: Rounded. +<br /> +Mouth diameter range: 18.5 to 25 cm. +<br /> +Depth range: 13.4 to 19.8 cm. +<br /> +Wall thickness range: (a) at rim, 5 to 9 mm.; (b) +at point of greatest incurve, 3.5 to 5 mm.; (c) +at center of vessel base, 6 to 8 mm.</p></blockquote> + +<p><i>Parchers.</i>—These are boatlike, double-pointed shapes.</p> + +<blockquote><p> +Profile form types: XVII and XVIII. +<br /> +Lip and rim types: Lip type B. Rim types 1 and 2. +<br /> +Shoulders: None. +<br /> +Base: Rounded. +<br /> +Diameter range: range in maximum length is 34 to +38.1 cm.; range in maximum width is 23.9 to +26.6 cm. +<br /> +Depth range: at point of maximum length, 13.7 to +13.9 cm.; at point of maximum width, 8.6 to +8.8 cm. +<br /> +Wall thickness range: (a) at rim, 7 to 9 mm.; (b) +at a distance of 1 cm. below the rim, 5 to 6.5 +mm.; (c) at center of vessel base, 5.5 to 7.5 mm. +<br /> +Additional features: On one of the bowls and on +both of the parching trays the topmost coil, constituting +the rim and upper part of the lip, is +not completely flattened, resulting in what is +sometimes called a "folded rim." This makes +the rim and the lip thicker in cross section. +This "folded rim" is characterized by a treatment +of parallel, angular (fingernail?) indentations +both on the interior and exterior surfaces. +The distance from the rim to the bottom edge of +the fold ranges from 2.4 to 7 mm. +</p></blockquote> + +<p><b>Painted decoration</b>: None.</p></blockquote> + +<p class="p2 center"><b>COMPARISON</b></p> + +<p>Differs from Parker Red-on-Buff, Fort Mohave +variant, in not having painted decoration; and in having +a "stucco" surface and/or an indented "folded rim." The +parcher is a form which does not occur among the painted +vessels (i.e., as Parker Red-on-Buff, Fort Mohave +variant) in the collection.</p> + +<p class="p2 center"><b>RANGE</b></p> + +<p>Incompletely determined. At least from the northern +end of Mohave Valley south along the Colorado River to +the valley below Parker.<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span></p> + + +<p class="p2 center"><b>BIBLIOGRAPHY</b></p> + +<p>Colton, Harold S.</p> + +<p class="hanging indent">1939. An Archaeological Survey of Northwestern +Arizona including the Description of Fifteen +New Pottery Types. Bull. 16, Museum of +Northern Arizona. Flagstaff. +</p> + +<p>Colton, Harold S., and Lyndon L. Hargrave</p> + +<p class="hanging indent"> +1937. Handbook of Northern Arizona Pottery Wares, +Bull. 11, Museum of Northern Arizona. +Flagstaff. +</p> + +<p>Gifford, James (ed.)</p> + +<p class="hanging indent"> +1953. A Guide to the Description of Pottery Types +in the Southwest. Department of Anthropology, +University of Arizona. Tucson. (Mimeo.) +</p> + +<p>Munsell Color Co., Inc.</p> + +<p class="hanging indent"> +Munsell Soil Color Chart, Hues—7.5R Thru +5Y. Baltimore.</p> + +<p>Rogers, Malcolm J.</p> + +<p class="hanging indent"> +1936. Yuman Pottery Making. San Diego Museum +Papers, No.2. San Diego.</p> + +<p class="hanging indent">1945. An Outline of Yuman Prehistory. Southwestern +Journal of Anthropology, 1 (2):167-198. +Albuquerque.</p> + +<p>Schroeder, Albert H.</p> + +<p class="hanging indent"> +1952. A Brief Survey of the Lower Colorado River +from Davis Dam to the International Border. +Bureau of Reclamation Reproduction Unit, +Region Three. Boulder City.</p> + +<p>Shepard, Anna O.</p> + +<p class="hanging indent"> +MS. The Description of Pottery Color.</p> +<p><span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span></p> + + + +<hr class="c60" /><p><span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span></p> +<h2><a name="PLATES" id="PLATES"></a>PLATES</h2> +<p><span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span></p> + +<p class="center p4"><img src="images/i085.jpg" width="40%" alt="Plate 1." title="" /><br /> +<span class="caption">Plate 1. Bowls</span></p> +<p><span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span></p> + +<p class="center p4"><img src="images/i086.jpg" width="40%" alt="Plate 2." title="" /><br /> +<span class="caption">Plate 2. Bowls</span></p> +<p><span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span></p> + +<p class="center p4"><img src="images/i087.jpg" width="40%" alt="Plate 3." title="" /><br /> +<span class="caption">Plate 3. Platters</span></p> +<p><span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span></p> + +<p class="center p4"><img src="images/i088.jpg" width="40%" alt="Plate 4." title="" /><br /> +<span class="caption">Plate 4. Spoons</span></p> +<p><span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span></p> + +<p class="center p4"><img src="images/i089.jpg" width="40%" alt="Plate 5." title="" /><br /> +<span class="caption">Plate 5. Jars, pots, jugs, cups</span></p> +<p><span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span></p> + +<p class="center p4"><img src="images/i090.jpg" width="40%" alt="Plate 6." title="" /><br /> +<span class="caption">Plate 6. Bowls, platters, parchers, canteens</span></p> +<p><span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span></p> + +<p class="center p4"><img src="images/i091.jpg" width="40%" alt="Plate 7." title="" /><br /> +<span class="caption">Plate 7. Spoon backs, toys, pipes, pot rests</span></p> +<p><span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span></p> + +<p class="center p4"><img src="images/i092.jpg" width="40%" alt="Plate 8." title="" /><br /> +<span class="caption">Plate 8. Jar, cup, platter, bowls, spoons</span> +</p> + +<div class="p2 footnotes"><h2>FOOTNOTES:</h2> +<div class="footnote"> +<p><a name="Footnote_1" id="Footnote_1"></a><a href="#FNanchor_1"><span class="label">[1]</span></a> Orthography: θ, đ, like th in thick, this; s, somewhat retroflex; tš, +much like English ch; ly, ny, palatalized l, n, like Castilian ll, ń (y is +never a vowel in the transcription used); v, bilabial; t, retroflex; ', glottal +stop; q, a back k; h is rather faint initially, but rough, nearly like Spanish +j when medial, final (or initial through slurring of an unaccented initial +vowel). Unaccented phonemic a is sounded a or e indifferently. Length is +not indicated in this paper. The acute accent on vowels indicates a stressed +syllable, which is also raised in pitch.</p> + +<p><a name="Footnote_2" id="Footnote_2"></a><a href="#FNanchor_2"><span class="label">[2]</span></a> Umás- is frequent in ritual names. It may be a form of humar, "child."</p> + +<p><a name="Footnote_3" id="Footnote_3"></a><a href="#FNanchor_3"><span class="label">[3]</span></a> Hamók(a) is "three"—because of the three pot rests.</p> + +<p><a name="Footnote_4" id="Footnote_4"></a><a href="#FNanchor_4"><span class="label">[4]</span></a> Havík is "two"—because of the two hornlike ends.</p> + +<p><a name="Footnote_5" id="Footnote_5"></a><a href="#FNanchor_5"><span class="label">[5]</span></a> Atcí is fish, isáka is bone, but the form mostly obtained was (i)taṭ, +backbone.</p> + +<p><a name="Footnote_6" id="Footnote_6"></a><a href="#FNanchor_6"><span class="label">[6]</span></a> In 1904, I saw in a native house upriver from Fort Mohave a bi-pointed +parcher or katéla which had nose and eyes at the ends like those on quail +spoons; and another which had along the edge a line of overlapping impressions +that might have been made by the square corner of a board or tool. +This description suggests 6,<i>f</i> and 6,<i>g</i>, which I secured four years later at +Needles.</p> + +<p><a name="Footnote_7" id="Footnote_7"></a><a href="#FNanchor_7"><span class="label">[7]</span></a> UCMA no. 1/4297. Pl. 6,<i>i</i>.</p> + +<p><a name="Footnote_8" id="Footnote_8"></a><a href="#FNanchor_8"><span class="label">[8]</span></a> I wish to thank A. H. Schroeder. R. C. Euler, and H. S. Colton for +their constructive criticism of this description.</p> + +<p><a name="Footnote_9" id="Footnote_9"></a><a href="#FNanchor_9"><span class="label">[9]</span></a> Mineral identifications were kindly made by Dr. Adolf Pabst, Department +of Geological Sciences, University of California.</p> + +</div> +</div> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Mohave Pottery, by +Alfred L. Kroeber and Michaell J. 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