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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/39528-0.txt b/39528-0.txt new file mode 100644 index 0000000..71c7edb --- /dev/null +++ b/39528-0.txt @@ -0,0 +1,2917 @@ +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: UTF-8 + +*** 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 + + + + + +Transcriber Note: +Bold text in the original version has been marked like =this=. + + + + + UNIVERSITY OF CALIFORNIA PUBLICATIONS + ANTHROPOLOGICAL RECORDS + + VOLUME XVI + 1955-1961 + + UNIVERSITY OF CALIFORNIA PRESS + BERKELEY AND LOS ANGELES + 1961 + + KRAUS REPRINT CO. + Millwood, New York + 1976 + + UNIVERSITY OF CALIFORNIA PRESS + BERKELEY AND LOS ANGELES + CALIFORNIA + + CAMBRIDGE UNIVERSITY PRESS + LONDON, ENGLAND + + + _Reprinted with the permission of the + University of California Press_ + + KRAUS REPRINT CO. + + A U.S. Division of Kraus-Thomson Organization Limited + + + Printed in U.S.A. + + + + +CONTENTS + + + 1. Mohave Pottery, by A. L. Kroeber and Michael J. Harner 1 + 2. The Aboriginal Population of the San Joaquin Valley, + California, by S. F. Cook 31 + 3. The Aboriginal Population of the North Coast of California, + by S. F. Cook 81 + 4. The Aboriginal Population of Alameda and Contra Costa + Counties, California, by S. F. Cook 131 + 5. California Athabascan Groups, by Martin A. Baumhoff 157 + 6. Colonial Expeditions to the Interior of California, Central + Valley, 1800-1820, by S. F. Cook 239 + 7. Shoshone-Bannock Subsistence and Society, by Robert F. + Murphy and Yolanda Murphy 293 + 8. A Burial Cave in Baja California, The Palmer Collection, + 1887, by William C. Massey and Carolyn M. Osborne 339 + 9. Washo Religion, by James F. Downs 365 + + + + +MOHAVE POTTERY + +BY A. L. KROEBER AND MICHAEL J. HARNER + +ANTHROPOLOGICAL RECORDS Vol. 16, No. 1 UNIVERSITY OF CALIFORNIA + +ANTHROPOLOGICAL RECORDS + +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 + + +Submitted by editors August 4, 1954 Issued May 6, 1955 Price, 75 cents + + +University of California Press Berkeley and Los Angeles California + +Cambridge University Press London, England + + +Manufactured in the United States of America + +FOREWORD + + +The pottery here described was collected fifty years ago by Kroeber and +is all in the University's Museum of Anthropology. + +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. + +No comparisons with other native ceramic arts, recent or ancient, are +undertaken by us. + + A. L. K. + M. J. H. + + + + +CONTENTS + + +PART I. ETHNOGRAPHICAL ANALYSIS + +By A. L. Kroeber + + Page + Pottery shapes recognized by the Mohave 1 + Pottery objects other than vessels 2 + Technological notes 2 + Description of the pottery 3 + Plate 1: Bowls 3 + Plate 2: Bowls 3 + Plate 3: Platters 4 + Plate 4: Spoons 5 + Plate 5: Jars, pots, jugs, cups 6 + Plate 6: Bowls, platters, parchers, canteens 7 + Plate 7: Spoon backs, toys, pipes, pot rests 7 + Plate 8: Jar, cup, platter, bowls, spoons 8 + Summary of shapes 8 + Summary of painted designs and elements 9 + The Mohave pottery style 10 + + Appendix I. Memoranda on the destroyed Academy collection 12 + Appendix II. A small Mohave bowl 12 + Appendix III. Granite temper and limonite pigment examination, + by Professor Charles Meyer 13 + Appendix IV. Mohave pottery in other museums 13 + Appendix V. Correlation of Kroeber and Harner shape classes 13 + + +PART II. A DESCRIPTION FOR THE ARCHAEOLOGIST + +PARKER RED-ON-BUFF, FORT MOHAVE VARIANT, AND PARKER BUFF, FORT MOHAVE +VARIANT + +By Michael J. Harner + + Introduction 15 + Parker Red-on-Buff, Fort Mohave variant 16 + Parker Buff, Fort Mohave variant 18 + Bibliography 20 + Plates 23 + + + + +MOHAVE POTTERY + + + + +PART I ETHNOGRAPHICAL ANALYSIS + +BY + +A. L. KROEBER + + +POTTERY SHAPES RECOGNIZED BY THE MOHAVE + +The generic Mohave name for pottery vessels seems to be kwáθki,[1] the +word for bowl. + + [1] Orthography: θ, ð, like th in thick, this; s, somewhat + retroflex; tÅ¡, much like English ch; ly, ny, palatalized l, n, + like Castilian ll, ñ (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. + +The shapes for which Mohave names were obtained are mainly those which +segregate out objectively on examination of a collection: + + 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,_a_-_c_, 8,_d_-_h_; the name kwáθki was specifically + applied to 1,_d_, 2,_b_, 2,_h_, 6,_a_. + + kayéθa, a platter, that is, a low round bowl or flat dish without + neck or everted lip, was applied to pl. 3,_d_. The shape is shown + in pls. 3,_a_-_d_, _g_, 8,_c_. + + kayúka, pl. 3,_c_, or kakápa, also a platter, but oval, and + smaller. Pls. 3,_e_, _f_, _h_-_j_, 6,_d_, _e_. + + kam'óta, a spoon, ladle, dipper, or scoop, more or less triangular. + Pls. 4, 7,_a_-_i_, 8,_i_-_k_. Subclasses were not named to me, + except for kam'óta ahmá, those with a quail head at the handle. + + katéla, bi-pointed tray for parching. Pl. 6,_f_, _g_. + + It will be observed that the last five names all begin with ka-. + + The name suyÃre was given to pl. 6,_c_, which is intermediate + between bowl and platter. + + táskyena is a cook pot. Pl. 5,_c_. + + tÅ¡uváva, 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,_n_, _o_. + + 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. + + hápurui, water jar, as kept around the house, "olla" shaped, pls. + 5,_a_, _b_, 8,_a_. The name contains the stem for water: (a)há. + + I happened not to secure the name of the small-mouthed canteen + water jar used in traveling, as shown in pl. 6,_h_. + + 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_. + + There are also handled jugs, pl. 5,_d_-_g_, and handled cups, pls. + 5,_h_-_i_, 8,_b_, 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,_g_, was called a jar, hápurui; the + low jug, 5,_e_, kwáθki, bowl; and in 1900 I bought a cup for which + the name kwáθki aha-suraitÅ¡i was given. + + +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: + + to bring water in (u)más-toyám[2] hápurui + to cook in umás-te-to'óro táskyena + to cook in umás-te-hamóka[3] tÅ¡uváva + spoon, ladle umás-uyúla kam'óta + food platter han'amé kakápa + bowl umás-iáða táskyena + parching dish umás-eyavkwa-havÃk[4] katéla + arrow weed stirrer umás-kasára so'óna + + [2] Umás- is frequent in ritual names. It may be a form of humar, + "child." + + [3] Hamók(a) is "three"--because of the three pot rests. + + [4] HavÃk is "two"--because of the two hornlike ends. + + +It will be noted that handled jugs and handled cups are lacking from +this list, though so are canteens and round platters. + +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. + + +POTTERY OBJECTS OTHER THAN VESSELS + +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,_j_,_k_, 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. + +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. + +Pipes, short and tubular, are made of pottery. Plate 7,_l_ (no. 4264), +was made for a boy, and was unfinished, remaining unbaked. Plate 7,_m_ +(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. + +Pot rests, put under the large tÅ¡uváva cookpots, were made of clay, as +shown in plate 7,_n_,_o_. + +In 1904 I secured an arrow-straightener of pottery, no. 4367, shown in +Handbook, plate 49,_f_. 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. + + +TECHNOLOGICAL NOTES + +I saw pottery made about 1902-1904, and have little to add to the +record. + + 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.) + + In 1904, I added the following in notebook 60-33: + + 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'Ãse] 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. + +I noted that no slip was being used by Mohave potters, nor does +examination reveal any. + +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. + +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. + +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-kutÅ¡yep, "yellow paint +wide open," a spot in a wash cutting across the peneplain from Avimota, +Mt. Manchester, in Nevada opposite Fort Mohave. + +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: + + 1759, sample of pottery clay. + + 4326, sample of pottery temper, presumably after grinding. + + 4295, 4354, sample of yellow ocher for painting designs. + + 4277, piece of broken pot. + + 13871, two sherds. + + 1719, pottery pipe. + +Another lot of similar accessories was once included in a collection +belonging to the California Academy of Sciences and is listed in +Appendix I. + +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: + + 4276...... 117 90 + 4311...... 113 100 + 4346...... 118 100 flattened + 4347...... 100 80 flattened + 4348...... 70 50 with 2 last makes a 3-size nest + 13839......140 75 flat, almost biconvex + +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. + + +DESCRIPTION OF THE POTTERY + +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. + +The objects described were collected by myself in three lots, in Mohave +Valley, on both sides of the Colorado River, as follows: + + In 1902 Accession 40 Specimens 1-1710-1760 + In 1904 Acc. 135-138 Specs. 1-4259-4381 + In 1908 Acc. 325 Specs. 1-13771-13775 + +Of these nearly 300 objects, some 70 are of pottery. + +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. + + +PLATE 1: BOWLS + + _a_, 13773, diameter 258 mm., height 127 mm. + + _b_, 1733, d. 233, h. 177. Design: ta-lame-θlame, "patches" (?). + The painting is very uneven. + + _c_, 13772, d. 281, h. 140. + + _d_, 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. + + _e_, 13774, d. 240, h. 142. The designs inside are similar to those + of _d_, and are repeated on the outside of the vessel. + + _f_, 13778, d. 195, h. 97. + + _g_, 13780, d. 181, h. 89. + + _h_, 13779, d. 185, h. 87. + +Of these 8 bowls, 3 (_f_, _g_, _h_, 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. + +The pattern is fundamentally the same on the inside of all 8 bowls, +except that spotting is omitted in _f_. 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: _a_, _b_, _d_, _f_, +_g_, _h_. In _c_ they point parallel; _e_ is unskillfully painted and +lacks the dead or free ends. + +This pattern is complex and calls for skill in execution. _e_ is a +botch, _a_ irregularly crowded, _g_, _h_ simplified and open; the rest +show successful control, especially _b_, _c_, _d_. Only _b_ 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. _b_, _c_; this variation is +perhaps unavoidable. + +This pattern is the most ambitious of Mohave design treatments. + +The outer side of these bowls is painted with vertical stripes down from +the rim 6 times. Usually they are thinnish lines, in _c_ wider stripes. +Bowls _e_ and _f_ partly repeat the inside pattern on their outside. + + +PLATE 2: BOWLS + + _a_, 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. + + _b_, 4321, d. 282, h. 150. Design: kan'ú, (Maricopa) basketry + pattern. + + _c_, 13775, d. 260, h. 100. Almost as flat as the platters of pl. + 3, but there is a neck, and it is bound. + + _d_, 1740, d. 210, h. 104. Design: coyote teeth. + + _e_, 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. + + _f._, 1732, d. 227, h. 130. Wt. 35 oz. Design, inside: humanape, + butterfly; outside, hotahpave face paint. + + _g_, 1714, d. 177, h. 121. The H/D proportion, 68 per cent, is, + with pl. 8,_h_, the highest of all bowls. I called it a "deep pot" + when I acquired it. Wt. 23 oz. Design, outside: (i)yamtÅ¡upeá¹(a) + face paint. + + _h_, 4292, "model," i.e., made for sale, d. 149, h. 77. Design, + inside, halytôá¹a, spider; outside, atcÃ'ara, fish tail. This + vessel, as well as the platter 4294, pl. 3,_j_, 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. + +These 8 bowls vary more in proportion than those of plate 1. H/D ratio +runs, seriated: 38, 45, 50, 52, 53, 57, 68 per cent, average 52, as +against 51 per cent average for plate 1. The lowest bowl in the present +lot is _c_, with _a_ next; the highest is _g_. These three are outside +the limits of plate 1. + +The interior designs are less uniform than in plate 1. + +_a_ and _b_ 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 _b_, 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 _a_, 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 _b_, the figures are grouped in four parallel +tiers extending across the bowl. In _b_, the _outside_ carries vertical +stripes; in _a_, 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. + +_c_ and _d_ are crossed by rows of solid triangles touching at the +corners. These aim at being equilateral in _c_ (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 _d_ 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,_l_,_q_. + +_f_ 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 _outside_, 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 _a_. + +_e_ 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 _outside_ carries 58 vertical stripes +averaging about 4 mm. wide. + +_g_ 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 _outside_ is continuously covered by what in other vessels +was usually called "fish bones"--but here was named (i)yam-tÅ¡uperta, 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. + +_h_ has free-standing eight-legged spider figures interspersed with +dots. A spider design recurs in plate 3,_i_; and in 3,_j_ a similar +figure is called tortoise. The stripes and lines of the _outside_ were +called "fish tail"--it is not quite apparent why. + +In summary for exterior designs, _a_ and _f_ have hourglasses, _g_ the +zigzag fish bones, the others in this plate "radial" or vertical lines, +wholly or partly widened in _e_, _h_ to stripes. + + +PLATE 3: PLATTERS + +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. + + =========================================================== + Pl. | No. |D(L) | W | W/L | H| H/D |Th.|Curv. + | | | |(per cent)| |(per cent) | | + ------+-----+------+---+----------+--+-----------+---+----- + 3,_a_|13784|272 |...| |79| 29 |5.0| 330 + | | | | | | | | + 3,_b_|13783|283 |...| |88| 31 |5.0| 348 + | | | | | | | | + 3,_c_|1713 |262 |...| |77| 29 |5.5| 320 + | | | | | | | | + 3,_d_|1722 |202 |...| |71| 35 |5.5| 270 + | | | | | | | | + 3,_e_,| | | | | | | | + _f_|13785|266 |215| 81 |66| 28+ |6.5| 303 + | | | | | | | | + 3,_g_|1751 |145* |...| |48| 33 |6.0| 195 + | | | | | | | | + 3,_h_|13786|166 |147| 89 |59| 38+ |5.5| 217 + | | | | | | | | + 3,_i_|1738 |157 |135| 86 |43| 29.5+ |5.0| 191 + | | | | | | | | + 3,_j_|4294 |155 |121| 78 |44| 32+ |5.5| 178 + ------+-----+------+---+----------+--+-----------+---+----- + + _Note:_ D(L), diameter _or_ 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; +Mean of H/L and + W/L. All dimensions in mm. + +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. + +Platters _i_ and _j_ were described when collected as "dish-like spoons" +or scoops; _j_, like plate 2,_h_, is from Tokwaθa's household. + + +_Designs_ + +As regards painted design, _a_ and _b_ 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. + +_d_ was called "himáka lameθlame, its back leaves" (or "patches"?--cf. +pl. 4,_d_). This presumably refers to the large dot-studded hexagonal +areas--hexagonal at least in intent. My notes also name a "tÅ¡itθôk +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,_a_. The back or _under_ side of _d_ +in the present plate is boldly checkered, as shown in plate 8,_c_. It is +possible that the leaf name refers to this checker. + +_c_ and _g_ were both designated as fish backbone, which as a pattern we +have already encountered on bowl 2,_g_, 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,_g_ +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,_a_,_b_ above. The +simpler, merely parallel-chevron form of the design--with the vertebrae +omitted--is perhaps more usual, and is shown recurring in _e_ and in +plate 4,_f_,_k_. The under side of _c_ has 67 vertical (radiating) +lines.--Plate 3,_g_, no. 1751, was obtained from Nyavarup along with no. +1749, plate 4,_o_, 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. + +_f_ is the _under_ or convex side of _e_, but its spots (12-14 mm. +diameter) reappear as the sole inside pattern in _h_, and between the +tortoises of _j_. The inside dots of _h_ and the outside ones of _f_ +were however put on differently: in _h_ in rows across the oval, in _f_ +irregularly or perhaps spirally. The under side of _h_ also has dots, +fainter than on the front. In _j_ the dots seem inserted with reference +to the larger figures of tortoises. + +These tortoises of _j_ are definitely similar to the halytôá¹a spiders of +plate 2,_h_, but are also distinctive, with enclosed-line quadrilateral +body, 3-toed legs at corners, and head and tail. Both 3,_j_ and 2,_h_ +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. + +3,_i_ as halytôá¹a, spider, is puzzling as to why its name, and is also +abnormal formally. + + +PLATE 4: SPOONS + +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. + +I give, first, identifications, sizes, and design names; then shapes; +and finally a discussion of painted patterns. + + +_Identifications_ + + _a_, 13800, length 174 mm. + + _b_, 1731, l. 201. Called kas'uyule. Design doubtfully recorded as + hotahpave face paint. + + _c_, 13802, l. 182. + + _d_, 4320, l. 175. Design name: ta-hlame-hlame, "patches," and + "butterfly inside," humanape iyaly ("in the mouth"?). + + _e_, 1736, l. 123; handle hollow, rattling, "tÅ¡ÃwitÅ¡iwitÅ¡." + + _f_, 7098, from older University collections (pre-1901), Mohave + provenience assumed, not recorded; l. 194; handle hollow, rattling. + + _g_, 1737, l. 175. Design name: kyauelkyau, "angled, zigzag." + + _h_, 13803, l. 225. + + _i_, 13805, l. 178. + + _j_, 13804, l. 190. + + _k_, 1747, l. 186. + + _l_, 1730, l. 198. Design name: coyote teeth. + + _m_, 13809, l. 207. + + _n_, 13810, l. 156. + + _o_, 1749, l. 113. Design name: fish backbone. This piece was + obtained from Nyavarup: see pl. 3,_g_. + + _p_, 1712, l. 155. Design name: raccoon hand. + + _q_, 4319, l. 225. Design name: coyote teeth. + + _r_, 4356, l. 177. + + _s_, 13807, l. 210. + + +_Shapes_ + +Hollow, rattling handles, consisting of a three-cornered box, are found +on _e_,_f_,_r_. In each case, the end is modeled into a rude quail's +head, showing eyes and beak (or topknot?). + +Some rudiments of a quail head, but without hollow compartment, appear +also in _a_-_d_,_q_; possibly in _i_,_k_. + +The foregoing have the outer edges, toward the top, somewhat raised and +a bit incurved. This sort of an edge shows also in _g_,_h_,_j_, 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). + +Another group of spoons have their edge rather turned outward--that is, +away from the hollow. This group includes _l_-_p_ and _s_. These average +somewhat flatter, and the apex is generally rounder, than in those with +forward-turned edge: see especially _n_,_o_,_p_,_s_; also _m_; only _l_ +comes to a point. Also, the total width ratio is greater in this group. + +The classification thus is: + + A. Edge raised, turned forward; apex pointed + 1. Quail head apex, hollow rattling compartment + 2. Quail head or rudiment + 3. Plain apex + B. Edge facing outward, top usually rounder, total + shape shallow, broad. + +Additional spoons are shown in plates 7,_i_ and 8,_i_-_k_; and in +7,_a_-_h_ appear the _back_ patterns of eight spoons 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: + + ======================================== + Pl. | L. (mm.)| Subclass + ------+---------+----------------------- + 7,_i_ | 226 | | | | B | + 4,_h_ | 225 | | | A3 | | + 4,_q_ | 225 | | A2r | | | + 4,_s_ | 210 | | | | B | + 4,_m_ | 207 | | | | B | + 4,_b_ | 201 | | A2r | | | + 4,_l_ | 198 | | | | B | + 4,_f_ | 194 | A1q | | | | + 4,_j_ | 190 | | | A3 | | + 4,_k_ | 186 | | A2r | | | + 4,_c_ | 182 | | A2r | | | + 4,_i_ | 178 | | A2r | | | + 4,_r_ | 177 | A1q | | | | + 4,_g_ | 175 | | | A3 | | + 4,_d_ | 175 | | A2r | | | + 4,_a_ | 174 | | A2r | | | + 8,_k_ | 167 | [A] | | | | + 4,_n_ | 156 | | | | B | + 4,_p_ | 155 | | | | B | + 8,_j_ | 140 | | | | B | + 8,_i_ | 135 | | | | B | + 4,_e_ | 123 | A1q | | | | + 4,_o_ | 113 | | | | B | + ------+---------+-----+-------+----+---+ + + Note A: Handle retroflex + +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. + +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. + + +_Designs_ + +The great majority of spoons are painted inside, usually outside (on the +back) also, though there mostly with longitudinal lines or stripes only. + +The angled-and-forking overall pattern so characteristic of bowls occurs +in spoons, but is rare: _b_ is an example. The area of a scoop is +generally hardly wide and large enough for this design. In _b_ it +reduces in effect to a sort of cramped swastika. + +One of the two most frequent patterns of spoons is that of +_g_,_h_,_i_,_j_,_m_--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. + +Another spoon pattern has two or three tiers of light rhomboids +separated by pairs of dark triangles, apex to apex (hourglass): see +_a_,_d_. There is no thin-line bordering or separating in this pattern. +For _d_, 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. + +Another tiered design arrangement is shown in _l_ and _q_. 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,_d_. 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,_b_. + +A second design of outstanding frequency in spoons is represented by +_e_,_f_,_k_,_o_, (s). It was twice designated as fish backbone (with +adhering ribs). The backbone itself appears only twice in the five +examples in plate 4 (_e_,_o_), 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 _f_,_k_,_s_. Rows of dots show +in _e_ and _s_. + +Other designs each occur only once in the collection. + +_c_, polka dots only. + +_n_, a fishnetlike design, no name obtained, vertical corners filled in +solidly. + +_p_, 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. + +_s_, perhaps a simplified version of the pattern of _g_-_j_,_m_? + +There is no marked correlation between any of these designs and the +shape classes of spoons that have been defined. + + +PLATE 5: JARS, POTS, JUGS, CUPS + + _a_, 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: tÅ¡itθôk style of face + paint. + + _b_, water jar, 13792, mouth d. 177, h. 194. Neck d. 81 per cent of + mouth, body d. equals height. + + _c_, fire-blackened cook pot, 13789, mouth d. 250, h. 192. Neck d, + 227, body d. 250. + + _d_, handled jug (spoutless pitcher), 1725, mouth d. 85, h. 95. + Design: ta-skilye-skilye, viz., outside points of chin tattooing. + + _e_, handled jug, 1724, mouth d. 86, h. 90. Design: hotahpave, + viz., halter pattern of face painting. + + _f_, handled jug, 13795, mouth d. 105, h. 147. This piece had not + been used when collected, and may have been a model for sale. + + _g_, handled jug, 1739, called hápurui, jar, mouth d. 92, h. 140. + Design: fish backbone. + + _h_, small, handled cup, 13796, mouth d. 88, h. 47. Used and + somewhat worn. + + _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. + +The two water jars are of about the same height, toward 8 in., but _a_ +is smaller-mouthed and bigger-bellied than _b_. The neck diameters are +around 5/6 to 4/5 of the mouths. _a_ is somewhat greater through the +body than it is high; _b_, nearly the same. Another and larger jar is +shown in plate 8,_a_. + +The cook pot, _c_, 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,_g_ and 8,_h_. + +The four handled jugs fall into two classes: _d_ and _e_, medium; _f_ +and _g_, 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. + +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. + +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 _g_ +and certainly _h_ 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. + +With these round vessels the forking-and-angled design of the bowl +interiors recurs: in the jar _a_, the jug _f_, on the interior of cup +_i_. It will be seen that these come with and without dot stippling. The +pattern of jug _d_ was called tattoo points; but it is the same as the +coyote teeth of plate 4,_l_,_q_. Similarly, _e_, though called +hotahpave halter, resembles plate 4,_g_-_i_; and _g_, called fish +backbone, lines up with the fish backbone designs on spoons: plate +4,_e_,_f_,_k_,_o_,_s_. + + +PLATE 6: BOWLS, PLATTERS, PARCHERS, CANTEENS + + _a_, bowl, 4293; diameter 151 mm., height 76 mm. Design: inside, + raccoon hand; outside, fish bone, atcà isáka.[5] This is from + Tokwaθa's wife. + + _b_, broken bowl, 4282; d. 157, h. 85. Design; raccoon hand. + + _c_. large bowl or platter, 1745, of type called suyÃre, d. 330, h. + 125. Weight, 44 oz. The flanges to hold mesquite bark binding in + place are unusually prominent. + + 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. + + [5] Atcà is fish, isáka is bone, but the form mostly obtained was + (i)taá¹, backbone. + +The bowls _a_ and _b_ are grouped together because of their raccoon-hand +designs; compare also plate 4,_p_. Bowl _a_ looks unused and may have +been made for sale; _b_ has been used and is probably from the same +house, though almost certainly not painted by the same person. + +The large platter-bowl _c_ 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. + +The oval platters _d_ and _e_, nos. 1738, 4294, are the convex backs or +under sides of plate 3,_i_,_j_. The former looks used, the latter new +and perhaps for sale. The tortoises on the under (6,_e_) and tortoise +carapace on the upper (3,_j_) side of the same piece seem an +exaggeration from normal Mohave style. In my field catalogue I entered +_d_ as "dish-like spoon"; and _e_, two years later, simply as "oval +spoon," which is confirmed by the notation: kam'óta kapeta, viz., +"tortoise spoon." + +The two katéla or parchers, _f_ and _g_, 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 _f_, 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 _f_ and _g_ are +transversely flat and wiped or pinched over inward to extra thickness, +then scored regularly with a fingernail or stick; in _g_ the outer edge +has also been lightly punch-marked.[6] + + [6] 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,_f_ and 6,_g_, which I secured four years later at Needles. + +The canteen in its net, _h_, 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. + +The plain duck seed-bin or canteen _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. + + +PLATE 7: SPOON BACKS, TOYS, PIPES, POT RESTS + + _a_, back of spoon 13803 shown in pl. 4,_h_; l. 225 mm. + + _b_, back of 13809 shown in pl. 4,_m_; l. 207. + + _c_, back of 1749 shown in pl. 4,_o_; l. 113. + + _d_, back of 13810 shown in pl. 4,_n_; l. 156. + + _e_, back of 1736 shown in pl. 4,_e_; l. 123. + + _f_, back of 1747 shown in pl. 4,_k_; l. 186. + + _g_, back of 1731 shown in pl. 4,_b_; l. 201. + + _h_, back of 13802 shown in pl. 4,_c_; l. 182. + + _i_, back of 13808; l. 226; front not shown. + + _j_, lizard figure, 1726; max. l. 110. Probably a toy or amusement; + not used ritually. + + _k_, hummingbird figure, 1727; l., beak to tail, 54. + + _l_, clay pipe, 4264, boy's, unbaked, unfinished; l. 55. + + _m_, clay pipe, 13870; broken, 62 mm. remaining. + + _n_,_o_, clay pot rests, 4283b, 4283c; h. 92, 85. + +The convex backs of spoons _a_-_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_), and both ways (_d_), occur. The lengthwise +stripes may be plain lengthwise lines (_b_,_g_); heavy stripes with +light (_e_) or with rows of dots (_f_); flanked by multiple zigzags and +forming the fish backbone design (_c_,_h_); negative effect (_e_). Piece +_a_ 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. + + +PLATE 8: JAR, CUP, PLATTER, BOWLS, SPOONS + +This plate comprises vessels of various shapes which I had at first +intended not to illustrate or which had been overlooked. + + _a_, large water jar, 13791, classing with pl. 5,_a_,_b_. 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,_d_. + + _b_, handled cup, 38406, of the type of pl. 5,_h_,_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,_h_,_i_. + + _c_, _under_ side of platter 1722, front shown in pl. 3,_d_; d. 203 + mm. The design is a solid dark and light checker of 25 whole or + partial squares. + + _d_, bowl, 1721, d. 220 mm., h. 135, ratio 61 per cent. Design: the + forked-and-angled pattern, crudely executed, and called teÃtθôk + face paint. The dots were named hatúhk, rows of tattoo dots. The + _outside_ is painted with crossing lines, forming triangles and + diamonds, called sóaka, small net. + + _e_, 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. _Outside_, + 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. + + _f_,_g_ are _outside_-painted bowls, both with height 48 per cent + of their rim diameter, almost the same as _e_. _f_, 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. _g_, 13781, d. 165, + h. 80; wt. 14 oz. The design of _f_ 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 _g_ 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. + + _h_, 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,_g_; and the + shape is still that of a bowl rather than of a pot (olla) such as + pl. 5,_c_. The ratio of rim, neck, and body diameters is 100, 95, + 97 per cent for 8,_h_, whereas the pot 5,_c_ has 100, 91, 100 per + cent, and its height is 77 instead of 68 per cent. + + _i_,_j_,_k_, 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. + + +_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. + +_j_, no. 1750, very similar to the fishbone design of plate 4,_o_. There +are 12 thinnish cross lines, each with four upward angles. 8,_j_ and +4,_o_ are very similar and bear adjoining numbers, 1750 and 1749, and +were almost certainly the product of the same hand. + +_h_, 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. + + +SUMMARY OF SHAPES + +_Bowls_: 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,_a_-_h_, +2,_a_-_h_, 6,_a_-_c_, 8,_d_-_h_.) + +_Round platter or plate_: kayéθa. Lipless; continuous curvature. +Principal design inside (above). H/D 29-35 percent. (Pls. 3,_a_-_d_, +_g_, 8,_c_.) + +_Oval platter_: 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 the two classes do overlap in size. (Pls. 3,_e_-_f_, +_h_-_j_, 6,_d_-_e_.) + +_Spoon_, _ladle_, _dipper_, _scoop_: 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. + +_Parcher_: 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,_f_, _g_.) + +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. + +_Cook pot_: táskyena. The single specimen available, 5,_c_, 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. + +_Large cook pot_: tÅ¡uváva. Set on three rests. It may have been +proportionally higher than the táskyena, but my recollection is fifty +years old. + +_Water jar_: 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. + +One specimen (5,_a_) 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,_a_, _b_, +8,_a_.) + +_Oval seed-storage jar (or canteen) with short side spout_: hápurui +hanemó, "duck jar" from its shape. The single specimen is unpainted. +(Pl. 6,_i_.) + +_Seed jar with small flaring mouth._ See Appendix I. + +_Canteen for carrying_ in sling or net. Short spout on top, as in a +basket or gourd. One specimen, painted. (Pl. 6,_h_.) + +_Handled jug_: no native name obtained, except hápurui, jar, or kwáθki, +bowl. May be a postcontact form. Higher than wide; no spout. Painted +outside. (Pl. 5,_d_-_g_.) + +_Handled cup_: also unnamed, except perhaps kwáθki, and perhaps +postcontact. Wider than high. Painted design mainly inside. (Pls. +5,_h_-_i_, 8,_b_.) + + +TRANSITIONAL AND EXCEPTIONAL PIECES + +Bowls with principal painting outside: 8,_f_, _g_. + +Bowls of height more than two-thirds diameter: 2,_g_, base somewhat +conical; 8,_h_, fire blackened. + +Bowl with cylindrical projections to prevent slip of neck binding: +8,_e_. + +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,_e_ is next), and the weight is second +heaviest (8,_f_ being first): 6,_c_. Called suyÃre. + +Spoon with ribbon handle curled back (only "handled" spoon): 8,_k_. + +Water jar with annular base (found otherwise only on handled jugs), and +considerably reduced neck and mouth: 5,_a_. + + +SUMMARY OF PAINTED DESIGNS AND ELEMENTS + +_"Angled-and-forked" continuous pattern_: usually of triple lines; +background stippled or empty. Bowls 1,_a_-_h_, 2,_e_, 8,_d_; platters +3,_a_-_b_, 3,_g_ (called "fish bones"); spoon 4,_b_; jar 5,_a_, jug +5,_g_; cup 5,_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 tÅ¡itθôk face paint. + +_"Hourglass" figures_: (1) as principal design, bowl 2,_f_; platter +3,_d_; spoons 4,_a_, 4,_d_ (in rows), 4,_q_; jar 8,_a_; jug 5,_e_. (2) +as secondary design element with rhomboids, bowls 2,_a_, _b_; spoons +4,_g_, _h_, _i_, _j_, _m_ with diamonds in column. The hourglass figure +can of course be construed as the "filled-in angle" enlarged. + +_Quadrilaterals-hexagons_, shifting from one to the other according to +exigencies of the field. The mark + designates painted figures, that are +dark; others are open, left as part of the lighter background, or +stippled. + + A. Four central polygons: bowls +2,_a_, +6,_c_ (in this, rounded + into ovals). + + B. More than four: bowls +2,_b_, 2,_f_; platter 3,_d_; jug 5,_e_; + cup 8,_b_. + + C. In rows: spoons 4,_a_, _d_; jar 8,_a_. + + D. In columns: spoons 4,_g_, _h_, _i_, _j_, +_m_. + +_Rows of dark and light triangles_: bowls 2,_a_, _b_; spoons 4,_l_, _q_ +(these spaced and "geared"); 2,_b_, 4,_l_, _q_ named coyote teeth; jug +5,_d_, named tattoo points. + +_Fishbone (fish backbone) pattern_: 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 *. + + A. With vertebral column shown by central line: platter *3,_g_ + (transitional to angled-and-forked pattern); spoons 4,_e_ (with + stippling), *4,_o_, 7,_h_ outside, 8,_j_; jug *5,_g_. + + B. Without vertebral column, zigzag parallels only: Bowl *2,_g_; + platters *3,_c_, *3,_e_; spoons *4,_f_, *4,_k_, *4,_s_, 7,_c_ + outside, 8,_k_ (direction of angles unusual). + + C. (Named fishbone or fishtail, but design of straight stripes + only: bowl 2,_h_ outside; spoon 7,_e_ outside.) + +_Circular center of design_: bowl 2,_f_; oval platter 6,_d_; cup 8,_b_. + +_Fishnetlike design_, crossing lines, square or diagonal. Asterisk * +denotes filled-in angles. + + A. On inside of vessel: bowls *8,_e_, perhaps 2,_g_; spoons *4,_n_, + 8,_i_ (really rows of polygons, stippled). + + B. On outside of vessel: bowls 8,_c_ (bold checker), 8,_f_, 8,_g_; + spoons 7,_a_ (with blobs in centers), 7,_d_. + +_Large polka dots_ as design: platters 3,_f_ outside, 3,_h_, 3,_j_ +(combined with tortoises); spoons 4,_c_, 7,_a_ (central blobs in +polygon), 7,_f_ (with stripes). + +_Stippling_: more or less as shading or value effect or border. + + A. Of areas: bowls 1,_a_, _b_, _c_, _d_, _e_, _g_, _h_, 2,_e_, _h_, + 8,_d_; platters, 3,_d_, (3,_j_); spoons 4,_b_, _e_, _g_, _i_, _j_, + _q_, _r_, 8,_i_; jars 5,_b_, 8,_a_; jug 5,_f_; cups 5,_i_, 8,_b_. + + B. Row of spots as outer or inner border: bowl 6,_a_; platter + 3,_g_; spoons 4,_h_, _p_, _q_; canteen 6,_h_. + +_Solid angles, corners filled in_: (see * under fishbone and fishnet +patterns; and regular in "angled-and-forked.") Total occurrence is in +more than thirty vessels. Bowls 1,_a_-_h_, 2,_a_, _b_, (_c_), _f_, _g_ +outside, 6,_c_, 8,_d_, _e_; platters 3,_a_, _b_, _c_, _d_, _e_, _g_; +spoons 4,_b_, _f_, _g_, _h_, _i_, _k_, _m_, _n_, _r_, _s_; jar 5,_a_; +jugs 5,_e_, _f_, _f_; cups 5(_h_), _i_, 8,_b_. + +_Negative (dark) effect_: + + A. Dark background, pattern light: bowl 8,_f_ outside; platters + 3,_a_, _b_; spoon 4,_m_. + + B. Dark and light areas alternating evenly: bowls 2,_c_, _d_; + platter 8,_c_ outside. + + C. Seeming negative, owing to masses of dark polygons: bowls 2,_a_, + (_b_). + + +SUMMARY OF DESIGN NAMES + +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." + +_Animals or parts._ + + Fish (back)bone: 3,_c_, 3,_g_, 4,_o_, 4,_q_, 5,_g_, 6,_a_ outside + + Fish tail (?): 2,_h_ outside + + Coyote teeth: 2,_d_, 4,_l_, 4,_q_ + + Raccoon hand: 6,_a_, 6,_b_, 4,_p_ + + Yellowhammer belly: 1,_a_ + + Tortoise: 3,_j_, 6,_e_ outside + + Spider: 2,_h_, 3,_i_, 6,_d_ outside + + Butterfly: 2,_f_; "in mouth," 4,_d_ + + +_Plant parts._ + + (Cottonwood) leaves: 3,_d_, 8,_e_ + +Of these, coyote teeth, yellow-hammer belly, butterfly, and (atalyka) +leaf occur also as names of face paintings (Handbook, p. 732, fig. +61,_b_-_e_). + +The Handbook (p. 738) mentions a few additional names for pottery +designs: rain, rainbow (this also a face painting), melon markings. + + +_Face paintings or tattoo._ + + tÅ¡itθôk: 3,_d_, 5,_a_. This seems to denote an element in what I + have called the forked-and-angled pattern of plate 1. Also recorded + as tÅ¡itgôk. + + hotahpave, "halter": 2,_f_, 5,_e_. It seems to refer to paired + crossing lines as part of hourglass figures. In Handbook (fig. + 61,_i_-_j_) it appears as point-to-point chevrons on the cheeks. + + ta-tsirqa-tsirqa: 1,_d_. In Handbook (fig. 61,_k_, _l_) it appears + as sharp points under the eyes (cf. ibid., fig. 61,_g_, _h_, + "ha-tsira-tsirk," a vertical line down from the eye). + + ta-skilye-skilye: 5,_d_. 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,_q_.) + + iya-m-tÅ¡upe(r)t(a): 2,_g_. Iya is the mouth; tÅ¡upeta, to hold back + or cover. + + +_"Adjectivally" descriptive._ + + ta-hlame-hlame, "patches": 1,_b_, 4,_d_ + + kyauelkyau, "angled, zigzag": 4,_g_ + + kan'ú (?), "patterned": 2,_b_ + +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. + +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. + + +THE MOHAVE POTTERY STYLE + +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. + +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. + +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 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. + +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. + +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. + +In fundamental form, the bowls, platters, parchers are pleasing; and in +design and its relation to its field, vessels like 1,_b_, _c_, 2,_g_, +3,_a_, _b_--or 3,_c_, _e_, 5,_g_; or 4,_g_; _h_, _m_, _p_; or 3,_d_, +4,_r_--show concepts that in the hands of a more interested or +aesthetically more experienced population would have had definite +potentialities. + +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. + + + + +APPENDIX I + +MEMORANDA ON THE DESTROYED ACADEMY COLLECTION + +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. + +The vessels comprised: + + 11 bowls, one of them of kwáθki shape; mostly listed by me as + "dishes"; they may include some platters + + 3 bowllike vessels, listed as: "kwáθki, small pot"; "suyÃre, round + dish"; "tÅ¡emátÅ¡ive, pot with designs inside and out" + + 1 "dish, corrugated outside" + + 9 spoons + + 1 fire-blackened pot + + 1 cup, named as "kwáθki aha-suraitÅ¡i" + + 1 jar, "hápurui, water jug" + + 2 seed jars, described as: "25, water jug, wheat jar, + aha-tÅ¡e-kemauvitÅ¡e, 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" + + 2 parchers, double-ended + + 1 jar with rope handle (canteen like pl. 6, _h_? or a water jar + carried by a rope around its neck?) + +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. + +The design names obtained in 1900 were: + + Fish bones, fish back, usually written atciθtatr (= atÅ¡itaá¹): on + four spoons and one "dish." + + Spider, haldâda (for halytôá¹a), on one "pot." I sketched the core + of the pattern: an hourglass figure (meeting angles) with double + lines from the corners. + + Cottonwood leaf, on three spoons and the jar with rope handle + + MatitÅ¡iav leaf (a bush growing away from river), on one spoon + + Turtle (viz., carapace markings), on one spoon + + Hotaxpam, on the tÅ¡emátÅ¡ive "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 + + Kari hanyóra, "basket pattern," on the outside of a dish + + Rain, kovau, on two dish-pots; on the outside in at least one + + 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. + + Fishnet, once on the outside of a "dish" + + Melon markings, kamÃto hanyóra, on one of the seed-water jars + + Clouds were given as the name of the "corrugations" on dish no. 46. + I evidently asked a foolish question. + +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,_f_, _k_, _s_. + + + + +APPENDIX II + +A SMALL MOHAVE BOWL + +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. + +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. + +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. + +The under side carries 41 vertical (radiating) lines 1-2 mm. wide and +30-80 mm. long. + + + + +APPENDIX III + +GRANITE TEMPER AND LIMONITE PIGMENT EXAMINATION + +By + +PROFESSOR CHARLES MEYER + +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. + +The limonite pigment, no. 4295, Fe{2}O{3}·n(+)H{2}O, has mostly +crystallized on exposure to become toethite, Fe{2}O{3}·nH{2}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{2}O{3} is red. A reducing heating with carbon however produces +magnetic powder Fe{3}O{4}, a black pigment. + + + + +APPENDIX IV + +MOHAVE POTTERY IN OTHER MUSEUMS + +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. + +U. S. National Museum: 25 vessels, mostly old, many collected by Palmer, +some evidently mislabeled Diegueño or Pimo. One anvil stone. [_Yuma_, a +bowl and a 5-necked vase, from Palmer; the Yuma went in for "fancy" or +tourist pieces earlier than the Mohave. _Cocopa_, McGee got 4 plates, a +Mohave type dipper, unpainted, 2 paddles.] + +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 _seriously_ 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.] + +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.] + +Museum of the American Indian: 15 assorted pieces, 3 of them unpainted. +[Same number from _Yuma_]. [Possibly Edward Davis of Mesa Grande +collected these.] + +University of Pennsylvania: [2 _Yuma_ pottery dolls]. + +Denver Art Museum: 3 human-headed vases, pre-1900. Also 5 brand-new +pieces bought at Needles in 1934. + +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. + + + + +APPENDIX V + +CORRELATION OF KROEBER AND HARNER SHAPE CLASSES + + + _Kroeber_ _Harner_ + + Bowl I + Platter II + Bowl, deep III + Cook pot IV + Water jar V, VI + Canteen VII + Handled cup VIII, IX + Handled jug X + Spoon (scoop) XI-XVI + Parcher XVII-XVIII + +[Illustration: Fig. 1. Profile shape types. Exterior to left; section to +right.] + + + + +PART II + +A DESCRIPTION FOR THE ARCHAEOLOGIST + +PARKER RED-ON-BUFF, FORT MOHAVE VARIANT AND PARKER BUFF, FORT MOHAVE +VARIANT + +BY + +MICHAEL J. HARNER + + +INTRODUCTION + +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. + +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. + +The description which follows does not include pottery figurines, toys, +rattles, pipes, or pot rests. Also one undecorated jar[7] was not +included in the study. + + [7] UCMA no. 1/4297. Pl. 6,_i_. + +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.[8] 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. + + [8] I wish to thank A. H. Schroeder. R. C. Euler, and H. S. + Colton for their constructive criticism of this description. + +[Illustration: Fig. 2. Rim and lip types. Interior to left; exterior to +right.] + +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. + + +PARKER RED-ON-BUFF, FORT MOHAVE VARIANT + +GENERAL DESCRIPTION + +=Synonym=: None. + +=Variant named for=: Fort Mohave Reservation. + +=Illustrations=: This publication. + +=Type specimens=: Mohave pottery collection at the University of +California Museum of Anthropology. + +=Type sites=: All specimens were collected ethnographically on the Fort +Mohave Reservation in the vicinity of Needles, California. + +=Cultural association=: Historic Mohave. + +=Time=: In use and collected during the years 1902 through 1908. + +=Size of sample=: 33 bowls; 4 jars; 7 cups; and 29 scoops. + + +ANALYSIS + +=Construction technique=: Coiling. + +=Finishing technique=: Paddle and anvil. + +=Firing=: Fully to incompletely oxidized. + +=Paste=: + + _Color._--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.) + + _Temper._--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.[9] 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. + + [9] Mineral identifications were kindly made by Dr. Adolf Pabst, + Department of Geological Sciences, University of California.] + + _Carbon streak._--None. + + _Texture._--Rough. + + _Hardness._--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 ± .5 owing + to variability in the mineral set used for testing. + + _Fracture._--Medium to crumbling. + +=Surface finish=: 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.). + +=Surface color=: + + _Bowls._--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). + + _Jars._--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. + + _Cups._--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). + + _Scoops._--(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). + +=Fire clouds=: + + _Placement._--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. + + _Amount._--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. + +Bowls: Exterior: as many as 14 per vessel. +Often cover more than one-half of the surface. +Interior: no fire clouds. + +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. + +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. + +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. + + _Color._--Value 2 to 7, chroma 1 (light gray to near black). Hue + depends upon vessel surface color. + +=Form=: + + _Bowls: Straight wall (circular and oval)._-- + + Profile form types: I (circular bowls) and II + (oval bowls). + + 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. + + Shoulders: None. + + Base: Rounded. + + 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. + + 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. + + 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. + + 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. + + _Bowls: Recurved wall bowls._-- + + Profile form types: Range from type III to type IV. + + 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. + +Shoulders: Rounded. + +Base: Rounded. + +Mouth diameter range: 14.1 to 32.0 cm. + +Depth range: 7.9 to 16.3 cm. + + 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. + + 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. + + _Jars: wide mouth._-- + + Profile form types: V and VI (the latter type + having an annular base). + + Lip and rim types: Lip type A. Rim types 1 and + 2. + + Shoulders: Rounded. + + Bases: Rounded, sometimes with the addition + of an annular base. + + Mouth diameter range: 12.6 to 25.1 cm. + + Depth range: 19.2 to 25.4 cm. + + Wall thickness range: (a) at rim, 4 to 8 mm.; + + (b) at point of greatest incurve, 4 to 5 mm.; + + (c) at center of vessel base, 4.5 to 5.5 mm. + + 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. + + _Jar:_ narrow mouth (canteen).-- + +Profile form type: VII. + +Lip and rim types: Lip type C. Rim type 6. + +Shoulders: Rounded. + +Base: Rounded. + +Mouth diameter: 3.9 cm. + +Depth: 18.2 cm. + + 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. + +Additional features: None. + + _Cups._-- + + Profile form types: VIII, IX, and X (the latter + two types having annular bases). + + Lip and rim types: Lip type A. Rim types 1 and + 2, sometimes grading into 4 and 5 respectively. + +Shoulders: Rounded. + +Bases: Rounded, often with the addition of an +annular base. + +Mouth diameter range: 8.4 to 12.8 cm. + +Depth range: 4.5 to 14.8 cm. + + 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. + + Additional features: + + 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. + + 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. + + _Scoops without rattle handles._-- + + Profile form types: XI ranging to XII and, in + one case, modified to XIII; type XIV represents + the scoops with modeling. + + Lip and rim types: Lip type B. Rim type 1, + sometimes grading into rim type 4 at the + lower, circular end of the scoop. + + Shoulders: None. + + Base: Rounded. + + 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. + + Depth range: (a) for scoops without modeling, + depth ranges from 2.6 to 5.3 cm. when + measured at the point of maximum length and + 2.4 to 5.1 cm. when measured at the point of + maximum width. + + 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. + + 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: + + "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. + + "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. + + _Scoops with rattle handles._--Differ from scoops without rattle + handles as follows. + + Profile form types: range from XV to XVI. + + Diameter range: range of maximum length, 12.2 + to 18.9 cm.; of maximum width, 6.9 to 9.2 cm. + + 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. + + 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. + + Additional features: All rattle-handled scoops + have the "eyes" and "keel" previously described. + + 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. + +Decoration: + + _Paint._--(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. + + _Design._--The reader is referred to the discussion of this subject + by Kroeber in Part I. + + +COMPARISON + +The reader is referred to the corresponding section for Parker Buff, +Fort Mohave Variant. + + +RANGE + +The reader is referred to the corresponding section for Parker Buff, +Fort Mohave Variant. + + +PARKER BUFF, FORT MOHAVE VARIANT + + +GENERAL DESCRIPTION + +=Synonym=: None. + +=Variant named for=: Fort Mohave Reservation. + +=Illustrations=: This publication. + +=Type specimens=: Mohave pottery collection at the University of +California Museum of Anthropology; specifically, specimens 1/13788, +1/13789, 1/13790, and 1/15707. + +=Type sites=: Same as for Parker Red-on-Buff, Fort Mohave variant. + +=Cultural association=: Same as for Parker Red-on-Buff, Fort Mohave +variant. + +=Time=: Same as for Parker Red-on-Buff, Fort Mohave variant. + +=Size of sample=: 2 bowls; 2 parchers. + + +ANALYSIS + +=Construction technique and finishing technique=: The same as for Parker +Red-on-Buff, Fort Mohave variant; firing and paste characteristics are +likewise within the range described for that type. + +=Surface finish=: 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." + +=Surface color=: Exterior surfaces of bowls are covered with the soot +from cooking fires. Interior surfaces of 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. + +=Fire clouds=: 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). + +=Form=: + + _Bowls._-- + +Profile form type: IV. + + Lip and rim types: Lip type A. Rim types 1 and 2, + sometimes grading into types 4 and 5 respectively. + +Shoulders: Rounded. + +Base: Rounded. + +Mouth diameter range: 18.5 to 25 cm. + +Depth range: 13.4 to 19.8 cm. + + 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. + + _Parchers._--These are boatlike, double-pointed shapes. + + Profile form types: XVII and XVIII. + + Lip and rim types: Lip type B. Rim types 1 and 2. + + Shoulders: None. + + Base: Rounded. + + Diameter range: range in maximum length is 34 to + 38.1 cm.; range in maximum width is 23.9 to + 26.6 cm. + + Depth range: at point of maximum length, 13.7 to + 13.9 cm.; at point of maximum width, 8.6 to + 8.8 cm. + + 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. + + 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. + + =Painted decoration=: None. + + +COMPARISON + +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. + + +RANGE + +Incompletely determined. At least from the northern end of Mohave Valley +south along the Colorado River to the valley below Parker. + + + BIBLIOGRAPHY + + Colton, Harold S. + + 1939. An Archaeological Survey of Northwestern + Arizona including the Description of Fifteen + New Pottery Types. Bull. 16, Museum of + Northern Arizona. Flagstaff. + + Colton, Harold S., and Lyndon L. Hargrave + + 1937. Handbook of Northern Arizona Pottery Wares, + Bull. 11, Museum of Northern Arizona. + Flagstaff. + + Gifford, James (ed.) + + 1953. A Guide to the Description of Pottery Types + in the Southwest. Department of Anthropology, + University of Arizona. Tucson. (Mimeo.) + + Munsell Color Co., Inc. + + Munsell Soil Color Chart, Hues--7.5R Thru + 5Y. Baltimore. + + Rogers, Malcolm J. + + 1936. Yuman Pottery Making. San Diego Museum + Papers, No. 2. San Diego. + + 1945. An Outline of Yuman Prehistory. Southwestern + Journal of Anthropology, 1 (2):167-198. + Albuquerque. + + Schroeder, Albert H. + + 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. + + Shepard, Anna O. + + MS. The Description of Pottery Color. + + + + +PLATES + +[Illustration: Plate 1. Bowls] + +[Illustration: Plate 2. Bowls] + +[Illustration: Plate 3. Platters] + +[Illustration: Plate 4. Spoons] + +[Illustration: Plate 5. Jars, pots, jugs, cups] + +[Illustration: Plate 6. Bowls, platters, parchers, canteens] + +[Illustration: Plate 7. Spoon backs, toys, pipes, pot rests] + +[Illustration: Plate 8. Jar, cup, platter, bowls, spoons] + + + + + +End of the Project Gutenberg EBook of Mohave Pottery, by +Alfred L. Kroeber and Michaell J. 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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-iáða</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>·n(+)H<sub>2</sub>O, has +mostly crystallized on exposure to become toethite, +Fe<sub>2</sub>O<sub>3</sub>·nH<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 Diegueño +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 ± .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, ð, like th in thick, this; s, somewhat retroflex; tš, +much like English ch; ly, ny, palatalized l, n, like Castilian ll, ñ (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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