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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; 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. + +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 suyíre was given to pl. 6,_c_, which is intermediate + between bowl and platter. + + táskyena is a cook pot. Pl. 5,_c_. + + 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,_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-suraitši 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] tšuváva + spoon, ladle umás-uyúla kam'óta + food platter han'amé kakápa + bowl umás-iáða táskyena + parching dish umás-eyavkwa-havík[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] Havík 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 tšuváva 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'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. + +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-kutšyep, "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)yamtšupeṭ(a) + face paint. + + _h_, 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,_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-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. + +_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 "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,_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 halytôṭa 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 halytôṭa, 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, "tšíwitšiwitš." + + _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: tšitθôk 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, atcí 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 suyíre, 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] Atcí is fish, isáka is bone, but the form mostly obtained was + (i)taṭ, 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 teítθôk + 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_: tšuváva. 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 suyíre. + +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 tšitθôk 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._ + + tšitθôk: 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 tšitgôk. + + 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-tšupe(r)t(a): 2,_g_. Iya is the mouth; tšupeta, 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"; "suyíre, round + dish"; "tšemátšive, pot with designs inside and out" + + 1 "dish, corrugated outside" + + 9 spoons + + 1 fire-blackened pot + + 1 cup, named as "kwáθki aha-suraitši" + + 1 jar, "hápurui, water jug" + + 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" + + 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 (= atšitaṭ): on + four spoons and one "dish." + + 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. + + Cottonwood leaf, on three spoons and the jar with rope handle + + Matitšiav leaf (a bush growing away from river), on one spoon + + Turtle (viz., carapace markings), on one spoon + + 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 + + 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, kamíto 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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