ART. 7 ELDEN PUEBLO POTTERY DESIGNS HOUGH 5 



ideas of cosmogeny. The change seems to have been based on the 

 axial or square cross developing from the use of sunrise and sunset 

 as datum points for the regulation of ceremonial periods. The arms 

 toward sunrise and sunset from the position of the observer would, 

 it is conceived, insensibly require balancing by other arms extending 

 north and south, thus dividing the earth into the quadrants of 

 Pueblo mythology. 



When this change took place is not determined, but it appears 

 likel}^ that it began at Elden in Pueblo III following a considerable 

 development in pottery decoration through the preceding periods, 

 fostered by a similar evolution of ceremonial practices and beliefs. 



The adoption of the 4-part design relieved Pueblo ceramic art from 

 pettiness and laid the foundation for the majestic decorations of the 

 Great Period. Not only were boldness and variety introduced, but 

 the idea of motion or rotation appeared with the world region cross, 

 noting an advance in cosmogenic conceptions. Few designs of this 

 character lack the element of motion. 



Desicfus in other numbers are in the Elden collection, but these are 

 either merely repeats or fives, apparently based on optional spacing 

 of the area to be decorated. The so-called triskelon, three divisions, 

 rather frequent in the Mesa Verde region, is not found at Elden 

 Pueblo. One inexpertly decorated bowl of the lined background 

 class, to be mentioned later, shoAvs a decoration in three parts. (PI. 

 7, fig. 6.) One curious specimen is a vase decorated with five bird 

 conventions in geometrical figures, a hooked design outlined in black 

 set on a lined background. Generally this desigTi is interlocked with 

 an opposite crooked design, producing a flowing pattern. In this 

 case the figure is wrenched from its context. 



Of decorations put on to cover pleasingly the whole surface of a 

 vessel there are a number in the Elden collection. The design is a 

 repetition of a simple motive, as a terraced figure connected and 

 running diagonally, generally on vases. Sometimes broad bands in 

 bowls are of this character. The age of this style in decorative art 

 is incontestable; also it does not come down to modern Pueblo art. 

 In this respect the ancients were more advanced than the modern 

 pottery decorators. It appears to originate in the border ornaments 

 of ancient pottery mentioned on page 3. In this style there is no 

 number order recognizable, but there is skill displayed in spacing so 

 that the design will connect evenly. The bold and smooth march 

 of the decoration would seem to indicate a use of metrics, so great 

 is the difficulty of spreading equally the design diagonally over 

 curved surfaces with no guide of stitches, as in weaving and basketry. 

 It is not possible, however, to assert that anything but free hand 

 was employed by the potter. 



