6 PROCEEDINGS OF THE NATIONAL MUSEUM vol.81 



A specimen of globular vase with the handle decorated in small 

 squares and oblong narrow strips of black and white was found at 

 Elden Pueblo. (PL 4, fig. 2.) This sliced design is curious and 

 appears to relate to the ruled squares or mosaic pattern. The de- 

 sign is something like the Kayenta examples figured by Kidder 

 (1924, pi. 31, fig. b). Another vase has the white background di- 

 vided into squares. (PL 4, fig. 3.) 



A residue of pottery that must be placed in the class of individual 

 or extemporaneous designs is interesting as showing the mutations of 

 art arising in an enclave where traditional forms rule. Generally 

 such designs show a softening of the authority of traditional con- 

 cepts and usher in the proliferation of designs so marked in the 

 Little Colorado area. The extent of this change is especially appre- 

 ciated when there appear new designs not derived from the ancient 

 formula. 



This class may be termed " lined-background gray ware." (PL 

 Y, figs. 5, 6.) Its distribution has not been worked out. A specimen 

 from Mesa Verde is figured by Kidder (1924, pi. 25, fig. left 3), and 

 one from Blue by Hough (1914, p. 48), so that its range is wide, and 

 this type may prove valuable in distribution study. 



Not only are the designs notably different, but their connection 

 with an intentional background renders this ware unique. Except 

 as noted, the use of a painted background is not found in Pueblo 

 ceramic decoration. 



The decoration used universally by the Pueblo potters produces 

 an interplay of decorated and undecorated areas characteristic of 

 good design, but in many cases the observer is left in doubt as to 

 whether the painted or the clear spaces form the pattern. In the 

 development of the decoration to the high point to which the Pueblos 

 carried it both ideas may be true. Originally, however, the painted 

 figures were to be read as the meaning of the design. 



The backgrounds of the class of ware mentioned are gradined with 

 close parallel lines not systematically inclined over the whole area, 

 showing lack of skill. The obvious intention is to set out the de- 

 sign in white, a departure from the general intent of the painted 

 design. 



Lining or hachuring of opposite elements of Pueblo designs is 

 uncommon in the Elden ware and appears to belong to a later period 

 than the banded and quadrant-decorated specimens. The intention 

 of hachured designs is obscure. It can be for variety or may have 

 a symbolic meaning of duality. (Hough, 1914, p. 50.) This treat- 

 ment almost completely passed out of use at the close of the Great 

 Period and the time of the discontinuance of gray ware, about 1250 

 A. D., as derived from dates furnished by Dr. A. E. Douglass from 

 Pueblo Bonito beam chronology. 



