348 REPORT OF NATIONAL MUSEUM, 1901. 



impart only a yellowish tint of great beauty to the burnt ware. The 

 clay burns to remarkable density and stands a high heat in the kiln. 

 Sometimes overburning produces a paste with the hardness of stone- 

 ware, but high heat usually darkens the surface and obscures the 

 design. 



A lively appreciation of symmetry of form is evident and the sur- 

 face finish shows the greatest care, no part being slighted, differing in 

 this respect from the gray ware of the north, in which the exterior 

 surface and edge usually have not been treated with the polishing 

 stone. On account of the careful finish of the Jettyto ware no traces 

 of coiling or other processes may he seen; in fact, the potter was care- 

 ful not to have even marks of the smoothing stone on her vessels, so 

 that the surface is agreeable to the touch, like polished ivory. Not 

 having received any surface wash of clay, the vessels are never crackled. 



There is no doubt, however, that the structural method of coiling 

 was practiced and that the basal processes were similar to those 

 employed by the potters of Hano at present. 



The pigments, also, were of iron ores and earths, like those used by 

 Nampeo at Hano. These are toho, or ironstone and sih/dtoho, or yel- 

 low ocher; in unskillful hands these produce, the former dark brown 

 answering to black, and the latter dingy reds. Nampeo has in her 

 recrudescence of the old art found it necessary to select these pigments 

 for various qualities, depending on the purity or impurity of the 

 material, or just as she also selects her chry. Her efforts, while com- 

 mendable, serve to heighten our appreciation of the discrimination of 

 the ancient potters in selecting and handling their materials. Their 

 command of the resources of color may be observed in Plate 98, fig. 2, 

 where on an old ivory ground may be counted seven graduations of 

 3 T ellow, red, and brown; tig. 1 of this plate is also a tine example 

 of color and texture. These graduations are intentional and show a 

 knowledge of the behavior in firing of these colors. 



Colors were not only put on in broad masses over portions of the 

 design, but areas of the vessels were spattered with delicate tints of 

 red, brown, and yellow, shaded from the edges toward the center with 

 great taste. Areas of color were frequently stippled, apparently with 

 the yucca brush, and sometimes color was applied using the end of 

 the linger as a pounce. Masses of dark color were relieved or made 

 more specific as to meaning by scratching away the color with a sharp 

 point as in etching. In one example found at Kawaiokuh the repre- 

 sentation of a mask is covered with raised work in color, the pigment 

 having been thickened to form a mass. These examples, which prob- 

 ably do not comprise all the manipulations with which the Jettyto 

 potters were familiar, are enough to place them in the category of the 

 most advanced pueblo artists. 



