COLUMBIAN HISTORICAL EXPOSITION AT MADRID. 



363 



portion and below a wide band of red, with the junction covered 

 with a black line. The burnished slip often resembles a glaze. No. 

 1530 (Museo Arqueologico, Madrid) is an obscure yellow vase with a 

 hard vitreous glaze (enamel?). This is the only glaze observed. The 

 locality and period is not known. 



The colors used in the ornamentation of Peruvian pottery are cream 

 or white, black, and red. No other colors than these have ever been 

 observed on American pottery outside of Mexico. The painted designs 

 are quite often the human or animal figures, somewhat realistic, follow 

 ing the modeled ware and textiles. These designs have been further 

 elaborated into grecques. The clothing, etc., of the relief ware is 

 outlined and ornamented in colors. 



The black ware is modeled, incised, and stamped, and has received no 

 treatment with color. Some vases* from near Cuzco are covered with 

 lines of &quot;rickrack,&quot; or Polynesian pat 

 tern, as though following the lines of 

 coiling like the ancient Zuni vessels. 

 Many of the vessels are ornamented 

 with short, straight lines like those of 

 Ecuador. One finds fillets, lozenges, 

 meanders, serpents, stars, the frog, the 

 bat-headed serpent, etc., used for orna 

 mentation. 



Common as well as fine pottery is 

 found in the huacas of Peru, no doubt 

 determined by the social condition of 

 the dead. The common ware consists 

 of round bowls or jars, undecorated 

 and rudely finished, which can be du 

 plicated anywhere. 



There are many survivals from an 

 cient times in modern Peru, and the comparative ethnologist has no 

 difficulty in establishing connections with precolumbian times. Mr. 

 Dorsey has lately made some studies on this point, Avhich he presented 

 before the International Congress for Anthropology at Chicago. 



There has been some conjecture as to the intention of the portrait 

 series of bottles. Mr. Wiener thinks that the ornamentation, or glori 

 fication, of the drinking vessel explains the matter. It would seem, 

 also, that there was rivalry among the potters, as the Eskimo seeks 

 the honor of producing the most elaborate and striking mask for the 

 feast of the returning sun. 



The subjects of the bottles are fruits and animals, of which the 

 specific names can be ascertained; architecture (No. 728, Museo Arque- 

 ologico, Madrid) is an U-shaped house with high-pitched roof, with win 

 dows in the gables and court (fig. 61), prisoners with hands tied behind, 

 like those hewn from wood; suppliants, deformed persons, priests, 

 warriors, portrait groups, etc. 



Fig. 61. 



BOTTLE IN FORM OF A HOUSE. 



