324 REPOET OF NATIONAL MUSEUM, 1901. 



the Homolobi, Biddahoochee, and many of the groups south of the 

 Little Colorado, in contrast with the unif oruiity of the Northern groups, 

 where grsij ware abounds. This feature goes to show that the clans 

 coming from the South passed through regions inhabited by tribes of 

 different culture or arts and in the course of the migration incorporated 

 some of these arts with their own. This is readily accomplished by 

 clan marriage, since most of the arts, notably pottery and basketry, 

 are in the possession of the women and are therefore readily trans- 

 ferred from clan to clan, provided that conservatism does not fix and 

 require artifacts of a particular class within the clan into which the 

 woman may be received. Of course in an orderly procedure the 

 woman does not go to live with her husband's clan, but the opposite; 

 still at present it is known that there are exceptions to this rule. On 

 the whole, the accessions by which arts are carried from one clan to 

 another would be by families. Thus the pottery of Gila type, which 

 is equal in amount here with that of the yellow or Tusayan type, might 

 represent the artifacts of an element from the Upper Gila and the 

 yellow that of the Asa clan, which migrated from the Rio Grande to 

 Tusayan by way of Zuni. While this is conjectural, the symbolism 

 on the yellow ware resembles that of the Jettyto Valley ruins, and the 

 yellow ware alone bears symbolism of this character. 



Typical specimens of this class of pottery are shown in Plates 58 

 and 59, while brownish j^ellow, also of this class, is shown on Plate 60. 

 The color of the decoration is dark brown, and only in the case of the 

 bowl with symbolism (Plate 60, fig. 2) is red used in connection with 

 the brown. 



Several vases of an ancient Hopi form were collected. The specimen 

 figured (Plate 58, fig. 2) has a decoration in red-brown around the body . 

 A bowl of fine yellow (Plate 58, fig. 1) is rudely decorated, having 

 irregular patches of pigment applied with no system on the interior; 

 it has an exterior rim decoration of unknown meaning. The bowl 

 (Plate 59, fig. 1) bears a geometric decoration involving a number of 

 bird forms; in the center is the familiar symbol of two birds with 

 interlocking beaks adapted to a square figure. Another bowl of fine 

 texture (Plate 59, fig. 2) bears on the interior a symbolic design sur- 

 rounded with the " life line." The bowl (Plate 60, fig. 1) is decorated 

 with a conventional bird, and the second figure on this plate bears a 

 symbolic design representing a supernatural being in the style of the 

 Katchina figures of the Hopi. 



The ware with wash of white and decoration in enamel (Plate 61, fig. 

 1) bears a decoration on the interior of three interlocking hook forms 

 which seemingly represent tails of snakes. A set of two zigzag lines 

 extend around the exterior rim of the bowl; the space between these 

 lines is often filled in with red. The second figure on this plate is a 

 good example of the Gila type with geometric decoration. On the 



