BOtJGH] ANTIQUITIES OF GILA-SALT VALLEYS 2< 



ful than those of the region to the north (Tusayan), but from favored 

 localities, as the fertile and beautiful Tularosa valley, there came 

 numerous examples of gray ware without rivals. 



No less skill and taste characterize the application of decorative 

 designs, which in this region are almost exclusively geometric. They 

 appear to be repetitions of a limited number of symbols, the common 

 motives being rain clouds and birds, and maze patterns painted on 

 pottery for esthetic effect. On the upper Salt river, however, occur 

 symbolic unit designs drawn on the concave of bowls, connecting thus 

 with the culture of the Little Colorado valley. 



Amusements — Language — Relic ; ion 



Little may be said concerning the intellectual pursuits of these 

 tribes. That they enjoyed games and pastimes is evident from the 

 objects found in the caves where reed and bone dice have been dis- 

 covered. The former were short sections of halved reed, etched or 

 scraped and blackened, and the latter ovate or circular bones simi- 

 larly engraved to indicate values in gaining. 



Music was also a pastime of these ancients, who used flutes of reed 

 and yucca stalks. There is evidence of a comparative nature that the 

 former inhabitants of these pueblos, now ruins, were familiar with 

 many ceremonial songs, which they accompanied with rattles or with 

 rhythmic sounds made with drums or other instruments. 



As to the speech of the ancient dwellers in this region and its 

 affiliations, if such exist among living tribes, necessarily nothing can 

 be said. In common with other Indians, picture writing was the 

 nearest approach to recorded speech, and numerous examples pecked 

 in smooth rock surfaces are found in various localities. The most 

 extensive of these petroglyphs may be seen near the forest ranger's 

 station on the lower Tularosa, on the Blue river near the Henry 

 Jones ranch, and near Fort Bayard. These petroglyphs may have a 

 serious meaning or they may be merely chance seribblings of passing 

 visitors. In the former case they may be regarded as totemic char- 

 acters designating clans or individuals who have halted in the neigh- 

 borhood in their migrations; in the latter case, meaningless pictures 

 made with no other intention than to pass away time. 



They consist of human and animal and cult figures, as tracks of 

 bears and turkeys, mingled with nature symbols, as of the sun, water, 

 and stars; often there are maze frets and geometric symbols like those 

 on pottery. Accompanying these are rudely drawn realistic scenes 

 of hunting. While these are not consecutive or definite records 



