KIDDER-GUERNSEY ] ARCHEOLOGICAL EXPLORATIONS IN ARIZONA 133 
In the “heavy” class, as stated above, the decorative zone is so 
covered by the black pigment that only very small amounts of the 
white background are left exposed (pl. 54, 2; and see Fewkes, 1904, 
pl. xx, and Holmes, 1886, figs. 327, 328). This gives the impression 
at first sight that the design is painted in white on a black surface; 
indeed, in some cases the ancient artist seems to have striven for 
this very effect. The care which was taken to leave very narrow 
margins between the black areas resulted in the development of sur- 
prising skill and accuracy of brushwork. The most characteristic 
feature of “heavy” designs is the use of a device which may be 
called “ under-framework.” It consists of covering the surface with 
fine hatching (pl. 54, A; fig. 54, a@) or crosshatching (fig. 53) and 
Wig. 54.—a, Black-and-white design as “ under-framework.” 6, Black-and-white 
design, ‘‘ heavy ”’ type. 
then drawing the design over it, locating and measuring its units 
by means of the underlying lines. In this way were attained great 
accuracy of spacing and regularity of repetition, and those parts of 
the preliminary hatching or crosshatching that cross the narrow 
white spaces between the black figures give to the whole decoration 
an almost textile appearance.t Two decorations not applied over 
1Holmes (1886, p. 342), indeed, refers to examples of this style in support of his 
theory of the textile origin of southwestern pottery ornament. These pieces, however, 
are undoubtedly late in the black-and-white evolutionary series, and while they may 
possibly show textile influence, they surely can throw no light on the ultimate origins of 
ceramic decoration. 
