()8 ABORIGINAL POTTKRY OF EASTERN UNITED STATES [eih.a.n.s.l'O 



ami the eartlicinvaro oxlnt)its traces of tliis intimacy as one of its most 

 constant cliaracteristics. These traces consist of impressions of textile 

 articles made on the plastic clay during- manufacture, and of markings 

 in imitation of textile characters traced or stamped on the newly made 

 vessels. The textile art is no doubt the older art in this region as else- 

 where, and the potter, working always with textile appliances and with 

 textile models Ijcfon^ him, has borrowed many elements of form and 

 ornament from them. Textile forms and markings are thus in this 

 part of Amerii-i a characteristic of the initial stages of the ceramic art. 



It is true th;it we can not say in any ca.se whether the potter'.s art as 

 practiced in the nortlunn districts is exclusively of local development, 

 .springing- from suggestions oti'ered by the practice of simple culinary 

 ai'ts, especially basketry, or whether it represents degenerate phases of 

 southern art radiating from far away culture centers and reduced to 

 the utmo.st simplicity by the unfriendly environment. We are cer- 

 tainly safe, however, in assuming that this peculiar phase of the art 

 represents its initial stag(> — a stage through and from which arose the 

 higher and more complex phases characteriziug succeeding stages of 

 barbari.sm and civilization. 



Whether with all jjcoples the art passed through the textile stage 

 may remain a (juestit)!!, because the traces are obliterated by lapse of 

 time, but we obser\e as we pass south through the United States that 

 the textile-marked ware Ijecomes less and less prevalent. However, 

 sufficient traces of textile finish are still found in Florida and other 

 Gulf states to suggest a former practice there of the archaic art. 



CL.\SSES of TeXTU.K MAKKIXCiS 



Textile markings found on pottery are of rive classes: first, impres- 

 sions from the surface of rigid forms, such as baskets; second, im- 

 pressions of fal)rics of a pliable nature, such as cloths and nets: third, 

 impressions frtmi woven textures used over the hand or over some 

 suitable modeling implement: fourth. imj)ressions of cords wrapped 

 about modeling paddles or rocking tools: fifth, impressions of bits of 

 cords or other textile units, singly or in group-, applied for ornament 

 only and so arranged as to give textile-like psitterns. In addition, we 

 have a large class of impressions and markings in which textile effects 

 are mechanically imitated. 



The several kinds of textile markings are not equally distributed 

 over the country, but each, to a certain extent, seems tc) characterize 

 the wares of a particular region or to belong to particular groups of 

 ware, indicating, pei'haps. the condition and practices of distinct peo- 

 ples or variations in initial elements affecting the art. There mav 

 also be a certain order in the developnu-nt of the various classes of 

 impressions — a passing from simple to complex phenomena, from the 

 purely mechanical or the simply imitative to the conventionallv modi- 

 fied and highly elaborated phases of embellishment. 



