HOLMES] ORNAMENTATION OF IROQUOIAN POTTERY 163 



are confined strictly to these features, adding- emphasis to tlie form 

 without reducing- the simphcity or overburdening- the vessel. Plastic 

 ornaments comprise ridges, nodes, projecting- points, medallion-like 

 heads mostly or exclusively of men, and more or less complete figures 

 of men. Mr Gushing- has observed modifications of the ornamental 

 ridges at the corners of the frieze which seemed to him to malte them 

 represent ears of corn. The modeling- was done witli the fingers, aided 

 by modeling- tools; the latter were used mainly in indenting, incising-, 

 and polishing. The fact that the life-forms employed in vase model- 

 ing are confined almost universally to tlie human subject is worthy of 

 note, since in modeling- pipes many varieties of animal were employed. 

 The idea is thus emphasized that pipe making- and vase making, though 

 practiced bj- the same people, must liave been carried on under some- 

 what different conditions or at periods not fully coincident. It is not 

 unlikely that superstition gave rise to the use of these life-forms, and 

 restricted them to the places on the vases and pipes to which they are 

 so scrupulously confined. The women probably made the vases, but 

 the pipes, it is surmised, were made by the men. 



The archaic, rectilinear decorations of this pottery are in strong- 

 contrast with the graceful and elaborate designs of the South and 

 West. So far but few curved lines have been observed, and the cui-- 

 rent ornaments, such as the scroll, the fret, and the meander, were 

 wholly unknown. So elemental are the motives that they may safely be 

 regarded as illustrating- the first steps of these people in freehand cera- 

 mic decoration, though they were doubtless familiar with textile 

 embellishment at a much earlier period. Textile texturing is not 

 uncommon, and, in cases, nearly the entire body of the vase is covered 

 with impressions of cords or coarse cloth applied by paddling or by 

 some other method of malleating- or imprinting. T am not certain that 

 any specimen examined by nic has markings made by handling- the 

 plastic vessel in a net or other inclosing fabric, as has been suggested 

 by Mr Cushing's experiments already referred to. 



The formal pseudotextile ornamental designs consist of straight 

 incised lines and indentations arranged in simple combinations, form- 

 ing encircling zones, generally around the frieze, but in cases around 

 the body of the vase. The zones are usually bordered })v parallel 

 lines and marginal rows of indentations or notches, interrupted in the 

 frieze by relieved features placed at intervals, dividing the space into 

 two, three, or more sections. The margin or lip is rounded, square, 

 or sloping, and is embellished with indents, punctures, or short lines, 

 and the lower margin of the frieze is variously finished with a band of 

 short lines, indented circlets, notches, indents, or relie^■ed bead-like 

 points. 



The execution is varied. The lines were incised with an acute or 

 rounded pf>int, sometimes forced rudely through the clay, leaving- a 



