KIDDER— CASAS GRANDES POTTERY 



as a single broad horizontal band, extending from just below the out- 

 curve of the rim to a point well below the shoulder. (See pi. II, figs. 

 io and ii.) It is inclosed at top and bottom by pairs of unbroken 



Fig. 3. — Rectilinear pattern. 



framing lines. 1 The upper line of the upper pair and the lower line 

 of the lower pair are always free; the inner lines of the two pairs often 

 serve as base-lines from which spring secondary framing lines that 

 cut the band into its various subdivisions. 



Rectilinear Style.— Figure 3 shows the whole decoration of a typi- 

 cal jar. It will be noticed that the orna- 

 ment repeats itself once. This duality 

 in design is very strictly adhered to in 

 all phases of Casas Grandes art. For 

 reducing the original band-like decora- 

 tive surface into the smaller fields only 

 three methods are at all commonly prac- 

 tised. The first, shown in the above-mentioned figure, in the skeleton 

 cut (fig. 4) and on plate IV, figure I, consists of drawing horizontal 

 lines on the two opposite sides of the vessel and connecting their 

 respective tops and bottoms with diagonals. In the second method the 

 preliminary bars are drawn as before, but the two resultant spaces, 

 instead of being subdivided by diagonals, are filled by diamond-shaped 

 figures as shown in the skeleton cut (fig. 5) and on plate iv, figure 2. 



Designs of the third class are laid off 



Fig. 4.— Type 1. 



Fig. 5. — Type 11. 



by drawing about the vessel a two- 

 pointed zigzag, producing four triangu- 

 lar fields (fig. 6, and pi. n, fig. 11). In 

 some very elaborately decorated vessels 

 the preliminary, laying-off lines are so 



The "line-break" does not, so far as I know, occur on any Casas Grandes vessel. 



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