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SMITHSONIAN MISCELLANEOUS COLLECTIONS VOL. 146 
travels today along the Ecuadorian coast will be struck by distinct re- 
gional differences in topography and vegetation. These environmental 
zones apparently were more marked in the past and correspond almost 
exactly to the divisions between the various complexes characterizing 
the Regional Developmental Period : the Jambeli Phase in the mangrove 
swamps bordering the Gulf of Guayaquil and the Province of El 
Oro; the Guangala Phase along the central and northern Guayas 
coast ; the Bahia Phase from Manta to Bahia de Caraquez ; the Jama- 
Coaque Phase in northern coastal Manabi ; the Teaone Phase on the 
southern coast of Esmeraldas Province ; the Tejar and Daule Phases in 
the Guayas Basin. Several of the highland complexes, such as Huan- 
carcuchu, Late Cerro Narrio (Narrio Moderno), Tuncahuan and Hu- 
man, probably represent similar contemporary developments (Ben- 
nett, 1946; Estrada, 1958, Cuadro, 1; Collier and Murra, 1943; 
Collier, 1946). 
This period, dated at between about 500 B.C. and a.d. 500, is char- 
acterized by the maximum degree of regional cultural differentiation, 
not only in ceramic styles but in level of sociopolitical and religious 
development. Nevertheless a certain unity remains in the traces of 
Chorrera ceramic elements brought forward from the past, and this is 
reinforced by the universal presence of two horizon markers: white- 
on-red, and resist or negative painting. These new types of decoration 
make their appearance simultaneously on the Ecuadorian coast and 
constitute the ceramic criteria for recognition of the inception of the 
Regional Developmental Period. 
New vessel forms also appear, such as the tall pedestal-based com- 
poteras, tripod and polypod bowls, and small graceful goblets. Figu- 
rines, uncommon in the Chorrera Culture, blossom into a variety of 
exotic and beautiful forms, many made partly or wholly in molds. 
Cylindrical and flat pottery stamps with intricate patterns are also 
abundant in several regions. The first evidence of metallurgy is a gold 
ring from Bahia and a copper one from the Tejar Culture. Shell beads 
and amulets, zoomorphic pottery whistles, manos, and metates are 
among the other elements that are common to all cultures of the 
period. 
Regional differences are evident, however, not only in the way in 
which these common traits are interpreted, but in associated features. 
Polychrome painted decoration is restricted to the Guangala and Ba- 
hia Cultures, as is iridescent painting. Postfired painting is found in 
complexes from Bahia to the north. The zoned punctate decoration of 
Daule is a unique local style. Black wavy-line painting done with a 
