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I,I'. ?. ., .-:,? .. - ".., i. . ,.'I., 1,??.1.?`I I .,?,., '. ?"71?I; I ?, I( , ,'.' ".I-I IO??I1-1 I II..II?.7 Figs. 5-7. White-on-red style jars; 5, C24-6420 (found in association with Three-color and Epigonal ware, White-on-red in appearance, actually probably a base Epigoiial specimen); 6, E-6833 (black, mammiform); 7, E-6986. be examined as divided by Dr. Uhle into lots El and E2. These two designations therefore do not, like Al or 036, refer to graves; nor are they employed with unreserved acceptance of Dr. Uhle 's view as to the lots being temporally distinct. They are used as enforced groupings which obviously conform in the main to a real distinction of some sort within the site E ware. THE WHITE-ON-RED STYLE E2 The E2 ware is the more numerous. It is simple in form and simple in painting. The ware is light red, strong, fairly thick and smooth, unstudied but not unpleasing in shape. About 30 per cent of it is unpainted; the remainder mostly has-simple white designs over- painted on the red, occasionally black on white, or black and white on red, or all white. There is a low proportion of black vessels-not very successfully smoked. Nearly all the pieces look utilitarian, but scarcely any show fire-blackening or other signs of use. Modeling is almost lacking, and where attempted very inept. There is no clear resemblance to Inca, Tiahuanaco, Chimu, Nazea, or any of the better known Peruvian styles. Kroeber: The Uhle Pottery Collections from Chancay The forms run wholly to bowls and jars, a full sixth of the collection being mammiform jars, large and small (pl. 86e; fig. 6). About half are ordinary jars, a third, bowls. Somewhat less than half the bowls have a lip (pls. 86, 87). The jars vary from almost cylindrical or globular forms without well defined neck (pl. 87f, i, k) to others with a cylindrical or even flaring mouth (pls. 86d, 87g; fig. 8). Occasionally they are constricted one or more times, so as to resemble from two to four bowls set on top of one another (pl. 87a; fig. 9). These, with the crude pieces of plate 86f, g, a few vessels dcorated with knobs or pro- jections (pls. 86e, 87g; fig. 8), and the breast forms represent the only attempts at non-utilitarian modeling. Not quite half the bowls and simple jars are handled. The bowls have the handles extending more or less horizontally, the jars usually vertically from the shoulder or neck; one-handled jars also occur (pl. 87f; fig. 7). There are no goblets and no cook pots; and none of the bowls has a foot, in distinction from the majority of low bowls from the Three-color and Black-on-white cemeteries. The subjoined list classifies the collection. Figs. 8, 9. Redware jars, White-on-red style; 8, E-6862; 9, E-6858. Bowts- WHITE-ON-RED STYLE FoRMs Lipless, low, flaring (pl. 87c, j) -------------------------------- 14 Lipless, low, ineurved or vertical-walled (87d, e) 16 Lipless, low, incurved, 2 handles (86a) -.-......... 6 36 With lip, ineurved (86c, 87h) ------------------------------------ 6 With lip, ineurved, 2 handles (87b) - 18 24 60 Jars- Broad mouth, no definite neck (87i, k) -14 Broad mouth, 2-4 bulges (87a; fig. 9) - 4 18 Vertical or flaring neck (86b, d) ---------------------------- 22 Vertical or flaring neck, 2 handles or knobs (fig. 8) 25 Vertical neek, 1 flat or round handle on neck (87f; fig. 7) -11 58 Mammiform (86e; fig. 6) -30 30 Cylindrical. with or without rim of knobs (87g) 3 Small mouth, large knobs or handles- 3 Double spout (86f) -2 Bird (86g) --------------------------------------------------------------------- 1 9 115 175 277 1926] 278 University of California Publications in Am. Arch. and Ethn. [Vol. 21 As for color, the tabulation that follows shows the prevalence of white design and red ground color, but also that this seheme is not exclusive, even three-color occurring. WHITE-ON-RED STYLE: COLOR Actually white oni red .- . 99 All white - . 14 Black on white ---------- -- a Black and white on red -6 Smoked black - 3 Plain redware .3........ 35 Uncertain, obscure or decayed . 13 175 Fig. 10. Cylindrical vessel, Interlocking fish pattern. R-W-B. E-6734. Designs are notably simple: dots, small circles, bars, angles, zigzag lines, diamonds, crossed lines. These are usually aggregated in from 2 to 5 rows or parallels. The dots and circles also come in clusters, follow lines, or fill spaces between them. The execution is as crude as the scheme is artless. A few patterns (pl. 87b, i) look as if they might be reductions from the triangular patterns common on the El Interlocking style vessels, but such interpretation must be advanced with reserve. Designs as simple as these White-on-red ones might be derived from almost any antecedents, and a linking would be legitimate only in the face of specific transitions. 1Kroeber: The Uhle Pottery Collections from Chanzcay THE INTERLOCKING STYLE El The lot of vessels designated as El by Dr. Uhle rea.lly comprises two or three groups which have little in common except the absence of the specific White-on-red characters of the E2 lot just discussed. Somewhat more than half of the series (a.) consists of bowls and broad cylindrical jars with an interlocking fish, fret, or triangle pattern in 4% Fig. 11. Cylinidrical vessel, Interlocking fish pattern. R-W-B. E-6739. three colors. The smaller half of the series (b, c) varies greatly in form and color, shows as much modeling a.s painting, and connects with the interlocking style pieces chiefly, a.nd somewhat dubiously, by the presence of several conventional fish designs, although these stand solitary and free. (a) Most of the true interlocking ware is broken, as stated by Dr. Uhle. The number of whole pieces, or such as can mainly be reassembled, is scarcely a dozen. About twice as many more are represented by sherds, some of them large, allowing the reconstruction of the pattern. This is always in three colors, 1926] 279 280 University of California Publications in Am. Arch. antd Ethn. [Vol. 21 fundamentally R, W, B; but the red is sometimes pale, sometimes brownish, always dull, and the white runs often to yellow, buff, or gray, while some of the black is grayish.24 The pattern is therefore not salient, and in many cases is impossible to photograph. Its essential trait is an interlocking of the ele- ments, the engaging ones of which are in contrasting colors and between them Fig. 12. Cylindrical vessel, Interlocking style. R-W-B. E-6740. fill the decorative field. These elements are fishes, or possibly sometimes snakes, with tria-ngular heads, and bodies bent oni themselves and sometimes serrated (pl. 88c; figs. 10, 11, 15, 19, 22, perhaps 18). In borders there is an interlocking fret which seems to be a reduction of the same fish motive (pl. 88c, d,25 perhaps 89i; figs. 10-14, 16--17; fig. 19, similar but without inter- 24 The firing of the pottery was not infrequently uneven and unskilful, and several specimens have bulged or flattenled during the process, as also in the E2 ware and that from site C. 25 Uhle, Friihkulturen, fig. 10. 1Kroeber: The Uhle Pottery Collections from Chantcay lock; fig. 20, with step). Perhaps related are triangles that suggest much reduced faces. These interlock, but do not contrast in color (pl. 89a, g; fig. 13). Other elements which are more or less worked into the interlocking scheme are zigzag lines (pls. 88d, 89i; figs. 12, 14) and rows of dots (pl. 88d; figs. 12, 14, 19); as the illustrations show, these tend to associate. These designs are dis- cussed in Dr. Uhle 's report on his collection, printed below in the Appeildix. Fig. 13. Cylindrical vessel, Interlocking style. R-W-B. E-6748. Somewhat similar ware was found by Dr. Uhle at Aramburui in the valley of Lima,26 though there the fret and a step are more in evidence than the fis-h; and he adduces a fragment from Pachacamae, secured by him long after his classic excavations there.27 As he also points out, the interlocking fish patterrn is found in Proto-Nazea; and it is from Proto-Nazea influenee that he derives the present style.25 (b) A few jars seem related to the foregoing group through being painted with a serrated fish, usually single. One of these is a cylindrical jar like those 26 riihkulturen, fig. 16. 27 Ibid., fig. 5. See also Uhle, Pachacamac, figs. 26-28. 28 Friihkulturen, p. 356 seq. The five vessels shown in fig. 7 are obviously from Nazea, as the text suggests, not from Chancay as the legend states. 192fi] 281 282 University of California Publications in Am. Arch. and Ethn. [Vol. 21 of group (a); the others are mammiform, flat, or double-spouted (pls. 88b, 88e; fig. 21; also pls. 88a, 90d, whose form and texture ally them with the following group). (c) Finally, there is a varied assortment of pieces: double-spouts (pl. 89f, cf. 88a; fig. 26); bird or animal jars, poorly done (pl. 90a-c); human figure jars, rather mediocre in modeling (pl. 90e, f, h), and crude jars with heads (pls. 89e, 90g); blackware bowls (pl. 89b, d); a thin-spouted jar (fig. 24); a Mig. 14. Cylindrical vessel, Interlocking style. R-W-B. E-6745. striped pitcher and jar (pl. 89e, h); a projection 'or knob of a very large jar (fig. 25); and a large flattish or mammiform jar with a design of a hexagonal face (pl. 88f). These are the most distinctive pieces. The face on the last mentioned relates to a face among the interlocking fish on plate 88c (fig. 1O).29 Broad stripes appear in this group in plates 89e, f, h, 90b (cf. also fig. 24). The serrated fish of plates 88a and 90d has already been mentioned in connection with the preceding group. 29 Another face appears on the jar pl. 84b, which is "superficial" from E. The "frame" of this face suggests the serrated fish design; the ends of the serrations are Three-color Geometric; and the face is like Epigonal ones (pl. 83e). 2Kroeber: The Uhle Pottery Collections from Chancay RELATIONS OF THE TWO STYLES AT E The material from site E is difficult to understand. The White-on- red, E2, is a definite style. So is the true Interlocking, Ela. That most of this was found fragmentary, whereas the White-on-red col- lection is prevailingly whole, goes to support Dr. Uhle 's explanation that people of one culture interred in the-cemetery of another. How- evqr, there are whole interlocking pieces; and there may have been many broken white-on-red ones.30 Fig. 15. Ineurved bowl, Interlocking fish pattern. R-WV-B on unpainted ground. E-6746. A further complication is introduced by the heterogenous material which Dr. Uhle has allotted to his El period. The Elb group might be construed as still related to the interlocking Ela. The Ele lot can certainly not be so interpreted on the evidence of its own forms and designs. It is not only free' from trace of interlocking patterns but quite variable inter se in every respect, even as regards texture. More- over, if Elb and Ele are classed with Ela into a single El style, the number of whole vessels in this style becomes too great to accord well with Dr. Uhle's explanation that the E2 people encountered the El vessels in the ground and, purposely or in digging, broke them.3' 30 Dr. Uhle has paid more attention to sherds than most collectors in Peru; but he saved only those that seemed significant through a distinctive pattern. With nearly 200 entire vessels in hand, he would hardly have collected frag- ments of a ware so crude as White-on-red. Most of its fragments at that would be plain red and unmodeled: the sort of sherds that occur at all Peruvian coast sites. 31 His published statement, Friihkulturen, p. 353, allows for more whole El vessels than his field report (Appendix, p. 297): "Das Merkwiirdige . . . ist, dass sich in ihren [E2] Griibern fast immer einzelne Gefasse, oder Reste 1926] 283 284 University of Californiia Pntblicationis in Aml. Archi. and Ethn. [Vol. 21 It remains to consider the affiliations of the styles. Dr. Uhle regards the White-on-red Chancay style as related to the primitive or shellmound cultures of Ancon and Supe,'2 but "a little different. "3 He holds tha.t "the white painted rings anid lines are a simple translation of previously engraved ornaments into painted ones, under the influence of their more advance(d instructors [and predecessors, the El people] . " This opinion seems venturesome. The step from incision to paint is not necessarily taken lightly by a. people; and as to the designs themselves, the incised ones from Ancon and Supe have nothing actually in common wi-ith the painted ones from Fig. 16. Iieuurved bowl, Initeilocking fish pattern i much rieduced. R-B, inlside unpainited. E-6781. Chancay except the comparative simplicity of both. Even the tech- nology, the color and texture, of the wares are consi(lerably different, as are the forms. Nor can I see much relation betweeni Ancon-Supe primitive w% are and Proto-Nazca, which Dr. Uhle alleges.. It appears rather that after his discovery of Proto-Nazea in situ, he was so impressed with the antiquity of this style, that, not encountering it on the central coast, he equated with it, or rather derived from it, the simplest and presumably earliest culture which he found at Ancon and Supe. At Chancay then, where the El Interlocking vessels do von einem hoch kultivierteni Volke nleben ihreii eigenien ganiz primitiveili Tipf! er eini faiiden . . . . Einizelnie hervoIrrageiid sehiine [El] Gefiisse waren voln ihnen [E2 people] aufgehoben, wahrseheinlich beniitzt uind dainn mit beigesetzt worden. " 32 This volume, pls. 48, 79. 34 Ibid. 33 Friihkultureni, pp. 352, 333. 33 Ibid., p. 33,6. Kroeber: I'he Uhle Pottery Collections from Chancay bear indubitable Proto-Nazea resemblances, he construed the associa- tion of these with the simple White-on-red as one of priority and sequence on the spot, and therefore derived the White-on-red from the incised Ancon-Supe and approximated it in time. This derivation and approximation perhaps influenced him to see a resemblance wlhich is hard to discover.36 It is well to remember in regard to the primitive fishing or shell- mounid culture of Ancon and Supe that the antiquity of this does not Fig. 17. Incurved bowl fragment, Interlocking style. R-W-B. E-6803e. rest on stratigraphic evidence but on its being found unassociated with other ware, on its simplicity of style, and on its use of incising which is a rare Peruvian technique. Its chief claim to antiquity is its lack of clear relation to known Peruvian styles, not any determined rela- tion. This lack constitutes good presumption, but no proof of antiquity. As a matter of fact the co-occurrence in place and time of 36 The Uhle scheme seems to be: Earliest, Proto-Nazea. Next, derived from this, Proto-Lima, of which Chancay El Interlocking is a form or variant. Also influenced by Proto-Nazea, or related to it and therefore more or less contem- porary with it, is the primitive incised ware of the Ancon and Supe fishermen. The Chancay E2 White-on-red style is a development out of the incised Ancon- Supe style under some degree of influence of the El Interlocking. In Los Principios de las Antiguas Civilizaciones Peruanas, Bol. Soc. Ecuat. Estud. Hist. Am., iv, no. 12, p. 11, Uhle makes the ancient fishing culture of Ancon con- temporary with the Proto-Nazea of Chincha and Pisco (est. c. 100 B.C.-50 A.C.), but continues early and later Proto-Nazea to c. 650 A.D. 1926] 285 286 University of California Publications int Am. Arch. and Ethn. [Vol. 21 distinct styles is so common in Peru37 that the living side by side of strata or elements of popula.tion largely or wholly using ware of different styles must always be reckoned with as a. possibility. A group of people subsisting more on fish than on corn would certainly follow different habits from their contemporary agricultural neighbors and might easily make a somewhat different ware. That they used nets is expectable, and that they had more baskets than cloth might be a result of either poverty or specialized habits of lifo. The occur- rence of llama bones among the "primitive" remains at Supe38 sug- gests more intercourse with the highlands than an extremely ancient and backward ethnic unit of the immediate coast might be expected to have had. Fig. 18. Bowl fragment, Interlocking style. R-W-B. E-6803h. In short, the high antiquity of the primitive fishing or shellmound culture of the central coast remains to be established by more direct evidence than is yet available. Its connection with the Archaic of Mexico is uncertain. And in any event the inclusion of Chancay White-on-red in this culture is unsubstantiated. I should be somewha.t hesitantly inclined to connect the White- on-red with the simpler non-"shellmound" redware of San Nicolas at Supe, which is often painted in circles, dots, scrolls, lines, and crosses in white or in white edged with black ;39 and with the redware which Strong has described as Middle Ancon I and II ;40 both occur- ring in definite association with Epigonal and " Tiahuanaco " ware. 37 For instance, at Tea, Chincha, Supe, Moche, this volume, pp. 117, 49, 241, 207; and Uhle himself, Pachacamac, pls. 13, 18. 38 This volume, 263. 39 Ibid., 249, and pls. 72a, 73i, 1, 74f, 78g, k. 40 Ibid., 145, 148, 157, pls. 45, 47. 41 That is, Tiahuanaco as a generic Peruvian style as conceived by Uhle, rather than the specific style of the immediate Tiahuanaco region. 9Kroeber: The Uhle Pottery Collection8 from Chancay As regards the non-White-on-red ware from site E, the relation affirmed by Dr. Uhle with Proto-Nazea is in-dubitable, especially for the Ela group. It remains to delimit this relation. Definitely Proto-Nazea are the interlocking fish designs. Probably so a-re the triangular "abbreviated faces." The cylindrical jars are somewhat similar to Proto-Nazea shapes. As limitations on these resemblances t-here is first the fact that while the interlocking fisl design occurs in Proto-Nazea, it is by no means a specially common decorative motive there.42 Second, while the trophy head often occurs in Proto-Nazea in conventionalized reduction, a triangle is not its usual form there, and I do not recall its employment in alternatingly Fig. 19. Large sherd, fish pattern, Interlocking style. R-W-B. E-6741. opposite directions to form a whole pattern. Most of the Proto-Nazea style, in fact, is not represented at Chancay at all. The free dis- position, the curvilinear and often florid treatment, the color variety, the specific pigments of Nazca, are la-cking. The Chancay Interlocking low bowls are shaped not like those of Nazea, but more like the incurved ones of White-on-red (E2) and Black-on-white Chancay. All in all, but a small portion of the Proto-Nazea style recurs in Inter- locking; and that additional elements of Proto-Nazea are related to certain features of Proto-Lima ware,43 makes the relation of Interlock- ing to Proto-Nazea more convincing, indeed, but not grea.ter in amount. The (b) and (c) groups of the El material also show relation to Proto-Nazea without being more than partly dependent on it. The serrated fish has proto- types in that style. Plate 88a particularly, as Dr. Uhle affirms, is close to Proto- 42 University of California collection from Nazea, 10 pieces out of 560; Museum of the University of San Marcos in Lima (as exhibited in 1925), 6 of about 550. 43 Fruhkulturen, figs. 17, 18. 1926] 287 288 University of California Publications in Am. Arch. and Ethn. [Vol. 21 Fig. 20. Pattern on sherd, Interlocking style. P-W-B. E-6728. Fig. 21. Large sherd, serrated fish, Interlockiiig style. R-W-B. E-6733b. 1- 10- - - "gm rA 0 I M - - Kroeber: The Uhle Pottery Collections from Chancay Nazea in conception and treatment; 90d less so, just as its shape departs more from Proto-Nazea forms.44 It is significant that the Chancay double-spout jars resemble the pure Proto-Nazea ones in having their spouts parallel and cylin- drical, whereas in Peru outside the range of the Proto-Nazea style the spouts spread and taper. This criterion may have led Dr. Uhle to class the double- spout in plate 86f as E2 rather than El: not only is it crudely smeared with white ornament on red ground, but its spouts diverge.45 The bird and animal jars of plate 90a-c are not in true Proto-Nazea style but do resemble vessels found in the Nazea district, patently related to the Proto-Nazea manner, and apparently derived from it. There are several such in Dr. Uhle 's University of California collection from Nazea. This makes a total of two or three vessel shapes and two or three designs or patterns in the El style that can be brought into positive relation with Proto-Nazca. This is enough to establish positively a re- lation between them; but the rela- ? tion falls much short of being over- powering. The following inferences seem the only ones that can safely be drawn. The ceramic material from Chancay site E falls into two stylis- Fig. 22. Jar neck, Interlocking fish pattern, abbreviated. R-W-B. E-6803. tically digtinct series, plus a certain number of vessels that affiliate more -vaguely. The distinct E styles were associated under conditions of record which render it possible, but leave it unproved, that their interments were made at different periods. All the E material is virtually free from admixture with Epigonal, Three-color Geometric, and Black-on-white, both as regards whole spec- imens and traceable stylistic influence. It must therefore be regarded as falling in a separate time and this time can hardly have been other than antecedent. The Interlocking style Et contains certain Proto- Nazea elements, worked over under a rigid stylicization. Much of this stylicizing, however, is in conformity with the general tendency 44 It is well to remember that the Three-color Textile style (Middle and Late Ica, Chincha) makes abundant use of fish motives, and that these often show serrations. 45 Incidentally, the separation of this piece from the other double-spouts illustrates the entire situation as to material from site E. There is nothing in the objective record to prove this specimen (pl. 86f) different in circumstances of deposition or in age from those shown in pls. 88a, 89f, and fig. 26; but stylistically it surely belongs to a separate group. Whether these two styles represent two successive periods, overlapped in time, or coexisted, is a problem on which Dr. Uhle 's insight and experienced judgment are of the greatest weight, but on which no man's opinion can wholly take the place of a demon- stration by direct archaeological evidence. 1926] 289 290 UnJiiversity of California Publications in Am. Arch. antd Ethn. [Vol. 21. toward three-colored geometric patterning which is observable on the coast from Trujillo to Arica. Something of the specific Chancay Interlocking style has been traced as far as ILima and Pacha.camac, but apparently as a minor constituent of the Proto-Lima wares there. The White-on-red style E2 cannot yet be rela.ted to the "primitive" styles of Ancon and Supe. Its simplicity makes the recognition of its Fig. 23. Mammiform jar from site E. R-W-B on reddish ground. E-7030. 24 25 26 Fig. 24. Jars and fragmenit attributed to Interlockinig style. 24, E-6759; 25, E-6791; 26, E-6760. affiliations difficult; but there is nothing serious to prevent its accept- ance as a local variant of the redwa.re, simply painted in white, bla.ck, or white and black, found at Ancon (Middle I and II) and Supe (San Nicolas) in association with Tiahuanaco and Epigonal ware. As to the time relation of the Interlocking and White-on-red styles, it is probable but undemonstrated that, as Dr. Uhle contends, the Inter- locking (El) is earlier than the White-on-red (E2). lKroeber: The Uhie Pottery Collections from Chancay CONCLUSIONS The Uhle excavations at Chancay revealed pottery in five styles, which, in probable order of age, are: Black-on-white (lat6st) Three-color Geometric Epigonal (3 and 4 color) White-on-red Interlocking The Black-on-white occurs pure in three cemeteries. It is mixed with Three-color Geometric and Epigonal in one cemetery, the associa.- tion occurring in many gra.ves. As this mixed cemetery, C, lies close to one of the pure cemeteries, B, it is unlikely that they represent con- temporaneous settlements of people of different culture. It is likely that the mixed cemetery dates from a period of transition between Epigonal, Three-color, and Black-on-white. The available data from Ancon indicate Black-on-white as latest of the three. Stylistically, the mixed cemetery at Chancay confirms, some of its Black-on-white specimens showing Three-color and Epigonal leanings and vice versa. As between Three-color and Epigonal, the Chancay excavations allow no conclusion as to priority, but Three-color is a constituent of Late Ancon I, and Epigonal of Middle Ancon II. White-on-red (E2) is a simple, fairly distinctive, and hitherto undescribed style. It has some degree of similarity to Middle Ancon I; to the style of San Nicolas at Supe; and possibly to the three styles at Chancay just discussed. It bears no notable resemblance to the incised ware of the su.pposedly primitive fishermen or shellmound dwellers of Ancon and Supe. It is definitely Central Peruvian in character. It has not been found in association with the three pre- viously mentioned styles of Chancay. The Interlocking style (El) has been found in Chancay only in association with the White-on-red, under circumstances which render it probable that the Interlocking is earlier but fail to establish absolute proof. These circumstances are the occurrence of Interlocking mainly in fragments, and the occurrence of entire Interlockinga vessels chiefly or wholly in graves whose main content was entire White-on-red vessels. 291 1926.1 292 University of California Publications in Am. Arch. and Ethn. [Vol. 21 The Interlocking style has considerable affinity with Proto-Lima. It has also specific similarities with Proto-Nazea. But these Proto- Nazea similarities are few. The most frequently occurring one is the Interlocking fish pattern, which is present but uncommon in Proto- Nazea. The Interlocking style therefore represents a special channel- ing of certain selected streams of Proto-Nazea influence. Typical Interlocking and typical White-on-red have little in com- mon. While there a-re vessels which furnish some measure of connec- tioin, they also blur the temporal separateness of Interlocking and White-on-red. Kroeber: The Uhle Pottery Collections from Chancay APPENDIX REPORT ON EXPLORATIONS AT CHANCAY By MAX UHLE La Calera de Jegoan [Site C] La Calera de Lauren [site B], where White-and-black pottery was obtained, is the southeastern slope of a. small mountain or range rising about 200 meters above sea level. The northern or interior side, facing the Andes, forms another smooth slope of stony soil, named the Calera de Jegoan [site C]. The two Caleras are connected by a pass about 80 m. high. Near it are old Spanish copper and silver mines, entered from the Calera de Jegoan. While the Calera de Lauren [site B] is partly occupied by adobe ruins and deep graves in the sandy soil, the Calera, de Jegoan [site C] shows different rema.ins. The ground is filled with foundation walls of stone, and a gravefield about 1 km. long and 0.5 km. wide extends round them. This cemetery has been excavated by huaqueros, but enough remained for successful scientific exploration. While the burials of the Ca.lera, de Lauren [site B] seem nearly to touch Chimu and Inca time, and represent the style commonly known as that of Chancay, so that "type of Chancay" and "White- and-black wa.re " are found here to ha.ve the same meaning, the civiliza- tion represented by the graves of La Calera de Jegoan [site C] is quite different. It is so different from everything that has been known from the valley of Chancay, that the exploration made at this cemetery took on almost the character of a revelation. The fact is that the earlier settlement at the foot of these hills was a.t La Calera de Jegoan [site C]. The burials show a continuous development from the Epi- gonal (period 2 of Pachacamac), through Three-colored pottery (period 3 of Pachacamac), to the older and middle phases of the White-and-black pottery of Chancay. It was unexpected and interest- ing to find here the same types of pottery as in the cemetery around the temple of Pacha.camac. It was further interesting to follow the origins and development of the typical White-and-black pottery of Chancay and to see how the contents ot the burials proved of them- selves the succession and development of one style from another. And lastly it was interesting to see how many of the Ancon finds, which 1926] 293X 294 University of California Publications in Am. Arch. and Ethn. [Vol. 21 there appear isolated, get their explanation from the stylistic develop- ment revealed by this Chancay cemetery. It is evident that through many periods the culture of Ancon was dependent on that of Chancay, as is natural from its proximity. Also the nationality was the same, since the same tribe is said to have extended to the river Chillon; and it is in this area that the white [-and-black] pottery is the most common. Excavations were made in the southwestern, eastern, and north- western part of the [site C] cemetery. The graves were 1.2-1.8 m. deep, and sometimes very close together, ea.ch burial occupying 1.4 sq. m. Fabrics, other perishable materia.ls, and mostly bones also, were decayed. Huaral Viejo, Hacienda Guando [Site D] The graves here belong to the time of the black-and-white pottery of Chancay, and are therefore later than the remains of the Calera of Jegoan [site C], and prove the ruins of Hua.ral Viejo to have been late. Some courts, surrounded by walls, represent family burials, and contain each several well-like tombs. Most of the graves of the cemetery had been opened before. I excavated one burial in a court in which no grave ha.d been previously opened. It was about 5 m. deep, the sides 1.9-2.1 m. long. The mummy bale at the bottom, 1.4 m. wide and about 1.8 m. high, consisted mostly of grass, and contained only a bundle of the bones of an incomplete skeleton of a youth; also, very few fabrics could be collected, while in the upper part of the well there were several fragments of injured fabrics, besides skulls. Cerro de Trinidad [ Site E] My report and catalogue up to here refer to excavations made at Lauren [B], at Jegoan [C], at Huaral Viejo [D], and in the plain at the northwestern foot of the Cerro de Trinidad [A], a spot vulgarly called La. Mina from the mouth of a mine in the foot of the mountain. All these excavations, although interesting as representative of a long period of the history of the valley and of the origins and development of its culture from another source, namely the civilization of Tia- huanaco, nevertheless showed no new types of civilization. In this regard the investigations begun on June 20 [1904], on the southern slope of the Cerro de Trinidad, were different. This rock, about 150 m. high, separates the valley of Chancay proper and the port, from a long flat strip of land which from its salty meadows is known as Las Salinas. These latter extend to the small valley of Pasamayo, about Kroeber: The Uhle Pottery Collections from Chancay two miles away, through which the river of Chancay empties into the sea. The Valley of Chancay for about twelve miles up from the sea has no river of its own, being irrigated only from ditches, like a delta, and is separated from the valley of Pa.samayo by the small mountain in question. I ha.d for some time observed curious lines on the western slope of this Cerro de Trinid,ad, and on the neighboring hills to the south- west, which had the appearance of being divided into fields. Much refuse consisting of stones, clay, and fragments of pottery mixed with a few shells, from one to several meters thick, lies there over a con- siderable area. On coming nearer, one gets the impression that the apparent divisions into fields really are old walls once separating houses and yards, but now decayed to the level of the soil. Where the ground breaks off bluff-like on one side, 6ne distinguishes traces of walls, probably of terraces, filled within (and also outside, but in different manner) with the before mentioned refuse of stone, clay, pottery, etc. Occasionally, also, I observed traces of walls constructed of balls of clay, which according to my experience always point to a remote a.ge. In the plain which lies between the Cerro de Trinidad with its neighboring hills on one side and the port on the other, there are large cemeteries.46 These have been exploited nearly to the last grave by huaqueros. But fragments of pottery, and textiles lying a-bout as 'Waste of the booty, indicate infallibly that these cemeteries originated only in the latter period of Peruvian antiquity, especially that of the well known White-and-black ware of Chancay. In time I convinced myself also that the seeming lines of field divisions were constructions of this same White-and-black period. On the other hand, the refuse material which had been piled up to level the surface, and most of the pottery fragments in it, are of older date. So are certain wall remnants, especially those of adobe balls, below the refuse fill. But it would have been useless to undertake excavations with the hope of bringing into clearer light these signs of a higher antiquity. Up to about twenty years ago, the town of Chancay was connected with Ancon by railroad. This railroad crossed the low ridge.separat- ing the region of Las Salinas from the plain and port of Chancay, and cuts had been made in its construction. In one of my excursions on horseback undertaken for the purpose of reconnoitering, .I passed through these railroad cuts and observed fragments of pottery painted in a distinctive style, unearthed when the cut was opened.- The 46 These cemeteries would seem to inielude site A, or to have been near it.-Ed. 1926] 295 296 U1niversity of California Publicationts in Anm. Arch. and Ethn. [Vol. 21 southern slope of the Cerro de Trinidad on both sides of the railroad grade is pitted nearly to the top of the hill, the pits being filled with stones. Here and there small potsherds were found in the pits, but their decoration was entirely destroyed by time. I was attracted by the distinctiveness of style of the fragments in the cuts, though at first sight I attributed a post-Tiahuanaco origin to them. A very small number of similar sherds had been recovered at Pachacamac in 1896 at considera.ble depths between the adobes of the platform of the ancient temple of Pachacamac, and were reproduced in my work on Pachacamac,47 since they were different from all other finds in the town. I had then also assumed a post-Tiahuana.co origin for them, suggesting that they were remnants of vessels broken by the masons during their work on the temple. Now I see that this pottery dated further back, and that its fragments were laid between the temple adobes for some other reason. In any case, it was important to follow the clue given by the painted fragments in the cuts, and careful excavations were undertaken. I am justified in saying that thousands and millions of such fragments are buried in the soil [of site E]. The fill material on the western slope of the Cerro de Trinidad, serving as base for the later Chancay construction, must also contain an innumerable quantity [of the same kind of sherds]. But rarely has it been so difficult as here to find complete vessels. The discovery of a number of vessels sufficient to show their age and history, was extremely slow work. It was a labor full of experiments here and there, many of the experiments failing. My tenacity would not be shaken, but in the end I owed the best of my results to a gradually acquired understanding of the complicated condition which in the course of time had led to the nearly complete annihilation of the original remains. I began by excavating some of the stone-filled pits on both sides of the abandoned railroad, but soon found that they conta.ined nothing besides some pottery fragments and occasionally a skeleton. Certain spots within the range of the pits were level and sandy. Excavations undertaken in one or another of these spots showed undisturbed burials, though the pottery in them was different from that of the fragments in the pits and cuts. Most of these gra.ves were extremely superficial, from 0.4 to 1 m. deep. The body had its legs drawn up, and was generally laid on one side. Rarely was the position sitting upright. The body was mostly reduced to the smallest possible extent 47 Figs. 26, 27, 28. Kroeber: The Uhle Pottery Collections from Chantcay in length, often nearly crushed, in order to be huddled under large fragments of big vessels, which in.a.ll burials arched over the body. Large broken stones, like those in the pits, generally protected these large sherds from above and the sides. This was a new type of burial in Peru. It had some similarity with burials made in pots [at Ica] in so far as pottery was used; but these sherds served as protection from above, not, as did the pots, as protection against the moisture of the soil from below. In some respects this new kind of burial had a barbarous character: first, in its extreme superficiality; second, in the simplicity of the potsherd construction in place of more elaborate contrivances; third, in the forced position of many of the skeletons under the potsherds. Some of the graves contained one or two vessels at the sides of the skeleton under the eQvering potsherd. In many graves there were several large covering sherds, one above the other, frequenty broken by the weight of the soil above. The next observation was that while the pottery vessels at the sides of the bodies were generally simple, with ornamentation mostly of mere white lines, dots, or rings on a reddish background, the broken pottery used in the construction of the graves bore a different char- acter. These had on.ce been large vessels, often with strong hollow handles, sometimes of curious shapes. Several of the great sherds from them were painted in the same style as that shown by the thousands of fragments with which the ground was filled. These large vessels had been intentionally broken for use in the graves, and on many were still to be seen the marks of blows. By these signs I was led to the conclusion that the burials here belonged to a people of later date than those who made and painted the large vessels; and that the later people had re-used this finer and older pottery, which they probably found in previous burials, for their own burials. Pursuing my exca.vations, I also occasionally found unbroken vessels of the older type at the sides of skeletons, together with vessels of the simpler later type; an observation which served to corroborate my assumption that the later people had largely made use of objects manufactured by the earlier people. I proceeded to excava.te more of the sandy spots among the pits in different parts of the slope of the Cerro, but never came across an intact burial of the earlier civilization. I am inclined to assume that all graves of the earlier civilization were destroyed by the later people who rifled their contents. 1926] 297 298 University of California Publications in Am. Arch. antd Ethn. [Vol. 21 The large stone-filled pits represent graves which have been opened. But I am inclined to think that these graves belonged to the later or second people, and were opened still later in prehistoric time; for this reason: The whole area of pits on the Cerro slope was inters.ected by level paths. I inferred that the people who opened most of the ancient cemetery might have spared the paths for convenience; and it proved that while no intact graves are now to be found between the paths, the -narrow lines of the paths themselves were still full of such buria,ls. These graves belonged to the la-ter people, that of the simpler pottery; and to them also must have belonged the burials outside the paths which are now represented by pits. These burials under the paths were of the same character as the shallow ones in the sandy spots, and yielded some of the best objects, in the collection. Fragments and complete vessels of the earlier period were observed only in the middle portion of the area of pits. They seemed to be lacking in the northern and southern parts of the pit area, though graves containing only vessels of the later people were still found there. I conclude from this that the destroyed cemetery of the earlier people did not extend so far as that of the second population. As to the historic relations of the two types of civilization dis- covered here.: The older people used some shapes of vessels which belonged also to the later people. Such a-re: large pots with handles; bowls with incurved rim; and bottles or jars with asymmetrical sides, one being flattened, the other humped in the center like a shield [mammiform]. But the general character of ornamentation in th.e two periods was very different. The earlier period used elaborate designs, mostly in three colors, white, red, and black; while the later used only simple white lines and dots and small rings on red, not higher in style than might be made by a barbarous nation. Still there exist some links between the two styles of ornamentation. The elaborate ornaments of the older period are simplified near the end of the period; animal designs are reduced to simple triangular ornaments; the indications of faces within the triangles gra,dually disa.ppear; and the la.st step is reduction in the number of colors, used.48 One can clearly see the results of the progressive conventionalization of the patterns. On the other hand the stylistic difference in the ornamentation of the earlier and later periods is so wide that the two styles cannot have belonged to the same nation. Inasmuch as the more barbarous or entirely primi- 48 This seems a subjective arranigement of the E material in a sequence from the most developed El designis through the simpler ones to E2 designs.-Ed. 1roeber: The Uhle Pottery Collections from Chacay299 tive people would, in this case, ha.ve been the one whose culture was indigenous to the valley, the higher civilization of the older people must therefore have been imported from an area of higher develop- ment. Presumably there was also an indigenous people in the valley before the importation of this higher foreign civilization-a still earlier simple people; but as yet no traces of them have been found, probably because their population was scant and their remains few and inconspicuous. Now the question arises, what general a.ge is to be attributed to the two civilizations encountered on this southern side of the Cerro de Trinidad, the early higher and the subsequent simpler one. The sequence of development of the periods of civilization of Chancay valley subsequent to the time when the style of Tiahuana.co was extended over Peru is complete, and leaves no pla.ce in which the two newly discovered styles could be a.ccommodated. It is therefore an obvious inference that these two styles were anterior to the spread of the style of Tiahuanaco. This simple conclusion coincides with others arrived at by stylistic comparisons. One of my first observations was that the ornament of certain vessels [fig. 13] showed a. striking similarity to that of engraved pottery fragments in the oldest pre-Tiahuanaco shellmound of Ancon. The difference in technique-painting against engraving-- is in this case of less importance. The most common design on the pottery of the older people has the typi'cal outline of complementary animal heads on worm-like bodies with serrated edges [the interlocking fish style, in which the "ba.ck- ground " forms half the pattern--.figs. 10, 11, 19]. This is undoubtedly a textile pattern, and one might easily compare it with similar patterns occurring on textiles of a. much later period, namely the second after the style of Tiahuanaco at Pachacamac [Red-white-black]. I have represented a number of such textiles in the work on Pa.chacamac.49 There is very little difference between the patterns of the two localities, other than that in the textile patterns of the third period of Pacha- camac the triangular animal heads are often replaced by heads of birds or by fishes. On the other hand, in 1901, I found a mummy in an appa.rently very old burial of the oldest period of Ica [Proto- Nazea] at Ocucaje, a singularity of which was a gauze-like cloth whose perforations formed the same pattern. I concluded then that patterns of this kind might have had a much earlier beginning than in the 49 Pachacamac, pl. 8, fig. 13;' and, also interlocking though perhaps not fish, pl. 8, figs. 15, 16.-Ed. 1926] 299 300 University of California Publications in Anm. Archi. antd Ethn. [Vol. 21 relatively late period [of Pachacamac, etc.] in which they most often occur. So we rema.in comparatively free, even on this score, in assigning a time to the origin of this pattern. The pattern on the rim of the oldest pottery of Chancay often is a double fret with rectangles at one end and ac diagonal line or triangle at the other [figs. 10-14, 16-17, 19-20]. Patterns like this also occur on the fragments found between the before mentioned adobes of the Paclhacamac temple.50 Thev have some relation to maeander orna- ments common in the period of Tiahuanaco. But the identical orna- ment is never used in the Tiahuanaco style, nor a-re there transitional stages. Nor can such a regular use of maeanders on the rim of vessels be observed in the Tiahuanaco style. The rim ornaments of the old style of Chancay, therefore, do not indicate the age of this style. Certain vessels better explain the age and the origin of the style. There is one valuable vessel [pl. 90d] whose painting represents an animal with thorn-like feet along both sides of the body. Its head is the same as in the common textile pattern [just discussed, the inter- locking fish], the thorn-like projections on the body corresponding to the serrated edges of this pattern; but the animal as a whole is of course the same that is so often represented on the oldest pottery of the region of lea [Proto-Nazea], and typical of it. There it is a myriapod, and it may be that the same animal was intended by the old people of Chancay. Various shapes at Cha.ncay are also identical with shapes of the Proto-Nazea style, such as: cylindrical vessels; wide-mouthed pot-like vessels; and jars with two spouts. There is one vessel of the last type [pl. 88a], as fine in technique and as smoothly polished as any of the Proto-Nazea ones, and painted with six fish-like animals, the intimate relation of which to the mythological designs of the Proto- Nazea period of lea is self-evident. From the figure of this animal there have been derived many of the designs of fishes chara.cteristic of the old style of Chancay. Finally, when we remember that round lumps of adobe, character- istic of the Proto-Nazea constructions, are also found with the old Chancay burials, our deductions as to the age and origin of this civilization of Chancay seem quite complete. At the time when the Proto-Nazea civilization was flourishing in lea a.nd the south, it also influenced the region of Chancay in central Peru. From it was derived that particular old style of Chancay which 50 Ibid., figs. 26, 27, 28. Kroeber: The Uhle Pottery Collections from Chancay found its most characteristic expression in the textile [interlocking] designs discuss.ed above. Hand in hand with it went the curious [serrated] fish-like designs. How different in character and historical position this [Proto-Nazea. influenced] style was from those of all succeeding periods of Chancay, may be further seen in certain dotted designs, especially on some vessels which bear ornaments of from one to about ten large hexagonal faces.51 This ornament is so strange amoing everything known from Peru, that if these vessels had not been found in actual excavations [but had drifted into a collection without informa,tion], it would be difficult to say from what part of the henisphere they had come. This early high civilization based on foreign influence from the south lasted a, long enough time in the valley to leave an extensive cemetery, innumerable fragments of painted pottery, and walls of round lumps of a,dobe. B ut in the end it dwindled away and left behind a people who scarcely pres,erved a memory of the people of higher civilization that ha.d preceeded them. The inhabitants of the valley returned from the stage of imported civilization to an indige- nous barbarism, which was rather low, the introduction of foreign higher culture having occurred only once. It was not until the end of this second period in Chancay that the civilization and style of the monuments of Tiahuanaco ma,de their entrance into the valley. The discoveries ma.de on the southern slope of the Cerro de Trinida.d there- fore disclose two periods which preceded the introduction of the style of Tiahuanaco-the oldest hitherto known in central Peru. My explorations in the valley of lea and in that of Trujillo in 1899-1901 had the result that in both valleys there were found civiliza.- tions [Proto-Nazea and Proto-Chimu] that far antedated the style of Tiahuanaco which sinee 1892 was recognized as oldest. On the basis of my excavations, I was subsequently able to prove that these two old styles of Iea and Trujillo, however different in appearance, were related to each other. At tha.t time I could not account for the wide geographical separation of the two styles. My excavations in the valley of Chancay, which is situated almost exactly half way between the two other areas, suggest that this geographical gap was bridged by civilizations of the same general chara,cter. Of these, the old Chanca.y culture is the only one as yet known, aside from traces of an 51 The manuscript here contains a sketch which obviously represents the design on plate 88f, but the only other faces are those on 88c (fig. 10) and 84b, unless the triangular figures in 89a, g be construed as faces. "Dotted designs" occur in 88d and figs. 12, 14, 19, but not in combination with faces. The passage is evidently based on memory.-Ed. 1926] 301 302 University of California Publications in Am. Arch. and Ethn. [Vol. 21 early Ancon civilization whose cemetery it has not yet been possible to find. But it is a. natural conclusion that civilizations of the same age and similar character must likewise have existed in the other valleys between Ica and Trujillo. One may have all confidence that the task of discovering these can be fulfilled satisfactorily. We are accordingly on the road to the determination of a new cultural stage all over Peru for a remote epoch in which the construction of the monuments of Tiahuanaco was still unthought of. When this deter- mination ha.s been completed, the problem will follow: Wherefrom descended the civilization of this pre-Tiahuana.co stage? I trust that this question as to the ancestry of Peruvian civilization will be successfully answered at some time to come. The remote age of the two pre-Tiahuanaco civilizations found on the southern slope of Cerro de Trinida.d accounts for the simplicity of their remains. Mostly, there were found only objects of pottery; no objects of metal at all, not even in traces; a number of objects of stone, especially spindle-whorls; only one object of wood; and textiles only in traces. Skulls and other bones were partly preserved. But there was one remnant which deserves to be specially mentioned. During the attempts to find burials in one of the sandy spots within the area of stone pits, there was discovered a pa.inted wall 23 m. long and 1.6 meters high at its best preserved part. It was buried in a small elevation of apparently natural origin; but excavations proved that the ground had been filled to above the top of the wall. The filling was the same mixture of stones, fragments of old pottery, a.shes, etc., as that covering a wide area of ground on the [north-]western [i.e., opposite, site A] slope of the Cerro, and must have been heaped up after the end of the period to which the wall belonged. Owing to the stony nature of the fill, excavation was difficult, but the paint- ing proved to be so valuable that the whole wall was laid bare. It was the western wall of a small terrace-like building, which had been erected over an artificial base, 2.6 meters high, composed of material similar to that of the later filling. In the construction of the wall, round lumps of a.dobe had been used with preference, besides stone, but no bricks of adobe. The painting was done in four colors, white, yellow, red, black; the bla.ck, as on pottery, being used for the outlines of the drawings. The latter, sometimes repeated one over the other, reproduced the textile [interlocking fish] design discussed above, and were copied in colors as far as their preservation aliowed.5? This wall 52 Friihkulturen, p. 358, fig. 6. 1Kroeber: The Uhle Pottery Collections from Chancay therefore originated in the oldest period of the valley; and further- more, this particular textile design was, highly significant. For only a, special significance, which undoubtedly was religious, would have induced a people to reproduce a pottery design on the wall of a. prominent building. Undoubtedly there were other ancient buildings in this region. This is indicated by the existence of simila.r elevations of sandy sur- face, by traces of old walls in the railroad cuts, and in cuts at the western foot of the Cerro. A temple-like construction with traces of terra,ces, on the southern side of the railroad grade in front of the painted wall, is of much later date, since in its construction sma,ll square adobe bricks were used. In the plain of the valley, especially around Chancay itself, many small mounids of boulders and earth may be observed. Many of them are oblong and narrow, following the direction in which water runs naturally in the. valley. For a long time I wa.s in doubt about these mounds, for a, natural origin seemed quite possible. Later, I found fragments of pottery deep in them, which proved them artificial. The original purpose of piling up these mounds may have been to clear the fields of stones. But they must also have been used at an early time as dwelling sites, for, in some of them there are walls of the round adobe lumps which point to the oldest civilization of the valley; and in the deeper layers of one there were found vessels of the second or semi-barbarous pre-Tiahuana.co civilization, together with skeletons. The higher layers of this mound, to judge by fragments of pottery found in them, dated from the late period of White-and-black vessels of Chancay. 1904 1926] 303 304 University of California Publications i,n Am. Arch. and Ethn. [Vol. 21 SPECIMEN NUMBERS OF OBJECTS ILLUSTRATED Number prefixes denoting site and grave here replace the prefix 4- which specimens bear in the Museum catalogue: A1-6363 instead of 4-6363. Plate 80. Black-on-white style jars from sites A, B, D: a, A1-6363; b, B1-6435; c, D-6705; d, A1-6409; e, B1-6438; f, A3-6421. Plate 81. Black-on-white style jars from sites A, B, C, D: a, A1-6369; b, B2-6486; c, A1-6367; d, A5-6429; e, C12-64554; f, B2-6466; g, C36-6683. Plate 82. Black-on-white style vessels from sites A, B, C, D: a, B2-6482; b, B1-6442; c, A1-6370; d, C33-6676; e, C11-6551; f, C6-6524; g, C37-6694. Plate 83. Epigonal (and Three-color Geometric) style goblets and low bowls from site C: a, C22-6605; b, C17-6577; c, C22-6618; d, C28-6633; e, C22-6615; f, C18-6582; g, C1-6510; h, C-6656; i, C27-6631. Plate 84. Epigonal and Three-color Geometric style vessels fromn site C: a, C18-6583; E-7011 (found superficially); c, C1-6509; d, C17-6579; e, C-6641; f, C10-6545; g, C35-6682; h, C24-6621. Plate 85. Three-color Geometric (and Epigonal) style jars from site C: a, C11-6552; b, C32-6669; c, C26-6626; d, C17-6576; e, C18-6581; f, C13-6556; g, C1-6504; h, C16-6573; i, C23-6613; j, C11-6553; 7ic, C7-6529; 1, C38-6696. Plate 86. White-on-red style bowls and jars from site E: a, E-6898; b, E-6951; c, E--4902; d, E-6930; e, E-6826; f, E-6854; g, E-6843. Plate 87. White-on-red style bowls and jars from site E: a, E-6956; b, E-6873; c, E-i809; d, E-6988; e, E-6967; f, E-6807; g, E-6867; h, E-6908; i, E-6937; j, E-6978; k, E-6805. Plate 88. Interlocking style vessels from site E: a, E-6727; b, E-6730; c, E-6734; d, E-6735; e, E-6731; f, E-6749. Plate 89. Interlocking style bowls and jars from site E: a, E-6771; b. E-6799; c, E-6764; d, E-6800; e, E-6756; f, E-6755; g, E-6773; h, E-6758; i, E-6747. Plate 90. Interlocking style modeled jars from site E: a, E-6767; b, E-6769; c, E-6768; d, E-6729; e, E-6763; f, E-6761; g, E-6756; h, E-6762. UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 A B C c P E F BLA( -O\-AVWHITE STYLE: SITES A, 1-, D [KROEBERI| PLATE 80 UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 B C ( _OP'F G BLACK- ON-WHITE STYLE: SITES A, B, C, D A D I [KROEBER | PLATE 81 UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 A B D F G BLACK-ON-WHITE STYLE: SITES A, B, C, D E [KROEBER] PLATE 82 UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 A B 0 E G H EPIGONAL AND THREE-COLOR GEOMETRIC STYLES: SITE C C F 77 77 [KROEBER]- PLAT-E 83 UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 A B E G H EPIGONAL AND THREE-C OLOR GEOMETRIC STYLES: SITE e -C D F -'- . IN Ampop . - . "--7, 400' ill'Oll - . ,, : - - - 'S' -- - - " ?' - ?' -' ' ' - ' 4 p -W 77 -. , ?, -71 , ':?, ' -. 77"? " . . ? I '-77" I O" [KROEBER] PLATE 84 UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 'U_ [KROEBER1 PLATE 85 A C D E H EPIGONAL AND THREE-COLOR GEOMETRIC STYLES: SITE C UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 B C D G WHITE-ON-RED STYLE: SITE E [ KROEBER ] PLATE 86 UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 A C F B D G K WHITE-ON-RED STYLE: SITE E E H 000" ,? 1 -11 I :, - -, V.. "* MO , - , " ?., Im VI. w . - ? - ... - 4 - -, g,- ? Pro k,. 11m. . " m??. &o .. ! , ? '".' . 'A , I I . I , q4iovj?w - , , M ok- V... - - - I '.5 ". , F I , I' L- CKROEBER] PLATE 87 UNIV. CAILIF. PUBL. AM. ARCH. & ETHN. VOL. 21 A B C F F _ INIERLO)CKING '-STNEl: SITE, E [KROEDERI| PLATE 88 UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 C D E F H INTERLOCKING STYLE: SITr'E E [KROEB3ERI| PLATE 09 UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 A C D F INTERLOCKING STYLE: SITE E H. - [ KROEBER] PLATE 90 IF-I"?,"I- ?...:--), , -.?,. ? ', . -",,.? . I-- ?I1.I11 ?, III,?! , -??.,,II ?1. ., ??I1?11?..-.. t. . ?, .. ':,,III,,-m??,";I'll -1-w..I1.,1?.?,I ;,.III II.Ii.,,.?.-.,. , i-.,,,...?l I,, ,.,,I -,I, ", '?'?" ,, ,,, '--l' I: ",??I, ,,,,Ii, ,. -, .. I?I.IPI.11?..I I,,? " ? 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