TH-E , UHLE PTEY0 cOLTONS FROM. NAZCA x- ? r A . -GAYTON AND AN - "I U1oIVZR~1TT ce OAJW ?ORNIA. PULATION S AAoEGY Vu4 Ip1r6 LOGY IVolume 24, o 1 p I-6 pte1-112fgres4utt UNIVJ-R$1TY OF CAUFO.RNIA PA SSP i' BER EY, CALI(FORNIA 1r.7 i .- i . I. !,. s . I Th follo g- publicatins olog d r sblect. i : .mnder the dlection of thI Dert I' of AnthrPg are sent e, x ot t b eations: of a4itiropoIbgi al epare1$ a4 r;uma, akd for j ia deoted to general aen t sl toap6lOrgy wr to arehaeolg ed j tb g + Teyre ?or sle;a te pre etated. ;3changes sho'tuld' X be t to T- H .; XBABY, ~KL~(A'~.I,U8 .Oders aic. e4tacs nd b " ' . 68ffiil~tb S*Q0;;r w< e p u ! lddressed, t tethIe IY0EOL~3NI R~ '; 'S P ; nsbllcatlona olf Vivezetys pd. a r Pres Oba om T A- -- DRIDGB] SU;SIVE1SIt I'kE08, 1tT Z1~ T4A'1,T ~)6 E.C. 4, E.0LAIO o wWoh ; order orgiatn $i G6t Brtai an .rn .hul bw ; e t. :\ 0 AMEFQAI4 A2.W1fOL9dA AN d El, dOoC .. Ierand Iob6et IL Lw,s0 , :: 0 -. .;I>Xditoiz^ Prcse: Vol1.m 1, ^$4.25; oliri^ 2 -to 1-, ln9hlusle, tB5&>e c~; from 5Volue 3X2 on 5.00ac* Volues , 23 A 2., i grss; aF~ ~ ~ ~~~ie asnv Cs?s wul Am. e-;t tEV t t' - AxI ' .thn [ . 4''rI, , s - :Volue; L 89 e, 278 plt.e 1904A9 [ .v 4-4 8.60.i (/ f2 ' Volume 8. 844 pag. 1905;9 $ * 'Volume 4. >-74pages, IQ te_, m. 8-. - 8.50 : ,Volume .4 3 8?4 pates; ?25 pltsi.? 19a197O -1r1. __^ _ ....... 8.50 0 f;;-o1-6. ;4ZipC--ma.~;9*;L ............................ .t.*.t1904..... si 'L-- -------- V61u- V 7. 448 pages, plates. 197 191. ..P-.. 8------ --- 8.0 Velu 8. . A Mission ges ot of - th e + - - ifoni iI;din fom a Int tin the 'Bancrft Llbrary, by0 A. . o . 1-27 - , 1908 61- It - I- t. II EtogaphyI $te Q*0huil-a da b A 1.. b . 9- : ;plates p 1-15 ..... JF,7: 1908 ........__ ,;_.75Ja 5.; 0 $ Tthe: 2igson of' t u and Dl i Xndi of Sthn loril-a, *, by A Ali le 4d.arubol Pp.i69-,8,p*tes-19.- ne,198 1.I5a 4. Th AXfe' Culture of the LuISOII blniais, byr hlip Steda paknu. Pp.; 187. .,f rX1 vD23 4, ' plt '0 "A.os 1;908,ak W~> 'r ,_f- t .80 , 5; . 6.I9 ?btes oXu Shosb n 31ec-t of Southern C1ifor, 0 A. ,. sbe - I 27 fX - - .,',6.. The Reiion ,.9'', P2rac tices . te Digie, Pni.k, b. !'. .'1'. Watemn Pp. g71.35t, ,e 2A rh .9 p .69 Vo.9 1. Yana Tiexts, t Edwr ~apr ,together with 'n Myth iolce ly , : ) ^:S .0 Rolafnd B. Z)Iou;. ,., 1b, 5.> Pebru ;aiX_ry 191 ' 1 0 s 1'T - ' 2.'.68 ',8 The U...... himash'-and Qssi'an? L4n~ages," by 6. L.; botr Pp 3-271.rr- 0 * - E S^r **onovember t9w0 -*t-......*_F*;>;-**t-@-# " . , ,/, ,roeber , p,1 .r ot273.435 .asi p. Ap-2 19S11>- ;- 1.50' V ';oL 10O,. 1. PontIc Cosiuet pth o*Nativ Lanti* g- -of . aJ%*ia byvs 4. . - .;. , Eroeher.bu . Ppl.a 12.* May, 19,1 N.....s- . * - l. .~~~~~~~Si -AqU:,. '. t.>thonM. LE.bi'*'a,,:biL ;:Eo4X-','; ' ................. A 0- -}' piates 6-20. 1qoWrmber, 1*11 9 *44^.t o*i*N';ww .65XM ' '' ' D'':''' 7'; Tb'? Ethnology of the Salman Inias rby 3.J :A46 ason p ~9-940;,{.,' plts 21c87 Deebr1u~~~1 ~~~~~-, ;Pa ;' '...'-?pago Ver Stems by' 3uaDoorE Pp.: 2.41-6. .Augt, 1's918 . @; .25M .E. -~~~~8 'oe *"n th''1j sei? e ChiXluls;.Indians of Worhwetr OeUori, by PInH -r- I Goddard.; Pp. 26528, plats 8-41. 'April, 191'4 ....9-............- .0- *D/ ;f ,-7. Ollua eZt by P$n crl ~)ddar Pp. 2$9. veNol; _9L ,.. zQ ,,, - V.Xu X o :l.2i. 1 Eements of tthe atoa Lagage, by* PLn~alG 4dd . Pp. 1-78 plaCtes"b'' 45 -c tobery, bt1912 : .0., Phon~ti~ El~mezt of the Zieuo L7 gas y-A .Hob1~siLP fe,,W),;8. Ba, Texts byipte{EiOe,'l$iWEare.' Goda. PpagZ..' 8927. Yebuary 115.......'.P.D.1.00., 5. 1)lchotouu ;a gt ao So t O by Edwa R~~~~6 Th De,eto * th : )a*y.-W5igua- inb th-e A xvteC,-- Maucp, bT. TX W;e -; 20 ; man . Pptts. 9~-8. ~(rch: 19gI as _ w*!ti t jt ''@r'( 'r s 7,; ZThe uun l)i1eo ,Of Ocatanoa Bse ,on the *o*~ of; D.e.;ia, (hrntaw 0, . i' ,, 7 L ,,, by' .14den, Ma.S; Ppi 59872 Mach loI ,f L ,,, .7,0 #, ,, rX 0,, , ,{,( Znd,; e0]B*~ !p 4.47. , i, d' ' 'VO 94 ie 'a! . ',, , - d' 1$i fe N ,N- Uh ta LffiDMso ;,?\X v4t0% Cf / orvf 8 SoD^1-l{;;t-sL Cr # gm T sLp csftA fyFf >; ; \tW I ?, J '1 THE UHLE POTTERY COLLECTIONS FROM NAZCA BY A. H. GAYTON AND A. L. KROEBER UNIVERSITY OF CALIFORNIA PUBLICATIONS IN AMERICAN ARCHAEOLOGY AND ETHNOLOGY Volume 24, No. 1, pp. 1-46, plates 1-21, 12 figures in text Issued February 28, 1927 UNIVERSITY OF CALIFORNIA PRESS BERKELEY, CALIFORNIA CAMBRIDGE UNIVERSITY PRESS LONDON, ENGLAND THE UHILE POTTERY COLLECTIONS FROM NAZCA BY A. H. GAYTON AND A. L. KROEBER CONTENTS PAGE Introduction .......................2; ........................2 Sources of the collection .3 Method.4 Nazca style ware .....................6........................... 6 Differentiation of substyles ................................................. 6 Comparison with Ocucaje .......................................................... 11 Description of substyles .......................................................... 13 Nazca A .......................................................... 13 Nazca B .......................................................... 14 N azcaX.17......................................................... N a z c a to ofX bsy ........................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Relation of substyles ... ........................................ 19 Nazea Y ~~~~~~~~~~~~~~~~~~.......................................................... 2 Other styles .......................................................... 26 Type Y 2........................................................... 27 Y 1andY 2 ........................................................... 29 Type Y 3 .......................................................... 29 Relations of style Y ...........................................................30 Style of ...........................................................33 V arious foreign influences .......................................................... 35 Chimu .......................................................... 35 Tiahua naco and Epigon al .......................................................... 35 Inca .......................................................... 36 Am erican Museum collection .......................................................... 37 A nalysis of Seler .......................................................... 38 Conclusions .......................................................... 41 Lists ........................................................... 43 Maximum and minimum dimensions in shape groups .......................................... 43 Catalogue numbers of specimens in shape groups .................................................. 44 Explanation of plates and catalogue numbers of specimens illustrated .......... 45 PLATES (Following page 46) 1-3. Nazca style A. 4-6. Nazca style X. 7-11. Nazca style B. 12-13. Nazca style Y; type 1. 14. Nazca style Y, type 2. 15-16. Nazea style Y, types 1, 2, 3. 17. Nazca style Y, type 3. 18. Ware from Nazca in style of Ica. 19. Ware from Nazca showing Tiahuanaco, Inca, Chimu influences. 20-2i. Nazca ware in American Museum of Natural History. 2 University of California Publications in Am. Arch. and Ethn. [Vol. 24 FIGURES IN TEXT PAGE 1. Map of the region of Nazca ........................................ 3 2. Shapes of Nazca style ware ........................ . . . 5 3. Designs and motives of Nazca style ware .............................................................. 8, 9 4. Stylistic changes in execution of trophy head design ........................................ 15 5. Stylistic changes in execution of spicated ornamentation ................................ 18 6. Abbreviation of Cat-demon design to face and head parts .............................. 20 7. Stylistic changes in execution of Step-fret designs .............................................. 21 8. Stylistic changes in execution of Step-block designs .......................................... 23 9. Stylistic degeneration of the Jagged-staff demon design .............. ................... 24 10. Stylistic relation of Jagged-staff demon and flower-like designs in Nazea style Y .............................................................. 28 11. Vessels in Nazca styles A and B .............................................................. 31 12. Vessels in Nazca styles A and B .............................................................. 32 INTRODUCTION The present paper is the seventh of a group of studies analyzing and interpreting the collections of pottery and artifacts from Peru belonging to the University of California. It follows the purpose indicated by the authors of the first number of the series.' Under the patronage of Mrs. Phoebe Apperson Hearst the specimens of the col- lection under consideration were obtained in the region of Nazea, Peru, during the year 1905 by Dr. Max Uhle. The relies from Nazea comprise 785 catalogue entries of which almost 660 form the ceramic collection, the subject of this study. The style of the ware is that variously referred to as Nazea, Proto-Nazea,2 Nasca and Pre-Nasca,3 or "arcaico del centro,"4 names derived from the focal point of its regional distribution.5 It is termed "Nazea" throughout this paper. The excellent technique and picturesque color- ing and design of Nazean pottery have caused it to be frequently described and depicted in studies of South American antiquities,6 but 1 A. L. Kroeber and William Duncan Strong, The Uhle Collections from Chincha, this series, 21:3-6, 1924. 2 Max Uhle, The Nazea Pottery of Ancient Peru, Davenport Academy of Sciences, Proceedings, 13:1-6, pls. 1-13, 1914. 3 Julio C. Tello, Los Antiguos Cementerios del Valle de Nasea, Proc. Second Pan-American Scientific Congress, Washington, pp. 283-291, 1917. 4 Tello, Wira-Kocha, Inca, .I:584, Lima, 1923. 5 Max Uhle, the scientific discoverer of the ware in situ, in his earlier papers designates it as "old" or "earliest style of Ica," it being at Ocucaje in Ica valley that he first encountered cemeteries of. it. 6 E. Seler, Die buntbemalten Gefaisse von Nasca im siidlichen Peru und die Hauptelemente ihrer Verzierung, Gesammelte Abhandlungen zur Amerikanischen Sprach und Alterthumskunde, 4:169-338, figs. 1-430, 1923. Walter Lehmann and Heinrich Doering, Kunstgeschichte des Alten Peru: Erliamtert durch ausgewiihlte 1927] Gayton-Kroeber: The Uhle Pottery Collections from Nazea a comprehensive analysis of its style has seem'ingly never been made. It is attempted here as a step toward determining the place of Nazean styles in Peruvian cultural chronology. SOURCES OF THE COLLECTION Unlike the material gathered by Dr. Uhle at Chincha, Ica, Chancay, Supe, and elsewhere, the Nazea collection is unaccompanied by any report or explanatory data other than a field catalogue of meager information. Therein are indicated the localities at which the speci- 6so r aocasegin fNaea Fig. 1. Map of the region of Nazca. mens were obtalned and a rudimentary classification of portions of the collection. With the exception of tlhirteen pieces recorded from two graves, grave provenience is lacking. This absence of records leaves the precise source of the vessels-excavation or purchase- Werke aus Ton und Stein, Gewebe und Xleinode, 1924. FM1ix Outes, La Expresi6n Artistica en las mas Antiguas Culturas Preincaicas, Anales de la Sociedad Cientifica Argentina, 89:55-104, 1920. Philip Ainsworth Means, A Survey of Ancient Peruvian Art, Connecticut Academy of Arts and Sciences, Transactions, 21:315- 442, 1917. E. K. Putnam, The Davenport Collection of Nazea and other Peruvian Pottery, Davenport Academy of Sciences, Proceedings, 13:17-46, 1914. R. and M. d 'Harcourt, La Ceramique Ancienne du Perou, 1924. Putnam's account is a descriptive analysis of certain design constituents. Seler interprets many designs and elements as to their meaning. Tello interprets especially the feline and associated constituents. 3I 4 University of California P.ublications in Am. Arch. and Ethn. [Vol. 24 entirely uncertain. Even the localities specified are of little signifi- cance since eight of the nineteen mentioned are so vague, as "District of Nazea, ""Near Nazea," "Valley of Nazea," etc., that they cannot be regarded as sites. From these come at least two-thirds of the pottery collection. The other third of the ware is distributed among the remaining localities in quantities too small to be of much statistical value. The following are the localities and the catalogue numbers and number of ceramic specimens from each; also the stylistic tendencies (expressed in per cent according to the styles dealt with below) of those lots definitely located and numerically important. Tunga: 53 pieces: Nos. 8388-8439, 8442; style A 9%o, X 34%, B 57%. Usaka: 10: 8444-8448, 8509, 8578-8581. Ravine of Nazca: 12: 8456-8467. Valley of Nazea: 22: 8468-8489. Cemeteries near the ancient ruins of Nazea [probably Paredones]: 14: 8490-8494 (grave 1), 8495-8502 (grave 2), 8536 ab; A 7%, X 14%, B 79%o. District of Nazea: 370: 8503-08a, 8510-29, 8533, 8623-8781, 8847-9014, 9095-9103, 9157-63. Inca cemetery near, Poroma: 2: 8530-31 Nazea: 19: 8532, 9016-31a, 9155-56. Majoro Grande: 18: 8535, 8544-60; A 6%, X 11%, B 83%. Cacatilla: 1: 8540. Cahuachi: 3: 8542-43, 9094. Near Nazca: 17: 8561-77. Cafias: 4: 8582-85. Pangaravi: 7: 8586-92. Traneas: 36: 8593-8608, 9032-51: A 28%, X 25%, B 20%, Y, etc., 27%. Environs of Nazea: 9: 8614-22. Soisongo: 57: 8791-8846, 9015 a-g; A, 23%, X 24%, B 30%, Y, etc., 23%. Ocongalla: 32: 9062-93; A 81%, X 6%, B 13%. METHOD The lack of grave and definite local provenience leaves any cul- tural or chronological interpretations of stylistic features unsupported by extraneous proofs. Consequently the method followed in treating most of this collection is of a different order from that used- by Kroeber and Strong in their treatment of other collections.7 -In order to objectify as much as possible data which must of necessity be subjectively derived, the analysis of style was primarily a quantitative one consisting of a numerical analysis of its shape, color, and design attributes. That part-of the pottery collection which showed most fully the traits customarily recognized as characteristic 7 This series, 21. 1927] Gayton-Kroeber: The Uhle Pottery Collections from Nazca of the Nazea style was segregated into 26 shape classes; or, to be more exact, 25 shape classes (A to Y) and a twenty-sixth "miscellaneous" group (z). These shape classes, whose aggregate constitutes the Nazea style, comprise 563 out of 657 vessels-; or, with the omission of F K . p u ,- B G k- 7 Q v D I N S . H M R w 5 J 0 0 -r x L Fig. 2. Shapes of Nazea style ware: A, round-bottom bowl; B, point-bottom bowl; c, conical bowl; D, shallow bowl; E, angular bowl; F, cup bowl; G, straight bowl; H, flaring bowl; I, angled goblet; j, goblet; K, double-curve goblet; L, conical goblet; M, small vase; N, cylindrical vase; o, bulbous I vase; P, bulbous II vase; Q, lipless jar; R, wide-mouth jar; s, narrow-mouth jar; T, handled jar; u, double spout jar; v, head and spout jar; w, flaring rim vase; x, figure vase; Y, head. Style A: A, E, F, H, U; Style X: B-D, G, P-T; Style B: I<-, V-Y. examples in the miscellaneous group z, 536; their individual museum numbers are given in a list below grouped according to the 25 shapes. On these.536 vessels were made frequency distributions of design and color traits. The results showed three substyles of the generic Nazea style. 5 6 University of California Publications in Am. Arch. and Ethn. [Vol. 24 The remaining 94 vessels are either wholly un-Nazea in style (lea, Inca, etc.), or are only partly Nazea-like and do not belong -in their shapes to the 25 shape classes of the typical Nazea style ware. These 94 vessels were consequently not included in the shape-design-color frequency analysis of the typical Nazea ware. They are discussed separately below. The legitimacy of assuming a stylistic relationship based on the correlation between shapes and designs or colors was tested by apply- ing the same method to another collection of Nazea ware from the. region of Ica. The results confirmed the findings of the original analysis. NAZCA STYLE WARE DIFFERENTIATION OF SUBSTYLES The style of Nazea pottery is characterized by uniformity in size, polychromatic color schemes, the outlining in black of every color area, naturalistic designs, and the paucity of decorative modeling. The differentiation into substyles is not dependent on a deviation from any of these features but has been made on the basis of the relation- ship existing between certain shapes and certain design and color preferences. 'Table 1 gives the numerical occurrences and relationships of shapes and designs. The 25 shape classes used in the table (after deduction of the 27 miscellaneous vessels constituting class z) are illustrated in figure 2, the dimensions of the extreme specimens in each class being added in a list at the end of the paper. The 40 designs used in the table, which include the principal whole motives and significant parts of more complex designs, are shown in figure 3. The names attached to the designs or their parts are merely descriptive phrases. No attempt was made to interpret the meaning of the motives, an undertaking already adequately accomplished by Seler and Tello.8 Table 2 deals with traits of form and color. The range of colors used on Nazea ware is wide: nine (with additional shades) are definable, as well as black and white. These are: R, red, varying from a blood red to a purplish red; R2, red 2, shading from red-orange to a light yellow-orange; Y, yellow of light or medium intensity; Y2, yellow 2, a neutral -pale yellow or cream, distinguishable from white 8 Works cited, p. 2. TABLE 1 SHAPE AND DEsiGx FREquzNciEs 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16. 17 18 19 20 21 22 23 24 25 0 0 be 0 43 I 0 0 4 0- 0 Design occurrences .................. 3 15 9 6 5 8 5 5 5 33 17 ill 2 11 13 72 41 17 26 32 19 13 12 8 59 13 338 Forms: A E Angular bowl .................... 25 1 4 4 .1 4 3 1 2 F Cup bowl ............................ 30 1 2 4 5 1 2 2 1 2 7 6 A Round bottom bowl ........ 21 10 2 1 U Doublespout jar .............. 37 7 3 1 2 1 3 2 19 11 4 1 1 1 1 H Flaring bowl ...................... 34 1 1 1 1 2 2 4 1 2 3 1 1 2 3 1 1 Total: 147 AA: 76 AX: 74 x G Straight bowl .................... 5 1 2 1 1 B Point bottom bowl .......... 18 7 2 1 1 Q Liplem jar ............................ 12 1 I I 1 2 R Wide-mouth jar ................ 1.3 1 1 2 2 1 1 1 P Bulbous II vaise ................ 36 D Shallow bowl ...................... 9 T Handled jar ....................... 8 S Narrow-mouth jar ............ 23 1 1 2 2 2 1 12 3 7 2 2 C Conical bowl ...................... 35 1 3 2 5 1 2 2 1 2 1 Total: 159 XA: 28 XX: 83 B Y H eads .................................... 22 1 22 V Head and spout jar ........ 13 1 1 1 1 7 X Figure vase ........................ 12 I 1 2 1 9 L Conical goblet .................... 7 1 2 K Double curve goblet ........ 10 I 1 2 2 1 W Flaring-rim vase .............. 7 5 1 I ''Angled goblet ....................... 30 1 2 1 1 2 3 3 2 1 J Go'blet ......................... ........ 24 I 1 3 5 1 1 m SmallvAse ........................... 30 2 1 6 5 1 1 2 1 1 2 1 0 BiObous I ?ase .......... 28 1 1 10 7 3 1 1 1 1 3 byUndrical vase ............... 47 9 Total: 230 BA: 7 BX: 181 Totals: 536 338 26 27 28 29 30 31 32 33 34 35 36 37 38 39 d to 75~~~~~~~~~~~~ 0 ~ S 0 CQ~ 0 X 33 e 10 19 29 25 16 18 14 25 26 29 7 8 14 9 11 l 2 2 2 1 2 1 2~~~~~~~ 1 2~~~~~~~~~~~ 142 1 12 1 11 1 14 1 32 l I I 1 4 1 2 1 1 1 2 1 9 7 1 1 1 7 1 4 1 2 3 3 4 2 3 2 2 1 4 5 3 1 5 2 2 2 3 1 1 1 2 3 1 1 2 2 2 3 4 7 1 2 4 6 4 12 2 15 1 1927] Gayton-Kroeber: The Uhle Pottery Collections from Nazca TABLE 2 SHAPE, BACKGROUND, AND COLOR SCHEmE FREQUENCIES - Background color Number of colors 0 W R B Br2 Y2 2 3 4 5 6 7 8 Trait occurrences .................... 362 80 56 26 12 6 49 141 163 160 15 2 Forms: A E Angular bowl .................. 25 5 11 7 2 2 9 13 1 F Cup bowl .................. 30 16 5 9 2 8 11 9 A Round-bottom bowl ........ 21 7 6 4 4 1 8 8 4 U Double-spout jar .............;.37 22 13 2 2 4 9 18 4 H Flaring bowl ................. 34 18 5 9 2 1 13 9 10 1 Totals: 147 68 40 31 8 0 3 13 42 46 38 5 0 5.34 4.80 X G Straight bowl .............,,. 5 3 2 2 2 1 B Point-bottom bowl 18 4 8 6 5 8 4 1 Q Lipless jar .................... 12 8 1 1 2 3 3 5 1 R Wide-mouth jar 13................ 8 3 2 2 6 4 1 P Bulbous II vase ................ 36 29 3 3 1 2 10 15 8 1 D Shallow bowl .................... 9 8 1 3 5 1 T Handled jar .................. 8 7 1 1 2 2 2 1 S Narrow-mouth jar ............ 23 22 1 1 6 5 9 2 C Conical bowl ...................,.35 27 3 3 2 4 13 15 3 Totals: 159 116 20 13 6 4 3 27 52 51 22 4 0 4.95 4.47 B Y Heads .................. 22 7 5 5 5 2 4 9 7 V Headandspout jar ........ 13 8 1 2 1 1 3 3 7 X Figure vase .................. 12 10 2 2 5 5 L Conical goblet .................... 6 1 5 1 1 K Double curve goblet 10 10 1 3 6 1 W Flaring rim vase .............. 7 6 1 1 1 5 I Angled goblet ..........,... 30 25 3 2 4 11 8 7 J Goblet .......... . ... . 24 21 2 1 3 10 9 1 M Small vase .................. 30 28 1 1 1 6 8 14 1 0 Bulbous I vase .................. 28 23 2 1 2 2 5 8 10 3 N Cylindrical vase ................ 47 34 8 3 2 6 10 29 2 Totals: 230 178 20 12 12 8 0 9 47 66 100 6 2 5.89 5.23 by its yellow ingredient; G, gray, varying from blue-gray to putty; Br, brown, always dark; Br2, brown 2, a light brown with a strong reddish tone; F, flesh, a clear, pale, red-orange; and V, violet, always light and grayish; B, black; W, white.* * Key to color schemes in text figures: red, cross-hatching; red 2, hatching upper left to lower right; yellow, vertical or diagonal hatching lower left to upper right; brown, diagonal cross-hatching; brown 2, vertical with diagonal hatching; gray, broken hatching lower left to upper right; flesh, stippling; violet, broken vertical. 7 8 University of California Publications in Am. Arch. and Ethn. [Vol. 24 1 ~~~~~~~~~~2 4 8 9 7 10 11 ~~~~~~~~~~12 14 15 17 18 _ ,, ~~~~~~~~~~~~~~~~~~~18 16 19 20 21 Fig. 3. Designs and motives of Nazea style ware: 1, Two-headed serpent; 2, Water bird; 3, Hummingbird; 4, Other birds; 5, Step-block I; 6, Centipede monster; 7, White-mouth trophy head series; 8, Centipede band; 9, Step-fret I; 10, Flruit (alone); 11, Fish (natural); 12, Radiating heads; 13, Overlapping lines; 14, Diamond series; 15, Cat-demon; 16, White-mouth trophy head; 17, Step-fret II; 18, Face series; 19, Detached "flecks"; 20, Zigzag; 21, Checker. 1927] Gayton-Kroeber: The Uhle Pottery Collections from Nazea 23 Moo*" 24 I I I 1 2963 27E ;, l 10 i0 .. f e; | b~~~~~~~~~~~~~~~ R 'tw 31 332 34 ~Z J 36 37 3 38 39 40 Fig. 3 (Concluded). Designs and motives of Nazea style ware: 22, Degenerate demon head; 23, Lattice; 24, Painted Cheek; 25, Quadruped; 26, Interlocked fish; 27, Complete persons; 28, Quartering; 29, Open hand; 30, Curviliniar head series; 31, Step-block II; 32, Arrow (alone); 33, Jagged-staff demon; 34, Spines with heads; 35, Degenerate profile heads; 36, Boxing; 37, Parrot; 38, Fruit (in hand); 39, Degenerate profile head and demon; 40, Triangular head series. 22 25 28 -1 M?m 9 .) I 10 University of California Publioations in Am. Arch. and Ethn. [Vol. 24 Backgrounds are limited to five colors, white, red, black, yellow 2, and brown 2. Though white is predominant in this use, red is equally characteristic. Color schemes include from two to eight colors. Four, five, and six-color schemes are most numerous, while not a single instance of plain ware occurs. The most usual color combinations are: 2-color: B-W, R-W 3-color: R-W-B; Y or Y2 sometimes substituted for W 4-color: R-W-B-Y, R-W-B-R2 5-color: 'R-W-B-R2-G, less frequently R-W-B-R2-Y; RW-B-YGiC 6-color: R-W-B-Y-R2-G, R-W-B-Y-R2-Br 7-color: R-W-B-Y-R2-G-Br 'The two 8-color pieces (4-8907, 4-8908) add V to the 7-color scheme. Other combinations occur, but rarely: R-W-B-G-Br-V-F (4-A8886); R-W-B-G-Y2-Br2-F (4-8456); R-W-R-G-Y-R2-V (4-8949). The distribution of figures in table 1 indicates two definite stylistic trends. These are manifested in the preponderant occurrence of design traits 1 to 11 on shapes A, E, F, H, U; and design traits 26 to 40 on forms i, J, K, L, M, N, O, v, w, x, Y. Designs 13 to 25 are found on both groups of shapes just enumerated and on a third group composed of shapes B, C, D, G, P, R, S, T. These shapes of this third group are som.etimes decorated with designs of groups 1-11 and 26-40, but most frequently with. designs of groups 12 to 25. On the basis of these frequency groupings two Nazea substyles and an inter- mediate phase are defined. These have been designated as A, con- taining 147, or 27.4 per cent, of the total 536 specimens of classifiable Nazca style ware in the collection; X, the intermediate phase, 159 pieces or 29.7 per cent; and B, 230 vessels or 42.9 per cent. The following figures summarize the data presented in table 1, expressing in percentages the occurrence of A, X, and B designs on A X, and B shapes. For instance, of the 163 significant designs or *design-parts counted on style A shapes A, E, F, H, U, 47 per cent are style A designs 1 to 11. PERCENTAGE OCCURRENCE OF DESIGNS ON SHAPES GROUPED BY SUBSTYLES A designs X designs B designs 1-11 12-25 26-40 A shapes, A, E, F, H, U ........................................... 47 45 8 X shapes, B-D, G, P-T ........................................... 19 56 25 B shapes, I-O, V-Y ................2 -.:................246 52 1927] Gayton-Kroeber: The Uhle Pottery Collections from Nazca The styles A and B are further characterized by differences in the use of color. There prevails in A a preference for red or black backgrounds and a five-color scheme; in B, for white backgrounds and a six-color scheme. Below are given in percentages the color trait occurrences of table 2 for each style. PERCENTAGE OCCURRENCE OF COLOR TRAITS ON SHAPES GROUPED BY SUBSTYLES Background color Number of colors W R B Br2 y2 2 3 4 5 6 7 8 A shapes A, E, F, H, U .......... 46 27 21 6 0 2 9 29 31 26 3 0 X shapes B-D, G, P-T ............ 73 13 8 4 3 2 17 33 32 14 2 0 B shapes IS, V-Y .............. 77 9 5 5 4 0 4 20 29 43 3 1 The difference between the A, X, and B groups is particularly evident when W and Y2 are taken together as light, and R, B, and Br2 as dark backgrounds: Light Dark backgrounds backgrounds A shapes ............ ...... 46 54 X shapes .. . .. . 76 24 B shapes .... . 81 19 It must be borne in mind that only a characterization of substyles is attempted. The data do not suggest that A, B, and X were con- fined to rigidly defined times or places but rather that they are the major variations that occurred within the duration of one general mode. COMPARISON WITH OCUCAJE The validity of this segregation into three styles or substyles was tested by applying its requisitions to a collection of "Proto-Nazea" ware from Ocucaje, a locality in the valley of Ica. This collection has been previously described and given a chronological placement.9 It contains 11510 whole vessels of pure Proto-Nazca style accompanied 9 Kroeber and Strong, The Uhle Pottery Collectioni from Ica, this series, 21:95-133. 10 The number of vessels used in this treatment differs from that cited by Kroeber and Strong because of the inclusion by the latter of "Proto-Nazeoid" ware, broken vessels, and a collection of sherds from Santiago in the valley of Ica. This additional material is also in the general style of Nazea, but was excluded from the present analysis because a pure series from a single locality or group of closely adjacent ceemeteries was desired. 11 12 University of California Publications in Am. Arch. and Ethn. [Vol.-24 by site and grave provenience. The design and' shape characteristics of these were tabulated like those of the Nazca collection. To validate the stylistic segregation made, the Ocucaje data should show two results.' First, the correlation between A shapes and A designs, B shapes and B designs, should be as high! as that of the Nazea ware; and secondly, the Ocucaje collection being from one locality as compared with the many in the Nazea district, it would be expectable that one style should predominate. Both conditions were fulfilled, as shown by the following. Of the 115 vessels, 98 are in A forms, all five of the A forms being represented; 10 are in two X forms, P and R; 3 are in two B forms, v and x; and 4 are of two local forms which were called incurved bowl and beehive bowl.'1 This makes the approximate percentage distribu- tion of shapes: A, 85; X, 9; B, 3; Local 3; as compared with Nazca district generally: A, 27; X, 30; B, 43. Of the designs on the 98 A shapes, 55 are A motives, with all 11 A motives except no. 8 represented; 32 are X motives, nos. 14, 15, 16, 19, 20, 21, and 24 being represented; and 4 are B motives, namely, nos. 30, 36, 37, 38, each occuring once. A local design of a reptile-like creature occurred on two cup bowls and was included with the A group of designs. In percentages: On A shapes: A designs, 61; X, 35; B, 4. Corresponding proportions are indicated for the other shape groups, though the series are too small for significance. In summary: OCUCAJE: PERCENTAGE OCCURRENCE OF DESIGNS ON SHAPES A designs X designs B designs 1-11 12-26 27-40 98 vessels of A shapes, A, E, F, H, U .................. 61 35 4 10 vessels of X shapes, P, R ................................ 50 33 17 3 vessels of B shapes, v, x .................................. 0 50 50 4 vessels of local shapes .................................. 100 0 0 A comparison of this tabulation with the corresponding one already given for Nazea indicates that at Ocucaje, which is a restricted locality, a more secure relationship exists between A forms and A designs than in the Nazea district as a whole. A designs on X forms and vice versa are expectable since X represents an intermediate phase between A and B. Inasmuch as the substyles were presumably not wholly separated in space or time, the presence of three B forms and four B designs is not illegitimate. 1l The incurved bowls are nos. 4-4731, 4-4746; the beehive bowls, nos. 4-4629, 4-4688. 1927] Gayton-Kroeber: The Uhle Pottery Collections from Nazea In coloring the Ocucaje ware is like that of Nazea with few excep- tions. Brown is frequently used as a background but only in place of black, in many cases probably being really a poor black. Red is usually of a dark purplish tone. Two instances of plain ware occur: these are dark brown slips. Dark backgrounds and four or five-color schemes distinguish style A at Ocucaje as at Nazea. OCUCAJE AND NAZCA: PERCENTAGE OCCURRENCE OF COLOR TRAITS Series No. Background Number of colors - A - , -A . W R B Br Br2 Y2 1 2 3 4 5 6 7 8 NazCa'A ............ 147 46 27 2106 0 0 2 9 29 31 26 3 0 Ocucaje A............ 98 39 27 25 5 3 1 0 3 17 33 34 9 3 1 All Ocucaje ........... 115 37 30 24 531 2 3 19 30 22 10 3 1 All Nazca ............ 536 68 15 100 5 2 0 1 9 26 31 30 3 (4) Nazca B............. 230 77 9 50 5 4 0 0 4 20 29 43 3 1 Light backgrounds (W, Y2) as against dark (R, B, Br, Br2) run in percentages: Ocucaje A, 40-60; all Ocucaje, 38-62; Nazca A, 46-54; all Nazea, 70-30; Nazea B, 81-19. It is clear that Ocucaje Nazea ware is a nearly pure style, that it agrees closely with Nazea style A, much less closely with unsegregated Nazea, and least of all with Nazea B. The division of the generic Nazea style into three substyles, or two substyles and a connecting phase, based on count of the shape, color, and design attributes of a presumably unselected collection of pottery from the region of Nazea, is thus justified by the corroborative evidence of a collection of Nazea style ware from Ocucaje. The characteristics of these substyles summarily indicated in tables 1 and 2 may be expanded into a brief description. DESCRIPTION OF SUBSTYLES Nazca A.-Specimens of style A are shown in plates 1, 2, and 3. The forms are A, E F, H, U of figure 2. With exception of the double- spout jars (u), all are open bowls of low to medium height. The cup bowls (F) are differentiated from the flaring bowls (H) by their more vertical sides and more acute base angle, though the extreme variants of each group closely approximate one another. The typical double- spout jars have spherical or ovoid bodies; the spouts are short and about parallel (pls. lc, f; 2a, c, e). Those with X or B designs have a more lenticular form; the spouts tend to be longer and divergent (pls. ld, 2d). 13 14 University of California Publications in Am. Arch. and Ethn. [Vol. 24 In backgrounds a dark pigment, either red or black, is used as frequently as white. Color combinations range from two to seven. The bowl shapes are most frequently four or five-colored; the double- spouts, six-colored. The colors commonly used are R, B, W, R2, G, Br, and Y. Typical A designs are nos. 1-11 (fig. 3); designs 13-24 and 27-35 also occur on A shapes but in order of increasing rarity. The most common designs in style A are naturalistic forms, as birds, plant motives, and fish, with only occasional and slight conventionalization. These appear on most of the bowl forms and on nearly half the double- spout jars. With but two exceptions the round-bottom bowls (A) are decorated inside: a wide border of red encircles a central disk of white on which are painted fruit motives or fish (pl. 3g, h). The ubiquitous Cat-demon (15) or feline, invariably depicted in a standardized form with legendary regalia and symbols, adorns most of the remaining double-spout jars and a few cup or flaring bowls (pl. la, e, f). Of geometric motives, Step-fret I (9) and Step-block I (5) are typical of style A (pl. 2e, f). What appears to be a careless or hasty execution of the same patterns constitutes the motives designated as Step-fret II (17) and Step-block II (31) (pl. 5c, d). While both the latter appear on A shapes, they are more numerous in styles B and X. Series of contiguous diamonds horizontally placed, zigzagging stripes, and latticed bands-Diamond series (14), Zigzag (20), Lattice (23) are occasionally used in style A. Three frequent A designs are a long serrated monster encircling bowls and called, after Uhle, Centipede (6) or myriapod; the same figure minus head or tail, called Centipede band (8); and White- mouth trophy head series (7). These last come repeated in pattern bands; the carrying cord dangles from the foreheads; mouth and eye- balls are pure white; the hair hangs in a black mass. The design is shown, but not in its best form, in plate 3a. These heads are often used as a part of the Cat-demon design: the creature carries a trophy head in his hand, while others may be inserted as decorations on his spicated wing (pl. la). Nazca B.-Plates 7 to 11 illustrate vessels of style B. The shapes are I-O, v-Y of figure 2. In contrast to style A with its shallow.shapes, style B, with the exception of head-and-spout jars (v), contains vessels of tall and narrow proportion. The only attempts at decorative modeling in any Nazea style ware are found on heads (Y-), head-and- spout jars (v), and figures (x), and these attempts are confined to a mere pinehing up of the clay to suggest ears, nose, and mouth. The 1927] Gayton-Kroeber: The Uhle Pottery Collections from Nazca complete representation of the features and limbs is by means of drawing and color (pls. 7, 8, 9a, b, c, k). The bulbous bodies of the flaring-rim vases (w) sometimes represent heads and have a slight hump indicating the nose. A similar face is sometimes depicted at the bottom of a goblet (pls. 8c; lOd). A B U E F - (Li)-_ b G K L-W Fig. 4. Stylistic changes in execution of Trophy head designl (16). a, Seler, p. 252, fig. 163; b, Seler, p. 252, fig. 1]62; c, d, double spout; e, small vase; f, bulbous II vase; g, h, j, cylindrical vases; i, angled goblet, Seler, p. 257, fig. 185; k, head and spout (plate 8f); 1, goblet. More than three-quarters of the B vessels have white backgrounds; a few, backgrounds of yellow 2-a feature not present in style A. Three to eight colors are combined on a single vase. Four-color schemes prevail on conical (L) and angled goblets (i); five-color schemes on heads (y), figures (x), and goblets (J) ; and six-color 15 16 University of California Publications in Am. Arch. and Ethn. [Vol. 24 schemes on head-and-spout jars (v), double-curved goblets (K), and flaring-rim (w), small (M), bulbous I (o), and cylindrical vases (N). Seven-color schemes appear only on the last three forms, though the two eight-color pieces are goblets of small size and excellent technique. The colors used are those of style A with the addition of violet. Yellow 2 and flesh are more frequent than in A. The designs which concentrate upon and therefore characterize B shapes are nos. 26-40 of figure 3. Style X designs, nos. 12-25, occur with almost equal frequency on B forms, while only three A motives, nos. 9-11, appear and these rarely. The motives of style B are of an entirely different order from those of style B. The A designs are simple and naturalistic, and are used sparingly. The B designs are usually of more intricate conformation and cover the entire outer surface of the vessel. Perhaps the most characteristic motive of style B is the Jagged- staff demon (33),12 (pls. 8d; 9e). Undoubtedly a mythological figure, this may or may not be a phase of the Cat-demon (15) motive. Like the latter, in full form it carries in one hand a scepter, this of ser- rated edge from which it derives its name, and in the other, one or two trophy heads; a wing-like appendage is present but comparatively undeveloped. The creature's head is an elaborate mass of tentacular protuberances-a portion of the design which is often used as an individual motive; it appears variously abridged and distorted but yet recognizable on nearly all B forms. (PI. lla, first horizontal band, d, first and third horizontal bands.) The hand of the Jagged-staff demou is often in an open position, as are also the hands on some of the figures (x), and head-and-spout jars (v) ; in other cases than these, only the closed fist is used (pls. 8a, b, d; 9e). Bands or horizontally placed series of Curvilinear heads (30), Triangular heads (40), and simplified or Degenerate profile heads (35) are common motives (pls. 8f; 9e, 10c, h). The Degenerate profile heads (35) appear more frequentlv in conjunction with the Jagged- staff demon (33) than with other designs. The nearest approach to scenes such as commonly occur on ware from the northern coast of Peru depicting routine or ceremonial life, is the repetition of walking or dancing figures about some of the vases and goblets (pls. 10a, d, e, f; llb, c). Single figures or a pair are used infrequently on flaring bowls (H), handled jars (T), and double- spout jars (u). 12 The term Zackenstabdamon used by Seler has been translated. 1927] Gayton-Kroeber: The Uhle Pottery Collections from Nazea The design Spines (34) is a spicated band with trophy heads, vegetable motives, fruits, or insects inserted between the spines (pls. 8c; 10i). The Interlocked fish (26) pattern is a common one in many Peruvian ceramic and textile arts, but on Nazea pottery appears only in style B (pl. Ila). One occurrence noted for style X bulbous II vase (p) is not standard: it suggests a possible prototype of the design. It is notable that all heads (y) and the majority of facial parts of head-and-spout jars (v), flaring-rim vases (w), and figures (x), have a painted or tattooed decoration on the cheek bone, beneath or about the eyes (pls. 7; Sb, c, d, e; 9a, b, c). This Painted cheek (24) occurs occasionally on vases also. This design element occurs once in A on a double-spout jar (pl. lf). Other designs frequent in style B are the Quadruped (25) -a mouse, dog, or llama (pls. 6e; 8c; 10b); Quartering (28), which is well illustrated by its one occurrence in style X on a point-bottom bowl (B), shown in plate 5d; the Face series (18) lacking any trophy head characteristic (pl. lla-d, second and fourth horizontal bands) ; the Parrot (3), a conventionalized bird form (pl. 10d, g) ; and geometric motives: Boxing (36) pls. 6d; 10h), Step-fret II (17) and Step-block II (31), (pl. 5c, d), and Arrow alone (32), (pl. 6f). The Degenerate demon head (22) is a reduced form of either the Cat-demon (15) or the Jagged-staff demon (33), which on several B shapes has dwindled to a mere reproduction of the head parts (pls. 4e, 5e, f). The Degenerate profile head (35), which on B forms fre- quently occurs in a horizontal series, is sometimes placed in the hand of the Cat-demon (15) in substitution for the well executed White- mouth trophy head (16). This association of Cat-demon and Degen- erate profile head constitutes the design named Degenerate head and demon (39). Nazca X.-Vessels illustrating style X are shown on plates 4 to 6. The forms comprised are B-D, G, P-T of figure 2. As has been men- tioned, the constitution of style X is not the result of a functional relationship between shape and design such as determines styles A and B, but is dependent on the participation of the style X shape groups in design traits of both style A and style B. The designs that aggregate most heavily on X forms are at the same time those that are most common to A and B, thus placing X in a specifically inter- mediate position between the two definite styles. The stylistic posi- tion of bulbous II vases (p) depends on five occurrences of X or B motives on this shape. The designs most typical of bulbous II vases 17 18 University of California Publications in Am. Arch. and Ethn. [Vol. 24 and occurring on no other forms are amorphous masses of paint, apparently applied with a single large brush stroke. With the exception of the bulbous II vase (p) group, the shapes of style X are variations of bowls and jars. The bowls lack the flanged edge of cup (F) or flaring bowls (H) and have vertical sides. Point- A B D E F Fig. 5. Stylistic changes in execution of spicated ornamentation (34). a, cup bowl; b, double-spout jar (pl. le); c, narrow-mouth jar; d, goblet; e, miscellaneous; f, angled goblet. bottom (B) differs from round-bottom bowl (A) in its base, which comes to a palpable apex, and in the placing of the design on the out- side more often than on the interior. In proportions shallow bowls (D) are much like angular bowls (E) of style A, but the shallow bowls have concave sides. The style X jar shapes, similar to one another in 1927] Gayton-Kroeber: The Uhle Pottery Collections from Nazea range of size and in contour, are distinguished by the type of opening: wide-mouth (R) with low rim, narrow-mouth (s) with comparatively high rim, lipless (Q) with incurving mouth, and by the presence of handles, handled (T). In the use of color, style X with its high percentage of white background occurrences approaches style B, while in color schemes it tends toward style A, four or five colors being combined most often. The frequency of three and four-color ware is greater in X than in either A or B, due largely to the preponderant bulbous II vase (P) group. While there are no designs with the exception of Radiating heads (12) that belong exclusively to X shapes, many are in a sense dis- tinguished from their A or B analogues by being variants or distor- tions of them. Thus the Fish (11) of plate 4c, the Birds (4) of plate 4d, the Cat-demon (15) of plate 4f, and the Centipede band (8) of 6a, are A designs but rendered somewhat differently from their equivalents on A shapes. The designs with most numerous occurrences in Nazea X are Naturalistic fish (11), Cat-demon (15), Face series (18), Quartered bottoms (28), and Detached flecks (19). The last is a term covering the use of small designs or amorphous flecks which fill vacant spaces on or between design units (pls. 2d, 5e). RELATION OF SUBSTYLES The lack of stratigraphic proof or even of local and grave pro- venience leaves the chronological relationship of styles A and B undeterminable by evidence other than inherent stylistic features. An interpretation of stylistic traits, unsupported by extraneous proof, is not a reliable basis on which to build a chronology. There are, how-- ever, in styles A, X, and B, changes in the construction or execution of several designs which are significant in this regard. The changes are of a sort that suggest temporal sequence. These are presented here not as final determinants of stylistic relationships but as the only available clues to the chronological situation at Nazea. As shown above, the constitution of a substyle depends not only on the association of a given group of shapes and designs but also on the dissociation of the same group of shapes from other designs. Thus, style A consists of shapes on which are found preponderantly designs 1 to 11, designs 12 to 25 frequently, and 26 to 40 rarely if at all. For style B the, situation is the same with the design frequencies in 19 20 University of California Publications in Am. Arch. and Ethn. [Vol. 24 reverse order. Certain of those designs which are most typical of styles X and B, namely, Degenerate heads (5), Degenerate head with Cat-demon (39), Curvilinear head series (30), Triangular head series (40), Spines (34), Step-fret II (17), Step-block II (31) and Degen- erate demon head (22) are not totally dissimilar from motives appear- ing on A shapes. These designs in style A show those of X and B 4 B D E F Fig. 6. Abbreviation of Cat-demon design (15) to face and head parts (22). -a, narrow-mouth jar (pl. 4f); b, angled goblet; c, head and spout jar; d, e, lipless bowls (pl. 5e, f); f, narrow-mouth jar (pl. 5a). to be the same in content and merely different in execution. Com- parison of a number of these designs with their A equivalents suggests that the difference in execution of the X and B designs is due to a hasty or careless technique in the X and B rendering. For example, the trophy head which occurs on cup bowls (F), flaring bowls (H), and double-spout jars (u) of style A, either isolated or as part of the Cat-demon's regalia, carried in its hand, or decorating its wing, is rendered in a standard manner with white eye and mouth, a pendant sling, and a mass of long black hair. These traits constitute designs nos. 7 and 16. On vessels of style X, narrow-mouth jars (s), and 1927] Gayton-Kroeber: The Uhle Pottery Collectionts from Nazea 21 B Fig. 7. Stylistic changes in execution of Step-fret designs (9, 17). a, angular bowl (pl. 2f); b, goblet; c, cup bowl; d, goblet; e, conical bowl; f, point-bottom bowl (fig. lld). 22 University of California Publications in Am. Arch. and Ethn. [Vol. 24 style B, head-and-spout jars (v), goblets (J, L), and vases (M, N, O), trophy heads are also used as units or with the Cat-demon. These are not done in the manner of style A but consist of a few slurred lines indicating the facial contour and the mass of black hair. The white eye and mouth of formal technique are lacking; the carrying cord is seldom shown. It is only the hair and the position of the object in the demon's hand that indubitably identify the design as a trophy head. It is this style B rendition of the trophy head motive that is called Degenerate profile head (35). The A and B extremes of this subject (nos. 16 and 35) are related by a series of intermediate variations which are shown in figure 4. The nature of these intermediate variants permits a tentative chronological interpretation to be made concerning the sequential relationship of styles A, X, and B. The execution of the motives on the X and B shapes appears to be the careless or hasty rendition of a design already well known-a realistic design which through con- tinuous recopying was reduced to a few symbols retaining the mean- ing or content of the original. The B abbreviations of this motive are in no sense amorphous or even geometric figures which might have stimulated the Nazea ceramic artists to realistic interpretations. Thus the changes in the rendition of the trophy head design argue for the temporal priority of style A. The chronological relationship assigned to the two substyles on the basis of this apparent transition is sub- stantiated by similar changes in the execution of other designs mentioned above. These X and B designs which are significant in indicating a sequen- tial relationship between styles A and B will now be taken up. The series of designs arranged to illustrate this probable stylistic evolution (figs. 4, 5, 6, 7, 8) are mainly taken from specimens in the Uhle col- lection. They have been supplemented, as indicated in the legends, with pertinent designs shown by Seler13 in his analysis of Nazea pottery ornamentation. The Cat-demon's wing with its decoration of trophy heads under- goes a structural change and a transposition. As shown in figure 5, the Cat-demon (15) is frequently depicted on Nazea A forms with a long wing-like appendage ornamented with alternating Spines (34) and trophy heads. On two flaring bowls (H) of style A, one handled jar (T) of style X, and in 23 total occurrences on six vase or goblet shapes of style B, the appendage is abstracted from its original posi- tion and is reformed as a separate band (Spines, 34) encircling the 13 Seler, work cited. 1927] Gayton-Kroeber: The Uhle Pottery Collections from Nazea vessels. Insect-like objects and fruits or seeds often replace the trophy heads on the spicated band of these same shapes. A similar substitution is to be seen in the Cat-demons which ornament bulbous I vases (o) of style B. The Cat-demon (15), a popular subject through all Nazea styles, also suffers an abbreviation into a mere head though unmodified forms occur on the same shapes. Figure 6 demonstrates this series. The abbreviated or decadent head appears once on an A-shape; four times on two X shapes (pl. 4e); and six times on four B shapes. The per- centile increase is not sufficient in this case to bear much weight. It Fig. 8. Stylistic changes in execution of Step-block designs (5, 31). a, angular bowl (pl. 2f); b, cylindrical vase. is notable, however, that the Cat-demon motives which occur on A forms are always, with the one exception mentioned, completely and elaborately executed; on X forms, namely, wide (R) and narrow-- mtouth jars (s), and shallouw bowls (D), the mythological figure is frequently distorted and contracted (pl. 4f). Step-frets and Step-blocks suggest still another series of changes (figs 7, 8). Those found on A shapes are mostly of type I (nos. 5, 9) with rigid -lines and accurate angles. Those of type II (nos. 17, 31), typical of shapes of X and B styles, are executed in a cursive manner, the lines curve to the brush stroke, the line at the angle is carried on into the design space, and the edges, perpendicular in type I, slant off in a wind-blown" fashion. It might be argued that for a geometric motive which possesses no content or meaning or graphic purpose, a stylistic transition would as easily be in the direction from slovenly to rigorous technique as vice versa. That, in this instance, II follows I 23 24 University of California Publications in Aimt. Arch. and Ethn. [Vol. 24 is suggested by the frequent association of II on the same vessel with the designs Degenerate profile heads (35) and Spines (34), which have meaningful equivalents. The relation of the Jagged-staff dem-on (33) to the Cat-demon (15) is not clear from an analysis of their design elements. Though the pJagged-staff demon is often depicted carrying trophy heads (always B F H Fig. 9. Stylistic degeneration of the Jagged-staff demon design (33). a, e, small vase; b, c, cylindrical vase; d, Seler, p. 271, fig. 228, angled goblet; f, flaring rim vase; g, conical bowl; h, narrow-mouth jar. of the degenerate type) and a scepter-like object, has a wing-like appendage, and is posed as if flying, the treatment of the figure is wholly different from that of the Cat-demon (pls la., e, f; 8a, e; 9e; fig. 9). The florescent elements characterizing the Jagged-staff demon are occasionally added to the more soberly treated Cat-demon. These additions appear only on one or two B vessels, bulbous II vases (P). Another example is shown by Seler, but unfortunately the vase form 1927] Gayton-Kroeber: The Uhle Pottery Collections from Nazea is not represented. It would seem that the Jagged-staff demon was, if not in mythological concept, at least in graphic treatment a develop- ment which replaced rather than modified local ceramic decoration. The Jagged-staff demon appears in abbreviated versions with fre- quency. Figure 9 shows its most elaborate variations and a series of its modifications. The head alone is often used, and this is further contracted into a medallion-like ornament composed only of spiral elements radiating from one remaining eye. It is notable that this extreme variant of the motive appears on ware from Nazea which is not in the Nazea style but related to it (style Y, see below). On the vessels of this semi-Nazea style are flower-like ornaments whose stylistic treatment strongly suggests a genetic relationship with the reduced head of the Jagged-staff demon (pls. lld; 12a, c, d, e; fig. 10). The occurrence of A designs on B shapes can best be explained as a persistence of design traits. Similarly, B designs on A shapes are explicable as instances of form persistence. The contention of per- sistence will have to be held to regardless of which substyle is given priority. A few cases of such overlapping are not incompatible with the assumption that styles A and B represent modes subordinate to a general Nazea style. Furthermore, the collection of pottery on which this study is based represents the ware of a number of different locali- ties; no two localities would receive new traits in precisely the same order; nor would any two have precisely the same trends influencing the acceptance or rejection of new traits, and the retention or discard- ing of old ones. The foregoing interpretations are offered not as conclusive proofs but as suggestive evidence derivable from the material in hand point- ing toward a sequential relationship of the Nazea substyles: A on the whole earlier, B later, with X overlapping and connecting them. This tentative conclusion is the opposite of that of Tello, who in 191714 distinguished a "Nazea" style'" corresponding to our A (and apparently X) from a "Pre-Nasca"'8 corresponding to our B. In 1923, on the basis of "subsequent excavations," he stated :17 There are in the archaeological district of Nasca three clearly identifiable strata: the deepest, Pre-Nasca or Central Archaic; the middle, local of Nasca; the uppermost, Tiahuanaeo and Inca. The first, in virtue of its marked relation- 14 Work cited in note 3, ante. 15 Ibid., figures 8-22. 18 Ibid., figures 23-27. 17 Page 584 of work cited in note 4. Figures 78-86 are Central Archaic or Nazea B. 25 26 University of California Publications in Am. Arch. and Ethn. [Vol. 24 ship with the Andean Archaic, had its origin in the Sierra, during the long Archaic period; the second is a differentiation of the first and corresponds to the flourishing culture of the period of the apogee of the Coast; and the third is the product of the- last Andean irradiation, consummated by the Incas. We hesitate before the dictum of so distinguished a scholar but our analysis has led us one way only. If our findings are inverted by the publication of Dr. Tello 's full excavation data18 or by further explorations, a new problem of stylistic development will be raised.19 OTHER STYLES NAZCA Y Nazea Y is the tenitative designation for a somewhat heterogeneous style represented by about fifty pieces secured by Uhle in the Nazea area and shown in plates 12-17. Some of these vessels are obviously close to "typical Nazea, " that is, are related to substyles A, X, and B. Others show such "'true" Nazea traits in weaker form. Now and then definite Nazea traits are found combined in one vessel with traits characteristic of styles that center elsewhere. What is common to all the specimens in the lot is some degree of specific Nazea similarity plus a tendency to use few designs and to treat them in reduction or with slovenly execution. The connections of this Y style are closer with the B than with the A form of typical Nazea. Three principal trends can be distinguished in Y as compared with A and B: (1) The design becomes curved, hasty, and inaccurate. The ground color is dull yellow or buff, ranging to a muddy reddish. The majority of vessels in this manner are jars, many of them with modeled faces on the lip. (2) The design tends to become geometric while the texture of the ware is hard and polished. The ground color is red of a somewhat different hue from the A and B red, approximat- ing somewhat the red ground in Middle Ica ware. (3) There is a tendency to freely modeled forms, birds, animals, and human beings, 18 The important article Wira-Kocha in which the statement occurs, and the first two installments of which occupy pp. 93-320, 583-606 of volume 1 of Inca, deals primarily with general Peruvian problems of mythology, symbolism, and culture development and does not include descriptive reports of results of excavation. 19 For instance, the Nazea Y style examined below and placed posterior to Nazea B, would apparently have to be put at the beginning of the series of Nazea styles if B is anterior to A, because Y is more similar to B than to A. Thus Tello's figures 27 (1917) and 83 (1923), cited as examples of B, would probably have been reckoned as Y by us. 1927] Gayton-Kroeber: The Uhle Pottery Collections from Nazca whereas the typical Nazea rarely proceeds beyond heads in its model- ing. Plates 12 and 13 illustrate the first trend, plate 14 the second, plate 17 the third, whereas in plates 15 and 16 all three tendencies are represented. Type Yl.-Jars of the type shown in plates 12 and 13 make up more than a third of the Y style collection-23 pieces. Sixteen of these have the mouth worked into a human face of which the principal modeled feature is a convex nose whose root is often set above the eyes. The latter are painted long and narrow and sometimes slant. The mouth may be modeled, painted, or left unindicated. The type of face is akin to the faces of Nazea X and B, whether these occur modeled or wholly painted. Even special features of Nazea B faces, such as the representation of face paint under the eyes, and side locks of hair falling across the cheek, can be observed (pl. 12a, c). Some- times the human face is replaced by a bird head (pl. 12e). Thirteen of the 23 Y1 jars have a flat handle curving from the neck to the body (pls. 12a-f; ]3e). One has three large suspension handles on the body (pl. 13d), three have one small suspension lug below the neck, and six have neither handle nor lug (pl. 13b, c, f). Face and handle tend to be associated: 12 of the 13 handled pieces, but only 4 of the 10 without handles, have faces. The most characteristic design is a flower-like one (pls. 12c, e; 13d; 15e; 16c). With this may be reckoned plate 12d, which in turn passes into crosses like 12b and 13f. On the other hand, the flower-like design is related to more complex figures like plates 12a, 15c, 16b, which have all the appearance of reduced remnants of the Jagged-staff demon of style B. Figure 10 shows the gradual transition in style Y specimens, from such degenerate Jagged-staff demon figures, reminiscent of Nazea B, to the simple flower-like designs typical of Nazea Y. The other designs occurring on jars of the Y1 group are simple, consisting chiefly of parallel wavy lines; groups of parallel straight lines or bars; and groups, areas, or lines of dots or circles. A step- fret occurs in a deep bowl (pl. 16c) whose color, texture, and flower- like pattern affiliate it with the jars that constitute the Y1 group. Type Y2.--The polished red ware with prevailing angular designs includes two flat bowls or plates painted inside (pl. 14c, e) ; two smaller bowls painted outside (pl. 14d, f) ; five jars that vary con- siderably in form (pls. 13b; 14a, b; 15f; 16e) but agree in lacking both flat handles and faces. Two of these jars are wide-mouthed; two are medium-mouthed with one suspension lug; the fifth is tapering in 27 28 University of California Publications in Am. Arch. and Ethn. [Vol. 24 the mouth with two rather large suspension lugs. One of the wide- mouthed jars (pl. 15f) has ten projections ringed with white-a Middle lea trait; in the hollow between each pair of wjiite rings is a red ring which does not show in the photograph. None of these jars evince much resemblance in shape to typical Nazea jars (fig. 2, R-T). D B D c E G H Fig. 10. Stylistic relation of degenerated Jagged-staff demon (cf. fig. 9) and flower-like desigins in Nazea style Y. (d, pl. 12a; e, pl. 15c; f, pl. 12e; g, pl. 12d; h, pl. 15e; j, pl. 12c). Small oblong or box-like bowls bear either rectilinear designs (pl. 16a and another specimen) or curvilinear ones of the degenerate Jagged-staff demon type already mentioned (pl. 15c). The goblet shown in plate 15d does not strictly belong to the Y2 group because its ground color is brown or dark buff, with pattern in red, white, and 1927] Gayton-Kroeber: The Uhle Pottery Collections from Nazea black; but its square mouth links it to the oblong bowls. Another affiliation is the jar plate 13e, which has been included in the Y1 group on account of its flat handle and buff ground color, but whose body is five-cornered. These polygonal vessels have occasional analogues in vessels with true Nazea style designs (specimens no. 8505, 8590, of "miscellaneous" shape class z). Y1 and Y2.-AMore or less intermediate between the Y1 or buff and the Y2 or red group are the following: Five open bowls, including plates 1iSe and 16b. These differ in shape from the Y2 red-ground bowls just discussed; and from Nazea A shape A bowls in being deeper and painted outside. Plate 15e in fact recurves. The unillustrated specimens have somewhat more geometric pattern than those shown. One of the five (8942) has a red ground, the other four are buff. Two deeper bowls are those in plate 16c, d, the latter similar to shape Q of Nazea XY Both are buff, but the design area in 1]6d has a red ground. Of goblets, besides plate 15d already described, there is plate 16f, which is buff with a black and red design verging on Epigonal or careless Ica manner. On the whole, these eight pieces belong rather with the Y1 or buff than with the Y2 or red ware group; but they are transitional, with certain non-Nazea resemblances. Type Y3.-The third grouip of Nazea Y vessels, distinguished by modeling and some tendency toward white ground, is represented in plates 17 and 15a, b. With these pieces may be included a low white bowl (9007); a bird jar (8423) similar to plate 16e; and a pair of small unhandled jars with tapering spout, finished in a dull rough red on which is a white zone carrying eight fruits executed in five colors and with a general effect similar to the fruits and flowers in 17c (pl. 91). Besides modeling, the present group shows some fair painting. The remarkable specimen plate 15a, b is executed in five colors, with much fineness and accuracy. Plate 17e also has five colors, although the painting is slovenly and the shape, ground color, and texture are similar to those of the Y1 buff ware. The unillustrated bird jar no. 8423, a head-and-spout form like 17f, also has five colors. The monkey with the corn ear (p]. 17d) is a well painted and polished double jar, although its design allies it with the Y1 group; the other four pieces in plate 17 have white ground color. It is not clear whether this Y3 lot of specimens forms a true group. Pieces like plates 15a, 17f might well be put into the Nazea miscel- 239 30 University of California Publications in Am. Arch. and Ethn. [Vol. 24 laneous shape class (z), or be regarded as divergent forms of Nazea B head-and-spout (v). Relations of style Y.--The Y1, 2, 3 material'taken together has (1) scattering specific resemblances of shape, texture, color, and design to Nazea A, X, B; (2) more instances of partial resemblances, such as the tentacled designs that look like degenerated Jagged-staff demon figures, and of traits, such as the flower-like and cross designs, whose vague resemblances to the Nazea style are convincing chiefly as they in turn link. with the foregoing; (3) a series of traits pointing to various styles other than Nazea A-X-B ;20 and finally, (4) certain characteristics, such as the shape, texture, and color of the buff face jars of plate 12, which might be taken as representing an independent style if it were not that they usually come associated with Nazcoid traits. This situation seems hard to explain except on the ground that style Y represents a late or decaying form of styles A-X-B, in which occasional A-X-B traits persisted, more were degenerate, still others were altered so as to be virtually new, and in addition traits of the Tiahuanaco, Epigonal, Ica, or other foreign styles were being absorbed. This interpretation would make style Y a final, impure, or dying phase of the Nazea style as represented by A-X-B. The opposite interpretation, that Y preceded A-X-B, is logically possible, but is open to the same objection as the placing of B before A in time: One can feel Y designs as degradation of A-X-B designs, but not the latter as developments or crystallizations out of the rela- tively formless and aesthetically meaningless Y designs. However subjective such a criterion, it is all there is to lean on in the absence of objective excavational data. It may be added that the degenerative relation of Y to A-X-B, especially to B, seems even more marked than that of B to A which has been discussed in detail above. Further, the non-Nazea stylistic traits in the Y material are more easily interpreted as relatively late than early. Tiahuanaco, Epigonal, and Ica-the foreign styles chiefly represented in Y-have always been considered by IJhle, Tello, Means, and others as later than Nazea. The situation calls for no special comment if it is assumed that the influence of these foreign styles began to invade the Nazea district 20 For instance, the humped animal of plates 14a and 16e, probably one of the "feline deity designs to which Tello attributes a north Andean and Uhle a "Tiahuanaco" origin. Even the associated "stars" are present in 14a (but note the tentacular or fleur-de-lys appendages in decadent Nazea manner). Humped animals with stars occur in Middle Ica. The stars or dots appear again with a frog-like animal in 14b and 16d; the frog without stars, in 14c. The monkey double-jar 17d is of course Chimoid in shape and modeling. 1927] Gayton-Kroeber: The Uhle Pottery Collections from Nazea after the typical native style A-X-B had begun to disintegrate. The opposite assumption would involve an explanation of why the extran- eous influences first reached. the Nazea area, then failed to affect it while a local Nazea style was developing, but subsequently replaced it. B A Fig. 11. Vessels in Nazea styles A and B. a, of miscellaneous shape class; b, angled goblet (T); c, cup bowl; d, small vase. Another possibility, that the Y material is not an actual time unit group but an artificial muiseum mixture. of pre-A-X-B and post- A-X-B pieces, seems too remote to discuss with profit as long as specimens are few and data wanting. All in all, then, it seems most warranted, until specific evidence to the contrary may come in, to regard style Y as a late phase of the Nazea style, in which some traits of the classic. or A-X-B Nazea style 31 32 University of California Publications in Am. Arch. and Ethn. [Vol. 24 persisted, others remained in abbreviated or altered form, new traits had evolved out of the old tradition, and still others had been taken over from styles that originated and developed elsewhere. As for the specific relationship of Y within the Nazea style as a whole, this would be with B: not only because B has already been interpreted as later than A and X but because the specific resemblances A B C D Fig. 12. Vessels in Nazea styles A and B. a, flarin4 bowl; b, angled goblet; c, small vase; d, double-spout jar. of Y are with B. Such are the resemblance of the flower-like Y designs to the extreme forms of the Jagged-staff demon B design; the head-and-spout shape; and the tendency toward plastic modeling.2' 21 The evidence at hand which most definitely seems to run counter to the derivation of Y from B is that yielded by the substyle classifieation of the vessels to which Uhle assigns specified locality proveniences. Of six Nazea localities for which the pottery series are worth while, one has a definite preponderance of A ware: Ocongalla (32 vessels), A, 81 per cent; X, 6; B, 13. Three are preponder- antly B, with or without a moderately large X element: Tunga (53), 9, 34, 57: Ruins of Nazea (14), 7, 14, 79; Majoro Grande (18), 6, 11, 83. Two yielded Y material, and in both of these, A, X, B, and Y pieces are about equally frequent: Trancas (36), 28, 25, 20, 27; Soisongo (57), 23, 24, 30, 23. The assumed time sequence A-X-B-Y would obviously make a low frequency of A and a high frequency of B pieces expectable at any site at which Y was also well represented. However, these "sites" are haciendas, which normally include several ancient 1927] Gayton-Kroeber: The Uhle Pottery Collections from Nazca The substyles or phases of the general Nazea style thus appear to have developed in the following time order: A, X, B, Y. There is no implication of their having been sharply separated, and every indi- cation that they overlapped. Substyle A may be described as the archaic phase; X as perhaps the classical; B as the incipiently luxuriant or flamboyant; Y as the decadent. How far regional factors entered into this successive development remains for future exploration to ascertain. Nazea valley shows all four substyles in abundance. Ica to date has yielded only A from Ocucaje and perhaps X from Santiago. Pisco valley contains Nazea style ware. Beyond, in Cafiete anid Asia valleys, one of the present authors and Tello in 1925 found wares which display Y traits along with local ones. To the south of Nazea, in the valley of Acari, Uhle years ago obtained a valuable collection of Nazea type, which is deposited in Lima but still undescribed. STYLE OF ICA Cemeteries with ware in typical Ica style seem to have been lightly exploited in the Nazea region on account of the inferior quality and salability of the ware. It is apparently these remains that Tello means when he speaks of "Inca" cemeteries.22 The present collection at the University agrees with the observations of one of the authors in Nazea during 1925 to the effect that Inca or specifically Inca-influenced ware is relatively rare in these so-called Inca cemeteries. The collection contains something over thirty pieces that can be classed in the style of Ica. The majority of these show no Inca influence but can be classed as pure Late Ica. Some are akin to w4at Kroeber and Strong23 have called Late Ica II-an "Inca-Ica." Still others correspond to Middle Ica. Thirteen of the Ica style vessels in the collection are round- bottomed open bowls painted on the inside (pl. 18d, e, f) ; five are flat- bottomed low bowls with concavely vertical sides (pl. 18a, c) ; two are bowls approaching the Ica bevel-lip type (pl. 18g, i); seven are small jars with flat handles (pl. 18j, k, 1); and five are wide-mouthed jars of varying size (pl. 18b, h). cemeteries; so that the most probable explanation is that the Trancas and Soisongo collections are not pure lots but post-excavation assemblages; since if they do not associate Y specially with B, they also do not associate it specially with A or X. An actual condition which would closely associate both in time and place four substyles, each or most of which also occurred practically pure in the same area, would be extremely complicated, and a theory to explain such a condi- tion would probably be so fine spun as to be more ingenious than valid. 22 Work cited in note 3. 23 Work cited in note 9. 33 34 University of California Publications in Am. Arch. and Ethn. [Vol. 24 While the center of gravity of this group is clearly within the Late Ica I phase, the stylistic range is greater. For instance, the round-bottomed open bowls with painting inside do not occur in the Late Ica style as represented in the Uhle collections from Ica. They do occur in Middle Ica,24 and are prominent in the "Epigonal" from Ica,25 where, as at Nazea, they are limited to three (or occasionally four) colors. The wide-mouthed jars are more characteristic of Late Ica, one specimen (8778) even suggesting Late Chincha. On the other hand, the jar of pl. 18b has a typical Middle Ica pattern, in fact seems more characteristic of the early or I than posterior or II phase. It also shows four colors, red, dark red (or purple), white (or buff), and black. This is a typical Middle Ica combination, whereas Late Ica is limited to three colors, of the formula R-W-B. The vertical-walled and bevel-lip bowls are of rather poor quality and not very decisive, but incline to Late Ica with the exception of no. 8656. This is again a four-color piece, besides carrying a row of small white circles around the base in Middle Ica manner. The flat-handled jars contain nothing of earlier type than Late Ica, although the three which have been selected for illustration (pl. 18j, k, 1) show a more definite influencing in the direction of Inca ware than do those which have not been illustrated. Of the round-bottomed shallow bowls, plate 18e is much the largest, and in color and texture suggests the buff subgroup of Nazea Y. Another specimen (8761) carries crosses somewhat similar to the cross or flower designs of the same subgroup. Another (9027) bears two circles, from each of which there radiate six foot-like projections, the effect of the whole being also reminiscent of the flower designs on the buff Nazea Y1 jars. These occasional resemblances in the Ica style ware of Nazea to Nazea Y, as well as the similarities to Ica ware that have been men- tioned as cropping up in Nazea Y specimens such as plates 15f, 16f, are of interest as indicating an approach or overlap in time of the two styles. On the other hand, there is nothing like a general transi- tion. The Ica style pieces are the easiest to isolate as a distinct group in the University 's collection from the Nazea area. They differentiate more readily from the Nazea Y material than this differentiates from the "typical" or A-X-B Nazea which forms the bulk of the collection. It seems well to state once more that the smallness of the Ica style lot in the present collection is by no means an index of scarcity of 24 This series, 21, pls. 31, 35. 25Ibid., pI. 30. 1927] Gayton-Kroeber: The Uhle Pottery Collections from Nazca Ica style in the Nazea region. Not only is the Ica ware less attractive, but at the time of Dr. Uhle's collecting it was familiar to him from his previous work at Ica, whereas the "typical" Nazea style repre- sented a discovery that was new except for the occurrence that he had- succeeded in encountering at Ocucaje in Ica. VARIOUS FOREIGN INFLUENCES In plate 19 are gathered most of the specimens collected by Uhle that are neither in the classical Nazea (A, X, B), nor in Nazea Y, nor in Ica style: namely, odd pieces in the Tiahuanaco, Chimu, or Inca manner. These constitute barely a dozen vessels out of more than six hundred. Chimnu.-The stirrup-mouth jar, (plate 19b) combines Chimu form with Nazcoid design and color. It is W-Y-B on R and well polished. The head evidently represents a trophy, and the conical mass of hair has Nazea prototypes. The round eyes, however, high- placed nose, open mouth, and teeth suggest Epigonal influence. With the exception of the monkey figure double-jar of plate 17d, tentatively included in the Nazea Y lot, which also shows Chimu affiliations, the collection contains no other indication of northern coast influences having reached Nazea until nearly Inca time; no blackware, for instance, except in association with late forms. But -this present piece, 1J9b, suggests some persistence of Nazea manner late enough for the persistence to fuse with the northern form-an overlap in time of the last Nazea work and the first entrance of Chimu elements. Tiahuanaco and Epigonal.-The small R-W-B jar (plate 19a) is Tiahuanacoid in its long, prominent nose, tear streaks, and indication of finger nails. The face on the tapering spout is found in jars from Ancon26 and elsewhere which would generally be classed as Tiahuanaco-influenced. The horizontal position of the forearm, the flat handle, and the unpolished texture are late or Epigonal traits. Another small R-W-B jar with tapering spout appears in plate 19c. There is a face, apparently of an owl, on the front of the body of the vessel. This face is on a shield which suggests that of plate 18j. The nose is modeled. The painting is hasty, the surface unsmoothed. Late Epigonal or impure Inca seems a justifiable designation of this pi.ece. There are two double-spout jars (pl. 19d, e) which differ from all Nazea style analogues in that the spouts taper and spread decisively. 26 This series, 21: pl. 46h, n. 35 36 University of California Publications in Am. Arch. and Ethn. [Vol. 24 One of these is painted in five polished colors, R-W-B-G-Y, with the figure of a mythical animal-a winged and beaked quadruped, prob- ably a combination of jaguar and condor. This is the feline god of Tello, which he derives from a north Andean origin. The style is what has generally been called Tiahuanaco27 or Epigonal, and is widely spread in Peru. Baessler, for instance, figures a piece of this type from Pachacamac,25 and Strong one from Ancon.29 There is one other known piece of the type from Nazea-in the Gaifron collection in the American Museum of Natural History, reproduced in plate 20d by courtesy of that institution. The second Nazea double-spout is of polished blackware, incised (pI. 19e). The "rays" from the head, the teeth,30 and the manner of the design are Epigonal. Other traces of Tiahuanaco or Epigonal style can be detected in a few pieces previously discuissed: the Nazea Y specimens of plates 14a, b,31 16e, f; and the Ica style specimens of 18d, e, f. Inca.-The outstanding piece of Inca type in the collection is the polished blackware aryballos, plate 19f, from "an Inca cemetery at Poroma." The piece speaks for itself: it is Coast Inca, Chimu- influenced. IMore difficult to place is the blackware jar, plate 19g, which Uhle lists as "Late Ica." The flange is neither specifically Late Ica nor Inca; so far as we know, it occurs most frequently in Proto-Lima ware. Other features of the form are however all late. There is also an unpainted vessel in the shape of a recumbent animal, with a spout rising from the middle of the back (4-8935). This is one of the "llamitas" which Tello mentions as characterizing Inca cemeteries in the Nazea district.32 Inca influence appears in several of the vessels already classed as in the style of Ica, especially the jars of plate 18j, k, 1. 27 As the name of a generic style, not the specific style of the environs of Tiahuanaco, where no double-spouts seem to have been found. 28 Ancient Peruvian Art, 4: pl. 131, fig. 364. Pachacamac pieces in Tiahuanaco or Epigonal manner, other than double-spout jars, pls. 131-144. 29 This series, 21 fig. 3, and pl. 47d. Cf. also Supe, ibid., pl. 74j. 30 Cf. Baessler, 4: pl. 144. 31 Cf. Strong, Ancon, this series 21: fig. 4, and pl. 46c. 32 Note 3 above. 1927] Gayton-Kroeber: The Uh7e Pottery Collections from Nazea AMERICAN MUSEUM COLLECTION In the American Museum of Natural History in New York is the valuable Gaifron collection from Nazea, about equal in size to the Uhle collection that has been analyzed. By courtesy of the Museum, several pieces from the Gaffron collection are .reproduced in plates 20 and 21. A splendid head-and-spout jar (shape v) is shown in plate 20a, b. The stream of fish and crustaceans issuing from the mouth recalls that on the atypical figure jar 15a, b, which has been tentatively classed as of style Y. The present piece however is clearly Nazea B- witness the design, on the back, of a distorted Jagged-staff demon (33). Plate 20c, a Nazea B flaring rim vase (w), is stylistically equivalent to specimens in the Uhle collection; compare plate 8c. The double-spout (v) of plate 20d is the piece already referred to as a parallel to the Tiahuanaco style vessel 19d.33 The flat-bottomed constricting bowl of 20e-attributed to Nazea in common with the other pieces here discussed-is Middle Ica in style, but not quite parallel to any piece from Ica valley.84 The plate-like bowl (20f) is an excellent example of the Inter- locking fish (26) design, which does not occur in the Uhle collection on any inner surface or on any low vessel. A handled jar (T) (plate 21a) has its design of a pair of dancers or perhaps wrestlers on a background of broken black-and-white stripings (Overlapping lines, 13) repeated on two vessels of the Uhle collection (pls. 3d, 6c). On all three vessels, the persons are male, and their movement is unusually vehemenlt. Plate 21b departs somewhat from any typical Nazea style shape, being lower and more bowl-like than Q, R, s of figure 2. The very slovenly design in a contracted form occurs on two double-spout jars in the Uhle collection which in shape and design are exceptional to Nazea A style (see pl. 2d; fig. 12d). The bowl in plate 21c is unusual in the asymmetric disposition of its design. A round-bottom bowl (A), 21d, is in good Nazea A manner, but the position of the two naturalistic fishes suggests a possible prototype of the Interlocking fish (26) design of Nazea B. A Nazea A double-spout (v) is shown in 21e. The slovenly Cat- demon (15) holds in his left hand a crudely drawn but nevertheless recognizable trophy head. 33 Notes 27, 28, 29. - 34 This series, 21: pls. 31-35. Cf. also, this paper, pl. 18a, b. 37 38 University of California Publications in Am. Arch. and Ethn. [Vol. 24 Definitely crude and stylistically decadent is the head-and-spout jar (v), 21f. Mouth and eyes resemble those of plates 17a, 19a, 21a, and contribute to the partly un-B-like effect of the specimen. flow- ever, while long, nlarrow eyes are characteristic of Nazea B in that they occur chiefly in it (and Nazea Y), rhomboidal and semi-elliptical eyes occur throughout A, X, B, and Y. The three forms together are characteristic of nativie Nazea wares as compared with the round or square eye of Tiahuanaco and Inca influenced wares. ANALYSIS OF SELER MATERIAL Seler's work cited below35 and previously mentioned in this paper is an interpretation and classification of designs and design parts which decorate pottery in the style of Nazea. It was a valuable aid to the present authors in identifying and describing the ornamenta- tion of the pottery collection under consideration. The work is profusely illustrated with over four hundred text figures of specimens of Nazea ware in various European, South American, and other museums. One hundred and fifty-eight illustrations show both the shape and design of the specimen: these virtually constitute another collection the shape and design attributes of which can be tabulated as were those of the University collections from Nazea and Ocucaje. The collection from Ocucaje was used as a control group to test our findings for the ware from Nazea. It would be invalid to use the Seler "collection" as a similar check inasmuch as the data derivable from illustrations are incomplete: color is lacking, only one side of the specimens is visible, the group is selected for graphic purposes. For this reason analysis and classification of the Seler pictorial material is not offered here as corroboration of the findings for the University collection from Nazea, but rather the reverse-the classi- fication based on the University collection is applied to the Seler material as far as its limitations permit. Tabulation of the designs and shapes shows that the Seler material classified into styles A, X, and B with about the same definiteness as the ware from Nazea and Ocucaje. The results are given in table 3. The occurrence of designs on shape groups expressed in percentages, as on page 10, is: Designs A X B A 41 44 15 Shapes x 21 34 45 _ _B 7 41 52 35E. Seler, Gesammelte Abhandlungen, 4:174-338, figs. 1-430, 1923. 1927] Gayton-Kroeber: The Uhle Pottery Collections from Nazea O00H?C)? H CC' . . - - - CO - - CA -4 0CJC I.OC -O*Oco W OCo_C4__ co -4 = -4 a% cn (M 4= CA ~~~~~= Wk. (= 1= OP.- C4 w = w P... W 0- 0-1~~~~ _- t-atl I_-4% VC4 0 C40 * oo w Wb 0- _4 bp CW 0- o 03 o ell .P 39 z w CC, d Q W to z .0 Cz w co W C4 C4 0C- C4 Cw C4 ea ooh CYR C4 co I I I I I IaIo I.- W I- b- b- 0-- t-z tD 0- 0-- I.- 0-- I aoI w_ .- w o o4 cn Lod tz 40 University of California Publications in Am. Arch. and Ethn. [Vol.24 In at least shape and design association, then, the specimens illus- trated in Seler's work do not markedly deviate from the substyle classification which holds for Nazea ware from Nazea and Ocucaje. The assignment of each classifiable Seler piece to its substyle is given in a list below. STYLISTIC CLASSIFICATION OF SPECIMENS ILLUSTRATED BY SELER36 Page Fig. Style 175 la A 180 21 B 182 25 A 180 37 A 195 41* A 197 46* A 204 53* X 207 60* A 208 63* X 209 66* A 221 90a X 224 95* X 235 116 B 239 124 X 241 130 B 242 133 B 246 138-142 B 250-251 151-158 B 254 171 A? 255 178 B 257 183 X 258 189 B 259 196 B 260 201 B 260 204 B 262 207 B 264 210 B 266 213 B 266 216 B 267 219 X 268 225 B 269 228 B 276 233 B 281 246 X 282 249 X 283 254* T-E3 300 268 B? 301 274 A 304 283* A 306 292 A 308 301 X 310 310 X Page 177 180 185 194 195 199 206 207 209 210 221 225 236 240 241 242 247 252 254 256 257 258 258 260 262 263 265 266 267 268 268 273 279 282 283 300 301 302 306 307 308 312 Fig. Style 9 A 22 B 27c A 39* A 42* A 46d B 57* B 58* X 64* A 70 A 90b A 98 ? 117 X 125 B 131 B 134 B 143-146 B 159 ? 172 B 180 X 184 B 190 X 197 B 202 B 205 B 208 B 211 B 214 B 217 B 222 B 226 B 229 B 238 X 247 B 253 X 266 ? 270 A 275 A 289 A 296 A 302 B? 316 A? Page 178 181 192 194 197 203 207 208 209 216 223 226 236 241 241 243 248 252 254 257 257 258 258 260 262 264 265 266 267 270 271 275 281 282 283 300 301 304 306 308 309 313 Fig. Style 18 A? 23 X 35a X 40* B 45* B 50* X 59* A 62* A 65* A 77 A? 93 B 99a ? 118 B 129 X 132 B 134a ? 147-149b B 162 A 174 B 182 X 185 B 191 A? 199 X 203 B 206 B 209 B 212 B 215 B 218 B 224 B 227 X 231 B 245 X. 248 B 254 X 267 B? 271 A 281a A 290 A 301 X? 304 A 317 B? 36 Only those illustrations which show both shape and design are entered in this classification. 37 Tiahuanacoid-Epigonal. 1927] Gayton-Kroeber: The Uhle Pottery Cotlections from Nazea Page Fig. Style Page Fig. Style Page Fig. Style 314 318 B 314 319 A? 314 322 A 315 323 X 317 334 B 318 337 A 318 339 A 319 341 A 318 343 X 321 347 B 321 348 B 321 349 B 322 350 ? 323 352 B 323 353 B 323 354 B 323 355 B 323 356 B 323 357 X 323 358 B 325 365 X? 325 366 ? 325 370 X 325 371 X 326 372 B 326 373 B 327 375 B 327 381 X 328 383 A 331 405 A 333 413 B 333 415 B 335 424 A 335 425 A 336 419 X 336 420 B 336 421 X 337 427 T-E 338 428 B 338 430 T-E CONCLUSIONS The Nazea ("Proto-Nazea ") style of the valley of Nazea is divisible into two substyles and a transitional phase. Each of these is characterized by certain shapes, designs, and color schemes, which however are not rigidly restricted each to a particular substyle; con- sequently the substyles overlap. Their determination, and the assign- ment to them of the several shape and design traits, is therefore sub- jectively founded. However, the frequency of designs, and again of color schemes, attributed respectively to the three substyles is pro- portionally greatest on shapes attributed to the same substyles, as would be expectable if the styles were objectively founded. The absence of excavation data with the present and other collections leaves this approach the only one open. A Nazea style collection from a single locality (Ocucaje) outside the valley of Nazea agrees closely in its shape, design, and color traits with one of the three substyles from Nazea (many localities), thus tending to confirm the validity of the latter, and, by exclusion, of the two other substyles. Substyle A, which is also essentially that of Ocucaje, is character- ized by simple open bowl shapes, many of them low, and by double- spout jars; colors are rich but often somber, backgrounds frequently dark; the designs without fine detail, but decisively painted so that nearly every part has, or had at the time, an immediate meaning. Substyle or connecting phase X is distinguished by several bowl shapes and a series of jar shapes lacking in A; the color range is about the same, but light backgrounds are more numerous. Substyle B is characterized by vases and goblets-variants of cylindrical shapes; by jars painted and often slightly modeled to 41 42 University of California Publications in Am. Arch. and Ethn. [Vol. 24 represent human heads and figures; by an average greater number of different colors per vessel and a more lightly tinted range of colors; by a high frequency of light backgrounds; and by designs that tend to intricacy of detail, lack of naturalistic meaning, and conventional execution. A number of B designs are readily intelligible as developments out of A designs altered by frequent repetitions with a gradual shift of interest from representation to execution, the latter becoming sometimes more elaborate, sometimes more hasty or abbreviated. On the contrary, A designs are difficult to conceive as developments out of B designs, since the latter are not simple or geometric but highly stylized. On stylistic grounds, therefore, the general time sequence A, X, B is indicated for the three substyles. This is the opposite of Tello's conclusion, who puts B ("Pre-Nazea'") earlier than A ("Nazea"). There is every reason to believe that the substyles intergraded in time and perhaps locally, resulting in frequent cases of new shapes being painted with old designs, or old shapes persisting until new designs were put on them. Since such cases could not be allowed for in the present study, exceept by arbitrary selection, it is possible that the actual frequency association of shape, color, and design traits was greater for each substyle than shown by the frequency tabulations compiled; or at any rate, that essentially pure lots in each substyle will be found by excavation' in separate localities. A fourth style or substyle, obv'iously mainly of Nazea origin but falling outside the limits of what is customarily regarded as the Nazea (Proto-Nazea) style, appeared in the collection studied, and was called Nazea Y. This is a ware of no great homogeneity, whose prin- cipal trends have been distinguished as Y1, Y2, Y3; and is of inferior quality. The shapes are more or less different from those of Nazea A, X, B; some of the designs appear to be further reductions of B designs; others are related rather to non-Nazea than to Nazea styles. The presence of Tiahuanacoid and Ica style traits, and the greater resemblance to B than to A designs, indicate Nazea Y as posterior to Nazea A, X, B. Of non-Nazea styles, that of Ica is most abundantly represented in Nazea valley, with a range from the Middle through the Late to the Inca phase. The Ica style seems wholly posterior to Nazea A, X, B, and at least mainly posterior to Nazea Y. Tiahuanaco and Epigonal, Inca, and Chimu style influences all reached Nazea, but with diminishing strength or frequency in the 1927] Gayton-Kroeber: The Uhle Pottery Collections from Naazea order named. None of them is manifest on specimens showing chiefly Nazea A, X, or B traits. Tiahuanacoid traits appear on Nazea Y pieces; Inca traits on Ica style vessels. The inferred sequence of ceramic styles in Nazea valley thus is: Nazea A, Nazea X, Nazea B, Nazea Y, Tiahuanaco and Middle Ica, Late Ica, Inca, the duration of each lapping over at least on the style before and after it. Compared with Ica, the stylistic horizons seem Nazca Inca Late Ica (Middle Ica) (Tiahuanaco) Nazca Y Nazca B Nanca X Nazca A lca Inca (Late Ica II) Late Ica I Middle Ica II (Middle Ica I) lea Epigonal (Nazcoid) (Nazca X, Santiago) Nazca A, Ocucaje LISTS MAXIMUM AND MINIMUM DIMENSIONS IN SHAPE GROUPS Styles A, X, B Shape A: smallest specimen, no. 9000, height 38 mm., greatest width 120 mm.; largest specimen, no. 8737, height 71 mm., greatest width 180 mm. no. 8655, h. 55, w. 123; no. 8735, h. 45, w. 125; no. 8471, h. 75, w. 170; no. 8645, h. 56, w. 116; no. 8577, h. 80, w. 102; no. 8831, h. 85, w. 106; no. 8672, h. 86, w. 131; no. 8632, h. 101, w. 89; no. 8903, h. 90, w. 71; no. 8795, h. 114, w. 119; no. 8726, h. 881, w. 106; no. 8712, h. 130, w. 93; no. 8857, h. 161, w. 86; no. 8406, h. 152, w. 120; no. 8671, h. 95, w. 107; no. 9045, h. 60, w. 108; no. 8693, h. 85, w. 123; no. 8833, h. 90, w. 120; no. 8666, h. 131, w. 140; no. 8973, h. 127, w. 133; no. 8887, h. 110, w. 88; no. 8617, h. 85, w. 106; no. 8851, h. 120, w. 116; no. 8883, h. 118, w. 91; no. 8675, h. 65, w. 170 no. 8522, h. 83, w. 202 no. 8557, h. 77, w. 187 no. 8649, h. 90, w. 203 no. 8773, h. 102, w. 143 no. 8668, h. 115, w. 127 no. 8586, h. 148, w. 218 no. 8904, h. 192, w. 194 no. 8584, h. 170, w. 123 no. 8395, h. 164, w. 130 no. 8811, h. 170, w. 123 no. 8859, h. 155, w. 111 no. 8394, h. 211, w. 108 no. 8490, h. 217, w. 139 no. 8681, h. 170, w. 170 no. 8585, h. 154, w. 167 no. 8750, h. 162, w. 200 no. 8419, h. 163, w. 190 no. 8420, h. 234, w. 225 no. 8456, h. 221, w. 170 no. 8625, h. 193, w. 117 no. 8636, h. 115, w. 127 no. 8846, h. 152, w. 159 no. 8482, h. 216, w. 202 to be: B: C: D: E. F: . H: I : K: L : M : N: 0: P: Q R : T: U : V : W : Y: 43 44 University of California Publications in Am. Arch. and Ethn. [Vol. 24 CATALOGUE NUMBERS OF SPECIMENS IN SHAPE GROUPS Style A A, round-bottom bowl (21): 8432, 8433, 8556, 8600, 8601, 8651, 8652, 8653, 8704, 8710, 8737, 8812, 8839, 8998, 8999, 9006, 9014, 9093, 9155, 9156. E, angular bowl (25): 8480, 8571, 8572, 8640, 8644, 8645, 8646, 8647, 8649, 8817, 8818, 8819, 8821, 8912, 8924, 8925, 8930, 8931, 8934, 8996, 9002, 9080, 9081, 9084, 9087. F, cup bowl (30): 8446, 8470, 8535, 8598, 8599, 8604, 8605, 8639, 8673, 8709, 8773, 8804, 8923, 8926, 8927, 8928, 8929, 8932, 8936, 9043, 9072, 9073, 9074, 9075, 9076, 9078, 9083, 9089, 9100, 9101. H, fllaring bowl (34): 8438, 8484, 8589, 8521, 8554, 8579, 8580, 8586, 8641, 8642, 8643, 8648, 8672, 8803, 8828, 8909, 8911, 8913, 8914, 8915, 8916, 8917, 8935, 8994, 8997, 9077, 9079, 9082, 9083, 9085, 9086, 9088, 9091, 9097. u, double-spout jar (37): 8424, 8458, 8478, 8479, 8482, 8483, 8495, 8593, 8706, 8847, 8848, 8866, 8867, 8868, 8869, 8870, 8871, 8872, 8873, 8874, 8875, 8876, 8877, 8878, 8882, 8883, 8884, 8885, 8886, 8983, 8984, 8985, 9060, 9062, 9063, 9064, 9098. Style X B, point-bottom bowl (18): 8431, 8436, 8439, 8466, 8523, 8558, 8592, 8602, 8654, 8655, 8675, 8692, 8736, 8738, 8832, 8837, 900-4, 9092. c, conical bowl (35): 8426, 8427, 8428, 8429, 8430, 8469, 8573, 8588, 8589, 8591, 8674, 87017 8723, 8727, 8728, 8729, 8730, 8733, 8734, 8735, 8739, 8813, 8965, 8966, 8967, 8995, 9008, 9011, 9012, 9013, 9023, 9032, 9036, 9095. D, shallow bowl (9): 8471, 8472, 8485, 8493, 8494, 8533, 8557, 8943, 9003. a, straight bowl (5): 8434, 8668 8670, 8690, 8831. P, bulbous II vase (36): 8487, 8488, 8489a, 8517, 8570, 8622, 8635, 8667, 8669, 8671, 8681, 8682, 8683, 8684, 8685, 8686, 8687, 8688, 8689, 8711, 8714, 8715, 8716, 8717, 8718, 8719, 8720, 8815, 8820', 8944, 8990, 9001, 9046, 9068, 9069. Q, lipless jar (12): 8425, 8616, 8801, 8826, 8834, 8864, 8962, 8963, 8964, 9095, 9045, 9102. R, wide-mouth jar (13): 8414, 8460, 8461, 8520, 8693, 8750, 8890, 8893, 8894, 9066, 9057, 9099, 9163. s, narrow-mouth jar (23): 8412, 8413, 8416, 8417, 8418, 8419, 8574, 8575, 8578, 8594, 8595, 8637, 880,0, 8833, 8861, 8891, 8892, 8893, 8991, 8992, 8993, 9034, 9040. T, handled jar (8): 8415, 8420, 8477, 8620, 8660, 8666, 8705, 9035. Style B I, angled goblet (30): 8409, 8410, 8550, 8551, 8552, 8553, 8555, 8560, 8567, 8568, 8577, 8584, 8638, 8665, 8702, 8724, 8725, 8726, 8731, 8732, 8745, 8802, 8811, 8863, 8986, 8988, 8989, 9044, 9096, 9162. j, goblet (24): 8393, 8402, 8403, 8411, 8437, 8445, 8465, 8496, 8497, 8499, 8504, 8565, 8569, 8632, 8634, 8742, 8899, 8904, 8905, 8906, 8907, 8961, 9157, 9158. K, double-curve goblet (10): 8473, 8474, 8501, 8566, 8662, 8664, 8748, 8903, 8908, 8958. L, conical goblet (7): 8395, 8397, 8506, 85 8557, 8795 9022. M, small vase (30): 8396, 8405, 8408, 8463, 8491, 8500, 8514, 8518, 8546, 8547, 8564, 8582, 8614, 8630, 8661, 8708, 8712, 8713, 8808, 8829, 8830, 8897, 8900, 8902, 8954, 8955, 8956, 8959, 9159, 9169. 1927] Gayton-Kroeber: The Uhle Pottery Collections from Nazea N, cylindrical vase (47): 8388, 8389, 8390, 8391, 8392, 8394, 8404, 8464, 8475, 8476, 8489, 8507, 8510, 8511, 8512, 8542, 8544, 8545, 8563, 8564, 8583, 8626, 8627, 8721, 8746, 8747, 8806, 8807, 8809, 8810, 8855, 8856, 8857, 8858, 8860, 8947, 8948, 8949, 8950, 8951, 8952, 8953, 9041, 9042, 9070, 9071, 9094. O, bulbous I vase (28): 8398, 8399, 8400, 8401, 8406, 8407, 8444, 8459, 8462, 8490, 8492, 8498, 8515, 8561, 8562, 8610, 8619, 8629, 8633, 8663, 8691, 8694, 8859, 8896, 8901, 8958, 8960, 9033. v, head and spout jar, (13): 8503, 8659, 8679, 8776, 8794, 8849, 8850, 8851, 8852, 8879, 8880, 8881, 8945. w, flaring rim vase (7): 8421, 8617, 8636, 8793, 8805, 8862, 8987. x, figures (12): 8477, 8513, 8625, 8792, 8887, 8946, 8975, 8976, 8977, 8978, 8979, 9161. Y, heads (22): 8456, 8457, 8621, 8631, 8677, 8678, 8680, 8695, 8796, 8797, 8798, 88,54, 8968, 8969, 8970, 8971, 8972, 8973, 8974, 9037, 9038, 9039. Undetermined z, miscellaneous (26): 8422, 8435, 8468, 8481, 8505, 8576, 8581, 8590, -8615, 8658, 8743, 8744, 8749, 8822, 8853, 8918, 8919, 8920, 8921, 8922, 8933, 8938, 8939, 8940, 8941, 9007, 9103. EXPLANATION OF PLATES AND CATALOGUE NUMBERS OF SPECIMENS ILLUSTRATED Plate 1. Nazea style A. Double-spout jars. d, exceptional with style X design and 4-color scheme. a, 4-8866; b, 4-8483; c, 4-8495; d, 4-8983; e, 4-9062; f, 4-9098. Plate 2. Nazea style A. Double-spout jars. d, exceptional with style X design and 3-color scheme. a, 4-9190; b, 4-9064; c, 4-8883; d, 4-8593; e, 4-8886; f, 4-8647. Plate 3. Nazea style A. a-f, flaring bowls; g, h, round-bottom bowls. a, 4-8598; b, 4-8816; c, 4-8828; d, 4-8484; e, 4-9079; f, 4-8554; g, 4-8592; h, 4-8651. Plate 4. Nazea style X. a, b, conical bowls; c-e, handled jars; f, narrow- mouthed jar. a, 4-9008; b, 4-8426; c, 4-8660; d, 4-8420; e, 4-8578; f, 4-8412. Plate 5. Nazea style X. a, b, bulbous II vases; c, straight bowl; d, point- bottom bowl; e, f, lipless jars, a, 4-8861; b, 4-8398; c, 4-8831; d, 4-8558; e, 4-8425; f, 4-8964. Plate 6. Nazca style X. a-c, handled jars; d-f, narrow-mouth jars. a, 4-8415; b, 4-8447; c, 4-8705; d, 4-8519; e, 4-9034; f, 4-8417. Plate 7. Nazea style B. Head jars. a, 4-8854; b, 4-8796; c, 4-8798; d, 4-8456; e, 4-8968; f, 4-8797. Plate 8. Nazea style B. a, b, figures; c, flaring-rim jar; d-f, head and spout jars. a, 4-8792; b, 4-8946; c, 4-8805; d, 4-8851; e, 4-8849; f, 4-8945. Plate 9. Nazea style B: a-c, figures; d, angled goblet; e, g, i, goblets; f, small vase; j, head and spout jar. Nazea miscellaineous: h, 1, m. Nazea style Y3: k, handleless jar. a, 4-8978; b, 4-8977; c, 4-8979; d, 4-8584; e, 4-9157; f, 4-8900; g, 4-8496; h, 4-8505; i, 4-8497; j, 4-8794; k, 4-8825; 1, 4-8422; m, 4-8962. Plate 10. Nazea style B. a, bulbous I vase; b, c, f, i, cylindrical vases; d, goblet; e, g, h, small vases. a, 8462; b, 4-8475; c, 4-8809; d, 4-8437; e, 4-8463; f, 4-9094; g, 4-8614; h, 4-8546; i, 4-8806. Plate 11. Nazea style B. Cylindrical vases. a, 4-8950; b, 4-8388; c, 4-8951; d, 4-8626. Plate 12. Nazea style Y, type 1. a, 4-8696; b, 4-8757; c, 4-8606; d, 4-8756; e, 4-8607; f, 4-8762. 45 46 University of California Publications in Anm. Arch. and Ethn. [Vol. 24 Plate 13. Nazea style Y, type 1. a, 4-8752; b, 4-8755; c, 4-9021; d, 4-8777; e, 4-8722; f, 4-8608. Plate 14. Nazea style Y, type 2. a, 4-9017; b, 4-9016; c, 4-9047; d, 4-8740; e, 4-9048; f, 4-8741. Plate 15. Nazea style Y, types 1, 2, 3. a, b, Y3; c-f, aberrant Y1 and Y2. a, 4-8853; b, 4-8853; c, 4-8448; d, 4-8407; e, 4-8760; f, 4-9051. Plate 16. Nazea style Y, types 1 and 2. Aberrant examples. a, 4-9049; b, 4-8700; c, 4-8759; d, 4-8585; e, 4-8624; f, 4-8442. Plate 17. Nazea style Y, type 3. a, 4-8481; b, 4-8827; c, 4-8823; d, 4-8543; e, 4-8753; f, 4-9065. Plate 18. Ware from Nazea in the style of Ica. j-l, Inca influenced. a, 4-8527; b, 4-8779; c, 4-8347; d, 4-8766; e, 4-8540; f, 4-8765; g, 4-8528; h, 4-8526; i, 4-9030; j, 4-8771; k, 4-8531; 1, 4-8769. Plate 19. Ware from Nazea showing Tiahuanaco, Inea or Chimu influences. b, Chimu influenced; a, c-e, Tiahuanaco-Epigonal influenced; f, g, Inca influenced. a, 4-8836; b, 4-9018; c, 4-9019; d, 4-8623; e, 4-8841; f, 4-8530; g, 4-8532. Plate 20. Vessels from Nazea in the American Museum of Natural History. Nazea style B: a, b, head and spout jar; c, flaring-rim jar; f, atypical shape. Tiahuanacoid influenced ware: d. Iea influenced ware: e. a, 41.0-1074; b, 41.0- 1074; c, 41.0-849; d, 41.0-1046; e, 41.0-989; f, 41.0-990. Plate 21. Vessels from Nazea in the American Museum of Natural History. Nazea style A: d, round-bottomed bowl; e, double-spout jar. Nazea style X: a, handled jar; b, wide-mouthed jar; c, conical bowl. Nazea style B: f, head and spout jar. a, 41.0-1020; b, 41.0-792; c, 41.0-971; d, 41.0-1053; e, 41.0-688; f, 41.0-1059. Figure 3. Nazea style A: 1, 4-9081; 2, 4-8817; 3, 4-8478; 4, 4-8925; 5, 4-8647; 6, 4-8914; 7, 4-8958; 8, 4-8914; 9, 4-8886; 10, 4-8436; 11, 4-8883; Nazea style X: 12, 4-8594; 13, 4-8705; 14, 4-8571; 15, 4-8907; 16, 4-8581; 17, 4-8948; -18, 4-8950; 19, 4-8425; 20, 4-8546; 21, 4-8559; 22, 4-8425; 23, 4-8667; 24, 4-8456; 25, 4-8475; Nazea style B: 26, 4-8465; 87, 4-8861; 28, 4-8558; 89, 4-8851, 4-8852, 4-8850, 4-9157, 30, 4-8515; 31, 4-8855; 32, 4-8417; 33, 4-8851; 34, 4-8542; 35, 4-8544; 36, 4-8546; 37, 4-8614; 38, 4-8851; 39, 4-8940; 40, 4-8517. Figure 4. Nazea style A: a, Seler, p. 252, f. 163; b, Seler, p. 252, f. 162; c, 4-8458; d, 4-8867; e, 4-8547; f, 4-8490; g, 4-8951; h, 4-8858; i, Seler, p. 257, f. 185; j, 4-8858; k, 4-8945; I, 4-9042. Figure 5. Nazea style A: a, 4-9075; b, 4-9062; Nazea style X: c, 4-8413; Nazea style B: d, 4-8499; e, 4-8615; f, 4-8550. Figure 6. Nazea style X: a, 4-8412; b, 4-8638; d, 4-8425; e, 4-8964; f, 4-8861; Nazea style B: b, 4-8638; c, 4-8852. Figure 7. Nazea style A: a, 4-8647; c, 4-8535; Nazea style B: b, 4-8634; d, 4-8411; Nazea style X: e, 4-9036; f, 4-8558. Figure 8. Nazea style A: a, 4-8647; Nazea style B: b, 4-8627. Figure 9. Nazea style B: a, 4-8396; b, 4-8855; c, 4-8542; d, Seler, p. 271, fig. 228; e, 4-8954; f, 4-8988; Nazca style X: 4-8967; h, 4-9040. Figure 10. Nazea style Y, type 1: a, 4-8865; b, 4-8980; c, 4-8698; d, 4-8696; e, 4-8448; f, 4-8607; g, 4-8756; h, 4-8760; i, 4-8489b; j, 4-8606. Figure 11. Nazea style A: a, 4-8615; Nazea style B: b, A.M.N.H. 41.0-798; c, 4-9043; d, 4-8630. Figure 12. Nazea style A: a, 4-8581; Nazea style B: b, 4-8919; c, 4-8957; d, 4-8706. UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 1 L) E NAZCA STYLE A UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 2 NAZCA STYLE A UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 3 I 7 B u NAZCA STYLE A UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 4 NAZCA STYLE X UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 5 NAZCA STYLE X UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 6 NAZCA STYLE X UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 7 NAZCA STYLE B UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 8 NAZCA STYLE B UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 9 b I:. n rx NAZCA STYLE B A UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 B NAZ(A STYLE B, [GAYTON-KROEBER-1 PLATE 10 UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 11 NAZCA STYLE B UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 12 NAZCA STYLE Y1 UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 13 A NAZCA STYLE YI UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 14 A AZ E NTAZCA STYLE Y2 UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 15 NAZCA STYLES Y1, 2, 3 UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 16 E TNAZCA STYLES Yl, 2, 3 UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 17 D F NAZCA STYLE Y3 UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 18 STYLE OF ICA FROM\ -NA.ZCA UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBERJ PLATE 19 CHIMU, TIAHUAN.ACO, INCA INFLITENCES AT NAZCA UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 20 NAZCA M ARE IN AMERICAN MIUSEUM OF NATIURAL HISTORY UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 21 _AZ~A WARE NAZCA WVARE9 IN AMERICAN MIUSEUM OF NATURAL HISTORY tYIV IEIT 6? VALIPRTA 'PUEBLICTQ&S-Ontne VbI i t 1Cbomposittion of ifo e sW ow Bifflord. :Ppf. 12W9. Febuy 1 916 --' 2;,.' C:-:alIfornia Pl,ac aes o*Indian Orig, by A..L. Zreb.. Ppi. 349.L' ' ,:,':' . June 1916 * . _ .. 40 ;-, .-8. Arapho. Dialets :byA. I.4; Axoeber;: it'. 7143S8. June, 191* w..+. .7;0 KhSt-f 4. - Miwok Molettes, byB Edl . Wiow, d Pp. 13-194..- Jg 1918. .,55 5. On cI lotting ti of tAhe s Z r >. 5 . ' 6. Tlibatilabal 1and a ZisiepT.m, by , lard-Wilow Gliford. -p. 219-248. 9brlary 1917 -.- 3 ' ,7. Baelier's Cotrtl .t idy 4,, Anci0 , IeOrgaiza. tioxi, by T. T- W-a. Pp -249-8Z Perr.y 1 ........ -35 - . k . :;?8. Miwok :t:b by Edward Ws (. U8ord rP. '83-38 t; 0 9 . talifornia KinbipSytemns, A. 1t >*debe Pp. 33-36. ~ Mas, 1917; .......... .60; 10. - 6renxo2I4e of theiPonaopdin`P bU 3. A Earrett. . - ; tzt 11.' Poax,oBeatr Doctet, 1 ,r , . P platei Ju, .....;,, - . Xn0 dez tP., 467473. -ta 5* Terms of ;elationsbip by Ed*r :Sapir p. 183-17. Mach, 1 91$ . <5 5. -- The Medical2I}tor oISbi blatztop TZ toe.; Pp.175413 plaes 3844, 0-;;:e X . 0 : 8 figurea In text :a 1920, _..,..................... it* ;-5 - ;-* &ii The Fu0ael El exp?w;Bent 4 NorUerp Tans,'d 7by Edar 4-aplr Pp. 215 'yc-' 7. Punc097sti6nal Fin'ea of x Ptw, by W. 0.-' MXcZEro Pp.-s 235.'258.,- 1;,4<0\ Apil- -S,, Ft , .r 1922 O __ W_+ t e- l~lUtif4or -nij^^*-*w-Fi;e*e * ****v**_wa,byw** Pp 2t-280 " #:8. Elemens .of Culture,:in N>ti u!: A.K L. ;oeber+, .t.2938w- f?'- ,. ;- *~ ~ wt 41 ma.-{ P9 s-ps, 'Novebr 1l922.-._.+ i5..---.-.'...---- -..--'.- 1.00,*w - - A Btudy- o;f BowsS fan4 Arros, by Wxtn T Pope-.. Pp.0 39414, pli~tes 4FXv; # - E\ index, pp. 415420.~ ~ ~ ~ ~~~~'2 V'Lo14f I. The t~apgtxag~ of the 8a1inal Indians, ),y $. AI4p*17Mason. Pp. 1 , , .. 'VoLt4~P. 15.1 1- T#gur,6ag 4in tex. Ma-'-?ch, 19~ ....,......,.............................~.....,. .75- ;8-. 'Eatbu8hogeography an -d Acxehilgy: -f jb WIo trtoy by Ll eweflyn 4t --. * ~~~Lu. P. 22.43, .4te L-o1, 1 teat figne Pl,:sXt-e.cenber:,1918; ......=.... 2.5 -00 4. The WIci Heal 2e1, by 8 A. ret P. 437488, pues 22. .;; Sflgures In leit. Mrh 09 , .. 7 5 Th6 Genetic ASi - ot Nrth A c I n Lg , b , , Paul fi Pb y ,89.i. Mat.y, 191;9 h .A5' *~~~ Index,jsv - pp.3 50$S-06.0 ; s4 / ] V.ToL . 1. I o , b ! '. Etso. Pp. 14, kte1-33 brur 1 8.0 90 -2 ; . kt~baoi SBongs,b 0. -L )?e ard A. 7L; Uroeber, Pp. 187-208. May, 1919 .20 '., Nabialo La* andEtl by C E.'d.P 2 plates -7. Octob'b,y t . 9; 4 S''M'-. -ankanay CeriemIe ~by 0. R. Mos., Pp^. 3435$4 '.; October,, 192&t ,.. . . ,. 'd'J:-A" 5 . Xfu3lgao; Ecomis by s F. Baton Pp B54486 pltee8-48. Api1, 1922 1.00- luder,u pp. 4745, 2 Th MatIl e. 0 Jnixs; by Roet H. LoI. Pp., .;4&3 Mach 1919.,. .15 -- VOLIC'. ThLIngisti Fil rCaliorxeia, byV s, aoland ( ,i-x and A L ,, .. roe.ber- .. Pp. --W47416 ,* r-* 1,9- 1 figur _n e xt ,Spte b 19* ~ .... .7 4. b Oalenia of?: hre Indians Nr of 4 by Lo Cpe Pp 1=19-176 with53tmaps Aoebr -9~...... .~75- - , . ,5. .Yuxol, G,og ~~hy, ,b,y, T T, ,aezaa Pp.' 34-31,4,' plte 1-10 ',i, 1 . text ::R 0.''T' ,' ,'' figure, 34 maps. May~ 1920 V 2.0 '. 6.'- Th pa-:'d.:huila Indians, b *'LclieIdpe.'-Pp.815-320. ApiL, 1.920 .. .;-75- '.0'. . 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