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Notes on the Chilule fadiona of pi Lente pute a Pl Bae Mint Pp. esaitiota Rates cea aie roe : WHE UHLE POTTERY COLLECTIONS FROM ANCON BY WILLIAM DUNCAN STRONG UNIVERSITY OF CALIFORNIA PUBLICATIONS IN AMERICAN AND EvHnoLocy ae Vol. 21, No. 4, pp. 135-190, plates 41-49, 11 figur Issued September 18, 1925 THe UNIVERSITY OF CALIFORNIA PRESS _ BERKELEY, CALIFORNIA ee ) Tue CaMBRice UNiversiry Press Lonpon, ENGLAND THE UHLE POTTERY COLLECTIONS FROM ANCON BY WILLIAM DUNCAN STRONG CONTENTS PAGE Jirer(Hie SHG UEVEIAN OMA, aoa taste Betcot Bt ereGe MEBs eet iM ed Ui SIERO) ne Ap ORE ee ee ee ee 136 iassiinewtion OL POLICE Dyn PeriO GSia.csciescc.cteerek tes da cueeseclecsuusod sac seaaaseesasbesheles 139 Bait CRAIC OLS Lapeer iate Sat retest trin COE nh ene Me Me sh Re Scale Pye 139 JLSDHNE: ATO AE eas uae Rae nes Sr eA ee ee ease ine etc ch te a) eri ie AN dy Se ne ora or a 144 ENT GRA Tt COTE eligi mete rtest ioe eta eatin ome MeL a Re Ca ye 145 IVER Cle wAT COne arn ert rere ete Aaa eee RMN dist le leo al i Pua RoE WA 148 raid iy AY aoa pa’ oe Se ey meet Ruane MCN yu eer Nae re ane RR 152 SAD MWY BEET GA ygSS ah een ie MR eT DR og Ae MR A Us SUM Red Ae ae ae ee 157 BranisiucalsureacimentiOlbhe: Catars swan d tease es eae ls rstutnedue ysis ramoeausiics 159 Agreement of pottery types with sites and depths... ccccccceeecesceeceseeeseveeseseees 166 Association of types of pottery and positions of graVeS...........ccccccceeseseseeeeeeeseeeee 168 Hxenvationsmade bi WU nleiat ANG s...cecen tres eect ci aide ee ain oe 173 SEL) J. conecne dao aera cae ane FEE Mel Bae RE LCDI OFS ls Be RP A IBY rR EO 173 SUEY soe d ape eS SE SSP Ne ca Oy OI ref i A Ne ae ee oem ie PSS RSs Che Se ea AT TD cel wt iP he a a ae 174 SU cm Or mmeee Cnn RG hot etreye tae mia ch er wmode ns ew COR a eee, wb acmerrt Gy toatl mene 174 SST CL Re mene eae Onn pc bicantis naib des COE te Rha DARN cider neha Cou Sex Be le 176 NICD e mn ren GAD ate ees eins, eumelanin 177 (SAEs TIM Toe gE Ea 9 EN aI oe ee oie RUS tae NRCan LS Ga namin 178 SSVUNE. EE 20. eh cos, cn AI Wega Oe aa ais Paine VR Mae te REE aE ls oa yl nn PN ep Se 179 ASI me aimee tery ese A sce A ei cep nc eR We Ng Sen aR Se alas a 181 RE ON CLUS LOM rere er i eer a ke ee a eh a a ee a eas 8dr ot) a ee ee 183 Appendix. Classification of the ceramics illustrated by Reiss and Stiibel.......... 187 Grave provenience and specimen numbers of vessels shown in plates.................. 190 PLATES Following page 190 41. Map: the Shellmounds of Ancon. Scale 1:1000 42. Late Ancon II pottery 43. Late Ancon II and Late Ancon I pottery 44. Middle Ancon II pottery 45. Middle Ancon II pottery 46. Middle Ancon I pottery 47. Middle Ancon I pottery 48. Early Ancon pottery and artifacts 49. Late Ancon II, Middle Ancon II, and Middle Ancon I figurines 136 University of California Publications in Am. Arch. and Ethn. [Vol. 21 FIGURES IN TEXT PAGE 1. Figurine, transitional in type between Middle Ancon II and Late Anon NLD 35 rm ee Ln te ee 142 2. Cat and monster design from Middle Ancon I vessel...........c.ccccesccccseeseeeeeeeeeeees 151 3. Bird and monster design from Middle Ancon I vessel.............cccccccccceseeceeeseesees 151 4. Monster design from Middle Ancon I vessel............ccccccccccsessessseseseseeveneveveceecenens 151 5. Figurine head, body, and two spindle whorls from Early Ancon period...... 153 6. Incised designs from Middle Ancon I vessels..............cccccsssscceseserseeeeseescseseessseess 155 7. Incised designs from Early Ancon potsherds..............ccccsccseccecossscesessececcesesceesseves 156 8. Diagram of excavations at Site T, showing Late Ancon II graves above, and Middle Ancon II graves below. (After Uhle.)...........0ccccccceseceneeee 168 9. Diagrams of two Middle Ancon II graves M4 and T4. (After Uhle.)........ 169 10. Diagrams of the Middle Ancon IT graves M1, M7, and M14. (After Uhle.) 178 11. Diagrams of six Middle Ancon I graves, P15, 17, 18, 19, 21, and12. (After Uhlee): ca.scctisst eects ace a7: ced np aeczen ett oe coe eee 180 INTRODUCTION The valley of Ancon has long been one of the points on which South American archaeologists have focused their interest. In this locality there still remains a great deal of material for careful archae- ological research ; and besides, the considerable body of records about Ancon actually in existence still needs interpretation. The magnificent work of Reiss and Stiibel! is unique as a pictorial representation of the material culture of the region. Foremost in interpretation is Dr. Max Uhle, who in 1904, under the auspices of Mrs. Phoebe A. Hearst, worked for four months at the site. He published a condensed account of his excavations and discoveries, giving his general theories as to the sequence of cultures and mode of life of the people. But in so brief a paper he was better able to outline conclusions than to present in full the premises on which they were based. In accordance with the policy laid down in a previous paper,’ it has seemed desirable to offer the Uhle Ancon data in a more complete form, working, as in the previous investigations of the Chincha and Ica collections, from a purely objective basis, and interpreting the results independently in order to verify or correct the work of the excavator himself. In most essentials it was found that the two interpretations agree, although an 1W. Reiss and A. Stiibel, The Necropolis of Ancon, 3 vols., Berlin, 1880-87. 2 Max Uhle, Die Muschelhiigel von Ancon, Peru, Intern, Cong. of Americanists, xvi (London, 1912), 22-45, 1913. 8A. L. Kroeber and William Duncan Strong, The Uhle Collections from Chincha, present series, XxI, 1-94, 1924. 1925] Strong: The Uhle Pottery Collections from Ancon 137 intensive study of the material and data on hand has led the writer to differ in a few cases from the views expressed by Dr. Uhle. Further work at Ancon should, however, cast light on these problems. The Ancon collection now in the University of California Museum of Anthropology consists of 809 pieces in all, 264 of which are pots completely preserved or significant collections of sherds taken from one site. Since it is usually from pottery that a satisfactory relative chronology can be established, this paper proposes to deal solely with that part of the collection, leaving the remaining material until a later day. As to the method employed, it is the same as that used in the interpretation of the Chincha and Ica‘ collections. In the case of all the pieces considered, the exact grave provenience is given in Dr. Uhle’s original notes now in the possession of the University, and in each case grave lots have been held intact. The grouping has been purely typological and based on careful consideration of all dis- tinguishable characteristies—technique, shape, color, design, and combinations of any or all of these factors. For the statistical treatment of these classificatory data I am greatly indebted to Professor Raymond Franzen of the Department of Psychology, and to Miss Florence Boyle of the Department of Edueation at the University of California. Only after the completion of the typological erouping was the interpretative element of depth and layer of deposit allowed to enter into consideration. And yet the two methods of grouping were found to accord in a way far too striking to be accidental. There appears to be at Ancon a type of stratification somewhat similar to that dis- covered by Dr. Uhle at Pachacamac,® and while there is no case of actual superimposition of all period types within the Necropolis there seems to be a rather clear example of agreement between uniform pottery types and different layers of deposit. Probably a careful analysis of potsherds in graves and heaps of débris would show that such stratification actually exists on the site, but the nature of the work in which Dr. Uhle was engaged made the recovery of complete pots and exhibition pieces an essential part of his task. Be that as it may, later intensive stratigraphic work should yield more detailed evidence to fill in the gaps of his framework of culture sequences, which I feel certain is correct as regards the main development and succession of cultural types. 4A. L. Kroeber and William Duncan Strong, The Uhle Pottery Collections from Ica, present series, XXI, 95-133, 1924. 5 Max Uhle, Pachacamae (Univ. of Pennsylvania, 1903), pp. 19-21. 138 University of California Publications in Am. Arch. and Ethn. [Vol. 21 As to the locality, nature, and history of Ancon and its immediate environs, the reader is referred to the work of Reiss and Stiibel, men- tioned above, and that of Uhle. The present paper is limited to a study of the pottery actually on hand and the facts to be derived from its nature and provenience. SITES, GRAVES, AND SPECIMEN NUMBERS Catalogue Periods represented Sites. Numbers. by pottery. Grave provenience. A. 5544-5592 Late Ancon II Graves 1-4 B 5593-5600 Late Ancon I Graves 1-4 C 6265-6279 Late Ancon II Graves 1-2 Ds 6341-6359 Early Ancon E 5792-5801 Late Ancon II Graves 1-3 5847-5858 H. 5809-5833 Late Ancon II Grave 2 5838-5842 M. 5601-5645 Middle Ancon IT Graves 3, 4, 14, 15, 102 5843-5845 5859-5862 Middle Ancon I Graves 7, 12, 103 5873 12, 5907-6264 Late Ancon IT Grave 101 6280-6288 Late Ancon I Grave 1 6296-6324 Middle Ancon IT Graves 2, 3 6335 Middle Ancon I Graves 5, 6, 7, 8, 10, 12, 18, 14, 6360 15,17, 18), 19,320; 021s 2425. 26, 28. Abe 5646-5791 Late Ancon II Graves 2, 4, 9, 12, 16 5834-5837 Middle Ancon II Graves 1, 3, 5, 677,210; ess 5876-5886 14, 15, 101. 6325-6330 6289 1925] Strong: The Uhle Pottery Collections from Ancon 139 CLASSIFICATION OF POTTERY BY PERIODS Viewed en masse the pottery of Ancon from all periods is not very striking. It is a simple ware, rather barren in decoration and not particularly pleasing as to shape. This combination of factors tends to make the segregation of types difficult. When the ware is studied more in detail, pronounced differences do appear, and the uniformity of the grave lots becomes more striking and their grouping easier. There is little of the great variety of color displayed by such early types as the Proto-Nazca in the south, and little of the excellence of drawing and modeling of Proto-Chimu in the north. Unlike the collections from the Chincha and Jea valleys, there is no typical Inca ware in the University collection from Ancon. There are some faint approaches to the Inca type (A4-5588, E2-5799) but these are not strikingly suggestive. Dr. Uhle mentions finding some Inea graves at site Y in the Necropolis,® but this material is not listed in his earlier notes. The plates of Reiss and Stiibel (pl. 93, figs. 2, 3, pl. 96, figs. 5, 11, pl. 97, fig. 9), however, show many pure and local Inca types, so that it is certain the Inca influence reached the valley in some force. From the lack of historic accounts, it would seem that, at the time of the Spanish conquests, Ancon had already been abandoned.‘ LATE ANCON II Since the true Inca type of pottery is lacking in the Ancon collec- tion under consideration, I have called the latest style there found Late Ancon II, in accordance with the local designations used in the previous description of the Uhle Chincha and Iea collections. Dr. Uhle calls this the ‘‘Chaneay’’ or ‘‘black and white’’ ware, and it is well known both from Ancon and the neighboring valley of Chaneay. This late ware persisted a long time at Ancon, as proved by the deep deposits in which it is characteristic. So many vessels of this variety are shown in the plates of Reiss and Stiibel® that it has not seemed necessary to illustrate more than the most typical forms in the present paper. The fact that such a large proportion of Late Ancon II ware 6 Uhle, Intern. Cong. of Americanists, xvi (1912), p. 39, 1913. 7 Reiss and Stiibel, The Necropolis of Ancon, I, p. ‘‘f.’’ 8 See Appendix, p. 187. 140 University of California Publications in Am. Arch. and Ethn. [Vol. 21 was obtained in their undiscriminating excavation shows rather foreibly how characteristic the type is in the higher graves of the Necropolis, and how widespread the cemeteries of this culture were. The statistics on the representation of Late Ancon II ware in the University Museum at the present time bring out the following facts. Some 72 per cent of the ware is one and two color, about equally divided between the two. Vessels with a white slip, or ground-color, make up 49 per cent of the total, a proportion only approximated by its immediate predecessor, Late Ancon I, where 44 per cent of the pottery has a white shp. The two preceding styles are strikingly lacking in this regard, Middle Ancon II having only 6 per cent, and Middle Ancon I only 2.5 per cent of white slip. White ware with a black design makes up 30 per cent of the entire representation in Late Ancon II: an enormous increase over any of the other periods. It should be noted that the white is not a polished clear color, with a tinge of yellow or ivory such as the Proto-Nazeca in the south shows, but is a chalky or gray-buff shade. This point is brought out in Reiss and Stiibel’s® colored plates. A comparison of these with original vessels of this type in the University Museum seems to indicate that the grayness is slightly overemphasized in the lithographing, but serves admirably to bring out the contrast between the two shades of white. Unslipped pottery is rare, and only a small percentage of three- color ware is present. An example of the three-color ware is shown in a brown vessel with black band and white spots (pl. 42 a), but vessels of this type are not common. Not more than three colors are used on any vessel of this type in the University collection. Of the polished black ‘‘buechero’’ ware, 7 per cent is found. These vessels are undecorated by relief or incised work, and the fact that the percentage is higher in this than any other period, is probably in line with the relatively greater abundance of the buechero ware in late periods all along the coast. An example of this type is shown in plate 42 m, and the typical shape and handle arrangement of the period are also well characterized by the piece. The most characteristic designs are black lines on a white slip. These designs are usually geometric, there being little attempt at realistic delineation, although in a few cases conventionalized fish and birds are used in a way very similar to that of later periods in the south. More commonly the design consists of variously proportioned diamonds or rectangles formed by thin black lines. Sometimes rather 911, pl. 94, figs. 2 and 7. 1925] Strong: The Uhle Pottery Collections from Ancon 141 thick black bands around the equator of the vessel mark it into definite design areas which may be filled by thin wavy black lines, or heavier bands connect the broad line around the neck and that around the great-circumference or equator of the vessel (pl. 42 b, n). Heavy black and white stripes arranged in vertical rows sometimes cover the body of the vessel. Triangles and angles of single or double lines, | usually black, often mark off the neck or mouth into segments. This great use of lines, black on white, as opposed to color masses or realistic figures, is very characteristic as a mode of decoration (pl. 42 9, l, pl. 43 b, ad). Modeling is rather infrequent and of a poor quality. Four animal forms of rather crude make are represented. Three of these are evidently llamas, the best of which is shown in plate 48 g. One is a bird figure, hollow with a round hole in the dorsal surface (pl. 48 f), and striped with four colors—red, pink, yellow, and white pigment placed in horizontal incisions. The ware is an unpolished black. Three human figurines clearly indicate the type for the period. They vary considerably in size, but are all of the same white color with black line patterns. The headdress is large and square, with a pattern of geometric black lines across the front. The arms are spread, palm outward in each case, and in the two larger figures (pl. 49 a, b) the top of the head is perforated by three holes. In the smallest, only two holes are visible. The genitals are not emphasized in this type, nor are ear plugs definitely shown although they are suggested. The largest figurine is not recorded as from any grave, but is from site T. It is shown here not only on account of its stylistic affinity to the period, but also because it was definitely in the kitchen midden strata. Of it Dr. Uhle says: ‘6327. Figure of clay~.... bedded horizontally under strata of the Chaneay period at T.’’ Under ““Toys,’’ Reiss and Stiibel'® show in figures 1, 3, 4, 7, 10, and 14, the same type of figurine. From the outspread hands, figure 3, also, would seem to be of this type, but the rounded headdress and the impression of the hands on the breast clearly show the influence of the earlier Middle Ancon II style. The transitional nature of this piece is so remarkable that I have reproduced a sketch of it (fig. 1). Figures 4 and 7 are crude, but appear to affiliate with the Late Ancon II style, the former from the position of the arms and perforated headdress, the latter from the general configuration of the body as well as the square headdress. The position of the arms in figure 7, however, although 1011, pl. 91. 142 University of California Publications in Am. Arch. and Ethn. [Vol. 21 perhaps due to the pack, strongly suggests the influence of the preced- ing period. Figure 10 is of the dull black ware mentioned above in regard to the bird figures (pl 43 f). The outspread arms and incised line around the waist are usual in this type, but the peaked ‘‘dunce- cap’’ is unique. Considered as a group, these figurines are very similar in their essentials, and when compared to those from other periods are an important aid in classification. Fig. 1. Figurine, transitional in type between Middle Ancon II and Late Ancon II. From Reiss and Stiibel, The Necropolis of Ancon, ul, pl. 91, fig. 3. The shapes assumed by the Late Ancon II ware are not highly variable ; like the color and design, they run very much to uniformity. Double handles are commonly used, and as a rule are placed high on the body or neck of the vessel. Handles with the plane of their open- ing vertical to the plane of the vessel’s mouth are twice as numerous as those with handles, the openings of which are planed horizontally (pl. 42 a, b, c, h, 7, 7). The broad or ‘‘ribbon’’ handle is much more frequent in this than in earlier periods, a trait common to most of the later periods on the coast and to the style of the Incas as well. These general characteristics are shown by plates 42 and 43, but the last 1925] Strong: The Uhle Pottery Collections from Ancon 143 characteristic is difficult to observe because only the edges of the handles are visible in the photographs. Large jugs with constricted necks and short, bulging or ‘‘swollen”’ mouths are frequent in this period. The fact is significant that, of all the vessels in the four periods, 19 per cent of Late Ancon II, and 19 per cent of Late Ancon I, but only 4.3 per cent of both Middle Anecon periods, are vessels of this style. The color is usually white, and the design composed of black lines. In three of these the central animal appears to be a cat (figs. 8, 9, 10), in one there are four heads arranged like the spokes of a wheel (fig. 7), and one has an obscure central figure. In all cases there is an outer double rim to the ear plug. Cooking pots without handles but with one or two knobs on each -side of their widest circumference are found in eight graves, and are peculiar to this period. The base is slightly flattened, rounding out to a wide body cut off sharply at the equator and sloping inward and up to the neck. At this sharp line on each side is a pointed knob, or sometimes two, one above the other, but always in proximity to the sharp line of greatest circumference (pl. 45 m, n). An example of this type (pl. 45 0) in grave T 11 has another sharp line above that of the widest circumference, giving the neck a swollen appearance. On this upper line is placed the characteristic knob. One vessel (45661) is unique so far as the present collection is concerned. The body is round in outline, but the sides are flat. There are two vertical 15 11, pl. 70, figs. 6-10. 148 University of California Publications in Am. Arch. and Ethn. [Vol. 21 handles, one on each side of the body, and the decoration is formed by raised curvilinear lines (pl. 45 7). An example of this sort of vessel appears in Reiss and Stiibel.1®° Of interest with respect to 4-5661 is the modeled face on the neck: this has rounded ear plugs similar to the pottery ones last described. Another type of vessel worth noting is the model of a double-spout jug (pl. 45 n) with a ribbon-like con- nection between the two spouts. This is significant as the latest appearance of the type, which is found most commonly in the Middle Ancon I period. Middle Ancon IT design is of two main types, either the relief work described in the foregoing paragraphs, or a combination of black and white lines on a red background. Of this last type there are two sub- divisions; the most common being alternate straight and wavy white lines, very occasionally in the shape of birds or curved designs (pl. 44 0, d, n, p, 7); and the other subdivision apparently a descendant of the Tiahuanaco style, or, as Dr. Uhle terms it, Northern Epigonal. Here, instead of wavy lines, mass effect is used—black, white, and dark red being laid on the lighter red slip in thick geo- metric patterns; varicolored angles, triangles, and squares done in a massive way predominate. The surface is usually marked off into geo- metric areas of different colors and dimensions (pl. 44k, n,0,q). The two types blend in occasional pieces (pl. 44 j, 1, r), and both are found in the same graves (T 1, for example), so there seems to be no ques- tion as to their homogeneity in time. One specimen (pl. 44 m) is an interesting forerunner of the later Ancon I type, having a black rim, vertical red and white lines segmenting the outer bowl area, within which segments are black line designs suggesting hieroglyphs. The interpretation of these two main tendencies in design will be discussed later. MIDDLE ANCON I This period is interesting for two reasons. First, its pottery is decidedly local in nature, affiliating closely with the types which pre- cede and follow it. Secondly, along with this local nature, external cultural influences are clearly shown. This rather paradoxical con- dition of affairs will be discussed more fully in the conclusion, but merits mention here in order that the following description may be understood. One-color ware predominates, composing 62 per cent of all color combinations. Of this, 50 per cent is red ware, and 47 per cent 16 111, pl. 98, fig. 1. 1925] Strong: The Uhle Pottery Collections from Ancon 149 is highly polished. Considering that this is the period numerically best represented, and that there are a wide variety of types in it, we realize how characteristic this one-color (red) polished ware is. About one-half of it is decorated by simple incisions. While in a few graves this red pottery is found alone, it is usually associated with other types, a fact suggesting blending of local and foreign styles and a point which again must be discussed later. That this basic type is, as far as I am able to ascertain, definitely local, gives strong grounds for a belief in the contemporaneity of the graves in which it is found. About 25 per cent of the pottery of this period is two color, red and black; or three color, black and white on a red slip. Only 3 per cent of the vessels are four color (black, white, pale red, and dark red) and five color (black, white, dark red, purple, and blue or gray). ‘‘Bucchero’’ ware is represented by about 5 per cent, and white or light buff makes up an equal percentage. Both of these latter types are much more characteristic of later times. The shapes are quite variable. Oval jugs with round necks about two inches in height and without any flare appear to be most char- acteristic. The absence of handles is strikingly noticeable in this period, only 26 out of the 120 vessels having handles of any sort, and of these 3 are double-spout jars peculiar to this period (pl. 47 b, d, g), and 3 others are tubular-handled pitchers also peculiar to this time (pl. 46 e, h). In Middle Ancon II, on 84 vessels there are 40 handles and neither of these special types. The oval jugs are without handles (pl. 47 m, n, 0), and a good many are characterized by having a raised collar with incised angular decorations at the base of the neck. There are several jugs of similar shape with spouts constricted (that is, smaller at the mouth than at the base of the neck), which have pitcher handles (pl. 46 e, h). Of these three have the tubular handles men- tioned. Large open-mouthed bowls with small handles parallel to the plane of the vessel’s mouth are of frequent occurrence (pl. 47 j, k 1), but there are a few with vertical handles. The former out- number the latter twelve to three. Parallel handles on the whole occur more frequently than vertical handles in this period, although this characteristic is not so striking as the lack of any handle seems to be. Open bowls are not very common in this period; when they do occur they are usually flat bottomed, although a few round bottomed specimens of this type are also present (pl. 47 a). The definite base occurs neither in this nor the succeeding period. These bowls are 150 University of California Publications in Am. Arch. and Ethn. [Vol. 21 usually one-color red ware, very thick and highly polished (pl. 47 f, /). Occasionally they are decorated by a simple double-line incision on the exterior (pl. 47 a), while a smaller number have simple red and black decoration on the interior (pl. 47 7). A thick, high-polished type of pottery is used in all these and is significant in relation to the one complete bowl from the Early Ancon period. This specimen resembles the Middle Ancon specimens in color, shape, thickness, and technique. Two vessels from grave P 26 seem somewhat out of place here in respect to shape (pl. 47 c). These are characterized by a swollen or enlarged mouth about two inches tall, connected with the upper part by two vertical flat handles. The rest of the body is oval, being largest at the base. The decoration suggests the following period to some degree, while the shapes definitely resemble those (pl. 42 h, 7) in Late Ancon II. Evidently this shape in the later styles finds its prototype in this period. That these vessels are forerunners in style and shape to the later types, however, is evident.!7 Two double-spouted jars connected by a broad horizontal handle are unique at Ancon for this,period (pl. 470, d). These, with a tall wide-mouthed jar of polished red partially smoked (pl. 46 /), suggest early southern influence, although the former type is quite commonly found even in the later periods farther north, around Trujillo. Two vertical-sided, round-bottomed vessels with walls about 114 inches high are interesting, and are characteristic of this time at Ancon (pl. 46 m). One of these is characteristically decorated with incisions, the other plain and reminiscent of a somewhat later Ica type.'*. Two small bowls of polished red in P 24 (pl. 47 a) suggest the foregoing type, but their sides are rounder. Three pottery figurines are from Middle Ancon I graves. One is ‘‘buechero’’ black (pl. 49 7), and the other two are red (pl. 49 m, j). All three are crudely modeled, the eyes of the black specimen being raised and oval in outline. This characteristic applies also to one of the red figurines, which is distinctive in having a sharp projecting 17 Reiss and Stiibel, 111, pl. 94, fig. 3, show a vessel of almost identical type in shape, decoration (use of large conventionalized birds), and color. The fact that this piece is polished red with a black design in a similar manner to the two P 26 vessels, seems to indicate that shapes of this sort are not common in red, white, and black polished pottery. The Late Ancon II type of vessels never has these color combinations, so the early origin of this style of vessel seems certain. 18 Reiss and Stiibel, 1m, pl. 96, figs. 4 and 6, show two pieces almost identical in form. While the Uhle pieces are polished, incised red, the two pieces shown by Reiss and Stiibel are red, black, and buff. The decoration is of the ‘‘Tiahuanaco’’ style, and shows the interrelation of local and foreign style so common at Ancon in this period. These vessels are also similar to Middle Ica I pieces—ef. pl. 31, fig. 6, this volume. 1925] Strong: The Uhle Pottery Collections from Ancon 151 Fig. 2. Cat and monster design from Middle Ancon I vessel P 26-6196. Incised area (indicated by stippling), with relief (white). NAKA S reo SS) AG Aye ag \\ NS TMM A 4 aw aa OLEATE M OLEH eae PSR TW el) Fig. 3. Bird and monster design from Middle Ancon I vessel P 17-6035. Dark red (white), light red (hatching left to right), gray blue (hatching right to left), white (stippling), purple (cross-hatehing), black (black). (Pl. 46f). & ie is BS Bos bos a uN ss 5 c=’ \\\ \ At possos 1a : ar 2 WAY! Sy B gs Fig. 4. Monster design from Middle Ancon I vessel P 20-6141. Red (white), white (stippling), black (black), gray (hatching), purple (cross- hatching). (Pl. 46 c.) 152 University of California Publications in Am, Arch. and Ethn. [Vol. 21 nose. All have the arms crossed on the breast, the fingers being represented by incisions. The legs in both red specimens are suggested by a depression in the middle of the basal portion. The heads are rounded, with no notable headdresses or ear plugs. Reiss and Stiibel (pl. 91, fig. 9) show a gray, apparently well-polished figurine, almost identical. The characteristic differences distinguishing these figurines from those of other periods are clearly shown in plate 49. Several modeled vessels appear, usually of human beings; one pot in the form of a bird is an exception. The decoration of this piece strongly suggests the influence of the Tiahuanaco style (pl. 46 0). Simple incising, on a red highly polished ware, is the most typical form of decoration in Middle Ancon I. This type of decoration is not found in any of the later periods but is highly characteristic of the Early Ancon style. The designs are simple, usually linear and geometric in form. Text figure 6 shows the type clearly, and with the addition of plate 46 p, plate 47 a, b, e; 7, l, m, n, 0, should eliminate the need of further description. Vessels of this style are found in nearly every Middle Ancon I grave. Besides these there are the more colorful vessels suggesting the early style of Tiahuanaco (figs. 2, 3, 4) both in shape and decoration. The use of red, black, and blue (or gray) colors, and the snout-nosed monster, conventionalized condor, and ‘‘three fingered hand’’ motifs are all Tiahuanaco. Vessels in this style are found more commonly in some graves than in others but are not isolated in separate graves (pl. 46 a, c, f, g, n, 0). One piece (pl. 46 ¢ and fig. 4) suggests the Proto-Nazca of the south in its mythical monster and circle motifs, as well as the color combination of purple and gray. One true ‘‘buechero’’ piece, elaborately modeled and incised (pl. 46 7), seems to suggest the influence of the Chimu style to the north. | EARLY ANCON The pottery designated as Early Ancon all came from outside the Necropolis proper, at site D. It consists in the main of potsherds and similar remnants dug up from the artificial deposit of an old settle- ment, not complete pots from graves as for other periods. The potsherds vary from polished black to red, and are often unslipped; in one case (4-6347) two colors, polished red and brown, are found. Well-polished black ware is most common, although this often tinges to a dull smooth red or brown. The decoration consists 1925] Strong: The Uhle Pottery Collections from Ancon 153 almost entirely of incised patterns, curvilinear and rectilinear in shape. Figure 7 shows the most typical designs. A comparison of figures 6 and 7 will show the great similarity in motif and type of incision between this, the Early Ancon ware, and that of the succeed- ing Middle Ancon I. The fact that the bulk of the ware in both periods is incised, while in later periods it is replaced by painting, is significant as to the relative age. There is one complete Early =. «eA TUTUNETI CI Fig. 5. Figurine head, body, and two spindle whorls: Early Ancon. a, D—6341, front and side view of head (pl. 48 g) ; b, D-6342, front view of body (pl. 48 g) ; c, d, D-6343, clay spindle whorls. Ancon bowl (pl. 48 f) of thick polished red ware, about 80 mm. at the base. This bowl closely resembles some of the Middle Ancon I vessels (pl. 47 f), but like all the Early Ancon pottery is slightly thicker. The black ware of Early Ancon averages 5 mm. in thickness, and this is about the thickness of the average Middle Ancon I incised ware. 154 University of California Publications in Am. Arch. and Ethn. [Vol. 21 All the sherds are rather small in size, but several flat-bottomed vessels with rounded walls are suggested (pl. 47 b, h, 7). There are also fragments of heavy round bowls, with no rim whatever at the neck. The walls are thick, and in two out of the four cases there are incisions within the bowl. In one of these cases there are incisions also on the outside (pl. 48 a). Four large sherds of heavy flat-bottomed bowls are decorated by vertical incised lines (pl. 47 h). Three of these are black, with walls exactly 1 em. through at the base; one is red, somewhat thinner, 60 mm. at the base. None of the sherds show any indication of a definite lip, and while in three cases color is sparsely used, nearly all the decoration is of incised work, and the illustrations (pl. 48 and fig. 7) clearly show the nature of the designs. Under number 6342, Dr. Uhle lists “‘five heads of figures of clay’’ but of these only two are at hand (pl. 48 7). They are both badly weathered and have lost their clean-cut characteristics. One, how- ever, rather strongly suggests certain.archaic figures from Mexico more than it does any Peruvian type I am familiar with (pl. 48 g and fig. 5 a). The other is more worn but of the same type (pl. 48 gq). With these two heads (4-6341) is apparently the body of one of them (4-6342). It is of the same rough, unpolished, brown clay, much eroded, but still showing its original shape. The toes are indicated by incisions, and it would seem that the hands also are indicated on the breast. While its association with the heads is not absolutely assured, it seems probable, adding an unusually interesting type of very early figurine to the series of Ancon types already described. Two black pottery spindle whorls are also unique in the Ancon collee- tion. They are cylindrical and cubical, respectively, and decorated with incised curves and cireles (fig. 5 c,d). Another piece of polished black ware, somewhat suggests the back and dorsal fin of a fish, on each side of which are four parallel horizontal incisions filled with white, pink, and yellow pigments. The high polish of the black ware is characteristic of Early Ancon, but the coloring is not typical (pl. 48 ¢). A bird figure, perhaps a whistle, in Later Ancon II, is a rather close analogue (pl. 43 f), being of black ware, and having vertical and horizontal incisions filled with similar pink, red, yellow, and white pigments. While the form and pigment-filled grooves of this piece closely resemble the Early Ancon sherd, its crude and unpolished blackware does not. 1925] Strong: The Uhle Pottery Collections from Ancon 155 Two stone implements found with this type of pottery are worthy of notice here. One is a four-pointed stone club-head, with a central hole about 4m. in diameter. The axes of the four points are, respec- tively, 11 em. by 10 em. It seems to be an interesting forerunner of the copper or bronze club-heads of similar shape, and if the fact that Dr. Uhle records no metal from this site be significant, and not due to the smallness of the collection, the piece may point out the deri- vation of that very widely used weapon (pl. 48 c). The other stone Fig. 6. Incised designs from Middle Ancon I vessels. a, P 26-6197, dark red; b, P 5-5939, erude unpolished red; c, P 24-6167, polished red; d, P 24-6168, dark red; e, P 8-5971, red; f, P 24-6166, polished red. implement Dr. Uhle calls a mortar. It is of the same gray stone as the club-head, and has a flat, round base, definitely cut walls, and rounded interior. The exterior is definitely shaped, and the walls 3 em. above the base are about 2 em. thick. 156 University of California Publications in Am. Arch. and Ethn. [Vol. 21 The only other material objects found in provenience with the Early Ancon ware are a piece of deer antler (pl. 48 d), a fragment of an ordinary bone awl, and a net-like basket. Dr. Uhle shows some of this material in his published account.'® Several of the pieces in his figure 3 are not in the University collections at the present time. | m k Fig. 7. Incised designs from Early Ancon potsherds (pl. 48a). a, D-6345, red and brown, head in relief; b, D-6344, dark red; c, D-6351, black; d, D—6344, black; e, D-6347, black; f, g, D-6344, black; h, D-6347, dark red and brown; i, D-6344, dark brown; j, D-6349, brown; k, 1, D-6346, black; m, D—-6351, black. 19 Op. cit., figs. 3, 4, pl. 1, fig. 2. 1925] Strong: The Uhle Pottery Collections from Ancon 157 SUMMARY The following summary shows in chronological order the salient characteristics of all five periods distinguished at Ancon. Early Ancon 1. Character of ware. Highly polished. Red ware thick. Black ware thinner. 2. Color. Mostly one color, black to red in shade. (Small amount of two color.) 3. Decoration. Incised rectilinear and curvilinear patterns. (Small amount of painting. ) 4. Shapes. Flat bottomed. No definite lip. Round sides. 5. Handles and spouts. None indicated on sherds. 6. Figurines. No arms or legs shown. Body coniform, tapering from shoulders to feet. Head with holes for eyes. Peaked headdresses with vertical grooves. No paint. Middle Ancon I 1. Character of ware. Highly polished. Red ware very thick. 2. Color. Mostly one color, red, 62 per cent. Two and three color, 25 per cent, four and five color, 3 per cent, representing foreign styles. 3. Decoration. Geometric incisions. Painted polychrome design. Modeled work. 4. Shapes. Flat bottom most frequent. Definite lip. Forms variable. 5. Handles and spouts. Handles not common. Spouts usually smaller at open- ing than base. 6. Figurines. Solid red or black. No design. Arms on breast. Legs made by groove at bottom. Crude. Middle Ancon II 1. Character of ware. Rough. Designs crude. 2. Color. One color, red, 44 per cent; two and three color, 30 per cent, and four color, 11 per cent. 3. Decoration. Painting of two types, wavy white designs and square Epigonal designs. Also relief work. 4. Shapes. Round bottom most frequent. Round jugs with handles common. Forms variable. 5. Handles and spouts. Handles common, usually vertical. Spouts usually wider at opening than base. 6. Figurines. Painted designs. Arms usually on breast. Headdress crescentic. Noses aquiline. 158 University of California Publications in Am, Arch. and Ethn. [Vol. 21 Late Ancon I 1. Character of ware. Fairly well made. Designs geometric, but exact. 2. Color. One and two color, black and white, 38 per cent. Three color, black, white, and red, 50 per cent. 3. Decoration. Painting, red and black linear designs on white. 4. Shapes. Flat bottom. Definite base on bowls. Very heavy ‘‘stirrup handle’’ unique. 5. Handles and spouts. Vertical handles high on neck. Spouts wider at open- ing than base. 6. Figurines. (None associated with pottery of this type in the present collec- tion.) Late Ancon II 1. Character of ware. Fairly well made. Designs geometric, but often crude. bo Color. One color, white, 37 per cent. Two color, white and black, 35 per cent, most striking. 3. Decoration. Painting, black linear designs on white slip. 4. Shapes. Round or oval bodies. Round bottoms most frequent. Definite base on bowls. Handles and spouts. Vertical handles high on neck. Spouts often ‘‘flaring’’ at mouth. oO 6. Figurines. Painted design. Arms spread, palms open. Headdress square and perforated. In the next section of this paper I present the more detailed table on which the foregoing summary is based. This table 1 (p. 160) shows the main characteristics of all the Ancon pottery in the Uhle collection, and the number of times these occur in each period. The reliability of the differences, and the correlations between the four periods, are brought out. by statistical treatment, and strongly verify the relative sequence of the four types of pottery within the Necropolis proper. 1925] Strong: The Uhle Pottery Collections from Ancon 159 STATISTICAL TREATMENT OF THE DATA In table 1, following, is given a division of the collection of Ancon pottery into four periods—Middle Ancon IJ, Middle Ancon II, Late Ancon I, and Late Ancon I]—established on the basis of color, design, shape, and other features already discussed. The Early Ancon period is necessarily omitted from this statistical treatment due to the small amount and fragmentary nature of its pottery. In this table are distributed, under each period, according to the frequency of their occurrence, forty significant traits descriptive of this pottery. The actual number of pieces illustrating each trait is given and the per- centage that this number is of the total number of pieces in the period. For example, in the Middle Ancon I period occur three pieces of unslipped pottery, these pieces being 2.5 per cent of the total 120 pieces in this period. In order to show, if possible, the adequacy of the division and distribution of traits in table 1, correlations between the number of pieces of pottery illustrating each trait were found for all periods taken in pairs (table 1). Two of these correlations are high, relative to the other four. The two high correlations are that between Middle Anecon I and Middle Ancon II (r= .612 + .067) and that between Late Ancon I and Late Ancon II (r= .587 + .070). These correla- tions show that there is a significant likeness between the relative frequencies of traits in the Middle Ancon I and the Middle Ancon II periods and between the relative frequencies of traits in the Late Ancon I and Late Ancon II periods. The low correlations are those between Middle Ancon I and Late Ancon I (r==.148 + .105), between Middle Ancon I and Late Ancon II (r==.291 + .098), between Middle Ancon II and Late Ancon I (r—.324 + .096), and between Middle Ancon II and Late Ancon II (r=.271 + .099). It may be argued that the two high correlations are spurious inasmuch as they might be due to close relationship in frequency of occurrence between a few very common traits and a few very rare traits. The low correlations disprove this, however, since the factor of close relationship between very common and very rare traits, if it existed, would affect all the correlations, tending to make them equal. Nor does the significance of the two high correlations depend on a very close likeness in frequency of occurrence between a few traits, the other traits not having any significant relationship in this respect. 160 * University of California Publications in Am, Arch. and Ethn. [Vol. 21 TABLE I ACTUAL AND PERCENTAGE DISTRIBUTION OF ALL SIGNIFICANT TRAITS—BY PERIODS Middle Middle Late Late AnconI | AnconII | AnconI | Ancon II n=120 n=84 n=16 n=43 no,| % |no.| % |no.| % | no.) % 1. Unslipped pottery. SO tiee.5) “bal 6 1 6 2 5 2. Pottery of one color. 74 | 62 37 | 44 3 | 19 161\ 2387 3. Pottery of two colors....... 14 | 12 15 | 18 3 | 19 15 | 35 4. Pottery of three colors. 16 | 13 10 | 12 8 | 50 4 9 5. Pottery of four colors... eg dpe eet” eH he 0; 0 0 0 6. Pottery of five colors....... ee ee Oa 0; 0 0 0 7. Black (‘‘buechero’’) ware. 6| 5 0; 0 1 6 3 Fi 8. Black (‘‘bucchero’’) ware, design in relief.. 2 ya Ont) <0 0} © 0 0 9. Black (‘‘bucchero”’) ware, design incised 1.7) 01. 0 O10 0 0 10. Plain red ware, unpolished...............00.0..0000.. 3 13] 15.4) 2 42.6 3 if 11. Plain red ware, polished......... 47 9] 11 pa es ba 3 4 9 12, Plain red ware, incised design..... 22 01 0 oO} oO 0 0 13. Plain red ware, design im relief........c.c.csccssssseescsseesesessersrsserne 2.5 5 6 {vd etal 0 0 14. Red ground color, one added color, design in relief......| 0} 0 1 1.4] 0] 0 0 0 15. Red ground color, black and white design.... taxa, ee OR eae 3} 19 2 5 16. Red ground color, black, white, and dark nd, denn P| eee Sol a3 14 | 17 0510 0 0 17. White (or light buff) ground COlOM.........ccccccccsesseeseeeeeeeeeeees 6 6 5 | 6 7 | 44 21) 49 18. White ground color, design in relief 38 |) 2565)" B16 Oo) 8 0 0 19. White ground color, black design 0; 0 1a 116 13 | 30 20. White ground color, black and red design 0| 0 0|] 0 6 | 37 0 0 21. Vessels with plane of handle parallel to rim 12 | 10 sh 4: 1 6 if 16 22. Vessels with plane of handle vertical to rim 7 6 31 | 37 7 | 44 14 32 23. Vessels with neck swollen, mouth smaller 3: 255. a C10 4 9 24. Vessels with mouth swollen alee 1.7 21 2B seraeae 8] 19 25. Vessels without handle, spout constricted we opening..| 31 | 26 v| 8 0| 0 0 0 26. Vessels without handle, raised incised collars 14 | 12 0; 0 0} 0 0 0 27. Vessels with two spouts connected 2) Bisa 0; 0 0 0 28. Vessels with spout forming loop 0; 0 0; 6 ! 6 4 2 29. Plain bowl, round bottom 8) 2b aa ee 3 | 19 3 7 30. Plain bowl, flat bottom........... 20 | 17 22 2) 12.5 0 0 31. Plain bowl, definite base 0; 0 0; 0 2712.5 2 5 32. Barrel-shaped vessel—no flare at mouth.... AS a Ss s | 4 0| 0 0 0 33. Tumbler-shaped vessel, straight sides, wide mouth......| 0| 0 3| 4 Lie 6 3 7 34. Vessel with one vertical round handle, pointed spout..| 3 | 2.5] 0} 0 0; 0 0 0 35. Vessel with one vertical flat handle, pointed spout........ 1 8) 6) 7 6.1 0 0 36. Vessel with flaring spout (no neck swelling).. 4) 3 3] 4 3 | 19 6| 14 37. Clay figurine, animal form 2.5 1 a4) 8 0} 0 2 5 38. Clay figurine, human form... 0 1 1 0} 0 4 9 39. Use of white design..... 9 32 | 38 3 | 19 3 7 40. Use of wavy white line for dea 22 12 | 14 O8 2 5 TABLE II INTERCORRELATIONS BY PERIODS OF THE FREQUENCY OF OCCURRENCE OF Forty SIGNIFICANT TRAITS LISTED IN TABLE I* M.A. II SOLAS L.A. II M.A. I .612+.. 067 . 143+. 105 . 291+ .098 M.A. II . 324+ . 096 .2¢71+.099 LAr . 587+ .070 *The foregoing correlation coefficients are Pearson r’s + P.E.’s. The variables are the actual number of examples of each significant trait found—not the per cent of occurrence. 1925] TABLE III Strong: The Uhle Pottery Collections from Ancon 161 RELIABILITIES OF DIFFERENCES BETWEEN’ PER CENTS OF OCCURRENCE OF FORTY SIGNIFICANT TRAITS IN MippLE ANcon I, MippLE Ancon II, AND LATE Ancon II ONIAATR WH 26. 27. Middle Ancon I-Middle Ancon II Middle Ancon II-Late Ancon II Chances Chances Diff that Diff. that be- differ- be- differ- tween Diff. ence | tween Diff. ence Traits % of | o Diff. \——| is not | % of | o Diff. |\——— is not occur- o Diff. | signifi- | occur- o Diff. | signifi- rence cant— | rence cant— 1 out of: 1 out of: . Unslipped pottery.......ccccce S85 | 2.987 1.184 8 1 4.214 PEys 24 . Pottery of one color. 18 6.998 2.576 200 7 9.140 . 766 4 . Pottery of two colors... 6 5.135 1.168 8 17 8.395 2.925 50 . Pottery of three colors... vf 4.690 213 23 3 5.623 534 3 . Pottery of four colors 9.3 | 3.612 | 2.575 200 il 3.414 | 3.222 | 5000 . Pottery of five colors BLaaete 1.7] 1.189] 1.441 13 0* . Black (“‘bucchero’’) ware.......... 5 1.989 | 2.514 160 7 3.891 | 1.799 30 . Black (‘‘bucchero’’) ware, de- sign in relief. bas 17 1.180 1,441 13 0* . Black (‘‘bucchero’’) ware, d RAS TICIS OU a5 ca-sccisvissecocsscneresess A Gali SOl 1 44 13 0* . Plain red ware, unpolished...... 12.4 4.235 2.928 500 8.4 5.536 1.518 16 . Plain red ware, polished............ 36 5.693 6.324 | 10000+ yy 5.296 .378 3 . Plain red ware, incised design.| 22 3.782 | 5.817 | 10000+ 0* . Plain red ware, design in relief 3.5 2.957 1.184 8 6 2.591 2.316 100 . Red ground color, one added color, design in relief.............. 1.4 1.201 1.166 8 1.4 1.201 1.166 8 . Red ground color, black and white design Reta ocr 8.5 3.699 2.296 100 6 4.765 1.259 10 . Red ground color, black, white, and dark red design..| 14 4.384 | 3.193 | 10000 17 4.099 | 4.147 | 10000+ . White (or light buff) ground : PEP RRRS are caravtoahe tigi tescesces rusthases 1 3.267 .306 23 43 8.052 5.340 | 10000+- White ground color, design in TGGLINS ©, aibl ik Ry einer aes 3.5 2.957 1.184 8 6 2.591 2.316 100 White ground color, black de- BUSTA eeerries et sev cast ce cstesdacdiioscacunrv it 1.086 . 921 6 29 7.072 4.101 | 10000+ . White ground color, black and red design............. 0* 0* . Vessels with plane of handle parallel to Tim. .:...66cc. Sy ae Numerals» altitudes in metres a c+ 4 tg a Ps + Sh wi ung, att that oat Mn, 2 I, - F satiny ian, " sta apy, iy" ary ities “a > Zsh Z : ue oe * z % > S. % AM sun, nw % 28%, grains 43 ; a ie ing nity eeu 4 age 4 4 3 = nt, Fanos = oth a ie, a sis a 3 Zn Ua my 2 TN ie, i = a tai "natin MN a Sk i? RS & ” ~ yee iS 7% Ss Py * A Hun® uae — + 2 S ? ig ==5 2 AY yi" = y =; iy ka Somes = ° x ~ = i — x S = N x SAN f1\ SS 4 M)\ iw : / %, | sulin UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [STRONG] PLATE 42 LATE ANCON II UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [STRONG] PLATE 43 LATE ANCON II LATE ANCON I UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [STRONG] PLATE 44 MIDDLE ANCON II UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [STRONG] PLATE 45 MIDDLE ANCON II UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [STRONG] PLATE 46 MIDDLE ANCON I - a UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [STRONG] PLATE 47 MIDDLE ANCON I UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [STRONG] PLATE 48 @- 86 Q@a @ > 7 Bawe. Bee. EARLY ANCON UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [STRONG] PLATE 49 LATE ANOCON II MIDDLE ANCON II MIDDLE ANCON I ii 3 3125 015 eer / SS P baat ‘Blements « of on eae Fanane. i A. L. Kroeber ‘and D hias - A arrington,”° Pp. 177-198. April TOM nance a ade i ‘by. Pitay Sanaed sa agri ie ‘1e9- 277. ou F915 ee LOD a 10 ‘ 05 be zs n or "297398. Sich AIG Ee Ee ko) we es ere Ch Mutsen Dialect of Costanoan Based on. the Vocabulary of De la Cuesta, b a. fla Mason, Sekt S8872. ets asa ere ee tO 1-2 ratios 1918 . PU eS RIES A Se COLE AS BN oh RIN oe SOS oh nats Rader 30 ae Be jalitornia mo Names: of Indian (Origin, wy, A. t. Kroeber, ‘Pp. $1 69, % A pesaires June, 1916... pet pee iee | OR ce ‘Dialects, by A. Ls. Kroeber,” ‘Pp. 71-138. “Tune, 1916 2c. PMID 28 4 Mivok “Moieties, by Edward. Winslow Gifford. “Pp. 139-194. June, 1916. 5 +0 Plotting the. Inflections of ‘the: Voice, by Cornelius B. Bradley. . Soha it, ees lates, 1-5. ~ October, 1916 ... ‘ Re RD fibatulabal and ‘Kawatisu ‘Pp, 219-248. ‘February,, 1917. (480 | Ba ’ Bandelier’s. Contribution to the sway of ( Ancient Mexican Social raiiea” SRE BI BAe, CEE tion, ‘py T. T. Waterman. Pp. 219-282. ‘February, 1917 ie Pn el a een Miwok- Myths, y ‘Edward Winslow: Gifford, Pp. 283-338, plate. 6. May, 55 rhe LCE EA GPP y: +56 Ms. eet es aptacntesenececresnetenes seeeenstecesanee 19) Aah Pas aes SAC a ALE RE VN OSS 448-466, plate 7. uly, 1 ei? oy : < ie ‘an in the re Stock, oe B. gop Sp 134, “Tay, a S22 ‘ lool 4 . paar ust ve Magers ie ces a a oshdnsentasnapevsetrestntnoneieeensnsnnbeanastterneotin eae 35-102, plates 1-20; “February, Ser hunt A chery y, Saxton T. Pope,’ See Tbs ine plates 21-37, March, 1918: 18 erms of Relationship, by Edward Sapir. “Pp. 153-173. March, 1918.25. ory of Ishi, by Saxton T. Pope. Pp. 175-218, plates 88-44) Seid’ V9DO nance teenetenergemnecetpormnenncnnentnnmine ee f Northern Yana, by. Bdward Sapir. PD 215- f sof the Patwin, ‘by W. 0. MeRer. Pp. 95-258. vs wneee: sveececee hie coaptersesr: wen donmednancnniahna yee _ = Culture in ‘Native California, pe ike 4°ma} Siem ber, 1922. s January, 1918/27 ...... Ra ats giao Mc oleties in. Southem Gellverata by. Baws bi March, 1918 once genera and Archaeol gy of the Wiyot. ie Phe 221-436, plates 1-21,.15 xt ‘figures, Di 1918: by Se junias en 4972488, plates 22.23, “Genetic Relationship ‘of Ha “Pp, 489-502 - UNIVERSITY oF F CALIFORNIA PUBLIGARTONS—(@ontiniea | ‘Vol. 18, rye ‘boda Law, by B. F. Barton. | Pp, 1-186, plates 1-83. ‘February, 9 ihe &, Nabaloi Songs, by 0. R. Moss. and) A. L. Kroeber. ‘Pp.’ 187-206: May, a st tere ane iy = ater aie Law and Ritual, Bre ©. BR. Mose, ‘Pp. 207-542, Les t, Pore Gants A. 0). Rankahay Ceremonies, yO. - Kite dehy eee Ifugao. Economics, by RB. Fy Barton, Pp. 385-448, plate ' Py Sis Ber Beg tae, PP. 447-458, “VoL. 18, 1 _ oven, boca CST da Miner neta : 3 arrsis,” oi FOP ON aoe & ne (res 6. The Cahuila: Tntinns, : , 7. The Autobiography of Y, April; 1920 . Slnebiemecnaapane 6 Bais Wisp pelea SP ERM! SAR cla - hs, 48. ‘Yuman Tribes of the Lower Colorade,: by Ae L sKroeber. ee BTL Ags 1920 a nace ie antemet ith Le is PES ABI Be BO PRM LS aay Oe he eT ORG AG V7, 1. The Soutces and “Authenticity. of the History of the Ancien bebe I eo wes Raa Radin, | Pp. 1-150, 17 plates. June, 1020 i atest tent Pica) Sth Hye gt Oe (Galifornia Culture Provinces, hy A. De Kroeber ia ‘163 -169 ] Pe Seog 8 Bepbember, 1920 a oovaeenat settee af am ERI oe aod cep 8. ‘Winter and Summer Dance Seried in ears ee RAPE : “Pp. 171.216, 2 figures in text. “Aus gust, 1922) sdeatenenconsrts Pate Nha AES Bek ass GN 4 Habitat of the Pitch Tdians, a Wailakt Division, ar WT ea RON ain tay Bh Pp. 217-225; 3 figures in text. February, A924. Mie tr “.) B Nabaloi ‘Tales, by ©. R. Moss,’ Pp: 227-353. September, 1% 8. ‘The Stege Mounds at Richmond,’ ‘California, by. aaa! plates 18, 19, . pay an. texts toa? 1924 ee ‘The. Phoebe ‘Abpea ‘Hearst ‘prdinoiaad Volume, ae ‘a Canons in haath December, a Sore ; nes ; ay 2. ‘Beploretions at gun ty Max 4, J M ‘Nos, 1. and 2‘in’one cover. peepatids 1924 ou. Sie 5 9g the ‘Whle Pottery Collections from “Ica, by AL. EK tee PARC ie AS Dae, SRO gs with Three Appendices by: Max Uhl pe oe 95 40, 17 figures in text. December, 1924 es BAD EG Carta ct eg bk De ae 4, The Uhle Pottery Collections from .Ancon, by Will ‘p ah et cu acae hak in 136-190, pie 41-49, 11 ‘Agiiien ts Me Septem ’ 5 ae ae t aavesnee to THE. SHOuANGE DEPARTMENT, | ealae U8. ae e