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ARCHAEOLOGY AND BrENoLoGY—A 10) ‘Kroeber and | Robert. ads $3, Oe Naar aay eed gaunt geet oe shen 1, $4, 255, are ael thags ee peasik HAG: ae a “gotnmie' Le ‘378. pages: My Sa at Volume 2. $92 pages;,21 RE ee Volume $i. 344° pages. 1 ane agree u Volume 4, 374 pages, 10, plates, ene ee Volume 5. 384 pages, 25 ‘plates Lee oe » iu ae t bern a 6. Dink (Dages 3 spi ee bei ho A Mission Gacod: ane aa ieee Tuatha trom. anuscript » Peps Se P oannrorh Library, by A. L: ‘Kroeber. ' Pp. 1-27. May, 1908. siti NL ae ‘The Dyna - the: “Cahuilla i a by A. L. Kroeber, | ).. 69-186, lanes pts Tune, 1 th - mo Culture ot tthe Laleeso staan, by Philip Bt ‘Spar mem eabeneces tepeeenie - disse Saran oak ES f ) } 6, Canon aalaions Fealicbily Be “th : ere pe -358, aneae are vasa’ 1910 “oa Movember! 1910) i eke kt MRE CENT A as "3. The Languages of the hepa of Gaitfomia phe of San Francise Kroeber... Pp.. 273-435, and moey: : Oe “Index, pp. 487-489, | netic Constituents 6 . roeber. Pp, 142; May, 1911 2. 8 The Riapete Blements: of, the ‘Notthem Pat oe ‘Phonetic ‘Blements ‘of the ‘Mohave Language, ‘by / plates: 6-20, \ November, 1911, Are se BE The Ethnology ofthe Salinan Indians, by J Ak ‘plates 21:87. December, 1912: chs nr 5. Papago Verb Stems, by Juan Dolores, “Bp, 241-063, August, 1913 . Notes: ‘on: the Chilula Indians of Nor western ‘Palifornts, by i Goddard.’ ‘Pp. 265-288, plates 38-41," a a i bs, Onilala these by Pliny Earle Ae / 3" Index, pp. $81-885. -° . Ds Vol, i, ay Bleme ate of the Kato: Language, -45, October, 1912 0 ON 2. “Phonetic Elements of ae Dieguefio I 8. Sarsi Texts, by: ‘Pliny. Barle GC dard te een ie ay Serian, i Festeseibiate and. ‘Hoa BY te ene ¢ Dichotomous Social Organization i A al Oa is . Pp. 291-296. ¥ ry, 1916 ae ke ‘The: Delines abe be ae Die eae: in the abies Manu useripta, man.” ‘Pp. 297-898, , March, 1916 0. ormee ane nine Dialect at ‘Costenoan: Based on the Voca bulary 0 J. x Banca 1916 PF mie UHECE POTTERY COLLECTIONS FROM NAZCA BY A. H. GAYTON anp A. L. KROEBER UNIVERSITY OF CALIFORNIA BERT ts IN AaERICAN ARC! AND ETHNOLOGY Volume 24, No. 1, pp. 1-46, plates 1-21, 12 figures i in es Issued February 28, 1927 UNIVERSITY OF CALIFORNIA PRESS Ws BERKELEY, CALIFORNIA +e CAMBRIDGE UNIVERSITY PRESS LonpDON, ENGLAND FROM NAZCA : BY A. H. GAYTON anp,.A. L. KROEBER CONTENTS ; ntroduction vnc atg eat Se REA EE Os SS ROR em REE 5 ieee nee 2 Sources of the collection............ re Se Ea MN SENT Ve al lee! 3 oe So ESI OG ORR eS OME ore aA on en eee i 4 Sry. Nazca style Sp 4 eS Sia aa ge eet aT a Mk I 6 mek Differentiation of substyles rs Aa iso i oe Be) AEE TOT Bos (Shahar ee relay 2S eateR 6 é 1 Tires PLATES an ty. inde (Following page 46) Nazca style A. i Naeee style X. ae azea style Y, type 3. ; _ Ware from Nazea in style of Ica. 2 University of California Publications in Am. Arch. and Ethn. [Vol. 24 FIGURES IN TEXT. PAGE 1. Map of the region of Nazea..ic.dsic5.c4avs ne in ee 3 2. Shapes of Nazca style wares ...-i.4cievaiovet-teo, amen meten eae ee ae 5 3. Designs and motives of Nazca style ware.0%..,..900 0 oy Oe 4, Stylistic changes in execution of trophy head design...........0.0.0.0..ccce 15 5. Stylistic changes in execution of spicated ornamentation... 18 6. Abbreviation of Cat-demon design to face and head parts.......0.000.0...ccee 20 7. Stylistic changes in execution of Step-fret designs...........0:.cccccceceeeeee renee 21 8. Stylistic changes in execution of Step-block designs... eee 23 9. Stylistic degeneration of the Jagged-staff demon design.............. 000 24 10. Stylistic relation of Jagged-staff demon and flower-like designs in Nazca SEV LO. Yo iscveacuceaeestabysteacuceyranestenestpers turardags Gunes che abtentsadeiss Geepesy sone ate nc 28 11. Vessels in. Nazea styles A and Boo.o...ic. ccs cu cmcesede cde 31 12. Vessels in Nazea styles A and’ Bo.......0 00040038 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.1 Under the patronage of Mrs. Phoebe Apperson Hearst the specimens of the col- lection under consideration were obtained in the region of Nazca, Peru, during the year 1905 by Dr. Max Uhle. | The relics 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 Nazca, Proto-Nazea,?” Nasea and Pre-Nascea,* or ‘‘areaico del centro,’’* names derived from the focal point of its regional distribution.’ It is termed ‘‘Nazca’’ throughout this paper. The excellent technique and picturesque color- ing and design of Nazcan pottery have caused it to be frequently described and depicted in studies of South American antiquities,” § but 1A. L. Kroeber and William Duncan Strong, The Uhle Collections from Chincha, this series, 21:3-6, 1924. 2 Max Uhle, The Nazca ele of cet Peru, Davenport Academy of Sciences, Proceedings, 13:1-6, pls. 1-13, 1914. 3 Julio C. Tello, Los Antanas Gementerios del Valle de Nasca, Proe. Second Pan-American Scientific Congress, Washington, pp. 283-291, LOU 4 Tello, Wira-Kocha, Inca, 1:584, 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 KE. Seler, Die buntbemalten Gefasse von Nasca im siidlichen Peru dae die Hauptelemente ihrer Verzierung, Gesammelte Abhandlungen zur Amerikanischen Sprach und Alterthumskunde, 4:169-338, figs. 1-430, 1923. Walter Lehmann and Heinrich Doering, Kunstgeschiehte des Alten cae "Erlimtert durch ausgewahlte 1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 3 a comprehensive analysis of its style has seemingly never been made. It is attempted here as a step toward determining the place of Nazcan styles in Peruvian cultural chronology. SOURCES OF THE COLLECTION Unlike the material gathered by Dr. Uhle at Chincha, Ica, Chancay, Supe, and elsewhere, the Nazca 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- PAMPA DE ue Ba & Ae oy e HUAYURI © # $ i Ve Cimba og9> : a MOG ¢ (faturée “Mvayuri S Palpa A ° Coven ad Juais : ue, Chongui/lo . 5 San Javier ue io “San Jose’ de Lagenio / old DE aha, CERRO TUNGA®\S No. C o Oc R. de Sacas Cahuachi ; } (o} tunca /4nga sake, 4, Seeonfaie c = Ae 3 : agarave = area Poroma e Tarugasetug, / Be anshilta’ Copara ¢ e Cas ibe Las Trancas Ses Fig. 1. Map of the region of Nazea. mens were obtained and a rudimentary classification of portions of the collection. With the exception of thirteen 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 Kleinode, 1924. Félix Outes, La Expresién Artistica en las mas Antiguas Culturas Preincéicas, 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 Nazca and other Peruvian Pottery, Davenport Academy of Sciences, Proceedings, 13:17-46, 1914. M. d’Harcourt, La Céramique Ancienne du Pérou, 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. R. and 4 University of California Publications in Am. Arch. and Ethn. | entirely uncertain. Even the localities specified are of little signi cance since eight of the nineteen mentioned are so vague, as ‘‘ Distri 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. eS The following are the localities and the catalogue numbers | eh 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. er Tunga: 53 pieces: Nos. 8388-8439, 8442; style A 9%, X 34%, B 51%. Usaka: 10: 8444-8448, 8509, 8578-8581. Ravine of Nazea: 12: 8456-8467. Valley of Nazca: 22: 8468-8489. Cemeteries near the ancient ruins of Nazca [probably Paredones]: 14 8490-8494 (eran 1), 8495-8502 (grave 2), 8536 ab; A 7%, X 14 B 79%. ae District of Nazca: 370: 8503—08a, 8510-29, 8533, 8623-8781, 8847 9095-9103, 9157-63. Inca cemetery near Poroma: 2: 8530-31 Bae ai: Nazca: 19: 8532, 9016-31la, 9155-56. Majoro Grande: 18: 8535, 8544-60; A 6%, X 11%, B su Cacatilla: 1: 8540. Cahuachi: 3: 8542-43, 9094. Near Nazea: 17: 8561-77. Cafias: 4: 8582-85. Panes 7: 8586-92. Tiaveebes of Aree 9: 8614-29. es Soisongo: 57: 8791-8846, 9015 a-g; A, 23%, X 24%, B ee Ys ete, 2 Ocongalla: 32: 9062-93; A 81%, X 6%, B 13%. METHOD The lack of grave and definite local provenience leaves any tural or chronological interpretations of stylistic features unsupportec by extraneous proofs. Consequently the method followed in treating most of this collection is of a different order from that used | Kroeber and Strong in their treatment of other collections.’ In order to objectify as much as possible data which must necessity be subjectively derived, the analysis of style was prim 1h a quantitative one consisting of a numerical analysis of its she ape color, and design attributes. That part of the pottery collection - W. showed most fully the traits customarily recognized as charac Tr 7 This series, 21. an 1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca or of the Nazca style was segregated into 26 shape classes; or, to be more exact, 25 shape classes (A to y) and a twenty-sixth ‘‘miscellaneous”’ group (Zz). These shape classes, whose aggregate constitutes the Nazca style, comprise 563 out of 657 vessels; or, with the omission of me TSO mov H } J K : M N O m ‘ Q R S T U Vv Fig. 2. Shapes of Nazca style ware: A, round-bottom bowl; B, point-bottom ‘bowl; c, conical bowl; D, shallow bowl; £, angular bowl; F, cup bowl; 4, straight bowl; H, flaring bowl; 1, angled goblet; 3, goblet; K, double-curve goblet; L, conical goblet; M, small vase; N, cylindrical vase; 0, bulbous I vase; P, bulbous II vase; Q, lipless jar; R, wide-mouth jar; Ss, narrow-mouth jar; 1, 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: 1-0; V—Y. Ww 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 Nazca style. 6 University of California Publications in Am. Arch. and Ethn. [Vol. 24 The remaining 94 vessels are either wholly un-Nazea in style (Ica, Inea, ete.), or are only partly Nazea-like and do not belong in their shapes to the 25 shape classes of the typical Nazca style ware. These 94 vessels were consequently not included in the shape-design-color frequency analysis of the typical Nazca 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 Nazca ware from the region of Ica. The results confirmed the findings of the original analysis. : NAZCA STYLE WARE DIFFERENTIATION OF SUBSTYLES The style of Nazca 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.® Table 2 deals with traits of form and color. The range of colors used on Nazca 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; R?, red 2, shading from red-orange to a light yellow-orange; Y, yellow of light or medium intensity; Y?, yellow 2, a neutral pale yellow or cream, distinguishable from’ white 8 Works cited, p. 2. eS CU oe Se eer ee TABLE 1 SHAPE AND Dzsign FREQUENCIES 27 26 25 il 10 s[eq0.L, | T8101 solies peoy IBNZUvIL], uOUep pus poy 9}810UETOq, (pusy Uf) 4mI7 qOLIeT Burxog Spveq 9[go1d o810Ne70q, spBoy WIM souldg uomep 984s-pesser (euo[e) MOLIY TT 39019-de3g = solies peoy IeoUIAIMD pusy uedgO Bur9z1ENhH suosied eyed ul0g) sy peyxooysoyuy T?39O.L pednipeng Yooyo poyared 801998T pveyq uoWep o}8190es0q, zeH904) Bez317 «8999B,, POGObIOT S9LIO8 9087 II 303j-do4g pveq Aqdos qynoul-o}Iq wourep-38) SOLIOS PUOUIBICT soul Surddv[10AQ speoy SulyeIpey x 704 225 14 11 19 163 13 AB: AX: 74 12 14 12 147 XB XX: 83 10 ae 10 BX: 181 BB 338 18101 ((emyeu) YsLT (euOTS) FMI17 I 9933-4038 putq epednuep series peay Aydor} qyNoul-zIGM roysu0ul epedIzue_) J 70019-dexg SpItq 10730 paqsururoin Pat 1078 M guedi0s pepeoy-OM J, v :susiseqy gaouei1mo00 odsyg | ill 15 10 76 AA: XA: 28 Design occurrences..............+ Forms: 25 30 21 37 34 147 18 E Angular bowl.................... Gant Bowl eee nschaccsittice reese A Round bottom bowl....... U_ Double spout jar.............. H Filaring bowl..............00. Total: P Bulbous IT vase................ T Handled jar........ R_ Wide-mouth jar.... D Shallow bowl. B_ Point bottom bowl.......... Q. Lipless Jarsae..-.... cscs eed G Straight bowl.................... 23 35 159 22 13 12 10 30 24 30 28 47 230 111 536 S Narrow-mouth jav........... C Conical bowl...............00: Total: O Bulbous I vase.................. I Angled goblet..........00000..... M Small vase.........cccccceccce J Goblet.......... W Filaring-rim vase.............. K Double curve goble L_ Conical goblet.................... V Head and spout jar........ DRY BAG ure VAC... sese.ckse dieses *Y Peace 2088... Sh cssisonesbice N_ Cylindrical vase................ Total: Totals: Ree é ‘ ok a oi _ eae a . ee mcg a. weaGlondh BSS S-SR88R2 ete ee Pe nc a ap rn nh pny em lan a Sn Ree teem ie an a a Fe ’ 4 iy 4 A . . 3 ; ; ; j 4 ; < + , H ' FY : rm *» 9 on : vey 3 y is 4 } ‘ si : Fi : i AY ¢ a i : | : 3 . 2 F ‘tm — oat r 4 i ; : : ‘ cf B + ; : ; , 3 i y 4 : 4 iJ Py < ~ 4 Un” sag } pe ; % } E . | = : | : : 1 : 4 4 = ee & wm i — ; of q ; | | OES <6 “b 3 ~ ieee SIR Pie oy ar eo dew ¢ { | cand aplice T dlagig-gare : ape ety Az 7 ‘ se ae i = isuass ebegitcs) + wp i Pe as . , ; ee a sr < ee tat é - 8Gioe Beor edad digomentid | ; . . 1927] Gayton—Kroeber: The Uhle Pottery Collections from Nazca 7 TABLE 2 SHAPE, BACKGROUND, AND COLOR SCHEME FREQUENCIES Trait occurrences...................... Forms: A Angular bowl..........000....... OU aDO Wie te ee Round-bottom bow/l........ Double-spout jar.............. PelaviNG DOW! s25c. 400. tr Ct bP} be Totals: 147 xX Straight bow] )c.5.ss.....:. Point-bottom bow/l.......... Lage) CetSfcol Es ee me Wide-mouth jar................ Bulbous IT vase................ Shallow bowl..)...........00..... Handled jar............... eae Narrow-mouth jav............ Conical bowls... QRHAyWTZOWO Totals: 159 Head and spout jar........ pp Veg Nh ofetnig2 kc]: ee Conical goblet............0.0..... Flaring rim vase.............. Zoe Sa AE pte Totals: 230 Double curve goblet....... Angled goblet......0.0.000000... ; 10 ere ee ie ® oO i) o 5 5 oO oO ° a a] o) mH 362 B51 5 30 | 16 21 7 Sree. 34 | 18 68 Bais 18 Teah) iad 12, <8 13 | 8 36 | 29 nl ee: Real a7 3a) 29 oe ey 116 ee iain 8 beau 10 Tun. 6 10 | 10 oa oe 30 | 25 O21 30 | 28 7 Nat ees 47 | 34 178 80 20 one bwo wore 20 56 26 $222 9 4 4 2 9. 92 31 8 6 Ta: 2 3 61 1 1 3 Ls Sea 5.5 2 1 2 1 1 ie Oy 3 12-12 Background color W R B Br? y2 12 Number of colors 49 141 163 160 m bo CO bo 13 42 bo w or bo co 27 «52 bo a — — bo aOonwWwrree rd we 57 Gags q | g 3 8 = = 15 2 te ae 11 4 ed a | OF 10 set 46) 385" 6, 0 5.34 4.80 1 4 1 Bink OF Saat Soiet Ooi Zee ok Ghia Bere 15 3 51 22 4 0 4.95 4.47 oer 3.7 en) 8 oe ni 3 6 1 lian d Ses 7 . 10.9 1 $14.5 8.410) (3 10.29% "2 66100 6 2 5.89 5.23 by its yellow ingredient; G, gray, varying from blue-gray to putty ; Br, brown, always dark; Br’, 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. [Vol. 24 University of California Publications in Am. Arch. and Ethn. *~ 60 ir ie an ereiere yh Hs Ss int or» o ie oo ~ HG => HH = 20 eS i} tos | ~n Nona P os ae | Wy aw Zigzag; 21 0, White-mouth trophy head; Centipede band; Detached ‘‘flecks’’; 2 Radiating heads; Designs and motives of Nazca style ware: 1, Two-headed serpent; Hummingbird; 4, Other birds; 5, Step-block I; 6, Centipede ool ‘oo GAs, oan cs ‘Bok mn ——/ ID ad Saad —/, aes TTT =e. n Y BOs y Pee ri Y, aa ong fl cas SRF mH Ss n ona 8 A os Ooo eumeunlinaionig aca Aw BBS al a ~ oes ay" Bee . ww’ , a ek ke Hora SH eel OG en a Yj RS) esl = HE My, CN B= Gayton—Kroeber: The Uhle Pottery Collections from Nazca 1927] KAA 5 OY Wr WY | i XY XY XXX XY) YY we \ 23 : XY “ y / . Y J Y i 4 4 4 y SSSSVsg SSS SSS 2 2 Yy ili 34 =~ 2VIBH & 9 gore lo) . Ba HAS ao 8 eat op ge Os eres nin een lox Pers ae) Parrot; b 32, Arrow (alone); 33, Jagged-staff demon; Designs and motives of Nazca style ware: 2 demon head; 23, Lattice; 24, Painted Cheek; 25, Quadruped; 26 nf Degenerate profile heads; 36, Boxing; 37 Complete persons; 28, Quartering; 29, Open hand; 30, Curviliniar head hand); 39, Degenerate profile head and demon; 40, Triangular head series. 4 ° - eS S ae SARE = fe S : na S Rag S Qo S ieee ee ~ (2 re ig no & ra ial sae) iui Ro hay ey on OD ans mae 10 University of California Publications 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-ecolor: R-W-B-R2-G, less frequently R-W-—B-R2-Y; R-W-B-Y-G 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' (4-8886); R-W-B-G-Y2-Br?-F (48456); R-W-R-G—-Y-R?-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, 0, V, W, X, ¥. 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 sometimes 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 Nazca 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. 3 PERCENTAGE OCCURRENCE OF DESIGNS ON SHAPES GROUPED BY SUBSTYLES A designs X designs B designs 1-11 12-25 26-40 A shapes, ‘AJB, 8, Hj Ural eee es 47 45 eye! XM Shapes, B-DiG) Po hcd ee 19 56 25 1B shapes, 0, VY 2.41 ca ee eee 2 46 ay 1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca vad 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 A shapes eat. Wade” Osc s. <5; Raters 6 0 24 Ouee2o) cole. 26 3 0 X shapes B-D, G, P—T........... (ou 13 8 4 3 De Lieto oe. Le 2 0 B shapes | SO Ve firs 9 5 2 4 0 4 20 29 48 3 1 The difference between the A, X, and B groups is particularly evident when W and Y? are taken together as light, and R, B, and Br? as dark backgrounds: 7 Light Dark backgrounds backgrounds BRM UAL OR, hc Re Ys oan Bh iced Gist 46 54 “eS DEY ATEES Ge eal ae ee 76 24 (RS SOL RIE GPCESS, Se a en A ey ee 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-Nazca’’ ware from Ocucaje, a locality in the valley of Ica. This collection has been previously described and given a chronological placement.’ It contains 115'° whole vessels of pure Proto-Nazca style accompanied 9 Kroeber and Strong, The Uhle Pottery Collection 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-Nazcoid’’ ware, broken vessels, and a collection of sherds from Santiago in the valley of Iea. This additional material is also in the general style of Nazca, but was excluded from the present analysis because a pure series from a single locality or group of closely adjacent cemeteries was desired. 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 Nazea 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 Nazca ware; and secondly, the Ocueaje collection being from one locality as compared with the many in the Nazca 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 Rk; 3 are in two B forms, v and x; and 4 are of two local forms which were called incurved bowl and beehive bowl.11 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 gvroup 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, B, F, H, Uncen 61 35 4 10 vessels of .X shapes,:P, Rudo. eee 50 ms) Ly. 3 vessels: 68-6 shapes, ¥5 ss 2ce, ee ee eee 0 50 50 4 vessels of local shapes...........00.c cies 100 0 0 A comparison of this tabulation with the corresponding one already given for Nazca indicates that at Ocucaje, which is a restricted locality, a more secure relationship exists between A forms and A designs than in the Nazca 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. 11 The incurved bowls are nos. 4-4731, 4—4746; the beehive bowls, nos. 4-4629, 44688. 1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 13 In coloring the Ocucaje ware is like that of Nazca 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 je. SS ee en, W R Bee Br ’Br2> “Y2 it 2 3 4 5 6 i 8 PER CR UN ih eececce Peeeecon2ry oe Ok toa Oo 0} 2.8 95.29) 8 Sl" 26" - gax.O Ocucaje A............. cme eevee 2 Om Po Abe O4e say li 6 da. 04 - Ou Bea] All Ocuceaje.......... Pomona. Col oO elle) 24-93. 19'930 22" 104 sabe 1 All Nazea........:... Promos isle Oo 2 OV 9 26>°3l S80 sea IN ABOE Docc es..... Pereira Oso 45 Oe 0 45520 29 438 Sed Light backgrounds (W, Y’) as against dark (R, B, Br, Br?) run in percentages: Ocucaje A, 40-60; all Ocucaje, 38-62; Nazca A, 46-54; all Nazea, 70-30; Nazca B, 81-19. It is clear that Ocucaje Nazca ware is a.nearly pure style, that it agrees closely with Nazca style A, much less closely with unsegregated Nazea, and least.of all with Nazca B. The division of the generic Nazca 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 Nazca, is thus justified by the corroborative evidence of a collection of Nazca 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, 5, 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. 1c, f; 2a, c, e). Those with X or B designs have a more lenticular form; the spouts tend to be longer and divergent (plsnid, 2d). 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, Tee G, Br, and Y. Typical A designs are nos. 1-11 (fig. 3) ; designs 13-24 and 27-385 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 (81) (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 cngoden bowls and ealled, 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 1-0, 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 Nazca style ware are found on heads (vy), head-and- spout jars (v), and figures (x), and these attempts are confined to a mere pinching up of the clay to suggest ears, nose, and mouth. The 1927 | Gayton—-Kroeber: The Uhle Pottery Collections from Nazca 15 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 (Ww) 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; 10d). Fig. 4. Stylistic changes in execution of Trophy head design (16). a, Seler, p-. 252, fig. 163; b, Seler, p. 252, fig. 162; 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 (1); five-color schemes on heads (yx), figures (x), and goblets (J); and six-color 16 University of California Publications in Am. Arch. and Ethn. [Vol. 24 schemes on head-and-spout jars (v), double-curved goblets (kK), and flaring-rum (w), small (um), bulbous I (0), and cylindrical vases (nw). 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),'* (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. 11a, first horizontal band, d, first and third horizontal bands.) The hand of the Jagged-staff demon is often in an open position, as are also the hands on some of the figures (x), and head-and-spout jars (Vv); in other cases than these, only the closed fist is used (pls. 8a, b,.a; 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 frequently 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; 11b, c). Single figures or a pair are used infrequently on flaring bowls (1), handled jars (rT), and double- spout jars (U). 12 The term Zackenstabddmon used by Seler has been translated. 1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 17 The design Spines (34) is a spicated band with trophy heads, vegetable motives, fruits, or insects inserted between the spines (pls. 8c; 102). 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. lla). One occurrence noted for style X bulbous IT 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; 8b, 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. 1f). Other designs frequent in style B are the Quadruped (25)—a mouse, dog, or llama (pls. 6e; 8c; 10d); 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-bloek II (81), (pl. 5e, 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, oe, 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 (Pp) depends on five occurrences of X or B motives on this shape. The designs most typical of bulbous IT vases 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 (Pe) group, the shapes of style X are variations of bowls and jars. The bowls lack the flanged edge of cup (F) or flaring bowls (#1) and have vertical sides. Povnt- Re = Ss Ee \\ TEE af 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 (8) differs from rownd-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 (p) are much like angular bowls (£) of style A, but the shallow bowls have coneave sides. The style X jar shapes, similar to one another in 1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 19 range of size and in contour, are distinguished by the type of opening : wide-mouth (rR) with low rim, narrow-mouth (s) with comparatively high rim, lipless (Q) with ineurving mouth, and by the presence of handles, handled (1). 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 Nazca 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 Nazca. 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 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 (84), Step-fret II (17), Step-block II (81) 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 y, Ly LL] age S = N ‘ Cr) 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 (Ff), flaring bowls (B), and double-spout jars (vu) 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 Collections from Nazca a 28. irs ‘Bese ee on SBE f Seee8enuaa8) @eagn SSUS8eR8e0en8 o ’ 3 CACe hs = BACTCRIGRAeS ea Ke BEStgss aRgeR as 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. 11d). 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, 0), 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 Nazca 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 ecol- lection. They have been supplemented, as indicated in the legends, with pertinent designs shown by Seler’® in his analysis of Nazca 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 Nazca 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 28 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 Nazca 23 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 (0) of style B. The Cat-demon (15), a popular subject through all Nazca 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 * ix) x) XY mi ae XY AX Sigeaeee A? WN OY) nara BO OY wed RY NRY) x x ‘ y \ ‘ i in . rar OSOSLSo ereres SSOS SSS LSS OSS SSO M 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- mouth jars (Ss), and shallow bowls (pd), 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 24 University of California Publications in Am. 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. 7 The relation of the Jagged-staff demon (33) to the Cat-demon (15) is not clear from an analysis of their design elements. Though the Jagged-staff demon is often depicted carrying trophy heads (always 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 bo On 1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 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 Nazca 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. 11d; 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 Nazca 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 Nazca 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 1917** distinguished a ‘*Nazca’’ style’® corresponding to our A (and apparently X) from a ‘‘Pre-Naseca’’!® corresponding to our B. In 1923, on the basis of ‘‘subsequent excavations,’’ he stated :1° 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, Tiahuanaco and Inca. The first, in virtue of its marked relation- 14 Work cited in note 3, ante. 15 Ibid., figures 8-22. 16 Ibid., figures 23--27. 17 Page 584 of work cited in note 4. Figures 78-86 are Central Archaic or Nazca B. 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 data'® or by further explorations, a new problem of stylistic development will be raised.*® OTHER STYLES NAZCA Y Nazea Y is the tentative 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’’ Nazca traits in weaker form. Now and then definite Nazca 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 Nazca 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 Inea, 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 Nazca Y style examined below and placed posterior to Nazca B, would apparently have to be put at the beginning of the series of Nazca 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 re have been reckoned as Y by us. 1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 27 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 Y1—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 Nazca B faces, such as the representation of fage 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; 13e). 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. 13), 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 18f. 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 Nazca 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. 13); 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 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 Ica trait; in the hollow between each pair of white 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). (TTT ase 2 (ti(‘(CW!;CO AR .< 182 25 A 185 27¢ A 192 35a x 180 37 A 194 39* A 194 40* B 195 41* A 195 42* A 197 45* B 197 46* A 199 46d B 203 50* x 204 53* x 206 57* B 207 59* A 207 60* A 207 58* x 208 62* A 208 63* bs 209 64* A 209 65* A 209 66* A 210 70 A 216 77 A? 2el 90a #8 Zet 90b A 223 93 B 224 95* x 225 98 ? 226 99a ? 235 116 B 236 117 x 236 118 B 239 124 x 240 125 B 241 129 xX 241 130 B 241 131 B 241 132 B 242 133 B 242 134 B 243 134a ? 246 138-142 B 247 143-146 B 248 147-149b B 250-251 151-158 B 252 159 ? 252 162 A 254 171 A? 254 172 B 254 174 B 255 178 B 256 180 xX 257 182 x 257 183 xX 257 184 B 257 185 B 258 189 B 258 190 x 258 191 A? 259 196 B 258 197 B 258 199 4 260 201 B 260 202 B 260 203 B 260 204 B 262 205 B 262 206 B 262 207 B 263 208 B 264 209 B 264 210 B 265 211 B 265 212 B 266 213 B 266 214 B 266 215 B 266 216 B 267 217 B 267 218 B 267 219 x: 268 222 B 270 224 B 268 225 B 268 226 B 271 227 xX 269 228 B 273 229 B 275 231 B 276 233 B 279 238 x 281 245 x 281 246 xX 282 247 B 282 248 B 282 249 x 283 253 x 283 254 X 283 254* T-E*” 300 266 ¢ 300 267 B? 300 268 B? 301 270 A 301 271 A 301 274 A 302 2/5 A 304 28la A 304 283* A 306 289 A 306 290 A 306 292 A 307 296 A 308 301 Be 308 301 xX 308 302 B? 309 304 A 310 310 xX 312 316 A? 313 317 B? 36 Only those illustrations which show both shape and design are entered in this classification. 87 Tiahuanacoid-Epigonal. 1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 4] Page Fig. Style Page Fig. Style Page Fig. Style 314 318 B 314 319 A? 314 322 A 315 323 xX 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 xX 325 371 xX 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 xX 336 420 B 336 421 xX 337 427 T-E 338 428 B 338 430 T-E CONCLUSIONS The Nazea (‘‘Proto-Nazea’’) style of the valley of Nazca 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 Nazca agrees closely in its shape, design, and color traits with one of the three substyles from Nazca (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 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 hight 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 (‘‘Nazca’’). 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 eases 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, obviously mainly of Nazca origin but falling outside the limits of what is customarily regarded as the Nazca (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 Nazca A, X, B; some of the designs appear to be further reductions of B designs; others are related rather to non-Nazea than to Nazca 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 Nazca Y. Tiahuanaco and Epigonal, Inca, and Chimu style influences all reached Nazca, but with diminishing strength or frequency in the 1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 43 order named. None of them is manifest on specimens showing chiefly Nazca A, X, or B traits. Tiahuanacoid traits appear on Nazca Y pieces; Inca.traits on Ica style vessels. The inferred sequence of ceramic styles in Nazca valley thus is: Nazea A, Nazca X, Nazca B, Nazea Y, Tiahuanaco and Middle Ica, Late Ica, Inea, the duration of each lapping over at least on the style before and after it. Compared with Ica, the stylistic horizons seem to be: Nazca Tca Inca Inca (Late Ica IT) Late Ica Late Ica I (Middle Ica) Middle Ica II (Middle Ica I) (Tiahuanaco) Ica Epigonal Nazca Y (Nazcoid) Nazca B Nazca X (Nazca X, Santiago) Nazca A Nazca A, Ocucaje LISTS MAXIMUM AND MINIMUM DIMENSIONS IN SHAPE GROUPS x 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. B: no. 8655, h. 55, w. 123; no. 8675, h. 65, w. 170 G; /no. 8/735, h. .45, w. 125; no. 8522, h. 83, w. ‘202 D: no. 8471, h. 75, w. 170; no. 8557, h. 77, w. 187 E: no. 8645, h. 56, w. 116; no. 8649, h. 90, w. 203 F: no. 8577, h. 80, w. 102; no. 8773, h. 102, w. 143 G: no. 8831, h. 85, w. 106; no. 8668, h. 115, w. 127 H: no. 8672, h. 86, w. 131; no. 8586, h. 148, w. 218 I: no. 8632, h. 101, w. 89; no. 8904, h. 192, w. 194 J: no. 8903, h. 90, w. 71; no. 8584, h. 170, w. 123 K: no. 8795, h. 114, w. 119; no. 8395, h. 164, w. 130 L: no. 8726, h. 881, w. 106; no. 8811, h. 170, w. 123 M: no. 8712, h. 130, w. 93; no. 8859, h. 155, w. 111 N: no. 8857, h. 161, w. 86; no. 8394, h. 211, w. 108 o: no. 8406, h. 152, w. 120; no. 8490, h. 217, w. 139 Pp: no. 8671, h. 95, w. 107; no. 8681, h. 170, w. 170 Q: no. 9045, h. 60, w. 108; no. 8585, h. 154, w. 167 R: no. 8693, h. 85, w. 123; no. 8750, h. 162, w. 200 Ss: no. 8833, h. 90, w. 120; no. 8419, h. 163, w. 190 T: no. 8666, h. 131, w. 140; no. 8420, h. 234, w. 225 vu: no. 8973, h. 127, w. 133; no. 8456, h. 221, w. 170 v: no. 8887, h. 110, w. 88; no. 8625, h. 198, w. 117 w: no. 8617, h. 85, w. 106; no. 8636, h. 115, w. 127 x: no. 8851, h. 120, w. 116; no. 8846, h. 152, w. 159 y: no. 8883, h. 118, w. 91; no. 8482, h. 216, w. 202 44 A 8704, KE, 8817, 9084, F, 8773, 9075, H, 8642, 8994, U, 8847, 8878, 9098. “ G, P, 8671, 8717, Q, 9045, R, 9066, s, 8578, 9040. dy ~“ I, 8568, 8863, J, 8504, K, 8908, L, M, 8547, 8900, University of California Publications in Am. Arch. and Ethn. [Vol. 24 CATALOGUE NUMBERS OF SPECIMENS IN SHAPE GROUPS Style A round-bottom bowl (21): 8432, 8433, 8556, 8600, 8601, 8651, 8652, 8653, 8710, 8737, 8812, 8839, 8998, 8999, 9006, 9014, 9093, 9155, 9156. angular bowl (25): 8480, 8571, 8572, 8640, 8644, 8645, 8646, 8647, 8649, 8818, 8819, 8821, 8912, 8924, 8925, 8930, 8931, 8934, 8996, 9002, 9080, 9081, 9087. cup bowl (30): 8446, 8470, 8535, 8598, 8599, 8604, 8605, 8639, 8673, 8709, 8804, 8923, 8926, 8927, 8928, 3929, 8932, 8936, 9043, 9072, 9073, 9074, 9076, 9078, 9083, 9089, 9100, 9101. flaring bowl (34): 8438, 8484, 8589, 8521, 8554, 8579, 8580, 8586, 8641, 8643, 8648, 8672, 8803, 8828, 8909, 8911, 8913, 8914, 8915, 8916, 8917, 8935, 8997, 9077, 9079, 9082, 9083, 9085, 9086, 9088, 9091, 9097. double-spout jar (37): 8424, 8458, 8478, 8479, 8482, 8483, 8495, 8593, 8706, 8848, 8866, 8867, 8868, 8869, 8870, 8871, 8872, 8873, 8874, 8875, 8876, 8877, 8882, 8883, 8884, 8885, 8886, 8983, 8984, 8985, 9060, 9062, 9063, 9064, Style X point-bottom bowl (18): 8431, 8436, 8439, 8466, 8523, 8558, 8592, 8602, , 8655, 8675, 8692, 8736, 8738, 8832, 8837, 9004, 9092. conical bowl (35): 8426, 8427, 8428, 8429, 8430, 8469, 8573, 8588, 8589, , 8674, 8701, 8723, 8727, 8728, 8729, 8730, 8733, 8734, 8735, 8739, 8813, , 8966, 8967, 8995, 9008, 9011, 9012, 9013, 9023, 9032, 9036, 9095. | shallow bowl (9): 8471, 8472, 8485, 8493, 8494, 8533, 8557, 8943, 9003. straight bowl (5): 8434, 8668 8670, 8690, 8831. bulbous II vase (36): 8487, 8488, 8489a, 8517, 8570, 8622, 8635, 8667, 8669, 8681, 8682, 8683, 8684, 8685, 8686, 8687, 8688, 8689, 8711, 8714, 8715, 8716, 8718, 8719, 8720, 8815, 8820, 8944, 8990, 9001, 9046, 9068, 9069. lipless jar (12): 8425, 8616, 8801, 8826, 8834, 8864, 8962, 8963, 8964, 9025, 9102. wide-mouth jar (13): 8414, 8460, 8461, 8520, 8693, 8750, 8890, 8893, 8894, 9057, 9099, 9163. narrow-mouth jar (23): 8412, 8413, 8416, 8417, 8418, 8419, 8574, 8575, 8594, 8595, 8637, 8800, 8833, 8861, 8891, 8892, 8893, 8991, 8992, 8993, 9034, handled jar (8): 8415, 8420, 8477, 8620, 8660, 8666, 8705, 9035. Style B angled goblet (80): 8409, 8410, 8550, 8551, 8552, 8553, 8555, 8560, 8567, 8577, 8584, 8638, 8665, 8702, 8724, 8725, 8726, 8731, 8732, 8745, 8802, 8811, 8986, 8988, 8989, 9044, 9096, 9162. goblet (24): 8393, 8402, 8403, 8411, 8437, 8445, 8465, 8496, 8497, 8499, 8565, 8569, 8632, 8634, 8742, 8899, 8904, 8905, 8906, 8907, 8961, 9157, 9158. double-curve goblet (10): 8473, 8474, 8501, 8566, 8662, 8664, 8748, 8903, 8958. conical goblet (7): 8395, 8397, 8506, 8516, 8557, 8795, 9022.. small vase (30): 8396, 8405, 8408, 8463, 8491, 8500, 8514, 8518, 8546, 8564, 8582, 8614, 8630, 8661, 8708, 8712, 8713, 8808, de 8830, 8897, 8902, 8954, 8955, 8956, 8959, 9159, 9169. 1927] Gayton—Kroeber: The Uhle Pottery Collections from Nazca 45 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. 0, 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, 8854, 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. Nazca 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. Nazca 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. Nazca 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. Nazca 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. Nazca style X. a, b, bulbous II vases; ec, 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, 48417. Plate 7. Nazca style B. Head jars. a, 4-8854; b, 4-8796; c, 4-8798; d, 4-8456; e, 4-8968; f, 4-8797. Plate 8. Nazca 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. Nazca style B: a-ce, figures; d, angled goblet; e, g, i, goblets; f, small vase; j, head and spout jar. Nazca miscellaneous: h, 1, m. Nazca 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; 1, 4-8497; j, 4-8794; k, 4-8825; 1, 4-8422; m, 4~-8962. ) Plate 10. Nazca 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; 1, 4-8806. Plate 11. Nazca 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. 46 University of California Publications in Am. Arch. and Ethn. [Vol, 24 Plate 13. Nazca style Y, type 1. a, 4-8752; b, 4-8755; c, 4-9021; d, 4-8777; e, 4-8722; f, 4-8608. ‘ Plate 14. Nazca 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. Nazca 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. Nazca 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 Nazca in the style of Ica. jl, 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 Nazca showing Tiahuanaco, Inca 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 Nazca in the American Museum of Natural History. Nazca style B: a, b, head and spout jar; c, flaring-rim jar; f, atypical shape. — Tiahuanacoid influenced ware: d. Ica 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 Nazca in the American Museum of Natural History. Nazca style A: d, round-bottomed bowl; e, double-spout jar. Nazea style X: a, handled jar; b, wide-mouthed jar; c, conical bowl. Nazca 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. Nazca 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, 48886; 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, 48667; 24, 4-8456; 25, 4-8475; Nazca style B: 26, 4-8465; 27, 4-8861; 28, 4-8558; 29, 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. Nazca 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; 1, 4-9042. Figure 5. Nazca style A: a, 4-9075; b, 4-9062; Nazea style X: c, 4-8413; Nazca style B: d, 4-8499; e, 4-8615; f, 4-8550. Figure 6. Nazca style X: a, 4-8412; b, 4-8638; d, 4-8425; e, 4-8964; f, 4-8861; Nazca style B: b, 4—8638; c, 4-8852. Figure 7. Nazca style A: a, 4-8647; c, 4-8535; Nazca style B: b, 4-8634; d, 4-8411; Nazca style X: e, 4—-9036; f, 4-8558. Figure 8. Nazca style A: a, 4-8647; Nazca style B: b, 48627. 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.. Nazca style Y, type 1: a, 4-8865; b, 4-8980; c, 4-8698; d, 48696; e, 4-8448; f, 4-8607; g, 4-8756; h, 4-8760; 1, 4-8489b; j, 4-8606. Figure 11. Nazca style A: a, 4-8615; Nazca style B: b, A.M.N.H. 41.0-798; c, 4-9043; d, 4-8630. , Figure 12. Nazca style A: a, 4-8581; Nazca style B: b, 4-8919; c, 4-8957; d, 4—8706. UNIVSGCALIE. PUBL> AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 1 NAZCA STYLE A 7 7, P A, 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 AZCA STYLE A UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 4 NAZCA STYLE X * x UNIV. CALIF, PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 5 NAZCA STYLE X ~ cat tg a eos fe UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 6 NAZCA STYLE X > ‘ : * » " ‘ a¢ tJ - ath 4 * ‘Vie ob we a ' ; - Rie ; 7 ‘ ‘ + : Ms : s . ~ i . Bs Bia XK 4: os tee ou 7? “ ee 4 2 a P- 4 ” UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE Vea orem 1 EEE EEES' 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 NAZCA STYLE B WNIVe GALIF: PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 10 NAZCA STYLE B UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER| PEATE 11 NAZCA STYLE B “ ‘ . Vw UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 12 NAZCA STYLE yl ’ « re i «ll, 2 - A 4 - a= ah a % ‘ . : aed ; , x F be ¥ ‘ . " . ’ A : : “ P a 5 ‘ ® j Pe i ‘3 * =. . - c ra ¢ £ ot . a “” é : y b ‘ - ~ r”* ¥ = ; . - ‘ ¢ . ‘3 * . f ve 4 2 > ve : -- 4 i . , ‘ 5 : ' : en ' i . 7 c = \ i . : : E ah oR ee n= + ; se - | 5 ‘ c 5 yon : we el - , > Ul ‘ © fi | bs "4 i } fe : ‘ ‘ | t ‘ ‘ : ’ a ' ‘ ’ 1 UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 13 NAZCA STYLE Y1 UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER]| PLATE 14 NAZCA STYLE ¥2 UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 15 NAZCA STYLES Yl, 2, 3 UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24. [GAYTON-KROEBER] PLATE 16 NAZCA STYLES Yl, 2, 3 via UNIV. CALIF, PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 17 NAZCA STYLE Y3 UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER]| PLATE 18 STYLE OF ICA FROM NAZCA =" UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE BS) CHIMU, TIAHUANACO, INCA INFLUENCES AT NAZCA + UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 20 NAZCA WARE IN AMERICAN MUSEUM OF NATURAL HISTORY ~. UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 21 NAZCA WARE IN AMERICAN MUSEUM OF NATURAL HISTORY a ie ‘ = ’ ’ , é ‘ a . 2 4 — A - — << i —- a BA , { ¢ ‘ 4 ee oL8 é . - é ‘ > . 1 i Te ‘ . % ole Saint, en X “ ‘ ’ Fa em ls a ‘ , an i * a st¢ ih - 1, p ew at : i @ UNIVER: [YY OF OALIFORNTA PUBLIOATIONS—(Continved) aan ; Fach Goiebostttoh at California Shellmounds, by Edward Winslow Gifford. Bait onto aaa Te, 188. FODEDBEY, 1916 nt ct tng BS TS > 3 of Indian Origin, by A. L, Kroeber. Pp. $162 une, ‘1916 Cy aa cas aa ‘EN AREER ESL Saas cate onl aoe wh ae ie Bay, te " i “Arapaho. Dialects, by Aw Lh, Kroeber, Pp: PLASB.) Muti, 1016) OO ON TON io 4 aux ‘Moieties, by Edward Winslow Gifford. Pp. 199-194, June, 1916. PB sees * n Plotting the Inflections of the Voice, by. Cornelius B. Bradley... Py 9b. Rie tans 8; ‘plates. Git, OCG DURA ROLE a a a kl tae. 25 ee eae atulabal and Kawalisn Kinship Terms, by ‘Bdward Winslow Gifford. 2.0 3, Pp. 219-248. ‘February, 1917: CRN Se AN STEER MLD TODS) BEN BE ea Mend el ORI I 5 ae 7 \delier’ 8 Contribution to ‘the Study of Ancient ‘Mexican Social Organiza- ney eee Ny. ; . Pp. 249-282. Cpe 1 ee EE eke haey, , ie 1 eh TES EOIN SRA Ne, OBI at PAE SMI y 55 we fe shy ¥ 9. ‘California, iui S retaiak ji Kroeber. re 330-396. Met, ie tage Pe pode Ceremonies: of the ron eye ians, by, 8. ett. is BG Sat tr8 fgassa, \uly, 1917 ap ith Oe poe at : Oe tuto ye -, Parrett. EB. Hasse, lato i wand 1917 - clay hy Bike’ ‘sapir. “Bp. ‘bs4, ‘Toys 2 Shi) iP ET ee BE BNR GO ie ccsanit am ON eTaNe salen pen pose Se ; 4 Z Waterman... Pp. 35-102, plates 1:20, February, . eva alee by Saxton Pope, aterm armen st tee ee Pe "Relationship, by. Haward Sapir. . Pp. 163-173. March, 1918 25. Se ae of ene “di Saxton i Pope. abd 176-218, plates 88-44, ae ieee = ; a na’ erms Cy ite paris z z Hweper | Pp. 3 259. 9.828, J, ; whee sagteeadesienonen tnattdcnwatesgesnaty, 1 ni \ i, Pp. 820-414, A ai 45. MONS 4am . “November, pel a od, Arrows, DY BE > figure in text.’ ; 8 0 ep eean hy se ‘Archaeology of t T ‘ | plates” 3h 15 text figures. ke 1918 Leese 3 50 erstntetestatnec rene , the North American In eset aay a Miwok, by y 8 A. Barrett. ae a chy Baker Howie Pp. 20-45. ei Paae aT of Califo Sin a ‘B. Dixon ana A. Be - Fi by ra tate PEP Te I ©, Hooper. * din “a Winnebago Indian, by Paul Radin, Pp. ‘$81 ae crnconsnenpeters PRAT ARAN OSH me anos Fv wr Se ewer ‘Colorado, by cnt Le Brosh i Pr ‘val, a7. 1. The eovcues peel POS aS of ae His Paul Radin, | “Pp. ‘1-150, 17. plates. “Tune, - eae 2 ‘California. Culture Provinces, by A. L. Brosber Pp. 16 a Seen ‘September, 1920. .....:....2...- | ‘3 a ‘Winter and Summer. Dance Bartes in Zul oe Habitat. of the Pitch Indians, ailaki- Pp; 217-225, :3: figures in text. February, 6, Nabalot, Tales, by C. B. Moss. Pp. 227-363 he: The Stege Mounds at: Richmond, _ Califo ‘855-372, plates. 18,19, 1 figure in ‘text. pure igre the. Vom ei gone one | : Hes, V7 at ey Bere pirane valed ‘y Edwin vot “publications or “other inf : “PRESS, Biarapscenrj he CALIFORNIA Ly |