a, b. Black-on-red by Antonita Roybal. c. Polychrome, by Maria Martinez—one black-on-red piece by Maximiliana Martinez.
This was due to the substitution for native pottery of American utensils for cooking, food-serving, and containing water; and to the growing tendency to produce pottery for sale to curio stores and tourists rather than for home use. The black-on-buff ware and the polished black were given up entirely, the potters concentrating on the more showy black-on-red and particularly on the polychrome. In the case of the black-on-red the high gloss of the older pieces was no longer produced, and the paint, being neither carefully mixed nor sufficiently aged (see p. 26) developed on firing a dull, bluish cast. The polychrome also fell off in technical perfection and in artistic excellence. The old, dull, purplish reds were replaced by brighter colors, the designs became flamboyant, and many ugly non-Indian vessel shapes were introduced ([fig. 4]). This state of affairs went from bad to worse until, in 1907, the potter’s art at San Ildefonso was in a thoroughly bad way. A few women, however,
Fig. 4. Bad examples of modern pottery—un-Indian shapes and slipshod decoration.
retained something of the old craftsmanship and were ready to profit by the opportunity which was about to present itself.
In 1907 Dr. E. L. Hewett of the School of American Research began a series of excavations in the ancient ruins of the Pajarito Plateau. The diggers were all Tewa Indians from San Ildefonso. They proved to be excellent shovelmen, who took a keen interest in everything they found. They helped us identify many specimens which would otherwise have been puzzling, and their comments on the pottery, and especially on the designs, were most illuminating. The women of the Pueblo, when visiting camp, often held animated discussions as to the vessels from the ruins, and it was suggested to some who were known to be good potters, that they attempt to revive their art, and try to emulate the excellence of the ancient wares. While the response was not immediate, there was observable, during the next few years, a distinct improvement in the pottery of San Ildefonso. Realizing the importance of this, the authorities of the Museum of New Mexico and the School of American Research threw themselves heartily into the task of stimulating the industry. They urged the women to do better and better work, and in particular induced them to return to the sound canons of native art. Some old pieces remained in the pueblo, many others were in the Museum, of still others photographs were obtained. These were all brought to the attention of the potters.
The undertaking was not an easy one, however, for it was difficult to get most of the women to go to the trouble of making good pieces when the tourists, who were still the principal purchasers, were equally or even better pleased with imitations of china water-pitchers, ill-made raingods, and candlesticks. The problem thus resolved itself into one of supplying a market. The Museum bought many good pieces, and Mr. Chapman, who from the beginning had been a leading spirit in the attempt at rehabilitating the art, himself purchased large amounts of pottery, never refusing a creditable piece, never accepting a bad one.
Progress was slow, but eventually certain women, becoming interested in their work, made real progress both technically and artistically. Their products began to sell more freely and at better prices than did those of others. Antonita Roybal, Ramona Gonzales, Maximiliana Martinez, and Maria Martinez all turned out fine vessels, the two latter being greatly aided by their husbands, who developed into skillful decorators. Maria especially shone. By 1915 she had far surpassed all the others, her pots were in great demand, and at the present time she has a ready market, at prices which ten years ago would have seemed fantastic, for everything she can find time to make. Her income is probably not less than $2,000.00 a year, and following her example, many other women are now doing fine work and are earning substantial amounts. The beneficial effect of this on the pueblo has naturally been great. New houses have been built, new farm machinery, better food, and warmer clothing have been bought, and, best of all, there has been acquired a wholesome feeling of independence and of accomplishment, the value of which cannot be gauged in dollars and cents.
From the point of view of ceramics the development has been most interesting. Maria began with the manufacture of polychrome ware, as that was the style most commonly being made at the time. The shapes were improved, the finish of the surfaces was given greater attention, and the decorations were applied with a surer, more delicate touch ([pl. 6]; pl. 7, c). Black-on-red ware was taken in hand, the oldtime polish was restored, the vegetable paint properly prepared and aged ([pl. 7], a, b). Polished black was also reintroduced; pieces of this sort, with their simple, graceful shapes and high black gloss sold so well that they soon became an important product ([pl. 8], b). In 1921, as Dr. Guthe records (p. 24), Maria discovered how to apply to polished vessels dull designs which give the appearance of being etched ([pl. 8], a). This method was in its infancy when Dr. Guthe made his study, but it has since proved so remarkably successful that it bids fair to drive out completely the making of plain polished ware. Late in the past autumn there appeared at the Indian Fair in Santa Fe, some pieces of a warm pinkish color, an entirely new departure in San Ildefonso pottery making, and one which promises much of interest. Developments and changes in design have kept pace with the improvements in