[25] Zuñi potters apply the roll to the outside instead of the inside of the growing vessel wall; otherwise the handling of the roll is exactly as at San Ildefonso (see [pl. 29], b).
[26] Throughout this report, the puki is spoken of as moving “clockwise” or “counterclockwise” and the sectors worked in are referred to the numerals on the face of the clock, as, “the six-to-eight-o’clock sector”. The point of view taken is that of the potter with “six o’clock” referring to that part of the bowl nearest her.
[27] The “rim” of an unfinished vessel means the upper edge of the last roll added to it.
[28] See, however, pl. 29. b; the Zuñi potter in this case has not obliterated the preceding rolls.
[29] Stevenson, 1883, p. 331.
[30] M. C. Stevenson, 1904, p. 375.
[31] Binns, 1910, pp. 69-71.
[32] The process is identical at Zuñi, see [pl. 30], a.
[33] From the earliest periods Southwestern pottery has been made in more or less the manner just described, that is, by the addition of successive rings of clay. During prehistoric times, however, there was developed a ware usually known as “corrugated”, in the building of which the roll was so lengthened as to become a spiral coil. The roll of paste forming the coil was very thin, averaging a little over one-quarter of an inch in diameter; and it was applied to the outside of the temporary rim, as at Zuñi (see [pl. 29], b), instead of to the inside, as at San Ildefonso. Furthermore, the junctions between the coils were not obliterated on the exterior of the vessel, thus producing a ridged or corrugated effect. Corrugated pottery was principally used for cooking pots (see Holmes, 1886, p. 273).
[34] One informant stated that these bowls, both with and without the terraces, were formerly, and are still, used to hold sacred meal.