[35] The two-mouthed vase is rarely made at San Ildefonso. It is a type more commonly produced by the potters of Santa Clara.
[36] Potsherds from pre-Spanish ruins show that handles have been applied to vessels in the ways described above for many centuries. The lug-type of handle, which is frequently found in ancient pottery, is no longer made at San Ildefonso. The probabilities are, however, that these lugs were welded to the exterior of the vessel, as in the first method described, rather than riveted on as in the second method.
[37] The potter placed the responsibility for this crack upon a kitten which had jumped into the olla during the night. In the animal’s attempt to climb out, the vessel suffered some rather severe bumps. The story of the kitten’s adventure was told before the crack was noticed. Later it was used to explain the presence of the imperfection.
[38] The expression “get warm” comes from the fact that while the vessel is damp the evaporating moisture causes it to feel cool; when thoroughly dry it feels warm.
[39] The red slips are not used today in the designs, although some of the older vessels contain red elements which appear to have been made of the dark-red slip.
[40] Stevenson says of the Zuñi: “This solution (of a fine white calcareous earth) is applied to the surface of the vessel and allowed to dry; it is then ready for the decorations” (1883, pp. 329, 330). Mrs. Stevenson, writing at a later date, gives more details: “A white clay is dissolved in water and then made into cones which are dried in the sun. When required for use these cones are rubbed to powder on a stone, again mixed with water, and applied in a liquid state to the object with a rabbit-skin mop. Polishing-stones are used to finish the surface” (1904, p. 375).
[41] At Santa Clara and San Juan some polished ware is polished only from the rim to the shoulder and the lower half is apparently unslipped.
[42] Stevenson in speaking of the polished black pottery of the Rio Grande pueblos says: “A solution of very fine ochre-colored clay is applied to the outside and inside near the top, or to such parts of the surface as are to be polished. While this solution thus applied is still moist, the process of polishing begins by rubbing the part thus washed with smooth, fine-grained stones until quite dry and glossy. The parts thus rubbed still retain the original red color of the clay. The vessels are again placed in the sun and allowed to become thoroughly dry, when they are ready for baking” (1883, p. 331). Mrs. Stevenson also gives an account somewhat similar: “In many of the pueblos the pottery is undecorated, the surface being finished in plain red or black. The ware is made of a yellowish clay, in the manner heretofore described, and the vessels are placed in the sun, where they remain for hours. They are then washed with a solution of red ochre, and while wet the process of polishing begins, the woman with untiring energy going over the surface again and again with her polishing-stone, every little while passing a wet cloth over the vessel to keep the surface moist. When the polishing is completed, the vessel is again placed in the sun for a short time before receiving its final baking in the oven” (1904, p. 375.)
[43] This second potter, however, did use lard in polishing vessels to which the red slip had been applied.
[44] The substitution of the chamois for a cloth was inaugurated by the potter using it.