[45] The use of this paint for producing designs upon polished black ware was discovered by Maria Martinez in June, 1921. On inquiring why other potters did not copy the process, it was learned that because of certain taboo-like restrictions the secret of making this kind of ware would not be disclosed until a year after its discovery. Although the matter could not be further investigated because of the unwillingness of the Indians to discuss such things, it would appear that we have in this case a sort of primitive patent-right. At the present time (1925) practically all San Ildefonso potters make this ware, which has proved extraordinarily popular; Maria, however, still produces by far the finest pieces (see [pl. 8], a).
[46] Occasionally such precautions are disregarded, apparently through laziness. One potter did her painting in the same room in which some meat was being cooked. The combined odors of the cooking meat and the guaco attracted all the flies in the neighborhood, but fortunately screens kept some of them out of the room.
[47] Stevenson gives no details of the painting at Zuñi; “When the pigment is properly reduced, and mixed with water so as to form a thin solution, it is applied with brushes made of the leaves of the yucca. These brushes are made of flat pieces of the leaf, which are stripped off and bruised at one end, and are of different sizes adapted to the coarse or fine lines the artist may wish to draw. In this manner all the decorations on the pottery are produced” (1883, p. 330). Mrs. Stevenson is just as brief: “After a thorough drying of this foundation, the slip, the designs are painted with brushes made of yucca needles, the pigments having been ground in stone mortars and made into a paste with water to which a syrup of yucca fruit is added” (1904, p. 375). The stone mortar for pigment grinding may be seen in pl. 31, a.
[48] On pp. 78 to 84 will be found notes on the actual painting of several typical designs.
[49] One woman tried her best to teach me how to tell these shades apart, but it proved utterly impossible for me to distinguish the darker from the lighter.
[50] This variant in polished black ware is a new departure. It was discovered, probably accidentally, by one of the San Ildefonso potters early in the summer of 1921. The process by which the red blotch is made has not as yet been brought completely under control.
[51] It is interesting to note that in making the preliminary pencil draft, she uses entirely different strokes from those made by the brush.
[52] The subject of symbolism is touched upon in this report only with the greatest diffidence. No two students of Southwestern ceramics seem to entertain the same theory, in all details, upon this subject. The statements made here are given for what they may be worth. The time devoted to the work did not permit of a careful and exhaustive study of the subject.
[53] One potter, after glancing at a small vessel which was undoubtedly old, informed the writer that it had once belonged to the “summer people”, a social-religious division of the community.