Fig. 3. Black-on-white bowls of classic Pueblo period. a. Chaco Canyon. b. Mimbres Valley. c. Upper Gila River. d. Mesa Verde.
illustration ([fig. 3]) must suffice to show the bewildering variety and the high artistic perfection which were reached at this time.
It seems ordained that periods of high achievement shall be followed by periods of slackening and even atrophy. So it was with the Pueblos. The years between about 1000 A.D. and the Spanish invasion of 1540 were evidently a time of tribulation. The formerly prosperous communities of the North and the South were abandoned, the population shrank, the arts degenerated, and when Coranado entered the Southwest he found the Pueblos occupying a mere fraction of their former range. What brought about this decline is not surely known, droughts, intertribal wars, pestilences, inbreeding, may all have been in part responsible; but its principal cause was probably the ever-increasing attacks of nomadic enemies. At all events Pueblo culture of the sixteenth century was not what it had been in the past, and pottery making suffered with the other arts. By that time the beautiful and elaborate, but difficult, corrugated technique had been given up, and cooking vessels had become mere unornamented pots; black-on-white ware with its handsome, intricate geometric decoration had long been extinct, replaced by various local styles, few of which equalled it in technical excellence or artistic perfection. As a matter of fact the ceramic products of the historic period are very little known. In old times pottery formed an essential accompaniment of the dead, hence at nearly every prehistoric ruin may be found a burial place richly stocked with mortuary vessels. With the arrival of the priests, however, missions and Catholic cemeteries were established, all interments took place under the supervision of the Padres, and no more bowls or ollas went into the graves.
Pottery, of course, is short-lived, few vessels, other than reverently guarded ceremonial jars, can be expected to escape breakage for more than a generation or two, and so we have practically no material to illustrate the changes which took place between the Conquest and the present day. Much will eventually be learned in regard to seventeenth and eighteenth century Pueblo pottery, but the work will have to be done largely on the basis of sherds from the rubbish heaps of the older towns, and such broken pieces as may be found under the fallen walls of abandoned dwellings. We can, however, supplement this research by working backwards, so to speak, from the modern wares. If we can acquire a thorough knowledge of them it will be much easier to understand the fragmentary material we shall have to deal with in studying the early historic period. We should accordingly collect all possible data as to the wares turned out in recent years at the various pottery-making Pueblos.
The term pottery-making Pueblos is used advisedly, for, queerly enough, no pottery is manufactured at a number of the towns. If this condition had come about within the last decade it would be easy to account for, as tin oil cans for holding water, enamelled pots for cooking, and china dishes for serving food have lately been pushing native pottery out of use. But no pottery, other than rough cooking ware, has been made for a long time at Taos, Picuris, San Felipe, Jemez, and Sandia; while the art is practically or wholly extinct at Laguna, Isleta, and Santa Ana. Potters occasionally marry into these towns and continue to exercise their craft, but they seem to have no disciples among their daughters or among the local tribeswomen. At all the other Pueblos, however, potting is still carried on, but in most cases with a decreasing output and a lamentable degeneration in technique. The vessels, being mostly made to sell to tourists or curio dealers, are carelessly fashioned, crudely decorated, and insufficiently fired. Good contemporary pieces
PLATE 5
OLD MODERN SAN ILDEFONSO WARES
a, c, d. Polychrome. b, e. Black-on-red.