Firing.—The firing of the ancient ware seems to have been carefully and successfully accomplished. The methods probably did not differ greatly from those practiced by the modern Pueblo tribes. The ware is, as a rule, light in color, but is generally much clouded by the dark spots that result from imperfections in the methods of applying the fire. The heat was rarely great enough to produce anything like vitrifaction of the surface, and the paste is seldom as hard as our stone ware.
Glaze.—A great deal has been said about the glaze of native American wares, which exists, if at all, through accident. The surface of the white ware of nearly all sections received a high degree of mechanical polish, and the effect of firing was often to heighten this and give at times a slightly translucent effect; a result of the spreading or sinking of the coloring matter of the designs.
Hardness.—The paste exposed in fractured edges can be scratched with a steel point, and often with ease. Some of the white pottery of ancient Tusayan can be carved almost as readily as chalk or sun-dried clay. At the same time all localities furnish occasionally specimens that through the accidents of firing have the ring and hardness of stoneware. The ancient pottery is generally superior in hardness to that produced by the historic tribes.
Color.—This pottery presents a pleasing variety of color, although the light grays prevail, especially in the more archaic varieties. The general color probably depended greatly upon the natural constituents of the clay and the degree of heat applied, and these conditions varied with the locality and the people. Reds and browns result from the presence of iron, which may have been oxidized in burning, or the red oxides may have been used in rare cases as coloring matter in kneading the clay. The surface is often lighter than the mass; a condition probably resulting from the presence of vegetable matter in the clay, which is destroyed on the surface and remains unchanged within. In the south the colors of the paste are often slightly reddish or yellowish in hue. It is notable that a small percentage of the ware of all localities is red. This gives rise to the suggestion that vessels of this color probably had some especial or sacred use. Color is known to have an intimate connection with superstitious observances among many barbarian peoples.
Form.—In form the ancient ware is universally simple and pleasing. Many shapes known to both civilized and barbarian art are absent. High-necked bottles and shallow plates are of rare occurrence, and pitchers, canteens or lenticular bottles, and vessels with legs and stands are unknown. There is a notable dearth of life forms, a circumstance that would seem to indicate the rather tardy development of a taste for modeling—a condition which may have resulted from the comparatively recent origin or introduction of art in clay.
Vessels with full globular bodies prevail. The bottoms are generally round or a little pointed, indicating primitive conditions of life and suggesting great simplicity in methods of manufacture and in the models copied.
Origin of Forms.—There can be no doubt that ceramic forms are to a great extent derivative, and the search for their originals will constitute a most important feature in our studies. Turning to nature for possible originals, we find them liberally supplied by both the animal and the vegetable kingdom. The shells of the sea shore were probably among the first receptacles for food and drink. We have examples of pottery from the mounds in the Mississippi Valley, representing three or four distinct varieties of shells. The shells of turtles and the horns of cattle and other animals have also served as models.
Fig. 210.—Origin of forms.
