Pottery Style and Society in Ancient Peru [Reprint 2020 ed.] 9780520338241

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

Art as a Mirror of History in the lea Valley, 1350-1570

POTTERY STYLE AND SOCIETY IN ANCIENT

PERU DOROTHY MENZEL

UNIVERSITY OF CALIFORNIA PRESS BERKELEY

LOS ANGELES

LONDON

University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England Copyright © 1976, by The Regents of the University of California ISBN 0-520-02970-4 Library of Congress Catalog Card Number: 74-29797 Printed in the United States of America

Para los iquenos Dedicated to the people of lea

es CONTENTS Outline and Index for Chapters in and IV—viii Introduction—1 Chapter I. The Archaeological Context—12 Chapter II. The Pottery Technology—27 Chapter ID. The Classification of Shapes—32 Chapter IV. The Analysis of Decoration—84 Chapter V. Conclusions—221 Appendix—247 Bibliography—257 Abbreviations—261 Key to Figures—263 Key to Plates—274 Comments on Line Drawings—277 Color Key—278 Chronological Table—279 (following page 280)

Figures Shape Drawings 1-295 Design Illustrations 296-588 Sherd Drawings 589-605 Plates

Outline and Index for Chapters III and IV

CHAPTER m The classification of shapes 1. Introductory comments 1. Deep Open Dish and Angular-Rim Dish . . . 1. Cambered-Rim Dish 1. Shallow Dish 1. Cambered-Rim Bowl and AngularRim Bowl 1. Cumbrous Bowl 1. Simple Bottle, Lamp Bottle and Large Bottle 1. Complex Jar 1. Simple Jar 1. Flaring Cup 1. Drum Bottle 1. Rare Ica-tradition shapes of fancy ware 1. Ica 6 utility ware in tomb Th-1 1. Plain pottery of unknown function in tomb Th-1 1. Imitation Chincha shapes at Ica 1. Antiques and imitation antiques 1. Foreign pottery styles in the Late Horizon 2. Introductory comments 2. Inca 3. Imported 3. Provincial Inca 4. Jar (Rowe, shape a) 4. Plate 5. Group A-l 5. Group A-2 5. Group A-3 5. Group B 6. Group B-l 6. Group B-2 5. Various Inca-associated Plates 4. Cooking pot 4. Various provincial Inca shapes

32 32 35 38 39 42 45 47 53 57 59 60 63 64 64 64 66 67 67 67 67 68 68 69 69 70 71 71 71 73 73 74 75

5. Jug 5. Dish 5. Wide-mouthed jar 5. Faceneckjar 5. Modeled figure 2. Chimu 3. Imported 3. Imitation 1. Musical instruments in the Late Horizon 1. Survivals of Inca-associated shapes of the Late Horizon in Phase 10 1. A unique Ica 10 shape 1. Summary CHAPTER IV The analysis of decoration 1. Introductory comments 1. Phase 6 2. Summary 2. Analysis in detail 3. Smoked blackware 3. Plainware 3. Painted redware 4. Areas covered with design 4. Use of colors 4. Design arrangement 5. Broad bands 5. Medium-broad bands 5. Upper body bands 5. Narrow bands 6. Narrow white bands 6. Narrow red bands 5. Inner mouth bands 5. Lip and cambered-rim bands 5. Handle bands 5. Bottle and jar neck decoration 5. Special arrangements

75 76 76 76 76 77 77 77 78 78 79 79 84 84 84 84 85 85 86 88 88 88 92 92 95 95 95 95 96 96 97 97 97 97

OUTLINE, INDEX OF CHAPTERS III, IV

ix

6. Shallow Dish 98 6. "Z" 106 7. Half band, flange band, 6. Stepped "Z" 106 others 98 6. Solid Triangle 106 6. Straight flaring-sided dish 99 6. Fret 106 6. Cumbrous Bowl 99 6. Bird 106 6. Inflected flaring-sided dish 99 5. Modified narrow red-band designs 6. Drum Bottle 100 used as narrow white-band 6. Various imitation Chincha and decoration 107 minority shapes 100 5. Narrow red-band designs 107 6. Decoration for shapes of aber5. Inner mouth-band designs 107 rant size or other aberrant 6. Principal decoration 107 7. Rectangular pattern 107 shape features 100 101 7. Triangular pattern 107 4. Design patterns and elements 5. Diamond and related forms 101 6. Secondary decoration (fringe 6. Broad band, Large Diamond 101 band) 107 7. Large Diamond with step 7. Pendent Steps 108 fillers 101 7. Pony Fringe 108 8. Plain and Fish 101 7. Pendent Hooks 108 7. Stepless Large Diamond 102 5. Lip and cambered rim-band 8. Plain and Fish 102 designs 108 6. Upper body band, Large 5. Handle-band designs 108 Diamond 102 5. Special Shallow Dish designs 108 7. Plain and Fish 102 6. Bird Meander 109 7. Composite 102 6. Various 109 7. Various 102 1. Phase 7 109 6. Various contexts, Large Diamond 2. Summary 109 patterns and their filler 2. Analysis in detail 109 3. Smoked blackware 109 elements 102 3. Plainware 110 7. Stepped Large Diamond 103 3. Painted redware 110 6. Small Diamond 103 4. Design arrangement 110 6. Small Square 104 5. Broad bands 110 6. Diamond-shaped composite 5. Narrow bands Ill unit designs 104 5. Unique arrangement 112 7. Diamond elements 104 4. Design patterns and elements 112 7. Solid Square elements 104 7. Tailed Square elements 104 5. Rectangle 112 7. Bird elements 104 5. Diamond 112 6. Single Diamond unit designs 104 5. Cursive figures 113 7. Stepped Large Diamond 104 1. Phase 8 113 7. Rotational Fret 105 2. Summary 113 5. Rectangle and Rectangle Fish 105 2. Analysis in detail 113 5. Triangle Fish 105 3. Smoked blackware 113 5. Tailed Square 106 3. Plainware 113 5. Checkerboard 106 3. Painted redware 113 5. Wavy Line 106 4. Areas covered with design 113 5. Stripes 106 4. Design arrangement 114 5. Bird and Fish unit designs 106 5. Traditional broad bands 114 5. 'Tattle Cross" and cursive 5. Principal bands in upper body-band figures 106 position, with fluted shoulder or 5. Narrow white-band designs 106 analogue 115 6. Meander 106 5. Half band, Shallow Dish 115

X

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

5. Arrangement on Squat Ovoid Jars 115 5. Inner mouth-band tradition designs as principal and narrow-band decoration 115 5. Arrangement on faceneck jar 116 5. Narrow bands 116 5. Terminal banding 117 5. Neck decoration 117 5. Chincha Rim Scallop 117 4. Design patterns and elements 117 5. Diamond 117 5. Rectangle 118 5. Inner mouth-band tradition H8 5. Line and dot fringe 118 1. Late Horizon styles 118 2. Summary 118 2. Analysis in detail 120 3. Smoked blackware 120 123 3. A special use of resin paint 3. Plainware 123 3. Painted redware and incised decoration 124 4. Ica 9 decoration 124 5. Introductory comments 124 5. Areas covered with design 125 5. Use of colors and painting techniques 126 5. Design arrangement 127 6. Introductory comments 127 6. Principal design bands 128 7. Broad-band arrangements 128 8. Three-color pattern 129 8. Two-color pattern 130 8. Special arrangements, minor specialization 130 9. Flaring Cup 130 9. Drum Bottle 131 9. Jar 131 6. Narrow bands associated with three-color broad-band arrangment 131 7. Narrow white bands 131 7. Narrow red bands 132 7. New narrow bands 132 6. Upper body bands 132 6. Medium broad-band arrangement with narrow red bands 132 6. Inner mouth bands 134 6. Lip bands 136 6. Handle bands 136 6. Neck decoration 136

6. Special arrangements, major specialization 136 7. Shallow Dish 136 8. Half band 137 8. Other 137 7. Cumbrous Bowl 137 7. Anthropomorphized Footballshaped Jar 137 7. Some Ica-Inca B Large Bottles 138 7. Incised designs on smoked blackware 138 5. Design patterns and elements 139 6. Introductory comments 139 6. Diamond 139 7. Large Diamond 139 8. Plain 139 8. Composite Large Diamond . 139 8. Composite Large Square . . . 139 8. Various 140 8. General features 140 8. Fish 140 7. Small Diamond 140 7. Diamond-shaped composite unit designs 141 8. Solid Square elements 141 8. Large Diamond Fish elements 142 8. Incised Diamond Elements . 142 6. "Rectangle" 142 7. Conservative painted Rectangle 142 8. Plain 142 8. Rectangle Fish 143 8. Triangle Fish 143 7. Advanced painted Rectangle . . 143 7. Advanced incised Rectangle . . 144 6. Tailed Square 144 6. Ica Checkerboard 144 6. Ica Stripes 144 6. Bird unit designs 145 6. Narrow-band designs 145 7. " Z " 145 7. Meander 145 7. Black-band design 145 6. Designs of the inner mouth-band tradition 145 7. Rectangular and triangular patterns 145 7. Fringe-band designs 146 8. Pendent Step 146 8. Chincha Rim Scallop 146

OUTLINE, INDEX OF CHAPTERS III, IV 6. Pendent and Freestanding Triangles 146 6. Imitation Inca "Body Scallop" . . . 148 4. Ica-Inca decoration 148 5. Introductory comments 148 5. Areas covered with design 148 5. Use of colors and painting techniques 148 5. Design arrangement 150 6. Inca-style models 150 6. Ica-Inca arrangements on provincial Inca shapes 151 7. Jar (Rowe, shape a) 151 7. Plate 153 7. Various 154 6. Ica-Inca arrangements on IcaInca A shapes 155 7. Drum Bottle 155 7. Lamp Bottle 155 7. Special vertical panel arrangement 156 7. Special Stripes arrangement .. 159 7. Various adaptations 159 5. Design patterns and elements 159 6. Introductory comments 159 6. Cuzco Inca models 159 6. Ica-Inca Figured designs 159 7. Tadpole 160 7. Catfish 160 7. Worms and Dots 160 7. Various 161 7. Bird 161 7. Stepped Diamond and Step Fret 161 7. Secondary unit designs 162 8. Provincial Inca insect 162 8. Conservative lea unit designs 162 8. Humped Animal 162 6. Zigzag Band 162 6. Checkerboard 162 6. Various associated Ica-tradition designs 163 7. Composite unit designs 163 7. Rectangle Fish units 164 7. Narrow-band designs 164 4. Decoration related to the Nasca-Inca style 164 4. The decoration of imitation antiques 166 168 1. Phase 10 2. Summary 168

xi

2. Analysis in detail 169 3. Introductory comments 169 3. Smoked blackware 170 3. Plainware 170 3. Painted redware 170 4. Areas covered with design 170 4. Use of colors and painting techniques 171 4. Design arrangement 173 5. Introductory comments 173 5. Arrangement for neckless vessels ..175 6. Principal bands 175 7. Broad 175 7. Medium broad 175 7. Narrow 175 6. Secondary narrow bands 175 6. Special arrangements, minor specialization 176 7. Flaring Cup 176 7. Cambered-Rim Bowl 177 7. Jars circular in horizontal section 178 5. Arrangement for Complex Jars elliptical in horizontal section 178 6. Broad principal band 178 7. Vertical panel arrangement . . . 178 7. Horizontal three-band arrangement 179 7. Undivided broad band 180 7. Modifications around modeled features 180 7. Various adaptations to shape variations 180 5. Arrangement for Simple Bottles and Simple Jars 180 5. Adaptations of the three major categories of design arrangements to non-traditional forms 182 5. Upper body bands 183 5. Secondary narrow bands 184 6. Narrow white bands 184 6. Narrow red bands 185 6. Narrow black bands 186 5. Inner mouth bands 186 5. Lip and cambered-rim bands 187 5. Handle bands 187 5. Bottle neck decoration 187 5. Jar neck decoration 188 5. Special design arrangements, major specialization 188 6. Shallow Dish 188 6. Cumbrous Bowl 189

xii

POTTERY STYLE AND SOCIETY IN ANCIENT PERU 6. Anthropomorphized Footballshaped Jar 190 6. Survivals of Late Horizon shapes 190 4. Design patterns and elements 190 5. Diamond 190 6. Large Diamond 191 7. Plain 191 7. Composite 192 7. Various patterns 192 7. Large Diamond Fish 192 6. Small Diamond, Small Square, Half Diamond 193 5. "Rectangle" 195 6. Introductory comments 195 6. Conservative Rectangle 195 7. Zigzag pattern 196 7. Hook pattern 196 7. Chevron pattern 196 7. Rectangle Fish 196 7. Triangle Fish 198 6. Advanced Rectangle 198 7. Introductory comments 198 7. Diagonal Line 199 7. Crosshatch 199 7. Crosshatch Checkerboard 199 7. Serrated Diagonal 199 8. Plain diagonal pattern 199 8. Serrated Diagonal Chevron pattern 200 201 7. Fish and Bird unit designs 6. Ica-Inca-tradition Rectangle 201 6. Revivalistic lea 6 Rectangle 201 5. Designs of the inner mouth-band tradition 201 6. Introductory comments 201 6. Inner mouth-band position designs 202 6. Conservative variants used in other relatively narrow bands . . . 202 7. Narrow principal-band designs 203 7. Secondary narrow red-band designs 204 7. Principles of design transferences, including to upper body-band position 205 6. Innovative variants as principal decoration 206 7. Inner Mouth-Band Checkerboard 206

7. Patterns made with Small Diamond, Small Square and Meander elements 206 7. Enlarged, elaborated inner mouth-band units 207 6. Additional uses of the triangular pattern 207 5. Various checkerboard patterns 207 6. Crosshatch Checkerboard and Inner Mouth-Band Checkerboard 207 6. Serrated Diagonal Checkerboard 207 6. Modified Ica-Inca Checkerboard 208 6. Traditional lea Checkerboard 208 5. Ica Stripes 208 5. Stepped Diamond and Step Fret . . . 209 5. Pendent and Freestanding Triangles 210 5. Unit designs 211 6. Introductory comments 211 6. Primary unit designs 211 7. Composite unit designs 212 8. Freestanding Triangle 212 8. Diamond-shaped composite unit designs 212 7. Stripe Block 214 7. Large Bird 214 7. Humped Animal 215 7. Rectangle Fish 215 7. Various 216 6. Secondary unit designs 216 7. Introductory comments 216 7. Composite unit designs 216 8. Diamond-shaped 217 9. Small Diamond elements 217 9. Small Square Elements ...217 9. Solid Square elements 217 8. Other 217 7. Rectangle Fish 217 7. Small Bird 218 7. Outlined Cross 218 7. Elements of the inner mouthband tradition 218 7. Meander elements 218 7. Various 218 7. Zigzag rows of unit designs 218 7. Special arrangements on inner

OUTLINE, INDEX OF CHAPTERS III, IV rims of Cumbrous Bowls, other shapes 8. Pendent Triangle, Pony Fringe, Pendent Step, Pendent Hook

218 219

5. Narrow-band designs 6. Meander 6. "Z" 6. Fret 5. Adaptations of narrow-band designs to other contexts

xiii 219 219 220 220 220

88 INTRODUCTION Late lea pottery is the pottery made in the lea Valley on the south coast of Peru from the latter part of the Late Intermediate Period, about A.D. 1350, to at least as late as the abandonment of the ancient sites in the first century of the Spanish colony, about 1570.

This study traces the changes in style which took place in Late lea pottery and interprets them as reflections of the interests and loyalties of the people who made and used the pottery and of the outside influences to which they were subject.1

1. Acknowledgements: This study was carried for several years, under the sponsorship of the following institutions: the Bollingen Foundation, a grant, 1964-65; the National Science Foundation, research grant GS 2002, John Howland Rowe, principal investigator, 1968-71; the National Endowment for the Humanities, senior fellowship, 1971-72, grant F-71-145. The support of these institutions is most gratefully acknowledged here. The study was done throughout in collaboration with John H. Rowe. His contributions to a large part of the field work that forms the basis for the study and to research on the historical background are acknowledged in the appropriate sections. It remains to acknowledge his other contributions, including those of editor and critic. He has read each of the many drafts of the entire presentation in careful detail, helping to organize it and making extensive editorial revisions. His contributions to the organization and presentation of the introduction, chapter I, and the conclusions are particularly extensive. It was Rowe who grasped first, and immediately, the significance to historical interpretation of the stylistic peculiarities of the pottery of the Early Colonial Period. Eleanor Taylor, a student in Classics at the University of California at Santa Cruz, helped edit the first draft of the conclusions in a particularly constructive way. Lawrence E. Dawson made helpful editorial contributions to a draft of the introduction and of chapter II. I also wish to thank Dorothy Ann Koenig, librarian of the Anthropology Library at the University of California, Berkeley, for editorial suggestions. The illustrations accompanying this study constitute the visual evidence, and we took great pains to show detail as accurately as possible, including irregularities in shape and design as they appear on the specimens. The drawings are not intended to be representations of an idealized goal of the artist, but of the actual object. The shape drawings in figs. 1-295 were made by Catherine T. Brandel by tracing to scale from color slide projections, with corrections added by me from details of the actual specimens deposited in the Robert H. Lowie Museum. The sherd drawings in figs. 589-605 were made by

Catherine T. Brandel from the actual specimens. She also did the design drawings in figs. 413, 502, 525-527, 530, 539, 541, 542, 566, 582. The rest of the designs were drawn by Jane Bendix. Most design drawings were traced from the actual specimens. Figures 526 and 541 were traced to scale at actual size from color slide projections. Years of painstaking work and thought on part of the illustrators went into the finished drawings. The task was made more difficult by the poor preservation of many specimens. The chronological table and maps were drawn by Catherine T. Brandel. Maps 2 and 3 were traced by her from original maps made by John H. Rowe on the basis of aerial photographs and field surveys on the ground. The photographs in pis. 1-108 are intended to furnish a partial check against the accuracy of the shape and design drawings and to show the relationship between shape and design and the evidence concerning design arrangement. These aspects of the styles could not be shown satisfactorily in the line drawings. Since the photographs form an essential part of the evidence, their presentation required careful consideration. Most photographs were made by Eugene R. Prince. Plates 103, 105, 106 and 108 were made by Phillip P. Chan. Plate 100 is a conversion from a color slide made by Christopher B. Donnan. Plates 90, 91a, b, 94 and 96a, b are also converted from color slides. This study was aided immeasurably by the unique research organization created at the Robert H. Lowie Museum of Anthropology of the University of California, Berkeley. The collections of the museum are a carefully organized library for anthropological research. Most staff members of the museum are trained anthropologists, as well as specialists in particular technical fields. I wish to acknowledge particularly the consideration of the director of the Lowie Museum, Professor William R. Bascom; the principal museum anthropologist, Frank A. Norick, the senior museum anthropologist, Lawrence E. Dawson; the senior curatorial anthropologist, David D. Herod; the senior museum photographer, Eugene R. Prince; and the principal museum artist, Alex Nicoloff.

2

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

The period covered was eventful. At its beginning the lea Valley was politically independent, and its well made, highly decorated pottery was admired and imitated in neighboring valleys. About 1476 the whole south coast, including lea, was conquered by the Incas, and lea became a part of the Inca Empire.2 The native nobility copied Inca art objects, and the lea potters developed their style along new lines under Inca influence. Inca power on the coast disintegrated in 153334 as a result of civil war and Spanish invasion, and, after brief resistance, lea transferred its allegiance to Spain.3 It was another generation, however, before native culture was seriously disrupted by Spanish pressure, and there is evidence in the pottery tradition for a revival of native feeling at lea in the Early Colonial Period. Inca influence was systematically eradicated from the local pottery, and an attempt was made to go back and pick up the thread of native development where the Inca conquest had interrupted it. Christian pressure finally led to the abandonment of the old burial practices and put an end to the archaeological record provided by the pagan Important contributions to the success of this project were also made by the staff of the Museo Regional de Ica, especially by its director, Don Adolfo Bermúdez Jenkins, and by its curator, Don Alejandro Pezzia Assereto; by the staff of the Museo Nacional de Antropologia y Arqueología of Lima, especially its director, Dr. Jorge C. Muelle, and Don Toribio Mejia Xesspe and Don Julio Espejo Núñez; by the staff of the American Museum of Natural History in New York, especially Dr. Junius B. Bird, curator for South American studies; and by the staff of the University Museum of Philadelphia, especially Dr. Alfred Kidder, H. The unique contribution made by Duncan M. Masson to archaeological research on the south coast of Peru requires special acknowledgment. Besides his contributions to exploration, acknowledged in the appropriate sections, he created a museum for south coast archaeology, the Duncan M. Masson Museum, which has contributed key data to this study and to other archaeological studies. The time-consuming, effortful collaboration offered us by Duncan Masson every year since 1954 has formed an essential part of our research. 2. Rowe, 1945. 3. This transfer of allegiance took place as a result of a battle described by the chronicler Antonio de Herrera y Tordesillas, probably relying on a manuscript by Pedro de Geza de León. According to Herrera, some time between October 1533 and April 1534 the people of Chincha sent messengers to the Spaniards who were at Pachacamac, asking for help against forces loyal to the Inca Emperor 'Ataw Wallpa's general, Kizkiz, which were bothering them. The Spaniards sentfivehorsemen. The people of Chincha got together 4,000 men who fought a battle with an army of the same size from lea. The lea army was led by an lea general named Ucache, who was an officer of Kizkiz. The lea forces were defeated. Thereupon, according to Herrera, the people of lea decided that the Inca cause was finished and they might as well come to some agreement with the Spaniards (Herrera y Tordesillas, 1944-47, Década V, Libro V, Cap. HI; vol. 6, pp. 332-333).

cemeteries. The first permanent Christian mission was established at lea in 1560, and parishes were organized in 1563. Baptisms of adult pagans were still being recorded as late as 1574, so 1570 is a satisfactory round date for the end of the record (see also chapter I). The dates given are historic ones, because the period covered is recent enough to lie within the span of history in Peru. This study is, therefore, an exercise in historic archaeology, and the fact gives it some special theoretical importance. We are in a position to study the rate and kind of changes in style associated with a series of known political events, and we can ask what archaeological evidence can contribute to an understanding of cultural processes in a situation where some historical evidence is also available. As will be seen, the archaeological contribution is considerable. The success of this or any other archaeological study that aims at an understanding of cultural process depends on a precise determination of changes in decorative style and of the chronological relationships of these changes. Archaeologists working in the American field have been satisfied on the whole with a chronology based on loose sequences of broadly defined styles, each style including much variation in detail, and the looseness of the chronology has limited the possibilities of cultural interpretation. This study attempts to go a step further and bring to bear on an American problem the rigorous standards of the best Classical archaeology. The methods developed for the stylistic dating of Greek pottery could not simply be borrowed and applied to the lea tradition, however. For one thing, stylistic analysis in Greek pottery depends heavily on the treatment or the human figure, and human figures are not usually represented in the lea style. For another, dating of style changes is done in Greek pottery with the aid of inscriptions on the specimens that sometimes give the potter's or painter's name, and there are no inscriptions on lea vessels. It was necessary to devise methods for analyzing fine details of modeling and complex geometric designs and to make the fullest possible use of archaeological associations in relating style changes to historic events. The methods developed could be profitably applied to many other problems in American archaeology. This study is fundamentally a reanalysis of

INTRODUCTION

the same materials on which all earlier interpretations of Late lea pottery have been based. The Late lea pottery style was discovered by Max Uhle during his excavations in the lea Valley in 1900-01, and the Uhle collections, now in the Robert H. Lowie Museum of Anthropology of the University of California at Berkeley, still constitute the only substantial collections of Late lea material with recorded archaeological associations.4 The associations are all in grave lots, and a list of the lots will be found in the appendix at the end of the text. A brief review of the earlier interpretations of Late lea pottery will clarify the problems discussed in this study. Only two earlier interpretations are to be considered: that of Uhle himself and the one presented by A. L. Kroeber and W. D. Strong in their review of the Uhle pottery collections from lea published in 1924. Uhle's first summary of the results of his excavations at lea is contained in a letter he wrote from the field on February 26, 1901, to his sponsor, Mrs. Phoebe Apperson Hearst. An extract of this report was published later by Kroeber and Strong.5 Uhle classified the materials he had found at lea in five styles or "civilizations," as he called them, for which he suggested a chronological order based on stylistic inferences and on comparisons with the shorter sequence which he had built up in his excavations at Pachacamac near Lima in 1896-97. Uhle's chronological scheme may be summarized as follows, using the style names proposed by Kroeber and Strong for simplicity of reference: 1. Proto-Nazca (now usually called Nasca) 2. Epigonal (also called Early lea) 3. Middle lea 4. Late lea 5. Inca influence In terms of this scheme the present study is concerned with the pottery classified as Late lea and Inca influenced, with some discussion of its antecedents in Middle lea and Epigonal. Uhle concluded that "civilizations" 4 and 5 in his list were contemporary. He came to this conclusion because he had an unusual record of burial stratigraphy, in which burials containing pottery of his "civilization 4" were found in stratigraphic superposition above tombs containing pottery of his "civilization 4. Rowe, 1954. 5. Uhle, 1924c, pp. 128-132.

3

5." Uhle decided that the burials above the deep tombs must be those of people of lower rank who were contemporaries of the people in the deep tombs but who did not use Incastyle pottery.6 It did not occur to Uhle that his "civilization 4" might not be a valid stylistic unit. Uhle's terminology is confusing in another respect. He refers to the lea styles of his "civilizations" 3 and 4 as "Earlier Chincha" and "Later Chincha." As these terms imply, he was so impressed by similarities between the Late lea style and contemporary pottery which he had excavated shortly before in Chincha that he made no distinction between the pottery of the two valleys. He explained the supposed identity of the pottery by inferring an actual invasion of lea by the people of Chincha.7 On detailed comparison the styles of lea and Chincha are very different.8 There is some evidence for Chincha influence on lea pottery which will be discussed in this study, but it is far more complex than Uhle suggests and is virtually absent from some of the Late lea phases. Uhle wrote but never published a formal report on his lea excavations. The manuscript of this report is in the Ibero-Amerikanische Bibliothek in Berlin and could not be consulted for the present project. I have used the summary report which he published in 1913 and his letters from the field and original manuscript catalogue preserved with his collections at the Lowie Museum. When it became evident that Uhle could not be expected to publish further reports on his field work for the University of California, Kroeber undertook to prepare a series of survey reports on the Uhle collections with the collaboration of Strong and, later, of others of his students. The fist two reports in this series, on Chincha and lea, both appeared in 1924. These reports, and, indeed, the whole series, marked a great advance in Peruvian archaeology, and it detracts nothing from the importance of the work by Kroeber and Strong to suggest some modifications of their conclusions on the basis of a more intensive study of a small part of the materials they covered. In dealing with Late lea pottery Kroeber and Strong proposed to divide the style into 6. Uhle, 1924b, p. 126, comments on burial Td-9. 7. Uhle, 1924c, p. 129. 8. Kroeber and Strong, 1924a; Menzel, 1966.

4

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

two substyles, Late lea I and Late lea n. This division was not supposed to be primarily chronological, and Kroeber and Strong stated their belief that Late lea I, Late lea n, and Inca were all approximately contemporary. Late lea I pottery was found associated with Spanish ¿lass beads, indicating that this substyle was at least in part post-Conquest.9 Nevertheless, the authors regarded the Late lea I substyle as at the same time the oldest of the three discussed and felt that it "may well have begun to flourish some centuries before the Inca conquest." The Late lea II substyle, they say, like Late Chincha II is clearly a transition from Late lea I to Inca. It might in fact be described as a phase of Late lea I in which the pure style of the era had begun to be modified under Inca influence, but certain of the more typical Inca forms—aryballoids, goblets with foot, insect pattern—had not yet been introduced.10 They note that Uhle also regarded Late lea (his "Later Chincha") and Inca as contemporaneous. Like Uhle, they resolve the problem of why three distinguishable styles should have remained in use at the same time by suggesting that the three are "phases characteristic of separate classes of the local population." 11 The situation described by Kroeber and Strong is peculiar, and it raised the question whether it might not be possible, by using different criteria, to reclassify the pottery into phases that would have chronological as well as typological significance. This question was the starting point of the present project. The procedure by Kroeber and Strong was to begin by making a stylistic classification of all vessels from the lea Valley, and then to check this classification against the burial associations. This order of procedure is implied in their statement: But they [the stylistic subdivisions used by Kroeber and Strong] were made imperative by a detailed objective classification of the specimens and then proved to conform so 9. Kroeber and Strong, 1924b, p. 117. 10. Kroeber and Strong, 1924b, p. 117 11. Kroeber and Strong, 1924b, pp. 117-118

neatly with the provenience of pieces according to cemetery and grave, as well as with passing comments scattered through Dr. Uhle's field catalogue, that we feel no hesitation in going beyond his pioneer recognition of five periods by subdividing two of them [Middle lea and Late lea].12 The Kroeber-Strong conclusions are the result of an attempt to explain the evidence of associations in terms of their stylistic classification, which was made independently. They ignored the burial stratigraphy, following Uhle. Kroeber and Strong were not primarily concerned with describing exact units of contemporaneity in their analysis; their primary concern was to describe a general, long-term pattern of stylistic change. As a result they were also not interested in precisely delineating differences between chronologically close style phases. The procedure used for the present study differs from Kroeber-Strong in several respects. The stylistic classification is not made independently of the evidence of associations, but in close conjunction with it. Burial associations presumed to represent units of contemporaneity are taken as the basic evidence. Stylistic contrasts or the lack of them are recorded only within the framework of the burial associations. The identification and definition of precise units of contemporaneity is the primary concern. In seeking stylistic evidence reflecting change through time, the evidence of stratigraphy in burial superposition, which is a prominent feature of Uhle's excavation record, was a constant point of reference. Also taken into account were burial associations with historically datable objects, such as Spanish glass beads, and objects of the Inca style. The analysis in chapters HI and IV, which follows, will show that stylistic contrasts did exist in Late lea pottery of the native tradition, and that they were recordable in terms of stylistic regularities. These contrasts have chronological significance; they are in harmony with the burial associations, including associations with datable objects and with the burial stratigraphy. There is no need to explain away the stratigraphy as Uhle did, or ignore it as Kroeber and Strong did. 12. Kroeber and Strong, 1924b, p. %

INTRODUCTION

The procedure used here has led to the division of the Kroeber-Strong Late lea pottery into five phases of the native lea pottery style, which are considered to form separate units of contemporaneity. These five phases do not include pottery of foreign styles and foreign inspiration, such as the Inca style. The five Late lea phases are assigned the numbers 6 to 10 (cf. chronological table). The reason for this division is that simultaneous research by several individuals on the earlier part of the lea tradition (the part that is included under the terms Middle lea I and II by Kroeber and Strong) has made it possible to subdivide the entire tradition into a consecutive sequence of phases. Phases 1 to 5, with their further subdivisions, precede the Late lea phases. Uhle and Kroeber-Strong have published a justification of the relative temporal order of the Epigonal, Middle lea and Late lea pottery styles.13 Patricia J. Lyon has published a more detailed discussion of the stylistic transition and processes of change operating in the sequence from the lea Epigonal style to lea Phase l . 1 4 The definition for the lea phases numbered 2 to 5 has not been published. There is a rough correspondence between the Kroeber-Strong Late lea I style and my Phases 6, 7, and 10, and between the Kroeber-Strong Late lea II and Inca styles and several Late Horizon styles described in the study that follows. However, even this rough correspondence has so many exceptions in the style attribution of burials and individual vessels that the two terminologies are for ractical purposes incommensurable. To il-

Elstrate the lack of correspondence between

the style phases recognized here and those used by Kroeber and Strong, two concordances are added below. One fists the KroeberStrong identification of Late lea burials and the otner lists their identification of illustrated vessels. The identification of these burials and vessels in terms of the phases used here is added in brackets. Since Late Horizon pottery includes several styles, the term "Late Horizon" is used instead of a style term for all vessels and burials attributable to that period. Burials15

Middle lea I: C-5 [Late Horizon] Middle lea II: C-4 [Late Horizon] 13. Uhle, 1913, 1924c; Kroeber and Strong, 1924b 14. Lyon, 1966 15. Kroeber and Strong, 1924b, p. 101

5

Late Ica I: Th-1 [lea 6] Th-2 [lea 7] C-7, group Sc [lea 8] Tf [Late Horizon] Ti-1,2,3,4 [lea 10] Late Ica II: Ta, Tn [Late Horizon] Td-10 [lea 10] Inca: Td-1, Td-8, Ti-5, Tk, T1 [Late Horizon]

Illustrations

Middle Ica I: pi. 31c [Late Horizon] Middle lea H: pl. 34c, e [lea 8] pis. 33d, f, 35h, k, 1, p-s [Late Horizon] Late Ica I: pis. 36c, d, g, i-k, m-o, 37b, d, f-h, k, 1 [lea 6] pi. 36r [lea 7] pi. 361 [lea 8] pis. 36q, 37j [Late Horizon] pis. 36a, b, e, f, h, p, 37a, c, e, i [IcalO] Late Ica II: pl. 38a-f, h, j [Late Horizon] pi. 38g,i[IcalO] Inca: pis. 39a-g, 40a, c-n [Late Horizon] pi. 40b [lea 3 antique found in a Late Horizon burial] This study differs from the work by Kroeber and Strong not only in procedure and in method, as noted earlier, but also in some assumptions concerning the nature of stylistic change and in some goals toward which the study is directed. The position taken here is that it is not possible to define the patterns of change through time with precision without defining precisely exact units of contemporaneity, that is phases. I define an exact unit of contemporaneity as all the objects that could have been in use on the same day. The contents of each burial in the Late lea sample are considered to form such a unit of contemporaneity. As the style analysis will show, contemporary vessels may be composed of a combination of stylistically conservative, intermediate, and advanced features in optional combinations, and vessels composed for the most part of conservative, intermediate, or advanced features may occur in the same burial. This means that each unit of contemporaneity consists of a range of variation of conservative, intermediate, and advanced style features. This range of variation has fixed limits, however, and is definable for each unit of contemporaneity.

6

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

If two or more burials are assigned to the same phase, it means that they are considered to form an exact or a nearly exact unit of contemporaneity in the sense described. This does not mean that the burials were in fact made on the same day or in the same year. It does mean that they were made close enough to each other in time so that the objects in these burials could have been in use on the same day. This could happen within the time span of one generation, or about twenty five years. If stylistic innovations appear at a relatively slow rate, this time span could be longer. The estimated time spans for the Late lea phases vary between about twenty five and fifty years. The precise identification of exact units of contemporaneity depends on the analysis and definition of the rules governing the consistently patterned combinations of all features of a phase. The consistency of these patterned combinations of features reflects the fact that the combinations had specific meanings to the people who made and used the objects, and that any phase forms in that sense a system of communication. The function of stylistic units of contemporaneity as systems of communication is particularly important to archaeological inference, as we shall see. It is also important to the study of long-term change, because the replacement of one feature by another in a style sequence can be affected by the position the feature occupies, and the need for its adjustment to other features with which it occurs in patterned combinations. However, the combinations of features at any given time follow a different set of regularities from those governing the replacement of one feature by another during a span of time. The ways in which features are combined in one phase do not usually change in a consistent direction through successive phases. The rules governing the combination of features at one time are therefore not useful for tracing long-term change. Each phase is defined on the basis of the evidence of associations in one master burial. Other vessels and burials are assigned to a phase if they are considered to be contemporary, in the sense discussed above, with the master burial for that phase. The advantage of this procedure is that it leads to greater precision in the definition of each phase by introducing a constant. If, for example, further evidence should show that one or another

style feature, believed to have been introduced in a particular phase, was in fact introduced as early as the preceding phase, this fact need not lead to a confusion in the phase definition. Each burial consists of a great number of associated features, and it is their patterned combination which is used to define the unit of contemporaneity, not a single feature. Even if additional evidence should call for corrections in the phase attribution of particular vessels or burials, or should lead to the subdivision of a phase, the master burial will furnish a fixed point of reference to which the new discoveries can be related. The principle of using a master burial as the definitive unit of contemporaneity for a particular phase is the same that underlies our use of a master sequence for the relative chronology of periods and epochs as the basis for a discussion of Andean archaeology.16 The sample of grave lots and unassociated vessels used in the present study is listed in outline form in the appendix. Tomb Th-1, containing about 230 pottery vessels, is the master grave lot for Phase 6 (appendix, 1); burial Th-2, containing 19 pottery vessels, is the master grave lot for Phase 7 (appendix, 5); tomb Td-8, containing 38 pottery vessels, is the master grave lot for the definition of the Late Horizon styles as a unit of contemporaneity (appendix, 11); and burial Ti-1, containing 20 pottery vessels, is the master grave lot for Phase 10 (appendix, 30.1.). Each of these lots was chosen because it offered the best available evidence of associations indicating contemporaneity, thus serving best as a starting point for the phase definition. Another assumption underlying the present study concerns the rate of style change in this particular instance. Since the time span for Late lea pottery must have been at least 130 years, if the interpretations by Uhle, and by Kroeber and Strong were correct, it seemed unlikely that no observable changes had taken place in an elaborately decorated pottery style, even if the changes were only 16. Rowe, 1962b. The suggestion of using master grave lots to define a phase was made by Lawrence E. Dawson. Since the lea phase sequence is the master sequence in Rowe's system of relative chronology, it is important to define the lea phases with great precision. Because of a common misunderstanding of the way the relative chronology is used, attention is drawn here particularly to the fact that the term "Late Horizon" refers only to the time of the Inca occupation of lea, that is, the period of about 1476-1534 A.D. It does not refer to archaeological and historical evidence of earlier Inca occupation in other areas.

INTRODUCTION

ones in what might be called minor details. Since our ability to see regular stylistic differences seemed especially important for Late lea pottery, in view of the great changes in lea culture that were known to have taken place in the course of its existence, it was important to record these differences if they were there. If any of the known cultural events were reflected in the archaeological remains, our ability to observe and analyze major culture change from the archaeological record depended entirely on the precise distinction of the appropriate units of contemporaneity. The goal toward which this study is directed is not only the discovery of long-term patterns of change, but also of changes occurring within short periods of time, changes that may not fit into, and are independent of, the long-term pattern. This goal is based on the observation that style change is not always gradual and does not necessarily follow a long-term pattern, but that various abrupt changes may take place. These changes may be singular ones or ones that follow another idea sequence, independent of the gradual-change sequence during an extended period of time. For the discovery of changes of this kind also, it is necessary to define precise units of contemporaneity. The method used in the style analysis in chapters in and IV should be evident from the presentation of the data. However, a brief glossary of some of the terms used is added here. 17 Feature. Any stylistic detail that can be distinguished from other details by contrast and repetition. Pattern. A recurrent combination of features in a distinctive arrangement. Composition. A complete vessel shape composed of consistently patterned features, or an independent design arrangement composed of recurrent combinations of features. Like features, compositions are defined by contrast and repetition. Any composition is made up of a limited number of positions having standard relationships with one another, and a limited number of features may appear in each position.18 Feature set. A recurrent combination of features forming a segment of a complete vessel 17. For additional discussions of some aspects of the method, see Rowe, 1961b, 1962c; Menzel, Rowe and Dawson, 1964, p. 263; and Menzel, 1968b, pp. 103-104 and errata. 18. This definition is quoted from Menzel, Rowe and Dawson,

7

shape or of an independently definable design arrangement. The same feature set may recur in several different compositions. Theme. A number of compositions with similar but not identical features in the same positions. The similarities make it possible to identify the compositions as reflections of the same idea, despite differences in stylistic detail. The differences in features are presumed to reflect change in a particular idea sequence, or regional variations of the same idea. For example, Late lea shape compositions such as Cambered-Rim Bowls and Angular-Rim Bowls represent a single theme with consistently differing features, the differences signifying change through time. The occurrence of identifiable themes persisting through periods of stylistic change is the style phenomenon that is basic to a reliable seriation of phases in a tradition. Modular width. A term coined by Lawrence E. Dawson to describe a common stylistic phenomenon that consistently uses a standardized width of bands or lines in design compositions. The concept is particularly useful in the analysis of stylistic units of contemporaneity, as well as in the documentation of long-term changes in a stylistic tradition. The use of lines and bands of a modular width has particular application to the longterm changes in the lea tradition. Some terms used in the description of shapes are based on Anna O. Shepard's proposals regarding such description.19 The terms refer to shape profiles, for example inflected, spheroid, ellipsoid, or ovaloid contours, and restricted and unrestricted shapes. The terms "lip" and "rim" are used in accordance with the meanings proposed by Shepard. The term "base angle" refers to a sharply edged point dividing sides and bottom of a vessel. The term "basal gambrel" refers to a slight edge, less sharp than the base angle. The term "basal hip" refers to a slightly more rounded transition between sides and bottom. In our stylistic analysis, features are the basic elements that lead to the observation of 1964, p. 263, where it is used to define "themes," a term used alternatively with "composition" in that definition. Although no distinction between "themes" and "compositions" is made in that definition, a distinction is made in the use of these terms in the text of that study, which corresponds to the distinction made here. 19. Shepard, 1956, pp. 224-248

POTTERY STYLE AND SOCIETY IN ANCIENT PERU 8 consistent patterns in gradual long-term the stylistic contrasts between the lots of change, in the form of idea sequences. These pottery contained in the respective graves. A idea sequences are most clearly traced more detailed discussion of the grave lot through some persistent themes. For the purstratigraphy is given in chapter I. pose of tracing long-term episodes of change The placement of Phases 6 and 7 (i.e. grave in the Late lea tradition, for example, the most lots Th-1 and Th-2) as earliest in the Late Ica useful idea sequence is found in Rectangle sequence is based on the seriation of style designs, which form a single persistent theme features. The stylistic evidence leading to this throughout the sequence (cf. chapter IV). In seriational placement is presented in chapters view of the many abrupt innovations and IE and IV. The seriation of the tomb Th-1 and short-term changes that also take place, the Th-2 lots as earlier than the Late Horizon and identification of persistent idea sequences in Ica 10 lots is strikingly clear, not only on the Rectangle designs and some other themes is basis of the stylistic seriation but also by the crucial to the definition and seriation of the absence from these burials of either Inca-style Late lea phases. objects or glass beads. For both these reasons The relative chronology of the phases is esKroeber and Strong used this group of vessels tablished through a combination of burial as the basis of their definition of the Late Ica I associations with historically datable objects style. and burial stratigraphy, as noted above. Most The chronological placement of Phase 8 is of the burials assigned to Phase 10 are found also based on seriation. Like Phase 7, Phase 8 in, stratigraphic superposition above three was not isolated as a distinct stylistic unit by large tombs containing variants of Inca-style Uhle, Kroeber, and Strong. The sample for pottery. Graves containing Inca-style pottery the phase is small, and Uhle excavated only are presumed to date to the period of the Inca one small burial attributable to it (appendix, occupation of lea. Ica 10 burials do not contain 8). Uhle obtained another lot of four Ica 8 Inca-style pottery, and the Ica-tradition potvessels from a professional grave digger tery in them differs from the Ica-tradition (huaquero), who stated he had excavated the pottery in the deep tombs below. Furtherlot at a particular mound (huaca) near the more, three of the Phase 10 lots, including the settlement of Santiago (appendix, 9). This lot largest, burial Ti-1, contained Spanish glass is so homogeneous in style that it is probably beads datable to the Early Colonial Period.20 part of one burial. Although these small lots The deep tombs with Inca-style pottery, on are important as clues to association patterns, the other hand, did not contain Spanish glass the definition and seriation of Phase 8 are beads. The relative chronological position of based in the main on the appearance and Phases 6 and 7 is established by the stratipatterning of features found in association on graphic superposition of burial Th-2 over single vessels. tomb Th-1, considered in conjunction with Our ability to crossdate the Late Ica phases with the historical record is of great advantage to the interpretation of the archaeological 20. The glass beads found in the Ica 10 burials are for the most part the kinds called "Nueva Cadiz" by Charles Fairbanks remains. The relatively precise dating of the of the University of Florida, and those called "chevron," "star," phases in terms of absolute dates is only "paternoster," or "sun" bead (Sorensen, 1971, pp. 16, 36, CL 184). This assemblage of beads is typical of Spanish contact sites partly possible because of the association of of the earliest part of the Colonial Period. The Nueva Cadiz datable objects such as glass beads and Incabeads are reported to have been found only in Spanish contact style objects. Another essential condition for sites, and are therefore probably of Spanish manufacture. From the earliest Spanish contact period to the late 1600's many glass this kind of precise dating is that each of the beads traded on the American continent were probably made in last three Ica phases, 8, 9, and 10, incorporthe glass factories of the island of Murano, near Venice. ates many abrupt innovations which probably However, Sorensen refers to some recent information to the effect that glass craftsmen accompanied Viceroy Mendoza to took place within a year or two and are New Spain in 1535, and that by 1542 a glass bead industry had relatable to the historic events. This circumbeen established in the present Mexican state of Puebla, unique stance enables us to delineate each style in all New Spain. The beads are reported to have been exported as far as Guatemala and Peru. phase with great precision. Many changes in For published illustrations of the Nueva Cadiz beads from style that distinguish Phase 10 from Phase 9 Peru, see Mujica Gallo, 1959, pis. CXVI, CXVm, and CXVII, left must have been introduced within a year or and right. The chevron bead category from Peru is illustrated in Mujica Gallo, 1959, pi. CXVm, pendant in necklace. two of the battle of 1534 that marks the end of

INTRODUCTION

Inca domination of lea. Undoubtedly further innovations and elaborations of the innovations were introduced after that, but the basic pattern must have been set very rapidly, as the stylistic analysis will show. Relatively abrupt innovations of a similar kind also mark lea Phase 9, and can be correlated with the beginning of the Inca occupation of lea. However, the Late Horizon burials discussed here must date to some time after the beginning of the Inca occupation period, probably not before about 1485 or 1490. The evidence for this observation is documented through associations found in burials in the neighboring Chincha Valley.21 This evidence is discussed in the concluding chapter. In terms of absolute years, the beginnings of lea Phases 6, 7 and 8 are approximate guess dates. The beginning of Phase 6 is estimated to fall near 1350, the beginning of Phase 7 is estimated to date near 1400, the beginning of Phase 8 is estimated to date near 1440,22 the beginning of Phase 9 (excluding some kinds of vessels) must fall near 1476, and the beginning of Phase 10 must date to 1534 or at least within a year or two of that date. Each phase has distinctive general characteristics. Ica Phase 6 is characterized by a very homogeneous style. Phase 7 has many features in common with Phase 6. However, almost every vessel in burial Th-2 is distinguishable from Phase 6 vessels by one or more features. It would not be possible to distinguish every vessel fragment from Phase 6 ones, because of the many shared features between the two phases. However, most complete vessels of the two phases are probably distinguishable in one or more features. Most Ica 8 features of shape and design are readily distinguishable from those of other phases. If Ica 8 fragments were present in abundance at Ica sites, they would be easily identifiable. In the Uhle Late Horizon burials, no two are exactly alike in contents, an observation made by Uhle himself in his field records. The diversity is particularly noticeable when com21. Menzel, 1966, pp. 96-97 22. Chincha power was great in about the year 1440, when an Inca army contingent raided the coast under orders from the Inca Emperor Pachakuti, and under the leadership of General Qhapaq Yupanki. The Inca contingent was defeated in battle by the armed forces of Chincha, an indication that Chincha was an important military power at this time (Menzel and Rowe, 1966; Rowe, 1945).

9

pared with the homogeneity of Ica 6 pottery. The reason for the diversity in the Late Horizon is in large measure the co-occurrence of several different styles. In addition to different local styles, foreign styles occur, the principal one being the Inca style. This meant that the Late Horizon styles of Ica could not be properly analyzed without a study of Cuzco Inca styles, various provincial Inca styles, and other styles that were widely influential during this time. The stylistic variety of the Late Horizon burials is reasonable if one considers that it reflects conditions in an empire. As we shall see, however, that was not the only explanation for the stylistic diversity. Only a single style existed in the Early Colonial Period, in contrast to the variety of styles in the Late Horizon. The Ica 10 style is very heterogeneous, however, allowing for a great number of individual variations, particularly in composition. The nature of the Late Ica sample collected by Uhle presented problems that could not be resolved without additional field work and studies of a larger sample of vessels without associations. The reasons differ for each phase. The Phase 6 sample is extraordinary because of tomb Th-1, which not only furnishes excellent evidence of associations but also contained a very large sample of vessels. The problem was that the style of the vessels was so homogeneous that the question arose whether this homogeneity was a style characteristic of Phase 6 pottery in general, or whether it was the result of the fact that all vessels came from the same grave lot. Uhle's samples for Phases 7 and 8 were very small. The stylistic diversity of Late Horizon pottery meant that despite the relatively large number of Late Horizon vessels and burials collected by Uhle, Uhle's sample was too small for the discovery of all stylistic regularities governing the pottery of Ica of that time (appendix, 11-26). Although only a single style existed in the Early Colonial Period, in contrast to the Late Horizon, the stylistic heterogeneity of Ica Phase 10 also required a larger sample than that collected by Uhle (appendix, 30-32). When a style is so heterogeneous, a larger sample is needed to define its regularities than for a homogeneous style like Phase 6. The limitations of Uhle's Late Ica sample became apparent during an initial pottery

10

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

analysis I made between 1952 and 1954.23 Uhle's field records also turned out to have serious limitations. Uhle did not always give precise data on site locations, and he only occasionally gave limited descriptions of sites. It was apparent that additional field work would have to be done at lea to resolve some of the problems raised by the initial study of Late lea pottery. In order to make a more adequate analysis of Uhle's materials possible, John H. Rowe organized a comprehensive archaeological research program in the lea Valley which was carried out from 1954 to 1969, some work being done nearly every year. Most of the field work was done by Rowe personally, often in company with graduate students being introduced to field work in Peru. Rowe catalogued 202 sites. He had to begin by making a new map of the lea Valley, based on aerial photographs and mapping on the ground. Rowe identified the essential geographical features of the valley that explain the behavior of the river, the irrigation systems, and the underground water seepage, to which sites of all periods of human occupation at lea are related. As a further part of the project, Rowe managed to find and identify every site recorded by Uhle and to add essential site data that Uhle had omitted. The rest of the survey was conducted by Rowe systematically by sections, from the upper reaches of the valley to the Ocucaje Basin, and partly below Ocucaje. Map 2 is based on Rowe's map, showing only some of the sites that are especially relevant to the present study. All site locations and descriptions are based mainly on Rowe's field notes. Rowe also made a plan of the ruins of the principal lea site of Old lea, which is essential to this study (map 3). In addition, Rowe surveyed sites in the valley of Pisco, in the drainage of the Rio Seco, in the desert between the Rio Seco and the lea Valley including the sea shore, and sites in the valleys of Nasca, Acari, and Yauca. The collections he made furnish the principal basis for the additional materials used here to supplement Uhle's data. Further information was supplied by field work conducted by Duncan M. Masson in the Pisco, lea, and Nasca valleys, by David A. Robinson in the valleys of Nasca, by Lawrence E. 23. Menzel, ms.-l

Dawson at the site of Villacuri in the Rio Seco drainage and in the Callango Basin below Ocucaje, and by Francis A. Riddell and me in the Acari, Nasca, and lea valleys. I was also fortunate in having the opportunity to accompany Rowe, Dawson, Masson, and Pezzia on some of their surveys. Another contribution to this study made by Rowe is extensive research on the history of the natives of lea, using different kinds of widely scattered documents. Rowe's historical research is also of key importance to the study of Late lea archaeology. In recent years Rowe has conducted field surveys and studies of excavation projects in the highlands, especially Cuzco, and he has done much new historical research on the Incas. Data from both these research projects are incorporated in the present study. The field work organized by Rowe furnished the basis for a much more productive study of Uhle's Late lea collection than was possible using only Uhle's excavated materials and field records. Data from Rowe's field work directly relevant to Uhle's Late lea materials have been incorporated in the present analysis, as have some of the field data collected by others and unassociated whole vessels recorded in various collections. These data have made it possible to make a clearer statement about the stylistic regularities governing each phase, particularly Phases 7 to 10, and to define the regularities of the styles of foreign inspiration. The chronological ordering of the phases was not affected by the reworking of the materials. The results of the field work also showed that the collection of vessels from Uhle's lea 6 tomb Th-1 is representative of Phase 6 as a whole from the upper lea Valley to the Ocucaje Basin. It is possible that stylistic variants of Phase 6 exist in the lower portions of the valley, below Ocucaje, but these variants are mixed with Phase 6 pottery as it is found higher in the valley as well. Phase 6 pottery fragments are common in refuse and looted cemetery sites in all parts of the valley, and many complete lea 6 vessels can be found in various museum and private collections. Only a selected number of these vessels is cited for the present study (appendix, 3, 4). By contrast, pottery attributable to Phases 7 and 8 is relatively scarce, both in collections of complete vessels and in fragmentary form at refuse and looted cemetery sites in the lea

INTRODUCTION

Valley (appendix, 6, 7, 10). The scarcity of these remains suggests that both latter phases may have been of shorter duration than Phase 6. The additional Held work was of particular value in the analysis of the Late Horizon styles and lea Phase 10. Ica Phase 9 of the Late Horizon and the Ica 10 style occur in abundance at sites all over the Ica Valley. Late Horizon examples in museum and private collections are selected ones, consisting for the most part of vessels of the fancier styles, but Ica 9 vessels are also found in such collections in moderate quantity (appendix, 28, 29). Ica 10 vessels occur in abundance in various collections. Additional data furnished by field work were so indispensable to a consistent analysis of the Phase 10 style that some fragments from surface surveys and stratigraphic studies conducted at Ica and in the area northwest of Ica were incorporated in the present analysis, as was a larger number of unassociated whole vessels (appendix, 3336). The additional examples include fragments from sites occupied only during Phase 10, and from a refuse stratum isolating Ica 10 pottery in stratigraphic superposition above

11

Late Horizon remains at Old Ica (appendix, 34). These sites are discussed in chapter I. Until 1966 the Ica phases could not be numbered consecutively, because the earlier Ica sequence had not been analyzed in sufficient detail. For that reason the Late Ica phases were originally named after sites where they were particularly well represented. In the original manuscript and later studies Phase 6 is called the Tate style, Phase 9 and some associated styles are called Tajaraca A, and Phase 10 is called Tajaraca B. The earlier Ica phases are called Chulpaca.24 In 1959 we substituted the more specific site name Soniche for Tate in the designation of Phase 6. 25 At the same time Uhle's spelling of Tajaraca was changed to Tacaraca, the latter being the spelling used in the historical documents and by the present residents of Ica.26 Subsequent publications refer to the numbered sequence of Ica phases.27 24. Menzel, ms.-l, 1960, Rowe, 1956 25. The local name for the site of Soniche was not known to Uhle. It was recorded by John H. Rowe during field work carried out at Old Ica in 1954-55. 26. Menzel, 1959, Rowe, 1962a 27. Lyon, 1966; Menzel and Rowe, 1966; Menzel, 1966,1967; Rowe and Menzel, 1967, introduction and chronological table.

Chapter I.

cs

THE ARCHAEOLOGICAL CONTEXT The coast of Peru runs roughly from northwest to southeast and is bordered by a strip of desert which, except in the extreme north and south, is relatively flat and from 50 to 80 km. wide. Behind this strip of desert the Andes mountains rise abruptly to heights of 3,000 to 4,500 meters. Most valleys on the coast are made by short rivers which have their sources in the high mountains and flow southwest across the desert to the Pacific Ocean. Along the banks of each river there is usually a strip of cultivable land that widens out into a broad fan at the river's mouth. The lea River and its valley are exceptions to this general pattern (map 1). The lea River rises conventionally enough in the mountains of the southern part of the Department of Huancavelica and starts out in a southwesterly direction which, if continued, would bring it out at the Bay of Paracas. However, at Huamani, just before the river emerges from the mountains, it begins to turn south in a wide curve which brings it almost parallel to the coast. It finally reaches the sea about 120 km. south of the point for which it was originally headed. The lea River carries little water. Even in years of abundance it carries water for only three months where it emerges from the mountains. This small supply of water sinks into the ground or evaporates long before it reaches the sea, so the last 60 km. of the valley 12

are completely dry except for occasional seeps of ground water. The part of the valley which has enough water to be farmed is not the part nearest the sea, as in most other Peruvian valleys, but a section well inland where the river first comes out of the mountains. It is a section 60 km. long from Huamani to Ocucaje and nowhere more than 10 km. wide. The modern city of lea, capital of the province and of the department of the same name, lies about in the middle of the cultivated section. 28 The administrative and ceremonial center of the lea Valley in the Late Intermediate Period and under the Inca Empire was located about 10 km. south of the modern city, near the town of Pueblo Nuevo (map 2). Its site, which is the largest archaeological site in the valley, is still called locally lea la Vieja (Old lea). The site is about 1.5 km. across, but the remains of ancient occupation are not continuous over the whole area. There are huacas (adobe mounds and other remains of monumental buildings) scattered through the cotton fields and vineyards of the haciendas of San Ramon, Tacaraca, Santa Rita, Bellavista, and Galagarza, and on some smaller properties in the same area (map 3). Along the east side of the site are low sandy areas 28. For a further discussion of geographical features and human occupation of the lea Valley, see Menzel, Rowe and Dawson, 1964, pp. 4-8.

Map 1

Map 2

TO

ICA

TO

ICA

Map 3

16

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

alternating with patches of huarango brush and fields of cotton. These sandy areas are important parts of the site. There are a few huacas on them, scattered patches of ancient habitation refuse, and extensive cemeteries. Each area of sand has its own local name. The northernmost one in the site is Chulpaca, occupied by a modern village which covers the whole sandy area except for a large huaca on the west side. The modern occupation has entirely hidden the important Chulpaca cemetery reported by earlier investigators. South of Chulpaca, along a dirt road which leads ultimately to the village of Tate, are two more sandy areas, one called Huacachina and the other called Soniche. The large Huacachina area is covered by the remains of a great cemetery, now completely sacked by treasure hunters (map 3, section H; i.e. PV62-1H).29 Soniche is a smaller area east of Huacachina, also the site of an ancient cemetery (PV62-1J). There is a fourth sandy area with remains of ancient occupation southwest of the Huacachina one, but its local name has not been recorded (PV62-1K). A few Paracas and Nasca-style sherds have been found at Old lea, but the earliest pottery style which is abundant there is the lea style, dating from the first half of the Late Intermediate Period (cf. chronological table). Sherds of lea Phases 3 to 4 are particularly abundant, but Phase 1 and 2 sherds also occur. All subsequent lea phases are found there, down to and including Phase 10, the phase corresponding to the Early Colonial Period. Old lea was probably the capital of the native lea state before the Inca conquest, certainly the Inca administrative center for the valley and site of a major way station on the Inca coast road. The first Spanish settlement was established in 1534 at the northern end of Old lea, centering on the area designated A on map 3. The settlement was established by Nicolás de Ribera el Viejo, who was granted part of the population (serfs) of lea (Lurin lea) in encomienda by Francisco Pizarro in 1534.30 The settlement included Ribera's house and a "Tambo Real," that is, the former Inca way station. The functioning of the tambo in 1543 29. For an explanation of the system of site designations, see Rowe, 1971 and Bonavia, 1971. PV62 refers to the lea Valley, e.g., Peru Valley no. 62, counting north to south. Site 1 is the site number appropriately given to Old lea.

is indicated in the Ordenanzas de Tambos y Caminos Reales issued by Cristóbal Vaca de Castro. 31 The rights and duties pertaining to the maintenance of this tambo, including the obligation to build a church there, were granted formally to Nicolás de Ribera el Viejo in 1549 by President Pedro de la Gasea, and reconfirmed in 1556 by Viceroy Marqués de Cañete. 32 The document of 1556 refers to the "tambo y pueblo de Ica," that is, the tambo and town or settlement of lea. This is the first official mention of the Spanish settlement at lea as a "pueblo," This document also indicates that Ribera's lands extended east and west of his house, west to the river and east across the "camino real" or main highway to a huaca "in front of" the highway. This huaca must be the group of mounds marked area D on map 3. Some time before 1547 Ribera was breeding horses and cultivating lands in this area, with a deputy, Bartolomé de Oropesa, managing these holdings in Ribera's absence. 33 A more official Spanish settlement was founded in 1563 under the name of Villa de Valverde, by authority of Viceroy Conde de Nieva. 34 The authorization calls for a settlement of "up to 40 Spaniards." This settlement is stated by Vargas Ugarte and others to have been founded at the site of the tambo and pueblo of lea for about five years. However, there is no real evidence to support this contention; it appears to be based on guess work. Archaeological surveys of this area in 30. Vargas Ugarte, 1949, p. 133. This information is also found in a deposition made by Nicolas de Ribera el Viejo in 1556 in connection with his founding of a hospital for Indians. The document is cited by José de la Riva-Agüero y Osma (Mendiburu, 1931-35, tomo IX, pp. 395-396). Apparently the encomienda of Lurin Ica was given to Ribera before the one of Anan lea was given in the same year first to Felipe Boscán and then to Juan de Barrios (Pizarro, 1926 [1534]). 31. Vaca de Castro, 1909; Sánchez Elias, 1957, pp. 14-15. 32. Sánchez Elias, 1957, pp. 6-14. Sánchez Elias cites both documents, which he found deposited in Títulos de la Fundación del Convento Hospital de lea. This collection of documents, according to Sánchez Elias, was bound in 1774 and deposited in the Archivo de la Beneficencia de Ica. Thefirstis the document dictated by President Pedro de la Gasea to the Secretary Pedro de Avendaño in 1549, giving authority to Nicolás de Ribera el Viejo to maintain a travelers' inn and church near his residence on the "camino real" in lea. The second document was dictated by the Viceroy Don Antonio Hurtado de Mendoza, Marqués de Cañete, to the Secretary Pedro de Avendaño in 1556, reconfirming the previous document issued by Gasea. 33. Sánchez Elias, 1957, pp. 5, 11-12; Mendibuni, 1931-35, tomo DC, p. 395, in a document cited by José de la Riva-Agüero y Osma. 34. Vargas Ugarte, 1949, pp. 132, 133.

THE ARCHAEOLOGICAL CONTEXT 1954 and later years by John H. Rowe, Francis A. Riddell, and me showed the foundations of the early settlement still preserved. These foundations were much smaller than any that could account for the presence of 40 Spaniards, for any period of time, although they accounted very well for a small "tambo and pueblo" under Ribera. The surveys indicated that area A was the only one at Old lea where one could find fragments of broken "botijas," the wine jugs that were important to the economy of lea and some other coastal valleys from the Early Colonial Period to the twentieth century. 3 5 Area A must have been the main plaza where the church, the tambo, and Ribera's house were situated. In 1568 or soon thereafter (i.e., some time after a major earthquake said to have taken place in 1568) the Villa de Valverde, soon known simply as the Villa de lea, is already reported as being situated farther north, near the southeastern outskirts of the present city of lea. That means that even if we were to grant the possibility that the Villa de Valverde was first founded at Old lea, Old lea was definitely not occupied by Spaniards after about 1568. More probably it was abandoned by the Spanish settlers in 1563. Until 1925 three contiguous large archways still stood "in front of" the hacienda San Ramón (presumably near area A on map 3). The arches were of Spanish construction, and may have marked the entrance to the old tambo and pueblo of lea. Sánchez Elias suggests that they marked the entrance to the first Villa de Valverde. 3 6 In 1560 a Franciscan mission was established in lea. 3 7 This mission and the Villa de Valverde together brought effective Spanish civil rule to the native people of lea. The missionaries and Spanish administrators worked together to force the natives to abandon their widely scattered, isolated settlements and to settle in concentrated "reduction" settlements near the Spanish missions and the Villa de Valverde. Old lea is the largest and most imposing of the late sites in the lea Valley, but there are many other smaller ones. About 15 km. north of Old lea, near Guadalupe, there was another large cluster of huacas, now mostly 35. Sánchez Elias, 1957, pp. 39-44. 36. Sánchez Elias, 1957, p. 34. 37. Zambrano, 1970.

17

destroyed (map 2). Smaller groups of huacas occur at Barrio Córdoba in Ocucaje, and at La Venta de Chagua, 18 km. below Old lea (map 2). La Venta de Chagua was the site of the second of the two major Spanish tambos of the lea Valley, run by Nicolás de Ribera's manager, Bartolomé de Oropesa. The authorization for the establishment and maintenance of this tambo by Nicolás de Ribera el Viejo appears in the same documents of 1549 and 1556 that give him authority to maintain the Tambo Real at Old lea. Refuse from La Venta de Chagua indicates that it was also important under the Incas, as well as earlier, in the Late Intermediate Period, and that the Spanish tambo probably represented the continuation of an Inca one. There are also some isolated huacas, like Conuca, northeast of Pueblo Nuevo, and many patches of ancient habitation refuse along the borders of the valley and on the sand hills which interrupt the cultivation. Even on the dry lower course of the river, below Ocucaje, remains of ancient occupation exist at places like Callango, Ullujaya, Zamaca, and Montegrande, where seepages of ground water occur, and at the mouth of the lea River where an enormous shell mound shows late sherds on the surface (map 1). The only substantial collection of whole or reconstructible Late lea pottery vessels with recorded archaeological associations is the one made by Max Uhle in 1900-1901 and now in the Robert H. Lowie Museum of Anthropology of the University of California at Berkeley. Uhle recorded 32 Late lea burials from Soniche (Site T of Kroeber and Strong, our Site PV62-1J), two burials from two separate sections on the grounds of the hacienda Galagarza at Old lea (Sites Y and Z of Kroeber and Strong), and four burials from a cemetery at the eastern end of the sand area called El Tambo in Ocucaje (Site C of Kroeber and Strong; see below). The grave lots from Galagarza and the cemetery at El Tambo are small, but some of the lots from Soniche contain many specimens, including gold and silver objects, carved wood, and other luxury materials reflecting the importance of the people buried there. Since the chronology of Late lea pottery depends on the stratigraphic relations at Soniche, and since the Soniche collection offers us our best associations of other cultural materials with datable pottery, some

18

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

discussion of the Soniche cemetery and of Uhle's work there will be useful. Other sites from which collections are used in the sample for the present study are also discussed briefly in the paragraphs that follow. The Soniche sector (section J) of the principal cemetery of Old lea was an area of sand dunes about 150 meters long (north to south) by 80 meters wide. The dunes were bordered by groves of huarango trees (Prosopis chilensis). The drift sand comprising the dunes averaged approximately four meters in depth. Below the sand which was dry, was a firm, humid clay layer. The humidity in the clay affected the objects in the deeper graves, with the result that few perishable remains were preserved in them. Uhle made a sketch of part of the cemetery which is reproduced by Kroeber and Strong. 3 8 Uhle's excavations at Soniche (Site T) were made on the west side of the road between Chulpaca and Tate (map 3). Uhle chose this area for excavation because of the presence of looted burials in the vicinity, and because of local rumors regarding buried treasure in a slightly higher sand mound nearby. The burials excavated in this area are designated by lower case letters; they were of varying depth and size. Eight were large tombs, 4.50 or 5 to 6.60 meters in depth, and thus penetrated the clay subsoil. Of these, only four were found intact (Ta, Tc, Td-8, and Th-1; appendix, 1, 11, 14, and 16). The rest had been looted, and only remnants of their contents remained (Tg, Ti-5, Tl-2, Tp; appendix, 2 , 1 3 , 1 7 , 1 8 ) . Tf also was a relatively deep burial, but not as deep as the tombs listed above (see below). The deep tombs were spaced 20 to 30 meters apart, to judge from some references made by Uhle. Unfortunately Uhle's several sketch maps are not consistently to scale, and it is difficult to relate them to each other in details concerning exact location, size of graves, and distances between graves. The composite sketch map reproduced by Kroeber and Strong, which is based on Uhle's last sketch map and additional notes, reflects the confusion resulting from Uhle's inconsistencies. In addition to the inconsistencies in spacing and scale, Uhle gave two letters, e and later h, to one of the tombs (Th-1 and the burial above it; appendix 1, 5). Kroeber and Strong failed to notice this 38. Kroeber and Strong, 1924b, p. 100, fig. 2.

discrepancy, and in their interpretation of Uhle's notes in the sketch map they have entered both a tomb " e " and a tomb " h . " The location of " e " is the one that Uhle entered on his own sketch map, and is therefore the proper location for tomb " h . " Uhle's sketch map includes only graves a-g. 3 9 The locations of the other burials have to be deduced from the occasional remarks Uhle made in his field notes. The northernmost tomb Tl-2 must have been located close to the road between Chulpaca and Tate. Tomb Ta was situated about 20 meters south of Tl-2. Tombs Tc and Td-8 were located along a straight line southwest of Ta. Ti-5 was south of Td-8. Th-1 (i.e. " e " on Uhle's sketch) was about 30 meters southeast of Td-8 and northeast of Ti-5. Tf was directly east of Td-8 and south of Ta. Tg was south of Tf and northeast of Th-1. Tp was 20 meters east of Tf. Among the few perishables from the deep tombs which were partly preserved were some bits of textile, skin pouches, and tall wooden carvings. The tomb chambers varied in size from 1.60 by 1.60 meters to 4.60 by 2.95 meters in ground plan. To excavate them Uhle had to begin by excavating a much wider area at the top, because the loose sand kept drifting into the excavation from the sides. Shallower burials were discovered in this wider area above the deep tomb chambers. Uhle also discovered that the deep chambers had had entrances in the form of big steps leading into them from above. The structure of tomb Ti-5 appears to have been more elaborate than that of the rest, and so is described in greater detail by Uhle. Uhle describes an angled access way which was 7 meters long and included three steps. 4 0 The presence of the access ways means that the total area of the tombs was much larger than that of the principal chamber at the bottom. 41 Uhle was led to the discovery of the deep tombs by finding in the sand above them heavy posts of huarango wood with carved faces on them, lying face down. Originally the posts had stood upright, but they had been cut down and buried horizontally beside the upright stumps that had formed their bases. 39. Uhle, ms„ Catalogue, vol. Ill, p. 75b. 40. Uhle, ms., Catalogue, vol. IV, p. 13b. 41. Uhle does not make it clear how he could identify the higher portions of the access ways, which must have been located in the drift sand.

THE ARCHAEOLOGICAL CONTEXT

Uhle states that he found the soil below the posts loose, which led him to infer that there were deeper graves to be found below them, and he proceeded to search for the deeper tombs. 42 The posts had been cut down and buried some time before shallower burials above them had been made (see below). The practical value of grave markers in the form of posts became evident when Uhle discovered that the deep tombs had been entered more than once. The location of the tombs had to be known and marked for the purpose of reentry. 43 The existence and location of the grave posts and access ways with steps leading to the principal chambers is important for the evaluation of the burial stratigraphy. Uhle's data on the location of the grave posts are not always precise. However, there are enough data to show that the posts usually lay 1.5 to 2 meters below the surface, above a roof of poles and thatch which covered the principal grave chamber. The graves evidently had 42. Uhle, ms„ Catalogue, vol. Ill, p. 66b. 43. The grave posts were probably cut down and buried after the last intended reentry into the tomb had been made (see concluding chapter). However, John H. Rowe has pointed out that the grave posts above at least some of the Late Horizon tombs probably were cut down at the time the Spaniards first came to lea, to prevent them from finding and looting the tombs, as much as because reentry was no longer planned. The practice of large-scale looting of rich tombs for their gold and silver contents by the Spaniards from the beginning days of the Spanish conquest is described by Cieza de León in his La Crónica del Perú. He describes a large cemetery in the province of Cartagena which had already been looted in 1535, when Cieza was there. He also notes that a few years before 1550 Juan de la Torre, a captain of Gonzalo Pizarro, looted a rich tomb in the lea Valley, and extracted from it a treasure of gold and silver objects and very fine emeralds (Cieza de León, 1947, cap. LXII, p. 414; 1909, cap. CCXXXI, p. 285). The treasure from this tomb was estimated variously by Cieza and López de Gómara to be worth over 50,000 "pesos," over 80,000 "ducats," and over 100,000 "castellanos" (Cieza de León, ibid; López de Gómara, 1749, cap. CLXXIV, p. 162). Gutiérrez de Santa Clara also speaks of Juan de la Torre's treasure, and notes that the tomb from which it came was that of a great noble (Gutiérrez de Santa Clara, 1904-29, segundo libro, cap. LII; Colección, tomo III, p. 479). That lea was considered a potential prize for riches is also shown by the fact that the valley and its people was given in encomienda by Francisco Pizarro to two men, Juan de Barrios and Nicolás de Ribera el Viejo, as soon as Inca power was broken at lea. The chief prize of Lurin lea went to Nicolás de Ribera. Ribera was one of the thirteen men who chose to stay with Pizarro on the Island of Gallo off Tumaco, Colombia, at the outset of Pizarro's search for the land of gold, and was one of the men who played a key role in the conquest. As a token of the esteem in which Pizarro held him, Ribera was put in charge of the Spanish government of the entire coast from Pachacamac south to the boundary of Pizarro's domain. Men like Ribera received the most coveted prizes. An encomienda meant the right to extract contributions by the natives in services and goods to be used for the enrichment of the encomendero. Licenses for digging for treasure were awarded as separate concessions.

19

from one to three such posts as markers. Tomb Tg had three posts buried 3 meters below the surface. There was no fixed direction to the entrances to the tombs. Uhle reports that the entrance to tomb Ta was from the north, to Tc from the east northeast, to Td-8 from the north northwest, and to Tg from the northeast. His information on the entrance to tomb Ti-5 is ambiguous, but it probably was from the west-northwest. He gives no data regarding the entrance for the other tombs. Two categories of relatively shallow burials were found in the higher levels above the deep tombs. One category was at the same level or at higher levels than the buried posts, at or above a depth of 1.5 meters. Some burials in the second category were at the slightly greater depth of about 2 meters. The only burial in the second category with recorded position relative to the tomb below was not located directly above the tomb but to one side, near its entrance (cf. burial Tb, below). The latter group of burials must have been made at about the same time that the deep tombs were made, to judge by their contents. The other burials constitute the group that must have been made some time after the deep tombs had been closed and information on their location had been lost. Above the tombs containing Inca-style remains, the shallower burials are the ones that contained Spanish glass beads and pottery in the style of lea Phase 10. One group of shallow burials was found above the deep tomb Td-8. Tomb Td-8 is one of those that contained Inca-style remains (appendix, 11). Uhle recorded one step at the entrance to the main chamber which was built into the clay subsoil, 2 meters above the level of the ground floor of the main chamber. He states that he saw evidence of a second step above that. The main chamber was covered with a lattice roof. Uhle reports the tops of two burial posts, each about 1.2 meters long, buried horizontally above the deep tomb, but he does not give the depth at which they were buried. One was located above the central part of the deep chamber, according to his sketch, and the other near the eastern periphery of the wider area at the top. 44 The stump of a post was found at the southern periphery of the larger top area. 44. Uhle, ms., Catalogue, vol. Ill, p. 87a, nos. 5089, 5090.

20

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

Uhle records 11 burials in the larger area above tomb Td-8, namely burials Td-1, 2, 3, 4, 5, 6, 7, 9a, 9b, 10, and 11. Uhle is vague in his descriptions, but he gives some data that furnish clues to the stratigraphy. First, he describes burials Td-1 and Td-2 together in a way that suggests that they were found near each other. Td-3 to 7 are mentioned separately as a block, so that one gets the impression that they were found together in another area. Td-9a and 9b are described together in a separate section, and Td-10 and Td-11 are also described as separate units. Td-3 to 6 are described as "four superficial graves" containing one object each and no pottery, the bodies having decayed. Td-7 is described as "a very superficial grave of a child . . . in the same region" (as burials Td-3 to 6). The latter contained no pottery either, but it did contain Spanish glass beads, which give an indication of the approximate time of interment of the superficial burials. Td-10 is described as "another mummy found near the upper surface of the high eastern border of the great tomb'd' [Td]," that is, in the same area as one of the grave posts and presumably above it. This burial contained four pottery vessels in the lea 10 style. Burial Td-11 is referred to only as "another mummy" and its accompanying objects, which include one lea 10 vessel. Td-9a and 9b were also found in the upper levels, but they did not contain pottery except for one utility vessel not relatable to other vessels in our sample. The burials in the group described above are attributable to the Early Colonial Period, to judge by the contents of Td-7, Td-10 and Td-11 (appendix, 31). This is not true of burial Td-1, and probably not true of Td-2. Burial Td-1 contained two vessels in Late Horizon styles that match the styles of vessels in tomb Td-8. This means that this burial must have been made at about the same time as tomb Td-8. It was probably a sacrificial burial (see concluding chapter). Burial Td-1 was found at a depth of 2 meters, that is, deeper than the shallow burials attributable to the Early Colonial Period. Uhle does not give the location of burial Td-1 with relation to the entrance to the tomb. Like burial Td-1, burial Td-2 was a small burial found at a depth of 2 meters, suggesting that it may have been made at the same time as Td-1. However, it contained no pottery, and its date cannot be evaluated at this time.

In evaluating the significance of the position and contents of burial Td-1 and perhaps Td-2, it is helpful to consider the data Uhle furnishes concerning burial Tb. Burial Tb was a small burial found immediately adjoining the deep tomb Ta on the northeast side. Burial Tb contained pottery matching that of tomb Ta in style. Hence, it must have been made at about the same time as tomb Ta. The entrance to tomb Ta is recorded by Uhle to have been on the north side, including one step into the chamber. Tomb Ta was only 4.50 or 5 meters deep (Uhle gives both these measurements). Uhle recorded the step at 3.25 meters below the surface, and he recorded burial Tb as being 1.20 meters below the surface. The location given by Uhle for burial Tb suggests that it lay at the side of the entrance to the tomb. Uhle states concerning burial Tb: " . . . the latter was so continuous to a [Ta], that it can be considered as sure that it originated from the same time as the other (a) [Ta]. This fact is confirmed by the stylistic identity of the objects found in it with those of grave a [Ta]." 4 5 Above the deep tomb Ti-5 Uhle found shallow burials that contained lea 10 pottery. Uhle recorded no grave post above this tomb. He says: "This grave [tomb Ti-5] contained in the upper layers those burials to which the numbers of the catalogue 5279 to 5304 belong." These numbers refer to the contents of burials Ti-1, la, 2, 3, 4, and 6 (appendix, 30). Ti-1 is one of the burials that contained Spanish glass beads. Tomb Ti-5 contained objects of the Inca style and is therefore datable to the Late Horizon. Burials Ti-1 to 4 and 6 thus constitute the same kind of stratigraphic unit with relation to the deep tomb Ti-5 as burials Td-3 to 7 and 9 to 11 with relation to the deep tomb Td-8. It is apparent from the evidence discussed so far that one must be guided by the style of the contents of the superficial burials, as well as by their position with relation to the deep tombs, to evaluate correctly the chronological significance of the stratigraphic position. At least with deep tombs attributable to the Late Horizon it is possible to find higher burials made just after the interments in the principal tomb below, as well as others that were made later enough in time so that their position was unrelated to that of the tombs below. 45. Uhle, ms., Catalogue, vol. Ill, p. 71a.

THE ARCHAEOLOGICAL CONTEXT

The deep, looted Late Horizon tomb Tl-2 also had above it burials attributable to the Early Colonial Period on the basis of their contents, which included Spanish glass beads. Uhle says of this group of burials: "Several mummies were found superficially which undoubtedly seemed to prove that no Spaniard in the time after the conquest had jlundered this ancient tomb." 46 However, ater, in describing the deep tomb, he says: "There was, therefore, at the base of the grave no doubt, that the grave must have been plundered, though it might seem rather more difficult to decide if by Spaniards or still in older times. I incline to the former supposition." 47 For a discussion of the looting pattern, see the concluding chapter. Grave Tf presents a special problem. Uhle notes that southeast of tomb Tc "there was another deep grave '(' [Tf]." However, he estimates that this grave was 4 to 4.5 meters deep and not very wide. It is not clear from Uhle's statement whether the grave extended any distance into the clay subsoil. The depth measurements given by Uhle suggest that it merely rested on the surface of the subsoil, or penetrated the subsoil only a small distance. This would mean that it did not have a burial chamber. Uhle's remarks also indicate that grave Tf was smaller than the deep tombs discussed earlier. As we shall see in the concluding chapter, it is important for our discussion of its contents to keep its structure, depth, and size in mind. The deep grave (Tf-2) had been looted and was empty, some of the remnants of the loot being found strewn in the soil above it. At a depth of 3 meters below the surface, above the deeper grave, there was another burial, consisting of a body accompanied by various objects (burial Tf-1). The burial had been made in the Early Colonial Period, because it was accompanied by Spanish glass beads. The rest of the objects accompanying it, however, were entirely in the Late Horizon styles, as Uhle also observed. He came to the conclusion that the deeper grave had been looted by Spaniards, who had left unwanted objects strewn about in the soil above. When local people were preparing a grave for someone in the Early Colonial Period they dug into the area where some of the looted remains were scattered, and placed those they found with

{

46. Uhle, ms„ Catalogue, vol. IV, pp. 18-19. 47. Uhle, ms„ Catalogue, vol. IV, p. 20a.

21

the body, along with the glass beads. Uhle's interpretation of the evidence is the only possible one and agrees completely with the stylistic analysis presented here. The contents of burial Tf-1, not including the glass beads, are therefore included here with the Late Horizon sample (appendix, 21). Another important stratigraphic superposition of graves excavated by Uhle refers to tomb Th-1 and burial Th-2 (appendix, 1, 5). Unfortunately, Uhle does not describe tomb Th-1 at all, except to say at the outset of his excavations that "there is existing another large tomb on the spot of 'e,' [sic] the opening of which is occupying me now." 48 Later he calls it " h , " and says it was found intact and was "the richest [grave] found by me." 4 9 The tomb must have been one of the deep structured ones. Regarding the area above tomb Th-1, Uhle notes that "in the upper layers of the soil of the grave about 1 1/2 — 2 meter below the surface there was found horizontal, as if hidden there, 5277 Post with face. . . ." 5 0 This post was 2.43 meters long. Uhle then adds: "further about 1 1/2 meter deep: 5278 Well preserved mummy clothed with a brown woollen poncho and a blue cotton cap, set in a common burial pot." In the margin of the note sheet he writes that this entry is an erroneous repetition of a previous entry made under the number 5136. This mummy and the accompanying objects listed with the number 5136 constitute burial Th-2. There can be no question that burial Th-2 was found in stratigraphic superposition above tomb Th-1. It must have been made at a significantly later time than the tomb below and was unconnected with the remains of the deep tomb. We are led to this conclusion not only by the position of the burial, but also by the kinds and numbers of stylistic differences between the pottery vessels of burial Th-2 and tomb Th-1, which belong to lea Phases 7 and 6, respectively. These differences indicate that the burial Th-2 pottery must represent a different unit of contemporaneity than that of tomb Th-1, in the sense in which stylistic units of contemporaneity are defined in the introduction. It is unlikely that a burial unconnected with the deep tomb would have been made above 48. Uhle, ms., Catalogue, vol. m, p. 76a. 49. Uhle, ms., Catalogue, vol. IV, p. 6a. 50. Uhle, ms., Catalogue, vol. IV, p. 12a.

22

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

it at a time when the location of the tomb was still marked by a grave post. The grave post must have been already buried when burial Th-2 was made. Since graves Th-1 and Th-2 are attributable to lea Phases 6 and 7, respectively, and must both predate the Inca occupation of lea, we are led to the conclusion that the grave post was cut down and buried a considerable time before the Inca conquest, so that its burial could not have been due to efforts to hide the tomb from the Spaniards. Three additional burials found by Uhle at the Soniche cemetery are not deep tombs, and were found separately, unrelated to other graves. Only two contained pottery, Tk and Tn. Both are attributable to the Late Horizon on the basis of their contents (appendix, 19, 20). Burial Tk differed from the tombs in being a shallower, unstructured burial in the dune sand, 2.50 meters below the surface. It was found "south of i." Burial Tn was southwest of Tk. It was also found at 2.50 meters depth in the sand. Unlike all other burials at the site no body accompanied it. Uhle concluded that the body must have been removed in a robbery. However, removal seems unlikely in view of the fact that Uhle does not record evidence of disturbance. This burial was evidently only a cache of objects left there for future use and later forgotten. A third burial, Tm, did not contain pottery, and is therefore not listed in the appendix. Uhle describes it as "superficial," and does not give its location. It is of interest chiefly because it was accompanied by Inca knot records (khipu) and pyroengraved gourds decorated with designs in the Late Horizon styles. Uhle's excavations at the Soniche cemetery are the only ones yielding data on burial stratigraphy and relationships between different burials. He excavated small burials at other sites as well, but he gives no descriptions of these burials. At Old lea Uhle excavated two small burials attributable to the Late Horizon and the Early Colonial Period, respectively, in the area of the hacienda Galagarza (map 3; burials Z-5, Y-5, appendix 22, 32). In addition to the burials, Uhle collected two unassociated Late Horizon vessels at Site Y and one unassociated lea 10 vessel at Site X at Galagarza (appendix, 28.5, 33.5). Uhle's Sites X, Y, and Z have different locations. Sites X and Y are 100 meters from one another according

to Uhle. Uhle did not specify the exact locations, except to say that Sites X and Y were on the properties of different owners. Uhle excavated some Late Horizon pottery and one lea 10 vessel in a cemetery on the grounds of the settlement of Chulpaca at Old lea (Uhle's Site M). Again, the exact location of this site is not specified. Uhle did not record burial associations at Site M. However, the bulk of the pottery from that excavation belongs to lea Phases 2 to 5, the only additional vessels being the few belonging to the Late Horizon styles and the lea 10 piece (appendix, 28, 33.12.4). In the course of the University of California expeditions to Peru surface collections were made in all areas of Old lea. In the present study these collections form a body of background information that is for the most part not cited for the purposes of the analysis presented here. However, material from a refuse stratum of Mound U at Old lea is incorporated in the present study. Mound U is situated on the grounds of the hacienda Tacaraca, in the area that once must have been part of the property of Nicolás de Ribera el Viejo in the Early Colonial Period (map 3). The mound is about 5 or 6 meters high and 150 meters north to south, with a peripheral area of about 250 meters north to south. The mound is composed of stratified refuse deposited at different times in lea history. The strata were exposed by a bulldozer cut in the north face of the mound. The exposed profile of Mound U revealed a 50 cm. thick Early Horizon deposit at the bottom of the mound on its western side (Ocucaje Phase 10). Above this layer, refuse containing Nasca-style pottery of the Early Intermediate Period was present. Overlying this refuse, with a slight displacement to the east, was a thick refuse layer containing pottery of the early phases of the lea tradition, datable to the early half of the Late Intermediate Period. Farther east, in about the central part of the north face, in the area where the mound had its highest elevation, there was a 20 cm. thick stratum containing a dense layer of refuse of the Early Colonial Period. All pottery in this stratum was attributable to lea Phase 10. The pottery from this lea 10 stratum is used as part of the sample for the present study. It should be noted that lea 6 refuse was also present at Mound U, and that Late Hori-

THE ARCHAEOLOGICAL CONTEXT zon refuse is abundant over the entire top surface and talus of the mound, including the northern section. This indicates that additional refuse strata must be present at this mound, datable to the time between the one containing remains of the early lea phases and the lea 10 one. Uhle also conducted excavations in the area of Santiago, below Old lea (map 2). Two lots of material are of interest to the present study. One is group Sf, attributable to the Late Horizon, and the other is group Sc, which includes four vessels attributable to Phase 8 (appendix, 9, 23). The reason that Uhle's materials from Santiago are referred to as " g r o u p s " is that none of them has reliable burial associations. Most of Uhle's collections from the Santiago area produced Nasca-style pottery of the Early Intermediate Period. Uhle gives clues to the location of the sites at Santiago from which his collections came, but more research would have to be done to pinpoint them in terms of modern geography. For example, he states that he acquired certain objects from Sr. Delgado, " o n whose ground there is a kind of ancient cemetery of the period of the new found style of lea" (i.e. the Nasca style). 5 1 Concerning the group Sc lot, attributable to Phase 8, he says: " A c quired in the hut of a neighbour of Delgado: That man excavated the following objects in another huaca upon the ground of Mr. Lorenzini. The objects (and therefore the huaca) belong to the Chincha time. . . , " 5 2 For additional comments on this lot, see the introduction. Uhle gives similar, rather vague clues regarding his excavation of some Late Horizon objects " o n a cemetery" in the Santiago area (group Sf; appendix, 23). He notes that before this excavation he "commenced excavation near Santiago, in the ground of the hacienda Santiago of the family of the Olaecheas south west of the main building, at the foot of the southern hills." 5 3 Concerning group Sf, he says: "Excavation on a cemetery of the same period about one mile to the n o r t h . " 5 4 Uhle found one lea 8 burial (C-7) and three Late Horizon ones (C-4, C-5, and C-10) at a cemetery site at the northwestern end of the 51. 52. 53. 54.

Uhle, Uhle, Uhle, Uhle,

ms., ms., ms., ms.,

Catalogue, Catalogue, Catalogue, Catalogue,

vol. vol. vol. vol.

Ill, Ill, IV, IV,

p. p. p. p.

65b. 65b. 22b. 24b.

23

Ocucaje Basin, downriver from Santiago; an area called El Tambo (map 2). This cemetery also yielded burials of the Nasca style and of Phases 1 and 3 of the lea style. Uhle excavated on the eastern side of El Tambo, in the area he marked " c " on a sketch m a p . 5 5 Another archaeological area that furnished an important part of the evidence of associations used in the present study is the hoyas (sunken gardens) of Villacuri and the farmhouse site of Curiba, which were occupied in the Early Colonial Period. The sites are situated in the desert north and west of lea, along the drainage of the dry quebrada (drainage channel) of the Río Seco (map 1). Although the Río Seco carries no water, there is underground water seepage along its course which is very near the surface under the right conditions. This seepage was used at occasional times in the long history of human occupation of the area to cultivate some crops by exposing the ground-water level through the removal of a shallow layer of surface soil. This use of the Río Seco seepage was made on the largest scale during the Early Colonial Period. 5 6 In 1968 Duncan M. Masson and I made an intensive survey and collections at the ruins of the principal adobe buildings still remaining of the Early Colonial occupation of Villacuri, about 2 km. south southwest of the buildings of the modern hacienda by the same name (PV59-7). According to Masson, many Early Colonial structures of Villacuri had been razed in the five years preceding our 1968 visit. W e also made collections at a few of the smaller refuse sites in the area of the hoyas. John H. Rowe and Lawrence E. Dawson had m a d e earlier collections at the Villacuri sites, and Alejandro Pezzia of the Museo Regional de lea had made a collection at Curiba just west of Villacuri in 1957. A study of these surface collections showed that all pottery was attributable to the lea 10 style as defined by the evidence of associations furnished by Uhle's burials from Soniche and by the uppermost refuse stratum at Mound U of Old lea. Thus, the sites of Villacuri and Curiba must have had a relatively brief occupation confined to the Early Colonial Period, datable to 55. Kroeber and Strong, 1924b, fig. 3; Uhle, ms., Catalogue, vol. Ill, p. 34b. 56. Rowe, 1969.

24

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

about 1534 to 1570 or slightly later. It is unlikely that the use of these particular hoyas continued long after 1570. The occupation and cultivation of the hoyas of Villacuri are described in an eye witness account by Fernández de Palencia, in connection with the account of a battle between opposing factions of Spaniards which took place at Villacuri in 1554. 5 7 The date of 1554 falls in the middle of the Early Colonial Period as defined in the present study, and the account furnishes a valuable confirmation for the dating of the style of the refuse pottery at Villacuri. The surface collections from Villacuri and Curiba could therefore be used in the present study to extend the lea 10 sample (appendix, 34). Another site recorded in the course of the University of California expeditions to Peru has furnished key background material for the interpretation of the significance of the various Late Horizon styles found in the graves excavated by Uhle. This site was recorded in 1959 by John H. Rowe and me on the southern boundary of the hacienda El Hato (PV62-109). The site of El Hato lies in plain sight of the ruins of Old lea, across the river to the northwest, about 2 1/2 km. from Mound U at Old lea. It is situated near the western border of the cultivated area where the valley is enclosed by sandy hills and dunes; the boundary of the hacienda San Jorge lies directly to the south of the site. At this spot there is an area of low, uncultivated sandy elevations ("arenal") within the cultivated area of the valley. The occupation of Site PV62-109 is concentrated on two areas of the arenal, with a small fan between the two areas where no surface refuse is seen. However, a 30 cm.-thick refuse layer of the same kind of refuse that is found on the surface of the other two areas is here buried under 40 cm. of sterile sand, showing that the refuse was continuous. The refuse area extends more or less in an " L " or crescent-shaped form west of two parallel northsouth road tracks. The western arm of the crescent, or area B, measures about 80 meters north to south by 60 meters east to west. In its northern section the arc bends toward the northeast; this bend includes the area with the sterile surface sand and surface refuse at the northeast end which is about 30 by 50 57. Rowe, 1969, p. 322; Fernández de Palencia, segunda parte, lib. 2, cap. XXXVII, p. 378.

1963,

meters in size. The latter surface refuse area is area A. The refuse on area A is very sparse, the main concentration of refuse being found in area B. A modern irrigation ditch ("acequia") cuts the border between area A and the sterile surface stretch in a north-south direction, revealing the buried refuse stratum at this point. There is no evidence of architectural remains on the surface of the El Ha to site. This means that there were no adobe buildings there, and that the residences which must have existed at this site must have been the small houses made of cane and mud plaster walls which were used for ordinary dwellings for some 2000 years of lea history, and are still in widespread use today by the poorer people of lea. Most refuse of the site of El Ha to is datable to the Late Horizon, but some of it is attributable to the Early Colonial Period. A second site that furnished valuable background information to the analysis of the Late Horizon remains of lea is that of Tambo Perdido (PV59-30). Tambo Perdido is a small site in the desert northwest of the modern city of lea, about halfway between the lea and Pisco Valleys, at the top of a pass in the hilly terrain (map 1). It was discovered there by the explorer Duncan M. Masson. I visited the site in 1968 in the company of Masson and Warren R. De Boer. At that time we made collections at the site. Collections had also been made on previous visits by Masson and John H. Rowe, and Masson had found caches of complete vessels buried in the sand. Tambo Perdido is not recorded as a site in historical documents. It was evidently a regular small road stop or "tambo" in the Late Horizon, and has been intermittently a road stop for informal foot traffic since that time. At the present time, Tambo Perdido is used as such a stop for informal foot traffic between the valleys of lea and Pisco. A continuous trail leads from lea across the desert to this site. The trail is strewn with remnants of refuse, including pottery, and dotted with the tracks of people, sheep, and goats. Most of the refuse recorded at Tambo Perdido is attributable to the Late Horizon. Some refuse is attributable to subsequent times, including some modern refuse. No lea 10 pottery has been recorded in the refuse. However, one cache of vessels found by Masson included two vessels in the lea 10 style variant

THE ARCHAEOLOGICAL CONTEXT

of Pisco, as well as vessels in various Late Horizon styles (DMM, 470-480). This means that Tambo Perdido must have served as an occasional road stop in the Early Colonial Period as well. The more or less specific provenience data of a number of the unassociated vessels used to round out our sample here are also of interest. Uhle collected some Late lea vessels from a site just north of the Barrio Cordoba at the southern end of the Cerro Max Uhle in the Ocucaje Basin (map 2). This is one of the important areas of Late lea occupation mentioned earlier. The Duncan M. Masson Museum at Paracas also contains a number of Late lea vessels from that site. It is Uhle's Site D and University of California Site PV62-14. Surface collections made by John H. Rowe and me at this site yielded pottery fragments of all Late lea phases, including 7 and 8. The recorded unassociated whole vessels from this site are attributable to Phases 6 and 10 (appendix, 3, 33). TTie area of occupation of Site PV62-14 is subdivided into four sections, marked A-D. At the foot of the Cerro Max Uhle, on the south end, are some well preserved adobe ruins, apparently of Late Horizon date (PV6214C). South of them are the houses of Cordoba standing on an apron of ancient refuse stretching out from the foot of the Cerro Max Uhle (PV62-14B). At the south end of the apron is a group of badly weathered huacas (PV62-14A). North of the well preserved adobe ruins, on the slope of the Cerro Max Uhle, is an extensive looted cemetery (PV6214D). The sherds we collected at areas A, B, and C are Late lea ones, with Late Horizon and lea 10 ones predominating. The lower slopes of the cemetery area, D, had looted burials attributable to the Late lea phases and the Nasca style. It is evident that there was a significant Late lea occupation in this area, the well-made adobe buildings testifying to the relative importance of the site. There are additional huacas and refuse about 200 meters west of PV62-14A (PV62-30), and west and a little north of the latter (PV62-31), which probably formed part of the Late lea settlement at PV62-14.58 Another site at Ocucaje where Uhle collected unassociated Late lea vessels attribut58. The site descriptions given here are extracted from field records made by John H. Rowe.

25

able to Phase 10 was at his Site G, our Site PV62-11 (appendix, 33). This site is a small cemetery, 30 to 40 meters across, in the desert at the foot of Cerro Blanco on the west side of Ocucaje. We found lea and Nasca-style sherds at this site. Ocucaje is a fertile area for finding archaeological remains for all periods, and many unassociated Late lea vessels and Late lea sites have been recorded there. The Cerro La Cruz north of the Cerro Max Uhle has yielded lea 8 and lea 10 vessels (appendix, 10.1, 33.3). Many vessels have only a general Ocucaje provenience (for example, appendix, 10.5, 33.2, 33.3, 33.7.1, 33.7.2). The Pinilla sector of Ocucaje, east of the hacienda houses of Ocucaje, has yielded lea 10 pottery (appendix, 33.14.2). A very large looted cemetery on a dry fan outside of the south edge of cultivation of Ocucaje has yielded pottery spanning the time of the lea Epigonal style to lea Phase 10 (PV62-197). This site was surveyed and recorded by John H. Rowe in 1963. One lea 10 piece from the collections from that site furnished a particularly useful example of a combination of stylistic features distinctive of this phase, and is therefore illustrated here (appendix, 35.2). Max Uhle conducted site surveys in the lower lea Valley from La Venta de Chagua down to the Callango Basin, including its lower area, which is called Ullujaya (maps 1, 2). Uhle did not separate the collections made at these various sites, and they are deposited in the Robert H. Lowie Museum under the number 4-4671. A few of these fragments are referred to in the present study because they illustrate some illuminating stylistic details (appendix, 33.4, 35.1). Another area where Uhle made some useful surface collections is on the great shell mound that constitutes the remains of a long occupation at the mouth of the lea River (appendix, 28.5.2). An important lea 7 vessel was collected by Duncan M. Masson in the Callejon del Guayabo northwest of the present city of lea, west of the Pan American highway (marked C.G. on map 2; appendix, 6.1). Masson also collected an lea 10 vessel used in the present study at a huaca on the hacienda Los Pobres north of the town of lea and east of Guadalupe (L.P. on map 2; appendix, 33.1). Another important area producing Late lea vessels is the area of the hacienda Macacona in the

26

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

upper lea Valley, on the western border of cultivation of the valley, west of the Rio Viejo and south of the Cerro Prieto (map 2). The center of the occupation was south of the hacienda house of Macacona, where an important adobe ruin attributable to lea Phase 6 once existed (now bulldozed; University of California Site PV62-54). Late Horizon and Early Colonial Period remains are also found in the vicinity, and the area was probably occupied continuously throughout the Late lea sequence (appendix, 28.1.3). The site of Hoyadon in the Callango Basin,

from which remnants of an important Late Horizon tomb have been recorded, has not been visited by archaeologists (appendix, 27). A few lea 10 vessels from sites in the Nasca drainage are included in the present study because they furnish valuable supplementary evidence (appendix, 33.7.3, 33.7.5, 33.13.1). Late Horizon and lea 10 vessels exhibiting minor regional differences in style have been found in the area of Pisco. Several complete vessels at the University Museum in Philadelphia are said to have been collected at La Puntilla, north of Paracas (map 1).

Chapter II.

SS

THE POTTERY TECHNOLOGY This study concerns primarily the history of style, and no attempt has been made to include a full technological analysis of the pottery. It has seemed desirable, however, to include some observations on paste and details of manufacture in this chapter, to answer the question of whether in these features changes took place that could be correlated with the style changes found in the study of shape and decoration. In this chapter and the two on shape and decoration which follow, the lea 6 style phase is taken as the center of reference and described first. Some comparison with the earlier lea phases is made here and in chapter III to show some of the changes that took place in the lea tradition from the Middle Horizon styles to Phase 6. Phases 7 to 10 are discussed subsequently, with emphasis on their features of continuity and difference with reference to Phase 6. Phase 6 fancy ware Paste color. The clays used for fancy pottery apparently contain a moderate amount of iron. If fully oxidized at optimum firing temerature for color brightness, such pottery as a bright orange to pink color. However, the vessels are rarely fired to produce this effect. Both paste and pigments usually have a medium gray factor in terms of the Maerz and Paul Dictionary of Color, giving the reds and oranges a slightly brownish to tan appearance. An unpublished study made by Edward B. Dwyer and Lawrence E. Dawson

has shown that Late lea pottery, including that of Phase 6, was fired at a higher temperature than that of earlier phases. They have observed that this firing technique also contributed to producing more of a gray factor in the color of the clays and pigments. Temper. The temper is a fine to mediumfine quartz sand mixed with variable but fairly large amounts of mica. It is not clear how much sand was added "and how much was a natural ingredient of the clay. The sand grains vary in color, including opaque black, crystal white, and reddish grains. The quantity of temper is "medium," that is, the volumes of clay and temper are about the same. Most decorated vessels and some plain ones have much the same temper. There are some plainware vessels, however, which contain much coarser grains, notably Cumbrous Bowls (see chapters III and IV, below). Other kinds of inclusions in the paste occur rarely. Firing. Phase 6 fancy ware was fired for the most part in an oxidizing atmosphere, but a reducing atmosphere was used for smoked blackware. There was never perfect atmosphere control, and all vessels show some firing irregularities. On the most carefully fired vessels the irregularities are few and inconspicuous, being in the nature of slight variations in surface color, from orange to pink on oxidized pottery. Smoked blackware sometimes shows slight irregularities on the surface, varying from a deep sooty black to a somewhat lighter shade, but the surface usually has a uniform appearance. Other vessels, notably the plainware and miniatures,

28

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

show much greater irregularity. Oxidation was usually incomplete on these vessels. The surface appears grayish buff, with heavy smoke clouds, and the cross sections may vary from buff to brown in color. t h e firing atmosphere and temperature affected the color of the mineral pigments used for designs to some extent. The red pigment was especially affected. A thoroughly oxidized vessel fired at optimum temperature for color brightness shows less contrast between the red pigment and the reddish color of the unpigmented slip used to finish the surface. When the red pigment and slip both have more of a gray factor, the contrast between them is greater. The typical colors discussed in chapter IV are those in the latter group. One vessel in the collection is partly vitrified and slightly misshapen as a result of overheating in firing (fig. 42; Kroeber and Strong, 1924b, pi. 36k). The paste is a dark brown color, as is the unpigmented slip and the red slip. The black design merges with the brown surface, so that the only pigment clearly visible is the white, which is startlingly bright. This vessel is considerably harder than the rest. Hardness. The hardness of paste depends on the degree of sintering of the clay. Sintering is produced by a combination of factors, including the degree of heat produced in firing or length of time of firing, as well as the kind of clay used. Most lea 6 pottery may be termed medium hard. The term "medium" is based on a general comparison with Cuzco Inca pottery and other coastal wares. Ica Valley pottery is somewhat softer than Chimu blackware or highland Inca pottery. Nonetheless, it usually breaks sharply, does not crumble, and is denser and less porous than Moche pottery of the north coast, according to tests made by Lawrence E. Dawson. There is considerable variation, however, and the most carefully shaped and decorated vessels are usually also those with the hardest paste. The paste of some other vessels, on the other hand, shows some tendency to crumble rather than fracturing cleanly. Most fancy ware in Phase 6 measures around 4 on the Mohs scale of hardness. Thickness of walls. There is much variability in the thickness of vessel walls, not so much between different vessels as on each vessel (cf. shape illustrations). Most fancy vessels in

the standard small-size range have wall thickness ranging from 2 to 4 or 5 mm. Shallow Dishes are usually thinner walled than other vessels. Oversized vessels, poorly finished odd-shaped vessels, and crudely finished Cumbrous Bowls have a slightly to considerably greater average wall thickness. Carefully shaped and fired vessels are usually also those with thinner walls. There are some characteristic patterns in the ways vessel walls are thinned in Phase 6. Commonly the sides of vessels are thickest in the upper part and are thinned down in the lower part; vessel bottoms are frequently thicker walled at the periphery and thinner walled at the center, or, less commonly, thicker walled at the center and thinner walled at the periphery. On some fancy thinwalled vessels the thinning is nearly even in the entire vessel. These are the most typical Phase 6 thinning patterns; other variations in differential thinning appear to be individual ones. In some vessel categories the lips and top sections of the rim are regularly thinned as part of the shape style. These shape categories include Shallow Dishes, many Cumbrous Bowls, bottles, and Simple Jars (see chapter III). Techniques of construction. Ica 6 vessels were built up by coiling, and then the sides were thinned with some scraping tool. Nothing else was done to some Cumbrous Bowls, so that one can still see the traces of irregular scratches produced in the scraping process. Other vessels were further smoothed and the sides evened with some object which left "brush marks," that is, small parallel lines ressed in the surface such as might be made y a fine comb or brush, or perhaps by a coarse cloth or wad of herbage. Nothing further was done to the interiors of vessels, and some large Complex Jars were left without further treatment. The reason for lack of further finish here was probably their large size. It would have taken more time than for most other Ica 6 vessels to give the large jars the customary finish (see also decoration of these jars, chapter IV). However, another possible explanation should also be considered. Theodore D. McCown suggested to me once in a conversation that the outside of the large jars could have been left rough deliberately so that the liquid kept in them could be cooled more effectively by evaporation. The use of rough-surfaced jars in this way is reported

E

THE POTTERY TECHNOLOGY

from the Mediterranean area of the Old World. Most vessels have the outside polished, probably with a smooth stone such as the one round in tomb Th-1 (see below). The most carefully polished pieces have most individual polishing marks obliterated, so that only the gloss remains; this is most commonly true of reduction-fired smoked black ware. Most vessels, however, show clear traces of the polishing marks, and on some plainware bowls the marks are far enough apart so that the surface is not completely covered with them. Sometimes the marks are unusually deep on the latter vessels, evidently because these vessels were polished only when the clay was still fairly wet, and not a second or third time when the vessel was leather hard. On decorated vessels the polishing marks cover the unpigmented slip and also the red and black pigments. These vessels must have been polished more than once, before and after the painted decoration was applied. Phase 6 utility ware

Six small ollas from tomb Th-1, and perhaps fragments of some additional ones, represent in this tomb the only pottery that can be described as "utility ware" (see also chapter III). These vessels are made of a different paste from that of other pottery of this tomb. The paste is softer, of a dark to chocolate-brown color, and with a coarser temper than most of the fancy ware. The hardness of the paste measures around 3 on the Mohs scale of hardness. The surfaces of most of these vessels are uneven. They are polished on the outside, but the polishing marks form edged depressions in the surface and leave no gloss. Clearly, these vessels were given only a single polish when the clay was relatively moist. Fragments of vessels with this paste are common in lea refuse. Many of them can be shown to be parts of vessels that had their exterior bottom heavily encrusted with sooting, obviously from being used as cooking vessels over a fire. Some of them also show burnt or deposited residue of some kind on the interior surface. This paste was thus one that was chosen for vessels used in cooking, perhaps primarily or exclusively so. Refuse shows that there are also other kinds of utility

29

wares, but they were not represented in tomb Th-1. Phase 6 tools for making pottery

Uhle recovered some objects from tomb Th-1 that were probably used in the manufacture of pottery. Most notable among them is a smooth, polished black stone, flat on one side, 7 cm. long (RHLMA, 4-5247). This was probably a polishing stone for pottery. Also among the contents of this tomb are three lumps of different shades of red mineral pigments, varying in shade from dark pink to orange red (4-5248). They are probably cinnabar or red ocher or both. Since such pigments were used to decorate smoked blackware after it was fired, these lumps probably also represent part of the tool kit for making and decorating pottery. One half of a small bivalve shell from the same tomb had been used to mix these minerals with resin, as shown by the interior deposit on the shell (4-5249). It is the •kind of mixture that was used for paint applied after firing in the decoration of smoked blackware. Fancy ware of other lea phases and styles

Relatively little attention has been paid here to the detailed study of the pottery technology of the other lea phases. Fancy ware vessels of lea Phases 2 to 4 usually have a glossier surface than those of Phase 6. Other technical features seem to be much the same as those of Phase 6, but a systematic comparison has not been attempted. As noted above, the study by Dwyer and Dawson has shown that degree of sintering of the paste increased steadily over a long time beginning with relatively soft decorated ware in the lea Epigonal style, and culminating with relatively hard, sometimes overfired pottery in Phases 6 to 10. The gloss of surfaces is lessened when the paste is sintered beyond a specific point, hence the glossier surfaces of fancy ware of Phases 2 to 4 may be due to the lower degree of sintering of those phases. Some Phase 1 pottery has a fancy, glossy finish, in contrast to lea Epigonal pottery which preceded it, and also in contrast to the bulk of lea 1 fancy ware. The lea 1 pieces with the finest finish are new dish shapes (cf. chapter III). The duller finish of lea Epigonal and much of lea 1 fancy ware is not due to excessive sintering

30

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

but to other factors pertaining to care of manufacture. So far as observation has been possible, there is no significant difference in manufacture between lea 6 fancy ware and that of Phases 7 and 8. As we shall see in chapters III and IV, the Late Horizon was a time when many different styles and wares were being manufactured. The paste and kind of temper used (i.e. quartz sand) were for the most part the same as in preceding lea phases, but there was a greater variety in the amount of effort and expertise devoted to manufacturing techniques, including thinning, symmetry in shaping, finish, and atmosphere control in firing. The differences fall into different patterns of association, distinguished by style as well. The contrasts, along with some new kinds of paste, are in part discussed together with style in chapters III and IV. In general it may be said, however, that pottery of the Late Horizon is significantly thicker walled on the average than fancy ware of Phase 6. Wall thickness is most commonly 4 to 7 mm. for most vessels, and sometimes greater for large jars. This feature is particularly obvious in making surface collections at refuse and looted cemetery sites. Pottery of the lea tradition proper (the lea 9 style) and of some of the Inca-associated styles, also differs from that of preceding phases in having a less careful surface finish on the average, and less even color resulting from firing, with firing clouds more common. Some Inca-associated prestige vessels of the Ica-Inca A and provincial Inca styles have a much finer surface finish, some of them a finer one than most lea 6 vessels (for example, pi. 71a, b). Most Ica-Inca A vessels and provincial Inca vessels in some shape categories (large provincial Inca jars, group A-l plates, and some bottles, for example) are distinguished by a much finer manufacture than vessels of the lea 9 style and some other styles. However, there is also considerable variation among provincial Inca vessel shapes and styles, as we shall see. For an explanation of these style terms, see chapter III. The pattern of thinning of vessel walls could not be observed in most Late Horizon shapes of the lea tradition because most vessels used in our sample are intact except for minor breaks; a more detailed study of fragments will be necessary. The observations

that could be made so far suggest that the thinning pattern was for the most part not like the Phase 6 one, although there are some survivals of the Phase 6 techniques. Vessels inspired by foreign styles, especially the Inca style, have distinctive thinning patterns, quite different from that of the lea tradition (cf. chapter III). A particularly interesting observation can be made concerning the Late Horizon refuse at Mound U at Old lea. A large percentage of all Late Horizon fragments at this site was overfired, to the point where many were vitrified, black to dark brown, and misshapen, some with blistered surfaces. This observation leads me to conclude that these fragments probably formed the discards from a pottery workshop, since overfired fragments of this kind are very rare in other refuse sites. In fact, in 1968, when I last visited the site, local residents had built an adobe brick factory and clay mine about 100 meters to the south of the mound, where they were working actively at the time. The clay in the immediate vicinity of Mound U evidently was and continues to be suitable for use in making pottery and adobes. The refuse pottery of other phases, also found at Mound U, shows no comparable evidence of overfiring, so that the pottery workshop evidently existed near there only in the Late Horizon. Among the pottery from Uhle's burials only one piece was overfired, and not to the extent that most of the Late Horizon fragments from Mound U are. It is an Angular Rim Dish from Late Horizon burial Tn (pi. 55). The paste, including the unpigmented and red pigmented slips, has turned a dark brown from excessive heat in firing. Black designs show faintly on the outside, and the "purple" pigment on the upper inside of the rim is barely distinguishable. Some pottery fragments in Late Horizon refuse at Old lea reflect a distinctive firing technique particularly associated with the Inca occupation. Relatively thick-walled fragments, usually 7 mm. or more thick, have a light gray, reduction-fired core and a thin outer shell of light to bright orange firing in cross section. These fragments are harder than most other kinds of pottery at lea. A new, light buff, light orange, or light pink to white paste is associated with one of the provincial Inca styles of lea and the related Nasca-Inca style (cf. group B-2 plates and

THE POTTERY TECHNOLOGY

Nasca-Inca style, chapters III and IV). In hardness, manner of firing, and temper the group B-2 plates from Late Horizon burial Tk resemble most of the rest of the Late Horizon pottery of lea. However, survey studies I made of similar vessel fragments from refuse in the lea, Nasca, and Acari valleys indicate that often the temper differs from that of other pottery, consisting of very small, carefully selected, all-white quartz sand grains mixed occasionally with small red inclusions. As a result the temper is hardly visible in those fragments. Ica 10 pottery is more similar in manufacture to pottery of Phases 6 to 8 than to Late Horizon pottery. However, like Late Horizon pottery, it is significantly thicker walled than that of Phase 6. The greater thickness is particularly striking because vessels of larger sizes predominate. Large quantities of pottery fragments, 5 to 7 mm. or more in wall thickness, of vessels most of which are larger than those of the Late Horizon, but with a surface finish and firing techniques more like those of Ica Phases 6 to 8, are an indication of the presence of Ica 10 refuse and looted cemetery remains. Data on patterns of thinning of ves-

31

sel walls in Phase 10 are inadequate. The little information reconstructed at this time indicates that the most distinctive Phase 6 thinning patterns are present only occasionally in modified form, and that there is considerable variation in Phase 10 thinning techniques. A tool for making pottery, probably of Late Horizon date One specimen in Uhle's collection from Galagarza Site Y at Old Ica is a potter's implement (RHLMA, 4-4249). It is a flat pottery plate of unusual shape and thickness, with a boss on the outside bottom. It is the kind of plate used as a revolving platform on which to shape pots. Similar devices are widely used today by village potters in the Andes. The Ica specimen is one of the few that has been reported from an archaeological context. This piece has no direct archaeological associations. However, all objects found by Uhle in this area of Galagarza are in the Ica 9 and Ica 10 styles, and the plate has an incised design in the center of the interior (upper) bottom which resembles closely Ica 9 designs painted or incised in pottery vessels of this phase.

Chapter III.

THE CLASSIFICATION OF SHAPES The procedure followed in classifying shapes was to look for consistencies in patterns of shape features, and, secondarily, the relation of shape to design in pottery of lea Phase 6. These consistencies are the basis for setting up major shape categories that probably reflect the classification of vessels for the use that the potters had in mind when they made the vessels. The shapes of the earlier and later lea phases are then classified in categories that show their relationship to the Phase 6 shapes, in order to illustrate the nature of the changes in the lea tradition. The major shape categories are designated by descriptive names. In the appendix, which gives data on the sample, these shape categories are listed in order, beginning with dishes, and continuing with bowls, bottles, jars, and finally various rarer vessel forms. They are listed under outline numbers, with association units in first order and shape categories in second order. The main Phase 6 fancy-ware categories appear with the contents of tomb Th-1 under outline numbers 1.1.1 to 1.1.11, utility ware vessels under 1.2, odd pottery vessels from various collections under 3, and vessels known only from published illustrations under 4. In the discussion that follows in this chapter and in chapter IV, outline numbers in parentheses refer to the sample as recorded in the appendix. Each major shape category includes a range

of size, proportion, and subtle variations in profile in each phase. The changes between one phase and another are chiefly changes in these detailed features and their popularity, though of course there are also changes in the popularity of major shape categories. The qualitative differences in shape details between the phases are shown most effectively in drawings where the vessel profiles are shown to scale, and a series of such drawings is provided at the end of this study (figs. 1-295). The quantitative differences in popularity of shape categories within Phase 6, and between Phase 6 and the earlier and later phases, provide additional insight into the characteristics and chronological differences of the respective phases. In Phase 6, dish forms outnumber all other shapes and together comprise a little more than half of all vessels counted. The Deep Open Dish is the most popular of the dish forms. There were more than 70 pieces of this shape in the Phase 6 tomb Th-1, constituting about 30 percent of all vessels in it (1.1.1). The number of jars and bottles together is less than half that of dishes. With the exception of the Deep Open Dish, quantitative differences among most shape categories are relatively minor, ranging from about 5 percent to about 15 percent. Subgroups of Shallow Dishes, Flaring Cups, Drum Bottles, and various odd shapes are

THE CLASSIFICATION OF SHAPES

scarcer still, but when one is dealing with fewer than ten specimens specific statistical figures lose their significance. Most rare shapes and shapes of foreign inspiration in tomb Th-1 are of small to miniature size and occur in pairs (1.1.10, 1.1.11). Other pottery vessels from tomb Th-1 do not usually occur in multiples of identical or nearidentical pieces. In addition to the exotic pieces mentioned above, several other sets of two or more such near-identical vessels are present among the standard lea 6 vessel categories. However, there are many more vessels that have no exact duplicates and do not obviously belong in a set of this kind. The relative proportion of lea 6 vessel shapes as they are represented in tomb Th-1 appears to be representative of lea 6 usage as a whole. On refuse and looted cemetery sites all over the lea Valley Deep, Open Dishes are by far the most common shape category among the lea 6 fragments, with the other vessel forms appearing with lesser frequencies, in about the same respective proportions as in tomb Th-1. The only exception is the Simple Bottle, which appears to be scarcer in refuse. These observations apply only to fancy ware and not to utility wares. Utility wares follow their own pattern of occurrence at refuse sites and are hardly represented in tomb Th-1. Fancy-ware shape variants not represented in tomb Th-1 are exceptionally rare elsewhere. Dish forms are also by far the most common shape categories in the earlier part of the lea tradition from Phase 3 on. In lea Phase 1, and perhaps still in Phase 2, jar forms appear to predominate, the dishes being a shape innovation at the beginning of the lea tradition. No study has yet been made on whether the concept of shape sets, such as we find it in lea Phase 6, prevailed in any of the earlier phases, and in what way changes in concepts of proper sets may have come about. The sample for lea Phases 7 and 8 is too small to furnish direct information on the use of shape sets or the relative frequency of different vessel shapes. Burial Th-2, the only recorded lea 7 burial, contained only 19 vessels, and the shapes did not follow the pattern of tomb Th-1 (5). No Deep Open Dish was included in this burial, nor was another relatively common Late lea dish form, the Shallow Dish. Fragments from refuse collections and unassociated vessels in various col-

33

lections show that these forms were in use during Phase 7, so that their absence from burial Th-2 is the more puzzling. In contrast, burial Th-2 contained an unusual number of Simple Jars and Flaring Cups, the latter being one of the rarer vessel forms of Phase 6. It is not clear from present evidence whether the burial Th-2 assemblage represents changes in the relative popularity and use of different shape categories in Phase 7, or whether the burial itself is not representative of the standard usage of this phase. The fact that 13 of the 19 vessels in this burial are small to miniature in size is an indication that the traditional use of miniature forms was continuing in vogue. This usage appears to have been much diminished in subsequent phases. In Phase 8 the traditional shape-set pattern was certainly disturbed, primarily because of an abrupt increase in the manufacture of imitations of Chincha-style shapes along with traditional lea forms, as we shall see (8-10). Vessels with burial associations in our lea 8 sample are not abundant enough to show whether there was any shape-set pattern at this time, but there probably was a great deal of diversity at a time of such afloodof innovations. Ica Phase 8 seems to have brought with it an increase in the use of jars, which are the most common forms in the Chincha-style shape set of Epoch 8 of the Late Intermediate Period.59 Collections from burials and refuse sites indicate that the traditional Ica shape-set pattern was significantly altered in the Late Horizon and again in the Early Colonial Period. In the Late Horizon, especially, the use of shape categories depended on the social context. In the Ica 10 style, jar forms were as abundant or more abundant than dishes. The complex association patterns of these later styles, especially those of the Late Horizon, make it impossible to analyze style units and style change without taking the social context into account. In this situation, quantitative relationships among the kinds of shapes occurring in the Ica Valley as a whole are meaningless. The picture of qualitative change given by the shape drawings is more important for distinguishing chronological units than the observations on relative shape frequencies in each phase, because it provides simple criter59. Menzel, 1966, pp. 98-101.

34

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

ia for classifying and dating individual unassociated specimens and because it offers a clear summary of the changes in shape detail that took place. The rest of this chapter explains the shape drawings and comments on their significance. Figures 29-111 show the major shape categories of the lea tradition represented in Phase 6, figures 1-28 show some of their antecedents, and figures 112-295 show their derivatives. In using these illustrations, it should be remembered that Phase 6 is the point of reference for the classification. Within each major shape category an attempt is made to illustrate the range of variation by presenting several drawings. The size range is indicated by an illustration of the largest and smallest vessels found, as well as one or more of the most common sizes. Examples of the most common shape variants are shown, as well as the rare and aberrant forms. Most Phase 1 to 5 shapes shown were selected to show the antecedents of the Phase 6 shapes illustrated. Taken together, they do not give an adequate picture of the earlier lea phases. Ica Phases 1 to 5 require a separate study, and examples are brought into this study only for comparative purposes.60

THE MAJOR SHAPE CATEGORIES

The criteria used to distinguish the major shape categories in Phase 6 can be summarized as follows: 1. Deep Open Dish (figs. 29-41, pis. 1-3). Composite dishes with an S-shaped profile in which the concavity centers in the upper half of the side. The mouth is wider than the total height of the vessel, and the lip is unthinned and flattened. The bottom is curved and is usually separated from the side by a prominent, sharply defined base angle at oneseventh to one-third of the total height of the vessel. The greatest diameter is at this base angle rather than at the mouth. 2. Cambered-Rim Dish (figs. 42-47, pi. 4). Like the Deep Open Dish in its lower section, but with a different top. The sides are straight or nearly straight converging, the mouth is narrower than the total height of the vessel, and the rim is cambered. 60. For a discussion of somie aspects of Ica Phase 1 and its antecedents, see Lyon, 1966.

3. Shallow Dish (figs. 48-57, pis. 5-7). Similar to the Deep Open Dish but proportionately broader, with a flat or shallow-curved bottom, and a more or less prominent basal flange. Most Shallow Dishes have concave sides, the sides forming a more nearly symmetrical curve than in the Deep Open Dish. The lip is thinned. As in the Deep Open Dish, the greatest diameter is at the base. 4. Cambered-Rim Bowl (figs. 58-64, pi. 9). In-curving bowls with a horizontally ellipsoid or ovaloid bottom, most typically a rounded shoulder above the middle of the height of the body, and a cambered rim. 5. Cumbrous Bowl (figs. 65-69, pi. 10). Unrestricted open bowls with more or less regular inverted ovaloid or paraboloid contours. The well-finished bowls and some plainer ones have a slight inflection in the side profile. 6. Simple Bottle (figs. 70-81, pis. 11-13). Small bottles with a body circular in horizontal section, a tall, narrow neck, and a strap handle from neck to body. 7. Complex Jar (figs. 82-86, pis. 14, 15). A necked jar with a great size range, the body being larger than the Simple Bottle body. The body is inverted pear-shaped in vertical section and usually elliptical in horizontal section, with a short, flaring neck and no handles. The neck is concave, with a widely flaring rim that resembles Deep Open Dish rim profiles. 8. Simple Jar (figs. 87-91, pis. 16, 17). A small necked jar with the same body form as Simple Bottles, but a neck that resembles Complex Jar necks. Like Complex Jars, Simple Jars lack a handle. 9. Flaring Cup (figs. 92-95, pis. 18,19). this vessel shape is related to the Deep Open Dish but is proportionately taller. Phase 6 specimens have a flat or shallow-curved bottom, sides that are vertical or near vertical to about the middle of the height, and a concave flaring rim with a profile and lip form resembling those of Deep Open Dishes. 10. Drum Bottle (figs. 96, 99, 110). This shape is distinguished by a near-cylindrical body made in imitation of a drum, with a bottle neck inserted in one side. Some rare shape categories are illustrated in figs. 97-106, 111 and pis. 20, 21, and are discussed at the end of this chapter. It evidently was a standard practice of the Phase 6 potters to make a specific percentage

THE CLASSIFICATION OF SHAPES

of small and miniature versions of all shape categories, for there is usually a marked gap in the size range between the smallest specimens within the continuing standard-size range and the small to miniature ones. The miniatures are often somewhat awkwardly proportioned by the standards of the regularsized vessels. The smallest vessels are usually made of undecorated or minimally decorated plainware, whereas the larger vessels in the small- to miniature-size range are made most commonly of plainware or smoked blackware; occasionally the larger vessels in this size range are oxidation-fired and painted with abbreviated patterns of standard designs. An examination of the shape drawings shows that the major shape categories listed above are not ideally suited to describing Phases 1 to 5 or 7 to 10, although they make a good division of the Phase 6 vessels. One of the interesting factors in pottery style change in the lea tradition is a shifting and recombination of shape features from one phase to another so that no set of major categories would work equally well for all phases. The procedure used here, of defining the categories for Phase 6 and then relating vessels of the other phases to them, makes these shifts stand out more clearly. The history of vessel shapes in lea Phases 6 to 10 can best be traced by discussing each shape category individually, which is done in the rest of this chapter. Deep Open Dish and Angular-Rim Dish

The Deep Open Dish is the most popular Phase 6 shape category, as noted above, including 30 percent of the reconstructible pottery in tomb Th-1 (figs. 29-41, pis. 1-3). As noted, tomb Th-1 contained more than 70 Deep Open Dishes (1.1.1). Deep Open Dish fragments are also common in surface collections at Phase 6 habitation sites, and many examples can be found in museum and private collections. Uhle also collected unassociated examples (3.1). The bottom of Phase 6 Deep Open Dishes varies from fairly rounded to almost flat, a shallow curve being the most common form. There are corresponding differences in the height of the base angle. On most Phase 6 dishes the base angle is at 14 to 23 percent of the height of the vessel, but on a few dishes it is higher, up to 30 percent of vessel height. In

35

some examples the base angle is replaced by a tightly curved basal hip, the survival of an older feature (figs. 34, 35, 40, 41). The concavity of the sides is usually marked. The lip of the Phase 6 dishes is flattened, the flat or near-flat surface being usually in a plane diagonal to the vertical axis of the vessel. There is an impressive conformity of size, the height of most vessels (not counting miniatures) falling within 1.5 cm. of 8 cm. Small to miniature sizes are shown in figs. 37-39, and the largest example in the sample, a unique size, is shown in fig. 36. The top diameter varies slightly more than the height, most having a top diameter between 11 and 14 cm., with some as small as 10 cm. and a few larger, up to 16.75 cm. The diameter at the mouth runs about 0.5 to 1.5 cm. less than the diameter at the base angle, except in three vessels where the two measurements are equal. The vessel height is most typically 59 to 65 percent of the diameter at the mouth (measured at the interior border of the lip). A few specimens are slightly deeper, the height being rarely as much as 71 percent of the mouth diameter (figs. 31, 34). The shallowest standard lea 6 dish has its height at 57 percent of the mouth diameter (fig. 29). Deep Open Dishes with unusually conservative contours are shown in figs. 40 and 41. For comparison with the corresponding lea 5 shape, see fig 25. The dish shown in fig. 39 is aberrant in its lip form and irregular bottom, and is also one of the two shallowest recorded dishes in our sample, the other such shallow dish being one of the conservative ones (fig. 40). The extremely shallow measurement of the fig. 39 dish is caused by the misshapen bottom. Antecedent lea shapes are shown in figs. 6-10,12, 25, and pi. 103. Figure 12 and pi. 103 show the most common lea 3 form, and fig. 25 shows an lea 5 variant. The following features particularly distinguish the earlier forms from the lea 6 ones: The flaring of the sides at the mouth is less in the lea 3 to 5 examples, and hence the diameter at the mouth is proportionately narrower. The mouth diameter averages about 2.5 cm. smaller than the maximum diameter in lea Phase 3, or twice as much as in Phase 6 dishes. The lea 3 lip is slightly thinned instead of flattened. The flattened lip probably first appears in the lea 5

36

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

form shown in fig. 25. The size range of the lea 3 to 5 dishes is about the same as that of the Phase 6 ones, but most of the earlier lea dishes are deeper than those of Phase 6, and some are shallower. The lea 1 to 2 dishes shown in figs. 6-10 represent the earliest antecedents of all Icatradition dish forms. Figures 6 and 7 may represent the earliest variants. One Deep Open Dish without associations is attributed to Phase 7 on the basis of its decoration (6.1). In shape it is indistinguishable from Phase 6 dishes, all features falling within the Phase 6 range of variation. A second Deep Open Dish without associations is probably attributable to Phase 8 on the basis of its decoration (10.1; fig. 133). This piece is also for the most part indistinguishable in shape from lea 6 dishes, except that it is proportionately broader than all but the rare very broad lea 6 dishes. Most Late Horizon dishes of the Deep Open Dish traditon are a consistently altered form of the Phase 6 to 8 Deep Open Dish, differing from the latter in rim and lip form and in the related profile of the sides (figs. 160, 173-175, 186, 193, 213, 216, 240, pis. 47, 55). The rim is shorter and its eversion more abrupt, forming a sharp angular or slightly rounded projection on the inside. As a result of these rim innovations, the profile of the sides below the rim is more converging, causing a proportionate narrowing of the diameter at the rim. Because of the altered rim profile I am calling the lea 9 form of the Deep Open Dish tradition the Angular-Rim Dish. Lips of Angular-Rim Dishes are sometimes flattened in the traditional manner (figs. 173, 174, 240, pi. 47). In other examples the lip is slightly narrower and more convex (figs. 160, 175, 186, 193, 213, 216, pi. 55). This feature, combined with the adjoining exterior rim curve, constitutes a feature set characteristic of some Inca forms and Inca-influenced forms of the Late Horizon (for comparison, see figs. 145, 147, 148, 203, 204, 219, 249, 254). Bottoms of Angular-Rim Dishes are more deeply curved than those of most Phase 6 to 8 Deep Open Dishes, and the base angle is replaced more frequently by a basal hip. Because of the more deeply curved bottom, the base angle or hip is frequently significantly higher on the body than in Phase 6, and there

is a greater range of variation in the proportional height of base angle or hip (28 to 41 percent of body height among the examples measured). The maximum diameter at the base angle or hip is larger on the average than in Phase 6, as part of a trend toward increased proportionate vessel width already present in the earlier phases. The total size of Phase 9 dishes is not much different from that of Phase 6 dishes. The new side and rim profiles of AngularRim Dishes of Phase 9 are abrupt innovations without recorded Phase 7 or 8 antecedents in the corresponding Deep Open Dish shape category. However, the shape innovations in these dishes resemble innovations in Cambered-Rim Dishes and Cambered-Rim Bowls, innovations that do have antecedents in the corresponding Phase 7 and 8 Cambered-Rim Dish and Cambered-Rim Bowl. On the other hand, the Phase 9 dish profile is even more markedly similar to that of some Cuzco Inca vessel shapes (cf. figs. 249, 254). In view of the strong stylistic influences of the Inca pottery style on contemporary vessels in other style categories, the new profile on Angular-Rim Dishes is undoubtedly also attributable in large part to Inca influence. This influence probably took place through a process of analogy, reinforced by the already existing local trend of changes in the side and rim profiles of dishes and bowls with cambered rims. One dish with lea 9 decoration, found in tomb Ti-5, differs from the rest of the Phase 9 dishes in retaining the old Deep Open Dish profile (fig. 176). However, this dish differs from those of Phase 6 in being shallower than the shallowest Phase 6 dish (the height is 53 percent of the mouth diameter), with proportionately lower sides. It also differs in that the lip is slightly more rounded, with rounded edges, resembling other Phase 9 dishes in these features. The proportionately wider diameter of this dish is part of the same trend that leads to the widening of the basal diameter in Phase 9 Angular-Rim Dishes. Six of the Late Horizon graves (including Tf-1, as explained in chapter I) contained from one to three Angular-Rim Dishes each (11.4.1, 11.4.2, 13.4.1.1, 14.3.1.1, 19.2.1, 20.5.1, 21.1.1.1). Uhle collected two additional Angular-Rim Dishes without associations, one at Chulpaca in the area of Old lea (fig. 240), and one at Galagarza, also part of

THE CLASSIFICATION OF SHAPES

Old lea (28.5.1, 28.6.1). Angular-Rim Dish fragments are relatively common at ordinary Late Horizon habitation sites at lea, and a fair number of specimens can be found in museum and private collections. However, most dishes of this period are not as popular with collectors as the dishes of other phases. As noted in chapter II, lea 9 pottery is generally less carefully painted and finished than vessels of the more prestigious Late Horizon styles. However, rare examples of Angular-Rim Dishes of this time have a smooth, glossy finish, bright, well-oxidized firing, thick, even-colored pigments with hues suggesting Inca influence, and Incainfluenced features in the designs. Their appearance suggests that on rare occasions the Angular-Rim Dish shape was manufactured to the standards of the Ica-Inca A style and the fancier examples of the provincial Inca styles, to be described below. A complete example of such a fancy Angular-Rim Dish is in the Museo Regional de lea (28.2.3, DA-1553). There are also two Angular-Rim Dishes without provenience data in the collections of the University Museum of Philadelphia which have lea 9 shape features and surface finish, but designs that belong in the Ica-Inca category (see chapter IV). These two specimens may not be from lea, but from a neighboring valley, probably Pisco (28.2.3). Phase 10 dishes revert with rare exceptions to the style of Phase 6 to 8 Deep Open Dishes in contours, including the more frequent use of base angles or more sharply curved hips, and the old rim and lip forms (figs. 255-258, 281, 589, 590, pis. 72-75, 89, 90). The lip is once more broad, flattened, sharply edged, and beveled, as in Phases 6 to 8. However, the more deeply curved bottom and proportionately shorter sides on the lea 10 specimens represent the survival of Phase 9 features. As a result, the base angle is usually higher on the body than in the pre-Late Horizon dishes. However, the lower lea 6 base angle is also revived on some lea 10 specimens (fig. 281, pi. 89). The resulting range of variation in height of base angle is thus greater than in other phases, most Phase 10 dishes having the base angle at 21 to 37 percent of body height, with some as high as 42 percent and one specimen as low as 17 percent (for comparison, see the

37

Phase 6 measurements). The latter example is the only one that falls within the middle range of Phase 6 dishes. Some of the Phase 10 dishes revive Phase 6 sizes as well as contours, but most are larger than most lea 6 dishes, some considerably so (figs. 257, 258, 589, 590, pis. 74, 75). The enlargement represents the revival of a Phase 8 feature used for imitation Chincha jars and imitation Chincha Cambered-Rim Bowl bodies in that phase (see below). Evidently the increased-size concept was transferred to Deep Open Dishes, a traditional lea form, through a process of analogy. In addition to the presence of deeply curved bottoms, relatively low sides, and the greatly enlarged size of some specimens, Phase 10 Deep Open Dishes can be distinguished from those of Phase 6 in their altered proportions, the diameter being wider on the average in proportion to the total height. Most Phase 10 dishes have a height that is 54 to 59 percent of the mouth diameter, with one shallow example having its height only 50 percent of its mouth diameter. However, deeper vessels also occur, with a height 62 to 71 percent of the mouth diameter. The latter are distinguished from Phase 6 dishes by their shorter sides and deeply curved bottom. The greater shallowness of most Phase 10 dishes represents the continuation of the same trend that is seen in the preceding phase, a trend that is partly obscured by the narrower mouth diameter of the Angular-Rim Dishes of Phase 9. There is one Phase 10 dish from burial Ti-3 in which the Phase 6 contours are not revived (fig. 274; Kroeber and Strong, 1924b, pi. 36f). Instead, the profile represents a variant of the Angular-Rim Dish profile of Phase 9, with a high, rounded hip and a curved, everted rim. Another example of an Angular-Rim Dish shape with revivalistic lea 10 decoration has a glossy, smooth surface and peanut appliqués which mark it as a derivative of the rare Ica-Inca A dishes of this kind (33.15.4). In addition, there are occasional vessels that are classifiable optionally as Angular-Rim Dish derivatives or partial revivals of a distinct dish category related to Cambered-Rim Dishes (see below). Deep Open Dishes are one of the two most common vessel categories in Phase 10, the other being jars (30.1.1, 31.2.1, 33.1, 34.1,

38

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

35.1, 36.1). Deep Open Dish fragments are also common in Phase 10 refuse (34.1, 35.1). Cambered-Rim Dish

In Phase 6, Cambered-Rim Dishes resemble Deep Open Dishes closely in general size, and in the feature set composing the lower body, including the bottom and the base angle or basal hip (figs. 42-47, pi. 4). Cambered-Rim Dishes differ from Deep Open Dishes in the feature set that constitutes the upper body: the sides converge in a straight line without curvature or flare, the mouth is proportionately narrower, and the rim is cambered. They also show slightly greater variability in shape and proportions than Deep Open Dishes. The cambered rim form has a short (ca. 1-1.5 cm. high), vertical or slightly outcurving interior profile with a plain, diagonally slanted molding on the outside. The molding consists of a thickened, bandlike strip usually 8 to 10 mm. wide, with a flat or slightly curved surface that usually projects 3 to 4 mm. from the vessel wall at the bottom. Cambered-Rim Dishes are rarer than Deep Open Dishes, comprising only about 4.8 percent (11 specimens) of the measurable vessels in tomb TTi-l (1.1.2). Neither plainware miniatures nor smoked blackware examples occur among the Cambered-Rim Dishes from tomb Th-1. These absences are unusual for Phase 6 vessel forms. Ica 3 to 5 antecedents to Cambered-Rim Dishes are just as common as antecedents to Deep Open Dishes (figs. 13, 16, 27, pi. 104). The Ica 3 to 5 examples have somewhat deeper and more rounded bottoms than the Phase 6 ones, and they have always rounded hips and not base angles. The convergence of the sides tends to be less acute in most of the earlier forms, and the upper part of the sides is sometimes slightly inflected, ending in a vertical rise below the cambered rim. In some Ica 3 dishes the basal hip area is punched out from the inside, creating exterior bulges, a feature not found on Cambered-Rim Dishes of Phase 6 (fig. 16). For antecedent forms of the cambered rim, see Cambered-Rim Bowl, below. The cambered rim starts to undergo changes in Ica Phase 7 as represented by a Cambered-Rim Bowl in burial Th-2 (see be-

low). A Cambered-Rim Dish in the same grave lot still has a cambered rim that probably falls within the Phase 6 range of variation (fig. 112, pi. 22). However, the top interior face of the rim is slightly more outcurving than on most Ica 6 ones. This curvature is probably a significant progressive feature (for comparison, see fig. 113 on the one hand and figs. 42-47 on the other). The Ica 7 CamberedRim Dish differs more distinctively from the Ica 6 ones in having a lower, squatter body. An almost identical example with comparable shape and decorative features is illustrated in Schmidt, 1929, fig. 321-1. However, dishes with higher contours, similar to those of Phase 6, must also have survived in Phase 7, to judge by an unassociated vessel probably attributable to Phase 7 on the basis of its decoration, and to a Phase 8 one (7.1, Bushnell, 1963, pi. 61, and 9.1). The earliest evidence for changes in the cambered rim on dishes is found on a Phase 8 Cambered-Rim Dish in group Sc (fig. 129, pi. 32). The cambered rim feature set on this specimen is abbreviated to a broad bevel terminating a short, outcurving rim (see also discussion of Cambered-Rim Bowls, below). This rim form resembles atypical variants in Phase 6 (for comparison, see figs. 45-47). Cambered-Rim Dishes disappear as a distinct vessel category in Phase 9, because the cambered rim is no longer in use and the side profile of all deep dishes is changed to resemble the earlier Cambered-Rim Dish one (see discussion for Angular-Rim Dishes, above). The contrast between two separate deep dish categories is thus lost (for comparison, see Phase 6 Cambered-Rim Dish profiles in figs. 42-47 and Phase 9 Angular-Rim Dish ones in figs. 173-175, 193, 213, 240). The cambered rim is lost on all Phase 9 shapes; there is a single angular rim form for dishes and a similar one for bowls (see also below). In Phase 10 the situation is peculiar. The two dishes with angular rim profiles shown in figs. 259, 260 and pi. 76 both come from the same burial, Ti-1. This burial contained six Deep Open Dishes with Phase 6 profiles and rims, with which the two dishes under discussion contrast (30.1.1, 30.1.2). The convergence of the sides on the two Angular-Rim Dishes is somewhat sharper than on most Angular-Rim Dishes of Phase 9. This feature

THE CLASSIFICATION OF SHAPES

has made it seem more appropriate to classify these vessels as partial revivals of a separate deep dish category analogous to earlier Cambered-Rim Dishes, rather than as relatively conservative derivatives of Angular-Rim Dishes of Phase 9. Although the degree of convergence of the sides on one of them could fall within the possible range of variation existing in lea 9 dish profiles (fig. 259), the side profile of the other could not (fig. 260). The rim profile on both vessels is typical of Phase 9. The enlarged size of the example in fig. 260 and pi. 76 is a feature shared with other Phase 10 vessel categories and represents the revival of the enlarged body size characteristic of Phase 8 vessels, newly extended to dish forms in Phase 10 (see also Deep Open Dishes, above). Shallow Dish

The base angle or basal flange of Phase 6 Shallow Dishes somewhat resembles Deep Open Dishes (figs. 48-57, pis. 5-7). Comparing Phase 6 examples of Shallow and Deep Open Dishes, however, we find a number of contrasts. In Shallow Dishes the walls are lower in proportion to the greatest diameter, the diameter on standard-sized specimens being larger than the one on Deep Open Dishes; the bottoms are flat or only slightly curved; and the lips are rounded and often thinned. Absolute size varies greatly in the Shallow Dish group, but larger specimens are commoner than they are in the Deep Open Dish group. Shallow Dishes rank second in popularity in tomb Th-1, 31 specimens constituting about 13 percent (1.1.3). The figure, however, is less than half that for Deep Open Dishes. Furthermore, of these vessels ten are plain or nearly plain small to miniature in size (figs. 50, 52). Examples of Phase 6 Shallow Dishes are also found in museum and private collections, and fragments are moderately common at refuse sites. There is enough variation in detail within the Shallow Dish group to permit the distinction of four subgroups. Subgroup 1 is the most characteristic fancy form in Phase 6 (figs. 48-50, pis. 5, 6). There are 12 in the Th-1 tomb lot. Seven are of standard size, two are small decorated ones, and three are plain miniatures (1.1.3.1). The sides of the vessels in this subgroup are concave, in a manner resembling Deep Open Dish profiles, but with the

39

narrow diameter lower on the sides, sometimes in central position. As in Deep Open Dishes, the mouth diameter is slightly smaller than the diameter at the flange (except in miniature sizes like fig. 50 where the diameters are the same). The bottom is usually flat, except that on some specimens it is slightly raised or slightly irregular on the outside of the periphery. In profile the more extreme form of the flange appears as a shelf-like protrusion extending outward from the base of the sides and bottom edge. However, some specimens lack the shelflike protrusion and merely have a prominent outward flare at the base of the sides (pi. 6). Subgroup 1 shows considerable variation in the proportionate height of the sides. The most common variants are high-sided specimens shown in fig. 48 and pis. 5, 6, with their height measuring 40 to 45 percent of the top diameter. The height in regular-sized specimens is 6 cm. to 6.6 cm., and the top diameter is 14.2 to 15.4 cm. The shallower dishes have the same range in diameter, but lower sides, being from 4.3 to 4.7 cm. high, the height measuring 28 to 30 percent of the top diameter (fig. 49). A distinctive feature of subgroup 1 shapes is the punching and notching of the basal flange or protruding base angle. On the inside, closely spaced small holes are made with a small stick or similar blunt object, giving the flange a beaded appearance on the inner surface. Corresponding to these interior markings, the outside of the flange has a series of small, slightly wedge-shaped notches. Most regular-sized specimens are so decorated, but all small and miniature dishes of subgroup 1 lack this flange treatment. Subgroup 2 of the Shallow Dishes also has a flat bottom and proportions similar to subgroup 1, but the sides are straight or less curved and more converging than those of subgroup 1 dishes (figs. 51, 52). As a result, the mouth is proportionately narrower than in subgroup 1 vessels. On most of the subgroup 2 examples the basal flange is less protruding or absent, leaving a simple base angle. There are ten vessels from tomb Th-1 in this subgroup (1.1.3.2). Of these, only one is of regular large size. Two others are small decorated vessels (fig. 51), and seven are plain or nearly plain miniatures (fig. 52). Only one of the subgroup 2 vessels, with a slight basal flange, is decorated with the punching

40

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

and notching of the flange which is found on most of the dishes in subgroup 1 (fig. 51). Subgroup 3 Shallow Dishes have a shallow-curved bottom, unlike the other two subgroups; the basal flange also protrudes less than in subgroup 1; and the sides are proportionately low, their contours resembling those of subgroup 2 in other respects (1.1.3.3; figs. 53-55, pi. 7). All subgroup 3 dishes lack the punching and notching of the basal flange. Five of the six subgroup 3 vessels are set apart further by having a distinctive simple decoration and a less careful or less complete surface finish than the rest, being unpolished and matte (pi. 7). The sixth vessel is decorated with a plain polished red slip and black rim band, a decoration that is also used for some Shallow Dishes in the other subgroups (fig. 55). One additional subgroup, 4, belongs to the Shallow Dish category (1.1.3.4). Vessels in this subgroup are Tiered Dishes, three examples of which occur in tomb Th-1 (figs. 56, 57, pi. 8). The Tiered Dish gives the effect of three or four subgroup 3 dishes stacked on one another, and the design is consistent with the impression given by the shape, the only difference being that the surface of Tiered Dishes has a glossy polish. This more careful surface treatment probably reflects a greater value set on the tiered form. The effect of the stacking technique is to create a deeper vessel shape than is usual for Shallow Dishes. The principle of stacking, incidentally, has an earlier history on the south coast. There is a stacked Nasca-style dish in the Uhle collection, and the Museum of the American Indian (Heye Foundation) in New York has an lea Phase 3 vessel consisting of two stacked Shallow Dishes, as well as another stacked vessel in the style of lea Phase 6. Shallow Dishes of subgroup 1 and Tiered Dishes of subgroup 4 also occur in variants of silver and gold. The subgroup 1 dishes of metal are larger than the pottery dishes, however. Large subgroup 1 dishes of silver were found in the urns of tomb Th-1, and fancy stacked Tiered Dishes of silver and gold appear in various collections. For examples of subgroup 1 Shallow Dishes of silver from tomb Th-1, see Root, 1949, fig. 11 i-1; for examples of Tiered Dishes of silver and gold, see Schmidt, 1929, fig. 372-3 and Menzel, 1967, fig. 45; for a clay figurine representing a

woman carrying a Tiered Dish, see Menzel, 1967, figs. 4, 19-21. Most lea 3 to 5 antecedents to Phase 6 Shallow Dishes are considerably larger in diameter than the Phase 6 examples of pottery (18 to 23 cm.), but there are others about the same size as those in Phase 6, as well as smaller ones (figs. 18-20, 28, pis. 105, 107). The proportionate depth varies even more than in Phase 6 Shallow Dishes. The Shallow Dish shape is apparently popular in lea Phase 3. Uhle collected 27 examples, more than double the number of Deep Open Dishes or Cambered-Rim Dishes of that phase. The main differences between Phase 6 Shallow Dishes and their antecedents are that the earlier dishes lack the basal flange so characteristic of Phase 6 Shallow Dish shapes, and the sides have a convex curve when they are not straight. The concave curve is found, however, in the lea 3 to 5 antecedents to Deep Open Dishes of Phase 6, as we have seen. The process of change in the course of the lea tradition evidently here represented an extension of favorite feature sets to new contexts. As the shape drawings indicate, some Icastyle antecedents to Shallow Dishes of Phase 6 have rounded, others have flat bottoms. Some have sharp base angles and others have rounded basal hips. Some of the earlier dishes with rounded hips are further decorated by having the side of the hip punched out at intervals, a treatment antecedent to the notching and punching of the basal flange in Phase 6 dishes (fig. 28). The lea 3 punching differs from the basal punching in Phase 6 in that it is done with a large blunt object, probably a thumb (as in the Cambered-Rim Dish shown in fig. 16). It creates bulges on the outside of the vessel which correspond to the spaces between the notches on Phase 6 dishes. In Phase 5 the punch marks are considerably smaller (fig. 28). On Phase 6 dishes the punching is smaller and daintier still, and does not show on the outside, thus requiring separate outside notching if the older decorative device is to be kept in principle. The Phase 6 treatment gives a rather different effect than that of the earlier phases. However, the bulges at the basal hip of the lea 3 to 4 dishes are reminiscent of a flange and probably gave rise to the idea of the protruding flange that appears on the Phase 6 Shallow

THE CLASSIFICATION OF SHAPES

Dishes. Large punch marks are also used to decorate the basal hip of shapes antecedent to Phase 6 Deep Open Dishes and CamberedRim Dishes in lea Phase 3, as we have seen, but on these shapes this decoration was not carried on into Phase 6 in any form. The chief element of continuity between the earlier lea phases and Phase 6 in Shallow Dish shapes seems to be the convergence of the sides, which is especially obvious in Phase 6 subgroups 2 and 3. The Phase 6 subgroup 3 Shallow Dish has a specific antecedent in lea Phases 1 to 4, with the same combination of design and surface finish (fig. 18, pi. 105). Shallow Dishes of the lea tradition have their origin in lea Phase 1. They probably originate as variants of incurving bowls at the beginning of the lea tradition (figs. 6, 7; for comparison, see figs. 4, 5). Variants that are probably all attributable to lea Phases IB and 2 have the more acute base angle or gambrel that is characteristic of Ica-tradition dishes (figs. 8-10). The Uhle collection has no examples of Shallow Dishes attributable to Phases 7 or 8. However, one Shallow Dish without associations has decorative features that distinguish pottery in Uhle's Phase 7 burial Th-2 (6.2; fig. 121, Muelle and Bias, 1938, lam. 48b). This dish is indistinguishable in its shape features from those Phase 6 dishes of subgroup 1 that lack the prominent basal flange (for comparison, see pi. 6). Two Shallow Dishes without associations or provenience are attributable to Phase 8 on basis of their decoration and the seriation of shape features (10.2). One of these vessels has side contours and proportions like high-sided subgroup 1 Shallow Dishes of Phases 6 and 7 (fig. 134). However, it has a shallow-curved rather than a flat bottom, and a base angle without punching or notching. These features anticipate changes evident in the succeeding phases. Only the decoration of white dots on a black slip on the outside of the base angle represents a remnant of the old punched and notched flange, this decoration being reserved in Phase 6 exclusively for the surface of notched flanges. A second Shallow Dish without associations is also attributable to Phase 8 on stylistic grounds (fig. 135). The bottom, base angle, and lower sides of this vessel are identical to

41

the specimen described above. However, it is proportionately lower and shallower than the other dish, similar to the low-walled variants of Phase 6 subgroup 1 (for comparison, see fig. 49). The decoration on this dish is also modified from the earlier pattern, and conforms to the patterns characteristic of Phase 8. The Phase 9 forms of Shallow Dishes are not well represented in the Uhle collection, though the shape category is common in surface collections from Late Horizon occupation sites in the lea Valley. There are three Shallow Dishes, whole and fragmentary, in the Uhle collections from Santiago and from the shellmounds at the mouth of the lea River, which belong to Phase 9 on basis of their shape and design features (23.1.1, 28.5.2; figs. 225-227, pi. 65). All Shallow Dish shapes attributable to Phase 9 resemble Phase 6 subgroup 3 Shallow Dishes. That is, they all have low, shallow proportions and rounded bottoms, the deeper variants of this dish category being entirely out of style. The Phase 9 dishes differ from those of Phase 6 subgroup 3 in that the flange protrudes more markedly and abruptly than in the earlier subgroup 3 dishes, and the sides are vertical or flaring, the latter being curved. These are features in which the Phase 9 Shallow Dishes resemble Shallow Dishes of subgroup 1 of the earlier phases. In view of the relatively shallow Phase 8 form in this category, mentioned above, as well as decorative features of the Phase 9 examples as described in chapter IV, it appears that the latter are in the main derivatives of earlier subgroup 1 Shallow Dishes which became shallower. Features of these dishes evidently were combined with the relatively rough surface treatment as it appears on earlier subgroup 3 dishes. This dish form is the only Shallow Dish variant found in Phase 9. The protrusion of the flange on Phase 9 Shallow Dishes creates a pronounced concavity in the lower portion of the side profile, from which the upper part of the sides changes direction abruptly. The fine beaded punching on the inside of the flange is no longer in use, but the notching of the outside of the flange continues in use on many Phase 9 dishes (fig. 227). As a further demonstration of the subgroup 1 derivation of these dishes, notching is not in use on subgroup 3 dishes of

42

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

Phase 6. Phase 9 notching is less fine than that on Phase 6 Shallow Dishes of subgroups 1 and 2; the individual notches are larger, broader, and more wedge shaped. Shallow Dishes without notched flanges are also common in Phase 9 refuse (figs. 225, 226). On many dishes without flange notching the edge of the flange has a shallow-curved broadened border similar to Inca-influenced lips, the surface of this border being polished (fig. 225, pi. 65). Some Phase 9 dishes also differ from those of Phase 6 subgroup 3 in having a more deeply curved bottom (figs. 226, 227), and most of them have a proportionately greater diameter. The sides on those dishes measured are of homogeneous height, 3 to 3.5 cm., and the total height is an equally homogeneous 4.5 to 5.5 cm. Fragments in refuse are of comparably homogeneous size. Five Shallow Dishes in the sample are attributable to Phase 10. One is a specimen from the Early Colonial burial Td-10 (31.1.1; fig. 278, pi. 86). This piece is unique in several respects. It has revivalistic shape features. It is thinner walled than lea 9 dishes, and the fine beaded punching on the inside of the flange revives a Phase 6 to 7 feature not in use in Phase 9, and probably not in use or only rarely in use in Phase 8; the outer notching is correspondingly fine, consisting of narrow slits rather than broad wedges. Furthermore, the bottom is shallower than most lea 9 Shallow Dish bottoms, probably also a special revivalistic feature. TTiis dish is also unique in our sample in being of smoked blackware. The remaining four Phase 10 Shallow Dishes do not have burial associations and are attributed to this phase primarily on the basis of their decoration (33.2, 36.2; figs. 284, 285, pi. 91). The unassociated dishes are similar in shape features to the dish from burial Td-10, but they lack the revivalistic interior punching of the flange. Not counting the dish illustrated by Schmidt (36.2), which is not recorded in true profile view, all but one of the lea 10 Shallow Dishes have a shallower bottom curve than those of lea Phase 9. Evidently this is a common lea 10 feature which is revivalistic in intent. However, all recorded lea 10 bottoms have one distinctive new feature that has no earlier counterpart. There is a slight concavity or a plain flattening in the upper part of the bottom curve, and a brief flattening of the curve at the bottom (figs. 278, 284, 285).

The bottom thus consists of different adjoining curves and planes rather than of a continuous curve. This appears to be an important diagnostic shape feature of lea 10 Shallow Dishes. A plainware miniature Shallow Dish forms art of a unique stacked double vessel in urial Td-10 (31.1.4; see also Simple Bottles, below). Most of its shape features are within the range of variation of the other lea 10 Shallow Dishes. However, the bottom is nearly flat, an especially pronounced archaizing feature, similar to the special archaizing treatment accorded the other Shallow Dish in this burial.

E

Cambered-Rim Bowl and Angular-Rim Bawl

Phase 6 Cambered-Rim Bowls are distinguished by their deeply curved ellipsoid or ovaloid bottom which merges gradually into an evenly rounded shoulder to produce a composite, restricted body shape (figs. 58-61, pi. 9). The center of the shoulder is at about the middle of the height of the vessel. The mouth opening averages about 66 percent of the diameter at the shoulder. In Phase 6, this bowl is characterized by its cambered rim, shared only with Cambered-Rim Dishes. The Cambered-Rim Bowl stands fourth in popularity in the Phase 6 sample, comprising about 9 percent of all vessels in tomb Th-1 (20 to 21 specimens, both whole and fragmentary). About half of the specimens are undecorated miniatures, however, and there is some variability about the rest (1.1.4). The most standardized Cambered-Rim Bowl variant is the one shown in figs. 58, 59 and pi. 9. It is represented by what appear to be four pairs of bowls from tomb Th-1, the members of each pair being near-identical. One of these pairs is of smoked blackware, the other of plainware, and two are oxidizedfired and decorated (1.1.4.8). Seven additional whole vessels and fragments of at least two more represent miniatures similar in shape (fig. 60). One specimen is aberrant in that its profile approaches that of CamberedRim Dishes in the angularity of the shoulder (fig. 62). It appears to be the result of an accidental misshaping, for it is left undecorated, though it has the firing, slipping, and polished surface finish usually associated with decorated vessels. One Cambered-Rim Bowl from tomb Th-1

THE CLASSIFICATION OF SHAPES

is much larger than the rest (fig. 64). Its height of 24 cm. is more than twice the usual height for this shape group in Phase 6. The cambered rim on this vessel is proportionately broad, the molding being 2.3 cm. wide. There are also two plain vessels of regular size with a rough, utility-ware finish and some aberrant shape features which are here included in the Cambered-Rim Bowl category (fig. 63). Two other small, plain miniatures included with this group also have aberrant contours, probably because of their extremely small size (4-5191, 5192). In addition to the Cambered-Rim Bowls from tomb Th-1, one complete Phase 6 specimen is illustrated by Schmidt (1929, fig. 3234). Cambered-Rim Bowl fragments are also found in surface collections from lea made by expeditions of the University of California at Berkeley, in proportions comparable to the numerical representation of these bowls in tomb Th-1. Very few complete specimens of Ica-style antecedents to Phase 6 Cambered-Rim Bowls are found in collections studied for this report, which is odd because fragments of such bowls are common in surface collections at lea 3 and 4 sites, and have been found at earlier and later lea sites as well. The lea 3 and 4 bowls are invariably of a large size like that of the large Phase 6 bowl in fig. 64, suggesting that the latter represents a conservative survival of the earlier lea forms. The inner rim profile of lea 3 to 5 cambered rims is generally curved rather than straight, always ending in a slight flare, and the outer surface is more nearly a downslanting collar than a molding, especially in the earlier phases (as in figs. 13,16). The shoulder of the earlier bowls is briefer, more tightly curved than in Phase 6, and the upper sides have a steeper, longer slope. These features are analogous to jar and bottle body features in the corresponding phases. Ica IB antecedents to the Cambered-Rim Bowls are smaller than the Ica 3 to 5 bowls, but larger than the standard-sized bowls of Phase 6 (fig. 3). The shoulder on these bowls is lower and even briefer than in Phase 3 to 5 bowls, and the sides are nearly straight, converging above the shoulder. Most of these features represent more extreme contrasts to the homologous features of Phase 6 bowls, standing at the beginning of a trend in the

43

progression of changes in the Ica tradition. The small, flattened bottom of the Ica IB bowls is an old feature that survives in some Ica 1 vessels from Middle Horizon antecedents and disappears in the later Ica phases. The features of the Ica IB Cambered-Rim Bowls are such that they could serve equally well as antecedents for later CamberedRim Dishes. The separation into distinct Cambered Rim Dish and Bowl shapes probably did not take place until later. The prototype for the Ica-tradition form can be traced back through Ica Phase 1A and the Ica-Epigonal style to a single shape category, a large cup with a broad, horizontally projecting collar, which first appears in the Pinilla style of Middle Horizon Epoch 3 (fig. 2; also Paulsen, 1968, figs. 17a, b; Strong, 1957, fig. 18N, O). The projecting collar of the Pinillastyle cup is the antecedent of the cambered rim. It is transformed into the cambered rim by a progressive series of changes during Ica Phase 1 in which the collar is gradually narrowed and slanted downward at increasing angles, until it ends up as a diagonal molding strip on the rim. The conservative variant of the cup shown in fig. 2 survives in Phases 1A and IB (DMM, 271, MRI, CV-75). The more modified variant shown in fig. 3 probably does not appear until Phase IB. One Cambered-Rim Bowl from burial Th-2 belongs to Phase 7 on basis of its associations (fig. 113, pi. 23). It differs from the standard Phase 6 bowls in having a more briefly curved shoulder which is below the middle of the height of the body, and a longer-sloping, more shallow-curved side above the shoulder (for comparison, see figs. 58-61, pi. 9). Some of these features have a coincidental resemblance to the early Ica-style forms (cf. fig. 3). The rim form is also changed and resembles a curved everted rim. The top corner point and surface of the molding strip are more curved than on Ica 6 forms, and the inner surface of the rim is more curved and everted than on most Ica 6 rims (for comparison, see figs. 58-60, also 42-47). One Cambered-Rim Bowl from burial C-7 belongs to Phase 8 on stylistic grounds (fig. 125, pi. 31). Its enlarged size, the fluting of the shoulder area (discussed in the sections on Simple Bottles and Simple Jars, below), and several design features all are shared with four vessels in the group Sc lot from

44

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

Santiago. These vessels are assigned to Phase 8 on the basis of shape and design features. The large body size, the form of the cambered rim, the color patterning, and other features of decoration all indicate influence of the Chincha style. Unlike other advanced derivatives of cambered rims in Phases 7 and 8, the rim on the Phase 8 bowl is a more traditional cambered rim proper. However, the molding is proportionately narrower than in Phase 6 cambered rims (only 6 mm. wide), these narrow proportions being a Chincha-style feature (see also Kroeber and Strong, 1924a, pi. 11, especially 11a, c, and Menzel, 1966, figs. 25-27). 61 The fluting of the sides of the lea 8 bowl is an lea feature, but it does not occur on bowls or vessels of this large size in lea Phase 6, its new use on the lea 8 bowl being an innovation of this phase. The use of fluted sides on vessels with this body shape tradition is an extension of the usage associated with Simple Bottles and Simple Jars in Phase 6, shapes that are similar to the Cambered-Rim Bowl shape in that phase (see below). The Phase 8 fluting is distinguished from Phase 6 fluting in consisting of long, narrow ribs and grooves of more even width on the average, the grooves being usually only slightly narrower than the rises. The shoulder fluting and aspects of Chincha-style influence associated with it are not perpetuated in Phase 9. Ica 9 bowls represent in the main the continuation of the local trend of changes begun in Phase 7. The imitation Chincha bowls of Phase 8 are eliminated. The change in the Cambered-Rim Bowl tradition is analogous to changes in Deep Open Dishes and Cambered-Rim Dishes, leading to considerable similarity between these originally distinct vessel categories, to the point where it is sometimes difficult to distinguish between the dishes and bowls (figs. 163,187,188, 194, 195, 197, pis. 45, 53, 56, 57, 59). There is a slight increase in size range (not counting the oversized specimen in the Phase 6 tomb), and innovations already apparent on the Phase 7 61. The size and shape of the bowls with camberedrimsin the Chincha style suggests a close relationship to the large Cambered-Rim Bowls of the Ica tradition, which are most common in Ica Phases 3 to 4. Their presence in the Chincha style of Epoch 8 probably represents a modified derivation of bowls introduced through Ica 3 and 4 influences in the earlier part of the Late Intermediate Period at Chincha.

bowl are emphasized. That is, the curve of the shoulder is abrupt, the shoulder on some of the examples is lower on the body, and the slope of the upper part of the body is longer and shallower than in Phase 6. The cambered rim is not in use in Phase 9 bowls, and the new rim form can be seen in part as a modification of the cambered rim derivatives of Phases 7 and 8. That is, the plain everted rim differs from the Phase 7 and 8 rims in having a sharp, angular profile and the same kinds of lips found on Angular-Rim Dishes. Because of these features the Ica 9 bowls are called here AngularRim Bowls. Although the rims of Angular-Rim Bowls are similar to those of Angular-rim Dishes, some of them are slightly less flaring and sometimes wider, to the point where they resemble low collars (see particularly figs. 163, 188). This rim form represents in the main the end product of the trend of changes from the cambered rim begun in Phase 7, but its angularity and lip contours reflect additional Inca influence, evidently through a process of analogy, the same process that also affects the Angular-Rim Dishes. Only the occasional slight differences in rim angle, the usually higher and slightly more rounded shoulder, and the deeper bottom serve to distinguish Angular-Rim Bowls from AngularRim Dishes in Phase 9. Uhle's collection contains seven Ica 9 Angular-Rim Bowls, including a near-identical pair of incised blackware from tomb Ta, a single specimen each from burials Td-1 and Tb, and two nonidentical ones from cache Tn (12.2.1, 14.3.3.1, 15.1.1, 19.2.2). The seventh example is from Galagarza and lacks associations (28.5.3). Angular-Rim Bowl fragments are not uncommon in collections from ordinary Late Horizon refuse sites at Ica. Although Ica 9 pottery is not popular with collectors, occasional examples of Phase 9 Angular-Rim Bowls can be found in museum and private collections. As in the category of Angular-rim Dishes, there are rare Angular-Rim Bowls that have a surface finish, firing, pigmentation, and decoration in the Ica-Inca style (see chapter IV). These rare vessels were evidently accorded the same social distinction as vessels in the special Inca-associated prestige shape categories of this time. One complete example

THE CLASSIFICATION OF SHAPES

in the Museo Regional de lea has peanut appliqués, an Ica-Inca A feature (fig. 244). In Phase 10 traditional Cambered-Rim Bowl body shapes and rim forms of Phase 6 and the Chincha-influenced features of Phase 8 are revived on a large scale, and the shape features of Angular-Rim Bowls and their Phase 7 and 8 antecedents are virtually eliminated. Only one bowl with Phase 9 shape features and Phase 10 decoration is among the recorded vessels in our sample, and this piece is reported to be from La Puntilla, Pisco (UM, SA-4214). Several Phase 10 Cambered-Rim Bowls represent a mixture of Phase 6 and Chinchainfluenced Phase 8 shape features which is not found in either of the earlier phases and serves to distinguish these Phase 10 vessels from the earlier ones. Phase 10 bowls have a large size range. Those in the sample are all larger than those of standard-sized Phase 6 but smaller than the large Cambered-Rim Bowls of Phases 3 to 6 (figs. 261-263, pis. 77, 78). Body contours are the old traditional ones, including a high, rounded shoulder and deep, ovaloid or ellipsoid bottom, contours found both in lea Phase 6 and Chincha-style bowls. Cambered rims are revived. The Phase 10 rims are either the proportionately narrow ones of the lea 8 and Chincha form (fig. 262), the proportionately broad lea 6 ones (fig. 263), or they may be of an intermediate breadth (fig. 261). Uhle collected four Phase 10 CamberedRim Bowls, all of them from burial Ti-1 (30. 1.3). Phase 10 Cambered-Rim Bowls are occasionally seen in museum and private collections (33.3). Cambered-Rim Bowl fragments are also present in surface collections from Phase 10 sites in the lea Valley and at Villacuri and Curiba. Cumbrous Bowl

The term "Cumbrous Bowl" was introduced by Isabel Kelly.62 Phase 6 Cumbrous Bowls are simple unrestricted vessels with an inverted ovaloid or paraboloid profile (figs. 65-69, pi. 10). On most of these Cumbrous Bowls the lip is thinned from the inside, coming to a point. The height varies within 62. Kelly, 1930.

45

narrow limits (all but two are between 6.5 and 8.5 cm. high), but there is considerable variety in the greatest diameter, which ranges from 11.5 to 25.5 cm. However, on all but one of the specimens in our sample the diameter falls between 12 and 15 cm. As Kelly points out, most Cumbrous Bowls throughout the history of this vessel tradition are distinguished from other vessel categories of their respective styles in being much less carefully finished. In Phase 6 the outside of the bowls commonly shows rough and irregular scraping marks only, most are underrated, and many vessels are not slipped (1.1. 5.1, 1.1.5.2; figs. 65-67). The inside is slightly more carefully finished and shows "brush" marks, probably from some cloth used to wipe the surface smooth. The firing is irregular dull oxidized to gray, leaving dark firing clouds. Most Phase 6 Cumbrous Bowls have one special distinguishing feature. Inside and outside around the rim there is an area about 1.5 cm. wide which is especially smoothed, probably after rewetting, so that this area looks like a decorative band. This band is obliterated only on the polished, decorated specimens. There are a few fancier decorated Cumbrous Bowls in Phase 6, and these have a more careful finish than the rest. A nonidentical pair of bowls from tomb Th-1 has what may be called a "medium" finish in that the bowls are carefully smoothed, but with a matte surface. The interior decoration is of a special kind (1.1.5.4; fig. 68, pi. 10). Three other bowls from tomb Th-1 can be called well finished. Their finish is a glossy polish and their decoration is like that of most other decorated Phase 6 vessels in care of execution, color, and design patterning; the design elements are also ones used on other vessel categories (1.1.5.5; fig. 69). There are also fragments of three undecorated bowls with a polished surface (1.1.5.3). Ica 6 Cumbrous Bowls with the better finish and some of the rough-finished ones show a slight concavity (an "inflection," after Shepard), in the rim profile, which distinguishes these bowls from earlier Ica-style ones (figs. 65, 68, 69). Only some of the crudest Ica 6 bowls lack this feature (figs. 66, 67). The 15 Ica 6 Cumbrous Bowls from tomb Th-1 constitute about 61/2 percent of the pottery in this burial, giving the shape fifth place

46

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

in popularity. No specimens are known from other collections, though fragments of undecorated bowls with a rough finish are common in surface collections from refuse of Phase 6 occupation sites. The earlier lea forms of Cumbrous Bowls differ in some features from those of Phase 6. The most common lea 3 shape has spheroid or near-spheroid unrestricted contours ending not far below the equator of the projected sphere (fig. 14, pi. 102). Lips are not thinned, and the lip surfaces are flat, either horizontal or beveled toward the outside. This feature is seen to be preserved on the unique large Phase 6 Cumbrous Bowl, a roughly finished one, shown in fig. 67. The early lea Cumbrous Bowls are also slightly larger in size and slightly thicker walled and heavier than most Phase 6 ones. Bowls of this shape are unpolished and have far less decoration than other lea 3 vessels, but they are more evenly scraped and smoothed than most of the Phase 6 Cumbrous Bowls, and more often decorated. There is one other important lea 3 Cumbrous Bowl category. Some lea 3 bowls have an inverted ovaloid profile, similar to that of lea 6 bowls, and some of these also have a thinned lip (fig. 17). Six examples of such bowls in the Uhle collection differ from other lea 3 Cumbrous Bowls in having a fine, smooth surface finish and fancy decoration (RHLMA, C-l, 4-4579, M, 4-4350, 4451, 4458D-1, 2, F). This form is the direct antecedent in shape to all decorated Cumbrous Bowls and some of the plain ones of Phase 6 (cf. figs. 65, 68, 69). The Cumbrous Bowl tradition had its origins in the Early Intermediate Period in Nasca Phase 7, but it underwent highland-influenced changes in the Middle Horizon, during which time it also underwent a wide spread in Peru. 63 The lea variants are derived from the Middle Horizon antecedents on the south coast. Late Middle Horizon Cumbrous Bowls are larger on the average than the Ica-style ones, and they have flat bottoms. Most are even more carefully finished and decorated than the ordinary lea 3 bowls, and they are popular, constituting one of the three principal vessel categories of the Ica-Epigonal style (Kroeber and Strong, 1924b, pi. 30g, h, 1, m). There are no Cumbrous Bowls in the Phase 7 burial Th-2. However, there are four such 63. Menzel, 1964.

vessels in burial C-7 from Ocucaje, a burial attributable to Phase 8 on the basis of the style of the Cambered-Rim Bowl in it (8.2). The Cumbrous Bowls in this burial resemble the most common roughly finished Phase 6 bowls in shape, firing, and surface finish (figs. 126128; for comparison, see fig. 66). However, there is considerable variety and irregularity in the contours of the Phase 8 specimens. Careless black and white painted decoration on the lip and upper rim resembles some Chincha rim decoration. Uhle found nine examples of Cumbrous Bowls in the Late Horizon burials C-4, C-5, and C-10 from Ocucaje (24.1.2, 25.1.1, 25.2.1, 26.3.1, 26.5.1). Cumbrous Bowl fragments are common in refuse collections, and complete specimens are present in museum collections from lea. The most popular lea 9 Cumbrous Bowl shape category is shown in figs. 229-231 and pi. 66. This form resembles most the fancy decorated Cumbrous Bowl form of Phase 6. Like the latter, the lea 9 examples are usually decorated. The standard design is the one shown in pi. 66. However, the Phase 9 bowls have a much rougher finish than the fancy Phase 6 ones. Most of the surface is plain and unpigmented, with only the simple black interior rim design. The interior surface is usually smooth and even, though unpolished, while the outer surface is less even and smooth. The Phase 9 profile is distinctive. It is somewhat bell shaped in vertical section, with a more pronounced inflection in the profile than in Phase 6. Phase 9 Cumbrous Bowls also frequently have an irregular circumference with a lateral compression, resulting in a rim of uneven height (figs. 230, 231, pi. 66). The Phase 9 bowls are also usually distinguished from the earlier ones by a brittle paste of poor quality which tends to flake off the surface. One lea 9 Cumbrous Bowl from Ocucaje burial C-10, shown in fig. 236, is a completely plain, rough-finished bowl derived from the corresponding Phase 6 variant (cf. figs. 65, 66). Like the corresponding Phase 6 bowls it has a thinned lip. This bowl falls approximately within the range of variation of roughfinished lea 6 bowls in shape, finish, and wall thickness, though the concavity in the rim profile may be slightly more pronounced than in the corresponding lea 6 profiles. A common category in the Phase 9 burials

THE CLASSIFICATION OF SHAPES

from Ocucaje in Uhle's collection is the archaizing form shown in figs. 232, 237 and pi. 67, including four out of the nine Cumbrous Bowls in these burials (25.2.1, 26.5.1). All are decorated with archaizing designs. In shape this bowl form resembles the most popular lea 3 shape (cf. fig. 14, pi. 102). The Late Horizon bowls differ from those of early lea phases only in being slightly shallower on the average, with a smoother surface finish, and in having a somewhat less angular or a rounded lip. For a further discussion of these vessels, see imitation antiques, below. Two Phase 10 Cumbrous Bowls were found in one of the burials above the Late Horizon tomb Ti-5 (30.5.1; figs. 275, 276). There are four additional complete Phase 10 specimens without associations in our sample (33.4). Many fragments of such bowls can be found in surface collections at refuse sites. Of the two Phase 10 Cumbrous Bowls in burial Ti-4, one represents the derivative from the most common Phase 9 form (fig. 275, pi. 85). The most distinctive Phase 10 shape innovation is a concave, flattened bottom. The specimen from burial Ti-4 is aberrant, however, in being of exceptionally small size. The common size as represented in Phase 10 refuse collections is within the same size range as the lea 9 bowls. However, most lea 10 examples have the same revivalistic interior rim design that is found on the burial specimen, and concave bottoms also appear to be common. The concave bottom probably represents the revival of an lea 8 and Chincha feature found originally on Chincha-style forms and transferred to this new context in Phase 10 (cf. fig. 95). The second Cumbrous Bowl from burial Ti-4 has spheroid contours. It is a variant of the imitation antiques of the Late Horizon (fig. 276; for comparison, see figs. 232, 237, pi. 67). This specimen is unique in the lea 10 sample. It differs from the corresponding Phase 9 bowls primarily in being slightly thinner walled, and in having a thinned lip. Simple Bottle, Lamp Bottle, and Large Bottle

Simple Bottles constitute a traditional lea vessel form which is standardized in Phase 6 and is the third most popular shape category in tomb Th-1, constituting between 9 and 10 percent of the vessels in the tomb (1.1.6; figs. 70-81, pis. 11-13). The standardization of

47

body shape and size is particularly notable. Fourteen out of 22 bottles from the tomb vary in body height only between 6.5 and 8 cm., and in greatest diameter between 10 and 12 cm. (figs. 70-77, pis. 11, 12). Seven bottles are small to miniature in size, ranging between 4.5 and 6.5 cm. in body height (figs. 78-80). Simple Bottles have composite body contours, which approach the simple contours of a horizontally ellipsoid form. On most examples the bottom contours are ellipsoid or ovaloid, and curve into a broad shoulder which provides a shallow to medium-curved vertical surface in the central portion of the body (see especially figs. 70-73, 75, 77, 81). The center of the shoulder is slightly above the middle of the height of the body. There is a slightly greater variety of features in the contours of the upper body. The most distinctive Phase 6 contours are a broad, shallow-curved shoulder extending nearly to the level of the body height, the vessel body then being closed by a near-horizontal, shallow-curved top (figs. 70, 72). On some bottles the shoulder curve is briefer and the top of the body slightly more sloping (figs. 71, 73, 75, 77, 78, 81). The steepest slope of the upper body and briefest shoulder are illustrated in figs. 74, 76. Miniatures have slightly modified contours (figs. 79, 80). The contours of the comparably closed body shape of standard-sized Cambered-Rim Bowls fall into the intermediate to briefshouldered varieties of the Simple Bottle bodies (figs. 58-60). The principal difference is that the bowls have a wider mouth, causing their sides to converge less above the shoulder. The bottles shown in figs. 70, 77 and pi. 12 have the shoulder area fluted with vertical indentations at 2.5 to 5 cm. intervals. The indentations may have been made with the finger or with some instrument similarly proportioned. The raised intervals between the indentations are two to four times wider than the indentations. Only two Phase 6 Simple Bottles in tomb Th-1 show such fluting, one being a blackware piece (fig. 70, pi. 12), and the other oxidation-fired with a plain-slipped purple shoulder (fig. 77). There is a great variety in neck height, contrasting with the uniformity in body dimensions. Among the 14 bottles of regular body size, neck height measurements vary from 5.7 cm. to 16.8 cm. Proportions and diameters are

48

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

quite constant, however. Phase 6 necks are usually concave in profile, with a slightly tapering curve at the base and a complementary, more pronounced flare at the rim. In the shorter necks this pattern usually results in a continuous curve, with the narrowest part of the neck occurring somewhere near the middle of the height. Less commonly, the narrowest part of the neck is in the lower or upper half of it (figs. 73, 76, 79, 80). On the longer necks and some middle-sized ones the central portion of the neck between the curves is approximately cylindrical. The base of the neck on regular-sized bottles varies only between 3 and 3.5 cm. in diameter, and the narrowest diameter of the neck varies between 2.3 and 2.7 cm. The rim is strongly flaring; it usually widens in a smooth, graceful curve that stops short of any horizontal protrusion and is thinned at the edge. The rim proportions are also standardized, the flare beginning about 2 cm. below the lip on the taller necks and about 1.5 cm. below the lip on the shorter ones; the top diameter on all but one of the regular-sized vessels varies only between 5 and 5.3 cm. One Phase 6 Simple Bottle has a slightly larger than average body, a larger rim diameter (6.2 cm.), and a human face and torso modeled on the neck (fig. 81, pi. 13). The arms were originally modeled but have been broken off. The position of the right arm and a broken area below the mouth suggest that the man was shown blowing a panpipe. This is the only known piece with a modeled neck in Phase 6. Handles are strap handles from the neck to the body. They are attached to the neck near the base and join the body at the top of the shoulder, a point where there is usually a division in design bands. The handle curves range from evenly rounded to almost angular, but the actual difference is not great. The width of the handle strap on regular-sized vessels varies between 2.3 and 2.9 cm., most of them between 2.4 and 2.7 cm. wide (measurement taken at the center of the handle. The earliest recorded antecedents of lea 6 Simple Bottles are attributable to lea Phase 3A (fig. 15, pi. 106). They are distinguished by a long, shallow-curved slope of the upper body, a low, brief shoulder, and by a relatively short neck with distinctive features. Body contours more like those of Phase 6

appear on lea 4 bottles (fig. 23, pi. 108) and longer, more flaring necks first appear late in Phase 4 or early in Phase 5 (fig. 24). Body size varies more in the earlier phases than in Phase 6, and larger-bodied vessels are common. One Simple Bottle, shown in fig. 114 and pi. 24, is attributable to Phase 7 on the basis of its burial associations, having been found in burial Th-2 (5.3). It is indistinguishable from Phase 6 bottles in body contours and handle form, but the stem of the neck is proportionately thicker, with a wider diameter than any in the Phase 6 sample. Three other bottles without associations in the Museo Nacional de Antropología y Arqueología of Lima belong to Phase 7 on the basis of their decoration (6.3). In shape features one of these bottles is indistinguishable from Phase 6 bottles with tall necks (Muelle and Bias, 1938, lám. 47a; Lumbreras, 1969, p. 301). A second bottle is nearly identical in shape to the first, but the rim has a slight bevel, a feature not found in any of the Phase 6 bottles (fig. 122). The third of these bottles differs in shape from Phase 6 bottles because of a neck with a proportionately narrower base and larger, more flaring rim, and an appliqué animal head on the handle (fig. 123). The impression conveyed by this small sample is that body contours persist largely unchanged in Phase 7, but that there is a greater range of variation in neck form, with some falling outside of the Phase 6 range of variation in one or more neck features. There are three traditional Simple Bottles without associations or provenience data probably attributable to Phase 8 on basis of the seriation of features of shape or decoration (10.3.1). One of them follows Phase 6 shape standards without innovating shape features (fig. 136). It is also a tall-necked bottle, and it has a modeled face at the base of the neck like one of the Phase 6 Simple Bottles (cf. pl. 13). The decoration is also analogous to that on the Phase 6 specimen, except that the painted decoration on the shoulder consists of a special form of vertical stripes characteristic of Phase 8. Since the rest of the decoration on this vessel is relatively conservative, however, the alternative possibility must be considered that it belongs to Phase 7, and that the striping pattern of the shoulder can appear as early as this phase.

THE CLASSIFICATION OF SHAPES

Two other bottles at the Museo Nacional de Antropología y Arqueología of Lima are so similar to each other in shape and decoration that they probably represent a matched pair from one grave lot. Their shape differs from Phase 6 shapes in that the body is proportionately slightly larger and the neck contours are more irregular, with slightly altered proportions (MNAA, 20/271, 20/274). The decoration on these bottles is heavily influenced by the Chincha style, in ways not present in the burial Th-2 lot. For this reason, these two bottles are probably later than the Th-2 lot and belong in Phase 8. A fourth bottle without associations is in shape like the two last mentioned, suggesting that it ought to be contemporary with the latter (AMNH, 41.1-3501). However, its decoration falls within the lea 7 range of variation and lacks the advanced features characteristic of the vessels assigned to Phase 8. In view of the small sample, the possibility must therefore be considered that enlarged body shapes could be found as early as Phase 7. Another bottle without provenience has decoration falling within the lea 7 to 8 range of variation. Its shape is the same as that of a conservative Chincha-style bottle from Chincha (10.3.2; fig. 137; for comparison, see Menzel, 1966, fig. 22). Evidently imitation Chincha bottle shapes copied faithfully after Chincha models appear in the lea Valley along with more traditional bottles in Phase 8, and possibly as early as Phase 7. The Chincha-style model for this form may predate slightly most of the rest of the Chincha vessels in the sample datable to Epoch 8 of the Late Intermediate Period.64 There are four other specimens without provenience with the same body shape, but with Chincha-style decoration. For that reason it is not certain whether these latter are from Chincha or lea (MRI, DA-2776, MRI, uncatalogued, MNAA 20/287-1, 4426). These bottles all have shorter necks than the one that may date to Epoch 7 (fig. 138). Phase 8 also includes a second, distinctive new bottle form, probably attributable to Chincha influence to judge by its enlarged size (9.2, 10.3.3). Its other features are peculiar to these bottles and have no specific counterparts in the Chincha-style sample. The only complete lea 8 example is one without 64. Menzel, 1966, pp. 95, 101.

49

associations or provenience data (fig. 139; Rubin de la Borbolla, 1961, Arte Prehispanico, pi. 67). The body of another one, with the neck broken off and lost, was found in lea 8 group Sc from Santiago (fig. 130). The diameter of the neck base, together with the body shape and decoration, suggest that this body had a bottle neck like that of the unassociated specimen. Both vessels have painted decoration that places them in Phase 8 on the basis of seriation (see chapter IV). The bodies of these bottles are enlarged forms of Ica-tradition bottle bodies, and the neck is an enlarged form of long lea bottle necks, with slight modifications in rim and lip contours. The rim is slightly less flaring than traditional lea bottle neck rims, and its terminal end resembles cambered rims. These vessels are about one-quarter to one-third larger than traditional lea bottles. Perhaps the principal difference between the enlarged lea 8 bottles and the traditional, standard-sized ones is the absence of a handle. Both the enlarged examples have shoulder fluting, in continuance of the old lea 6 ornamentation of some Simple Bottle bodies (see also Simple Jars, below). Phase 8 shoulder fluting differs from Phase 6 fluting in consisting of long, narrow rises and grooves of more nearly even width, the grooves being usually only slightly narrower than the rises. Phase 8 grooves vary in width from 0.75 to 1.75 cm., whereas the rises vary from 1.5 to 2.25 cm. in width, depending on the size of the body (see also the Phase 8 Cambered-Rim Bowl, above). Another difference is in the painted decoration. Phase 8 rises and grooves are decorated with alternating stripes in specular hematite purple and white, or red and white, outlined in black, to bring out the contrast between them. This painted decoration is also a Phase 8 innovation (see also chapter IV). The painted vertical stripe pattern that ornaments the rises and grooves is used in Phase 8 also without the modeled features on plain shoulders, as on one traditional Simple Bottle, described above (fig. 136), and on some Simple Jars, to be described below. The Simple Bottle tradition has an interesting history in the Late Horizon and the Early Colonial Period. In the Late Horizon traditional lea bottles disappear entirely and are replaced by Inca-influenced shapes. Since

50

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

the style of these bottles is very distinctive, with special Inca-associated features, I am giving them a special style designation, namely Ica-Inca, to distinguish them from ordinary lea 9 forms. In the Early Colonial Period Ica-Inca forms virtually disappear and Icatradition Simple Bottles are revived. Two new Ica-Inca bottle shapes replace the traditional Simple Bottle form in the Late Horizon. One is a small bottle reminiscent in shape of an Old World oil lamp, and the other is a larger-bodied form. I shall distinguish the two categories by calling them Lamp Bottles and Large Bottles. Lamp Bottles are the more common of the two forms in our sample, and they have less variation in details of their shape features. The designs appearing on Lamp Bottles also differ from those on Large Bottles. For these reasons I am distinguishing the Lamp Bottles and Large Bottles into two further stylistic categories, namely Ica-Inca A and Ica-Inca B, respectively. The Ica-Inca A Lamp Bottle category is defined by eight examples from tomb Td-8 (11.2.1; figs. 153-156, pis. 41, 42). These Lamp Bottles constitute 22 percent of the vessels from this tomb. Four of the bottles form a nearidentical set (11.2.1.1; fig. 153, pi. 41). Two others probably form a near-identical pair (one is now at the Peabody Museum at Harvard and could not be examined for this study; 11.2.1.2; fig. 154, pi. 42). Two others form a nonidentical pair (figs. 155, 156). Unassociated Lamp Bottles falling within the stylistic range of variation of the Ica-Inca A Lamp Bottles from tomb Td-8 are relatively common in museum collections, where they constitute coveted display pieces (28.2.1, 29.2.1; pi. 70). Ica-Inca A Lamp Bottles resemble the traditional lea 6 to 8 Simple Bottles in body height, upper body contours, and in having a narrow neck and a handle. They differ from the Icatradition bottles in the shape and size of the neck, the shape and position of the handle, and the contours of the lower part of the body, all of which are composed of loan features from the Cuzco Inca style. The handle on Ica-Inca A bottles is a vertical loop confined to the upper body and not attached to the neck, a handle form borrowed from some Cuzco Inca jugs and plates (for comparison, see Bingham, 1930, figs. 71-lle, 89e, 112, and provincial Inca vessels from lea shown in figs. 152, 166-168, 243 and pis. 40, 71b). There are two variants of Lamp Bottle necks. The

more common one is shorter and less flaring than the lea 6 Simple Bottle necks, and resembles the upper portion of one kind of fancy Inca bottle neck (cf. Rowe, 1944, fig. 8d; Valcárcel, 1934a, fig. 66; 1934b, lám. I, 1/126; 1935, lám. VII, 1/639; Eaton, 1916, pl. XI-1). The second, less common neck form is short and cylindrical (fig. 155). The innovations in Lamp Bottle body features include a flat or shallow-curved bottom and straight to shallow-curved flaring lower sides. This combination of features is a standard Inca-style feature set used for the lower part of closed vessel bodies and for plates (for comparison, see figs. 149-152, 162, 166, 169, 199, 200, 207, 210, 211, 246, 247, 249, 251, 252). The principal difference is that the sides in the Lamp Bottle feature set are proportionately higher than in any Inca-style vessel composition. The new lower body contours of the Lamp Bottles cause the shoulder to appear briefer and more abrupt than in Icatradition Simple Bottles. On some Lamp Bottles an appliqué nub in the form of a peanut, human head, or other small modeled form is added opposite the handle, a feature also borrowed from the Inca style (figs. 154-156, pis. 42, 70). Ica-Inca A Lamp Bottles are ordinarily decorated with new Ica-Inca designs, described in chapter IV. One exceptional example is made of unincised smoked blackware (fig. 156). This piece has a longer than average neck for Ica-Inca A Lamp Bottles. Occasional Late Horizon bottles represent imitations of the Ica-Inca A Lamp Bottle shape. One such bottle was found in tomb Td-8 and another in tomb Ti-5, and additional unassociated examples have also been recorded (figs. 157, 171, pi. 43; 11.3.1, 13.3.1, 29.3.1). Imitation Ica-Inca A Lamp Bottles are distinguished from Ica-Inca A Lamp Bottles proper in being composed of more traditional lea features, and in being decorated with more traditional lea 9 designs instead of IcaInca ones (see chapter IV). There appears to be some optional variation in the way the more traditional shape features are substituted for Ica-Inca A features proper. For example, the bottle shown in fig. 171 has a strap handle attached to the neck. The lower sides of the body are more curved, as in traditional lea bottles, causing the shoulder to take on a more traditional breadth. The second example, shown in fig. 157 and pi. 43,

THE CLASSIFICATION OF SHAPES

has traditional lea Simple Bottle body contours combined with an Ica-Inca A handle and neck. For another example of the latter form, see 29.3.1. Another Lamp Bottle category found in lea graves belongs to the Nasca-Inca style rather than the Ica-Inca A style. 65 Two standard Nasca-Inca examples were found in burial C-10 and one plainware miniature in tomb Ta (14.2.1, 26.1.1). Both the Nasca-Inca Lamp Bottles from burial C-10 are made of unincised smoked blackware (figs. 234, 235, Kroeber and Strong, 1924b, pi. 35r,s). The widespread use of unincised smoked blackware is characteristic of the Nasca-Inca style, as well as of provincial Inca pottery from Nasca. Nasca-Inca Lamp Bottles are variable in shape and size, in contrast to Ica-Inca A ones. Many have broader, squatter body contours than Ica-Inca A Lamp Bottles, like the burial C-10 bottle shown in fig. 234. Some Nasca-Inca Lamp Bottles have a modeled body, most commonly representing a container with an inflected, hourglassshaped horizontal section (fig. 235). The necks of Nasca-Inca Lamp Bottles are proportionately longer and narrower than the IcaInca A Lamp Bottle necks, though the details of their contours are as variable as the body contours. The handles of Nasca-Inca Lamp Bottles are commonly loop handles of the same general kind as those of the Ica-Inca A Lamp Bottles, but in a frequent Nasca-Inca variant the upper end of the loop is attached to the neck rather than the body (fig. 235). Two fancy Nasca-Inca Lamp Bottles from the Nasca drainage, including a stacked double vessel, are illustrated by Gayton and Kroeber (Gayton and Kroeber, 1927, pis. 18K, 19G). However, most Nasca-Inca bottles are of much less careful manufacture than Ica-Inca A bottles. Nasca-Inca features of the plainware miniature Lamp Bottle from tomb Ta include a modeled body representing a bivalve shell, a form also found in the Nasca-Inca style, and a 65. The term "Nasca-Inca" is my own coinage. The style is known from surface collections made by David A. Robinson in the southern Nasca drainage (Robinson, ms.). The collections are deposited at the Museo Regional de lea. NascaInca vessels found in burial associations and unassociated vessels from the Nasca drainage are among the collections of the Robert H. Lowie Museum and furnish additional evidence supporting Robinson's study. Nasca-Inca vessels consist exclusively or primarily of bottles, like Ica-Inca vessels. They are stylistically closely related to provincial Inca forms from Nasca.

51

handle in which the upper end of the loop is attached to the neck (fig. 183). The neck is aberrant in terms of Ica-Inca A Lamp Bottle necks. Two Lamp Bottles in Uhle's collection have unique combinations of features. One of them was found in burial C-10 (fig. 233, Kroeber and Strong, 1924b, pi. 35p; 26.1.1). This vessel is composed of a combination of Ica-Inca A and Nasca-Inca features. Most shape and design features of this bottle fall into the IcaInca A range of variation. However, the body is smaller than the standard Ica-Inca A bottle bodies, with shallow-curved, near-horizontal upper body contours and squatter proportions than Ica-Inca A bottle bodies. The neck is unfortunately broken at the top, but it tapers from the bottom more like Nasca-Inca bottle necks than like Ica-Inca A ones. The use of a light orange slip as ground color for the design is an added Nasca-Inca feature (see chapter IV). The neck decoration is unique in consisting of a dark purple slip of specular hematite, a feature not recorded on other Lamp Bottles from lea or Nasca. The second unique Lamp Bottle was found in the looted tomb Tl-2 (17.3.1). The body, so far as it was preserved, falls within the range of variation of standard Ica-Inca A Lamp Bottle bodies (fig. 222). The neck, on the other hand, is like Ica-Inca B bottle necks (see below). The handle is neither like the Ica-Inca A nor the Ica-Inca B bottle handles. Instead, it resembles a third Inca handle form, a vertical strap from body to rim (for comparison, see figs. 162, 246). The decoration of the body and handle fall into the Ica-Inca design category, the same category that is used for Ica-Inca A vessels. However, the patterning of the designs is unique in our sample (cf. chapter IV). Ica-Inca B Large Bottles appear in a different stylistic context than Ica-Inca A Lamp Bottles, though both categories are found in deep structured tombs (cf. concluding chapter). All four Large Bottles in Uhle's collection are from tomb Ta (14.1.1). No two are exactly alike in body shape, but all of them have features in common by which they can be recognized as a single shape category (figs. 178-181, pis. 50, 51, Kroeber and Strong, 1924b, pi. 38a). Large Bottles are also occasionally found in other collections (28.3.1). Fragments of such bottles are found in refuse around the capital. The Large Bottle body size is about twice

52

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

that of Lamp Bottles. Like Lamp Bottles, Large Bottles have neck, handle, and body features borrowed from pottery of the Cuzco Inca style, but the selection and combination of the Inca loan features are different from those in Lamp Bottles. The Large Bottle handle is a large, upslanting horizontal strap modeled after another common Inca handle form (cf. figs. 145, 147, 200, 203, 219, 247, 248, 254). The neck on most Large Bottles is borrowed from the Inca jar neck (Rowe, 1944, shape a; figs. 142-144,164, 202, 242, 245). This Inca neck form has a coincidental resemblance to traditional lea Simple Bottle necks, but it differs from the latter in being proportionately broader with a broader base and more tapering sides in the lower portion, and in being always of a standard intermediate height. The rim has a wider flare than Icatradition bottle neck rims, ending in a horizontal projection, usually with a slight downward curve of the upper surface near the tip, causing an only slight thinning of the lip at this point. Large Bottles vary more in body shape than Lamp Bottles. While in all of them the lower body contours are formed in imitation of the same Inca feature set also imitated in Lamp Bottles, there is no corresponding standardization. Each bottle represents a slightly different variant. Unlike Lamp Bottles, the upper body of Large Bottles is commonly contoured to resemble upper body contours of some Inca-style bottles and jars, again with a great deal of individual variation. On some Large Bottles the imitation of the Inca feature sets results in a pronounced corner point in the lower half or lower third of the vessel body, this point consisting either of a sharp angle or a tightly to loosely curved hip (figs. 178, 179). The corner point is not as low and in only one example as sharply angular as in the Inca models; it does not have the correct Inca proportions of diameter with relation to the diameter of the bottom; the bottom is more curved and not as sharply edged; and the sides between corner point and bottom are more convex. The height of the corner point and the contouring of the upper part of the body vary considerably. One vessel has steep, smooth-sloping sides (fig. 178), others have a slight shoulder in the upper part of the body which separates the surface into two distinct planes (fig. 179). Some Large Bottles have a spheroid body in which only the separate

plane or curve of the bottom shows Inca influence (figs. 180, 181). Large Bottles are distinguished from IcaInca A Lamp Bottles in another important respect. Like imitation Ica-Inca A Lamp Bottles, they are decorated with lea 9 designs rather than Ica-Inca ones. Also like imitation Ica-Inca A Lamp Bottles, they have a less careful surface finish than Ica-Inca A Lamp Bottles proper. Although Lamp Bottles and Large Bottles are consistently differentiated by the contrasting features described above, occasional exchanges of shape features are found between the two categories. The Large Bottle neck on the aberrant Lamp Bottle from tomb Tl-2 is cited above. In addition, Lamp Bottle and Large Bottle features occur in combination in a distinctive composition, a stacked doublechambered vessel. An example in the University Museum at Philadelphia has a Lamp Bottle neck, handle, and top body half, set on top of a Large Bottle body (28.3.2). The Large Bottle body, being on the bottom, must of necessity be neckless, and is therefore equipped with an angular rim appropriate for neckless vessels of the Late Horizon. A similar vessel of smoked blackware was collected by Uhle in the Nasca region (Gayton and Kroeber, 1927, pi. 19G). This variant has NascaInca shape features. It is important to note the way in which the imitation Inca features are combined in IcaInca vessels such as Lamp Bottles and Large Bottles. Although individual handles or necks may be authentic reproductions of Inca ones, they are borrowed from several different Inca shape categories and are standardized into new compositions that are not found in the Cuzco Inca style. The standardization of these diverse Inca-inspired and imitation Inca features and feature sets into new compositions distinguishes Ica-Inca shapes from imitation Inca shapes. In the Early Colonial Period the pre-Late Horizon Simple Bottles were revived and the Ica-Inca ones eliminated. While Phase 6 Simple Bottles were the principal models, features characteristic of Phase 8 Simple Bottles also appear on several of the specimens. There also is an example of a bottle with lea 4 shape features like those of an imitation antique attributable to the Late Horizon (pi.

THE CLASSIFICATION OF SHAPES

92; for comparison, see figs. 217, 23; see also imitation antiques, below). The resemblance between some of the Phase 10 bottles and Phase 6 ones is very close, although there are usually minor distinguishing features. The closest correspondence is found on the specimen shown in fig. 264 and pi. 80; for comparison, see particularly fig. 70 and pi. 12. The main features that distinguish the Phase 10 bottle from Phase 6 ones are in the rim, which is slightly more everted than in Phase 6 and ends in a downcurving upper surface and less thinned lip. These features are survivals of Inca-influenced features on Ica-Inca B Large Bottle necks and other Late Horizon necks, to be described below. This Phase 10 bottle neck also has an unusually narrow diameter in its middle section. The revival of Phase 8 features is reflected in the proportionately large body size of many of the Phase 10 bottles (figs. 272, 279), and in the form or decoration of the shoulder fluting on some of the vessels (pis! 80, 83, 87). While the painted features of the fluted shoulder of some bottles, like that shown in pi. 83, revive a feature of lea 8 origin, however, the modeled details resemble the lea 6 rather than the lea 8 form, in an anachronistic mingling of features (see also revival of large lea 8 bottles, below). Another anachronistic combination is present in the example in pi. 92, where the body shape revives lea 4 to 5 features, but with shoulder fluting which is never present on pre-Ica 6 bottle bodies. Neck height, proportions, and contours of lea 10 bottle necks are very variable, and give the appearance of representing individual efforts to copy various earlier models. Phase 10 Simple Bottles are thus particularly good examples of the anachronistic mingling of features of several older style phases, with special emphasis on Phase 6 and 8 models. The only persistent Late Horizon survivals are in rim and lip features. Uhle collected four examples of Phase 10 Simple Bottles from four Early Colonial burials (30.1.4, 30.3.1, 30.6.1, 31.1.2). A related plainware miniature shape was also found in one of the burials (30.2.1; fig. 271). Phase 10 Simple Bottles are also found occasionally in museum and private collections (33.5.1, 36.3). Another pre-Late Horizon bottle form revived in lea Phase 10 is the enlarged, handleless lea 8 variant of the Simple Bottle.

53

There are two examples without associations but with lea 10 decoration in our sample (33.5.2). One was found by Uhle in a looted cemetery in the Galagarza section of Old lea (fig. 286, pi. 93). The other, said to be from La Puntilla, Pisco, is in the University Museum at Philadelphia. In both examples the shapes are faithful revivals of the lea 8 form, within the latter's range of variation. On the other hand, the shoulder fluting, present on both specimens, represents attempts to revive the lea 6 rather than the lea 8 form of spacing. That is, the grooves are narrower than the rises, and most are also shorter than the lea 8 ones, and lack the painted vertical stripes that characterize the lea 8 form. Ica-Inca shapes did survive rarely in the Early Colonial Period with relatively little modification (33.15). There is one example from lea, without associations, which has a unique box-shaped large body of Ica-Inca Large Bottle size, a Large Bottle handle, and a cross between a Lamp Bottle and Large Bottle neck (33.15.2). Only some design features indicate that this vessel belongs to the Early Colonial Period. There also is one example of an Ica-Inca Lamp Bottle shape with revivalistic lea 10 decoration (33.15.1). Stacked vessels with revivalistic lea 10 shape and design features occur in continuation of the Late Horizon usage. Two such examples without provenience data are included in the present sample (33.15.3). Both show the top of a modified or imitation IcaInca A Lamp Bottle shape set in a CamberedRim Bowl with revivalistic shape features, including the cambered rim. This bowl form is the replacement for the truncated Large Bottle bottom with an angular rim which was used for the Late Horizon variant. A unique stacked double vessel from lea 10 burial Td-10 consists of a Shallow Dish set on a Simple Bottle body (31.1.4). This vessel is a plainware miniature, but one with more careful finish and shaping and more evenly oxidized firing than is usual for plainware miniatures. The use of a Shallow Dish shape in this composition has a special significance (see concluding chapter). Complex Jar

Complex Jars are the only vessel category in Phase 6 which is regularly of much larger size than the rest. The range in size is consider-

54

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

able, also unlike most other lea 6 shapes. When the drawing of a jar shape is shown with a double profile, the dotted interior outline represents a section at right angles to the one shown by the solid line. These vessels have a body that is elliptical in horizontal section (see below). Thirteen whole or broken Complex Jars were found in tomb Th-1, constituting 5.6 percent of the vessels in the tomb (1.1.7). For some unassociated examples, see 3.2, 4.4. This group of vessels is illustrated in figs. 82-86 and pis. 14, 15. Complex Jars have a body height ranging from 12 to 48 cm. The body has an inverted, pear-shaped profile in vertical section, with a high, broad shoulder and a tapering, nearly pointed bottom. The center of the shoulder is at about two-thirds of the total height of the body. At the top the sides close abruptly in a near-horizontal shallow curve that forms a kind of shelf from the shoulder to the base of the neck, like the upper body contours of some of the Simple Bottles. In horizontal section the body is usually elliptical, the widest diameter being greater on one axis than the other. The difference between the two profiles is proportionately greatest in the largest vessels and least in the smallest ones, though there is a small range of variation also within each size group. The breadth of the shoulder and the proportionate depth and narrowness of the bottom are also greater in the larger jars, and there is a pronounced inflection between the bottom and the rest of the body in the larger vessels, which diminishes with the medium-sized ones and is absent from the smaller ones. This sliding scale in features with relation to size can be seen when one compares the figures in the illustrations. One Complex Jar from tomb Th-1 is exceptional in being round in horizontal section (4-9396A). This feature represents a conservative survival from the earlier lea phases. Complex Jar necks are as standardized as bodies. At first glance they appear to be markedly different from lea 6 bottle necks, being wider and shorter and flaring almost immediately from the base. Closer inspection, however, shows that they flare in much the same way that the tops of bottle necks do. The chief difference is that Complex Jar necks usually flare a little further than bottle necks, so that the rim stops just short of having a

horizontal projection. Lips are like Deep Open Dish lips, unthinned angular, with a flat or slightly rounded surface. A similar lip is found on Flaring Cups (see below). Deep Open Dish and Flaring Cup rims and Complex Jar necks all have curved, flaring profiles and are similar in wall thickness. The similarity in lip form is evidently correlated with this combination of featues. There is one plain miniature Complex Jar in the tomb Th-1 collection (fig. 86). Its neck is like the necks of Simple Jars, a neck form that is correlated with the small size of this vessel (see below). Most small and miniature jars from tomb Th-1 belong into the Simple Jar category, to be described below. Phase 6 Complex Jars have their antecedents in a standardized large jar form of lea Phases 2 to 5 (fig. 21). Earlier still, among the antecedents to Ica-style jars in Middle Horizon Epoch 4, there is no standard large jar shape; all jars are somewhat smaller, and there is great individual variation in size and proportions (pi. 101; Lyon, 1966, figs. 16, 17, Kroeber and Strong, 1924b, pi. 30c, d, n-q). The development toward a specialization of a large-jar form starts in lea Phase 1 (fig. 1), but apparently a large-jar category was not fully standardized until Ica Phase IB or 2 (Kroeber and Strong, 1924b, pi. 31g; Lyon, 1966, figs. 19b, 22b). The enlarged form was developed through a gradual progression of changes from the Middle Horizon antecedents (Lyon, 1966, pis. II-V). By lea Phase 3 the jar had developed into a large vessel with a high, rounded shoulder, a pointed bottom, and a flaring neck, of just about the same size range found in Phase 6 (fig. 21). The earlier lea jars are easily distinguishable from Phase 6 ones in body and neck form. Ica jar bodies proper are circular in horizontal section instead of elliptical; as in contemporary Simple Bottle bodies, the upper part of the body slopes more steeply, the shoulder bulge is briefer, and all sizes lack the inflection in the lower profile which characterizes the larger Phase 6 examples. The necks of the earlier jars are shorter and flare less than the Phase 6 ones. One can trace the gradual progression of changes toward the Phase 6 Complex Jar standard by comparing the examples of different phases. For additional published illustrations of examples of different phases, see Schmidt, 1929: Ica 2, fig.

THE CLASSIFICATION OF SHAPES

307-2; lea 3A, fig. 307-1; lea 4, fig. 308; lea 5, fig. 309; Kroeber and Strong, 1924b: lea IB, pi. 31g; lea 2, pi. 34a; lea 3A, pi. 34b, d; lea 3B-C, pi. 31f; lea 3C, pi. 33g. One Complex Jar without associations in the Uhle collection belongs to Phase 7 on the basis of its decoration (fig. 124, pi. 30). In shape it falls within the range of variation of Complex Jars of Phase 6. A second Complex Jar without associations is assigned to Phase 8 on basis of its decoration. It is deposited at the Museo Regional de lea (10.4). This jar also falls within the range of variation of the corresponding Phase 6 vessels in its shape features. The complex Jar shape thus is seen to have persisted at least in part without any significant shape differences from Phase 6 to Phase 8. A new large-jar form is introduced in Phase 8, attributable to this phase on basis of its decoration (figs. 140, 141). Two examples without associations are at the Museo Regional de lea, and one from Ocucaje is in the Duncan M. Masson Museum at Paracas (10.5). These vessels depart significantly from the traditional lea Complex Jar standards. Most of their shape features are copied from Chincha-style jars, with occasional local modifications. Some of the decorative features are also Chincha-style ones, while others are local ones that can be placed in Phase 8 on the basis of seriation. Since the Chincha-style features have no direct lea antecedents they must represent contemporary Chincha influence at Ica. 66 The new Phase 8 jars have a body shape corresponding to that of Squat Ovoid Jars without shoulder handles in the Chincha style. For examples from Chincha, see Menzel, 1966, particularly the body shape shown in figs. 9 and 11; Kroeber and Strong, 1924a, pi. 12a, e. Their size range is 24 to 30 cm. high. A similar body shape is also used for large Complex-Rim Bowls and Collared Jars in the Chincha style (cf. Menzel, 1966, figs. 14, 25-27; Kroeber and Strong, 1924a, pi. lla-d). This body shape differs from Complex Jar bodies of the lea tradition in Phases 6 to 8 in being round rather than elliptical in horizontal section, in having the sides slope more steeply down from the neck, in having a briefer shoulder with less of a vertical span, 66. For crossdating, see Menzel, 1966.

55

and in having a less pointed bottom, without an inflection in the profile between lower and upper body. This body shape thus lacks the pear-shaped vertical profile that characterizes lea Complex Jars. Two of the lea 8 imitation Chincha jars are slightly elliptical in horizontal section, in analogy with lea Complex Jars, but the ellipsis is much slighter than in the lea jars (MRI, DA-1135, DA-1175; fig. 140). Squat Ovoid Jars of Phase 8 have a variant of a common flaring-sided Chincha neck (for comparison, see Menzel, 1966, figs. 10-12). The Chincha neck resembles traditional lea jar necks, but it is proportionately shorter and less flaring, with straight or less concave sides. Phase 9 jars are distinctively altered from their Phase 6 to 8 antecedents, and imitation Chincha jars appear to have been entirely eliminated. Ica 9 jars can be classified into three categories. Two of these categories, black Bird Jars and Football-shaped Jars, are standardized derivatives of the old Complex Jar tradition of Ica. The third Ica 9 jar category consists of a group of variably shaped, medium-sized jars with different combinations of features derived in an individual, unstandardized manner from the earlier jar forms. Black Bird Jars are shown in figs. 172, 184. They represent two of three such whole jars in our sample, with modeled appendages representing a bird's head, wings, and tail (see also Kroeber and Strong, 1924b, pi. 38b). Two, constituting a near-identical pair, are from tomb Ta, and a single one is from tomb Ti-5 (13.4.2.1, 14.3.2.1). Fragments of the same kinds of jars have been found in surface collections at Late Horizon sites in the Ica Valley. Black Bird Jars are the only large-sized Phase 9 derivative of the earlier Complex Jars. In body shape they are similar to the Ica-style Complex Jars of Phases 6 to 8. The principal differences are that the shoulder is formed by a briefer, more bulging curve centered at or above the middle of the height of the body. The upper body contours merge in a more even curve with the shoulder, and the lower profile lacks the inflection of the sides characteristic of the larger jars of the earlier phases. The elliptical contours in horizontal section are more pronounced in proportion to body size than in Phase 6 to 8 jars. The neck differs

56

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

from Phase 6 to 8 necks in being smaller, with a proportionately narrower base. In some examples the neck also has a shorter, more flaring rim ending in a longer horizontal eversion (fig. 184). Ilie upper surface of the rim tip usually has a slight downturn, and the lip is a little less angular and slightly narrower than in the earlier lea Complex Jars. The neck does not flare from the base, the sides rising vertically to about half its height. The rim and lip forms are influenced by Inca jar neck rims, like those of Ica-Inca bottle necks (see Large Bottles, above, and Drum Bottles, below). Although none of the earlier Complex Jars has modeled bird features attached to it, there are Phase 6 and 7 antecedents for the odd combination of modeled bird features and blackware jars, and for the conventions of the representation of the bird features. In Phase 6 tomb Th-1 there is a pair of identical small modeled blackware birds in jar or bottle form with the wings added exactly as in the lea 9 black Bird Jars, and with the same stubby, squared tail (pi. 20). The beak is broken in both lea 6 examples, but the head, eye, and nasal apertures are shown the same way on these pieces as on the lea 9 black Bird Jars. The two Phase 6 bird figures were intended as small bottles or jars, for each has a hole in the top where a neck had once been attached, the necks being lost. In the Phase 7 burial Th-2 there also is a pair of small Bird Jars of about the same size as those in tomb Th-1 (pi. 28). They are not blackware, but the entire top half, including the neck, is painted black. The bird's head is not turned backward, but otherwise the modeling is similar to that of the lea 6 specimens. The pairing of the bird effigies in three burials (Th-1, Th-2, and Ta) is probably significant and must have had a special meaning to the people of lea. The second standardized jar category of Phase 9, that of Football-shaped Jars, is illustrated in figs. 192a, b, 223 and pi. 58. Most of these jars are small, unlike their antecedents (about 15 cm. high). However, as in traditional Complex Jars, the body is elliptical in horizontal section. The greatest body diameter is centered lower on the body than in the earlier Complex Jars, and the difference between width and breadth of the ellipse is usually greater in proportion to the vessel size. Typically, on the smaller jars, the body curves nearly symmetrically above and below the more sharply defined shoulder. The result

is to give these vessels a profile almost like an American football. The neck is like that of black Bird Jars. The Football-shaped Jars are usually decorated on the upper body above the shoulder with a standard anthropomorphized design shown in pi. 58. Uhle found three such jars in Late Horizon burial Tn, and one with another kind of lea 9 decoration in burial Z-5 (19.2.3, 22.1.1). Fragments of such jars are relatively common on the surface of Late Horizon occupation sites at lea, and there are several additional complete examples without associations in other museum and private collections. The four remaining whole vessels in the sample of jars used for this study belong in a group of less standardized, medium-sized jars. Three of them average about 18 cm. high and are thus considerably smaller than most Complex Jars of Phases 6 to 8 (figs. 185, 196, pis. 52, 64a, b). On the other hand, they are larger than any Simple Jars of the earlier phases (see below). Shapes and body proportions of these three jars are irregular, and two of them lack the elliptical horizontal section of the Complex Jar tradition. Only the jar shown in pi. 64a, b has a slight trace of the elliptical contours and the pear-shaped vertical profile, which are derived in modified form from the earlier Complex Jar features. Two of these jars have necks and rims like those of black Bird and Football-shaped Jars (cf. figs. 185, 196). One of the jar necks in the sample is narrower, with aberrant contours, including an abruptly everted rim (pi. 64a). Of the three jars just described, one was found in tomb Ta, one in tomb Tc, and one at Chulpaca without burial associations (14.3.1.2, 16.1.1, 28.5.4). The fourth jar in this variable jar group is from burial C-4 at Ocucaje (24.1.1). It resembles the other jars in this category in neck shape and body contours, but the body is about twice the size of the rest (fig. 228). It also differs from the other jars in this group in having a shallow-curved, near-flat bottom, this being an imitation Inca feature. Jars are as common or more common than Deep Open Dishes in Phase 10. A great variety of shapes is found, including revivals of lea 6 to 8 Complex Jars, revivals of imitation Chincha jars of Phase 8, and modified and unmodified survivals of the various Late Horizon jar forms. Jars were found in lea 10 burials Ti-2, Td-10 and Y-5, and an imitation

THE CLASSIFICATION OF SHAPES

Chincha Bottle/Jar (cf. Simple Jars, below) was found in burial Ti-1 (30.1.7.2, 30.3.2, 31.1.3, 32.1, 32.2). Included in the present sample are also 32 unassociated complete specimens which are assigned to Phase 10 on stylistic grounds (33.6, 33.7, 33.8, 33.12.1, 33.12.4). Some of the unassociated specimens have documented provenience. Jar fragments, particularly of large Complex Jars, are strikingly common in lea 10 refuse at the Early Colonial settlements at Villacuri and Curiba, and at Phase 10 refuse sites in the lea Valley, including Mound U at Old lea. Some examples from these sites are included in the present discussion (34.3, 34.4, 34.5, 34.6, 35.3). Most Phase 10 jars are revivalistic forms that bring back Phase 6 to 8 features. Black Bird Jars of the lea 9 style survive only as rare fragments in Early Colonial refuse. There are, however, some oxidation-fired, revivalistic versions of Bird Jars with bird or other animal appliqués and revivalistic painted decoration (33.7.4; fig. 290). Anthropomorphized Football-shaped Jars continue in use virtually unchanged in shape features, though some revivalistic Phase 10 features appear in the decoration (32.2, 33.7.5; fig. 282). A few of the less standardized, medium-sized lea 9 jar shapes also survive without significant changes in Phase 10, only the decoration betraying their lea 10 origin (32.1, 33.8; fig. 283). Some Complex Jars with revivalistic features in both shape and design are ornamented with modeled corn ear, peanut or shell appliqués, the continuation of a feature of Inca origin at lea (33.7.2; fig. 289). The use of this feature on Complex Jars is of particular interest, because it represents a transfer from Ica-Inca A and provincial Inca vessel shapes of the Late Horizon to a revivalistic form in Phase 10. Evidently the appliqués had a particular appeal that was irresistible to the lea 10 potters, despite their tarnished history. Most of the Phase 10 jars represent attempts to revive the old lea Complex Jar tradition of Phases 6 to 8 (31.1.3, 33.7.1; figs. 280, 288, 289, 291, pis. 88, 95-97). Phase 10 Complex Jar shapes are more variable, however, because they represent a mixture of traditional features copied from Phase 6 to 8 models with features derived from Phase 9 jars. There are individual imperfect attempts to revive the broad, high shoulder of the earlier phases, but in most respects body

57

contours are much like those of large black Bird Jars of Phase 9. Complex Jar neck contours of Phase 10 resemble most closely those of imitation Chincha Squat Ovoid Jars of Phase 8, but with an occasional wider flare at the rim resembling traditional lea Complex Jar rims (figs. 289, 291). Two large jars with Phase 10 decoration, said to be from the western Nasca drainage, are round instead of elliptical in horizontal section, an old lea feature that survives only in rare examples in Phase 6, as we have seen (33.7.3). Various imitation Chincha jars are also revived in Phase 10. Two in our sample have revivalistic lea 10 decoration and the highshouldered body, circular in horizontal section, which is characteristic of imitation Chincha Squat Ovoid Jars of Phase 8 (33.12.4; fig. 292). The neck, preserved on only one of them, is the imitation Chincha one occurring on the corresponding Phase 8 jars (RHLMA, 16-8922). Simple Jar

Phase 6 Simple Jars differ from Complex Jars in that they have bodies of the standard small size used for most other Phase 6 vessels. The group also includes even smaller vessels of small and miniature size (figs. 87-91, pis. 16, 17). In Phase 6 the body shape standard was evidently closely related to size, because most jars of general standard to small and miniature sizes have Simple Bottle body shapes rather than Complex Jar ones. They are classified as a jar rather than a bottle category because their necks resemble Complex Jar necks in some features and, like Complex Jars, they lack handles. Actually, Simple Jar necks are also related to bottle necks in some features. They have the contours, rim, and lip features of the flaring rims of bottle necks. This means that they differ from most Complex Jar necks in that the flare of the rim stops farther short of a horizontal projection, and the lip is thinned. Simple Jar necks are also relatively thin walled, like the bottle necks. The principal difference between Simple Jar necks and the rims of Simple Bottle necks is that Simple Jar necks, like Complex Jar necks, are proportionately larger. Simple Jars thus represent a special combination of features of Simple Bottles and Complex Jars. There were at least 14 Simple Jars, whole and fragmentary, in tomb Th-1, constituting

58

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

about 6 percent of the vessels in the tomb (1.1.8). Of these, ten are of standard body size (figs. 87, 88, 91, pis. 16, 17). Four others are small to miniature in size (figs. 89, 90). The size of one specimen is not documented because it was exchanged with the Peabody Museum of Harvard (4-5172). Four of the standard-sized specimens, fragments of additional ones, and one small one are of smoked blackware (1.1.8.1, 1.1.8.2). This is an unusually large number of blackware pieces for this shape category in Phase 6. Three jars of small to miniature size are made of undecorated plainware (1.1.8.3). Two standard-sized blackware jars, one of the small ones, and the exchanged piece, had fluted shoulders appropriate for smoked blackware in this body shape (1.1.8.1,1.1.8.2; see also Simple Bottles, above). Three of the standard-sized blackware jars are represented by neck and upper body fragments which cannot be related to the corresponding lower body fragments (1.1.8.1). Three standard-sized jars not made of smoked blackware, of which we have relatable body fragments, are painted with standard lea 6 designs (1.1.8.4, 1.1.8.5). Two of these jars form a near-identical pair (1.1.8.4). These latter two also have shoulder fluting, the shoulder being here covered with a plain purple slip (pi. 16). One of the decorated jars has aberrant shape and design features in comparison with the other examples (1.1.8.5; fig. 91). Phase 7 is represented by ten Simple Jars found in burial Th-2 (5.4). All are in the smallto miniature-size range. Seven of them are of smoked blackware (5.4.1). Only one of these has shoulder fluting. The rest probably lack such fluting because of their small size (5.4.2). The blackware jars fall within the range of shape variations of Phase 6 Simple Jars (fig. 115). The preferential use of smoked blackware for Simple Jars also represents the continuation of the Phase 6 pattern. Three other Simple Jars from the same burial are painted redware specimens with unique handle lugs at the base of the neck. These lugs have neither antecedents nor successors in the sample (5.4.3; fig. 116). In other respects the painted jars also fall within the range of shape variations of Phase 6 jars. No traditional Simple Jars are recorded for

the Phase 8 sample. However, a new closedvessel form is introduced which has an enlarged form of the traditional Simple Bottle and Simple Jar body, and an enlarged form of the Simple Bottle neck (9.2, 10.3.3). Because of the neck this new form is described with Simple Bottles, above (cf. figs. 130, 139, pi. 33). However, the new bottles lack handles, a feature that they share with the Simple Jars. There is evidently some ambiguity in the minds of the lea potters about the features that should distinguish these traditionally similar categories. The same body form also occurs with another kind of neck in Phase 8. One of the vessels in the group Sc lot from Santiago has a short face neck similar to face necks also appearing in some Chincha-style jars (9.3; fig. 131, pi. 34; for comparison, see Kroeber and Strong, 1924a, pi. 12d). Unlike the form with enlarged bottle necks, this jar lacks shoulder fluting, and has instead what appears to be anthropomorphizing body decoration. In addition to the enlarged version of traditional Simple Bottle and Simple Jar bodies, a new Chincha body form is introduced in Phase 8 which is similar to, and of about the same size, as the enlarged Simple Bottle and Simple Jar form (fig. 132, pi. 35). In contours the body differs from traditional Simple Jar and Simple Bottle bodies of lea in that the shoulder is slightly higher on the body and the bottom contours fall within the most conical range of variation of the Simple Bottle and Simple Jar bodies. This is a typical Chincha-style form (Menzel, 1966, figs. 10,13,14). The differences between this form and the enlarged Simple Bottle and Simple Jar body form are slight enough so that careful observation is necessary to notice the contrasts. The only example of this body form in our lea 8 sample has a distinctive small spoolshaped neck and small horizontal strap handles on the shoulder. This is a combination of features that represents a distinctive Chinchastyle composition (for comparison, see Menzel, 1966, fig. 13). The narrow proportions of the neck make the term "bottle" for this form appropriate, but the same body shape at Chincha also appears with a jar neck (Menzel, 1966, fig. 10), and a similar body form has a broad collar or a complex or cambered rim. These vessels are classifiable alternatively as jars or bowls (Menzel, 1966, figs. 14, 25-27). These forms all lack the single neck-to-body

THE CLASSIFICATION OF SHAPES

handles appropriate for traditional bottles. The interchangeability of body features between the various Chincha and lea vessel categories creates for us problems in classification. I am calling the vessel with the spoolshaped neck a "Bottle/Jar," since it has both bottle and jar features in terms of the lea classification. The fact that the lea 8 potters also noticed the close resemblance between the body shape of the Chincha Bottle/Jar and the enlarged form of the Simple Bottle and Simple Jar bodies of the lea tradition is illustrated by the shoulder decoration on the lea 8 Bottle/Jar (pi. 35). The decoration consists of vertical striping appropriate for lea 8 shoulder fluting, but without the modeled fluting, which was evidently reserved for the more traditional Simple Bottle and Simple Jar contours. No example of vessels of the Simple Jar tradition is present in our Late Horizon sample, and no Chincha forms occur either. Simple Jars of the kind used in lea Phases 6 and 7 were revived in Phase 10, also with a varied mixture of revivalistic features. Two complete examples of the revival of this form are present in our sample (33.6; fig. 287, pi. 94). The example shown in fig. 287 and pi. 94 illustrates an attempt to revive the lea 6 to 7 shape. However, the relatively deep, conical bottom is unlike any found in the lea 6 to 7 examples, and is instead like the bottoms on some small to medium-sized jars of Phases 9 and 10. The fluted indentations in the shoulder are an exaggerated revival of lea 6 to 7 fluting in being even shorter than the latter. The vertical stripes painted on the fluted indentations and rises, however, revive an lea 8 feature and create the illusion of broader indentations alternating with rises of equal width. The neck contours and lip form of this example are like those of the revivalistic lea 10 Complex Jar necks and do not revive lea 6 to 7 Simple Jar neck features. The second example has more faithful revivalistic lea 6 to 7 body and neck features, but the lip is the broad, flattened one used for lea 10 Complex Jars and for the other Simple Jar in the sample for this phase rather than the thinned lip used in lea Phases 6 to 7 (MNAA, 20/90). Imitation Chincha bottles and jars are also revived in Phase 10, as noted. One Bottle/Jar from burial Ti-1 is a relatively faithful revival

59

of the Phase 8 Bottle/Jar (30.1.7.2; fig. 268, pi. 81; for comparison, see fig. 132, pi. 35). It only lacks the shoulder handles which are appropriate for this form in the Chincha style. Flaring Cup

The shape called here Flaring Cup is a distinctive lea shape (figs. 92-95, pis. 18,19). In Phase 6 vessels the bottom is flat or slightly curved. The sides rise approximately vertically for about half their height and then flare out in a rim resembling bottle neck rims of this phase. The sides are thick walled, however, like those of Deep Open Dishes and Complex Jar necks, and the lip is the flat beveled one also used for the latter forms. Near the bottom, the sides of lea 6 Flaring Cups have a distinctive, slightly convex curvature. All Flaring Cups have four holes about 2.5 to 4 cm. below the lip, grouped in opposite pairs as if for suspension. The holes were drilled into the sides after the vessel had been painted but before it was fired. Six Flaring Cups were recovered from tomb Th-1, a relatively small number (1.1.9). These show great variability in size and proportions—more variability than is usual in other Phase 6 shapes. Two Flaring Cups without associations can also be included with the lea 6 sample, since they have standard lea 6 decoration (3.3, 4.5; fig. 109). The unassociated pieces resemble most the largest of the Flaring Cups from tomb Th-1 (cf. fig. 92, pi. 18). One of the unassociated specimens has relatively conservative shape features compared with the rest of the lea 6 examples (fig. 109). The bottom is slightly more deeply curved and the rim slightly less flaring than on other Phase 6 Flaring Cups, and the flare begins relatively high on the body. The earliest antecedents to lea Flaring Cups are vessels attributable to lea Phase 5 or terminal Phase 4 on basis of their decoration (fig. 26; Bushnell, 1963, pi. 60). Only one example with usable burial associations has been recorded. This piece was found by Uhle together with an lea 9 jar in the Galagarza section of Old lea (fig. 224). Since the Late Horizon is a period in which the collection of Ica-style antiques was popular, the association of the two vessels in this burial probably represents an original Late Horizon deposition.

60

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

lea 5 Flaring Cups are a deep variant of Deep Open Dishes of that phase (for comparison, see fig. 25). The only other innovation in the vessel category is in the four drilled holes, presumably for suspension, which are added in the deeper vessels of Phase 5. The origin of Flaring Cups, thus, appears to have been the inspiration for a new use of a deep form of Deep Open Dishes, the new use being suggested by the drilled holes. Ica 5 Flaring Cups are distinguished from Phase 6 ones by a more deeply curving bottom, a tightly curved hip rather than a base angle, and a less flaring rim, the flare beginning higher on the body. Three Flaring Cups in the Phase 7 burial Th-2 resemble the Phase 6 specimens in contours and proportions (5.5; figs. 117-119, pis. 25-27). They are distinguished from Phase 6 Flaring Cups from tomb Th-1 in being of nearly uniform size,, the size being that of the largest of the Ica 6 Flaring Cups. The Ica 7 Flaring Cups differ from the tall Ica 6 ones in being slightly broader and squatter. A Flaring Cup in the American Museum of Natural History is so similar in shape and design features to the vessels from burial Th-2 that it can probably be assigned to the same style phase (6.5). One of the Phase 7 Flaring Cups in burial Th-2 has a unique rim decoration without known antecedents or successors (fig. 119, pi. 27). The decoration consists of two stepped sections cut out on opposite sides of the rim with vertical slits in the intervening spaces. Uhle collected three Flaring Cups that belong to Phase 9. Two of them were found in graves, one in tomb Ti-5 and the other among the remains of the looted tomb Tp (13.4.1.3, 18.1.1; figs. 177, 198, pi. 48; Kroeber and Strong, 1924, pis. 3^q, 40a). The third specimen is from a collection without recorded associations made by Uhle at Chulpaca. This specimen belongs to Phase 9 on stylistic grounds (28.5.6; fig. 241). Phase 9 Flaring Cups differ from Phase 6 and 7 ones in having a more widely flaring rim, with the flare starting at middle height or lower rather than at middle height or higher. Changes in decoration emphasize this shape development (see chapter IV). The proportionate increase in diameter is analogous to shape changes that also affect the Deep Open

Dish and the Shallow Dish. None of the Phase 9 Flaring Cups has a flat bottom, unlike some of the Phase 6 and 7 ones. Fragments and whole Phase 9 Flaring Cups collected at sites in Ica and Pisco indicate that the curved bottom is the rule in Phase 9. Uhle collected only two Phase 10 Flaring Cups, both of them from burial Ti-1 (30.1.5; figs. 265, 266, pi. 79). One of these has a shape like the more advanced Phase 9 ones (fig. 265, pi. 79). The other has a conservative shape, which resembles most closely the Phase 7 forms, particularly in the high vertical profile of the lower sies (fig. 266). However, the rim flares more widely than in Ica 6 to 7 examples, and is like the Ica 9 rims in this respect. The decoration on the inside of the rim of the partially revivalistic shape is revivalistic in character, whereas the corresponding design on the other specimen perpetuates Phase 9 design arrangement (see chapter IV). Unassociated specimens of Ica 10 Flaring Cups in museum collections and fragments from Ica 10 refuse follow the patterns of the Uhle collection specimens (33.9). Drum Bottle

Drum Bottles are a relatively rare vessel category of the Ica tradition (1.1.10, 3.4, 4.6; figs. 96, 99, 110). The date of their origin is still uncertain. Drum Bottles have a nearcylindrical body with slightly bulging sides which seems to have been constructed with the vessel standing on one of its narrow ends, to judge by the direction of the coils. A hole was made in the side at some point in the process and the neck inserted into it. This body shape represents a drum, as will be shown. Only two Phase 6 examples of Drum Bottles are present in the Uhle collection, both from tomb Th-1, and both are of small or miniature size (figs. 96, 99). One has a small, elongate body and a proportionately large neck shaped like a Small Jar neck (fig. 99). Like Ica 6 jars, it lacks a hanldle. The other has a larger, thicker body (fig. 96; Kroeber and Strong, 1924b, pi. 37g). The neck is broken, but its base resembles a conservative form of Simple Bottle necks, and it has a strap handle from neck to body like Simple Bottles. The ends of both Drum Bottles are quartered by painted sectors, the quarters alternately black and white. There

THE CLASSIFICATION OF SHAPES

are also traces of a narrow band encircling each end, the band consisting of two black outlines connected by black cross lines. The decoration is poorly preserved because these vessels had been pressed against cloth that had decayed against them, probably close to the body of the deceased. Two additional Phase 6 Drum Bottles without associations are both larger than the two Th-1 miniatures. One is an unusually large vessel in the Museo Nacional de Antropología y Arqueología of Lima (fig. 110; Muelle and Blas, 1938, lám. 45b). The other is a smaller one (Putnam, 1914, pi. XV, fig. 13). In body proportions both are like the tomb Th-1 Drum Bottle shown in fig. 96, and the decoration also follows the same pattern. Each has a short, flaring neck like some of the Simple Jar necks. The specimen shown in fig. 110 has a Simple Bottle handle, like one of the tomb Th-1 Drum Bottles. The specimen illustrated by Putnam has a vertical strap handle in the center of each end, a handle form regularly found on Drum Bottles in the Chincha style (Menzel, 1966, fig. 16). That Drum Botties actually represent drums is indicated by their shape and by the painted decoration of the ends. The pair of black lines connected by cross lines which encircles each end suggests the lashing of the skin head to the drum. A fully modeld form of a musician playing such a drum exists in the Museo Nacional de Antropología y Arqueología of Lima (Jiménez Borja, 1950-1951, p. 123, Harcourt, 1958, p. 214, fig. 31). 67 The figure has a bottle neck in the top and is about 20 cm. high, according to D'Harcourt. It is shown playing the drum with one hand and a panpipe with the other. The vessel is in the lea style and represents the end of lea Phase 5, preceding Phase 6 by very little. The modeled drum is shown suspended from one arm. Its shape is approximately that of the Drum Bottle bodies; that is, its proportions are elongate and cylindrical, more nearly like those of the miniature shown in fig. 99 than the stouter bodies of the bottles shown in figs. 96 and 110 and in Putnam.68 67. Pages 83-187 of Jiménez Borja's publication are without numbers, and have been assigned numbeis by D'Harcourt in order to make it possible to refer to the illustrations (Harcourt, 1954, p. 156). D'Harcourt's numbering is followed here. 68. The observation that these bottles represent drums was made by John H. Rowe, who also furnished the information on the published references by Jiménez Borja and D'Harcourt.

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An lea 3 antecedent to the Phase 6 Drum Botles is illustrated in fig. 22 and Kroeber and Strong, 1924b, pi. 33d. This specimen was collected by Uhle at Chulpaca. The ends are divided into eight sectors instead of four and are painted in red and white with black outlines. The band of paired black lines connected by cross lines which encircles each end is a particularly clear representation of the lashing. Quartering or sectioning is a fairly common treatment of dish and bottle bottoms in lea Phases 3 and 4. It is not clear whether the same decoration on the ends of Drum Bottles merely represents an anology with the bottom of vessels, or whether actual drum heads also had this kind of decoration. There also is one large example of an lea 5 Drum Bottle with Cnincha-style handles on the drum ends. This piece has no provenience (MRI, DA-2988). There are no lea 7 or lea 8 examples of Drum Bottles in our sample. In the Late Horizon Drum Bottles are altered in ways that parallel changes in the Simple Bottle tradition (see Lamp Bottles and Large Bottles, above). That is, the Late Horizon Drum Bottles are somewhat altered in proportions; they acquire Inca-influenced features in neck shape and new Inca-influenced decoration. Drum Bottles are assigned to the Ica-Inca style, together with Lamp Bottles and Large Bottles. Most Drum Bottles follow the same pattern of shape and design associations as Ica-Inca A Lamp Bottles. They are therefore also assigned to the Ica-Inca A style. However, there is one example from tomb Ta, to be described below, which differs from the rest in shape and design features and belongs with the Ica-Inca B group of Large Bottles. Uhle collected six examples of Ica-Inca A Drum Bottles from the Soniche cemetery (figs. 158, 159, 189-191, pi. 54; Kroeber and Strong, 1924b, pis. 38d-f, 39a, e, 40i). Three of these specimens were found in tomb Td-8, including a near-identical pair; three nonidentical ones are from the cache Tn (11.2.2, 19.1.1). Like the Ica-Inca A Lamp Bottles, Ica-Inca A Drum Bottles are coveted collectors' pieces, and are found as unassociated specimens in various collections (28.2.2, 29.2.2).

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

Most Ica-Inca A Drum Bottles are of a relatively large size, although the size range is fairly extensive. Those measured vary in length from 15.5 cm. to 25.5 cm. The body proportions resemble the elongate Chincha and imitation Chincha forms of the lea 6 and Chincha Drum Bottles rather than the thicker, higher bodies of the more traditional lea Drum Bottles (for comparison, see figs. 96a, b, 99a, b, 110a, b, and Menzel, 1966, fig. 16). Some of the Ica-Inca A Drum Bottles have the approximately cylindrical shape of the earlier specimens (figs. 158, 159), but others are distinguished by having more bulging sides and narrower ends, contours that give them a more barrel-shaped appearance (figs. 189-190, pi. 54). The new shape of many of the Ica-Inca A Drum Bottles is probably explainable by changes in the shapes of the drums. That Drum Bottles continue to represent imitations of drums is evident from the example of a drum of this period illustrated by D'Harcourt (Harcourt, 1954, pi. V-l). D'Harcourt reports that the drum was found in a tomb at the Hacienda Copara in the ravine of Poroma in the Nasca drainage. The tomb from which the drum was taken is reported to have contained "pieces" (evidently pottery vessels) showing Inca influence.69 The drum itself is made of pottery and is covered with two skin heads attached to each other by lashing. The body has the same barrel-shaped contours as the Ica-Inca A Drum Bottle bodies. D'Harcourt gives the dimensions of the drum, which are 27.5 cm. high, 25 cm. diameter in the middle, and 18 cm. diameter at the ends (including the skin cover). The measurements of two of the Drum Bottles in the Uhle collection are very similar, one being 25.5 cm. long, 19.5 cm. in diameter in the middle, and 12.5 to 13.5 cm. in diameter at the ends (fig. 189, pi. 54); and the other 23.5 cm. long, 20 cm. diameter in the middle, and 12.5 to 13 cm. diameter at the ends (fig. 190; Kroeber and Strong, 1924b, pi. 38d). In the light of the close resemblances between Ica-Inca A Drum Bottle shapes and the actual example of a Late Horizon drum from the south coast, it is apparent that the Drum Bottle represents the continuation of the old local tradition of making imitation drum shapes in bottle form. Influence of the Inca pottery style is manifested in Ica-Inca A Drum 69. Harcourt, 1954, pp. 157-158.

Bottle shapes primarily in the neck form, and possibly in some features of the handles. Most Ica-Inca A Drum Bottle necks are a slightly shorter variant of the Ica-Inca B Large Bottle necks (figs. 158, 189-191; for comparison, see figs. 178-181). The near-identical pair of Ica-Inca A Drum Bottles from tomb Td-8 has the additional Inca feature of a pair of small cover attachment lugs on the lower side of the rim (fig. 158; for comparison, see Inca and provincial Inca jar necks, figs. 142-144, 167, 199, 202, 242, 245). The neck form described above is the more common Drum Bottle neck, but two Ica-Inca A Drum Bottles in the sample have necks similar to those of Ica-Inca A Lamp Bottles (fig. 159; Kroeber and Strong, 1924b, pi. 39a; AMNH, 41.2;652). The handles on Ica-Inca A Drum Bottles are also a distinctive Late Horizon innovation. The most common form consists of two short strap handles, one on each side of the neck on top of the body, either parallel or transverse to the long axis of the body (figs. 159,189-191, pi. 54; Kroeber and Strong, 1924b, pis. 38d-f, 39a). Alternatively, the handles are in the form of short coils, either singly or paired, ending in serpent heads (fig. 158; Kroeber and Strong, 1924b, pis. 39e, 40i; Schmidt, 1929, fig. 305-3). None of these handles has a specific Inca-style model. The strap handles of Ica-Inca A Drum Bottles, however, are similar to Chincha-style handles, though they appear in a different position (for comparison, see Menzel, 1966, fig. 16, and also figs. 1-6, 8-10, 13-15, 17-19, 28). Present evidence does not show what the significance of this resemblance is. Ica-Inca A Drum Bottles are decorated with Ica-Inca designs, and the decoration of the ends is altered to match that of the rest of the body and is no longer reminiscent of lashed drum ends. One additional Drum Bottle was found by Uhle in a Late Horizon tomb, Ta (fig. 182a, b; Kroeber and Strong, 1924b, pi. 38h). This is the bottle assigned to the Ica-Inca B style on the basis of its shape and design features. The body proportions of this bottle fall outside the range of variation of the Ica-Inca A Drum Bottles. The central bulge is more exaggerated and the ends are proportionately smaller (fig. 182a). In place of the neck and handle forms appropriate to Ica-Inca A Drum Bottles, it has a long Large Bottle neck and a Large Bottle strap handle on one side. The decoration is in

THE CLASSIFICATION OF SHAPES

the lea 9 style rather than the Ica-Inca style, and the surface finish is more irregular, less painstaking, than on the Ica-Inca A Drum Bottles. Two vessels without provenience in the Museo Regional de lea are Drum Bottles with revivalistic lea 10 decoration (33.10). In shape features they are much alike, and both revive some neck and body features of the lea 6 Drum Bottles (fig. 293; for comparison, see figs. 96, 110). One of them lacks handles, and the other has a revivalistic Simple Bottle handle. Both these bottles are of large size (16.4 cm. and 19.1 cm. high). The principal differences in shape features between the lea 10 Drum Bottles and their lea 6 models are in the greater bulge of the sides and ends of the lea 10 form, and in the lip form, which is a Late Horizon lip with a downcurving upper edge. There is no record that Drum Bottles with Ica-Inca features survived in the Early Colonial Period, but it is possible that occasional examples with one or the other Ica-Inca feature may have been made at that time. RARE ICA-TRADITION SHAPES OF FANCY WARE

In addition to the principal shape categories of Phase 6 for which a continuity can be shown, some rare forms occur which require special discussion. One of these is a tall vase or goblet with a restricted spheroid lower body and a long, inflected, neck-like upper portion. This vessel may be entirely of Early Colonial origin. However, it is possible that such an inflected vase without associations at the University Museum of Philadelphia may belong to Phase 6. A not very clear published illustration suggests that the decoration of this vase is in the lea 6 style (Mason, 1964, pi. 30A, bottom row, second from left). Among the two lea 10 examples of inflected vases, one was found by Uhle in burial Ti-1 (30.1.6; fig. 267, Kroeber and Strong, 1924b, pi. 36a). The other is a specimen without associations, but with revivalistic lea 10 decoration (33.11). Another rare lea 6 form is particularly striking. It is a stirrup-spout bottle with a Simple Bottle body (fig. 111). Since stirrup spouts belong to the north coast tradition and are not a part of the tradition of the south coast, it

63

must be assumed that the lea 6 examples represent foreign influence from the north. Two lea 6 examples have been brought to my attention, both without associations or provenience. One is in the Gerd P. Glaessner collection of Lima, recorded and photographed in 1965 by John H. Rowe (fig. 111). The other specimen was in the Carlebach collection of New York, a dealer's collection, where it was recorded and photographed by Junius B. Bird some years ago (3.5). The Carlebach collection is now dispersed and the location of this bottle is not known. Both these bottles have standard lea 6 body shapes and lea 6 decoration, although the design arrangement on each specimen is unique. The shape of the stirrup spouts on both vessels is the same in principle. It differs considerably from stirrup spouts of the Chimu style. The stirrup is ovaloid in curve and very high, and the spout of the Carlebach piece has a bottle neck rim in the lea style. The spout is missing on the Glaessner collection piece. The Glaessner bottle has a simple stirrup, but the Carlebach bottle has a double stirrup, the two stirrup arcs meting at right angles. There is a small modeled figure in the center of the body top of the Carlebach bottle, suggesting that the two stirrup arcs are here compared to some kind of shelter. Although the lea stirrup spouts must have been made in imitation of a foreign vessel composition, the shape features are at least in part of local origin. This lea variant of the stirrup-spout bottle continued in use at least as late as the Late Horizon. A bodiless stirrup spout composed entirely of lea shape features as they are recorded for Phase 6 was found in the looted burial Tf (fig. 215; 21.1.1.2). This stirrup spout is distinguished from the lea 6 ones only in being made of very fancy, very glossy smoked blackware. Modeled pottery is rare in Phase 6, but a few small modeled forms are among the contents of tomb Th-1 (1.1.11.1, 1.1.11.2, 1.1.11.3). They include a pair of miniature blackware jars representing birds, discussed earlier with Late Horizon black Bird Jars (cf. Complex Jar section, pi. 20); two miniature bottles representing modeled fruit (figs. 105, 106; Kroeber and Strong, 1924b, pi. 37b); and two small to miniature vessels representing modeled figures of a man and a woman, the

POTTERY STYLE AND SOCIETY IN ANCIENT PERU 64 latter engaged in carrying a jar with a tump- but the rest all have low collars. The collars line. A unique modeled Simple Bottle neck are either curved and everted as in fig. 108; shows a man playing a panpipe (pi. 13).70 straight, slightly flaring (a fragmentary one Other modeled forms in the lea style in- under 4-9391E); or vertical, convex curved clude the figure of a man playing a panpipe (4-9391C). The bodies are of various depths, and drum, already described in the discus- but most are relatively deep and have consion of Drum Bottles (Jiménez Borja, 1950- tours similar to the one shown in fig. 108. The 1951, p. 123; Harcourt, 1958, p. 214, fig. 31), one shown in fig. 107 is unique in its shallow and the reclining figure of a flute player, also proportions, as well as in its lack of a collar. in bottle form, the latter showing particularly skillful realistic modeling (Muelle and Bias, PLAIN POTTERY OF UNKNOWN 1938, lám. 48a). Both these pieces are without FUNCTION IN TOMB TH-1 associations and belong to the end of Phase 5 rather than Phase 6 proper on basis of their Two unique specimens among the contents of decoration. However, they are stylistically so tomb Th-1 are plain and of an unknown close to the Phase 6 pottery that they serve to function (1.3). One is a hollow half of a shellillustrate the fact that a tradition of fancy shaped form, 9.5 cm. long, and of an unmodeled pottery did exist at about this time. It usually light weight (4-5232). The other object is of special interest that the representation of is a heavy, hollow half of an elongate, flatmusicians was apparently a favored subject, sided tube with one end broken off (4-5231). as was the imitation of drums in bottle form, a This object is 21 cm. long. hint that musicians and musical instruments played an important part in lea culture. For modeled figurines in the lea tradition, IMITATION CHINCHA SHAPES AT ICA see Menzel, 1967. Phase 6 has a few rare vessel forms, which appear to be playful imitations of Chinchastyle vessels. Most of them belong in the ICA 6 UTILITY WARE IN TOMB TH-1 small- to miniature-size category and occur as Utility ware is represented in tomb Th-1 by nonidentical or matched pairs (1.1.11.4). None only six miniature vessels, one complete of these specimens has a shape charac(4-5224) and five in fragmentary form (1.2; teristic of the lea tradition. Some of them are figs. 107, 108). Their shapes, as well as the obvious copies of Chincha forms, but in paste, are different from any of the fancy ware others the relationship to the Chincha style is described above (see also chapter II). The fact not as clear. Those modeled after Chincha that only a few miniatures are present in the forms must be modeled after slightly different tomb probably means that these vessels were variants than those in existing collections, token representations to help complete the because most Chincha-style vessels in the inventory of household pottery categories, existing sample belong to Epoch 8 of the Late even though utility ware proper was not Intermediate Period and must date between placed in burials as a general rule. Examples of 50 and 100 years later than the lea 6 specisimilar utility vessels of regular size, found in mens. It is clear from the Chincha sample, refuse of occupation sites in the valley, are however, that the Epoch 8 style of Chincha often marked by signs of use such as sooting, reflects an older tradition in that valley.71 heavy clouding from use near a fire, and The clearest example of an imitation cooking deposits on the bottom inside of the Chincha vessel shape of lea Phase 6 in miniavessels. These observations suggest that the ture form is an imitation Chincha Collared Jar miniatures from tomb Th-1 represent cooking from tomb Th-1 (fig. 97, pi. 21). For Chinchaollas. style examples of Epoch 8, see Menzel, 1966, The miniature utility ollas are equipped fig. 14. The lea piece has lea 6 decoration with with small vertical or horizontal strap handles some Chincha features on the body and at about the middle of the height of the body Chincha-style decoration on the handles (cf. or at the rim. One has a direct rim (fig. 107), chapter IV). The body contours are those of small closed-vessel bodies of the lea 6 style 70. For additional remarks about this figure, see Menzel, 1967, p. 18, fig. 43.

71. Menzel, 1966.

THE CLASSIFICATION OF SHAPES

rather than of a Chincha body shape, but the collar and handles are in the Chincha style. Another example of an imitation Chincha miniature in tomb Th-1 is a small Flask (fig. 98; Kroeber and Strong, 1924b, pi. 37h). This piece combines an imitation Chincha body shape with an Ica-style bottle neck and bottle handle. For comparison with Chincha-style Flasks, see Menzel, 1966, figs. 17-19. Neither the Flask nor the Collared Jar shape belong in the lea tradition, and the miniature size of both these vessels suggests that they were regarded as a kind of toy by the lea 6 potters and were not dignified with the status of regular vessel categories in that phase. No other example of either form has appeared among the large number of whole vessels and fragments of lea 6 pottery which have come to my attention. This absence is an indication of the relative rarity of these forms in Phase 6. Among small and miniature lea 6 vessels there are also three other shapes probably influenced by Chincha-style models. Unlike the first two mentioned above, these latter forms have not turned up among imitation Chincha-style examples of later lea phases. One of them is an oblong miniature Drum Bottle without handles, with body proportions that resemble Chincha rather than Icastyle Drum Bottles (see discussion of Drum Bottles, above; fig. 99; for comparison, see Chincha-style Drum Bottles in Menzel, 1966, fig. 16). A matched pair of two small incurving bowls from tomb Th-1 has distinctive shape features; they resemble Chincha bowls of Epoch 8 (1.1.11.4.4; fig. 100; for comparison, see the Chincha bowl in Menzel, 1966, fig. 32). These bowls also have Chincha-style loan features in the decoration (see chapter IV). This fact, together with their shape peculiarities, suggests that the lea bowls are copies of Chincha-tradition models. A matched pair of small dishes from tomb Th-1 has a unique shape with inflected flaring sides, a form that may well be influenced by a similar Chincha form (1.1.11.4.5; fig. 101; for comparison, see the Chincha dish shown in Menzel, 1966, fig. 30). It is also possible that a single, small straight flaring-sided dish from tomb Th-1 represents another potter's imitation of the same or a similar Chincha-style dish (1.1.11.4.6.1; fig. 102). Two matched pairs of miniature dishes from the same tomb appear to be versions of the larger straight

65

flaring-sided form shown in fig. 102 (1.1.11.4.6.2,1.1.11.4.6.3; fig. 103). There also is an unusually large plate or bowl with Cumbrous Bowl decoration, but with a flat bottom and convex-curved flaring sides (1.1.11.4.7; fig. 104). This vessel may also represent elements of Chincha influence, in imitation of a convex flaring-sided plate or bowl category of the Chincha style illustrated in Menzel, 1966, fig. 33. We have seen in earlier sections that a new kind of influx of Chincha influence on lea pottery shapes made its appearance in lea Phase 8 (see sections on Cambered-Rim Bowls, Simple Bottles and Complex Jars, above; 8.1, 9.2, 9.3, 9.4, 10.3.2, 10.3.3, 10.5). Although the Phase 8 sample in our collection is small, there are enough imitation Chincha shapes and shape features in it to indicate that this phase must have contained a large component of new imitation Chincha vessel shapes of the larger sizes that are characteristic of the Chincha style of Epoch 8. The lea 8 vessels are composed of a combination of Chincha and Ica-style features. Since the lea 8 sample is small, not all vessel forms of that phase can be represented in it. This situation is reflected by the larger sample for Phase 10, a style phase that is in the main a revival of lea 6, 7 and 8 models. In the lea 10 sample there are additional imitation Chincha vessel forms not found in the lea 8 sample, which are composed of a more complex combination of lea 6 to 7, 8 and 9 features combined with lea 10 features (see also chapter IV). Many (though not all) of the imitation Chincha forms in Phase 10 are in the same large sizes characteristic of lea Phase 8 and must be presumed to represent the revival of lea 8 antecedents and not of the occasional lea 6 miniatures and exotic forms (30.1.7, 30.3.2, 33.12, 36.4; see also 37). The imitation Chincha-style vessels of Phase 10 must represent revivals of lea 8 models. They could not have been copied from contemporary Chincha-style models, because this style was no longer in use at Chincha. Only rare and modified derivatives of Chincha-style vessels of the kind used in Epoch 8 were in use in the Chincha Valley during most of the Late Horizon and during the Early Colonial Period. For a discussion of the Chincha styles and their dating, see Menzel, 1966.

66

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

A revivalistic imitation Chincha Flask was found by Uhle in lea 10 burial Ti-1 (fig. 269, pi. 82). The body contours, size, and handles resemble the corresponding Chincha forms, but the neck is the alternate Chincha-style neck for such Flasks, the spool-shaped form (for comparison with Chincha-style Flasks with this neck form, see Menzel, 1966, figs. 17, 18). The decoration on this piece is in the lea 10 style. Two other revivalistic lea 10 Flasks without associations are recorded in our sample. One is deposited in the University Museum of Philadelphia (33.12.2). This piece has a combination of imitation Chincha, lea 8, lea 9 and lea 10 shape and design features. Another piece with revivalistic lea 10 decoration is illustrated in Schmidt, 1929, fig. 324-1. It is also probable that the Flask illustrated by Schmidt in his fig. 314-3 is a revivalistic lea 10 form,, but the photograph does not show the decoration clearly enough for sure identification (36.4, 37). For the same kind of Flask in the Chincha style of Epoch 8, see Menzel, 1966, fig. 19. The body shape and handles of the vessel illustrated in Schmidt's fig. 314-3 are in the Chincha style, whereas the neck shape is that of Simple Jar necks in the lea style. Among other revivalistic lea 10 examples of imitation Chincha vessels not represented in our lea 8 sample there is a Collared Jar without associations or provenience (3.12.1; fig. 294). Its lea 10 attribution is determined by the body decoration, but there are some decorative details that suggest that this piece is probably from the Pisco area rather than lea (see chapter IV). Three other revivalistic lea 10 vessels are imitation Chincha-style Cups. Two of these vessels are from burial Ti-1 (30.1.7.1; fig. 270; Kroeber and Strong, 1924b, pi. 36b). One has no associations or provenience data, but has the same shape with revivalistic lea 10 decoration (3.12.3). These examples are smaller than the standard-sized Chincha-style Cups of Epoch 8 of the Late Intermediate Period (for Chincha examples, see Menzel, 1966, figs. 23, 24). A small imitation of a High Ovoid Jar of the Chincha style, also necessarily based on an earlier lea model not represented in our sample, was found by Uhle in burial Ti-2 (30.3.2; fig. 273, pi. 84). For comparison with the Chincha forms of Epoch 8, see Menzel, 1966, figs. 1-3; Kroeber and Strong, 1924a, pi. 12b, c).

ANTIQUES AND IMITATION ANTIQUES

Collecting antiques was popular now and then in the archaeological history of the south coast, and underwent a vogue in the early lea phases, when pottery of the Nasca style of the Early Intermediate Period was collected and sometimes imitated. Beginning with lea Phase 7 there is a record of the inclusion in burials of pottery in the Ica-Epigonal style of Middle Horizon Epoch 4 and of lea Phases 1 to 5. The earliest example of this later antiquarian focus of interest appears in lea 7 burial Th-2. Collecting and imitating antiques was most popular during the Late Horizon. Modified imitation antique shapes with lea 10 decoration occur as rare examples in Phase 10. The difference between authentic antiques and imitation antiques is established through the observation of features of paste, firing, surface finish, appearance of the pigments, and shape and design features. When any discrepancy exists with the styles that serve as models, the piece is presumed to be an imitation. The evidence is usually very clear, because the imitations are composed of a combination of antiquarian features with contemporary ones, or of an equally anachronistic combination of antiquarian features of different phases (see also chapter IV). The Ica-Epigonal jar in burial Th-2 is an authentic antique by the criteria named above (fig. 120, pi. 29; for comparison with other Ica-Epigonal jars, see pi. 101 and Kroeber and Strong, 1924b, pi. 30c, d, n-q). In the Late Horizon assemblage, burial C-10 from Ocucaje contained one authentic antique, an lea 1 incurving bowl (fig. 239, pi. 69; for comparison with other lea 1 bowls, see figs. 4-6). A third authentic antique is a Cambered-Rim Dish attributable to lea Phase 3C or Phase 4, which was found in burial Tk (fig. 214, pi. 63; fo comparison, see figs. 13, 16, pi. 104). A fourth authentic antique in burial Z-5 from Galagarza is a Flaring Cup attributable to lea Phase 5 (fig. 224; for comparison, see fig. 26). The remainder of the antiquarian vessels found by Uhle are imitations of antiques. The most common form, apparently, consisted of Cumbrous Bowls made in imitation of lea 3 Cumbrous Bowls (figs. 232, 237, pi. 67; for comparison, see fig. 14 and pi. 102). One near-identical pair of such bowls was found in burial C-5 from Ocucaje, and another was

THE CLASSIFICATION OF SHAPES

found in Burial C-10 (25.2.1, 26.5.1). For a discussion of the archaizing features in shape and design of these bowls, see the section on Late Horizon Cumbrous Bowls, above, and chapter IV. Burial C-10 also contained a nearidentical pair of Deep Open Dishes with shape features of the corresponding dish form of lea Phases 3B to 4 (26.5.2; fig. 238, pi. 68; for comparison with lea 3 to 4 dishes, see fig. 12, pi. 103 and Schmidt, 1929, figs. 314-1, 317-1, 2). The fact that these dishes are imitations rather than authentic antiques is recognized primarily in some features of the design (see chapter IV). The shape of the bottle from burial Tf is an lea 3C to 4 form (21.2.1; fig. 217; for comparison, see fig. 23 and pi. 108). It is recognizable as an imitation by some of its design features (see chapter IV). One vessel in tomb Td-8 may be a more modified imitation antique shape (fig. 161, pi. 44). It is a dish which in its shape resembles in a modified way some Deep Open Dishes of the earlier lea phases (for comparison, see especially Schmidt, 1929, fig. 319-2). However, unlike other imitation antiques from lea this dish is not decorated with antiquarian designs but with Ica-Inca decoration. If the dish shape has some connection with the antiquarian movement, its decoration indicates that the spirit of the antiquarianism of this specimen is different from that of the rest. The vogue of collecting antiques evidently went out of style in the Early Colonial Period, at which time it was partly swept away by the nativistic revival that was taking place, and partly incorporated into it. The incorporation of the antiquarian movement into the nativistic revival is suggested by the fact that some vessels with lea 10 burial associations and revivalistic lea 10 decoration have shape features like some imitation antiques of the Late Horizon (cf. Cumbrous Bowls and Simple Bottles, above; fig. 276, pi. 92).

FOREIGN POTTERY STYLES IN THE LATE HORIZON

In earlier sections of this chapter some new Late Horizon vessel shapes are described, which have particular associations with the Inca occupation period and replace more traditional lea vessel forms. These new vessel shapes are distinguished by special Inca-style

67

loan features. They thus represent a new style tradition at lea, here called Ica-Inca. The new vessel shapes are bottles which replace traditional lea Simple Bottles and Drum Bottles (see above). Ica-Inca forms are distinguished from Inca pottery proper in that they are either new forms with few or no Ica-tradition shape features (Lamp Bottles and Large Bottles), or forms based in the main on lea antecedents but significantly modified (Drum Bottles). All incorporate Inca loan features and feature sets in their shapes. The burials of the principal cemetery at Old lea and the refuse around the principal mounds of the capital also contained much pottery generally called Inca, the presumption being that it is in the Cuzco Inca style. This is true in a general way, but most of the Inca-style pottery from lea can be distinguished from highland Inca pottery by details in its shape, decoration, paste, and firing, and, in the more faithful copies, by the consistency of selection of particular shape and design features of the Cuzco Inca style. Incastyle pottery from lea can also be distinguished from Inca-style pottery from other coastal valleys by these features. We are evidently dealing with distinctive local substyles of the Cuzco Inca style in the provinces. It is very important to learn to distinguish the different provincial Inca styles, since such recognition will help materially in the reconstruction of the workings of the Inca Empire. Only two vessels recorded at lea are in the Cuzco Inca style proper, in the sense that they are probably imports from somewhere in the highlands. Both were found in burial Tk (20.1). One is a small faceneck jug and the other is a small bottle with a strap handle (figs. 199, 200; Kroeber and Strong, 1924b, pis. 39d, 40m). For examples of bottles from the Cuzco area, see figs. 247, 248. 72 The vessels in burial Tk are distinguished from other Inca-style vessels from lea by a much smoother surface; a very glossy finish in which the gloss is present on all pigments, particularly the "white" and "purple"; by the application of pigments on already highly polished surfaces, so that the pigments are 72. For additional examples of bottles from Cuzco, see Valcarcel, 1934a, fig. 66; 1934b, him. I, 1/126; 1935, lams. VII, 1/111,1/639, VIE, 1/266. Fo good photographs of an example of a faceneck jug found in the highlands, see Eaton, 1916, pi. VI-2, 3. For other examples, see Valcarcel, 1934b, lam. IV. 1/407; 1935, 14m. VII, 1/643.

68

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

not absorbed by the surface and stand out with particular distinction; by the very fine lines used in some of the designs and the recise outlines of pigmented areas, also a y-product of repeated hard polishing; and by a distinctive brownish cast of all the pigments, which is also seen in Cuzco Inca fancy ware from the highlands and gives these vessels a duskier appearance than is seen in vessels from the coast. All the rest of the Inca-style vessels that have been recorded from lea must be of coastal manufacture, to judge by their paste, temper, surface finish, and appearance of pigments. All these vessels have features of shape and design which fall within a distinctive range of variation particular to lea or, in some vessel categories, to lea and neighboring valleys, particularly those of Nasca and Acan to the south. Provincial Inca vessels made at lea and used in burials comprise a limited selection of Inca shapes. The most common Inca shapes in use at lea are medium-sized to small forms of the Inca jar (Rowe, 1944, fig. 8, shape a); convexsided plates; and the Inca cooking pot (Rowe, 1944, fig. 8, shape j). Other Inca shapes occur more rarely and usually in the form of more modified imitations. They include low-sided dishes with handles (figs. 148,204, 205), small loop-handled jugs (figs. 166-168), a small wide-mouthed jar with paired vertical strap handles (fig. 162), faceneck jars (Kroeber and Strong, 1924b, pi. 35h), a modeled pottery figure with Inca features (Kroeber and Strong, 1924b, pi. 33d), and a pottery imitation of wooden drinking cups of the Inca style (fig. 206). Other Inca shapes also occur at lea, but only in refuse around the main mounds of the capital in the north-western part of Old lea, and not in burials. Here one can find fragments of veiy large, thick-walled Inca jars, of deep, vertical-sided open vessels that correspond to Rowe's shape f and possibly shape e (Rowe, 1944, fig. 8), and the concave-sided plate (fig. 250; Rowe, 1944, fig. 8, shape g). These and other Inca forms are also characteristic of refuse of other principal Inca administrative seats on the coast, notably Chincha and Pachacamac.73

E

73. Menzel and Rowe, 1966; Menzel, 1966; Strong and Corbett, 1943, figs. 7, 8b-g, 9. For a Late Horizon burial from Pachacamac with contents that include a plate in this group of forms, see Uhle, 1903, pi. 7, figs. 15 and 11a, b, 16,17,20a, b.

In assessing the distinctive shape characteristics of provincial Inca pottery from lea, we are suffering from the handicap that there is no adequate record of the range of variation for shapes of the imperial Inca style of Cuzco. We also lack data on possible variations in the Cuzco Inca style or vessels made in different localities around Cuzco and neighboring districts in the sierra. It is possible, futhermore, that there may have existed a standardized style made by some imperial workshops of the Inca government for wider distribution in government service and to more exact specifications than those of vessels that may have been made at more informal workshops around Cuzco. We also lack information on possible differences in social significance or in function of different kinds of shapes and sizes of Cuzco Inca jars, which may have been related to the kind of selection of Inca jars found at lea. 74 That there were a number of such variable factors affecting the Cuzco Inca style is clear from any superficial survey in the Cuzco area. Since the stylistic distinctions of the provincial Inca style of lea must be assessed in terms of the models available to the people of lea, and since the more precise range of variation of these models is at present unknown, our analysis will be incomplete and stress only the most suggestive features. Provincial Inca jars (Rowe's shape a) are found in some of the Late Horizon graves (11.1.1, 13.1.1, 20.2.1, 27.1.1). Fragments of such jars also appear in refuse around the principal mounds of Old lea (PV62-1D, IN, 1U). Most jars from lea are smaller and thinner walled than the very numerous large Cuzco Inca storage jars of this form found at Inca sites in the Cuzco region (for an example of the latter, see fig. 245). The provincial Inca jars of lea correspond in size approximately to the smaller jars excavated at Sacsahuaman.75 The burial jars from lea can roughly be subdivided into a large-sized group ca. 40 to 50 cm. in height (figs. 142, 242), a medium-sized group in which our measured examples are 23 cm., 29.3 cm. and 35.6 cm. high (figs. 143, 164, 202), and a small-sized group in which the measured examples are 13 cm. and 16.5 cm. high (figs. 144, 165). Provincial Inca jars within the size ranges 74. For a preliminary study of this problem, see Morris and Thompson, 1970. 75. Valcarcel, 1934a, b, 1935.

THE CLASSIFICATION OF SHAPES

mentioned evidently occur ideally in matched pairs in the graves. The largest jars have shape and design features most nearly in the Cuzco Inca style, the designs are executed with greater care, and the vessels have a finer finish than the smaller jars. A near-identical pair of fancy large jars of this kind was found by Uhle in tomb Td-8 (11.1.1.1; fig. 142; Kroeber and Strong, 1924b, pi. 39g). Another near-identical pair of such jars was found by pothunters in a tomb in the Callango Basin (27.1.1; fig. 242). Tomb Td-8 also included a pair of medium-sized provincial Inca jars and a pair of small ones (11.1.1.2, 11.1.1.3; figs. 143, 144, pi. 38; Kroeber and Strong, 1924b, pi. 40j). Tomb Ti-5 contained only a single medium-sized jar and a single small one (13.1.1; figs. 164, 165; Kroeber and Strong, 1924b, pi. 39c). Finally, burial Tk contained a single medium-sized jar of this kind (20.2.1; fig. 202; Kroeber and Strong, 1924, pi. 39f). The body proportions of the larger provincial Inca jars mentioned above fall within a range of variation in highland Inca jars, but their contours are more consistently standardized within a smaller range of variation than the great variety found around Cuzco.76 The body contours of most of the vessels from lea resemble those highland Inca jar bodies that slope more steeply from the neck down, without the brief shelf seen in many highland examples, such as the one shown in fig. 245. In the provincial Inca jars of lea the body broadens relatively widely in the lower part, corresponding to an intermediate spread as seen in the smaller Inca jars from the vicinity of Cuzco (fis. 142-144,164,165, 202, 242). This broadening is most conspicuous on the smallest jars from lea, which have a very distinctive, pot-bellied appearance (figs. 144,167, pi. 38). The neck contours of the provincial Inca jars of lea also differ from the most typical highland form on large jars. The lea necks are proportionately narrow in the stem, and the concave curvature of the neck profile is frequently at about the middle of the height of the stem. As a result the rim begins its flare low on the neck and appears proportionately large. The central position of the neck contraction at lea and the funnel-shaped rim flare 76. For examples found in the Cuzco area, see Valciicel, 1934a, figs. 60-63, 65; 1934b, lam. IV, l/110a, b; 1935, lims. ID, 1/410, 1/195, IV, several. See also Schmidt, 1929, figs. 349-1, 2, 352, 353.

69

are traditional lea features of bottle necks, and the corresponding features on the provincial Inca jar necks could be the result of old habits of style at lea. However, there could be also some other reason for this selection at lea, since some Cuzco Inca jar necks have similar contours. The Cuzco Inca jar necks in small jars are much more variable. In the large jars, the neck contraction is usually in the upper third of the neck, and the rim is not as high in proportion to the stem (fig. 245). The height of the neck relative to the body varies significantly on the smaller provincial Inca jars from lea. On the larger jars the neck height corresponds more to the standard proportions of Cuzco Inca jars. Convex-sided plates of Inca inspiration constitute by far the most common foreign shape categories of the Late Horizon at lea. They occur both in refuse and burials at the principal and secondary administrative centers and related sites. There is considerable variety in these plates, however, with at least six standardized categories, all represented in Uhle's burials. In their association patterns these categories fall into at least two distinct groups, which I shall call A and B. Each category has its own distinctive style features. The different categories are grouped together on basis of their burial and refuse associations and not on basis of their style features. The association pattern is discussed in the concluding chapter. Some provincial Inca plates from lea (as well as from the valleys of Nasca and Acari) are composed of features that fall within the range of variation of features of highland Inca plates, in shape as well as decoration. These plates, category 1 in group A, are very standardized in size, shape, and design features (figs. 149, 207, pis. 60, 61). The standardization of group A-l plates is such that one can usually identify a plate in this group as having south coast provenience on the basis of the pattern in which all the features are combined into the standard composition. There is a much greater variation in contours of plates from the Cuzco region. The sierra plates also usually differ in one or another feature from the standardized combination of features in the south coast plates.77 A near77. For Inca-style plates from Cuzco, see Valcircel, 1934a, figs. 71-77; 1934b, Lims. I, HI, V; 1935, lims. I-V.

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

identical pair of group A-l plates was found by Uhle in tomb Td-8 (11.1.4), and a nonidentical pair was found by him in burial Tk (20.2.5). The designs are Inca ones, but they are as selected and locally standardized as the shape features. For a published example of such a plate with provenience given as "valleys of Nasca," see Ubbelohde-Doering, 1952, pi. 41; for one with provenience given as lea, see Schmidt, 1929, fig. 301 (29.1.1). The homogeneity in size and proportions of the group A-l plates is striking. The two specimens from tomb Td-8 measure 18 cm. diameter by 4.2 cm. high, the height being slightly more than 23 percent of the diameter. One of the plates from burial Tk, with the same decoration as the tomb Td-8 plates, is slightly larger (18.5 cm. by 4.5 cm.), its height being 24 percent of its diameter (fig. 207, pi. 60), whereas the other from the same burial is slightly smaller than the tomb Td-8 ones (17.6 cm. by 4 cm.), with its height slightly less than 23 percent of its diameter (pi. 61). The latter plate is for practical purposes identical to the one illustrated by Schmidt, and the one shown in Ubbelohde-Doering is very similar. Valcarcel gives the measurements of many plates from Saqsawaman shown in his illustrations. In checking these measurements, it appears that the particular combination of shape standards of the group A-l plates from the south coast prevails relatively rarely, if at all, among the ones from around Cuzco. Highland Inca plates in about the same size range as the group A-l plates usually have a different proportionate depth, and highland plates that have a similar depth are of different sizes, usually smaller. Most Cuzco Inca plates are shallower than any of the group A - l plates from the south coast, their height being only 15 to 20 percent of their diameter (figs. 250, 251). 78 Group A-l plates have a near-flat, sharply edged bottom on the outside. The bottom diameter is 39 to 40 percent of the top diameter of the plate, a percentage that falls within the proportionately smallest bottoms of Cuzco Inca plates with convex sides. The 78. Some provincial Inca plate fragments from refuse at south coast administrative centers may be as shallow as the majority of Cuzco Inca plates. However, these plates also differ in several other features from the group A-l plates and are not standardized. They clearly belong in a different category of provincial Inca pottery, a category that requires further study.

sides have a straight or near-straight flare in the lower half of the exterior profile and are increasingly curved in the upper half, ending in a hook-like contraction that is very characteristic of Inca-style plates. The outer surface of the rim curves more sharply than the inner one, an effect that is achieved by thinning the rim on the inside only, so that it ends in a pointed, off-center lip. The lip and rim profile constitute one of the most characteristic Incastyle feature sets. The inner surface of these plates has a smoother, shallower curve than the outer one, with a smoothly curved bottom, an effect that is also achieved by differential thinning of the walls. These plates are relatively thick walled, wall thickness being usually 7 to 10 cm. Group A-l plates from the south coast also have a standardized handle, one with a steeply curved stem that starts as a strap at the lip of the plate and then expands into a round fillet that flares into a flat knob at the top. The knob is 4 to 4.3 cm. in diameter. Some Cuzco Inca plates also have handles of this kind, but in the highlands this plate handle appears to occur more rarely than other kinds of handles.79 Furthermore, highland Inca plate handles do not usually rise as steeply from the lip, nor do they usually have as long stems. The rest of the plates found in group A associations are smaller and thinner walled and have many more local features in shape and design. There are two principal categories, group A-2 and group A-3. Both are deeper than group A-l plates. In tomb Td-8 these plates were evidently intended to appear in near-identical sets of four. Group A-2 plates from tomb Td-8 vary between 12.5 and 12.7 cm. in diameter and are 3.5 cm. high, the height being about 27 to 28 percent of the diameter (11.1.5; figs. 150, 151, pi. 39). The bottom on these vessels is sharply edged, as in group A-l plates, but it is slightly curved and is proportionately larger, its base diameter being 43 to 44 percent of the top diameter (5.5 cm.). Wall thickness of these vessels is 4 to 7 mm; i.e., they are thinner walled than group A-l plates. The sides are continuously curved and have a much slighter increase in inward curvature at the rim than the group A-l plates. The inner 79. Bingham, 1930, p. 137, fig. 93.

THE CLASSIFICATION OF SHAPES

surface is curved as deeply as the outer one, in contrast to group A-l plates, though the inside bottom is rounded off as in group A-l and Inca plates. The rim of group A-2 plates is also distinctive. From a pointed lip it is flattened inward for a width of 5 mm., with a flat or slightly curved surface ending in an inner edge. The angle of this flattening is horizontal or at a slight inward bevel. This rim is not characteristic of Cuzco Inca plates, but it is a characteristic rim form of many Inca-associated plates found around the shores of Lake Titicaca.80 Most of these plates from the southern area of the lake are decorated with painted llama designs. Some are decorated with bird designs instead. As we shall see in connection with group B plates, below, there are other indications as well that some of the Inca influence appearing in south coast pottery was of the variants found around Lake Titicaca rather than Cuzco. Group A-2 plates have short handles with animal heads, a plate handle form that is one of the most common ones in Cuzco Inca plates. 81 However, the group A-2 handles rise more steeply upward than most Cuzco Inca handles do (for comparison, see figs. 251, 252). Group A-2 plates are decorated with lea 9 designs instead of Inca ones, and the paste, firing, and surface finish also have a distinctive local character (pi. 39). Fragments of these plates are relatively common in refuse around the capital at Old lea, unlike group A-l plate fragments, which must be very rare in refuse, if they occur at all. These observations suggest that group A-2 plates were regarded with less esteem by the people of lea than the group A-l plates. Four near-identical group A-2 plates were found by Uhle in tomb Td-8. Group A-3 plates differ from group A-2 plates in several respects (11.1.6; fig. 152, pi. 40). The walls are slightly thinner (3 to 5 mm. thick). The bottom is perfectly flat and smaller in proportion to the top diameter (36.5 to 40 percent of the top diameter). The side and lip contours are more similar to the group A-l 80. Ryd6n, 1947, figs. 38, 74, 79, 82, 85, 87, 92, 94, 98, 101, 102, 105, 108, 113, 120, 123. 81. Bingham, 1930, figs. 89a, c, 90, 92, 98d, f, g, 99d, f, h, k, IDOc; Valcircel, 1934a, fig. 73; 1934b, lams. I, 1/89, VI, 1/86; 1935, limns. 1, 1/560, n, 1/259, ffl, 1/394.

71

plate contours, but the thinner walls make it more difficult to achieve the distinctive Inca hook profile. Group A-3 plates have small looped strap handles, another common Inca handle form. Group A-3 plates have the same kind of firing and surface finish as group A-2 plates. The design consists of a combination of lea 9 and Ica-Inca features (see chapter IV). Plates of this kind turn up more rarely in refuse at the capital than the group A-2 plates. Two whole plates and fragments of one or more were found by Uhle in tomb Td-8. Most remaining plates from lea relatable to the Inca style belong to group B on basis of their refuse and burial associations and dissociations. Most group B plates lack handles and lugs, unlike Cuzco Inca plates. In these features, as well as in several others, group B lates resemble either Inca-associated plates om the area around Lake Titicaca, south of lea, or plates of the Chincha tradition, north of lea. A few group B plates do have handles and lugs in the Inca style. Another striking feature distinguishing group B plates is that most of them are made of smoked blackware, unlike group A plates or most Cuzco Inca plates. However, oxidation-fired plates also occur in group B refuse assemblages in smaller quantity. The only recorded burial from lea which contained group B plates is burial Tk, which contained nine such plates (20.2.6, 20.2.7). All but one of these plates appear in near-identical sets of two or four, like other Inca-associated vessels. In the single example of a deviation from this pattern, the exception was probably due to circumstances that forced departure from the ideal set (20.2.6.2.1). Group B plates can be divided into two principal shape categories. The first, group B-l, is the more common. Plates in this group are most commonly of smoked blackware. The firing is often irregular, so that the surfaces are slightly mottled, with lighter gray and tan spots. The surface finish and manufacture of group B-l plates does not follow very high standards. Surfaces are slightly uneven,' and polishing marks do not cover the entire surface, the result being a streaky appearance of the surfaces in which matte spots appear. Seven plates assigned to this group were found in burial Tk (20.2.6). One nearly complete specimen without associations was also found by Uhle in the area of Chulpaca at

E

72

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

Old lea (28.1.6). Fragments of group B-l plates are particularly common in refuse collections at the two small, specialized sites of El Hato (PV62-109) and Tambo Perdido, described in chapter I. Fragments of these plates are also found in the refuse of the larger administrative centers of Old lea and La Venta de Chagua. In burial Tk one set of four of the plates assigned to group B-l has Inca handles and lugs (20.2.6.1; fig. 208). Three, including a near-identical pair, have no handles or lugs (20.2.6.2; fig. 209). However, handle and lug fragments are rare in refuse, so that it appears that in general the form without handles and lugs was the more common. The plates with handles have some minor shape distinctions, mainly in their size. The contrasts that exist between the burial Tk set with handles and the plates without handles in this group are probably the result of set differences within a single range of variation for group B-l plate bodies. Most group B-l plates are shallow, within the range of Cuzco Inca plates in both depth and size. The four plates with Inca handles and lugs are all 14 cm. in diameter, though the height varies fractionally between 2.8 and 3 cm. (fig. 208). The height is 20 to 21 percent of the diameter. These plates are thus within the deeper part of the range of variation of most Cuzco Inca plates and shallower than the group A plates from lea. Of the plates without handles, one near-identical pair of small plates has diameters of 11.8 and 12.5 cm., respectively, and an uneven height of 2 to 2.5 cm. and 2.5 to 2.7 cm., respectively (fig. 209). The median proportion of height to diameter on these plates is 19 to about 21 percent. The remaining plate without handles from burial Tk is about the same size as the plates with handles, but it is slightly deeper, its height being 24 percent of the diameter (20.2.6.2.1). Discounting the handles and lugs on some group B-l plates, only one feature recalls the Cuzco Inca style. An angular contraction of the top 6 to 7 mm. of the exterior of the rim evidently represents a local adaptation of the hook-like contraction of Cuzco Inca plate rims. On the inside, the upper 5 mm. of the rim has a gentle, barely perceptible bevel. This is also an Inca-associated feature, but one that is characteristic of Late Horizon plates around Lake Titicaca and not of Cuzco

Inca plates (see also the discussion of group A-2 plates, above). The rim is thus thinned from both surfaces on these plates, and the result is a narrow pointed or simple rounded lip on many of these vessels (fig. 209). Other features, however, are not Incaassociated, but are part of the Chincha plate tradition. The use of smoked blackware for plates is a Chincha-tradition feature, but not an Inca feature. All group B-l plates have small indented or "dimpled" bottoms, the indentation being perceptible on the inside as well as the outside surface of the plate, another non-Inca feature which is peculiar to the Chincha tradition. Unfortunately indented plate bottoms of this kind also occur in the Titicaca Basin, so that the source of the influence of this particular feature on group B-l plates is uncertain.82 The diameter of this indented bottom is proportionately narrower than the imitation Inca bottom of group A plates. The bottom diameter of group B-l plates is 26 to 32 percent of the top diameter on the majority, with only one plate having a broader bottom, 39 percent of the top diameter. Finally, three of the plates with Inca handles and lugs have the lip cut transversally so that its surface is flat, though narrow, and beveled toward the outside (fig. 208). Rims beveled toward the exterior are a Chincha-style plate feature. All three of these features are found in combination on a Chincha-style plate from an Epoch 8 burial of the Late Intermediate Period, and the same shape features appear on the slightly modified Late Horizon derivatives of the Epoch 8 plates at Chincha.83 We must conclude, therefore, that the group B-l plates from lea are composed of a combination of imitation Cuzco Inca, Chincha, and probably western Titicaca Basin style features. The Inca-style handles on four of the group B-l plates rise steeply from the plate lip (fig. 208). They end in slightly thickened knobs with near-flat tops, and are incised with eyes and a mouth to resemble animal heads. The same handle form has been recorded for plates from the Cuzco area.84 The group B-l plate handles are distinctive in being decor82. For examples from the Titicaca Basin, see Schmidt, 1929, fig. 364-1, 2; Tschopik, 1946, figs. 14h, 15e; Ryd6n, 1947, figs. 66A, 102E, 108g. 83. Menzel, 1966, fig. 33, p. 88, fig. 79, pp. 116-117. 84. ValoSrcel, 1935, 1dm. ffl, l/428a, b.

THE CLASSIFICATION OF SHAPES

ated with wedge-shaped incisions on the top of the knob. The paired lugs opposite the handles are abbreviated forms of Inca lugs, being smaller, positioned at a slightly upturned angle, and lacking the hollow in the top that is characteristic of Cuzco Inca ones (for comparison, see figs. 250-252). A second distinctive plate category, group B-2, is found in the same kinds of associations as group B-l plates (20.2.7). Surface finish and manufacturing techniques are also much the same as those of group B-l plates, and group B-l and B-2 plates share some shape features. Group B-2 plates appear both as smoked blackware and in oxidation-fired and painted form. They also differ from group B-2 plates in having no features relatable to the Chincha tradition, except for the possibility that the use of smoked blackware represents such a relationship. The rest of their features are patterned in much the same way as those of plates of the western area of Lake Titicaca. A near-identical pair of oxidation-fired group B-2 plates was found in burial Tk (fig. 210, pi. 62). Fragments of oxidation-fired plates of this kind are relatively scarce in refuse at lea, but they are moderately common in refuse sites at provincial Inca centers in the neighboring valleys of Nasca and Acari to the south of lea. Their shape, and the paste and design features of the oxidized examples, are ones that are found most typically around Lake Titicaca and not in the Cuzco region. The oxidized paste is particularly distinctive, for it is usually white or light orange, evidently made from some kaolin-like clay. Group B-2 plates are relatively small and deep, with a pronounced interior rim bevel 5 to 7 mm. wide, and an angular thinning of the corresponding area of the rim on the outside. In these rim features group B-2 plates resemble group B-l plates. However, the interior bevel is more pronounced and more sharply edged. The angle of the interior bevel is also usually steeper than on group B-l plates. These rim features are also ones that the group B-2 plates share with Inca-associated plates from the Lake Titicaca area. Group B-2 plates are deeper than any other Inca-associated plates from the south coast. The height of the burial Tk specimens measures 31 to 32 percent of the diameter. Their greater depth is another feature in which these plates resemble Inca-associated plates

73

from the area around Lake Titicaca. Like the corresponding plates from the Titicaca Basin, many of the oxidized group B-2 plates are decorated on the inside with bird designs, a decoration that occurs on the same shapes in the Lake Titicaca region (see also chapter IV). 85 Two other distinct pairs of Inca-associated plates are present in burial Tk. Since the occurrence of both pairs is unique to date, their association pattern is not apparent at present. One of the two unique pairs of plates is made of smoked blackware (20.4.1). This plate form lacks imitation Inca and Incaassociated shape features altogether, and appears to represent a special variation of Chincha-tradition plates of the post-Chincha assemblage (fig. 212). 86 The technique of manufacture of these plates is slightly different from that of group B plates, particularly in respect to the pattern of polishing and shaping. The surfaces are smoother and the polishing marks, though prominent, cover the entire surface. On the whole the manufacturing technique can be described as reflecting greater care. These plates are slightly larger than group B plates, but they fall within the size range of Late Horizon plates from Chincha (16.5 to 17 cm. diameter). Like the plates from Chincha, they have a broad, sharply edged exterior rim bevel and a small, indented bottom. They differ from the Late Horizon plates from Chincha in being slightly thinner walled, with a narrower rim bevel (4 mm. wide as against 6 to 7 mm. wide on plates from Chincha). They are also deeper than Chincha plates (their height is 26 to 27 >ercent of the diameter as against 20 percent or the Chincha plates). The bottom falls within the range of variation of group B-l plates, and is less indented than on the Chincha plates. There is no hook-like contraction of the rim exterior or shallow bevel of the rim interior on these plates, both these being Inca-associated features. The only feature of these unique plates which betrays some kind of Inca associations is an incised cross-hatched design of the rim bevel, the incisions filled with red resin paint. Although this design is not found on Cuzco Inca vessels, a similar design appears on

i

85. Schmidt, 1929, fig. 364-1, 2; Ryd6n, 1947, figs. 87S, 101F-H, 105X, 108T, 126C; Tschopik, 1946, figs. 14d-h, 16a. 86. For comparison, see Menzel, 1966, fig. 79.

74

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

interior rim bevels of Inca-associated tumblers and face goblets of silver from tomb Ta. 87 The second unique pair of plates from burial Tk has body shape features that are similar to those of the group A-l plates (20.2.8; fig. 211). Like the latter, this pair is oxidationfired and painted. Both this pair and group A-l plates also have the same design in a narrow band around the inner rim. The rest of the decoration follows a different pattern, however, and these plates also lack Inca handles and lugs. There are also some other differences in shape. The sides curve more evenly from the base, the rim and lip profiles differ in detail, and the plates are slightly thinner walled than group A-l plates. Plates with the same or a similar shape, also lacking the handle and lugs, occur also with decoration associated with group A-l plates (Schmidt, 1929, fig. 300). The plate illustrated in Schmidt is the only recorded example, and it lacks association data. However, Schmidt's example suggests that the handleless plates in this shape category may have functioned as alternative variants of the handled group A-l form, at least when they were decorated with the corresponding designs. The burial Tk plates are distinctive in their decoration, however, and this distinction suggests the possibility that these particular plates were not classified with group A-l plates by the people of lea, and may have fulfilled a slightly different function in this burial. Inca cooking pots are the third of the three most common Inca-style shape categories at lea. Five of them were found in tomb Td-8 (11.1.2). Of these, four formed a set of nearidentical pieces. Another such cooking pot was found in burial Tk, and one was found in the looted tomb Tl-2 (17.1.1, 20.2.2). Fragments of Inca cooking pots also have been found in refuse at the principal Inca administrative sites of lea. However, so far none has been recorded that showed signs of actual use in cooking. It appears that Inca cooking pots were treated as an Inca prestige form at lea rather than as a utility vessel. This aspect of Inca cooking pots from lea is brought out even more clearly by the example from tomb Tk, which is fired in an evenly oxidized atmo87. Root, 1949, fig. 15a, b.

sphere, and has a fancy, glossy surface finish and careful pigmented slipping (fig. 203). However, the other examples from lea have only a moderately careful finish and an even tan firing with dark gray firing clouds. This latter finish and firing are comparable to those on cooking pots from the Cuzco region. Most Inca cooking pots from lea are of homogeneous small size and standardized contours, which differ from the contours of most Inca cooking pots from the Cuzco region (figs. 147, 203; fo comparison with a Cuzco Inca piece, see fig. 254). Inca-style cooking vessels consist of a container set on a foot support with an expanding base. The container has a long horizontal strap handle attached to the vessel at an upward angle. Cuzco Inca cooking pots often have some small appliqué ornament on the body opposite the handle. These cooking pots come equipped with a separate lid with another long strap handle at its top (fig. 146). Lids and pots are frequently found separately, evidently because they were not attached to one another and so were easily separated.88 The container of Cuzco Inca cooking pots is most commonly deep, with a deeply curved bottom, and a rounded hip or slight gambrel in the lower half of the vessel from which the sides taper in a convex curve to a relatively small mouth. The rim is short and sharply everted, a standard Cuzco Inca feature set that is also used on other vessel categories with similar open mouths. A few cooking pots from the Cuzco region are proportionately wider and shallower, and some have a sharper basal gambrel, or else the sides have a less convex curvature.89 There is considerable variety in the combination of these shape features of the vessels from Cuzco, however, especially in the shallower forms. Most Inca cooking pots from lea are much more standardized in their shape features than the vessels from the Cuzco region. Most are of a relatively homogeneous small size, as noted above (figs. 147, 203). In contours these resemble the widest, shallowest Cuzco Inca 88. For examples from the Cuzco region, see Eaton, 1916, pis. VI-1, Vni-2 (lid), IX-2, XI-2, Xn-2, 3, XIV; Valcârcel, 1934a, fig. 51; 1934b, lâms. I, 1/177, D, 1/404, 1/282, m, 1/273, 1/128, IV, 1/272, V, 1/112,1/113; 1935, lâms. IV, 1/405, V, 1/400, VI, 1/276, 1/634, VU, 1/403, Vm, 1/270; also Muelle and Bias, 1938, lâm. 43a. 89. Eaton, 1916, pis. VI-1, XI-2, XIV-3; Valcârcel, 1934a, fig. 51; 1934b, lâm. IV, 1/272; 1935, lâms. V, 1/400, VI, 1/634.

THE CLASSIFICATION OF SHAPES

forms. The container part of the vessels from lea resembles closely lea 9 Deep Open Dish shapes in contours. Most have a shallower bottom and sharper basal gambrel than the Cuzco Inca forms, and some have a base angle. The sides on these common forms from lea have only a slight degree of convex curvature, and some are straight converging in the upper half. If the vessels from lea fall within the range of variation in use around Cuzco, they fall only within one extreme of that range. Most cooking pots from lea do not have an appliqué opposite the handle, but one example, the one from burial Tk, does (fig. 203). There is only one cooking pot in our sample from lea which is stylistically indistinguishable from the deep Cuzco Inca ones. This piece is from the looted tomb Tl-2, a tomb that also has other stylistic peculiarities of its contents (fig. 219; see also concluding chapter). The same kind of cooking pot has been recorded by Uhle from the "cemetery of sacrificed women" near the Temple of the Sun at Pachacamac. 90 One broken lid for one of the smaller cooking pots from tomb Td-8 was also found (fig. 146). Lid fragments are also found occasionally in refuse at Old lea. A single cooking pot from tomb Td-8 is of exceptionally large size in terms of the lea standard (fig. 145). However, the collections from Chincha include a provincial Inca cooking pot of comparable size. 91 Two other Inca forms occur with moderate frequency at lea. One is a jug, usually small, usually with a vertical loop handle on one side of the upper part of the body and, on some, small appliqués on the opposite side. Four such jugs, all of smoked blackware, were found in tomb Ti-5 (13.1.2; figs. 166-169). The surface finish and firing of these vessels show only moderate care, and are like the corresponding features of group B plates from lea, described above. A pair of similar jugs from tomb Ti-5 is of intermediate height (10.5 to 10.8 cm. high; figs. 167,168). There also is one unusually large one, 14.3 cm. high (fig. 166), and an unusually small one, 8.5 cm. high (fig. 169). The latter is unique in lacking a handle. The large and small one probably functioned 90. Uhle, 1903, pi. 18, fig. 5. 91. Menzel, 1966, fig. 62.

75

as a nonidentical pair. Most typically, these jugs have a short, flaring neck. The body contours are variable in detail, but they are composed of the corresponding Cuzco Inca feature sets for the bottom and top of small closed vessel bodies. An example of about the same size and shape as one of the tomb Ti-5 specimens (fig. 168) was found by Uhle in a burial from Chincha.92 Inca variants of jugs from the Cuzco region are illustrated by Valcarcel.93 The following contrasts with the examples from lea must be noted. There is even greater variation in details of shape contours among the specimens from the Cuzco area, and most of the examples from Cuzco have horizontal strap handles rather than vertical loop handles. Furthermore, most or all of the spcimens from the Cuzco region are oxidation-fired and painted, not of smoked blackware. Uhle illustrates such a jug within the Cuzco Inca range of variation, which he found at the "cemetery of sacrificed women" near the Temple of the Sun at Pachacamac.94 The preference for vertical loop handles appears to be a regional south coast feature shared by Chincha and lea. The use of smoked blackware for the tomb Ti-5 specimens appears to be a particular choice, one that may reflect a special function or social position of the persons buried here. One other observation concerning the Cuzco jugs is important. The same body shapes and handles occur also with another alternate neck form, a long narrow bottle neck. This is the variant in burial Tk which is probably a foreign import to lea (fig. 200; for comparison with examples from Cuzco, see figs. 247, 248). Valcarcel illustrates several examples from the Cuzco area, all of them with horizontal strap handles instead of vertical loops, like the burial Tk specimen. Three vessels without associations from lea belong with the provincial Inca category of jugs/bottles from lea (28.1.2, 28.1.3). Two of the unassociated specimens are in the collections of the Museo Regional de lea. Both differ from those from tomb Ti-5 in being oxidationfired and painted, with a very fancy, smooth and glossy surface finish and designs in the 92. 93. 1935, 94.

Menzel, 1966, fig. 60. Valcarcel, 1934b, terns. 1,1/632, II, 1/508,1/406, V, 1/114; lams. VII, 1/590, 1/197, VHI, 12/659, 1/130. Uhle, 1903, pi. 18, fig. 7.

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

Ica-Inca style (fig. 243, pi. 71a, b). They are, in fact, real show pieces. Both must have been greater prestige items at lea than the blackware jugs from tomb Ti-5. Both have vertical loop handles in the manner of lea preference. One of these pieces is in shape and size like the medium-sized pair of jugs from tomb Ti-5 (MM, E-373). The other, with a slightly more elongate body, has the optional bottle neck in place of the jug neck (fig. 243, pi. 71b). The third specimen is in the Duncan M. Masson Museum at Paracas (DMM, 151). It has more local features in shape and design and is of less careful manufacture than the show pieces at the Museo Regional de lea. Another Inca shape represented by three examples from lea is a shallow dish with two horizontal strap handles (figs. 148, 204, 205). Two examples were found in burial Tic and one was found in tomb Td-8 (11.1.3, 20.2.3). All are individually modified variants of the Cuzco Inca specimen shown in fig. 249. On the specimens from lea the body features are modified to resemble some of the features of lea 9 Deep Open Dishes, the Cuzco Inca feature sets for the bottom and lower sides being replaced by local ones. Uhle recorded a dish of this kind from the "cemetery of sacrificed women" near the Temple of the Sun at Pachacamac.95 The piece from Pachacamac appears to fall within the Cuzco Inca range of variation, or at least more nearly so than any of the pieces recorded from lea. In the Cuzco Inca style, deeper versions of the dish form described are also common. A variant of intermediate depth is illustrated by Rowe as his shape f. 96 Cuzco Inca variants of this form are also illustrated in other publications. 97 The only complete specimens of the dishes recorded from lea are the shallow variants. The deeper, vertical-sided variants have been recorded only in fragmentary form in refuse around the principal mounds of the capital at Old lea. So far as the record shows, the deeper forms at lea have fewer local characteristics than the burial specimens illustrated here. The deeper forms have been also recorded from refuse around the Temple of the Sun at Pachacamac.98 95. Uhle, 1903, pi. 18, fig. 3. 96. Rowe, 1944, fig. 8. 97. Eaton, 1916, pis. V-l, 3, Vffl-1, 3, IX-1, X-3, Xn-1, 5, 6; Valcircel, 1934a, figs. 52-54; 1934b, lims. I, 1/177, 1/563, VI, 5/724; 1935, 14ms. H, 1/399, V, 1/589, 1/271, VI, 3/367, 1/641, 1/292, 1/642, 1/183, VIE, 3/366, 3/365; see also Bingham, 1930, figs. 108, 109; Muelle and Bias, 1938, 14m. 42a.

Only two other Inca-style vessels from lea have been recorded in burial associations. One is a small wide-mouthed jar from burial Td-1 (12.1.1; fig. 162). In its shape features this piece falls entirely within the range of variation of the corresponding Cuzco Inca shape (cf. fig. 246). However, it is made of local paste and covered with a streaky purple slip of local character. The other example is a large tumbler, that is a drinking cup, from burial Tk (20.2.4; fig. 206). This piece does not reproduce the pottery form of Cuzco Inca tumblers, however, but the form of most wooden tumblers of the Inca style, which usually have different proportions. For a typical Cuzco Inca pottery form, see fig. 253, and for a wooden Inca form, see fig. 218.99 Two other provincial Inca forms from lea have been recorded, but these have no burial associations. Two are examples of imitations of Inca faceneck jars, but in a combination with features of the more common large Inca jars without face necks (28.1.4). One is a fancy piece with glossy, even Inca finish and Incastyle decoration (DMM, 187). This piece was bought in lea. The other piece was found by Uhle at Chulpaca in the area of Old lea (Kroeber and Strong, 1924b, pi. 35h). Its finish and shaping are less careful than in the first piece, and it has more modified local imitations of Inca shape and design features. Both pieces are similar in shape, however, and their body contours resemble those of standard provincial Inca jars of lea. Another small vessel from Chulpaca is unique in being a modeled figure with an Inca loop handle of the kind used on local Inca jugs (28.1.5; Kroeber and Strong, 1924b, pi. 33d). This piece has provincial Inca decoration and modeled head and body features in imitation of Inca-style figurines.100 Uhle recorded the same kind of vessel from a Late Horizon cemetery at the outskirts of Pachacamac. 101 The latter piece has PachacamacInca style features: that is, it is made of very fine, glossy, polished blackware decorated with incised designs without resin paint. It is possible that the example from Chulpaca 98. For example, Strong and Corbett, 1943, fig. 9f, g. 99. For another Cuzco Inca pottery form, see Muelle and Bias, 1938, 14m. 43b. For additional wooden Inca forms, see Uhle, 1903, pi. 18, fig. 14; Schmidt, 1929, figs. 434, 435; Rowe, 1961a, figs. 1-5. 100. For examples of Inca figurines, see Schmidt, 1929, figs. 368, top row, 378, top row, and ff.; see also Menzel, 1967. 101. Uhle, 1903, pi. 13, fig. 2.

THE CLASSIFICATION OF SHAPES

is an imitation of such a Pachacamac-Inca form. In summary of what may be called the provincial Inca styles of lea, the potters at lea selected some shape features out of a larger variety of features and feature sets in the Cuzco Inca style and standardized them to local patterns. The particular selection and patterning result in some respects in greater standardization than is discernible in the wide variety of forms from the Cuzco region. Provincial Inca pottery partly overlaps with the range of variation found around Cuzco, but there are also provincial variants from lea that fall outside any found in the area of Cuzco. In addition to such preferential selections, provincial Inca pottery from lea falls into several separate patterns of associations, each with its own special forms (see concluding chapter). The second foreign style represented in Late Horizon burials from lea, and occasionally in refuse at administrative sites, is the Chimu style of the north coast. All examples from lea are of smoked blackware, and they occur in burials together with Inca or provincial Inca forms. Burial Tk contained a nonidentical matched pair of double-chambered whistling bottles in the Chimu-Inca style (20.3.1). Paste and surface finish, as well as style features, are sufficiently distinctive so that these pieces are probably imports to lea from elsewhere (fig. 201; Kroeber and Strong, 1924b, pi. 39b). They are distinguished by a fine, smooth, glossy finish and even blackening. The bodies have a moundlike shape characteristic of Chimu-style bottles. The spouts have a short, abruptly everted rim, the bridge is a straight, horizontally or vertically placed bar, and the modeled figures on the whistling spouts are entirely in the Chimu style of modeling, including finely modeled representations of a dog with suckling pups on one and a fisherman carrying enormous fish on the other (fig. 201). The firing and surface finish correspond to those of the pottery of the finest quality produced at Pachacamac and in the area of the Kingdom of Chimor.102 102. Similar vessels from Pachacamac are illustrated by Uhle, 1903, pi. 13, fig. 8, pi. 18, fig. 12.

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By contrast, a near-identical pair of similar double-chambered whistling bottles from tomb Ti-5 has many local features in firing, surface finish, shape, and representational modeled features, to the point where these bottles may be described as imitation Chimu (13.2.1; fig. 170a, b, pi. 46). Firing and surface finish are the same as for Inca-associated blackware plates in the group B assemblage, and for provincial Inca jugs from the same tomb, as noted. The two chambers are lenticular in vertical section, their contours resembling the body contours of the lea 6 stirrupspout bottles, except for being squatter (cf. fig. 111). Evidently the people of lea recognized a stylistic relationship between their own stirrup-spout bottle tradition and bottles of the Chimu style. The bridge of one of the bottles from tomb Ti-5 is arched, unlike the Chimu-style bridges (fig. 170a, pi. 46). The rim on the imitation Chimu bottle necks has a traditional lea funnel-shaped flare in place of the brief eversion of the Chimu-style neck rims. Finally, the modeled figures on the whistling spouts are birds with Ica-tradition features. Another Chimu-style specimen was found in the looted tomb Tl-2 (17.2.1). It is a stirrup spout of smoked blackware, broken at the base, with the body missing (fig. 220). This example is in the Chimu style proper, with a low spheroid arch forming the stirrup, the stirrup being rectangular in cross section with flat or near-flat facets; the spout is proportionately long, with a short everted rim; and there is a small lug at the junction point between stirrup and spout. The blackening of this piece is uneven and the surface lacks the smooth, glossy polish of fancy Late Horizon ware from the coast. It also lacks the slightly metallic sheen of most Chimu-style pieces from the area north of Pachacamac. The surface finish is most similar to provincial Inca and imitation Inca blackware made at lea, and some that was made at Chincha. This piece was possibly made at lea or Chincha. Tomb Tl-2 contained another bottle unique in our sample, which is either in the Chimu style or is a regional variant of this style (fig. 221; Kroeber and Strong, 1924b, pi. 40k; 17.4.1). The neck and lip contours resemble those of the stirrup spout described above. The rim is particularly distinctive in that its upper surface forms a flat, horizontal projection. Rims of this kind are characteristic of

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

bottles of the Chimu style, and also appear on bottles of the post-Chincha assemblage at Chincha which show Chimu influence.103 The neck is relatively long and narrow and the strap handle is attached from neck to body, a combination of features that also occurs on Chimu-style and post-Chincha bottles. 1 0 4 The body is modeled, another feature also common in Chimu-style and postChincha bottles. The body represents a reclining dog, a theme that is particularly common in the Chimu style.

MUSICAL INSTRUMENTS IN THE LATE HORIZON

We have seen earlier that Drum Bottles and drums themselves have distinctive new features in the Late Horizon. Apparently musical instruments continued to be important at lea and so came in for their measure of attention in the Late Horizon, because there are also ocarinas and notched-end flutes made of pottery with Late Horizon decoration. These pottery forms are not known from the earlier lea phases. Most typically these musical instruments are made of smoked blackware and are decorated with incised designs filled with resin paint (pi. 49). Uhle found single examples of ocarinas in each of the Late Horizon tombs Td-8, Ti-5, and Ta, and a near-identical pair in burial Tf (11.4.3, 13.4.3.1, 14.3.1.3, 21.1.2.1). All but one of the ocarinas are modeled in imitation of spiral shells. The shell-shaped example from tomb Td-8 is exceptional in being oxidation-fired, but the decoration is incised and resin painted, a kind of decoration that is otherwise confined to smoked blackware (11.4.3; cf. chapter IV). The example from tomb Ta is an oxidationfired, plainware miniature modeled to resemble some kind of animal. Uhle did not find flutes in his excavations, but examples of such flutes without associations exist in the Museo Nacional de Antropología y Arqueología of Lima, the American Museum of Natural History of New York, and the Museum für Völkerkunde of Berlin. They can be recognized as Late Horizon pieces from lea by their incised decoration, which 103. Menzel, 1966, figs. 64, 73. 104. Menzel, 1966, fig. 73.

appears on smoked blackware. The example from the Museum für Völkerkunde is stated to be from San Ramón, Old lea (Izikowitz, 1935, fig. 186). This piece is 20.6 cm. long. Izikowitz evidently saw several examples of such flutes, and found them to be "rather highly developed standardized models" uniformly equipped with five stops. 105 For an example from the American Museum of Natural History, see Mead, 1924, p. 340, fig. 6 (29.5.1). According to Mead, this piece comes "from a prehistoric grave at lea" and is 8% inches (22.2 cm.) long. 106 Mead notes that "it is a powerful instrument, and the tones, although so loud, are not disagreeable."107 A fragment of a fine example of such a flute was found at the site of El Hato near Old lea during the University of California, Berkeley, surface surveys (PV62-109B). SURVIVALS OF INCA-ASSOCIATED SHAPES OF THE LATE HORIZON IN PHASE 10

The survival of Inca-associated shapes in the lea 10 revival style is rare, but occasional survivals do occur. The occasional modified survival of Ica-Inca shapes in this phase is discussed in earlier sections (Lamp Bottles and Large Bottles, including stacked vessels, and Ica-Inca variants of Angular-Rim Dishes and Angular-Rim Bowls). There also is one example of an Inca jar shape with a mixture of IcaInca and revivalistic lea 10 decoration. This piece is said to have been found at Pisco and is located at the Museo de Arqueología of the Universidad Nacional Mayor de San Marcos in Lima. 108 Perhaps the most striking use of an Incaassociated shape in the revival style is the occurrence of double-chambered whistling bottles of the Chimu tradition with nativistic features in shape and decoration (33.13.1). Two examples of such vessels are known. One piece is probably from lea (pi. 99), and the other is from Achaco in the ravine of Nasca (fig. 295, pi. 98). The example from lea has the same local tradition shape features as 105. Izikowitz, 1935, p. 321. 106. Mead, 1924, p. 337. 107. Mead, 1924, p. 340. 108. This piece was photographed and recorded by Ernesto E. Tabio, who was the first to draw attention to it.

THE CLASSIFICATION OF SHAPES

the pair of imitation Chimu bottles from Late Horizon tomb Ti-5. It differs from the latter in being oxidized-fired and in having revivalistic lea 10 decoration. The example from Achaco also has oxidized firing, lea 10 decoration, and shape features reminiscent of the imitation Chimu bottles from tomb Ti-5. However, its necks are longer and the body shapes are higher in vertical section. The latter feature is one in which this bottle resembles the lea 6 stirrup-spout bottle (fig. 111). The decoration on both tiie lea 10 bottles is the same kind also used for revivalistic Simple Bottles of Phase 10. What is striking about the double-chambered bottles of Phase 10 is that both are composed of shape features of the local tradition and not of shape features of the Chimu-style bottles proper, even though the composition itself is of Chimu-style origin. It is of interest that the people of lea evidently continued to recognize a stylistic connection between stirrup-spout bottles and double-chambered whistling bottles, despite the local character of individual features. Much more noteworthy than these rare survivals of Inca-associated forms, however, is the large-scale disappearance of such forms in the Early Colonial Period. Inca-associated forms that largely disappear or diminish drastically in use at this time include provincial Inca shapes, Chimu-style vessels, musical instruments of pottery (i.e., ocarinas and flutes), incised blackware, Ica-Inca shapes, and those shape features and feature sets of Angular-Rim Dishes and Angular-Rim Bowls which were made in imitation of Inca features and feature sets. A UNIQUE ICA 10 SHAPE

In the Museo Regional de lea there is a very fine modeled vessel with standard lea 10 decoration, which represents a terraced settlement of the kind found typically on sandy slopes on the borders of the south coast valleys (pi. 100). Three terraces are shown. Each of the upper two terraces has a modeled house on it of the kind still being built at lea. It shows two hardwood posts holding up the front of a flat roof. Persons lie or sit in the house, and an animal, probably a dog, lies on the lowest terrace. This vessel is rightly a show piece of the Museo Regional de lea.

79 SUMMARY

Phase 6 is characterized by standardization in body size and shape features. The body height of most vessels is near 8 cm., but there are minor variations of size range between different shape categories. Most shape compositions include some small to miniature variants of the standard size. Larger body heights than those in the standard small range are rare. However, there are two categories of large forms—a rare one, the large Cambered-Rim Bowl, and a standard one, the Complex Jar. Complex Jars have a large size range, unlike other Phase 6 shapes. Phase 6 consists in the main of nine standard shape compositions (1.1.1 to 1.1.9). Other shapes are rare. Standardization in shape features is evidenced by the fact that a relatively small vocabulary of features and feature sets is used to make up the shape compositions. For example, there are in the main only three alternative lip/rim tip combinations, namely the broadened, flattened lip, the thinned, pointed lip, and the cambered rim. The appearance of each lip/rim tip feature set is the same, with about the same range of variations, in every context in which it occurs, even though the features below this point differ slightly to considerably in the different shape compositions. There are several other distinctive Phase 6 feature sets. For example, the feature set comprising the bottom half or third of Deep Open Dishes and Cambered-Rim Dishes is the same, whereas the upper body features of these vessel compositions differ. The inflection of the curve and degree of flare of the rim of Flaring Cups, of the necks of Simple Jars, and of the neck rims of Simple Bottles, are similar. The inflection and degree of flare of Complex Jar necks is only slightly greater, and that of Deep Open Dish rims only slightly less, so that these latter two vessel compositions also contribute to the general impression of standardization conveyed by the flaring sides. The resemblance in the inflection and flare of the rims of Deep Open Dishes, Flaring Cups and Complex Jar necks is particularly pronounced, because these rims are terminated by the same lip/rim tip feature set. In a similar way, there is enough resemblance between the inflected side/rim profile

POTTERY STYLE AND SOCIETY IN ANCIENT PERU 80 first time as a distinct vessel composition in of Shallow Dishes in subgroup 1, many CumPhase 3A. Simple Jars are a distinctive shape brous Bowls, and some other flaring-sided category of Phase 6; no earlier counterparts Phase 6 shapes, to add to the general impreshave been recoded to date. Cumbrous Bowls sion of stylistic homogeneity. This resemcan be traced to a common, widespread Midblance is enhanced when the same or similar dle Horizon vessel category that has some of side/rim contours are combined with the its roots in the Huari tradition and some in same thinned lip, as on Shallow Dishes, Phase 7 of the Nasca style of the Early InterCumbrous Bowls, and the necks of Simple mediate Period. The origin of Drum Bottles is Bottles and Simple Jars. not certain; they occur at least as early as lea The same homogeneity prevails in the conPhase 3. The origin of the miniature black tours of closed vessel bodies of Phase 6. Small Bird Jars is unknown; no earlier antecedents standard-sized closed vessel bodies include are recorded. No occurrences of the stirrupthose of Cambered-Rim Bowls, Simple Botspout bottle have been recorded in the lea tles, and Simple Jars. The latter two have style prior to Phase 6. approximately the same variations in body contours, whereas Cambered-Rim Bowl bodies fall within an overlapping range of variaThe samples for Phases 7 and 8 are too tion. The lower body half in all three of these small for a comprehensive analysis of all the shape categories is composed of the same feafeatures that distinguish each of them from ture set. There is a slightly greater range of varother phases. However, so far as examples iation in the features of the upper half of the are present, differences are observable. These body. The upper body feature set of Simple differences have overlapping ranges of variaBottles and Simple Jars overlaps in part with tion. Their relatively minor nature suggests the corresponding feature set for Complex Jar that relatively short intervals of time separate bodies. the respective phases. Phase 7 is defined on the basis of the Phase 6 also includes feature sets that are vessels in burial Th-2 and unassociated vesconfined to a single composition, but which sels that share distinctive shape and design are nonetheless particularly distinctive of this features with the burial Th-2 vessels. There phase. One example is the lower body conappear to be more differences in design detour of Complex Jars. Another example is the tails than in shape features between the two flat bottom on many Shallow Dishes, with its phases. Many Phase 7 shapes are probably slightly upturned periphery, the flange at the indistinguishable from Phase 6 shapes, but base of the sides, the beaded punching of the some shape differences can be documented. interior of the flange, and the delicate notching of the exterior of the flange. A third At last some lea 7 specimens in most open example is the tall, graceful neck of Simple vessel categories have broader, squatter proBottles. jortions than any corresponding shapes in the 3 hase 6 range of variation (Cambered-Rim Phase 6 is also characterized by distinctive thinning patterns of the vessel walls, and by Dish, Cambered-Rim Bowl, the high-walled relatively thin-walled vessels (cf. chapter II). subgroup 1 variant of Shallow Dishes). The profiles of at least some Cambered-Rim Dishes and Cambered-Rim Bowls differ from all In seriating Phase 6 as earliest among the Phase 6 ones in some details. The most conLate lea phases, it is necessary to compare spicuous examples are the more converging Phase 6 vessels with the earlier forms as well sides of some Cambered-Rim Dishes and the as the later ones, and to trace their origins. All lower, briefer shoulder and steeper, shallowlea dish categories originate in lea Phase 1. er upper body curve of the Cambered-Rim Flaring Cups appear as a variation on Deep Bowl. The shape details of the latter vessel Open Dishes in Phase 5 or late Phase 4. The resemble the shape features of the correcambered-rim vessel tradition can be traced sponding lea 9 forms. Some cambered rims of back to a tall cup with a broad, flat, projecting Phase 7 probably fall within the range of horizontal collar in the Pinilla style of Middle variation of Phase 6 ones, but others are Horizon Epoch 3. Complex Jars can be traced slightly modified in contours, to the point to the Huari-style jar tradition of the Middle where they resemble plain everted rims. Horizon. Simple Bottles have their origins as variants of jars, probably appearing for the There appears to be a slightly greater varia-

THE CLASSIFICATION OF SHAPES

tion in body size of vessels in Phase 7, especially in the size of Simple Bottle bodies. Simple Bottle necks are more varied in their proportions, and some lack the pointed lip that is the rule in Phase 6. Flaring Cups may be more popular in Phase 7 than in Phase 6, and may be confined to variants of the tallest Phase 6 form. Those in our sample are proportionately slightly broader and squatter than the tall Phase 6 Flaring Cups. Phase 8 is identified as a unit of contemporaneity on the basis of the associations of shape and design features on individual vessels. These features are also used to seriate the vessels assigned to Phase 8 as later than Phase 7 and earlier than Phase 9. The guides for the definition of the phase and its seriational placement are features of shape and design details in the lea tradition. Innovations inspired by Chincha influence are numerous, however. Ica 8 shape features not influenced by the Chincha style appear to be less changed from those of Phase 7 than design features. As a result, more design details than shape details serve to place the Ica 8 vessels in the relative chronology. In open vessel categories, contrast of shape features in the Ica tradition between Phases 7 and 8 is mainly observable in Shallow Dishes. These dishes share design details with other vessels assigned to Phase 8. In shape and design features they are relatable to subgroup 1 Shallow Dishes of Phases 6 and 7. However, they are broader and squatter than the corresponding Phase 7 examples, they lack the interior punching and exterior notching of the base angle that is a regular feature of the Phase 6 to Phase 7 forms in this subgroup, and they have curved rather than flat bottoms. A Deep Open Dish and a Complex Jar attributable to Phase 8 on the basis of design features fall into the range of variation of the corresponding shape categories of Phases 6 and 7. However, the Deep Open Dish corresponds in its proportions to the rare, broadest Ica 6 ones only. There are at least two alternative variations of cambered rims in Phase 8, one that is a variant of the modified cambered rim of Phase 7, and a Chincha-style form. In Phase 8 there is even greater variability in body size and neck proportions of Simple Bottles than in Phase 7, and Chincha-style features appear side by side with Ica-tradition ones. Shoulder fluting modified in appearance from that of Phases 6 and 7 is used not only

81

on Simple Bottles and Simple Jars, as in the preceding phases, but on other closed or relatively closed analogous vessel shapes as well, including enlarged variants of the Simple Bottle and a Cambered-Rim Bowl. In Phase 8 Chincha shape features are present mainly in forms that have a much larger body size than the standard small Ica 6 and 7 forms. Chincha influence is particularly evident in new jar and bottle shapes, which appear to be very numerous. It is also evident in the enlarged Cambered-Rim Bowl form. In contrast to other units of contemporaneity, the pottery of the Late Horizon at Ica is composed of a variety of different styles and style groups found in different kinds of associations. The Ica tradition proper is represented by the Ica 9 style. The Ica 9 style is distinguished from other Late Horizon styles in consisting of shapes and designs of the Ica tradition, with only a few features probably attributable to Inca influence. However, the number of Ica-tradition shapes is reduced to six categories. Ica 9 shapes include the Angular-Rim Dish (a replacement for the Deep Open Dish and Cambered-Rim Dish), the Angular-Rim Bowl (a replacement for the Cambered-Rim Bowl), a Shallow Dish, Cumbrous Bowls, a variety of jars of the Complex Jar tradition, and the Flaring Cup. In the shape modifications affecting the Ica 9 forms the Deep Open Dish and Cambered-Rim Dish are merged into a single category, all but one of the subgroups of Shallow Dishes are eliminated, and traditional Simple Bottles and Drum Bottles are replaced by new, Incaassociated shapes. The only shape categories that are not influenced by Inca shape features in Phase 9 are the Shallow Dishes, Cumbrous Bowls, and Flaring Cups. Of these shapes, the fanciest and the only with elaborate, careful decoration is the Flaring Cup. Angular-Rim Dishes and Angular-Rim Bowls are affected by Inca influence in their rim and lip contours. Various derivatives of the Complex Jars are affected by Inca influence in their neck and lip contours. Body shapes of jars are not affected by Inca influence, with rare exceptions. Most traditional features of Ica 9 shapes differ from Phase 6 shape features, but there are also significant resemblances and shared features. The distinctive Ica 9 features resemble those Ica 7 and Ica 8 shape features that

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

differ from the homologous Phase 6 ones. Ica 9 vessel shapes are proportionately broader and squatter than Phase 6 ones, a feature that they share with some of the Phase 7 and 8 vessel forms. Bottoms of dishes and AngularRim Bowls are more deeply curved than in preceding phases. Angular-Rim Bowls resemble the Phase 7 Cambered-Rim Bowl in body contours. Most Angular-Rim Dishes lack the sharp base angle of many Deep Open Dishes and Cambered-Rim Dishes of the preceding hases. Flaring Cups are proportionately roader, squatter, and more flaring sided than in Phases 6 and 7. Shallow Dishes are also proportionately broader and squatter than those of preceding phases, despite the fact that in shape and design features they show their relationship to the deeper subgroup 1 Shallow Dishes of Phase 6. In this respect they represent a further step in an idea sequence represented by intervening steps in Phases 7 and 8. All Ica 9 Shallow Dishes lack the interior punching that is present in Phases 6 and 7 on the corresponding forms, but is not present on the Phase 8 examples in our sample. The bottoms of Ica 9 Shallow Dishes are even more deeply curved than those of Phase 8 ones. All Ica 9 Shallow Dishes have a prominent basal flange, some with exterior notching. The notching differs from the Phase 6 and 7 notching in detail. Among Ica 9 jars relatable to the Complex Jar tradition there are two standardized subcategories and a variable generalized one. The existence of these subcategories contrasts with Phase 6 Complex Jars, which consist of a single category only. The only large Complex Jar form of Phase 9 is the black Bird Jar, a modified, proportionately broader derivative of the large Complex Jars of Phases 6 to 8, combined with features of the miniature Bird Jars found in graves of Phases 6 and 7. Football-shaped Jars, the second standardized Ica 9 Complex Jar subcategory, are significantly smaller than most Ica 6 to 8 Complex Jars, and their contours show greater modification, including proportionate broadening. In the variable Ica 9 jar category the jars are also relatively small, but with a larger size range than the rest, and an individualized diversity of features in body contours. Some other Ica 9 shape categories also show greater variety in body size than the traditional Ica forms of preceding phases,

E

notably Angular-Rim Dishes and AngularRim Bowls. All vessels of the traditional small standard shapes are thicker walled on the average than in Phase 6. The distinctive thinning patterns of Phase 6 appear to be relatively rare, but there is not enough information on the Phase 9 thinning patterns (cf. chapter II). Most Ica 9 vessels are distinguished from the fancier examples of other Late Horizon styles by being of less careful manufacture and artistry. The only exception is the Flaring Cup, as noted. Traditional Ica bottles are replaced in the Late Horizon by entirely or partly new shapes which are composed of a combination of Inca and Ica-tradition features. They constitute new Ica styles, designated Ica-Inca A and IcaInca B. Imitation Ica-Inca A Lamp Bottles are associated with the Ica-Inca A forms proper. Nasca-Inca Lamp Bottles appear in special contexts. The Cuzco Inca style is imitated at Ica with distinctive local style variations. Some Inca shapes are especially selected for imitation. The most common imitations are of Inca jars with a neck and pointed bottom (Rowe's shape a), Inca plates, and Inca cooking pots. Some provincial Inca imitations appear in distinctive contexts. These forms are provincial Inca plates in the group B category. They are distinguished by incorporating style features of plates and bowls of the Titicaca Basin and the Chincha tradition, as well as the Inca one. Foreign imports of the Cuzco Inca style are rare, and have been found only in one burial, Tk. The same burial is the only one containing foreign imports of the Chimu-Inca style. Imitation Chimu vessels are also found. The Late Horizon is a time of great vogue of antique collecting and the imitation of antiques of the early Ica tradition. This vogue has an incipient antecedent in Phase 7 burial Th-2. There is no evidence of antique collecting in Phase 6. Musical instruments of pottery, notably ocarinas and flutes, are a Late Horizon innovation of unknown inspiration. In contrast to the variety of Late Horizon styles, there is only a single style in the Early Colonial Period. However, this style, Phase 10, is much more heterogeneous than all preceding Ica phases. Phase 10 is a revival style in which most Inca-associated features

THE CLASSIFICATION OF SHAPES

are eliminated, and lea 6, 7, and 8 features not appearing in the Late Horizon styles are revived. The revivalistic features, appearing in an anachronistic mixture of three phases preceding the Late Horizon, the lea 9 style, as well as innovations, explain the stylistic heterogeneity of Phase 10. There are many more optional alternatives in the use of features for particular contexts, and there are many more variations in shape compositions. The lea 10 style is composed of at least 22 to 27 different shape categories, their number depending on the way the contrasts in jar categories are evaluated. This large number of shapes contrasts with the small number of shapes in Phases 6 and 9. There are several reasons for this phenomenon. In some vessel categories, such as dishes and jars, revivalistic shapes are the most common form, but

83

some shapes with lea 9 features occur as occasional alternatives. There is a large-scale elimination of most shapes that have particular Inca associations, including Ica-Inca and provincial Inca shapes. However, the elimination is not absolute, and occasional survivals of Ica-Inca and other Inca-associated shapes occur. In addition, there is a large-scale revival of imitation Chincha shapes of the kind that also appear in lea Phase 8. Large sizes are popular, not only in imitation Chincha forms, but in Ica-tradition forms as well. Most shape categories have a much larger size range than in preceding phases. Most lea 6 shape categories not in use in Phase 9 are revived. The only exceptions are Cambered-Rim Dishes and the various subgroups of Shallow Dishes. As in Phase 9, there is only one subgroup of Shallow Dishes in Phase 10.

Chapter IV.

as

THE ANALYSIS OF DECORATION In discussing the decoration of Late lea pottery it will be convenient to discuss all aspects of each of the phases together. The major headings will therefore be the style phases. They are taken up in the order followed in the previous chapter, beginning with Phase 6. Figures 296-588 illustrate the decorative conventions of Phases 6 to 10. The illustrations are organized by phase, approximately in the same topical order as the discussion in the text, under the headings "design arrangement" and "design patterns and elements." Design patterns and elements are arranged first in the order of the design areas on which they are used, and second as nearly as possible in the order of the classification and discussion of design elements. As with shapes, the organization of the designs is based on the Phase 6 classification, and the later phases are organized in terms of their historical relationship to the Phase 6 conventions. Figures 585-588 are arranged in the form of a developmental chart showing the stylistic changes in the Rectangle design tradition. Photographic plates furnish supplementary evidence for the relationship between shape, design arrangement and design detail.

Phase 6 SUMMARY lea Phase 6 is as homogeneous in its designs as in its shape features. Strict rules govern the use and integration of designs, as well as the details of their appearance. Designs and design arrangements are intimately adapted to the equally rigorous shape standards, with appropriate adjustments for specialized contours and sizes. The vocabulary of designs and their arrangements is relatively small, and there is little individual leeway for departure from a single basic set of rules. Although a single set of design standards governs the decoration of most vessel shapes, some vessels in some shape categories are decorated with special designs and design arrangements. The most distinctive example is the decoration of most Shallow Dishes, which consists of many more conservative features than are present in the rest of the lea 6 style. Quality of workmanship, as well as style details, are remarkably homogeneous all over the valley and in all contexts, in refuse as well

THE ANALYSIS OF DECORATION

as in burials. However, there is a slight range of variation in execution of standard designs. The evidence suggests that some designs were drawn with greater haste than others. The designs with the more hasty execution resemble some of the corresponding Phase 7 designs and most of the corresponding Phase 8 designs in some features, whereas those with the most painstaking execution are most like lea 5 ones. These features are especially apparent in Rectangle designs. A few imitation Chincha shapes in small to miniature sizes have special design features also showing some Chincha influence. Because of its great degree of standardization in terms of a few simple rules and a relatively small vocabulary of designs, the style of Phase 6 can be analyzed in simple terms and its logic is easily perceived. For these reasons Phase 6 lends itself particularly well as a basis for the analysis of the succeeding lea phases which obey more complex systems of standards. Their complexity is graspable only when it is seen in terms of the Phase 6 antecedents.

ANALYSIS IN DETAIL

About two-thirds of the pottery in tomb Th-1 is oxidation-fired redware decorated with painted designs applied before firing. Modeling occurs rarely on these painted vessels (see chapter III). Besides painted redware, the tomb Th-1 lot includes 21 percent of underrated redware and 10 percent of reductionfired smoked blackware. The minority categories are discussed first. Smoked blackware

Blackware occurs in relatively small quantities in the lea tradition from at least Phase 3 on. There is no blackware in the later Middle Horizon styles, so that the use of smoked blackware must have been introduced at some point early in the lea tradition. Neither the Phase 3 to 4 blackware vessels nor the Phase 6 vessels look experimental in terms of firing; the firing is always well controlled. Blackware vessels are carefully made, with thin, even sides, smooth contours, and a well polished, glossy surface (figs. 37, 49, 70, 78, 83, 88, 89, pis. 3, 12, 17). Most Phase 6 shape categories

85

include some blackware. In tomb Th-1 there were five Deep Open Dishes of smoked blackware and some additional fragments (1.1.1.1), one Shallow Dish, subgroup 1 (1.1.3.1.5), a near-identical pair of Cambered-Rim Bowls (1.1.4.1), two Simple Bottles and fragments of at least three more (1.1.6.1), one Complex Jar (1.1.7.1), six Simple Jars and some additional fragments (1.1.8.1, 1.1.8.2), one Flaring Cup (1.1.9.1), and a near-identical pair of small modeled Bird Jars (1.1.11.2). As we shall see in the light of evidence for later phases, the use of blackware was probably particularly common for Simple Jars, and was probably the rule for modeled Bird Jars. On the north coast of Peru smoked blackware was usually decorated by the appropriate techniques of modeling and press molding, in accordance with the tradition of plastic art in that area. At lea, press molding was not practiced and modeling was rarely used. The lea potters attempted to develop other methods of decorating blackware, most of them carried over from the redware tradition. Of 19 whole or partly reconstructed blackware vessels from tomb Th-1, 13 have some sort of decoration and three are plain. The other Th-1 specimens are too fragmentary to show whether they had been decorated or not. The decorative techniques include rare modeling, shoulder fluting, resin painting, and slip painting. Incision is not used as a decorative technique on pottery vessels in Phase 6, though it is used together with resin paint in the decoration of pottery spindle whorls. The only representational modeling in blackware in Phase 6 is in the form of two small near-identical modeled Bird Jars (pi. 20). These modeled bird figures are discussed in the section on jars in chapter III. One of them has traces of red ocher paint on the head and wings. The decorative technique of shoulder fluting on Simple Bottles and Simple Jars is described in chapter III. It is reserved for smoked blackware vessels and vessels that have a plain, undecorated purple slip on the shoulder area in place of a principal design; in other words, shoulder fluting is seen to take the place of painted decoration of the principal design area (pis. 12,16,17). Of the tomb Th-1 vessels, one Simple Bottle and four Simple Jars of smoked blackware are so decorated, together with one Simple Bottle and two Simple Jars of oxidation-

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

fired pottery with a plain, purple-slipped shoulder. The probable antecedent to shoulder fluting is the same one as for the notching of the basal flange on Shallow Dishes. In Phase 3 there is a ractice of creating raised bosses around the ase of dishes, made by pushing out the wall from the inside (cf. chapter HI and fig. 16; Kroeber and Strong, 1924b, pi. 31a). Similar bosses appear in the middle of the body on a pair of archaizing tumblers in a Phase 3 burial from Ocucaje (Kroeber and Strong, 1924b, pi. 31e). The background area for the bosses is invariably painted black, though the bosses are encircled by white rings. On Simple Bottles and Simple Jars, as well as on some dishes in the early lea phases, the shoulder area or middle of the body frequently has the same decorative band without the modeled bosses, as an extension of the same idea (pi. 107). This earlier usage suggests that the notion of making fluted indentations to decorate the shoulder area of smoked blackware or other plain-slipped Simple Bottles and Simple Jars represents a derivative from it. The remaining decorative technique used for blackware in lea Phases 3 to 6 is painting. The highly developed lea skill in decorating oxidation-fired pottery with slip-painted designs probably suggested to the lea potters the idea of painting blackware also. The combination of firing in a reducing atmosphere and smoking, however, is fatal to slip paint applied before firing; the paint comes out looking black or dark gray. Interestingly enough, a pair of miniature Deep Open Dishes from tomb Th-1 was actually decorated with slip-painted designs before firing and was then fired as blackware (1.1.1.1.1; fig. 37; Kroeber and Strong, 1924b, pi. 37k). The painted area can be felt as a slight roughening on the surface and can be seen as a gray sheen in reflected light, but the colors are lost. The lea potters solved the problem of painting blackware most commonly by applying resin paint after firing. The pigments used are mineral ones combined with resin as a binding agent. In many archaeological specimens the binding agent has largely lost its effectiveness and the mineral pigment is powdery and easily rubbed off. Examples with the resin ingredient still preserved occur, however. The resinous pigment is also preserved in a small shell palette from tomb Th-1 (4-5249). At least two colors are used in Phase 6 resin paint, red

P

and yellow. The red is either a vermilion color, probably cinnabar, or red ocher; an irregular lump or the vermilion mineral, about the size of an egg and quite heavy, was found in tomb Th-1. The yellow color probably is that of yellow ocher. The designs on one Deep Open Dish and one Complex Jar where the paint is well preserved are elaborate combinations of somewhat aberrant and unusually patterned Phase 6 designs even more carefully executed than the designs on the fine slip-painted vessels (figs. 83, 390, pi. 3). The practice of painting designs on blackware after firing can be traced back to Phase 3, where it occurs on two specimens in our sample. One is a Shallow Dish with a pattern of red and possibly yellow or white dots on the outside, the design being like one found on the common painted redware of this phase (Kroeber and Strong, 1924b, pi. 35f). Another Shallow Dish has traces of red paint on the surface but no design can be distinguished. Plainware

The word "plainware" is used to refer to unpainted pottery fired in an oxidizing atmosphere. This group includes vessels with considerable differences in surface finish. Most of them are not utility vessels, but a few such vessels also occur (see chapter HI). There are 42 whole or reconstructible plainware vessels and fragments of some ten or more additional ones in the category of fancy ware among the contents of tomb Th-1, i.e. about 21 percent. In addition, there are eight more specimens with minimal decoration, which may be described as almost plain. Six or more utility ware ollas also may be added to the category of underrated pottery. Most plainware vessels from tomb Th-1 consist of small or miniature versions of regular decorated shape categories of fancy ware. These include three Deep Open Dishes (1.1.1.2), three Shallow Dishes, subgroup 1 (1.1.3.1.3; fig. 50), seven Shallow Dishes, subgroup 2 (1.1.3.2.3; fig. 52), nine CamberedRim Bowls (1.1.4.2; fig. 60), one Simple Bottle (1.1.6.2), one Complex Jar (1.1.7.2; fig. 86), three Simple Jars (1.1.8.3; fig. 90), one Flaring Cup (1.1.9.2; fig. 95), and a pair of straight flaring-sided dishes (1.1.11.4.6.2). These specimens are made of the same paste and temper as regular-sized decorated vessels, but the firing atmosphere was less carefully con-

THE ANALYSIS OF DECORATION

trolled, so that most have a dull grayish-brown appearance, some with dark firing clouds on the surface (see chapter II). However, the surface finish is usually the same or nearly the same glossy polish that is used for decorated vessels of regular size. In many examples the shape features are slightly modified to adjust to the smaller sizes, as described in chapter ID, and a few have some additional unique aberrations in shape details (figs. 50,52, 60,86, 90, 95). Also to be included with this group are one miniature Shallow Dish, subgroup 2 (1.1.3.2.3,4-9385J), and two additional flaringsided miniature dishes (1.1.11.4.6; figs. 103, 394). These vessels are plain except for some small black design units on the interior bottom, a decoration confined to such otherwise plain vessels. Two small Cambered-Rim Bowls belong in a slightly different category because of their surface finish and aberrant shape features (1.1.4.4). The surface finish is rough, unpolished, with an irregular surface showing rough scraping and smoothing marks, and horizontal "brush" marks around the upper exterior of the sides. One differs from regular Cambered-Rim Bowls also in that the cambered rim has a narrower molding strip (fig. 63). The other has an aberrant constriction in the upper body and a narrow, everted rim. The latter specimen also has a greater wall thickness near the bottom; that is, the vessel was not as carefully thinned as others. It is possible that both these vessels are unfinished because they were considered to be mistakes. One Deep Open Dish and three CamberedRim Bowls from tomb Th-1 are the only regular-sized vessels other than Cumbrous Bowls and utility ollas, which are also entirely plain. The Deep Open Dish and one of the Cambered-Rim Bowls were left undecorated probably because, like the two small Cambered-Rim Bowls described above, they were considered to be manufacturing mistakes (1.1.1.3, 1.1.4.3). The Deep Open Dish has a clay patch in one side, evidently to cover a crack or error of some kind, and in addition it is unique in having four suspension holes of the kind that should be reserved for Flaring Cups. The Cambered-Rim Bowl is aberrant in shape in being a cross between a Cambered-Rim Bowl and a Cambered-Rim Dish, with an angular shoulder approximately at the center of the body (fig. 62). The molding strip of the cambered rim is incompletely finished, lacking

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some smoothing. Both these specimens were polished but not further decorated.109 Fragments of the other plain Cambered-Rim Bowls do not indicate any unusual shape features. Both have a polished surface (1.1.4.5). In general, it appears that most vessels of regular size which were left unfinished or undecorated were considered manufacturing errors. There are six Cumbrous Bowls of regular size and one oversized one which are plain with a very rough surface finish (1.1.5.1, 1.1.5.2; figs. 65-67). As discussed in chapter III, Cumbrous Bowls have a special history that explains why specimens of regular size in this shape group are often plain with a rough finish. Three smaller, polished Cumbrous Bowls with shape features and surface finish like the fancy decorated ones are also left plain slipped (1.1.5.3). One unique large flat-bottomed flaringsided plate or bowl has only minimal decoration in the form of black unit designs on the interior, in much the same manner that otherwise plain small and miniature dishes do (1.1.11.4.7; figs. 104,395). This specimen has a moderate polish, like the miniature vessels with minimum decoration discussed above. A unique Complex Jar that is round in horizontal section, and an oversized CamberedRim Bowl, also have only a minimum of decoration on a polished surface (1.1.4.7,1.1.7.3; figs. 64, 304). Both the round horizontal section and the great size of these vessels are unusual shape features. Minimal decoration on such vessels appears to have been a device of Phase 6 potters to deal with problems involving unusual shape features. Two small modeled vessels can also be included in the plainware category, although both have some small elements of painted decoration (1.1.11.3). One of them is a small figure shown carrying a utility jar or burial urn with a tump line (4-5234). The other is a small human figure with a jar neck in the back, a modeled head, modeled arms that are now broken and partly missing, and a pear-shaped body (4-5167). These pottery figures can be grouped with the plainware because they have a rough, matte, only slightly smoothed surface 109. One other Deep Open Dish from tomb Th-1 is incompletely finished (4-9383E). On this vessel the standard design areas are indicated by the correct background colors and some outlining, but the rest of the decoration was not added. The reason why the decoration on this vessel was not completed is not apparent.

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

finish and are quite thick walled, showing that not much effort was made to thin the walls down to standard thickness. These vessels can probably be regarded in the nature of toys or experiments in modeling. Both have some black, red, and white slip paint about the head to mark representational features, but the paint is poorly preserved and dull. The figure with the pear-shaped body and jar neck in the back has a "black" (i.e. dark gray) plain slip covering the body.

Painted redware As noted, about two-thirds of the pottery in tomb Th-1 is oxidation-fired and painted before firing. There is great standardization in the areas covered with design, in the use of colors, in design arrangement, and in design patterning and the elements used. Most exceptions to the standard rules show relationships to another lea style phase or a neighboring style, and the rest probably would also if we knew more about the archaeology of neighboring areas. It will be convenient to discuss the features of standardization in the order in which they are named above. Areas covered with design. All Deep Open Dishes, Cambered-Rim Dishes, Shallow Dishes in subgroups 1 and 2, some Shallow Dishes in subgroup 3 and related Tiered Dishes (subgroup 4), and the Flaring Cups are decorated from the base angle or flange to the lip or cambered rim base, or to about 0.5 cm. below the lip, on the outside of the vessel (pis. 1-8, 18, 19). The area covered varies with the height of the base angle or hip as well as with the total height of the dish. The decoration of lips and cambered rims varies with the width or the design area, and the thinned lips of Shallow Dishes are sometimes covered only with the red slip base or a black line. The inside of the rim on dishes is also decorated, the width of the decoration varying with the contours of the respective shape categories. The decorated area is widest on Shallow Dishes and Flaring Cups (3 to 4 cm.), and narrowest on Cambered-Rim Dishes (about 1.25 cm.). The differences depend on the structure of the body. All rounded, restricted body shapes, including Simple Bottles, Simple Jars, Complex Jars and Cambered-Rim Bowls, are decorated down to a point below the middle of the height

of the body, as are Drum Bottles (pis. 9, 11, 13-16, 21). In addition, Drum Bottles have a special decoration of the drum ends (cf. chapter HI). The decoration of Complex Jars follows the same rule as that of simpler restricted body shapes, but since Complex Jars have a higher shoulder the decoration goes further below the shoulder and extends to the point where the body contracts toward the bottom (pis. 14, 15). As a result, part of the lower decoration is not clearly visible if the vessel is viewed from above. This lower part is decorated with horizontal black and white striping in place of principal designs. In addition, Cambered-Rim Bowls have a design on the cambered rim and a narrow banded area on the upper inside of the mouth, like Cambered-Rim Dishes which have the same rim shape feature set (pi. 9). Simple Bottles have the entire outside of the neck decorated, as well as the inside of the flaring rim (pi. 11). Handles are decorated as well. Simple and Complex Jars also have the outside and upper inside of the neck decorated. Cumbrous Bowls are exceptional as a Phase 6 vessel form in having no outside decoration (pi. 10). Instead, when they are decorated at all, they have a design on the interior rim or the entire inside of the surface. This treatment continues an older tradition and is appropriate besides, for the outside of the bowl is not usually visible from above because of its ovaloid or paraboloid profile. A pair of inflected flaring-sided dishes has rim decoration in the manner of Cumbrous Bowls, evidently because of their resemblance to decorated Cumbrous Bowls in the profile of the sides (1.1.11.4.5; fig. 101; for comparison, see fig. 69). Use of colors. The colors used for painting redware are red, black, white, and two forms of purple. All painted vessels are slipped first, and sometimes the designs are placed directly on the unpigmented slip, so that the slip color sometimes functions as an extra design color. None of the pigments has been analyzed chemically. In discussing the colors reference will be made to Maerz and Paul's Dictionary of Color (1930). An explanation of their system of color classification may help to make my comments more intelligible. They provide eight plates of color samples for each series in the spectrum, as follows: 1. Red to Orange. 2. Orange to Yellow. 3. Yellow to Green. 4. Green to Blue-

THE ANALYSIS OF DECORATION

Green. 5. Blue-Green to Blue. 6. Blue to Red. 7. Purple to Red. As Maerz and Paul explain: In each of these groups, all the colors that intervene between the stated terminals are found on a single color plate, grading, by small degrees, from the full strength of the colors into white. Each group is given eight successive plates; the first plate is full purity; the seven following plates over increasing amounts of gray until the colors approach b l a c k . . . . It was. . . found necessary to use two Red; in this case, owing to the nearness of the colors in hue, the two subdivisions appear in one group, called above, briefly, Red to Orange, but really a purplish Red to Red to Orange. 110 Maerz and Paul also define the three qualities that enter into the definition of a color, as follows: "Hue is that attribute of a color by virtue of which the normal eye perceives it as differing from White, Black, and Neutral Grays. Value is that aspect of a color by virtue of which the normal eye perceives it as holding a position in a light-to-dark scale. Purity is that attribute of a color by virtue of which the normal eye perceives, in addition to hue, the presence or absence of gray." 111 Each plate has the extreme hues in full value of each spectrum range in opposite corners of the plate. If, for example, the spectrum range is Orange to Yellow, full value orange will be in the rectangle in the lower left-hand corner of the page, and full value yellow in the upper right-hand corner. Each plate has twelve rectangles on each side (144 on the plate). The hue represented in the upper right-hand corner loses color horizontally right to left. This means that the upper left-hand corner of the plate lacks color, and the corner rectangle is white or gray, whereas the lower right-hand rectangle has both colors represented in full value, mixed. In between various mixtures of the spectrum colors occur, in various stages of purity depending on the plate location in the eight plate purity scale. Any one rectangle rarely matches the color of a pottery specimen perfectly. However, the resemblance is usually close enough so that a color sample can be found which gives a reasonably good idea of the appearance of the color specimen. Some of the difference is due 110. Maerz and Paul, 1930, p. 3. 111. Maerz and Paul, 1930, p. 10.

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to the difference in surface texture, texture affecting the appearance of the color to the eye. It is necessary to screen out neighboring colors in making the comparison, for visual impressions of colors in groups are veiy misleading. I have also found that it is necessary to standardize the source of light and the reflection of it from the object or sample in order to give a consistent evaluation. The most consistent and reliable results were obtained in direct sunlight, the samples held at an angle so that they did not show reflected glare. The color quality of indirect daylight or artificial light varied too much to give consistent readings. The surface color of unpigmented slip on Phase 6 vessels fired in a fairly well controlled oxidizing atmosphere falls into the Orange to Yellow spectrum range of the Maerz and Paul Dictionary of Color. The color always has a strong gray factor, fourth or fifth plate and sometimes up to sixth plate in the eight-plate series. The orange factor is usually strong, the yellow factor almost or entirely absent (Maerz and Paul, 1930, pis. 12-14, A-C Yellow, 8-10 Orange). The slip color is affected by the firing atmosphere and is purer as the vessel is more thoroughly oxidized. The general appearance is of a dusky orange to light tan. The Phase 6 red pigment falls into the Red to Orange spectrum scale. There is always a strong gray factor, ranging from fourth to sixth plate, but with most of the red falling into fifthor sixth-plate gray. Occasionally a specimen may be as pure as third-plate gray, but this degree of purity is rare. Some vessels have as much as seventh- or eighth-plate gray; on these vessels the pigment looks brown. The orange factor is always present in almost full value, whereas the red factor is variable and usually weaker than the orange. The usual appearance of the red is represented by Maerz and Paul's pis. 4-6, F-H Red, 10-11 Orange. The red, like the unpigmented slip, is affected by firing differences. On a thoroughly oxidized vessel the color is purer. Some circumstances of oxidation and firing temperature cause the red pigment and the unpigmented clay to look so similar that they may be indistinguishable in spots. Occasionally a vessel is partly vitrified in firing, causing the same pigment to appear dark brown or black. The "white" pigment is never a true white. Its appearance varies on different vessels but it always falls into the Orange to Yellow spec-

90 POTTERY STYLE AND SOCIETY IN ANCIENT PERU trum range, with varying amounts of these most distinctive characteristic of specular colors in it. Its appearance may vary on the hematite is the usual presence of many small same vessel, perhaps due to firing differences, silvery particles, giving it a glittering appearalthough the white pigment seems to be ance. relatively resistant to firing variations. The Each color has a definite function in Phase 6 whitest-looking pigment has a chalky appear- pottery decoration, and color use follows ance, with no orange at all and a small amount rigorously applied rules. The unpigmented of yellow. The yellowest pigment has a slightly slip is used to cover the entire outside and stronger yellow factor (fourth degree out of usually the upper inside of the vessel and twelve) and a middle amount of orange (sixth serves as a base for further decoration. The degree). It is pure, in that gray is absent or underside of bottle handles and the lower present in very small amounts only. On the inside of vessels is not slipped or at least not Maerz and Paul color charts, the chalky lookpolished, except on subgroups 1 and 2 of ing white is best represented by pi. 10-B-l and Shallow Dishes which are proportionately the yellow-white by pi. 10-D-6. These are the broader and more open. The unpigmented extremes of the range of variation, with most slip sometimes serves a£ background for simshades falling somewhere in between pis. ple designs in black only on special vessel 10-B-to-D-6 and 10-B-to-C-l. This pigment is shapes, and rarely as a background for special the most fugitive in that it disappears or designs on large vessels. smudges before the others do. Its surface Red appears exclusively as a background appearance is markedly matte. color in the lea phases after Phase 1 or 2, and is The black pigment has a tendency to fade, so never used to make designs. In Phase 6 red serves as a background for all principal and that it looks grayish to whitish on some vessels. For the most part its black character is most secondary design areas in most vessel categories (i.e. broad bands, medium-broad well preserved, however. bands, upper body bands on bottles and jars, There is a maroon purple that occurs rarely inner mouth bands on dishes, Cambered-Rim on Phase 6 vessels. It falls into the Purple to Bowls and Flaring Cups, some secondary Red spectrum of the Maerz and Paul color narrow-band borders, and lip or camberedcharts, with red represented in almost full rim designs; see below). White is also used value while purple is represented in varying occasionally as a background color, but only middle strength. It is best represented by for special, mainly secondary, design areas. Its Maerz and Paul's pi. 56-J-5-to-7. This color principal use as a background color is for sometimes looks brown rather than purple, narrow white bands used as borders of prinbut it can be identified as the same pigment cipal design areas, and for handle designs on through context, and because in some exambottles. It is also used as a background for the ples a single color area shows the whole range principal decoration on some Cumbrous of color variation. Bowls, for secondary panels without further An even rarer color is one that we can call decoration on a Complex Jar (1.1.7; 4-9396B), blackish purple. Its source is a mineral pigand on principal design areas of vessels show112 ment, specular hematite. This pigment is ing Chincha influence (1.1.11.4.4,1.1.11.4.5). used to fill in black-outlined areas and can be Black is used as a background for the punched distinguished from the black outline by a and notched flanges on Shallow Dishes in difference in color quality and surface appearsubgroups 1 and 2. More rarely, blade is used ance. The purplish hue appears if it is held as a plain slip or background for secondary against the light. It is too dark to test reliably against the Maerz and Paul color scales. The vertical panels in some design areas (see below). 112. The pigment has been identified as specular hematite by Maroon purple can also be called "lea Lawrence E. Dawson, senior museum anthropologist of the Robert H. Lowie Museum of Anthropology. The identification purple," for it is a traditional lea color, the use was done on the basis of inspection, and by comparing the of which had declined drastically by Phase 6 pigment with a lump of the raw mineral and with experimental times. In Phase 6 it is used exclusively as a samples of specular hematite used as a fired slip. The experiments indicate that there was little or no admixture of day slip plain area color without further decoration, to the mineral, and that the mineral was used in its pure form. either on the fluted shoulder area of a Simple For another reference to the use of specular hematite in slip Bottle and two Simple Jars (figs. 77,87, pi. 16) (Mints, see Shepard, 1956, p. 37.

91 mented surface of some Complex Jars, where broad-band patterning with panel divisions is used in which the principal panels are ornamented with a special pattern of red and white stripes outlined in black (pi. 15). Remaining standard color uses are black and white outlining and striping, and plain black or white slipping. The standard outlining of principal and major secondary red-slipped design areas consists of two black lines with an intervening white one. The main exceptions to this rule are specialized contexts (cf. special narrow red bands, below), and exceptional vessels with old-fashioned decoration surviving in modified form from lea Phase 5 (figs. 321, 322, 380-382). Inner mouth bands are often terminated at the top by a single black line only, and plainslipped red inner mouth bands without further decoration sometimes have only a single black outline at the bottom as well. Narrow white bands usually have a single black outline only wherever they do not adjoin a principal red-slipped area, and secondary narrow red bands have single black outlines only. Alternate black and white striping is used for some Simple Bottle necks, to terminate the principal design area at the bottom on Complex Jars and some Cambered-Rim Bowls, and occasionally as the only decoration on the upper body of large Complex Jars. The narrow cross sides of bottle handles are also decorated with black and white striping. A plain black slip is used to cover the outside of many bottle necks and most jar necks, and most jar and bottle necks have a plain white slip on the interior of the flaring rim. Blackish purple (specular hematite) is a rare pigment in Ica-tradition pottery, but is used regularly in the Chincha style as a design (not a background) color. It appears on only three vessels from tomb Th-1, on each of them also as a design rather than a background color. Two of these vessels have other shape and design features that indicate Chincha influence (1.1.11.4.1, 1.1.11.4.4; figs. 97, 100, 400, 402, pi. 21). One must therefore conclude that the use of this pigment in Phase 6 usually represents Chincha influence. The only example from Tomb Th-1 on which this pigment is used in an Ica-tradition context, without other evidence of Chincha influence, is a Shallow Dish, subgroup 1, decorated with especially conservative Ica-tradition designs (fig. 380). In

THE ANALYSIS OF DECORATION

or, rarely, for secondary vertical panel divisions in broad-band decoration on other vessel shapes (one Complex Jar and two Deep Open Dishes; 1.1.1, 4-9381N, 9382S, 1.1.7, 4-5168). Maroon purple can be surely identified as a distinct color on only these six vessels from tomb Th-1. On these specimens it contrasts both with the red pigment and with the unpigmented slip colors. In some other examples it is not certain whether a pigment of a brown appearance was meant to be red or purple, since both turn brown under certain firing conditions. The decision has to be made by analogy with color use on other vessels where the contrast is clear. The background color, together with the design area, determine the color combinations of the design elements used in the decoration. All principal and some secondary design areas with a red background have a combination of black and white decoration in which the principal elements are black, and secondary filler elements and counter designs are white. This color pattern is used for broad bands, medium-broad bands, upper body bands, inner mouth bands and some cambered-rim and lip bands. Secondary design areas with a red or black background which are used for contrast with principal design areas have special designs in white only. These design areas include secondary vertical panel subdivisions in broad bands, narrow red bands and some related lip bands, and flange bands on Shallow Dishes (see below). In Phase 6, red-slipped surfaces are almost never decorated with black designs only, without white counter designs. The only exceptions consist of rare special design adaptations in inner mouth-band decoration (see below). In another exception, a unique narrow ted band is decorated with both black and white elements, but on this specimen the pattern is reversed, so that the principal elements are white and the secondary elements black (fig. 399, pi. 21). This feature appears on the miniature imitation of a Chincha Collared Jar, and is an adaptation to a Chincha design pattern of principal bands (see below). Secondary design areas with a white background are decorated in black only, and the same applies to most unpigmented surfaces that have minimal decoration (cf. plainware, above). The only exception is the unpig-

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this design a fourth contrasting pigment is required, unlike other Phase 6 designs; the Chincha purple is here evidently used in place of the traditional lea purple, because Phase 6 potters considered lea purple to be only a background color and not a design color. The pigments used for design elements and outlines, and probably the background areas as well, were applied with a brush. An attempt was made in the illustrations to reproduce as closely as possible the execution and thickness of the brush strokes, since both these features are significant from the point of view of chronology. The thickness of brush strokes varies somewhat, being slightly greater on larger-bodied vessels. On regular-sized Phase 6 vessels the lines in design elements are 1 to 2 mm. wide. Outlines for bands and panels are sometimes a little wider. On some vessels the white filler or counter designs have slightly narrower lines than the black designs. In applying the colors, the background areas were painted first. The broadest part of the upper body was painted red, and sometimes the entire surface of the sides was so treated. Bands next to the background areas were painted white on some vessels. Major horizontal outline lines were applied next, and then vertical subdivisions, if any. Then the principal designs were applied in black, and finally the filler and counter designs in white and the white lines between the double black outlines. Polishing marks cover the background areas and principal black designs but are not evident on the white counter designs. This observation suggests that the vessels may have been polished before the final white designs were added. However, when there are designs in black on a white ground, the black again shows glossy polishing marks while the white remains matte, without evidence of polishing marks. Perhaps the inference should merely be that the white pigment resists polishing. Design arrangement. Phase 6 potters had rigid rules for design arrangement which determined what sort of design was appropriate for any given area. The amount of individual variation is small, both in the arrangement of design and in the elements used. The basic units in design arrangements consist of a series of horizontal bands of varying width, the width reflecting the particular area of the vessel surface to be decorated and the purpose for which the band is intended; that is, whether it is a principal or a secondary design area.

The width of the band, as well as its position on the vessel and in the design arrangement, determine the designs that may appear on it. Phase 6 potters adhered strictly to these rules, and when design substitutions were required for special reasons the substitutions were made in terms of the logic of these rules. The widths of the design bands are rigidly standardized, as they had to be to make consistent observance of the rules possible. This standardization is possible in turn because of the standardization of body sizes. On vessels where the body size does not conform to the general standard, or the design area is altered for some other reason, the rules governing adjustments and substitutions go into effect. The principal exterior design bands are designated here as "broad bands." They are characteristically decorated with the designs shown in figs. 296, 298,299, 301,302,308,310, 311, 313-315, 317, 318, 379, 585. Broad bands are the broadest design areas in Phase 6. They are horizontal bands covering most of the body above the base angle or lower part of the shoulder of all Phase 6 shapes except most Shallow Dishes and Cumbrous Bowls (see also pis. 1, 2, 4, 6, 9,11,14,15,18,19). They cover the entire side of dishes and Flaring Cups from the base angle up, discounting secondary border bands or flange bands (see below; pis. 1, 2, 4, 6, 18, 19). On Cambered-Rim Bowls, some Simple Bottles and some Simple Jars they cover the entire side from the lower part of the shoulder to the base of the neck, also discounting border bands when these are used (pi. 9). On most Simple Bottles and Complex Jars broad bands cover an area from the lower part of the shoulder to the top of the shoulder or slightly above the top (pis. 11, 14, 15). Broad bands on standard-sized vessels in all but the large vessel categories usually vary from slightly over 3 cm. to 5.5 cm. in width. When an area 3 cm. or less in width is to be decorated, slightly modified designs are usually used. Such bands are here called "medium-broad bands" (figs. 297, 300, 303, 305, 306, 312, 316, 319-323, 386). Principal designs on broad bands and medium-broad bands cover the entire design area in an over-all pattern. 113 113. There is only one example where a broad band is plain, without decoration other than the red slip. It is the unique Simple Bottle from tomb Th-1 with a slightly larger than normal body size and a modeled neck (pi. 13). The unusual body features may be accountable for the absence of the broad-band decoration.

THE ANALYSIS OF DECORATION

On Complex Jars the principal design area is of necessity broader than 5.5 cm. because of the large size of the vessels. There are various alternative ways in which the lea 6 conventions are adjusted to this circumstance. The most common solution is to subdivide the area into eight vertical panels, with alternating principal decorated and secondary less decorated or plain-slipped panels (pis. 14, 15). Because of the elliptical horizontal section of the body, vertical panels on opposing narrower sides are narrower than those along the broad sides. Both pairs of these shoulder panels are the principal design areas, rectangular in contours and decorated with designs covering the entire surface. Usually the same design pattern is used for both sets of principal panels, but sometimes contrasting designs are used. The intervening secondary panels are narrower and triangular or trapezoidal in outline, their shape serving to take up surface reduction. These secondary panels are sometimes covered with a purple or white slip, lacking further decoration. More commonly, they have a red, black, or unpigmented ground often ornamented with secondary design units that cover a relatively small, central portion of the panel surface. Occasional labor-saving devices are used in the decoration of large vessels with large design areas. One Complex Jar in the American Museum of Natural History has only two opposing broad rectangular panels, with the remaining shoulder areas left in plain black (3.2; AMNH, 41.1/34%). A Complex Jar from tomb Th-1 with the same patterning has the area of the shoulder outside of the principal broad panels covered with a pattern of black and white stripes (1.1.7.5; 4-5138). The Complex Jar that is circular in horizontal section is decorated only with alternating circumferential black and white stripes on the upper part of the body below the neck, probably because its peculiar shape feature made standard decoration difficult (1.1.7.3). Alternating red and white stripes with black outlines are used in rectangular panel areas on some large Complex Jars as a substitute for regular principal panel designs, when these jars have an otherwise unpigmented background (pi. 15). The device of using such striping to decorate principal body areas is used rarely on the smaller standard red-slipped background. On the latter vessels the striping is effected by the even spacing of white stripes on the red ground so that the red spaces have the same

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width as the white stripes; the black outlines are then added (fig. 318, pi. 18). The division of the major design area into vertical panels is also found rarely on the smaller vessel categories, perhaps in imitation of this treatment on the large surfaces of Complex Jars (pi. 11). Vertical subdivisions of the broad-band area into four, six, or eight panels are found on the following vessels from tomb Th-1: seven Deep Open Dishes (1.1.1; 4-9381F, G, N, O, OO, 9382A, S), two small Shallow Dishes, subgroup 1 (1.1.3.1; 4-9385D, E), one small Shallow Dish, subgroup 2 (1.1.3.2; 4-9385C), a pair of Simple Bottles (1.1.6; 4-5143, 5154), and one Flaring Cup (1.1.9; 4-9386C). Since these are vessels with round horizontal sections where the problem of surface reduction does not arise, all the vertical panels are rectangular, thus making possible a greater variation in patterning. As a result there are two alternative methods of varying the decoration on these panels, in addition to the one used for Complex Jar decoration. In one alternate variation of the panel arrangement all the vertical panel subdivisions are decorated with principal designs covering the entire surface, the contrast between adjoining panels being achieved by an alternation of contrasting principal designs (Deep Open Dishes 4-9381G, 9382A, Flaring Cup 4-9386C). In another variation, found only on two Deep Open Dishes in tomb Th-1, the design area is halved horizontally as well as vertically, and principal and secondary design panels alternate in such a way that they form a checkerboard pattern (4-9381F, 0; pi. 2). This device is also used on a large Drum Bottle without associations, where surface reduction is not a problem (Muelle and Bias, 1938, lam. 45b). When secondary panels have a red, black or unpigmented background they are usually further decorated with secondary designs, but when they are covered with a purple slip they have no further decoration. There also is a single example where a white slip is used without other designs to decorate alternating secondary panels on a Complex Jar (4-9396B). In addition, there is one Simple Bottle (49387A) and one Simple Jar (4-5158) on which the effect of vertical division of the broad-band design area is achieved by alternating design units without panel outlines, in which principal units are distinguished from secondary ones by the contrasting use of the color pat-

94

POTTERY ^TYLE AND SOCIETY IN ANCIENT PERU

terns appropriate for the corresponding design areas (figs. 307, 309, 327). Principal broad-band panel designs are invariably painted in black and white on red ground, with the exception of stripes on some Complex Jars, as noted (figs. 308, 314, pis. 2, 11, 14). As noted also, secondary vertical panels have a red, black, or purple ground color on most vessels (fig. 308, pis. 2,11,14). On large Complex Jars they are sometimes left with the unpigmented slip only (pi. 15). Like almost all broad bands, vertical panel divisions are outlined by two black lines 1.5 to 2 mm. thick, with a white line of equal thickness between them, when they adjoin a redslipped area. Striped panels on Complex Jars with an unpigmented background have single black outlines. When a secondary vertical panel is painted black, the solid ground color hides one of the black outlines (pi. 2). Likewise, when tiie red-slipped design area on bottles and jars adjoins the black neck area, the black of the neck takes the place of the outer black line as trimming. About two-thirds of the secondary vertical panels are decorated with "unit designs" (figs. 324-328, 386, pis. 2, 11, 14, 15). This term is used to designate single decorative units used to relieve the plainness of secondary panels, the irregular shape of which on Complex Jar bodies makes them unsuitable for regular repeating design patterns. The use of such single motives also gives a pleasing variety to the compositions. In addition, unit designs are used on rare occasions in place of principal designs on miniatures (figs. 103, 394), rare vessel shapes probably not of local origin (figs. 101-104, 391, 393-395), Cumbrous Bowls (figs. 68, 388, 389), a resin-painted blackware vessel (fig. 390, pi. 3), and, rarely, on ordinary lea 6 shapes of oxidized painted ware in piace of principal designs (one Deep Open Dish, fig. 393; one Simple Bottle, fig. 307; one Simple Jar, fig. 309). The large Cambered-Rim Bowl also has a special design that could be classified with the unit design category. It appears to be an adaptation of an over-all principal design (fig. 304). There are two kinds of unit designs, singleunit elements and composite figures. Singleunit elements appear singly or in rows or columns (figs. 304,328,386,388-391,393,394). Composite figures are more common and more standardized (figs. 307-309, 324-327, 395). They are expandable in size and are the

only unit designs used on Complex Jars (pis. 14,15). They are also frequently used on smallbodied vessels (pis. 2, 11). Single-unit elements are used exclusively on small-bodied vessels (pis. 3, 10). As noted earlier, unit designs are used to decorate secondary panels that are painted red or black, as well as unpigmented ones. No designs are used on secondary panels with a purple or white ground. Unit designs are used on a white ground only in Cumbrous Bowl decoration (pi. 10). Secondary unit designs are distinguished from principal designs by a distinctive color pattern, as well as by their distinctive composition. On secondary vertical panels with a red or black ground they are invariably in white only (figs. 308, 326-328, 386, pis. 2,11, 14). On unpigmented ground or white Cumbrous Bowl surfaces they are painted in black only (figs. 304,324,325,388,389,393-395, pis. 10, 15). There are only three examples that follow a different set of rules. They include an inflected, flaring-sided dish, a Simple Bottle, and a Simple Jar, on which composite unit designs are used in place of principal designs and are therefore executed in black and white on red (1.1.6,4-9387A; 1.1.8,4-5158; 1.1.11.4.5, 4-9389B; figs. 91, 101, 307, 309). Broad bands are terminated at the bottom in three different ways. One way is to use only double black and white outlining, as described above (pi. 2). On the specimen shown in pi. 2 the outline is irregularly applied and overlaps onto the bottom, so that it is only partly visible here. Terminal outlining of this kind is also used for the rare plain-slipped equivalents of broad bands (pis. 13, 16). The second way of terminating broad bands is by the use of an additional "narrow white band," to be described below (pis. 1, 4,11, 18,19). The third way, used only on Complex Jars and some Cambered-Rim Bowls, employs multiple black and white terminal banding (pis. 9, 14, 15). Depending on the size of the Complex Jars, there are from three tofiveblack stripes about 7 mm. wide separated by white stripes of the same width. The white stripes appear to be irregularly wider because they were painted after' the black ones and overiap the latter in some areas as a result of careless, hasty application. This device of terminal banding appears to be an extension of the use of terminal outlining. The enlargement and multiplication of the outlines helps to fill the

95 variation in width independent of body size. Miniature bottles and jars do not have upper body bands because of the small size and more sloping curvature of the sides (figs. 79, 80). There are also three regular-sized Simple Bottles in which the broad-band design goes all the way to the base of the neck (figs. 73,75, 76). Unusually broad upper body bands are used on one unusually large-bodied Simple Bottle with a plain red-slipped broad-band area (pi. 13), and on a near-identical pair of Simple Jars with a fluted shoulder covered with a plain maroon purple slip (pi. 16). Most upper body bands have special design features that distinguish these bands from the principal broad-band designs. There is one example of a plain-slipped upper body band on a large Complex Jar. This jar is characterized by several labor-saving devices in its decoration (pi. 15).

THE ANALYSIS OF DECORATION

larger surfaces of Complex Jars, especially in the area below the shoulder, which is less clearly seen because of the narrowing of the lower body. The use of this kind of terminal banding on some Cambered-Rim Bowls appears to be a secondary adaptation of the Complex Jar pattern. Flange bands are a special device used only in the decoration of Shallow Dishes with punched and notched basal flanges (see oelow). "Medium-broad bands" are principal design areas on vessels of smaller than average size, and sometimes on vessels of regular size where this area is for some other reason narrower than broad bands proper. Mediumbroad bands are decorated either with patterns showing the smaller principal design elements (fig. 586), or with modified broad-band or upper body-band designs. The modified broad-band designs consist of contractions of broad-band designs proper (figs. 297,300,303, 305, 306, 312, 316, 319-323). In many of these bands upper body-band features are used, notably in the form of a single row of principal elements and occasional other features (see below). "Upper body bands" form a special design category adapted for use on Simple Bottles, Simple Jars, and Complex Jars (figs. 329-336). They are a device to facilitate the decoration of the near-horizontal surface from the base of the neck to the top of the shoulder (pis. 11, 13-16). Because of the abrupt contraction of the surface above the shoulder it would be difficult to use standard Phase 6 broad-band designs if a single broad band were to cover the entire surface from below the shoulder to the base of the neck. The upper body band is treated as if it were in a horizontal plane, whereas the principal broad band from the top of the shoulder on down is treated as if it were in a vertical plane, minor adjustments being made in the design for the actual curvature of the surface. Upper body bands are always narrower than the broad band on the same vessel. On regular small-bodied vessels (Simple Bottles and Simple Jars) upper body bands are 2.5 to 3 cm. in width or slightly less. On Complex Jars they may be 5 cm. or more wide, depending on the total size of the jar. There is also some

"Narrow bands" are a standardized decorative device used to border broad bands at the bottom, and sometimes also at the top (figs. 337-350, 403). There are two kinds of narrow bands—primary ones with a white background which are found immediately adjoining the broad bands, and secondary ones with a red background which sometimes adjoin white bands on the outside, chiefly on Flaring Cups. White bands are by far the more common, since they are usually used as the only border bands on all but Flaring Cups. "Narrow white bands" are found on almost all Deep Open Dishes, Cambered-Rim Dishes, and Cambered-Rim Bowls, and on all decorated Flaring Cups (pis. 1, 4,9,18,19). Simple Bottle bodies more commonly lack them, although a few do have this decoration (pi. 11). Simple Jar and Complex Jar bodies lack them entirely. On Deep Open Dishes and Cambered-Rim Dishes white bands are used nearly half the time at both top and bottom of broad bands and with about equal frequency at the bottom only. Only rarely do they occur only at the top. On Simple Bottles white bands are found only at the bottom of broad bands, since upper body bands adjoin the latter at the top. Cambered-Rim Bowls follow the same pattern as dishes, except that the bottom white band is replaced on some vessels by terminal banding, as noted (pi. 9). All Flaring Cups have narrow white bands adjoining both the top and bottom of the broad band, because normally a

96

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

wider body area is being filled with design (pis. 18, 19). Narrow white bands and related "handle bands" (see below) are the only common design areas with a white background in Phase 6. A narrow band with a white background on the molding strip of a cambered rim evidently represents a secondary analogy with narrow wnite bands because of the comparable width of the design area (pi. 4). The white-band designs have to be in black only because Phase 6 potters never used red or traditional lea purple to make design elements. The use of blade on a white background required a change in the usual order of applying the colors, because white was ordinarily the last pigment used. The range of common narrow white-band designs is shown in figs. 337-343. Narrow white bands are almost invariably separated from broad bands by double outlining, whereas they are usually terminated by a single black outline on the other side. Evidently the outlining used to separate white bands from broad bands came to be seen as an integral part of the white-band design, because the second outline was drawn on the area of the white band so that the white background could serve as the middle white outline. Evidence for this view of the whiteband design is seen in a derivative handle band (fig. 377; see below). Occasionally a double outline appears on both sides of the white band (pis. 1, 18). "Narrow red bands" are a rare decorative device used on all Flaring Cups as a supplementary space filler adjoining white bands (figs. 347-350, pis. 18,19). Rarely, a narrow red band is also used above the top white band on Deep Open Dishes and Cambered-Rim Bowls. Both plain and decorated red bands are used. As can be seen by comparing the designs of the decorated bands, some of the same decorative motives are used in narrow white bands and narrow red bands, but there are also special narrow red-band designs (figs. 347, 348). Ordinarily red bands are separated from white bands by a single outline only, in contrast to divisions outlining principal design areas. Narrow red bands are also terminated by single outlines on the outside. Some narrow red bands are plain, lacking further decoration, and these sometimes also lack the black terminal outline band on the outside. There are four Deep Open Dishes and one Cambered-Rim Dishfromtomb Th-1 on which

a narrow band bordering the broad band is technically a red band instead of a white band (4-5204,9381E, L, 9382V, 9383B). However, all these bands have as an added feature white outlines inside the black ones to preserve the proper color scheme (figs. 345, 346). One variant of these bands also has another unique design feature (see below; fig. 345). All dishes, Cambered-Rim Bowls, and Flaring Cups are decorated on the inside of the rim with special bands that I am calling "inner mouth bands." On Deep Open Dishes and Shallow Dishes, which have wide mouths, the inner mouth band is relatively broad. On most Deep Open Dishes, low-sided Shallow Dishes of subgroup 1, and Shallow Dishes of subgroup 2, the inner mouth band is around 2.5 cm. wide, including outline lines. On highsided Shallow Dishes of subgroup 1 it is usually around 3 cm. or slightly more in width. On Flaring Cups the width of the inner mouth band varies greatly with the size of the vessel and the degree of flare of the rim, the range in the sample being 2 to 3.8 cm. Cambered-Rim Dishes and Cambered-Rim Bowls have of necessity narrower inner mouth bands, since the inner profile of the rim is only about 1.5 cm. wide. In more than half of the open dishes and Flaring Cups with the wider inner mouth bands, and in all but one of those with a narrow one, the band is plain red with single black or double black and white outlining. The rest of the wider inner mouth bands are decorated with a special vocabulary of designs provided for this area (figs. 353-365). The usual inner mouth-band designs are painted in black and white on a red background (figs. 353-360, 362). A few are done in black on the unpigmented slip (figs. 363-365). The latter technique is used exclusively for "fringe bands, ' however, and there is no bottom outline (see below). In some rare examples, inner mouth-band designs with aberrant design features are painted in black on red only, without white counter designs (fig. 361 and border elements in fig. 360). Not uncommonly, inner mouth bands are subdivided vertically into panels, alternately plain and decorated, probably by analogy with the vertical divisions of broad bands (fig. 362). As in broad-band designs, however, some small simple designs are used about half the time as token decoration on secondary panels.

THE ANALYSIS OF DECORATION

These secondary designs are called here "fringe bands" because they consist of small elements, usually step elements, pendent from the lip, which resemble a fringe (figs. 362-365). These fringe bands are also present occasionally without any other design, running continuously around the rim. Fringe bands are also used in the decoration of Cumbrous Bowls, by analogy with inner mouthband decoration (fig. 387, pi. 10; see below). Flattened lips and the exterior surface of cambered rims are decorated with special lip or rim-band designs. The designs for flattened lips are shown in figs. 366-368 and pis. 1,2,18, 19, and those for cambered rims in figs. 368-373 and pis. 4, 9. The design shown in fig. 368 is found on both flat lips and cambered rims (pis. 2, 9). The surface of the cambered rim of the large Cambered-Rim Bowl (fig. 64) is decorated with an upper body-band design in a special adaptation to the greater width of the rim band (like fig. 333). The thinned lips of Shallow Dishes are commonly decorated with cross striping, like most of the flat lips of Deep Open Dishes and Flaring Cups (like fig. 366; pis. 5, 6). As noted earlier, thinned lips often also lack special decoration, however, being covered either with the red slip that covers the entire upper body or with a simple black line. Bottle handles are decorated with variants of narrow white bands which have in part their own vocabulary of designs (figs. 374-377, pi. 11). Handle bands are of about the same width as narrow white bands and share with them the color pattern of black design elements on a white ground. Some designs also resemble white-band designs (fig. 375). However, the most common handle-band designs have an independent history and are derived from special handle designs of the earlier lea phases (fig. 374 and pi. 11). Phase 6 handle bands are usually outlined symmetrically with single or double black outlines, and all handles have brief, transverse black striping along the sides (pis. 11, 13). One Simple Bottle handle is decorated with a narrow white-band design proper in place of the special handle designs (fig. 377). This design substitution is of particular interest, because the band is decorated with a double outline on one side and a single outline on the other. The transfer of this asymmetrical outlining pattern of white-band decoration fur-

97

nishes evidence that the patterning rules governing the separation of broad-band and narrow-band decoration came to be viewed by the Phase 6 potters as an integral part of white-band decoration. This view of whiteband patterning is subsequently perpetuated in entirely different contexts in the Late Horizon (figs. 461, 463, 465, 500). A miniature imitation Chincha Flask with an lea bottle neck and a small bottle handle has a unique handle-band design. This design has antecedents in the earlier lea tradition as a general band design (fig. 398; for comparison, see fig. 518). Bottle necks are decorated in two different ways. One is by horizontal striping consisting of 0.75 to 1.25 cm. wide bands in alternating black and white color (pi. 11). The bottommost black band forms part of the scheme of outlining for the red-slipped design area below. The alternative method of decoration is to paint the neck solid black (Kroeber and Strong, 1924b, pi. 36 o). The inside of the flaring rim, down to the point where the neck becomes tubular, is always painted plain white (pis. 11, 13). Jar necks are solid black on the outside in virtually all known Phase 6 examples (pis. 14-16; Kroeber and Strong, 1924b, pi. 36c). The only exception is a Complex Jar in the Museo Nacional de Arqueología y Antropología of Lima, which is decorated with horizontal black and white striping like many Simple Bottle necks (Muelle and Bias, 1938, lám. 46a). The inside of jar rims is usually also plain white slipped, but one Complex Jar neck in tomb Th-1 has a plain red-slipped inner mouth band instead. The inner mouth band may have been used by analogy with the standard decoration of this area on Deep Open Dishes and Flaring Cups, which have similar forms, or possibly as the modified survival of a characteristic earlier lea usage. The Complex Jar illustrated by Muelle and Bias has a medium broad-band design in that area. A larger sample is clearly needed, but a plain white slip is the customary decoration. Some Phase 6 vessel shapes have special >atterns of decoration that distinguish them rom the other vessel categories of this phase. These include Shallow Dishes, Cumbrous Bowls, Drum Bottles, various vessel forms that

Í

98 POTTERY STYLE AND SOCIETY IN ANCIENT PERU probably reflect Chincha influence, and ob- the Shallow Dish, subgroup 3 pattern (pi. 8; Menzel, 1967, fig. 44). vious imitations of Chincha shapes. The relative conservatism of Shallow Dish Most Shallow Dishes in the sample have decoration is also displayed by an alternative decoration that follows special rules not pattern on a high-sided Shallow Dish, subshared by the other vessel categories. Much of group 1 from tomb Th-1. On this vessel the the Shallow Dish decoration has conservative principal design area on the outer sides is features of the earlier lea phases which do not divided vertically instead of horizontally, into survive in the decoration of other Phase 6 four blocks of alternating narrow vertical shapes. In the most common Shallow Dish design bands. Most vertical bands contain design pattern the principal design area, conservative survivals of early lea designs which covers the outer sides fromflangeto lip, (figs. 380, 381). The vertical banding pattern is is halved horizontally, resulting in two "half also a standard arrangement of the earlier lea bands" without vertical subdivisions (pi. 5). phases (pis. 103, 104). The lower one of these half bands is usually Shallow Dishes also differ from other Phase plain slipped without further decoration, the 6 vessel categories in that some pieces in all upper one is decorated with special designs shape subgroups except the Tiered Dishes are not found on most other vessel categories. decorated only with a plain polished red slip This patterning represents a relatively con- covering the outer sides and inner rim, finservative survival from early lea Shallow Dish ished only with two black outlines. One outdecoration. On large, high-sided Shallow line covers the lip and top of both sides of the Dishes of subgroup 1 the most characteristic rim, and the other terminates the inner half-band design is the Bird Meander (fig. 378, mouth-band area at the bottom. pi. 5). Only one example of the Bird Meander Inner mouth bands are plain on all but three as half-band design appears in tomb Th-1, but of the decorated Shallow Dishes in the sample. fragments from surface collections at Phase 6 One exception is a high-sided Shallow Dish of sites show this to be a standard half-band subgroup 1, which is decorated with a fringedesign on such dishes. On one small Shallow band design (4-9385A). The fringe band has a Dish of subgroup 2 from tomb Th-1 (fig. 51) special distinction, in that there is a second more conservative early lea designs survive. fringe band pendent from the bottom outline These include special diagonal step designs in of the inner mouth band, in addition to the one the upper half band (fig. 383) and a row of endent from the top outline. A straight black unit designs in the lower one (fig. 384). aring-sided dish is also decorated on the Decorated Shallow Dishes in subgroups 1 and inner rim with an elaborated fringe-band 2 have a glossy polished surface finish and a pattern, but one that is unique (1.1.11.4.6; fig. red slip covering the entire outer surface of the 102). This pattern consists of four adjoining sides and the inner mouth-band area (pis. 5, rows of fringe bands in black and white on red 6). forming an over-all inner mouth-band design The decoration of low-sided Shallow Dishes (fig. 392). The multiplication of fringe bands of subgroup 3 is a simpler variant of the on the inner mouth-band area on this vessel jattern of decoration described above on a less and the Shallow Dish are evidently adaptaancy vessel category. In this variant the lower tions to especially wide inner mouth bands half of the sides remains unslipped, the upper (see also straightflaring-sideddish and Cumhalf is decorated with an unoutlined red slip brous Bowls, below). band covered with a row of carelessly daubed "Flange bands" are a special device used to small white dots (pi. 7, fig. 385). On these decorate the exterior of the punched and vessels the surface is matte, unpolished, fin- notched flange of Shallow Dishes in subished only with horizontal "brush" marks, groups 1 and 2, as noted earlier (pis. 5, 6). and there is no inner mouth band on the rim Range bands are black, covered with a row of interior. The decoration of Tiered Dishes small white dots. This pattern of use and (Shallow Dish, subgroup 4) represents a modi- design is the modified continuation of a Phase fication of the Shallow Dish, subgroup 3 3 convention in the decoration of the lower design pattern. In this design a glossy red slip portion of dishes, which does not survive on covers the outside and interior rim, but the other Phase 6 vessel forms (for comparison, row of white dots on each tier maintains part of see pi. 107). The special red-slipped design

S

i

99 outlining at the top and bottom, and a fringe band pendent from both the top and bottom outlines. As the center of the bowl below the outline band has an unpigmented surface, the lower fringe band is in plain black without white dots, following the Phase 6 color conventions (1.1.5.5). Some Cumbrous Bowls with a mediumfine, smooth, but matte surface finish have a different pattern of decoration (1.1.5.4; pi. 10). Here the entire inside is covered with a white slip and is then quartered by black lines. The black lines are so patterned that two of them cross in the center atrightangles; then sets of two or three black-line angular figures resembling chevrons are added in each quarter, so that the two arms of each figure are parallel to the central cross, forming a block of five or seven parallelfinesin each radius. A large unit design in the form of a fish is added in the center of each quarter. There also is a fringe band pendent from the rim outline in each quarter (figs. 387-389). The entire design area is terminated at the rim by double outlining. All designs are in black only, in keeping with the Phase 6 color conventions. A flat-bottomed flaring-sided plate or bowl with adapted Cumbrous Bowl decoration has an unpigmented orange interior further decorated with a plain black fringe band pendent from the rim outline, and standard black composite unit designs scattered over the rest of the inner surface (1.1.11.4.7; figs. 104, 395).

THE ANALYSIS OF DECORATION

band used to decorate the upper half of the side of Shallow Dishes in subgroup 3 and the surface of Tiered Dishes appears to be a secondary adaptation of theflange-banddesign (pis. 7,8). In another, unique, adaptation, a black flange band is used in Phase 6 to decorate the narrow side seam of the small imitation Chincha Flask (figs. 98, 397). Four vessels from tomb Th-1 in Shallow Dish subgroups 1 and 2 follow the more eneral design conventions found on other hase 6 vessel categories. Even on these vessels, however, the patterns have some exceptional features. One large Shallow Dish, subgroup 1, is decorated with a regular broad band without horizontal halving. However, the design used is the same special design usually used for half bands (pi. 6, fig. 379). For another example, see Schmidt, 1929, fig. 321-2. Two small Shallow Dishes in subgroup 1 and one in subgroup 2 have a regular broadband design. The broad bands have vertical panel subdivisions decorated for the most part with standard designs of the kind also found on other Phase 6 vessel forms. However, the unit designs in the secondary panels of two of these dishes have unique features (fig. 386).

P

The straight flaring-sided dish has a unique decorative pattern (1.1.11.4.6.1). The outer surface of the sides is covered with a plain black slip and columns of bird unit designs at widely spaced intervals, in the manner of secondary panels. By contrast, the inner mouth band has over-all decoration in the form of a unique elaboration of the fringeband design, as described above (figs. 102, 391, 392). This patterning was probably invented as an adaptation to this aberrant, more open dish shape, giving, as it does, greater emphasis to the inner surface of the sides and lesser emphasis to the outer one. Decorated Cumbrous Bowls also have special patterns of decoration. All these bowls are decorated on the inner surface only, in keeping with the old Cumbrous Bowl tradition. Bowls with a fancy polished finish, which are of slightly smaller size than the rest, have most of the interior sides decorated with the equivalent of an inner mouth-band design that is slightly broader than those on dishes and Flaring Cups (4 to 5 cm. wide; fig. 69). This band is plain red, with double blade and white

There is one other flaring-sided open dish category with interior decoration in Phase 6, which is also discussed with imitation Chincha shapes in chapter HI (1.1.11.4.5). It differs from the other flaring-sided dishes in having sides with inflected contours which resemble the fanciest Cumbrous Bowl contours (fig. 101; for comparison, see fig. 69). The decoration is for the most part in the lea style and is patterned to some extent after that of decorated Cumbrous Bowls, evidently by shape analogy. As in Cumbrous Bowls, the principal decorative area is confined to the interior sides. This area may be described as a modified broad band decorated with unit designs. The lower sides and interior bottom are unpigmented, as in Cumbrous Bowls. On one vessel the exterior sides are also unpigmented, but on the other example the outside is decorated with a broad, plain white band terminated with double outlining, a unique decora-

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

tion related to white-slipped principal design areas of the Chincha style (4-9389B).

adaptations of standard Phase 6 designs or are decorated with special designs. These shapes are basically foreign to the lea tradition. Most Drum Bottles are decorated with the equiv- of them show some relationship to shapes of alent of broad-band designs adapted to the the Chincha style. A small canteen-shaped special body shape. The decoration covers the imitation Chincha Flask has each round surupper part of the body to below middle height, face treated like a broad-band area, decorated as on Simple Bottles and Simple Jars, if the with a broad-band design (figs. 98, 3%). The vessel is seen as a bottle shape with the neck narrow side seams are compared to a Shallow up. As noted in chapter HI, the round "drum" Dish flange and are painted accordingly with a ends of the body are decorated with special black band and white dots, but without the black and white sectioning and a frame of modeled features (fig. 397). The neck is treated black lines indicating lashings of the drum like a Drum Bottle neck, and the handle is a head. The principal design field on one of the standard Phase 6 bottle handle with the cortwo small Drum Bottlesfromtomb Th-1 covers responding white-band decoration. The a single continuous area from the base of the white-band design is unique, however, with neck to the lower part of the shoulder, in the especially conservative features (fig. 398). manner of some small Simple Bottles and Among other minority shapes, an imitation Simple Jars with very sloping upper bodies Chincha Collared Jar is decorated in analogy (fig. 96). On the other specimen, also of minia- with multiple banding as found on the corture size, two principal broad bands on either responding Chincha-style vessels (pi. 21, figs. side are separated across the top by what was a 97, 399; for comparison with the correspondwhite-slipped band of some kind (fig. 99). The ing design pattern at Chincha, see Kroeber decoration is poorly preserved. However, a and Strong, 1924a, pi. lib). similar pattern appears on the larger example Two incurving bowls that represent another illustrated by Putnam (Putnam, 1914, pi. imitation Chincha form are decorated with the XV-13). On this specimen there are evidently equivalent of a broad-band design on the three principal adjoining broad bands with the outside (1.1.11.4.4). Hie design is an adaptacorresponding designs, one on each side and a tion from Shallow Dish designs combined contrasting one across the top of the vessel. with some Chincha-style features (figs. 100, These broad bands are done in the manner of 401,402). One of these bowls has in addition a vertical subdivisions of large design areas, but uniquely conservative white-band design at they are disposed horizontally if the vessel is the top of the design area (fig. 403). viewed neck up. Two miniature modeled bottles of unknown The large Drum Bottle illustrated by Muelle antecedents which represent striped fruit are and Bias shows another adaptation of broad- decorated with a design pattern intended to band patterning (Muelle and Bias, 1938, lam. highlight the natural features (figs. 105, 106; 45b). On this specimen the entire design field Kroeber and Strong, 1924b, pi. 37b). The decois sectioned into a checkerboard of square ration consists of a red-slipped narrow end, panels in which principal decorated panels horizontal black striping on a white slip on the and secondary plainer ones alternate, as in a rest of the sides, and a special circular design standard minority pattern on other lea 6 vessel on the broad end. forms (cf. pi. 2). Both die parallel broad bands and the checkerboard pattern on Drum Bottles On rare occasions principal design areas of are variations of vertical panel divisions in Phase 6 vessels have an unpigmented backstandard broad-band decoration. round instead of a red-slipped one. This Both large Drum Bottles illustrated by ackground is generally used for special purPutnam and by Muelle and Bias have the pQses only and is decorated with special principal design area terminated at the bottom designs. Unpigmented ground is reserved by a narrow white band. On the miniature primarily for very large vessels, miniatures, Drum Bottles from tomb Th-1 the design area and shapes at variance with standard Icais terminated at the bottom by simple black tradition ones. These are vessels that for and white outlining. Handle and neck decora- reason of their size or shape are difficult to tion follow Simple Bottle conventions. decorate in the more conventional way (cf. plainware, above). As noted earlier, the unSome other minority shapes have special pigmented surface is decorated either with

f

THE ANALYSIS OF DECORATION

black unit designs only, or, on very large or aberrantly shaped Complex Jars, with a pattern of black and white stripes or red and white stripes with black outlines (pi. 15). On the Complex Jar illustrated in pi. 15 the surface is not even polished, displaying only a matte "brushed" finish. The unique large Cambered-Rim Bowl has a glossy unpigmented body surface decorated with an abbreviated broad-band design which resembles a unit design pattern in black only (fig. 304). On this vessel the most elaborate decoration is reserved for the broad molding strip of the cambered rim (design as in fig. 333). Clearly, on these very large vessels the scantier decoration is used for the sake of economy. The occasional decoration of otherwise plain miniature dishes with black unit designs was mentioned earlier (fig. 394). The interior of the flat-bottomed, flaring-sided plate or bowl is also so decorated (figs. 104, 395). In addition, there is one Deep Open Dish of standard shape and size with a standard inner mouthband and lip-band design, but with an unpigmented exterior surface decorated only with black unit designs (fig. 393). This example is unique in our sample. On rare occasions inner mouth-band areas on otherwise fully decorated vessels are also left unpigmented. On these specimens fringe-band designs in plain black pendent from an outline band at the top of the rim are used as decoration (figs. 363365). Design patterns and elements. Phase 6 designs, like other aspects of this phase, are highly standardized, with some designs being considered appropriate for some design areas. This situation simplifies description, as the range can be shown by presenting relatively few examples. The designs found are illustrated by brush drawings infigs.296-403,585, 586. In the illustrations as faithful a reproduction as possible has been attempted of the actual appearance and details of the design technique, because minor details of execution not only have chronological significance in the distinction of stylistic changes but also illustrate the difficulties in adapting what is essentially a flat surface technique to rounded surfaces. The rounding of the surfaces is represented schematically on the drawings. The designs are classified in named categories, the commonest being those called "Diamond" and "Rectangle." "Diamond" designs are by far the most

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common and generally applicable design category in Phase 6. Their most characteristic use is as broad-band and medium broad-band decoration (figs. 296-303, 305, 306, 308, 310, 311, pis. 2, 4, 9, 11, 21), and for upper body bands on Simple Bottles, Simple Jars, and Complex Jars (figs. 329-335, pis. 11,13,14,16). They are also used in unit designs (figs. 307, 309,327,328,390,395, pi. 11), and they are the only design category that is occasionally used as a substitute for regular inner mouth-band designs (figs. 360-362). Diamond designs are found correlated with particular design areas. The commonest Diamond design pattern on broad bands is illustrated in fig. 296 and pi. 9. All alternative forms are much rarer. This design is called "Large Diamond with step fillers." The design units are sometimes modified into fish (figs. 301, 302, pi. 4). Large Diamond designs in broad bands are most typically associated with zigzag rows of white step designs between the diamond elements. The design in fig. 302 and pi. 4 shows a unique modification of the step elements in which small dots are appended to straight lines to create a similar effect. Large Diamond designs associated with step fillers are composed either of two concentric black diamonds with a white one between and a central white dot, or of a white one within a black one only, also with a central white dot. The corresponding Large Diamond Fish designs are distinguished in that the outer diagonal arms that constitute the "back" of the figure are stepped (figs. 301, 302, pi. 4). Occasionally Large Diamond designs are used without the white step fillers, and thus may be called "Stepless Large Diamonds" (figs. 303, 305, pi. 21; Kroeber and Strong, 1924b, pi. 36i, k). Stepless Large Diamonds average somewhat smaller in size than Large Diamonds with step fillers, and are spaced slightly closer together. They are usually composed of a white diamond element within a black one only, and differ from the corresponding Large Diamonds with step fillers in lacking the central dot. In one example a Small Square design is substituted for the central Small Diamond (fig. 303; see also Small Diamonds and Small Squares, below). As a result of their smaller size and closer patterning, Stepless Large Diamonds are more easily used for relatively narrow bands, and approach Small Diamonds in versatility of application (see below). Stepless Large Dia-

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

monds are used most commonly as broadband designs, but they also appear commonly as designs for medium-broad bands (Hgs. 303, 305, 306, pi. 21), upper body bands (fig. 334), inner mouth bands (fig. 362), and as elements in special composite unit designs used as principal decoration (fig. 307). They are favorite principal designs on bands that are around 3 cm. wide, just under the comfortable width for broad bands. They are also used for contrast with Large Diamond designs with step fillers in vertical panel subdivisions, either on the narrow shoulder panels of Complex Jars, or in adjoining principal panels on smaller vessels. Some Stepless Large Diamond elements nearly merge with Small Diamonds in appearance. In these examples the technical distinctions consist of a slight size difference and the presence of secondary diamondfiguresin the center of Large Diamonds, whereas central dots or crosses are used in Small Diamonds (compare figs. 305 and 308, for example). On small-bodied vessel shapes, that is, Deep Open Dishes, Cambered-Rim Dishes, Cambered-Rim Bowls, Simple Bottles, Simple Jars, and some rarer shapes, Large Diamond designs classified as broad-band designs generally consist of two to three horizontal rows of full-sized Large Diamond figures, in addition to the border elements (pis. 4,9,21, figs. 2%, 301-303, 305; Kroeber and Strong, 1924b, pi. 36d, g, j, o; Schmidt, 1929, fig. 323-4). Occasionally there may be an additional row or two, mainly when Stepless Large Diamonds are used. Larger vessels (mainly Complex Jars) have the principal vertical panels decorated with multiple horizontal rows of Large Diamonds, the number of rows depending on the space to befilled(Muelle and Bias, 1938, lams. 45b, 46a). Most Diamond broad-band designs have half-diamonds in black with white counter elements terminating the bands at the top and bottom. Special Large Diamond patterns are the customary decoration for upper body bands on Simple Bottles, Simple Jars, and Complex Jars (figs. 329-333, pis. 11,13,14). In contrast to broad-band designs, upper body bands have only a single horizontal row of Large Diamond figures which are generally larger than broad-band Diamond figures, their size depending on the width of the upper body band. As on broad bands, the Large Diamonds

may occur in plain or fish form. These Large Diamonds are the same kind as those used with step filler designs in broad bands (figs. 329-331, 333, pi. 14). In addition, a special Large Diamond figure is used for upper bodyband decoration, in which each Large Diamond is subdivided into four Small Diamonds placed in each corner of the Large Diamond frame (fig. 332, pis. 11,13). This form is called here "Composite Large Diamond." Large Diamond designs in upper body bands also have special border elements that differ from the border finish in broad bands. These border fillers are always all white and consist of three variants of half-diamond figures. The border fillers shown in figs. 329332 and pi. 11 are the most common ones on small Simple Bottles and Simple Jars. Border fillers shown in fig. 333 are generally used for the wider upper body bands, typically those of Complex Jars. They are also used for the upper body band on one larger than normal Simple Bottle body (pis. 13,14). Upper body bands are never decorated with white step fillers of the kind associated with Large Diamond broadband designs, although one kind of border filler has a similar appearance (figs. 329, 331). The only broad-band designs proper that have been found as substitutes for upper body-band designs on rare occasions consist either of a single row of Stepless Large Diamonds with broad-band border elements (fig. 334), or of a Small Diamond pattern (fig. 335, pi. 16). Figure 336 shows a unique example in which an abbreviated Rectangle Fish pattern is used as upper body-band decoration on a Simple Bottle of smaller than average size and aberrant shape features (fig. 74). The designs in figs. 335 and 336 are associated with other special design features (see Small Diamonds and Rectangles, below). Large Diamond designs are also the usual decoration for medium-broad bands. Like upper body-band designs, they generally consist of a single row of Large Diamond figures, the single row being the principal feature that distinguishes them from broad-band designs (figs. 297,306). More rarely, upper body-band designs are used instead (fig. 300). It is evident from these varied substitutions that mediumbroad bands represent special adjustments to space problems and not an accepted design standard. There are also two examples of relatively

THE ANALYSIS OF DECORATION

narrow broad bands in which border elements borrowed from upper body-band decoration are used as a special modification through analogy (figs. 298,299). Both examples appear on Simple Bottles where corresponding upper body bands also occur (cf. figs. 329, 331). Evidently the substitute border fillers for the broad bands here suggested themselves to the potters because these fillers furnished a pleasing match to the upper body band on the vessel. In one of these broad bands a single row of "Stepped Large Diamond" figures is used, a form employed occasionally when a larger than average Diamond figure is sought (fig. 299; see also unit designs, below). Figure 304 shows a unique Large Diamond Fish design pattern found on the equally unique large Cambered-Rim Bowl (fig. 64). This design pattern represents a special adaptation to the oversized design area and is painted in black on the unpigmented slip. The designs shown in figs. 319 and 320 consist of special adaptations of the step line fillers of Large Diamond broad-band designs, without the Large Diamond figures. This design is used for medium-broad bands. These are the only two occurrences of this kind of design in the sample, both appearing on Deep Open Dishes. One of these medium-broad bands has substitute upper body-band border elements, like some other medium-broad bands (fig. 320). On three Deep Open Dishes special Large Diamond patterns are used in place of more standard inner mouth-band designs (figs. 360, 361). In all three examples the pattern is a unique modification of upper body-band designs, the chief modification being the use of all-black border elements and, in two examples, all-black principal designfiguresas well. This violation of the Phase 6 color code is evidently used here to distinguish the design from upper body-band designs proper. Rarely, "Tailed Squares" are used instead of Large Diamonds as broad-band designs, but no example is present in the sample from tomb Th-1. For a description of Tailed Squares, see composite unit designs, below. A variant of the Large Diamond forms described above is the "Small Diamond" (figs.

103

308-311, 327, 335, 395, pis. 2,11,16). It is the same figure that is used as the interior filler element in Large Diamond designs. In the Small Diamond patterns, the diamond figures are smaller, placed closer together than the Large Diamonds. As principal designs Small Diamonds have a central white dot or, more rarely, a central white cross. In broad-band or anel designs they always occur in multiple orizontal rows of more than three (pis. 2,11). They are never associated with step fillers. In their most characteristic form as principal designs they are done in black with white centers on the red ground, but in rare broadband patterns white elements without central dots are used in imitation of border elements in upper body bands (figs. 310, 311). Small Diamonds without central dots are also commonly used in secondary composite unit designs (fig. 327, pi. 11; see below). Small Diamonds are the most versatile of Phase 6 designs and seem to be used whenever the size of an area is inconvenient for one of the other designs. The advantage of Small Diamonds lies not only in the small size of the figures, but also in the ease with which the figures can be patterned to make a larger composition (figs. 309-311, 395). No other Phase 6 design is treated with the same flexibility. The main function of Small Diamonds is based on this quality. They serve as a form of "reserve" units, to be used as occasional substitutes for almost all smaller design units, to add variation to regular patterning, or as a device to contrast vertical panels in broad bands. Significantly, Small Diamonds have not been recorded in their unpatterned form as continuous designs in broad bands without vertical subdivisions. In their unpatterned form, Small Diamonds are used most commonly for vertical panel subdivisions in broad bands on Deep Open Dishes, Simple Bottles, Simple Jars, and Complex Jars (fig. 308, pis. 2, 11). Usually these panels alternate with secondary panels decorated with unit designs, but on two Deep Open Dishes they alternate with vertical panels decorated with other principal designs (4-9381G, 9382A). Unpatterned Small Diamonds also are found as substitutes for upper body-band designs proper on two Simple Bottles and two Simple Jars in tomb Th-1 (4-5142, 5148, 5150, 9387C; fig. 335, pi. 16; Kroeber and Strong, 1924b, pi. 36 o). Three of the latter examples occur on bodies where the

E

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

shoulder area, which ordinarily carries the principal broad-band decoration, is decorated only with a plain purple slip and fluted indentations (pi. 16). The Small Diamond design is here evidently chosen deliberately for me upper body band to relieve the effect of plainness of the shoulder area and furnish a substitute for the principal design. In these examples the upper body bands are also slightly broader tnan others on Simple Bottles and Simple Jars of standard size. Except for a single occurrence of a Stepless Large Diamond pattern and a unique Rectangle design on a unique small Simple Bottle shape, Small Diamonds are the only design that is used as a substitute for regular upper body-band decoration. On two small Shallow Dishes of subgroup 1 they are used as substitutes for regular inner mouth-band designs in vertical subdivisions, alternating with plain panels (1.1.3.1.2). An interesting special use of Small Diamonds is as elements in larger composite patterns. Two kinds of such patterns occur, namely composite unit designs (to be described below), and composite broad-band patterns (figs. 310,311). Composite Small Diamond broad-band patterns are rare. There are only two examples from tomb Th-1, both on Deep Open Dishes. These designs resemble composite unit designs in being made up of larger diamond-shaped compositions, but they differ from unit designs in forming a continuous broad-band design in which the patterning recalls upper body-band decoration (compare fig. 310 with figs. 332, 333). A rare Phase 6 design element closely resembles the Small Diamond one, and is called "Small Square" here (fig. 312). It looks like the Small Diamonds, but the elements are oriented with sides parallel to the band outlines instead of at a diagonal. Only two examples of these elements occur in our Phase 6 sample. One appears as decoration of a medium-broad band on a small Simple Bottle (fig. 312). The Small Square elements are arranged in a singular pattern here. The other occurrence is as a replacement for Small Diamond elements in the center of Large Diamond Fish figures (fig. 303). In addition to the Large and Small Diamond designs described above, diamond-shaped figures are also used in Phase 6 to form "com-

posite unit designs" (figs. 307, 309, 324-327, 395, pis. 2, 11, 14, 15). These designs are the most common kind of design used for secondary panel decoration in broad bands, and they are the only kind used on such panels on Complex Jars. In composite unit designs small elements are patterned into larger diamondshaped compositions in an elaboration of the Phase 6 principles of construction of diamondshaped units and diamond patterns. The advantage of these compositions is that they are expandable in size without altering the traditional size of the component elements, so that they can be adjusted to the largest panels on Complex Jars without significant modification of standard Phase 6 conventions (pis. 14,15). Composite unit designs are constructed of four kinds of elements, "Diamonds" (figs. 307, 309,327,395, pi. 11), "Solid Squares" (fig. 325, pi. 15), "Tailed Squares" (figs. 324,326, pis. 2, 14, 15), and "Bird" units (Muelle and Bias, 1938, lam. 45a). When Diamond elements are used they are usually Small Diamonds (figs. 309, 327, 395, pi. 11), but in one example the elements are Stepless Large Diamonds (fig. 307). This is one of two examples in the sample in which composite unit designs are used in place of princpal vertical panel designs, a function expressed by the use of the Large Diamond elements and the three-color pattern (see also design arrangement, above). Solid Squares and Tailed Squares are used virtually exclusively for the construction of composite unit designs. Tailed Squares are also occasionally used in place of Large Diamond designs as broad-band decoration (see above). They are related in construction to "Rectangle" design figures, to be described below. Bird units are more commonly used as singlefiguresthan in composite patterns (figs. 386, 390, 391; see below). Small Phase 6 vessels are occasionally decorated with single elements of nonexpandable unit designs, in an adjustment to the small size of the design area. A special form of a "S.tepped Large Diamond"figureis characteristic for this purpose (fig. 328). These figures are larger than other Large Diamond figures, and so they are also occasionally used as substitute designs in single-row Large Diamond patterns, once in a special broad band on a Simple Bottle (fig. 299), and once in an inner mouth band where they appear in black on red only (4-9383B; see below). The example in fig.

105 whose units occupy a single horizontal row in the center of the broad band (figs. 315, 585; Schmidt, 1929, fig. 320-1). In all broad bands where they occur the Rectangle Fish designs are composed of seven black elements, in which five form the "back end" diagonals and two vertically alined ones close the "front." The unique upper body-band variant is abbreviated to three black elements, leaving an open front (fig. 336). In Rectangle designs, the primary Rectangle elements are executed in black with the tails customarily facing to theright.Then a secondary or counter design is added in white, filling in the spaces between the black elements. The white counter elements face to the left. Rarely, the design direction is reversed, so that the black elements face to the left and the white ones to the right (fig. 314). Black Rectangle elements commonly have white dots in the center, like Small Diamonds (figs. 313, 585), whereas white counter elements never have central dots in Phase 6. The white counter Rectangles contribute to an over-all patterning effect mat is similar to that of the Large Diamonds with white step fillers described earlier. A unique combination occurs in the design illustrated in fig. 396, on the miniature imitation Chincha Mask. Here the principal black Rectangle figures are accompanied by white counter designs consisting of "Triangles" instead of the usual Rectangles, the triangular elements being appended to a series of long straight lines. This design pattern is an antecedent for designs of later phases. Some Phase 6 Rectangle designs proper, if done hastily, come to resemble triangles, as in figs. 586 and 336. However, the pattern of brush strokes and the way the elements are combined is quite different in the hastily executed Rectangles than in the Triangle designs proper.

THE ANALYSIS OF DECORATION

390 represents a specially patterned use of Stepped Large Diamonds adapted to a smoked blackware vessel where the decoration is done in resin paint (pi. 3). Another rare composition related to Diamond designs is called here a "Rotational Fret" (fig. 393). It is used as a black unit design in place of principal designs on the unpigmented broad-band area of one Deep Open Dish (4-5199), and on the unpigmented interior broad band of an inflected flaringsided dish (fig. 101). "Rectangle" designs are somewhat less popular than Diamond designs in Phase 6. They are used almost exclusively as broadband and medium broad-band decoration, the varieties found being illustrated in figs. 313315,396,585,586. Rectangles are used as principal designs, both in continuous broad bands and in principal vertical panel subdivisions of broad bands. They are used most frequently in the decoration of Deep Open Dishes, Cambered-Rim Dishes, and Complex Jars, occur on Flaring Cups, are rare on Simple Bottles, and have not been recorded on Cambered-Rim Bowls, Shallow Dishes, or Simple Jars in our sample (pis. 1, 14, 19; see also Kroeber and Strong, 1924b, pi. 36c; Schmidt, 1929, fig. 320-1). Most decorated small to miniature vessels have Rectangle designs, perhaps because the Rectangle elements are smaller than any Diamond elements and so lend themselves better to the small available surface. For this reason Rectangle designs also can be adapted easily to areas of medium broad-band width (fig. 586). There is a unique occurrence of a Rectangle design used as substitute for an upper bodyband design on a smaller than average Simple Bottle (figs. 74, 336). The basic unit of Rectangle designs is a little rectangle with one vertical side extended and a little tail on the opposite side, as can be seen in the top and bottom border of fig. 336. The effect is a little like that of a stepped triangle. The units usually appear strung together in various ways to make larger figures or continuous lines. The usual arrangement is one, two or more horizontal rows of Rectangle elements in a zigzag pattern, (figs. 313, 314, 396, 586, pis. 1, 14, 19). The most distinctive patterning of Rectangles consists of a relatively large stylized fish form

There is a rare design category in Phase 6 in which "Triangle" designs occur alone as principal designs. These Triangle designs are patterned into a row offishfigures,analogous to the Rectangle Fish patterns (fig. 316). The "Triangle Fish" design is found as the principal decoration on two Deep Open Dishes from tomb Th-1 (4-9383A, B). The principal bands are both about 3 cm. wide, that is, just on the border between broad-band and medium broad-band width. Since the Triangle Fish are slightly smaller than Rectangle Fish, the use of

106

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

the Triangle design here may represent a special adaptation to principal bands of this width. To distinguish the several Rectangle and Triangle designs, it is helpful to compare the carefully executed Rectangles shown in fig. 585 with the hastily done Rectangles in fig. 586, the Rectangle design with Triangle counter designs in fig. 396, and the full Triangle Fish pattern in fig. 316. It has been pointed out earlier that Tailed Square elements in composite unit designs are related to Rectangle designs in execution (figs. 324, 326). The Tailed Square elements can be thought of as made up of two Rectangle elements back to back and merged. Other variants of Rectangle designs are found in the form of figures with rotational or radial symmetry in a very narrow medium-broad band on a Raring Cup (fig. 323), and on a narrow vertical band on a Shallow Dish, subgroup 1 (fig. 382). A few additional rare or special broad-band and medium broad-band designs occur in Phase 6. The "Checkerboard" design shown in fig. 317 resembles Diamond patterns in patterning detail. The illustration represents the only example in tomb Th-1, appearing on a Deep Open Dish. Small Square elements appear in alternating checks. For comparison with other uses of Small Square elements, see figs. 303, 312. The "Wavy Line" design is a rare Phase 6 design found on three medium-broad bands on two conservatively shaped Deep Open Dishes and one unusually large CamberedRim Dish from tomb Th-1 (figs. 321, 322). It represents the conservative survival of a common Phase 5 design. Significantly these bands are the main Phase 6 examples of principal bands that are outlined with single black outlines only, another feature common in the earlier lea phases and exceptional in Phase 6. As noted earlier, the principal design areas of very large Complex Jars are sometimes ainted with striping in place of Diamond or

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ectangle designs, evidently a labor-saving device (pi. 15). This decoration is called "Stripes." Stripes that follow the Complex Jar contours in a curvilinear pattern across the shoulder, as they do in one example, are black and white ones as in terminal banding (4-5138). More commonly, however, straight vertical Stripes in alternating red and white,

separated by black outlines, are used to decorate principal vertical panels on Complex Jars with an unpigmented background (pi. 15; fragments from surface collections). One large Flaring Cup from tomb Th-1 with a wider than average broad band has an adaptation of the Stripes design as the principal broad-band decoration (figs. 92,318, pi. 18). In this adaptation the Stripes are horizontal, the broad band being without vertical subdivisions, and the striping is effected by spacing white stripes on the red ground and then outlining them in black. Stylized figures representing birds and fish are sometimes used as single-unit design elements. The "Fish" units are found only in Cumbrous Bowl decoration (figs. 388, 389, pi. 10). The "Bird" forms also occur in special contexts, on miniatures, vessels with Chincharelated features, or oversized vessels (Muelle and Bias, 1938, lam. 45b) They are also used as unit designs on otherwise plain-slipped areas. In one example they occur in a unique resinpainted pattern on a Deep Open Dish of smoked blackware (pi. 3, fig. 390). The Bird design shown in fig. 386 is a rare one in which the bird heads are appended to a triangle element borrowed from upper body-band decoration (for comparison, see fig. 333). This design unit is found only on a pair of small Shallow Dishes, subgroup 1 (1.1.3.1.2). Two unusual Phase 6 unit designs are shown in fig. 394. The design in the center of the pattern is derived from a common earlier lea design resembling a pattee cross. The cursive figures circling the central design are a rare Phase 6 element, interesting chiefly as the kind of design that has given rise to speculations concerning the occurrence of Chinese writing in Peru. The comparison demands a particularly vivid imagination, because all units are alike. Both these unit design figures occur on the interior bottom of a pair of miniature straight flaring-sided dishes, and nowhere else in the lea 6 sample (fig. 103). Of the narrow white-band designs shown in figs. 337-344 and 403, the commonest is the "Meander" shown in fig. 337, along with its stepped variants, figs. 338-340 (see also pis. 1, 4,18,19). The "Z" (fig. 342), "Stepped Z" (fig. 341) and "Solid Triangle" designs (fig. 343) have secondary popularity (see also pis. 9,11). The 'Tret" band shown infig.344 and the Bird

THE ANALYSIS OF DECORATION

units on the band shown infig.403 occur only once each in the sample. The Fret band is an unusually wide narrow band, used on the largest or the Flaring Cups, evidently tofillthe larger design surface of the high sides (fig. 92, pi. 18, lower band). The Bird designs represent an especially conservative feature found in unique association with a conservative Bird Meander panel on an imitation Chincha incurving bowl (see below and figs. 100 and 403; for comparison, see white-band designs on Phase 4 vessels illustrated in Schmidt, 1929, figs. 308, 309, 313, 315-3, 316-1, 318-2, 320-2, 323-2, and on a Phase 3 one in Schmidt's fig. 316-3). Phase 6 white-band designs are characterized by the small, dainty execution of the elements. The terminal banding shown in fig. 351 replaces white-band decoration at the bottom of the broad band on two Cambered-Rim Bowls (pi. 9). Figures 345 and 346 show two modifications of the narrow red-band design illustrated in fig. 347 (see below), which are used in place of white bands on five dishes from tomb Th-1. The principal modification of the red-band design consists of additional white lines inside the black outlines to create the proper color attern (for comparison, see red bands proper, gs. 347-350). The design in fig. 345 has the additional distinction of having small blackline squares outlining the white cross lines and borders, in a combination of white-band and red-band color patterning. This latter design is particularly interesting because it is continued in Phase 7 with what appears to be significantly greater frequency. In Phase 6 it is a rare design found on three vessels from tomb Th-1, one very small Cambered-Rim Dish and one Deep Open Dish where it borders both the top and bottom of the broad band (4-9382V, 9383B), and one Deep Open Dish where it is used only at the top, the bottom band being decorated with a more common white-band design (4-5204). The decoration of the Deep Open Dish with the two bands is also unusual in having two additional regular white bands on the outside of the modified red bands. The two other examples of the modified red band are used as the top border only of the broad band on two Deep Open Dishes (4-9381E, L).

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Narrow red bands either have a special design vocabulary (figs. 347, 348, pi. 18), or they are decorated with the same designs as

107

white bands (figs. 349, 350, pi. 19). Red-band designs differ from white-band ones in that they are painted in white on red instead of black on white. Special red-band designs consist of straight or stepped cross lines (figs. 347, 348, pi. 18). The red band shown in fig. 399 is unique in our sample, because it is not really a narrow red band proper. Although it is used in a redband position above a white band, it is actually a band made in imitation of Chincha style patterning and appears as the top body band on a miniature imitation Chincha Collared Jar (pi. 21). The design on the band is a modified inner mouth-band or cambered rimband design, a variant of which is used as a principal design in Ica-influenced decoration of the Chincha style (Kroeber and Strong, 1924a, pi. lib, d). The topmost band on Chincha bowls is always in a three-color pattern. The use of white principal and black secondary elements in the lea band evidently represents a compromise between Ica-style narrow red-band patterning and top body bands in the Chincha style. Inner mouth bands have a characteristic design vocabulary shown in figs. 353-365. There are two major categories, namely special patterns covering the entire design area (figs. 353-359), and fringe bands (figs. 362365). Among the special designs covering the entire design field two kinds of compositions are used, one showing rectangular subdivisions of the band (figs. 353-356), and the other triangular ones (figs. 357-359). The rectangular pattern is most commonly used in principal vertical panel subdivisions alternating with secondary plain or relatively plain ones, while the triangular pattern is typically continuous around the rim. In the rectangular pattern various forms of diagonally opposing white "Step Triangles" are separated by blade dividing lines; the diagonal dividing lines are stepped and the vertical lines are straight. In the triangular pattern a straight or stepped black zigzag line separates white units of Step Triangles or Rectangle elements in an interlocking pattern. Figures 360-362 show rare or unique design substitutions in which the inner mouth band is decorated with designs borrowed from broad-band or upper bodyband decoration, sometimes with modifications in some details (see above). Fringe bands usually consist of small black

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

step elements pendent from a black line around the interior rim edge, called here "Pendent Steps" (figs. 362-364). The Pendent Steps are placed either vertically or at a diagonal slant from right to left, and are characterized by their small, dainty execution. Usually Pendent Steps are done in black on a red ground, with a white dot near the tip of each step element (fig. 362). However, plain black ones on the unpigmented slip, with or without dots, also occur (fig. 363). Fringe bands of the same kind are also used regularly in the decoration of Cumbrous Bowls and analogous forms (i.e. 1.1.11.4.7), where they may also appear in black on white (fig. 387, pi. 10). Pendent Step designs are frequently used in the same way as unit designs to decorate alternating secondary vertical panels in inner mouth bands (fig. 362). At other times the Pendent Step design is continuous around the rim. Occasionally such fringe bands are found in four evenly spaced intervals around the rim, quartering the inner mouth-band area (figs. 363, 364). A comparatively rare fringe-band pattern used for quartering is shown in fig. 364. It consists of sections of Pendent Step elements, in this example drawn in outline form, alternating with 'Tony Fringe" elements consisting of groups of straight lines pendent from the rim. Though rare, this Phase 6 fringeband pattern is important as an antecendent of standard Cumbrous Bowl decoration of the later phases. "Pendent Hooks" shown in fig. 365 are another rare fringe-band design, occurring only once in our sample. TTie inner mouth band shown in fig. 392 represents a unique elaboration of Pendent Step elements, which are patterned into an over-all inner mouth-band design on the straight flaring-sided dish (fig. 102; see also design arrangement, above). Lip and cambered-rim designs are shown in figs. 366-373. There are two categories, special lip and rim-band designs (figs. 366368) and cambered-rim designs consisting of modified forms of inner mouth-band decoration (figs. 369-373). Most of these designs are done in the three-color pattern of black and white on red. Special lip and rim-band designs are used most frequently and occur on all lip and rim forms, including flattened and thinned lips and cambered rims. The

most common decoration consists of short transverse striping in an alternating pattern of black and white stripes on the red slip. There are two alternative patterns. One consists of alternating blocks of white and black lines (fig. 366, pis. 1, 5, 6, 18, 19), the other of broader white stripes with black outlines alternating with evenly spaced red slip areas, a pattern analogous to that of the Stripes design (fig. 368, pis. 2, 9; for comparison, see fig. 318). Much more rarely, flattened lips of Deep Open Dishes are decorated in white on red only, either with transverse lines or with a horizontal zigzag line (fig. 367). The bands shown in figs. 369-373 and pi. 4 are used only for the decoration of cambered rims. They are slightly abbreviated or modified adaptations of the triangular patterns in inner mouth-band decoration (for comparison, see figs. 357-359). In addition to the standard three-color pattern, cambered-rim bands are also painted occasionally in whiteband or red-band color patterns (figs. 371, 372, pi. 4). In these examples, an analogy is evidently made with narrow white bands or narrow red bands. On the large CamberedRim Bowl (fig. 64), the 2.25 cm. wide rim surface is decorated with an upper body-band design like the one shown in fig. 333, the analogy here being to a relatively narrow body band. Bottle handle bands are shown in figs. 374377 and 398. The color pattern is that used for white bands, and the width of handle bands also approximates that of white bands. The decoration on one Simple Bottle handle is frankly a borrowed narrow white-band design, including the broad-band dividing lines on one side (fig. 377; cf. design arrangement). However, most handle bands have their own designs. The one shown in fig. 374 and pi. 11 is the most common and is directly derived from handle decoration of the earlier lea phases. Each of the others shown is a unique occurrence in the sample, the designs being related to white-band and inner mouthband decoration (figs. 375, 376, 398). The handle band in fig. 398 appears on a miniature imitation Chincha Flask (fig. 98). Figure 400 shows a Chincha handle design on an imitation Chincha Collared Jar (pi. 21). As noted in the section on design arrangement, most Shallow Dishes have the outer

109

THE ANALYSIS OF DECORATION

sides decorated with special designs not found on other lea vessel shapes. TThe most common Shallow Dish, subgroup 1, design is the "Bird Meander." The Bird Meander is used either as a half-band design on the principal upper half band in the special Shallow Dish arrangement (fig. 378, pi. 5), or as a regular broad-band design (fig. 379, pi. 6). The Bird Meander is remarkable in being the only commonly used Phase 6 design executed in white on red and outlined with black. In general, such designs are characteristic only of the early lea phases. The use of this design technique in the Bird Meander represents one of the many conservative features that distinguish Shallow Dishes from other Phase 6 vessel categories. The bird motif itself is far more popular in the earlier lea phases, although it does not occur in those phases in the form of the Bird Meander on pottery. Two special imitation Chincha incurving bowls are decorated on the outer sides with variants of the Bird Meander design adapted to imitate Chincha design techniques (1.1.11.4.4; figs. 401, 402). The principal Chincha loan feature appears in the principal design, which is painted on a white background instead of a red one. This change in color convention requires that the design figures must be executed in a color other than white, the appropriate color in the Chincha style being Chincha purple. On one of the imitation Chincha bowls Chincha purple is used for the design (fig. 402). On the other specimen red is used instead. This is the only example of the use of red as a design color, this use being out of style at lea after Phase 1 or 2 (see above). Other special conservative Shallow Dish designs are illustrated in figs. 380-386. The most conservative feature is the design technique, in which designfiguresare executed in white or purple and are outlined in black. The half-band design from a small Shallow Dish, subgroup 2, illustrated in fig. 383, should be compared with homologous bands at the rim of Phase 3 dishes (cf. pis. 103, 105). The secondary unit designs on the lower, secondary half band on the same dish (fig. 384) represent a special adaptation of a conservative unit design of the earlier phases. The designs shown in figs. 380-382 are from the exterior side of a large Shallow Dish, subgroup 1, where they are arranged in a pattern of blocks of vertical narrow bands homolo-

gous with Phase 3 design arrangement as illustrated in pis. 103, 104, 107. The design elements in fig. 381 are identical to the Phase 3 ones shown in the top band of the dish in pi. 103. The design elements in fig. 380, representing wooden digging boards, are like a Phase 4 design illustrated in Schmidt, 1929, fig. 308, except that the purple areas are done in Chincha purple instead of lea purple (see use of colors, above). The design elements in the third band on the same dish are regular Phase 6 ones, but they are patterned into a conservative vertical narrow band (fig. 382). The band used in the upper half of the side of Shallow Dishes, subgroup 3, is also a conservative survival from a homologous Phase 3 design on the corresponding dish form, the only difference being that the dots are smaller than in the earlier phase (fig. 385, pi. 7; for comparison, see pi. 105).

Phase 7 SUMMARY

The stylistic contrasts between Phase 7 and Phase 6 can be interpreted as showing the beginnings of changes in Phase 7 which lead to later stylistic developments in Phases 8 and 9, as well as other changes that do not persist into subsequent phases. There are significant innovations in design arrangement as well as design detail. However, seen in the perspective of subsequent changes, the differences between Phase 6 and Phase 7 are relatively slight, and most features that distinguish the lea Phase 9 of the Late Horizon from Phase 6 are not yet present. It is of special significance that some Phase 7 innovations used in the decoration of regular Ica-style vessels are probably attributable to Chincha influence and anticipate the flood of Chincha influences that affect Phase 8 pottery. However, Chincha influence is not apparent on a large scale, and the old rules of lea design arrangement and design execution as they apply to Phase 6 continue to be observed in large measure. ANALYSIS IN DETAIL

Smoked blackware Seven of the ten small to miniature Simple

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

Jars in burial Th-2 are made of smoked blackware (5.4.1). The greater use of smoked blackware for this shape than for others can also be observed in the contents of lea 6 tomb Th-1. No other vessel in burial Th-2 is of smoked blackware. Only one of the jars has traditional blackware decoration in the form of shoulder fluting, perhaps because of the small size of these vessels (5.4.2). Two miniature Bird Jars, a near-identical air in burial Th-2, are not made of smoked lackware, unlike the corresponding pair from tomb Th-1 (5.6, pi. 28). However, the burial Th-2 specimens are painted black over the entire upper body and neck, which may reflect an attempt to create the same effect.

S

Plainware No plainware is represented in the lea 7 sample. Painted redware Like Phase 7 shapes, Phase 7 designs are similar to those of Phase 6, hence there was probably no great time difference between the two phases. Nevertheless, there are some distinctive innovations apparent in design as well as in shape, some of which anticipate additional innovations appearing in Phases 8 and 9. The principal innovations in decoration are design arrangement and details of design patterns and elements. Design arrangement. Broad bands with their corresponding designs are in use as in Phase 6 on dishes and Flaring Cups (pis. 22, 25-27). On some bottles and jars, however, the principal broad-band decoration appears in the upper body-band position instead of or in addition to the principal broad-band position. This is the arrangement as it appears on two Simple Bottles and a Complex Jar (6.3, 6.4; figs. 122, 124, pi. 30; Muelle and Bias, 1938, lam. 47a or Lumbreras, 1969, p. 301). Two Simple Bottles have only secondary decoration in the traditional broad-band area (fig. 114, pi. 24; Muelle and Bias, 1938, lam. 47 or Lumbreras, 1969, p. 301). One of the latter, the bottle from burial Th-2, has a traditional upper body-band design in the corresponding position. The otherwise plain broad bands on these bottles are decorated with fringe-

band decoration, the same device that is used for secondary panel subdivisions in inner mouth bands in Phase 6. The specimen shown by Muelle and Bias and by Lumbreras has the fringe band pendent from the bottom outline onto the unpigmented surface, because the principal broad band is painted purple and so may not have further decoration in terms of the Late lea color conventions. In neither example is the broad-band area decorated with shoulder fluting, the usual decoration for otherwise undecorated shoulder areas in Phase 6. 114 The "broad bands" on the Phase 7 bottles are as narrow or narrower than the upper body bands, in correlation with the difference in design placement. On the two bottles and the jar where principal designs are used in upper body-band position, the designs are Rectangle or related designs and not the traditional Diamond ones, a hint that the use of Rectangle designs may be more popular in Phase 7 than in Phase 6. Greater popularity of Rectangle designs in the phases following Phase 6 is also suggested by the Phase 8 sample (see below). Another Simple Bottle, one without associations but with lea 7 design features, to be described further below, has a single broad band unaccompanied by an upper body band, the broad band being bordered by a narrow white band at the top and another at the bottom (fig. 123). This design arrangement also differs from that of lea 6 bottles. Another bottle without associations attributable to Phase 7 or Phase 8 has the same kind of design arrangement, except that the narrow bands are multiplied the way they are on Phase 6 Flaring Cups, and the vessel bottom is also decorated with a broad-band design framed in a near-rectangular outline (10.3.1; AMNH, 41.1/3501). The enlarged body of this bottle probably accounts for the addition of the narrow bands, which are multiplied by tradition when larger than usual design surfaces are to be covered (cf. Phase 6 Flaring Cups). The use of principal broad-band and medium broad-band decoration is also extended to other secondary design areas in Phase 7 114. The only Phase 6 bottle in the sample which has a plainslipped, unfluted shoulder is the example described in footnote 113, above. The absence of a fringe-band design differentiates the plain broad band on the Phase 6 bottle from the corresponding design bands in Phase 7.

THE ANALYSIS OF DECORATION

pottery, especially to handle bands on bottles (fig. 412, pi. 24), an inner mouth band on a Flaring Cup (fig. 409, pi. 27), and a secondary red band and secondary white band on a Flaring Cup (fig. 408, pi. 27). Furthermore, decoration confined to medium-broad bands in Phase 6 is used to decorate alternate horizontal stripes on the neck of one of the Simple Bottles, such stripes being invariably plain white in Phase 6 (Muelle and Bias, 1938, lam. 47a or Lubreras, 1969, p. 301). These latter extensions of broad-band and medium broadband designs all show Diamond designs, either variations of medium broad-band Diamonds with a single central row of complete Diamond figures, Stepless Large Diamonds, or Small Diamonds. The designs on the white bands and handle bands are in black only, in keeping with the Phase 6 rules of color patterning. Vertical panel subdivisions in the decoration of the Complex Jar also show some modifications in arrangement (pi. 30). The principal broad panels are bordered at the top and bottom by red-slipped horizontal bands decorated with unit designs, and the secondary trapezoidal panels are outlined with a broad, plain white band, both features that do not appear in Phase 6 associations. Another important contrast with Phase 6 is that the rigid outlining standards for principal design areas are not as consistently observed. On the Deep Open Dish and the CamberedRim Bowl the broad and medium-broad band, respectively, are separated from the secondary white bands by single black outlines only instead of the double black and white outlining used almost invariably in Phase 6 (fig. 407, pi. 23). There are also some important contrasts in the use of narrow-band designs. First, a special narrow white band which is rare in Phase 6 (fig. 345) appears to be more popular in Phase 7. In burial Th-2 the Cambered-Rim Dish and one Flaring Cup are decorated with this band at both the top and bottom of the broad band (figs. 112, 118, pis. 22, 26). Another Cambered-Rim Dish illustrated by Schmidt with lea 7 shape features is also decorated with these bands (Schmidt, 1929, fig. 321-2). Two Simple Bottles without associations also have this narrow-band design, which frames the broad band at the top and bottom on one of the bottles and is used as a dividing band between the broad band and

111

the upper body band on the other (figs. 122, 123). The position of the narrow band between the broad band and upper body band on the latter bottle has to be an lea 7 innovation, because only simple outlining is used in this position in Phase 6. There also is another important Phase 7 contrast in the use of narrow white bands. On one Flaring Cup from burial Th-2 two relatively broad narrow white bands are decorated with opposing wedge-shaped designs consisting of special Rectangle elements which appear in Phase 6 exclusively as inner mouth-band and cambered-rim designs (cf. figs. 119, 357, 371, 372, pi. 27). The same device appears on the unassociated CamberedRim Dish illustrated by Schmidt (Schmidt, 1929, fig. 321-1). It should be noted that relatively broad white bands with this design only are part of regular body-band decoration in the Chincha style, where they represent locally modified lea influence (Kroeber and Strong, 1924a, pis. lib, d, 12a). It is possible that the use of this design band as a body design in Phase 7 signifies an extension of Chincha influence to regular decoration of lea pottery. An extension of Chincha influence in thisphase would anticipate the great increase of Chincha influence in the succeeding phase, in which the use of this band plays an important part (cf. fig. 417, pi. 35). The same Flaring Cup from burial Th-2 that has the new white-band decoration just described has additional, slightly broader secondary bands at the rim above the first white band (pi. 27). One-half of the circumference of the exterior rim area is decorated with a second white band with traditional medium broad-band decoration (fig. 408), and the other half is decorated with a redslipped band with a regular broad-band design consisting of Stepless Large Diamonds. The addition of such relatively broad bands to the exterior design area breaks all Phase 6 rules, but it is analogous to multiple horizontal banding of principal design areas in the Chincha style (a. Kroeber and Strong, 1924a, pi. 11a, b, d). The use of a plain white-band border for secondary trapezoidal panels on the Complex Jar may also be related to the extension of banded designs in body decoration under Chincha influence (pi. 30). On the other hand, two Flaring Cups from burial Th-2 show a decrease in the use of horizontal narrow bands. One of the sped-

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

mens (fig. 118, pi. 26) has only a single narrow band of the newly common kind at the top and bottom of the design area, the other has no horizontal narrow bands at all, in marked contrast to Phase 6 usage (fig. 117, pi. 25). The latter Flaring Cup has the design area divided instead into vertical panels separated by narrow bands that are black with white dots, analogous to the decoration of the miniature imitation Chincha Flask in the Phase 6 tomb (cf. figs. 98, 397). The vertical panels on this specimen are alternating principal and secondary ones, in the traditional manner, but the secondary panels are narrower than the principal ones. Probably for this reason the secondary unit designs are not composite ones, but are arranged in vertical columns (fig. 406, pi. 25). There is only a single Phase 6 example where unit designs are arranged this way; they occur on a straight flaring-sided dish, where they constitute the only exterior decoration in an entirely aberrant design arrangement for the lea 6 style (1.1.11.4.6.1; figs. 391, 102). The column arrangement is the rule for secondary unit designs in Phases 9 and 10, however (see below). Its occurrence on the lea 7 Flaring Cup therefore probably represents a more regular use of this arrangement than in Phase 6. The Simple Jars all are small to miniature in size. As noted earlier, seven of them are of smoked blackware (fig. 115), and the remaining three are decorated with identical checkerboard designs in black and white only (5.4.3; fig. 116). These designs are unique in our sample. Design patterns and elements. Phase 7 Rectangle designs in our sample are for the most part indistinguishable from Phase 6 ones (pis. 25, 27; Schmidt, 1929, fig. 321-1). It is significant, however, that the traditional Rectangle design on one of the narrow shoulder panels on tne Complex Jar has white counter elements consisting of an arbitrary mixture of Rectangle and Triangle elements (pi. 30). In addition, a Triangle design on one of the Simple Bottles without associations shows a zigzag patterning like traditional Rectangle designs, a pattern that does not appear in the Phase 6 sample for the Triangle design (Muelle and Bias, 1938, lam. 47a or Lumbreras, 1969, p. 301; for comparison, see fig. 3%). The features of the Complex Jar and Simple Bottle decoration just described hint at an incipient

mergence of the Rectangle and Triangle design categories. In contrast to Rectangle designs, one Phase 7 Diamond design in our sample differs from Phase 6 designs, the differences also seen in succeeding phases. The Phase 7 example is a medium broad-band Diamond design on the Cambered-Rim Bowl from burial Th-2 (fig. 404, pi. 23). The difference can best be appreciated by comparing it with the homologous Phase 6 design illustrated in fig. 300. The principal diamond elements are Composite Large Diamonds subdivided into four Small Diamonds. Whereas the Phase 6 Small Diamonds invariably appear as distinct units, the Phase 7 diamonds in this design are achieved by a simple crisscross.115 However, this is the only Phase 7 context in which a Diamond design is made with crisscross lines; all the rest of the diamond elements in the Phase 7 sample are represented by discrete units. Another Phase 7 innovation affects the white stepfillerlines in Large Diamond decoration. Step filler lines are apparently less commonly used than in Phase 6. They appear in principal decoration on the medium-broad band on the Cambered-Rim Bowl from burial Th-2 (fig. 404, pi. 23), and on the broad band on one Simple Bottle (fig. 122). The step filler elements on the bottle are like those found in Phase 6, as are those on the Cambered-Rim Bowl for part of the design area. However, in one section of the Cambered-Rim Bowl design the step filler elements are reduced to irregular wavy to straight lines in an extreme of hasty execution (pi. 23). The inconsistency of the combination of careful and hasty execution of the step filler elements on this vessel is exactly parallel to the inconsistency of execution of Rectangle and Triangle counter designs in the Rectangle design panels on the Complex Jar, mentioned above. It appears to be a characteristic of Phase 7. Large Diamond elements in fish form seem to occur in relatively greater frequency in Phase 7 than in Phase 6 and have a distinctive 115. Composite Large Diamonds in the same tradition are sometimes used on secondary white or red bands in Phases 4 and 5, and are then also executed with a plain crisscross (Schmidt, 1929, fig. 318, top right). This does not apply to principal designs in these phases or in Phase 6, and these elements are not used as secondary designs on narrow bands in Phase 6. The resemblance of the principal crisscross diamond elements of Phase 7 to the secondary Phase 4 and Phase 5 elements is therefore coincidental.

THE ANALYSIS OF DECORATION

appearance not found in the Phase 6 sample (fig. 405, pis. 26, 30). The step filler elements are omitted, and instead each Large Diamond Fish unit is enlarged and amplified by the multiplication of the lines of which it is composed; the outer outline is formed by two black lines with a white center line, and the inner diamond has a black dot core in the white center (for comparison, see Phase 6 designs, figs. 301-303, pi 4). In one example, a Bird design is used in the center instead (Muelle and Bias, 1938, lam. 48b). The new Phase 7 Large Diamond Fish design is found on two Flaring Cups (fig. 118, pi. 26; 6.5), a Shallow Dish (Muelle and Bias, 1938, lam. 48b), and the Complex Jar (pi. 30). A unique alternative variant of the Large Diamond Fish design from another Flaring Cup in burial Th-2 is shown in fig. 409 (also pi. 27). There also seems to be a greater use of the small cursive elements that appear as a rare unit design in Phase 6. In the Phase 7 sample they appear as inner mouth-band decoration in place of Pendent Step elements on two Flaring Cups from burial Th-2 (figs. 410, 411, pi. 26), and as unit designs on alternating secondary panels on the exterior of one of the Flaring Cups (fig. 406, pi. 25).

Phase 8 SUMMARY

Phase 8 shows a much greater number of differences from Phase 6 in design arrangement and design details than are seen in Phase 7. Some of the different features also appear in Phase 7, but in the latter phase they are associated with many more features that also appear in Phase 6. Most important among the differences in Phase 8 are shifts in design arrangement in which designs reserved for particular design positions on particular vessel shapes in Phase 6 are used for other design positions on other, enlarged vessel shapes. Important differences from Phase 7 include the much greater number of Chinchastyle features, the altered appearance of Rectangle designs, and a different use and arrangement of design elements used only for inner mouth-band decoration in Phase 6.

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ANALYSIS IN DETAIL

Smoked blackware No smoked blackware identifiable as Phase 8 is present in our sample. We should expect, however, to find such ware in this phase. Plainware Four Cumbrous Bowls in burial C-7 are made of plainware which is traditional for the common crudely made forms of the lea tradition (figs. 126-128). The lea 8 examples are distinguished only by the presence of a scalloped black lip and upper rim design which is related to a design innovation of this phase affecting various kinds of neck rims (see below). Painted redware Many features that distinguish Phase 7 from Phase 6 are also present in Phase 8, but there are also additional ones that are not present in either Phase 6 or the Phase 7 sample. Chincha-style features are prominent. The small samples for both Phase 7 and Phase 8 preclude conclusions based on the absence of features, but there are enough homologous features present in the two samples to demonstrate the nature of the contrasts between the two phases. Most prominent among the Chincha-style features not appearing in the Phase 7 sample are the much greater use of Chincha purple, of Chincha-style body bands, of broader bands with a white-slipped ground, including broad-band areas proper, and of the Chinchastyle Rim Scallop design. Different features are also present in Ica-tradition designs, particularly in the Rectangle category. Some of these different features are also present in Phase 9, while others resemble Phase 9 features more than any in Phases 6 and 7. Areas covered with design. The area covered with design on bodies of imitation Chincha bottles, the Bottle/Jar, and the Cambered-Rim Bowl most commonly extends from the base of the neck or cambered rim to just below the middle of the height of the body, that is, proportionately slightly higher than on most analogous round restricted body shapes of Phase 6 (pis. 31, 34, 35; for comparison, see pis. 9,11,16). However, on the enlarged lea 8 Simple Bottle bodies the design area covers the entire shoulder area, including the lower part of the shoulder. The reason is that these

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

shoulders are fluted for their entire length, and the fluted area also has painted decoration (figs. 130, 139, pi. 33). One other, more traditional Simple Bottle has corresponding shoulder decoration without modeled fluting, and the design area here too covers the entire shoulder (fig. 136). Simple Bottle bodies with additional imitation Chincha shape features, other than enlarged size, have the design area terminated higher on the body, at or above the middle of the height of the shoulder (cf. figs. 137, 138). On imitation Chincha Squat Ovoid Jars the design area ends at about the middle of the height of the shoulder, higher than on lea tradition jars (figs. 140, 141). It appears that a higher termination of the decorated area on closed-vessel bodies is correlated with Chincha influence in shape features. In the Chincha style the termination of the design area varies more than at lea, but terminates typically from slightly above to slightly below the middle of the height of the shoulder (Kroeber and Strong, 1924a, pis. 11a, c, d, 12a-e). The higher termination of the design area in Phase 8 is therefore evidently attributable to Chincha influence. On lea 8 dishes the area covered with design is the same as in Phases 6 and 7. Design arrangement. Broad bands are in traditional use on the dishes, but on closed, rounded vessel shapes the principal design area is in the upper part of the body, frequently in the position of the upper body band. This usage is clearly more common and standardized in Phase 8 than in Phase 7, where we have seen less evidence of it. Principal body bands in upper body-band position are used for enlarged bottle bodies and their imitation Chincha analogues, including, by extension, the imitation Chincha Cambered-Rim Bowl (pis. 31, 33). That is, they are used on those shapes that are seen as an enlarged form of the small-bodied restricted body shapes of Phase 6, that is, Simple Bottle and Simple Jar forms. Some of the smaller, more traditional lea 7 or 8 Simple Bottles also have the principal decoration in the upper body-band position. This altered design arrangement is extended even further to a traditional Complex Jar shape (MRI, DA2177), and to the traditional half band on the upper half of the sides of one of the Shallow Dishes (fig. 135). On many closed-vessel bodies the removal of principal decoration to the upper body area

is accompanied by fluting of the shoulder area, the fluted ribs and intervening grooves being decorated with vertical stripes in alternating colors. The shoulder fluting proper is used on enlarged Simple Bottle bodies and on the imitation Chincha Cambered-Rim Bowl (pis. 31, 33). Vertical striping without the modeled fluting is used on other imitation Chincha vessels and, in one example, even on a traditional Complex Jar (9.4, 10.4; pi. 35). Vertical striping without shoulder fluting is also used on one traditional Simple Bottle of small body size (fig. 136). As noted in an earlier section, in Phase 6 oxidation-fired Simple Bottles and Simple Jars with fluted shoulders all have the shoulder area covered with a plain purple slip without further decoration, and instead commonly have a special variant of a principal broad-band design, that is, Small Diamonds, on the upper body band (pi. 16). The Phase 8 usage of broad-band decoration in the upper body-band position may be an extension and elaboration of this Phase 6 usage. As we have seen earlier, Phase 8 shoulder fluting generally consists of relatively closely spaced rib-like rises and grooves of more nearly even width than in Phases 6 and 7 (pis. 31, 33; for comparison, see pis. 12, 16, 17). The vertical stripes that cover the grooves and rises in Phase 8 are done alternately in white and red or white and purple, and are outlined in black (pis. 31, 33, 35). Most commonly the white stripes are used for the area of the grooves, but they are usually slightly wider than the grooves, so that white and red or purple stripes usually are of about equal width (pis. 33, 35). The use of purple for alternating stripes conforms to the lea 6 technique of using purple for fluted shoulders, but in all but one of the examples the purple used in Phase 8 is Chincha purple rather than lea purple (pi. 35). The vertical stripes are usually plain, but in one example the white stripes are decorated with Chincha-style band decoration (fig. 417, pi. 35). Therefore, although the idea of the lea 8 shoulder fluting is in the main a modified version of the corresponding lea 6 feature set, the new decoration that accompanies it includes several features borrowed from the Chincha style. On two lea 8 Simple Bottles with enlarged bodies a modified form of the vertical striping pattern is used (10.3.1; MNAA, 20/271, 20/274). On these vessels the broad-band area

115 traditional lea Complex Jars, thus obviating a horizontal division in this section of the design area. The broad-band area on the Squat Ovoid Jars is bordered by a narrow white band and a narrow red band at both the top and bottom. The white bands are decorated with a row of large black dots, and the red bands are plain. The arrangement of the designs within the principal design area on the Squat Ovoid Jars is adapted from traditional devices for broadband areas on another large vessel category, the Complex Jar, in Phase 6. On two of the Phase 8 jars the area is divided into principal and secondary vertical panels, as in traditional Complex Jar decoration. Both these jars are slightly elliptical in horizontal section, a feature that explains this choice of arrangement. One of these jars has secondary panels of trapezoidal shape and principal panels of rectangular shape, as in traditional Complex Jar decoration (fig. 140). The secondary panels are outlined with plain narrow red bands and narrow white bands, a feature not present in Phase 6, but one that also appears on the lea Complex Jar attributed to Phase 7. The narrow white bands in this arrangement are decorated with the Chincha-style body-band design (cf. fig. 417). The second jar with the vertical panel arrangement has nearly round body contours, and in correlation with this feature, principal and secondary panels have nearly the same contours, both being very slightly trapezoidal, the secondary ones slightly more so than the principal ones (MRI, DA-1135). On the third Squat Ovoid Jar, a vessel perfectly round in horizontal section, the design area is divided horizontally into two» bands, each with vertical panel subdivisions decorated with principal broad-band designs in alternation so that they produce a large checkerboard effect (fig. 141). This is the traditional Phase 6 device for decorating broad-band areas on vessels that do not have elliptical contours, like the large Drum Bottle and some Deep Open Dishes in Phase 6. It is evident from these observations that variations in the design arrangements on Squat Ovoid Jars are selected on basis of details in shape features.

THE ANALYSIS OF DECORATION

of the shoulder is unfluted and is covered with an over-all slip in the traditional lea manner. However, the slip is white instead of the traditional red, this use of the white slip being a Chincha technique. Furthermore, in place of traditional broad-band decoration there are four widely spaced narrow vertical panels or bands separated by broad secondary panels decorated with traditional Bird unit designs. The principal decoration is on the narrow panels, in contrast to the Phase 6 techniques. The decoration consists of Phase 8 variants of white-band designs, that is Small Diamonds on one bottle and elaborated variants of Phase 6 white-band decoration on the other. Each vertical border of the panels is terminated by double outlining and a fringe band consisting of Hook elements. This design arrangement appears to be a special adaptation of shoulder striping in combination with other Chincha loan features. The principal decoration in the upper bodyband area of two of the Simple Bottles is traditional Small Diamonds like those used on corresponding vessels with fluted shoulders in Phase 6 (MNAA, 20/274, 20/298; fig. 136; design as in fig. 335 and pi. 16). The same design appears in the upper half band of a Shallow Dish (fig. 135). On another Simple Bottle with an enlarged body a Chincha bodyband design is used instead (MNAA, 20/271). On jars, enlarged Simple Bottles, and the imitation Chincha Cambered-Rim Bowl, the upper body-band designs are Stepless Large Diamonds or Rectangles, designs that are used exclusively as broad-band decoration in Phase 6 (figs. 415, 416, pis. 31,33-35). The Icatradition Complex Jar has the additional peculiarity that the design area in the upper body band is halved into two vertical sections separated by double outlining, one half containing a Rectangle design and the other half a Diamond design (10.4). Such halving of the design area does not appear in the Phase 6 sample or in earlier lea phases. Another design arrangement is used on the large imitation Chincha Squat Ovoid Jars (10.5; figs. 140, 141). In this arrangement the principal decoration appears in a single design area equivalent to a broad band on large Complex Jars, the upper body band being omitted. The omission of the upper body band is probably attributable to the difference in body contours, because the upper body on these jars is more evenly sloping than on

We have already seen that designs used exclusively as inner mouth-band decoration in Phase 6 are used in other contexts in

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Phases 7 and 8. The most common Phase 8 use shows the triangular inner mouth-band pattern, which also appears as part of the principal body decoration in the Chincha style. This triangular pattern is a common narrow-band design in Phase 8, evidently as a result of Chincha influence. Modified variants of the rectangular pattern of traditional inner mouth-band decoration of lea are also used as body bands in the Chincha style, and these too appear as body decoration on lea 8 vessels. In one example this design appears in the form of a checkerboard pattern as principal decoration of the vertical panels on the narrow shoulder sections of one of the imitation Chincha Squat Ovoid Jars (MRI, DA-1135; the lea 6 antecedent to it is shown in fig. 353). The same rectangular pattern is also used as a single horizontal, relatively narrow band in place of the principal half-band decoration of Phase 6 on one of the Phase 8 Shallow Dishes (fig. 134). Similar uses for this rectangular inner mouth-band pattern appear in Phase 9, but not in Phase 6. The faceneck jar from the group Sc lot has a unique principal body-design arrangement, where an apron-like panel cuts across a black background, probably in imitation of a garment (pi. 34). In Phase 8 there are also contrasts with Phases 6 and 7 in the use of narrow bands. Such bands are used more rarely in Phase 8, and usually in different contexts. As in Phase 7, white bands are commonly separated from principal design areas by a single outline only instead of double black and white outlining, in contrast to Phase 6. There is only one example of a traditional white band used in a traditional context at the bottom of the broad band on a Cambered-Rim Dish (pi. 32). White bands are broader on the average than in Phases 6 and 7, and the design on them is usually a variant of a Chincha body-band design, as illustrated in fig. 417 and pi. 35. Alternatively, the lea 8 white bands are left plain. Their most common use is in alternation with purple or red bands in vertical shoulder banding adapted for fluted shoulders (pis. 31, 33, 35). Perhaps in analogy with this context, the same band is also used as a vertical border band for panel subdivisions on one of the imitation Chincha

Squat Ovoid Jars (MRI, DA-1175). The same band is also used as a horizontal dividing band between the upper body-band and broad-band areas on closed vessel bodies (pi. 35). As we have seen earlier, this latter feature has an lea 7 antecedent with a different, more traditional lea design. No such feature is present in Phase 6. The narrow white bands that form horizontal borders for the single principal design area on imitation Chincha Squat Ovoid Jars are all decorated with a row of large black dots, a design used regularly in this context on Complex Jars in the Ica-related tradition of the Nasca drainage (Robinson, ms., pi. V, figs. 10, 14; Gayton and Kroeber, 1927, pi. 18B). Since this design is neither part of the lea tradition nor part of the Chincha style, it presumably rises to sudden popularity as a loan trait from the Nasca drainage. However, since imitations of Nasca traits are rare at lea, it is not readily apparent why this trait of all others should have been imitated in this particular context. We must therefore consider the possibility of an alternative explanation for the origin of this use of the band in lea Phase 8. Narrow red bands are used for the most part in the imitation Chincha jar and bottle design arrangements as outer borders for white bands, in the lea tradition pattern. They are used as horizontal border bands on the outside of white bands at both the top and bottom of principal design areas. They are also used on the outside of the white bands that border the principal vertical panels on one of the imitation Chincha Squat Ovoid Jars (MRI, DA-1175). In addition, they alternate with white bands in the decoration of fluted and some unfluted shoulders, in a new arrangement (pis. 31, 33). As noted earlier, in this latter context the bands are either red or Chincha purple. For a Chincha purple example, see pi. 35. Unlike most Phase 6 narrow red bands, most of those of Phase 8 are plain, without further decoration. Most have traditional single black outlines, but two examples of a horizontal narrow red band at the bottom of the design area lack a bottom outline (figs. 137, 140). The same kind of unoutlined narrow red band is also present at the bottom of the design area on the lea 7 Cambered-Rim Bowl from burial Th-2, and on two Flaring Cups and a Deep Open Dish attributable to

117 Similar, though carelessly applied decoration appears on the rims of the four Cumbrous Bowls from burial C-7. The Chincha Rim Scallop design is also used as a multiple-row design in the secondary trapezoidal vertical panels on one of the imitation Chincha Squat Ovoid Jars (MRI, DA-1175). In this context the design is so similar to an Inca-style design commonly used as secondary panel decoration on Inca jars that the lea 8 design may here possibly represent an early local adaptation of an Inca motif at the beginning of the Late Horizon. This would mean that some vessels in the lea 8 style can date to the beginning of the Late Horizon.116 Design patterns and elements. Diamond designs are only slightly different from the corresponding Phase 6 and 7 designs. Unfortunately we have no Phase 8 example of the Composite Large Diamond, which has the principal innovating feature in Diamond designs in Phase 7 (cf. fig. 404). The main difference in Phase 8 Large Diamond designs is that step filler elements do not seem to be in much use, and have a distinctive appearance when they are present. Large Diamonds with step fillers occur more rarely than the Stepless Large Diamonds and Small Diamonds, in contrast to Phase 6. When Large Diamonds with step fillers are used, they are drawn far more carelessly than in Phase 6. Modified step-filler designs appear with Large Diamonds in principal body decoration on one CamberedRim Dish and two imitation Chincha Squat Ovoid Jars in our sample (Sc, 4-4900, MRI, DA-1135, 1175; fig. 414, pi. 32). One Deep Open Dish without associations has the same modified step-filler design with Tailed Squares as principal elements (figs. 133, 413). On these vessels the filler elements are reduced to carelessly daubed wavy and straight lines instead of steps. They correspond to the most carelessly daubed design areas of Phase 7. Unlike Phase 7 examples, they are not associated with areas showing more careful execution (cf. Ica 7 example, fig. 404, pi. 23). Stepless Large Diamond and Small Diamond designs are like those of the corresponding Phase 6 and 7 designs in appearance. The occasional differences are only evi-

THE ANALYSIS OF DECORATION

that phase (figs. 113,117-119, pis. 23, 26, 27). On the Flaring Cups the red-slipped area overlaps onto the vessel bottom. Unoutlined narrow red bands are not in use in Phase 6, but they do occur in earlier lea phases. It appears that the Phase 7 and 8 use of this band is a coincidental recurrence of a trait with an older histoiy. Only two examples of narrow red bands with traditional red-band decoration occur in the lea 8 sample. They appear at the bottom of the principal design area on the two Simple Bottles on which the broad-band design is painted on a white ground (MNAA, 20/271, 274). The imitation Chincha faceneck jar and the Bottle/Jar have the body decoration terminated at the bottom by multiple black and white banding, in the manner of traditional lea Complex Jars (pis. 34, 35). However, fewer bands are used than in Phase 6, the number being two and three black bands with intervening white ones, respectively. Simple double black and white outlining is used alternatively in Phase 8 to terminate the design area at the bottom (pis. 31, 33). Imitation Chincha Squat Ovoid Jars have a plain narrow red band at the base of the design area instead. These several lea 8 forms of termination of the design area all resemble corresponding Chincha-style features (cf. Kroeber and Strong, 1924a, pis. lla-d, 12a-e). Jar necks are decorated with horizontal black and white striping in place of the usual lea 6 plain black slip on two of the imitation Chincha Squat Ovoid Jars. The third Squat Ovoid Jar has a plain white slip with black outlines on the neck exterior, a feature that has no counterpart in the sample for Phases 6 and 7 and is probably attributable to Chincha influence (MRI, DA-1135). On two of the imitation Chincha Squat Ovoid Jars the neck decoration includes another important new feature not found in Phases 6 and 7, one that must be the result of Chincha influence. The interior of the neck rim on these jars is decorated with a fringe of pendent black triangles on white ground. This design is the "Chincha Rim Scallop," a standard rim design of the Chincha style which is not part of the lea tradition (MRI, DA-1135, 1175; for Chincha-style examples, see Kroeber and Strong, 1924a, pis. 11c, 12e).

116. For a further discussion of this crossdating, see Menzel, 1966.

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

dent in their use in different design positions, and in their apparent greater frequency of use relative to Large Diamond designs with step filler elements (fig. 415, pis. 34, 35). In contrast to the Diamond designs, it is possible to perceive significant differences from Phase 6 in Rectangle designs, differences that do not appear in Phase 7. For one thing, most black principal Rectangle elements are drawn with markedly thicker brush strokes than the white counter designs. For another, most of the individual Rectangle elements are drawn so carelessly that they appear as triangles, the sides merging with the front appendage (fig. 416, pi. 33). Furthermore, the counter designs are most commonly Triangle designs proper instead of Rectangles, a combination that appears only once in a unique context in the Phase 6 sample (fig. 416; for comparison, see fig. 3%). However, we have seen evidence of the beginnings of this kind of innovation on some Phase 7 pieces. The greater use of triangular elements in Rectangle designs is correlated with differences in the principal fish figures that form part of the pattern in many Rectangle and Triangle designs in Phase 6. In the Phase 8 example, features of the Rectangle and Triangle Fish figures, which are distinct in Phase 6, merge, converging toward a single, variable design category (cf. conservative Rectangle element in the upper right of fig. 416, compared with the rest of the fish figures in the same design, and with the Phase 6 Rectangle Fish designs in figs. 315 and 585 and the Phase 6 Triangle Fish design in fig. 316). There also is another difference. Two rows of principal fish figures are used instead of the single row that is invariably used in Phase 6. This difference is correlated with the wider design field, its greater width being the result of its use on an enlarged bottle body in the upper body-band position (pi. 33). All the different features in Rectangle designs, described above, which distinguish Phase 8 from Phases 6 and 7, also appear in Phase 9, albeit with further modifications. We have noted above that designs used exclusively for the decoration of inner mouth bands in Phase 6 appear as principal body decoration in Phase 8. Another important contrast is that in one context the design so

used, showing elements of the rectangular inner mouth-band pattern of Phase 6, appears in several rows and columns, forming a checkerboard pattern. This modification is correlated with the use of the design in a larger design area, as principal vertical panel decoration on the narrow shoulders of one of the imitation Chincha Squat Ovoid Jars (MRI, DA-1135). The use of the checkerboard pattern here evidently represents an adaptation of the lea 6 device of using alternating plain and decorated panels for large design areas. In the new checkerboard pattern, squares with rectangular inner mouth-band design figures alternate with plain red squares. The new checkerboard pattern is also analogous to the lea 6 Checkerboard design (fig. 317). A significant new design appears on two vessels in the Phase 8 sample. It consists of series of vertical lines pendent from a top border and painted in white on a red or black round. The lines are adorned with a fringe and of Hook elements on each side and terminated with a large round dot (fig. 418). This entire design functions as a fringe-band design and is used for relatively plain panels or bands. It appears on the front portion of the imitation Chincha faceneck jar with anthropomorphizing body decoration (pi. 34), and on a Shallow Dish, where it is used to decorate the secondary lower half band (fig. 134). The same design without Hook appendages is used in the Chincha style, where it also appears in otherwise plain principal design areas. Its use in lea Phase 8 is probably inspired by the Chincha feature.

f

The Late Horizon Styles SUMMARY

Stylistic contrasts between the Late Horizon pottery of lea and the preceding lea phases are greater, and follow a more complex pattern, than contrasts between preceding phases. At the same time the stylistic differences between lea 8 and lea 9 features uninfluenced by foreign styles were no greater than the corresponding contrasts between Phases 6 and 7, or Phases 7 and 8, respectively. The relatively small degree of contrast between

THE ANALYSIS OF DECORATION

adjoining phases in these features suggests that the time intervals between the respective phases were comparably small. This hypothesis is supported by historical data available for the period covered by lea Phases 8 and 10 (see introduction). The greater number of Late Horizon innovations must therefore be supposed to have occurred abruptly under some pressure, an inference supported by the stylistic analysis. Late Horizon pottery of lea differs from that of the Late Intermediate Period phases in several important respects. It consists of several distinct style units which can be shown to be contemporary with one another, but which occur in different patterns of association. In contrast, each lea pottery phase of the Late Intermediate Period forms a single stylistic unit with a uniform pattern of distribution and associations in the lea Valley as far downriver as Ocucaje. The principal design style units of the Late Horizon are the lea 9 style, the Ica-Inca style, another provincial Inca style related to the Nasca-Inca style, and a style of imitation antiques. There probably also existed a local Inca style with another distinctive association pattern and more faithful reproductions of Cuzco Inca features. Although there is enough stylistic overlap between these units to indicate their contemporaneity even when one disregards other evidence of associations, the stylistic differences between them are startling. Foreign imports of the Inca and Chimu styles and authentic antiques are rare style categories of this time. Ica 9 decoration represents in the main the continuation of the local Ica tradition, but with some significant omissions and additions. Omitted are most features that occurred in association with imitation Chincha forms introduced in Phase 8. The elimination of these features is so categorical that one must infer that it took place as a result of a general policy accepted by the potters. Since imitation Chincha features form a large part of the Ica 8 style, the Ica 9 style is in some ways more like Ica Phases 6 and 7 than like Phase 8, at least on superficial observation. The stylistic details unaffected by Chincha influence, however, show that the Phase 9 style is a distinctive later link in a continuous succession of changes in Ica style features from Phase 6 on. Ica Phase 9 differs from Phase 6 in being much less homogeneous. Although Phase 9 is

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standardized, there are many more stylistic options than in Phase 6. One reason is that innovations introduced in Phases 7 and 8 and perpetuated in Phase 9 were treated throughout these phases as stylistic options to the fewer and more rigid Phase 6 standards. Additional innovations of local inspiration added in Phase 9 contributed to even greater diversity. The diversity would have been greater still in Phase 9 had it not been for the elimination of most of the Chincha-associated features of Phase 8 origin. On the other hand, a greater degree of option in the choice of decorative patterns is added in Phase 9 as a result of some degree of Inca influence. Inca influence is subtle for standard Ica 9 decoration and affects only a few selected features. Most Ica 9 designs show no obvious relationship to Inca ones. The case for some Ica-Inca B Large Bottles is different. These bottles are decorated with a design arrangement that shows a slightly more obvious degree of Irtca influence. The design motives in this arrangement are either wholly or in part those of the Ica tradition, however. Inca influence is manifested far more explicitly in Ica-Inca decoration. However, the Ica-Inca style cannot be equated with the Inca style. It consists of a mixture of Ica and Inca features in such a way that new compositions result. These compositions follow rigorous stylistic rules of their own which are neither like those of the Inca nor of the Ica style. Instead, more and less obvious Inca and Ica features are mingled in the new compositions. Although some Ica-style features are those of Ica 9, others are archaizing motives reviving various earlier features not used in the Ica 9 style. There is a continuing range of variation from more Incalike compositions and designs to compositions and designs of a more local character. Compositions most like those of the Inca style are found on the fanciest provincial Inca shapes, notably the largest jars and the group A-l plates, which most resemble the corresponding Inca shapes. Less faithful imitations of Cuzco Inca shapes, and Ica-Inca A shapes, have Ica-Inca decoration with more of the locally modified features. One impressive feature of the Ica-Inca style is the use of Chincha purple (specular hematite), especially in the more distinctively local Ica-Inca contexts. This pigment came into prominent use in Phase 8 in association with

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

Chincha influence, and does not occur in the lea 9 style. Some special significance must be attached to its regular use in the Ica-Inca style. The incised decoration of lea 9 shapes of smoked blackware forms a distinctive adaptation of lea 9 decoration. Musical instruments share this decorative pattern. On the other hand, rare Ica-Inca shapes of smoked blackware with incised decoration have design motives adapted from the Ica-Inca style. Another kind of provincial Inca decoration is found on group B-2 plates from lea. The decoration of these plates is as distinctive as the shape and the kaolinlike paste. It includes a unique light orange slip, decoration in maroon purple and black, and a distinctive Bird design. The combination of features of shape and design shows these plates to be closely linked to the Nasca-Inca style. Some of the Nasca-Inca style features are relatable to pottery styles of the western Titicaca Basin. Imitation antiques have decoration that shows a mixture of archaizing features with lea 9 features for most of the examples. The exception is a dish with a modified archaizing shape from tomb Td-8, which has Ica-Inca decoration instead. The design features that are revived for the imitation antiques are drawn from Ica-Epigonal and lea 1 to 4 or 5 models in anachronistic mixtures.

ANALYSIS IN DETAIL Smoked blackware

Smoked blackware is more common in the Late Horizon than in the earlier epochs. There are thirty six blackware vessels in the Late Horizon burials excavated by Uhle, constituting 27 percent of the pottery. However, we have already seen in chapter IE that these data are not significant unless they are taken in the context of their different units of associations. The discussion of smoked blackware here is therefore guided by these associations. By far the most common occurrence of smoked blackware is in the refuse of specialized small Late Horizon sites, that is, the small settlement of El Hato near Old lea, where blackware constitutes more than 50 percent of the fancy ware (PV62-109). Smok-

ed blackware of the same kind is also relatively common in refuse at the capital of Old lea (PV62-1), at the secondary administrative post under the Incas at La Venta de Chagua (PV62-45), and at the Inca road stop of Tambo Perdido (PV59-30). Among the burials, the greatest quantity of blackware was found in Tk, which included pottery much like that found in the refuse at El Hato. The disturbed burial Tf contained some of the same kind of pottery. Most smoked blackware in the refuse at El Hato and Tambo Perdido is distinctive. It consists of plates, shallow flaring-sided dishes, simple bowls with paraboloid, flaringsided contours, and jars with narrow necks. These forms are of relatively careless manufacture, and correspond in ware and finish to the Inca-associated blackware plates in burial Tk, which are assigned to plate group B (chapter IE). Inca-associated group B plates of the kind found in burial Tk are a common shape category in the refuse sites mentioned above (fig. 209, perhaps also 208). The other blackware shapes found in these associations are not described in chapter HI, because they were not found in the burials in our sample; their description is reserved for another study. None of these shapes is in the lea tradition. Ica-tradition shapes are relatively rare in this refuse assemblage, and when they occur many are also made of smoked blackware. The lea 9 blackware fragments include parts of Angular-Rim Dishes, Flaring Cups, and Shallow Dishes. The latter are the most common. An important distinguishing feature of most smoked blackware in the assemblage described above is that it lacks the incised decoration that characterizes other kinds of blackware of this time. Blackware fragments decorated with incisions are very rare at El Hato and Tambo Perdido. As a further indication of the nature of the contents of burials Tk and Tf at Old lea, each contained one Angular-Rim Dish made of plain, unincised blackware (figs. 213, 216). Smoked blackware decorated with incised designs occurs with moderate frequency in different contexts, at Ica-tradition (lea 9) sites away from the capital, which are scattered over all parts of the valley. It is also found in burials at Old lea which contain different kinds of artifact assemblages from those in

THE ANALYSIS OF DECORATION

burials Tk and Tf. It is difficult to assess the exact frequency of blackware at lea 9 sites on the basis of present data, but blackware seems to be slightly more common at these sites than in earlier lea phases. The most common shapes of incised blackware are Angular-Rim Dishes and AngularRim Bowls. Raring Cups occur more rarely in the refuse, and none has been found in the burials. Evidently on rare occasions Ica-Inca Lamp Bottles and Drum Bottles were also made of smoked blackware decorated with incisions. Two Lamp Bottles and one Drum Bottle of this kind without associations or provenience data have been recorded (28.2.1, 29.2.1, 29.2.2). A near-identical pair of Angular-Rim Bowls of incised blackware was found in tomb Ta, and a near-identical pair of Angular-Rim Dishes of this kind was found in tomb Td-8 (11.4.2, 14.3.3; figs. 187, 188, pi. 53). Another Angular-Rim Bowl of incised blackware was found in burial Td-1 (12.2.1; fig. 163, pi. 45). Uhle also found an AngularRim Dish of incised blackware without associations at Chulpaca, Old lea (28.6.1; fig. 240). The incised designs on lea 9 blackware shapes are not executed with great care. The incisions are relatively broad and deep and are drawn with uneven lines and at angles that fail to maintain perfect symmetry of the motives. The designs are adaptations of standard painted lea 9 designs. They consist in the main of variants of lea 9 Large Diamonds, usually in the form of unit designs (figs. 473-475, pi. 53), variants of Small Diamonds (figs. 472, 476, pi. 45), variants of Rectangle designs (fig. 471, pi. 45), and elements of traditional inner mouth-band designs in different contexts (fig. 470). For a further discussion of areas covered with design, design arrangement, and design details, see below. The Ica-Inca shapes are decorated with simplified adaptations of Ica-Inca designs in the form of single units. The incised lines of the designs are filled with red and yellow resin paint applied after firing, as were probably all surfaces between incisions. The tradition of using resin paint to decorate smoked blackware is old at lea, as we have seen earlier. The Late Horizon innovation is that the paint is used to cover incised design areas, whereas in earlier lea phases it was used in the form of line designs without incisions. There is no lea 9 example in which resin paint is used to make designs on black-

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ware without incision. The only Late Horizon use of resin paint without incision on blackware is as red coloration of the head and wings of modeled bird features on black Bird Jars and imitation Chimu whistling bottles (see below). Most musical instruments of pottery, that is, ocarinas and flutes, are also made of smoked blackware decorated with incised designs (fig. 470, pi. 49; Kroeber and Strong, 1924b, pi. 37j; Mead, 1924, fig. 6; Izikowitz, 1935, fig. 186). These instruments are distinguished in that most are of more careful manufacture than other incised blackware. At least some are thin walled, with a carefully smoothed, glossy surface, even smoke blackening, and dainty fine-line incisions (for comparison with pi. 49 and fig. 470, see figs. 471-473, 475, 476 and pis. 45, 53). The paint usually covers surfaces between incisions as well as the incised grooves themselves. The probable source of inspiration for the use of incised blackware at lea was shared with the Chincha-Inca style.117 Recorded vessels of the Chincha-Inca style are blackware bowls of the finest ware made at Chincha at this time. Their fancy manufacture indicates that they must have been prestige items. However, they were found in burials of people who maintained remnants of their old local tradition, and who were buried farther away from the capital than others whose burial remains were different, and who were probably engaged in administrative work under the Incas. The shape and fancy manufacture of the Chincha-Inca bowls, and the use of fine incised line designs, were new to Chincha and were probably of foreign inspiration attributable to the Pachacamac-Inca style, but the design motives themselves are of lea origin. The design elements on the Chincha-Inca bowls are in part identical to those of lea 9 found on incised blackware at lea, and in part they reproduce painted Ica-Inca designs based on Ica-tradition motives. Like the incised blackware designs at lea, the Chincha-Inca designs are covered with resin paint in contrasting colors, the use of such paint being also a feature of lea origin. These observations lead to the conclusion that incised blackware at lea and Chincha had a related history. Only some of the musical instruments of lea ap117. Menzel, 1966, pp. 117-118,122,134, fig. 68; Kroeber and Strong, 1924a, pi. 13a-c.

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

proach the Chincha-Inca bowls in fineness of manufacture, however, and only a small flute fragment from the refuse of El Hato at lea comes close to the high standard of workmanship seen in the Chincha-Inca bowls. Two other Ica-tradition shapes of smoked blackware occur as fragments in lea 9 sites, namely black Bird Jars and Shallow Dishes. Neither of these forms has incised decoration. No oxidation-fired Bird Jar or Bird Jar fragment has been recorded in Late Horizon contexts. Black Bird Jars also appear in tombs with Ica-Inca and provincial Inca pottery at Old lea. A near-identical pair of such jars was found in tomb Ta (fig. 184; Kroeber and Strong, 1924b, pi. 38b), and a single example was found in tomb Ti-5 (fig. 172). Shallow Dishes were not found in any of the burials excavated by Uhle, but they occur in refuse sites. In the lea Valley oxidationfired forms with slip-painted decoration predominate at lea 9 sites, but some of smoked blackware have been recorded at lea, particularly in the refuse of El Hato and Tambo Perdido. Shallow Dishes of smoked blackware are far more common in the contemporary style assemblage of the Nasca drainage, however. The pattern of associations of the remains of Shallow Dishes of smoked blackware suggests that, unlike black Bird Jars and incised blackware, their more regular associations may have been with Inca-associated unincised blackware. Like other lea 9 vessels, those of smoked blackware (incised and unincised forms) differ from lea 3 to 7 blackware vessels in being thicker walled and much less carefully finished. They usually have slightly uneven surfaces, less careful shaping, more firing clouds, and less gloss than the earlier blackware of the lea tradition. The marked increase in the use of smoked blackware on most of the Peruvian coast under the Incas must be ultimately attributed to the influence of the Chimu style of the Kingdom of Chimor. This conclusion has been reached by other archaeologists who have concerned themselves with this problem. However, more attention needs to be aid to the fact that the spread of this in-

Suence was not always a direct one, and

operated in different ways in different areas. We have seen that some of the increased use of smoked blackware at lea is probably attributable to the indirect influence, via Chincha, of the Pachacamac-Inca style. Pre-Late Horizon pottery at Pachacamac was not made of smoked blackware, however, and many new vessel forms of the Late Horizon at Pachacamac show their affiliation with the Chimu tradition, an indication that the Late Horizon pottery of Pachacamac probably owes the prominence of smoked blackware to direct Chimu influence at this time. Pachacamac-Inca blackware is distinguished from the bulk of Chimu blackware and from other coastal blackwares by its very fine, smooth, glossy finish and even, deep charcoal blackening. Most Chimu ware, by contrast, has a more uneven blackening, much of it with a lighter, grayish cast, more uneven surfaces, distinguishable polishing marks, and often a peculiar metallic sheen to the surface. Only a small number of fancy Chimu-Inca vessels appear to have the fine black surface finish that characterizes the fancy blackware of Pachacamac.118 The distinctive local surface finish of blackware from lea, described above, forms a third ware group in Late Horizon blackware from the coast. However, the pair of double-chambered Chimu-style whistling bottles from the lea burial Tk has the fancy finish that characterizes fancy Pachacamac-Inca vessels and the fanciest Chimu vessels. Perhaps these vessels were either made at Pachacamac, or in the former territory of the Kingdom of Chimor (fig. 201). The prestige of certain vessel forms and the use of smoked blackware of the Late Horizon pottery of the Kingdom of Chimor also among the Incas is demonstrated by the occasional occurrence of Chimu blackware in the Cuzco region, and at administrative outposts of the Inca Empire in the provinces.119 We have noted the occurrence of Chimu and imitation Chimu vessels of smoked blackware in Late Horizon graves at Old lea (chapter III). The use of smoked blackware must have carried a special association with the Inca conquest in the minds of the peoples of the provinces, because provincial Inca shapes were not uncommonly made of it. We have seen examples of this usage at lea in the form of imitation 118. Margaret Ann Hoyt, personal communication. 119. Eaton, 1916, pi. XIV-1; Menzel, 1966, figs. 66, 67.

THE ANALYSIS OF DECORATION

Inca jugs in tomb Ti-5, and Inca-associated group B plates in burial Tk. The use of smoked blackware for various imitation Inca and Inca-associated forms is far more common in the Nasca drainage than at lea. In quality of manufacture, Late Horizon blackware from Nasca resembles Inca-associated group B plates and associated vessel forms. Many shapes among the remains from Nasca resemble the plates, dishes, bowls, and jars described above for this kind of refuse at lea. Nasca-Inca Lamp Bottles are also commonly made of unincised smoked blackware. Only one Ica-Inca A Lamp Bottle in our sample is made of unincised smoked blackware (11.2.1.3). This bottle has a longer neck than other Ica-Inca A Lamp Bottles. Both in this feature and in the use of unincised smoked blackware, this piece resembles Nasca-Inca Lamp Bottles. The reason for this exceptional combination of features here is not apparent at present. The only other occurrence of smoked blackware at lea in the Late Horizon is in the form of imitation Late Horizon plates of Chincha, as represented by a near-identical pair of such plates from burial Tk (fig. 212). They too have a distinctive surface finish, as noted in chapter EQ. A special use of resin paint

The principal use of resin paint in the Late Horizon is in the decoration of smoked blackware, as discussed above. However, a more curious use of resin paint also occurs. On rare occasions such paint is used on oxidationfired pottery. One unusual example is that of the oxidation-fired ocarina from tomb Td-8, which is decorated with incised designs that are usually reserved for smoked blackware (11.4.3). The other examples of the use of resin paint are more peculiar. A set of four near-identical Ica-Inca A Lamp Bottles and a pair of small provincial Inca jars from tomb Td-8 have remnants of red and yellow resin paint on them (11.1.1.3, 11.2.1.1; pis. 38, 41). The use of the paint here is odd because it appears on oxidation-fired vessels decorated with IcaInca designs made with slip paint applied before firing. After firing, these designs were

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repainted with resin paint which completely covered the slip-painted designs. Apparently the resin paint was still perfectly preserved when Uhle first took the vessels out of the ground. Speaking of the Lamp Bottles, Uhle remarks: "When fresh taken from the grave, its colors were splendid like red and gold, but when dry they faded." 120 A bit of evidence shows that this odd usage of resin paint had old lea antecedents. An oxidation-fired lea Phase 3 Cambered-Rim Dish, found at Ocucaje, also has remnants of a thick coating of resin paint covering the original slip-painted designs (RHLMA, 1610102).

Plainzvare

There are only seven completely plain, unpigmented vessels among the contents of the Late Horizon graves, constituting 5 percent of the funerary pottery, as against 21 percent in Phase 6 tomb TTi-1. Four of the Late Horizon plainware vessels are miniatures and one is a Cumbrous Bowl of regular size. The presence of both these categories represents the continuation of the old lea tradition. The Cumbrous Bowl is from burial C-10 (fig. 236). Although it is the only undecorated Cumbrous Bowl in our sample, the rest of the Cumbrous Bowls have only a minimum of decoration on a largely unslipped and unpolished surface, putting them in nearly the same category with the plainware lx>wls proper. The principal differences are in shape features and the thinning of the walls, the plainware specimens proper having the nearconical shape and roughly hewn, thick walls of the older plain bowl tradition (cf. chapter III). A miniature imitation Nasca-Inca Lamp Bottle with a shell-shaped body, and a small pottery whistle in the form of an animal, both also of plainware, were found in tomb Ta (14.2.1,14.3.1.3; fig. 183). A miniature jar and miniature cup with modeled face features, both of plainware, were found in tomb Ti-5 (13.5.1). The firing of all these specimens is careless, dull orange to grayish buff to dark gray with firing clouds. None has a careful surface finish. One large provincial Inca cooking pot from tomb Td-8 and one provincial Inca dish from 120. Uhle, ms„ vol. m, p. 84b, no. 5028.

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

burial Tk are also perfectly plain (figs. 145, 205). Four smaller Inca cooking pots from tomb Td-8 and one from burial Tk are plain except for a red or purple slip on the upper surface of the everted rim and a red slip on the handle of those in tomb Td-8. Except for the rim and handle, the cooking pots from tomb Td-8 are unslipped and only very lightly polished, with a matte, fairly smooth surface (fig. 147). The cooking pot from burial Tk has a much finer, very glossy finish on a smooth, unpigmented slip of an even, dull yellow-orange hue (fig. 203). The upper rim surface on this specimen is covered with a purple rather than a red slip. This specimen is also more carefully shaped, with sharper corner points than are found on the cooking pots from tomb Td-8. Both the careful shaping and fancy finish suggest special distinction for this vessel. The provincial Inca dish, also from burial Tk, is also slipped and polished, though the finish is not as smooth, glossy, or even colored as on the cooking pot, and the surface has a more reddish hue. In contrast to the relatively small number of completely plain vessels in the graves, the refuse pottery at Late Horizon occupation sites throughout the lea Valley contains a noticeably smaller proportion of decorated fragments than refuse at sites of the earlier lea phases. This contrast is partly explained by the fact that a smaller area of the vessel surfaces is decorated on many lea 9 vessel shapes than on the corresponding earlier ones. The less careful firing and less careful surface finish generally also found on lea 9 vessels further contribute to the impression of plainness, as does the greater average thickness of the vessel walls which reduces the contrast between fancy and utility wares. In addition, however, there is evidently a reduction in the actual amount of fancy ware in refuse, in contrast to the burial pottery in our sample. This aspect of refuse pottery probably reflects a change in living habits. Except for differences in surface finish and firing control, the plainware vessels from the burials have the same kinds of paste and temper as the decorated vessels. However, the surface collections at Late Horizon refuse sites show that different kinds of paste and temper were used for the utility wares, as in earlier phases.

Painted redware and incised decoration

The painted decoration of the Late Horizon pottery at lea is here classified into lea 9 decoration, Ica-Inca decoration, and other provincial Inca decoration. Incised decoration on smoked blackware is classified as a special variant of lea 9 decoration. The classification is made in part on the basis of the stylistic traditions represented in the designs, and in part on basis of the associations with different categories of vessel shapes on which the designs appear. Most lea 9 designs are modified derivatives of designs of the preceding lea phases. Ica-Inca decoration is based in part on Cuzco Inca models, but it occurs in distinctive, locally standardized patterns of association not found in the Cuzco Inca style. Many Ica-Inca design features are based on the lea tradition. Decoration related to the NascaInca style is confined to Inca-associated group B-2 plates in the present sample. ICA 9 DECORATION

lea 9 decoration appears on Ica-tradition shapes, including Angular-Rim Dishes, Angular-Rim Bowls, Shallow Dishes, Cumbrous Bowls, varied medium-sized jars, Footballshaped Jars, and Flaring Cups. In addition, lea 9 designs appear on Ica-Inca B vessel shapes, including Large Bottles and the Drum Bottle in this category. On some of the Large Bottles, however, the design arrangement is modified to resemble Inca design arrangements for jars. Ica 9 decoration is also used for imitation Ica-Inca A Lamp Bottles, that is, those Lamp Bottles that are composed of more traditional Simple Bottle shape features mixed with some of the Ica-Inca A Lamp Bottle features. There are also special adaptations of Ica 9 decoration to provincial Inca group A-2 and A-3 plates, either alone, or combined with Ica-Inca designs. Ica 9 designs have not been recorded on other provincial Inca shapes or on Ica-Inca A shapes proper. Ica 9 designs are drawn more carelessly and hastily than those of Phases 6 to 8. The lines are usually thicker and sometimes of irregular thickness, lines sometimes overlap at the ends, lines are frequently drawn at irregular instead of right angles, lines intended to be straight are slightly wavy and lines originally stepped are reduced to wavy lines. White

THE ANALYSIS OF DECORATION

counter designs to principal black line designs are often omitted, leaving some designs in a new simplified black on red pattern. Often a smaller area of the vessel surface is covered with design than before, and the surfaces frequently have a less careful polish, the polishing marks sometimes showing clearly on an uneven surface. However, there are also vessels with lea 9 decoration which have a fine glossy polish and design lines of even thickness. Painted lea 9 designs are much more varied than those of Phase 6. As a measure of this greater variety, only nineteen of the painted designs illustrated in figs. 419-476 occur on more than one specimen in exactly the same form, in contrast to the remarkable repetitiveness of Phase 6 designs. Many Phase 9 designs are only variants of one another, of course, so that no great originality is suggested. The greater variety of Phase 9 designs is attributable to several factors. Whereas many Phase 6 rules are in use, modifications introduced in Phases 7 and 8 as alternatives are also present and add greater variety to the design arrangements. This variety is increased by elements of Inca influence manifested subtly in some of the innovating features in traditional design arrangements and design details, and in a few new designs. TTie stylistic variety of Phase 9 might have been even greater if it were not for the categorical elimination of most imitation Chincha features as they appear in Phase 8. As a result of the mingling of traditional standards and innovations, there are more alternative ways of arranging the design patterns, and there is a greater variety of designs that can be used for particular design areas. The choice is much greater in Phase 9 than in Phase 6. Another cause for the greater variety in Phase 9 decoration is the rearrangement of shape features, which provide the particular kinds of surfaces on which the designs are arranged. Some shapes more distinct in Phase 6 converge (i.e. Angular-Rim Dishes and Angular-Rim Bowls, which are relatable to Deep Open Dishes, Cambered-Rim Dishes and Cambered-Rim Bowls), and some shapes more similar to one another or belonging to a single shape category in Phase 6 are more distinct (i.e. Shallow Dishes compared with other dishes, Football-shaped Jars, and vari-

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able medium-sized jars). There are also other new shape features that alter traditional design surfaces on dishes, jars and Flaring Cups, and entirely new shape categories are decorated with lea 9 designs (Large Bottles, imitation Lamp Bottles, the Ica-Inca B Drum Bottle, some provincial Inca plates). The result is that some of the shape categories formerly distinguished by contrasting decoration have the same or similar decoration in Phase 9, while other shapes have new decorative features which distinguish them from other shapes. Areas covered with design. In general, Phase 6 to 8 practices in the distribution of design areas are also followed on Ica-tradition shapes of Phase 9. The main differences are in the reduced use of the inner mouth band on dishes, in the extension of the area of inner mouth bands on Flaring Cups, and in the reduced area of decoration on closed vessel bodies with rounded shoulders (jars and Angular-Rim Bowls). The more angular rim profile used in Angular-Rim Dishes offers less room for an inner mouth band than that of Deep Open Dishes, and this area is usually treated the way the inner surface of the cambered rims is treated in Phase 6 (pi. 47). Among Shallow Dishes, only a low-sided, shallow form is in use in Phase 9, and here the inner mouth-band area is left undecorated or is decorated with a plain red inner mouth band only. On the other hand, Flaring Cups have more flaring sides and rim, and as a result the inner mouth-band area is widened, creating a wider surface for decoration. This decorative tendency to widen the inner mouth band is carried to its logical extreme on one flaring-sided specimen from Chulpaca (fig. 241). Here the decorated inner mouthband area reaches almost to the interior bottom, while the outside is left undecorated, thus approaching the design arrangement used for Cumbrous Bowls. On most jars the design area does not go as low on the body as it does in Phase 6. Most typically it just reaches the greatest diameter at the shoulder or ends slightly above it, as in Phase 8 (pis. 52, 64a, b). On Football-shaped Jars the design area ends most typically at or above the greatest diameter (pi. 58). On black Bird Jars the appliqué reaches only to halfway between neck and shoulder (figs. 172, 184). On one of the medium-sized jars from burial

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

C-4 the design area is equally abbreviated (fig. 228). The decoration on Angular-Rim Bowls usually covers the upper body down to the middle of the height of the shoulder or only slightly below it, but since the shoulder is usually lower on the body than on the Phase 6 Cambered-Rim Bowls the proportionate area covered by decoration is frequently about the same as in Phase 6 (pis. 56, 57; for comparison, see pi. 9). The failure of the decoration to go much below the shoulder is correlated with the more prominent, more sharply curved form of the shoulder. On the higher-shouldered Phase 9 bowls the decoration also ends only at about the middle of the height of the shoulder, however, and on these vessels it therefore ends higher on the body than in Phases 6 to 8 (pi. 59). Cumbrous Bowls are decorated on the interior only, as in other phases, but the decoration is confined in all examples to design elements pendent from the rim edge or, in some imitation antique bowls, to a slipped band of moderate width circling the interior surface of the rim (pis. 66, 67). There are no Phase 9 examples on which the decoration covers the entire bowl interior or a large part of it, as in Phase 6. On Ica-Inca B shapes the same rules are followed in principle as for the decoration on Ica-tradition shapes. Large Bottles with sharp base angles or near-angular hips are decorated all the way to the base angle or hip, which is low on the body when it is present (pis. 50, 51). This practice is also customary on Cuzco Inca and provincial Inca vessel shapes with similar features (pis. 38, 71a, b). On more traditionally rounded Large Bottle bodies with a shoulder at about the middle of the body height, the design area is the same as on lea 9 jars; that is, it extends from the base of the neck to about the middle of the height of the shoulder or slightly above it (figs. 180, 181; Kroeber and Strong, 1924b, pi. 38a). The Ica-Inca B Drum Bottle is decorated to about the middle point of the greatest body diameter (fig. 182; Kroeber and Strong, 1924b, pi. 38h). Ica-Inca B bottle handles are decorated on the outside, and left unslipped and unpolished on the inside. On imitation Ica-Inca A Lamp Bottles, which have more traditional, rounded body shapes such as the one illustrated in fig. 157 and pi. 43, the design area ends approxi-

mately at the middle of the height of the shoulder, as on many lea 9 jars and AngularRim Bowls. Provincial Inca plates in group A-2 have an lea 9 design that covers the entire inside. It is an adaptation of an Ica-Inca design arrangement to a popular lea 9 body design used for Angular-Rim Dishes, Angular-Rim Bowls, and medium-sized jars (pi. 39). Provincial Inca plates in group A-3 in our sample have another interior design consisting of a combination of Ica-Inca and lea 9 features (pi. 40). Incised decoration on smoked blackware follows the same rules for areas covered with design as painted decoration on corresponding vessel shapes (pis. 45, 53). The new musical instruments have their own arrangements, however. Ocarinas are decorated in the groove around the spiral, on the upper and lower broad sides above the spired where the whistling holes are, and around the main craterlike hole in the front center (pi. 49; Kroeber and Strong, 1924b, pi. 37j). The flutes have the front surface around the holes covered with decoration, this being the area visible when the flute is played (29.5.1). Use of colors and painting techniques. Both the pigmented and unpigmented slips in lea 9 decoration are about the same in appearance as in the preceding phases. However, maroon purple is not used as a contrasting color, this traditional pigment evidently having gone entirely out of style. Instead, on some Ica-Inca B bottles and on an occasional lea 9 shape the " r e d " slip varies in hue between an orange red and a purplish red in areas where no contrast is intended. This feature is particularly noticeable on two Large Bottles and a Flaring Cup (pis. 48, 50; Kroeber and Strong, 1924b, pi. 38a). Purple is also one of the Inca pigments. The irregular fluctuations from orange red to "purple" on some of the vessels with lea 9 decoration may represent an only partly successful attempt on the part of local potters to imitate the Inca hue. It is probably no accident that on both the Large Bottles on which this new peculiarity in pigmentation is seen the design arrangement incorporates some features borrowed from Inca design arrangements (see below). Chincha purple (specular hematite) is not used in lea 9 designs, though it does appear in Ica-Inca decoration (see below). There are some innovations in the way

THE ANALYSIS OF DECORATION

colors are used in lea 9 decoration. The upper rim surface of the flaring rim of Ica-Inca B Large Bottles and, rarely, of a jar, are covered with a plain unoutlined red slip. This is Inca usage for comparable jar necks, and in the lea 9 context this feature represents an imitation of Inca usage for necks that are shaped to resemble Inca necks at the rim. The same plain red slip band is also used to decorate the upper (inner) surface of some Angular-Rim Dishes, where the rim has the closest resemblance to the corresponding Inca feature set. The same red band is used to decorate this area on Inca cooking pots. New design conventions in lea Phase 9 bring about the use of black line designs only, without white counter designs, on principal design areas that have a red ground surface. This innovation is part of the trend toward more abbreviated, more hasty execution of lea designs (figs. 437-439, 445, 455, 457, pis. 47, 52). There is a further exploration of the alternative use of white as a background color for principal design bands. The extensive use of this technique in Phase 9 is probably attributable to direct Inca influence rather than to a survival of Chincha influence as it appears in Phase 8 (see Ica-Inca decoration, below). In lea 9 decoration the designs on such white principal bands are in black only, in keeping with traditional lea usage for decoration on white ground (figs. 460-463, pis. 39, 57, 59). Ica Phase 9 also shows significant innovations in the appearance of brush strokes. As early as Phase 6 rare examples occur in which white counter designs are drawn with slightly narrower brush strokes than the black principal designs. Phase 8 shows a greater contrast in line thickness between black principal elements and white counter elements in Rectangle designs. In Phase 9 black and white brush strokes of different thicknesses are much more frequent. Black and white brush strokes of contrasting thickness are used most commonly for Rectangle designs, but they also appear in other design categories (figs. 419, 421-424, 443, 444, 449, 587, pis. 48, 51, 58). Correlated with these innovations is a greater range of variation in the thickness of brush strokes in all design categories, especially in the black strokes, which vary in thickness from around 1 mm. to around 3.5 mm.

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on vessels of comparable size. By contrast, in Phase 6 the variation in the thickness of brush strokes mainly depends on the size of the vessel, those on smaller vessels being most commonly about 1.5 mm. and occasionally 2 mm. thick, those on large vessels about 2 mm. thick. Although most black designs in Phase 9 are made with thicker strokes than in Phases 6 to 8, some design lines are about the same thickness as in Phase 6, and a few are even slightly thinner (fig. 428). Some Phase 9 designs can be distinguished by the uneven thickness of black lines in the same design. The presence of design lines thicker than 2 mm. on standard small vessel shapes is a good indication that the specimen is not of earlier origin than Phase 9 among the Late Ica phases. Design arrangement. Most Ica 9 design arrangements are relatable to traditional Ica ones, but with adaptations to new shape features or to other new design problems. Many innovations that appear in Phase 8 in the decoration of new, enlarged imitation Chincha shapes are absent from Phase 9 together with these shapes. The design field on vessel bodies in Phase 9 is most commonly a single broad band without the traditional horizontal narrow bands or other horizontal border bands marking off separate sections of the decoration (pis. 47, 52, 58, 64a, b). The only contexts in which narrow horizontal border bands continue in use as a rule are on some of the most conservative shapes with conservative Rectangle designs (pi. 48); with a traditional Small Diamond pattern in a vertical panel design arrangement on imitation Lamp Bottles and some Angular-Rim Bowls or Angular-Rim Dishes (pis. 43, 56); and with a new mediumbroad band that has white ground color (pis. 39, 57, 59). The loss of secondary banding in body decoration in other contexts is correlated in part with shape changes and accompanying changes in areas covered with design, and in part with the use of thicker design lines, as we shall see. Most Phase 9 innovations in shape features and design techniques coincide in causing a reduction of the available design surface. Thicker design lines have the effect that the same design figures take up more space, so that more space is required for particular designs; that is, the available design area is in effect further reduced. Similarly, the common

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

practice of decorating only to the middle of the height of the shoulder or higher on jars and Angular-Rim Bowls reduces the design surface. This reduction of the surface area available for designs appears to be at least one reason for the omission of narrow-band borders for most broad-band design areas. Terminal banding below broad bands on jars and Angular-Rim Bowls is generally omitted, because this banding was traditionally reserved for decorating the area below the shoulder, an area rarely decorated in Phase 9. There are only occasional Phase 9 uses of terminal banding, made with fewer and much narrower bands than in Phases 6 to 7 (pi. 58). This abbreviated terminal banding represents the modified continuation of a feature introduced in Phase 8 (cf. pis. 34, 35). Upper body bands are largely omitted, because the upper part of the body of vessels with constricted contours usually slopes more steeply and evenly than in preceding phases, eliminating the near-horizontal shelf at the top of jar and bottle bodies for which the upper body band is used in Phases 6 to 8. One upper body band is found on one of the Ica-Inca B Large Bottles, the one that has a slight shoulder in the upper part of the body setting off the top of the sides in a separate lane from the lower sides (pi. 51). A modied upper body band is also present in the largest of the oxidation-fired jars (figs. 428, 460). TTie special design arrangement used in Phase 8 for imitation Chincha bottles and the Bottle/Jar, as well as some Ica-tradition bottles and jars, in which the principal design is placed in the former upper body-band position, is entirely out of style in Phase 9 together with the imitation Chincha forms themselves (cf. pis. 31, 33-35). In correlation with the elimination of this arrangement, all vertical banding, striping, or fluting of the shoulder area, used for these forms in Phase 8, is absent from Phase 9. Broad bands and medium-broad bands continue to constitute the principal design areas in Phase 9. However, most mediumbroad bands fall into a much more distinctive category than before, constituting a separate pattern as much with regard to design arrangement as color combination and choice of design elements. On standard small-sized vessels such as Angular-Rim Dishes, Angular-Rim Bowls and imitation Lamp Bottles,

S

broad bands usually vary in width from about 3.5 to 4.5 cm. (pis. 43, 47, 56). On jars broad bands may be up to 6 cm. wide, depending on the size of the vessel (pis. 52, 58, 64a, b). On Ica-Inca B Large Bottles broad bands may be up to 9 cm. in width (pis. 50, 51). Mediumbroad bands usually vary in width from about 2 to 3 cm., as in Phases 6 and 7 (and presumably Phase 8), and are found on examples of most shape categories with lea 9 decoration (pis. 57, 59). There is a slight overlap in width between the narrowest "broad bands" and the broadest "medium-broad bands" (cf. figs. 457, 462). Broad bands with their corresponding designs are derived from the traditional Phase 6 to 8 broad bands. In contrast to Phases 6 to 8, however, broad bands frequently constitute the only design area on the body, as noted (pis. 47, 50, 52, 58, 64a, b). Most jars and bottles lack upper body bands, so that the broad-band design area covers the entire design field from the base of the neck down. The imitation Lamp Bottle shown in pi. 43 illustrates the use of the traditional broad band without the upper body band. This is one of only three vessels in our sample where a narrow white band survives as a border on one side of the broad band. All broad bands follow the old lea color tradition of having a red ground color, as does a unique, conservative medium-broad band (see below). However, the designs follow two alternative color patterns. The more traditional color pattern is black and white on red ground, the designs consisting of black principal elements and white counter elements (figs. 419, 421, 422, 431, 432, 434, 448, pis. 48, 50, 51, 56, 58, 64a, b). The more advanced variants are painted in black on red only, an abbreviation of the traditional pattern which is accompanied by other time saving devices (figs. 437-439, pis. 47, 52). In some examples white is used for a part of the broad-band decoration (fig. 457, pi. 43). Phase 9 broad bands appear on vessel shapes traditionally so decorated, including Angular-Rim Dishes, Angular-Rim Bowls, bottles, jars, and Flaring Cups. The decoration on Shallow Dishes and Cumbrous Bowls has different arrangements, as in Phases 6 to 8 (pis. 65, 66). Broad bands invariably have vertical panel subdivisions. In contrast, in Phases 6 to 8

THE ANALYSIS OF DECORATION

undivided horizontal broad bands are the most common form on all but Complex Jars. In only one Phase 9 vessel a traditional undivided horizontal principal band survives, namely a unique conservative medium-broad band on a unique conservative Deep Open Dish (13.4.1.2; figs. 176, 419). Broad bands on all Phase 9 vessels in our sample have vertical subdivisions or their equivalents. Special arrangements are used in the broad-band decoration of Flaring Cups, anthropomorphized Football-shaped Jars, and some Large Bottles (pis. 48, 50, 58). Where the more conservative three-color design pattern prevails on vessels other than the three special categories just mentioned, principal decorated panels alternate with secondary ones in the traditional manner, the proportionate width of the panels being similar to that in earlier phases (pis. 43,51,56, 64a, b, figs. 431, 432, 434, 457). However, there is greater irregularity in proportions, some principal panels being slightly wider than secondary ones, others slightly narrower. Secondary panels are usually decorated with unit designs, as in preceding phases. Three-color broad-band design arrangements fall into two traditional descent lines associated with corresponding shape categories, without regard to innovations in shape features of the respective vessel forms. The selection of the design arrangement for each form is determined by the classificatory equivalent of it in an older shape theme. All vessels derived from earlier smallbodied shapes with circular horizontal body sections, or treated as a replacement of these shapes by the lea potters, have a repetitive arrangement of vertical broad-band subdivisions borrowed from a design arrangement on these earlier shapes. In this arrangement all the principal vertical panels have the same design, one that is most commonly derived from traditional Small Diamonds used for such panels in Phase 6 (figs. 434, 448, 457). In Phase 9 this "small body" arrangement is found not only on a small Angular-Rim Bowl and on small imitation Ica-Inca A Lamp Bottles, but also on some of the much larger Ica-Inca B Large Bottles which have different, Inca-influenced body contours (pis. 43, 51, 56). The second category of three-color broadband arrangement is represented on a me-

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dium-sized jar which is slightly elliptical in horizontal section (pi. 64a, b). The arrangement here is derived from that used in the decoration of Complex Jars of Phases 6 and 7, and jars with elliptical horizontal sections in Phase 8. It differs from the "small body" arrangement in consisting of two contrasting sets of principal vertical panels, the panels on the narrower faces having a different design from those on the broader faces, even though the panels themselves are of approximately the same width. The "broad-face" panels are decorated with derivatives of Large Diamond designs traditionally used in this context, whereas the "narrow-face" panels are decorated with a checkerboard pattern derived from the corresponding design used for narrow-face panels on some Phase 8 jars. The correlation between shape and design features in Phase 9 here provides an illuminating insight into the way the lea potters persisted in classifying their vessels by traditional shape categories despite considerable alterations in shape features or outright shape substitutions. It also emphasizes the importance of tradition and continuity in the Phase 9 style. Unit designs continue to be used in the traditional manner on secondary panels of all vessels with three-color decoration. However, composite unit designs are almost entirely out of style in this context, apparently because they are no longer required for use on large Complex Jars, which was their primary function in Phases 6 to 8. Small-sized survivals of composite unit designs persist only as special adaptations in new contexts (figs. 427, 428, 447). In place of composite unit designs, there is a much greater use and variety of individual design units on secondary panels (figs. 435, 445, 452, pis. 43, 56, 64b; Kroeber and Strong, 1924b, pi. 38a). These unit designs usually consist of a single vertical column of design units, the columns most commonly consisting of two figures, and on Large Bottles of three. The double column arrangement of unit designs found on a unique Phase 6 dish and a Phase 7 Flaring Cup may possibly form an antecedent to the lea 9 usage (cf. figs. 391, 406, pi. 25). Another Phase 9 innovation is the use of secondary unit designs painted in the three-color pattern of black and white on red, in addition to the earlier usage of having unit designs in white on red only (fig. 435, pi. 56).

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Many unit designs are derived from principal design elements of Phases 6 to 8 rather than traditional unit designs, another Phase 9 innovation. The use or black or purple ground color for secondary panels is out of style in Phase 9. Three-color design areas are usually outlined in the traditional manner with double black and white outlining, though the lines are thicker and the spacing is much more irregular than in Phases 6 to 8. On one Large Bottle an innovation appears in which the outlining of vertical panels is elaborated into triple black and white lines, probably as a result of Inca influence (pi. 51). The Phase 7 feature of having a single black outline only between the broad band and narrow white band also is present in Phase 9 (pis. 43,56; see also fig. 448). Horizontal narrow bands appear only in association with broad bands with three-color decoration, as noted. Two-color broad-band design arrangements in black on red follow slightly different and more abbreviated rules than three-color arrangements. Outlining rules are more varied. Horizontal outlines sometimes also consist of double black and white outlining (pis. 47, 52). However, on one of these vessels in our sample the top outlining, though consisting of two black lines, lades the central white line (pi. 47). At other times only a single black outline is used. Outlining of vertical panels consists of black lines only, either a single one, two spaced black lines without a white center, or three spaced black lines without white centers (figs. 437-439, pis. 47, 52). Triple outlining probably reflects Inca influence, as noted. There is also greater variety in panel arrangements in the two-color broad-band arrangement. There is either alternating of principal decorated panels and secondary plain panels, or only of principal decorated panels with contrasting designs (pis. 47, 52). In contrast to the three-color design arrangements, vertical panels in the two-color one occur in three, or sets of three (six or twelve), principal panels. Principal panels are proportionately narrower on some vessels, and secondary panels are plain red only, lacking unit designs. The designs used to decorate principal panels are different from those in the threecolor arrangements. They consist of carelessly daubed derivatives of traditional Checker-

board or Rectangle designs (figs. 437-439). No horizontal narrow-band borders or terminal banding appear with these designs. Two Angular-Rim Dishes and one medium-sized jar in Uhle's collection are decorated with die two-color broad-band arrangement (13.4.1.1, 14.3.1.2; figs. 173, 174,185, pis. 47, 52). Fragments with such decoration occur commonly in surface collections at refuse sites. A further abbreviation in design arrangement appears on one imitation Ica-Inca A Lamp Bottle from tomb Ti-5 (fig. 171). On this vessel three large principal unit designs in black only are spaced around the circumference of the plain red-slipped broad band (fig. 455). The ultimate abbreviation is found on an Angular-Rim Dish from tomb Ti-5, on which a plain red slip is the only decoration except for two sets of three plain black cross lines on the inner mouth-band area (fig. 175). Special broad-band design arrangements in the traditional three-color pattern are reserved for some Ica-Inca B Large Bottles, the Ica-Inca B Drum Bottle, anthropomorphized Football-shaped Jars, the Flaring Cups, and two of the group of varied medium-sized jars in our sample. Anthropomorphized Footballshaped Jar and deviant Large Bottle design arrangements are discussed separately below. The design arrangements on the Flaring Cups, the Drum Bottle, and the mediumsized jars represent less specialized modifications of the general pattern and so are discussed in the paragraphs that follow. Two of the lea 9 Flaring Cups in our sample are decorated on the outside with a special pattern that is distinctly traditional (13.4.1.3, 18.1.1; pi. 48; Kroeber and Strong, 1924b, pi. 36q). The greatly decreased use of secondary narrow bands in Phase 9 affects the decoration of Flaring Cups as well. This innovation presents a problem in the decoration of the exterior surface of Flaring Cups, since these vessels have relatively high sides and therefore a larger design surface than other smallbodied shapes. The problem in arrangement presented by the omission or reduced use of narrow horizontal border bands was first encountered in Phase 7. Different kinds of solutions were sought in this phase, including the use of broader broad bands, and the use of vertical panel subdivisions of the broad band separat-

THE ANALYSIS OF DECORATION

ed by vertical narrow bands (pis. 25, 26). The lea 9 potters added a further traditional device for subdividing the broad-band area, namely the checkerboard arrangement. This arrangement does not appear in the decoration of Flaring Cups in Phase 6 and the Phase 7 sample. In it the surface is divided into two adjoining horizontal broad bands, each with alternating principal and secondary vertical panel divisions of equal width. Each broad band has the same decoration, but the panel designs in both bands are so alternated that a checkerboard pattern results. For an lea 6 antecedent to this checkerboard arrangement in another context, see pi. 2. The decoration of the principal panels in the lea 9 Flaring Cup arrangement consists of especially conservative three-color designs in the Rectangle-Triangle tradition (figs. 421, 587). The arrangement differs from the lea 6 checkerboard arrangement, however, in that the secondary panels are decorated with a design of horizontal Stripes rather than unit designs, and that the dividing outlines between panels cross each other instead of framing each panel separately (for contrast, compare pis. 48 and 2). The Stripes design is like the Phase 6 Stripes design, which also appears as Flaring Cup decoration, but as the only principal design (cf. pi. 18). One of the Phase 9 Flaring Cups has an additional special arrangement feature, in which a narrow vertical panel flanked by two narrow bands decorates the relatively narrow area between each pair of suspension holes (fig. 422, pi. 48). As noted, vertical narrow bands are first used in the Flaring Cup arrangement in Phase 7 (pi. 25). On the lea 9 Flaring Cup two more traditional horizontal narrow bands are also used. However, they are placed only at the top of the broad-band area and not at the bottom, a variation not found in the earlier examples. For a complete view of this arrangement, see Kroeber and Strong, 1924b, pi. 40a. The inner one of the horizontal narrow bands on the lea 9 vessel differs from corresponding Phase 6 narrow bands in being a black band decorated with white dots instead of a narrow white band. A black narrow band of this kind appears first in Flaring Cup decoration in Phase 7, albeit in vertical position (pi. 25). The third complete Phase 9 Flaring Cup in our sample lacks exterior decoration because of its more flaring contours (fig. 241).

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The Ica-Inca B Drum Bottle has shape peculiarities that lead to a special adaptation of the standard three-color broad-band design arrangement (fig. 182; Kroeber and Strong, 1924b, pi. 38h). A rectangular principal design panel is placed on each side of the neck over the top of the vessel (fig. 448). The panels are framed by relatively broad narrow white bands derived specifically from a Phase 7 band in which Large Diamond elements are used instead of the traditional lea white-band designs (for comparison, see fig. 408, pi. 27). The rest of the design area on this Drum Bottle is plain red slipped. Another special adaptation of three-color design arrangements is found on a roundbodied medium-sized jar from tomb Tc (fig. 196). The design area on this vessel is much altered and abbreviated from the antecedent Complex Jar decoration for this shape because of its relatively small body size, round horizontal section of the body, and reduced design field. On this vessel the Phase 9 potter used traditional design concepts in an original arrangement by painting a narrow red band with the corresponding traditional decoration around the base of the neck (fig. 433), and then adding black and white banding below this band to cover the rest of the design area. Another jar, similar in shape, is decorated simply with multiple black and white banding without the narrow red band (M, 4-4342). The use of the black and white banding here is analogous to the use of such banding in Phase 6 for the decoration of Complex Jars of very large size or round horizontal body section, that is, where the shape presented a problem for standard decoration (see above). Narrow white bands are used as borders only in one special context in Phase 9. They border broad bands with the three-color panel design arrangement as it appears on vessels traditionally circular in horizontal section. It will be recalled that Small Diamonds constitute the principal panel decoration in this arrangement. The narrow white bands have the width of the most traditional Phase 6 to 8 bands, and they also appear in the traditional position at the top or bottom of the broad band. On two imitation Ica-Inca A Lamp Bottles with this arrangement the narrow white band is at the bottom of the broad band, as in Phase 6 (fig. 458, pi. 43; 29.3.1). In

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

both examples the white band is decorated with a traditional design appropriate for these bands in Phase 6, in one a " Z " design and in the other a Meander. Except for the slightly thicker design lines, the larger design elements, and the more irregular execution, these designs do not differ much from their Phase 6 counterparts (for comparison, see figs. 337, 342). The most striking difference is that the Phase 9 bands are separated from the broad band by a single black outline instead of double outlining. In the same kind of arrangement on an Angular-Rim Bowl the narrow white band appears as the top border of the broad band (pi. 56). This band deviates more from traditional narrow white bands in having a different design. The design here is a 'Treestanding Fringe," a design not present in this form and context in Phase 6 (see below). A special adaptation of the same three-color broad-band arrangement is found on the IcaInca B Drum Bottle, as noted above. In this adaptation the narrow white band frames the principal design area (fig. 448). The white band is slightly wider than the narrow white bands found in the more traditional arrangements, and is decorated with Diamond designs. Both these features are Phase 7 innovations not found in Phase 6 (figs. 408, 412, pi. 27). The only example of a narrow red band in traditional context in the Phase 9 sample occurs on a Flaring Cup, where a plain red band appears at the top of the design area, in traditional position (pi. 48; Kroeber and Strong, 1924b, pi. 40a). There are two other examples of narrow bands used in traditional context, but with different designs. One is a narrow band bordering the top of the conservative mediumbroad band on the uniquely conservative Deep Open Dish (fig. 176). On this band the design is borrowed from traditional inner mouth-band decoration and is identical to the design on the inner mouth band on the same vessel (fig. 420). The transference of inner mouth-band designs to exterior body decoration has a Phase 8 antecedent (see above). However, the contexts in which these substitutions are found in Phase 8 are different from the Phase 9 context, the Phase 8 exam-

being associated with imitation Chincha eatures. i)les The second special narrow band in tradi-

tional context is the narrow black band, which appears on one of the Flaring Cups in the position of the traditional white band, as noted above (pi. 48). The white dots on this band are replaced by circles with central dots, a design that is an Inca loan feature (fig. 430). The substitution of a narrow red band for a broad band on one of the medium-sized jars is a new use for a narrow band, as noted (fig. 433). Most examples of substitutions of inner mouth-band designs for narrow-band ones, narrow bands for broad bands, or narrowband designs for each other, are indications of the problems in the integration of shape and design features faced by the lea 9 potters, and the ways they solved them in terms of traditional Phase 6 concepts of design arrangement. An upper body band appears in association with the three-color broad-band design arrangement on one Ica-Inca B Large Bottle in our sample, a vessel that has a shoulder in the upper part of the body separating the body above the basal hip into two separate planes (pi. 51). The upper body band is used here in the traditional way to separate the two planes in the body contours, even though the contours are different in detail from the traditional ones. The upper body-band design is a variant of the corresponding Phase 6 design (fig. 449; for comparison, see fig. 332). There also is a jar on which a more modified equivalent of an upper body band borders a new medium-broad band, and is decorated with a new Freestanding Triangle design. This design corresponds to the border elements of upper body bands in Phase 6 (see below and figs. 228, 460; for comparison, see fig. 333). Medium-broad bands form an alternative principal design area to broad bands which is much more common in Phase 9 than in Phase 6 (pis. 57, 59, figs. 460-463). In contrast to the medium-broad bands of Phase 6, which form only a minor variation in the broad-band arrangement, most of those of Phase 9 are incorporated into a separate design arrangement with special secondary bands, forming a distinctive pattern. Medium-broad bands

THE ANALYSIS OF DECORATION

share with the corresponding Phase 6 to 7 bands their proportionate width, which is narrower than that of broad bands and usually varies between 2 and 3 cm., as noted above. They are therefore used for the more restricted design areas, and are a popular design for the smaller vessels, or for highshouldered jars and bottles where the design area is restricted to the area from the middle of the height of the shoulder or higher to the base of the neck. Thus, design arrangements showing medium-broad bands are found regularly on Angular-Rim Dishes and AngularRim Bowls, and on medium-sized jars. The medium broad-band arrangement is also found on one Large Bottle with near-globular body contours, and on one Football-shaped Jar (figs. 181, 223). On both these vessels the medium broad-band design differs slightly from the more standard ones, however. One chief distinction of most mediumbroad bands in Phase 9 is that the designs are painted on a white ground instead of red, in black only. This is the color pattern reserved for narrow white bands and related narrow bands in Phase 6. The outlining pattern of medium-broad bands in Phase 9 shows that these bands do, in fact, represent an adaptation from the earlier narrow white bands. About half of the medium-broad bands in the Phase 9 sample are outlined with two black lines on one side and one black line on the other, without a functional reason for this asymmetry (figs. 461, 463, pi. 59). The reason is rather a traditional one, the asymmetric outlining being the survival of the old technique of terminating broad bands with double black and white outlining, so that any design area adjoining a broad band would be bordered by such outlining, usually on that side only (cf. figs. 337, 338, 340, 341, 343, pis. 1, 2, 4-6,9,11,13,14-16,18,19). The use of the narrow white-band concept in this context represents the extension of use of color and outlining patterns traditionally appropriate for a relatively narrow secondary body band to another relatively narrow body band, but one that here forms the principal design area. The new medium-broad band is distinguished from traditional narrow bands not only by its greater width and central position in the design area, but also by its decoration. By far the most common design used in the new medium-broad band is one called here

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the "Freestanding Triangle" (figs. 461, 462, pis. 57, 59). Other medium broad-band designs are unique in our sample. In one alternative pattern in medium broad-band decoration, which appears on the Football-shaped Jar, the design area is divided into principal and secondary vertical panels, in analogy with the three-color broadband arrangement, as well as with a variant of an Ica-Inca arrangement (see below; 22.1.1). The unit designs in the secondary panels are composites consisting of Solid Squares, a conservative variant not found in the three-color arrangements. The principal panel designs are much abbreviated variants of traditional Rectangles, designs that also appear occasionally in the corresponding position in the twocolor broad-band design arrangement. Another medium broad-band design in our sample appears to be a simplified abbreviation of the arrangement on the Footballshaped Jar just described (fig. 460). It is found on a medium-sized jar (fig. 228). The design arrangement on this jar differs from other medium broad-band arrangements in that the upper border band is broadened to function as an upper body band of the kind used traditionally on Complex Jars in Phases 6 to 8. The design on this band consists of Freestanding Triangles, a design relatable to upper body-band decoration of Phase 6. The Freestanding Triangle design having been preempted for the substitute upper body band, it was evidently necessary to have a contrasting design for the principal white band. This necessity probably explains this particular substitution. Another unique medium broad-band design is used on the only Large Bottle in our sample decorated with a medium broad-band arrangement. This design represents a contraction of another old principal-band design, the Triangle Fish (fig. 463). This design is also used for relatively narrow principal bands in Phase 6 (fig. 316). From these observations it appears that the use of medium-broad bands and their corresponding designs is very standardized. Ordinarily the arrangement is used to decorate Angular-Rim Dishes, Angular-Rim Bowls, and medium-sized jars with rounded bodies. Occasionally the medium broad-band arrangement is adapted for other shapes, and then different designs are used. These de-

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

signs may be modified copies of three-color principal-band arrangements, or they may represent other design adaptations. An unusual design context may also cause the potter to introduce modifications into the standard pattern. Medium-broad bands are always bordered on one or both sides by traditional narrow bands, except that these narrow bands are red instead of white, because the color pattern of the principal design area is reversed. This is the only context in Phase 9 in which narrow bands are used regularly in their traditional position as secondary border bands of the principal design area. These Phase 9 red bands are usually 1 to 1.75 cm. wide, slightly wider on the average than most traditional narrow bands (figs. 464, 465; for comparison, see figs. 458, 407, 337-343, 348-350). Most of these narrow red bands are plain without further decoration (pis. 57, 59), but occasional examples are decorated with designs derived from traditional narrow-band designs (figs. 464, 465; for comparison, see figs. 337-340, 350, 407). Apart from the differences in execution, the main distinction is that the designs are painted in black on red instead of the traditional white on red. The red band bordering the medium-broad band at the top on the medium-sized jar has been mentioned above as having been broadened to function as an upper body band (fig. 460). The jar is of larger than average size, which facilitates this modification (fig. 228). The equivalent of the upper body band is of a width appropriate for such bands (3 to 3.5 cm. wide). Provincial Inca plates in groups A-2 and A-3 are decorated with adaptations of medium broad-band decoration (figs. 150-152). On group A-2 plates a standard medium broadband arrangement is adapted to the circumferential design arrangement found on some group A-l plates (pi. 39; see also below). On group A-3 plates, a narrower medium broadband composition replaces the principal design band of the Cuzco Inca style, which crosses plates through the center in the other standard Ica-Inca decoration pattern for group A-l plates (pi. 40; for comparison with a group A-l plate, see pi. 60). The band substitution in the group A-3 plate design arrangement has an obvious inspiration, because the Inca pattern combines principal white bands with secondary

framing red bands, these features being also characteristic of the lea 9 medium broad-band arrangement. The principal design elements in the adapted medium broad-band composition on group A-3 plates are copied from a different Inca design and are not an lea tradition (fig. 500). 121 Since the bands in this design context are much narrower than the standard medium-broad bands of the lea 9 style, some design substitution had to be made. The feature in the cross band on the group A-3 plates which betrays the design analogy with lea 9 medium-broad bands is the double outlining on one side of the white central band while the other side has a single outline. The rest of the decoration on these plates belongs to the Ica-Inca style (see below). Inner mouth bands continue to occur in lea 9 decoration. They are found not only in their traditional position on the inner rim of dishes and bowls, but also on the inner rim of bottle and jar necks. They also appear with a variety of new designs. Inner mouth bands with traditional inner mouth-band designs are relatively rare on Angular-Rim Dishes and Angular-Rim Bowls, mainly because of the changes in rim profile. Three Angular-Rim Dishes and the unique conservative Deep Open Dish are decorated with derivatives of traditional inner mouth bands in our sample (figs. 176, 186, pi. 47). The most conservative band appears on the conservative Deep Open Dish (fig. 420). Except for the abbreviated execution of the diagonal step elements, this design is like corresponding lea 6 ones (for comparison, see figs. 353-356). Two other regular inner mouth-band designs in the appropriate position on Angular-Rim Dishes are more abbreviated, and lack the white filler elements of the earlier phases (figs. 467, 468). The inner mouth band on the third Angular-Rim Dish consists of a derivative of the traditional fringe-band design of Pendent Step elements (pi. 47). These traditional inner mouth bands are found on dishes with all categories of exterior body decoration, including conservative three-color broad-band and more advanced two-color broad-band and medium broad-band design arrangements. A new design, similar in principle to the 121. For comparison, see Bingham, 1930, fig. 87c.

THE ANALYSIS OF DECORATION

fringe band, replaces the traditional inner mouth-band decoration on some vessels. This is the Pendent Triangle design, a ubiquitous new Phase 9 design which appears in a variety of contexts together with its counterpart, the Freestanding Triangle (fig. 469; see also medium broad-band, upper body-band and handle-band decoration). In the Uhle collection sample the Pendent Triangle is used as inner mouth-band decoration on an AngularRim Bowl with an unusually everted collar (pi. 59). Another replacement for the more traditional inner mouth-band decoration in Phase 9 is the Chincha Rim Scallop (fig. 466). It appears not only on an Angular-Rim Bowl in our sample, but also on the inner rim of Football-shaped Jars and varied mediumsized jars, and even on one Large Bottle neck and on the inner rim of an imitation Ica-Inca A Lamp Bottle neck (pis. 43, 52, 57, 58, 64b). The Chincha Rim Scallop consists of a row of adjoining small solid black triangles on a white or unpigmented surface, pendent from the rim edge. This design appears at lea first in Phase 8 in association with other Chincha features (see above). Since most Chincha-associated features are eliminated in the Late Horizon, the survival of the Rim Scallop design requires special explanation. It probably owes its survival to the fact that it has a coincidental close analogue in the Cuzco Inca style, where rows of pendent black triangles are used for various purposes, including interior (upper) rim decoration (pi. 61). 122 The most common Phase 9 replacement for the traditional inner mouth band, however, is a plain red or purple stripe without outlining which covers the inner or upper surface of the everted rim. The red or purple rim stripe is an Inca feature adopted into the lea 9 style whenever new shape features of the vessel indicate Inca influence. Thus, the Inca stripe is commonly found on the inner or upper rim surface of Angular-Rim Dishes, in analogy with the corresponding usage on Inca cooking pots and some other Inca forms (for comparison, see lea 9 rim profiles in figs. 160,173, 175, 193 and Inca rim profiles in figs. 145,147, 148, 203, 204). On these vessels the rim stripe is generally 1 cm. or less in width. A slightly 122. For additional examples, see Rowe, 1944, p. 47, Cuzco Polychrome B; Bingham, 1930 figs. 89a, e, 108d, 127f.

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wider stripe is used to decorate the upper surface of the flaring neck rim of Large Bottles and occasional jars, in analogy with the corresponding treatment of Cuzco Inca jar necks (pis. 50, 51). A few rim stripes appear with a special local feature. This feature consists of two or more sets of perpendicular or diagonal black cross lines placed at intervals around the circumference of the rim. The cross lines are either Pendent Fringe elements which do not cross the entire width of the stripe, or they cross the stripe completely. In one example the Pendent Fringe design is combined with a Pendent Triangle design in a unique three-color pattern (fig. 469, pi. 59). In contrast to the reduced inner mouthband area on Angular-Rim Dishes, the inner mouth-band area on Flaring Cups is widened in Phase 9 as a correlate of the more flaring rim on this shape (pi. 48). Inner mouth bands on Flaring Cups are 3.5 to 4.5 cm. wide (the measurements do not include the outlining). That is, they have broad-band proportions. The result is that they are treated as broad bands and are decorated with broad-band designs in the three-color pattern. The new broad inner mouth bands all have vertical panel subdivisions, in keeping with three-color broad-band arrangements of this phase. They are decorated with four alternating principal and secondary panels. Principal anels are decorated with principal broadand designs (figs. 423, 429). Secondary panels are decorated with unit designs as in earlier broad bands, or with fringe-band designs as in earlier inner mouth bands (figs. 424, 427). On one Flaring Cup a design of Stripes is used as decoration for secondary panels, a Phase 9 innovation reserved for Flaring Cup decoration (see also broad bands, above; pi. 48). On two Flaring Cups the inner mouth-band area is extended even further by the addition of a fringe band to the bottom of the principal band (figs. 425, 426, pi. 48). In one example a composite unit design is added in the center of the interior bottom (fig. 428). These examples illustrate a further expansion of the interior design area of Flaring Cups as a result of the more flaring shape. The final step is taken in the most flaring-sided specimen, where the expanded interior decoration is accompanied by a plain-slipped, undecorated exterior (fig. 241).

g

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

Lip decoration undergoes considerable modification in Phase 9. Ica-tradition lip bands are very rare and are used primarily for the traditional flattened lips of Flaring Cups (pi. 48; for comparison, see figs. 366, 368). Occasionally the newly rounded lips of Angular-Rim Dishes and Angular-Rim Bowls and, rarely, Shallow Dishes, are decorated with survivals or modified variants of Phase 6 lip bands (pi. 56). The modified designs consist of continuous cross striping in black on white, or blocks of such striping alternating with red-slipped areas (fig. 436). However, it is more common to find flattened and rounded lips decorated with a plain black stripe, or with the overlap of the plain red body slip, both new features in Phase 9 (pis. 47, 50, 51, 55, 57-59). Traditional handle bands are abandoned in Phase 9. Handle designs of some Ica-Inca B Large Bottles consist of a pattern of cross bands probably adapted from Inca decoration (fig. 454, pi. 51). Alternatively, handles on Large Bottles are decorated with a plain red slip only (pi. 50). On one Large Bottle handle a Freestanding Triangle design is used in the three-color pattern (fig. 453; Kroeber and Strong, 1924b, pi. 38a). In Phase 9 Pendent and Freestanding Triangle designs in the three-color pattern or in black on red are otherwise confined to inner mouth bands and upper body bands. Their use as a handle band here evidently represents the traditional lea custom of transferring design bands of the appropriate width to positions other than the regular one if a substitution is needed or desired. This Large Bottle handle is 3 cm. wide, that is, approximately of upper bodyband width. An imitation Ica-Inca A Lamp Bottle handle, 2 cm. wide, is decorated with a design adapted to match the principal decoration on the same vessel (fig. 456; cf. fig. 455). Another imitation Lamp Bottle handle of comparable width is decorated with a modified Chincha handle design, an unusual survival of this feature (fig. 459, pi. 43; for comparison, see fig. 400, pi. 21). Jar necks occasionally are decorated with a plain black slip on the outside, as in Phases 6 to 7 and sometimes in Phase 8 (pis. 52, 64a, b). More commonly they are decorated with horizontal black and white striping, a technique

used only rarely in Phase 6 for jar necks, but evidently commonly so used in Phase 8 (pi. 58). Some Phase 9 jar necks are covered only with a plain, unpigmented slip on the outside (28.5.5). Large Bottle necks are usually decorated with alternating black and white stripes, like the Phase 6 Simple Bottle necks which they replace (pis. 50, 51). However, one Large Bottle neck is decorated with large black fish unit designs on a white or unpigmented slip (the color is not well preserved; fig. 181). This use of this design is first observed on a Simple Bottle neck in Phase 7 (see above). As noted, the upper (interior) surface of the flaring rims on both Large Bottle and jar necks is not decorated with a plain white slip, as on corresponding necks in Phase 6. The upper rim surface of Large Bottles is most commonly decorated with a plain red Inca stripe, and a few jar necks are also so decorated. On one Large Bottle neck, here attached to a Lamp Bottle body in a unique combination, the red stripe is further decorated with the ubiquitous Pendent Triangle design in plain black (fig. 222). The most common decoration of the inner or upper rim area on jar necks is the black Chincha Rim Scallop on a white or unpigmented slip (see inner mouth bands, above). Occasionally a plain black stripe is used instead, evidently as a substitute of local character for the red Inca stripe. It is evident that jar neck decoration has a more local character than Ica-Inca B Large Bottle decoration. As in Phases 6 to 8, some lea 9 vessel shapes have decoration following a special set of rules. These vessel shapes include Shallow Dishes and Cumbrous Bowls, traditionally so distinguished, and new anthropomorphized Football-shaped Jars. There also is a distinctive Inca-influenced design arrangement in some Large Bottle designs. Shallow Dishes require special design adaptations because of their low sides. Different adaptations are made in Phase 9 than in Phase 6, but they are made in terms of traditional concepts and the common rules governing the width of design bands and related design transferences. The decoration of Shallow Dishes in Phase 9 is related in principle to that of Phase 6 Shallow Dishes, subgroup 1. The design area on the exterior

THE ANALYSIS OF DECORATION

side of Phase 9 Shallow Dishes is usually about 3 cm. high. It is not high enough for applying without modification the Phase 6 to 8 half-band technique used in the decoration of subgroup 1 Shallow Dishes in these phases. However, one common Phase 9 Shallow Dish arrangement represents an adaptation of the half-band arrangement. In this arrangement an inner mouth-band design is used in place of the traditional half-band decoration, covering most of the upper portion of the side, but leaving a plain red-slipped space about 6 mm. wide at the bottom (fig. 440). The inner mouth-band design of Phase 6 is here transferred to this area as appropriate for the narrower width of the design band. This transference has a Phase 8 antecedent (see above). The complete half-band arrangement as it is used in Phases 6 to 8, with a principal and secondary half band of the same width, is present only on one Angular-Rim Dish in our Phase 9 sample, in a design transference to another shape category (pi. 55, fig. 193). On this specimen the upper half band is plain and the lower one is decorated, in a reversal of the traditional arrangement (for comparison with an lea 6 example, see pi. 5). The design in the lower half band, which is 1.5 to 1.75 cm. wide, is also a variant of a Phase 6 inner mouth-band design (fig. 441). The halfband arrangement may have been used on the Angular-Rim Dish because this is the only dish form in Phase 9 on which the area of the side is wide enough to apply the complete pattern. A common alternative Shallow Dish design, new in Phase 9, is a modified mediumbroad band which covers the entire exterior side and is outlined at the top or top and bottom with a plain black outline (pi. 65). No narrow red bands are used to border it, because the design area is not wide enough. The medium-broad band usually has a whiteslipped background, like other mediumbroad bands, but it is decorated with a special simple design consisting of blocks of vertical black cross lines placed at intervals around the circumference. Sometimes an unpigmented or red slip is used in place of the white. The flanges on Shallow Dishes have no special decoration in Phase 9. They are either unpigmented or decorated with an overlapping slip from the black outline band or red ground color (pi. 65). Traditional flange

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bands as they appear in Phases 6 to 8 are not in use in this context in Phase 9. On one of the Shallow Dishes the interior bottom is decorated with two crossed black lines which have pendent fringe lines attached on one side (fig. 226). This interior decoration is a Phase 9 innovation, probably because the shallow proportions make the bottom more visible, and therefore subject to ornamentation. Plain red inner mouth bands are present on some of the Phase 9 Shallow Dishes. However, the bands are terminated by single black outlines instead of double black and white ones, on some the painting is careless so that the outline and red slip border overlap one another, and on one specimen the band covers the entire interior surface of the side. None of these features is present in the Phase 6 to 8 dishes. Cumbrous Bowls have standardized new decoration monotonous in its uniformity. Bowls with the irregular, often slightly bellshaped profile illustrated in figs. 229-231 are almost invariably decorated on the inside with Pendent Triangles alternating with blocks of Pendent Fringe lines in black on the unpigmented slip (fig. 442, pi. 66). Fragments of such bowls are common in Phase 9 refuse. Although the design elements are new in Phase 9, the design represents in fact an adaptation of the principle of the fringe band as it is used in Phase 6 Cumbrous Bowl decoration (for comparison, see pi. 10). However, over-all decoration of the interior of Cumbrous Bowls, another occasional Phase 6 technique, is not in style in Phase 9. Occasionally Cumbrous Bowls of the same shape category as the decorated ones are undecorated. All Cumbrous Bowls of the coarse, roughfinished category are undecorated (fig. 236; cf. plainware, above). Archaizing Cumbrous Bowls of the shape illustrated in figs. 232, 237 have special decoration, discussed below (pi. 67). Most Football-shaped Jars have a special, entirely new anthropomorphizing decoration without known antecedents (fig. 192, pi. 58). No anthropomorphizing features appear on the neck, but the body decoration consists of two stylized arms projecting from what ap-

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

pear to be sleeves, the arms bent forward at the elbows. In front and back, on the broad sides of the vessel, a near-rectangle or two triangles are pendent from the outline at the base of the neck, with a pendent triangle with the apex at the top in the center suggesting a pendant. The near-rectangles, triangles, and trapezoids that constitute the representational units are decorated with a special kind of panel design, usually in the three-color pattern, in a much abbreviated form of Rectangle designs (figs. 443, 444, 446). On the "back" surface of the vessel the absence of arms leaves larger empty spaces than in front, and these spaces are decorated with small individual unit designs, either Bird units or small composite Solid Squares (figs. 445, 447). On some vessels these unit designs are in traditional white on red, but on others they appear in black on red, a Phase 9 innovation. On some examples the arms are omitted and unit designs are put in their place (Tn, 4-5454). Occasional other modifications occur, such as having the designs in black only on the unpigmented, unpolished surface. Two of the Ica-Inca B Large Bottles which have long, steep sloping upper body contours reminiscent of Inca jar bodies, are decorated with three-color designs arranged in imitation of Inca-style design arrangements (figs. 178, 180, pi. 50; Kroeber and Strong, 1924b, pi. 38a). In these examples the principal vertical "panels" are very narrow, of medium broadband to narrow-band width, and the intervening secondary panels are proportionately very broad, so that they are converted in effect into a background area. Three principal decorated vertical bands are spaced around the circumference of the vessel in front of the handle, one in front center opposite the handle and two on either side of the handle. The arrangement is analogous to the Cuzco Polychrome B arrangement described by Rowe for large Inca jars. 123 For the same kind of design arrangement on the small Cuzco Inca faceneck jar from burial Tk, see Kroeber and Strong, 1924b, pi. 39d. The decoration selected for the vertical design bands on one of the Large Bottles with this arrangement is a Large Diamond pattern, used primarily for upper body bands and 123. Rowe, 1944, p. 47, pi. V, 4-6.

occasionally for medium-broad bands in Phase 6 (pi. 50, fig. 450). This design is very similar to the principal design on Cuzco Polychrome B bands in the corresponding position, a circumstance that explains its selection for the special Large Bottle arrangement. The intervening red-slipped "background" area in the Cuzco Polychrome B arrangement is decorated with horizontal rows of small black triangles pendent from a black line. The corresponding red-slipped surfaces on one of the Large Bottles with this arrangement are plain (pi. 50), and on the other are decorated with a column of lea 9 unit designs (fig. 452; Kroeber and Strong, 1924b, pi. 38a). One of the Large Bottles shows a further adaptation in which an enlarged form of the black Inca triangle designs is used as a vertical border for the principal vertical design bands (fig. 451; Kroeber and Strong, 1924b, pi. 38a). A third Large Bottle, one without associations in the University Museum at Philadelphia, shows another modification in which similar large solid black freestanding triangles are used to decorate two horizontal bands circling the broad-band area of the body (28.3.1). The design adaptations just described illustrate the attempt on part of the lea potters to distinguish some of the Ica-Inca B Large Bottles at least to some extent in their decoration by modifying traditional lea design arrangements to resemble the decoration of Cuzco Inca vessels. Incised designs on smoked blackware follow a slightly modified design arrangement adapted to the incising technique, but following the same principles of arrangement as painted decoration for the corresponding shapes. Two alternative arrangements are used in the decoration of Angular-Rim Dishes and Angular-Rim Bowls. In one arrangement two broad bands halve the vessel circumference vertically, leaving two vertical spaces of varying width between them which are decorated with special unit designs (pi. 45). The principal decoration of the broad bands consists of a modified variant of painted broad-band decoration of the Rectangle/Triangle tradition. The principal design is bordered by three incised outlines at the top and bottom, and by an additional scallop border at the bottom (fig. 471). Ocarinas and flutes are decorated with modified adaptations of this design arrangement. The

THE ANALYSIS OF DECORATION principal design area on ocarinas is on the broad surface of the spiral shell contours, where the band designs are of necessity modified to adjust to the narrower design field (fig. 470, pi. 49; Kroeber and Strong, 1924b, pi. 37j). The unit designs on these instruments are placed on the reverse face where the spiral is smallest, and an additional scallop band is used to decorate the waist of the spiral. An alternative arrangement, used to decorate Angular-Rim Dishes and Angular-Rim Bowls, consists of unit designs only spaced around the circumference of the vessel (figs. 472-476, pi. 53). Design patterns and elements. Old-fashioned lea features still surviving in Phase 6 from earlier lea phases are out of style in Phase 9. Ica-tradition designs of Phase 9 show their relationship to the most common and some of the rarer innovating Phase 6 designs. The relationship of the Phase 9 variants to the Phase 6 ones can be understood through the observation of successive steps of alteration in Phases 7 and 8, so far as homologous designs are represented in the much smaller Phase 7 and 8 samples. On the other hand, Phase 7 and especially Phase 8 innovations related to the Chincha style or appearing predominantly on imitation Chincha shapes are eliminated in Phase 9, the only important survival being the Chincha Rim Scallop. Designs related to lea 6 Diamond and Rectangle designs are the most common principal designs in Phase 9, as they are in Phase 6. Some of them appear in the same contexts as in Phase 6, and some appear in different contexts because of innovations in design arrangements. Large Diamond designs are much rarer than in Phase 6. The most common Phase 6 to 8 broad-band designs, the Large Diamond with step fillers and the Stepless Large Diamond, are entirely out of use. The disappearance of these designs is correlated with the disappearance of continuous undivided broad bands on small vessels and large panel surfaces on large vessels, and also with the new execution of Diamond designs. The disappearance of Large Diamond broad-band designs must be of abrupt origin in Phase 9, because Large Diamond broad-band designs are in use in Phases 7 and 8, as we have seen (figs. 405, 413, 414).

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In Phase 9 painted Large Diamond designs are used only rarely as principal body decoration, and unlike their arrangement in Phases 6 to 8 they occur in vertical columns. One example appears as a decoration of alternating vertical panel subdivisions in a threecolor broad-band arrangement on a mediumsized jar with slightly elliptical contours in horizontal section (fig. 431, pi. 64a, b). In another example, vertical columns of Large Diamonds appear as a principal design in narrow vertical bands on one of the Large Bottles, in imitation of Cuzco Polychrome B decoration (figs. 178, 450, pi. 50). In these examples the design area is viewed as a relatively narrow band instead of a broad band or panel, and the Large Diamonds are borrowed accordingly from designs used only in upper body bands or medium-broad bands in Phase 6 (figs. 431, 450; for comparison, see figs. 329-333, pis. 11, 13, 14). In only one example in our sample a Large Diamond motive appropriate for upper bodyband decoration in Phase 6 is used in the same position in Phase 9, as upper body-band decoration on an Ica-Inca B Large Bottle (fig. 449, pi. 51). Composite Large Diamonds of the kind used in upper body-band and medium broadband decoration in Phase 6 are also used in the decoration of incised blackware in Phase 9, executed with the Phase 9 crisscross filler technique (see below). For example, they apear in single horizontal rows on the broad >wer surface of ocarinas, where they are used in a narrow band (pi. 49). They also appear as unit designs in the decoration of incised blackware, their use as unit designs being a Phase 9 innovation (figs. 473-475, pi. 53). In the example illustrated in fig. 475 Ica-Inca filler elements replace the more traditional lea ones. In a single example the same kind of Large Diamond design is used as a unit design in painted decoration, on secondary panels on an Angular-Rim Bowl (fig. 435, pi. 56). One can appreciate the modification in position and color arrangement of this design by comparing it with the more traditional elements as they appear in fig. 449 and pi. 51. The position of the unit design is off center, so that it could be described either as a Composite Large Diamond or as a Composite Large Square. If it was intended as a Composite Large Square, it would not have ante-

E

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

cedents in the sample for the earlier lea phases. Other Large Diamond designs appear only as single examples. One is the design in the narrow white bands that frame the principal design on the Ica-Inca B Drum Bottle (fig. 448). Diamond designs of this kind first appear as narrow white-band and handle-band decoration in Phase 7 (figs. 408, 412). The only other example of Large Diamond elements in our Phase 9 sample is a markedly conservative composite unit design made of Large Diamond Fish elements, found as interior bottom decoration on the Flaring Cup shown in pi. 48 (fig. 428; for comparison, see Phase 6 elements in figs. 301-304, 331, and Phase 7 elements in figs. 405, 408, 409). However, no example of the use of Large Diamond Fish figures as composite unit designs appears in the samples for the earlier phases, and the design figures for the Phase 9 style have distinctive execution (see below). Large Diamond designs in Phase 9 almost invariably appear in traditional color patterns as they are governed by position and function of the design areas in Phases 6 to 7. That is, when the Large Diamonds are used as principal body-band or upper body-band designs they appear in the three-color pattern, when they are used in the narrow white band they are in black only, and the one example of a composite unit design is in black on the unpigmented slip. The only exception is the secondary unit design on the Angular-Rim Bowl, which appears in the three-color pattern (fig. 435, pi. 56). This use is a Phase 9 innovation. The stylistic innovations in Large Diamond designs, apart from context, are features of execution and detail attributable to two basic factors that also affect design arrangement, namely the effective reduction of design space and the adoption of time-saving devices in execution. We have seen earlier that design areas shrink in effect for various reasons, one of them being the use of thicker lines. The omission of the white border fillers in the upper body band illustrated in fig. 449 and pi. 51 is probably attributable to lack of space. The omission of such border fillers is also a time-saving device, however, and their absence from the panel design in fig. 431 (pi. 64a, b) is probably attributable to the latter reason. The most conspicuous time-saving device, of course, is the hasty execution of the

Composite Large Diamond figures (figs. 431, 449; for comparison, see figs. 300, 332). The composition contains a straight crisscross in the center which replaces the individual Small Diamond elements placed in the corners of the larger figure in the Phase 6 variant. The adoption of time-saving devices is a trend of long standing in the lea tradition. The crisscross abbreviation of the Composite Large Diamond figure is a step in this trend, a step that originates in Phase 7 (fig. 404). The execution of the Phase 9 variants differs from all Phase 6 to 8 variants in having thicker lines, lines of uneven thickness, overlapping lines, and sometimes a crisscross to the corners instead of to the centers of the sides. Irregularity of execution, differential line thickness, and sometimes arching lines, are Phase 9 innovations affecting most designs, as we have seen earlier. Incised Laige Diamond designs on smoked blackware have some of the same characteristics of execution as painted ones (figs. 473-475, pis. 49, 53). The Large Diamond Fish is particularly distinctive in Phase 9 (fig. 428). The step elements in the rear half of the figure are executed with such haste that some of them are merely disconnected dots or irregularly curved lines, and the inner Small Diamond element is moved from the center to a front position. These are Phase 9 innovations without Phase 6 to 8 counterparts (for comparison, see figs. 301-304, 331, 405, 408, 409). Small Diamond designs related to the corresponding Phase 6 ones are much more common than Large Diamond ones. They also have a more restricted and more standardized use in Phase 9. In painted decoration Small Diamond designs are used almost exclusively in one of their lea 6 contexts, as decoration for principal panel subdivisions of broad bands. They appear regularly as principal panel designs in the three-color broad-band design arrangement on vessels that are circular in horizontal section. Vessels on which this design is used include imitation Ica-Inca A Lamp Bottles, an Ica-Inca B Large Bottle, and an Angular-Rim Bowl (pis. 43, 51, 56, figs. 434,457). They also appear in adaptations of this arrangement, for example in painted form on the Ica-Inca B Drum Bottle (fig. 448), and in incised form on a pair of Angular-Rim Dishes of smoked blackware (fig. 472). We shall see below that the same design also appears in

THE ANALYSIS OF DECORATION

the corresponding arrangement in Ica-Inca decoration (pis. 70, 71b). Whereas the design arrangement in painted lea 9 decoration is invariably the three-color broad-band one, the white central dots or crosses are sometimes omitted in the Small Diamond pattern, so that this part of the decoration is black on red only on these examples (fig. 457, pi. 43). On incised blackware Small Diamond designs also appear in another traditional context, as composite unit designs (fig. 476, pi. 45). The lea 9 Small Diamond designs have an abbreviated execution consisting simply of diagonal crosshatching. This innovation is analogous to the treatment of Composite Large Diamond designs. However, unlike the latter the abbreviated Small Diamond execution has no lea 7 or 8 counterparts. Corresponding designs in Phases 7 and 8 are executed with individual Small Diamond elements (fig. 415). It is possible to recognize the crosshatch design as a homologue of the Small Diamond pattern of Phases 6 to 8 through its position in the design arrangement, and by the dot or cross filler elements which appear in some of the examples (figs. 434, 448, pis. 51, 56; for comparison, see figs. 308-311, 335, 415, pis. 2, 11,16, 34, 35). When the traditional white filler elements are omitted only the context betrays the relationship (fig. 457, pi. 43; for comparison, see pi. 11). It is important to take the context of "Small Diamond" crosshatch designs into account, because crosshatching also appears in other contexts in Phase 9. Its most common alternative use is as decoration of Pendent and Freestanding Triangles, which have different design homologues in Phases 6 to 8, and where the crosshatching does not signify homology but only analogy with the Small Diamond tradition (see below). The crosshatch pattern in some incised unit designs used to decorate smoked blackware also can be recognized as a homologue of the Small Diamond pattern as it appears in composite unit designs of Phase 6 (fig. 476, pi. 45; for comparison, see figs. 308 right, 309, 327, 395, pi. 11). It is significant that the Phase 9 Small Diamond pattern is used predominantly or exclusively on shapes that have some special associations with the Inca occupation. In lea 9 shapes it is used only on Angular-Rim Bowls

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and perhaps Angular-Rim Dishes, the angular-rim feature set reflecting Inca influence (cf. chapter HI). The association with incised blackware designs ha$ similar significance, since incised blackware is also an innovation with particular links to the Inca occupation (see above). Other shapes with ordinary lea 9 decoration on which the Small Diamond design occurs are imitation Ica-Inca A Lamp Bottles and Ica-Inca B bottles, vessels that also reflect special Inca associations. Finally, as noted, this design is also selected for a part of Ica-Inca decoration of bottles (see telow). The associations for Small Diamond designs thus indicate a special link with Inca influence. The distinction was probably accorded this design because of its resemblance to the very common Inca-style crosshatching, found especially in Cuzco Polychrome B decoration and also in other Inca design arrangements.124 The fact that Small Diamond crosshatching of this kind does not appear in lea Phases 7 and 8 indicates that it must have been a relatively abrupt innovation at the time of the Inca conquest. This circumstance, as well as the resemblance to Inca-style crosshatching, suggest further that this innovation in Small Diamond decoration was inspired or at least hastened through the agency of Inca influence. Composite unit designs in diamond-shaped form are in use, as in Phase 6, but they occur more rarely and in different contexts. Furthermore, most Phase 9 composite unit designs form much smaller compositions than in preceding phases, and actually fulfill the function of single units rather than of expandable space fillers. As a result most composite unit designs in Phase 9 consist of only four elements which are usually smaller than in Phase 6, in contrast to the nine or more of which the Phase 6 designs are composed (fig. 447; for comparison, see figs. 307, 309, 324327, 395). In Painted lea 9 decoration the only composite unit designs appearing regularly consist of four small Solid Square elements (fig. 447). They are used regularly as space fillers in black on red on the "back" of anthropomorphized Football-shaped Jars. They are also used occasionally as secondary space 124. Rowe, 1944, p. 47; Bingham, 1930, figs. 73a, b, 74, 81a, 82e, 88h, 108b, f, 110 and ff.

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

fillers in medium broad-band decoration (22.1.1, 28.3.2). More than four Solid Square elements evidently are rarely used. In the only example in our sample the elements are even more reduced in size than those in the four-element compositions. They are also used in a special context, as part of the threecolor broad-band decoration in the inner mouth-band position on a Flaring Cup (28.5.6; fig. 427). All other composite unit designs are rare in lea 9 decoration. They include one example composed of Large Diamond Fish elements painted in black on the unpigmented slip on the bottom interior of a Flaring Cup, as noted above, and incised designs on blackware done in the crisscross technique (figs. 428, 476, pi. 45). Designs homologous with lea 6 to 8 Rectangle designs are very common in lea 9 decoration. The lea 9 variants fall into three distinct groups, which we may call "conservative painted," "advanced painted," and incised. In Phase 9 the traditional Rectangle design technique is increasingly mingled with the Triangle design technique. The two techniques appear commonly in the same design pattern within both the categories of black principal and white counter designs. There is a unique Phase 6 antecedent to the mingling of Rectangle and Triangle designs in the same pattern (fig. 396). The Phase 6 example differs from the later ones in that principal black Rectangle elements and secondary white Triangle elements are all executed uniformly, each in its own category; there is no mingling of the designs within each category. The mingling of Rectangle and Triangle designs within the same category first occurs on what appear to be relatively rare Phase 7 pieces, as noted earlier. The latter kind of mingling is robably the rule in Phase 8 (see above and g. 416). The Phase 9 mingling differs from that of Phase 8 in being uniform and consistent, resulting in a complete mergence of the two design techniques. All Phase 9 designs of this group are here called "Rectangle" designs, for short.

g

Conservative painted variants of Rectangle designs appear in lea 9 decoration in a threecolor broad-band arrangement in a traditional context, as principal body decoration on one of the two most conservative vessel shapes,

the Flaring Cup, and on the conservative medium-broad band on the other conservative shape, the unique Deep Open Dish (figs. 419, 421, 422, 587, pi. 48). These Rectangle designs appear both in the plain zigzag pattern and in the Rectangle Fish pattern. There are considerable innovations in execution, caused by four general stylistic factors affecting most or all Phase 9 design categories. These factors are the actual or effective reduction of the design area, the thickening of the black design lines, the attempts at more rapid execution of the designs, and the continuing trend toward a decrease in the size of the design elements. The hastier execution causes the "Rectangle" elements to appear as irregular triangles or wedge-shaped protrusions, the sides merging with the tail line appendage in front (fig. 587; for comparison, see fig. 585). The execution of the white counter elements in particular, and occasionally of the principal black elements as well, is further expedited by drawing a diagonal base line to which the near-triangular protrusions are attached, instead of making the units individually. For example, in figs. 419, 422 and 587 the white counter elements are made in this manner, whereas the black elements are made partly or entirely as individual units. It is a distinctive Phase 9 feature that the single base lines in the counter designs are irregular in direction, not perfectly straight. The white counter elements in fig. 421 are made as individual units. The thicker black lines cause the central spaces in the principal elements to disappear, and central white dot fillers are consequently omitted. Since white design lines are rarely thicker and frequently thinner than in Phase 6, the white counter elements usually have central spaces, as in Phases 6 to 8. Many "Rectangle" elements are smaller than their Phase 6 to 8 homologues. The Phase 9 innovations just described can be understood as advanced products of earlier stylistic trends already apparent in rare advanced Rectangle design variants in Phase 6 (figs. 336,396,586), with further modifications in the same direction appearing in Phases 7 and 8 (fig. 416). However, the thickening of the black lines and the disappearance of the central spaces are new in Phase 9, as is the greater degree of irregularity in the execution of the elements and the much decreased size of some.

THE ANALYSIS OF DECORATION

Rectangle Fish figures display particular modifications (fig. 422, pi. 48). They are much smaller than in Phases 6 to 8, being composed of smaller elements, and there also is an innovation in the arrangement of the component elements, evidently as a time-saving device. In this innovation the front of the figure is modified and abbreviated by shifting the lower of the two elements forming the front forward so that these two elements form a diagonal instead of a vertical column, leaving an open space in the lower front of the fish figure (for comparison, see Phase 6 figs. 315, 585). This innovation must be of recent origin in Phase 9, since the Phase 8 example lacks it (fig. 416). Another innovation in the Rectangle Fish design is the alignment of the fish figures in a vertical column instead of a horizontal row. This is an aspect of Phase 9 innovations in design arrangement, described earlier. The Rectangle Fish figures appear here in a single column, which is equivalent to their appearance in a single row in Phase 6. In view of the smaller size of the figures this arrangement can be maintained only because the vertical panel is narrower than Phase 6 broad bands (for comparison, see figs. 315, 585). Triangle Fish figures are used in combination with Rectangle border elements and counter designs in one lea 9 example illustrated in fig. 421. Like Rectangle designs, the Triangle Fish figures differ from their Phase 6 homologues in being smaller, the thicker lines obliterating the central spaces of the triangle elements, leaving only a small central space which is decorated with a white dot (for comparison, see the Phase 6 design in fig. 316). The Phase 9 design also differs from the Phase 6 one in patterning, an innovation of Phase 8 origin which represents an adjustment to space problems (fig. 416). In this innovation the Triangle Fish figures appear in multiple rows instead of a single row, because the panel is of broad-band width but the size of the figures is much reduced. A homologue of the Phase 6 Triangle Fish design appears as a medium broad-band design in Phase 9 (fig. 463; for comparison, see fig. 316). As can be seen, the Phase 9 variant is much simplified and abbreviated. Advanced Rectangle designs of Phase 9 appear on less conservative vessel shapes.

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Some appear in the traditional three-color pattern, mainly in the new anthropomorphizing decoration on Football-shaped Jars (pi. 58, figs. 443, 444). There also is one example where this design is used for narrow principal panels in a vertical panel arrangement on an imitation Ica-Inca A Lamp Bottle body appearing in a stacked double vessel (28.3.2). Most of the rest of the advanced Rectangle designs appear in the two-color broad-band arrangement in black on red and in the medium broad-band arrangement in black on white (figs. 437, 460, 461). There also is an example of an anthropomorphizing Footballshaped Jar in which they appear in black on the unpigmented slip (similar to fig. 446). In the more advanced and more abbreviated two-color broad-band arrangement in black on red, advanced Rectangle designs appear as principal panel decoration on Angular-Rim Dishes, varied medium-sized jars, and probably also Angular-Rim Bowls (pis. 47, 52, fig. 437). The use of advanced two-color Rectangle designs in black on white in mediumbroad bands consists of various rare adaptations (figs. 460, 461, pi. 59). As we shall see later, the same design also appears in special contexts in Ica-Inca decoration. Advanced Rectangle designs represent a further step in abbreviated execution, with innovations in patterning as well as detail. The new patterning consists of lines of elements arranged in simple diagonals across the panel or band (figs. 437, 443, 444, 446, pi. 47, 52, 58, 59). This patterning is especially adapted to narrow panels and bands of medium broad-band and narrow-band width, these being the design areas for which it is used. In the three-color variants the principal black elements have much the same execution as in the conservative Rectangle designs, except that the elements are made even smaller (figs. 443, 444, pi. 58). The space between the diagonals is also reduced, and as a result the white counter designs are simply diagonals of the same kind as the black ones, which are often further reduced to mere wavy lines in some sections of the design. In the two-color variants, which lack the counter elements, the black diagonals themselves look merely like irregularly wavy lines (fig. 437, pis. 47, 52). In some designs they reach the final abbreviation by appearing as nearly straight diagonals (like fig. 446). These designs usually are irregularly executed.

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The technique of execution used for advanced Rectangle designs in panels and bands is occasionally also applied to Rectangle Fish figures appearing as unit designs (fig. 452). The arrangement of the elements is the same as in other Rectangle Fish designs (for comparison, see fig. 422). However, the use of Rectangle Fish figures as secondary unit designs is a Phase 9 innovation. The unit designs appear in white on red as decoration of secondary panels in the three-color broadband arrangement on two of the Ica-Inca B Large Bottles (pi. 51; Kroeber and Strong, 1924b, pi. 38a). Advanced Rectangle designs on incised blackware are a variant of the advanced painted Rectangle designs (fig. 471, pi. 45; 29.5.1). The incised variant is used in bands of narrow-band, medium broad-band, or broadband width and is arranged in diagonals, like the painted designs. In place of the painted wavy-line pattern, incised lines are used to create a similar effect by outlining with a straight base line and a stepped or wavy-line top. The design proper is viewed as being the surface between the incisions. Remnants of paint on one of the examples in our sample show that the spaces between the straight base lines and stepped or wavy-line tops were painted with resin paint, probably in contrasting colors, in analogy with the painted designs (pi. 45). For comparison with the slip-painted variants, see particularly figs. 443, 444 and pi. 58. Tailed Square designs, which are related to the Rectangle tradition, are represented in lea 9 decoration by relatively conservative variants, but they are not common. In contrast to Phase 6, they do not occur as composite unit designs, but only as single elements. These elements are used as principal as well as secondary designs. To date Tailed Squares have been found only on shapes or in designs that show some Inca influence, and they are also used in Ica-Inca decoration, to be described below. A Tailed Square is used as a principal design on one of the imitation Ica-Inca A Lamp Bottles, and also as a handle design on the same bottle (figs. 455, 456). Both the principal and handle designs are painted in the advanced black on red color pattern. They are enlarged, thickened variants of the Phase 6 form (for comparison, see figs. 324, 326). In

a more traditional context, Tailed Squares are painted in white on red-slipped secondary panels, as single unit designs, on another imitation Ica-Inca A Lamp Bottle (pi. 43). Tailed Square elements also appear as single unit designs to fill spaces between Freestanding Triangle figures in medium-broad bands (see below). The uses of Tailed Squares as single unit designs in principal decoration, as handle decoration, and as medium broadband decoration, are all new ones in Phase 9. There are no Phase 7 and 8 examples to trace the sequence of changes from Phase 6. The lea Checkerboard design appears in lea 9 decoration as a three-color broad-band design, as in Phase 6, but it is used in a broad band in the inner mouth-band position on a Flaring Cup (fig. 198). The differences between the three-color Phase 9 variant and the Phase 6 homologue are only the general stylistic ones affecting all design categories, namely the more irregular execution and variation in line thickness, the greater thickness of the black lines, and the reduced line thickness of the white filler elements (fig. 423; for comparison, see fig. 317). Phase 9 variants of the lea Checkerboard also appear in the more advanced two-color broad-band design arrangements on AngularRim Dishes (figs. 438, 439, pi. 47). These variants are more abbreviated versions of the conservative Checkerboard design. They share the general stylistic characteristics with the more conservative design, but they are painted in black on red only and the execution is even more irregular. The lines are drawn at uneven angles in one of the examples, and are of more uneven thickness than the black lines in the three-color design arrangement. Both advanced Checkerboard variants are used as designs for the narrow panel subdivisions of broad bands, the effective design area being even more reduced by the greater thickness of the design lines. Two different adaptations to the reduced design space appear. In one, the grid is confined to two slightly enlarged columns of squares (fig. 438). In the other, the interior filler squares are omitted and only the grid itself is used in closely spaced crosshatching (fig. 439). The design of lea Stripes is indistinguishable from the Phase 6 variant and is used in the decoration of Flaring Cups, as in Phase 6.

THE ANALYSIS OF DECORATION

The only innovation is in the arrangement (pi. 48). Bird unit designs are homologues of the corresponding Phase 6 ones (fig. 445; for comparison, see figs. 390, 391). The principal differences between the Phase 9 and Phase 6 variants are the general stylistic ones governing color patterning, line thickness and size, features that affect all design categories. In this instance the thicker lines cause the individual elements to be drawn at a larger size so that the central spaces in the triangle elements can be maintained, a solution different from that used in Rectangle designs. Another contrast with Phase 6 is that only one Phase 9 variant is present, one that has two triangle elements in the body appendage. Bird figures with only one or with more than two triangle elements in the body appendage do not appear in the Phase 9 sample, nor do solid triangle appendages. The Phase 9 Bird unit designs are painted in the three-color pattern (never used for this design in Phase 6), in the traditional white on red, in the newly abbreviated black on red, and in black on white in medium broad-band decoration. They appear mainly as space fillers in the back of the anthropomorphizing decoration on Football-shaped Jars, and occasionally as space fillers in medium broadband decoration. Narrow-band designs are divided into conservative and advanced ones, like the other designs in this style. As has been described in the section on design arrangement, the conservative narrow bands are found only in design arrangements with a three-color pattern in the principal bands, whereas the more advanced ones are found in the new medium broad-band arrangement. Most lea 9 narrow-band designs are variants of either the "Z" or the Meander pattern of Phase 6 (figs. 433,458, pi. 43). The more traditional ones appear in the traditional color patterns, either black on white or white on red. Their principal distinction from the designs of Phase 6 is that the "Z" or Meander elements are slightly larger, thicker lined, and of more irregular execution, in keeping with the general stylistic changes affecting all lea 9 design categories (for comparison, see fig. 342 and pis. 1, 4, 9). The advanced narrow-band designs in our

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sample are variants of the Meander design. They appear exclusively in the new black on red color pattern on those narrow red bands that form part of the medium broad-band design arrangement (figs. 464, 465; for the entire arrangement, see pis. 57, 59). These bands are slightly broader than the conservative narrow bands, and the designs are consequently slightly larger. The larger size encourages the use of thicker lines. The effort to save time is particularly noticeable in the hasty execution, which reduces stepped lines to wavy lines and the continuous Meander line to separate sections of short curved lines. The process can be appreciated by comparing the more carefully executed variant in fig. 464 with the more hastily executed one in fig. 465, and both with the Phase 6 variants shown in figs. 337-340 or the Phase 7 variant shown in fig. 407 and pi. 23. The design in fig. 464 is further distinguished from earlier narrowband decoration in combining the Meander design with "stepped" diagonals borrowed from designs of the inner mouth-band tradition (cf. figs. 420, 440, 468). A narrow black band is used in place of a narrow white band on one of the Phase 9 Flaring Cups, as noted (fig. 430, pi. 48). The traditional white dots are modified into circle and dot elements, in analogy with an Inca and Ica-Inca design. For comparison, see the Phase 6 narrow black band in fig. 397, the Phase 7 band in pi. 25, and the Ica-Inca circle and dot band in fig. 477 and pi. 42. Designs of the inner mouth-band tradition related to the corresponding Phase 6 designs appear in a variety of contexts, both the Phase 6 one and different ones, as pointed out in the preceding section. Most of these designs are in the traditional three-color pattern and are variants of the rectangular inner mouth-band pattern of Phase 6 (figs. 420, 432, 440, 441, pis. 55, 64b). The differences between Phase 9 and Phase 6 designs are mainly the general stylistic ones affecting all design categories, that is, thicker black lines, more irregular execution, and the abbreviation of the diagonal step elements into wavy or even straight lines. Other time-consuming variations found in Phase 6, such as fretted vertical divisions, are omitted in Phase 9 (for comparison, see Phase 6 designs, figs. 353-355). A more abbreviated pattern in black on red only also ap-

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pears in the Phase 9 sample, the white filler elements here being replaced by black dots (fig. 468). The only example of a painted Phase 9 variant of the triangular inner mouthband pattern appears in black on red without the corresponding white filler elements (fig. 467; for comparison, see figs. 357-359). One significant innovation appears in one example of a half band with a rectangular design pattern of the inner mouth-band tradition (fig. 441). The vertical dividing bands are treated as new panel-outline bands by the addition of a central white line between two black ones. Although this example is unique in the lea 9 sample, it forms an antecedent for important stylistic innovations in Phase 10 (see below). An incised design pattern appearing on the relatively narrow surfaces of the spirals on a near-identical pair of ocarinas of smoked blackware represents an elaborated adaptation of the triangular inner mouth-band pattern (fig. 470; Kroeber and Strong, 1924b, pi. 375). Pendent Step elements of the lea tradition are used as a fringe-band design in inner mouth-band position in Phase 9, as in Phase 6, but they are relatively rare (figs. 425, 426, pis. 47, 48). The examples in figs. 425 and 426 are from Flaring Cup decoration and are therefore conservative in execution (for comparison, see particularly figs. 363, 364). The inner mouth-band design on the AngularRim Dish shown in pi. 47 has the more irregular execution and use of larger, thicker lines, features characteristic of most Phase 9 decoration. The Pendent Step designs are also used in an over-all pattern of multiple rows, in this instance in the inner mouthband position on a Flaring Cup, that is, the same position as on the straight flaring-sided dish in Phase 6 (fig. 424; for comparison, see fig. 392; cf. 1.1.11.4.7). The Chincha Rim Scallop is used in place of more traditional inner mouth-bacid decoration on some Angular-Rim Dishes and Angular-Rim Bowls, also on the interior rim of jar necks, and, rarely, on imitation Ica-Inca A Lamp Bottle necks (fig. 466, pis. 52, 57, 58, 64b). TTie Chincha Rim Scallop consists of a continuous row of small, solid black triangles pendent from the rim edge. The design is similar to a common Inca design used in a variety of contexts, including as a rim design on Cuzco Inca and provincial Inca plates (for

example, pi. 61). In Phase 9 the Chincha Rim Scallop is painted either on a white or unpigmented slip, as in Phase 8, or on a red one, as in many examples of the Inca style. The Chincha Rim Scallop differs from the similar Inca rim design in context, and also in execution, the triangles having a proportionately broader base with a less pointed tip, slightly arching sides and more irregular contours. In addition to the lea 9 designs homologous to those of lea 6 to 8, some new designs appear. By far the most common of these is the category called Pendent and Freestanding Triangle (figs. 442, 453, 460-462, 469, pis. 39, 57, 59, 66). It consists of line designs of large triangle figures with the broad base attached to a base line and the pointed tip either standing free or barely touching an opposing border line of a band. Since the same design is used either with the broad base at the bottom or at the top of the design field, the alternative names of Pendent Triangle and Freestanding Triangle are used. The Pendent and Freestanding Triangle patterns are in principle the same design but they appear in different contexts. These differences give a glimpse of the complex process of analogies that influenced Phase 9 innovations (see below). Pendent Triangle designs are used commonly as a replacement for traditional fringeband designs, and also in place of some traditional upper body-band designs. They usually appear in two-color patterns. As a replacement for traditional inner mouth-band decoration they appear in black on red on an Angular-Rim Bowl (pi. 59, fig. 469) and, in a secondary application, on the inner rim of an Ica-Inca Large Bottle neck on an Ica-Inca A Lamp Bottle body, a unique form (cf. fig. 222). They are also used in black on the unpigmented ground as regular decoration of the interior rim of Cumbrous Bowls (fig. 442, pi. 66). A Pendent or Freestanding Triangle design in the three-color pattern is used as a handle design on a Large Bottle handle (fig. 453). Freestanding Triangle designs are confined for practical purposes to the decoration of medium-broad bands, where they appear in black on white (figs. 461, 462, pis. 39, 57, 59). In one example they appear in black on red in the modified upper body band associated

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THE ANALYSIS OF DECORATION

with a medium white-band arrangement on a jar (fig. 460; cf. design arrangements, above). The origin of the Pendent and Freestanding Triangle designs is evidently complex and represents analogies with both a common traditional lea and a common Inca design. The analogy made with the corresponding Icatradition feature is best illustrated by the upper body-band and occasional medium broad-band pattern of Phase 6. The triangle figures, together with their crosshatched or alternative interior decoration, correspond to the border elements reserved for the decoration of upper body bands and analogous medium-broad bands in Phase 6 (figs. 310, 311, 333). A Phase 8 transference of the medium broad-band pattern to the expanded upper body-band area on an enlarged bottle body makes it explicit that the analogy existed in the minds of the lea potters (fig. 415). The principal differences between the traditional upper body-band design and its original medium broad-band equivalent on the one hand, and the Phase 9 design on the other, are that in the latter the border elements are slightly enlarged and are converted to principal designs. The example in which the crosshatch spaces are filled with white dots on a red ground demonstrates that the lea 9 potters were classifying the crosshatch pattern in these Triangle figures together with other crosshatch designs as the equivalent of Small Diamond designs (fig. 453). That is, the analogy being made by lea 9 potters was closest to the most recent Phase 8 use of the traditional design, rather than to the older Phase 6 usage, as ought to be expected. The contexts of the Pendent and Freestanding Triangle designs thus indicate various analogies with designs of Phases 6 to 8, but they do not explain what inspired this innovation, nor why the use of Pendent and Freestanding Triangle designs is so common and varied in Phase 9, and, particularly, why it is used so widely in the new medium broadband arrangement. The answer is probably the same one that explains a number of other changes affecting the lea style in Phase 9, namely a double analogy in which resemblances are seen both to lea and to Cuzco Inca designs. A triangle design almost identical to the Pendent and Freestanding Triangle design of lea is used regularly as an element in Cuzco

Polychrome B decoration. In the latter decoration the crosshatched triangles are used in much the same way as their analogues in upper body-band patterns of lea, except that they appear regularly in principal design bands arranged vertically or horizontally across the front of Cuzco Inca jars. 126 They also differ from the analogous lea design in the color pattern, which is black on white or black on red instead of white on red or black and white on red. The color analogy probably explains why the Freestanding Triangle design is adopted as the most common medium broad-band design in lea 9 decoration. The resemblance between the upper body-band and medium broad-band pattern of Phase 6 and the principal Cuzco Polychrome B design attern is entirely coincidental, and there is no 125

Eistorical connection between them.

It is probably no accident that the medium broad-band pattern is used most commonly for vessel shapes with Inca-associated features, that is, dishes and bowls with angular rims, Ica-Inca B Large Bottles, and provincial Inca plates. One lea jar with this design pattern is unique in having a flattened bottom, also an Inca-associated feature (cf. fig. 228). Bingham illustrates a single Cuzco Inca plate in which the Pendent Triangle design is used alone, in much the same way as in lea Cumbrous Bowls. There are no other recorded examples of this shape-design combination in the Inca style, so that the relationship, if any, between it and the lea 9 Cumbrous Bowl decoration cannot be explained at present. 127 Pendent Triangle designs are invariably decorated with crosshatching, and Freestanding Triangle designs are usually so decorated. The example in fig. 462 and pi. 57 is a useful exception in our sample, because it is a variant of another very distinctive lea 6 border element in upper body-band decoration, and so furnishes a particularly helpful clue to the kind of analogy being made by the lea 9 potters (for comparison, see figs. 298,300,330, 332). There is another unique piece without provenience in which the triangle figures are made of wavy lines in the advanced Rectangle technique (28.3.2). When Pendent Triangle designs are used as replacements for more traditional fringe bands they are frequently combined 125. Rowe, 1944, p. 47. 126. Bingham, 1930, figs. 73a, b, 74,78,80f, 81a, 82e, 88h. 127. Bingham, 1930, fig. 89b.

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with Pony Fringe elements, which are also used in this context in Phase 6 (figs. 442, 469, pis. 59,66; for comparison, seefig.364). The spaces between Freestanding Triangles in medium-broad bands are usually decorated with single filler elements. These elements consist of traditional unit designs such as single Tailed Square elements, Bird units, or composite Solid Square unit designs. Alternatively, they consist of vertical or diagonal wavy lines related to the advanced Rectangle designs, or squares or near-rectangles borrowed from an Ica-Inca feature (figs. 461, 462, pis. 57, 59; for comparison, see figs. 485, 486). In one medium-broad band the wavy line elements are used as the only decoration, probably because the Freestanding Triangle figures are here used in the adjoining upper body band (fig. 460; cf. design arrangements, above). Another new design in lea 9 decoration, the imitation Inca "Body Scallop," represents a direct adaptation from an Inca-style motive. This design is used as the principal decoration on two Ica-Inca B Large Bottles in our sample (14.1.1, 28.3.1; fig. 180). These adaptations of the Inca Body Scallop are already mentioned in the section on design arrangements. They consist of solid black triangle borders on vertical bands in imitation Inca arrangements (fig. 451), or solid black triangles in horizontal rows circling the body of the vessel (28.3.1). Inca influence also manifests itself as a vertical panel design of a broad band used as decoration in the inner mouth-band position of a Flaring Cup (fig. 429). Here the more traditional lea Checkerboard pattern is modified to resemble an Ica-Inca Checkerboard design (for comparison, see fig. 477).

ICA-INCA DECORATION

Ica-Inca decoration is found regularly on most provincial Inca shapes of lea, including Inca jars, plates in groups A-l and A-3, some other provincial Inca plates, and various additional provincial Inca shapes. It is also found reguarly on Ica-Inca A Lamp Bottles and Drum Bottles, and on rare Angular-Rim Dishes and Angular-Rim Bowls made of especially fancy ware and shaped with particular care (pis. 38, 40-42, 54, 60, 61, 70, 71a, b; Kroeber and

Strong, 1924b, pis. 38d-f, 39a, c, e-g, 40c, g, i, j, 1, n). It is also found on a unique dish with what is probably an archaizing shape from tomb Td-8 (pi. 44). In contrast to lea 9 decoration, Ica-Inca decoration is comparatively uniform and confined to a few standardized design categories. In execution and surface finish Ica-Inca decoration is on the average more painstaking than lea 9 decoration. Areas covered with design. Areas covered with design on provincial Inca shapes are the same as on Cuzco Inca shapes, for the most part (pis. 38, 40, 60, 61, 71a, b; Kroeber and Strong, 1924b, pis. 39c, f, g, 40c, g, j). For Ica-Inca A body shapes the rules that determine the area of the body to be covered with design are the same in principle as for lea shapes that have lea 9 decoration. On the new, abrupt-shouldered Ica-Inca A Lamp Bottles the decorated area usually stops at about the middle of the height of the shoulder, or slightly below this point (pis. 41, 42, 70). On Drum Bottles the decorated area extends from the neck down to about the middle of the body height, or a little above it (pi. 54; Kroeber and Strong, 1924b, pis. 38d-f, 39a, e, 40i). Use of colors and painting techniques. The IcaInca style imitates the Cuzco Inca conventions in use of colors and, in some designs, in painting techniques, but frequently with modifications based on conventions of the lea tradition. The fanciest provincial Inca pottery of lea, such as the largest Inca jars, plates in group A-l, fancy provincial Inca bottles and jugs, and one of the Inca cooking pots from burial Tk, has a more polished, glossier surface and more careful finish than other vessels (pis. 60, 61, 71a, b; Kroeber and Strong, 1924b, pi. 39g). Furthermore, the unpigmented slip has a tendency to show slightly more color value than the lea slip. An example of the provincial Inca color of fancy, unpigmented slips is Maerz and Paul's plate 12 D10. This slip has a slightly stronger color value than any of the Ica-tradition slips in our sample (for comparison, see discussion for lea Phase 6). Most other imitation Inca vessels and Ica-Inca A vessels have Ica-style slips. However, a few very fancy Ica-Inca A vessels, including rare Angular-Rim Dishes and Angular-Rim Bowls, have a glossy surface and strongly hued slip more nearly like the fancy provincial Inca ones.

THE ANALYSIS OF DECORATION

The red hues of the Cuzco Inca style and the Ica-tradition red are also slightly different from one another. Although most provincial Inca and Ica-Inca A vessels have red of the lea hue, the red in some Ica-Inca designs resembles the Inca red, about as shown in Maerz and Paul's plates 5-6111 (for comparison with lea reds, see Phase 6 section). Like the unpigmented slip, this red has a slightly stronger color value than the lea red. Inca white is distinguishable from lea white by its consistency rather than by its hue. Whereas Cuzco Inca white has as glossy a polish as other Inca pigments, lea white is invariably matte. On a few of the fanciest provincial Inca vessles and on rare Ica-Inca A vessels with a veiy fine finish such glossy white appears, as it does on Cuzco Inca-style imports (pis. 71a, b; Kroeber and Strong, 1924b, pis. 39d, g, 40m). Cuzco Inca white has a peculiar characteristic, however, in that there are nearly always prominent orange "cloud" areas on it, the orange being the hue of the unpigmented surface. Perhaps these are areas where the white slip was applied too thinly, or where the pigment wore off. Although the lea white also often has irregular application of this kind, there is a less abrupt and less noticeable contrast between the thinly covered areas and the rest of the whiteslipped surface. A white resembling the provincial Inca white, though not as glossy, appears on some provincial Inca and Ica-Inca A shapes with Ica-Inca decoration, as well as on the imitation antique dish shape (pis. 42, 44, 70). Maroon purple is used as a contrasting pigment in the Cuzco Inca style, and it is also so used in some of the fancy Ica-Inca decoration. We have already seen above that at the same time its use as a contrasting pigment is no longer in style in Ica-tradition decoration of Phase 9. Thus, the use of contrasting purple distinguishes Ica-Inca decoration and other provincial Inca decoration at lea. It is of particular interest that blackish purple (specular hematite) is used frequently in place of maroon purple as a contrasting purple pigment, especially on Ica-Inca A shapes and also on many provincial Inca shapes (pis. 40, 61). Unfortunately we have no good record of the extent to which specular hematite is used as an Inca-style pigment in the sierra, a circumstance that makes the interpretation of this use at lea more difficult.

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As noted earlier, before the Late Horizon specular hematite was used at lea regularly only in Phase 8, in association with Chincha influence, although occasional uses of it also occur in earlier lea phases. We have also seen, however, that in the Late Horizon most Chincha traits were categorically eliminated from lea pottery. Specular hematite is one of the few exceptions, and it appears only in IcaInca associations. The explanation for the survival of this pigment may be that the purple cast of the specular hematite counterbalanced its undesirable origins, and that it was therefore accepted as an equivalent of Ica-Inca maroon purple. The use of maroon purple is preferred to specular hematite only in the decoration of the fanciest provincial Inca shapes, such as the largest Inca jars and the fancy Inca cooking pot from burial Tk. An entirely new light orange pigment is also used in some Ica-Inca decoration (pis. 61, 62). It is relatable to its much more extensive use in Nasca-Inca pottery, as we shall see below. A similar orange pigment is used regularly in only one of the recorded Inca styles, namely Urcusuyu Polychrome (see below). It is possible to recognize Inca influence in Ica-Inca decoration not only by the hues or texture of the pigments, but also by the ways the colors are used. In the Cuzco Inca style, red is used as a design color as well as a background color, a feature that does not appear in the lea tradition after Phase 2. Maroon purple is also used as a design color in the Inca style, a feature that does not appear in the lea style after Phase 4 or 5. The use of red as a design color in line designs or in figures without black outlining in Ica-Inca designs must therefore represent Inca influence, a conclusion supported by the appearance or context of the designs. The same consideration applies to the use of purple in most examples. However, some Ica-Inca designs in purple outlined in black, which appear regularly on Drum Bottles, are sufficiently similar to some Ica-tradition designs of Phases 2 to 4 so that it is possible that the earlier lea designs rather than the Inca features are being imitated (see below). It is safe to say, however, that any line designs or design fields in red or purple not outlined with black represent Inca influence, as do designs with black outlining bor-

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rowed unmistakeably from Cuzco Inca design motives. Inca influence also appears in the use of a red or purple slip for the outside or upper inside of Ica-Inca bottle necks. As we have seen earlier, this particular Inca feature is also frequently used for lea 9 jar necks and Ica-Inca B Large Bottle necks, which have rim features modeled after Inca-style necks. This is also the decoration used for the upper surface of Inca and provincial Inca cooking pots, and, by extension, of some Angular-Rim Dishes (see above). Design arrangement. Many aspects of IcaInca design arrangement and related selection of design motives are based on principles of design arrangement and associated design motives in the Inca style. The following principles of Inca design arrangement are reflected in Ica-Inca decoration: In the Cuzco Inca style, decorated design areas on vessel bodies are generally viewed as large spaces that are usually slipped red, but in some contexts are unpigmented. On these spaces, narrower bands appear with various kinds of spacing which carry what may be called the principal designs. These narrow bands usually have a white ground in most Cuzco Inca designs, and the designs are painted on them in red or maroon purple (or both) and black. The major exceptions to this color pattern are in Cuzco Polychrome A decoration on Inca jars, where the principal designs are placed on the unpigmented surface, and in Qoripata Polychrome decoration (a minority style), where the designs are placed in black and white on a dark red ground. 128 The comparatively narrow principal design bands in the Cuzco Inca style are positioned vertically on some vessels (most commonly on Inca jars of various kinds), and horizontally on others (occasionally in all shape categories, and as a rule on handled dishes). On plates such principal bands halve the inner plate surface; alternatively, circumferential bands are used in plate decoration. On vessels where the principal design bands are in vertical position and where the larger "background" areas are slipped red, these backgrounds are usually decorated with horizontal bands of pendent black triangles separated by black lines. This decoration occurs in various design arrangements of the Cuzco Poly128. Rowe, 1944, pp. 47, 48.

chrome B category.129 In the Cuzco Inca style these triangles characteristically have a relatively elongated, acute point. 130 Rowe describes characteristic variations between different standard design arrangements in the Cuzco Inca style, but the principles stated above are generally applicable for most of them. He describes the most common standardized arrangements as Cuzco Polychrome A and B and Huatanay Polychrome.131 Neck designs are equally standardized.132 As Rowe points out, in Cuzco Inca fancy ware it is also a common practice to decorate some vessels only with an over-all red slip or a light-colored slip ("cream" or "white"), or a combination of the two. As we shall see, this arrangement too is reflected in provincial Inca pottery of lea. Rowe points out that representational designs are quite rare in the Cuzco Inca style, but they do occur occasionally, generally in combination with more standard geometric motives and sometimes alone.133 The most common designs of this kind in the Cuzco Inca style are representations of various insects, especially flies and wasps. Sometimes it is difficult to decide whether a representation is meant to be a wasp or a bird.134 Other representations include Titicaca Basin catfish, recognizable by their whiskers, usually a plate design.135 Another Cuzco Inca plate design consists of figures resembling tadpoles shown as round spots with small tails. Another design arrangement, occurring more rarely at Cuzco, Rowe calls Urcusuyu Polychrome.136 This arrangement with its distinctive elements occurs more •commonly at sites in the Titicaca Basin, according to Rowe. One distinctive design in it is a band subdivided into squares further subdivided into smaller irregular triangular figures in contrasting shapes painted with contrasting colors and arranged in rotational symmetry. Contrasting orange and maroon purple hues are regularly used together in a very distinc129. Rowe, 1944, p. 47. 130. For Cuzco Inca examples of these patterns, see illustrations published by Rowe, 1944, Bingham, 1930, Valcircel, 1934a, b, 1935, Schmidt, 1929, fig. 349-2, and others. 131. Rowe, 1944, pp. 47, 49. 132. See especially Rowe's discussion of jar necks under Cuzco Polychrome. 133. Rowe, 1944, Cuzco Polychrome Figured, p. 48. 134. Rowe, 1947, pi. 77c; Schmidt, 1929, figs. 353, 355-1. 135. Schmidt, 1929, fig. 355-2. 136. Rowe, 1944, p. 49.

THE ANALYSIS OF DECORATION

151

Few provincial Inca vessels from lea are decorated in a way resembling Cuzco Inca standards enough so that one may say they are decorated more or less in that style. Most of the small number of such vessels found at lea appear in the form of fragments from refuse concentrated in the northwestern section of Old lea, around the principal mounds. Among provincial Inca pottery from burials, vessels with decoration most nearly following Cuzco Inca design arrangements are the fanciest Inca shapes, that is, the largest of the provincial Inca jars, and provincial Inca plates in group A-l (figs. 142, 149, 207, 242, pis. 60, 61; Kroeber and Strong, 1924b, pi. 39g). Occasionally other provincial Inca shapes with very fine finish and shape features more nearly like the Cuzco Inca models have decoration also more nearly in the Cuzco Inca

pattern. The remainder of the provincial Inca vessels have variously modified and abbreviated variations of Cuzco Inca arrangements. Ica-Inca A shapes always have design arrangements that represent modifications of Cuzco Inca patterns combined with traditional lea features. Several features of Inca design arrangements are nevertheless influential in Ica-Inca decoration. The most important is the concept that principal design areas are to have a white or light-colored background. However, in most Ica-Inca decoration the Inca pattern is modified in that the principal design area forms the largest part of the design surface. The concept that the principal design area is to cover the largest part of the design surface is in the lea tradition. As an example of this modification at lea, the entire front area of provincial Inca jars is most commonly slipped with a white base, and designs are selected accordingly. The lea preference for various Figured designs of the Inca style, which are rare in Cuzco Inca pottery, may be partially due to this preference. However, Cuzco Polychrome A and B arrangements are also used occasionally in the decoration of the largest provincial Inca jars at lea. A near-identical pair of large provincial Inca jars from a grave in the Callango basin is decorated nearly faithfully with a Cuzco Polychrome B arrangement (fig. 242). 139 This design has a vertical column of large Concentric Diamonds in black and white down the front center of the vessel, with crosshatched black triangles on a red ground filling the intervening spaces of the band. The principal feature in the decoration which distinguishes the jars from Callango from the Cuzco Inca ones is the addition of an insect design in the center of each of these diamond figures, and other insect designs in the spaces between crosshatched blocks of lines on the back shoulder design. As noted, the use of such representational designs of the Cuzco Inca style is a particular Ica-Inca preference. Another jar of about the same size was found in the backdirt of a looted burial at mound N of Old lea, in fragmentary form, and is deposited in the University of California collections stored at the Museo Regional

137. Rowe, 1944, pp. 48-49. 138. Rowe, 1944, fig. 19-1, 2, 4; Bingham, 1930, figs. 81c, 92, 123a, 127£.

139. For Cuzco Inca examples of this design arrangement, see Rowe, 1944, pi. V, 4-6; Rowe, 1947, pi. 77a; Schmidt, 1929, fig. 349-2.

tive color pattern in these designs. Sometimes frets are inserted into the figures. The aspects of the Inca style described above are the principal ones that influence Ica-Inca pottery designs, as we shall see. One other design pattern among the Cuzco Inca design categories which is worth keeping in mind as a possible source of influence at lea is called Qoripata Polychrome by Rowe. 137 It differs from the designs described above in that the background for the principal decoration is dark red instead of white, and that the design arrangements on it are distinctive. Common Qoripata Polychrome patterns include narrow bands subdivided into squares. In plate decoration the center or entire surface of the plate may be subdivided in a similar way into rectangular, trapezoidal, or triangular panels. The squares or panels are outlined with fine black lines. Alternating anels are filled with fine-line vertical black

Eatching, or they are solid black. Intervening

spaces are plain red with a frame of small white dots, or they are filled with lines of white dots. Alternatively, narrow bands are decorated with a row of outlines diamonds framed with white dots. Other design arrangements occur also, but appear to be less common. 138 References to additional Inca design details relevant to this discussion are made below.

POTTERY STYLE AND SOCIETY IN ANCIENT PERU 152 de lea. This vessel was decorated in principle and red or white and black. The white rectanwith the other most common Cuzco Inca gles are the principal ones, and are decorated design arrangement, namely Cuzco Polyfurther with geometric motives rooted in the chrome A. 1 4 0 On Cuzco Inca jars with this arlea tradition. The principle of a checkerboard rangement the decoration is normally in black design is also used in a variety of contexts in on the unpigmented surface, and sections of the Cuzco Inca style, in pottery and in textile the front of the jar are decorated with the art. It is not very common as a principal design designated descriptively by Rowe as design in the Cuzco Inca pottery style, howthe Fern pattern. 141 ever, and when it occurs the checks «ire smaller. 143 The checkerboard pattern at lea is preAll the rest of the provincial Inca jars from ferred probably because a similar checkerlea in our sample have the entire front surface board pattern based on local designs of the decorated with a single design area covered inner mouth-band tradition appears as a prinwith a white slip, which is decorated further cipal panel design in lea Phases 8 and 9. with various designs that are rare in the Cuzco Inca style, or that do not occur in it. On On one particularly small provincial Inca most large and some medium-sized jars these jar, where the design area is restricted, the designs are copied after various rare Cuzco design consists only of horizontal rows of enInca Figured designs. Most common among larged triangles, an adaptation of the backthem are insects and perhaps stylized birds ground decoration of the larger design sur(Kroeber and Strong, 1924b, pi. 39c, f, g). In faces in Cuzco Polychrome B decoration (fig. one example monkeylike figures are shown 165). (idem., pi. 39f). One common vertical border band pattern There are two arrangements of these for the major design areas on Cuzco Inca jars, themes. In one the designs are arranged in appearing at the sides of the designs in front horizontal rows subdivided into rectangles, of the jar handles, consists of narrow vertical which cover the entire front of the vessel. white bands covered with multiple black parEach design figure is placed in one of the recallel lines in sets of two to five, and bordered tangles. This arrangement is found on the by two or three lines of the same kind on the near-identical pair of large Inca jars from adjoining red-slipped or unpigmented surtomb Td-8 (fig. 142; Kroeber and Strong, face. 144 Principal band areas in Cuzco Inca 1924b, pi. 39g). In it two rows of insect or bird designs are also regularly outlined with two designs alternate with design bands that have or three such black lines, as are the brief elements of the Urcusuyu Polychrome patupper body bands on the backs of jars, which terns. In the other arrangement of Ica-Inca may be outlined with up to four or more such Figured designs the design figures are scatlines. 145 Again, this pattern is imitated more tered over the surface without partitioning faithfully on the largest provincial Inca jars of (Kroeber and Strong, 1924b, pi. 39c, f). Howlea, and less faithfully on the medium to ever, in one variation some scattered design smaller-sized ones. Even on the largest jars figures are enclosed in circular, medallionlike lea Diamond designs painted in red may be partitions, others are not (Kroeber and placed in the bordering white band instead of Strong, 1924b, pi. 39f).142 Another common the standard Inca band designs. In the Cuzco Ica-Inca design arrangement is a checkerInca style, as at lea, the white border bands board pattern. This arrangement appears may be covered alternatively with fine-line most commonly on medium to small-sized crosshatching (i.e., "X's") consisting of paired provincial Inca jars in our sample, where it red lines. This is the Lattice B design which is covers the entire front area of the body (pi. 38; associated with the Cuzco Polychrome B patKroeber and Strong, 1924b, pi. 40j). It also tern. 1 4 6 It is worth noting here that the paraloccurs on Ica-Inca A Lamp Bottles (pi. 42). lel outline banding is occasionally used as the The Ica-Inca Checkerboard shows relatively sole principal design in Ica-Inca decoration large rectangles colored alternatively white (see below).

Rowe describes the few standard design 140. Rowe, 1944, p. 47. 141. Rowe, 1944, pi. V, 1-3; Rowe, 1947, pi. 77d, e; Schmidt, 1929, fig. 349-1. 142. The nearest recorded highland Inca model for this design arrangement in published accounts is a jar illustrated by Schmidt, 1929, fig. 353.

143. For the nearest Inca model for this design used as a principal design, see Bingham, 1930, fig. 108e. 144. Rowe, 1944, pi. V, 6. 145. Rowe, 1944, figs. 18,19, pi. V. 146. Rowe, 1944, p. 47.

THE ANALYSIS OF DECORATION

elements used to decorate the relatively narrow upper body band at the back of Cuzco Inca jars. Standard Cuzco Inca designs for this area are simple, and include groups of four or more vertical wavy lines placed at wide intervals, or a pattern of X's, each arm of the X being formed by several black lines.147 At lea only vertical line blocks occur in our sample, and they are regularly crosshatched with single black lines, instead of consisting of groups of wavy lines. On the pair of large fancy Inca jars from Callango, insect designs are placed in the intervening spaces, also unlike the Cuzco Inca pattern (see above). In other examples fancier principal designs of various kinds are placed in this rear upper body band, such as a band of an Urcusuyu Polychrome pattern (Kroeber and Strong, 1924b, p. 39g), or a modified Inca Zigzag pattern, to be described below (Kroeber and Strong, 1924b, pi. 39c, f). On the less carefully decorated medium-sized and smaller jars the rear upper body band may be omitted entirely, or the design may be replaced by a medium broad-band design of the lea 9 style (fig. 165). Equally, the design outlines for the principal decorated area in front may be restricted to a single thicker black outline. The most common provincial Inca jar neck design at lea is the Diamond Neck pattern described by Rowe as occurring most commonly with the Cuzco Polychrome B body design arrangements (Kroeber and Strong, 1924b, pi. 39f, g). 148 The Banded Neck, equally common in the Cuzco area, is rarer at lea. It differs from Ica-tradition neck banding in that the stripes are of differential thickness, broad black bands alternating with very narrow white or red lines or bands (pi. 38). 149 On some of the medium-sized to smaller provincial Inca jars of lea, other devices are used, including plain slipping (Kroeber and Strong, 1924b, pi. 40j) or Figured designs (Kroeber and Strong, 1924b, pi. 39c). On the other hand, a plain unoutlined red or purple stripe on the upper surface of the neck rim is a standard decoration for all the provincial Inca jars in our lea sample, as it is for the Cuzco Inca jars. Provincial Inca plates from lea in group A have design arrangements based on plate decoration of the Cuzco Inca style (pis. 40, 60, 147. Rowe, 1944, p. 47. 148. Rowe, 1944, p. 47. 149. Rowe, 1944, pi. V, 1-3.

153

61). Perhaps the most common standard arrangement of the Cuzco Inca style is a band that crosses the plate interior transversely from handle to lugs. Frequently a narrow circumferential rim band is the only decoration of the rest of the plate surface.150 Cuzco Inca plates lack this rim band. The most characteristic decoration of the cross band in Cuzco Inca plate designs is a banding pattern like that round on the front of Inca jars with Cuzco Polychrome A decoration.151 It regularly consists of three plain bands of a solid color (red, maroon purple or black) which separate and border two white bands decorated with the Lattice A design. The white ground of the principal design bands on the plate fragments that I have seen contrasts with the unpigmented surface for the corresponding design areas on Inca jars (cf. fragments of three plates in Uhle's collection from Cuzco, RHLMA, 4-8052). An important variant of this arrangement shows a reversal of the color pattern, so that three plain white bands separate and border two red bands decorated with a variant of the Lattice B crosshatching in black interspersed with white dots. The only recorded examples of this latter design appear on two miniature plates from the Cuzco area collected by Uhle (RHLMA, 4-8004, 8005). More rarely than the Cuzco Polychrome A arrangement, a broad band decorated with Concentric Diamonds of the Cuzco Polychrome B pattern is used as a principal cross band in the decoration of plates.152 Occasionally other kinds of banded and crosshatched designs are used. An alternative design arrangement for Cuzco Inca plates consists of circumferential bands that cover much or all of the interior plate surface. This arrangement is the rule for designs in the Qoripata Polychrome pattern described by Rowe. 153 At Cuzco this arrangement also appears with other designs, however, for example stylized llama figures in black on a light ground.154 Sometimes these circumferential bands are used in combination with the cross band arrangement (cf. fragments from surface collections made by the University of California expeditions). In the provincial Inca group A plates from 150. Bingham, 1930, figs. 89e, 90, 99k, 100a. 151. Rowe, 1944, p. 47. pi. V, 1-3; Rowe, 1947, pi. 77e; Bingham, 1930, figs. 83, 84, 86a, 108c, 113,116, 118c. 152. Bingham, 1930, figs. 91, 94a, 95-97; Rowe, 1947, pi. 77b. 153. Rowe, 1944, pp. 48-49. 154. Bingham, 1930, figs. 89c, 94b, 99j.

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

lea (and also Nasca), we find that one common copied Cuzco Inca arrangement shows a central cross stripe in the Cuzco Polychrome A banding pattern (pis. 40, 60). On group A-l plates the banding has a standard Cuzco Inca alternation of plain red bands and white bands, the latter decorated with the Lattice A design (pi. 60). Unlike most Cuzco Inca plates, however, the plates from lea have a white slip covering the rest of the plate surface, this area being further covered with figures consisting of dark dots with small curved "tails," the design that I am calling the Tadpole design. These plates lack a circumferential rim band. Tadpole designs of the kind used in this arrangement at lea occur as a fairly common plate design in the Cuzco Inca style. 155 None from the highlands has been illustrated in publications that have come to my attention, but Uhle, like Rowe, collected fragments of such plates in surface collections at Cuzco (RHLMA, 4-8052). The handle knob on group A-l plates with this design arrangement is decorated with a frog-like figure (pi. 60). In provincial Inca group A-3 plates from lea the central cross stripe consists of only two narrow red bands which enclose a single white band with a local adaptation of the alternative Cuzco Polychrome A design for such bands, the Staggered Line Band (pi. 40). 156 We have seen in the discussion of lea 9 decoration that the white band here has double outlining on one side and single outlining on the other. This peculiar feature is not an Inca but an lea design, and demonstrates that the lea potters were here making an analogy between the Cuzco Inca cross banding and the lea 9 medium broadband arrangement (for comparison, see pi. 59). The alternative design arrangement for provincial Inca plates in group A is circumferential. It includes a narrow circumferential rim band filled with black triangle designs, a standard Cuzco Inca rim design. A large light-slipped central area is enclosed by this rim band. This central area may be subdivided into two circumferential areas. A fine example of this arrangement is the decoration of one of the group A-l plates in burial Tk (pi. 61). For other examples from lea and Nasca, see Schmidt, 1929, figs. 300, 301; 155. John H. Rowe, personal communication. 156. Rowe, 1944, p. 47.

Ubbelohde-Doring, 1952, pi. 41. The principal design on these plates occurs on the widest circumferential areas, and usually shows Catfish designs in purple (often or always specular hematite) interspersed with other Figured designs which are scattered over the surface. The other Figured designs are representations of flies or other insects, Tadpole designs, or fruit that looks like ají (Capsicum peppers). On two examples the circumferential band adjoining the rim band is very narrow and is decorated with a Huatanay Polychrome design of the Cuzco Inca style which is appropriate for bands of this width (pi. 61; Schmidt, 1929, fig. 301). On handled plates with this design arrangement the handle knob has a distinctive crisscross line design (pi. 61; Schmidt, 1929, fig. 301; Ubbelohde-Doering, 1952, pi. 41). It is of particular interest that the background color of the principal design area on the plate from burial Tk is light orange rather than white (pi. 61). The light orange slip is a Nasca-Inca trait (see below). Provincial Inca plates from lea in group A-2 have a circumferential band design arrangement based on the arrangement described above, but adapted to lea 9 medium broadband decoration (pi. 39). Another adaptation of the circumferential design arrangement is illustrated on the Inca-associated plate shown in fig. 211. The design here consists of a unique Triangle Fret motive related to the Ica-Inca Step Fret design (see below and fig. 501). Other design arrangements relatable to the Cuzco Inca style are rarer in provincial Inca pottery from lea. The principal one is the Huatanay Polychrome arrangement described by Rowe. 157 As at Cuzco, it occurs at lea primarily on imitations of handled dishes related to Rowe's shape f (figs. 148, 204), and on an Inca bottle that was probably an import from the sierra (fig. 200; Kroeber and Strong, 1924b, pi. 40m). This arrangement consists of a narrow horizontal white band outlined in black and decorated with a hatched Diamond design in black and red. On the imported bottle the decorated band is bordered at the top and bottom by plain maroon purple bands of the same width. These bands are placed on an otherwise unpigmented surface. 157. Rowe, 1944, p. 49.

THE ANALYSIS OF DECORATION

Besides the imported Inca bottle, the only other recorded vessel that is a probable sierra import at lea is the small faceneck jar from burial Tk (fig. 199; Kroeber and Strong, 1924b, pi. 39d). liiis vessel is decorated with an abbreviated form of the Cuzco Polychrome B design arrangement, consisting here of vertical narrow principal bands and broad "background" panels that subdivide the entire vessel body except for a narrow panel around the handle. Plain red-slipped Inca-associated vessels also occur in the provincial Inca style of lea, as in the Cuzco Inca style. In the Uhle collection the pottery imitation of a wooden Inca drinking cup is so decorated (fig. 206). Single vertical strap or loop handles on most small Inca and provincial Inca jars, jugs, bottles, and plates from lea have a standard Cuzco Inca Lattice A design (fig. 498). Large Inca jars have plain-slipped handles. The only other Inca handle design on Inca vessel shapes from lea appears on the imported Inca bottle, which has a horizontal strap handle. This handle is decorated with simple black cross lines (Kroeber and Strong, 1924b, pi. 40m). Design arrangements on most Ica-Inca A shapes (Lamp Bottles and Drum Bottles) are adaptations of the Ica-Inca design arrangements described above. The most common variant represents the basic idea that the principal design area is an undivided broad band with a white ground color. On most examples this broad band is enclosed by narrow red bands which are usually plain, as in the medium broad-band arrangement of the lea 9 style. As on Inca shapes, the area around the handles is left undecorated, either unpigmented or covered with a plain pigmented slip. On Drum Bottles the white principal panels (or "broad bands") appear in the form of two wide rectangles outlined in black, one on each side of the upper half of the long body side. A lunate white panel in corresponding position usually decorates the upper half of the drum ends (pi. 54; Kroeber and Strong, 1924b, pis. 38d-f, 39a, e, 40i; Schmidt, 1929, fig. 305-3). On most Drum Bottles the white panels are bordered at the base by plain red bands of narrow-band width like those associated with lea 9 medium-broad bands. Most or all of the top surface of the Drum Bottles is red slipped,

155

either plain or with special smaller designs. Among the latter, the most common consists of two narrow red bands that cross the top between each handle and the neck, joining the two principal white panels at each end (pi. 54). I shall call them Suspender Bands, since they seem to join the white panels in the manner of suspenders. These Suspender Bands vary in width between 2 cm. and 2.75 cm. and have special narrow-band decoration of the lea tradition. Occasionally unit designs may also be used on the top area of Drum Bottles. The principal white panels are usually undivided areas, but sometimes they are subdivided into two horizontal bands (AMNH, 41.2/652. Principal white panels on Drum Bottles are decorated with a variety of distinctive designs usually placed in one row, and sometimes in two or three rows. Many of the designs consist of large units of Inca or Ica-tradition origin and are treated as Ica-Inca Figured designs. Alternatively variants of an Inca Zigzag Band design are used (see below). The lunate white panels on the drum ends are treated as secondary panels decorated with different, smaller unit designs than those used for the principal panels (pi. 54). On some examples the drum ends are plain slipped, or are decorated with a single large unit design only (Kroeber and Strong, 1924b, pis. 39a, e, 40i; AMNH, 41.0/1368). The design arrangement on Ica-Inca A Lamp Bottles is in principle the same as that on Drum Bottles, the only differences being the result of different problems of spacing and surface shapes. A broad, undivided white band covers most of the design surface on the upper body, with the exception of a wedgeshaped space below the handle, and a similar space around the appliqué opposite the handle, if the appliqué is present (pis. 41, 42). Most commonly the broad-band area is bordered at the bottom by a narrow red band, and frequently at the top as well (pi. 42). However, the more restricted space on the decorated surfaces of Lamp Bottles causes various restrictions of the enclosing narrow red bands, including very narrow ones that lack outlines, the omission of the red band at the top, and, in some examples, the omission of the red bands altogether (pi. 41). On the other hand, in one example the principal panel is narrowed so that a second narrow purple band can be added below the lower

156

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

red band, the purple pigment used being specular hematite (28.2.1; MRI, E-369). Although most narrow red-band areas on Lamp Bottles are plain, on a few examples a secondary design is placed on them. On the upper red band the occasional design is evidently an analogue to upper body-band decoration used for Simple Bottles of the lea tradition, which Lamp Bottles replace (cf. chapter III). On three examples the design selected for this area is a modified version of the Cuzco Inca Polychrome A Fern pattern (pi. 42). On one example an Ica-tradition inner mouth-band design is used, this design being the appropriate lea one for bands of this width in Phase 9 (28.2.1; MNAA, 35/8364). Occasionally the narrow band at the bottom is decorated with the abbreviated advanced Rectangle design of the lea 9 style, one that is also used for Suspender Bands on Drum Bottles. Designs used for the principal design areas on Lamp Bottles are those of Ica-Inca Figured, the Ica-Inca Checkerboard pattern, the Inca Zigzag Band and its variants and, on one example, a variant of an Urcusuyu Polychrome Band (28.2.1; MRI, uncatalogued - 4). On a unique, fragmentary Lamp Bottle body from tomb Tl-2 the principal design consists of a checkerboard pattern on red ground, which resembles Qoripata Polychrome decoration in some features (fig. 479; for shape, see fig. 222). Lamp Bottle handles are decorated most commonly with an Inca Lattice A handle design (fig. 498, pis. 41, 70), and more rarely with cross banding probably also inspired by Inca models (fig. 496, pi. 42). Drum Bottle strap handles are decorated most commonly with the cross banding, and more rarely with the Inca Lattice A design (figs. 495, 497, pi. 54). Drum Bottle handles in fillet form which end in serpent heads are covered with a plain black slip (Kroeber and Strong, 1924b, pis. 39e, 40i). A unique vertical strap handle on the aberrant bottle from tomb Tl-2 is decorated with a crosshatching design in black on red with white dots in alternating rows of spaces, a design related to an Inca crosshatch design (fig. 499; see also below). Lamp Bottle necks are plain slipped, usually black or red, and sometimes purple or unpigmented. The upper inside is usually unpigmented, or it has a plain black or red Inca rim stripe on the more flaring rims.

Drum Bottle necks with a shape resembling the Lamp Bottle necks are also plain slipped (cf. fig. 159; Kroeber and Strong, 1924b, pi. 39a). The same kind of neck on some provincial Inca bottles from lea is also decorated in the same way (pis. 71a, b). The more common Drum Bottle necks have a different shape with a rim that resembles Inca jar rims. This neck form is decorated with alternate black and white horizontal stripes, usually of equal width, in the Ica-tradition technique for bottle necks (pi. 54). In one example this banding is modified to look like the popular Banded Neck design of Cuzco Inca jar necks, in which broad black stripes alternate with narrow light-colored lines (28.2.2, AMNH, 41.0/1368). A different, distinctive design arrangement is reserved for some Ica-Inca A bottles, primarily Lamp Bottles, and some provincial Inca bottles and jugs as well (pis. 70, 71a, b). In other words, this arrangement is used for those vessel shapes that replace the traditional lea Simple Bottle form in the Late Horizon. In principle it is the same arrangement as one used for some Ica-Inca B Large Bottles and for imitation Ica-Inca A Lamp Bottles (pis. 43, 51; cf. three-color broad-band design arrangement in lea 9 decoration, above). In this arrangement the principal broad-band area is subdivided into vertical panels. As noted, the vertical panel design arrangement is a variant of one distinctive lea 6 Simple Bottle broad-band arrangement (pi. 11). In the Phase 6 arrangement principal panels are decorated with Small Diamond designs and alternating secondary panels are decorated with unit designs. The Phase 6 arrangement also includes an upper body band above the broad band and a narrow white band below the broad band. The lea 9 arrangement is like the lea 6 one, except that the upper body band is omitted on the imitation Lamp Bottles and preserved only on the Large Bottles (cf. pis. 43, 51). The same arrangement in principle as the lea 9 one is used in the Ica-Inca arrangement, but with modifications. The modifications include the more common use of white instead of red as a background color for part or all of the design area, and different decoration of the narrow band bordering the broad band at the base on Lamp Bottles (pi. 70). On the provincial Inca

THE ANALYSIS OF DECORATION

bottles the basal narrow band is omitted (pis. 71a, b). The execution of the Ica-Inca decoration in this arrangement is more careful than in the lea 9 arrangement. Although the principles governing the IcaInca design arrangement just described are consistent, there is considerable variation in the way they are applied in detail, in contrast to the lea 9 arrangement which is very homogeneous. Every Ica-Inca example in our sample is unique in some detail. Our sample includes two provincial Inca forms, a bottle and a jug, both with vertical loop handles (28.1.2, 28.1.3; MRI, T-1016, MRI, E-373; fig. 243, pis. 71a, b), four Ica-Inca A Lamp Bottles (28.2.1, 29.2.1; pi. 70; AMNH, 41.0/1358, MNAA, 35/8365; Bushnell, 1963, pi. 66; Uhle, 1913, pi. XA, top row, second from left), one Drum Bottle (28.2.2; UM, SA-3355), and an Angular-Rim Dish (28.2.3). Almost all the features of both the design arrangement and the elements used in it are rooted in the lea tradition, but on some examples Cuzco Inca designs replace lea ones for some of the design areas (pis. 70, 71a, b). The predominant use of traditional lea features in this arrangement made it easy for the lea potters to be particularly flexible in the choice of more or less traditional features. As a result there is an almost continuous range of variation between the Ica-Inca variants that include more of the traditional lea features and the corresponding lea 9 designs. As we shall see, it is nevertheless possible to distinguish the Ica-Inca arrangements with the most traditional lea features from the lea 9 ones by some design details, as well as by the shape features of the vessels on which they occur. The vertical panel design arrangement is most clearly understood as it appears in its more traditional context on Lamp Bottles. The broad band is subdivided into alternating principal and secondary vertical panels (pi. 70; Bushnell, 1963, pi. 66). The Ica-Inca arrangement differs from the lea 9 one in that the terminal band at the base is not the traditional narrow white band but a new equivalent, a plain solid black band of the same width as the traditional narrow band. On some examples an additional narrow white band occurs between the terminal black band and the principal design area, with the advanced lea 9 Rectangle design that is also used for some Suspender Bands on Ica-Inca A Drum Bottles (pi. 70; Bushnell, 1963, pi. 66;

157

for comparison with Suspender Bands, see pi. 54). On most vessels with this kind of vertical panel arrangement at least part of the principal band, as well as the decorated narrow band at the base, have a white background color, in keeping with the Ica-Inca pattern, and on some examples the entire area has a white ground color (for example, Bushnell, 1963, pi. 66). However, on some examples principal vertical panels have a red ground instead of a white ground, a more traditional lea feature (pi. 70). The reason is that the principal panel design is invariably a simple diagonal crosshatching, a design the Late Horizon potters see as the direct equivalent of the old Small Diamond design, as we can infer from the context in which it is used (pi. 43 and lea 9 three-color broad-band arrangements, above). The lea potters were making simultaneous analogies between traditional lea and Cuzco Inca ideas concerning background coloring and crosshatching designs on principal design areas. We have already noted that plain black crosshatching done with single lines also appears as part of principal designs on white or red ground in Cuzco Inca arrangements. The Ica-Inca arrangement is distinguished in that the crosshatching is made of thinner lines spaced more closely together than is the rule in lea 9 arrangements, and that there are never any additional space fillers reminiscent of the old lea Small Diamond designs, such as dots or crosses (for comparison, see pis. 51, 56). The vertical panels are outlined with double black lines, as in the traditional lea pattern, but unlike the traditional pattern the black lines do not have a central white line between them when they are painted on red ground. This is another feature that distinguishes the Ica-Inca arrangement from that of lea 9. Secondary panels usually have a white background, unlike the lea 9 ones, and the unit designs painted on them are the same kind which also appears on the drum ends of the Ica-Inca A Drum Bottles. However, even in this feature there is one exceptional example of a Lamp Bottle on which the secondary panels also have a red ground (MNAA, 35/8365). The other design features of the arrangement on this latter bottle conform to the Ica-Inca pattern, however. The unit designs on the secondary panels consist op-

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tionally of Cuzco Inca flies, or of Ica-tradition unit designs with very conservative execution of a kind found only in Ica-Inca decoration and not in the lea 9 style. The same arrangement on the provincial Inca bottle and jug is somewhat modified, partly due to the different shapes on which it appears (MRI, T-1016, MRI, E-373, pis. 71a, b). Although both pieces lack associations, they are obviously luxury pieces of unusually fine workmanship characteristic of only a relatively small number of vessels in the Late Horizon. In keeping with the Inca-tradition shape compositions, the design arrangement and the motives used include more features borrowed from the Cuzco Inca style than appear on the Ica-Inca A shapes. Each of these two provincial Inca vessels has a slightly different adaptation of the vertical panel arrangement. Both examples share the following features: The front and back panels, that is, the back one centered on the handle and its opposite, each has distinctive decoration, with the intervening side panels having a slightly different decoration. On the fancy bottle shown in pis. 71a, b the side panel arrangement is like that on Lamp Bottles, including a central principal panel flanked by two secondary side panels. In contrast, the front panel, also a principal one, is singled out by a more striking Inca-associated design, whereas the back secondary panel which encloses the handle is decorated with different unit designs than the secondary side panels. The same arrangement in principle is used for the jug, except that the arrangement has the additional Inca-derived feature in that the secondary panels are replaced by narrow vertical bands. Each of these bands is decorated with a column of unit designs which represent an analogy between lea and Inca Diamond designs. There are other minor differences between the designs on the provincial Inca bottle and jug. The provincial Inca bottle has an over-all white slip for most of its area, in keeping with Ica-Inca standards (pis. 71a, b). As a further modification in the direction of the Cuzco Inca style the panels are outlined with three black lines in place of two. What is most striking, however, is that the principal design in the most important front panel is not the lea crosshatch design as it appears in the other principal panels, but a similar Cuzco Inca crosshatch pattern on red ground consisting

of paired black lines instead of singles, the intervening diamond-shaped spaces being decorated with white dots (pi. 71a). This design is a variant of the Lattice B design ordinarily found in Cuzco Polychrome B decoration. As we have noted earlier, it is the principal design used in a variation of the common Cuzco Polychrome A banding pattern as it appears on cross bands in Cuzco Inca plate decoration. Two miniature Cuzco Inca plates with this design variant were collected by Uhle (RHLMA, 4-8004, 8005). Interestingly, the Lattice B pattern is exactly like the lea 9 Small Diamond design, except that the crosshatch lines are paired, painted with finer lines, and more closely spaced (for comparison, see pi. 51). This is the clearest evidence of the analogy that the lea potters were making between their own traditional design and the Cuzco Inca one. Evidently the Cuzco variant proper was deemed appropriate primarily for shapes that in the main also reproduced Cuzco Inca compositions. In contrast, the side panels on the fancy provincial Inca bottle have the standard IcaInca pattern of single-line black crosshatching on white ground (pi. 71b). On the provincial Inca jug all principal panels are decorated with the Cuzco Inca crosshatch design, and only the secondary dividing bands between panels have whiteslipped background. The crosshatching is more widely spaced than on the bottle, leaving wider diamond-shaped spaces. As a result four white dots are used to decorate each space instead of a single dot. The multiplication of interior dots in similar designs is also used occasionally in Cuzco Inca decoration and in other Inca-influenced decoration at lea (cf. fig. 479). 158 The column of red Diamond unit designs which decorates the narrow vertical white bands between the principal panels is the same design that is used in the decoration of fancy provincial Inca jars to border the principal design area at the handles. The vertical panel arrangements on one Drum Bottle and one Angular-Rim Dish in our sample are of an individual nature and evidently represent secondary applications of the bottle arrangements (UM, SA-3355; MRI, DA-1553). The Drum Bottle, an unassociated 158. Bingham, 1930, fig. 123a.

THE ANALYSIS OF DECORATION

piece at the University Museum in Philadelphia, is probably from Pisco rather than lea. A different, relatively rare Ica-Inca design arrangement is found on a unique Lamp Bottle from burial C-10, and on a unique, probably archaizing dish shape in our sample (figs. 161, 233, 480, pi. 44; Kroeber and Strong, 1924b, pi. 35p). It is an adaptation of Cuzco Inca outlining of principal design areas on large jars, used here as the only decoration. The entire design surface is covered with vertical stripes in alternating white or, in the Lamp Bottle, light orange, and red. The stripes have the proportionate width of the Cuzco Inca outline bands. These bands are covered with vertical black lines, as in the border bands on Cuzco Inca jars. In the bottle design the shape of the stripes is adapted to the curved and expanding bottle surface (fig. 480). In each of the Ica-Inca examples with this arrangement the design area is terminated at the bottom by a black stripe about half a centimeter in width, the same kind of band that is also used as a terminal band at the base of Ica-Inca A Lamp Bottle decoration in the vertical panel arrangement described above. Rare Angular-Rim Dishes and Angular-Rim Bowls with Ica-Inca decoration have various design arrangements based on those described above. So far each recorded example represents a different adaptation of the standard arrangements (28.2.3, 28.2.4). Design patterns and elements. Since design atterns and elements are often closely reited to design arrangement, some discussion of these traits in Ica-Inca decoration already appears in the preceding section. Some information on additional details is added here. We have already seen that on some provincial Inca shapes lea design arrangements and associated elements are borrowed with varying degrees of faithfulness directly from Cuzco Inca models. These show especially designs on large provincial Inca jars decorated with variants of the Cuzco Inca Polychrome A and B designs described by Rowe, and two-handled provincial Inca dishes which are decorated with variants of the Huatanay Polychrome design. We have also seen, however, that various substitutions in design elements for given areas occur. There are also differences in details of execution which exhibit a less polished, less even sur-

E

159

face, slightly different hues in pigments, thicker line designs, and often more carelessness than in the Imperial Inca style of Cuzco. A larger sample is needed for a good analysis of regional peculiarities of Inca designs from lea. It is especially interesting to observe the choice of Cuzco Inca design models made by the lea potters. They are in the main those Inca designs for which some analogy can be drawn with traditional lea motives, or that fit best into lea adaptations of Inca design arrangements. As a result we find designs that are comparatively rare at Cuzco used far more frequently as models for Ica-Inca designs than the more common Cuzco Inca themes. A particularly illuminating example is the selection of the black and white on red variant of the Cuzco Inca Lattice B design at lea for contexts that point to its analogy with the Icatradition Small Diamond pattern (pi. 71a; see above). Note also that lea potters used the Fern design motive of the Cuzco Polychrome A pattern occasionally as a substitute for an upper body-band design on Ica-Inca A Lamp Bottles (fig. 484, pi. 42). This local use of the Inca element is probably also the result of an analogy with an earlier design at lea, but in this instance a Chincha-style design that appears as a common motive in Epoch 8 of the Late Intermediate Period at Chincha and in the contemporary lea 8 style of lea (fig. 418, pi. 34). We have also observed that Cuzco Polychrome Figured designs exerted a strong influence on Ica-Inca decoration. Here it is of special interest, however, that many Ica-Inca Figured designs can be said to be inspired by the Inca idea in principle, but consist of figures that are unlike or only vaguely like those of Cuzco Inca. Insect designs are the main designs that are obvious copies of Cuzco Inca models (fig. 491, pis. 61, 70, 71a, b; Kroeber and Strong, 1924b, pi. 39c, f, g). Most of them are found as principal designs on provincial Inca shapes, especially the large imitation Inca jars and group A-l plates, and as secondary designs on the lunate white panels on the drum ends of Ica-Inca A Drum Bottles and on secondary panels in the vertical panel arrangement on Ica-Inca A Lamp Bottles and provincial Inca bottles. An important Ica-Inca Figured design is the

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Tadpole design, as noted above. Also as noted earlier, this design has a relatively common model as a plate design in the Cuzco Inca style. Uhle collected two plate fragments with this design at Cuzco (RHLMA, 4-8052). The designs on these plates consist of spots ca. 5 mm. in diameter, with nearly straight "tails" painted with fine lines less than a millimeter thick. Alternating Tadpole figures are painted as red spots with black tails and black spots with red tails, the background color being white as at lea. However, this kind of alternation of colors does not occur on all plates with this kind of design at Cuzco.159 Group A-l plates from the south coast are the only shape category among the most faithful provincial Inca copies of Cuzco Inca vessels on which Tadpole designs appear (pi. 60). Tadpole designs are a common Ica-Inca design, however. The other contexts in which they have been recorded are provincial Inca shapes that are among the locally more modified variants of Cuzco Inca models, and on an Ica-Inca A Lamp Bottle from tomb Td-8. Except for one plate on which the Tadpole designs appear together with Catfish designs and representations of ají fruit (UbbelohdeDoering, 1952, pi. 41), the Tadpole designs constitute the only principal design, one that covers the entire white panel or principal white-slipped design field, as in the Cuzco Inca style. Provincial Inca shapes on which the design has been found include a small jar and the group A-3 plates from tomb Td-8 (11.1.6, 28.1.1; pi. 40, fig. 482). A Lamp Bottle from the same tomb also has this design, as noted above (4-5032). Some important observations need to be made concerning design execution of Ica-Inca Tadpole designs. On the group A-l plates available to me for handling, and on the Lamp Bottle, the Tadpoles consist of black spots with red tails, an Inca color pattern (pi. 60). On the less fancy and more modified provincial Inca shapes, however, including the group A-3 plates and a small provincial Inca jar, the designs consist of spots of blackish purple specular hematite with black tails (pi. 40). Specular hematite is used here in association with the locally more modified Inca shapes. Besides, the Ica-Inca Tadpole figures are larger than the Cuzco Inca ones, 7 to 9 mm. across, and they have shorter, 159. John H. Rowe, personal communication.

curved or hooked tails which are also thicker, that is, 2 to 3 mm. thick. Only one plate with Tadpole designs, which is said to be from the Nasca drainage, has these figures drawn with smaller spots and narrower tails, more like the Cuzco Inca models (Ubbelohde-Doering, 1952, pi. 41). The popularity of the Tadpole design in IcaInca decoration can perhaps be explained by the fact that a similar design used in a similar context occurs on Phase 3 Shallow Dishes of the lea tradition, with occasional remnants of this design surviving as late as Phase 6 in conservative Shallow Dish decoration (fig. 384). However, provincial Inca plates with Tadpole designs also occur elsewhere in the Inca Empire. An example from Pachacamac also is decorated with purple spots with black tails. 160 This occurrence suggests that purple may have been used in this context also in the Inca style, or, perhaps, that its use was a preference shared by Pachacamac and the south coast. The published example gives no information on the kind of purple used at Pachacamac. The Catfish design is another one that occurs as a plate design at Cuzco, as we may judge from surface collections of Inca sites in the Cuzco Valley. However, it is a very rare design in the Cuzco Inca style.161 The river catfish which this figure must represent was once a common fish of the rivers of the Titicaca Basin. 162 Catfish designs are evidently more common as a plate design at lea than at Cuzco, and they are an even more common Late Horizon design in the Nasca drainage. The lea and Nasca examples are found only in Inca-associated contexts, and are obvious copies of the Inca representations (pi. 61). The example from burial Tk, shown in pi. 61, has the Catfish painted in specular hematite purple on a light orange ground. The light orange slip in place of the white here suggests a tie with the Nasca-Inca style (see also below). The similar plate illustrated by UbbelohdeDoering is stated to be from Nasca. Another distinctive design among the IcaInca Figured ones I am calling Worms and Dots (fig. 481, pi. 41). It occurs on a set of four near-identical Ica-Inca A Lamp Bottles from tomb Td-8 (11.2.1.1). The execution follows a 160. Strong and Corbett, 1943, fig. 8b. 161. John H. Rowe, personal communication. 162. John H. Rowe, personal communication.

THE ANALYSIS OF DECORATION

characteristic color scheme in which black Worms are interspersed with red Dots on a white ground. The origin of this design is at present unknown. It should be noted, however, that a similar design in a slightly different color pattern is a standard Inca-associated design in the Late Horizon pottery style of the Acarf Valley south of lea. 163 Various other Ica-Inca Figured designs occur with similar use, but they are evidently designs of local invention, though undoubtedly inspired by the Inca idea. One fine example is the representation of crabs on an Ica-Inca A Lamp Bottle without provenience deposited in the American Museum of Natural History in New York (fig. 483). Other, more common Ica-Inca Figured designs are of problematical origin. One is the representation of a bird (fig. 487). This Ica-Inca Bird design has been recorded as the principal decoration on Drum Bottles and on a Lamp Bottle (Kroeber and Strong, 1924b, pi. 38e; Ubbelohde-Doering, 1952, pi. 40, bottom; also AMNH, 41.2/652). These Bird designs resemble most closely Inca-associated designs used commonly as plate or bowl decoration on vessels from the Titicaca Basin.164 Presumably the source of inspiration for the Bird designs at lea is therefore in the Titicaca Basin styles rather than in the Cuzco Inca style. Incaassociated Bird designs of this kind at lea are characterized by solid black bodies of lunate shape with heron-like curved necks, long legs, long beaks, and a head consisting of concentric circles or a circle and dot. The legs and beak are either black or red. Red legs and beaks are particularly distinctive Inca-associated features (fig. 487). Tails may or may not be present. On one example, a Drum Bottle, wings consisting of Ica-tradition Triangle bands are added (fig. 487). Again, the explanation for the lea preference for Bird designs in the selection of IcaInca motives may be that in the lea tradition bird depictions have a long history as a significant design motive which dates back to the Huari styles of the Middle Horizon. Ica-tradition Bird designs differ in most details from those of Ica-Inca, however (for comparison, 163. Menzel, ms.-2, Menzel, 1959. 164. For example, see Schmidt, 1929,figs.364-1, 2, and Incaassociated plate fragments illustrated by Ryden and Tschopik, for example, Ryd£n, 1947, figs. 87s, lOlf-h, 126c, Tschopik, 1946, figs. 14d-h, 16a.

161

see figs. 378, 379, 386, 390, 401-403, 445, 502, 511-514). A plate fragment with Bird designs related to the Titicaca Basin fragment is also recorded for Pachacamac, an indication that such plates can also occur occasionally in other areas of the Inca Empire.165 Another important Ica-Inca Figured design category consists of large geometric units which appear primarily in the decoration of Drum Bottles. There are two such designs, one a large Stepped Diamond figure and the other a large Step Fret (figs. 488, 489). Both designs are painted in purple (either maroon purple or specular hematite) and are outlined with black. A variant of the Step Fret in solid black appears in the decoration of a pair of provincial Inca plates from burial Tk (fig. 501). No designs of this kind are recorded from the Cuzco Inca pottery styles. The closest analogues in the Inca style are perhaps some stepped diamond motives in textile decoration. 166 While the Ica-Inca design arrangement in some other band designs resembles some of the Inca textile bands, however, the diamond design motives are not distinctly similar. The Ica-Inca Stepped Diamonds resemble instead an old Ica-tradition design. In the outlined form in which it appears in the Ica-Inca style the design is most like lea 3 and 4 pottery designs (for comparison, see Kroeber and Strong, 1924b, pi. 32g and Schmidt, 1929, figs. 306-2, 313, 314-2). Stepped Large Diamonds survive as a rare line design in lea Phase 6 (cf. figs. 299, 328, 390). The earlier outlined variant also is the antecedent to the Tailed Square design of lea Phase 6 (cf. figs. 324, 326). The Ica-Inca motive was painted as a large Tailed Square element subsequently outlined with black. The technique of painting is particularly evident on one example where one end of the design band was left unfinished (Kroeber and Strong, 1924b, pi. 39a). The color pattern and outlining of the Ica-Inca design is in principle the same as in the lea 3 to 4 designs, except that the background is white instead of red, in keeping with Ica-Inca conventions. Like the lea 3 to 4 designs and some Cuzco Inca textile designs, the Ica-Inca ones are placed in a row on a principal design band. Evidently we are seeing here another double analogy between 165. Strong and Corbett, 1943, fig. 8a. 166. Rowe, 1947, pi. 80, top.

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

an Ica-tradition and a Cuzco Inca design, but one in which the Ica-tradition design goes back to much earlier times and is revived. The closest resemblance to the Ica-Inca Step Fret is found in an early lea design, present as early as the Middle Horizon styles of lea (pi. 108; Schmidt, 1929, figs. 304-1, 308, 309). We have no record of a comparable Inca design, and we must assume that this design is revived from earlier lea antecedents along with the Stepped Diamond. TTie drum ends of Drum Bottles and the secondary panels in vertical panel arrangements on some Lamp Bottles and provincial Inca bottles are decorated with special unit designs that also follow the Ica-Inca Figured pattern. Some of them are Inca-style insect designs (fig. 491, pis. 70, 71a, b). Others are conservative unit designs of the lea tradition (figs. 492, 493, pi. 54). These unit designs probably have an archaizing aspect in reviving some lea 6 features no longer in use by the time of the Late Horizon (see below). One unit design appearing on the ends of a Drum Bottle is unique in our sample. It is a singular Humped Animal representation (fig. 490). This design has no Cuzco Inca counterpart, and no counterparts in lea Phases 4 to 9. The only design at all similar is an lea 2 and 3 design (fig. 584 and Kroeber and Strong, 1924b, pi. 32a, c; Schmidt, 1929, figs. 307-1, 310-1, 2, 316-3). Several of the body features of the Ica-Inca design are very similar to the lea 2 to 3 representations, though the head is different and is positioned differently. The Ica-Inca Humped Animal, like the Stepped Diamond and Step Fret, may have its source of inspiration in an early lea design motive, perhaps as a byproduct of the Late Horizon interest in lea antiques. Another important Ica-Inca design category is based on Inca inspirations. It consists of variations on a Zigzag Band with associated filler elements, which fills the entire surface of the principal design band on some Drum Bottles and Lamp Bottles (pi. 54). It resembles Cuzco Inca designs most in the variant illustrated in fig. 485, which is painted on one pair of Drum Bottles from tomb Td-8 (Kroeber and Strong, 1924b, pis. 39e, 40i). A similar Cuzco Inca model of this design is illustrated by Bingham.167 Other variants of these bands 167. Bingham, 1930, fig. 109b.

also occur with relative frequency in the Inca style. In the variant shown in fig. 485 it appears as if the background were black, and very little white were used. In fact, the design is achieved by a negative decorative technique in which a red Zigzag Band outlined in black is painted on a white principal design field. The remaining area, which appears to be the background, is then covered with black, except for narrow lines left in the background white, which delineate the Zigzag Band and the rectangular background filler elements. In the Ica-Inca style a common variant of this design theme occurs, which combines Inca Zigzag Band with Ica-tradition features. The most common example is shown in fig. 486 and pi. 54. In it the Zigzag Band is painted in black on white only, and is composed of two opposing zigzag rows of Triangle designs. This variant is reminiscent of the Icatradition Rectangle design arrangement (for comparison with lea analogues, see figs. 396, 416 border elements). Uhle found one Drum Bottle with this Ica-Inca band design in burial Tn (pi. 54), and others are recorded in various publications. On one example illustrated by Schmidt, traditional lea Tailed Square designs are substituted for the simple Inca Rectangle filler elements.168 The local modification of the Zigzag Band design is carried over into one lea 9 design in our sample (fig. 451). The design appears in a special context, in an imitation Inca design arrangement on an Ica-Inca B Large Bottle, as described above (fig. 180). The Ica-Inca Checkerboard is another common design in which Inca and lea style features are combined. It occurs with frequency as principal decoration on provincial Inca jars from lea, and has been recorded on one Lamp Bottle from tomb Td-8 (figs. 477, 478, pis. 38, 42; Kroeber and Strong, 1924b, pi. 40j). As in some of the Zigzag Band designs, half or more of the Ica-Inca Checkerboard surface is covered with black, which is painted over the white ground color. The white squares left in the intervening spaces are in the background color, and are further decorated with line designs in red. In the Cuzco Inca style a similar checkerboard design consists of small168. Schmidt, 1929, fig. 305-3; Mason, 1964, pi. 35, bottom row.

THE ANALYSIS OF DECORATION

er checks. 169 Furthermore, in the Inca design the checks are in black on red, each red check being enclosed by a white frame line. Except for the solid black color of the alternating checks and the slightly larger size of the checks in the Inca design, there is a strong resemblance between the latter and the lea Checkerboard (figs. 317, 423). In the Ica-Inca style the white checks are treated as principal design areas, in keeping with the rules for Ica-Inca decoration, and are further decorated with design elements borrowed from the rectangular pattern of inner mouth-band decoration of the lea tradition (figs. 477, 478; for comparison, see lea 6 motives shown in figs. 353-356). This design transference is in keeping with lea principles for such processes, because the white checks correspond most nearly in area to the rectangular subdivisions of traditional inner mouth-band designs. We have observed earlier that in lea Phase 8 elements of the rectangular inner mouth-band motive were converted into a checkerboard pattern and were used to decorate the narrower shoulder panel of jars elliptical in horizontal section, an arrangement also in use in Phase 9 (fig. 432). The Ica-Inca Checkerboard design thus is also relatable to both a Cuzco Inca model and lea antecedents. Attention should be drawn to significant individual variants. In the design shown in fig. 477 (pi. 42) the black checks are decorated with white circle and dot designs of the Cuzco Inca style. 170 On the same specimen the principal designs on the white checks are entirely in the inner mouth-band tradition as it appears in Phase 6. This design occurs on an Ica-Inca A Lamp Bottle. By contrast, the same design category on a pair of provincial Inca jars has black checks without the circle decoration. Instead, circles appear in the principal design area on the white checks, where they replace the inner mouth-band elements found in this position in Phase 6 (fig. 478, pi. 38). Designs with a similar combination of features are characteristic of lea Phases 2 and 3, and this Ica-Inca variant could have been inspired by the motive of the earlier phases (cf. pi. 103). Various other local modifications also occur. In one, the Ica-Inca Checkerboard is red 169. Bingham, 1930, fig. 108e. 170. For comparison, see Bingham, 1930, fig. 109b.

163

and white instead jof black and white, with black outlines, and the designs on the white checks are executed in black instead of red (Kroeber and Strong, 1924b, pi. 40j). Such local modifications are occasionally carried over into lea 9 contexts, for example in the design adaptation shown in fig. 429 which occurs on the inner mouth band of a Flaring Cup with advanced, flaring-sided shape features. By comparison, the checkerboard pattern shown in fig. 432 and pi. 64b is in the lea 9 style and is the direct homologue of the lea 8 use of it. The white circle and dot or concentric circle design on black ground is used in another context in the Cuzco Inca style, as a narrow black-band design.171 This Inca narrow-band design resembles so closely a corresponding lea design appearing on Flaring Cups in the Phase 7 and Phase 9 samples that it is not surprising to find the Inca design used as an analogue for the lea one on the narrow black band on an lea 9 Flaring Cup (fig. 430, pi. 48). In the light of the design analyses furnished so far it is apparent that many features of IcaInca decoration are rooted in the lea tradition, both of phases immediately preceding the Late Horizon and of older lea phases. The revival of the older features is probably connected with the interest in antique collecting of this time (see chapter III and below). It may be significant that the most traditional lea features appear on Drum Bottles. It is possible that the more traditional shape features of Drum Bottles, and their close association as a vessel category with the old lea tradition, may have influenced this selection. Bottle design arrangements with vertical panel subdivisions also have more traditional lea design features, as we have seen. Some features in Ica-Inca decoration are rooted entirely in the lea tradition. For example, some unit designs on lunate secondary panels on the drum ends of Drum Bottles and on regular secondary panels in vertical panel design arrangements consist of traditional composite unit designs. They are made with individual Small Diamond or Tailed Square units, such as the one shown in fig. 492. These unit designs are distinguished from those of lea 6 only in their context, color pattern, greater line thickness, more irregu171. For example, Bingham, 1930, fig. 109b.

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larly drawn lines, and the fact that the units are composed of four elements instead of the nine or more used in Phase 6. Sometimes the same elements appear in a scatter pattern rather than as composite unit designs (pi. 54). Another unit design with very conservative execution used in the same Ica-Inca context is the Rectangle Fish design shown in fig. 493 (see also Bushnell, 1963, pi. 66). The execution of the Rectangle elements in this figure is like that of Phase 6 and unlike the homologous designs of the Phase 9 style (for comparison with the Phase 9 Rectangle Fish designs, see figs. 422, 452). However, the use of Rectangle Fish as unit designs is a Late Horizon innovation, as we have seen earlier. The remarkably conservative execution of the Ica-tradition unit designs used in this Ica-Inca context is probably also the result of a form of archaizing, in which older design techniques ho longer in use in the Phase 9 style are revived. The Suspender Bands on Drum Bottles are all decorated with Ica-tradition designs. Some of these designs are traditional narrow-band designs with more conservative, thinnerlined execution than the corresponding lea 9 designs (fig. 494). Alternatively, Suspender Band decoration consists of advanced Rectangle designs of the lea 9 style (as in figs. 437 or 446; cf. pi. 54). All Suspender Band designs are done in black on red only, without white counter designs, and unlike the traditional white on red pattern for narrow red-band decoration in Phase 6. Narrow bands bordering the broad-band design area with vertical panel subdivisions on some Ica-Inca A Lamp Bottles have the same advanced Rectangle decoration as the Suspender Bands on Drum Bottles, except that it is in black on white in the examples in our sample (pi. 70; Bushnell, 1963, pi. 66). DECORATION RELATED TO THE NASCA-INCA STYLE

In the discussion of shapes and smoked blackware we have seen that Inca-associated pottery falls into several different contemporary association units. The stylistic contrasts between these association units evidently represent social and occupational differences, as we shall see below. Vessel forms with

Ica-Inca decoration as it is described in the preceding section appear in one kind of association pattern. Another kind includes Incaassociated plates assigned to group B and some other shapes of unincised blackware (cf. chapter III and section on blackware, above). Most of the vessels in this association unit are made of smoked blackware, but some are made of oxidation-fired ware. So far as the oxidized ware has been studied it is seen to be distinctive in shape, decoration, and paste. The study of this association group remains incomplete, and awaits further work on refuse collections. Nevertheless partial observations can be made on the basis of the contents of burials excavated by Uhle and unassociated vessels. Most vessels in this association unit at lea are group B-2 plates (fig. 210, pi. 62). A nearidentical pair of such plates was found in burial Tk, and occasional fragments occur in refuse at lea sites (20.2.7). Fragments of similar plates are more common in refuse from sites in the Nasca and Acari Valleys south of lea, where they may be classified with the Nasca-Inca and provincial Inca styles of Nasca. In the Nasca drainage blackware of the kind found in group B assemblages at lea is also more common and widespread than at lea. Thus we are here dealing with style categories of Inca-associated wares that have a wider distribution than the lea Valley and share features with vessels that are more common south of lea, mainly in the Nasca drainage. The group B-2 plates in our sample are made of a very light cream or off-white kaolin-like paste (cf. chapter n). Other striking features are the use of an over-all light orange slip which is entirely new at lea. It varies in hue between plates 12 A 6-7, 12 B 8-9, 13 A 7-8 and 13 B 9-10 in Maerz and Paul's Dictionary of Color. That is, it is an orange of medium value with little or no yellow factor and a medium strong gray factor. Other distinctive features are the use of only two pigments in the decoration, black and maroon purple (i.e., dark red), and a distinctive design arrangement confined to the inside of the plate. In this arrangement a special Bird design forms the principal decoration (fig. 502, pi. 62). As noted, the surface finish of these vessels is only moderately good, in keeping with the pattern for group B

THE ANALYSIS OF DECORATION

plates and associated forms. That is, the surface is slightly uneven, and the polish is careless enough so that a few unpolished gaps remain between polishing strokes. Traces of polishing strokes are recognizable, though they do not cause depressions in the surface. The decoration is confined to the inside of the plate, and the interior surface finish is slightly smoother and better polished than the outside. The complex of features just described appears most commonly with Nasca-Inca pottery and provincial Inca pottery of Nasca. One of the most common shape categories at Nasca consists of plates much like the group B-2 ones from lea, except that most of them are shallower. Most Nasca-Inca Lamp Bottles that are not made of smoked blackware are also composed of the complex of style features described above. Although most NascaInca Lamp Bottles have the same surface finish as the plates, some have a veiy fine, glossy surface.172 In addition to the plates, some other provincial Inca shapes from Nasca are also composed of the same assemblage of paste, slip, and design features. An example of this kind is a near-identical pair of imitation Inca drinking cups from a burial at a Late Horizon site in the Taruga Valley, southern Nasca drainage (RHLMA, 16-10694, 10695). Two additional observations can be made. From the larger sample of pieces from the Nasca region and from fragments from lea refuse sites it appears that the surface color on vessels in this "orange" ware group varies between a light orange and a lavender pink on many pieces; and further, that variants of the Catfish design also appear on plates in this group. On Nasca-Inca Lamp Bottles and provincial Inca shapes from Nasca various geometric designs are also used. This is not the place to go into further analysis of this style assemblage. However, the complex of features as it appears on the pair of group B-2 plates from burial Tk is a special one related to the provincial Inca and Nasca-Inca styles of Nasca. In the same burial, one of the group A-l plates is decorated with a light orange slip and Catfish designs which relate this piece to the provincial Inca style of Nasca (see above and pi. 61). Further, the small Lamp Bottle from the 172. Gayton and Kroeber, 1927, pi. 18K.

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unusual burial C-10 from Ocucaje is decorated with the same kind of light orange slip that appears on the group B-2 plates and related pottery from Nasca (figs. 233, 480; Kroeber and Strong, 1924b, pi. 35p). Although this vessel is made of the ordinary Late Horizon dull orange ware of lea, some of its shape features resemble those of NascaInca Lamp Bottles (see chapter HI). The added use of the light orange pigment strengthens the resemblance of this bottle to Nasca-Inca bottles. Two Nasca-Inca Lamp Bottles proper appear in the same burial (cf. chapter HI). A Lamp Bottle without known provenience or associations in the collections of the American Museum of Natural History is made of the light-hued ware with a light orange to pink surface that is characteristic of this ware (AMNH, 41.2/672). The shape features of this Lamp Bottle fall within the range of variation of Ica-Inca A Lamp Bottles, except for a Figured design unique in our sample (fig. 483). The design is painted in dark red (maroon purple) outlined in black, as in the Nasca-Inca style. This means that occasional Lamp Bottles with Ica-Inca A shape features could be made of orange ware or covered with a light orange slip and decorated in the Nasca-Inca color pattern. Since this example has neither associations nor known provenience, it is not possible to evaluate its significance or guess its provenience at this time. However, a special meaning undoubtedly attaches to it, one reflecting relations between lea and Nasca. The decoration of the plates from buried Tk is standard for plates of this kind (fig. 502, pi. 62). The sides are quartered into vertical panels by sets of five to six outline lines similar to Inca outlines. Each panel is decorated with a Bird design. Outline lines and Bird designs are done alternately in maroon purple and black. The bottom of the design area is bordered by a plain narrow purple band outlined in black, leaving a plain circular area at the bottom of the plate. Tlie surface of the interior rim bevel is painted with a plain black stripe. As we have seen, stripes of this kind are also commonly used to decorate interior jar rims of the Late Horizon at lea, and are an Inca-associated ornamentation. The Bird designs on the group B-2 plates differ from Ica-Inca Bird designs described above in being drawn in an Ica-tradition

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form. That is, the body consists of two crossed lines with Triangle appendages, merging in a wedge-shaped tail in back. The lower front has an Inca Bird head attached to it. For comparison with related Ica-tradition designs, see figs. 378, 379, 390, 401-403, 445. For the probable inspiration for the combination o f light, kaolinlike paste, plates with group B-2 features, and the Bird design arrangement described above, we must look to the Lake Titicaca Basin styles.173 Although the examples from the Lake Titicaca area are stylistically distinct in many details, there is enough similarity to indicate that some direct connection must have existed between them and the corresponding plates from the south coast. This is an important observation in light of the fact that the combination of features of these plates is not characteristic of the Cuzco Inca style. We also find further support for the linkage of this provincial south coast complex to the Titicaca Basin in the combination of pigments on these vessels. Orange and maroon purple, with black outlines, create a distinctive color pattern of the Urcusuyu Polychrome style which occurs rarely at Cuzco and commonly in the Titicaca Basin. 174 In Urcusuyu Polychrome decoration white is used as an additional color, however. For an example of a provincial Inca jar from lea with some features of Urcusuyu Polychrome decoration, see above and Kroeber and Strong, 1924b, pi. 39g.

THE DECORATION OF IMITATION ANTIQUES

Imitation antiques from Late Horizon burials in our sample include a pair of Cumbrous Bowls from burial C-5 (fig. 232, pi. 67), a second pair of Cumbrous Bowls from burial C-10 (fig. 237), a pair of Deep Open Dishes from burial C-10 (fig. 238, pi. 68)*, and a Simple Bottle from burial Tf-1 (fig. 217). The shape peculiarities of these imitation antiques are discussed in chapter ID. There will be occasional need to refer to some of the authentic antiques in this connection as well. They include an lea 1 incurving bowl from 173. Tschopik, 1946, Ryd6n, 1949. 174. Rowe, 1944, p. 49.

burial C-10 (fig. 239, pi. 69), an lea 5 Flaring Cup from burial Z-5 (fig. 224), and an lea 3 Cambered-Rim Dish from burial Tk (fig. 214, pi. 63). The remaining antique is an IcaEpigonal jar of Epoch 4 of the Middle Horizon found in the lea 7 burial Th-2 (fig. 120, pi. 29). A possible imitation antique shape, but with Ica-Inca decoration, has been recorded from tomb Td-8 (fig. 161, pi. 44; see above). The imitation antique Cumbrous Bowls are most common in our sample. They may have formed the most common imitation antique category in the Late Horizon, because Cumbrous Bowls of all kinds are especially common during this period in refuse and ordinary burials, especially away from the capital (figs. 232, 237, pi. 67). In shape the imitation antiques reproduce in the main Cumbrous Bowl shapes of lea Phase 3 and possibly Phase 2 (cf. chapter m). The designs form a more complicated mixture. In keeping with the entire Cumbrous Bowl tradition from Nasca Phase 8 on, the decoration on the imitation antique bowls is confined to the inner rim of the vessel. On one member of the pair from burial C-10 and one from burial C-5 the decoration is confined to a slipped band about 2.5 cm. wide (a little more on one and a little less on the other). On the bowl from burial C-5 the rim band is red slipped and not outlined. The absence of outlining is a feature found on some IcaEpigonal and lea 1 to 3A Cumbrous Bowls (pi. 67). On the bowl from burial C-10 the rim band has what may have been a white ground color outlined with a black line at the bottom, a feature found regularly in lea Phase 3 and possibly earlier or later as well (fig. 237). Both rim bands are further decorated with designs. On the unoutlined band the design consists of wormlike black bands ornamented with white dots, a design that reproduces in modified form a popular lea 1 design (fig. 508; for comparison with one of the lea 1 variants on the antique from burial C-10, see fig. 505, pi. 69). This design is not recorded in the lea tradition later than Phase 1, but a derivative of it occurs as late as lea Phase 3A (pi. 106). The Cumbrous Bowl from burial C-10 with the outlined white band is decorated with the blurred remnants of an opposing pyramidal step design pattern made up of Solid Squares, a design found as a Cumbrous Bowl design on lea 3 bowls, but as an even more common

THE ANALYSIS OF DECORATION

narrow white-band design on jars and other vessel forms of lea Phases 1 to 3 (pi. 106).175 From the foregoing description it is evident that the Late Horizon potters were copying optionally lea 1 to 3A or slightly later lea 3A to C design models. Whereas the design on the example from burial C-10, so far as it is preserved, appears to be a relatively faithful copy of the earlier designs, the design elements on the bowl from burial C-5 are smaller, with narrower modular widths than the lea 1 models. The other bowl from burial C-5 and the second bowl from burial C-10 are virtually identical in shape and design. The design consists of four elements pendent from the lip of an otherwise unpigmented rim, an arrangement that is in principle like one found commonly on Middle Horizon Cumbrous Bowls and probably lea 1 bowls as well. The design itself is very similar to the worm-shaped black band with white dots that is found on the other bowl from burial C-5, but it consists of L-shaped instead of wormshaped figures (fig. 510). This design is also a modified copy of an lea 1 design. The pair of imitation lea 3 Deep Open Dishes from burial C-10 has a design arrangement consisting of a horizontal broad band divided into narrow vertical bands. The broad band is bordered on one side by a horizontal narrow red band (pi. 68). This arrangement is also found typically on some Deep Open Dishes of lea Phase 3C (for example, pi. 103). On the imitation antiques the narrow red band is plain. The background color of the broad band is black, a unique feature in the lea tradition which may have been chosen here to simulate black outlining of the principal designs. The designs themselves on the imitation antiques consist of revivals of old lea Bird designs, but in simple line execution with the technique characteristic of lea Phase 9. It is this latter feature that probably provoked the use of the black background in this context. The designs are in white, an appropriate color for imitations of principal designs of the lea phases preceding Phase 6, designs that have black outlines in those phases. The arrangement of the designs on the imitation antique dishes is also unique. Of the eleven vertical bands, five have one kind of 175. For additional examples, see Kroeber and Strong, 1924b, pis. 31d, 32c, f; Schmidt, 1929, figs. 306-2, 307-1, 2, 315-1, 318-1.

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Bird unit design placed in columns (pi. 68, left), five have another kind (pi. 68, right), and the eleventh has a third, different Bird design arrangement (pi. 68, center). The Bird figures shown in fig. 511 are most like lea 3A Bird designs, barring the lea 9 line execution (for comparison, see fig. 514 and pi. 107). The design composition in the unique vertical panel revives a Bird composition most characteristic of lea Phases 3C to 4 (fig. 512, for comparison, see fig. 513). The third Bird design composition is unique in our recorded sample (pi. 68, right). A Deep Open Dish without associations illustrated by Schmidt is also an example of an imitation antique of the kind found in burial C-10 (Schmidt, 1929, fig. 316-2). The shape is almost identical to that of the pair of dishes from burial C-10, and the design arrangement is the same in principle. The painted designs consist of an opposing Step design pattern in the style of the earlier lea phases. However, four slightly broader vertical bands which uarter the design area do not have painted esigns, and are instead decorated with modeled appliqués consisting of small spiral shells. No such appliqués have been recorded in the lea phases preceding the Late Horizon. However, a provincial Inca plate from lea with plate group A-l decoration has four identical appliqués in the central part of its decorated surface (Schmidt, 1929, fig. 300). These appliqués are the most persuasive evidence that the dish illustrated by Schmidt is an imitation antique. The decoration on the imitation antique bottle from the disturbed burial Tf-1 has a similar anachronistic mixture of features. The shape reproduces most nearly lea 3C to 4 bottle forms (fig. 217; for comparison, see fig. 23, pi. 108). The design arrangement is unique; a plain red broad band is enclosed by a decorated narrow white band at the top and another at the bottom. The white bands are decorated with a Step Fret design in plain black outlines, but in an interlocking pattern (fig. 515). Opposing (but not interlocking) Step Fret designs in black line execution are used as a narrow white-band design in lea Phase 4 (for example, RHLMA, M, 4-4345). Opposing Step designs without frets in black on white are used for the same position in lea Phases 2 to 3 (Schmidt, 1929, fig. 323-1). Outlined opposing Step Fret designs are a

3

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

popular principal-band design in Phase 4 as well (for example, fig. 516, pi. 108). The narrow white bands are separated from the plain broad band on the burial Tf bottle by single outlines only, a feature equally characteristic of the lea phases before and after Phase 6. The handle design on the bottle is an adaptation in black on white of another popular narrow-band design of lea Phases 3 to 4, namely the opposing Step design pattern without frets (fig. 517; for comparison, see fig. 518 and pi. 103). The only other vessel found in Late Horizon associations which is probably inspired by an antique in its shape features is a dish in tomb Td-8 (fig. 161, pi. 44). However, the antiquarianism affects only the shape of the vessel, for the design is an Ica-Inca one. In conclusion, we see that the imitation antiques of the Late Horizon are composed of anachronistic combinations of features, including Late Horizon ones. The archaizing features appearing in these vessels are confined to models from the same styles and style phases from which authentic antiques were collected during the Late Horizon. These styles and style phases include essentially the Ica-Epigonal style of Middle Horizon Epoch 4 and tiie styles of lea Phases 1 to 5. The burial context of the dish from tomb Td-8 is unique, a circumstance that matches the uniqueness of the decoration on such a shape.

Phase 10 SUMMARY

The lea 10 style is uniquely different from all preceding styles in several ways. Unlike the conditions prevailing in the Late Horizon, Phase 10 constitutes a single style everywhere in the lea Valley, with identical pieces as well as closely related variants occurring in neighboring valleys. This is the same condition that prevailed for the phases preceding the Late Horizon styles. Secondly, many style features of Phase 10 are like lea 6 to 7 or lea 8 features and unlike lea 9 or other Late Horizon ones. The contrast with the Late Horizon styles and the resemblances to lea Phases 6 to 8 are systematic and obvious enough to proclaim Phase 10 an archaizing style in which the respective earlier features are revived delib-

erately and the Late Horizon features which they replace are eliminated deliberately. In the light of this conclusion it is of particular interest to see which Late Horizon features are selected for rejection and revivalistic treatment and which are not, because this observation helps to explain more fully feature association patterns of the earlier styles. It is also particularly illuminating to see how some Late Horizon features are perpetuated and how they are integrated with revivalistic features of three earlier phases into an entirely distinctive, coherent set of regularities. The rationale behind the changes is usually obvious. Phase 10 has three principal categories of design arrangements, patterned on standards of decoration for some shape categories. Other shape categories are decorated with arrangements adapted from the three principal categories. The arrangements are variations on arrangements in use in Phases 6 to 8, but not in the Late Horizon styles. Arrangements of the Late Horizon styles are not in use on most Phase 10 vessels. The only standard exception is the decoration of anthropomorphized Football-shaped Jars, for reasons not evident at present. Phase 10 arrangements differ from the Phase 6 to 7 and Phase 8 ones, respectively, in detail. One reason for the differences is that some features of designs and design details in Phase 10 resemble the corresponding Phase 9 features, including line thickness and size of design units and design elements. Another reason is that design arrangements in use in Phases 6 to 7 had to be adapted to shapes that were more variable in size and other features, with larger forms being common. The result is that bands in all categories have a greater range in width than in other phases, and that band width as much as position of the band often determined the selection of a particular design for a particular band. Design transferences from one kind of band to another of comparable width are more common than in any other lea phase. Some lea 10 designs are nearly identical in execution to those of Phases 6 to 8. These display mainly designs in the Diamond category. The designs provide the most obvious contrast to the homologous Late Horizon designs. In contrast, Phase 10 designs in the Rectangle tradition are in the main modified variants of lea 9 and Ica-Inca designs, even

THE ANALYSIS OF DECORATION

though some details in execution suggest attempts at simulating lea 6 techniques. There is only one example in the sample where lea 6 execution of Rectangle designs appears to be the result of imitation of an lea 6 model. Some designs or design features of Ica-Inca origin are incorporated in the Phase 10 style, but in much modified form and different context. Many traditional designs are patterned in the same way as in Phase 6, although many designs, particularly in the Rectangle tradition, are composed of smaller elements. This is possible because many principal bands are narrower than most corresponding bands in Phase 6. For broader bands modifications in design patterning are used. A distinctive patterning contrast with Phase 6 is provided by the absence of use of expandable composite unit designs. Instead, unit designs, including composite ones, appearing in secondary panels and bands, are arranged in columns, a patterning that is better suited to the narrower proportions of these design areas in Phase 10. This patterning has a counterpart in an lea 9 feature. Distinctive designs and more modified variants of lea 6 and Late Horizon designs are used particularly for relatively broad principal bands, that is, bands of intermediate and broad width by Phase 10 standards. Many of these designs and design patterns are particularly useful diagnostic features for Phase 10. One such example is the popular use of a large red and black lea Stripes pattern. Pendent and Freestanding Triangles of lea 9 origin but composed of lea 6 to 8 or distinctive lea 10 elements are another such style diagnostic. A third one consists of greatly enlarged design units much modified from IcaInca Stepped Diamond and Step Fret motives, and from units of the inner mouth-band tradition. A distinctive feature of many of these modified designs is that small elements of the lea tradition are used to fill interior sections of the enlarged figures for contrast, replacing the simple color contrasts used in the Ica-Inca style. Another distinctive feature of Phase 10 is the greatly expanded use of motives of the rectangular inner mouth-band tradition, to the point where this design category equals the traditional Diamond and Rectangle designs in importance. Checkerboard patterns of several different kinds are popular as principal decoration in Phase 10, much more so than in other phases.

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Phase 10 is also distinguished by the greatly increased use of unit designs of various origins, all with distinctive Phase 10 modifications. There now is a significant use of unit designs as principal decoration ("primary unit designs"), as well as secondary ones. The greatly expanded use of unit designs may be traceable to Chincha-style inspiration, even though no comparable examples are represented in our small lea 8 sample where Chincha influence is conspicuous. Unit designs of all kinds are frequently painted on otherwise undecorated, unpigmented surfaces. As a result, many pottery fragments in lea 10 refuse appear plain, even though they form parts of decorated vessels. A comparison between the lea 10 style and other styles or style phases discussed here shows that Phase 10 follows a more complex and varied set of rules. The contrast with lea Phase 6 is particularly distinct. Phase 6 rules follow a simple and consistent logic. The complexity of the lea 10 style is increased by the fact that rules governing design arrangement and choice of designs overlap, so that there are many situations in which various interpretations of the rules are possible, depending on the perspective in which the potter chose to see the relations of the units. Despite this complexity, however, the rules governing Phase 10 are as definite and limited in their way as those of the other styles and style phases discussed here.

ANALYSIS IN DETAIL

Like the lea phases preceding the Late Horizon, and unlike Late Horizon pottery of lea, the Early Colonial Period pottery can be described as a single style, namely lea Phase 10. Although the lea 10 style contains many features that are either shared with the lea 9 style or represent modifications of lea 9 features, there are also some remarkable Phase 10 innovations that are not directly relatable to Phase 9. Instead, these innovations revive features of lea Phases 6, 7 and 8, features that are not in style in the Late Horizon. The lea 10 date of these features is unmistakeable on stylistic grounds alone, because they occur in anachronistic mixtures with each other and with features entirely new in Phases 9 and 10. Some Ica-Inca features are also incorporated in the Phase 10 style in modified form.

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Simultaneously with the revival of older features in Phase 10, there is a consistent absence, reduction in frequency of occurrence, or modification of Late Horizon style features that have special Inca associations as revealed by their style and/or pattern of associations in the Late Horizon. Features so affected include those of the Ica-Inca style, features related to the Nasca-Inca style, and special Inca-associated lea 9 features such as incised decoration on smoked blackware. In fact, it may be said that all those stylistic categories of the Late Horizon in which vessels are found in pairs or multiples of pairs in burials are either largely eliminated or drastically modified in the Phase 10 style. One observation is important, however. The absence of Inca-associated traits is not as absolute as the absence of most imitation Chincha traits (barring special exceptions) in the Late Horizon. Some Inca-associated features occur in association with innovating ones on Phase 10 vessels, and occasional fragments of the simplest, least decorated and the undecorated Inca-associated forms can be found in refuse originating in the Early Colonial Period (for example, the sites of Villacuri and Curiba in the Rio Seco area). However, such occurrences appear to be much rarer in the lea Valley proper than in the neighboring areas, at least at Pisco and Paracas, where variants of the lea 10 style are also found. The result of the elimination of Inca-associated features is that Phase 10 is in some respects most like Phase 9 and in others most like aspects of Phases 6 to 8. Some additional observations are of importance as guides to an understanding of the style. Revivalistic stylistic detail in Ica-tradition motives is based in the main on lea 6 models. At the same time there is a strong emphasis on the revival of imitation Chincha and associated features as they appear in Phase 8. The principal targets for alteration are those features that reflect some degree of Inca influence in. Phase 9.

Smoked blackware The use of smoked blackware is much reduced in Phase 10 over its more widespread use in the Late Horizon. Blackware fragments are scarce in Early Colonial refuse, and there

are only two blackware vessels in our Phase 10 sample among the complete specimens. Both are from burial Td-10. One is a Shallow Dish (fig. 278, pi. 86), and the other a Simple Bottle (fig. 279, pi. 87). Both vessels have shape features that resemble those of Phase 6 (cf. chapter HI). Both vessels also have a smooth, glossy, and evenly smoke-blackened surface. Careful finish of this kind also distinguishes lea 6 to 7 blackware and contrasts with most Late Horizon blackware (for comparison, see pis. 45, 46, 53). Like lea 6 vessels, the lea 10 blackware examples are thinner walled than most of lea 9. The wall thickness of the lea 10 dish, where it could be measured, varies from 2.5 to 4 mm., and that of the bottle varies from 3 to 5 mm. The interior of the sides and bottom of the dish shows traces of resin-painted designs without the use of incision (pi. 86). This is also an lea 6 technique, one that was not in use in Phase 9. The lea 10 design is a modified variant of a design of lea 9 origin (see Pendent Triangles, below and fig. 573). Incised decoration on blackware is very rare in refuse and has not turned up in our sample of whole vessels. Plainware The only specimen in the Phase 10 burial lots which can be classified as plainware proper is a miniature bottle found with a mummy near, but apparently not part of, burial Ti-1 (fig. 271). The surface finish of this vessel is uneven and careless and the firing is brownish, the surface having considerable discoloration from firing clouds or from the effects of the decaying mummy, or both. This vessel is in the lea tradition of plainware miniatures. In addition to such plainware proper, many Phase 10 vessels classifiable as "fancy ware" have decoration placed on the unpigmented slip. The decoration on these vessels is usually in the form of unit designs or interior rim designs, leaving large areas of the surface plain (pis. 74, 76, 85, 95, figs. 589, 590). Many fragments from such vessels in the refuse appear as plainware. Painted redware Areas covered with design. The exterior of dishes and Flaring Cups is decorated to the base angle or hip, as in Phases 6 to 9. Revi-

THE ANALYSIS OF DECORATION

valistic features appear principally in the inner mouth-band area and are correlated with revivalistic shape features. Most Deep Open Dishes have side and rim profiles like those of Phases 6 to 7, and on these vessels traditional inner mouth bands are used (pis. 72, 73, 75, 89, 90, fig. 589b). The width of the inner mouth bands on the smaller dishes, which correspond in size most nearly to lea 6 ones, is usually 2 to 2.5 cm., about the same width as the corresponding decorated area in Phase 6 (pis. 89, 90). On the larger dishes the inner mouth-band area varies from 2.5 to 3.5 cm. in width. On Shallow Dishes the inner mouthband area is 2 to 2.5 cm. wide, as on the smaller Deep Open Dishes. The few dishes with angular rim profiles which represent modified variants of the lea 9 form lack the inner mouth bands (pi. 76). Instead, the upper or interior face of the short everted rim is decorated as in Phase 9, either with a simple stripe about 1 cm. wide, or with a Rim Scallop design. On most Flaring Cups a relatively narrow inner mouth-band area resembling in width the broader lea 6 to 7 bands is used (ca. 3.5 to 4 cm. wide). However, there are some examples with the more flaring rim profiles where the inner mouth band has a width of about 5 cm., which is within the Phase 9 width range for this design area (pi. 79, fig. 592b, c). The decorated area on most CamberedRim Bowls is about the same as on the homologous Angular-Rim Bowls of Phase 9; that is, the decoration covers the upper exterior of the side, the limits of the lower border of the design area varying most commonly from somewhere above the shoulder to the middle of the height of the shoulder (pi. 78). On a few Cambered-Rim Bowls, however, the design area extends to below the middle of the height of the shoulder (pi. 77), and on some examples to below the shoulder, as in Phase 6. The cambered rim is also decorated as in Phases 6 to 8. Many Cumbrous Bowls are decorated only with designs pendent from the lip on the interior rim, as in Phase 9. Sometimes additional unit designs are added (pi. 85). One Cumbrous Bowl related to the imitation antique bowls of the Late Horizon is decorated with a band around the interior rim, like the corresponding Late Horizon bowls (fig. 276). There are also some Phase 10 bowls on which

171 the entire interior is decorated, as on some Phase 6 bowls. Some large Complex Jars with shapes most like those of Phases 6 to 8 have a correspondingly decorated surface; that is, the design area extends considerably below the shoulder, where it is terminated by relatively broad multiple banding of four black bands, and possibly more on some vessels (pi. 95, figs. 594, 595). However, more commonly the design surface extends only down to the middle of the height of the shoulder or slightly lower and is terminated by narrower terminal banding confined to fewer bands, a pattern that occurs in Phase 9 and which also appears on some imitation Chincha forms of Phase 8 (pis. 88, 96a, b, 97a, b, fig. 597). This kind of terminal banding is also used on imitation Chincha jar and bottle forms in Phase 10 (pis. 81, 82, 84). The design area on imitation Chincha Flasks corresponds to that of Complex Jars, probably because both shape categories are elliptical in horizontal section (pi. 82). The design area on anthropomorphized Football-shaped Jars and medium-sized jars that are circular in horizontal section is the same as on the corresponding Phase 9 forms; that is, the design area terminates above the shoulder or, at its lowest, at the shoulder. This category includes imitation Chincha vessels like the Bottle/Jar in pi. 81. Closed vessels in the Simple Bottle and Simple Jar tradition with fluted shoulders are decorated much as the corresponding forms in Phases 6 to 8. That is, the fluting and painted decoration cover the entire shoulder to its lower border (pis. 80, 83, 92-94). Simple Bottles without shoulder fluting have the design area confined to the upper body surface above the shoulder. Inflected vases are decorated down to the point of vertical tangency in the lower part of the vessel, or to below that point. That is the point from which the slope of the sides retreats downward into the bottom curve. Thus the design area covered on these vases is analogous to that on jars. Use of colors and painting techniques. In Phase 10 the use of slips and colors is in the main like that of Phases 6 to 8. Inca-associated pigments are largely absent. The pigments appearing in Phase 10 are the traditional red, black, and white, and, more rarely, maroon

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purple and Chincha purple (specular hematite). More frequently than in other phases the unpigmented slip is used as the base color for designs. On occasional examples a red slip appears with a stronger red factor than the traditional lea orange red, this being an Inca-associated feature of the Late Horizon which also appears occasionally on lea 9 vessels (for example, the neck of the bottle in pi. 80). This pigment has a characteristically streaky application in which some sections appear purplish and others more orange, as in Phase 9. Other Inca-associated pigments do not occur in Phase 10. The colors are used for the most part as in Phases 6 to 8, and as in Phase 9 so far as the Phase 9 usage is the same as that of Phases 6 to 8. Red is used mostly as a background color. Designs on principal and some secondary bands with a red ground are painted in black with white counter designs. Narrow white bands border principal red bands and are decorated with designs in black only. White is also used as a background color for principal design areas in Phase 10, a feature also present in Phase 8, where it appears with Chincha-associated features, and in Phase 9 where it appears with Inca-associated features. White is not used as a background for principal decoration in Phase 6 and probably not in Phase 7. The decoration on these principal white bands is usually in black only. Some designs with revivalistic features are painted in red outlined with black on a white slip. This color pattern is like that in some Ica-Inca Stepped Diamond and Step Fret designs. As in the Ica-Inca style, the effect is reminiscent of lea 1 to 4 decoration. Alternatively, the same designs appear in white or red outlined in black on the unpigmented slip, a color pattern not found in other phases (fig. 589a). Rare Ica-tradition geometric designs are painted in white on red outlined in black, as in Phases 1 to 4 and in some Phase 5 designs (pi. 82). Black is occasionally used as a slip for alternating secondary panels in design bands with vertical subdivisions (pi. 78). This is also a Phase 6 feature not in use in Phase 9. Black is also used for secondary bands bordering principal design areas, a feature also present in Phases 7 to 9 (fig. 599). When unit designs appear on the secondary panels they are in white only, as in Phase 6 (pi. 78).

Most designs on the unpigmented slip are in black only, as in Phases 6 to 9 (pis. 74, 77, 80, 95, figs. 590b, 603-605). However, some designs on the unpigmented slip are done in white or red outlined in black, as noted above, a feature not found in the other phases as a general rule (pi. 76, figs 589a, 590a). An lea Stripes design in red and white outlined in black on the unpigmented slip is like a corresponding lea 6 design (pi. 95). This is the only three-color decoration ever found on an unpigmented ground in Phase 6. Maroon purple and Chincha purple are used mainly in their lea 6 and 8 contexts, respectively. Maroon purple is used in two examples as a plain slip without further decoration on secondary panels in Complex Jar decoration, a Phase 6 usage not present in Phase 9 (MRI, DA-3264; UM, SA-3356). Chincha purple appears in the same context as in Phase 8, in the decoration of a fluted shoulder on a large handleless bottle, a shape that appears with Chincha-associated features in Pnase 8 (pi. 93). There is only a single example of a modified use of purple as it appears in decoration related to the Nasca-Inca style in the Late Horizon (DMM, 374). In this example a Cumbrous Bowl with lea 6 shape features and an over-all interior design resembling the corresponding lea 6 one has purple in a context analogous to the interior decoration of Inca-associated group B-2 plates of the Late Horizon. The corresponding lea 6 arrangement appears in pi. 10, and the provincial Inca design in pi. 62. The purple pigment is used for bands that quarter the design area of the lea 10 bowl. The pigment appears to be nearer Chincha purple than maroon purple, but it has a thin, streaky application which has made its identification by simple inspection difficult. Color use distinctive of lea Phase 9 occurs with moderate frequency in Phase 10. For example, some designs appear in black only on the red slip, a combination of colors used regularly in Phase 9, but only with rare, specialized exceptions in Phase 6 (pi. 81, fig. 599). Red or black stripes are used to decorate the upper or inner lip of rare Angular-Rim Dishes and of the rims of occasional jar or bottle necks, in continuation of the Late Horizon usage (pis. 93, 98). The thickness of design lines varies greatly, even more than in Phase 9. As in Phase 9 and

THE ANALYSIS OF DECORATION

unlike Phase 6, different line thickness does not depend on vessel size. However, on some vessels with designs resembling those of lea 6 the design lines are of much more even thickness than in Phase 9, this being a Phase 6 feature (for example, fig. 519, pi. 89). In a few of these examples the line thickness is the same as in Phase 6 designs on vessels of comparable size. In many three-color designs of Phase 10 the difference in line thickness between black principal designs and white secondary or counter designs is even greater than in Phase 9, usually because the black lines are thicker, and sometimes because the white lines are thinner as well (figs. 521, 523, 526, 530, 591, 592, pis. 73, 78, 90, 94, 100). In these designs black principal elements vary in line thickness from 1.5 to 3 or 2.5 to 4 mm., whereas secondary counter designs vary from less than 1 to 1 mm., or 1.5 to 2 mm. in thickness. The greatest contrast in thickness between black and white design lines appears in modified variants of traditional lea designs, mainly designs in the Rectangle/Triangle and inner mouth-band traditions, which have features or which appear in contexts not found in the other lea phases. Outline lines of design areas are usually slightly thicker than the design lines, as in other lea phases. When black designs appear on principal design bands with a white background they are usually made of thinner lines, more nearly like the white counter designs in the threecolor patterns (i.e., ca. 1 to 1.5 mm. in thickness). This applies especially to designs in the Rectangle/Triangle and Diamond Fish traditions (figs. 553, 572, pis. 80, 91). Some unit designs, used in special contexts, in black on the unpigmented or white slip or,in white on a black or red slip, are also frequently made in the thinner line standard (figs. 547, 549, 550, 552, 578, 579, pis. 78, 80, 84, 92,94, 95 left, 96, 98). Black designs on narrow white bands or other secondary bands are most commonly painted in the thicker line standard as it appears in Phase 9 and unlike the Phase 6 one (figs. 533-535, pis. 77, 79). "Primary" black unit designs on a red ground are made in the thicker line standard, probably in analogy with the two-color broad-band designs of Phase 9 (pi. 81). Primary unit designs in black on the unpigmented slip and their equivalents are also done in the thicker line stan-

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dard in other than some specialized contexts (see below; figs. 576, 590b, pis. 74, 85). In summary, whereas the use of line thickness shows much greater diversity in Phase 10 than in other phases, careful observations indicate patterns in the way line thickness is used, the differences being determined by context. Although many lea Phase 10 designs resemble Phase 9 ones in details of execution, as noted, many other lea 10 designs are executed with greater care. This care is manifested in the maintenance of greater symmetry in design details and the greater avoidance of overlapping lines and very irregular angles. In Phase 10 there is much individual variation in this respect, however. So far as designs show greater care in execution they resemble lea 6 to 8 designs more than Phase 9 ones. Design arrangement. Ica 10 design arrangements are entirely unlike those of Ica 9. In most ways they resemble Ica 6 or Ica 8 arrangements. However, most resemblances to Ica 6 and 8 arrangements stop far short of identity, and many features are not found in any of the other Ica phases. A few Ica 9 and Ica-Inca features are incorporated in the Phase 10 style, but in combinations that are unlike Late Horizon features. All told, Ica 10 design arrangements follow more complex and varied patterns than those of other phases, and their analysis needs careful attention. Continuous principal bands undivided by vertical panels are in use in Phase 10, as in Phases 6 to 8 and unlike Phase 9 (pis. 72, 73, 75, 79, 89). Furthermore, principal bands of medium broad-band width are only slightly modified variants of broad bands, also as in Phases 6 to 7 and perhaps Phase 8; they do not constitute an entirely separate design category as in Phase 9. Vertical panel arrangements do occur in Phase 10, but they are used primarily for the broader bands on the larger vessels, and only secondarily for broad bands of lesser width, again as in Phases 6 to 7 and perhaps Phase 8 and unlike Phase 9 (pis. 78, 88, 95, 97, 99, figs. 593-597). Several distinguishing features of principal-band design arrangements occur in Phase 10. Principal design bands have a far greater range in width than in Phase 6. It is not practicable to classify principal design bands into broad bands and medium-broad

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bands only, as in the other phases, because their patterning is more complex. The complexity is attributable in great measure to what can be seen as an attempt on part of the potters to produce arrangements like those of Phase 6 for the most part, and like Phase 8 ones in some contexts. One difficulty faced by Phase 10 potters was that some of the same kinds of features that create the effective reduction of design areas in Phase 9 create even greater reductions of the effective size of design areas in Phase 10. The main cause for this reduction is the greater thickness of black design lines. As we have seen earlier, black lines in most Phase 10 designs are even thicker on the average than in Phase 9; this is one of the features in which Phase 10 resembles Phase 9 more than Phases 6 to 8. On Phase 10 vessels within the approximate size range of Phase 6 forms the design surfaces are effectively smaller than in Phase 6 because thicker design lines are used. This circumstance requires adjustments, and several different kinds were selected. One popular adjustment was easy to make because of the smaller size of some traditional principal design figures in the Rectangle/Triangle categories, a feature that Phase 10 also shares with Phase 9. Principal designs in these categories could be executed in reduced spaces, and this in turn made it possible to widen the areas of adjoining narrow bands to provide the larger space necessary for their designs. For this reason the equivalents of lea 6 broad bands with corresponding designs, which are as popular in Phase 10 as in Phase 6, are often narrower than in Phase 6 (pi. 79). Other problems that present themselves in Phase 10 are the integration of shape and design features. The greater size range of Phase 10 vessels presents a greater range of variation in the size of design surfaces. Both traditional and different adjustments to these problems are made in Phase 10. AS in other phases, the proportionate width of design areas governs in large measure the kind of design to be used on them. However, in marked contrast to Phase 6, the position of the design band on the vessel has much less influence on the choice of the design. Position is also important in Phase 10, but the same kinds of design bands are used for several alternative positions, a variety of choices not found in other phases. One reason is the greater variety in details of shape features

that guide the choices of design arrangements. In Phase 10 some shape features more like those of lea 6 or 8 are combined with others that resemble those of lea 9. For example, the slope of the sides of jar and bottle bodies from the neck down varies more than in other phases, and this variety affects the kinds of alternative banding selected for use in the upper part of the body of these vessels; the degree of flare of the profile of Flaring Cups affects the width of the design area on the interior rim, which in part guides the choice of design bands there; and the relatively high base angle on many dishes affects the width of the design surface on the sides, which in turn affects the choice of design arrangement. In addition to this variety of conditions which affects the choice of design arrangements in Phase 10, another option adds to the variety, namely the choice of ground color of the principal design band. The color can be either red or white or unpigmented tan. The choice of red ground is commonly associated with designs resembling the traditional lea 6 to 8 designs. On these red surfaces the principal designs are most commonly painted in black with white counter designs, and secondary bands are chosen accordingly. Principal design bands with a white ground are associated with other features that resemble the Chincha-associated patterns of Phase 8 rather than the medium broad-band arrangement of Phase 9. On these bands the principal designs are in black only and secondary bands are of a different kind. Unlike all other phases, the use of the unpigmented tan as a background for principal design areas is a popular third option in Phase 10, with both new and traditional designs used for such surfaces. Different choices of associated secondary banding or the lack of it prevail when the unpigmented surface forms the background for the principal design band. The choice of the ground color of the principal design band is largely optional on the part of the artist, and usually is not governed by any particular context. Neither this independence of choice nor the variety of options are found in Phases 6 to 8, and only to a lesser degree in Phase 9. The only partial exception is that the unpigmented ground appears to be used primarily for the larger design surfaces, as well as in special contexts to be discussed below. Three major groups of design arrangements

THE ANALYSIS OF DECORATION

occur in Phase 10. One is used primarily for neckless vessels such as dishes, bowls, and Flaring Cups; one for Complex Jars that are elliptical in horizontal section; and one for vessels in the Simple Bottle and Simple Jar traditions. Other vessel forms have arrangements that are adapted in varying ways from one of these major groups. As in other phases, some vessel forms have special design arrangements, notably Cumbrous Bowls and anthropomorphized Football-shaped Jars. Shallow Dishes also have somewhat distinctive arrangements, but the distinction is less pronounced and less consistent than in other phases. As in the analysis of Phase 6, it is easiest to begin the Phase 10 analysis with the neckless vessels, primarily Deep Open Dishes. Principal design surfaces on the largest Deep Open Dishes are between 6 and 10 cm. wide. Surfaces of this width are most commonly decorated with a pattern of horizontal stripes, the traditional lea Stripes in modified form (pi. 75). Alternatively, unit designs are placed on an unpigmented surface (pis. 74, 76, figs. 589a, 590a). Both these are designs used in Phase 6 for larger than standard design surfaces, and their use in Phase 10 clearly serves the same purpose. In these arrangements there is no outlining of the principal design area and no use of secondary banding. Deep Open Dishes with sides of intermediate height have principal design surfaces of the exterior sides measuring about 3.5 to 4 or 5 cm. in width. This is about the width of broad bands in lea Phase 6. When no secondary banding is used on these design areas, the principal design band is most commonly decorated with various checkerboard patterns, to be described below; it is usually bordered at the top and bottom by double black and white outlining (pis. 72, 98). One of these checkerboard arrangements is also used in the same context in Phase 6 as a rare optional arrangement (pi. 2; for comparison, see pi. 98). Its original purpose in Phase 6, as we have seen, was evidently a device for subdividing larger than usual design surfaces in order to create subdivisions of more standard size for decoration. More rarely in Phase 10, principal bands of this intermediate width are subdivided into vertical panels, also as in Phase 6. The color pattern of these panels, their proportionate widths, and the double black and white outlining of the panels are

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also like the corresponding Phase 6 features which are not found in Phase 9. The remaining principal bands as they are found on Deep Open Dishes in Phase 10 are narrower, most commonly between 2 and 3 cm. wide, and occasionally even slightly narrower. That is, these bands are either of the approximate width of medium-broad bands or inner mouth bands of Phase 6. On dishes of intermediate size these principal bands are accompanied by an adjoining horizontal narrow band (pi. 73). On the smallest dishes they constitute the only decoration of the outer surface of the sides (pi. 89). Most commonly the designs on the narrowest principal bands are those of traditional lea in the Diamond or Rectangle/Triangle categories, or innovating designs with traditional features, all painted on a red ground with black principal elements and white counter elements. Adjoining secondary narrow bands are usually traditional white bands; rarely, they are a different kind of narrow red band (see below and pi. 73). The principal bands are outlined with double black and white outlining, as in Phase 6. In the rarer alternative color pattern the principal design band is white, decorated with black unit designs and bordered by the distinctive, newly popular narrow red band (see below and pi. 90). The white principal band is also separated from the narrow band by double black and white outlining, following traditional lea rules as they apply to Phase 6. Also in keeping with traditional lea 6 rules, only one black outline is used commonly for white design areas when they do not border another band; double outlines may be used on both sides. The designs on the white principal bands are in consistent contrast with the designs used for medium broad-band decoration in Phase 9, which also has a white ground. In a unique example the outer surface on a small Deep Open Dish is slipped red, the only other decoration consisting of a narrow principal band of lea Stripes, the band being about 1.75 cm. wide (RHLMA, 4-4507). Secondary narrow bands are used as commonly or more commonly than in Phase 6 to border the narrower principal design bands on medium-sized dishes. "Die extensive use of secondary narrow bands in this context is like Phase 6 usage and unlike Phase 9 usage. As in Phase 6, narrow bands can appear optionally singly, as a border at the top or bot-

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torn of the principal band; more rarely they occur on both sides of the principal band. When only one narrow band is used it is usually placed at the top of the principal band, in contrast to Phase 6 where most single narrow-band borders are placed at the bottom. Most narrow bands are wider in proportion to princpal bands than in Phase 6. The principal bands are narrower, and the narrow bands are slightly broader. The central area of the narrow band, not counting the space taken up by outlines, is usually 1 cm. or slightly more in Phase 10, while it is 1 cm. or less in Phase 6. The total area between outer outlines of Phase 10 narrow bands is usually 1.75 to 2 cm. wide, whereas the same area in Phase 6 is usually 1.2 to 1.5 cm. wide. The combined effect of the greater absolute and greater relative width of the narrow bands causes a significant contrast in appearance between the same kind of arrangement in Phase 10 and in Phase 6. Rules governing the outlining of narrow bands are the same as for Phase 6 and differ from the Phase 7 to 9 ones. That is, most narrow white bands are separated from principal bands with a red ground by double black and white outlining. The outline on the outside is optionally a double or single one. The usual technique is the same as in Phase 6. That is, two black outlines are placed a space apart on the white ground of the narrow band, on one or both sides of the band. However, in one distinctive lea 10 example the inner outline of the white band borders the limit of the whiteslipped area and the second outline is placed on the red ground of the principal band instead. An irregularly applied white line was later placed on the central red space. The white of this line is only partly preserved, and is gone in the section of the band illustrated here (fig. 526, bottom outline). Whereas the double outlining in this context is a Phase 6 feature, the placement of one of the black outlines within the field of the principal band is not. When principal design areas have a white ground, the narrow bands that border them have a red background for contrast (pi. 90). They also have distinctive decoration, to be described below. The rules governing outlining of these distinctive narrow red bands are the same as those governing the outlining of narrow white bands. The only difference is

that one of the outline lines is placed on the white ground within the principal design band so that the space between the two outlines can serve as the intervening white outline without further painting. This too is a traditional lea usage, which also appears in principal medium broad-band design arrangements in Phase 9 (see above). The arrangements of princpal design bands and narrow bands when the latter are called for, described above for Deep Open Dishes, prevail on most neckless vessel categories in Phase 10. However, there are some special modifications in particular contexts, as we shall see. Some of the rare Phase 10 dishes that have angular rim shape features resembling those of Phase 9 are decorated with the same kinds of design arrangements as Deep Open Dishes (pi. 76). Flaring Cups are also decorated with the same arrangements, but with special adaptations to the proportionately higher vessel sides (pi. 79). The adaptations are for the most part the same as in Phase 6, and they all contrast with the special design arrangements for Flaring Cups used in Phase 9. That is, Flaring Cups of Phase 10 are ordinarily decorated with a horizontal principal band with a red ground, flanked by two narrow white bands or their equivalents with appropriate traditional decoration, which in turn are flanked by narrow red bands as they are also used in Phase 6. As in Phase 6, narrow red bands in this context are either plain or decorated with the same narrow-band designs as in Phase 6. Also as in Phase 6, narrow red bands in this context are outlined with single black outlines only on the outside; they may be divided from the white band by double or single outlining. As with all principal bands that appear in association with narrow bands in dish decoration, the principal bands on the Flaring Cups fall into the narrowest width range, that is, most commonly 2 to 3 cm. wide, and therefore narrower than homologous broad bands in Phase 6. In two examples in our Phase 10 Flaring Cup sample some Phase 7 or Phase 9 features, respectively, are used in the design arrangement in place of the more traditional Phase 6 features. In one example the narrow white bands are replaced by narrow black bands, a kind of band also used in the decoration of

THE ANALYSIS OF DECORATION

Flaring Cups in Phases 7 and 9 and presumably in Phase 8 as well (see further below). The same substitution is also found on some Deep Open Dish fragments, and is correlated with a design of the inner mouth-band tradition on the principal band (see also below). In the other example the narrow white bands are omitted, the principal-band area has the proportions of principal bands of intermediate width, and this area is subdivided into decorated vertical panels separated by narrow vertical bands (UM, SA-3681). This arrangement is a variant of one appearing on a Flaring Cup of Phase 7 (pi. 25). In summary, design arrangements on Phase 10 Flaring Cups are for the most part adaptations of the arrangements on dishes of intermediate size where secondary banding is used, and do not constitute a separate category of arrangement. This custom is like that of Phase 6 and contrasts with Phase 9, in which a more distinctive arrangement is used for the decoration of Flaring Cups. The Phase 10 arrangement that features the multiplication of secondary banding is in principle like the corresponding Phase 6 one. An arrangement like a Phase 7 one is also used. One Flaring Cup without associations or provenience attributable to Phase 10 on the basis of some design features has no exterior decoration. It also has aberrant shape features, including very flaring sides (MNAA, 20/553). Cambered-Rim Bowls are decorated with design arrangements that follow the same rules as those for dishes and Flaring Cups in principle, but with special variations. The variations are in the main influenced by the difference in shape features. The bowls have a relatively short shoulder and brief incurving body surface above the shoulder (figs. 261263). There also is a general preference for decorating such bowls only down to about the middle of the height of the shoulder or higher, although occasionally the design area is extended to the lower part of the shoulder, as noted (pis. 77,78). Medium-sized bowls show a preference for either a principal design band which covers the area of the shoulder, or an arrangement of unit designs, to be described below. The relatively small area of the shoulder creates a need for relatively narrow principal bands (pi. 77). The preference for not decorating the vessel below the median or upper part of the shoulder causes the principal band to be usually at the bottom of the

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design area, all secondary bands being added only above it. Usually only a narrow white band or its equivalent is added at the top, but sometimes this narrow white band is joined by a narrow red band above it. The latter arrangement is distinctive, because traditional rules as applied in Phase 6 would require that a second narrow white band be added below the principal band before narrow red bands were added. Another distinguishing feature of Cambered-Rim Bowl design arrangements is in the special selection of principal designs. There is a preference for using designs transferred from the inner mouth-band tradition to this position (pi. 77). This kind of design is also used occasionally for narrow principal bands on dishes and Flaring Cups, and represents a special adaptation to particularly narrow principal bands (fig. 528; see below). The virtual exclusivity of the use of this design for narrow principal bands on Cambered-Rim Bowls is a special feature, however. There also appears to be a special selection of unit designs which take the place of principalband decoration when no bands are used (figs. 578, 579). The unit designs are relatively small, and are regularly or frequently drawn with finer lines than the same kinds of designs used in other contexts (for comparison, see figs. 576, 577). The selection may be explained in part on the basis of reduced design space due to the brevity of the shoulder. Secondary unit designs, which are used in this arrangement, are placed only above the primary ones, another distinction from the same kinds of arrangements on other vessels, one that parallels the banding arrangement described above (Kroeber and Strong, 1924b, pi. 36e). In an alternative design arrangement, used more rarely on the larger Cambered-Rim Bowls, the principal design band is of medium width, that is, somewhere between 3.5 and 5 cm. wide. This band is subdivided into vertical panels, as on dishes with principal bands of comparable width (pi. 78). As in comparable Phase 6 and Phase 10 dish arrangements, alternating panels may be principal and secondary ones, or all panels may be decorated with principal designs. In either case, the designs are in the lea tradition in the three-color pattern, the elements being also used for broad bands in Phase 6. Two examples of Cambered-Rim Bowls with this ar-

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rangement have narrow bands framing the principal band at the top and bottom (in contrast to the other arrangements on CamberedRim Bowls). One has two secondary narrow white bands, one with the traditional Phase 6 designs appropriate for this area (MRI, DA2601). The second, top band on the same bowl has a Freestanding Fringe design of the kind first found in this context in Phase 9, on an Angular-Rim Bowl (pi. 56). The other bowl has a plain narrow white band at the bottom, a feature not in use in the other phases (pi. 78). The secondary narrow band at the top is a plain narrow red band on this vessel. Adaptations of the same design arrangements described above for Deep Open Dishes and Cambered-Rim Bowls are also found on various complete jars that are circular in horizontal section, and on jar fragments from lea 10 refuse (figs. 598-601). However, such jars also have other alternative arrangements, to be described below. The occasional use of dish and bowl design arrangements for jar decoration does not occur in Phase 6, where more rigid shape distinctions determine the use of specialized design arrangements. It is a feature that Phase 10 shares with Phase 9, however. In Phase 9 this feature is manifested in the occasional use of medium broad-band arrangements for the decoration of bottles and jars, as well as dishes and bowls (see above). As noted, design arrangements on Complex Jars that are elliptical in horizontal section follow different patterns. The most common one is in principle like the design arrangement on Complex Jars of Phases 6 and 7. However, there is greater variation in detail in the Phase 10 arrangement, and some entirely different alternative arrangements are also in use in Phase 10. As in Phases 6 and 7, the Phase 10 arrangements can be understood as adaptations of the arrangement on the smaller neckless vessels that are circular in horizontal section to larger closed forms that are elliptical in horizontal section. The problems that present themselves in these adaptations are the larger design surfaces, the elliptical horizontal section, and the differential curvature between the top of the body and the sides. The transition between the top and side curves is not as abrupt on many of the Phase 10 Complex Jars as in Phases 6 to 8 (cf. chapter III). There is

enough variation in the Phase 10 jar contours to help inspire variations in the design arrangements for the corresponding areas. Another feature that affects the arrangements on these jars is correlated with the area covered with design. As noted earlier, design surfaces on most jars are confined to the upper part of the body, usually ending at the middle of the height of the shoulder, sometimes above this point, and only rarely below this point. Phase 10 shares this practice with Phase 9 and it is in contrast to Phase 6 to 8 usage on jars in this shape category. The principal effect of this practice is to reduce the width of the design area, a reduction that affects the strategy of design arrangements. The most common arrangement on large Phase 10 Complex Jars that are elliptical in horizontal section is a broad principal band subdivided into vertical panels, an upper body band or its equivalent, and some form of terminal banding at the bottom (pis. 95, 97, figs. 539, 593-596). This arrangement is not in use as jar decoration in Phase 9, but is the standard arrangement in Phase 6, and is used in Phase 7 as well (cf. pis. 14, 15, 30). Color patterns in this Phase 10 arrangement are also usually the traditional lea ones as they appear in Phases 6 and 7. Most (though not all) Phase 10 arrangements of this kind differ from the Phase 6 to 7 ones in some details, however. Mainly, there are two contrasts, namely in terminal banding and the width of the vertical panels. The terminal banding on most jars is confined to two or three black bands and intervening white bands which are often narrower than the corresponding Phase 6 to 7 ones. The reduced number of terminal bands and narrower banding are features also appearing on Phase 8 jars in correlation with the more abbreviated design areas. Terminal banding appears only rarely and in much modified form in Phase 9, as we have seen in an earlier section. There are a few lea 10 jars on which the terminal banding is identical to that of Phases 6 to 7, in correlation with a larger design surface and other conservative Phase 6 to 7 features (pi. 95). On some jars a narrow band is used in place of terminal banding, a substitution not recorded on jars in other lea phases (see further below). The second contrast consists in the proportionate width of the principal design panels. On many Complex Jars the principal panels

THE ANALYSIS OF DECORATION

are proportionately narrower than in Phases 6 to 7 (pi. 88, fig. 602; for comparison, see pis. 14, 15, 30). The reason is evidently the same that also leads to the greater use of narrower principal bands in the decoration of dishes, Flaring Cups, and Cambered-Rim Bowls. That is, narrower bands and panels are correlated with the smaller size of some traditional lea design patterns and design elements which are favored for use in these bands in Phase 10. As in horizontal bands on the neckless vessels, the principal panels on Complex Jars are usually narrower when lea designs in the Rectangle/Triangle tradition are used to decorate them. There are also large Phase 10 Complex Jars, however, on which the principal design panels are within the same proportionate width range as the panels in Phases 6 and 7. When such wider panels are used, the designs for them are usually either traditional lea Stripes as they appear for large surfaces in the same context in Phase 6 (pi. 95), or new enlarged designs which represent special lea 10 devices to adapt Ica-tradition designs to the larger spaces (pis. 97a, b, figs. 593-5%; see inner mouth-band units, Stepped Diamonds and Step Frets, below). However, Rectangle designs also occur on the broader panels (fig. 539). As in Phases 6 and 7, the principal panels on the broad sides of Complex Jars are wider than the principal panels on the narrow sides. Also as in many Phase 6 to 7 examples, these two kinds of principal panels are contrasted further by being decorated with contrasting designs, selected as most appropriate for the greater or lesser width of the panel. The selection of the designs used for all panels appears to be guided by the choice made for the broader principal panels, which are the most conspicuous. The width of these panels is only partly determined by the size of the vessel in Phase 10, as noted above. On very large jars with panels of lea 6 proportions the broad panels may be up to 17 to 20 cm. wide, not including the double outlines on each side. The narrower panels of Phase 10 may be around 4 to 5 cm. wide. On vessels with these narrower "broad" panels the narrower shoulder panels are about 2.5 cm. wide, not including outlining (pi. 88). As we shall see below, these narrow proportions also affect the choice of designs for the shoulder panels. The secondary panels which alternate with the principal ones described above have the

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same trapezoidal or triangular contours as in Phases 6 to 7. Commonly they are plainslipped areas decorated with unit designs, as in Phase 6 (pis. 88, 95, figs. 539,593, 602). The only difference is that the unit designs are different and are arranged differently (see below). The ground color is either red or unpigmented tan, the same as the background for the principal designs, or it is white or black. All these colors are also used as background colors in the same context in Phase 6. In some examples, the secondary panels are framed by a broad plain-slipped band of a contrasting color, either maroon purple or red (pis. 97a, b, fig. 596). The latter feature is present in Phase 7 but has not been recorded for Phase 6 (pi. 30). Although the use of unit designs for the secondary panels is the rule, there is one Phase 10 example in which the central part of the secondary panels is decorated with principal designs of the kind used mainly for relatively small design surfaces of irregular shape (pi. 97a, b; cf. Serrated Diagonal design, below). This feature is unique to Phase 10. One Complex Jar elliptical in horizontal section in our Phase 10 sample lacks the upper body band or its equivalent, an omission not recorded for Complex Jars of Phases 6 to 8 (pi. 88). However, the broad band with its panel subdivisions is like those used ordinarily below an upper body band on such jars. An entirely different arrangement is also used in Phase 10 on a few smaller Complex Jars (pi. 96a, b). Instead of subdividing the principal design surface into vertical panels, the potters subdivided it horizontally in an arrangement of three undivided horizontal bands of about equal width. The arrangement is the same in principle as the vertical panel arrangement, in that the central band is secondary, decorated with unit designs, whereas the upper and lower bands are decorated with principal designs. The size of the jars selected for this arrangement is such that the bands can be 1.75 to 2.5 cm. wide, that is, a width that corresponds to the popular width of the narrow principal design bands also found in the decoration of neckless vessels. The principal designs used for these bands are the appropriate ones for bands of this width. A band in central position decorated with unit designs in a similar arrangement is a common feature of the Chincha style of Late Intermediate Period Epoch 8.

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The use of a similar arrangement in Phase 10 may be based partly on an imitation Chincha model of Phase 8 (see also imitation Chincha High Ovoid Jar of Phase 10, pi. 84). Jars with this arrangement have no separate upper body band, the upper principal band serving that function. Vertical shoulder panels may be used with this kind of arrangement (pi. 96b). Such panels are not a Chincha-style feature. A third alternative arrangement used on Complex Jars in Phase 10 is also not found in other phases. This arrangement has an upper body band and a principal broad band, like the regular arrangements. However, the broad band is either not divided into panel subdivisions, or it has only the narrow vertical shoulder panels. Instead, the broad band is decorated with unit designs on a white or unpigmented ground. In place of traditional terminal banding, this broad band is usually bordered at the bottom by a narrow red band, and sometimes by simple double black and white outlining. When the equivalent of a vertical shoulder panel is used, it is composed of three vertically placed narrow bands which resemble an Inca-associated plate design of the Late Horizon, but with design details unlike those of the Late Horizon (33.7.1, 33.7.2; WZ-3, UM, SA-3260, MRI, DA-2078, MRI, uncatalogued — 7; cf. fig. 500). A similar arrangement, without the vertical shoulder panels, is present in the Chincha style of Late Intermediate Period Epoch 8 (Kroeber and Strong, 1924a, pi. 12a, d). Like the horizontal three-band arrangement, this latter Phase 10 arrangement may therefore be based on an imitation Chincha model of lea Phase 8, one not represented in our sample. Some of the Complex Jars have modeled features of a kind not found in Phases 6 to 8, though such features are also found in Phase 9. When they occur, design arrangements have to be modified. One of the modeled features shows peanut appliqués, which occur on the shoulders of some of the Complex Jars that are elliptical in horizontal section (33.7.2). In these examples one or two narrow vertical bands border the space around the appliqué on either side, replacing the vertical panels ordinarily appropriate for this area (fig. 539). Special arrangements have to be used for Bird Jars, because the modeled bird features block the design area (33.7.4). On these examples the principal design area on the broad

sides is subdivided into horizontal bands in an arrangement resembling the horizontal banding arrangement described above for other Complex Jars. The area around the head and tail appliqués is enclosed by triangular areas composed of black and white bands. In Phase 10, many jars of varying sizes and shapes are circular in horizontal section. Some of them are large Complex Jars that are pearshaped in vertical section, like occasional lea 6 and earlier lea Complex Jars (33.7.3). Others belong to the variable category of mediumsized jars which resemble the corresponding Phase 9 jars, and sometimes lea 8 Squat Ovoid Jars in some of their features (33.8, 33.12.4). Some jars in the latter category have globular bodies. It is evident from the variety of design arrangements used in the decoration of this variable jar group that neither lea 6 to 7 nor lea 8 standards of arrangements were designed for the decoration of these shapes. Since the lea 10 potters had no clear models to guide them, they improvised by borrowing features from various standard design arrangements found on all other vessel categories. As a result one can find almost any combination of features of Phase 10 design arrangements on these vessels. In one popular adaptation for this variable jar group, design arrangements like those found on dishes are used without modification. On some large jars, such an arrangement is placed below an upper body band (figs. 598, 599; 33.7.3, WZ-2). Principal bands decorated with primary unit designs are popular in these design adaptations. In some of the latter arrangements narrow vertical panels are used to halve the design area. These are the same kind of panels used as narrow shoulder panels on Complex Jars elliptical in horizontal section. Sometimes only abbreviated variants of designs of these panels are used in the form of unit designs. Although the variety in the combination of features is great in these adaptations, they are readily understood as individual combinations of features of design arrangements that occur in more standardized form in other contexts. The third major group of design arrangements of Phase 10 is used for the decoration of Simple Bottles, Simple Jars, and enlarged bottles related to the Simple Bottle tradition, that is, handleless Simple Bottles. These are the

THE ANALYSIS OF DECORATION

vessel forms that are decorated in large numbers with shoulder fluting in Phase 8, a kind of ornamentation absent from Phase 9 together with these forms. In Phase 10 shoulder fluting is used to as great or an even greater extent than in Phase 8, and the use of this fluting is a determining factor in the design arrangement. As in Phases 6 to 8, the principal design band on these vessels is in the upper part of the body, extending from the base of the neck to the top of the fluted shoulder (pis. 80, 83, 92-94). In other words, the principal band functions as an upper body band. In Phase 10 there is just one example in our sample in which this band is decorated with an upper body-band design of the kind used in Phase 6 (pi. 83). Much more popular for this position is a design derived with modifications from the Freestanding Triangle design as used in a similar position in Phase 9 (pis. 92, 94; for comparison, see fig. 460). In a third alternative, this upper body band is treated as a principal broad band, as on vessels with fluted shoulders in Phase 8 (pis. 80, 93). Unlike the corresponding Phase 8 examples in our sample, however, some or many of the Phase 10 broad bands in that position have a white ground and the principal designs are painted in black only. Nevertheless, they are traditional over-all lea designs in the Rectangle/Triangle tradition, these being the favorite principal-band designs of Phase 10. The use of these over-all designs in this context contrasts with the predominant use of unit designs for principal white bands in dish arrangements, and its related uses on other forms (cf. pi. 90). Over-all principal-band decoration in the traditional lea three-color pattern appears alternatively in the upper body-band position on lea 10 Simple Bottles (36.3). Various alternative patterns of decoration for the fluted shoulders occur on these vessels. None of them is like the standard Phase 6 usage. In Phase 10 the decoration of fluted shoulders is either like that of Phase 8 or it is distinctive, unlike that of other phases. Phase 8 usage that appears is decoration in the form of vertical striping, in which plain red or Chincha purple bands alternate with plain white ones and are outlined with black lines (pis. 93, 94; for comparison, see pis. 31, 33). As in Phase 8, the plain white bands decorate the grooves and a small adjoining area, and

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the red or purple bands decorate the rises. On some vessels these bands are of approximately even width, a feature particularly distinctive of Phase 8 (pi. 94; for comparison, see pi. 33). On others, however, the red or purple bands on the rises are significantly wider than any appearing in the Phase 8 sample (pi. 93; the most similar Phase 8 example is shown in pi. 31). The wider purple bands are correlated with the different spacing and proportions of the fluted indentations, which resemble some of the Phase 6 ones more than the Phase 8 ones in this respect (cf. chapter HI; figs. 88,89, pi. 16). One Phase 10 Simple Bottle in our sample shows a further resemblance to the Phase 8 pattern (pi. 92). In this arrangement the white bands (here on the rises) are decorated with a design of the inner mouth-band tradition, and there is a horizontal narrow white band with the same decoration and of the same width between the upper body band and the fluted shoulder. This is a duplication of the arrangement appearing on an imitation Chincha Bottle/Jar of Phase 8 (cf. pi. 35). In addition to the design arrangements on fluted shoulders which duplicate those of Phase 8, there is another Phase 10 usage that does not appear in other phases. In this arrangement the fluted shoulder is left unpigmented, either without any decoration, or with unit designs decorating the rises (pi. 80; see also 36.3). There is a third alternative design arrangement for fluted shoulders in Phase 10, not found in other phases, which appears to represent an elaboration of the Phase 8 arrangement in which the white bands are decorated (see above). In this arrangement the entire shoulder may be covered with a white slip, or the white slip may form vertical panels on the rises (pi. 83). In the former pattern the grooves are decorated with three to four parallel vertical black lines (pi. 83), and in the latter variant they are plain narrow red bands. In both variants the broader, whiteslipped area of the rises which constitutes the panels is decorated further, either with single unit designs (pi. 83) or with a Serrated Diagonal design reserved for areas of about this size (MNAA, 20/90; see also below). Two lea 10 Simple Bottles in our sample do not have fluted shoulders (30.6.1, 33.5.1, DMM, 380). On these bottles the design arrangement is not like the corresponding lea 6 arrangement, however. Instead, the bottles

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are decorated with the principal band in upper body-band position, as it appears on bottles with fluted shoulders; the rest of the bottle surface is left undecorated. The principal band in upper body-band position, without accompanying bands, as it appears on the Simple Bottles just described, is sometimes used by analogy on other closed vessels without fluted shoulders where the body shape or size resemble the corresponding features of Simple Bottles, Simple Jars, and related forms. One small jar in the variable medium-sized category is decorated with the same kind of band, with its corresponding design (fig. 283). We have already seen that this kind of transference of design arrangements from one kind of shape category, where it is standardized, to others for which the criteria are not so easily standardized, is characteristic of Phase 10. In addition to the transferences of standardized design arrangements from their proper shape categories to various other shapes, which we have noted, various additional lea 10 shapes are decorated with adaptations from the three major groups of design arrangements described. Some imitation Chincha Flasks, which are large vessels with narrow elliptical contours in horizontal section, are decorated in analogy with Complex Jars which have slightly different but also elliptical contours in horizontal section and are of similar size. The arrangements on the two complete examples of such Flasks in our Phase 10 sample «ire the same in principle (pi. 82; Schmidt, 1929, fig. 324-1). As in the decoration of Complex Jars, the upper body band is optional, one of the examples lacking an upper body band (pi. 82) and the other having one (Schimit, 1929, fig. 324-1). The principal broad band extends to a little above the middle of the height of the shoulder. It is subdivided by two narrow vertical panels, one on each narrow shoulder, with the appropriate designs which correspond to the narrow shoulder panels in the Complex Jar arrangement (for comparison, see pi. 88). The arrangement on the Flasks differs from that of the Complex Jar only in the lack of equivalents of secondary panels: there is only one undivided principal panel of lunate shape on each broad face of the Flask. Each of these panels is decorated with a large unit design of a kind also appearing in the decoration of Complex Jars.

On the other hand, another imitation Chincha Flask attributable to Phase 10 is decorated with lea 8/10 shoulder fluting in place of the principal broad band (UM, SA-3372). This alternative arrangement must have been chosen here because the potter was aware that the Flask shape was an imitation Chincha one, and because shoulder fluting of this kind was closely associated with imitation Chincha features in Phase 8. Chincha-style Flasks proper do not have such shoulder fluting, of course—this is a feature peculiar to the lea style. This Phase 10 Flask has a principal band in upper body-band position, like other vessels with fluted shoulders. Undivided principal broad bands decorated with unit designs on a red, white, or unpigmented ground are favored as decoration for shapes that do not fall into the common categories listed above. They include CamberedRim Bowls that are of smaller than average size (a size that is rare for such bowls in Phase 10), small imitation Chincha Cups, one of the inflected vases, and an imitation Chincha Bottle/Jar (pi. 81). On one imitation Chincha Cup a red-slipped surface is decorated at intervals with sets of four vertical grooves painted black in place of the unit designs (Kroeber and Strong, 1924b, pi. 36b). Sets of vertical black lines on the corresponding shoulder area are the regular decoration of the grooves in some fluted shoulders (pi. 83). As noted earlier, fluted shoulders and the decoration used for them had come to be associated with imitation Chincha features in Phase 8 (see particularly pi. 35 for comparison). The use of this design, along with the grooved feature, on the imitation Chincha Cup are thus probably explainable as an adaptation of a common Chincha-associated feature to a vessel form for which they were not originally intended. For the most part the unsegmented principal bands described above constitute the only decoration on the varied vessel shapes to which they are adapted. However, on the inflected vase, where the design field is proportionately higher, the principal band is bordered at the top by a narrower principal band of lea Stripes, and at the bottom by a narrow black band, in an individual adaptation of features found as a rule in the decoration of dishes and Flaring Cups (Kroeber and Strong, 1924b, pi. 36a). Occasionally additional or alternative analogies are made in the use of design

THE ANALYSIS OF DECORATION

arrangements for the rarer shapes. For example, one small Cambered-Rim Bowl is decorated with a principal-band arrangement that is in the main like those described above, but with two vertical panel designs without outlining halving the design area in analogy with the arrangement on vessels that are elliptical in horizontal section (UM, SA-3332). Perhaps the analogy here is due to the incurving contours of the vessel reminding the potter of jar forms. We have seen earlier that one Phase 10 arrangement unique to this phase is the division of broad principal design bands on Complex Jars into three narrower horizontal bands instead of vertical panels. This division is done in the same kind of alternating as the vertical panel divisions on Complex Jars with very broad principal bands. The lea 10 potters evidently found that adjoining horizontal principal bands of this narrow width were also a convenient device for decorating various other complex shapes which fell outside the traditional categories or which, like inflected vases, were rare among the traditional lea forms. In these varied categories principal bands do not always alternate with secondary ones decorated with unit designs. Sometimes adjoining principal bands are decorated with contrasting principal designs, a pattern like that used in vertical panel subdivisions of broad bands on some dishes in Phases 6 and 10. In addition, unusual shapes with unusual spacing problems are decorated occasionally with at least one slightly broader principal band. The selection of principal designs is determined by the width of the band. In this arrangement the principal bands are in the narrow and intermediate width ranges. Contrasting banding arrangements of the kind just described are particularly popular for vessels that have relatively high sides. A good example is the sculptured pottery object that depicts three terraced structures (pi. 100). Another fine example is an inflected vase that is decorated with animal appliqués on each side (33.11). There also is a special adaptation of the horizontal three-band arrangement on a small imitation Chincha High Ovoid Jar, as noted earlier (pi. 84). Because of the small size of this vessel the equivalents of the principal bands are of narrow-band width. This arrangement has a particularly strong resemblance to some Chincha-style arrangements of Late Intermediate Period Epoch 8.

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Two complete examples of lea 10 Drum Bottles in our sample are decorated with adaptations of the horizontal banding arrangement just described (33.10). On one example each side is decorated with a medium broad principal band over 3.5 cm. wide, with another principal band of about the same width covering the top of the vessel between the two side bands (MRI, CV-27). On the other example the arrangement resembles an lea 10 dish design arrangement more closely in having each side decorated with a narrow principal band bordered by a secondary narrow white band at the top. Two principal bands of about the same width, but with different designs, cross the top of the vessel on each side of the neck, in the manner of Suspender Bands as they are used in the Ica-Inca style of the Late Horizon (MRI, CV-28). The arrangement on the latter Drum Bottle also resembles the IcaInca arrangement in having a plain narrow red band at the base of the design area. Both Drum Bottles are decorated on the drum ends with a secondary white-slipped lunate panel, as in the Ica-Inca style, though the unit designs on these panels are of a different kind. From these two examples we see that although both have design arrangements in which some features are like those on Ica-Inca A Drum Bottles, the lea 10 arrangements are in large measure distinctive. Because of the more complicated patterns of arrangements in Phase 10, it has been useful to refer to secondary banding techniques in the context of the particular principalband arrangements in which they are used. It is also useful, however, to summarize these data here, and to discuss additional rarer uses of secondary bands. We have seen that upper body bands are in far more common use in Phase 10 than in Phase 9. In Phase 9 such bands are used only occasionally in the decoration of Ica-Inca B Large Bottles, and, in modified form, on a jar (pi. 51, fig. 460). In Phase 10 they are used very commonly in the same contexts as in Phases 6 and 7, that is, as decoration for the upper part of the body of Simple Bottles and their analogues (i.e., a double-chambered whistling bottle in our sample), Simple Jars, and Complex Jars. However, there is much greater variety of use than in Phase 6. Bands in this position on Simple Bottles and Simple Jars function as principal bands, as we have

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

seen earlier, similar to their use in Phase 6 on the corresponding vessels with fluted shoulders (cf. pi. 16). Upper body bands decorated with special upper body-brand designs are used commonly on Complex Jars; they are used on both complete examples of Simple Jars in our sample, and they are used on some Simple Bottles and one of the double-chambered whistling bottles. However, other designs, used more commonly as principal-band decoration, also occur at times in upper body bands in Phase 10. Two kinds of traditional designs for this position are used. On vessels where the upper body band is 4 to 5 cm. wide or wider, the design is a modified variant of the Freestanding Triangle design, which is of lea 9 origin (pis. 92,94, 95, figs. 539,599). An lea 10 equivalent of this design is sometimes substituted for it, however (fig. 598). On vessels where the upper body band is 3 cm. wide or less, a variant of a corresponding lea 6 design is sometimes used (pi. 83). Not uncommonly, upper body bands are decorated with designs of the inner mouthband tradition (pi. 99, figs. 593, 5%). These are normally relatively narrow bands 3 cm. or less wide. Like the bands with traditional inner mouth-band and upper body-band decoration, they have a red ground color. This kind of design transference does not occur in earlier phases. Occasionally over-all principal-band decoration is also used for relatively narrow bands in this position (for example, Complex Jar MRI, DA-3264). This use does not occur in Phase 6 except in a limited, specialized form, but it is recorded for Phases 7 and 8. By analogy, when the principal-band arrangement on Complex Jars is that of horizontal three bands, the top band with its principal design fulfills the function of an upper body band, as noted earlier (pis. 96a, b). On some of the jars where inner mouthband designs are used in upper body-band position, a plain narrow red band borders the upper body band at the top, where it circles the base of the jar neck (fig. 596). Such narrow red bands are also used in the same position in the decoration of some jars where an upper body band proper is lacking. This latter arrangement is used most commonly on vessels where the principal design area is an undivided broad band decorated with primary unit designs, on a white or unpigmented

ground. This usage has a rare Phase 6 analogue in a narrow upper body band that lacks further decoration, found on a large Complex Jar with simplified decoration on an unpigmented surface (pi. 15). There is a unique example in our sample of a veiy large Complex Jar where the band in the upper body-band position is over 3.5 cm. wide and decorated with an arrangement of alternating principal and secondary panels, as in principal bands of this width (pis. 97a, b). A narrower plain red band above it corresponds to the plain red narrow bands bordering principal white or unpigmented bands, described in the preceding paragraph. Evidently an entire principal plus secondary band set is used here to fill the exceptionally wide upper body-band area, in another example of the pattern of design transferences to suit band width in Phase 10. As noted earlier, upper body bands or their equivalents are sometimes omitted in Phase 10 jar decoration. White-slipped broad bands with special over-all principal-band decoration, which are used in upper body-band position on some Simple Bottles in our sample, including the large handleless ones, do not belong into the category of upper body bands at all, and are discussed separately, above. As we have seen, several different categories of secondary narrow bands occur in Phase 10, more than in other phases. Narrow white bands as they appear in Phase 6 are also in popular use in Phase 10, in contrast to their marked scarcity in Phase 9. These narrow white bands are used in the same context as in Phase 6. Many of them have traditional designs also found in this context in Phase 6 (pi. 79). Some are plain (pi. 78). On dishes and Flaring Cups these narrow white bands are used primarily with the narrowest principal design bands, that is, those that are 3 cm. wide or less, and which have a red ground color (see above). Although most narrow white bands are separated from the principal bands by double outlining, as in Phase 6, single outlining occasionally occurs. The latter feature is also present in Phases 7, 8 and 9, evidently as a rule, but occurs only rarely in Phase 6 (see above). A secondary category of narrow white bands is used more rarely in Phase 10 (pi. 92). It appears in the decoration of a Simple Bot-

THE ANALYSIS OF DECORATION

tie, in position between the upper body band and the shoulder decoration. The use of a narrow white band in this position occurs in Phases 7 and 8 but not in Phase 6 and not in Phase 9. Its absence from Phase 9 is explainable because in Phase 8 narrow white bands in this position are used with Chinchaassociated features (cf. pi. 35). The complete Phase 10 example in our sample is like the Phase 8 arrangement, with the distinctive decoration that is also used in this context in Phase 8. It is accompanied by narrow white bands in vertical position on the fluted shoulder, decorated with the same design. On one large Complex Jar fragment from Villacuri the equivalent of a narrow white band is found in the same position as the one just described for the Simple Bottle (fig. 599). Its occurrence on this vessel form is unique to Phase 10 in our present sample. The design arrangement on this vessel suggests that the jar was circular in horizontal section. The narrow white band was perhaps placed in this position here because of an analogy with other jars and bottles that are circular in horizontal section. There are also two major distinct categories of narrow red bands in Phase 10. One is used in the same context and the same way as in Phase 6. That is, these bands are used as outside borders of narrow white bands when additional space is to be filled. As in Phase 6, this arrangement occurs primarily in the decoration of Flaring Cups, and occasionally in the decoration of other neckless vessels and jars of intermediate size round in horizontal section (pi. 79; see also above). As in Phase 6, these narrow red bands are either plain or decorated with the same designs as in Phase 6, in white only, also as in Phase 6. This use is absent from Phase 9. The second category of narrow red bands is newly popular in Phase 10, though it has a single example of an antecedent in our lea 9 sample. The normal context for narrow bands of this kind in Phase 10 is entirely new, without Phase 9 antecedents. They function as the equivalent of the narrow white band when the principal band has a white ground decorated with unit designs (pi. 90, fig. 600). The new narrow red bands are decorated with three-color designs of the inner mouth-band tradition, like many slightly broader upper body bands. Only rarely do bands of this kind adjoin red-slipped principal bands with over-

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all decoration, apparently, since there is only one such example in our lea 10 sample (pi. 73). This example resembles the single lea 9 example (13.4.1.2). Although this latter combination must be rare, it illustrates the functional identity of the new narrow red bands with the traditional narrow white bands. The combination of secondary bands having similar decoration with principal bands decorated with unit designs is also a Chinchastyle feature of Late Intermediate Period Epoch 8 (Kroeber and Strong, 1924a, pi. lid, 12a). The Chincha-style arrangements differ in detail, however. As in the Chincha style, such bands occasionally also adjoin red horizontal bands in principal-band position which are decorated at most with unit designs (pi. 84, fig. 591). Because the decoration of the new narrow red bands is the same as that of many of the narrowest upper body bands, and is similar to that of many of the narrowest principal bands in Phase 10, it may appear at first glance that the potters were making no functional distinctions between the different uses. On closer examination one sees, however, that the functions of principal and secondary bands are distinguished by design detail, and those of upper body bands and narrow bands by relative width and position of the bands (see below). There are rare occasions when principal bands with a white ground on neckless vessels are not decorated with unit designs, but rather with over-all designs of the lea tradition. There are only two such examples in our sample, a Shallow Dish, to be discussed below, and a small Cambered-Rim Bowl (UM, SA-3331). On these vessels traditional narrow red bands border the principal white bands. Narrow bands, either red or white, are also used in two other new contexts in Phase 10. The first is similar to the use of plain narrow red bands in Ica-Inca decoration of the Late Horizon. These narrow bands are used to border the principal design band at the bottom on large vessels, notably Drum Bottles and large jars, as well as on some smaller jars. Plain narrow red bands of this kind also appear in this position in the Late Horizon decoration of Ica-Inca Drum Bottles and some Ica-Inca Lamp Bottles (see above). The similarity in context suggests that the lea 10 usage is closely related to the Ica-Inca one. Narrow red bands of this kind are also used in place of

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

terminal banding in the decoration of some jars on which the principal band is a white or unpigmented tan one decorated with unit designs, as noted above (33.7.1, 33.7.2, 33.8; MRI, DA-2078, MRI, uncatalogued - 7, DMM, 84, UM, SA-3260, 3265, 3288). Very rarely, a narrow white band with distinctive black design elements is used in the same position (for example, 33.7.1, UM, SA-3356). Another new context in which narrow red bands are used in Phase 10 is at the top of the body of some jars, at the base of the neck, usually in combination with design arrangements in which the upper body band or its equivalent is decorated with a principal-band or inner mouth-band design (see also upper body bands, above). Narrow black bands are used occasionally in Phase 10 in place of narrow white bands. Some appear in the same context as in Phase 9 (cf. pi. 48). That is, they are found in the normal position for narrow white bands on a Phase 10 Flaring Cup (MRI, CV-25), on an inflected vase (Kroeber and Strong, 1924b, pi. 36a), and on Deep Open Dish fragments. In these contexts these bands are ornamented with white dots as they appear in Phases 6 to 7 (fig. 538; for comparison, see fig. 397, pi. 25). The same bands are also used in a new context, as vertical border bands for narrow shoulder panels on some large Complex Jars (fig. 539, pis. 97a, b). Slightly broader, plain black bands fulfilling the function of narrow bands are used in the decoration of large Complex Jars (fig. 599; 33.7.3, 33.7.4, MRI, uncatalogued - 5). They adjoin principal white bands decorated with unit designs, serving as replacements for the new narrow red bands that ordinarily adjoin such bands. Their breadth is correlated with the large area of the design surface to be covered. The secondary black bands described above usually adjoin other narrow bands (on the large jars) or narrow principal bands (on the dishes and Flaring Cups) which are decorated with designs of the inner mouth-band tradition (figs. 539, 599; see below). This is a particularly distinctive Phase 10 feature. Inner mouth bands are used on Deep Open Dishes of Phase 10 with nearly the same regularity as in Phase 6 (pis. 72, 73, 75, 89, 90, fig. 589b). The frequency of this usage is correlated with the shape profile of these dishes,

and contrasts with the scarcity of the use of inner mouth bands on Angular-Rim Dishes in Phase 9. As in Phase 6, some inner mouth bands are plain red, others are decorated. One gains the impression that decorated inner mouth bands occur with greater freuency in Phase 10 than in Phase 6. Deep )pen Dishes that are decorated on the principal exterior design area with unit designs only on the unpigmented slip commonly lack inner mouth bands proper (pi. 74, fig. 590b). Some of the latter vessels may have pendent design figures in black on the unpigmented slip on the inner rim, however (fig. 590b). These features also have counterparts in Phase 6, but the combination is much more common in Phase 10. The range of variation in the width of inner mouth bands is slightly greater on lea 10 Deep Open Dishes than on the Phase 6 ones. The difference is not commensurate with the degree of size difference, however. There is no close correlation between the width of the inner mouth band and the size of the dish in Phase 10, although very small dishes are usually decorated with the narrower bands (pi. 89). Inner mouth bands vary between albout 1.7 cm. and 3.5 cm. in width, including the outlines, and 1 to 2.5 cm. in width, excluding the outlines. This variation contrasts with the slightly more regular Phase 6 standard, where most inner mouth bands vary only slightly around the width of 2.5 cm., including outlines. The main contrast with Phase 6 is in the greater variety of designs that may be used for this area (see below). Some wider bands have vertical panel subdivisions, like some Phase 6 ones. Principal and secondary panels alternate, as in Phase 6. Such vertical panel subdivisions are not recorded for inner mouth bands of Phase

2

9 dishes. All narrower bands in Phase 10 have continuous band designs, as in Phases 6 find 9 (and presumably Phases 7 and 8 as well). Ica 10 bands are outlined at the base by double black and white outlining, as in Phase 6 and in contrast to most Phase 9 bands. No exception to this rule has been recorded in the Ica 10 sample. Inner mouth bands are also in use on Shallow Dishes, where they appear part way down the interior side and are terminated by double black and white outlining, as in Phase 6 and unlike Phase 9. Like the bands on the shallower forms of the Phase 6 dishes, most of

THE ANALYSIS OF DECORATION

the bands on the Phase 10 dishes are undecorated, except for the red slip. With the outlines, these inner mouth bands vary in width from 2 to 2.5 cm. As in Phase 6, the width of inner mouth bands on Flaring Cups varies greatly with the size and degree of flare of the rim. However, many are wider than most Phase 6 bands and are within the width range for such bands on Phase 9 Flaring Cups (pi. 79, fig. 592b). Including outlining, the wider ones commonly vary between 4 and 5 cm. in width, against the maximum recorded width of 3.8 cm. for Phase 6. There are two alternative design arrangements for inner mouth bands on Flaring Cups. Bands that are 4 cm. wide or narrower are decorated with a band subdivided into alternating principal and secondary panels, an arrangement also found on dishes in Phases 6 and 10. The wider bands are decorated with arrangements like those found only on Phase 9 Flaring Cups; that is, the band is divided into principal panels only, either adjoining ones, or ones separated by plain red narrow vertical bands (pi. 79, fig. 592b). Flattened lips on Deep Open Dishes and Flaring Cups, cambered rims on bowls, and the thinned lips on Shallow Dishes are decorated exàctly the same way as in Phase 6 and in marked contrast to Phase 9. This decoration follows perhaps most consistently the same rules in Phase 10 as in Phase 6 (figs. 567-569, 589a, 592a, pis. 72-75, 77-79, 89,90). In contrast to lip and cambered-rim decoration, the decoration of Ica-tradition bottle handles on the Phase 10 examples in our sample is entirely different from that of Phase 6 bottle handles. Among those bottles where both the handle and its design are preserved, one has a handle design like those appearing in Phases 7 and 8 (pi. 80, fig. 570); one, a broader handle with a width like that of Incaassociated strap handles, has the kind of decoration found on some Inca-style handles (pi. 83, fig. 571); and one has a principal band design of a kind found only in Phase 10, but related to the lea 6 design shown in fig. 376 (DMM, 380). On another Simple Bottle the handle is decorated with a small animal appliué, a feature not found in Phase 6 (pi. 92). lowever, a similar appliqué appears on the handle of a Simple Bottle attributable to Phase

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7 (fig. 123). Others are found with Incaassociated features in the Late Horizon, as well as on some jars and one Angular-Rim Dish attributable to Phase 10. The rest of the handle surface on this lea 10 bottle is decorated with black design elements of various kinds adjusted to the irregularly shaped spaces around the appliqué. Although these handle designs are unlike those of Phase 6, all are black line designs on a white slip base. This is a combination of features also used for Ica-tradition bottle handle decoration in Phases 6 to 8. As in Phases 6 and 8, imitation Chincha vessels that have Chincha-style strap handles on the shoulder are decorated with the corresponding Chincha-tradition design for such handles. It consists of alternating black and white cross stripes on all Phase 10 handles in our sample (pis. 82, 84). It should be recalled, however, that the corresponding designs in the examples for Phases 6 and 8 have cross stripes in Chincha purple outlined in black (cf. pis. 21, 35). In the Chincha style proper of Late Intermediate Period Epoch 8 both of these striping patterns are used interchangeably. Most bottle necks in Phase 10 are decorated in two ways. One is a common lea 6 neck design which consists of alternating black and white stripes of even width (pis. 83, 92, 93, 99). These stripes are here used in the same context as in Phase 6. However, the same neck decoration is used in the Late Horizon in a substitute context, that is, as decoration for most Ica-Inca B bottle necks (see above). A second bottle-neck design pattern of Phase 10 is unlike any found in other phases, though in some features it resembles rare ones occurring in Phases 7 to 9. It uses the three-band arrangement as it appears as principal decoration on some jars, except that on the necks it is of necessity arranged vertically instead of horizontally (pis. 80, 98). This arrangement is found on very tall bottle necks. In one example, a double-chambered whistling bottle, each neck is painted with a standard version of the three-band arrangement (pi. 98). That is, two bands within the narrower width range for principal bands (ca. 2 cm. wide without outlines), decorated with principal designs, enclose a secondary band decorated with unit designs. An equivalent space on the less visible interior feces of the

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two necks is left plain. In the other example, a Simple Bottle, a red-slipped neck is simply decorated with four columns of unit designs instead of vertical bands (pi. 80). This neck has a narrower diameter than the others, and there would not have been enough space for outlined bands of standard width. However, the unit designs are painted in the three-color pattern which is appropriate for principalband designs, showing that these columns of unit designs were regarded as equivalent to principal-band decoration (fig. 582). One of the two alternative forms of decoration for bottle necks in Phase 6, namely the plain black slip, does not occur on any of the Phase 10 examples in our sample and may be out of use as bottle neck decoration in Phase 10. Instead, one of the unassociated pieces, recorded here only from published illustrations, has a plain white or unpigmented slip on the neck, a form of bottle neck decoration not recorded for earlier phases (36.3). There is greater variety in the decoration of the inside of the rim on Phase 10 bottle necks than on Phase 6 ones. The only kind of decoration in Phase 6 for this area is a plain white slip. In Phase 10 a plain white slip is only one of several alternatives (pi. 92). On some bottles a plain unoutlined red stripe is used, a feature also found regularly on Late Horizon bottle necks (pis. 83, 98). On others a broader red band outlined in black at the bottom is used instead. It is treated as an inner mouth band decorated with Pendent Triangle designs (see below;fig.566, pi. 80). Alternatively, the same pendent design is used on the unpigmented slip (DMM, 380). As we shall see, the same kind of pendent design arrangement is applied occasionally to the interior rim area on most shapes where there is sufficient space and the shape is open and flaring enough for dear visibility (cf. dishes, Flaring Cups, Cumbrous Bowls and bottle necks). In Phase 10, jar necks follow a pattern of decoration that differs more from bottle neck decoration than in Phase 6. A large number of jar necks is decorated as in Phase 6. That is, the outside is covered with a plain black slip and the inside of the rim is covered with a pldin white slip. This decoration is used predominantly on those vessels that have shape contours most like those of Phase 6, but occasionally on others as well (pis. 82, 88, 96a, b). As we have seen earlier, a plain black slip is only rarely used as jar neck decoration in Phase 9.

The second most common decoration for jar necks in Phase 10 consists of horizontal black and white striping, as on bottle necks (pis. 97a, b). This decoration is also used regularly for jar necks in Phase 9, and sometimes in Phase 8, but only rarely for Phase 6 jar necks (see above). Its popularity in Phase 10 is thus a feature shared with Phase 9 and possibly Phase 8. Some Phase 10 jar necks have only a plain white or unpigmented slip on the outside, both features also found in Phase 9 and not recorded for Phase 6. The inner rim decoration associated with the exterior striping and the plain exterior slips is usually like the corresponding Phase 9 decoration. That is, a plain black stripe or a Rim Scallop design are usually used. Much more rarely a third alternative device is used, that is, Fringe Band designs that may or may not be placed on an outlined inner mouth band with a red base. Occasionally the inner rim is unpigmented, without further decoration. We see that although most inner rim designs are shared by jar and bottle necks in Phase 10, the frequency of use differs. The Rim Scallop has been recorded only on jar necks (pi. 94). One kind of exterior jar neck decoration is unique to Phase 10, so far as our record shows. On some jars the neck is decorated with black and white stripes in vertical rather than horizontal position (pi. 84). The vertical position of the stripes is analogous to the vertical banding on some of the bottle necks, as described above. As in other phases, some lea 10 vessel shapes are decorated with special design arrangements. Phase 10 forms so distinguished include some Shallow Dishes, and Cumbrous Bowls, as in all other phases, and anthropomorphized Football-shaped Jars, as in Phase 9. Shallow Dishes have for the most part less distinctive decoration than in other phases. There is only one Shallow Dish attributable to Phase 10 in which the principal design arrangement maintains a traditional distinction (pi. 91). This vessel shows the equivalent of a half-band arrangement, but with special Phase 10 modifications. The half band at the top has a white ground decorated with an over-all pattern of traditional principal designs in black. The lower half band is plain red and, like the corresponding bands in Phase 9,

THE ANALYSIS OF DECORATION

of narrow-band width. We have seen earlier that narrow red bands like this are used in Phase 10 as borders when principal white bands are decorated with over-all principal designs. Other Phase 10 Shallow Dishes in our sample are decorated with arrangements also found on other vessel forms. The entire exterior surface of the sides is treated as a single principal band, ca. 3.5 cm. wide, that is, of intermediate width in terms of the width standards of principal bands in Phase 10. In keeping with this width criterion, we find that there are two alternative arrangements. In one the principal band is subdivided into alternating principal and secondary vertical panels (RHLMA, 16-10082; AMNH, 41.2/897). In the other the band is decorated with primary unit designs (see below; Schmidt, 1929, fig. 322-5). All examples are painted in the traditional lea color pattern of black and white on a red ground. We have seen earlier that Shallow Dishes are decorated with traditional inner mouth bands, more or less as they appear on the shallower Shallow Dishes of Phase 6. However, most Phase 10 dishes have additional decoration in the form of unit designs in black on the unpigmented slip on the interior bottom. The unit designs are distinctive of lea 10. This feature is not present in Phase 6, but it has an occasional Phase 9 counterpart in the decoration of the bottom interior of some Shallow Dishes and Flaring Cups (see above). Most lea 10 Cumbrous Bowls of the most common flaring-sided shape are decorated with the same kinds of designs as the homologous lea 9 ones (pi. 85; for comparison, see pi. 66). That is, the decoration includes design elements pendent from the interior rim, painted in black on the unpigmented (or white) slip. On some of the bowls only the design details of the pendent figures and shape features betray their Phase 10 origin (see further below). However, most of these Cumbrous Bowls have additional decoration that is distinctive of Phase 10, in the form of unit designs placed below the fringe band (pi. 85). Most of the Cumbrous Bowls with this kind of decorative arrangement have an unpigmented tan slip base, but there is one bowl where the interior is covered with an over-all white slip, a feature that this bowl shares with Phase 6 but not with Phase 9 bowls (pi. 85; for comparison, see pi. 10).

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A few Phase 10 Cumbrous Bowls in the flaring-sided category are decorated with design arrangements more closely modeled on Phase 6 arrangements that do not occur in Phase 9. In one complete example an inner mouth band with two rows of fringe bands resembling the corresponding Pendent Step designs of Phase 6 is used (UM, SA-3351). This same arrangement is found in Phase 6 but not in Phase 9. Unit designs on the interior bottom below the fringe band are the same kind found with the more common fringe bands of Phase 10. In one even more complex stylistic mixture, features of a distinctive lea 6 arrangement are combined with features of a provincial Inca-style arrangement of the kind used to decorate provincial Inca group B-2 plates of the Late Horizon (DMM, 374). In this arrangement the entire interior is covered with a white slip, then quartered with a chevron-shaped line arrangement of the same kind used in some lea 6 Cumbrous Bowls, like the one shown in pi. 10. However, in contrast to the lea 6 arrangement, alternate spaces between the lines are painted purple and are thus converted into outlined purple bands of the same kind as those used in the decoration of the Late Horizon group B-2 plates (for comparison, see pi. 62). Like the Phase 6 bowls, the Phase 10 bowl has the intervening quarters painted with pendent elements and Fish unit designs, but both the latter are distinctive Phase 10 designs that do not occur in other phases (see below). One Cumbrous Bowl in our Phase 10 sample has spheroid contours that show its relationship to the imitation antique forms of the Late Horizon (fig. 276; for comparison, see figs. 232, 237). In keeping with these shape features, the design consists of a white band that circles the interior rim. This band is analogous to the interior rim bands appearing on some of the corresponding Late Horizon bowls. However, in place of the imitation lea Phase 1 to 3 designs used on the Late Horizon bowls, the Phase 10 bowl is decorated with four sets of Pony Fringe units of the kind also appearing on other Phase 10 Cumbrous Bowls (see below). The use of a continuous band with a white ground around the interior rim is the only combination of features in which the lea 10 design recalls the imitation antique decoration of the Late Horizon. There is no comparable design on Cumbrous Bowls of other phases.

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The Phase 10 Cumbrous Bowl just described has an additional, unique distinction: a white band of similar width as the interior rim band covers the exterior rim. This band is covered with three horizontal black lines in the manner of outlines. The appearance of this band resembles terminal banding on some jars. The third vessel category in Phase 10 with a special decorative arrangement is that of anthropomorphized Football-shaped Jars (32.2,33.7.5). These are nearly identical to the corresponding Phase 9 form (cf. pl. 58). Furthermore, they occur in about the same moderate frequency in both phases. It is the only vessel category of Phase 9 origin which is virtually unchanged in Phase 10. The main or only differences between the Phase 9 and Phase 10 examples are features of design detail, to be described below. We have seen in chapter IE that occasional vessels with Late Horizon shape features can be found in the lea 10 style. Some of the few examples in our sample are also peculiar in their design arrangements, in which lea 9 or Ica-Inca features are mingled with lea 10 features. Several complete examples and some fragments from surface collections are known to be from the Pisco and Paracas area north of lea. Some of their features of shape, surface finish, and design have consistent peculiarities which suggest that a local variant of the lea 10 style was being made in this area. This style is properly the subject of another analysis, and the pieces are therefore not discussed further here. A few additional vessels, however, have both Late Horizon shape and design features, but have style features unlike the pieces from Pisco and Paracas. Some of these vessels could be from the Nasca drainage, but some are almost certainly from lea. Two of the pieces without known provenience; an Angular-Rim Dish and a Lamp Bottle, have features of an Ica-Inca design arrangement. Both have also shape features associated with the Ica-Inca style. The Angular-Rim Dish has peanut appliqués and a very glossy surface finish, both features that it shares with dishes classifiable as Ica-Inca in the Late Horizon (33.14.4; see also chapter HI). The design arrangement on this dish and on the Lamp Bottle (33.14.1) is

the same, namely the vertical panel arrangement used for some Ica-Inca vessels as well as imitation Ica-Inca vessels or related lea 9 vessels in these shape categories. The Early Colonial Period origin of these vessels is determined by design details rather than by features of the design arrangement. We conclude from these examples that there was at least to some degree a correlation between the rare use of Inca-assodated shape features and some corresponding design features in Phase 10, even though these features were combined with Phase 10 ones. There is one exceptional Inca-associated shape cate, however, which is decorated exclusiveith lea 10 designs proper. It consists of two examples of modified variants of doublechambered whistling bottles such as are present in the imitation-Chimu style of the Late Horizon. One of these has no provenience data, and the other is from the ravine of Nasca in the central Nasca drainage (33.13.1; pis. 98, 99). The decoration on the bottle with Nasca provenience is indistinguishable from that of the lea 10 style from lea (pi. 98). The two bodies of this bottle are covered in their upper half with a single principal band of intermediate width, that is, between 3.5 and 4.5 cm. wide. The design on these bands is a checkerboard arrangement which is appropriate for bands of this width. The neck design on this vessel also is peculiar to Phase 10 (see above). The other bottle has a body design arrangement like one of those on lea 6 Simple Bottles, and the neck decoration is also a corresponding one (pi. 99). Only the designs used in the body bands are peculiar to the lea 10 style. This latter piece is clearly being compared to lea 6 Simple Bottles by the potter. Design patterns and elements. Diamond designs are in far more common use in Phase 10 than in Phase 9. The frequency of their use is comparable to that of Phase 6. However, in contrast to Phase 6, Phase 10 Diamond designs are in slightly less common use than designs in the Rectangle and Triangle traditions (see below). Of even greater significance than their frequency is the fact that most categories of Diamond designs of Phase 10 are executed like the corresponding Phase 6 to 8 Diamond designs and not like those of Phase 9. The contrast in the use and execution of Diamond designs in Phases 9 and 10 is so

n

THE ANALYSIS OF DECORATION

marked that it brings into particularly sharp relief the revivalistic nature of the Phase 10 style. Some Phase 10 Diamond designs are almost or entirely indistinguishable in execution from some of those of Phases 6 to 8. However, many Phase 10 Diamond designs can be distinguished from those of Phases 6 to 8 by the use of thicker black lines, larger elements, and sometimes degree of overlap of lines and other irregularities in execution (for example, figs. 539, 561, 577, 590b, 599, pi. 94). The white secondary diamond-shaped figures are usually only slightly to moderately finer-lined than the black ones, but some are drawn with much finer white lines (pi. 94, fig. 539). This latter feature is distinctive of Phase 10. Some black Diamond elements differ from those of Phases 6 to 8 in being smaller or in being drawn with finer lines (figs. 520, 566). Most Phase 10 Diamond designs are executed in the color patterns appropriate for the respective contexts in Phase 6, but some principal over-all Diamond designs are done in black on white, and some Diamond figures composed into unit designs are done in black on red. Neither of these color patterns occurs in Phase 6 (pis. 81, 91). The first of these color combinations is a Phase 10 innovation, but relatable to lea 7 to 9 narrow-band and handle-band decoration. The second is a color pattern shared only with Phase 9. The Large Diamond design with step fillers as used in Phase 6, and with modifications in Phases 7 and 8, is not in use in Phase 10. This was the most common broad-band design of Phase 6, in which two or more rows of large concentric diamond-shaped figures are used, each made up of an outer black Large Diamond and an inner Small Diamond in black or white with or without a central white dot (figs. 296-298, 301, 302, pis. 4, 9). Step elements or a rare equivalent are used in the intervening spaces (fig. 302, pi. 4). We have seen earlier that in Phases 7 and 8 the step elements were more modified and abbreviated when in use (pis. 23, 32, figs. 413, 414). They also were in use more rarely in these phases, and they were entirely out of use in Phase 9. Their virtual absence from Phase 10 (with a unique exception, to be described below) is in keeping with this pattern of the gradual attrition of the use of step filler ele-

191

ments which is observable when one looks at Phases 7 through 9 in sequence. The Large Diamond design in very common use in Phase 10 is the Stepless Large Diamond as described for Phase 6, and as also found in Phases 7 and 8 (cf. figs. 305-307, 334, 362, pis. 21, 22, 34). Both descriptively and in its versatility of application it is nearly exactly like the Phase 6 to 8 form (figs. 519, 539, 556, 561, pis. 89, 94). This design consists of relatively small Large Diamond figures which contain a single white Small Diamond without a central dot. There are no step elements in the intervening spaces. This design is used for bands of about the same width as Phase 6 broad bands and medium-broad bands, that is, principal bands of narrow and intermediate width in Phase 10 (fig. 519, pi. 89). As in Phase 6, it is used occasionally as a substitute design for other bands of relatively narrow width such as inner mouth bands, with only a single row of complete Large Diamond figures being used (fig. 561; for comparison, see fig. 334). In either case the border elements consist of halves of the principal elements. The Stepless Large Diamond design is entirely out of use in Phase 9, making the frequency of its use in Phase 10 the more notable. Another use of the Stepless Large Diamond in Phase 10 is especially interesting. It is used as an element in the composition of Freestanding Triangles (see below and figs. 539, 556, pi. 94). As we have seen earlier, Freestanding (and Pendent) Triangles are of lea 9 origin (cf. figs. 442, 453, 460-462, 469, pis. 39, 57, 59, 66). The lea 9 figures are almost invariably composed of crosshatching. A discussion of the probable origin of this design is presented in the Phase 9 section. The design is entirely unrelated to the Diamond designs proper of Phases 6 to 8. The use of individual Diamond figures in the composition of Pendent and Freestanding Triangles in Phase 10 is evidently the result of a process of analogy in which all crosshatched designs of the lea 9 style are compared with Phase 6 to 8 Diamond designs. The use of individual Diamond figures in the Pendent and Freestanding Triangles may thus be described as false "etymology" on the part of the lea 10 potters. No comparable use occurs in other phases. Occasionally Stepless Large Diamonds are used to decorate segments of the anthropomorphizing features of Football-shaped Jars. The Phase 6 analysis shows that special

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forms of Large Diamond patterns are the customary decoration for upper body bands on bottles and jars; they are used occasionally for medium-broad bands and other bands of comparable width in that phase (figs. 300, 329-333, pis. 11, 13, 14). Large Diamond designs of this kind are also in use in Phases 7 to 9, but in Phase 9 they occur very rarely, and some of the time in an entirely different, Incaassociated context (cf. above and figs. 449, 450, pis. 50, 51). Large Diamond patterns of this kind are again common in Phase 10, however, where they are used in the same contexts as in Phases 6 and 7, that is, as upper body-band decoration and occasionally for the narrower principal bands or the decoration of broad cambered rims (figs. 557, 569, pis. 78, 83). However, in contrast to Phase 6, their use in upper body bands is relatively uncommon and their use in the narrower principal bands is more common. In tne Large Diamond pattern of the upper body-band tradition only a single row of relatively large concentric diamond-shaped figures is used. Eachfigureusually consists of a pair of concentric black and white Large Diamonds enclosing a black Small Diamond with a centred white dot, as illustrated in fig. 569. As in Phase 6, this pattern is also distinguished by the border elements, which consist of white designs of a triangular shape usually filled with a traditional white crosshatching. Some Phase 10 borderfillersof this kind are distinctive, however, in that the diamond-shaped spaces left by the diagonal crosshatching also have central white dots, in analogy with Small Diamond figures (fig. 569). It is merely another example of the analogy between this crosshatched design and individual Diamond figures, an analogy made by both the lea 9 and lea 10 potters, as noted. An alternate Large Diamond figure in the pattern of the upper body-band tradition is the Composite Large Diamond. In this design a Small Diamond is placed in each corner of the black Large Diamond (fig. 557, pi. 83). This is the only Phase 10 Diamond design in which most examples do not resemble the corresponding Phase 6 variant, but rather the Phase 9 variant which has a simple crisscross center (for comparison, see figs. 300, 332 and 449). The reason for this seeming anomaly is evidently the fact that the straight crisscross center of this Large Diamond form is present

also in Phase 7 (and presumably Phase 8), that is, before the advent of Inca influence (cf. fig. 404, pi. 23). It appears that most lea 10 potters did not see, any more than did the lea 9 potters, the same kind of connection between this crisscross filler and Inca-associated designs as between other crosshatched Diamond design replacements and Inca-style crosshatching. As in Phase 9, an abbreviated form of the Composite Large Diamond with the crisscross center is used as a composite unit design in Phase 10 (see below and fig. 578). In some lea 10 examples among fragments from Villacuri the Composite Large Diamond figure is done in the lea 6 manner, with individual Small Diamonds in the corners. In addition to the traditional Composite Large Diamond, there is an even larger, more elaborated form in Phase 10. The design is the same composition as that of Composite Large Diamonds, but its position is with sides parallel to the horizontal band, so that it becomes a Composite Large Square. This form is used occasionally in a distinctive Phase 10 pattern in combination with designs of the inner mouth-band tradition (see below; fig. 530). In Phase 10 there are some rare alternative variations of the single-row Large Diamond patterns just described. In one example the white border fillers are replaced by halves of Large Diamond figures, these being the usual border elements for traditional principal design bands (33.10, MRI, CV-28). This variation is also found in Phase 6. A more distinctive Phase 10 variation of the single-row Large Diamond pattern appears on a Flaring Cup (33.9, UM, SA-3681). On this vessel the principal design area is a principal band of intermediate width subdivided into vertical panels. The lea 10 potters chose to use a single-row Large Diamond pattern of the kind described above, but they modified it to suit the greater band width by drawing the Large Diamond elements larger than standard, and by filling their centers with Large Diamond Fish figures and the intervening spaces with step filler elements. This is the only Phase 10 example of the use of step fillers as they usually appear in Phase 6. Both the white step fillers and the white central Large Diamond Fishfiguresare painted with much thinner lines than the larger black Diamondfigures,in a degree of contrast of line thickness that is peculiar to Phase 10.

THE ANALYSIS OF DECORATION

Large Diamond designs in fish form occur in Phase 10, as in other phases. They differ more from plain Large Diamond designs than in Phase 6. The appearance of the Phase 10 Diamond Fish figures is usually like that of the Diamond Fish of Phase 9, though some modified variants also occur (pis. 81, 95). Phase 10 Large Diamond Fish are drawn with hastily executed step elements in the back half and usually a Small Diamond in the front corner of the figure (figs. 520,572,576, pi. 74). Some of them also differ from the Phase 6 Large Diamond Fish in color and design patterning. Large Diamond Fish designs are used as over-all principal-band designs and as unit designs, as in Phase 6 (pis. 74, 81). They are also used as elements in Freestanding Triangles, a new context in Phase 10 (pi. 95). Three different examples of Large Diamond Fish designs are used in over-all decoration of principal bands. The one shown in fig. 520 is most similar in its patterning to a unique Phase 6 example (cf. fig. 304). In this pattern the principal Diamond Fish figures are arranged in a zigzag band. However, the lea 6 example is in two colors, and not an over-all attern, being unaccompanied by band outne and border elements. It is used instead as the equivalent of unit designs in that phase. The border elements in the Phase 10 over-all pattern consist of the same kind of Large Diamond Fish figures that are used as the principal figures, but they are done in white only, like the border elements in the upper body-band and medium broad-band tradition (for comparison, see figs. 298-300, 329-333). The two other Large Diamond Fish designs in over-all patterning represent combinations of lea 7 patterning with lea 10 features in design detail. One pattern is like that of lea 7 shown in fig. 405 and pis. 26, 30 (33.1, MRI, DA-3656). It is used as panel decoration on a principal band of intermediate width on a Deep Open Dish, the band being within the width range of lea 7 broad bands. Although the individual Large Diamond Fishfiguresof the Phase 10 design have Small Diamonds within the front corner, like Phase 9 and other Phase 10 designs, they differ from the rest in having the back interior decorated also, with white filler elements. In position and general effect the filler elements resemble the corresponding white fillers appearing in the interior of lea 7 Diamond Fish figures, especially

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the one shown in fig. 409. The Phase 10 filler elements consist of Rectangle/Triangle counter designs instead of step elements, however. Another copy of an lea 7 pattern appears in black on white as a half-band design on a Shallow Dish (fig. 572, pi. 91; for comparison, see fig. 408, pi. 27). The Phase 7 and Phase 10 bands are of the same width, and the patterning of the designs is identical. Only the context of the bands (in Phase 7 a secondary band), the line thickness of the designs, and the details of execution of the figures distinguish the lea 7 band from the Ica 10 band. Large Diamond Fish figures, as noted, are also used to form composite unit designs in Phase 10, either in diamond-shaped form or as Freestanding and Pendent Triangles. The diamond-shaped composite unit designs all consist of either four or nine elements only (fig. 576, pis. 74, 81). They occur in the same form in Phase 9 (fig. 428). Only the context is different, the lea 10 examples occurring as principal decoration, whereas the lea 9 example occurs as a secondary design. In one Phase 10 example done in the three-color pattern, the Diamond figure in the front end of the Large Diamond Fish is a Stepless Large Diamond of the kind shown in figs. 519, 556 and 561. This larger form is not found in this position in the lea 9 designs (33.8, UM, SA-3339). A Pendent Triangle design with the common lea 10 Large Diamond Fish execution is also recorded in the secondary decoration of the fluted shoulder of a Simple Bottle (36.3). A Large Diamond Fish design of slightly modified execution is used in the composition of large Freestanding Triangles in a broad upper body band on a large Complex Jar (pi. 95). In the example in pi. 81 the Small Diamond fillers for the front end are omitted. In both examples the modifications amount to an abbreviated execution. Small Diamonds are used as extensively as Stepless Large Diamonds in Phase 10; they are similar to Stepless Large Diamonds in this phase (figs. 565, 566, 570, 574, 577, 579, 590b, 598, 599, pis. 85, 92, 97b, 99, 100). Although most of them are smaller than the Large Diamonds, the size ranges partly overlap (for example, fig. 577, 590b, 598, 599). The regular occurrence of individual Small Diamond figures in Phase 10 is as important as that of the

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

Stepless Large Diamonds, because of its consistent contrast with Phase 9. As we have seen earlier, individual Small Diamond designs were replaced in lea 9 and Ica-Inca decoration by a simple diagonal crosshatching (cf. figs. 434, 448, 457, 472, 476, 499, pis. 43, 51, 56, 70, 71b). Almost all Phase 10 Small Diamonds, by contrast, are executed like Phase 6 Small Diamonds (cf. figs. 308-311, 327, 335, 395). Most Phase 10 Small Diamonds are virtually or entirely indistinguishable in execution from those of Phase 6. However, some have the distinctive general style features of Phase 10, which include the more frequent occurrence of overlapping lines, a greater degree of line overlap, greater asymmetry of the figures, greater frequency of concave sides of the diamond-shaped figures, occasional thicker black lines and larger elements or thinner lines and smaller elements (cf. figs. 577, 579, 590b, 598, 599; for comparison, see figs. 309, 327, 395). In Phase 10 the Small Square design appears optionally with the Small Diamond in some contexts, as in Phase 6 (fig. 549, pi. 78). It is much more common in Phase 10 than in Phase 6, however, and the contexts are slightly different, though the principle is the same. The figure is identical with the Small Diamond, except that it is aligned with its sides parallel to the horizontal band instead of at a diagonal. For comparison with the rare Phase 6 Small Square design, see figs. 303, 312. Another occasional substitute for the Small Diamond is new to Phase 10. It is the Half Diamond, a triangular half of the Small Diamond with its apex down. It is used in some Pendent Triangles to form the top row of elements, so that the flat sides parallel the rim of the vessel (figs. 565, 574, 590b). In other words, it is a special adaptation of the individual Small Diamond elements to their function as Pendent Triangle designs. In some examples the Pendent Triangles are-composed entirely of Half Diamond elements. Small Diamonds (and related Small Squares) are distinguished from Stepless Large Diamonds by usually having a simple dot center in place of the white Small Diamond center, or in lacking a central design, as in Phases 6 to 8 and their equivalent crosshatching in Phase 9. More rarely, they have a central design in form of a cross, also as in Phases 6 to 9 (fig. 577). The principles of use of Small Diamonds

are the same as in Phase 6. That is, Small Diamonds are a versatile design because of the generally smaller size of the elements. They occur in multiple rows as over-all designs for some of the narrowest principal bands (pi. 100). In this unpatterned form they are also used occasionally as handle-band decoration, when the handle strap is of the appropriate width (fig. 570, pi. 80). As in Phase 6, Small Diamonds (along with Small Squares) lend themselves especially well to the creation of larger patterned figures, because of their small size. They are used in patterned form as over-all decoration on principal design bands of intermediate width. Tney are also used in smaller patterned compositions as diamond-shaped (or square) composite unit designs and Pendent and Freestanding Triangles (figs. 549, 565, 566, 574, 577, 579, 590b, 598, 599, pis. 85, 92, 97b). In these smaller compositions they fulfill the function of primary and secondary unit designs in the decoration of principal bands, upper body bands and inner mouth bands. Another pattern, equivalent to that of unit designs in function, is in the form of a zigzag line on a secondary band in a horizontal band arrangement (pi. 100). The color pattern of the Small Diamond and Small Square designs depends on their position and function, and follows the same rules as in Phase 6. Apart from the frequent substitution of Small Squares for Small Diamond elements in the patterned forms, one other significant difference between the patterned Small Diamond and related designs of Phases 10 and 6 exists. The over-all patterns of Phase 10 are arranged in imitation of units of the rectangular inner mouth-band tradition (see below; 33.1, MRI, DA-3656, MNAA, 20/627, UM, SA-4213). The popularity of these motives is a distinctive Phase 10 trait, as we shall see. In these patterned designs Small Squares in black with or without white centers are placed in alternation with plain white Small Squares. Alternatively, Small Squares in black appear in alternation with rows of white Meander elements borrowed from traditional narrowband designs (see also below). The use of Meander elements in these patterns is also unique to Phase 10. Simple crosshatching in place of Small Diamonds, a Phase 9 feature, is rarely present in Phase 10, as noted above, but it does occur. Fragments from the Colonial stratum at Old

THE ANALYSIS OF DECORATION

lea (PV62-1U) and Phase 10 sites such as Villacuri and Curiba show that occasional Pendent Triangle designs are done with the crosshatching technique, even though the rest of the shape and design features are in the lea 10 style. These fragments are not common, and all the examples are on unpigmented vessels with relatively little decoration in the form of unit designs, the shapes being Deep Open Dishes and open bowl fragments. There also is a unique example of a boxshaped bottle with neck shape, handle form, and body size like the corresponding features of Ica-Inca B Large Bottles (33.14.2). On this vessel part of the principal decoration consists of the simple crosshatch design that is the equivalent of Small Diamond designs in Phase 9. Although this vessel has no associations, its Phase 10 origin is indisputable because of the design arrangement, which is the horizontal three-band arrangement, and the design in one of the principal bands, which is a standard lea 10 Small Diamond design made with individual Small Diamond elements. Designs in the Rectangle and Triangle traditions are in more common use in Phase 10 than in other phases. These designs are only slightly modified variants of Phase 9 designs in this category, in contrast to the Diamond designs. The reason is evidently that no special association or analogy existed in the Late Horizon between designs of this tradition and design motives of the Inca tradition, thus obviating the necessity of making them targets for revivalistic modification to the same degree as Diamond designs. Since designs of the Rectangle and Triangle traditions are usually combined in the same pattern, as in Phase 9, they will be called here also collectively "Rectangle" designs. In addition, there is the occasional use of designs derived solely from the distinctive Triangle Fish designs of Phase 6 (see below). In Phase 9 distinctions existed between "conservative painted," "advanced painted," and incised Rectangle designs, the latter being a variant of the "advanced painted" form. These conservative and advanced variants of Phase 9 also form the basis for distinctive design categories in Phase 10. The terms Conservative and Advanced Rectangle will be retained here to draw attention to their now

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traditional distinction. However, there are some special features of the Phase 10 variants in both categories, and incised designs do not occur in Phase 10 as a regular feature. In addition to the Conservative and Advanced Rectangle designs relatable to the corresponding lea 9 designs, there is another, rarer category of designs, which are modified variants of the Ica-Inca Rectangle designs. These latter have more conservative features in execution than the Conservative Rectangle designs, as noted in the preceding section, the individual elements looking much like the corresponding elements of Phase 6. Finally, a unique example appears to be a modified revival of the lea 6 Rectangle proper. Conservative Rectangle designs of Phase 10 are similar in appearance and use to those of Phase 9. As in Phases 6 to 9 they appear in both the zigzag and Fish patterns (figs. 522524, 539, 540, 553, 554, 588, pis. 78-80, 88, 93, 96). Although some Phase 10 examples are virtually indistinguishable from those of Phase 9, most of them differ slightly in detail. Furthermore, in Phase 10 these designs are also done as principal designs in black on white (figs. 553, 554, pis. 80, 93). This twocolor pattern is not found for this kind of design in any other phase. However, most Phase 10 examples are in the traditional threecolor pattern of black and white on red, as in other phases. As in Phases 6 to 9, white counter designs are optionally done as individual "Rectangle" figures, or by drawing a straight or nearly straight line and appending triangular elements to it. However, the latter technique is far more common in Phase 10 than in all other phases. The main variation in Phase 10 is that some of the counter designs have perfectly straight base lines and others more irregular ones. By contrast, triangular counter designs occur only once in the Phase 6 sample on a unique Chincha-related form (fig. 396). Such counter designs become increasingly common when one observes Phases 7 to 9 in sequence. The black "Rectangle" elements of Phase 10 are only rarely such irregular protrusions as one sees particularly in the lea 9 example shown in fig. 419. In all lea 9 designs of this kind some of the black protrusions are merely short, irregular lines in place of the modified Rectangle figures, and there is considerable irregularity in the size and shape of the ele-

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ments (figs. 419, 422, 587). In most Phase 10 designs all elements have a semblance of the full modified Rectangle figures, and they are of more even shape and size (figs. 521, 540, 588). The hastier, more irregular execution is found in Phase 10 primarily in the black on white patterns (figs. 553, 554). Another difference is that in the three-color pattern the occasional occurrence of black elements with central spaces is far more frequent in Phase 10 than in Phase 9, this being a very rare occurrence in Phase 9. The more even size and proportions of the black units in Phase 10, together with the more frequent presence of central spaces, gives them a slightly greater resemblance to corresponding designs in Phases 6 to 8 (cf. particularly fig. 540; for comparison, see figs. 314, 396, 586). One can see these slight contrasts between Phases 10 and 9 as an effort on part of the Phase 10 potters to make their Rectangle designs slightly more like those of Phases 6 to 8, at least in symmetry and neatness, and also in the attempt to leave central spaces in the elements. Most Phase 10 Rectangle elements in the three-color pattern are of an even, standard large size, centering on 7 to 8 mm. across at the broad end or "base." However, the elements in the design pattern shown in fig. 521 are smaller (around 5 mm. across at the base). The reason for the smaller size here appears to be that the larger elements would have required more band width for this pattern than was available. In black on white color arrangements the design elements are more frequently smaller drawn with finer lines (fig. 553). Some additional distinctions of the Phase 10 Rectangle designs appear only in some of the designs of this phase. In some three-color Rectangle patterns there is a slightly to significantly greater difference in line thickness between the black and white lines than in Phase 9 (figs. 521, 523, 524). Furthermore, in some Phase 10 Rectangle designs the counter designs are drawn with a distinctive abbreviation, in which the triangular figures are not completed, so that they appear as hooked lines (fig. 588). This abbreviation is not found in other lea phases. Conservative Rectangle designs are composed into traditional and different, new patterns in Phase 10. Both the traditional zigzag patterns are in use. One is the "short zigzag" which consists of a simple up-down alter-

nation of single elements (figs. 540, 588, pis. 79, 88). The other is the "long zigzag" in which three or more units form longer diagonals (figs. 539, 554, pis. 93, 96). For comparison with both, see figs. 313-315, 396, 416, 419, 422, 586, 587). In addition, however, there is an entirely different pattern in Phase 10, which will be called the Hook pattern here (fig. 521, pi. 73). Its inspiration is readily apparent. It is an elaborated version of the hook-like appearance of some of the distinctive lea 10 counter designs, as illustrated in fig. 588. Another distinctive Phase 10 Rectangle pattern is the Rectangle Chevron one. It is adapted particularly to relatively narrow vertical panels. It consists of two long diagonal chains of elements meeting in a bottom point. These chains are arranged in a stacked "chevron" pattern. This pattern is used by preference for the vertical panels on the narrow shoulder of Complex Jars (pi. 96b), or for alternating panels on vessels that are circular in horizontal section and where a pleasing contrast in patterning is sought when adjoining panels carry similar principal designs. As we shall see below, the same chevron pattern is also used with an Advanced Rectangle variant, the Serrated Diagonal design. Zigzag and related Hook patterns of Conservative Rectangle designs in the three-color pattern are used most commonly to decorate the narrowest category of undivided principal bands, occasionally narrow inner mouth bands (both as continuous undivided bands or in alternating panels), and vertical panels in medium-broad to broad principal bands and broad inner mouth bands, the latter on some Flaring Cups (pis. 73, 79, 96, 99). In the black on white color pattern zigzag Rectangle designs are used for the broad principal bands in upper body-band position on some Simple Bottles (pis. 80, 93), and occasionally for narrower principal or secondary bands in other contexts, including occasional inner mouth bands. Rectangle Fish designs occur in greater variety in Phase 10 than in other phases. Two variants are indistinguishable from those of Phase 9, except for the same minor differences in execution already mentioned above. The lea 9 variant shown in fig. 422 occurs in an identical pattern in Phase 10. The pattern is also the same as the corresponding one in Phase 6, except that in both die Phase 9 and Phase 10 examples it is arranged in a vertical,

THE ANALYSIS OF DECORATION

relatively narrow panel instead of a broader horizontal band (for comparison, see figs. 315, 585). Like the Phase 6 to 9 Fish figures, those of Phase 10 are composed of the traditional seven units. Unlike those of Phases 6 to 8 and like those of Phase 9, they have one open side at the front, as in fig. 552. The Rectangle Fish design appears as principal decoration in Phase 10 in a vertical panel found on the narrow shoulder section of a Complex Jar (33.7.1, UM, SA-3345). The same design also occurs in a horizontal principal band in upper body-band position on a Simple Bottle (36.3). The seven-element Rectangle Fish design with one open front side, described above, is also used as a unit design in Phase 10, either individually or in composite forms (see below and figs. 552, 573). There is a unique Phase 10 variant of the seven-element Rectangle Fish described above, in a traditional three-color pattern as an over-all design. In this example the Rectangle Fish figures are arranged in two horizontal rows in a continuous principal band (33.1, MRI, DA-2929). No two-row arrangement for the Rectangle Fish design occurs in Phase 6 and none has been recorded for Phase 9. However, there is a good Phase 8 example for this arrangement which is adapted to the broad space of the principal band appearing in upper body-band position on an enlarged Simple Bottle of that phase (cf. fig. 416). The Phase 10 design differs from that of Phase 8 in the composition and details of execution of the Fish figures. The Phase 10 Fish figures have one open-sided front, like other lea 9 and 10 Rectangle Fish. The Rectangle elements are executed like other Conservative Rectangle designs of Phase 10. However, they are distinctive in that the principal elements are white instead of black, and have the additional unique distinction of being outlined with black lines, with black dots added to the center of the Rectangle elements. This unique combination of features reflects an apparent attempt to recreate the impression of small lea 4 to 5 Rectangle designs, which are white or purple outlined with black. Another carelessly executed variant of what appears to be the seven-element Rectangle Fish design in a multiple row pattern occurs on a jar fragment from Curiba (fig. 602). A Phase 10 Rectangle Fish design virtually

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indistinguishable from a Phase 9 one is shown in fig. 524 (for comparison, see fig. 421). In this design the Fish figures are smaller, made of four instead of seven elements. The elements are arranged as in the more traditional lea 6 to 9 Rectangle Fish figures, with a closed front. However, no four-element figures of this kind are recorded for Phases 6 to 8, almost all the latter having seven elements. As in Phase 9, the Phase 10 Fish figures appear in multiple horizontal rows in panel subdivisions of a principal band of intermediate width (pi. 78). The slight differences in execution which can be seen between the Phase 9 and Phase 10 examples of this design rest in the slightly thicker black lines, slightly greater symmetry, and occasional open spaces in the black figures, and the more even, single-stroke base line, more even execution and more even line thickness of the white counter designs in the Phase 10 variant. In Phase 10 there is also a black on white variant of this four-element Fish figure. It is executed with smaller elements as a unit design, done more hastily than in the three-color pattern (see also unit designs, below). In addition to the two categories of Conservative Rectangle Fish figures described above, others in Phase 10 have not been recorded for Phase 9. One is a smaller, abbreviated three-element variant (fig. 522, right side of band, fig. 558, right side of band, pi. 79). This figure has an open-ended front. It is a particularly common design in Phase 10. The only other recorded example is attributable to Phase 6, in a unique context for that phase, as decoration of a narrow upper body band on a very small Simple Bottle (fig. 336). The three-element Rectangle Fish of Phase 10 is used for various purposes. One is as a principal over-all design in the traditional three-color pattern, alined in a narrow band, in sections where the band is particularly narrow (1.6 to 1.8 cm. wide, not counting outlines). Only some of the figures in the band are done in this abbreviated form, probably because the band is of slightly irregular width, and the smaller Fish figure is used for the narrowest portions of the band (fig. 522, pi. 79). The example shown in fig. 582 also functions as a principal-band design on a very narrow, long bottle neck which does not allow room for outlined bands, as noted in the discussion of design arrangements,

POTTERY STYLE AND SOCIETY IN ANCIENT PERU 198 above (pi. 80). As a functioning principal appearance they are most like the lea 9 form design, this example has white counter ele- illustrated in fig. 463, which is painted in the ments between the black Fish figures, though black on white pattern. The lea 10 design is the remaining counter designs and border distinguished from that of Phase 9 in that all elements appropriate for principal-band dec- three examples of it are done in the three-color oration in outlined bands are omitted. The pattern as it appears in Phase 6 (cf. fig. 316). three-element Rectangle Fish figure is also Two of the lea 10 examples are continuous used as a popular secondary unit design, both over-all band designs, as in Phases 6 and 9. in columns or horizontal rows on secondary Also as in these phases, they decorate the panels, or scattered between larger figures narrowest principal bands (3 cm. wide or (fig. 558, pi. 80; see also unit designs, below). less), one on a Deep Open Dish in prinIn a fourth alternative category, Conserva- cipal-band position, and the other on a large tive Rectangle Fish designs occur in larger Complex Jar in upper body-band position form, when a traditional single-row pattern- (33.1, UM, SA-3324; 33.7.1, MRI, DA-3264). ing of Rectangle Fish designs is desired in In both examples the patterning is like the principal-band decoration. One variant has Phase 9 design instead of like the Phase 6 the same patterning of seven elements that is design in lacking the lea 6 kind of border found in Phases 6 to 8, one which has not elements. However, as in Phase 6 and unlike been recorded for Phase 9 (fig. 522, left side of Phase 9, some of the black triangular elements band; for comparison, see figs. 315, 416, 585). contain white counter designs. We see here Because many principal bands are narrower again a combination of features of Phase 9 than principal bands of Phase 6 it is possible origin with Phase 6 features that do not occur to use the lea 6 form of single-row patterning in Phase 9. of these figures in the narrowest principal Apart from the general style feature of bands of Phase 10, although the elements of greater line thickness, which further distinwhich the figures are composed are smaller guishes the lea 10 Triangle Fish design, some than in Phases 6 to 8. other features are peculiar to Phase 10. In one Retention of the lea 6 single-row patterning of the Triangle Fish design bands lea 10 of traditional seven-element Rectangle Fish border elements borrowed from the inner figures is not possible when the principal mouth-band tradition are substituted for the bands are of intermediate Phase 10 width, lea 6 border elements (33.1, UM, SA-3324). In which falls within the lea 6 broad-band width addition, the Triangle Fish figure is also used range (fig. 523, pi. 78). Since the use of as a unit design in Phase 10, unlike other single-row patterning frequently appears to phases (fig. 546, pi. 88). The Phase 10 examhave been desired by the lea 10 potters, ple is particularly distinctive because it is an probably because it was so used in Phase 6, enlarged form composed of multiple elethey enlarged the Rectangle Fish figures on ments, the same principle that is also used to such bands by multiplying the elements of enlarge Rectangle Fish designs in Phase 10 which they were composed. Alternatively, a (see above). These enlarged Triangle Fish unit Rectangle Fish design painted in black on designs are used in place of traditional comwhite, in which the individual elements are posite unit designs for the decoration of secmuch smaller than in the three-color pattern, ondary panels on a Complex Jar (see below). is also composed of more than seven elements Unlike corresponding Phase 6 to 8 designs (fig. 553, pi. 80). The enlarged Rectangle Fish they are done in the three-color pattern. designs composed of eight or more elements are also used as unit designs in black on white Advanced Rectangle designs are a particor white on red. In these two-color combina- ularly popular design category in Phase 10 for tions they are executed like those in fig. some contexts. Since such designs do not 553. Rectangle Fish figures composed of occur in Phase 6 and almost certainly not in more than seven elements (not counting Phases 7 and 8, this design can be seen as a the central counter element) are also unique further modification of a design category of to Phase 10. Phase 9 origin. However, it shares details of execution with Conservative Rectangle designs in Phase 10, as described above, details Homologues of the lea 6 to 9 Triangle Fish that suggest a revivalistic intent. designs also occur in Phase 10. In details of

THE ANALYSIS OF DECORATION

Four major subgroups of Advanced Rectangle designs in Phase 10 include the Diagonal Line design, the Crosshatch and Crosshatch Checkerboard designs, Serrated Diagonal designs, and Bird and Fish unit designs. The Diagonal Line design looks like painted Advanced Rectangle designs of the lea 9 and Ica-Inca styles on one end of the Late Horizon range of variation of these designs. Anthropomorphizing features on Football-shaped Jars are decorated for the most part with these designs, as in Phase 9 (cf. pi. 58). All examples are in the traditional three-color pattern, in black and white on red. The designs are placed in relatively narrow bands of irregular contours, and are arranged in simple diagonals, as in Phase 9 (cf. figs. 443, 444, 446). However, all but one of the Phase 10 examples represent the extreme variant of straight or nearly straight diagonal lines, a form that is relatively rare in Phase 9 (fig. 446; 32.2; 33.7.5, DMM, 101, 220). Only one Phase 10 example consists of lines that resemble the simpler wavy lines in the lea 9 form illustrated in figs. 443, 444 (33.7.5, WZ-4). It appears that nearly straight diagonal lines with only slight irregularities in direction and thickness are the rule in Phase 10, whereas the line with modified Rectangle protrusions is the most common one in Phase 9. The only way to determine that a particular anthropomorphized Footballshaped Jar without burial or refuse associations is of Phase 10 origin is through the presence of individual Diamond elements in some of the anthropomorphizing features and through unit designs that appear as space fillers on the back of the vessel. The Diagonal Line design is also used in a new context in Phase 10, to decorate narrow bands in special new enlarged design figures (see below). In this context the Diagonal Line design appears in a two-color pattern, usually black on red, and sometimes black on white (figs. 541, 593-597). Both the two-color pattern and the use of this design in narrow bands are features shared with the Ica-Inca style (cf. Suspender Bands on Drum Bottles and narrow bands on Lamp Bottles, pis. 54, 70). The two-color Diagonal Line design is also used at times to decorate the irregular shapes of some parts of the interior surfaces of the enlarged design figures (figs. 593-596). The enlarged figures are used exclusively as decoration of large vertical panels of broad

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principal bands (see inner mouth-band tradition and Stepped Diamond and Step Fret, below). Occasionally, the two-color Diagonal Line design decorates short narrow bands used to fill odd spaces, for example plainslipped areas above and below the peanut appliqués on a Complex Jar (33.7.2, MRI, uncatalogued - 7). The second subgroup of Advanced Rectangle designs is a variation of the two-color Diagonal Line design, called the Crosshatch design. The same, slightly irregular lines are arranged in a vertical/horizontal crosshatch pattern. This pattern is unique to Phase 10. It is used in two contexts. One is as an alternative band and area filler in the same enlarged figures in which the Diagonal Line design is used (figs. 526, 527, 541, 542, pis. 97a, b). The origin of the Crosshatch pattern appears to have been prompted by a wish to contrast different areas of these enlarged figures, as can be seen from the illustrations. In these designs square segments frequently form units within the enlarged figures (fig. 542). Squares decorated with the Crosshatch design are also commonly used in Phase 10 as an independent design in a checkerboard arrangement, evidently in analogy with the Inner Mouth-Band Checkerboard (see below; fig. 525, pi. 100). In the Crosshatch Checkerboard white crosshatching alternates with black for contrast. The black checks are usually 1.3 to 1.5 cm. square, and the white ones slightly smaller, ca. 1 cm. square. The Crosshatch Checkerboard is used exclusively as a principal-band design (see also below). The third subgroup of Advanced Rectangle designs is also confined to Phase 10. It is distinguished here by the term Serrated Diagonal design. It resembles the incised form of Advanced Rectangle designs of the lea 9 style rather than the painted lea 9 design, but it is used exclusively in painted form in Phase 10 (figs. 555, 564, 592, 602, pis. 79, 97a, b, 98; for comparison, see fig. 471). In addition to a simple diagonal patterning, it appears as the Serrated Diagonal Chevron pattern (fig. 592b). It also appears in a special design arrangement, the Serrated Diagonal Checkerboard arrangement (pi. 98). The Serrated Diagonal design is most commonly done in the three-color pattern. It occurs more rarely in black on white, usually in specialized contexts (pi. 97b). The design consists of straight diagonal lines which cross

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a relatively narrow design surface. The diagonals are alternating black and white ones with triangles attached to one side. The triangles are done most commonly by a continuous zigzag line, but in some examples are unconnected individual elements. The black and white triangles face each other in an interlocking pattern. The black triangles are usually oriented to the right and the white ones to the left, in the most common traditional lea orientation for black and white design elements. As in other designs in the Rectangle tradition, there appears to be a general attempt to leave central spaces in both the black and white triangular elements, with only partial success for the black ones. When the design is in black on white, only the black figures are done as designs, the background space appearing in place of the counter designs (pi. 97a, b). Although the patterning of the Serrated Diagonal design is usually that of simple diagonals, in some rare examples a large two-armed zigzag (i.e., a chevron) is used for contrast, the same pattern that is also used occasionally with Conservative Rectangle designs (see above). This patterning is called the Serrated Diagonal Chevron pattern (fig. 592b). The Serrated Diagonal design is used in specialized contexts. In the three-color pattern it is a favorite design for vertical panels in principal bands of intermediate width, panels that are around 4 to 5 cm. wide. The same design is also used for panel subdivisions in inner mouth bands of comparable width on some Flaring Cups (figs. 564, 592b, pi. 79). Occasionally it is used to decorate panels of the broadest principal bands on Complex Jars, when the panels are relatively narrow, that is, of about the same 4 to 5 cm. width or less (fig. 602). It is also used as a continuous design for narrow principal bands about 2 cm. wide, or for panel subdivisions of such bands (cf. neck design of the bottle in pi. 98). Occasionally the Serrated Diagonal design is used as inner mouth-band decoration when the inner mouth band is of about the same width, that is, ca. 2 cm. Sometimes the design is used to decorate bands of narrow principal-band width which form parts of enlarged design figures (pis. 97a, b). It is used as decoration for large Pendent and Freestanding Triangles (fig. 555). Finally, it is also used as principal decoration in a special design arrangement,

the Serrated Diagonal Checkerboard arrangement (see below and pi. 98). The contexts in which the Serrated Diagonal design appears show that it was found especially useful as a continuous design in narrow bands, and as a design for variously shaped blocks of space of a certain limited size. It lends itself equally well to rectangular, trapezoidal or triangular spaces. The black on white color pattern is used more rarely for the Serrated Diagonal design, and usually in special or improvised adaptations to unusual contexts. For example, in one large Complex Jar the more traditional decoration of the upper body band is replaced by principal-band decoration on a white ground, on a band of a width that corresponds to the intermediate width range of principal bands (pis. 97a, b). Both the width and color patterning for this band are unusual because of the context in which it occurs (see design arrangements, above). The principal panel subdivisions are decorated with the Serrated Diagonal design in the black on white color pattern. In another unique example, the rises of the fluted shoulder on a Simple Jar are particularly wide, because the indentations are spaced far apart. These rises are decorated with panels containing the Serrated Diagonal design in black on white. The black on white color pattern here is the customary one for the decoration of fluted shoulders, whereas the choice of design represents a special adaptation to the unusual width of the rises. The area of the rises is the same as that of panels in principal bands of intermediate width (33.6, MNAA, 20/90). Another unique example appears in the decoration of trapezoidal secondary panels on the forementioned large Complex Jar, where the Serrated Diagonal design is used in place of the usual unit designs (pis. 97a, b). The two-color pattern here is in keeping with customary color patterns for the decoration of secondary panels. There is one Phase 10 example of a design that must be classified as Serrated Diagonal, but which shows details of execution resembling those of the painted Advanced Rectangle designs of Phase 9 (fig. 562, pi. 75; for comparison, see figs. 443, 444). Even here, however, some elements, particularly in the white counter designs, are in the Phase 10 Serrated Diagonal execution. This example merely shows that occasional Phase 10 vari-

THE ANALYSIS OF DECORATION

ants are composed in part of features like those of painted Advanced Rectangle designs of Phase 9. The fourth and last category of Advanced Rectangle designs appears in the form of some Fish and Bird unit designs. The Fish unit designs correspond approximately in appearance to the Advanced Rectangle Fish unit designs of Phase 9, with variations (pi. 90, figs. 539, 589b, 598, 602; for comparison, see fig. 452). As we shall see, Bird unit designs are exceptionally common in Phase 10, and the "body" portion of many of them is executed in the same Advanced Rectangle technique as the Fish unit designs (fig. 547, pi. 84). However, the "body" portion of these Bird figures has a considerable range of variation in appearance, the variation being continuous between this advanced and various more conservative executions (pis. 92, 94, 95). In addition to the lea 9-related designs of the Rectangle tradition described above, there is a rare use of an Ica-Inca-related one in Phase 10. It appears in the form of Fish unit designs in black on white or black on the unpigmented tan slip (fig. 575; for comparison, see fig. 493). This Rectangle design category is distinctive because the elements have a conservative execution, like those of Phases 6 and 7 and unlike those of Phases 8 and 9 (for comparison, see figs. 315, 416, 585). It will be recalled that in Phase 6 such designs are used only as principal designs in the three-color pattern and not as unit designs. Their only recorded use as unit designs outside of Phase 10 is in the Ica-Inca style. The black on white color pattern is also an Ica-Inca one. The only recorded context of these unit designs for Phase 10 is in Cumbrous Bowl decoration, a different context from that of the Ica-Inca style (pi. 85). On lea 10 Cumbrous Bowls these designs function as the equivalent of special Phase 6 Fish unit designs used in the same position on lea 6 Cumbrous Bowls (cf. pi. 10). In a unique example of a Rectangle design in our Phase 10 sample Rectangle elements with lea 6 execution are used as a principalband design in the three-color pattern. It occurs on the principal band in upper bodyband position on a Simple Bottle with a plain, unfluted shoulder (33.5.1, DMM, 380). This Rectangle design does not occur in the Late

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Horizon styles. However, the patterning of the design is unlike that of Phase 6. The Rectangle elements are placed in horizontal rows instead of zigzag diagonals. This is a feature also found in some Chincha-style designs of Late Intermediate Period Epoch 8. Black and white rows alternate in the lea 10 pattern, however, unlike the Chincha-style patterning. The black elements face down and the white ones up. The elements are spaced so that they form an interlocking pattern. This feature is analogous to the interlocking pattern of the Serrated Diagonal design in the Advanced Rectangle category. Evidently what we see in this example is an attempt to recreate a Rectangle design in which the elements have lea 6 execution, but one that has a combination of patterning features peculiar to Phase 10 with one resembling a Chincha-style feature contemporary with lea Phase 8. Designs of the inner mouth-band tradition are more common and of more general use than in any other phase. The term "inner mouth-band tradition" is retained here for the sake of pointing to the historical continuity. However, in Phase 10 designs of this tradition are used more commonly as principal-band or secondary-band decoration than as inner mouth-band decoration. The use of these designs for many different positions, in contrast to their use for more rigorously restricted positions in other phases, especially Phase 6, is part of a general style feature of Phase 10 design arrangements, as noted. We have seen earlier that the use of designs of the inner mouth-band tradition as principal decoration appears in Phase 8 as a local lea feature associated with Chincha influence. They are also used as principal-band decoration in Phase 9, both in the lea 8 checkerboard pattern and in a new context as half-band decoration appearing primarily on Shallow Dishes. However, the Phase 8 and 9 uses of these designs as principal decoration are limited compared with the way motives of the inner mouth-band tradition dominate lea 10 decoration. In Phase 10, designs of this tradition are nearly as important principal designs as Diamond and Rectangle designs. In view of the extensive Phase 10 use of designs of the inner mouth-band tradition, it is particularly significant that the one use of it that is of Phase 9 origin, namely as a half-

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band design used primarily on Shallow Dishes, does not occur in Phase 10. Evidently this context was considered tainted with associations with the Inca occupation and was therefore eliminated from the Phase 10 style. The use of inner mouth-band tradition designs for the inner mouth-band position is greater in Phase 10 than in Phase 9, but not as consistent as in Phase 6. As we have seen earlier, other designs, mainly in the Rectangle and Diamond categories, are used as regular alternative decoration in this position in Phase 10. When traditional inner mouth-band designs appear in the inner mouth-band position, most of them resemble those of Phase 6 more than do the lea 9 designs (figs. 558-560, 591b, pis. 72, 89, 90; for comparison, see figs, 353-359, 420, 467, 468). Some lea 10 designs are stylistically almost indistinguishable from those of Phase 6 (fig. 559, pi. 89; for comparison, see fig. 356). Others are virtually identical, except for general style contrasts such as line thickness and symmetry of execution (fig. 560, pi. 72; for comparison, see fig. 357). As in Phase 6, both the rectangular and the triangular inner mouth-band patterns are in use, with the rectangular one being the more popular. Apart from the general stylistic contrasts in line thickness and execution, which affect most Phase 10 examples, some additional Phase 10 features differentiate the designs in the rectangular pattern from the corresponding Phase 6 designs. When fret-like divisions between rectangular units are found, the fret bands are on the same level as the line ends, they do not touch the horizontal band outline, and they connect with the ends of the diagonal step motives between them, forming a continuous black line instead of separate segments (fig. 591, pi. 90). These features contrast with the corresponding Phase 6 features (cf. figs. 354, 355). Furthermore, although the two-sided white filler elements with a Rectangle corner or the triangular filler elements as they are found in Phases 6 to 9 are also used in Phase 10, they are commonly replaced by another form not found in the other phases. For the more traditional filler variants, see figs. 353-356, 420, 559, 591. The variant unique to Phase 10 is the triangular grid shown in fig. 558 and pi. 90. This design is done in analogy with lea 6 border elements of upper body-band designs, elements that do not occur in inner mouth-band decoration

in Phases 6 to 9 (cf. fig. 333, pis. 13, 14). The ;rid filler elements used in Phase 10 frequenty have central dots, in analogy with Small Diamond designs, a feature also peculiar to Phase 10 (fig. 558). Some inner mouth bands, like the one shown in fig. 558, are broader bands than any in Phase 6 because they are used for much larger dishes or more flaring-sided Flaring Cups than any occurring in Phase 6. Most Phase 10 bands fall within the Phase 6 width range, however (figs. 559, 560, pis. 72, 89). As in Phase 6, the Phase 10 bands are either continuous, or they have an alternation of principal and secondary panels. In some examples the secondary panels are decorated with a fringe band of Pendent Step designs which resemble the Pendent Step designs of Phase 6 (figs. 561, 563). Some, like the one in fig. 563, are much like the corresponding Phase 6 designs in detail of execution (cf. figs. 387, 392, pi. 10). Others, like the one shown in fig. 561, differ from the corresponding Phase 6 designs in being larger, and in containing interior filler elements of the kind used in Phase 6 only as corner elements in the rectangular inner mouth-band pattern (for comparison, see figs. 364 and 353, 355, 356). As noted, in Phase 10 designs of the inner mouth-band tradition are used commonly as decoration for narrow principal bands, for secondary narrow red bands adjoining principal white bands decorated with unit designs, and for upper body bands. It is obvious from the variations in design arrangement that the lea 10 potters were at times uncertain which of these functions was served by a particular band. The reason for this uncertainty was the Phase 10 style feature in which band width varied more than in other phases and determined the choice of design as much as did the position of the band. As a result, designs more rigorously restricted to some positions in other phases were used for various positions in Phase 10. Whenever a principal band is relatively narrow with relation to the secondary narrow bands, when secondary narrow bands are relatively broad, or when the secondary narrow band is located in what would be the upper body-band position in other arrangements on some jars, the conditions conducive to design transferences are present and occasionally did prompt such transferences. Conditions for such transferences also prevail when model-

f

THE ANALYSIS OF DECORATION

ed features force modifications in design arrangements and band width, for example on Bird Jars and other Complex Jars with modeled appliqués. For these reasons it is useful to discuss all inner mouth-band tradition designs used for the exterior of vessel bodies together. Most designs of the inner mouth-band tradition used as exterior body decoration are done in the rectangular pattern, of the kind shown in figs. 528, 529, 558, 591, 593, 596, 599, pi. 90, and others. As principal-band decoration they are used for the narrowest principal bands, most commonly those that are about 2 cm. wide, but including ones up to 3 cm. in width (figs. 528, 529). Designs of this tradition are also used for principal panels of comparably narrow width on the narrow shoulders of Complex Jars (fig. 543). The horizontal principal bands are used most commonly in the decoration of CamberedRim Bowls, including those that form the lower part of stacked vessels representing a bottle sitting in a bowl (30.1.3, 4-5289; 33.3, RHLMA, 16-10088, UM, SA-3334, DMM, 201; 33.14.3, MRI, DA-4084). On these vessels the bands are used either as the only body decoration, or they are bordered at the top by a secondary narrow white band or its equivalent (pi. 77), and sometimes by an additional narrow red band above the narrow white band. Bands with this inner mouth-band tradition decoration do not occur in other lea phases on Cambered-Rim Bowls or the equivalent Angular-Rim Bowls. However, Chincha-style vessels contemporary with lea Phase 8 are commonly decorated on the exterior body with designs of the inner mouth-band tradition, though not in the equivalent position for principal bands (cf. Kroeber and Strong, 1924a, pl. 11a, b, d, 12a). The Phase 10 usage in this context may perhaps represent a variation on features or lea Phase 8, which was affected by Chincha influence. The nearest Late Horizon antecedent to this design usage is in a different context, on an Angular Rim Dish with a unique design arrangement borrowed from the half-band arrangement on Shallow Dishes (cf. pl. 55). Less commonly, narrow principal bands decorated with designs of the rectangular inner mouth-band tradition are used on Deep Open Dishes, occasional Angular-Rim Dishes, and Flaring Cups (30.1.2, 4-5291; 33.9,

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MRI, CV-25; 33.1, RHLMA, 4-4671-C fragment). On these shapes the adjoining secondary narrow bands are patterned in the traditional manner, as described above. However, the narrow white bands are frequently replaced by narrow black bands, as noted. The reason for this selected patterning is not evident at present. It is peculiar to Phase 10. A narrow principal band with a design of the rectangular inner mouth-band tradition is also used on a Bird Jar, where it is placed below the appliqué wings; that is, it is the lowest band of the design area (33.7.4, MNAA, 35/8353). In this context it represents an adjustment to the modeled features. As we shall see, however, the bottom position of this band here is also appropriate for secondary narrow red bands, and furnishes one of the contexts that allows optional interpretation. The same option of interpretation prevails whenever a band with decoration of this tradition is the bottom-most band of the design area, as it is regularly in Cambered-Rim Bowl decoration, for example. When the band is in this position its width usually determines the way its function is viewed, and this view if reflected by design details, as we shall see. Many of the narrow principal-band designs of the inner mouth-band tradition are like the corresponding inner mouth-band designs proper, with the exception of one feature. The vertical black lines that mark the division between the rectangular segments of the band occur only in pairs in the principal bands and are treated like band and panel outlines; that is, a white line is added between the two black ones (fig. 528, pi. 77). This feature contrasts with inner mouth-band designs proper, where the vertical black division liries can occur singly, in pairs, in sets of three or as frets, all without white intervening lines, and are seen to have a different function than outlines of design areas (cf. figs. 558-560, 591b, pi. 90, and also figs. 353-359). There is only one exception in the sample noted, a very narrow principal-band design on a small Angular-Rim Dish (30.1.2, figs. 259, 529). The contrast between the design in principal bands and its equivalent in other kinds or bands is significant, for it reflects a difference in the way the design was seen. As principal design it was seen as a series of separate rectangular panels in a band separated by panel outlines, whereas as an inner mouth-band design proper it was seen as a

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continuous band design limited only when the end of a panel was reached, as in fig. 558. It is important to keep this difference of viewpoint in mind because, as we shall see, it gave rise to a whole series of elaborations in principal-band decoration in Phase 10 which can be understood only in terms of this difference in perspective. The use of the rectangular inner mouthband motive as principal decoration in the form of a single horizontal band is first seen in Phase 9, where it is adapted to half-band decoration on Shallow Dishes, as noted (cf. fig. 440). This is the earliest recorded occurrence in the lea tradition of a design transference of this kind from an inner mouth band to a comparably narrow principal band. Among the lea 9 examples that have been recorded, most half-band designs do not have the distinguishing feature that contrasts inner mouth-band designs proper and the designs of the principal bands in Phase 10. However, there is a unique exception in the only Phase 9 example where the half-band arrangement is found in modified form on the broader principal design surface of an Angular-Rim Dish (fig. 441, pi. 55; see above). In this example the dividers of the rectangular segments are converted into outline bands, as in the standard Phase 10 usage. Since the Phase 9 examie is unique in our sample, this usage cannot ave been common in that phase. Nevertheless, the example shows that a difference in how these bands could be viewed existed as early as Phase 9. As noted, the concept that the rectangular inner mouth-band pattern is composed of separate small rectangular panels gives rise to a great variety of elaborations in Phase 10. In the narrowest principal bands these elaborations commonly consist of a pattern in which adjoining panels are decorated with minor or major contrasts in design (fig. 530). One panel always has an enlarged or slightly modified variant of a rectangular inner mouth-band segment. The adjoining panel may have various kinds of designs. One variant used for contrast is a further elaboration of the Composite Large Diamond design which is used in upper body bands and medium-bioad bands in Phase 6 and occasionally in Phase 10 (fig. 530, left and right; for comparison, see figs. 300, 332). The rectangular position in place of the diamond-shaped position which converts this Phase 10 figure into a Composite

Large Square, is an alternative position also popular for Small Diamonds (i.e. Small Squares) in Phase 10 (see above). In other examples, all adjoining panels of the band are decorated with enlarged rectangular inner mouth-band units, but adjoining panels are contrasted by the color of the filler elements. For example, opposing corner filler elements are done in the traditional white in one panel, and in black with a central white dot in the adjoining panel. The latter is a color pattern reserved for principal designs and not used in this context traditionally (33.7.4, MNAA, 35/8353). Our present sample does not reveal the complete inventory of designs used to contrast adjoining panels in the rectangular inner mouth-band tradition patterns used as principal decoration. However, as we shall see, additional patterns with further elaborations occur in the decoration of principal bands of intermediate and broad width in Phase 10. Before discussing some of the elaborations of the rectangular inner mouth-band motives in principal decoration, it is useful to discuss the other contexts in which the less modified designs of the inner mouth-band tradition appear in the exterior decoration of Phase 10 vessels. One standard use is for secondary narrow red bands which, as a rule, form horizontal borders of principal bands with a white ground decorated with unit designs. More rarely, such secondary bands appear as borders for principal bands with a red ground (see above). Secondary narrow red bands of this kind have been recorded in design arrangements on Deep Open Dishes and related forms, and on jars that are circular in horizontal section (pis. 73, 84, 90, figs. 591a, 600). These secondary narrow red bands are most commonly decorated with the rectangular pattern of the inner mouth-band tradition, but the triangular variants are also used occasionally. The design variants are the same ones used for the decoration of inner mouth bands proper. That is, they are seen as continuous bands in which the black dividing lines are not converted into outline bands marking panel divisions. The narrow bands are ordinarily narrower than most inner mouth bands, their width being that of only the narrowest inner mouth bands. However, as in other band categories of Phase 10, there is a greater range of variation in width of

THE ANALYSIS OF DECORATION

these narrow bands than is traditional, with some being nearly as broad as the narrowest principal bands. In keeping with traditional convention, the secondary narrow bands may border either the bottom or the top only of the principal band, or such a band may border both the top and bottom of the principal band. In some examples the secondary narrow band and principal band may be of nearly the same width, while in others the contrast is considerable. When such a secondary narrow red band is proportionately broad and is placed at the bottom of the design area, and when the principal band is relatively narrow, it is possible for the potter to see the arrangement in a different perspective, and classify it with the kind of arrangement that is used in the decoration of Cambered-Rim Bowls; that is, the red band in bottom position can be seen as the principal band and the white band above it as the equivalent of a secondary narrow white band. This is in fact what happens in a special adaptation of a banding arrangement on a Bird Jar (33.7.4, MRI, uncatalogued — 5). We recognize the shift in perspective by the fact that the inner mouth-band tradition design on the lower band is the one reserved for narrow principal bands, where the rectangular segments are separated by panel outlines, whereas the white band above it has a fringeband design of the kind appearing in other contexts only as secondary band decoration. The converse change in perspective can also take place. That is, on bowls the lower red band can be slightly narrowed and decorated with a design proper to the secondary narrow red bands, whereas the upper white band can be slightly broadened and decorated with unit designs of the kind used for principal white bands. The examples of this kind which have provenience are from the area of Pisco and Paracas rather than lea, and this altered perspective here probably signifies regional variation (cf. refuse collections and 33.12.1). The same opportunity for design transference is present in jar decoration when a white principal band is bordered by a new narrow red band at the top, the latter forming the topmost band of the body below the neck. A slight increase in band width here converts the secondary narrow red band into an upper body band by its position combined with its greater width. A small jar circular in horizon-

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tal section said to be from Nasca is a good example of this change in perspective (33.8, DMM, 84). The altered perspective is emphasized by the secondary red band at the bottom of the principal band being narrower and plain on this example. Perhaps by analogy with this transference, designs of the inner mouth-band tradition are not uncommonly used in place of traditional upper body-band designs on jars with other kinds of principal design arrangements as well, as is apparent from whole vessels and fragments in refuse collections (figs. 593, 596, pi. 99). In all these examples the bands are of the approximate width of inner mouth bands as they are found on large Deep Open Dishes, and the designs are like those on inner mouth bands proper and not like the variants reserved for principal-band decoration. A third transference of designs of the inner mouth-band tradition comparable to the transferences described above is also made in Phase 10. At times the design arrangement of three horizontal bands of relatively narrow principal-band width is modified by a slight shift in the relative width of the respective bands. The central band, decorated with unit designs or undecorated, is sometimes broader than the principal decorated bands on either side of it, the latter then falling within the width range of narrow bands. In these examples narrow-band designs of the inner mouthband tradition are used in place of principalband designs (fig. 591a, pi. 84). This arrangement has a closer resemblance to a Chinchastyle arrangement than does the horizontal three-band arrangement proper. A fourth design transference is closely related to the occasional use of the new secondary narrow red bands as borders for principal red bands with over-all decoration instead of principal white bands decorated with unit designs. This is an only partial transference, in which a narrow white band is retained but is decorated with a design of the inner mouth-band tradition in black only (33.1, AMNH, 41.0/5508). The same kind of design transference also appears on the fragment of a large jar, where such a band divides the principal band from the upper body band (fig. 599). The position of the narrow white band here is analogous to an lea 7, 8 and 10 feature appearing in the design arrangement on Simple Bottles and their analogues (see above).

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On one large Complex Jar with peanut appliqués two vertical narrow bands on either side of the modeled peanuts replace the principal panel used for unobstructed areas in this position (fig. 539). In this arrangement the outer, decorated narrow red band is placed between two black-slipped areas, a narrow black band on one side and a black secondary panel of the principal band on the other. The design chosen for the narrow red band here is in the inner mouth-band tradition. We have seen earlier that designs of the inner mouthband tradition used as principal-band decoration are also regularly bordered by narrow black bands in Phase 10. Apparently it had come to be considered appropriate that designs in the inner mouth-band tradition used as principal decoration be bordered by a black-slipped area. The triangular pattern of the inner mouthband tradition is used as a rare alternative for the decoration of the new narrow red bands (fig. 600, pi. 73). The examples are all in the single-line pattern, either straight or stepped, as they appear in Phase 6 (for comparison, see figs. 357, 358). The principal differences are in the thicker black lines, usually the lesser symmetry of the zigzags, and, in the stepped line pattern, fewer step elements, more irregular step angles and sizes, and greater occurrence of overlapping lines. These are the general style characteristics of Phase 10. Up to now we have discussed in the main those designs of the inner mouth-band tradition which are like the traditional designs found in Phase 6 (and presumably Phases 7 and 8) and in Phase 9. All of them occur in relatively narrow bands, although they occupy a great variety of positions. We shall now return to the use of these motives as principal decoration in different kinds of patterns. The first to be discussed here is the Inner Mouth-Band Checkerboard pattern. This pattern also occurs in Phases 8 and 9, where it is used as vertical panel decoration of jars (cf. fig. 432 and pi, 64b). In Phase 10 the same pattern is used in a different context, as the decoration of horizontal principal bands of narrow to intermediate width, that is, ca. 2.5 cm. to 5 cm. wide (figs. 531, 601, pis. 72,100). In the narrower bands most commonly one or two horizontal rows of checks are used, although three can occur, as in fig. 531. In the broader bands three (and possibly more) rows

of checks are used. All the examples used as principal decoration are in the traditional three-color pattern on a red ground. However, there is one example of an adaptation of this design to a handle band on a relatively broad Simple Bottle handle. In this example the color pattern is black on white, as appropriate for handle bands (33.5.1, DMM, 380). The design in this context is an analogue to a rare Phase 6 usage (cf. fig. 376). Like the pattern attributed to Phase 8 and unlike the lea 9 pattern, the lea 10 Inner Mouth-Band Checkerboard consists of a straight grid of black lines analogous to the smaller grid of the lea Checkerboard (cf. figs. 317,423 and below). The size of the rectangles left by this grid is about the same as that of the checks in the Crosshatch Checkerboard design of the Advanced Rectangle category; that is, it is larger than the lea Checkerboard grid (figs. 525, 531). In fact, the Crosshatch Checkerboard design is probably modeled on the Inner Mouth-Band Checkerboard, to judge by the similarity in patterning (pi. 100). As in the Crosshatch Checkerboard pattern, adjoining rectangles are commonly contrasted. The principal checks invariably contain a rectangular inner mouth-band unit. Adjoining rectangles may be plain, as in the traditional lea Checkerboard (fig. 531, pi. 72). When they are plain, the principal checks are decorated with black diagonals and white corner elements in the traditional three-color pattern. Alternatively, adjoining units may be contrasted by having alternate checks decorated with all black and all white elements, as in the Crosshatch Checkerboard (fig. 601). In a third alternative, adjoining checks are not contrasted, but are all decorated with the same principal-band units in which the diagonal dividers are outline bands consisting of two black lines enclosing a white one (pi. 100). In Phase 10 occur also two other entirely new elaborations of rectangular units of inner mouth-band tradition designs, which are adapted especially to the decoration of principal panel subdivisions in medium-broad and broad principal bands. In principal bands of intermediate width they are created through the use of Small Squares in patterned form, or sometimes Small Squares combined with Meander designs, as noted earlier. For example, a panel may be halved diagonally, one half containing rows of Small Squares in the three-color pattern, the opposing half the

THE ANALYSIS OF DECORATION

same design in white on red only (33.1, MRI, DA-3656). Alternatively, the panel effect of the band is achieved by using columns of paired black Small Squares in place of outlines. These columns are separated by black Small Squares arranged in a diagonal column, with the intervening areas decorated with white Meander elements (33.1, UM, SA-4213). In some examples the diagonal columns of black Small Squares and the white Meander elements are used without the vertical columns of units in a repetitive pattern of diagonals (33.1, MNAA, 20/627). The arrangement of design units in diagonals without vertical frames is another lea 10 innovation inspired by motives of the inner mouthband tradition, which is also commonly manifested in the form of unit designs (see below). On large Complex Jars, where principal panels are large, correspondingly large design units are often used in Phase 10. A popular such design unit consists of one or two columns of squares, 8 cm. or more across, decorated with much elaborated units of the inner mouth-band tradition in an elaborated equivalent of the Inner Mouth-Band Checkerboard (figs. 541, 593). In this arrangement the grid lines are created by narrow bands decorated with Diagonal Line or Crosshatch designs of the Advanced Rectangle category, painted usually in black on red and sometimes in black on white. These grid bands outline large squares. Alternatively, simple outlines are used (fig. 595). The corner elements of the inner mouth-band tradition within the squares are created by triangular Step Blocks filled with Diagonal Line or Crosshatch designs. The effect of the diagonal division between corner elements is created by painting the intervening area plain white, when a red background is used. In some of these enlarged designs inner mouth-band units may alternate with different kinds of designs taken from Step Frets, for contrast (fig. 596; see below). The designs described above illustrate the degree to which use of the rectangular pattern of the inner mouth-band tradition is extended in Phase 10 to encompass almost all design positions, especially in principal decoration, and to the extent to which the theme has been elaborated by the lea 10 potters. As we shall see, this design tradition also exerts influence on unit designs and their arrangements.

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Despite this extended use, contrasts in design details maintain a categorical distinction between the designs used for principal and secondary bands. The main elaborations are found in the principal designs. The triangular pattern of the inner mouthband tradition does not undergo such elaborations in Phase 10, and is not used for principal design bands. However, as we have seen, it is also a relatively common design for various kinds of secondary narrow bands and inner mouth bands. In addition to the uses described above, the triangular pattern is used in the same special context as in Phase 8. It appears on a Simple Bottle in black on white as decoration of vertical narrow bands on the fluted shoulder and on the horizontal narrow band between the shoulder and the upper body band (pi. 92; for comparison, see pi. 35). As noted, checkerboard patterning is popular in Phase 10 as principal decoration. We have seen that checkerboard patterns are used both as the Crosshatch Checkerboard in the Advanced Rectangle category (fig. 525, pi. 100), and as the Inner Mouth-Band Checkerboard (figs. 531, 601, pis. 72, 100). Two other checkerboard patterns in Phase 10 used as principal decoration fulfill similar functions as the two described earlier. The first is derived from a design arrangement rather than a patterned form of design elements. It is included with the design patterns here because in Phase 10 the size differences which traditionally distinguished the checks in the arrangement from checks in checkerboard design patterns no longer serve as a useful contrast. This design is called the Serrated Diagonal Checkerboard, because the decoration of the principal checks consists of that category of Advanced Rectangle designs, the size of the checks being appropriate for their use (see above). The Serrated Diagonal Checkerboard resembles the Inner Mouth-Band Checkerboard in principle, except that the size of the grid varies more and is usually of larger size (pi. 98). Those checks that have been recorded vary from 1.7 cm. square to 2 by 4 cm. rectangular, not counting the grid outlines. The grid outlines are thicker than those found with the smaller checkerboard patterns described earlier, the lines being 3 to 4 mm. thick, i.e. equivalent to band and panel outlines. In

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this pattern alternating principal rectangles are decorated with the Serrated Diagonal design, while adjoining secondary rectangles aré decorated with unit designs. This is an alternation that suggests that the rectangles are seen as alternating principal and secondary panels as they appear in single rows in other principal bands of intermediate and broad width. The Serrated Diagonal Checkerboard is modeled on the lea 6 design arrangement in which broad bands are segmented into a large two-row grid in which the checks are equated with principal and secondary panels. This grid panel arrangement is used in Phase 6 to decorate large Drum Bottles, and occasionally standard-sized small Deep Open Dishes (pi. 2). In Phase 10 the pattern appears on principal bands of comparable widths on closed vessels, as for example on the whistling bottle shown in pi. 98. The similarity in grid size between the Serrated Diagonal Checkerboard and the Crosshatch and Inner Mouth-Band Checkerboard designs is a by-product of the convergence in width between narrow principal bands and other narrow bands, discussed in the section on design arrangements, above. The second additional checkerboard design falls within an even larger size range than the Serrated Diagonal Checkerboard. It consists of alternating black and white checks, the black ones painted over the white ground (fig. 598). This design is a modified derivative of the Ica-Inca Checkerboard design pattern of the Late Horizon (cf. figs. 477, 478, pis. 38, 42). The checks vary in size from the larger ones of the Serrated Diagonal Checkerboard to those 5 by 7 cm. in size, and perhaps even larger. The white checks are decorated with single lea 10 unit designs, Rectangle Fish units being evidently popular in this context. As in the Late Horizon, the use of this checkerboard design appears to be popular as principal decoration on large jars, in Phase 10 Complex Jars, as seen from refuse fragments (fig. 598). It is also used for principal bands of intermediate width, for example on a relatively high-sided Deep Open Dish where two rows of such checks are used (33.1, UM, SA-3302). A third, additional, checkerboard design fulfills a slightly different function from the rest. It is the traditional lea Checkerboard design pattern, which is used as a broad-band design in Phase 6 (fig. 317). It occurs in an

analogous context as vertical panel decoration in Phase 9 (fig. 423). The lea 10 design is identical in execution to that of Phase 9. The context is also similar. The lea 10 design is used to decorate the principal panels on the narrow shoulder areas of a large Complex Jar (pis. 97a, b). The grid is much smaller than the grid in the other lea 10 checkerboard patterns. However, the technique of making the grid with single black lines and the alternation of the plain and decorated checks probably gave rise to the idea for the Inner Mouth-Band Checkerboard in Phase 8, a pattern that was continued in Phase 9. This pattern in turn probably inspired additional variants in Phase 10, as we have seen. The lea Checkerboard design therefore forms what appears to be the origin of an idea sequence in design patterning which gained in importance in Phase 8 and had its greatest popularity in Phase 10. The lea Stripes design is popular in Phase 10, both in its lea 6 form and with variations not present in other phases. It will be recalled that in Phase 6 a pattern of relatively broad stripes was in common use as a device to decorate unusually large design surfaces, mainly on large Complex Jars on which less care of manufacture and finish was bestowed than on other vessels (for example, pi. 15). There is also one example of an adaptation of this design of Stripes as a continuous horizontal broad-band design on an lea 6 Flaring Cup where the design area is unusually large for vessels in the smaller size range (pi. 18). In Phase 9 the only context for lea Stripes is in a large checkerboard pattern confined to the decoration of Flaring Cups in our sample (pi. 48). In Phase 10 the lea 9 use of lea Stripes does not appear in the decoration of Flaring Cups in our sample. Instead, the design is used in principle in the same contexts as in Phase 6. The most striking example is a large Complex Jar, where vertical red and white stripes separated by black lines are used to decorate the principal panels (pi. 95). The resemblance in shape and many design features between this vessel composition and the homologous Phase 6 composition shown in pi. 15 is apparent, particularly since this composition does not occur in Phase 9. It is possible to identify the difference in phase attribution of the Phase 6 and Phase 10 examples primarily on the basis of the upper body-band decoration

THE ANALYSIS OF DECORATION

and the secondary unit designs. The other decorative features betray no significant stylistic distinctions, and the shape features only moderate ones. Another use analogous to that of Phase 6 is also made of the lea Stripes design. A smaller, horizontally placed variant like the lea 6 design shown in fig. 318 is used as a principalband design to decorate the middle of what is otherwise a plain red-slipped exterior surface on a Deep Open Dish (33.1, RHLMA, 4-4507). This use is analogous to the Phase 6 use for the decoration of the Flaring Cup. In the Phase 10 example the intent of this use is clearly also as a labor-saving device to furnish a token decoration for a vessel on which not much time or effort was expended. In keeping with Phase 10 usage, however, the band is only 1.8 cm. wide, a width that corresponds to that of the narrowest principal bands of this phase, narrower than any corresponding Phase 6 ones. The design lines are also thicker and of more irregular, uneven execution than in Phase 6. Although this vessel lacks associations, there are therefore features of design, as well as shape, which serve to distinguish it as a Phase 10 piece. More common in Phase 10 is a variant of the lea Stripes design converted into a unit design in the form of a rectangular block, called the Stripe Block (pi. 76, fig. 590a). Its use is the same in principle as its use as a panel design on large jars. It is used as principal decoration for large Deep Open Dishes and similar shapes which have only a minimum of decoration on an unpigmented tan surface. The color pattern here is regularly the traditional lea one of red and white stripes separated by black outlines. This design is common in Phase 10, to judge by fragments from surface collections. So far as the evidence indicates at present it is confined to this phase. In one example the central stripe is unpigmented tan and has a wavy line painted on it (fig. 580). This is a Late Horizon feature which occurs in an Inca-associated design (cf. fig. 454). The Phase 10 potter here evidently made an analogy between the Late Horizon design and the Stripe Block. Ica Stripes are used in Phase 10 more frequently in a new color arrangement of alternating red (background) and black stripes separated by white lines (fig. 532). Like the more traditional Ica Stripes, the red and black ones are used in place of broad principal

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bands, evidently as a labor-saving device replacing more time consuming designs. All examples occur in the form of continuous horizontal banding, usually for principal design areas that are 8 to 10 cm. wide. Their most common use is as decoration of large Deep Open Dishes (pi. 75). Fragments of such dishes are common in Phase 10 refuse. This design is one of the most distinctive diagnostic features of Phase 10 refuse sites. There also is one example of a jar of moderate size, round in horizontal section, where the red and black Ica Stripes design constitutes the only decoration (fig. 292). The evidence presented so far shows that designs or design features that have particular Inca associations are not common in Phase 10, any more than the corresponding shape features, though they do occur occasionally. Some designs of ¿lis kind also occur as a regular part of Phase 10 decoration, however, though they appear in modified form. We have already remarked on the Modified IcaInca Checkerboard (fig. 598). Another Ica-Inca design category appears in more modified form. This category includes the Ica-Inca Stepped Diamond and Step Fret, designs that, as we have seen, have their roots in the earlier part of the Ica tradition. Both the Stepped Diamond and Step Fret are principal-band designs, as in the Ica-Inca style. In contrast to the Ica-Inca style, however, they do not appear on Drum Bottles, but primarily as panel decoration on large Complex Jars. In this context they appear as very arge single units covering the entire surface of a panel which may be well over 10 cm. on a side (pis. 97a, b). Alternatively, they may appear in a kind of giant checkerboard pattern of four rectangles on the broad side panels and a single column of two or three such rectangles on the narrow side panels (33.7.1, MRI, DA-3264). The rectangular units in this grid may be up to 8 cm. or more on a side, not counting outlines. For fragmentary examples with related designs from refuse, which are relatively common, see figs. 593597. More rarely, Step Fret designs and their variations appear as continuous decoration of relatively narrow principal bands on smellier vessels, notably Deep Open Dishes (figs. 526, 527). The Stepped Diamonds and Step Frets are invariably done in the traditional threecolor pattern on red ground, but usually with

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

peculiar modifications of the color pattern which point to their relationship to the IcaInca designs. As in the Ica-Inca style, Stepped Diamonds and Step Frets are large design figures outlined in black (for comparison, see figs. 488, 489; Kroeber and Strong, 1924b, pis. 38d, 39a). However, unlike the Ica-Inca designs, the outlines do not enclose solid red or purple color areas painted on a white ground. The figures are created instead by drawing black outlines on the usually red-slipped surface. The interior of the figures which are drawn in outline is then set off further by being decorated with smaller lea 10 design elements. These are invariably in the Advanced Rectangle category of designs. They include the Diagonal Line and Crosshatch designs in the two-color pattern, and the Serrated Diagonal design in the three-color pattern of black and white on red (figs. 526, 527, 542, pis. 97a, b). The smaller Step Fret figures appearing as a continuous design in one of the narrow principal bands are drawn as opposing interlocking designs filled with Crosshatch decoration in black and white alternation, as in the Crosshatch Checkerboard pattern (fig. 526; for comparison, see fig. 525). For comparison with the corresponding Ica-Inca design, which consists of individual units that do not interlock, see fig. 489. In the more common Phase 10 patterning for these designs, the background around single, noninterlocking figures is painted white as a final step in the painting process (figs. 527, 542, pis. 97a, b). This technique is unique in the lea tradition, and was evidently devised to create the effect provided by the white ground color of the corresponding IcaInca bands. In the one complete example of a giant Stepped Diamond unit in a large panel, the patterning resembles much more accurately an lea 3 design than the corresponding Ica-Inca Stepped Diamond (pis. 97a, b). The corresponding lea 3 design is shown in Kroeber and Strong, 1924b, pi. 32g or Schmidt, 1929, fig. 306-2, and the Ica-Inca design in fig. 488. That is, there is a single rectangular unit consisting of an outline band, a huge Stepped Diamond in the center, and Step Block figures in the corners. In Phase 10 another distinctive feature of these designs occurs. Step Blocks and Frets are also used separately as independent designs. Two Step Blocks in opposing corners

create the effect of giant Inner Mouth-Band units (see above; figs. 541, 593). Frets without Step Blocks are sometimes elaborated into independent design patterns, alone or in a checkerboard pattern alternating with opposing Step Blocks (figs. 594, 596). The extensive use of this category of IcaInca designs in much modified form in Phase 10 is probably due to its obvious Ica-tradition ancestry. The potters expurgated some of the more notorious Inca-associated features, notably the use of an over-all white slip, and they created enough alterations in design detail and context to effect a different appearance. We have seen that Pendent and Freestanding Triangles are another design form of Late Horizon origin which is also popular in Phase 10. As we have also seen, however, the Phase 10 designs are modified so that they form a distinctive contrast with the Late Horizon variants. Freestanding Triangles are used as principal-band and upper body-band designs, as in Phase 9, but they occur invariably in the traditional three-color pattern on a red ground, in contrast to their use in two-color patterns in Phase 9(figs. 539,555, 556, pis. 92, 94, 95). The lea 9 two-color patterns are black on white or black on red (figs. 460-462, pis. 39, 57, 59). Pendent Triangles in Phase 10 occur either in the three-color pattern or a traditional two-color pattern in black on the unpigmented slip (figs. 565, 566, 574, 590b, pi. 85). In one example they are painted in resin paint on the inner rim of a Shallow Dish made of smoked blackware (fig. 573, pi. 86). This latter use is a Phase 10 innovation. The design elements that fill the Pendent and Freestanding Triangles in Phase 10 are systematically different from those of Phase 9. In Phase 10 they consist with rare exceptions of individual Diamonds, Half Diamonds, or the Serrated Diagonal design of the Advanced Rectangle category (see above). However, in rare occurrences Pendent Triangles are decorated with a simple diagonal crosshatch design, as in the Late Horizon. These examples are painted in black on the unpigmented slip, appearing on some fragments of Phase 10 Deep Open Dishes or flaring-sided bowls in refuse. This context and color pattern are similar to those of Phase 9 (cf. Cumbrous Bowls). The Phase 10 origin of these fragments is evident from the site or

THE ANALYSIS OF DECORATION

stratum context, and also because the other features of which the fragments are composed are in the Phase 10 style. The unique resinainted Pendent Triangle design on the Shal)w Dish of smoked blackware is composed of Conservative Rectangle Fish figures (fig. 573). One observation of the Pendent and Freestanding Triangles in Phase 10 is of special significance. They are treated as the equivalents of composite unit designs in this phase, as will be apparent from the discussion that follows. The lea 9 contexts and patterning do not indicate a similar analogy. In Phase 9 Pendent and Freestanding Triangles fulfill the function of continuous band designs, to which they are related in origin, their origins being traceable to secondary border elements in upper body bands of Phase 6 (see above). The new analogy between Pendent and Freestanding Triangles and diamond-shaped composite unit designs in Phase 10 is logical, because in this phase both are created with individual Diamond figures, and both fall within about the same size range. The Pendent and Freestanding Triangles can be seen easily as halves of diamond-shaped composite unit designs, just as Half Diamonds have this special relationship to Small Diamonds (see above). As we shall see, the lea 10 potters occasionally used diamondshaped composite unit designs interchangeably with Freestanding Triangles, an indication that they were making this analogy and were classifying the two kinds of designs as closely related categories.

E

Unit designs play a more important role in the Phase 10 style than in any other phase. Perhaps the most important observation is that mere are now two major categories, namely unit designs that form the principal decoration and those that form secondary decoration. There are also occurrences in Phase 6 when unit designs form the only decoration and fulfill the function of principal designs, as in Phase 10, but this usage is rare in Phase 6. Both the principal and secondary unit designs are popular in Phase 10. However, the patterning of both, but especially the secondary ones, is frequently different from the patterning of such designs in Phase 6. Unit designs are used as the only decoration on unpigmented surfaces more commonly than in other phases. To avoid confusions with the term "principal band," principal unit

211

designs are called "primary" unit designs here. The great popularity and the manner of use of unit designs in Phase 10 is perhaps related to the tradition of the Chincha style of Late Intermediate Period Epoch 8, where unit designs are commonly used in a similar manner. If this is the case, the relationship would have to be an indirect one, in which the Phase 10 use would be based on lea 8 models. Our small lea 8 sample does not include such designs. Primary unit designs are used in various specific contexts in Phase 10. Such designs include Freestanding Triangles, diamondshaped composite unit designs, Stripe Blocks, new forms of Large Birds and Humped Animals. It is also possible that Pendent Triangles may have been seen as primary unit designs when painted on outlined inner mouth bands in the three-color pattern (see below). Modified Ica-Inca Rectangle Fish designs also function as primary unit designs in a special context on Cumbrous Bowls. Freestanding Triangles are used regularly as the decoration of broad upper body bands on bottles and jars, a context in which they evidently appear much more rarely in Phase 9 (pis. 92, 94, 95, fig. 539). In Phase 10 the designs are also occasionally used to decorate broad principal bands that occupy the equivalent of the upper body-band position as the only bands (figs. 555, 556; see design arrangement, above). These bands vary about 4.5 to 7 cm. in width. Both kinds of bands have a redslipped ground, and the designs are painted in the three-color pattern for principal bands and upper body bands. As we have seen earlier, upper body-band decoration of the older tradition is also used occasionally as decoration for principal bands in Phase 6, these being the rare mediumbroad bands occurring on dishes and other vessels of small size in that phase. Neither in Phase 6 nor in Phase 10 is there a contrast in color patterning between the use of the same design in an upper body band or a principal band. Although an interchange of designs between upper body bands and mediumbroad bands also exists in Phase 9, here in the form of Freestanding Triangles, it differs from the Phase 6 and 10 pattern of interchange in that the same design is painted in different color patterns in the two contexts (i.e. black

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

on red and black on white, respectively). The three-color pattern as it is used for both kinds of bands in Phase 10 is therefore a traditional feature shared by Phases 6 and 10 but not by Phase 9. On the other hand, Phase 9 usage resembles the Phase 6 interchange in that the principal bands in both phases are relatively narrow, that is, medium-broad bands in these phases. In contrast, the principal band decorated with Freestanding Triangles in Phase 10 is of intermediate width for such bands in this phase, corresponding to broad-band width of the earlier phases. Diamond-shaped composite unit designs are occasionally used in place of or in addition to Freestanding Triangles in the decoration of upper body bands in Phase 10, and they are used regularly as the primary designs of the broad principal red bands that occupy the equivalent position on various closed vessels, as described above (pi. 81, figs. 598, 599). Although there is a difference in frequency of use of Freestanding Triangles and diamondshaped composite unit designs in these two contexts, the fact that both designs can occur in both contexts is a reflection of their classificatoiy closeness as seen by the lea 10 potters. Diamond-shaped composite unit designs are used regularly on principal bands of this kind on Chincha-associated shapes, like the Bottle/Jar seen in pi. 81, on imitation Chincha Cups and occasional small Cambered Rim Bowls. The same or similar designs are used in much the same way in the Chincha style proper of Late Intermediate Period Epoch 8 (cf. Kroeber and Strong, 1924a, pis. 11c, 12d). Freestanding Triangles are commonly 3 to 5 cm. high and 5 to 8 cm. wide across the base (figs. 555, 556, pis. 92, 94, 95). They are similar in size to primary diamond-shaped composite unit designs (see below). This means that they are larger on the average than the Freestanding Triangles of Phase 9 (for comparison, see figs. 460-462, pis. 39, 57, 59). The Phase 10 designs are most commonly composed of Stepless Large Diamonds, like the one in figs. 539, 556 and pis. 94, 95. These figures usually consist of ten Large Diamond elements. In one example a Large Diamond Fish design appears instead (pi. 95). Both kinds of designs are also used to construct diamond-shaped composite unit designs, as we shall see. Alternatively, Small Diamonds are used (pi. 92). When the Small Diamonds

are particularly small, there are more elements in the Freestanding Triangle figure. A somewhat rarer alternative design in the composition of Freestanding Triangles is the Serrated Diagonal design of the Advanced Rectangle category (fig. 555). This design is not used to construct diamond-shaped composite unit designs. When the Serrated Diagonal design appears as a filler in Freestanding Triangles, the entire design figure is enclosed by double black and white outlining, in the manner of a panel. When Diamond elements are used, the figures usually remain unoutlined, like other composite unit designs. However, some of the examples composed of Diamond figures are outlined with a single line, like Pendent and Freestanding Triangles in Phase 9. There is a unique Phase 10 example in our sample where Freestanding Triangles composed of Small Diamonds are outlined with double black and white outlining, like the Freestanding Triangles composed of the Serrated Diagonal design (pi. 92). The double black and white outlining indicates that these designs were seen as related to panel divisions of a band, in another kind of analogy. This analogy is understandable in view of the transference of the Serrated Diagonal design to this context. We have seen that the same design is also used frequently to decorate principal panels in bands of narrow to intermediate width (pis. 75, 79, 99). As we are about to see, there is another aspect of the design patterning of primary unit designs which also suggests that they were seen as alternatives to principal panels. Most or all bands decorated with Freestanding Triangles have secondary unit designs filling the spaces between them (fig. 539, pis. 92, 94, 95). The use of secondary unit designs in this context is analogous to the decoration of secondary panels between alternating principal panels in principal design bands. Most primary unit designs of Phase 10 are patterned together with secondary unit designs in this manner. Diamond-shaped composite unit designs used as primary unit designs are all composed of Diamond elements in the traditional manner (figs. 576-579, pis. 74, 81). Large Diamond Fish figures are commonly used (fig. 576, pis. 74, 81). Stepless Large Diamonds and technical Small Diamonds that are drawn as large as the Stepless Large Dia-

THE ANALYSIS OF DECORATION

monds are used alternatively (fig. 577). We see that the large Small Diamond elements shown in fig. 577 have central crosses, a traditional feature of Small Diamonds also found in Phases 6 to 9 (cf. figs. 309, 434). In one Phase 10 example, a large Complex Jar, the crosses are used alone without the diamondshaped outlines to form a composite unit design, a use not recorded for other phases (33.7.1, DMM, 82). Some examples of diamond-shaped composite unit designs made up of Large Diamonds have a white Diamond figure forming the outer frame, as in a similar Phase 9 example (cf. fig. 435). Another feature of the same Phase 9 design figure also appears in one Phase 10 design in this category, namely a line cross (in this instance a diagonal white cross) with black Small Diamond elements filling the corners (33.7.1, UM, SA-3356). There also is a category of slightly smaller composite unit designs drawn with finer lines, which are used in a special arrangement on Cambered-Rim Bowls (see below; figs. 578, 579). In Phase 10, diamond-shaped composite unit designs are made up of four or nine units only, never more. In other words, they do not function as expandable unit designs any more than they do in Phase 9, in contrast to their principal Phase 6 function. We shall see how the expandable aspect of their function is replaced when we discuss secondary unit designs, below. When primary diamondshaped composite unit designs are made up of nine elements, they are 3.5 by 5 cm. to 4 by 5.5 cm. or possibly slightly larger in size. That is, their size is similar to that of Freestanding Triangles. When they are made up of four elements, they may be anywhere from 2 by 3 cm. to 4 by 4 cm. in size. In the standard arrangement of these unit designs they appear in a single row around the circumference of the vessel (pis. 74, 81). Most commonly the spaces between them are filled with secondary unit designs, as is true for other primary unit designs. When primary diamond-shaped composite unit designs are painted in the three-color pattern, the most common one for principal bands, the spaces between them are filled with the kinds of secondary unit designs used with the Freestanding Triangles. Occasionally the primary designs are done in black on red only, and then the secondary unit designs are

213

omitted (pi. 81). The black on red pattern for principal designs is shared only with Phase 9. A unique pattern of alternation appears in the upper body band of the fragment of a large Complex Jar, where a four-element composite unit design in black on red appears to function as a secondary unit design in a pattern where the primary unit design was evidently a Freestanding Triangle in black on red. A part of the Freestanding Triangle is seen on the right side of the fragment (fig. 599). A parallel use of primary diamond-shaped composite unit designs is as decoration of broad principal white bands, to judge from one example on a large Complex Jar (33.7.1, DMM, 82). Here the designs are done in black on white, but secondary unit designs are interspersed in the intervening spaces, as in the three-color pattern. We have seen already earlier that principal bands with a white ground are seen as interchangeable alternatives to traditional principal bands with red ground decorated in the three-color pattern. The use of secondary unit designs with the primary ones here is a reflection of this feature. Primary diamond-shaped composite unit designs are also used as the only designs on unpigmented surfaces, notably on large dishes, where they are used in place of outlined band patterns. In some of these examples the pattern is the same as in the black-on-red pattern on outlined bands; that is, a row of unit designs is painted in black only without intervening secondary unit designs (fig. 576, pi. 74). This combination of context and color pattern is equivalent to an occasional lea 6 usage (cf. fig. 304). On the other hand, when other categories of primary unit designs are used on the unpigmented surfaces, secondary unit designs may be used in association (cf. Stripe Block, Large Bird, below). A more specialized patterning of unit designs is found on some Cambered-Rim Bowls that also have only an unpigmented tan slip and no outlined band decoration on the body. On these examples relatively small diamondshaped composite unit designs functioning as primary designs are arranged around the circumference of the vessel at or above the middle of the height of the shoulder, in a standard general arrangement for such designs (figs. 578, 579). However, unlike the corresponding pattern on other vessels, sec-

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

ondaiy unit designs are placed in the intervening spaces above the central axis of the primary designs. The secondary unit designs are not placed below this axis, in contrast to the combination of primary and secondary unit designs on other vessel shapes. This specialized patterning for Cambered-Rim Bowls parallels the specialization of outlined band arrangements on the same forms (see above; Kroeber and Strong, 1924b, pi. 36e). Small composite unit designs are used as primary designs (i.e., in the three-color pattern) in another, even more specialized context, as space fillers on the back of anthropomorphized Football-shaped Jars. They are either the four-element diamond-shaped form or six-element Freestanding Triangles. They are used in place of the standard Bird unit designs used in this context in Phase 9 (cf. fig. 445). The Stripe Block is used as another common primary unit design for vessels that have a minimum of decoration and an unpigmented tan ground color. Most examples are relatively large Deep Open Dishes and the much rarer Angular-Rim Dishes (pi. 76, figs. 580, 590a). Commonly four Stripe Block units are placed around the circumference of the vessel. Small secondary unit designs may decorate the intervening area. For a discussion of the appearance of the Stripe Block design, see lea Stripes, above. Large Bird designs are popular as primary unit designs. Like the Stripe Block, they are used ordinarily on unpigmented surfaces. They are popular in the same context and patterning as Stripe Blocks on plain-slipped Deep Open Dishes, and also popular as decoration of undivided outlined principal bands on large Complex Jars and occasionally on similar closed vessels (fig. 589a). On jars these bands are bordered at the top and bottom by a plain narrow red band or by a slightly broader upper body band at the top (see design arrangements, above). More rarely, Large Bird designs are used on a principal white band on large Complex Jars in an arrangement like the one partly seen in fig. 599. The Large Bird designs resemble various lea 6 (and presumably lea 7 and 8) and lea 9 and other Late Horizon Bird designs, but with distinctive modifications. All primary Bird designs in Phase 10 are larger than those of other phases, including most Late Horizon forms. They are also distinguished from lea 6

to 9 Bird designs in being usually painted red, outlined with black, and more rarely white outlined with black (fig. 589a). Sometimes the red ones have additional white space fillers. The designs are spaced around the circumference of the vessel in a single row, the same way as other primary unit designs. Secondary unit designs may be scattered in the intervening spaces, also as with most other primary unit designs. The most common lea 10 Large Bird variant is shown in fig. 589a. It resembles most the )rovincial Inca form shown in fig. 502, this orm resembling in turn small lea 6 unit designs (cf. fig. 390). Another Phase 10 variant resembles more the much smaller lea 9 line designs shown in fig. 445, as well as related lea 6 forms (cf. figs. 390, 391). The two Phase 10 forms are only variants of one another, being similar in size and having the same function. The second variant differs from the first only in that the top triangular segments are omitted. Other features of these two designs are identical. A third alternate Phase 10 Large Bird design resembles the provincial Inca Bird designs more than the first two Phase 10 forms. It consists of a solid red figure without central white fillers in the triangular appendages, with a set of two triangles at the top and bottom diagonals of the body, in addition to the tail (33.7.1, UM, SA-3260). A short fringe of black lines at right angles to the outlines is added to the "tail" and top triangles at their base. This fringe has no counterpart in Bird designs of other phases. The beak is closed, as on some provincial Inca Birds. A fourth alternate Phase 10 form resembles the third in most features (33.7.1, WZ-3; 33.8, UM, SA3265). However, it resembles the second variant described above in the patterning of the segments; that is, only two segments are used to form the body. This particular form is distinguished in that the head is shown as twisted to the rear. One example classifiable with this group has outlined white centers in the body triangles, like the designs in groups 1 and 2, above (33.7.2, MRI, DA-2078).

f

The exchange of features between slightly different primary Large Bird unit designs is an indication that although some systematic classificatory differences between the different variants were recognized by the lea 10 potters, the differences were not of major significance in use or meaning attached to the

THE ANALYSIS OF DECORATION

figures. All are used interchangeably in the same context. One Large Bird unit design in our sample is slightly more distinct (33.7.2, MRI, uncatalogued - 7). In size, color patterning, and execution it is like the other variants. It differs from them in having a lunate body and legs, features that it shares with Bird designs of the Ica-Inca style as shown in fig. 487. This Phase 10 variant is painted on a white-slipped ground, also like Ica-Inca designs. Other features are like those of the Large Bird designs in groups 3 and 4, above: a reversed head, closed beak, and a black fringe at the end of the triangular tail. Large Humped Animal designs are another important primary unit design in Phase 10 (fig. 581, pi. 82). They are variants of an Ica-Inca design of uncertain origin (cf. fig. 490). The lea 10 form is modified so that it resembles more closely an lea 2 to 3 design (fig. 584). The resemblance to the earlier lea figure is seen in the white or red body outlined with black, in the element used in the center of the figure, the position of the head, and the head features. On the other hand, the long, fringe-like claws are like those on the Ica-Inca Humped Animal. The upright "ear" resembles the earlier lea ear, but it is done with two large triangles which are distinctive of the Phase 10 style, triangles that are also used to form the Large Bird designs of this Phase (for comparison, see fig. 589a). There are some variations in individual Humped Animal figures, and in some examples from Pisco there are more resemblances to the Ica-Inca Humped Animal design (for example, truncated Complex Jar body, UM, SA3439). The Humped Animal design is used in more specialized arrangements than the other primary unit designs. By preference a single arge Humped Animal design is used in each lair of a broad principal design band on some arge vessels that are elliptical in horizontal section. They include imitation Chincha Flasks, and are also found on the truncated Complex Jar body from Pisco (pi. 82; Schmidt, 1929, fig. 324-1). Occasionally Humped Animal designs are used on vessels that are circular in horizontal section, and then several units are arranged in a circumferential row around the principal design band, like other primary unit designs. One such example is a Shallow Dish (Schmidt, 1929, fig.

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322-3). Humped Animals are the only primary unit designs that have no recorded association with smaller secondary ones. The principal band on which they are used can have a red or white ground. The design is then painted in the contrasting color, either white or red. A single example in our sample shows Humped Animals drawn in plain black line designs on a white principal band on a large Complex Jar that is circular in horizontal section (33.7.3, WZ-1). This jar is said to be from the western Nasca drainage (probably the Huayuri Valley). This variant may possibly mark a regional difference between lea and the neighboring valley. We have seen earlier that a usually distinct group of unit designs functioning as primary designs is used in the decoration of Cumbrous Bowls. These designs are the equivalents of the Fish unit designs used in the same context on Cumbrous Bowls of Phase 6, a use that is not found in Phase 9 (cf. figs. 388, 389, pi. 10). The lea 10 designs are also usually Fish designs, but all those recorded are Rectangle Fish units, quite different from those of Phase 6 in our sample. Most commonly the Phase 10 Fish units are like the Ica-Inca Rectangle Fish in execution (fig. 575, pi. 85; for comparison, see fig. 493). As in the Ica-Inca style, they are done in black only. Though they usually appear on an unpigmented tan slip, they appear on a white ground in one example, as in the Ica-Inca style (pi. 85). A white ground is also used for the corresponding designs in Phase 6 (pi. 10). Although the Fish design shown in fig. 575 is abbreviated, the intention of making a Rectangle Fish is evident from the small counter design in the center. The Rectangle Fish designs in Phase 10 are either four-element or seven-element ones, not counting the counter element in the center. In one example, Rectangle Fish of the Advanced Rectangle category of execution are used in this context (33.4, UM, SA-3351). They are used in the form of four-unit diamond-shaped composite unit designs, fulfilling the function of primary unit designs in this form. As we shall see below, when regular Conservative and Advanced Rectangle Fish are used as single unit designs they usually function as secondary ones. However, these are also designs that can function as principal decoration. We have already recorded their

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

use in principal bands with over-all patterning (see above and figs. 522-524, 553, pis. 78-80). They are also used as single-row primary unit designs in the decoration of narrow principal bands with a white ground (pi. 90). The fragmentary design seen in fig. 600 is another variant of such designs. The recorded examples are not accompanied by smaller secondary designs. The arrangement is directly analogous to the over-all three-color pattern in the narrow principal band shown in fig. 522 and pi. 79. The primary unit designs described above are the most common and standardized categories in use in Phase 10. The fact that occasionally other kinds can occur is shown by the inflected vase from burial Ti-1, where the broad principal band is covered with llama figures in the three-color pattern (fig. 583; Kroeber and Strong, 1924b, pi. 36a). Secondary unit designs are used in different contexts from primary ones. Most of them are smaller units than the primary ones, and most of them belong to different design categories. However, there is a partial overlap in design categories, as we have noted already. In these examples one can recognize the difference in function by position or other contexts and by the color patterning. Most secondary unit designs follow the traditional two-color pattern for such designs, one that is present for such designs in all other phases. A variety of two-color patterns is used, also as in other phases, the color combination depending in part on position and context. Secondary unit designs are used as in Phases 6 to 9, for secondary panel subdivisions of principal bands. In Phase 10 the same unit designs are also sometimes used to decorate secondary panels of inner mouth bands. This alternative use is a Phase 10 innovation in harmony with new rules governing design transferences (see design arrangements, above; figs. 558, 589b). The unit designs in secondary panels may be painted in white on red or white on black, in black on white, or in black on the unpigmented tan slip (figs. 539, 549, 550, 558, 589b, 602, pis. 78, 95, 98, 99). In one example, however, a secondary unit design in this context is painted in the threecolor pattern, an obviously rare feature which this phase shares with Phase 9, where it is equally rare (fig. 546, pi. 88; for comparison, see fig. 435, pi. 56).

Secondary unit designs are also used in several new, different contexts in Phase 10. One is as decoration of the central secondary band in the new horizontal three-band arrangement. This band is decorated with unit designs of the kind used to decorate some of the secondary vertical panels (pis. 84, 96a, b). Since this three-band arrangement is also used in vertical position on long bottle necks, long narrow secondary bands decorated with the appropriate unit designs also appear in this context (pi. 98, fig. 548). A similar use appears in the related multiple horizontal band pattern on unusual shapes (pi. 100). Another use of secondary unit designs also constitutes a Phase 10 innovation. Such designs are used commonly with large primary unit designs, as noted. This use applies both to principal bands and upper body bands, and occasionally to inner mouth bands, that is, wherever primary unit designs are used. For example, small secondary unit designs in white on red are commonly used in the spaces between Freestanding Triangles on upper body bands (pis. 92, 94, 95, fig. 539). The same kinds of designs are used in the spaces between other large primary unit designs on principal bands, except that in these contexts they ornament the spaces below as well as above the central axis of the primary unit designs. In one example, small white units on a red ground are used between Pendent Triangles in the three-color pattern on the inner mouth band of a Flaring Cup (fig. 565). In some upper body bands composite unit designs are used as secondary unit designs between Freestanding Triangles (fig. 599). The composite unit design seen on the jar fragment in fig. 598 also may have functioned as a secondary design, because it is a twocolor design in white on red. However, evidently two-color diamond-shaped composite unit designs in white on red could also function on rare occasions as sole principal upper body-band decoration (cf. Schmidt, 1929, fig. 324-1). The patterning of primary and secondary unit designs described above for outlined bands is also commonly used for unoutlined areas covered only with the unpigmented tan slip. As we have seen earlier, this arrangement is usually reserved for relatively large vessels in all shape categories that are regularly also decorated with outlined band arrangements. They include mainly moderately

THE ANALYSIS OF DECORATION

large to large Deep Open Dishes, rare Angular-Rim Dishes and Cambered-Rim Bowls (pis. 74, 76; figs. 589a, 590a). As with principal-band decoration, secondary unit designs are not always but commonly used, mainly in association with Large Birds and Stripe Blocks (see above; pi. 76). On Cambered-Rim Bowls the secondary unit designs are used on the unoutlined, unpigmented surface with primary diamond-shaped composite unit designs, in a special association pattern. In this context the secondary unit designs are placed only above the axis of the primary unit designs because it is not customary to decorate these shapes on the lower part of the shoulder (see above; Kroeber and Strong, 1924b, pi. 36e). Secondary unit designs are also used in a few other contexts in Phase 10. One is on the white-slipped lunate panels on the ends of Drum Bottles, where they replace Ica-Inca designs with the same function. Another is on the interior bottom of many Shallow Dishes, where they replace a rare crossed line so used in Phase 9. A third distinctive Phase 10 use for secondary unit designs is on the rises of the fluted shoulders on some vessels with this shape feature (pis. 80, 83). A specialized fourth use features Pendent Triangles and associated designs, to be described below. Two other general observations need to be made concerning the use of secondary unit designs in Phase 10. There is a preferential selection for some designs in some contexts, a selection that appears to be controlled primarily by the choice of color pattern. For example, secondary unit designs painted in white on red are usually Bird designs, diamond-shaped composite unit designs, and a few others, whereas those painted in black on white or on the unpigmented slip are most commonly Fish designs, as well as some others (see below). However, this preference does not lead to an exclusive separation, and both Bird and Fish designs, as well as others, occur in more than one color pattern. The second observation is that the function of composite unit designs as expandable designs usable for all kinds of space, as it appears in Phase 6, is not in use in Phase 10. Instead, another device is used, which is better adapted to the longer, narrower proportions of vertical panels on large vessels and similar design areas. The unit designs are arranged in columns in vertical panels or their

217

equivalents, and in horizontal rows in secondary panels of inner mouth bands and in the central band in the three-band arrangement (pis. 84, 95, 96, 98, figs. 539, 548, 558, 602). The arrangement of unit designs in columns on secondary panels has a Phase 9 counterpart, but it is more widely used in Phase 10. In secondary panels that have approximately the same size and proportions as the corresponding lea 6 panels and which are not large enough to require more than nineelement units, diamond-shaped composite unit designs are used in the traditional way (fig. 549, pis. 78, 99). In addition, Rectangle or Triangle Fish units composed of ten or more elements are sometimes used in the same context (pi. 88). These latter unit designs approximate in size the traditional composite nine-element unit designs (fig. 546). Enlarged Fish unit designs of this kind are not found in other lea phases in our sample. However, similar unit designs are used in the Chincha style of Late Intermediate Period Epoch 8. It is therefore possible that they were also in occasional use in lea Phase 8, even though they are not represented in our lea 8 sample. Composite unit designs used as secondary designs arranged in columns are small ones composed of four elements (for example, fig. 548, pi. 98). They are treated as small noncomposite unit designs in this context. Diamond-shaped composite unit designs used as secondary designs are constructed of Small Diamonds, Small Squares, or Solid Squares (figs. 548, 549, 598, 599, pis. 78, 99). The Solid Square unit designs look much like the corresponding Phase 9 designs (cf. fig. 447). The difference is in the columnar arrangement. For a discussion of Small Diamonds and Small Squares, see above. Rectangle Fish unit designs are common as secondary unit designs. Their most common use is in the black on white and black on unpigmented tan color patterns (pi. 80, fig. 552). Less commonly they are used in white on red (figs. 539, 558, 602). There is one example, a vertical arrangement on a long Simple Bottle neck, where they are treated as principal designs without outlined bands, the band outlines evidently having been omitted because of the reduced design area (fig. 582, pi. 80; see also design arrangements, above). The variety of Rectangle Fish figures is described under Conservative and Advanced

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

Rectangle designs, above. The three-element Conservative Rectangle Fish figures and their more hastily executed counterparts are used most characteristically for the smaller spaces (figs. 558, 582, 589b, 602, pi. 80). One common use is as elements between primary unit designs on white or plain-slipped surfaces. Seven or eight-element Rectangle Fish unit designs are used for the larger spaces (fig. 552). They are common on plain-slipped vessels between primary unit designs, on the interior bottom of Shallow Dishes, and they occur on the lunate white panels on the ends of Drum Bottles. Occasionally they are used in white-slipped secondary panels on Complex Jars. Secondary Bird unit designs resemble lea 6 Bird unit designs in composition, but with lea 10 execution. The corresponding lea 6 designs can be seen in fig. 390. The secondary lea 10 Bird designs are much smaller than the primary Bird designs, resembling in that respect the Ica-style Bird unit designs of Phases 6 to 9. In the secondary Bird unit designs of Phase 10 the traditional triangular protuberances are usually treated as Conservative or Advanced Rectangle elements (fig. 547, pis. 84, 92, 94, 96a, b). This feature is also found in the Chincha style and not recorded in other lea phases in our sample. Presumably a similar design occurred in lea Phase 8, however, and should turn up in a larger sample of that phase. In Phase 10 the body of the Bird figure is composed alternatively also of step elements (pi. 95). The most common use of secondary Bird unit designs is between Freestanding Triangles or as secondary panel and band designs in white on red, but they also occur occasionally in black on the unpigmented slip, as we can see from the one example in our sample (pi. 95). Another, slightly rarer secondary unit design is the Outlined Cross (fig. 551). It is used occasionally as an alternative to the Bird unit designs in the same contexts. Other secondary unit designs consist of elements borrowed from designs of the inner mouth-band and narrow-band traditions. This usage has no counterpart in other phases. One common form consists of small elements as they are used in opposing corners of rectangular units in designs of the inner mouth-band tradition (figs. 539, 550, pi. 98; for comparison, see figs. 528, 529, 531, 545, 558, 559, 591). The elements are arranged in

opposing pairs, and several such pairs are combined to form a diagonal or vertical column. The diagonal patterning is a distinctive feature of rectangular units of the inner mouth-band tradition, as we have seen earlier. These designs are used either in white on secondary panels covered with a red or black slip, or they are painted in black on unpigmented tan surfaces. In the latter combination they are patterned with primary unit designs and Pendent Triangles (see below). Among elements taken from the narrowband tradition, chains of Meander designs are used in long columns or short horizontal or diagonal rows between primary unit designs, and with Pendent Triangles as inner rim decoration (fig. 590b). "Z" elements of the old narrow-band tradition are used in the same way. This use of both these elements is also unique to Phase 10. Other secondary unit designs are used more rarely. They include letter-like characters (pi. 76), blocks representing wooden agricultural tools (pi. 95, right), ceremonial wooden staves, line crosses with dots in the four quarters, representations of men, and small circular black designs with appendages added rotationally. Most of these designs have counterparts in Phase 6, but the representations of men as painted pottery decoration are unique to Phase 10 (33.2, AMNH, 41.2/897). As in Phase 6, single zigzag rows of unit designs are sometimes used in place of other arrangements to fulfill the function of decorating relatively plain design areas, such as a secondary band in a horizontal banding arrangement (pi. 100; for comparison, see fig. 304). Secondary unit designs are also used frequently in special arrangements which feature Pendent Triangles as inner rim decoration. This use occurs most commonly in the decoration of Cumbrous Bowls, and occasionally on the interior rim of other open shapes which have a minimum of decoration on a plain-slipped surface, such as some Deep Open Dishes and Flaring Cups (fig. 590b). The most common decoration of Cumbrous Bowls consists of four units of Pendent Triangles composed of Small Diamond elements, alternating with Pony Fringe bands, that is, blocks of short pendent lines, the blocks being of about the same width as the base of the Pendent Triangles (pi. 85, fig.

THE ANALYSIS OF DECORATION

574). This is exactly the same arrangement as on the corresponding Phase 9 Cumbrous Bowls, except tor the difference in execution of the Pendent Triangles (for comparison, see pi. 66). The Pony Fringe units are optional and may be omitted. The decoration is usually in black on the unpigmented slip, and in one example in black on a white slip (pi. 85). The two-color pattern groups this kind of rim design with secondary unit designs. We see that the lea 10 potters regarded the Pendent Triangles at least partly in this light because these designs are sometimes used in the position of secondary unit designs between primary ones (30.1.3, 4-5288). The Pendent Triangles in the two-color pattern are usually composed of Small Diamonds and Half Diamonds, usually six relatively large elements as shown in pi. 85 and figs. 574, 590b or, rarely, 15 smaller elements made of finer lines. The base row at the top is made up of Half Diamonds. In addition to the distinctive execution of the Pendent Triangles, Phase 10 Cumbrous Bowl decoration is distinguished by another feature. Various other secondary unit designs are sometimes placed just below the lip in the spaces between the Pendent Triangles, where they appear to replace the Pony Fringe designs (fig. 590b). In addition, primary unit designs of a special kind, already discussed earlier, are often placed circumferentially below the secondary ones (pi. 85). The process that gave rise to the use of a variety of unit designs in this context was probably a chain of analogies, in which Pony Fringe elements in particular are sometimes compared with secondary unit designs, and both Pendent Triangles and Pony Fringe designs are so treated at other times. In either case, it evidently appeared appropriate to the lea 10 potters to place primary unit designs in juxtaposition with the secondary ones, as was done with the design arrangements on other vessel shapes. We have already noted that the selection of special Fish designs as primary unit designs in this context probably represents yet another analogy, this one made with an lea 6 model (cf. pi. 10). Pendent Triangles of the same kind used in the decoration of Cumbrous Bowls are also frequently used on the interior rim of Deep Open Dishes decorated only with unit designs on the unpigmented slip (fig. 590a-c). As on Cumbrous Bowls, these Pendent Tri-

219

angles are sometimes accompanied by various secondary unit designs in the spaces between them, just below the lip. Pendent Triangles are also used occasionally to decorate the inner rim of bottle necks (pi. 80, fig. 566). The design area here is small, and as a result the Pendent Triangles are composed of very small Small Diamond or Half Diamond elements. In one example the interior rim of a bottle neck is decorated with an outlined inner mouth band in the traditional three-color pattern, painted with small Pendent Triangles (fig. 566). More commonly the Pendent Triangles are painted in black on the unpigmented slip in this context. No secondary unit designs appear in either arrangement on this area. We have seen earlier that occasionally Pendent Triangles are also used as inner mouthband decoration on Flaring Cups (fig. 565). In this context they are also done alternatively on outlined bands in the traditional threecolor pattern, or on unpigmented, unoutlined areas in black only. In one unique example, mentioned earlier, Pendent Triangles composed of Conservative Rectangle Fish designs are painted in resin paint on the interior rim of a Shallow Dish made of smoked blackware (fig. 573, pi. 86). Besides the Pendent Triangles and Pony Fringe designs, other traditional fringe-band designs are used in the same or similar contexts. One consists of Pendent Step elements like the corresponding Phase 6 designs (fig. 563; for comparison, see fig. 387). As in Phase 6, they are used on the plain-slipped interior rim of some open vessels. Other Pendent Step figures are larger, either solid black or only in outline, also like some Phase 6 designs (fig. 561; for comparison, see figs. 363, 364, 425, 426). In addition, much larger black Pendent Step figures are used in pairs as interior rim designs on large plain open bowls and jar necks (figs. 603-605). This form of the design has no counterpart in Phases 6 to 9. Pendent Hook designs like those of Phase 6 are also used in Phase 10 (cf. fig. 365). Traditional narrow-band designs on narrow white bands and some narrow red bands resemble closely the corresponding Phase 6 designs. These designs are rare in Phase 9, and once more common in Phase 10. They include the Meander band (figs. 533, 534, 536, pis. 77, 79; for comparison, see figs. 337-340,

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

375, 407, pis. 1, 4, 18, 19, 23); bands of "Z" figures (fig. 535; for comparison, see figs. 342, 433, 458, pis. 9, 43); and Fret bands (cf. fig. 344). On Cambered-Rim Bowls the Meander band design is sometimes used in the correct position for the narrow white band, but in black on the unpigmented, unoutlined surface (pi. 77). On these examples the Meander elements are slightly larger than on the band proper, and are executed with thicker lines. They fulfill the function of the narrow band. This usage is not present in other phases. We have seen earlier that both the Meander and " Z " designs are also used as secondary unit designs in Phase 10, a use to which they are not put in other phases (fig. 590b). Another distinctive Phase 10 use for the Meander is as white counter decoration, with Small Squares as principal elements, in patterned principal designs that simulate rectangular units of the inner mouth-band tradi-

tion (see above). There is also one example in which three rows of alternating black and white Meander chains form the decoration of an inner mouth band on a small Deep Open Dish, another use not found in other phases (33.1 RHLMA, 16-1426). In another Phase 10 innovation, Meander bands are sometimes used as decoration of very narrow vertical panels in principal bands (pi. 82). In this context they are painted in the three-color pattern appropriate for over-all principal designs (fig. 544). In the example shown in fig. 544 and pi. 82 the three-color effect is achieved by filling some of the spaces with white pigment. These narrow vertical panels are usually found on the narrow shoulders of Flasks and Complex Jars that are elliptical in horizontal section. Vertical Meander chains analogous to these narrow panels are sometimes also used on closed vessels circular in horizontal section.

Chapter V.

33

CONCLUSIONS Summaries of the stylistic analysis of Late lea pottery are provided for shape features in chapter IE, and for design features at the beginning of the discussion of each phase in chapter IV. Together, these summaries furnish an outline for the characteristics of each phase and the stylistic evidence for the chronological order of the phases. Pottery assemblages at lea vary according to the kind of grave in which they are found. There is a correlation between wealth and contents of the graves and grave structure. The differences in association patterns furnish clues to the social position and cultural allegiance of the persons buried. They also indicate the ritual that prompted the burial of the vessels with the dead. This information is necessary to the pottery analysis. Without it many aspects of the stylistic details do not yiela to analysis, nor can the social significance of the styles be appreciated. This limitation is particularly marked during the time when lea society was subordinate to the Inca imperial administration. The association data are also important because the patterns of one phase serve to explain more clearly those of thephases that preceded or succeeded it. The wealthiest, most elaborate graves were deep, structured tombs containing multiple interments, with provisions made for reentry. The main grave chambers were rectangular. They were, evidently, considered as abodes, for they were provided with lattice roofs of poles and thatch. Wealthy, elaborate tombs of this kind can be presumed to have held per-

sons of high social rank. This inference is based on the contents of the tombs. Social importance is reflected by wealth, as represented by the quantity of objects in the tombs. The deep, structured tombs contained much more pottery, as well as more additional kinds of objects, than most other kinds of burials. The structured tombs also contained moderate to large quantities of objects of gold and silver. We know from information furnished by Spanish chroniclers that the possession of gold and silver was a privilege granted by the Inca government to persons of noble rank. By contrast, copper was not used as a symbol of rank, but was in general use among taxpayers of the Inca Empire.176 Gold had a higher status as a symbol of rank than silver. One can infer that the possession of gold and silver was a symbol of rank at lea also before the Inca conquest, by the large quantity of gold and silver objects found in the very wealthy, structured lea 6 tomb Th-1 (see below). The presence of large, elaborately carved ceremonial implements of wood in the deep, structured tombs is also a sign of special distinction. This inference is based on the fact that in the Late Horizon tombs carvings of this kind were sheathed in gold or silver. This ornamentation links the significance of the carvings to the significance of the gold and silver. 176. Rowe, 1947, pp. 246, 247-248, 261.

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

The wooden carvings are remarkable for their fancy carved ornamentation and large size. 177 They are a distinctive trait of the lea tradition, unconnected with that of the Incas. They represent enlarged, ceremonial forms of agricultural tools, such as spades and digging boards, found in abundance in Late Intermediate Period refuse of the south coast. 178 As we shall see, the occurrence of these carvings was not confined to deep, structured tombs, unlike gold and most silver. Such carvings are also found in burials of a different kind. It appears that the prestige of the carvings spanned a wider spectrum of lea society than tne use of gold and silver. Carvings of this kind were found in lea burials from at least as early as Phase 3 on, and probably earlier. There is some suggestion that the larger and more ornately carved the wooden implements are, the greater the distinction they symbolized. This observation will require a separate study, however. Another sign of distinguished rank is the occurrence of retainer burials. Even without the corroboration furnished by the chroniclers, it is a reasonable inference that a retainer burial signifies special distinction for the principal dead. Large, deep, structured tombs are characteristic of the lea tradition from before the Inca conquest through the Inca occupation period. Similar, but possibly less elaborate deep tombs also occur in earlier lea phases. Unfortunately no detailed descriptions of the earlier lea tombs are available. The use of large, structured graves with multiple burials and entrance ways has antecedents as early as Epoch 2A of the Middle Horizon.179 Many items of the Middle Horizon tombs parallel those that appear in the deep, structured Late lea tombs and must be presumed to be related to them by tradition. The inference that the deep, structured tombs were those of persons of noble rank finds confirmation in the accounts of Cieza de Leon. Writing about the peoples of the coast, Cieza gives a general description in which he does not specify particular valleys. However, he notes that the social pattern he was describing was much the same in the different 177. For examples, see Schmidt, 1929, figs. 426-433. 178. For related tools of this kind from Chincha, see Kroeber and Strong, 1924a, p. 34, fig. 16. 179. Menzel, 1964, pp. 46-47; Menzel, 1968a, p. 71.

areas of the coast. 180 Such uniformity could not have been due only to the unifying agency of the Inca Empire. Cieza's descriptions point to regional variations on themes that must have been based on a single older tradition. The similarities in customs are not surprising when we consider that the ancestors of the different peoples whom Cieza describes had once lived under the Huari Empire. Cieza's accounts are based in part on his own observations, and in part on the observations of Fray Domingo de Santo Tomás. Fray Domingo was particularly well acquainted with the south coast, having established the first mission at Chincha between 1540 and 1542. According to Cieza, the nobles and lords of the coast were much feared and respected by their subjects, and surrounded themselves with great pomp. They were always accompanied by their jesters, dancers and musicians. They had many wives, chosen from the most beautiful women. Each noble had in his own valley an elaborate domicile of adobe construction, with covered terraces and a large courtyard where he gave feasts.181 Cieza also describes the religious beliefs concerning the afterlife, as well as the burial customs of the nobility. He notes that there were similarities in these beliefs and customs over the entire coast and in the sierra, although there were also regional differences. Although Cieza's accounts refer to the customs under the Incas, it is clear from his discussion that most of these customs were based on independent local traditions. Like daily life, burial customs and the beliefs with which they were connected have a direct bearing on the patterns of association in the lea graves. It was generally believed that the souls of the dead lived eternally in another world, leading a happy life. In the other world the nobles continued to give their great feasts. In order to insure that the nobility would have all they needed for this purpose, the noble dead were buried with their most beloved wives, their best servants, sometimes their best friends, all their most precious possessions, their arms, personal ornaments, symbols of rank, and an abundance of food and drink. Some servants, retainers, and women 180. Geza de León, 1947, caps. LXI, LXD, p. 414. 181. Cieza de León, 1947, cap. LXI, p. 414.

CONCLUSIONS who would not fit into the tombs nevertheless joined their lord in death in separate, simple burials. These sacrificial burials were made somewhere on the lord's property, usually near the site of his feasts. Such sacrifices were made in the belief that these people would continue in association with their lord and take part in his feasts in the other world.182 When describing the burials of the nobility, Cieza states that in many coastal valleys the noble families had their own cemeteries on the arid valley borders and "arenales," that is, the uncultivated sandy elevations of the valley. There they had great, deep, elaborate tombs with closed entrances. Cieza reports that one could see many such burial places everywhere, with their dead and the rotted and weathered clothing. It is not clear from his statement whether the exposure of the dead resulted from looting by the Spaniards, which he describes as having taken place on a large scale, or whether some of the tombs had been left open deliberately. He does mention, however, that it had been the native custom of some coastal peoples to open the tombs and renew the clothing and food that had been put in them. 183 Cieza's descriptions fit the archaeological data on the deep structured Late Horizon tombs from the Soniche cemetery at lea in several respects. To a slightly lesser extent they also fit the available evidence for the lea 6 tombs. Each deep, structured Late Horizon tomb at lea was the grave of one or more important persons, probably one principal noble and perhaps one or two favorite wives or a friend. The Late Horizon tombs also contained the remains of members of the principal's retinue, probably servants, and possibly some relatives, including juveniles. There is evidence that the tombs were reentered on one or more occasions after the first interment, and that they were then finally closed. Uhle's descriptions of the arrangements of the objects in all Late lea tombs indicate that most of the tomb furniture, including all pottery, was deposited on a single occasion. It appears, however, that at the time of final reentry into some of the tombs some of the objects originally placed in them were removed. To understand fully the nature of the pot182. Cieza de León, 1947, cap. LXn, pp. 414-415. 183. Cieza de León, 1947, cap. LXIII, pp. 415-416.

223

tery assemblages as they were found by Uhle it is necessary to understand the evidence about reentry into the tombs. We can reach an understanding of the pattern of reentry and the burial rites at lea by a discussion of the contents of particular tombs. The discussion of the selection of pottery in the tombs is presented separately in a subsequent section, to bring out more clearly the significance of the pottery styles and their association patterns. Although Uhle's data are incomplete, there is enough evidence to show that at least one reentry must have been attended by a special ceremony. The number of reentries varied, but there was at least one reentry into most tombs, and there were at least two reentries into some before final closure was made. An original interment before any reentry is probably represented by tomb Td-8, which contains the largest amount of burial furniture in the Late Horizon sample. This tomb may have been closed prematurely to hide it from the Spaniards, who may have arrived before the secondary interment ritual could take place. Tomb Td-8 was 6.60 meters deep, its burial chamber measured 4.60 by 2.95 meters in ground plan, and it extended 2.40 meters below the surface of the clay subsoil of the valley. Uhle describes three principal individuals in tomb Td-8. These were wrapped in mummy bales and seated in a row in the eastern half of the main burial chamber. The bodies disintegrated in the process of removal from the grave, and few perishables were reserved. In the eastern end of the chamber,

Eehind the principal persons, stood tall, elab-

orately carved implements of wood. These were sheathed with gold and silver and painted with resin paints. The wooden carvings disintegrated partly on removal. Oversized ceremonial wooden carvings of this kind regularly occur in pairs or multiples of pairs in the graves, as do some of the gold and silver dishes and some kinds of pottery vessels (see below). Between the wooden carvings and the mummy bales stood the pottery vessels. In front of the mummy bales, at the base of the lowest entrance step into the tomb, stood three empty funerary urns, placed in one another. On the ground beside the urns were the remains of several juveniles who appar-

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

ently had not been wrapped in mummy bales. Accompanying one of the juveniles were the remains of golden ear plugs and an ocarina. Below the lattice roof above the burial chamber of tomb Td-8 directly above the three rincipal mummies a wooden stool was

e

uried. This kind of stool signified the rank of a provincial noble under the Incas (pi. 37). 184 Beside the stool were some llama bones and a pair of Angular-Rim Dishes of incised blackware. Additional llama bones were found in the main tomb chamber. The llama bones probably were from sacrificial animals. The empty burial urns led Uhle to conclude that tomb Td-8 had been robbed in ancient times. However, he reported no other evidence of disturbance, although gold and silver dishes like those appearing in other elaborate tombs were not present in tomb Td-8. In other tombs metal vessels of this kind were found only inside of burial urns, together with skeletal remains indicating secondary burial. It is therefore possible to see tomb Td-8 as an original interment from which some objects customarily added only on reentry had been omitted. The pattern of the human interments of tomb Td-8 corresponds approximately to the

184. Rowe, 1947, p. 258. Rowe has made observations on the wooden stool from tomb Td-8. He notes that according to Guaman Poma de Ayala, the rank of Inca nobles was indicated by the height of the stool they were entitled to use, the material of which it was made, and the amount of decoration on it. A stool of plain wood, "4 dedos" high (about 4 inches or 10 cm.), "a manera de plato," was the symbol of rank of pachak kamachikoq, the official in charge of a pachaka (unit of 100 taxpayers). The description fits our specimen, provided the height measurement is that of the supports below the plate-shaped seat and of the lowest part of the upper surface of the seat, in its center. The official of next higher rank had a seat that was supposed to be "1 palmo" high, or about 8 inches, that is, twice the height of the one from tomb Td-8. The seat itself was called tiyana, i.e., "seat." See also Guaman Poma de Ayala, 1936, pp. 14, 369, 398. In 1968 pothunters discovered a tomb which was evidently similar to tomb Td-8. They reported to have found it in the area called Hoyad6n in the Callango Basin in the lower lea Valley (27). A small part of the contents of this tomb was brought to the Museo Regional de lea. Theremainsbrought in by the pothunters consisted only of a pair of plain wooden stools identical to the one found by Uhle in tomb Td-8, together with a nearidentical pair of large provincial Inca jars of the kind also found in tomb Td-8. The similarity of the wooden stools and provincial Inca jars from the Hoyad6n tomb to those of tomb Td-8 suggests that the two tombs belonged to persons of the same rank, and that such rank was expressed not only through the wooden stools, but also through the pottery, here the Provincial Inca A category (see dicussion below). For another wooden stool from the area of Old lea, identical to the stools from tomb Td-8 and the tomb at Hoyaddn, see Schmidt, 1929, fig. 436-3.

multiple interments described by Cieza. The three individuals wrapped in mummy bales must have included a noble, and perhaps women or friends who accompanied him in death. The other human remains, which were not wrapped in mummy bales and lay beside the urns, were evidently those of retainers or other servants. The juvenile with gold ear ornaments and an ocarina is of particular interest. The use of gold for the ornaments suggests that the individual was closely associated with a person of privilege, and the ocarina may indicate that he was a musician. The many Ica-tradition features in the tomb, and especially the wooden carvings, indicate that the principal person was a member of the old lea nobility. At the same time, Inca symbols of rank like the wooden stool show that he also occupied a position of rank under the Incas. The same conclusion was reached by Uhle. Several skulls painted with red ocher were found "in the higher layers of the grave in about half the depth of the whole grave," according to Uhle (A 382-393; 12-2890-2901). Since there is no sign of disturbance in the original interment, these skulls must have been placed in this position in preconquest times. A second stage of burial ritual, which must have included at least one later reentry into the tomb, is represented by the Late Horizon tomb Ta. Like Td-8 it was a deep, structured tomb, although its size, depth, and contents suggest a slightly lower rank for the noble in it. The burial chamber, 2 by 2 meters in ground plan, was smaller than that of tomb Td-8. Tomb Ta was also only about 5 meters deep, shallower than Td-8. Several features distinguish the tomb Ta interments from those of tomb Td-8. Tomb Ta contained no intact mummy bales. Uhle describes "remains of bodies," some scattered between the burial furniture on the floor of the chamber. Uhle notes that most skulls of these individuals had red paint on them. Fleshless bones painted red indicate that the human remains underwent further treatment after the flesh had decayed, sometime after the original burial. The skeletal remains on the floor of the chamber were mingled with ear plugs of a copper alloy, "metal" pendants sewn to clothing, "metal" bands probably once used as forehead ornaments, and at least 15 silver tweezers. Uhle uses the term "met-

CONCLUSIONS

tal" to describe what appears to be a much corroded silver alloy. As in tomb Td-8, three burial urns were placed one iri the other. The urns rested on the lowest step of the entrance into the tomb, a position similar to that of the urns in tomb Td-8. The urns contained "remains of bodies." Most metal dishes and personal ornaments of the tomb were either within the urns or on the step beside them. No objects of gold were found in this tomb. However, silver objects were found in abundance in and around the urns. Personal ornaments in the urns consisted of silver disks of the kind sewn on clothes and ear plugs. The silver vessels included Shallow Dishes of a kind related stylistically to those of the lea pottery tradition, drinking cups that may be described as "tumblers," and narrow, deep beakers with a face hammered in relief in one side. Also included among the contents of the urns was at least one silver mask like those used for faces of the dead. Some of the "silver" vessels were so heavily corroded that they were preserved only in fragmentary form. This condition makes an exact count of their number difficult. At least some of them appear to have occurred in pairs. Like the bones on the floor of the main chamber, the skeletal remains in the urns had been painted red after the flesh had decomposed. They must have been placed in the urns after this secondary burial treatment. Face masks like the one in the tomb Ta urns have so far been recorded only with the remains of principal personages. Large ceremonial wooden carvings stood on two sides of the burial chamber, much as in tomb Td-8. Two pairs of wooden carvings stood together in one group, and three spadeshaped carvings and a staff with a carved face in another. Placed with the latter set of carvings was a pair of clubs with cast metal heads of a hard copper alloy. The handles of the clubs and the handles of the large wooden carvings that had them were sheathed with silver. Two hollow birds of silver in the tomb had once been part of the decoration of two of the wooden carvings in the second group. The pottery of the tomb was found between the groups of wooden carvings on the floor of the tomb chamber. The condition of the human remains in tomb Ta indicates that a second stage of the burial ritual for deep, structured tombs was

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reentry after the bodies had decomposed. During this ritual the skeletal remains were painted red, and those of the principal dead were placed in the burial urns together with the metal dishes and ornaments which comprised the personal belongings of individuals of noble rank. The dead left scattered on the ground of the burial chamber were probably retainers. The personal ornaments found with the remains of the retainers in tomb Ta are of silver and copper. No objects of copper were found in or around the urns. This difference suggests a higher rank for the individuals in the urns than for those individuals scattered on the ground of the burial chamber. When tomb Ta was closed, the grave post above it was buried, as described in chapter I. At that time a pottery vessel was buried beneath the grave post (pi. 50). The style of this vessel matches closely the style of some of the vessels in the tomb. There is no evidence that the contents of tomb Ta were disturbed after the secondary processing of the skeletal remains. Some of the other tombs do show subsequent disturbance, however. Two distinct patterns of disturbance occur. One is represented by the condition of tombs Ti-5 and Tl-2, and the other by the condition of tomb Tg and burial Tf. The condition of another looted tomb, Tp, was not described by Uhle. Tomb Tg and burial Tf were looted in a chaotic way, so that the tomb structure did not remain intact, and the remains discarded by the looters were found strewn throughout the layers of soil and sand above the original interment (cf. discussion of burial Tf, chapter I, and tomb Tg, below). This pattern of looting is like the looting pattern carried out in lea at the present time and probably represents Spanish activity. The looting pattern in evidence in tombs Ti-5 and Tl-2 is distinct. Although it is obvious that part of the contents of the tombs was removed, the structure of the chambers remained undisturbed, and the contents that were not removed rested on the floor of the tomb chamber, apparently where they had been originally deposited. Secondly, a fair amount of gold and silver was left behind in tomb Ti-5. Since the Spaniards melted down the metal they found for its bullion value, it is unlikely that they would have knowingly abandoned any amount of it. Since the precious metals lay within the tomb chamber,

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they could scarcely have been overlooked or lost by the looters. The main distinction of the second looting pattern, however, is that some precious metals and other objects were left in the tomb chamber, but all but a few remnants of the human remains were removed. In both examples these were human remains that had been subjected to the secondary interment ritual. There is no conceivable reason why Spaniards should have removed the bones of the dead while leaving objects of precious metals behind. The removal of skeletal remains that had undergone the process of secondary interment from tombs Ti-5 and Tl-2 gains particular significance from another phenomenon. As we have seen, a number of bodiless skulls which had undergone secondary interment ritual were buried above the undisturbed, primary interment in tomb Td-8. We shall see that the same is true of other undisturbed primary interments (burials Tk and H-l, below) as well as of tombs that had undergone secondary processing (Ti-5, Th-1). Such skulls were also found above burial Tf-1, and in the higher levels of the looted tomb Tg. Eight bodiless skulls were found in the "higher layers" of tomb Ti-5 (A418-425; 12-2926-2933). The bodiless skulls were not trophy heads. There is no evidence that trophy heads were collected by the people of the lea tradition. Nevertheless, the condition of the skulls indicates that they had to have undergone primary and secondary burial elsewhere before being buried above the primary interments in tomb Td-8 and burials Tk and Tl-1. It seems likely, therefore, that these skulls came originally from tombs like Ti-5 and Tl-2, the only kinds of Late lea graves in which the original interments were subjected to secondary burial treatment. This means that the people who were responsible for the looting pattern represented by tombs Ti-5 and Tl-2 were probably natives, and that most of this looting took place before the arrival of the Spaniards. An explanation for the looting pattern just described may be that the remains of the dead lost much of their original ceremonial importance and particular sanctity after the secondary burial ritual in the deep, structured tombs. The fact that bodiless skulls painted red were found in undisturbed graves which showed no evidence of reentry after the original interment is also an indication of another interesting point. After the secondary

interment ritual the skulls of the dead must have acquired a new meaning. They evidently became some kind of charm to be placed above the original burial of individuals of various kinds of distinction, both nobles and non-nobles. A summary of Uhle's descriptions of the looted tombs Ti-5 and Tl-2 follows. Ti-5 was originally an elaborate Late Horizon tomb. In size, elaboration of structure, and contents, tomb Ti-5 resembled tomb Td-8, although the burial chamber was slightly smaller. The contents of the tomb were found on the floor of the tomb chamber. The human remains on the floor of the tomb consisted of a fragmentary arm bone, fragments of skulls painted red, and fragments of three leg bones (A426-427; 12-2934-2935, 4-5357B). The three burial urns, which were present, as in the other tombs, evidently had been filled originally but were almost empty when found. They were lying on their sides, still placed one in the other. They contained three fancy disks of embossed gold of the kind sewn on the garments of distinguished personages and an amethyst bead. The remaining contents of the tomb were found on another part of the floor, away from the urns. In addition to the pottery, the burial furniture in the tomb chamber included the remains of a pair of elaborately ornamented wooden carvings in a poor state of preservation, six silver ear plugs, fragments of silver plate, copper disks and copper tweezers, a bit of tapestry, a cane flute, and a pottery ocarina. The few skeletal remains from the floor of the chamber show that tomb Ti-5 had once contained human remains. Their absence from the burial urns and the evidence of looting of the urns indicate that the remains once placed in the urns had been removed after their burial. The fact that the urns were lying on one side is an indication of disturbance. The few personal ornaments in them must be remnants of a full complement of ornaments, skeletal remains, and probably metal dishes like the secondary interment in the tomb Ta urns. The use of gold for the ornamental disks in the urns indicates that the principal individual in the urns had been a person of noble rank. The silver and copper metals used for the ornaments and tweezers found on the floor of the chamber outside of the urns contrast with the gold in the urns. In tombs Ta and Ti-5 tweezers were not

CONCLUSIONS found with the most personal effects of the individuals in the urns, but only with the servants on the floor of the chamber. Hence, it is possible that the occupation of some of the servants was to remove the principal's face hair. Tomb Ti-5 also differed from tomb Td-8 and tomb Ta in lacking a grave post. As a deep, structured tomb where secondary burial ritual had taken place tomb Ti-5 should have been marked by at least one grave post. The grave post or posts may have been removed at the same time as the skeletal remains, or later. The evidence for the removal of skeletal remains from tomb Ti-5 after the secondary interment, as well as of some of the other objects, probably explains another puzzling feature of the Soniche tombs. All grave posts found above the deep tombs had been cut down and buried. In view of the large-scale evidence of looting of these tombs, the posts were probably buried to hide the tomb from looters. Evidence shows that the practice of burying the grave posts was in use already well before the Inca conquest of lea (cf. chapter I, tomb Th-1 and burial Th-2). The most likely explanation is that the posts were traditionally buried to hide the tombs from persons engaged in the second looting pattern, in which the skeletal remains of the secondary interments and the contents of the urns in general were the main targets. Tl-2, another deep tomb, showed evidence of the same kind of disturbance as tomb Ti-5, except that it was almost empty. No grave post was found above it either. The remnants of the contents of this tomb were also found in the main tomb chamber, about where they must have been deposited at the time of the interment. Two funerary urns lay on their sides in the chamber, the same position as that of the urns in tomb Ti-5, but they were broken, as well as nearly empty. Uhle saved two small gold pendants from among their contents, as well as Spondylus shell ornaments. A very few human bones were also among the remains of the tomb chamber. There was at least one alternative procedure followed in secondary interments of important persons and their retainers at lea. It is represented by the Late Horizon tomb Tc. Although this tomb was deep and structured, similar to those mentioned, it was constructed exclusively for the purpose of making a secondary interment. Tomb Tc had the small-

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est recorded burial chamber of any of the deep tombs. The chamber was 1.60 by 1.60 meters in ground plan. It was also only 4.60 meters deep, shallower than the other tombs. The entire space of the burial chamber of tomb Tc was occupied by a burial urn and some skeletal remains and a few other objects beside the urn. There was only one urn, as opposed to the two or three stacked urns found in the other Late Horizon tombs. The urn was 76 cm. high and 75 cm. in top diameter. Fragments of a thick rope around its inset rim suggest that the rope may have been used to lower the urn into the tomb chamber. According to Uhle, the urn contained "about three or four skulls" and the remains of a body. He says that "some of t h e m " (the skulls) were "painted" (red). The skeletal remains in the urns were accompanied by the greatest wealth of gold objects found by Uhle. One of the red-painted skulls had a gold mask on its face. Below the skull was a pair of golden beakers, each with a modeled face in one side. Below the remains of the body that belonged to the skull Uhle found a golden dish with a pair of golden tweezers in it. Uhle notes that the dish was placed " a s if the body had been inclined over it." Above the urn Uhle found the bones of a child mingled with a band of sheet gold. Touching the urn, on one side and on the ground of the chamber, were the skeletal remains of another child. At the opposite side of the urn was a skull and the remains of a body found at a slightly higher level. This body was associated with a pair of silver ear ornaments. These ornaments associated with the body beside the urn contrast with the gold objects within the urn. It is the same pattern observed in other tombs. The principal personage was placed inside the urn, the bodies of retainers lay beside it. The only artifacts, apart from the personal ornaments, found outside of the urn were two relatively simple wooden carvings and a single lea 9 vessel. Uhle records five bodiless skulls "from the upper layers of the grave" (A456-460; 12-2964-2968). Uhle was rightly puzzled by the contrast between the wealth of gold objects in the urn and the poverty of the artifacts outside it. However, if the arrangements in all the deep, structured tombs are related, a consistent pattern of associations emerges. It appears that burial furniture, such as pottery vessels, ela-

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

borate wooden carvings and various other kinds of objects were placed in the tomb only at the ceremonial of the primary interment. At the time of the secondary interment the objects probably had ceased to be important as accompaniments of the dead. At the time of the secondary interment, when the bones were painted red and placed in the burial urns, only valuables of the most personal kind, especially ones indicating social distinction, accompanied the bones of the principal dead. The simple wooden carvings and the pottery vessel outside of the urn may have been token accompaniments of the servants beside the urn. The wealth of gold objects in the tomb Tc urn argues for the secondary interment of a person of special distinction at lea, and possibly explains why a special new tomb was made for the secondary interment. Uhle was brief in his description of the great lea 6 tomb Th-1, giving no particulars concerning its structure and little detail on the arrangement of its contents. From what he records it is evident that, although the burial pattern must have been similar to that of the Late Horizon tombs, there were also some significant differences. Uhle records no human remains from the floor of the tomb Th-1 chamber away from the burial urns. Two stacked burial urns contained all the human remains from thefloorof the tomb. These consisted of skulls and other bones. Four additional bodiless skulls were found in "the higher layers" of the tomb (A414-417; 12-2922-2925). The urns also contained all the gold and most of the silver objects of the grave, including Shallow Dishes, tumblers, a beaker with a modeled face in one side, various personal ornaments such as oval disks of the kind sewn on clothes, ear ornaments, armlets, finger rings, a forehead band, and the face mask for the dead. An important contrast between the arrangement in tomb Th-1 and the Late Horizon arrangement is that the tomb Th-1 urns contained objects of both gold and silver. We infer that in the lea 6 context gold and silver served equally for personal luxury items of persons of rank. The absence of human remains from the floor of the tomb chamber outside of the urns suggests that servant or retainer burials were not made, though it is possible that a favorite wife or friend may have accompanied the dead principal. Instead of human remains

outside of the urns, two sacrificial llamas, one with a silver forehead ornament, lay on the floor of the tomb chamber. The metal dishes did not occur in pairs but singly or in various multiples, like the pottery vessels in this tomb, and unlike the corresponding objects in the Late Horizon tombs. As noted in chapter I, it is clear that tomb Th-1 had been closed and the grave posts above it buried soon after the ritual of the secondary interment, leaving the tomb intact in the condition in which it had been left at that time. If objects were removed from the tomb after the primary burial, there is no physical evidence of it. However, although the principal chamber was full of burial furniture, most of the furniture was confined to the great quantity of pottery vessels found in this tomb. Most vessels were found broken, the breakage probably having occurred at the time of the secondary burial ritual. The vessels may have been broken deliberately at that time, in view of the large-scale breakage. If the breakage was accidental, this fact would reflect a marked carelessness and indifference toward the original burial furniture at the time of the secondary burial. Since large, elaborately carved wooden implements of the kind recorded in the Late Horizon tombs are also recorded from graves of the earlier phases of the lea tradition and were present among the remains of the looted lea 6 tomb Tg, such carvings were probably also once present in tomb TTt-1. If they were, they must have been removed at the time of the secondary interment, possibly along with some other burial furniture. Since sacrificed llamas and two skin pouches were preserved in tomb Th-1, we cannot attribute the absence of all traces of other perishables to poor preservation conditions. Textile remains probably were removed at the time of the secondary interment, when the human remains were processed. Tomb Tg, near Th-1, was a thoroughly looted tomb, as noted, with most remains gone and none left in their original position. The only human remains mentioned by Uhle are seven bodiless skulls found in the upper layers above the floor of the tomb (A407-413; 12-2915-2921). If poorly preserved human remains from the floor of the tomb chamber were present, Uhle did not collect them. A few remnants of the loot from this tomb were scattered throughout the disturbed deposit

CONCLUSIONS

above the tomb. Some of these remnants may have been discarded, and others accidentally lost by the looters. Another difference is that three buried grave posts were still found in the larger circumferential area above tomb Tg, an indication that the concealment ritual had taken place. The structure and remnants of the contents of tomb Tg indicate that the individual buried must have been of about the same degree of social distinction as the one in tomb Th-1. Cieza and other chroniclers were primarily interested in the pomp surrounding the wealthiest elite of the Inca Empire. As a result Cieza does not describe burial customs of people other than the nobility, except so far as these were connected with the burial rituals of the nobles. Uhle's interest in describing details of burials also diminished in proportion to the diminishing wealth and size of the graves. As a result, our most detailed information is on the deep, structured tombs. Uhle gives enough data, however, to show that other kinds of burials also existed. Such burials must have been far more common than the wealthy, structured tombs, despite our meager record of them. As we shall see, however, these less elaborate graves form an integral part of the association pattern that reveals the function and significance of lea pottery and its relations to lea culture in general. There are several different kinds of nonstructured burials in the Late lea tradition. All of them share some features, however. They are not deep tombs, and they were exclusively primary burials, without reentry or secondary processing of the remains. No grave posts were found above these burials, nor other markers to show their location. Urn burials were characteristic of the lea tradition before the Inca occupation. They appear to have been common, leading us to infer that they probably were the appropriate burial form for respected adults of what might be called a large middle class. Before the Inca conquest of lea there were perhaps no other kinds of burials for most mature adults, although the evidence is insufficient to document this hypothesis fully. Ica 7 burial Th-2 is an example of a traditional urn burial. Burial Th-2 contained a single individual, a man to judge by the clothing, seated in a burial urn. The burial furniture was placed beside the urn. The burial was placed simply in the sand without a

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structure of any kind, only 1.5 meters below the surface. The man was clothed in a shirt and blue cap and was not wrapped in a mummy bale; the principal individuals in tomb Td-8 were. The individual buried was not accompanied by metal objects, either ornaments or dishes. His ornaments were confined to shell beads. The burial furniture consisted of 19 pottery vessels and a very long weaving sword. The differences between burial Th-2 and the contents of the deep, structured tombs are great enough to argue for a significant social difference. In addition to the differences mentioned above, burial Th-2 differs from the deep, structured tombs in that the interment was made in a single urn only, the dead individual had no face mask, and was not accompanied by ceremonial wooden carvings. Taken together, the contrasts lead us to the conclusion that the person in burial Th-2 was probably a respectable man of no particular distinction. Uhle excavated a Late Horizon burial, Tk, which had some of the same characteristics as the Ica 7 burial Th-2, and also lacked a grave post or other grave marker. It was deeper than burial Th-2, however, extending 2.50 meters below the surface. Like burial Th-2, it consisted of a single burial urn with accompanying objects. Unlike burial Th-2 and other unstructured burials, some of the objects were placed inside the urn and some outside. The objects reported as having been found in the urn are pottery that can be interpreted as symbolic of the social affiliation of the person buried, as we shall see below. There also was only a single complete body found in the urn, as in burial Th-2 (A453; 12-2961). Most of this body disintegrated on removal from the grave and was not preserved, with the exception of the skull. The skull has been identified by Theodore D. McCown as that of a female over 25 years of age. Uhle reports that "above the mummy there were found deposited 5 or 6 human skulls apparently remains of persons buried before . . . " (i.e., earlier). In another section of his notes he lists nine skulls "found above and on the sides of the principal mummy . . . " (A444-452; 12-2952-2960). Since the rest of the evidence indicates that burial Tk was not reentered after the original interment, these skulls must have been placed there at the time of the original interment, as in tomb Td-8.

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Burial Tk was also distinguished by the presence of tall wooden carvings, one set of four and another set of two, standing by the side of the urn. In addition to the twenty-six pottery vessels, burial Tk contained other objects. Some personal effects were found beside the urn. Uhle does not record another body from beside the urn, but he does record a special kind of skull from there, as we shall see, one that appears to have been a secondary interment, like the rest of the bodiless skulls in this grave. The personal effects from beside the urn include shell-pendant and stone-bead necklaces, some circular copper disks sewn to fragmentary remnants of clothing, and one copper tweezer. These are the only metal objects in this burial. Other remnants of clothing were also found, as well as a pair of slings and a basketry hat. Slings and tweezers were normally associated with the activities of men and not women in ancient Peru. Slings were used in hunting and warfare, and tweezers to pluck out face hair. Basketry hats and clothing ornamented with metal sequins also generally appear in association With male attire. Uhle does not describe these objects as accompanying the bodiless skull beside the urn. It is possible, therefore, that objects belonging to a man, either someone still living at the time or one who had been buried elsewhere, had been placed beside the urn at the time of this burial. Basketry hats are a traditional lea head ornament going back to early lea phases. Among other objects accompanying the burial was a pair of wooden drinking cups in the Inca style; a pair of cane flutes; a pair of spiral shells evidently used as musical instruments similar to the pottery ocarinas, to judge by the pattern of drilled holes in one of them; weaving equipment; and fossil shells in a net bag, possibly representing charms. One kind of object in burial Tk deserves particular attention. It is khipu or Inca knot records, used in accounting. No remains of khipu have been recorded from any of the structured tombs. The only other burial containing khipu was the small, shallow Late Horizon burial Tm which contained no pottery. According to Uhle, the khipu in burial Tk were found in two lots. He describes one lot as "human skull, enveloped in wad as

found, and with several kipu-strings, at the back part of the head within the wad, as found" (4-5418). He also reports another "package with various kipu strings" (4-5419). Mackey has analyzed the khipu from burial Tk and reports that there were three. 185 The skull with the khipu has been identified by Theodore D. McCown as that of a juvenile 10 to 11 years old. Uhle includes it among the objects "found at the side of the funeral pot." The features of burial Tk indicate that the person buried was a native of lea. No foreigner would have been buried with all the most distinctive national lea trappings such as the burial urn, bodiless skulls covered with red paint, the wooden carvings, and the basketry hat. In the traditional hierarchy of lea the burial was not that of a noble, however. That is, it lacked a structured chamber and other provisions fo reentry, such as a grave post or entrance steps. It also lacked gold or silver objects and metal sheeting on the wooden carvings. Within the lea tradition this individual must have been one of moderately good social standing, however, to judge by the presence of the wooden carvings, which are large and elaborate, the relative wealth displayed by the quantity of burial goods, and the use of an urn in the burial. Since greater depth of graves appears to be, at least in part, correlated with greater social standing at lea, it is important to add to our observations the depth of grave Tk, which was greater than that of burial Th-2 and less than that of the structured tombs. The individual in burial Tk also had a different distinction, unrelated to the lea tradition. This distinction is displayed by a quantity of objects of foreign origin or inspiration, most of them relatable to Inca culture. Most of these objects are unlike any found in the structured tombs of the nobility. Nevertheless, several are distinguished by particularly fine manufacture and artistry. These objects are principally pottery vessels and the wooden drinking cups. The presence of the cups is relatable to the kinds of pottery found in the burial, and is therefore discussed with the pottery in a separate section, below. Together, these objects indicate modest distinction in the Inca hierarchy, as we shall see. The individual in burial Tk, thus, had 185. Mackey, ms„ p. 102.

CONCLUSIONS

modest distinction in two separate prestige hierarchies, that of native lea society and that of the Incas. No comparable separation is maintained in the tombs of the nobility between objects signifying status in the lea tradition and those signifying status under the Incas. In these tombs most of the Inca-associated prestige objects have a more distinctive local character and replace similar categories of Ica-tradition objects signifying prestige in pre-Late Horizon tombs of this kind (for example, gold and silver vessels found in the urns; see also some pottery categories, below). In contrast, none of the objects of foreign inspiration in burial Tk replaces objects with corresponding prestige associations in simple, unstructured burials of the lea tradition. The contrast is brought out especially clearly by the placement of some of the objects of foreign inspiration in the urn in burial Tk. Within the lea tradition objects signifying prestige were placed within burial urns only in the deep, structured tombs of the nobility at the time of secondary interment, not in unstructured, non-noble burials, and not at the time of primary interment. Placement of the objects of foreign inspiration or origin in the urn of a non-noble burial thus is one of the features indicating special status of burial Tk. In summary, it appears that while some non-noble individuals of modest distinction in lea society (Tk) acquired an additional, independent prestige position in the Inca hierarchy, the lea nobility continued to maintain its rank in lea society within a single prestige hierarchy. The remaining burials with human remains at the Soniche cemetery are simple and relatively shallow. Burials Td-1 and Td-2 in the upper levels of the area above Late Horizon tomb Td-8, and Tb near Late Horizon tomb Ta, were probably retainer burials. Their position with relation to the deep tombs is described in chapter I. They apparently were burials of the kind Cieza describes when he speaks of retainers and members of the lord's household who did not fit into the tomb, but who killed themselves or were killed and buried near their lord so that they could continue their association with him in the other world. Another shallow Late Horizon burial at Soniche which contained no pottery, burial Tm, may also have been a burial of this kind. There is no record that human sacrificial

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burials took place at any other time in lea history. The pottery in burials Td-1 and Tb was not just in any Late Horizon style, but it matched closely the kinds of pottery found in the deep tombs near them. This match is particularly pronounced for burial Td-1 and tomb Td-8. The vessels in burial Td-1 belong to Late Horizon styles that are not found in other small, shallow burials on record, but only in the deep tombs, where they are characteristic (see below). Like burial Td-1, burial Tb had once contained two pottery vessels. One is missing. The other, a bowl, has decoration that matches that of several vessels in tomb Ta. The stylistic match of the vessels in the shallow burials to those of the tombs near them suggests a close connection between the burials and the tombs, and considerably strengthens the inference that the burials were sacrificial ones. If the shallow burials had been unconnected with the tombs they should not have contained these particular kinds of Late Horizon vessels, as we shall see. Burial Td-1 is peculiar in another respect. It contained two bodies next to each other, covered with a single cloth, which suggests a special relationship between the two individuals. No other grave described by Uhle had a double interment of this kind. The two individuals were evidently adults. The only other kind of multiple interment described by Uhle for shallow, unstructured burials consisted of one adult and an infant in two Colonial burials (see below). Uhle does not describe any other example in which two bodies were covered with a single cloth. Concerning burial Tb, Uhle states that it was the grave "of a child of the better class." Uhle does not state why he thought so, but part of his reason probably was that he found remnants of a multicolored tapestry cloth with the burial, tapestry having been a prestige item under the Incas. In addition to the two pottery vessels in burial Td-1, the burial included a work basket containing weaving equipment. One of the vessels, a bowl, was filled with peanuts and corn. In the same way, the preserved vessel from burial Tb, also a bowl, was filled with grave goods, here a wad of yarn and a sling. Uhle does not describe the other burials, evidently because he considered that there was nothing remarkable about them. He did

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record additional shallow Late Horizon burials from Galagarza (Site Z) and El Tambo, Ocucaje (Site C), namely burials Z-5, C-4, C-5 and C-10. His notes do not indicate that these were urn burials. He simply lists the contents he was able to preserve. Z-5 appears to have been a burial of a child connected with, but not itself of, the nobility, to judge by the pottery (see below). In addition to the small "mummy" and two pottery vessels, the burial contained a small piece of silver plate suggestive of association with rank, tapestry cloth, a pair of child's sandals, a small coca bag, and some other minor items. As Geza describes the Late Horizon practice, this may or may not have been a sacrificial burial. Uhle did not catalogue any human remains with his burials from Ocucaje, probably because he did not think the remains worth preserving. For burials C-4 and C-5 he lists only the pottery. These must have been small burials without particular distinction. Burial C-10 is distinctive, because besides containing more and different kinds of pottery than the rest, it included three basketry hats of the traditional lea form also found in burial Tk, a plume, several skin pouches, and "a serpentlike band made of stuff [cloth]." The greater wealth of this burial in comparison with C-4 and C-5 is an indication that C-10 was the burial of a slightly more important person than the others found at Ocucaje. The basketry hats and plume suggest moderate distinction in the lea tradition. For the lea 8 burial C-7 from the same site at Ocucaje Uhle lists only the pottery contents and gives no other data. This burial also appears to have been small without particular distinction. Uhle does not describe the Early Colonial Period burials. Evidently urn burials were rare or not in use at this time. Two bodies were present in burial Td-9a, one of them an infant, and these had been placed in a "common bowl" and a "pot." These vessels are not burial urns. Uhle describes burial Tl-1 as consisting of a large and a small mummy "in a funeral pot." It is not clear from Uhle's wording whether this vessel was a burial urn proper or some other kind of utility vessel. The vessel was not included in Uhle's collection. Of particular interest in burial Tl-1 is the presence of six additional skulls of the kind reflecting secondary interment. Like the skulls in burial Tk, above burial Tf-1, and in

tomb Td-8, those in burial Tl-1 must have been removed at some time from one of the deep, structured tombs. Although burial Tl-1 contained no pottery, it contained Spanish glass beads, along with a coca bag, sling, and some other objects. Most Early Colonial burials were poor in contents. Only Ti-1 was comparatively rich. In addition to a body, mentioned only incidentally by Uhle, it contained 17 pottery vessels, fragments of silver plate ("perhaps an armlet," according to Uhle), Spondylus shells, two wooden beam scales with nets, two slings, Spanish glass beads, and cloth fragments. The only objects mentioned for burial Td-6 were a pair of silver ear ornaments, an indication that such objects could be worn by persons buried in quite simple burials in the Early Colonial Period. In summary, for the time before the Inca conquest, Uhle uncovered the tomb of a very wealthy person of distinguished rank of Phase 6 (tomb Th-1), probably a tomb of someone of comparable standing of the same phase in the looted tomb Tg, and the burial of a middle class man of Phase 7 (Th-2). The Late Horizon burials excavated by Uhle included tombs of high-ranking nobles which contained objects of gold (Td-8, Ti-5, Tl-2 and Tc), 186 a tomb of a second-ranking noble which contained objects of silver but not gold (Ta), at least one burial of an individual of distinction who was not a member of the nobility (Tk), sacrificial burials relatable to the tombs of the nobility (Td-1, Td-2, Tb), a small Late Horizon burial which may have been sacrificial (Z-5), and ordinary native burials of lea (C-4, C-5 and C-10). Among the latter, 186. The term "high-ranking" nobility is used here for those individuals entitled to the use of gold under the Incas. The term is used to contrast the position of these nobles to the position of the "second-ranking" noble in tomb Ta, which contained no gold objects and also differed in several other ways from the tombs of the high-ranking nobility. This does not mean that there were no differences in rank and privilege within the category of high-ranking nobility of lea. The existence of such differences is already suggested by the slight differences in burial associations among the tombs containing gold uncovered by Uhle. It is made quite clear by the reports of fabulous wealth in gold, silver, and other jewels found in some of the tombs looted at lea, like the one looted by Juan de la Torre (cf. footnote 43). The tombs uncovered by Uhle appear to have been those of individuals who had a relatively low position in the category of high-ranking nobles. This inference is based not only on the relative poverty in grave goods of Uhle's Late Horizon tombs compared with the tomb looted by Juan de la Torre, but also compared with the lea 6 tomb Th-1. It is further confirmed by the wooden stool excavated by Uhle from tomb Td-8, which symbolized only moderate noble rank under the Incas (cf. footnote 184).

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CONCLUSIONS

C-10 was a burial of a more distinguished person than the rest. The looted tomb Tp belonged to the category of tombs used by individuals of noble rank. The contents of the disturbed burial Tf match those of burial Tk (see chapter I and below). No special distinctions are in evidence in the Early Colonial burials except that one, Ti-1, shows signs of having been that of a wealthier individual than the rest. Now that we have seen a part of the evidence that furnishes dues to the social position and occupation of the individuals who were buried, we can turn to the pottery and examine how its association patterns are related to the evidence cited and what additional information they provide. The distinguished Ica 6 person buried in tomb Th-1 was accompanied by a great quantity of pottery. Most of the pottery was represented by nine fancy ware shape categories, with some additional exotic fancy ware forms and miniature utility vessels occurring in small numbers. The principal shape categories were present in many multiples, some of them nearly alike, but most of them pieces with individual characteristics. The proportionate frequency of the shape categories varies, with Deep Open Dishes far outnumbering other vessel categories. The grouping of the shapes suggests mat together they represented a set of the principal vessel categories appropriate for social use. This grouping is analogous to that of pottery of the Chincha style in Chincha burials preceding the Inca conquest. 187 No other lea 6 grave containing pottery has been recorded with its associations. However, surface surveys of archaeological sites in the entire lea Valley downriver as far as the Ocucaje Basin show that the style and relative frequency of vessel shapes of tomb Th-1 are on the whole those common to the whole valley at that time. Ica 6 vessels of the same high artistic and technical quality are found at all kinds of habitation and cemetery sites, large and small, with or without adobe buildings, in outlying districts and in isolated spots or near the capital. Fragments of these fancy ware vessels are abundant at all refuse sites. Examples of recorded burials of earlier and later Ica phases show that much poorer, un187. Menzel, 1966, pp. 98-99.

structured burials must have been far more common than deep, structured, rich tombs such as Th-1, in Phase 6 as well as at other times. It appears, however, that the nobles in the structured tombs were distinguished from the rest of the population of Ica primarily by burial ceremonial and the quantity of property accompanying them, but not by the artistic quality or style or the pottery and other objects. The poorer people are also unlikely to have used gold and silver dishes, though we have no evidence for this supposition. Simple Bottles form a possible exception to the uniformity of pottery use in all contexts. Their frequency in tomb Th-1 appears to be higher than can be found at refuse or lesser cemetery sites. Possibly, Simple Bottles were a shape category that carried with it special prestige, so that this shape would be more common in a fancy tomb like Th-1 than in other contexts. The long, graceful necks of Simple Bottles make them a particularly distinctive and delicate shape, so that a special prestige position for them would be understandable. As we shall see, these bottles were special targets for stylistic modification with political implications in the Late Horizon, an observation strengthening the hypothesis that they may have had special prestige in Phase 6. The uniform use of fancy Ica 6 pottery by rich and poor alike in all parts of the valley and all kinds of settlements is an indication that the entire community shared equally in the character, use, and high quality of its art. This community of art cuts across the differences in wealth and privilege between the nobility and the rest of the people of Ica. Ica art of the Late Intermediate Period had considerable prestige abroad. Imported vessels in the Ica 3 style have been recorded from as far north as Ancon and the Rimac Valley. An Ica 6 vessel was recorded from the highlands about 130 km. west of Cuzco, at Huancarama, by John H. Rowe and Dwight T. Wallace in 1954. A variant of the Ica pottery style was present in the Chincha Valley in the early half of the Late Intermediate Period, to judge by fragments found in surface collections in that valley. Ica designs were still copied on the distinctive Chincha-style vessels of Epoch 8 of the Late Intermediate Period, just before the Inca conquest.188 The 188. Menzel, 1966.

-

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Pisco Valley pottery throughout the Late Intermediate Period was virtually identical to that of lea, with possible minor variations. The Nasca drainage shared in the early development of the lea tradition, and its style came under the dominant influence of the style of lea in the later half of the Late Intermediate Period. Ica-style imports and imitations were common on the south coast as far south as the valleys of Acari and Yauca. A people that in its artistic expression forms a single community, and whose art is highly influential abroad, can be presumed to share considerable community pride and a strong sense of identity. Archaeological evidence shows that this community pattern, linked to political independence and prestige abroad, prevailed at lea from at least as early as lea Phase 3 on, and probably had antecedents going back to the beginnings of the revival movement that gave rise to the lea tradition in the lea Epigonal style.189 Foreign influence in lea art is rare in Phase 6 and earlier lea phases, an observation that fits well with the picture of lea pride and influence. Although foreign influence at lea can be identified throughout the lea phases, it is rare and selective and does not affect the basic artistic tradition of lea. In Phase 6 occur occasional rare loan features from Nasca, usually in outlying districts in the lower lea Valley. The only other kind of foreign influence is documented in tomb Th-1, where a few vessels are toylike imitations of Chincha-style forms. An interesting pattern is observable in tomb Th-1 in connection with the imitation Chincha vessels. They are part of a group of exotic vessels most of which appear in small to miniature sizes (1.1.10, 1.1.11). Another distinguishing characteristic of these vessels is mat most of them appear as near-identical or matched pairs. Some of these vessels are exotic forms of long standing at lea, such as Drum Bottles. Others are various modeled forms, including the black Bird Jars, which have no recorded antecedents (1.1.11.2). The consistent pairing of vessels in Phase 6 thus has a special kind of significance associated with unusual small to miniature forms of various kinds. By contrast, the pairing of standard vessel forms in Phase 6 is 189. Lyon, 1966.

so sporadic that it probably has no special significance. The culture pattern of lea Phase 7 appears to be largely unchanged from that of Phase 6. Style changes are relatively minor, and there may be slight differences in the kinds of pottery sets for fashionable use. One important difference does occur, however. A small degree of Chincha influence is evident in the decoration of some lea vessels of standard shape and size. This influence forms the antecedent for the flood of Chincha-style influences in shape as well as design features which affected lea 8 vessels of regular use and standard sizes. These Chincha influences appear at a time of growth of military power and aggressive action by Chincha in late preInca times. 190 The absence of Chincha-style pottery proper from lea is an indication that there was no actual Chincha occupation of lea. The imitation of Chincha-style pottery is an admission of Chincha prestige. However, the prestige probably was rooted in the military power of Chincha rather than in its pottery art. It is probably no coincidence that a new fashion of antique collecting had its inception in Phase 7, at a time when Chincha influence first manifests itself in lea pottery of standard shape and size. Although the persuasive influence of Chincha military power may have prompted the imitations of the Chincha style, resentment of foreign pressure possibly caused the people of lea to seek relief in the recollection of the origins of their independent art. As we shall see, this speculation gains support from the pattern of antique collecting in the Late Horizon. The Chincha threat was destroyed by the Inca conquest, and the Late Horizon brings with it the removal of the symbols of Chincha culture from lea pottery art. The absence of most Chincha style features from Late Horizon pottery art is systematic. The limited use of some Chincha-related features in special contexts was tied exclusively to Inca-associated art. The Incas achieved what the people of Chincha never did, a physical occupation and control of once independent lea. This occupation is known from written historical records, 190. Menzel and Rowe, 1966.

CONCLUSIONS but it is equally clear from the archaeological record. Inca-style pottery and Inca-style construction features in buildings are present and affect the lea styles.191 Late Horizon pottery at lea consists of several different styles and several different combinations of these styles in different patterns of associations. As noted earlier, these arrangements of stylistic differences suggest differences in social position and differences in cultural allegiance. The pottery associatons of earlier phases do not reflect differences of this kind. The Late Horizon association patterns suggest that the Incas ruled at lea through a highranking nobility, in the sense in which this nobility is defined here, 186 and through a special class of individuals who were probably civil servants. The presumed civil servants were kept segregated from the native community. They were probably under direct Inca control, independent of the local nobility. Inca rule brought profound social division to what had been a single unified culture, with considerable gaps between social strata. Ica pottery art became a symbol of this divisive stratification. The lower strata of Ica society reacted by collecting and imitating antiques of the earlier Ica tradition, a time when Ica was free from foreign domination. Let us now examine the evidence that leads to these conclusions. The Ica 9 style itself does not fall into a homogeneous distribution pattern. Different categories of Ica 9 pottery have different associatons. The principal division is two-fold: Ica 9 shapes made of unincised smoked blackware are found in isolation from the rest of Ica 9 pottery. The shapes are Angular-Rim Dishes, probably Angular-Rim Bowls, Shallow Dishes and Flaring Cups. Ica 9 blackware of this kind is found in association with unincised smoked blackware of a provincial Inca style, here called Provincial Inca B. This association pattern is seen most clearly in the refuse from the site of El Hato, described in chapter I, and the contents of burial Tk. It is also seen in the remnants of the contents of burial Tf. El Hato lies a short walk away from the capital of Old Ica. The refuse of this site consists almost entirely of Provincial Inca B plate 191. Menzel, 1959.

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fragments and Ica 9 shapes of unincised smoked blackware, among which AngularRim Dishes and Shallow Dishes are the most common. Some additional forms of unincised smoked blackware in this refuse are not found in the burials in our sample. These forms include generalized medium-sized jars, different in proportions and contours from Ica 9 jars proper, and flaring-sided dishes. Unincised smoked blackware fragments constitute more than half of the sherds in the refuse at this site. Oxidized Ica 9 pottery with Ica 9 decoration is absent from this refuse, so far as our present records show. Oxidation-fired Ica 9 pottery with Ica 9 decoration is also absent from burials Tk and Tf. Rare fragments of incised smoked blackware do occur at El Hato (see below). In contrast to the refuse at El Hato, refuse of other sites at Ica contains an abundance of oxidation-fired Ica 9 pottery with Ica 9 decoration, and a moderate amount of incised smoked blackware of the Ica 9 style, an amount that is nevertheless larger than that found at El Hato. Both these categories of the Ica 9 style also occur in Late Horizon graves other than the ones mentioned. In none of these graves, and in almost none of the refuse sites, can one find Ica 9 pottery of unincised blackware. The only exceptions, apart from El Hato, are the refuse at the capital of Old Ica, the refuse of La Venta de Chagua, and the refuse of Tambo Perdido—all sites that can be inferred to have had administrative functions (see chapter I). We have here a mutually exclusive distribution pattern which argues for two strictly segregated segments of native Ica society under the Incas, in which the presence or absence of Ica 9 decoration played an important part as a symbol of affiliation. The second important observation is that the segregated social unit represented by the settlement of El Hato and burials Tk and Tf formed a small minority of Ica society. The great majority of Ica sites of the Late Horizon are the small sites all over the valley at which refuse is composed entirely of oxidized-fired Ica 9 pottery and, sometimes, of a small amount of incised blackware. The third significant observation is that, not counting the special administrative sites mentioned, oxidized-fired, painted Ica 9 pottery is not found in refuse also containing provincial

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Inca pottery. In contrast, provincial Inca pottery is found in even larger quantities in the El Hato refuse and in burial Tk than the lea 9 forms of unincised smoked blackware. This observation leads to the inference that this segregated minority segment of lea society had a close, direct tie with the Inca government, in contrast to lea 9 communities in outlying districts away from the capital, where the symbols of such ties are conspicuous by their absence. Another important feature of the pattern is that the provincial Inca pottery found in the refuse at El Hato and some of that in burial Tk is unlike provincial Inca pottery found in other associations at lea. This means that the tie between the segregated segment of lea society and the Inca government was a special one which did not correspond to the tie connecting other segments of lea society with the Inca government. A strictly segregated minority community with special ties to the Inca government suggests a special group of civil servants. Let us now take up the pottery categories as they appear in the Late Horizon graves. Most provincial Inca pottery described in this study, along with a small amount of imitation Chimu-Inca pottery, suggests dealings with the Inca government on a high administrative level. The provincial Inca pottery included in this category is called here Provincial Inca A. Such pottery is found only in the tombs of the high-ranking nobility and the burial (Tk) of a distinguished member of the segregated minority community of lea society (tombs Td-8, Ti-5, Tl-2, and burial Tk; 11, 13, 17, 20). 192 The probable retainer burials at the Late Horizon tomb sites contained pottery that matched that of the respective tombs, as noted. One of the vessels in burial Td-1, a burial that accompanied tomb Td-8, is a provincial Inca form unique in our sample (12.1). Significantly, no provincial Inca pottery was found in tomb Ta, the tomb of an lea noble of secondary rank (14). The absence of such pottery from this tomb, correlated with the distinctive features of the other contents, suggests that second-ranking nobles did not have direct dealings with the Inca state. If so, their activities must have been entirely under 192. See also the remains of the tomb from Hoyad6n, footnote 184, appendix, 27.

the jurisdiction of the higher-ranking lea nobility. The second-ranking noble in tomb Ta was accompanied by a pair of weapons, clubs for either fighting or hunting. The club heads are formed in a local style, unlike Inca club heads and unlike those of the north coast. The clubs stood with the large, ceremonial agricultural tools that are present in all or most Icatradition burials of people of some distinction. Imitation Chimu pottery has been recorded from two tombs of the high-ranking nobility (Ti-5, Tl-2; 13.2, 17.2). Unlike Provincial Inca A and imitation Chimu-Inca pottery, imported Cuzco Inca pottery and imported Chimu-Inca pottery was found only in burial Tk. Furthermore, the imported pottery is of the finest artistic and technical quality. Its presence is one of several indications that the non-noble represented by this burial, and perhaps important members of his household, had a special tie to the imperial administration, one that the lea nobles did not have. The fine quality of the imported vessels suggests that the head of this household also had special prestige under the Inca system, though his rank in lea society may have been relatively low. The Provincial Inca A category does not include provincial Inca plates in groups A-2 and A-3, the pottery drinking cup found in burial Tk, and, of course, the Provincial Inca B category. Vessels like the fancy unassociated bottle shown in pi. 71a, b are also excluded. The special significance of most of these separate categories will be discussed below. The pottery tumbler is a unique example, found in association with wooden Inca drinking cups in burial Tk. It is shaped in imitation of the wooden drinking cups and not of Inca pottery drinking cups. The pottery cup in burial Tk and the wooden ones (the latter also found in burial Tf) are the functional but not status equivalents of the gold and silver drinking cups in the tombs of the nobility.193 The Ica-Inca styles have a different symbolism. They evidently represent rank in the native lea nobility rather than direct relations with the imperial government. The style features of Ica-Inca vessels make it clear that these vessels were meant to symbolize tradi193. According to historical records, the use of gold and silver vessels, including the drinking cups, was the exclusive privilege of the nobility under the Incas, whereas wooden drinking cups had moderate prestige and pottery cups had no special prestige (Rowe, 1947, p. 261; Rowe, 1961a, p. 317).

237 CONCLUSIONS tional prestige of the lea elite, but as sancBottles, combined with the fact that the vessel tioned and reconfirmed by the Incas. Ica-Inca is a bottle form. Although its shape is a style features reflect a categorical divorce from variant of an Inca bottle shape proper, its proprestige art of the native lea tradition. portions and design features have a markedly The Ica-Inca A and Ica-Inca B styles appear local character. Bottles with these shape and design features must have been rare, and in mutually exclusive associations. Imitation perhaps not as standardized as the Ica-Inca A Ica-Inca A pottery appears in association with bottles. This bottle is the only one of its kind the Ica-Inca A style proper, but not with Icarecorded in our sample. The probable high Inca B pottery. status of this bottle can also be inferred from The main find of pottery in the Ica-Inca A its high degree of artistry and technical style was in the intact tomb Td-8 (11). A perfection. broken remnant of a variant Ica-Inca A form was present in the looted tomb Tl-2 (17). Thus, the finest local art of lea in the Late Tomb Td-8 also contained an imitation IcaHorizon was evidently the prerogative of the Inca A vessel, as did tomb Ti-5. Tombs Td-8, high-ranking nobility. The absence of Ica-Inca Tl-2 and Ti-5 all were those of high-ranking A pottery from other associations suggests nobles and their servants. Since tombs Ti-5 that people whose status was below that of and Tl-2 both had been partly looted, the the high-ranking nobility were not entitled to significance of the absence of additional use this style. The exclusion of these others examples of Ica-Inca A vessels from them from access to distinguished art constitutes a cannot be properly evaluated. major break with lea tradition. The people of lea no longer formed a single community in Ica-Inca A and imitation Ica-Inca A pottery style and quality of art, which had been the fragments are not found in ordinary Late core of lea culture in Phase 6. The nobility was Horizon refuse sites of the valley, any more segregated from its people in the aspect of life than is provincial Inca pottery. Fragments of that had been symbolic of the unity of lea these styles have so far been recorded only in society. refuse at the capital, at Tambo Perdido, and in the refuse at La Venta de Chagua. It is significant that one Ica-Inca A Lamp Bottle shape has been reported from the TitiIca-Inca A vessels proper form a highly caca Basin and another from the Cuzco restandardized style group which is also repregion. The bottle from the Titicaca Basin had sented by many unassociated vessels. Icadistinctive designs not used at lea. It appears Inca A forms consist primarily of bottles to have been a part of Inca policy to encourwhich replace the traditional lea Simple Botage, or at least not to discourage, the traditles and Drum Bottles. We have seen that the tional prestige position of lea art abroad. Simple Bottles probably constituted an lea However, in most areas this prestige was conform of particular distinction in Phase 6, used fined to the special prestige art of the highin quantity only by such distinguished perranking nobility. sons as the one in tomb Th-1. Drum Bottles were at all times a rare exotic form at lea. The The different association patterns for the Ica-Inca bottles, then, replaced the most disProvincial Inca A and Ica-Inca A styles show tinguished or most exotic Ica-tradition forms. that these styles fulfilled different symbolic Ica-Inca A bottles are composed of Inca and functions, but they share the same kind of Ica-tradition features in shape and design decoration to the exclusion of all other Late combined in entirely original compositions. Horizon styles. Both styles are decorated with They are manufactured with greater care than designs here designated Ica-Inca. There are most other Late Horizon pottery at lea. some differences in the association patterns of particular designs with particular shape cateThe fancy provincial Inca bottle shown in gories, but there is a significant overlap bepi. 71a, b probably functioned as a replacetween some of the designs and design feament for Ica-Inca A bottles in the tomb of an tures used for Provincial Inca A and Ica-Inca even more distinguished individual than any A shapes. Like the Ica-Inca A shapes, Ica-Inca whose tombs were uncovered by Uhle. We of selected Cuzco Inca feadecoration consists infer its functional relationship to Ica-Inca A tures that show some modification away from bottles from its decoration, which correthe Cuzco Inca models, often combined with sponds to one kind of Ica-Inca decoration other features of the local lea tradition in otherwise found only on Ica-Inca A Lamp

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

entirely original lea patterns. Although there is a range of variation between designs that have more traditional lea features and designs based almost entirely on Cuzco Inca models, all Ica-Inca designs are categorically distinct from other Late Horizon decoration at lea, as well as from Cuzco Inca decoration. As a general rule, designs based most faithfully on Inca models are found on provincial Inca shapes that reproduce most faithfully Cuzco Inca shape themes and features. Just as Ica-Inca decoration symbolized Incaassociated prestige on the highest level at lea, so lea 9 decoration was especially symbolic of the native lea tradition. This symbolic significance of lea 9 decoration stands out by the contrast of its association pattern. Ica 9 decoration is found exclusively on pottery linked with Ica society proper, appearing in graves representing all social levels. However, little of it is found in associations suggesting prestige. Ica 9 pottery found in the tombs of the high-ranking nobility could have accompanied the servants rather than the principal dead. In all the social levels below that of the high-ranking nobility, Ica 9 decoration appears to the exclusion of other decoration. This circumstance indicates the connection between Ica 9 art and rank. Ica 9 art is primarily the art of the lower orders of Ica society. It is even more illuminating that Ica 9 decoration is virtually excluded from use by members of the segregated segment of Ica society at El Hato, and in the corresponding burials. This exclusion furnishes a clear insight into its symbolic significance suggesting that the Incas were aware of the importance of Ica art to Ica national feeling. If the members of these special communities were civil servants, as seems likely, they were probably meant to be cosmopolitan subjects of the Empire not tied emotionally to a local cause. As for Ica society proper, Ica art was effectively relegated to an inferior social status and so presumably rendered politically harmless by the introduction of the more prestigious provincial Inca and Ica-Inca styles. Ica 9 decoration is used for several different shape categories: for all oxidation-fired Ica 9 shapes, for Ica-Inca B shapes, for imitations of Ica-Inca A shapes, and for provincial Inca plates in group A-2. Ica 9 features appear mixed with Ica-Inca features in the decoration of provincial Inca group A-3 plates. There are differences in distribution and

associations among oxidation-fired Ica 9 vessels, as well as between them and vessels of other styles. For example, the poorer burials at Ocucaje contained predominantly Cumbrous Bowls and one Ica 9 jar. The cemetery remains from Santiago included a Shallow Dish (23.1.1). Neither Cumbrous Bowls nor Shallow Dishes turned up in any of the graves from Old Ica. In correlation, Cumbrous Bowls are the most common Ica 9 vessel category in native Ica refuse, with Shallow Dishes being second. This distribution pattern indicates that there was a hierarchy of more and less prestigious categories in the Ica 9 style itself, and that Cumbrous Bowls and Shallow Dishes ranked at the bottom of this hierarchy. Oxidation-fired Ica 9 jars of the variable general jar category also may have been a relatively low-ranking form, but the evidence regarding them is not entirely clear. They are found with moderate frequency in refuse sites; one was found in one of the Ocucaje burials, and one was found in tomb Ta of the second-ranking noble. None was found in most of the tombs of the high-ranking nobility, with the exception of the unique secondary tomb Tc, where one was found, probably accompanying a retainer burial (see above). It is also possible that Football-shaped Jars of the Ica 9 style had comparably moderate standing, for none was found in the tombs, though one was found in the infant burial Z-5 at Galagarza. The highest status among Ica 9 shapes was evidently accorded to the Angular-Rim Dishes and Angular-Rim Bowls and the Flaring Cups. These are the Ica 9 forms found predominantly in the tombs of the Ica nobility and their retainers. If we consider the stylistic features of these vessel categories, we can see why they would have had the greater prestige. The angular rim is an Inca loan feature set, and as such could make the shapes that had it more prestigious. As for the Flaring Cups, the shape is entirely in the native tradition, but it is the only native Ica form that regularly perpetuates a relatively high degree of artistry. This observation lends added significance to the fact that Flaring Cups are found in tombs of the nobility and their retainers but are rare in other contexts. The pattern of associations of different shapes of Ica 9 pottery suggests a profound internal division in Ica society between per-

239 provincial Inca group A-3 plates. The latter two provincial Inca plate categories could be described as "imitation provincial Inca group A-l" plates. Both kinds of imitations have been recorded from tombs of the high-ranking Ica nobility (Td-8, Ti-5), but not from other kinds of graves. The more traditional Ica shape features of the imitation Ica-Inca A shapes, the greater variation in these features, and the association of these forms with Ica 9 decoration, suggest that they must have had secondary prestige status as art forms. Nevertheless, they appear to have been the special prerogative of occupants of the most distinguished tombs, perhaps as property of servants of the high-ranking nobles, or as part of the household equipment of the nobility. Ica 9 decoration occurs in one other context, as incised, resin-painted decoration on smoked blackware. This design technique is unprecedented in the Ica tradition. Its introduction to Ica in the Late Horizon probably is the result of foreign influence relatable to a decorative technique used at Chincha and Pachacamac. The foreign influence is present only in the technique, however, and not in the designs themselves. Most of these designs have been recorded on Angular-Rim Dishes and Angular-Rim Bowls, and rarely on Flaring Cups. These are the Ica 9 shapes that are also used by preference in the most distinguished tombs in oxidized form. Such decoration also occurs on new musical instruments of unknown inspiration. Both the vessels and the musical instruments are grouped in this study with the Ica 9 style. However, they have distinctive association patterns. The associations of musical instruments require a separate discussion (see below). Angular-Rim Dishes and Angular-Rim Bowls of smoked blackware decorated with incision are found in the tombs of both ranks of nobility at Ica and in a retainer burial associated with the tomb of a high-ranking noble (Td-1), but not in burial Tk or in any other burials. Fragments of incised blackware are found in refuse around the capital of Old Ica. However, they are also occasionally found in ordinary Ica 9 refuse away from the capital. A fragmentary musical instrument with this decoration turned up in the refuse of the special settlement of El Hato. It appears, therefore, that it is possible to find this pottery in all kinds of contexts, associated with various social strata. Nevertheless, the pat-

CONCLUSIONS

sons of rank and their servants on the one hand and the general native population of the valley on the other. All strata of lea society no longer shared equally in traditional lea art, as they had before the Inca conquest. In the light of the foregoing discussion the stylistic composition of three other prestige categories gains clarity. The Ica-Inca B style was apparently the special prerogative of the second-ranking nobility. None of it has been recorded from other burials. Some of it is found in fragmentary form in refuse at the capital, but none of it is found in ordinary native sites that contain oxidized lea 9 pottery. Like the Ica-Inca A style, the Ica-Inca B style consists exclusively of bottles that replace traditional lea Simple Bottles and Drum Bottles, a fact that can be inferred also from their design features. Ica-Inca B bottles differ from Ica-Inca A bottles in having different and less evenly standardized shape features, and in being decorated in the main with lea 9 rather than Ica-Inca decoration. Inca loan features appear mainly in the shapes, and occasionally in some aspects of design arrangement on some of the vessels. Ica 9 features predominate in the decoration. However, the Ica 9 designs appearing on the Ica-Inca B shapes show some degree of Inca influence. That is, the principal designs are either the diagonal cross-hatch design which is analogous to an Inca decorative device and replaces the traditional Ica Small Diamond, or the medium broad-band pattern in which principal bands with a white ground and Freestanding Triangles are used. This combination of features also reflects some degree of Inca influence, as explained in the discussion in chapter IV. These are designs that also occur most commonly on Angular-Rim Dishes and AngularRim Bowls, that is, vessels with an Inca loan feature set in the rim contours. The distinction of the second-ranking nobility of Ica by a separate category of Ica-Inca bottles has the effect of creating a further untraditional segregation of the native social strata of Ica through their pottery art. Ica 9 decoration of the same kind used as Ica-Inca B and Angular-Rim Dish and Bowl decoration is also found on two other stylistic categories, namely imitation Ica-Inca A vessels and provincial Inca plates of group A-2. Some of these Ica 9 features also appear in combination with Ica-Inca design elements on

240

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

terns of association are peculiar and suggest that the associations in the different contexts may have had different meanings. Some incised blackware probably had a special status in the Late Horizon. Vessels in this category apparently were ideally buried in pairs in the deep tombs (11.4.2, 14.3.3). The pairing of special vessels is discussed further below. Another vessel category that appears to have had some special status is that of black Bird Jars. These jars do not have incised decoration, but instead have modeled features representing birds. A pair of such jars was found in tomb Ta of the second-ranlcing noble, and a single one in the higher-ranking tomb Ti-5 (13.4.2, 14.3.2). Occasional fragments of such jars are also found in refuse, but the distribution pattern of this form is no clearer at present than that of the vessels of incised blackware. Black Bird Jars can be related to an exotic miniature form in lea 6 tomb Th-1 and in lea 7 burial Th-2. The significance of black Bird Jars in the Late Horizon thus appears to be that of a traditional prestige form of some kind, but one that was never especially obtrusive in its artistic prestige. Its prestige may have been related to a factor other than artistry. As noted, the contents of burial Tk and the remnants of the contents of burial Tf (Tf-1) are different in style from all the rest of the burials. The only style shared with other raves is Provincial Inca A pottery found in urial Tk, and a pair of pottery ocarinas in burial Tf-1 which require special discussion, below. In addition to the foreign imports of Cuzco Inca and Chimu-Inca pottery vessels in burial Tk, the distinctive pottery contents consist of the imitation of a wooden drinking cup, discussed above; of Provincial Inca B pottery (group B-l and B-2 plates); of imitations of plates of the post-Chincha assemblage; and of an lea 9 Angular-Rim Dish of unincised smoked blackware. The remnants of burial Tf include also an Angular-Rim Dish of unincised smoked blackware, and a native lea stirrup spout of unincised blackware. Unincised smoked blackware vessels are particularly characteristic of both these burials. As we have seen, the corresponding lea 9 shapes of smoked blackware in other burials have incised lea 9 decoration. In summary, lea 9 shapes of unincised

g

smoked blackware and the Provincial Inca B plate categories are equally characteristic of the refuse of El Hato and the contents of burials Tk and Tf. These styles serve to identify the individuals in burials Tk and Tf as members of the special status group represented at the El Hato settlement. The other contents of burials Tk and Tf serve further to distinguish these burials from other kinds of burials at lea. That the pottery assemblage in burials Tk and Tf has special significance is also brought out by the pottery for placement inside the urn in burial Tk. The vessels in the urn included all the Provincial Inca B plates of smoked blackware, that is, one of the two Provincial Inca B vessel categories present in the burial. This is the most common vessel category both in burial Tk and in the El Hato refuse. The urn also contained one of the two imported Cuzco Inca vessels, one of the two imported Chimu-Inca vessels, and one of the two standard Provincial Inca A group A-l plates (the one that is identical to a pair of such plates in tomb Td-8). In other words, each vessel category in the burial Tk urn symbolizes particularly the social affiliations of the personage in burial Tk. No Provincial Inca A pottery was found in the refuse of El Hato, nor was imported Inca or Chimu-Inca pottery. These were prestige styles, and the small size of the settlement of El Hato, the absence of adobe construction remains there, as well as the nature of the refuse, indicate that El Hato was not a prestige settlement. However, it cannot have been a settlement of foreigners, any more than the more distinguished person in burial Tk can have been a foreigner. All pottery in the refuse is characteristic of the lea Valley, except for one fragment of incised blackware which is of a foreign style relatable to the pottery of the area to the north from Chincha to Pachacamac. In only one recorded Late Horizon site in the vicinity of lea is refuse of various styles foreign to lea very common. This is the travelers' rest of Tambo Perdido described in chapter I. Here pottery of the kind found at El Hato is mixed with various Late Horizon styles, some identifiable as to provenience. The identifiable ones cover the area from Acarf-Yauca in the south to Chincha in the north, with one vessel in the ordinary Late Horizon style of Pachacamac. There is some suggestive historical evi-

CONCLUSIONS 241 dence for the existence of segregated settle- thorities were not fully aware of this vogue, or ments like El Hato and the peculiarities of the of its full implications. Antiques and imitarefuse of Tambo Perdido. The census reports tions of antiques were found in all but one of for Chucuito speak of segregated settlements the burials not belonging to members of the for practitioners of special occupations in the nobility. By contrast, none was found in tombs province. At Chucuito these were settlements of the nobility. The nearest approximation to of silversmiths and pottery makers.194 One or such a piece in a noble tomb is a dish from two such settlements existed in each district tomb Td-8. This piece appears to be a not very among the majority settlements of the general faithful imitation of an antique dish shape native population. The specialists were not (11.5). Unlike the imitation antiques found in foreigners. The only places where people the other burials, this dish is decorated with an were drafted for labor from the entire prov- Ica-Inca design which is appropriate for a ince were the "tambos" (tampu) or travelers' tomb of the high-ranking nobility and inaprests. 195 The professional occupations of the propriate for the decoration of imitation anmembers of the community of El Hato at lea is tiques. The tomb Td-8 piece is thus not an not evident from the archaeological data. The imitation antique "in good standing." The fact that all but one of the non-noble archaeological evidence from lea merely points to a similar pattern of segregated set- burials contained one or more antiques or tlements on the one hand, and travelers' rests imitation antiques is an extraordinary record on the other, as the one described for of popularity for such an exotic practice. We may therefore assume that this practice had Chucuito. Bottles in the Nasca-Inca style were present special significance to the non-nobility of the in two burials from lea. One is a plainware Late Horizon, a significance that went beyond miniature vessel in tomb Ta (14.2.1), and the pure appreciation of ancient art. The presence others are regular Nasca-Inca bottles in burial of these antiques and their imitations is most C-10 from Ocucaje (26.1). Toylike imitations conspicuous in the burials of the poor. It is of a neighboring style, like the miniature in highly important, however, that an antique tomb Ta, have a precedent in Phase 6, where was also found in burial Tk of the probable disthere are such toylike imitations of Oiincha- tinguished civil servant, and an imitation anstyle pottery. They appear to be an expression tique is among the contents of the remnants of the similar burial Tf. It appears that even or patronage toward a foreign style. The presence of regular Nasca-Inca bottles members of the segregated society, who probin burial C-10 deserves special attention. It is ably owed special allegiance to the imperial evident from the kind of burial in which they government, identified themselves with this were found that these bottles cannot have had nativistic expression. The antiques selected for collection and as the same significance at lea as Ica-Inca bottles. Nevertheless, the Nasca-Inca bottles help to models for imitation are confined to the early lend a special distinction to burial C-10, com- half of the lea tradition, including style phases pared with the other small burials from Ocu- or vessel categories not particularly distincaje. A third bottle in burial C-10 is composed guished by artistic or technical excellence. This of a combination of Ica-Inca A and Nasca-Inca observation strengthens the impression that features (26.2). This combination is unique in this antiquarianism does not reflect primarily our sample, and serves to highlight further the admiration for the high quality of the earlier art. Rather, it appears to have been an expresdistinctive character of burial C-10. Antique collecting and the imitation of an- sion of a desire to return to earlier, better days, tiques had a great vogue in the Late Horizon, when the lea Valley was free from pressure or as noted in chapters HI and IV. The antiques domination by foreign powers. Since the pracand imitation antiques form a marked contrast tice was in vogue exclusively or primarily to other Late Horizon pottery, much of which among the lower social orders of lea society in reflects Inca influence in various forms. It is the Late Horizon, it was probably a particular doubtful that it was part of official Inca policy expression of protest by these lower orders to foster the collection of antiques of the native against the social cleavage brought to lea by lea tradition. It is possible that the Inca au- Inca rule, and against the deprivation of access to lea prestige art by the people of the lower 194. Diez de San Miguel, 1964, pp. 14, 27. ranks. 195. Diez de San Miguel, 1964, pp. 25-26, 36, 52, 96.

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

If there were no other way to infer the special kinds of distinctions of different Late Horizon pottery styles, it would be apparent from a pattern of pairing which occurs in the graves. All vessels that have distinction which is apparent from other kinds of evidence occur most commonly as near-identical or matched pairs or multiples of pairs in graves that show no major disturbance. The only vessels not paired in this fashion are oxidation-fired lea 9 vessels, imitation Ica-Inca A vessels, and lea 9 shapes of unincised smoked blackware in the segregated community context. Authentic antiques also occur singly. Their single occurrence must be treated as a separate phenomenon, however, because such vessels are likely to have been found singly, and if so could not have been paired in the Late Horizon burials. The pattern of pairing is particularly clear from graves that show no evidence of having undergone secondary interment procedures or other disturbance, that is, tomb Td-8, burial Tk, and the burials from Ocucaje. Although the pairing pattern is the rule for pottery of distinction, it does not occur invariably, evidently for circumstantial reasons. The vessels in retainer burial Td-1 are also not paired, here perhaps because of the special character of this grave. The following styles occur by preference in pairs or multiples of pairs in the Late Horizon graves: Provincial Inca A, Provincial Inca B, Ica-Inca A, imitation Chimu, the imitation Chincha plates in burial Tk, and the foreign imports. Ica-Inca B bottles probably also occurred by preference in pairs, but the present evidence is ambiguous on this point. Of vessels of the lea tradition, Angular-Rim Dishes and Angular-Rim Bowls of smoked blackware decorated with incised designs occur in pairs, as do imitation antiques. Black Bird Jars are paired in tomb Ta. The pairing of vessels that have a special distinction in the Late Horizon has lea 6 antecedents, in the exotic small to miniature vessels of tomb Th-1. The pairing of such exotic vessels contrasts with the standard lea 6 vessels in tomb Th-1, most of which do not occur in pairs. As we see, the nonpairing of ordinary vessels of the lea tradition also prevails in the Late Horizon. Pairing is much more conspicuous in the Late Horizon because there are many more exotic forms in terms of the lea tradition. The exotic forms of the Late

Horizon differ from those of Phase 6 also in being of standard size and use, and in dominating the contents of graves of distinguished persons. The continuity between the lea 6 practice and that of the Late Horizon is further illuminated by the pairing of the black Bird Jars in tomb Ta, which is analogous to the pairing of the miniature black Bird Jars in tomb Th-1 and the miniature Bird Jars with black-slipped tops in lea 7 burial Th-2. The associations of musical instruments follow a distinctive pattern. Such instruments were not found in pairs in the tombs of the lea nobility, though they turned up singly in those tombs that were more or less intact (Td-8, Ti-5, Ta). By contrast, such instruments did occur in pairs in burials Tf and Tk, which contained remains of members of the segregated community. A pair of pottery ocarinas was found among the remains of burial Tf, and a pair of perforated spiral shells which may have served as ocarinas was found in bunal Tk. In a similar way, a pair of cane flutes was found in burial Tk, but only a single cane flute was present among the remains of tomb Ti-5. The only other object from the Late lea graves probably classifiable as a musical instrument is a single copper bell from tomb Td-8. No musical instruments were found in the poorer burials. At present the significance of this differential burial distribution pattern of musical instruments is not clear. We have seen that many social differences are represented by the Late Horizon graves, scarcely any two graves being alike in their contents. In the light of this circumstance it should not come as a surprise that the remnants of the pottery contents of the looted deep, structured tomb Tl-2 are stylistically slightly at variance with the standard pattern evolving from our observations. Although the stylistic features of the vessels support the evidence from the other contents and structure, to the effect that this had been the tomb of a member of the high-ranking nobility, the four whole and fragmentary vessels in it all have some distinctive style features not of the standard categories. An Inca cooking pot has a shape at variance with the standard provincial Inca shape of other cooking pots at lea and Chincha (17.1.1). Instead, it is like the majority of Cuzco Inca cooking pots and like some found at Pachacamac. A bottle classifi-

CONCLUSIONS able with Ica-Inca A bottles nevertheless has some unique features (17.3.1). The other two vessels are Chimu, or, more probably, imitation Chimu in style, a style fitting for the tomb of a high-ranking noble, but both are unlike the double-chambered whistling bottles which represent the Chimu tradition in other Late Horizon graves (17.2.1, 17.4.1). The incomplete condition of tomb Tl-2 and the limitations of our sample in general prevent us from evaluating the exact significance of the peculiarities of the remnants of this tomb. The stylistic idiosyncracies of the vessels merely point to the great potential for additional inference concerning cultural relations and social position of members of lea society if additional archaeological records were available. In summary, in the Late Horizon pottery style functioned as a symbol of rank, national and political loyalties, state control and state service. The old idea of sets of vessel categories representative of correct social usage for everyone was swept away by the more complex socially symbolic Late Horizon uses. This change parallels the changes brought to the Chincha tradition by the Inca conquest. 196 Uhle's excavations at Chincha furnished particularly fine evidence for the dating of Late Horizon styles. These data show that there was a short period datable to the early years of the Inca occupation in which oxidized lea 9 pottery was already present, but the various Late Horizon prestige forms of lea probably were not. 1 9 7 Imitations of Ica-Inca forms and lea 9 incised blackware, on the other hand, are found only in the burials belonging to the later years of the Inca occupation period, burials in which imitations of oxidation-fired lea 9 pottery do not appear. The evidence from Chincha shows that the style features peculiar to the oxidation-fired lea 9 style appeared at the beginning of the Inca occupation, perhaps as a spontaneous form of innovation by the lea artists. At this time lea 9 pottery had enough prestige to be imitated at Chincha. The Late Horizon forms that are paired in the Soniche burials probably represent a slightly later development, probably not predating 1485-1490 A.D. It appears that at Chincha they replaced oxidationfired lea 9 pottery in prestige, the latter hav1%. Menzel. 1966. 197. Menzel, 1966, pp. 96-98, 115-116.

243

ing been demoted to a lower prestige position at this time. These observations are reasonable when we consider that it must have taken the Inca government a few years to organize its conquests, and for the new Late Horizon pottery styles to become standardized. These observations also suggest that the graves excavated by Uhle at the Soniche cemetery all probably date to the later part of the Late Horizon. In connection with the problem of dating by style it is suggestive that the huaquero from whom Uhle got the lot of four vessels in the lea 8 style, which he said came from a huaca near Santiago, brought also a large fragment of a large Inca-style jar, which he claimed to have excavated at the same site. Style features of the jar fragment differ from those of other Inca-style pottery recorded from lea. Although this fragment need not have come from the same burial as the lea 8 pieces, it had to come from a huaca occupied just before the Inca conquest and during the beginning years of the Inca occupation period. The style of the large jar fragment suggests that it may belong to these early years of the Inca occupation. This fragment is not discussed further in the present study, but an illustration is shown here to document this bit of key evidence for further archaeological investigations (pi. 36). In the light of the emerging picture of lea society under Inca control, the native developments at lea in the Early Colonial Period can be more readily understood. They are a clear manifestation of revolt against Inca techniques of political control, expressed symbolically through style. A nativistic revival took place, in which the people of lea reasserted their traditional artistic independence. The special trappings of the nobility and the civil servants were eliminated, as were segregated communities. Eliminated were the Inca-associated vessel categories found regularly in pairs or multiples of pairs in Late Horizon graves of persons of distinction. There was an overwhelming stylistic revival of features of the Late lea phases preceding the Late Horizon. As a revival style, lea 10 pottery had as much political symbolism as that of the Late Horizon. Pairing of vessels did not continue in use, however, the pattern of vessel associations being the traditional lea one for standard pottery. That is, vessels oc-

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

curred singly or in uneven multiples of nonidentical vessels. The antecedents for the stylistic revival of the Early Colonial Period lie in the antique collecting and imitation of antiques by the non-nobility of the Late Horizon. Although the nativistic movement probably had its origins as early as Phase 7 as a reaction against Chincha pressure, anti-Chincha sentiment had clearly been forgotten in the aftermath of the Inca occupation. This forgetfulness was undoubtedly aided by the purge of Chincha art features from the lea style under the Incas, a purge that placed Chincha art in opposition to the Inca cause. The revival style of Phase 10 included the revival of imitation Chincha traits of Phase 8 along with Late lea traits of the native tradition. The anachronistic mingling of style features of all Late lea phases in Phase 10 reflects in art the relative brevity of the period covered y these phases, coupled with the cataclysmic events which followed each other in rapid succession. It appears that the people of lea saw the entire period covered by the Late lea phases as a single hectic block of remembered or recorded history. The phases preceding lea Phase 6 appear to have formed for them part of a separate chapter of a more vaguely imagined, nonrecorded past. Present evidence does not make it clear to what extent a uniform nativistic style was reestablished for everyone at lea during the Early Colonial Period. Our observations show that all categories of lea 10 pottery can be found at all kinds of sites, unlike the Late Horizon distribution pattern, and different kinds of burials are found next to each other in the same cemetery. However, although Uhle's burials do not constitute adequate evidence, there is a hint that separate uses of vessel categories may have existed in different social contexts. The richest lea 10 burial, Ti-1, contained a pottery assemblage consisting of Deep Open Dishes, Angular-Rim Dishes, Cambered-Rim Bowls, a Simple Bottle and Flaring Cups, all Ica-tradition forms, and four revivalistic imitation Chincha forms (30.1). The relative percentages of the Ica-tradition vessel forms are not as they would be found in lea Phase 6. Studying the assemblage of vessels in burial Ti-1 leads to two observations. The Icatradition forms that are present are revivalistic variants of categories found primarily in

g

the tombs of the nobility in the Late Horizon. By contrast, the forms that are found regularly in the burials of the lower social orders in the Late Horizon are absent from burial Ti-1, that is, Shallow Dishes, Cumbrous Bowls, and jars. The combination of vessel categories in burial Ti-1 thus constitutes a hint that those categories that had acquired special prestige related to status in the Late Horizon may have maintained this prestige position in the Early Colonial Period. It is suggestive that the richest burial of this period found by Uhle contained this particular combination of vessel categories. The contents of the other lea 10 burials do not yield a clear-cut pattern, however. Some small, apparently poor burials contained the same vessel categories as burial Ti-1 (burials Ti-2, 3, 6, and Td-11; 30.3, 30.4, 30.6, 31.2). On the other hand, three other lea 10 burials contained a different combination of vessel categories. Burial Ti-4 contained one standard Cumbrous Bowl and one Cumbrous Bowl that represents a modified variant of the imitation antiques of the Late Horizon (30.5). This is exactly the combination of vessel categories found in the burials of the lowest social order of the Late Horizon recorded at lea. Burial Y-5 from Galagarza contained only a Footballshaped Jar and a generalized small jar, both also vessel forms found regularly in contexts denoting relatively low privilege in the Late Horizon (32). The contents of this burial are comparable to those of a small Late Horizon burial from Galagarza (22). Like comparable Late Horizon vessel categories, the vessels in burials Ti-4 and Y-5 show no special elegance of manufacture. A different association pattern is found in burial Td-10. It contained a Shallow Dish and an oxidation-fired jar, both lea forms denoting relatively low prestige in the Late Horizon (31.1.1, 31.1.3). However, these forms are distinguished by particular elegance of manufacture and an abundance of revivalistic style features. The Shallow Dish is especially so distinguished, as noted in chapters HI and IV, including the use of fancy resin-painted decoration on smoked blackware. Furthermore, a Simple Bottle, also found in this burial, is the traditional prestige symbol of lea, and the equivalent of the Ica-Inca bottles of the Late Horizon. It too is distinguished by fine manufacture (31.1.2). A fourth vessel in burial

CONCLUSIONS

Td-10 is a plainware miniature, but of unusually fine manufacture for such vessels, and, furthermore, a stacked vessel form. Stacked vessels are composed of prestige shapes in the Late Horizon and occur with analogous forms in the lea 10 style (28.3.2, 33.14.3). The example from burial Td-10, however, consists of a Shallow Dish superimposed on a Simple Bottle body (31.1.4). This is a unique combination in which a form of lower social status under the Incas, the Shallow Dish, is combined with a prestige shape, a bottle. If the associations in all lea 10 burials are considered together, some contrasts emerge. The relationship between social rank and style under the Incas was far from forgotten in the Early Colonial Period. Some persons, like the individual in burial Ti-1, chose to use only the equivalents of native prestige forms of the Late Horizon. This choice suggests some degree of identification with native social privilege as it existed under the Incas. Some poorer individuals, like those in burials Ti-4 and Y-5, did not try to replace traditional lowerclass forms with more prestigious ones. Other people in poor burials, like those in burials Ti-2, 3, 6 and Td-11 did use forms of privilege, however. One possible explanation is that impoverished persons who came from traditional families of rank continued to use symbols of rank, whereas poor people who came from the lower social orders did not, even in the Early Colonial Period. The alternative explanation could be that some people without rank chose to adopt traditional symbols of it, and others did not. There may have been cases of both alternatives.

245

The contents of burial Td-10 are unique. In this burial nonprestige shapes under the Incas are made of prestige wares with prestige decoration, and are found in the same burial with traditional prestige forms. Here is someone who was making a special kind of protest against the system under the Incas, far more revolutionary in spirit than the use of revivalistic treatment of shape or design features alone. This person was defying the social cleavage created in the Late Horizon in a way that the people in the other burials did not. It is not possible to guess what this person's social position may have been in native society. All that we know is that he (or she) was someone who chose to defy established social cleavage. We see, then, that the social cleavage created in native society under the Incas probably did not disappear entirely in the Early Colonial Period. However, it did undergo modification, and there evidently was considerable individual option as a result of the changed social and economic circumstances and the disappearance of the official hierarchy under the Incas. Even while the nativistic revival of lea culture was developing, disastrous population decline was having its effect on lea society. The tightening of Spanish control and the conversion to Christianity were modifying lea culture drastically. The archaeological evidence collected up to now provides no information on the terminal date of the lea 10 style or the nativistic movement at lea.

Appendix

THE SAMPLE ICA 6 (1-4) 1. RHLMA, tomb Th-1. A deep, structured tomb of multiple interments, with the contents indicating wealth. The pottery included 230 whole or reconstructed vessels; additional fragments indicate that the tomb once contained at least 250 vessels. Master grave lot for the definition of Phase 6. 1.1 Fancy ware 1.1.1 Deep Open Dish. 4-5198-5213, 5215-5218, 5240, 5241C, 5241E, 9381A-0, 00 (9381M includes two vessels), 9382A-T, 9383A-G, I, 9390A (fragments of several vessels), 9392C (fragments of one or two vessels), 9393A, 9393B. Total more than 70 vessels (about 30 percent of all pottery in this tomb). Exchanged with Peabody Museum, Harvard: 4-5207, 5209, 5212, 5217, 5218. These specimens could not be included in the present study, except so far as comments on them were present in Uhle's field catalogue. 1.1.1.1 Smoked blackware: 4-5200, 5213, 5215, 9393A, B (5 vessels) 1.1.1.1.1 Small, near-identical pair: 4-5213, 5215 1.1.1.2 Plainware miniatures: 4-5216, 9392C (3 vessels) 1.1.1.3 Plainware, shaping misfit: 4-5198 1.1.1.4 Decorated: majority 1.1.1.5 Illustrated: 4-5199 (figs. 35, 355); 5201 (figs. 311, 362); 5202 (fig. 29, pi. 1); 5203 (figs. 40, 364); 5204 (figs. 303, 345); 5205 (figs. 30, 337); Kroeber and Strong, 1924b, pi. 36i); 5208 (fig. 358); 5210 (fig. 38); 5213 (fig. 37; Kroeber and Strong, 1924b, pi. 37k); 5240 (figs. 36, 363); 5241C (figs. 338, 367); 5241E (fig. 31); 9381B (fig. 585); 9381C (fig. 315); 9381D (fig. 361); 9381E (figs. 346, 360);

9381G (figs. 342, 586); 9381J (fig. 319); 9381K (fig. 32); 9381N (fig. 33); 9381 0 (pi. 2); 938100 (fig. 328); 9382A (fig. 359); 9382B (fig. 356); 9382C (figs. 339, 366); 9382D (figs. 305, 353); 9382K (fig. 357); 9383A (fig. 39); 9383B (fig. 316); 9383C (fig. 300); 9383D (figs. 34, 310); 9383F (fig. 317); 9383G (figs. 41, 322); 9383L (fig. 320); 9393A (pi. 3, fig. 390). 1.1.2 Cambered-Rim Dish. 4-5185, 5193-5197, 9382U, V, 9383H, J, K. Total 11 vessels (about 4.8 percent). Smoked blackware: none Plainware: none 1.1.2.1 Small to miniature sizes: 4-5197, 9382V, 9383J 1.1.2.2 Near-identical pair: 4-5193, 5195 1.1.2.3 Illustrated: 4-5185 (figs. 47, 369); 5193 (fig. 297); 5194 (figs. 43, 302, 340, 372, pi. 4); 5195 (fig. 44); 5196 (figs. 42, 371; Kroeber and Strong, 1924b, pi. 36j); 5197 (figs. 46, 313, 370); 9382U (figs. 301,373); 9383H (fig. 321); 9383J (fig. 45). 1.1.3 Shallow Dish. Total 31 vessels (about 13 percent) 1.1.3.1 Subgroup 1. 4-5220, 5221, 5226, 5239, 5241D, 9385A, D-F, H-l, I, L. Total 12 vessels (about 5.2 percent). 1.1.3.1.1 High walled, standard size: 4-5239, 5241D, 9385A, F, H-l 1.1.3.1.2 High walled, small: 4-9385D, E 1.1.3.1.3 High walled, miniature: 4-5220, 5221, 9385L 1.1.3.1.4 Low walled, standard size: 4-5226, 93851 1.1.3.1.5 Smoked blackware: 4-5226 (see 1.1.3.1.4) 1.1.3.1.6 Plain red slipped: 4-9385F, H-l, I (see 1.1.3.1.1, 1.1.3.1.4) 1.1.3.1.7 Plainware: 4-5220, 5221, 9385L (see 1.1.3.1.3)

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1.1.3.1.8 Decorated: 4-5239, 5241D, 9385A, D, E (see 1.1.3.1.1, 1.1.3.1.2) 1.1.3.1.9 Illustrated: 4-5220 (fig. 50); 5226 (fig. 49); 5239 (fig. 379, pi. 6); 5241D (figs. 48, 378, pi. 5); 9385A (figs. 380-382); 9385E (fig. 386) 1.1.3.2 Subgroup 2: 4-5222, 5223, 9385B, C, H-2, J, K, M-O. Total 10 vessels (about 4.3 percent). 1.1.3.2.1 Standard large size: 4-9385H-2 1.1.3.2.2 Small: 4-9385B, C 1.1.3.2.3 Miniature: 4-9385J, K, M-O, 5222, 5223 Smoked blackware: none 1.1.3.2.4 Plain red slipped: see 1.1.3.2.1 1.1.3.2.5 Plain unpigmented or minimum decoration: see 1.1.3.2.3 1.1.3.2.6 Decorated: see 1.1.3.2.2 1.1.3.2.7 Illustrated: 4-5223 (fig. 52); 9385B (figs. 51, 383, 384) 1.1.3.3 Subgroup 3: 4-5227-5230, 5241F, 9385G. Total 6 vessels (about 2.6 percent). 1.1.3.3.1 Unpolished: 4-5228-5230, 5241F, 9385G 1.1.3.3.2 Plain red slipped, polished: 4-5227 Miniature: none Smoked blackware: none 1.1.3.3.3 Illustrated: 4-5227 (fig. 55); 5228 (fig. 385); 5229 (fig. 53, pi. 7); 9385G (fig. 54) 1.1.3.4 Subgroup 4, Tiered Dish: 4-5238,9384A, B. Total 3 vessels. Miniatures: none Smoked blackware: none Plainware: none 1.1.3.4.1 Illustrated: 4-5238 (fig. 57, pi. 8); 9384A (fig. 56; Menzel, 1967, pi. XIX, fig. 44) 1.1.4 Cambered-Rim Bowl. 4-5178-5184, 51865192, 9391É, 9393G, 9395. Total 20 to 21 vessels (about 9 percent) 1.1.4.1 Smoked blackware: 4-9393G (a near-identical pair) 1.1.4.2 Plainware miniature: 4-5186-5192, 9391E 1.1.4.3 Plainware, shaping misfit: 4-5180 1.1.4.4 Plainware, rough finish, aberrant shape features: 4-5182, 5184 1.1.4.5 Plainware, polished, standard size, shape: 4-9391E (one or two vessels) 1.1.4.6 Decorated: 4-5178, 5179, 5181, 5183, 9395 1.1.4.7 Oversized: 4-9395 1.1.4.8 Near-identical pairs: 4-5178, 5179; 5181, 5183; 9393G (2) 1.1.4.9 Illustrated: 4-5178 (Kroeber and Strong, 1924b, pi. 36g); 5179 (figs. 59, 341, 351, 368, pi. 9); 5180 (fig. 62); 5181 (fig. 58); 5182 (fig. 63); 5183 (fig. 61); 5186 (fig. 60); 9395 (figs. 64, 304) 1.1.5 Cumbrous Bowl. 4-5236,5237,5241H, 5250B, 9389C-I. Total 15 vessels (about 6.5 percent) 1.1.5.1 Plainware, rough finish, standard shapes: 4-5250B, 9389E-H, 1-1 1.1.5.2 Plainware, rough finish, oversized:4-5241H 1.1.5.3 Plainware, polished: 4-93891-2, 3, 4

1.1.5.4 Decorated, medium finish: 4-5236, 5237 (a matched pair) 1.1.5.5 Decorated, fancy finish: 4-9389C, D, 1-5 Miniature: none Smoked blackware: none 1.1.5.6 Illustrated: 4-5236 (figs. 68, 389, pi. 10); 5237 (figs. 387, 388); 5241H (fig. 67); 5250B (fig. 66); 9389C (fig. 69); 93891-1 (fig. 65) 1.1.6 Simple Bottle. 4-5141-5147, 5149-5157, 5159, 5235, 5241B, 9387A, B, 9388C (body fragment), 9387D (four neck fragments), 9393E (three neck fragments). Total 22 vessels and additional fragments (9 to 10 percent). 1.1.6.1 Smoked blackware: 4-5145, 5151 (small), 9393E (three neck fragments) 1.1.6.2 Plainware, miniature: 4-5159 1.1.6.3 Decorated, small to miniature: 4-51525153, 5157, 5241B, 5159, 9388C 1.1.6.4 Decorated, standard size range: majority 1.1.6.5 Illustrated: 4-5141 (pi. 13, figs. 31, 375); 5142 (fig. 71; Kroeber and Strong, 1924b, pi. 36 o), 5144 (fig. 330); 5145 (pi. 12, fig. 70); 5146 (fig. 76); 5149 (figs. 299,331); 5150 (fig. 77); 5151 (fig. 78; Kroeber and Strong, 1924b, pi. 37d); 5152 (figs. 79, 377); 5153 (figs. 80, 376); 5154 (pi. 11, figs. 72, 308, 332, 343, 374); 5155 (figs. 298, 329); 5156 (fig. 75); 5157 (fig. 312); 5235 (figs. 73, 2%); 9387A (figs. 307, 327); 9387B (figs. 74, 306, 336) 1.1.7 Complex Jar. 4-5137-5140,5168,5175,9392A, B, 9396A-D. Total 8 complete vessels and fragments of about 5 more (about 5.6 percent). 1.1.7.1 Smoked blackware: 4-5140 1.1.7.2 Plainware miniature: 4-5175 1.1.7.3 Circular in horizontal section: 4-9396A 1.1.7.4 Decorated: majority 1.1.7.5 Illustrated: 4-5137 (figs. 82a, b, 324, 325, pi. 15); 5138 (cf. fig. 82a, b); 5139 (figs. 84, 326, 333, 352, pi. 14); 5140 (fig. 83); 5168 (figs. 85, 314, 334; Kroeber and Strong, 1924b, pi. 36c); 5175 (fig. 86). 1.1.8 Simple Jar. 4-5148, 5158, 5169-5176, 9387C, D (C, D, fragments of single specimen), 9393E. Total 11 complete vessels and fragments of at least three more (about 6 percent). Exchanged with Peabody Museum, Harvard: 4-5172 1.1.8.1 Smoked blackware, standard size: 4-5169 (no shoulder fluting), 5170-5172 (fluted shoulder), 9393E (three neck and upper body fragments). 1.1.8.2 Smoked blackware, small: 4-5173 (fluted shoulder) 1.1.8.3 Plainware, small to miniature: 4-5174-5176 1.1.8.4 Decorated, purple fluted shoulder: 4-5148, 9387C, D (one vessel under two letters); a near-identical pair.

APPENDIX 1.1.8.5 Decorated, aberrant shape and design features: 4-5158 1.1.8.6 Illustrated: 4-5148 (figs. 87, 335, pi. 16); 5158 (figs. 91, 309); 5170 (fig. 88, pi. 17); 5173 (fig. 89); 5174 (fig. 90) 1.1.9 Flaring Cup: 4-5219,9386A-D, 9393C. Total 6 vessels (abwut 2.6 percent) 1.1.9.1 Smoked blackware: 4-9393C 1.1.9.2 Plainware miniature: 4-9386D 1.1.9.3 Illustrated: 4-5219 (figs. 94, 323, 350, 365); 9386A (figs. 92, 318, 344, 347, 348, pi. 18); 9386B (figs. 93, 349, 354, pi. 19); 9386D (fig. 95) 1.1.10 Drum Bottle: 4-5160, 5161. Total 2 vessels, both small to miniature size. 1.1.10.1 lea style: 4-5160 1.1.10.2 Imitation Chincha style: 4-5161 (see also 1.1.11.4.3) 1.1.10.3 Illustrated: 4-5160 (fig. 96: Kroeber and Strong, 1924b, pi. 37g); 5161 (fig. 99) 1.1.11 Various. Total 18 vessels and Drum Bottle, already listed above (about 7.8 percent) 1.1.11.1 Fruit-shaped bottle (miniature): 4-5163 (fig. 105); 5164 (fig. 106; Kroeber and Strong, 1924b, pi. 37b). A matched pair. 1.1.11.2 Black Bird Jar (miniature); 4-5165 (pi. 20); 5166. A near-identical pair. 1.1.11.3 Hollow figure vessel (small to miniature): 4-5167, 5234. A matched pair. 1.1.11.4 Imitation Chincha shapes. Total 12 vessels and Drum Bottle, already listed above. 1.1.11.4.1 Collared Jar (miniature): 4-5177 (figs. 97, 399, 400, pi. 21) 1.1.11.4.2 Flask (miniature): 4-5162 (figs. 98, 3%, 397, 398; Kroeber and Strong, 1924b, pi. 37h). 1.1.11.4.3 Drum Bottle (miniature): see 1.1.10.2, above 1.1.11.4.4 Incurving bowl: 4-9388A (fig. 401); 9388B (figs. 100, 402, 403). A matched pair. 1.1.11.4.5 Inflected flaring-sided dish: 4-9389A (fig. 393); 9389B (fig. 101). A matched pair. 1.1.11.4.6 Straight flaring-sided dish 1.1.11.4.6.1 Small, decorated: 4-5241A (figs. 102, 391, 392) 1.1.11.4.6.2 Plainware miniature: 4-5225C, D. A near-identical pair. 1.1.11.4.6.3 Nearly plain miniature: 4-5225A, 5225B (figs. 103, 394). A near-identical pair. 1.1.11.4.7 Flat-bottomed, flaring-sided plate or bowl: 4-5241G (figs. 104, 395) 1.2 Utility ware, miniature: 4-5224,9391A-E. Total 6 vessels and perhaps additional fragments (about 2.6 percent) 1.2.1 Illustrated: 4-5224 (fig. 107); 9391A (fig. 108) 1.3 Plain pottery of unknown function: 4-5231

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(half of a flat-sided tube); 4-5232 (shell-shaped object) 2. RHLMA, tomb Tg. A looted tomb, evidently structurally like Th-1, above. No pottery vessels recovered, but some other objects relatable to Phase 6 pottery (cf. Menzel, 1967) 3. Unassociated vessels, lea 6 style, used in present discussion. 3.1 Deep Open Dish: RHLMA, D, 4-4504, D, 4-4561 (Ocucaje, lea); X, 4-4206 (Galagarza, Old lea) 3.2 Complex Jar: RHLMA, D, 4-4503 (Ocucaje, lea); AMNH, 41.1/34% 3.3 Flaring Cup: DMM, 375 (Córdoba, Ocucaje, lea) (fig. 109) 3.4 Drum Bottle: MNAA, 20/189 (fig. 110; Muelle and Bias, 1938, lám. 45b) 3.5 Stirrup-spout bottle: GG (fig. Ill); Carlebach collection vessel 4. Ica 6 vessels known only from published illustrations 4.1 Cambered-Rim Dish: Schmidt, 1929, fig. 320-1 4.2 Shallow Dish, subgroup 1: Schmidt, 1929, fig. 321-2 4.3 Cambered-Rim Bowl: Schmidt, 1929, fig. 323-4 4.4 Complex Jar: Muelle and Bias, 1938, lám. 46a 4.5 Flaring Cup: Means, 1940, fig. 65, left 4.6 Drum Bottle: Putnam, 1914, pi. XV, fig. 13 4.7 Inflected vase, may belong in Phase 6: Mason, 1964, pi. 30A, bottom row, second from left Many more examples of Ica 6 pottery exist than are listed in this appendix. They include large numbers of vessels in museum and private collections which fall within the standard range of variation of the ones listed for discussion in the present study. They also include large quantities of surface collections from refuse and cemetery sites of Ica, made by members of the University of California, Berkeley expeditions to Peru.

ICA 7 (5-7) 5. RHLMA, burial Th-2. A shallow urn burial found stratigraphically above tomb Th-1. Total 19 vessels. Master grave lot for the definition of Phase 7. 5.1 Cambered-Rim Dish: 4-5129 (fig. 112, pi. 22) 5.2 Cambered-Rim Bowl: 4-5126 (figs. 113, 404, 407, pi. 23) 5.3 Simple Bottle: 4-5128 (figs. 114, 412, pi. 24) 5.4 Simple Jar: 4-5132, 5133A-I. Total 10 vessels, all small to miniature size. 5.4.1 Smoked blackware: 4-5133A-F, I 5.4.2 Fluted shoulder: 4-5133B (see also 5.4.1) 5.4.3 Painted redware: 4-5132, 5133G, H 5.4.4 Illustrated: 4-5132 (fig. 116); 5133A (fig. 115)

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5.5 Flaring Cup: 4-5123, 5124, 5135. Total 3 vessels 5.5.1 Illustrated: 4-5123 (figs. 117, 406,410, pi. 25); 5124 (figs. 118, 405, 411, pi. 26); 5135 (figs. 119, 408, 409, pi. 27) 5.6 Bird Jar (miniature): 4-5130 (pi. 28); 5131. A near-identical pair. 5.7 Antique: 4-5127 (figs. 120, 503, pi. 29). IcaEpigonal jar. 6. Unassociated vessels 6.1 Deep Open Dish: DMM, 99 (Callejón del Guayabo, at its southern end, lea) 6.2 Shallow Dish: MNAA, 20/701 (fig. 121; Muelle and Bias, 1938, lam. 48b) 6.3 Simple Bottle: MNAA, 35/8293 (fig. 123); MNAA, L/2 José Lopez (fig. 122); MNAA, 20/279 (Muelle and Bias, 1938, lam. 47a; Lumbreras, 1969, p. 301) 6.4 Complex Jar: RHLMA, 16-2002 (fig. 124, pi. 30) 6.5 Flaring Cup: AMNH, 41.1/3498 7. Vessels known only from published illustrations 7.1 Cambered-Rim Dish: Schmidt, 1929, fig. 321-1; Bushnell, 1963, pi. 61 (probable Phase 7 attribution) Fragments collected in surface surveys not cited here. ICA 8 (8-10) 8. RHLMA, burial C-7, Ocucaje, lea. Total 5 vessels. 8.1 Cambered-Rim Bowl: 4-4605 (fig. 125, pi. 31) 8.2 Cumbrous Bowl: 4-4606A-D. Total 4 vessels 8.2.1 Illustrated: 4-4606A (fig. 126); 4606B (fig. 127); 4606C (fig. 128) 9. RHLMA, group Sc, Santiago, lea. 9.1 Cambered-Rim Dish: 4-4900 (figs. 129, 414, pi. 32) 9.2 Enlarged, handleless Simple Bottle: 4-4899 (figs. 130, 416, pi. 33) 9.3 Faceneck jar (cf. Simple Jar section in text): 4-4898 (figs. 131, 418, pi. 34) 9.4 Bottle/Jar (cf. Simple Jar section in text): 4-4897 (figs. 132, 415, 417, pi. 35) 9.5 Fragment of large Inca-style jar: 4-4901 (pi. 36) 10. Unassociated vessels 10.1 Deep Open Dish: DMM, 199 (Cerro La Cruz, Ocucaje, lea) (figs. 133, 413) 10.2 Shallow Dish: MNAA, 20/693 (fig. 134); MRI, uncatalogued-1 (fig. 135) 10.3 Simple Bottle 10.3.1 Traditional lea shape variants: MNAA, 20/298, 271, 274; AMNH, 41.1/3501 (lea 7 or 8) 10.3.2 Imitation Chincha shapes: MNAA, Kay 9012 (lea 7 or 8); MNAA, 20/287-1 10.3.3 Enlarged handleless Simple Bottle: MNAA, 20/287-2

10.3.4 Illustrated:MNAA,20/298(fig. 136);MNAA, Kay 9012 (fig. 137); MNAA, 20/287-1 (fig. 138); MNAA, 20/287-2 (fig. 139; Rubin de la Borbolla, 1961, Arte Prehispanico, pi. 67) 10.4 Complex Jar: MRI, DA-2177 10.5 Imitation Chincha Squat Ovoid Jar (cf. Complex Jar section in text): MRI, DA-1135, DA1175, DMM, 383 (Ocucaje, lea) 10.5.1 Illustrated: MRI, DA-1175 (fig. 140); DMM, 383 (fig. 141) Fragments from surface surveys not cited here.

LATE HORIZON STYLES (11-29) 11. RHLMA, tomb Td-8. A deep, structured tomb of multiple interments, with the contents indicating wealth. A wooden stool, symbolizing the rank of a leader of a hundred taxpayers under the Incas, was found buried above the three principal mummies in the tomb, under the lattice roof that covered the tomb chamber (4-5010; pi. 37). Total 38 pottery vessels and one pottery ocarina. Master grave lot for the definition of the Late Horizon styles as a unit of contemporaneity. 11.1 Provincial Inca styles: 22 vessels 11.1.1 Jar, Provincial Inca A (Rowe, 1944, shape a): 4-5019-5024 Exchanged with Peabody Museum, Harvard: 4-5022, 5023 11.1.1.1 Large size: 4-5019, 5020. A near-identical pair. 11.1.1.2 Intermediate size: 4-5021, 5022. A nearidentical pair. 11.1.1.3 Small size: 4-5023, 5024. A matched pair. 11.1.1.4 Illustrated: 4-5019 (fig. 142; Kroeber and Strong, 1924b, pi. 39g); 5021 (fig. 143; Kroeber and Strong, 1924b, pi. 40j); 5024 (figs. 144, 478, pi. 38) 11.1.2 Cooking pot, Provincial Inca A (Rowe, 1944, shape j): 4-5043A-F 11.1.2.1 Near-identical set of four: 4-5043B-E 11.1.2.2 Lid, matching one of 11.1.2.1: 4-5043F 11.1.2.3 Single large example: 4-5043A 11.1.2.4 Illustrated: 4-5043A (fig. 145); 5043B (fig. 147); 5043F (fig. 146) 11.1.3 Dish, Provincial Inca A: 4-5044 (fig. 148) 11.1.4 Plate, group A-l, Provincial Inca A: 4-5037, 5038. A near-identical pair. 11.1.4.1 Illustrated: 4-5037 (fig. 149) 11.1.5 Plate, group A-2: 4-5039-5042. A nearidentical set of four. Exchanged with Peabody Museum, Harvard: 4-5040 11.1.5.1 Illustrated: 4-5041 (fig. 150, pi. 39); 5042 (fig. 151) 11.1.6 Plate, group A-3: 4-5035, 5036, 5047A (frag-

APPENDIX ments). A near-identical set of at least three. 11.1.6.1 Illustrated: 4-5035 (figs. 152, 500, pi. 40); 5047A (cf. fig. 152); 5036 (figs. 482, 484) 11.2 Ica-Inca A style: 11 vessels 11.2.1 Lamp Bottle: 4-5028-5033, 5305, 5306. Total 8 vessels. Exchanged with Peabody Museum, Harvard: 4-5031, 5305 11.2.1.1 Near-identical set of four: 4-5028-5030, 5305 11.2.1.2 Possible near-identical pair: 4-5306, 5031 11.2.1.3 Smoked blackware: 4-5033 (not incised) 11.2.1.4 Illustrated: 4-5028 (figs. 153, 481, 498, pi. 41); 5032 (fig. 155); 5033 (fig. 156; Kroeber and Strong, 1924b, pi. 40e); 5306 (figs. 154, 477, 484, 496, pi. 42) 11.2.2 Drum Bottle: 4-5025-5027 Exchanged with Peabody Museum, Harvard: 4-5026 11.2.2.1 Near-identical pair: 4-5026, 5027 11.2.2.2 Illustrated: 4-5025 (figs. 159, 488; Kroeber and Strong, 1924b, pi. 39a); 5026 (Kroeber and Strong, 1924b, pi. 39e); 5027 (figs. 158, 485; Kroeber and Strong, 1924b, pi. 40i) 11.3 Imitation Ica-Inca A style: 1 vessel 11.3.1 Lamp Bottle: 4-5034 (figs. 157,457,458,459, pi. 43) 11.4 lea 9 style: 3 vessels and 1 ocarina 11.4.1 Oxidation-fired, slip painted: Angular-Rim Dish, 4-5046 (fig. 160) 11.4.2 Incised blackware: Angular-Rim Dish, 45011, 5012. A near-identical pair, found with the wooden stool (cf. 11.) 11.4.2.1 Illustrated: 4-5012 (fig. 472) 11.4.3 Incised redware, resin painted: Ocarina, 4-5048 11.5 Imitation antique dish shape with Ica-Inca decoration: 4-5045 (fig. 161, pi. 44) 12. RHLMA, burial Td-1. Shallow, unstructured burial found near first entrance step into tomb Td-8. Probably sacrificial retainer burial accompanying tomb Td-8. Total 2 vessels. 12.1 Provincial Inca style 12.1.1 Neckless jar (Rowe, 1944, shape b): 4-4998 (fig. 162) 12.2 lea 9 style, incised blackware 12.2.1 Angular-Rim Bowl: 4-4997 (figs. 163, 476, pi. 45) 13. RHLMA, tomb Ti-5. A deep, structured tomb of multiple interments, with the contents indicating wealth. Total 17 pottery vessels and one pottery ocarina. 13.1 Provincial Inca A style: 6 vessels 13.1.1 Jar (Rowe, 1944, shape a): 4-5338, 5339 13.1.1.1 Medium size: 4-5338 (fig. 164; Kroeber Strong, 1924b, pi. 39c) 13.1.1.2 Small size: 4-5339 (fig. 165) 13.1.2 Handled jug (unincised smoked black-

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ware): 4-5342-5345. A set of four nonidentical pieces. 13.1.2.1 Illustrated: 4-5342 (fig. 168); 5343 (fig. 167); 5344 (fig. 166); 5345 (fig. 169) 13.2 Imitation Chimu style (unincised smoked blackware) 13.2.1 Double-chambered whistling bottle: 4-5340, 5341. A near-identical pair. 13.2.1.1 Illustrated: 4-5340 (fig. 170, pi. 46) 13.3 Imitation Ica-Inca A style 13.3.1 Lamp Bottle: 4-5351 (figs. 171, 455, 456) 13.4 lea 9 style: 6 vessels and 1 ocarina 13.4.1 Oxidation-fired 13.4.1.1 Angular-Rim Dish: 4-5347, 5348, 5350 13.4.1.1.1 Illustrated: 4-5347 (figs. 173, 439); 5348 (figs. 174, 437, 438, pi. 47); 5350 (fig. 175) 13.4.1.2 Deep Open Dish: 4-5349 (figs. 176, 419, 420) 13.4.1.3 Flaring Cup: 4-5424 (figs. 177, 422, 425, 428, 430, 587, pi. 48) 13.4.2 Smoked blackware, modeled 13.4.2.1 Bird Jar: 4-5337 (fig. 172) 13.4.3 Smoked blackware, incised 13.4.3.1 Ocarina: 4-5335 (pi. 49) 13.5 Various 13.5.1 Plainware miniatures, style unidentified 13.5.1.1 Cup: 4-5352 13.5.1.2 Jar: 4-5353 14. RHLMA, tomb Ta. A deep, structured tomb of multiple interments, with the contents indicating moderate wealth. Total 12 vessels, 1 pottery ocarina, and 7 hollow pottery tubes, whole and fragmentary. 14.1 Ica-Inca B style: 5 vessels 14.1.1 Urge Bottle: 4-4877, 4959, 4960, 4962 Note: 4-4877 was found above the burial chamber, below the grave post. 14.1.1.1 Illustrated: 4-4877 (figs. 178, 450, pi. 50); 4959 (figs. 180, 451-453; Kroeber and Strong, 1924b, pi. 38a); 4960 (figs. 179, 449, 454, pi. 51); 4962 (figs. 181, 465) 14.1.2 Drum Bottle: 4-4961 (figs. 182, 448) 14.2 Imitation Nasca-Inca style 14.2.1 Lamp Bottle, plainware miniature: 4-4963 (fig. 183) 14.3 lea 9 style: 6 vessels and 1 ocarina 14.3.1 Oxidation-fired 14.3.1.1 Angular-Rim Dish: 4-4967 (figs. 186, 463, 464, 468) 14.3.1.2 Jar: 4-4966 (fig. 185, pi. 52) 14.3.1.3 Ocarina, plainware miniature, unincised: 4-4968 14.3.2 Smoked blackware, modeled 14.3.2.1 Bird Jar: 4-4957, 4958. A near-identical pair. 14.3.2.1.1 Illustrated: 4-4957 (fig. 184; Kroeber and Strong, 1924b, pi. 38b) 14.3.3 Smoked blackware, incised 14.3.3.1 Angular-Rim Bowl: 4-4964, 4965. A nearidentical pair.

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

14.3.3.1.1 Illustrated: 4-4964 (fig. 188, 473); 4965 (fig. 187, pi. 53) 14.4 Various 14.4.1 Seven hollow pottery tubes, complete and fragmentary, two with modeled faces on them. They stood upright in the floor of the tomb: 4-4969-4975 15. RHLMA, burial Tb. Shallow, unstructured infant burial found at side of entrance to tomb Ta. Probably sacrificial burial accompanying tomb Ta. Total 2 vessels. 15.1 lea 9 style 15.1.1 Angular-Rim Bowl: 4-4977B (figs. 197, 461, 469, pi. 59) According to Uhle's field catalogue, burial Tb also contained "fragments of a painted dish with holes in the sides," that is, a Flaring Cup. This vessel is now missing (4-4977A). 16. RHLMA, tomb Tc. A deep, structured tomb, but exclusively a secondary burial, unlike the other deep, structured tombs. Total 1 vessel. 16.1 lea 9 style 16.1.1 Jar: 4-4980 (figs. 1%, 433) 17. RHLMA, tomb Tl-2. A deep, structured tomb, with most of the contents looted. Total 4 vessels, whole and fragmentary, and one modeled pottery head fragment. 17.1 Provincial Inca style 17.1.1 Cooking pot (Rowe, 1944, shape j): 4-5440B (fig. 219) 17.2 Chimu style (unincised smoked blackware) 17.2.1 Stirrup spout, part of a bottle, body missing (probably made locally): 4-5440D (fig. 220) 17.3 Ica-Inca A style variant 17.3.1 Lamp Bottle, fragmentary: 4-5440C (figs. 222, 479, 499) 17.4 Chimu style or regional Chimu-style variant 17.4.1 Modeled figure bottle: 4-5439 (fig. 221; Kroeber and Strong, 1924b, pi. 40k) 17.5 Various 17.5.1 Modeled animal head: 4-5440A 18. RHLMA, tomb Tp. Most of the contents looted. 18.1 lea 9 style 18.1.1 Flaring Cup: 4-5114 (figs. 198,421, 423,424; Kroeber and Strong, 1924b, pi. 36q) 19. RHLMA, cache Tn. Cache of buried objects, no human interment. The cache consisted of the pottery, a bird bone tube wound with string, and a single valve of a Spondylus shell. Total 9 vessels. 19.1 Ica-Inca A style: 3 vessels 19.1.1 Drum Bottle: 4-5449-5451 19.1.1.1 Illustrated: 4-5449 (figs. 189, 486, 492, pL 54); 5450 (figs. 190, 489, 491, 497; Kroeber and Strong, 1924b, pi. 38d); 5451 (figs. 191, 487, 493, 495; Kroeber and Strong, 1924b, pi. 38e)

19.2 lea 9 style, oxidation-fired: 6 vessels 19.2.1 Angular-Rim Dish: 4-5456 (figs. 193, 441, pi. 55) 19.2.2 Angular-Rim Bowl: 4-5455, 5457 19.2.2.1 Illustrated: 4-5455 (figs. 195, 462, 466, pi. 57); 5457 (figs. 194, 434, 435, 436, pi. 56) 19.2.3 Anthropomorphized Football-shaped Jar: 4-5452-5454 19.2.3.1 Illustrated: 4-5452 (figs. 444, 445, pi. 58); 5453 (figs. 192, 443); 5454 (figs. 446, 447) 20. RHLMA, burial Tk. Unstructured urn burial of moderate depth in drift sand. Total 26 vessels. 20.1 Cuzco Inca style, probably imported from the highlands: 2 vessels 20.1.1 Faceneck jar: 4-5369 (fig. 199; Kroeber and Strong, 1924b, pi. 39d). Found in urn. 20.1.2 Bottle (Rowe, 1944, shape d): 4-5387 (fig. 200; Kroeber and Strong, 1924b, pi. 40m) 20.2 Provincial Inca styles: 18 vessels 20.2.1 Jar, medium size, Provincial Inca A (Rowe, 1944, shape a): 4-5386 (fig. 202; Kroeber and Strong, 1924b, pi. 39f) 20.2.2 Cooking pot, Provincial Inca A (Rowe, 1944, shape j): 4-5388 (fig. 203) 20.2.3 Dish, Provincial Inca A: 4-5395 (fig. 205); 5398 (fig. 204) 20.2.4 Tumbler, imitation Cuzco Inca wooden drinking cups: 4-5379 (fig. 206). 20.2.5 Plate, group A-l, Provincial Inca A: 4-5370 (fig. 207, pi. 60); 5389 (pi. 61). 4-5370 found in urn. 20.2.6 Plate, group B-l, Provincial Inca B: 7 vessels. Found in urn. 20.2.6.1 With handles: 4-5371-5374. A near-identical set of four. 20.2.6.1.1 Illustrated: 4-5373 (fig. 208) 20.2.6.2 Without handles 20.2.6.2.1 Single specimen: 4-5375 20.2.6.2.2 Near-identical pair: 4-5376, 5377 20.2.6.2.3 Illustrated: 4-5376 (fig. 209) 20.2.7 Plate, group B-2, Provincial Inca B: 4-5392, 5393. A near-identical pair. 20.2.7.1 Illustrated: 4-5392 (fig. 502, pi. 62); 5393 (fig. 210) 20.2.8 Plate, group unspecified: 4-5390, 5391. A near-identical pair. 20.2.8.1 Illustrated: 4-5390 (fig. 501); 5391 (fig. 211) 20.3 Chimu style (unincised smoked blackware; probably imported): 2 vessels 20.3.1 Double-chambered whistling bottle: 4-5378, 5394. A nonidentical pair. 4-5378 found in urn. 20.3.1.1 Illustrated: 4-5394 (fig. 201; Kroeber and Strong, 1924b, pi. 39b) 20.4 Imitation post-Chincha assemblage style (incised smoked blackware) 20.4.1 Plate: 4-53%, 5397. A near-identical pair. 20.4.1.1 Illustrated: 4-53% (fig. 212) 20.5 lea 9 style, unincised smoked blackware

APPENDIX 20.5.1 Angular-Rim Dish: 4-5400 (fig. 213) 20.6 lea antique 20.6.1 lea 3 Cambered-Rim Dish: 4-5399 (figs. 214, 506, pi. 63) 21. RHLMA, burial Tf-1. Interment made in the Early Colonial Period, but accompanied by pottery and other objects probably taken from a Late Horizon burial, Tf-2, below it, which had been disturbed. 21.1 lea 9 style 21.1.1 Unincised blackware 21.1.1.1 Angular-Rim Dish: 4-5102B (fig. 216) 21.1.1.2 Stirrup spout, body missing: 4-5102C (fig. 215) 21.1.2 Incised blackware 21.1.2.1 Ocarina: 4-5100, 5101. A near-identical pair. 21.1.2.1.1 Illustrated: 4-5100 (figs. 470, 474; Kroeber and Strong, 1924b, pi. 37j) 21.2 Imitation lea antique 21.2.1 Simple Bottle: 4-5102A (figs. 217, 515, 517) 21.3 Nonpottery objects 21.3.1 Four Inca-style wooden tumblers, including the one shown in fig. 218; see also Rowe, 1961, figs. 3-5. 22. RHLMA, burial Z-5, Galagarza, Old lea. Shallow burial of small child. Total 2 vessels. 22.1 lea 9 style 22.1.1 Football-shaped Jar: 4-4880 (fig. 223) 22.2 lea antique 22.2.1 lea 5 Flaring Cup: 4-4881 (fig. 224) 23. RHLMA, group Sf, Santiago, lea. Uhle records the objects in this group as having come from an "excavation on a cemetery . . .". 23.1 lea 9 style 23.1.1 Shallow Dish: 4-5495 (fig. 225, pi. 65) 23.2 Various 23.2.1 Large hollow figurine. Late Horizon style features: 4-5494 (Kroeber and Strong, 1924b, pi. 33f). 24. RHLMA, burial C-4, Ocucaje, lea. Total 4 vessels. 24.1 lea 9 style, oxidized fired 24.1.1 Jar: 4-4601 (figs. 228, 460) 24.1.2 Cumbrous Bowl: 4-4602A-C 24.1.2.1 Illustrated: 4-4602A (fig. 442); 4602B (fig. 230); 4602C (fig. 229) 25. RHLMA, burial C-5, Ocucaje, lea. Total 3 vessels. 25.1 lea 9 style 25.1.1 Cumbrous Bowl: 4-4603 (fig. 231, pi. 66) 25.2 Imitation antiques 25.2.1 Cumbrous Bowl: 4-4603A, B. A nonidentical pair. 25.2.1.1 Illustrated: 4-4603A (fig. 508, pi. 67); 4603B (fig. 232) 26. RHLMA, burial C-10, Ocucaje, lea. Total 9 vessels. 26.1 Nasca-Inca style (unincised blackware)

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26.1.1 Lamp Bottle: 4-4611, 4612 26.1.1.1 Illustrated: 4-4611 (fig. 235; Kroeber and Strong, 1924b, pi. 35r); 4612 (fig. 234; Kroeber and Strong, 1924b, pi. 35s) 26.2 Combination Ica-Inca A and Nasca-Inca style features 26.2.1 Lamp Bottle: 4-4609 (figs. 233, 480; Kroeber and Strong, 1924b, pi. 35p) 26.3 lea 9 style 26.3.1 Cumbrous Bowl: 4-4613A (fig. 236) 26.4 lea antique 26.4.1 lea 1 bowl: 4-4610 (figs. 239, 505, pi. 69) 26.5 Imitation antiques 26.5.1 Cumbrous Bowl: 4-4613B, C. A nonidentical pair. 26.5.1.1 Illustrated: 4-4613B (fig. 510); 4613C (fig. 237) 26.5.2 Deep Open Dish: 4-4613, 16-1953. A nearidentical pair. 26.5.2.1 Illustrated: 4-4613 (figs. 238, 511, 512, pi. 68) 27. MRI, tomb 1, Hoyad6n, Callango, lea. In 1968 a grave robber brought two near-identical pairs of objects to the Museo Regional de lea, and reported that they were remnants of the contents of a single grave. The objects included a near-identical pair of wooden stools of the same height and style as the one found in tomb Td-8 (pi. 37) and two pottery vessels. 27.1 Provincial Inca A 27.1.1 Jar, large size (Rowe, 1944, shape a): Uncatalogued-2, 3. A near-identical pair. 27.1.1.1 Illustrated: fig. 242 28. Unassociated vessels, Late Horizon styles. Total 35 vessels and several flutes. 28.1 Provincial Inca style: 8 vessels 28.1.1 Jar, small size (Rowe, 1944, shape a): Recorded by Junius B. Bird on color slide, from dealers collection, New York, 1958. 28.1.2 Bottle: MRI, T-1016 (fig. 243, pi. 71a, b) 28.1.3 Handled jug: MRI, E-373; DMM, 151 (from south end of the Hacienda Macacona, lea) 28.1.4 Faceneck jar DMM, 187; RHLMA, M, 4-4314 (from Chulpaca, Old lea; Kroeber and Strong, 1924b, pi. 35h) 28.1.5 Hollow human figure with bottle handle: RHLMA, M, 4-4348 (from Chulpaca, Old lea; Kroeber and Strong, 1924b, pi. 33d) 28.1.6 Hate, group B-l (unincised blackware): RHLMA, M, 4-4461 (from Chulpaca, Old lea; Kroeber and Strong, 1924b, pi. 35k) 28.2 Ica-Inca A style: 10 vessels 28.2.1 Lamp Bottle: AMNH, 41.0/1358; AMNH, 41.2/672; MNAA, 35/8364; MNAA, 35/8365; MRI, E-369; MRI, uncatalogued-4; UM, SA-3426 (incised blackware) 28.2.1.1 Illustrated: AMNH, 41.0/1358 (pi. 70); AMNH, 41.2/672 (fig. 483)

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

28.2.2 Drum Bottle: AMNH, 41.0/1368; AMNH, 41.2/652; UM, SA-3355 (may be from Pisco) 28.2.2.1 Illustrated: AMNH, 41.0/1368 (figs. 490, 494) 28.2.3 Angular-Rim Dish: MRI, DA-1553; UM, SA-3208, 3307 (the latter two may be from Pisco) 28.2.4 Angular-Rim Bowl: MRI, E-341 (fig. 244) 28.3 Ica-lnca B and imitation Ica-lnca A styles: 2 vessels 28.3.1 Ica-lnca B Large Bottle: UM, SA-3371 28.3.2 Stacked double bottle: UM, SA-3352 (imitation Ica-lnca A Lamp Bottle top set in Large Bottle bottom with an angular rim; cf. Means, 1940, fig. 65, center) 28.4 Unincised blackware, associated with provincial Inca forms: 2 vessels 28.4.1 Jar, narrow neck: RHLMA, M, 4-4316 (Chulpaca, Old lea; Kroeber and Strong, 1924b, pi. 35 1) 28.4.2 Jar, wide neck: RHLMA, M, 4-4315 (Chulpaca, Old lea) 28.5 lea 9 style, oxidation-fired: 8 vessels 28.5.1 Angular-Rim Dish: RHLMA, Y, 4-4233 (Galagarza, Old lea; fig. 467) 28.5.2 Shallow Dish: RHLMA, 4-4673L-1,2 (shellmound at mouth of the lea River) 28.5.2.1 Illustrated: 4-4673L-1 (figs. 226, 440); 4673L-2 (fig. 227) 28.5.3 Angular-Rim Bowl: RHLMA, Y, 4-4234 (Galagarza, Old lea): UM, SA-3309 28.5.4 Complex Jar: RHLMA, M, 4-4346 (Chul>aca, Old lea; figs. 431, 432, pi. 64a, b) 28.5.5 Jar, variable category: RHLMA, M, 4-4342 Chulpaca, Old lea) 28.5.6 Flaring Cup: RHLMA, M, 4-4349 (Chulpaca, Old lea) (figs. 241, 426, 427, 429) 28.6 lea 9 style, incised blackware: 1 vessel and flutes 28.6.1 Angular-Rim Dish: RHLMA, M, 4-4340 (Chulpaca, Old lea; figs. 240, 471, 475) 28.6.2 Flute: Specimens exhibited in the MNAA, seen by me but not further recorded. 29. Late Horizon pottery known only from published illustrations: 14 vessels and 2 flutes. 29.1 Provincial Inca style: 3 vessels 29.1.1 Plate group A-l: Schmidt, 1929, fig. 301; Ubbelohde-Doering, 1952, pi. 41 29.1.2 Plate, group unspecified, but with the same decoration as some group A-l plates: Schmidt, 1929, fig. 300 29.2 Ica-lnca A style: 9 vessels 29.2.1 Lamp Bottle: Uhle, 1913, pi. XA, top row, three on right (second from right is incised blackware); Ubbelohde-Doering, 1952, pi. 40, bottom; Bushnell, 1963, pi. 66 29.2.2 Drum Bottle: Uhle, 1913, pi. XA, bottom row, last on right; Schmidt, 1929 (fig. 305-3; Muelle and Bias, 1938, lam. 45a (incised blackware); Mason, 1964, pi. 35, bottom, third from left

29.3 Imitation Ica-lnca A style 29.3.1 Lamp Bottle: Uhle, 1913, pi. XA, top row, first on left 29.4 Probable imitation lea antique 29.4.1 Deep Open Dish: Schmidt, 1929, fig. 316-2 29.5 lea 9 style, incised blackware 29.5.1 Flute: Mead, 1924, p. 340, fig. 6 (AMNH, 41.0/1625, 22.2 cm. long; provenience "prehistoric grave at Ica"); Izikowitz, 1935, fig. 186 (Museum fiir Vòlkerkunde, Berlin, 20.6 cm. long; provenience San Ramon, Old lea)

ICA 10 (30-36) 30. RHLMA, burials Ti-1, la, 2, 3, 4, 6. Shallow burials found stratigraphically above Late Horizon tomb Ti-5 (13). 30 1 RHLMA, burial Ti-1. Richest burial in this group. It contained European glass beads. Total 20 vessels. Master grave lot for the definition of Phase 10. 30.1.1 Deep Open Dish: 4-5280, 5283-5285, 5294, 5470. S vessels. 30.1.1.1 Illustrated: 4-5280 (figs. 257, 568, 576, pi. 74); 5283 (figs. 532, 562, pi. 75); 5284 (fig. 558); 5285 (figs. 258, 561); 5294 (figs. 255, 531, 560, pi. 72); 5470 (figs. 256, 521, 537, pi. 73) 30.1.2 Angular-Rim Dish: 4-5290A, 5291.2 vessels. 30.1.2.1 Illustrated: 4-5290A (fig. 260, pi. 76); 5291 (figs. 259, 529, 535) 30.1.3 Cambered-Rim Bowl: 4-5286, 5288-5290. 4 vessels. 30.1.3.1 Illustrated: 4-5286 (figs. 263,523,524,549, 569, pi. 78); 5288 (figs. 528, 579); 5289 (figs. 262, 528, pi. 77); 5290 (figs. 261, 552, 578; Kroeber and Strong, 1924b, pi. 36e) 30.1.4 Simple Bottle: 4-5282 (figs. 264, 553, 566, 570, 582, pi. 80) 30.1.5 Flaring Cup: 4-5279, 5469. 2 vessels. 30.1.5.1 Illustrated: 4-5279 (figs. 265, 522, 533, 534, 564, 588, pi. 79); 5469 (figs. 266, 520, 536, 565) 30.1.6 Inflected vase: 4-5281 (figs. 267, 538, 563, 583; Kroeber and Strong, 1924b, pi. 36a) 30.1.7 Revivals of imitation Chincha shapes: 4 vessels. 30.1.7.1 Cup: 4-5292, 5293 30.1.7.1.1 Illustrated: 4-5292 (figs. 270, 551, 577); 5293 (Kroeber and Strong, 1924b, pi. 36b) 30.1.7.2 Bottle/Jar: 4-5287 (fig. 268, pi. 81) 30.1.7.3 Hask: 4-5471 (figs. 269, 544, 581, pi. 82) 30.2 RHLMA, burial Ti-la. Found near Ti-1, separate body with one vessel and bits of textiles. 30.2.1 Fruit-shaped bottle, plainware miniature: 4-5472 (fig. 271) 30.3 RHLMA, burial Ti-2. Total 2 vessels.

APPENDIX 30.3.1 Simple Bottle: 4-5301 (figs. 272, 557, 571, pi. 83) 30.3.2 Imitation Chincha High Ovoid Jar: 4-5300 (figs. 273, 545, 547, pi. 84) 30.4 RHLMA, burial Ti-3. Total 1 vessel. 30.4.1 Angular-Rim Dish: 4-5302 (figs. 274, 580; Kroeber and Strong, 1924b, pi. 36f) 30.5 RHLMA, burial Ti-4. Total 2 vessels. 30.5.1 Cumbrous Bowl: 4-5303, 5304 30.5.1.1 Illustrated: 4-5303 (fig. 276); 5304 (figs. 275, 574, 575, pi. 85) 30.6 RHLMA, burial Ti-6. Total 1 vessel. 30.6.1 Simple Bottle: 4-5368 (figs. 277, 555) 31. RHLMA, burials Td-10, 11. Shallow burials found stratigraphically above the Late Horizon tomb Td-8 (11). 31.1 RHLMA, burial Td-10. Contained 4 vessels and a mummified monkey, with a single human interment. 31.1.1 Shallow Dish, unincised smoked blackware: 4-5081 (figs. 278, 573, pi. 86) 31.1.2 Simple Bottle, unincised smoked blackware: 4-5083 (fig. 279, pi. 87) 31.1.3 Complex Jar: 4-5079 (figs. 280,540,543,546, pi. 88) 31.1.4 Stacked double vessel, plainware miniature. Shallow Dish on Simple Bottle body: 4-5080 31.2 RHLMA, burial Td-11. One individual buried with several objects, including one pottery vessel; two red and blue parrots (macaws, i.e. Ara, identified by Professor Oliver P. Pearson, Museum of Vertebrate Zoology, University of California, Berkeley); a piece of Spondylus shell; a bone tube; a small wooden agricultural implement; two slings; and a breech cloth. 31.2.1 Deep Open Dish: 4-5084 (figs. 281, 519, 559, pi. 89) 32. RHLMA, burial Y-5, Galagarza (grounds of Leandro Mendoza), Old lea. Shallow burial of one individual accompanied by two pottery vessels. 32.1 Jar, varied general category: 4-4272 (figs. 283, 556) 32.2 Anthropomorphized Football-shaped Jar: 4-4271 (fig. 282) 33. Unassociated vessels, lea 10 style: Total 81 vessels 33.1 Deep Open Dish: RHLMA, D, 4-4507 (Ocucaje, lea); RHLMA, 16-1426 (lea); DMM, 219 (huaca on the Hacienda Los Pobres, lea); AMNH, 41.0/5508 (Olson Collection, from the north end of the Hacienda Ocucaje, lea); MRI, DA-2929; MRI, DA-3656; MNAA, 20/627; MNAA, 20/644; UM, SA-3300, 3301, 3302, 3303, 3324; UM, SA-4213 (probably from La Puntilla, Pisco); RHLMA, 4-4671C (fragment; for provenience, see 35.1) 33.1.1 Illustrated. DMM, 219 (pi. 90); AMNH, 41.0/5508 (fig. 526)

255

33.2 Shallow Dish: RHLMA, 16-1424 (lea); RHLMA, 16-10082 (Ocucaje, lea); AMNH, 41.2/897 33.2.1 Illustrated: RHLMA, 16-1424 (figs. 285,572, pi. 91); RHLMA, 16-10082 (figs. 284, 525) 33.3 Cambered-Rim Bowl: RHLMA, 16-10088 (Ocucaje, lea); DMM, 201 (Cerro La Cruz, Ocucaje, lea); DMM, 202 (Cerro La Cruz, Ocucaje, lea); MRI, DA-2601; UM, SA-3331, 3332, 3333, 3334 33.3.1 Illustrated: RHLMA, 16-10088 (fig. 530) 33.4 Cumbrous Bowl: RHLMA, M, 4-4318/0 (Chulpaca, Old lea); RHLMA, G, 4-4560 (Ocucaje, lea); DMM, 374 (Córdoba, Ocucaje, lea); UM, SA-3351; RHLMA, 4-4671-1 (fragment: part of surface collection made by Uhle in the lower lea Valley at Agua de Palos, La Venta, Ocucaje and Ullujaya in Callango) 33.5 Simple Bottle 33.5.1 Traditional lea forms: DMM, 380 (Cordoba, Ocucaje, lea); MRI, DA-1111 33.5.1.1 Illustrated: MRI, DA-1111 (pi. 92) 33.5.2 Enlarged, handleless form: RHLMA, X, 4-4205 (Galagarza, Old lea); UM, SA-3440 (from la Puntilla, Pisco) 33.5.2.1 Illustrated: RHLMA, X, 4-4205 (figs. 286, 554, pi. 93) 33.6 Simple Jar: DMM, 83 (purchased at Agua de Palos, lea); MNAA, 20/90 33.6.1 Illustrated: DMM, 83 (fig. 287, pl. 94) 33.7 Complex Jar 33.7.1 lea 6 to 8 shape features, elliptical in horizontal section: RHLMA, 4-4664 (Ocucaje, lea); RHLMA, G, 4-4557 (Ocucaje, lea); DMM, 82 (purchased at Agua de Palos, lea); MRI, DA-3264; MRI, R-1043; MRI, DA3031; UM, SA-3260, 3345, 3356; WZ-3 33.7.1.1 Illustrated: RHLMA, 4-4664 (pl. 95); RHLMA, 4-4557 (fig. 288, pl. 96a, b); MRI, DA-3264 (figs. 291, 541); MRI, R-1043 (pl. 97a, b) 33.7.2 As 33.7.1, but with peanut appliqués: DMM, 3% (Ocucaje, lea); MRI, DA-2078; MRI, uncatalogued-7 33.7.2.1 Illustrated: DMM, 396 (figs. 289, 539) 33.7.3 As 33.7.1, but circular in horizontal section: WZ-1, 2 (both said to be from the western Nasca drainage, probably the Huayuri Valley) 33.7.4 Bird Jar and related form: MRI, uncatalogued-5; MNAA, 35/8353; DMM, 391 (feline appliqués in place of bird appliqués) 33.7.4.1 Illustrated: MRI, uncatalogued-5 (fig. 290) 33.7.5 Anthropomorphized Football-shaped Jar: DMM, 220 (Córdoba, Ocucaje, lea); DMM, 101 (Hacienda San Javier, Palpa, Nasca drainage); WZ-4 (western Nasca drainage, probably the Huayuri Valley) 33.8 Variable, general jar category: DMM, 84 (purchased at Agua de Palos, lea); UM, SA-3261, 3265, 3288, 3339, 3344

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POTTERY STYLE AND SOCIETY IN ANCIENT PERU

33.9 Flaring Cup: MRI, CV-25; MNAA, 20/553; UM, SA-3681 33.10 Drum Bottle: MRI, CV-27, 28 33.11 Inflected vase: MNAA, 20/8 33.12 Imitation Chincha forms 33.12.1 Collared Jar: UM, SA-3348 (probably from Pisco; fig. 294) 33.12.2 Flask: UM, SA-3372 33.12.3 Cup: UM, SA-3328 33.12.4 Squat Ovoid Jar RHLMA, M, 4-4326 (Chulpaca, Old lea); RHLMA, 16-8922 33.12.4.1 Illustrated: RHLMA, M, 4-4326 (fig. 292) 33.13 Modified Chimu form 33.13.1 Double-chambered whistling bottle: RHLMA, 16-10335 (Achaco, ravine of Nasca); MRI, DA-1334 33.13.1.1 Illustrated: RHLMA, 16-10335 (figs. 295, 548, 550, pi. 98); MRI, DA-1334 (pi. 99) 33.14 Modified Ica-Inca forms 33.14.1 Lamp Bottle: MRI, DA-3377 33.14.2 Large Bottle: DMM, 276 (Pinilla, Ocucaje, lea) 33.14.3 Stacked double vessel: MRI, DA-4084 (imitation Lamp Bottle top set in Cambered-Rim Bowl bottom); MNAA, 35/8256 (modified Lamp Bottle top set in Cambered-Rim Bowl bottom) 33.14.4 Fancy Angular-Rim Dish with peanut appliqués: MNAA, 20/372 33.15 Various 33.15.1 Modeled terrace house: MRI, uncatalogued (pi. 100) 34. Illustrated fragments from surface collections at single-phase lea 10 refuse sites at Villacuri

and Curiba, and from the lea 10 stratum of Mound U at Old lea (PV62-1U) 34.1 Deep Open Dish: fig. 589 (PV62-1U); 590 (principal ruin of Villacuri) 34.2 Dish, unclassified shape: fig. 591 (Curiba) 34.3 Complex Jar: figs. 593-597 (Curiba); 598 (principal ruin of Villacuri); 599 (FV62-1U) 34.4 Various jar forms: figs. 600, 601 (principal ruin of Villacuri); 602 (Curiba) 34.5 Jar neck fragments: figs. 603, 604 (principal ruin of Villacuri) 34.6 Jar neck or bowl rim fragment: fig. 605 (principal ruin of Villacuri) 35. Illustrated fragments from various sites 35.1 Deep Open Dish: fig. 527 (RHLMA, 4-4671B; from mixed lot of sherds collected in surface surveys made by Uhle at La Venta, Agua de Palos, Ocucaje, and Ullujaya, Callango, lea) 35.2 Flaring Cup: fig. 592 (PV62-197, Ocucaje, Ica) 35.3 Complex Jar: fig. 542 (RHLMA, 4-4671A, collected as 35.1, above) 36. Ica 10 vessels known only from published illustrations 36.1 Deep Open Dish: Uhle, 1913, pi. XA, center row, first on left 36.2 Shallow Dish: Schmidt, 1929, fig. 322-3 36.3 Simple Bottle: Illustrations of the same specimen in Means, 1940, fig. 65, right, and Mason, 1964, pi. 30A, top center 36.4 Imitation Chincha Flask: Schmidt, 1929, fig. 324-1 37. Ica 8 or Ica 10 style: Imitation Chincha Flask in Schmidt, 1929, fig. 314-3. Photograph not clear enough for more exact identification of phase.

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Abbreviations

AMNH. American Museum of Natural History, New York. DMM.

Duncan M. Masson Museum, Paracas.

GG. Private collection. MNAA.

Museo Nacional de Antropología y Arqueología, Lima.

MRI. Museo Regional de lea, lea. RHLMA. Robert H. Lowie Museum of Anthropology, Berkeley. UM. University Museum, Philadelphia. WZ. Private collection.

Key to Figures

lea 1A. 1. Jar, 26.4 cm. high (RHLMA, 16-10063, Ocucaje). 2. Cup, 14.7 cm. high (DMM, 271, Pinilla, Ocucaje). lea IB. 3. Cambered-Rim Bowl, 11.4 cm. high (DMM, 247, Pinilla, Ocucaje). IcalAorB. 4. Bowl, 7.9 cm. high (DMM, 306, Ocucaje). 5. Bowl, 7.2 cm. high (DMM, 269, Pinilla, Ocucaje). 6. Dish, 8 cm. high (DMM, 207, Ocucaje). 7. Dish, 5.8 cm. high (DMM, 268, Pinilla, Ocucaje). 9. Dish, 5.5 cm. high (DMM, 267, Pinilla, Ocucaje). See below for 8. Ical or 2. 8. Dish, 6.6 cm. high (DMM, 240, La Capilla, Pinilla, Ocucaje). lea IB. 10. Dish, 5.7 cm. high (RHLMA, 4-4595, burial C-2, Ocucaje). 11. Crude bowl, 8 cm. high (RHLMA, 4-4596E, burial C-2, Ocucaje). lea 3A. 12. Deep Open Dish, 6.2 cm. high (RHLMA, 4-4578, burial C-l, Ocucaje). 13. Cambered-Rim Dish, 6.9 cm. high (RHLMA, M, 4-4833, Chul>aca). 14. Cumbrous Bowl, 8.2 cm. high ! RHLMA, 4-4580H; burial C-l, Ocucaje). 15. Simple Bottle, 11.8 cm. high (RHLMA, M, 4-4458C, Chulpaca). lea 3B? 16. Cambered-Rim Dish, 8.8 cm. high (RHLMA, M, 4-4334, Chulpaca). lea 3B 17. Cumbrous Bowl, 6.7 cm. high (RHLMA, M, 4-4350, Chulpaca). lea 3B or C. 18. Shallow Dish, 4 cm. high (RHLMA, 4-4849, burial Z-4, Galagarza). 19 Shallow Dish, 7.4 cm. high (RHLMA, M, 4-4447, Chulpaca). 20. Shallow Dish, 4.5 cm. high (RHLMA, M, 4-4329, Chulpaca). lea 3C. 21. Jar, 30. 6 cm. high (RHLMA, M, 4-4283, Chulpaca). lea 3C? 22. Drum Bottle, 12.9 cm. high (RHLMA, M, 4-4347, Chulpaca). lea 4. 23. Simple Bottle, 11.75 cm. high (RHLMA, M, 4-4344, Chulpaca). lea 4 or 5. 24. Simple Bottle, 19.2 cm. high (DMM, 246, lea). lea 5. 25. Deep Open Dish, 8 Cm. high (RHLMA, 44839, burial Z-3, Galagarza). 26. Haring Cup, 12.6 cm. high (DMM, 461, Ocucaje). 27. Cambered-Rim Dish, 6.6 cm. high (DMM, 200, Cerro La Cruz, Ocucaje). 28. Shallow Dish, 4 cm. high (DMM, 377, Ocucaje). lea 6 (RHLMA, tomb Th-1, Soniehe). Deep Open Dish. Average size, shape. 29. 6.7 cm. high (4-5202).

30. 6.5 cm. high (4-5205). 31. 6.8 cm. high (45241). 32. 7.1 cm. high (4-9381K). large extreme of normal size range. 33. 8.3 cm. high (4-9381N). 34. 8.4 cm. high (4-9383D). 35. 9.3 cm. high (4-5199). Unique large size. 36. 10 cm. high (4-5240). Miniature. 37. 4.4 cm. high (4-5213). Aberrant shapes. 38. 5.8 cm. high (4-5210). 39. 5.4 cm. high (4-9383A). 40. 7 cm. high (4-5203). 41. 7.3 cm. high (4-9383G). Cambered-Rim Dish. Average size. 42. 7.2 cm. high (4-51%). 43. 7.4 cm. high (4-5194). 44. 7.5 cm. high (4-5195). Small. 45. 5.3 cm. high (4-9383J). 46. 5.6 cm. high (4-5197). Aberrant shape. 47. 6 cm. high (4-5185). Shallow Dish, subgroup 1. Standard size. 48. 6.2 cm. high (4-5241D). 49. 4.7 cm. high (4-5226). Miniature. 50. 4 cm. high (4-5220). Shallow Dish, subgroup 2. Small. 51. 4.9 cm. high (4-9385B). Miniature. 52. 2.7 cm. high (4-5223). Shallow Dish, subgroup 3. 53. 4.3 cm. high (4-5229). 54. 4.2 cm. high (4-9385G). 55. 4.7 cm. high (4-5227). Shallow Dish, subgroup 4 (Tiered Dish). 56. 8.6 cm. high (4-9384A). 57. 8.3 cm. high (4-5238). Cambered-Rim Bowl. Average size, shape. 58. 9 cm. high (4-5181). 59. 9.5 cm. high (4-5179). Miniature. 60. 5.5 cm. high (4-5186). Aberrant shapes, polished finish. 61. 8 cm. high (4-5183). 62. 8.1 cm. high (4-5180). Aberrant shape, rough finish. 63. 8.6 cm. high (4-5182). Very large size. 64. 24 cm. high (4-9395). Cumbrous Bowl. Standard shape, rough finish. 65. 7 cm. high (493891). 66. 7 cm. high (4-5250B). Deviant shape, rough finish. 67. 7.4 cm. high (4-5241H). Fancy category. 68. 6.5 cm. high (4-5236). 69. 5.2 cm. high (4-9389Q. Simple Bottle. Average size. 70. 24.4 cm. high, smoked blackware (4-5145). 71. 17.8 cm. high (4-5142). 72. 15.7 cm. high (4-5154). 73. 15.4 cm. high (4-5235). 74. 14.1 cm. high (4-9387B). 75. 15.2 cm. high

264

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

(4-5156). 76. 13.4 cm. high (4-5146). 77. 12.5 cm. high (4-5150). Small. 78. 12.6 cm. high, smoked blackware (4-5151). Miniature. 79. 5.55 cm. high (4-5152). 80. 4.5 cm. high (4-5153). Unique, modeled nedc. 81. 19.5 cm. high (4-5141). Complex Jar. Average size range. 82a, b. 46.6 cm. high (body outline and lower two thirds of neck of 4-5137; upper part of neck missing on this specimen, but present on the twin specimen of this piece, 5138. Reconstruction of the upper neck takenfrom5138). 83. 38.7 cm. high, smoked blackware (4-5140). 84. 28.1 cm. high (4-5139). 85. 16 cm. high (4-5168). Miniature. 86. 8.5 cm. high (4-5175). Simple Jar. Average size, shape. 87. 11.4 cm. high (4-5148; profile taken from broken twin piece 4-9387C). 88. 10.5 cm. high, smoked blackware (4-5170). Miniature. 89. 7.8 cm. high, smoked blackware (4-5173). 90. 8 cm. high, plainware (4-5174). Aberrant shape. 91. 11.3 cm. high (4-5158). Flaring Cup. 92. 11.7 cm. high (4-9386A). 93. 8.3 cm. high (4-9386B). 94 5.8 cm. high (4-5219). 95. 6.5 cm. high, plainware miniature (4-9386D). Drum Bottle. 96. 8.95 cm. high (4-5160). Imitation Chincha shapes. 97. Collared Jar, 9 cm. high (4-5177). 98a, b. Flask, 11.2 cm. high (4-5162). 99a, b. Drum Bottle, 6.5 cm. high (4-5161). 100. Incurving bowl, 7.9 cm. high (4-9388B). 101. Inflected flaring-sided dish, 6.9 cm. high (4-9389B). 102. Straight flaring-sided dish, 5 cm. high (4-5241A). 103. Straight flaring-sided dish, miniature, 2.3cm. high (4-5225B). 104. Flatbottomed flaring-sided plate, 4.8 cm. high (4-5241G). Fruit-shaped bottle. 105. 5.5 cm. high (4-5163). 106. 8.9 cm. high (4-5164). Utility ware, miniature. 107. 4 cm. high (4-5224). 108. 7.2 cm. high (4-9391A). Ica 6, unassociated. 109. Flaring Cup, 13.3 cm. high (DMM, 375, Córdoba, Ocucaje). Could also be lea 7. 110a, b. Drum Bottle, 26.9 cm. high (MNAA, 20/189, no provenience). Could also be lea 7. 111. Stirrup-spout bottle, 21 cm. high (GG, 1, from color slide R 65.9 in John H. Rowe's slide collection). Ica 7. RHLMA, burial Th-2, Soniche. Cambered-Rim Dish. 112. 4.9 cm. high (4-5129). Cambered-Rim Bowl. 113. 9 cm. high (4-5126). Simple Bottle. 114. 13.8 cm. high (4-5128). Simple Jar. 115. Smoked blackware, 6.9 cm. high (4-5133A). 116. 6 cm. high (4-5132). Flaring Cup. 117. 10.3 cm. high (4-5123). 118. 99.3 cm. high (4-5124). 119. 11 cm. high (4-5135). Antique. 120. Jar, Ica-Epigonal style, 15.5 cm. high (4-5127). Unassociated. Vessels assigned to Phase 7 on basis of features of decoration which are like those peculiar to vessels in burial Th-2, above. Shallow Dish, subgroup 1. 121. 6.7 cm. high (MNAA, 20/701, no provenience). Simple Bottle. 122. 21 cm. high (MNAA, L/2 José López, no provenience). 123. 15.6 cm. high (MNAA, 35/8293, no provenience).

Complex Jar. 124. 41.5 cm. high (RHLMA, 16-2002, lea). Ica 8. RHLMA, burial C-7, Ocucaje. Cambered-Rim Bowl. 125. 12.5 cm. high (4-4605). Cumbrous Bowl. 126. 8 an. high (4-4606A). 127. 8 cm. high (4-4606B). 128. 9.6 cm. high (44606Q. RHLMA, group Sc, Santiago. Cambered-Rim Dish. 129. 7.6 cm. high (4-4900). Enlarged handleless Simple Bottle. 130. 13.4 cm. high (neck missing; 4-4899). Faceneck jar. 131. 21.4 cm. high (4-4898). Bottle/Jar. 132. 19.6 cm. high (4-4897). Unassociated. Deep Open Dish. 133. 7.8 cm. high (DMM, 199, Cerro La Cruz, Ocucaje). Shallow Dish, subgroup 1. 134. 5.8 cm. high (MNAA, 20/693, no provenience). 135. 5 cm. high (MRI, uncatalogued - 1, no provenience). Simple Bottle. 136. 18 cm. high (MNAA, 20/298, no provenience). 137. 12.9 cm. high (MNAA, Kay 9012, no provenience). 138. 16 cm. high (MNAA, 20/287(1), no provenience). Enlarged handleless SimpleBottle. 139. 20.3 cm. high (MNAA, 20/287(2), no provenience). Imitation Chmcha Squat Ovoid Jar. 140. 30 cm. high (MRI, DA-1175, south coast). 141. 24.2 cm. high (DMM, 383, Ocucaje). Late Horizon. RHLMA, tomb Td-8, Soniche. Provincial Inca A style. Jar (Rowe, shape a). 142. Large, 47.5 cm. high (4-5019). 143. Medium, 30.2 cm. high (45021). 144. Small, 16.5 cm. high (4-5024). Cooking pot (Rowe, shape j). 145 Large, 16.5 cm. high (reconstructed from fragments; 45043A). 146. Standard size, lid, 4.6 cm. high (4-5043F). 147. Standard size, 5.2 cm. high (4-5043B). Dish. 148. 6.6 cm. high (4-5044). Plate, group A-l. 149. 4.1 cm. high (4-5037). Provincial lnca style, various. Plate, group A-2. 150. 3.8 cm. high (4-5041). 151. Profile section, 3.3 cm. high (4-5042). Plate, group A-3. 152. 3.2 cm. high (4-5035; cross section taken from broken twin piece, 45047A). Ica-Inca A style. Lamp Bottle. 153. 11.75 cm. high (4-5028). 154. 10.35 cm. high (4-5306). 155. 10.4 cm. high (4-5032). 156. Smoked blackware, 11.5 cm. high (4-5033). Drum Bottle. 158. 13.5 cm. high (4-5027). 159. 17.75 cm. high (4-5025). See below for 157. Imitation Ica-Inca A style. Lamp Bottle. 157. 10.5 cm. high (4-5034). Ica 9 style, oxidized. Angular-Rim Dish. 160. 6 cm. high (4-5046). Modified imitation antique. 161. Dish, 5.7-6.1 cm. high (4-5045). RHLMA, burial Td-1, Soniche. Provincial Inca style, various. Neckless jar (Rowe, shape b). 162. 12.5 cm. high (4-4998). Ica 9 style, incised blackware. Angular-Rim Bowl. 163. 10.9 cm. high (4-4997).

KEY TO FIGURES RHLMA, tomb Ti-5, Soniche. Provincial Inca A style. Jar (Rowe, shape a). 164. Medium, 23 cm. high (4-5338). 165. Small, 13 cm. high (4-5339). Jug, unincised bladcware. 166. 17.7 cm. high (4-5344). 167. 10.5 cm. high (4-5343). 168. 10.8 cm. high (4-5342). 169. 8.5 cm. high (4-5345). Imitation Chimu style, unincised bladcware. Double-chambered whistling bottle. 170a, b. 18 cm. high (4-5340). Imitation Ica-Inca A style. Lamp Bottle. 171. 11 cm. high (4-5351). Ica 9 style, modeled blackware. Complex Jar (Bird Jar). 172. 34 cm. high (4-5337). Ica 9 style, oxidized. Angular-Rim Dish. 173. 10.2 cm. high (4-5347). 174. 8.5 cm. high (4-4348). 175. 7.3 cm. high (4-5350). Deep Open Dish. 176. 5.3 cm. high (4-5349). Flaring Cup. 177. 8.6 cm. high (4-5424). RHLMA, tomb Ta, Soniche. Ica-Inca B style. Large Bottle. 178. 17.5 cm. high (4-4877; from above tomb chamber). 179. 20.6 cm. high (4-4960). 180. 20.75 cm. high (4-4959). 181. 19.2 cm. high (4-4962). Drum Bottle. 182. 19.7 cm. high (4-4961). Imitation Nasca-Inca style. Lamp Bottle. 183. 6.8 cm. high, plainware miniature (4-4963). Ica 9 style, modeled bladcware. Complex Jar (Bird Jar). 184. 39.7 cm. high (4-4957). Ica 9 style, oxidized. Jar. 185. 16.4 cm. high (4-4966). Angular-Rim Dish. 186. 9 cm. high (4-4967). Ica 9 style, incised bladcware. Angular-Rim Bowl. 187. 8 cm. high (4-4965). 188. 8.5 cm. high (4-4964). RHLMA, cache Tn, Soniche. Ica-Inca A style. Drum Bottle. 189a, b. 24.8 cm. high (4-5449). 190a, b. 25 cm. high (4-5450). 191a, b. 19.2 cm. high (4-5451). Ica 9 style, oxidized. Anthropomorphized Football-shaped Jar. 192a, b. 14.5 cm. high (4-5453). Angular-Rim Dish. 193. 7.6 cm. high (4-5456). Angular-Rim Bowl. 194. 8 cm. high (4-5457). 195. 10 cm. high (4-5455). RHLMA, tomb Tc, Soniche. Ica 9 style, oxidized. Jar. 196. 17 cm. high (4-4980). RHLMA, burial Tb, Soniche. Ica 9 style, oxidized. Angular-Rim Bowl. 197. 10.5 cm. high (44977b). RHLMA, tomb Tp, Soniche. Ica 9 style, oxidized. Flaring Cup. 198. 10.1 cm. high (4-5114). RHLMA, burial Tk, Soniche. Cuzco lnca style. Facenedc jar. 199. 17.6 cm. high (4-53%). Bottle (Rcwe, shape d). 200. 13.7 cm. high (45387). Chimu style, unincised bladcware.

265

Double-chambered whistling bottle. 201. 19.2 cm. high (4-5394). Provincial Inca A style. Jar (Rowe, shape a). 202. Medium, 35.6 cm. high (4-5386). Cooking pot (Rowe, shape j). 203. Standard size, fancy finish, 8.2 cm. high (4-5388). Dish. 204. 5.8 cm. high (4-5398). 205. 7.5 cm. high (4-5395). See below for 206. Plate, group A-l. 207. 4.6 cm high (4-5370). Provincial lnca B style. Plate, group B-l, unincised bladcware. 208. 2.8 cm. high (4-5373). 209. 2.6 cm. high (4-5376). Plate, group B-2, light orange ware. 210. 4.7 cm. high (4-5393). Provincial Inca style, various. Pottery tumbler, imitation wooden Inca drinking cup. 206. 19.3 cm. high (4-5379). Plate. 211. 4.2 cm. high (4-5391). Imitation post-Chincha assemblage style. Plate, bladciwre. 212. 4.35 cm. high (4-53%). Ica 9 style, unincised bladcware. Angular-Rim Dish. 213. 9.3 cm. high (4-5400). Antique. Ica 3 Cambered-Rim Dish. 214. 8.5 cm. high (4-5399). RHLMA, burial Tf-1, Soniche. Ica 9 style, unincised bladcware. Stirrup spout. 215. 15 cm. high (4-5102). Angular-Rim Dish. 216. 10 cm. high (4-5102B). Imitation antique. Simple Bottle, imitation Ica 4 shape. 217. 13.1 cm. high (4-5102A). Inca style, non-pottery objects. Wooden tumbler (drinking cup), incised decoration. 218. 20.5 cm. high (4-50%). RHLMA, tomb 77-2, Soniche. Provincial Inca style variant. Cooking pot, (Rowe, shape j). 219. 14.2 cm. high (4-5440B). Chimu style, unincised blackware. Stirrup spout. 220. 11 cm. high (4-5440D). Chimu style or regional Chimu style variant. Modeled figure bottle. 221. 11 cm. high (45440C). Ica-Inca A style variant. Lamp Bottle. 222. 11.4 cm. high (bottom missing; 4-5439). RHLMA, burial Z-5, Galagarza. Ica 9 style, oxidized. Football-shaped Jar. 223. 16.5 cm. high (4-4880). Antique. Ica 5 Flaring Cup. 224. 9.7 cm. high (4-4881). RHLMA, group Sf, Santiago. Ica 9 style, oxidized. Shallow Dish. 225. 4.5 cm. high (4-5495). RHLMA, shellmound, mouth of Ica River, fragments from refuse. Ica 9 style, oxidized. Shallow Dish. 226. 5 cm. high (4-4673L-1). 227. 5.5 cm. high (4-4673L-2). RHLMA, burial C-4, Ocucaje. Ica 9 style, oxidized. Jar. 228. 23.5 cm. high (4-4601). Cumbrous Bowl. 229. 6 cm. high (4-4602C). 230. 6-6.2 cm. high (4-4602B). RHLMA, burial C-5, Ocucaje. Ica 9 style, oxidized.

266

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

Cumbrous Bowl. 231. 6.2-6.9 cm. high (4-4603). Imitation antique. Cumbrous Bowl, imitation lea 3 shape. 232. 8 cm. high (4-4603B). RHLMA, burial C-10, Ocucaje. Combination Ica-Inca AJNasca-lnca style features. Lamp Bottle. 233. 8.5 cm. high (4-4609). Nasca-Inca style, unincised blackware. Lamp Bottle. 234. 11 cm. high (4-4612). 235. 10.6 cm. high (4-4611). lea 9 style, oxidized. Cumbrous Bowl. 236. 7.1 cm. high (4-4613A). Imitation antique. Cumbrous Bowl, imitation lea 3 shape. 237. 6.7 cm. high (4-4613C). Deep Open Dish, imitation lea 3 shape. 238. 7.6 cm. high (4-4613). Antique. Ica 1 bowl. 239. 6.8 cm. high (4-4610). RHLMA, unassociated, from cemetery at Chulpaca. Ica 9 style, incised blackware. Angular-Rim Dish. 240. 11.4 cm. high (4-4340). lea 9 style, oxidized. Flaring Cup. 241. 7.1 cm. high (4-4349). MRI, tomb 1, Hoyadon, Callango. Provincial Inca A style. Jar (Rowe, shape a). 242. Large, 39.4 cm. high (uncatalogued - 2). MRI, unassociated. Provincial Inca style, various. Bottle. 243.14.3 cm. high (T-1016; no provenience). Ica-Inca A style. Angular-Rim Bowl. 244. 5.7 cm. high (E-341; no provenience). Cuzco Inca style pottery, collected by Uhle at Cuzco and vicinity (RHLMA; 245-248, 250-254). See below for 249. Jar (Rowe, shape a). 245. 93 cm. high (4-7993). Jar (Rowe, shape b). 246. 12.5 cm. high (4-7999). Bottle (Rowe, shape d). 247. 12.1 cm. high (4-8014). 248. 12.5 cm. high (4-8052). Plate, concave sided (Rowe, shape g). 250. 1.7 cm. high (4-8004). Plate, convex sided. 251. 3.2 cm. high (4-8002). 252. 3 cm. high (4-8003). Tumbler or drinking cup (Rowe, shape i). 253. 11.6 cm. high (4-8007). Cooking pot (Rowe, shape j). 254. 10.3 cm. high (4-8000). Cuzco Inca style pottery, sierra provenience. Dish (Rowe, shape f). 249. 5.5 cm. high (AMNH, 65161/XUN). Ica 10. RHLMA, burial Ti-1, Soniche. Deep Open Dish. 255. 7.5 cm. high (4-5294). 256. 7.75 cm. high (4-5470). 257. 9.5 cm. high (4-5280). 258. 12.6 cm. high (4-5285). Angular-Rim Dish. 259. 7.6 cm. high (4-5291). 260. 17.1 cm. high (4-5290A). Cambered-Rim Bowl. 261. 12.5 cm. high (4-5290). 262. 12.6 cm. high (4-5289). 263. 16.2 cm. high (4-5286). Simple Bottle. 264. 21 cm. high (4-5282). Flaring Cup. 265. 9.1 cm. high (4-5279). 266. 10.7 cm. high (4-5469). Inflected vase. 267. 17 cm. high (4-5281).

Revived imitation Chincha shapes. Bottle/Jar. 268. 18.1 cm. high (4-5287). Flask. 269. 21.88 cm. high (4-5471). Cup. 270. 7.3 cm. high (4-5292). RHLMA, burial Ti-la, Soniche. Fruit-shaped bottle, plamware miniature. 271. 9.75 cm. high (4-5472). RHLMA, burial Ti-2, Soniche. Simple Bottle. 272. 16.4 cm. high (4-5301). Revived imitation Chincha shape. High Ovoid Jar. 273. 12.8 cm. high (4-5300). RHLMA, burial Ti-3, Soniche. Angular-Rim Dish. 274. 9.4 cm. high (4-5302). RHLMA, burial Ti-4, Soniche. Cumbrous Bowl, Ica 9 derivative. 275. 3.4-4 cm. high (4-5304). Cumbrous Bowl, imitation antique derivative. 276. 7.78.3 cm. high (4-5303). RHLMA, burial Ti-6, Soniche. Simple Bottle. 277. 9.5 cm. high (4-5368). RHLMA, burial Td-10, Soniche. Shallow Dish, painted unincised blackware. 278. 4.4 cm. high (4-5081). Simple Bottle, unincised blackware. 279. 19 cm. high (4-5083). Complex Jar. 280. 18 cm. high (4-5079). RHLMA, burial Td-11, Soniche. Deep Open Dish. 281. 5.8 cm. high (4-5084). RHLMA, burial Y-5, Galagarza. Anthropomorphized Football-shaped Jar. 282. 12.3 cm. high (4-4271). Jar, varied general category. 283. 13.5 cm. high (4-4272). Unassociated. Shallow Dish. 284. 4.75 cm. high (RHLMA, 1610082, Ocucaje). 285. 6.5 cm. high (RHLMA, 161424, Ica). Enlarged, handleless Simple Bottle. 286. 20 cm. high (RHLMA, 4-4205, Galagarza X). Simple Jar. 287. 12.5 cm. high (DMM, 83, purchased at Agua de Palos, Ica). Complex Jar. No modeled features. 288. 23.6 cm. high (RHLMA, 4-4557, Ocucaje G). 291. 46.2 cm. high (MRI, DA-3264, Ica). See below for 289, 290. With peanut appliqués. 289. 26.2 cm. high (DMM, 396, Ocucaje). Bird Jar modeling. 290. 35.6 cm. high (MRI, uncatalogued-5, no provenience). See below for 292. Drum Bottle. 293. 19.1 cm. high (MRI, CV-27, no provenience). Revived imitation Chincha shapes. Squat Ovoid Jar. 292. 18.8 cm. high (neck missing; RHLMA, 4-4326, Chulpaca, M). Collared Jar. 294. 11 cm. high (UM, SA-3348, no provenience). Modified Chimu form. Double-chambered whistling bottle. 295. 23.5 cm. high (RHLMA, 16-100335, Achaco, Nasca). Ica 6 design illustrations ordered first by design arrangement and second by design patterns and elements. RHLMA, tomb Th-1. Standard principal design areas (296-323). Large Diamond designs (296-307). 296. Broad band, Large Diamond with step

KEY TO FIGURES fillers (1.1.6.5, 4-5235). 297. Medium-broad band, Large Diamond with step fillers (1.1.2.3, 4-5193). 298. Broad band. Large Diamond with step fillers, special adaptation (1.1.6.5, 4-5155). 299. Broad band. Stepped Large Diamond, special adaptation (1.1.6.5, 4-5149). 300. Mediumbroad band, Composite Large Diamond, special adaptation (1.1.1.5, 4-9383C). 301. Broad band, Large Diamond Fish with step fillers (1.1.2.3, 4-9382U). 302. Broad band, Large Diamond Fish with modified step fillers (1.1.2.3, 4-5194). 303. Medium-broad band, Stepless Large Diamond Fish (1.1.1.5,4-5204). 304. Unit design arrangement as principal design adapted to oversized vessel. Large Diamond Fish (1.1.4.9, 4-9395). 305. Medium-broad band, Stepless Large Diamond (1.1.1.5, 4-9382D). 306. Mediumbroad band, Stepless Large Diamond (1.1.6.5, 4-9387B). 307. Composite unit design as principal design, Stepless Large Diamond (1.1.6.5, 4-9387A). Small Diamond and related rare Small Square designs (308-312). 308, left. Principal panel in broad band with panel divisions, Small Diamond (1.1.6.5,4-5154). 309. Composite unit design as principal design, Small Diamond (1.1.8.6, 4-5158). 310. Broad band, patterned Small Diamond (1.1.1.5, 49383D). 311. Broad band, patterned Small Diamond (1.1.1.5, 4-5201). 312. Medium-broad band. Small Square (1.1.6.5, 4-5157). Rectangle designs (313-315; see also Rectangle design sequence, 585, 586. For more distinctive Rectangle designs in special contexts, see rare principal design categories (323), special upper body band (336), special Shallow Dish designs (382), and special designs on imitation Chincha shapes (396), below). 313. Broad band, Rectangle zigzag (1.1.2.3, 4-5197). 314. Principal panel in broad band, Rectangle zigzag (1.1.7.5, 4-5168). 315. Broad band, Rectangle Fish (1.1.1.5, 4-9381C). 585. Broad band. Rectangle Fish (1.1.1.5, 49381B). 586. Principal panel in medium-broad band, Rectangle zigzag (1.1.1.5, 4-9381G). Triangle Fish design (316). Medium-broad band (1.1.1.5, 4-9383B). Relatively rare design categories (317-323). 317. Broad band, Checkerboard (1.1.1.5, 49383F). 318. Broad band, Stripes (1.1.9.3, 49386A). 319. Medium-broad band, step filler adaptation without Large Diamonds (1.1.1.5, 4-9381J). 320. Medium-broad band, step filler adaptation without Large Diamonds (1.1.1.5, 4-9383L). 321. Medium-broad band, conservative Wavy Line (1.1.2.3, 4-9383H). 322. Very narrow medium-broad band, conservative Wavy Line (1.1.1.5, 4-9383G). 323. Very narrow mediumbroad band, Rectangle composition with rotational symmetry (1.1.9.3, 4-5219). Standard secondary design areas (308rightand 324-377). Secondary panel divisions of broad bands, composite unit designs. 308 right. Small Diamond (1.1.6.5, 4-5154). 324. Tailed Square (1.1.7.5, 4-5137). 325. Solid Square (1.1.7.5, 4-5137). 326. Tailed Square (1.1.7.5, 4-5139).

267

Secondary composite unit designs alternating with principal composite unit designs in broad bands (rare). 327. Small Diamond (1.1.6.5, 4-9387A). Secondary panel divisions of broad bands, single unit designs (rare). 328. Stepped Large Diamond (1.1.1.5, 4-9381 00). Upper body bands (329-336). Common standard designs with special border fillers (329-333). 329. Plain Large Diamond (1.1.6.5, 4-5155). 330. Plain Large Diamond (1.1.6.5, 4-5144). 331. Large Diamond Fish (1.1.6.5, 4-5149). 332. Composite Large Diamond (1.1.6.5, 4-5154). 333. Plain Large Diamond (1.1.7.5, 4-5139). Rarer upper body-band designs (334-336). 334. Stepless Large Diamond (unusually narrow band, unique example; 1.1.7.5, 45168). 335. Small Diamond (used principally on vessels with plain, fluted shoulder; 1.1.8.6, 4-5148). 336. Rectangle Fish, contracted variant (unique example; 1.1.6.5, 4-9387B). Narrow white bands, common (337-342). 337. Meander (1.1.1.5, 4-5205). 338. Stepped Meander (1.1.1.5, 4-5241C). 339. Stepped Meander (1.1.1.5, 4-9382C). 340. Stepped Meander (1.1.2.3, 4-5194). 341. Stepped "Z" (1.1.4.9, 4-5179). 342. " Z " (1.1.1.5, 4-9381G). Narrow white bands, rare (343, 344). 343. Solid Triangle (1.1.6.5, 4-5154). 344. Fret band (1.1.9.3, 4-9386A). Rare substitutes for narrow white bands (345, 346). 345. Straight cross lines, outlined (1.1.1.5, 45204). 346. Straight cross lines, unoutlined (1.1.1.5, 4-9381E). Narrow red bands (347-350). 347. Straight cross lines (1.1.9.3, 4-9386A). 348. Stepped cross lines (1.1.9.3, 4-9386A). 349. "Z" (1.1.9.3, 4-9386B). 350. Meander (1.1.9.3, 4-5219). Terminal banding (351, 352). 351. 1.1.4.9, 4-5179. 352. 1.1.7.5, 4-5139. Inner mouth bands (353-365). Common principal patterns (353-359). Rectangular pattern (353-356). 353. 1.1.1.5, 4-9382D. 354. 1.1.9.3, 49386B. 355. 1.1.1.5, 4-5199. 356. 1.1.1.5, 4-9382B. Triangular pattern (357-359). 357. 1.1.1.5, 4-9382K. 358. 1.1.1.5, 4-5208. 359. 1.1.1.5, 4-9382A. Rare principal patterns (360-362 left). 360. Special Large Diamond (1.1.1.5, 49381E). 361. Special Large Diamond (1.1.1.5, 4-9381D). 362 left. Principal panel, Stepless Large Diamond (1.1.1.5, 4-5201). Standard secondary patterns (fringe bands; 362 right-365). 362 right. Pendent Steps (1.1.1.5, 4-5201). 363. Pendent Steps (1.1.1.5, 4-5240). 364. Pony Fringe and Pendent Steps (1.1.1.5, 4-5203). 365. Pendent Hooks (1.1.9.3, 45219). (For special fringe bands, see special design

268

POTTERY STYLE AND SOCIETY IN ANCIENT PERU arrangements, Cumbrous Bowls and imitation Chincha dish, below; cf. figs. 387, 392). Lip bands, flattened lip (366, 367). 366. 1.1.1.5, 4-9382C. 367. 1.1.1.5, 4-5241C. Rim bands, cambered rim (368-373). 368. 1.1.4.9, 4-5179. 369. 1.1.2.3, 4-5185. 370. 1.1.2.3, 4-5197. 371. 1.1.2.3, 4-5196. 372. 1.1.2.3, 4-5194. 373. 1.1.2.3, 4-9382U. Handle bands (374-377). 374. Most common (1.1.6.5, 4-5154). 375. 1.1.6.5, 4-5141. 376. 1.1.6.5, 4-5153. 377. 1.1.6.5, 4-5152. Special design arrangements for special vessel categories (378-404). Shallow Dish (378-386). 378. Principal half band, Bird Meander (1.1.3.1.9, 4-5241D). 379. Broad band, Bird Meander (1.1.3.1.9, 4-5239). 380. Broad-band section, Digging Boards (1.1.3.1.9, 4-9385A). 381. Broad-bana section, vertical bands with opposing Step Blocks (1.1.3.1.9, 4-9385A). 382. Broad-band section, vertical band, Rectangle composition with radial symmetry (1.1.3.1.9, 4-9385A). 383. Principal half band, opposing Step Blocks (1.1.3.2.7, 4-9385B). 384. Secondary half band, Tadpoles (1.1.3.2.7, 4-9385B). 385. Principal half band, dots (1.1.3.3.3, 4-5228). 386. Secondary panel in broad band, special Bird unit design (1.1.3.1.9, 4-9385E). Cumbrous Bowl (387-389). 387. Fringe band, Pendent Steps (1.1.5.6, 4-5237). 388. Principal unit design. Fish (1.1.5.6, 4-5237). 389. Principal unit design, Fish (1.1.5.6, 4-5236). Smoked blackware vessel, resin-painted design. 390. Checkerboard pattern, alternating panels of Stepped Large Diamond and Bird unit designs (1.1.1.5, 4-9393A). Imitation Chincha shapes (391-403). 391. Straight flaring-sided dish, exterior side, Bird unit pattern (1.1.11.4.6.1, 4-5241A). 392. Straight flaring-sided dish, elaborated inner mouth band, multiple-row fringe-band pattern, Pendent Steps (1.1.11.4.6.1, 4-5241A). 393. Inflected flaring-sided dish, interior side, Rotational Fret (1.1.11.4.5, 4-9389A). 394. Straight flaring-sided dish, interior bottom, Cursive Figures and Pattée Cross (1.1.11.4.6.3, 4-5225B). 395. Flat-bottomed, flaring-sided plate, interior bottom, composite unit design, Small Diamond (1.1.11.4.7, 4-5241G). 396. Flask, principal panel, principal Rectangle elements and secondary Triangle elements (1.1.11.4.2, 4-5162). 397. Flask, "seam band," narrow black band (1.1.11.4.2, 4-5162). 398. Flask, handle band, opposing Step Blocks (1.1.11.4.2, 4-5162). 399. Collared Jar, imitation Chincha principal band (1.1.11.4.1, 4-5177). 400. Collared Jar, imitation Chincha handle band (1.1.11.4.1, 4-5177). 401. Incurving bowl, broad band, Bird Meander (1.1.11.4.4, 49388A). 402. Incurving bowl, broad band, Bird Meander (1.1.11.4.4, 4-9388B). 403. Incurving bowl, narrow white band. Bird pattern (1.1.11.4.4, 4-9388B).

lea 7 design illustrations. RHLMA, burial Th-2. Principal design areas (404, 405).

404. Medium-broad band. Composite Large Diamond with step fillers (5.2, 4-5126). 405. Broad band, Large Diamond Fish (5.5.1, 4-5124). Secondary design areas (406-412). 406. Secondary panel in broad band, Cursive Figures (5.5.1, 4-5123). 407. Traditional narrow white band, Meander (5.2, 4-5126). 408. Innovative narrow white band, Large Diamond Fish (5.5.1, 4-5135). 409. Inner mouth band, Large Diamond Fish (5.5.1, 4-5135). 410. Inner mouth band, Cursive Figures (5.5.1,4-5123). 411. Inner mouth band, fringe band. Cursive Figures (5.5.1, 4-5124). 412. Handle band, Small Diamond (5.3, 4-5128). lea 8 design illustrations. Unassociated. 413. Exterior side decoration on Deep Open Dish, including principal band, medium-broad band with Tailed Square and step filler derivative design, and secondary narrow white bands with Meander design (10.1, DMM, 199). lea 8 design illustrations. RHLMA, group Sc, Santiago. Principal design areas with traditional designs. (414-416). 414. Broad band, Large Diamond with step filler derivatives (9.1). 415. Principal band in upper body-band position, patterned Small Diamond (9.4). 416. Principal band in upper body-band position, Rectangle Fish (9.2). Secondary design area (417). Innovative narrow white band (9.4). Principal design area with innovative design (418). Principal panel on jar body with anthropomorphizing features, Line and Dot Fringe (9.3). Late Horizon styles (419-502, 587). Design illustrations, lea 9 style (419-476, 587). Design illustrations are ordered first by categories of design arrangements and second when possible by the association of designs on particular vessels. For a separate index of design patterns and elements, see below. Designs on conservative fancy shapes (419-430; see also 587). Deep Open Dish (419, 420; 13.4.1.2). 419. Principal design area, medium-broad band. Conservative Rectangle. 420. Narrow inner mouth band, conservative rectangular pattern. Flaring Cup (421-430, 587). Traditional conservative designs (421-428, 587). 421. Principal panel in broad band, Conservative Rectangle Fish (18.1.1). 422. Principal panel in broad band, Conservative Rectangle Fish (13.4.1.3). 423. Principal panel in broad inner mouth band, Conservative lea Checkerboard (18.1.1). 424. Secondary panel in broad inner mouth band, multiple-row fringe-band pattern, Pendent Steps (18.1.1). 425. Extension of broad inner mouth band, lower fringe band, Pendent Steps (13.4.1.3). 426. Extension of broad inner mouth band, lower fringe band, Pendent Steps (28.5.6). 427. Secondary composite unit design from secondary panel, broad inner mouth band, Solid Squares (28.5.6). 428. Secondary composite unit design, interior bottom, Large Diamond Fish (13.4.1.3). 587. Principal panel in broad band, Conservative Rectangle (13AL3L Designs influenced by Ica-lnca features (429, 430). 429. Broad inner mouth band, principal panel, combination of Inner Mouth-Band

KEY T O FIGURES Checkerboard and Ica-Inca Checkerboard features (28.5.6). 430. Secondary narrow black band, circle and dot design (13.4.1.3). Standard lea-tradition designs on rton-amservatioe lea 9 shapes (jars, Angular-Rim Dish, Angular-Rim Bowl). (431-439). Three-color broad-band arrangement and associated designs (431-436). 431. Principal broad-shoulder panel. Complex Jar, Composite Large Diamond (28.5.4). 432. Principal narrow-shoulder panel, Complex Jar, Inner Mouth-Band Checkerboard (28.5.4). 433. Narrow red band as principal band, "Z" (16.1.1). 434. Principal panel in broad band, Small Diamond (19.2.2.1, 4-5457). 435. Unit design on secondary panel in broad band, Composite Large Square (19.2.2.1, 4-5457). 436. Up band (19.2.2.1, 4-5457). Two-color broad-band arrangement (437-439). 437. Principal panel in broad band, Advanced Rectangle (13.4.1.1.1, 4-5348). 438. Principal panel in broad band, Advanced lea Checkerboard (13.4.1.1.1, 4-5348). 439. Principal panel in broad band, Advanced lea Checkerboard (13.4.1.1.1, 4-5347). lea 9 designs reserved for special lea 9 shape categories (440-447). Shallow Dish and analogue (440, 441). 440. Principal half band, conservative design of the inner mouth-band tradition, rectangular pattern (28.5.2.1, 4-4673L(l)). 441. Principal half band, innovative design of the inner mouth-band tradition, rectangular pattern (19.2.1). Cumbrous Bowl (442). Innovative fringe band. Pendent Triangles and Pony Fringe (24.1.2.1, 4-4602A). Anthropomorphized Football-shaped Jar (443-447). 443. Principal "sleeve" panel, Advanced Rectangle in traditional three-color pattern (19.2.3.1, 4-5453). 444. Principal "sleeve" panel. Advanced Rectangle in traditional three-color pattern (19.2.3.1, 4-5452). 445. Secondary unit design, innovative two-color pattern, Bird (19.2.3.1, 4-5452). 446. Principal "sleeve" panel, Advanced Rectangle in traditional two-color pattern (19.2.3.1, 4-5454; design erroneously traced from an lea 10 vessel (32.2), on which it is done in the three-color attem; the design on the Late Horizon vessel as the same features as those shown in this drawing, except that it is slightly smaller). 447. Secondary composite unit design, traditional two-color pattern, Solid Squares (19.2.3.1, 4-5454). Designs on Ica-Inca B shapes; three-color broad-band arrangement and associated designs (448-454). 448. Adaptation to traditional lea arrangement, principal panel with Small Diamond, narrow white band with Large Diamond (14.1.2). 449. Traditional upper body band. Composite Large Diamond (14.1.1.1, 4-4960). 450. Imitation Inca arrangement, principal vertical band, Large Diamond pattern of the lea upper body-band tradition (14.1.1.1, 4-4877). 451. Imitation Inca arrangement, principal vertical band, imitation IcaInca solid triangle pattern (for comparison, see Ica-Inca Zigzag Band, fig. 486; 14.1.1.1, 4-4959).

E

269

452. Imitation Inca arrangement, broad secondary panel, unit design column, Advanced Rectangle Fish (14.1.1.1, 4-4959). 453. Handle band, innovative Freestanding Triangles with Small Diamond analogue filler elements (14.1.1.1, 4-4959). 454. Handle band, imitation Inca cross banding (14.1.1.1, 4-4960). Designs on imitation Ica-Inca A shapes (455-459). Two-color broad-band arrangement and associated design (455, 456). 455. Broad band, unit design used as principal design, Tailed Square (13.3.1). 456. Handle band, Tailed Squares (13.3.1). Three-color broad-band arrangement and associated design (457-459). 457. Principal panel in broad band. Small Diamond (11.3.1). 458. Traditional narrow white band, " Z " (11.3.1). 459. Handle band, derived imitation Chincha design (11.3.1). Innovative medium broad-band arrangement on nonconservative lea 9, Ica-Inca B and provincial Inca shapes (460-465). 460. Medium-broad band. Advanced Rectangle pattern; upper body band. Freestanding Triangles (24.1.1). 461. Medium-broad band, Freestanding Triangles with Advanced Rectangle fillers (15.1.1). 462.' Medium-broad band, Freestanding Triangles with imitation Ica-Inca space fillers (for comparison, see fillers in Ica-Inca Zigzag Band fig. 486; 19.2.2.1,4-5455). 463. Mediumbroad band, Triangle Fish (14.3.1.1). 464. Narrow red band, Meander combined with diagonals of the inner mouth-band tradition (14.3.1.1). 465. Narrow red band, advanced Meander (14.1.1.1, 4-4962). Inner mouth bands on non-conservative lea 9 shapes with all categories of exterior painted decoration (Angular-Rim Dish, Angular-Rim Bowl; 466-469). 466. Innovative band, derived Chincha Rim Scallop (19.2.2.1, 4-5455). 467. Traditional band, advanced triangular pattern (28.5.1). 468. Traditional band, advanced rectangular pattern (14.3.1.1). 469. Innovative band, fringe band, Pendent Triangles and Pony Fringe (15.1.1). Incised, resin-painted designs on lea 9 blackware shapes (470-476). 470. Principal panel, design elements of the inner mouth'band tradition arranged in triangular pattern (21.1.2.1.1). 471. Principal panel, Advanced Incised Rectangle with border elements of triangular pattern (28.6.1). 472. Principal panel, Small Diamond (11.4.2.1). 473. Secondary single unit design, Composite Large Diamond (14.3.3.1.1, 4-4964). 474. Secondary single unit design, Composite Large Diamond (21.1.2.1.1). 475. Secondary single unit design, Composite Large Diamond (28.6.1). 476. Seconuary composite unit design, Small Diamond (12.2.1). Ica-Inca style (477-501). 477. Principal band, Checkerboard (11.2.1.4, 45306). 478. Principal panel, Checkerboard (11.1.1.4, 4-5024). 479. Principal band, Checkerboard variant (17.3.1). 480. Principal band, Stripes (26.2.1). 481. Principal band. Worms and Dots (11.2.1.4, 4-5028). 482. Principal design area, Tadpole (11.1.6.1, 4-5036). 483. Principal band, principal unit design, Crab (28.2.1.1, AMNH, 41.2/672). 484. Upper body band, Inca Fern (11.1.6.1,4-5306).

270

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

485. Principal band, Zigzag Band (11.2.2.2,4-5027). 486. Principal band, Zigzag Band (19.1.1.1,4-5449). 487. Principal band, Bird (19.1.1.1, 4-5451). 488. Principal band, Stepped Diamond (11.2.2.2, 45025). 489. Principal band. Step Fret (19.1.1.1, 4-5450). 490. Secondary lunate panel, single unit design, Humped Animal (28.2.2.1). 491. Secondary lunate panel, single unit design, Insect (19.1.1.1, 4-5450). 492. Secondary lunate panel, composite unit design, Tailed Squares (19.1.1.1, 4-5449). 493. Secondary lunate panel, single unit design, Rectangle Fish (19.1.1.1,4-5451). 494. Suspender Band, Drum Bottle, "Z" (28.2.2.1). 495. Handle band (19.1.1.1, 4-5451). 496. Handle band (11.2.1.4, 4-5306). 497. Handle band (19.1.1.1, 4-5450). 498. Handle band (11.2.1.4, 4-5028). 499. Handle band (17.3.1). 500. Principal cross-band arrangement on provincial Inca plate, combination imitation Inca and lea 9 medium broad-band features (11.1.6.1, 4-5035). 501. Principal band, Step Fret variant on provincial Inca plate (20.2.8.1, 4-5390). Nasca-Inca-related style. 502. Provincial Inca B style, plate group B-2, interior design arrangement, Bird pattern (20.2.7.1, 4-5392). Antique designs (503-507). 503. Ica-Epigonal feline head motive (Ica-Epigonal jar, 5.7). 504. Ica-Epigonal feline head motive (IcaEpigonal jar, RHLMA, burial E-l, Ocucaje, 4-4464). 505. Ica 1 bowl design (26.4.1). 506. Ica 3 dish design (20.6.1). 507. Ica 3 dish design (Ica 3 Cambered-Rim Dish, RHLMA, Chulpaca, M, 4-4334). Imitation antique designs and antique models (508-518). 508. Inner rim design, imitation antique (Ica 3 shape) Cumbrous Bowl (25.2.1.1, 4-4603A). 509. Middle Horizon IB design variant of fig. 508 ('Teapot" shape, Nieveria style, Rimac Valley, RHLMA, 49250). 510. Inner rim design, imitation antique (Ica 3 shape) Cumbrous Bowl (26.5.1.1, 4-4613B). 511. Principal vertical-band design, imitation antique (Ica 3 shape) Deep Open Dish (26.5.2.1). 512. Principal vertical-band design, imitation antique (Ica 3 shape) Deep Open Dish (26.5.2.1). 513. Ica 3 variant of fig. 512 (Ica 3 Shallow Dish fragment, RHLMA, 4-4273C, Galagarza). 514. Ica 3 variant of fig. 511 (Ica 3 Shallow Dish, RHLMA, M, 4-4299, Chulpaca). 515. Narrow white-band design, imitation antique (Ica 4 shape) Simple Bottle (21.2.1). 516. Narrow principal-band design, Ica 4 Simple Bottle (RHLMA, Z, 4-4828, Galagarza). 517. Handle band, imitation antique (Ica 4 shape) Simple Bottle (21.2.1). 518. Secondary narrow band, Ica 3C Deep Open Dish (RHLMA, M, 4-4285, Chulpaca).

INDEX ICA 9 DESIGN PATTERNS AND ELEMENTS AND RELATED ICA-INCA DESIGNS Diamond/Square designs. Plain Large Diamond (448, narrow white band; 450). Composite Large Diamond (431, 449, 473-475). Composite Large Square (435).

Large Diamond Fish (428). Small Diamond (434, 448 center panel, 457, 472,476). Small Diamond analogue (filler elements in Freestanding Triangles, 453). Diamond-shaped composite unit designs (427,428, 447,476, 492). Solid Squares (427, 447) Tailed Squares (455, 456, 492) Rectangle designs, Ica 9 style. Conservative painted Rectangle in traditional three-color pattern. Plain zigzag (419, 587) Rectangle Fish (421, 422) Advanced painted Rectangle in traditional three-color pattern. (443, 444) Advanced painted Rectangle in innovative two-color patterns (437, 460, 461). Advanced painted Rectangle in traditional two-color pattern (446) Advanced Rectangle Fish in traditional two-color pattern (452) Advanced Rectangle in incised, resin-painted pattern (471) Rectangle design, Ica-Inca style Rectangle Fish with reomalistic Ica 6 execution (493) Ica Checkerboard Conservative three-color pattern (423) Advanced two-color pattern (438, 439) Bird unit design (445) Designs of the narrow-band tradition. "Z" (433, 458, 494) Meander (464, 465) Designs of the inner mouth-band tradition. Rectangular pattern, conservative (420, 440). Rectangular pattern, advanced two-color (468). Rectangular pattern, advanced three-color (441). Rectangular pattern. Inner Mouth-Band Checkerboard (432). Triangular pattern, advanced two-color (467) Fringe-band designs Pendent Steps, single row (425, 426) Pendent Steps, multiple rows (424) Pony Fringe (442, 469) Chincha Rim Scallop (466) Pendent Triangles (442, 469) Freestanding Triangles. (453, 460, 461, 462) Ica 9 designs with some Ica-Inca loan features. 429. Checkerboard design with a combination of Inner Mouth-Band Checkerboard and Ica-Inca Checkerboard features (for comparison, see figs. 432, 477, 478). 430. Narrow black band with circle and dot design (for comparison, see figs. 477, 496, 501). 451. Principal vertical band composed of Ica-Inca solid triangle pattern (for comparison, see fig. 486). 454. Handle band (for comparison, see figs. 495-497). Ica 10 design illustrations, ordered by categories of design arrangement. A separate index for design patterns and elements is added below (519-583, 588-605). Arrangement for neckless vessels and analogues (519-538). Principal bands, narrow and medium broad, with traditional designs (519-524). 519. Narrow band, Stepless Large Diamond (31.2.1). 520. Narrow band, Large Diamond Fish (30.1.5.1, 4-5469). 521. Narrow band, Conserva-

KEY TO FIGURES tive Rectangle Hook pattern (30.1.1.1, 4-5470). 522. Narrow band, Conservative Rectangle Fish (30.1.5.1,4-5279). 523. Principal panel in mediumbroad band, Conservative Rectangle Fish (30.1.3.1,4-5286). 524. Principal panel in mediumbroad band, Conservative Rectangle Fish (30.1.3.1, 4-5286). Principal bands, narrow and medium broad, with innovative designs (525-531). 525. Principal panel in medium-broad band, Advanced Rectangle Crosshatch Checkerboard (33.2.1, RHLMA, 16-10082). 526. Narrow band, Step Fret pattern with Advanced Rectangle Crosshatch filler (33.1.1, AMNH, 41.0/5508). 527. Medium-broad band, Fret segment with Advanced Rectangle Crosshatch filler (35.1). 528. Narrow band, Cambered-Rim Bowl pattern, design of the inner mouth-band tradition, rectangular pattern (30.1.3.1, 4-5288). 529. Narrow band, design of the inner mouth-band tradition, rectangular pattern (30.1.2.1, 4-5291). 530. Narrow band, Cambered-Rim Bowl pattern, elaborated design of the inner mouth-band tradition in panels (33.3.1). 531. Narrow band, Inner MouthBand Checkerboard (30.1.1.1, 4-5294). Principal band, broad (532). Stripes (30.1.1.1, 4-5283). Secondary narrow white bands, traditional (533-536). 533. Meander (30.1.5.1, 4-5279). 534. Stepped Meander (30.1.5.1, 4-5279). 535. "Z" (30.1.2.1, 4-5291). 536. Meander variant (30.1.5.1, 4-5469). Secondary narrow bands, innovative, used in narrow white-band position (537, 538). 537. Innovative narrow red band, design of the inner mouth-band tradition, triangular pattern (30.1.1.1, 4-5470). 538. Narrow black band (30.1.6). Arrangements for Complex ]ars elliptical in horizontal section and analogues (539-545). Vertical panel arrangement (539-544). 539. Arrangement showing principal broad band with principal and secondary panels, upper body band, and terminal banding. Principal broadshoulder panel, Conservative Rectangle zigzag; secondary trapezoidal panel, unit design column, elements of the inner mouth-band tradition; principal narrow-shoulder panel, adjoining innovative narrow bands, rectangular inner mouth-band pattern and narrow black band; upper body band, Freestanding Triangles and and Conservative Rectangle Fish space fillers (33.7.2.1). 540. Principal broad-shoulder panel (section), Conservative Rectangle zigzag (31.1.3). 541. Principal narrow-shoulder panel (section), enlarged unit of the inner mouth-band tradition, rectangular pattern, with Advanced Rectangle Diagonal and Crosshatch fillers (33.7.1.1, MRI, DA-3264). 542. Principal broad-shoulder panel (fragment), part of enlarged Stepped Diamond with Advanced Rectangle Diagonal and Crosshatch fillers (35.3). 543. Principal narrow-shoulder panel (section), design of the inner mouthband tradition, rectangular pattern (31.1.3). 544. Principal narrow-shoulder panel (section), design of the narrow-band tradition, Meander variant (for comparison, see fig. 536; 30.1.7.3).

271

Horizontal three-band arrangement (adaptation to small jar circular in horizontal section). 545. Very narrow principal band, design of the inner mouth-band tradition, rectangular pattern (30.3.2). Secondary unit designs used in the arrangementsforneckless vessels and for jars elliptical in horizontal section, listed above (546-552). 546. Triangle Fish (31.1.3). 547. Advanced Rectangle Bird (30.3.2). 548. Column of composite unit designs, Solid Squares (33.13.1.1, RHLMA, 1610335). 549. Composite unit design, Small Squares (30.1.3.1, 4-5286). 550. Diagonal column of elements of the inner mouth-band tradition (33.13.1.1, RHLMA, 16-10335). 551. Outlined Cross (30.1.7.1.1, 4-5292). 552. Conservative Rectangle Fish, Cambered-Rim Bowl pattern (30.1.3.1, 4-5290). Arrangement for Simple Bottles, Simple Jars and analogues (553-557). Principal bands in upper body-band position (553-556). 553. Overall pattern, Conservative Rectangle Fish (30.1.4). 554. Overall pattern, Conservative Rectangle zigzag (33.5.2.1). 555. Freestanding Triangle, Advanced Rectangle (Serrated Diagonal) filler (30.6.1). 556. Freestanding Triangle, Stepless Large Diamond composition (32.1). Traditional upper body band (557). Composite Large Diamond pattern (30.3.1). Inner mouth bands (558-566, 588). On Deep Open Dishes and analogue (558-563). 558. Left, principal panel, traditional design, rectangular pattern; right, secondary panel, innovative unit designs, Conservative Rectangle Fish (30.1.1.1, 4-5284). 559. Traditional design, rectangular pattern (31.2.1). 560. Traditional design, triangular pattern (30.1.1.1, 4-5294). 561. Traditional designs. Left, principal panel, Stepless Large Diamond; right, secondary panel, fringe band, Pendent Steps (30.1.1.1, 4-5285). 562. Principal panel, innovative design, Advanced Rectangle, Serrated Diagonal (30.1.1.1, 4-5283). 563. Traditional fringe band, Pendent Steps (30.1.6). On Flaring Cups (564, 565, 588). 564. Principal panel, innovative design, Advanced Rectangle (30.1.5.1, 4-5279). 565. Fringe band, Pendent Triangle with Small Diamond composition and secondary unit design, Advanced Rectangle Bird (30.1.5.1, 4-5469). 588. Principal panel, innovative design position, Conservative Rectangle (30.1.5.1, 4-5279). On a bottle neck (566). Fringe band, Pendent Triangles, Small Diamond composition (30.1.4). Lip and cambered-rim bands (567, 568). 567. Revivalistic design (30.1.5.1, 4-5279). 568. Revivalistic design (30.1.1.1, 4-5280). Large cambered-rim band (569). Revivalistic adaptation of an upper body-band design, Plain Large Diamond pattern (30.1.3.1, 4-5286). Handle bands (570, 571). 570. Small Diamond (30.1.4). 571. Cross lines (30.3.1). Special design arrangements for special vessel categories (572-575).

272

POTTERY STYLE AND SOCIETY IN ANCIENT PERU

Shallow Dish (572, 573). Large Diamond/Square. 572. Half band, Large Diamond Fish (33.2.1, Plain Large Diamond pattern of the upper bodyRHLMA, 16-1424). 573. Inner mouth band, fringe band tradition (569). band, Pendent Triangles in resin paint on bladeStepless Large Diamond, overall patterning (519, ware, Conservative Rectangle Fish composition 561, left panel). (31.1.1). Stepless Large Diamond as element in FreestandCumbrous Bawl (574, 575). ing Triangles (539, upper body band, 556). 574. Standard fringe band, Pendent Triangle Simple Composite Large Diamond (557, 578). with Small Diamond composition and Pony Elatorated Composite Large Square (530, left and Fringe (30.5.1.1, 4-5304). 575. Primary unit deright panels in band). sign, derived Ica-Inca Rectangle Fish (30.5.1.1, Large Diamond Fish (520, 572, 576). 4-5304). Small Diamond (565, 566, 570, 574, left, 577, 579, 590b, left, 598a, upper body band, 599a, upper body Primary unit designs for various shape categories (576band). 583). Small Square (549). Composite unit designs (576-579). Solid Square (548). 576. Large Diamond Fish (30.1.1.1, 4-5280). Rectangle designs. 577. Small Diamond (30.1.7.1.1, 4-5292). 578. Conservative Rectangle. Special Cambered-Rim Bowl arrangement. ComPlain zigzag pattern (539, principal panel, 540, posite Large Diamond (30.1.3.1, 4-5290). 579. Special Cambered-Rim Bowl arrangement, Small 554, 588). Diamond (30.1.3.1, 4-5288). Hook pattern (521). Single unit designs (580-583). Fish patterns (522-524, 553, 573, 602, lower band). 580. Stripe Block (30.4.1). 581. Archaizing HumpFish and Bird unit designs (539, space fillers in ed Animal (30.1.7.3). 582. Conservative Rectanupper body band, 552, 558, right, 582). gle Fish in column (30.1.4). 583. Llama (30.1.6). Triangle Fish (546). Antique model for unit design in fig. 581 (584). Advanced Rectangle. RHLMA, M, 4-4303, Chulpaca, on lea 2 CamberedDiagonal Line (541, frame bands, 542, bottom Rim Dish. center, 593, principal panel, 594-597). Crosshatch (526, 541, 542). Sequence of innovations in the Conservative Rectangle design Crosshatch Checkerboard (525). tradition (585-588). Serrated Diagonal. 585. Ica 6, Rectangle Fish, conservative execution Plain diagonal pattern (555, 562, 564, 592a, top, (1.1.1.5, 4-9381B). 586. Ica 6, Rectangle zigzag pattern, advanced execution (1.1.1.5, 4-9381G). 587. Ica 602, top left). 9, Conservative Rectangle zigzag pattern (13.4.1.3). Chevron pattern (592b). 588. Ica 10, Conservative Rectangle zigzag pattern Unit designs. with Hook counter elements (30.1.5.1, 4-5279). Fish (589b, 602, top right). Illustrations of sherds from Ica 10 refuse (cf. Ica 10 shapes; Bird (547, 565). 589-605). Derived Ica-Inca Rectangle (575). Designs of the inner mouth-band tradition. Fragments from refuse. Rectangular pattern. Deep Open Dish. 589. 21.5 cm. diameter at interior Inner mouth-band and other secondary-band posiedge of rim (Old Ica, PV62-1U). 590. 26 cm. tions (558, left panel, 559, 591a, b, 593, upper body diameter at interior edge of rim (Villacuri). band, 596, upper body band, 599a). Dish, unspecified. 591. Diameter and side angle not Principal-band position, traditional pattern. recordable because of erosion at lip (Curiba). Horizontal band (528). Flaring Cup. 592. Ca. 15 cm. diameter at rim edge (Ocucaje, PV62-197). Principal narrow-shoulder panel or analogue Complex Jar. 593. Top section of jar body (Curiba). (539, upper left, 543). 594-596. Three fragments probably belonging to Principal-band position, elaborated panel units. the same jar, top to middle of body (Curiba). (530, center, 541, 593, 595, 596). 597. Middle section of body (Curiba). 598. Top Inner Mouth-Band Checkerboard (531, 592a, section of body (Villacuri). 599. Top section of bottom, 601a). body (Old Ica, PV62-1U). Traditional filler elements as unit designs (539, far body fragments, various shapes. 600 (Curiba). secondary panel, 550). Triangular pattern (537, 560, 600a). 601 (Villacuri). 602 (Curiba). Fringe-band designs of the inner mouth-band tradition Jar neck fragments. 603. 29 cm. diameter (Villacuri). and analogue9. 604. 28 cm. diameter (Villacuri). Pendent Triangle (565, 566, 573, 574, 590b). Jar neck or bawl rim fragment. 605. 25.6 cm. diameter Pony Fringe (574, right). (Villacuri). Pendent Step (561, right, 563, 603a, 604a, 605a). Freestanding Triangle (539, top, 555, 556). Modified Ica-Inca Checkerboard (598a, principal band). Ica Stripes Continuous band (532). INDEX Stripe Block (580, 590a). ICA 10 DESIGN PATTERNS AND ELEMENTS Stepped Diamond, Step Fret and Fret (526, 527, 542, 594, 596). Diamond/Square designs.

KEY TO FIGURES

273

Outlined Cross (551). Primary unit designs. Diamond-shaped composite unit designs (576-579). Meander section (590b, right). Stripe Block (580, 590a). Triangle Fish (546). Large Bird (589a). Unit designs in column arrangement. Humped Animal (581). Elements of the inner mouth-band tradition (539, Derived Ica-Inca Rectangle Fish (575). 550). Llama (583). Small composite unit designs (548). Secondary unit designs. Traditional narrow-band designs. Diamond/Square-shaped composite unit designs (548, 549, Meander (533). See also Meander as secondary unit 598a?, 599a). design, 590b. Single unit designs. Stepped Meander (534). Rectangle Fish (539, top right, 552, 558, right, Meander variant (536, 544). 589b, 598a, right, 602, top right). "Z" (535). Small Bird (539, top center, 547, 565). Black band (538, 539, top left).

Key to Plates

Ica 6, RHLMA, tomb Th-1 (1-21). 1. Deep Open Dish. 6.7 cm. high (1.1.1.5, 4-5202). 2. Deep Open Dish. 7 cm. high (1.1.1.5, 4-9381 0). 3. Deep Open Dish. 6.6 cm. high (bottom missing; 1.1.1.5,4-9393A). 4. CamberedRim Dish. 7.4 cm. high (1.1.2.3, 4-5194). 5. Shallow Dish, subgroup 1, high walled, standard size. 6.2 cm. high (1.1.3.1.9, 4-5241D). 6. Shallow Dish, subgroup I, high walled, standard size. 6.2 cm. high (1.1.3.1.9, 4-5239). 7. Shallow Dish, subgroup 3. 4.3 cm. high (1.1.3.3.3, 4-5229). 8. Shallow Dish, subgroup 4 (Tiered Dish). 8.3 cm. high (1.1.3.4.1, 4-5238). 9. Cambered-Rim Bowl. 9.5 cm. high (1.1.4.9, 4-5179). 10. Cumbrous Bowl. 15 cm. diameter (1.1.5.6,4-5236). I I . Simple Bottle. 15.7 cm. high (1.1.6.5, 4-5154). 12. Simple Bottle. 24.4 cm. high (1.1.6.5, 4-5145). 13. Simple Bottle. 19.5 cm. high (1.1.6.5, 4-5141). 14. Complex Jar. 28.1 cm. high (1.1.7.5, 4-5139). 15. Complex Jar. 44.5 cm. high (1.1.7.5, 4-5137). 16. Simple Jar. 11.4 cm. high (1.1.8.6, 4-5148). 17. Simple Jar. 10.5 cm. high (1.1.8.6, 4-5170). 18. Flaring Cup. 11.7 cm. high (1.1.9.3, 4-9386A). 19. Flaring Cup. 8.3 cm. high (1.1.9.3, 4-9386B). 20. Miniature black Bird Jar. 7.8 cm. high (1.1.11.2, 4-5165). 21. Miniature imitation Chincha Collared Jar. 9 cm. high (1.1.11.4.1). Ica 7, RHLMA, burial Th-2 (22-28). 22. Cambered-Rim Dish. 4.9 cm. high (5.1). 23. Cambered-Rim Bowl. 9 cm. high (5.2). 24. Simple Bottle. 13.8 cm. high (5.3). 25. Flaring Cup. 10.3 cm. high (5.5.1, 4-5123). 26. Flaring Cup. 9-9.3 cm. high (5.5.1, 4-5124). 27. Flaring Cup. 11 cm. high (5.5.1, 4-5135). 28. Miniature Bird Jar. 7 cm. high (5.6, 4-5130). Antique in lea 7 burial Th-2, RHLMA (29). Jar, IcaEpigonal style, 15.5 cm. high (5.7). lea 7, unassociated (30). Complex Jar. 41.5 cm. high (6.4). lea 8, RHLMA, burial C-7 (31). Cambered-Rim Bowl. 12.5 cm. high (8.1). lea 8, RHLMA, group Sc (32-35). 32. Cambered-Rim Dish. 7.6 cm. high (9.1). 33. Enlarged, handleless Simple Bottle (neck missing). 13.4 cm. high (9.2). 34. Imitation Chincha faceneck jar. 21.4 cm. high (9.3). 35. Imitation Chincha Bottle/Jar. 19.6 cm. high (9.4). Early (?) Triea style, RHLMA, group Sc (36). Jar fragment, 31 by 21 cm. (9.5).

Late Horizon (37-71a, b) RHLMA, tomb Td-8 (37-44). 37. Wooden stool. Height of support below seat 10 cm., highest point

at upper edge of seat 12-13 cm. (11.). 38. Provincial Inca A style, jar shape a, small. 16.5 cm. high (11.1.1.4, 4-5024). 39. Provincial Inca style, plate, group A-2. 12.7 cm. diameter (11.1.5.1, 4-5041). 40. Provincial Inca style, plate, group A-3.12.7 cm. diameter (11.1.6.1, 4-5035). 41. Ica-Inca A style, Lamp Bottle. 11.75 cm. high (11.2.1.4, 4-5028). 42. Ica-Inca A style, Lamp Bottle. 10.35 cm. high (11.2.1.4, 4-5306). 43. Imitation Ica-Inca A style, Lamp Bottle. 10.5 cm. high (11.3.1). 44. Imitation antique dish, Ica-Inca decoration. 5.7-6.1 cm. high (11.5). RHLMA, burial Td-1 (45). Ica 9 style, incised blackware, Angular-Rim Bowl. 10.9 cm. high (12.2.1). RHLMA, tomb Ti-5 (46-49). 46. Imitation Chimu style, double-chambered whistling bottle. 18 cm. high (13.2.1.1). 47. Ica 9 style, oxidized, Angular-Rim Dish. 8.5 cm. high (13.4.1.1.1, 4-5348). 48. Ica 9 style, Flaring Cup. 8.6 cm. high (13.4.1.3). 49. Ica 9 style, incised blackware, ocarina. 9.4 cm. long (13.4.3.1). RHLMA, tomb Ta (50-53). 50. Ica-Inca B style, Large Bottle. 17.5 cm. high (14.1.1, 14.1.1.1, 4-4877). 51. Ica-Inca B style, Large Bottle. 20.6 cm. high (14.1.1.1, 4-4960). 52. Ica 9 style, oxidized, jar. 16.4 cm. high (14.3.1.2). 53. Ica 9 style, incised blackware, Angular-Rim Bowl. 8 cm. high (19.2.1). RHLMA, cache Tn (54-58). 54. Ica-Inca A style, Drum Bottle. 24.8 cm. high (19.1.1.1, 4-5449). 55. Ica 9 style, oxidized, Angular-Rim Dish. 7.6 cm. high (19.2.1). 56. Ica 9 style, oxidized, Angular-Rim Bowl. 8 cm. high (19.2.2.1, 4-5457). 57. Ica 9 style, oxidized, Angular-Rim Bowl. 10 cm. high (19.2.2.1, 4-5455). 58. Ica 9 style, oxidized, anthropomorphized Football-shaped Jar. 14.4 cm. high (19.2.3.1, 4-5452). RHLMA, burial Tb (59). Ica 9 style, oxidized, AngularRim Bowl. 10.5 cm. high (15.1.1). RHLMA, burial Tk (60-63). 60. Provincial Inca A style, plate, group A-l. 18.8 cm. diameter (20.2.5, 4-5370). 61. Provincial Inca A style, plate, group A-l. 17.5 cm. diameter (20.2.5, 4-5389). 62. Provincial Inca B style, plate group B-2.14.3 cm. diameter (20.2.7.1, 4-5392). 63. Antique, Ica 3 Cambered-Rim Dish. 8.5 cm. high (20.6.1). RHLMA, unassociated (64a, b). Ica 9 style, oxidized. Complex Jar. 16 cm. high (28.5.4).

KEY TO PLATES RHLMA, group Sf (65). Ica 9 style, oxidized, Shallow Dish. 4.5 cm. high (23.1.1). RHLMA, burial C-5 (66, 67). 66. Ica 9 style, oxidized, Cumbrous Bowl. 6.2-6.9 cm. high (25.1.1). 67. Imitation antique, Cumbrous Bowl. 15.5 cm. diameter (25.2.1.1, 4-4603A). RHLMA, burial C-10 (68, 69). 68. Imitation antique Deep Open Dish. 7.6 cm. high (26.5.2.1). 69. Antique, Ica 1 bowl. 6.8 cm. high (26.4.1). Unassociated, various (70, 71a, b). 70. Ica-Inca A style, Lamp Bottle. 8.5 cm. high (28.2.1.1, AMNH, 41.0/1358). 71a, b. Provincial Inca style, fancy bottle. 14.3 cm. high (28.1.2).

Ica 10 (72-100) RHLMA, burial Ti-1 (72-82). 72. Deep Open Dish. 7.5 cm. high (30.1.1.1, 4-5294). 73. Deep Open Dish. 7.75 cm. high (30.1.1.1, 4-5470). 74. Deep Open Dish. 9.5 cm. high (30.1.1.1, 4-5280). 75. Deep Open Dish. 14.3 cm. high (30.1.1.1, 4-5283). 76. Angular-Rim Dish. 17.1 cm. high (30.1.2.1, 45290A). 77. Cambered-Rim Bowl. 12.6 cm. high (30.1.3.1, 4-5289). 78. Cambered-Rim Bowl. 16.2 cm. high (30.1.3.1, 4-5286). 79. Flaring Cup. 9.1 cm. high (30.1.5.1, 4-5279). 80. Simple Bottle. 21 cm. high (30.1.4). 81. Revival of imitation Chincha Bottle/Jar. 18.1 cm. high (30.1.7.2). 82. Revival of imitation Chincha Flask. 21.8 cm. high (30.1.7.3). RHLMA, burial Ti-2 (83, 84). 83. Simple Bottle. 16.4 cm. high (30.3.1). 84. Revival of imitation Chincha High Ovoid Jar. 12.8 cm. high (30.3.2). RHLMA, burial Ti-4 (85). Cumbrous Bowl. 3.4-4 cm. high (30.5.1.1, 4-5304).

275

RHLMA, burial Td-10 (86-88). 86. Shallow Dish. 4.4 cm. high (31.1.1). 87. Simple Bottle. 19 cm. high (31.1.2). 88. Complex Jar. 18 cm. high (31.1.3). RHLMA, burial Td-11 (89). Deep Open Dish. 5.8 cm. high (31.2.1). Unassociated (90-100). 90. Deep Open Dish. 7 cm. high (33.1.1, DMM, 219). 91. Shallow Dish. 6.5 cm. high (33.2.1, RHLMA, 16-1424). 92. Simple Bottle with archaizing shape. 18.3 cm. high (33.5.1.1). 93. Enlarged, handleless Simple Bottle. 20 cm. high (33.5.2.1). 94. Simple Jar. 12.5 cm. high (33.6.1). 95. Complex Jar. 37.5 cm. high (neck missing; 33.7.1.1, RHLMA, 4-4664). 96a, b. Complex Jar. 23.6 cm. high (33.7.1.1, RHLMA, 4-4557). 97a, b. Complex Jar. 40.5 cm. high (33.7.1.1, MRI, R-1043). 98. Modified Chimu form, double-chambered whistling bottle. 23.5 cm. high (33.13.1.1, RHLMA, 16-10335). 99. Modified Chimu form, doublechambered whistling bottle. 20 cm. high (33.13.1.1, MRI, DA-1334). 100. Modeled terrace house. Measurements not recorded (33.15.1). Antique models (101-108). 101. Ica-Epigonal B jar. 13.3 cm. high (RHLMA, burial E-l, Ocucaje, 4-4464). 102. Ica 3A Cumbrous Bowl. 15.5 cm. diameter, 8.2 cm. high (RHLMA, burial C-l, Ocucaje, 4-4581). 103. Ica 3C Deep Open Dish. 9.7 cm. high (RHLMA, Chulpaca, M, 4-4285). 104. Ica 3 (B?) Cambered-Rim Dish. 7 cm. high (RHLMA, Chulpaca, M, 4-4305). 105. Ica 3B or C Shallow Dish. 5 cm. high (RHLMA, burial Z-4, Galagarza, 4-4848). 106. Ica 3A bottle. 17.6 cm. high (RHLMA, burial C-l, Ocucaje, 4-4571). 107. Ica 3 Shallow Dish. 3.5 cm. high (RHLMA, Chulpaca, M, 4-4300). 108. Ica 4 Simple Bottle (neck and top of handle missing). 11.2 cm. high (RHLMA, Galagarza, Z, 4-4828).

COMMENTS ON LINE DRAWINGS The original drawings in figs. 1-244 and 246-295 are drawn at half size and published to scale at quarter size. Figure 245 is drawn at quarter size and published at one eighth size. Figures 296-605 are drawn at actual size and published at half size. The shape outlines for figs. 134,135 and 139 had to be traced from underexposed color slides. The bottom of the outlines is obscured for this reason, and these areas have been dotted in the drawings. The rim profile on the shape in fig. 139 is dear on the slide, appearing as drawn. However, a publication shows a photograph of this vessel at a different angle, in which the cambered rim ap-

pears to project farther beyond the side of the neck and the side is slightly less flaring (Rubin de la Borbolla, 1961, Arte Prehispanico, fotografia 67). It was not possible to recheck the specimen itself for verification. Most jars that are elliptical in horizontal section are drawn in broad profile in solid outline, with the narrow body profile drawn in dotted outline (figs. 82-86, 124, 140, 172, 184, 223, 280, 282. 288-291). Two different color keys were used inadvertently for the design illustrations. Color key 1 is used in figs. 296-588, and color key 2 is used in figs. 589-605.

Color Key

C O L O R

KEY

1.

C O L O R

KEY

2.

Red

Red

D a r k purple (specular hematite)

Purple

M a r o o n purple

Black

Black

White

White

Unpigmented ground

Unpigmented ground

Lost surface

Light O r a n g e

Sherd section

Chronological Table Relative Chronology COLONIAL PERIOD

lea 1550

ICA

Styles 10

Chincha

Styles

Post - C h i n c h a assemblage lea Inca

LATE HORIZON

1500

1450

ICA

9

ICA

8

Comments 1 5 6 3 , direct Spanish c i v i government at l e a . 1 5 3 4 , Spanish conquest of south coast.

,n ca i

Chimu Chincha

1 4 7 6 , Inca conquest of south c o a s t . 1 4 4 0 , Inca raid on south

ICA

7

ICA

6

coast.

1400

1350

Chincha tradition

1300

a

ICA

5

ICA

4

ICA

3

ICA

2

1250

O 1200

o

1150

LU

S

1100

1050

1000

950 ICA

900

1

900 (Rowe, 1 9 6 6 , p . 194)

PL 1.1, 2, Ica J A-1, Jar; 2, Cup. 3, 10, 11, lea JB:3, Cambered-Rim Bowl; 10, Dish (bur. C-2); 11, Crude bowl (bur.C-2).4-7, 9, Ica 1A or B: 4, 5, Bowls; 6, 7, 9, Dishes. 8, Ica I or 2: Dish. 12-15, Ica 3A: 12, Deep Open Dish (bur. C-l); 13, CamberedRim Dish; 14, Cumbrous Bowl, standard finish (bur. C-l); 15, Simple Bottle. 16, Prob. Ica 3B: Cambered-Rim Dish. 1/4

PL 2. J 7, lea 3B: C u m b r o u s Bowl, f i n e finish. 18-20, lea 3BorC: S h a l l o w D i s h e s (18, b u r . Z-4). 21, lea 3C: Jar. 22, Prob. lea 3C: D r u m Bottle. 23, lea 4: Simple Bottle. 24, lea 4 or 5: Simple Bottle. 25-28, lea 5: 25, D e e p O p e n D i s h (bur. Z-3); 26, Flaring C u p ; 27, C a m b e r e d - R i m D i s h ; 28, Shallow D i s h . 1/4 size.

PI. 3. Ica 6, tomh Th-1: 29-41, Deep Open Dishes (38-41, aberrant shapes). 42-47, Cambered-Rim Dishes (47, aberrant shape). 48-57, Shallow Dishes: 48-50, Subgroup 1; 51, 52, Subgroup 2; 53-55, Subgroup 3; 56, 57, Subgroup 4 (Tiered Dishes). 1/4 size.

PI. 4. Ica 6, tomb Th-1: 58-64, Cambered-Rim Bowls ( 61, 61, aberrant shapes, polished finish; 63, aberrant shape, rough finish; 64, rare large size). 65-69, Cumbrous Bowls: 65-67, Rough finish (67, aberrant shape); 68, 69, Fine finish. 70-75, Simple Bottles. 1/4 size.

PI. 5. lea 6, tomb Th-l: 76-81, Simple Bottles (81, rare modeled neck). 82a, b, Complex Jar. 1 / 4 size.

PL 6. lea 6, tomb Th-1: 83-86, C o m p l e x Jars. 87-91, Simple Jars (91, a b e r r a n t shape). 92-95, Flaring C u p s . 1/4 size.

PI. 7. Ica 6, tomb Th-1: 96a, b, D r u m Bottle (top of neck miss.). 9 7 - 1 0 4 , Imitation Chincha shapes: 97, Collared Jar; 98a, b, Flask; 99a, b, D r u m Bottle; 100, Incurving Bowl; 101, Inflected flaring-sided dish; 1 0 2 , 1 0 3 , Straight flaring-sided dishes; 104, Flaring-sided plate. 105, 106, Fruit-shaped bottles. 107, 108, Miniature utility ware. 1/4 size.

PI. 8. 109-111, 2: 112-119,

lea 6, unassociated: 109, F l a r i n g C u p ; 1 1 0 a , b, D r u m Bottle; 111, S t i r r u p - s p o u t b o t t l e f r a g . 112-120,

Burial Th-

lea 7 : 1 1 2 , C a m b e r e d - R i m D i s h ; 113, C a m b e r e d - R i m B o w l ; 1 1 4 , S i m p l e B o t t l e ; 1 1 5 , 1 1 6 , S i m p l e J a r s ; 1 1 7 - 1 1 9 ,

F l a r i n g C u p s . 120, Antique: Ica-Epigonal, Jar. 1/4 size.

Pl. 9. 121-124, lea 7, unassociated: 121, Shallow Dish; 122, 123, Simple Bottles; 124, Complex Jar. 125-132, lea 8: 125-128, Bur. C-7, Ocucaje: 125, Cambered-Rim Bowl; 126-128, Cumbrous Bowls, rough finish tradition. 129-132, Group Sc, Santiago: 129, Cambered-Rim Dish; 130, Enlarged handleless Simple Bottle (neck miss.); 1 3 1 , 1 3 2 , Imitation Chincha: 131, Faceneck Jar; 132, Bottle/Jar. 121-123, 125-132, 1/4 size; 124, 1/8 size.

Pl. 10. lea 8, unassociated: 133, Deep Open Dish; 134, 135, Shallow Dishes, subgroup 1; 1 3 6 - 1 3 9 , Simple Bottles (136, lea tradition; 1 3 7 , 1 3 8 , Imitation Chincha; 139, Enlarged handleless); 1 4 0 , 1 4 1 , Imitation Chincha Squat Ovoid Jars. 1/4 size.

PI. 11. Late Horizon, tomb Td-8: 142-149, Provincial Inca A: 142-144, Jars; 1 4 5 , 1 4 7 , Cooking pots; 146, Cooking pot lid; 148, Dish; 149, Plate A - l . 150-152, Provincial Inca, various: 1 5 0 , 1 5 1 , Plate A-2; 152, Plate A-3. 153-155, Ica-IncaA: Lamp Bottles. 1/4 size.

PI. 12. Late Horizon: 156-167,

tomb Td-8: 156, 158, 159, lca-lnca A: 1 5 6 , Lamp Bottle; 158a, b, 1 5 9 a , b, D r u m Bottles.

157,

Imitation lca-lnca A: Lamp Bottle. 160, lea 9: Angular-Rim Dish. 161, Imitation antique shape: Deep O p e n Dish. 162,

163

Burial Td-1: 162, Provincial Inca: Jar. 163, lea 9: Incised blackware, A n g u l a r - R i m Bowl. 164, 165, Tomb Ti-5: Provincial

lnca

A: Jars. 1 / 4 size.

PI. 1 3 . Late Horizon, tomb Ti-5:

166-169,

Provincial Inca A: Jugs, blackware. 170a,

blackware. 171, Imitation Ica-Inca A: Lamp Bottle. 172-177, Dishes; 176, Deep O p e n Dish; 177, Flaring Cup. 1/4 size.

lea 9:172,

b, Imitation Chimu: Whistling bottle,

Black Bird (Complex) Jar; 1 7 3 - 1 7 4 , A n g u l a r - R i m

Pl. 14. Late Horizon, tomb Ta: 178-182, lca-lnca B: 178-181, Large Bottles; 182a, b, Drum Bottle. 183, Imitation Nasca-lnca: Lamp Bottle. 184, 185, lea 9: 184, Black Bird (Complex) Jar; 185, Jar. 1/4 size.

PI. I S . Late Horizon: 186-188, Tomb Ta: lea 9: 186, Angular-Rim Dish; 187, 188, Incised blackware, Angular-Rim Bowls. 189a, b, 190a, b, Cache Tn: lca-Inca A: Drum Bottles. 1/4 size.

PL 16. Late Horizon: 191-195, Cache Tn: 191a, b, Ica-lnca A: Drum Bottle. 192-195, lea 9: 192a, b, Anthropomorphized Football-shaped Jar; 193, Angular-Rim Dish; 194, 195, Angular-Rim Bowls. 196, Tomb Tc: lea 9: Jar. 197, Burial Tb: lea 9: Angular-Rim Bowl. 198, Tomb Tp: lea 9: Flaring Cup. 1/4 size.

PI. 17. Late Horizon, burial Tic: 199, 200, Cuzco lnca, imported: 199, Faceneck jar; 200, Bottle. 201, Chimu, imported: Whistling bottle, blackware. 202-205, 207, Provincial lnca A: 202, Jar; 203, Cooking pot; 204, 205, Dishes; 207, Plate A - l . 208-210, Provincial lnca B: 208, 209, Plates B - l , blackware; 210, Plate B-2, orange ware. 206,211, Provincial lnca, various: 206, Pottery tumbler, imitation of wooden Inca drinking cups; 211, Plate. 1/4 size.

PL 18. Late Horizon: 212-214, Burial Tk: 212, Imitation post-Chincha assemblage: Plate, blackware. 213, lea 9: Unincised blackware, Angular-Rim Dish. 2 74, Antique: lea 3, Cambered-Rim Dish. 215-218, Burial Tf-1: 215, 216, lea 9, unincised blackware: 215, Stirrup-spout frag.; 216, Angular-Rim Dish. 217, Imitation antique: Simple Bottle, lea 4 shape. 218, lnca: Wooden drinking cup. 219-222, Tomb Tl-2: 219, Provincial lnca A: Cooking pot. 220, 221, Provincial Chimu: 220, Stirrupspout frag., blackware; 221, Modeled figure bottle. 222, Ica-lncaA: Lamp Bottle variant, frag. 223, 224, Burial Z-5:223, lea 9: Football-shaped Jar. 224, Antique: lea 5, Flaring Cup. 1/4 size.

Pi. 19. Late Horizon: 225, Group Sf, Santiago: lea 9: Shallow Dish. 226, 221, Mouth of lea River: lea 9: Shallow Dishes. 228-230, Burial C-4, Ocucaje: lea 9: 228, Jar; 229, 230, Cumbrous Bowls, fine finish tradition. 231, 232, Burial C-5, Ocucaje: 231, lea 9: Cumbrous Bowl, fine finish tradition. 232, Imitation antique: Cumbrous Bowl, lea 3 shape. 233-236, Burial C-IO, Ocucaje: 233, Combination lea-lnca A/Nasca-Inca: Lamp bottle (top of neck miss.) 234, 235, Nasca-lnca: Lamp Bottles. 236, lea 9: Cumbrous Bowl, rough finish tradition. 1/4 size.

PI. 20. Late Horizon: 23 7-244, lea: 237-239, Burial C-10, Ocucaje: 23 7,238, Imitation antiques: 237, Cumbrous Bowl, lea 3 shape; 238, Deep Open Dish, lea 3 shape. 239, Antique: lea 1, Bowl. 240, 241, 243, 244, Unassociated: 240, 241, lea 9: 240, Incised blackware, Angular-Rim Dish; 241, Flaring Cup. 243, Provincial Inca, various: Bottle. 244, lca-lnca A: Angular-Rim Bowl. 242, MRI, tomb 1, Hoyadon, Callango: Provincial Inca A: Jar. 245, Cuzco: Imperial Inca: Jar. 2 3 7 - 2 4 4 , 1/4 size. 245, 1/8 size.

PI. 2 1 . 2 4 6 - 2 5 4 , Late Horizon: 246-248, 250-254, Cuzco: Imperiai lnca: 246, Jar; 2 4 7 , 2 4 8 , Bottles; 2 5 0 - 2 5 2 , Plates; 253, Pottery tumbler; 254, Cooking pot. 249, Sierra: Imperial Inca: Dish. 255-258, lea 10, burial Ti-1: Deep Open Dishes. 1/4 size.

PI. 22. lea 10, burial Ti-1: 259, 260, Angular-Rim Dishes. 261-263, Cambered-Rim Bowls. 264, Simple Bottle. 265, 266, Flaring Cups. 267, Inflected Vase. 268, 269, Imitation Chincha: 268, Bottle/Jar; 269a, b, Flask. 1/4 size.

PI. 23. lea JO: 270, Burial Ti-1: Imitation Chincha Cup. 271, Burial Ti-la: Fruit-shaped Bottle. 272, 273, Burial Ti-2: 272, Simple Bottle; 273 Imitation Chincha High Ovoid]ar. 274, Burial Ti-3: Angular-Rim Dish. 275, 276, Burial Ti-4: 275, Cumbrous Bowl, fine finish tradition; 276, Cumbrous Bowl, imitation antique tradition. 2 77, Burial Ti-6: Simple Bottle (neck, handle miss.). 278-280, Burial Td-10: 278, Shallow Dish; 279, Simple Bottle; 280, Complex Jar. 1/4 size.

PI. 24. Ica 10: 281, Burial Td-11: Deep Open Dish. 282, 283, Burial Y-5, Galagarza: 282, Anthropomorphized Footballshaped Jar; 283, Jar. 284-291, Unassociated: 284, 285, Shallow Dishes; 286, Enlarged handleless Simple Bottle; 287, Simple Jar; 2 8 8 - 2 9 1 , Complex Jars. 1/4 size.

PL 25. 292-295, lea 10 shapes, unassociated: 292, Imitation Chincha Squat Ovoid Jar (neck miss.); 293a, b, Drum Bottle; 294, ImitationChinchaCollared Jar; 295, Modified provincial Chimu whistling bottle. 296-299, lea 6: Design areas: 2 9 6 , 2 9 8 , 299, Broad bands; 297, Medium-broad band. Design elements: 2 9 6 - 2 9 8 , Plain Large Diamond with step fillers; 299, Stepped Large Diamond. 292-295, 1/4 size. 296-299, 1/2 size.

300

303

306

307

309

310

-"•••••

•• ' -

308

" -

v..'.

.

a o o e a o o o o o o v o t > o o 311

P O

312

PI. 26. lea 6: Design areas: 301, 302, 308, 310, 311, Broad bands; 300, 303, 305, 306, 312, Medium-broad bands; 304, 307, 309, Unit designs as principal designs: 304, Zigzag row; 307, 309, Composite unit designs. Design elements: 300, Composite Large Diamond; 301-304, Large Diamond Fish; 305-307, Stepless Large Diamond; 308-311, Small Diamond; 312, Small Square. 1/2 size.

Pl. 2 7 . lea 6: Design areas: 3 1 3 , 3 1 5 , 3 1 7 , 318, B r o a d b a n d s ; 3 1 6 , 3 1 9 - 3 2 3 , M e d i u m - b r o a d b a n d s ; 3 1 4 , P r i n c i p a l p a n e l in b r o a d b a n d ; 3 2 4 - 3 2 6 , F r o m s e c o n d a r y p a n e l s in b r o a d b a n d s , c o m p o s i t e u n i t d e s i g n s . Design elements: 3 1 3 , 3 1 4 , R e c t a n g l e Z i g z a g ; 3 1 5 , R e c t a n g l e Fish; 3 1 6 , T r i a n g l e Fish; 3 1 7 , C h e c k e r b o a r d ; 3 1 8 , S t r i p e s ; 3 1 9 - 3 2 3 , V a r i o u s , r a r e ; 324, 3 2 6 , T a i l e d S q u a r e s ; 325, Solid S q u a r e s . 1/2 size.

m 327

328

s®

338

33?

w 339

341

rvX! r u x * rwnj

w t V U t W U

340

342

343

Pl. 2 8 . Jeu 6: Design areas: 3 2 7 , 3 2 8 , F r o m seccndary positions in broad bands, unit designs; 3 2 9 - 3 3 6 , Upper body bands; 3 3 7 - 3 4 3 , N a r r o w w h i t e bands. Design elements: 3 2 7 , 3 3 5 , Small D i a m o n d ; 3 2 8 , Stepped Large D i a m o n d ; 3 2 9 , 3 3 0 , 3 3 3 , Plain L a r g e Diamond; 3 3 1 , Large D i a m o n d Fish; 3 3 2 , C o m p o s i t e L a r g e D i a m o n d ; 3 3 4 , Stepless Large D i a m o n d ; 3 3 6 , R e c t a n g l e Fish; 3 3 7 , M e a n d e r ; 3 3 8 - 3 4 0 , Stepped M e a n d e r ; 3 4 1 , Stepped " Z " ; 3 4 2 , " Z " ; 3 4 3 , Solid T r i a n g l e . 1 / 2 size.

TS1SISISIS1= 344

—

O o a a o a o D B o o o p o p I

l

W

A®-

B D O D O

i — i ^ — — w m i » « —

345

346

•

347

r-

-

'

348

w 349

350

351

352

VMMINIMN 353

354

AjSiyvwsTT /X/X/X/T^/W 355

356

357

w w v y W A V M A V /

362

PL 2 9 . Jc« 6: Design areas: 3 4 4 , N a r r o w w h i t e band; 3 4 5 , 3 4 6 , N a r r o w w h i t e - b a n d s u b s t i t u t e s ; 3 4 7 - 3 5 0 , N a r r o w red bands; 3 5 1 , 3 5 2 , T e r m i n a l banding; 3 5 3 - 3 6 2 , I n n e r m o u t h bands. Design elements: 3 4 4 , Fret; 3 4 5 , S t r a i g h t C r o s s Lines, outlined; 3 4 6 , 3 4 7 , S t r a i g h t C r o s s Lines, unoutlined; 3 4 8 , Stepped C r o s s Lines; 3 4 9 , " Z " ; 3 5 0 , M e a n d e r ; 3 5 3 - 3 6 2 , I n n e r m o u t h band p a t t e r n s : 3 5 3 - 3 5 6 , R e c t a n g u l a r ; 3 5 7 - 3 5 9 , T r i a n g u l a r ; 3 6 0 , 3 6 1 , Special Large D i a m o n d ; 3 6 2 , Stepless Large D i a m o n d (left panel) and fringe band, Pendent S t e p s (right panel). 1/2 size.

385

386

PI. 3 0 . lea 6: 363-3 77, General: Design areas: 3 6 3 - 3 6 5 , I n n e r m o u t h fringe bands; 3 6 6 , 3 6 7 , Lip bands, flattened lip; 3 6 8 - 3 7 3 , R i m bands, c a m b e r e d rim; 3 7 4 - 3 7 7 , Handle bands. Design elements: 3 6 3 , P e n d e n t S t e p s ; 3 6 4 , Pony Fringe and P e n d e n t S t e p s ; 3 6 5 , P e n d e n t Hooks. 378-386,

Special: Shallow Dishes: Design areas: 3 7 9 , B r o a d band; 3 8 0 - 3 8 2 , Principal panel and

vertical bands in broad band; 3 8 6 , S e c o n d a r y panel in broad band; 3 7 3 , 3 8 3 , 3 8 5 , Principal half bands; 3 8 4 , S e c o n d a r y half band. Design elements: 3 7 8 , 3 7 9 , Bird M e a n d e r ; 3 8 0 , Digging Boards; 3 8 1 , 3 8 3 - 3 8 5 , V a r i o u s , conservative; 3 8 2 , Tailed S q u a r e and R e c t a n g l e units, radial s y m m e t r y ; 3 8 6 , Bird unit. 1/2 size.

Pl. 31. lea 6, special: 387-389, Cumbrous Bowls: 387, Inner mouth fringe band, Pendent Steps; 388, 389, Principal unit designs. Fish. 390, Resin paint on blackware: Broad band, checkerboard arrangement, Stepped Large Diamond and Bird units. 391-403, Imitation Chincha shapes: Design areas: 391, 396, 401, 402, Broad-band equivalents; 399, Principal band, narrow; 392, Inner mouth band; 397, 403, Secondary narrow bands; 393-395, Interior bottom, open vessels; 398, 400, Handle bands. Design elements: 401, 402, Bird meander; 391, 403, Birds; 396, Rectangle/Triangle; 392, Pendent Step pattern; 395, Small Diamond (composite unit); 393, Rotational Fret; 394, Cursive Figures and Pattee Cross; 398, Opposing Step Blocks; 399, 400, Imitation Chincha. 1/2 size.

PI. 32. 404-412, Ica 7: Design areas: 404, Medium-broad band; 405, Broad band; 406, Secondary panel in broad band; 407, 408, Narrow white bands; 409-411, Inner mouth bands; 412, Handle band. Design elements: 404, Composite Large Diamond; 405, 408, 409, Large Diamond Fish; 412, Small Diamond; 406, 410, 411, Cursive Figures; 407, Meander. 413418, lea 8: Design areas: 413, Medium-broad band and narrow white bands; 4 1 4 - 4 1 6 , Broad bands (415, 416, upper bodyband position); 417, Narrow white band; 418, Special. Design elements: 413, Tailed Square and Meander; 414, Plain Large Diamond with modified step fillers; 415, Small Diamond; 416, Rectangle Fish; 417, 418, Imitation Chincha: 417, Triangular pattern; 418, Line and Dot Fringe. 1/2 size.

422

425 p, 426

1

427 "

PI. 33. Late Horizon, lea 9: 419-430, Conservative fancy shapes: Design areas: 419, 421, 422, Principal bands and panels, exterior sides; 420, 423-427, 429, Inner mouth bands; 428, Interior bottom; 430, Narrow black band. Design elements: 419, Conservative Rectangle; 421, 422, Conservative Rectangle Fish; 423, Conservative lea Checkerboard; 429, Incainfluenced Checkerboard; 4 2 4 - 4 2 6 , Fringe bands, Pendent Steps; 427, 428, Composite unit designs: 427, Solid Squares; 428, Large Diamond Fish; 430, Inca-influenced narrow-band design. 43 7-43 9, Non-conservative shapes: Design areas: 4 3 1 , 4 3 2 , 434, 4 3 7 - 4 3 9 , Principal panels in broad bands; 435, From secondary panel in broad band: 433, Principal narrow band; 436, Lip band. Design elements: 431, Composite Large Diamond; 434, Small Diamond; 437, Advanced Rectangle; 438, 439, Advanced lea Checkerboard; 432, Inner Mouth-Band Checkerboard. 440, Special, Shallow Dish: Half band, design of inner mouth-band tradition. 1/2 size.

451

450

453" 457

455

452

=

459

460

456

458

461

PI. 3 4 . Late Horizon, lea 9, special: Design areas: 4 4 1 , Shallow Dish anal., half band. 4 4 2 , Cumbrous Bowl, i n n e r m o u t h band. 4 4 3 4 4 7 , Anthrop.

Football-shaped

Jars: 4 4 3 , 4 4 4 , 4 4 6 , Principal; 4 4 5 , 4 4 7 , S e c o n d a r y . 4 4 8 - 4 5 4 , Ica-Inca B shapes: 4 4 8 , Principal

panel, n a r r o w w h i t e band; 4 5 0 , 4 5 1 , Principal panels in broad bands; 4 4 9 , Upper body band; 4 5 2 , Secondary; 4 5 3 , 4 5 4 , Handle bands. 4 5 5 - 4 5 9 , Imitation Ica-Inca A shapes: 4 5 5 , 4 5 7 , Principal designs in broad bands; 4 5 6 , 4 5 9 , Handle bands; 4 5 8 , N a r r o w w h i t e band. 460, 461, From medium broad-band arrangement.

Design elements: 4 4 2 , P e n d e n t T r i a n g l e ; 4 5 3 , 4 6 0 , 4 6 1 ,

F r e e s t a n d i n g T r i a n g l e ; 4 4 3 , 4 4 4 , 4 4 6 , 4 6 0 , 4 6 1 , Advanced Rectangle; 4 5 2 , Advanced R e c t a n g l e Fish; 4 4 2 , 4 4 8 , 4 5 3 , 4 5 7 , 4 6 0 , 4 6 1 , Small D i a m o n d and analogues; 4 4 8 , 4 5 0 , Plain Large D i a m o n d ; 4 4 9 , C o m p o s i t e Large D i a m o n d ; 4 5 5 , 4 5 6 , Tailed S q u a r e s . 1/2 size.

PI. 35. Late Horizon: 462-476, lea 9: Design areas: 462-465, From medium broad-band arrangement: 462,463, Medium-broad bands; 464, 465, Narrow red bands. 466-469, General: Inner mouth bands on non-conservative shapes. 470-476, Incised blackware: 4 7 0 - 4 7 2 , Principal panels; 4 7 3 - 4 7 6 , Secondary unit designs. Design elements: 462, Freestanding Triangle; 463, Triangle Fish; 464, Combination Meander and inner mouth-band tradition elements; 465, Advanced Meander; 466, Chincha Rim Scallop; 467, 468, Traditional inner mouth-band patterns; 469, Fringe band, Pendent Triangle; 470, Triangular inner mouth-band pattern; 471, Advanced Incised Rectangle; 472, Small Diamond; 4 7 3 - 4 7 5 , Composite Large Diamond; 476, Composite unit design, Small Diamond. 477-479, Ica-Inca: Principal bands, Checkerboard. 1/2 size.

PI. 36. Late Horizon, Ica-lnca: Design areas: 4 8 0 - 4 8 3 , 4 8 5 - 4 8 9 , 500, 501, Principal bands; 484, Upper body band; 4 9 0 - 4 9 3 , From secondary panels on Drum Bottles; 494, Suspender band on Drum Bottle; 495-499, Handle bands. Design elements: 480, Stripes; 481, Worms and Dots; 482, Tadpole; 483, Crab; 484, Inca Fern; 485, 486, Zigzag Band; 487, Bird; 488, Stepped Diamond; 489, Step Fret; 490, Humped Animal; 491, Insect; 492, Composite unit, Tailed Squares; 493, Rectangle Fish; 500, Adaptation of lea 9 medium-broad-band pattern; 501, Step Fret variant. 1/2 size.

507

m

jo)(oi

512

511

514

517

SI

xsKiyscsn.w rsirsipsrrsr

516

518

519

PI. 37. 502, Late Horizon, Nasca-lnca-related: Design on Provincial Inca B-2 plate. 503, 505, 506, Antique designs from Late Horizon burials, and 504, 507, similar designs from vessels in ancient graves. 508, 510-512, 515, 517, Imitation antique designs from Late Horizon burials, and 509, 513, 514, 516, 518, ancient models. 519, 520, lea 10: Arrangements for neckless vessels: Principal bands, narrow: 519, Stepless Large Diamond; 520, Large Diamond Fish. 1/2 size.

529

jxisruyifs

^

534

= = = = = = 535

—

^

^frfrSvftS^NX^ 536

537

PI. 3 8 . lea 10: Arrangements for neckless vessels: Design areas: 5 2 1 - 5 3 2 , Principal bands: 5 2 1 , 5 2 2 , 5 2 6 , 5 2 8 - 5 3 1 , N a r r o w ; 5 2 3 5 2 5 , M e d i u m - b r o a d , principal panels; 5 2 7 , M e d i u m - b r o a d (frag.); 5 3 2 , Broad; 5 3 3 - 5 3 6 , N a r r o w w h i t e bands, traditional; 5 3 7 , N a r r o w band, innovative. Design elements: 5 2 1 , C o n s e r v a t i v e R e c t a n g l e Hook; 5 2 2 - 5 2 4 , C o n s e r v a t i v e R e c t a n g l e Fish; 5 2 5 , Advanced R e c t a n g l e C r o s s h a t c h C h e c k e r b o a r d ; 5 2 6 , 5 2 7 , S t e p Fret; 5 2 8 , 5 2 9 , 5 3 0 c e n t e r , Inner m o u t h - b a n d tradition, single row; 5 3 0 , left and right, Elaborated C o m p o s i t e L a r g e S q u a r e ; 5 3 1 , I n n e r M o u t h - B a n d C h e c k e r b o a r d ; 5 3 2 , Stripes; 5 3 3 - 5 3 6 , Traditional w h i t e - b a n d designs; 5 3 7 , Inner m o u t h - b a n d tradition design. 1/2 size.

PL 39. Ica J0: 538, 5 3 9 upper left, Narrow black bands. 539-545, Arrangements for Complex Jars: 539, Broad band with principal and secondary panels and bands; upper body band; terminal banding; 540, 542, Broad bands, principal broadshoulder panels (542 frag.); 541, 543, 544, Broad bands, principal narrow-shoulder panels; 545, Principal band in horizontal three-band arrangement. 546-552, Secondary unit designs in neckless vessel and Complex Jar arrangements. 553-555, Arrangements for Simple Bottles, Simple Jars: Principal bands in upper body-band position. Design elements: 539, right, 540, 554, Conservative Rectangle Zigzag; 5 3 9 top space filler, 552, 553, conservative Rectangle Fish; 546, Triangle Fish; 547, Advanced Rectangle Bird; 541, 542, 555, Advanced Rectangle filler in larger figures: 541, 542, Diagonal, Crosshatch; 555, Serrated Diagonal; 5 3 9 top, Stepless Large Diamond as component of Freestanding Triangles; 5 3 9 upper left narrow band and secondary panel, 541, 543, 545, 550, Elements of the inner mouth-band tradition; 544, Design of narrow-band tradition (Meander); 548, 549, Composite unit: 548, Solid Squares; 549, Small Squares; 5 3 9 top, 555, Freestanding Triangle; 542, Enlarged Stepped Diamond (frag.). 538-540, 542-555, 1/2 size. 541, 1/4 size.

PI. 40. Ica 10: Design areas: 556, 557, Simple Bottles: 556, From principal band in upper body-band position; 557, Traditional upper body band. 558-566, Inner mouth bands: 558-563, Deep Open Dishes and analogue; 564, 565, Flaring Cups; 566, Bottle neck. 567-569, Lip and cambered-rim bands. 570, 571, Handle bands. 572-575, Special: 572, 573, Shallow Dish; 474, 575, Cumbrous Bowl. 576-580, General: Primary unit designs. Design elements: 556, 5 6 1 left, Stepless Large Diamond; 569, Plain Large Diamond; 557, 578, Simple Composite Large Diamond; 572, 576, Large Diamond Fish; 565, 566, 570, 574 left, 577, 579, Small Diamond; 558 right, 573, Conservative Rectangle Fish; 562, 564, Advanced Rectangle, Serrated Diagonal; 575, Derived Ica-Inca Rectangle Fish; 580, Stripe Block; 556, Freestanding Triangle; 565, 566, 573, 574, Fringe bands, Pendent Triangles; 558 left, 559, 560, 561 right, 563, 574 right, Traditional inner mouth-band designs. 1/2 size.

Pl. 41. 581-583, lea 10, general: Primary unit designs: 581, Humped Animal (584, lea 2 example); 582, Conservative Rectangle Fish; 583, Llama. 585-588, Sequence of innovations in Conservative Rectangle tradition: 585, lea 6, conservative, Rectangle Fish; 586, lea 6, advanced; 587, lea 9; 588, lea 10. 589a-c, 590a-c, lea 10: Fragments from refuse, Deep Open Dishes. 581-584, 589, 590, 1/2 size. 585-588, actual size.

PI. 4 2 . Ica 10, fragments from refuse: 5 9 1 a - c , Dish; 5 9 2 a - c , Flaring Cup; 5 9 3 , T o p section of C o m p l e x Jar body; 5 9 4 - 5 9 6 , F r a g m e n t s o f o n e C o m p l e x Jar, top to middle of body. 1/2 size.

P l . 4 3 . lea JO, fragments from refuse: 597-599, 6 0 0 a , b, 6 0 1 a , b, Jars, v a r i o u s . 1/2 size.

C o m p l e x Jars: 5 9 7 , M i d d l e of b o d y ; 5 9 8 a , b, 5 9 9 a , b, t o p s e c t i o n s of b o d i e s ;

Pl. 4 4 . lea 10, fragments from refuse: 6 0 2 , Jar; 6 0 3 a , b, 6 0 4 a , b, Jar necks; 6 0 5 a , b, Jar neck or bowl rim. 1/2 size.

iwimi

PL 45. Ica 6, tomi Th-1: 1-3, Deep Open Dishes; 4, Cambered-Rim Dish; 5-8, Shallow Dishes: 5, 6, Subgroup 1; 7, Subgroup 3; 8, Subgroup 4 (Tiered Dish).

PI. 4 6 . lea 6, tomb Th-1:

9, C a m b e r e d - R i m Bowl; 10, C u m b r o u s Bowl; 1 1 - 1 3 , Simple B o t t l e s .

PL 47. ha 6, tomb Th-1: 14, 15, Complex Jars; 16, 17, Simple Jars.

18

19

20

21

22

23

Pl. 48. Ï8-ZÎ, lea 6, tomb Th-1: 18, 19, Flaring Cups; 20, Miniature black Bird Jar; 21, Miniature imitation Chincha Collared Jar. 22, 23, lea 7, burial Th-2: 22, Cambered-Rim Dish; 23, Cambered-Rim Bowl.

PI. 49. Burial Th-2: 24-28, lea 7: 24, Simple Bottle; 25-27, Flaring Cups; 28, Miniature Bird Jar. 29, Antique: Ica-Epigonal, Jar.

PI. 50. 30, lea 7, unassociated: Complex Jar. 31-3 5, ha 8: 31, Bur. C-7: Cambered-Rim Bowl. 32-35, Group Sc: 32, CamberedRim Dish; 33, Enlarged handleless Simple Bottle (neck miss.); 34, Imit. Chincha faceneck jar; 35, Imit. Chincha Bottle/Jar.

37

PI. 5 1 . 36. Early (?) Inca style, Group Sc.- Jar frag. 3 7-40, Late Horizon, tomb Td-8: 37, Wooden stool. 38, Provincial Inca A: Jar, small. 39, 40, Provincial Inca, various: 39, Plate A - 2 ; 40, Plate A - 3 .

42

41

PI. 52. Late Horizon: 41-44, Tomb Td-8: 41, 42, Ica-lnca A: Lamp Bottles. 43, Imitation Ica-lnca A: Lamp Bottle. 44, Imitation antique shape: Dish, Ica-lnca design. 45, Burial Td-i, ha 9: Angular-Rim Bowl, incised blackware. 46, Tomb Ti-5, Chimu: Double-chambered whistling bottle.

imitation

Pl. 5 3 . Late Horizon: 47-49,

Tomb Ti-5, ka 9: 4 7 , A n g u l a r Rim Dish; 4 8 , Flaring C u p ; 49, O c a r i n a , incised blackware. 50,

51, tomb Ta, Ica-Inca B: Large Bottles.

PI. 54. Late Horizon: 52, 53, Tomb Ta, lea 9: 52, Jar; 53, A n g u l a r - R i m B o w l , incised b l a c k w a r e . 54-57, D r u m B o t t l e . 55-57, lea 9: 55, A n g u l a r - R i m D i s h ; 56, 57, A n g u l a r - R i m

Bowls.

Cache Tn: 54, Ica-lnca A:

PI. 5 5 . Late Horizon: 58, Cache Tn, lea 9: A n t h r o p o m o r p h i z e d Football-shaped Jar. 59, Burial Tb, lea 9: A n g u l a r - R i m Bowl. 60, 61, Burial Tk, Provincial Inca A: Plates, group A - l .

PI. 5 6 . Late Horizon: 62, 63, Burial Tk: 62, Provincial Inca B: Plate B - 2 . 63, Antique: lea 3, C a m b e r e d - r i m Dish. 64a, b, lea 9, unassociated:

Complex Jar. 65, Group Sf, lea 9: Shallow Dish. 66, Burial C-5, lea 9: C u m b r o u s B o w l .

PI. 57. Late Horizon: 67, Burial C-5, imitation antique: C u m b r o u s Bowl. 68, 69, Burial C-10: 68, Imitation antique: Deep O p e n Dish. 69, Antique:

lea 1, Bowl. 70, 71a, b, Unassociated:

70, lca-lnca A: Lamp Bottle. 71a, b, Provincial lnca: Fancy Bottle.

Pi. 5 8 . lea 10, Burial Ti-1:

72-75,

D e e p O p e n Dishes; 76, A n g u l a r - R i m Dish; 77, C a m b e r e d - R i m

Bowl.

Pl. 5 9 . Ica 10, Burial Ti-1:

78, C a m b e r e d - R i m Bowl; 7 9 , Flaring Cup; 8 0 , Simple Bottle; 8 1 , 8 2 , Revived imitation

C h i n c h a : 8 1 , Bottle/Jar; 82, Flask.

Pl. 6 0 . lea JO: 83, 84, Burial Ti-2: 8 3 , Simple Bottle; 84, Revived imitation C h i n c h a High Ovoid Jar. 85, Burial C u m b r o u s Bowl. 86-88,

Burial Td-10:

86, Shallow Dish; 8 7 , Simple Bottle; 8 8 , C o m p l e x Jar.

Ti-4:

PI. 61. Ica 10: 89, Burial Td-11: Deep Open Dish. 90-94, Unassociated: 90, Deep Open Dish (bottom partly miss.); 91, Shallow Dish; 92, Simple Bottle; 93, Enlarged handleless Simple Bottle; 94, Simple Jar.

P l . 6 2 . Ica 70, unassociated:

Complex Jars.

102

PI. 6 3 . 98-100, Antique

lea 10, unassociated: 98, 99, D o u b l e - c h a m b e r e d whistling bottles; 100, Modeled t e r r a c e h o u s e . 101,

models: 1 0 1 , Ica-Epigonal B, Jar; 1 0 2 , lea 3A, C u m b r o u s Bowl.

102,

PI. 6 4 . Antique models: 1 0 3 , lea 3 C , D e e p O p e n Dish: 1 0 4 , lea 3 (B?), C a m b e r e d - R i m Dish; 1 0 5 , lea 3 B or C , S h a l l o w Dish; 1 0 6 , lea 3A, B o t t l e ; 1 0 7 , lea 3, Shallow Dish; 1 0 8 lea 4, Simple B o t t l e (neck and top of handle miss.).