hao Dany ~~ oo <—s wren hn Aiea te oe ghaent eae imeme ine eS RE eer ee ere ee ae es © ll pias : al _ : - sY ) 4 PULATING SMITHSONIAN INSTITUTION BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 | AN INTRODUCTION ‘TO THE CERAMICS OF TRES ZAPOTES VERACRUZ, MEXICO IG isa Pee Te Te ay . . 268 Sebo oe oe ee ee Pt if Woneothe: DuUTIAls= ees aA oe eS ee Q Mound Ass 2o25 ~ eae eS. Bee Oe A ee ee 9 Noun GS Coie 2s Fa Eh = See ea ee ee 9 Mound Dyand adjacent, areas_ 2a ee ee eee 10 MiscellancousiexcaVvationss = 52 5-522 ee 22 eee eae ee ee 11 Mounds; Jand\k@e. 22 28 2 Sa ole oe ee 8 en et (CWE Ne |e Oe Se ee) ee a ee el Ow eee 12 ATTOVOLGTOUD a= 2 ce ne ees os re eee eee 12 FN GBR 8 20 apy he Se ne a Esa Ba de SN 12 ‘RheghongsMoun d(C) 2se5 te ee ee 13 Mound .G. (the Stone Platform) ..-....- 26 4.5.35 13 MiOUNGBN Ss. - Le 2 a Sa See es 2 ee ee 14 IN Coy eb 6X6 [el 8 eee See ree ee eee PS ae eee ee ere ee 14 Mounds Wisin did <2 pee ek ee ee ee 15 Barty lah CHOtlClY sso = Se ee ce oe oP ee es L 16 Middle Tres Zapotes A: Classification._....-_-___..._=-...-----_- 16 I. Unslipped or partially slipped wares___-_-__--....-------- 16 iS Mionochrome:waless.52— 5.545452 5550255. 17 III. Dichrome (Red-and-White Incised) ware________________~_ 19 Middle Tres Zapotes, B:, Classification.._..._.-....2-...--.e--2=2-- 19 I. Unslipped or partially slipped wares......._......-------- 19 IT. Monochrome Waves= 2.22. 2445-9 I C 20 [il, Wares with paited decoration......_-4 +1... 4. =. 5 21 iWpper Tres Zapotes: Classification 2...5. 2c. 3 4225 ob oe ts 22 I. Unslipped or partially slipped wares_...-..........------ 23 Me Monochrome: wares: = 3222.42 2 ee eee oe ge 26 Til. Pseudodichrome: wares: = 22-022. 222 ce a ee 29 TV cDichrome wares. 228 Fos 5 ee ee olny lk ee 30 V.. Pseudotrichrome, wares 2.25)22 2 os oe 30 Mil. (Drie binge WALCS 8 4o ke ye ae i a 31 sbne;rencral Ranebita collection... — - 13.050 shoo ein ot eke 55 Wares and their relative frequency_... %....-....--....-.+.- 55 Classification and enumeration of sherds with painted decoration _ 56 Vv VI CONTENTS Part 1. The pottery—Continued. The general Ranchito collection—Continued. PAGE Forms ‘and sizes of vessels-. =>. 222222222 -se= eres. -- eee 60 Forms Of SuppOrt._ ..==-22 2a e sees eee 90 Morelos types (pls. 20; 21) 222222322 eee ee 92 Variants (pk 22) 22222 2235 se ee 93 Variants- (pli 23) 222cseclge sos sees essen eee eee 93 An aberrant: group: (pl. 24) 222-252 2 252522332225 eee 94 Two aberrant groups’ (pl; 2b)ceas* so s225252222245 2 ee 94 Miscellaneous variant and aberrant specimens (pl. 26)_________- 94 Miscellaneous variant and aberrant specimens (pl. 27)_._._____- 96 Profiles: (pl. '28) 2.2222 sc2acV eee ee eee 96 | Karly deities (pl. 29) <-2222 2228256422242 eee 97 Major ‘archaic types’ (pl. 30) - =. o=2222242222332 eee 97 | Unclassified (pl; SL) ssss22 s22sss2 23322 eee 98 Bodies (pls: 32-36) .~. 22 22822225 eee 98 | Primitive Maya and allied types (pl. 37).....__----_----_---- 100 Figurines reflecting the high cultures sa.) see 101 A‘ Teotihusedn type: (pl.:38) 225 382 eee eee 101 Some Middle American deities (pl. 39)_--_____-_-_--_--__.----- 102 Miscellaneous figurines (mostly unclassified) (pl. 40).-___------ 103 Mold-made Mayoid figurines (pls. 41, 42, 48)_._._----.--_---- 104-106 “Totonac? figurines: (pl. 44) 22225 sss eee 106 Some ‘‘Totonac’’-Maya comparisons (pl. 45)_.---------------- 107 Wihistles’andimusicallinstruments22o2 202 ee 108 Whistles'‘of the Tuxtla region (pl)'46)0 272 eee 108 Ocarinas*(pl: 47). sce 222.2222 eee 108 Birdsefiigies(pl; 48) 222sscce ese ee eee 108 Birdsand‘reptiles*(pl: 49) ase eee 109 The coati-mundi and unidentified forms (pl. 50)_--___--------- 109 Monkeys and miscellaneous mammals (pls. 51, 52)-______.__-_-- 110 Tubular instruments (including a panpipe) (pl. 58)_.-.--------- 110 CONTENTS VII PAGE Part 3. Miscellaneous ceramic material and work in stone__.._________-- 112 Special pottery and figurine fragments... _........--------------- 112 pte y, pandios: (pls. 04000) esses eee oe eee. bos 112 Biigg meeksu(pl.sG) a2 cee ee eee eee ale ae eaten L 112 Seulpiuree. pottery i(pleos)a~ eae ese eh oe ee So 3 113 An effigy vessel, a figurine, and a mask (pl. 58)_-.____-------_-- 114 Miscellaneous vessels, sherds, and pottery objects (pl. 59)____-- 114 IMiscellancous effigies (pl GO)i- 222522422 2252 2-42 sons eet 115 Limb fragments of jointed and large hollow figurines (pl. 61)__-_ 116 Miscellaneous) clay Objects ae. an ses oe eee mea ae ea eee ts 116 Penisvepls HG2NOs eee. = ee ales ee NEN aN Ee on sel 116 ppindlewhorlsand beads (pl: 64) 222... 222. 2.-2..-28244---. 117 Marispoolss rings, and ‘beads (pl. 65) 2 235-422 52- 22 Secs 52252 117 Wiorksnpstone: (pls, (66-18) aoe se. oe ee ee ke 118 Srele YORES Es 32 5 oe Se Se eee ee ee ee 118 Metates. 2.555223 bbe eS ee Bees Soe Soi Stee sks 118 STONER VCSSC]S ae hy Se yeeh eo re eee EEE Ne ee a 118 Stone wins lps ct Aes ae pet gs ae he 119 SPURT as SGC TN CS oe Foc aa Ns a ee ahs ee ee ae 119 iuman fh ourese.s =. Sante ee ee ee ee eee eee 119 Miscellaneous stoneobjects. == 3.5.22 4522452252 sshcsc cca 119 IManOr ALONG OMIbetRs 32. 2. eos ee eS he ee ee 120 Jnder een Sees kee eee te Bee ee 120 CEES CRSA ne ee ce aaa LOSSY fee, ony s ym a el 121 COYOTE CG TEST G ay SO ENR tes 2 eee a gs Se ee yee en eres) ee eee eee. 121 TED DEE BStiaat cre <1: Ae ERAS pete pete nef ne eS ae ert ae eee ee ee 122 IPOD IOTIg ae) ease ERE Sad pepe) oe 2 ak te ade he ee tied RD a 122 Differential features of Middle Tres Zapotes A and B and Upper PU ipa NG ee ie ps Ses Se a ee eee ne 122 Qrcomplex7element ss! 5 este eae oe I ee ee ee 124 she anchaicaquestions sacs ee see See ene Se ee ee a ee rere 124 pipe blssiC CLO RIOR GION = See Ss See ee eS a ee ee es 126 Relations with the Maya Old Empire...-.-.......~-.-.--.---==-. 127 Relations with the Maya Renaissance_.____._..-.---------------- 128 Relations with, Leotihvacaniss:< 35. 26 bs oe Se ee 128 Relations; with, Totonacapan= s. 2220242222524 2222228 Se eee 129 Relations with) Zapotecaniculture.=.-- 28.25.2522. se.os2ss.25-6 130 Relations with the Mixteca-Puebla culture._...__.__.___-_-------- 131 Relations wath; the Muexteebes.- = 22002. 2s seu. 2 fesse e esac een 131 APEC yreMa ans =-<2 iota Sete S 8 oS a Sk Re Ae ek 131 (CONErER COMO ISTO RAS ati te opie sere l bie vg eS pe 132 STEED Crea) 95 ea ke POP PE DN ES A per pnee caer near OEE op RL 133 Appendix. Inventories of representative burials_._____._.__...___.--_-_--- 139 oe tends ti Py , be iH menial ote aail f pe Hint ak ie hae ah @t tourer lebids ia ida. tsk, py f sn son GO en nr an — usa ding Davi ect A seseweve. gf in| Alaiwo ¥. aero M0) for) gotalle varemminatbannt ta. pSanieey ty naetoueryaty | dtu} ehagtde nade aiden a (EO. Si adap) abersth b Shaw! Gat ao al fviiee i de) aba’. bua. ale Aloege, ity (BLO. alg). arent cid at ~— fino gone atoll ‘hie AiO 4 _—_ Sc almalee ol TE . tovigh oan Lig aren eupenbalen re vyelss aT « f é ' . t | enti fi “*'s Lae ey o rvrieindl Torn oe i .ttpide any " ” wurden OLD f Lit) “ts M fold ah . dose, a valk och meres ‘ ~». bhoditoe’?, » « aly prone nti itiloo HaMtogat Lahn el tise can( frre daa ERA, ahd tebe eet Joa ak dite ay "al . 10 some i oa te ag CAD ; ck ie UME webiwy lim) trey wpe igen b >” is OHNAR RON E ILLUSTRATIONS PLATES (All plates at end of book) 1-37. Tres Zapotes figurines. 38-45. Figurines reflecting the high cultures. 46-53. Whistles and musical instruments. 54-65. Miscellaneous ceramic material. 66-78. Work in stone. TEXT FIGURES + Ungslipped' or partially slipped wares: 2222229 223 Sea ee ee .. Black«ware, incised ‘before firmg 2! 217) See aULEs _ S307) Bh aea eee BLOWN WATC2 2S. See ce ce ee) Ss eee Blacksware*ineised after fining: 222... ii Sues sey 2 ERO CE WTC Set 1 tis ha het 6 AB eee Fs BO ee SA me NeCKsiOfe Ss DeCKleds Wal... 22—- aaa see ee eS eee ak, ROTM OLN ENeC MW Ale ee eye | ees eee Se en ene ae er Se a ere eee Erpiack ware .incised: before firing =i 22S .00¢2 dap pesess Sod neeeee dae black ware, incised after fring 0% 8- ho 34. fala aches oo BRUISE REG) VESSEL: oa a a See aL ee ee ee feeseudodichrome’ olla. ia. oee pele es BF nee ee . Simple silhouette bowls from surface burials__..............------- Se Gourd forms 1romesurtacesOURIAIS = 52 es oe . Composite silhouette forms from surface burials_......_.__.-.------- pee Mami aouire svESSel Sih OsM SUT COM Fo Urry Sal sey seen . Black and Dark Brown wares, incised before firing____-_----------- Pblsckiincised ware fromsurtace buriais!: 222)... 22528. 25.58ss125. Ollastonme fromsurface: burials! = _ see eee hieasn ase seh a aes Pe SUTACEIOUTIAIEV.eSSELSuvvab DU STII POLS see . Miscellaneous vessels from surface burials___....._________--------- . Monochrome, pseudodichrome, and dichrome vessels from surface lburialse. ions. Sk. ae 2 AN a a Py Pee TR I as eee Lied Bo . Dichrome, pseudotrichrome, and trichrome vessels from surface SS ULiTe S51 Ss Se cpr A be 98 FN i a a ee 5 ag eli et Ne Lone . Miscellaneous specimens from surface burials_______._______------- . Sherds with painted designs on inner surface_________------------- . Sherds with painted decoration on outer surface_____--._----------- » Rim sherds, general Ranchito colleetion:_...~..2.--..-.--Ls2-=.4.- . Rim sherds, general Ranchito collection... _........--.-...--=--=-- — =" es SCOMNAAR WH ILLUSTRATIONS . Rim sherds from necks, general Ranchito collection-___.._______---- . Forms of support, general Ranchito collection-___--__--_-_-_------- . Forms of support, general Ranchito collection-___-_-_-._-.--------- . Handles of vessels, general Ranchito collection.-._____.._-.-_-_-_---- . Spouted forms and unidentified pottery object, general Ranchito col- WetiOn ase ae es Sk a a ee ee . Incised rims, general Ranchito collection._____..._-_....--.-------- . Incised rims, general Ranchito collection\_.--..-..22-2---1-_.22 =e . Incised rims, general Ranchito collection_-._.._._.......-.--------- . Incised and modeled rims, general Ranchito collection_.________--_- . Incised sherds, general Ranchito collection.______._..____-_-------- . Incised sherds, general Ranchito collection.___.___._..._--_------- . Incised sherds, general Ranchito collection________.._..----------- . Incised sherds, general Ranchito collection____________.__-_------- . Incised sherds, general Ranchito collection_________._._-_..---_----<= Incised sherds, general Ranchito collection.______-____------------- Miscellaneous sherds and pottery objects, general Ranchito collection__ . Specimens suggesting alien influence, general Ranchito collection-__--- . Typical designs from “‘Stick-polished” pottery._.----------------- » Incised spindle whorls and mold-_ + =_0 =.=.) 322222 ee ee . Orange and Brown-on-Buff dish from Upper Tres Zapotes level suggesting Mixtec influence... .2 2. 2032.22. 55-225. 02. eee s) Miniature vessels: . 2 oi-c-22 2. ccc ce} on eo eee ee eee MAPS Geographic position of Tres Zapotes in relation to well-known Nahua, Mixtee-Zapotec, and Maya-sites 22222-2420 22022 Jee ae The Tuxtlarregion: =ss-.s2o esses secs ee Eee . Principal mound groups at Tres Zapotes..._..._.----_----------.- West-east section through Mound E, Cabeza Group-__-------------- Principal mounds of the-Ranchito Group:=2-22<2- 2222-22025 2 eee North-south section through Mound A, Ranchito Group_.--__------ . Details of excavation, Mound D, Ranchito Group__-_____---------- . Stratification in Long Mound (C), Arroyo Group.__--------------- Plan of Stone Platform, Arroyo Group, Mound G____-------------- . Mound G, Arroyo Group, east and west walls. _.____-------------- PREFACE The present study seeks to analyze and interpret the ceramic mate- rial obtained during the first season’s work of the National Geographic Society-Smithsonian Institution joint archeological expedition to Tres Zapotes, State of Veracruz, Mexico. The work of this season was primarily exploratory in nature. Refined stratigraphic investigation was not attempted. It was felt more desirable, as a beginning, to per- form as many sampling operations as possible in order to learn fully the character of the site, leaving for a second season the task of deter- mining whether more precise field methods might yield significant re. sults. The interpretations offered are consequently based more upon typological than upon stratigraphic considerations. Nevertheless, cer- tain broad stratigraphic implications emerged in the course of the excavations which have not been lost sight of in the presentation of results. ‘These implications appear to justify arranging the pottery under three general heads indicative of the level at which each of the groupings occurred; namely, Middle Tres Zapotes A, Middle Tres Zapotes B, and Upper Tres Zapotes. This particular terminology has been chosen in the light of the second season’s work, which, while confirming the basic stratigraphic categories postulated here, revealed, further, the existence of a deeper and presumably earlier level than any herein considered, which it is proposed to call Lower Tres Zapotes. By adopting designations which can be used in subsequent reports, much unnecessary confusion will be avoided. In the belief that copious illustration is of greater importance in a report on ceramics than literary elaboration, the text material has been kept at a minimum consistent with the inclusion of the pertinent facts, Description of the pottery is presented in outline form to facilitate quick reference. The terms used in referring to vessel forms have been chosen in accordance with the definitions proposed by Vaillant (1927) in his doctoral dissertation, subject to the minor modifications intro- duced by the Ricketsons in their report on Uaxactun, Guatemala, Group E, 1926-1931. In addition, the term olla bow], already familiar to students of Southwestern archeology, has been employed to designate a vessel which conforms to the definition of an olla, except that the height, instead of being approximately equal to the diameter, is defi- nitely less than the diameter. Wares are classified on the basis of surface color or slip. In accordance with the recommendation of Benjamin March (1934), colors have been referred to the standard samples to be found in A Dictionary of Color (Maerz and Paul, xI XII PREFACE 1980). Designations comprise, first, a numeral referring to a plate in the dictionary ; second, a letter indicating a vertical file; and third, a numerical denoting a horizontal rank. Thus, 4-C-12, the color of our Orange ware, is to be found in a small square of color on plate 4, where column C and row 12 intersect. The incompetence shown by the local surveyor employed to map the site has made it necessary to resort to rough approximations in giving the heights of mounds and the distances between them. These meas- urements have been given in feet. Elsewhere, throughout the text, the metric system has been used. The figurines have been treated typologically in accordance with a scheme which will be made evident by a glance at the contents. Lest it be objected that the inclusion of so large a representation of variant and aberrant specimens can serve only to bewilder the reader, let it be said that they have been included in order to avoid artificially rigid classificatory distinctions. It is only by careful observation of transi- tional and variant forms that one is able to sense the essential unity of the main bulk of the figurine material, while often an aberrant speci- men becomes a major clue in the maze of spatial and temporal relation- ships one seeks to clarify. A full bibliography of all works cited in the text is provided in the list of references at the end of the volume. The limitations of space prevent acknowledgment of my full in- debtedness to all of the people who, in one way or another, have con- tributed to the success of the expedition and aided me in the labors culminating in the present report. Credit is due, in particular, to the National Geographic Society for their unstinted financial support of the expedition and for the services of Mr. Richard H. Stewart, photographer. To the Department of Anthropology, Columbia University, I am grateful for the facilities of the laboratory of archeology and for the keen interest and unfailing helpfulness of various members of the staff. I am also indebted to Dr. W. D. Strong for invaluable advice on problems arising in the course of this investigation. The entire project envisaged in the National Geographic Society—-Smithsonian Institution expeditions to the Mexican Gulf Coast constitutes one link in a comprehensive plan which Mr. Stirling and Dr. Strong conceived several years ago to attack the problem of the origins of the high cul- tures in Middle America by investigating peripheral areas. Others in the department who have been of special help include Dr. Gene Weltfish, who made helpful suggestions regarding the classification of wares, and Dr. George Herzog, whose remarks on the musical instruments of the collection and corroboration of the panpipe identification have been appreciated. PREFACE XIII I am especially grateful to Dr. George Vaillant, of the American Museum of Natural History, who has been my constant mentor throughout the investigation. In many a conference, he has given unsparingly of his time and brought the full richness of his experi- ence in Middle American archeology to bear upon the problems at hand. Both he and Mr. Clarence Hay have been particularly helpful in pointing out resemblances between Tres Zapotes figurines and figurines from the Valley of Mexico and Morelos. Dr. H. J. Spinden, of the Brooklyn Museum, has also given me the benefit of consultation. In Mexico, I am greatly indebted to Mr. Ignacio Marquina, of the Direccién de Monumentos Prehispanicos, not the least of whose services was that of expediting technicalities connected with getting excava- tion under way; to Mr. Eduardo Noguera, for his astute observations on the pottery and the figurines; to Lic. Juan Valenzuela, of the Museo Nacional, for giving me access to material and unpublished reports of excavations in the Tuxtla region, and for confirming comparisons between the pottery of Tres Zapotes and that of Monte Alban; to Mr. Wilfrido Du Solier, for valuable data on the pottery of El Tajin; to Mr. Miguel Covarrubias, for his kindness in showing us his superb private collection of archeological specimens, many of them highly relevant to the present study; and, above all, to Dr. Alfonso Caso, not only for the generous cooperation received from him in his official capacity as Director of the Instituto Nacional de Antropologia e Historia, but for his kindness in permitting me to study, under his supervision, both in his private laboratory and at the Museo Nacional, the ceramics of Monte Alban. Without this preparation during the summer of 1937, I should hardly have had the courage to undertake the present investigation. Special thanks are due, also, to Mr. Ri- cardo Gutiérrez, of Tres Zapotes and Tlacotalpan, for the way in which he looked after our material needs and physical comfort while in camp. For bibliographic data on the Hueyapam area, I am indebted to Mr. Arthur E. Gropp, of the Tulane University Institute of Middle American Research, and for data out of the general archives of the Mexican nation, I am obliged to Prof. Paul Kirchhoff, of the Depart- ment of Anthropology in the Escuela de Ciencias Bioldgicas, Instituto Politécnico Nacional, Mexico, D. F. Mr. Charles E. O’Brien, assistant curator of ornithology at the American Museum of Natural History, was kind enough to undertake classification of as many of the bird effigies as it was possible to identify. For the preparation of the illustrations I am grateful to Mr. E. G. Cassedy, artist of the Bureau of American Ethnology, and for help XIV PREFACE in the drawing of text figures 1, 2, 3, 5, 6, 10, 11, 17, 18, 27, 28, and 52 to Mr. Alexis Jetkoff, of New York. Finally, I want to acknowledge to friends and relatives—above all, to Marian, my wife—my profound gratitude for their forbearance of the asocial life which, month after month, I have been compelled to lead in order to find time for this absorbing task. C. W. Werant. AN INTRODUCTION TO THE CERAMICS OF TRES ZAPOTES, VERACRUZ, MEXICO By C. W. WEIANT INTRODUCTION The archeological zone of Tres Zapotes is located on the right bank of the Arroyo Hueyapan in the district of Los Tuxtlas in the southern part of the State of Veracruz. The site comprises about 50 earth mounds of varying size, some of which are on bottom land adjacent to the arroyo while others are on an elevated terrace above this flat ground. The site extends for a distance of about 2 miles and to a small extent overlaps onto the left bank of the stream. (See Stirling, 1940, 1943.) DESCRIPTION OF THE ARCHEOLOGICAL ZONE Some notion of the extent of the archeological zone, as well as of the number, shapes, relative base-areas, orientation, and groupings of the mounds, may be gained from map 3. It may be observed that two principal levels are indicated: 1. The level of the Arroyo Flood Plain, which is even with the tops of the steep banks of the arroyo. (The banks themselves range from about 12 to 18 feet in height.) 2. The level of the Main Terrace, which rises with varying de- grees of abruptness from the flood plain level to an elevation 20 to 40 feet greater. At the southeast corner of the Main Terrace, which corresponds to a bend in the arroyo, the ascent from the flood plain is broken by an intermediate level area which is about 15 feet below the terrace. This intermediate level has been designated Lower Terrace on the map. It should be noted, also, that two prolongations from the Main Terrace jut out upon the Lower Terrace. On map 5 these prolongations have been labeled West Promontory and East Promon- tory, respectively. Both afford a commanding view of the sur- rounding country, especially to the east and the south. Gullies separate the West Promontory from the Main Terrace proper and the two promontories from each other. These gullies decrease in 1 2 BUREAU OF AMERICAN ETHNOLOGY [Bu. 139 depth as one follows them from south to north, and there are indi- cations that they may have been formed, at least in part, by artificial excavation for the purpose of obtaining earth with which to raise the level of the promontories and to build the mounds which they support. CHICHEN /TZA TUN 0 ca oarse ° PIEORAS ie i : 4 PAL a ‘ i (ANDRES TUXTLA [ TRES ZAPOTES SAN RO VERA CRUZ a ee a” EG ) ° MITLA MONTE AL BAN5 9 & | x@> s ° g Map 1.—Geographic position of Tres Zapotes in relation to well-known Nahua, Mixtec- Zapotec, and Maya sites. For convenience in referring to them the mounds will be con- sidered as belonging to four principal groups, as follows: THE CABEZA GROUP This is the group of six mounds clustering about the Cabeza Co- losal. They range from 9 or 10 to about 14 feet in height. Mound B WEIANT] CERAMICS OF TRES ZAPOTES 3 of this group tapers off so gradually on its south side that there is some doubt as to its artificial nature. The face of the Cabeza hap- pens to be directed toward the magnetic north, but does not appear to be oriented in any special way with reference to the mounds. THE RANCHITO GROUP This group takes its name from the fact that a small, palm- thatched, sun shelter, jokingly referred to by our workmen as El Ranchito, stood on the top of one of its most conspicuous mounds. It comprises the mounds of the Lower Terrace, those of the two promontories already described, and two mounds, J and K, which occupy a kind of minor promontory of their own, somewhat to the north and slightly to the east of the others. Their height is quite variable. For example, Mounds A and B are about 6 feet high (see map 5), Mound C is about 10 feet, while Mounds D and E are low platforms scarcely more than a foot or a foot and a half above the general level of the promontories. Mound F, also, is of the low plat- form type, although higher than D and E. THE ARROYO GROUP In this group are included all mounds situated on the Arroyo Flood Plain. Dominating this group is Mound A, 25 or 30 feet in height. It has, as indicated, an approximately square base. The twin mounds D and E, of the same shape, are perhaps 18 feet high. Mound C, generally referred to hereafter as the Long Mound, is impressive. It is probably 150 feet long and 18 or 20 feet high. Mounds F, G, and H are each but a few feet high and, since their limits are poorly defined, would hardly suggest artificial construction at all, but Mound G was found to contain the only specimen of architecture encountered, the Stone Platform shown in maps 9 and 10. Mounds I and J are low, too, and Mound B is a barely distinguish- able rise of ground. THE NORTH GROUP The mounds of this group tend to be relatively large, more or less resembling Mounds D and E of the Arroyo Group. On the top of Mound E, one of the smallest of the group, are two round stone columns about 5 feet long and 16 inches in diameter. Leading up to them from the south base of the mound are two rows of unworked granite boulders. These rows are about 10 feet apart. They sug- gest great rustic balustrades culminating in stone columns at the top. The columns have fallen and are partly buried. Two similar columns lie on Mound D. (There is, also, such a column lying a 501626—43-—2 4 BUREAU OF AMERICAN ETHNOLOGY [Butt. 139 little to the northwest of Mound D on the Ranchito site.) It may be mentioned that, while Mound E is not especially large, it is situ- ated on high ground and affords a commanding view of the whole zone. l eZ e ee yy "Wy Yy (4, Ml WY ys AD SAN ANDRES | ‘ My wn AHN OTUXTLA jy g N 3 Map 2.—The Tuxtla region. As already stated, the groupings just given have been made pri- marily to facilitate discussion. They do not necessarily imply con- temporaneity or functional integration, although one might well surmise that, in the Ranchito Group, Mounds A, B, C, and D had group uses, as did also, in all probability, the mounds immediately surrounding the Plaza of the Arroyo Group. WEIANT] CERAMICS OF TRES ZAPOTES 9) It should be noted, too, that map 3 can hardly be considered complete. To the west of the North Group and just beyond the limits of the map is a fifth important mound group which received NORTH GROUP EO A Ee © MAIN TL AR Ane. Se. oO oUt itay, annua ee sy NT 0G B SS % ", recent 4 MITT ly = 3 z %, a OPT Lia ) s SLOWER © CABEZA GROUP : Co A yo pc @ £5 oo 4, > : = ~) we @ Cabeza Colosal Th) yyend? yunnine TT all Map 3.—Principal mound groups at Tres Zapotes. only cursory inspection for the possible presence of stone monuments. Even within the confines indicated by the map, particularly in wooded areas, there are undoubtedly some mounds which escaped observation, 6 BUREAU OF AMERICAN ETHNOLOGY [BuLL, 189 and within the Arroyo Group, a bit to the south of the mounds shown, are others, of minor size, which, for lack of time, could not be inves- tigated, even superficially, and are, for that reason, omitted from the map. THE EXCAVATIONS Excavations from which pottery and figurines were taken may be summarized as follows: THE CABEZA COLOSAL During the excavation of the Cabeza Colosal, sherds began to appear at a depth of about half a meter; sandy Coarse Red ware and Polished Black ware predominating. All the material, however, showed signs of extreme attrition, and when it was realized that this soil had been considerably disturbed on a number of previous occasions, it was decided to ignore this material in the present study. Two heads and one torso of characteristic Tres Zapotes figurines were found in the Adobe painted red | meter Section opened to ras expose stairway “e SN SAAS | meter E End of red clay on sim~u floor of excavation SSAS ASA ~S BS Z SSSyy > a) S UNEXCAVATED Map 4.—West-east section through Mound BH, Cabeza Group. course of the excavation. A broad trench run from the Cabeza north- ward nearly to Mound A proved completely sterile. CABEZA GROUP, MOUND E The structure of this mound is revealed in the longitudinal section shown by map 4. Five steps, slightly curved from side to side, formed a stairway almost 8 m. in width, leading up the west slope of what must have been the primary mound. The top of the primary mound is indicated by a floor of red clay, which is extended as a ramp as far as the top step of the stairway. The sandstone slabs shown in the excavation over the stairway apparently were part of the facing of a secondary mound, to which was added still another layer, bringing the mound nearly to its present height. In this excavation sherds began to appear at a depth of 25 cm., the same Coarse Red ware and Polished Black ware which had been found around the Cabeza predominating, but they were not at all numerous. Mixed with the sherds were traces of charcoal and fragments of deer WEHIANT ] CERAMICS OF TRES ZAPOTES 7 bone. A few figurines and figurine fragments of the solid Red Tres Zapotes variety were obtained. At a depth of slightly more than a meter, sterile soil was encountered, and this continued almost to the red floor, just above which was found a single sherd of Black Incised ware. STELA A Excavation around this stela produced four Tres Zapotes figurines, an effigy of the king vulture, and an extensive cache of obsidian flakes which included many complete knives. All artifacts were close to the surface. Below them lay about 1 meter of sterile soil, which, in turn, rested upon a clay floor, the floor that originally supported the stela. The sterile deposit had evidently accumulated after the fall of the stela. RANCHITO GROUP ZONE OF THE BURIALS This zone is located on the western side of the East Promontory within the area indicated on map 5. The burials fall into two groups, superficial and deep. The superficial, or surface, burials occur at a depth of only 30 cm. They consist of a pot, usually of olla form, containing cremated bones and covered with an inverted dish. Smaller vessels are fre- quently found along with the bones inside the olla. The deep burials are found at a level of 1.3 to 1.7m. These con- sist of very large ollas, as a rule inverted, containing occasional frag- ments of bone, or perhaps only a few teeth, without signs of cremation. Smaller vessels and large sherds occur either in or close to the burial vessels. As the excavation proceeded from the edge of the promontory inward toward Mounds A and D, surface burials soon disappeared and deep burials became increasingly rare. Tres Zapotes figurines, broken manos and metates, and obsidian flakes occurred throughout. Hollow figurines tended to concentrate in the upper levels. Just west of Mound A the trench reached a depth of 3 m., before striking the sterile layer of clay which lies under the rich, black, sherd-bearing soil above. Here, at a depth of about 2.6 m., were found two dark- brown, Mayoid, sculptured sherds, a clay head representing Xipe, and a number of dog and deer bones. An interesting discovery in this excavation was that of a series of telescoped sections of clay tubing, very similar to those which emerge from Zapotecan tombs supposedly for the escape of the soul (Saville, 1899, p. 350 et seq.). They were found at a depth of about 2 m. slightly to the northwest of Mound A, toward which they seemed to be leading. To our disappointment, however, they terminated 1 For photographs and description of Stela A, see Stirling, 1939, p. 200. 8 BUREAU OF AMERICAN ETHNOLOGY [BuLt, 139 N Sanus STEEP SLOPE TO ARROYO FLOOD PLAIN CAST PROMONTORY ill) TT kellie | ory i] i 4a t vi! : ie] wo a! r 1] § ZONE OF BUR/ALS\ RUETeECNNNGqngueceee eevee eqnnsteceneesneenedteoneenasnrqngteneytveennanasnedenceetgysescageeencenereeceetenedtnns GULLY HVMADDGLALAGNGGUaDU ALG Ndp bad apdboU Add sovaNde ibs adabEd UNA ner vAbdauuadebabddddsdatdddsvuauiduaast it ts i i! ud ad Hoole WEST PROMONTORY VICTOCH RAE EUAEL TAO ET ENA RRC ACLU LTT ERT CANE nnonpencaqegaageganangereneqcetereqacqeqagcnanqaggencnqqegdcnaneqecey GULLY, NITVIYTILITTTYITILYLUU Uti Lr nin Urn ini iin MAIN TERRACE Map 5.—Principal mounds of the Ranchito Group. (Dotted lines enclose excavated areas.) WEIANT] CERAMICS OF TRES ZAPOTES 9 abruptly before reaching the mound, their disappearance coinciding with that of the burials. One is tempted to speculate on the possi- bility that they may have provided a common exit for the souls of all those whose fate it was to be buried in this cemetery. MOUND A Details of this excavation are given in map 6. The retaining wall, _ shown in cross section, proved to be about 2m. long. No difference was noted in the material from the two sherd-bearing layers. Among the specimens of special interest which came from this mound are the “danzante” seal (fig. 50, ¢), a spindle whorl on which is carved a human x x * Gray Earth * x x oe * (sherd-bearing) * x * * * * Hy se Been * x 7 x oJ * wie re Gray Earth (sherd - bearing) “N. RETAINING WALL (SLABS OF SANOSTONE) Map 6.—North-south section through Mound A, Ranchito Group. figure wearing a large headdress, and the black effigy vessel shown in plate 58, figure 3, which was found at a depth of 2.6 m. and con- tained a piece of an infant’s skull. From this mound, also, came a small square of mica. MOUND C As indicated in map 5, two broad trenches were cut into this mound, one from the north which was carried nearly to the center, and one running east and west through the highest part of the mound which was prolonged down the steep face of the terrace to the flood plain level. Probably 90 percent of the trichrome and polychrome sherds came from this mound. The pottery, in general, corresponded closely to that of the surface burials. A spectacular find here was that of the large laughing figurine shown in plate 44, figure 11, which occurred toward the west end of the long trench at a depth of about a meter. Almost in the exact center of the mound was a secondary burial of a large adult. Behind the skull was a small “pie plate” similar to that shown in 10 BUREAU OF AMERICAN ETHNOLOGY [Buut. 139 figure 17, e, and with the bones was a jadeite pendant in the form of a dog’s head. Close by, at a depth of 3 m., was found the direct burial of a large male adult, lying on the left side, with the head to the west, and facing north. By the feet was a flat-bottomed black dish and over the middle, a globular olla of Red ware with a broadly incised simple decoration around the body below the short neck. The olla had, for a cover, an inverted bowl of the tripod loop-legged variety (fig. 25, f). Just above this were two stones about 65 or 70 cm. long. One con- sisted of a mass of marine fossils; the other was a hexagonal segment of columnar basalt. Both of these were set up vertically. Next to the two stones were three hands from large Red ware figurines. Typical Tres Zapotes figurines occurred sporadically throughout the mound, as they did in all other excavations from which any considerable material was taken. The prolongation of the trench down the face of the terrace proved relatively sterile. MOUND D AND ADJACENT AREAS It will be recalled that Mound D is but a low platform. Details of the excavation, including depth and relative density of sherds, are given in map 7. This was perhaps the most productive of all the excavations undertaken. Except for burials, which here were de- cidedly rare, conditions were quite similar to those described in con- nection with the zone of the burials. That is, once the digging had proceeded beyond the layer of top soil, one encountered a rich sherd- bearing deposit of black earth extending to an average depth of 3 meters, below which appeared yellow clay that soon became sterile. From Mound D itself came a vertical incensario, part of a vessel with annular base, a brown pottery cylinder with flat rectangular ends, a pottery tube which may be the neck of a Teotihuacan “flower vase,” and tripod whistles in the form of the coati-mundi carrying its young. About 3.8 m. north of the mound, at a depth of a meter, was dis- covered a mosaic of potsherds. Placing sherds of dissimilar clay and slip in contiguous positions to secure a variegated effect, and choosing shapes which would fit tightly together, the maker of this mosaic had produced a disk 1.38 m. in diameter. On its circumference, to the north, lay three broken pots, while just above the mosaic was surface burial R-9, which consisted of eight pots. East of this point no other surface burials, and very few deep burials, were encountered. In the lowest part of the trench north of the mound were found the figurine of the tiger god (pl. 41, fig. 2), the deity with the rabbit’s head replacing the right hand (pl. 41, fig. 8), and several broken seals, one of them cylindrical. Directly in front of the mound to the east, at a depth of 2 meters, was discovered a piece of a well-carved stone yoke. Close to it, at the same level, were found a carved sherd of Dark Brown ware, showing WEIANT] CERAMICS OF TRES ZAPOTES it a human head and plumes (pl. 57, fig. 16) and a sherd of carved Yellow ware depicting a snake in vertical position, which recalled the Dresden Codex (pl. 57, fig. 9). It is interesting to note the close association of so-called Totonac yoke fragments with Mayoid sherds and figurines, and their absence from levels in which are found the Totonac laughing faces. The latter always occur superficially. The excavation at the bottom of the gully between the two promon- tories (map 5) was merely a sampling operation for material washed down from the top of the slope; the promising finds obtained soon led to the excavation of the zone of the burials. j0S yDe19 figurines & small ollas soil Blocks of sandstone Coati Black x AN ¥ XN NI 9 x SO FHWA LSPF SO FWSOHS ir AN Spa PROFILE OF WEST FACE (a-b) Bes} HOK se be CSTR PLLA PILI, spuow Boundary of Mound Map 7.—Details of excavation, Mound D, Ranchito Group. MISCELLANEOUS EXCAVATIONS The two excavations on the west promontory, opposite the zone of the burials, and the one just south of Mound B, produced only surface refuse and were soon abandoned. From Mound E the material obtained was not abundant, although a few fine specimens were collected. These did not differ essentially, however, from the material collected on the east promontory, with which they have been studied. MOUNDS J AND K These mounds are outside the Ranchito Group proper (see map 3), but were, for convenience, classified as part of that group. The mounds themselves were not extensively penetrated. First, a trench about 2.8 m. deep and 16 m. long was run parallel to the two mounds and midway between them. The upper 60 cm. consisted of heavy black 12 BUREAU OF AMERICAN ETHNOLOGY [Bonn 139 | soil containing numerous potsherds of Coarse Red ware. Below this was a layer of brown clay and earth about a meter thick which also contained sherds. At the bottom of the black layer was a stratum of potsherds containing many specimens of fine Black Incised ware with red pigment in the incisions. This ware continued sporadically through the brown layer. In the brown layer, also, were solid, red figurines of Tres Zapotes type (one of them with the face painted black), numerous “teapot” spouts, principally of pinkish clay with a white slip, and a number of incised sherds of the same ware. Below the brown layer, the soil was sterile; first a layer of coarse sandy soil, then 30 cm. of heavy white clay, and finally a hard-packed sandy deposit. Two additional trenches, at right angles to the first, were carried part way into each mound, revealing the same stratification as that just described. MOUND F This mound was completely excavated. Near the center of the mound, at a depth of only half a meter, were found four large, hollow, mold-made figurines (pl. 44, figs. 5 and 8, and pl. 42, figs. 3 and 7), two of them typically “Totonac” and two that are more Maya than Totonac in style. Other specimens from about the same level include a tubular whistle, a whistle in the form of a bird (with clay pellet to make it warble), and a single sherd of Black Sculptured ware. It was discovered that this mound contained deep olla burials similar to the deep burials of the main burial zone. From these burials five com- plete pots and three restorable vessels were obtained. From the deeper levels came four fragments of plain stone yokes and one very beautifully worked, closed yoke bearing Caso’s Zapotecan “C” glyph, a highly convincing bit of evidence of cultural connection between this region and the centers of Zapotecan culture to the west. Also from deep levels came a stone skull, a spindlewhorl on which was carved a human figure, a Tlaloc head of crude Brown ware, and sev- eral sherds of Dark Brown Sculptured pottery, one of them paneled. Under an area of burned earth was a deep burial, the skeleton lying extended on the side, head to the north and facing east. In spite of being slightly flexed, it measured 61 inches from the top of the head to the ankle. Another and quite unusual feature encountered in this excavation was a large, circular, stone fireplace more than a meter and a half in diameter and two-thirds of a meter in height, located almost in the exact center of the mound. It was filled with burned earth, sherds, figurines, and mano and metate fragments. ARROYO GROUP THD PLAZA South of the east end of the Long Mound (C) and approximately opposite the center of Mound A a test pit was dug. At a depth of WHIANT | CERAMICS OF TRES ZAPOTES 13 about 30 cm. sherds were found resembling those of the cremated burials on the Ranchito site. Below this deposit, which was rather thin, the excavation proceeded through sterile loam to a depth of 2 m. where striated (“paddle-marked”) olla sherds were found. These were of coarse red clay with white slip. o TT PS DS HMA x NT =~ i: ty UTD Si : a _ ——— 7 4.3 meters AY Za Gray top soil mnt Red burned earth SG Yellow clay 31 Brown clay 4 Brown loam | Light gray sandstone Dark brown woody layers Map 8.—Stratification in Long Mound (C), Arroyo Group. MOUND B On the top of this mound was a seated stone figure with the top part missing. Extensive excavation here produced only a few sherds of Coarse Black ware and one sherd with numerous perforations. WEIANT] CERAMICS OF TRES ZAPOTES | meter N Map 9.—Plan of Stone Platform, Arroyo Group, Mound G. —S /SORNON ARs witdi=fp Yl alae on 7a, : ee Yyy UY, ty Li, 7 ay ame 7, Lx a. Cr LIL EEL EAST WALL Mar 10.—Mound G, Arroyo Group, east and west walls. MOUNDS I AND J 15 Trenches through these mounds yielded only a few sherds like those of the Plaza surface. PART 1—THE POTTERY* MIDDLE TRES ZAPOTES A+ (Sherds from beneath the Stone Platform, from bottom level of Plaza, and from deep levels of Long Mound) OLASSIFICATION I. Unslipped or partially slipped wares. 1. Striated. 2. Smothered. 3. Porous White. 4. Gray. a. Unpolished. b. Polished. II. Monochrome wares. 1. Normal White. 2. Black. a. Corrugated or fluted. b. Incised. 3. Brown. 4, Red. a. Unpolished or slightly polished. b. Highly polished. III. Dichrome (Red-and-White Incised) ware. I. UNSLIPPED OR PARTIALLY SLIPPED WARES 1. Striated ware. Slip: White (limited to neck and shoulder of olla). Surface: Rough and striated; the striations appear to have been made with a brush. The ridges have an average width of 1 mm., are 2 to 3 mm. apart, and stand out about 0.5 mm. above the general surface level. They spread diagonally from the root of the neck. Neck sherds are not striated, but on account of the coarseness of the temper have an uneven surface. The inner surface may be black or red, depending upon conditions of firing, and is more or less pitted. Paste: Rust red, gray, or black in color; porous; heavily tempered with grit; not very friable. Form: Nearly vertical neck sherds with flat rim, about 7 cm. in height and 22 cm. in diameter; convexo-concave body sherds ranging in thickness from 7 to 10 mm. (fig. 1, a, b). *For figures 1—29 referred to in classification of pottery, see pp. 32-54. 7The pottery has been grouped under three main headings: Middle Tres Zapotes A, Middle Tres Zapotes B, and Upper Tres Zapotes. Upper and Middle B materials obviously belong to separate stratigraphic categories since they are associated with distinct types of burials occurring at different levels in the same excavation. The distinction between Middle B and Middle A, however, rests primarily upon cross-cultural time markers (especially the associated figurines), rather than upon direct stratification, although Middle A was found at greater depth below the surface than was any of Middle B material. 16 WHIANT] CERAMICS OF TRES ZAPOTES IL 2. Smothered ware (fired in such a manner as to blacken the surface except for an irregular zone about the rim). Slip: White, applied to form a band along the rim externally; if present on inner surface covers the whole inside of the vessel, but is gen- erally absent. Surface: Smooth, with only slight polishing. Pastes: Homogeneous gray paste somewhat coarser in texture than the Smothered ware of Middle Tres Zapotes B and Upper Tres Zapotes. Forms: Figure 1, c-f; with few exceptions, sherds are too small to permit reconstruction of vessel shapes. 3. Porous White ware. Slip: Ordinarily none; one specimen is dull black on the outside, but this seems to be an effect of the firing. Surface: Comparable in feel to the slate of a blackboard. Paste: Light gray to white in color, merging into that of the surface; homogeneous and compact; extremely light in weight. (The term “porous” is suggested not by the texture of the paste, but by the finely pitted character of the surface.) Forms: Indeterminate, as no rim sherds were found; figure 7 shows a vessel of this ware from Middle Tres Zapotes. 4, Gray wares. a. Unpolished. Surface: Fine and sandy in appearance, with glistening particles of silica, although actually worn quite smooth. Paste: Compact, sandy, and extremely hard. Form: Figure 1, 1. b. Polished. Surface: Very smooth, highly polished, resembling the Polished Gray ware of Monte Alban I. Paste: Finely granular, moderately porous, and gray in color. Forms: Figure 1, m, n, 0. Decoration: In some eases, grooves parallel with the rim. II. MONOCHROME WARES 1. Normal White ware. Slip: White to pale cream; may be applied directly to surface, or may overlay a wash of the same clay as the paste. Deterioration of the slip in the latter case gives rise to a delicate rose tint in some specimens. Surface: Smooth. Paste: Homogeneous gray or buff-colored; many, but not all, specimens coarser than the White wares of Middle Tres Zapotes B, and Upper Tres Zapotes; occasionally exhibits highly porous modification and takes on brick red or black color according to firing. The same speci- men may present both the normal and the modified form of the paste. Forms: Figure 1, g-k. Decoration: One specimen (fig. 1, 2) has broad shallow incisions through the slip. 2. Black wares. a. Corrugated or fluted. Slip: A true black slip, commonly absent from inner surface of neck sherds. 18 BUREAU OF AMERICAN ETHNOLOGY (Butt. 139 2. Black wares—Continued. a. Corrugated or fluted—Continued. Surface: Smooth and highly polished outside; slightly rough and | pitted inside, and made more or less uneven by projecting particles of temper. Paste: Extremely variable, even in the same specimen; characteris- tically a highly porous ash-gray material resembling pumice (prob- ably a yoleanic ash) containing an abundance of coarse grit temper. It may, however, have a finer texture and be rust red or black in color; more rarely, it is compact and light brown in color. Forms: Figure 1, p-v. b. Incised. Slip: A heavy black slip contrasting sharply with color of paste. Surface: Smooth and well polished, but inferior in this respect to the corrugated ware. Paste: Subject to the same variations as the corrugated, except that the distinctly pumicelike modification does not occur. Forms: Shallow dishes with vertical, flaring, or outecurved sides (figs. 2,4). The specimen shown in figure 2, b, is of exceptional depth. Decoration: (1) Wide, shallow, roughly parallel lines made by a blunt implement before firing (fig. 2). (2) Crude rectilinear and curvilinear designs scratched through the slip after firing. Nar- row incisions predominate, and these are frequently filled with ared pigment. The technique strongly suggests Monte Alban ITI. (Fig. 4.) 3. Brown wares. Slip: A number of shades are represented, notably 13—A-7, 13—B-10, 13-H-8, 14—A-7, and 14-A-10, in the Maerz and Paul scheme of color classifica- tion. All have the general appearance of varnished wood. Surface: Smooth, well polished. Paste: Like that of the Black Incised ware. Forms: Figure 3. 4. Red wares. a. Unpolished or slightly polished. Slip: Specimens from the Long Mound have a color for which the nearest equivalent is Maerz and Paul’s 6-I-11 (Sierra Venetian) ; those from below the Stone Platform correspond more closely to 5-EH-11 (Fujiyama). Hither might be loosely described as brown- ish red or rust. Surface: Slightly rough to smooth; the rougher specimens are finely pitted. Paste: Gray and fairly compact, with a small amount of grit temper. Forms: Figure 5, a-i. Decoration: Generally none, although one or two incised lines at the base of a neck may appear. (Fig. 5, b.) b. Highly polished. Slip: Maerz and Paul’s 6—J-12 (Henna), richly applied to both surfaces. Surface: Brilliantly polished. Paste: Same as that of the Unpolished Red specimens. Form: Figure 5, j. WEIANT ] CERAMICS OF TRES ZAPOTES 19 III. DICHROME (RED-AND-WHITE INCISED) WARE Red-and-White Incised ware. Slip: Outer surface white; inner surface a deep red, Maerz and Paul’s 6-K-10 (Chalet Red). Surface: Outside, smooth with dull finish; inside, highly polished. Paste: Coarse in texture, porous, buff-colored, and nearly homogeneous. Form: Flat-bottomed dish with extraordinarily thick, outeurved sides (fig. 6). Decoration: Broad, shallow, crudely sketched incisions through the white slip. MIDDLE TRES ZAPOTES B (Deep burial vessels from the Ranchito site) CLASSIFICATION I. Unslipped or partially slipped wares. 1. Speckled. 2. Smothered. 38. Porous White. II. Monochrome wares. 1. Normal White. 2. Black. a. Modified Black. b. Incised before firing. ce. Incised after firing. 3. Rust Red. 4. Dead-leaf Brown. III. Wares and painted decoration.” 1. Pseudodichrome (dichrome effect achieved by a design in one color upon an unslipped background). 2. Pseudotrichrome (trichrome effect achieved by a design in two colors upon an unslipped background). I. UNSLIPPED OR PARTIALLY SLIPPED WARES 1. Speckled ware. Slip: A reddish brown (Maerz and Paul’s Indian Red, 6—-L-12), found only on outer surface of necks of ollas and on upper part of body; more often than not entirely absent. Surface: Inside rough, peppered with projecting particles of mica, but not easily eroded; outside, practically the same except in specimens ex- hibiting slip, in which case the slipped area is fairly smooth, although the temper can Still be detected. Some specimens present a slightly glazed effect, which, however, does not obliterate the unevenness due to temper. Paste: Coarse, gray, and abundantly tempered with mica. Form: Very large ollas with corrugated necks; the diameters of orifices range from 20 to 30 cms. (fig. 7). Next to the globular forms of the Rust Red ware, the commonest primary vessel of the deep burials. Decoration: Striations on the body of one vessel (fig. 7, d). 3 These wares, while quite common in Upper Tres Zapotes, are each represented by but one yessel in the deep burial material. 501626—43——3 20 BUREAU OF AMERICAN ETHNOLOGY [Buxu. 139 2. Smothered ware. Slip: None. Surface: Smooth, but not glossy; the unsmothered portion next to the rim is narrower and more regular on the inner surface than on the outer. Paste: A compact gray or black paste, especially heavy in weight. Forms: See figure 8. 3. Porous White ware. The same ware that has been described under this designation in connec- tion with Middle Tres Zapotes A. Figure 9 shows the only complete vessel of this ware found. The interior is dark gray in color. II. MONOCHROME WARES 1. Normal White ware. Slip: White, generally of good quality; in some cases appears to have been preceded by a thin, salmon-colored, clay wash. Surface: Very smooth, Paste: Variable; may be highly porous and of brick-red or gray color, or may be compact and relatively nonabsorbent, in which case broken surfaces tend to become quite smooth, have a distinctly soapy feel, and are difficult to mend. Forms: Large cylindrical vessels. a. With slightly recurved walls (fig. 10, a). b. With straight wall, rim flange, and flaring rim (fig. 10, DB). Ollas with vertical necks and overhanging rim. The specimen in fig- ure 10, c, had lost any slip it once possessed, but since the great majority of sherds from vessels of this shape have a white slip, there can be little doubt that it belongs to this category.* 2. Black wares. a. Modified Black. Slip: A shiny black slip which has acquired, over large areas, a brownish or reddish discoloration due to weathering. Surface: Smooth, polished. Paste: A porous brick-red paste with gray or black central core, It is the outer red zone of the paste that accounts for the altered appearance of the slip after long exposure and wear. Forms: Vessels of nearly cylindrical form and of great size (35 to 40 cm. in diameter and as much as 60cm. high). The sides are slightly recurved (fig. 11, a, 6, ¢). Vessel with spout- handle (fig. 11, d). Flat-bottomed dishes. These may have outcurved sides (fig. 11, e) or flaring sides. Of the latter type, only an incomplete specimen was found; the bottom of this has a diameter of 23 cm. Decoration: The large vessels (fig. 11, a, b, c) have a flange about 5 cm. below the rim, decorated with deeply cut, diamond-shaped or ovoid incisions which give the effect of a twisted rope. Above the flange the wall of the vessel is fluted. 8 The forms described here are restricted to those found in direct association with burials. By no means do they comprise the full range of forms found in the general Ranchito deposit. WEIANT] CERAMICS OF TRES ZAPOTES 21 2. Black wares—Continued. b. Incised before firing. Slip: Dull black. Surface: Smooth, only slightly polished. Paste: Similar to that of the modified black. Forms: Among the deep burial vessels only two specimens repre- sent this ware—the miniature composite silhouette bowl shown in figure 12, a, and the dish with vertical wall, a large sherd of which appears in figure 12, B. Decoration: In figure 12, a, wide, but extremely shallow grooves made with a blunt implement; in figure 12, b, sharply cut inci- sions about 2 mm. in width and of equal depth. ce. Incised after firing. Slip: Black, in some cases glossy, in other cases dull. Surface: Smooth, occasionally very well polished. Paste: A very compact gray paste with fine grit temper. Forms: Simple silhouette bowl (fig. 138, a). Flat-bottomed dish with vertical sides (fig. 13, c). Flat-bottomed dish with verti- cal sides, rim flange, and wide incurved lip (fig. 13, 0). Decoration: Thinly incised lines which cut through the slip and form stepped, cross-hatched, and serpentine patterns. In some instances the incisions are filled with red pigment (Maerz and Paul’s Claret Cup, 6-B-5 or 6-B-4). 3. Rust Red. Slip: Exceedingly thin and of the same color as the paste, IEEE and Paul’s 5-F-11 or 5-F-12 (Burnt Sienna). Surface: Outside smooth with slight roughening toward bottom of vessel ; inside rather uneven and pitted and not so well polished, although not rough to the touch except at the bottom. (Large specimens sometimes striated.) Paste: Extremely porous red paste containing fine particles of black mica temper. Forms: Olla-bowls, 7 to 11.5 em. in height, with orifices 9 to 16 cm. in diameter (fig. 14). Ollas: very large globular vessels with short vertical necks and orifices about 86 cm. in diameter. These constitute the most com- mon form of primary vessel in a burial. 4. Dead-leaf Brown. Slip: Maerz and Paul’s 5—A-12 (Feuille Morte) ; applied only on interior of vessel. Surface: Interior smooth, well polished; exterior worn to a chalky smoothness near rim, but slightly rough farther down. Paste: Compact and homogeneous in texture; gray at center, but of dull reddish color near surface. Form: Incurved bowl (fig. 15). III. WARES WITH PAINTED DECORATION 1. Pseudodichrome. Slip: Dark red (Maerz and Paul’s Mineral Red, 6-J-8), on decorated part of vessel only; elsewhere, vessel is without slip and has a color rang- ing from cream to buff. Surface: Smooth both outside and in, although inner surface is more or less uneven. Paste: Like that of the Dead-leaf Brown ware. 22 BUREAU OF AMERICAN ETHNOLOGY [BuULL. 139 1. Pseudodichrome—Continued. Form: Figure 16. This specimen is unique in our collection. Decoration: Neck, shoulder, and interlobular grooves of body painted red; lobes themselves left unslipped, so that a dichrome effect is created. 2. Pseudotrichrome. Slip: None; color of clay: orange to buff. Surface: Moderately smooth and polished, creating the feel of chalk of the “dustless” variety. Paste: Porous, orange or buff-colored, with a smattering of relatively coarse, whitish or gray, grit temper; very friable. Form: The only deep burial specimen of this ware is a large plate with outcurved sides, having a diameter (at rim) of 42 em. and a thick- ness of 5 mm. Decoration: Painted decoration on inner surface as follows: Along rim, a black band about 1 cm. wide; near bottom, a series of four con- centric circles about 0.5 cm. wide, black and red alternating. The second circle, a red one, has a wavy outline; the others are regular. The red and the black on the unslipped background create a tri- chrome effect. In no other deep burial specimen have two colors been employed in decoration. UPPER TRES ZAPOTES (Surface burial vessels) CLASSIFICATION I. Unslipped or partially slipped. 1. Gray. 2. Yellow and Pink. 3. Rust Red, rough. 4. Smothered. 5. Porous White. 6. Speckled. If. Monochrome. . White (or Cream). Black. . Rust Red, smooth. . Reddish Brown. . Orange. a. Normal. b. Aberrant. 6. Dark Brown. 7. Dubonnet Red. III. Pseudodichrome (design in one color on an unslipped background). 1. Orange. 2. Brown. 3. Black. 4. Dubonnnet Red. IV. Dichrome. Dubonnet Red-and-Orange. . Dubonnet Red-and-Dark Brown. Dubonnet Red-on-White. Brown-on-White. . Black-on-Rust Red. . Black-on-Dubonnet Red. oR oo bo pH OU for) WHIANT] CERAMICS OF TRES ZAPOTES 23 V. Pseudotrichrome (design in two colors on unslipped background). 1. Red-and-Black. 2. Red-and-Orange. 38. Brown-and-Black. VI. Trichrome. 1. Red-and-Black on White or Cream. 2. Dubonnet Red-and-Orange on White. I. UNSLIPPED OR PARTIALLY SLIPPED WARES While some of the wares listed under this head, especially the Yel- low and Pink, must at one time have had a slip or painted decoration (since thousands of sherds and many whole vessels exhibit traces of slip or painted design), yet the number of specimens from which all such traces have been obliterated is very great. For this reason, it seems desirable to describe them exactly as found. 1. Gray ware. Color: Dull gray, ranging from light to dark (Maerz and Paul’s 5-A+1 to 6-A-1). Thin vessels tend to be light. Surface: Smooth, but not shiny. Paste: Compact, homogeneous, and of same color as suriace. Forms: Simple silhouette bowls. a. Round-bottomed with curved sides; diameter 14-23 cm., height about one-third diameter, thickness 2-4 mm. (1) Without modification of form. (2) With spout. (3) With cascabel supports. b. Flat-bottomed, averaging 15 em. in diameter, 4.5-6 cm. high, and 3-5 mm. thick.* (1) With sides flaring at an angle of 45° and everted rims, which are sometimes decorated with V-shaped or thumbnail indentions. (2) With simply curved sides. (3) With slightly outcurved sides and everted rims. (4) With incurved sides (only very slightly curved through- out their greater extent, but sharply incurved near rim). (a) Undecorated. (b) With two or three incised lines on shoulder running parallel with rim. Composite silhouette bowls, with upper portion outcurved and fre- quently incised; 15-20 em. in diameter, 2-4 mm. thick. Ollas : only one specimen specifically associated witha burial (fig. 23, Db). Cylindrical vessels with very slightly recurved sides and a series of parallel ridges near the rim; the same decoration may be repeated near the base. In addition, there may be a narrow rim flange and a simple curvilinear or zigzag incised design connecting the two series of ridges. Diameter 10-27 cm., height slightly more than half the diameter, thickness 4-7 mm. Miniature vessels; small incurved bowls with absurdly thick bot- toms (fig. 20, c). “Very much larger sizes are represented in the general sherd collection from the same levels. 24 BUREAU OF AMERICAN ETHNOLOGY [BuLt. 189 2. Yellow and Pink wares. Color: The term “yellow” as used here has no specific color connotation, but serves merely to characterize the general appearance of the clay in contrast to red, gray, or black clays. It comprises various shades of cream, buff, and orange brown in the finished product. The term ‘pink” is likewise a loose one, denoting salmon and rose-colored hues with Maerz and Paul’s 3-A-11 and 4—-A-10 particularly common. In spite of the variability in color, these wares are in other respects (surface finish, paste texture, and vessel form) fundamentally the same. Surface: Smooth, either chalky or soapy to the touch. Paste: Compact, homogeneous, without visible temper, and of the same eolor as the surface. Broken edges quickly become smooth and soapy, and can be mended only with the greatest difficulty. Forms: Simple silhouette bowls and dishes, diameter 10-86 cm., height 2.2-6 cm., thickness 2 to 6 mm. a. With vertical sides. b. With simply curved sides (fig. 17, a). c. With inecurved sides (fig. 17, 7). d. With outcurved sides. e. With recurved sides. (1) Without supports. (2) With short conical supports (fig. 24, d). f. With flaring sides. (1) With unmodified rim. (2) With overhanging rim. (8) With everted rim. (4) With everted rim and slab feet. Composite silhouette bowls, diameter 12 or 18 cm., height about 6 em., thickness only 1.5 to 2.5 mm. a. Plain (fig. 19, a). b. Fluted (like the white-slipped specimen, fig. 19, c). e. Incised. Ollas, maximum diameter 10-12 cm. a. Flat-bottomed. (1) With vertical neck and everted rim (fig. 23, a). (2) With composite body and outcurved neck (fig. 23, d). b. Globular with vertical neck (fig. 23, e). ec. With spout-handle, Miniature forms. a. Inecurved forms. (1) With thick bottoms, like those of the Gray ware. (2) Very thin (fig. 29 e, shows a unique example). b. Forms with flaring sides. (1) Moderately thick (fig. 20, b.). (2) Of such thickness that almost the entire capacity of the vessel is obliterated (fig. 17, 7). One can hardly surmise the function of these vessels; some may be molds. ce. Recurved bowls about 3.5 em. in diameter, 3 em. high, and 1.5 mm. thick, with two small perforations near rim for suspension. d. Olla-bowls with vertical necks; maximum diameter about 6 cm., height 4 em., thickness only 0.5-1.0 mm. WEIANT] CERAMICS OF TRES ZAPOTES 25 9. Yellow and Pink wares—Continued. Forms—Continued. Aberrant forms. a. Dish with angled sides (fig. 25, a). b. Cylindrical vessel with basal groove and ealated rope design (fig. 28, c). e. Incurved globular bowl with rim flange, decorated with conical bosses about 6 mm. in diameter and height, spaced approxi- mately 1 cm. apart; diameter of orifice about 15 cm. d. Olla with spout-handle and finely modeled human head. 8. Rust Red, rough ware. Color: Maerz and Paul’s 5-F-11 to 5-F-12 (Burnt Sienna). Surface: Rough and uneven. Paste: Coarse, well tempered, often sandy; of same color as surface. Forms: Ollas, globular in form, with outcurved neck, of the shape shown in figure 23,c. These are the primary vessels of the surface burials. As such, the average maximum diameter is about 30 cm. ; thickness, about 7 mm. Smaller specimens of this form also occur. The thinnest part of the vessel is the shoulder. Bowls with loop-handle supports (fig. 25, f). Depth about 6 cm., diameter of orifice about 17 cm. The rim is wide and everted, and there is a more or less definite groove immediately under the rim. These vessels are rather rudely made. Frequently they were inverted and served as a cover for burial ollas, in which case they rested within the everted rim of the olla. Comales (tortilla griddles). Only one specimen found (fig. 25, c). Bowls with annular supports. a. With support low and outcurved (fig. 19, d). b. With support high and provided with vents, presumably to facili- tate use as incensario (fig. 28, b). Composite silhouette bowls. a. Like the plain Yellow ware specimens. b. With thick wall, sharp angle, and abrupt outcurve (fig. 19, 7). Aberrant forms. a. Small dish with flaring sides, rudely made (fig. 28, f). b. Miniature bowl or cup (fig. 25, g). ce. The chamber-pot form shown in figure 25, d. 4, Smothered ware. This ware has been described in the sections on Middle Tres Zapotes. In addition to the forms noted there and illustrated in figure 8, the following aberrant specimens have been found in the surface burials of Upper Tres Zapotes: Cylindrical vessel, about 10 cm. in diameter and 15 cm. in height, repre- sented by three large sherds, two from the wall and one from the bottom of the vessel; inner surface black, lower part outside black, unblackened upper part covered with tan slip. Incurved bow] with lugs (fig. 29, d). Bowl with incised spiral design (fig. 25, e). 5. Porous White ware. See description in section on Middle Tres Zapotes A. The ware is repre- sented in surface burials by only two specimens, neither of which is complete. One is a composite silhouette bowl, incised; the other, 26 BUREAU OF AMERICAN ETHNOLOGY [Buwt. 139 an incised cylindrical vessel of the type described under Gray ware in this section. A peculiarity of these vessels is the fact that the white color is limited to the exterior, the interior being of a light- gray color. The characteristic texture and light weight of the speci- mens, however, readily distinguish them from those specimens of Smothered ware in which the black area has paled to a gray. 6. Speckled ware. The general characteristics of this ware have been noted in connection with Middle Tres Zapotes B. In Upper Tres Zapotes, however, a special modification appears in the form of effigies on the necks of the ollas. The effigies are very crudely executed representations of human and simian heads (fig. 29, a, b, c). Protrusions on the inner surface of the vessel, as Shown in the profile view (fig. 29, a), demon- strate that the perforations made for eyes, ears, and mouth were punched into the wet clay. There is, however, considerable variability in the treatment of anatomical details. In @ each eye is represented by a pair of deep circular depressions. Similar depressions stand for the corners of the mouth and the ears, the latter being reenforced by a ridge along the outer and lower rim. In }b each eye is represented by three minute circular depressions, while similar depressions denote both the corners of the mouth and the openings of the nostrils, and whereas in @ no lips are shown, here they are represented by parallel ridges. The ears in this case occupy a position on the same level with the mouth. In ¢ the eyes are represented by concentric circular ridges. Both a and b have the Indian Red slip which, as we have seen, was characteristic of this ware in Middle Tres Zapotes B. (See also pl. 56 and accompanying discussion. ) II. MONOCHROME WARES 1. White ware. Slip: Like that of the Normal White of Middle Tres Zapotes B. Surface: Smooth. Paste: Identical with the unslipped Yellow and Pink wares. Forms: Practically all those listed under Yellow and Pink wares and, in addition, the following notable or aberrant forms: Large incurved storage vessels of the shape seen in figure 17, h, but much larger (up to 40 cm. in diameter). Deep tripod bowl with curved sides, flat bottom, and nipple-form supports (fig. 24, c). Olla bowls with a maximum diameter of about 10.5 cm. and a height of 5.5 em. Ollas of unusual shape. a. With piriform body (fig. 23, f). b. With shoulder flange (fig. 23, g). ce. With strap-handle (inside diameter of neck 7.5 cm.). Miniature jar with three loop handles. 2. Black ware. Slip: Black. Surface: Smooth, generally shiny. Paste: Wine-grained, homogeneous, dark gray or black; rarely red. (Coarse-textured in vessels of unusual size.) WEIANT] CERAMICS OF TRES ZAPOTES 27 2. Black ware—Continued. Forms: Simple silhouette bowls and dishes (to diameter of 40 cm.). a. With curved sides (fig. 17, ¢). b. With flaring sides. (1) Without supports (fig. 21, a). (2) With slab feet (fig 21, b and d). Bowls with beveled rim flange (fig. 22, c). Composite silhouette bowls. a. With ledge about half way below rim. b. With rounded bottom and slightly outcurved sides. c. With overhanging upper section (fig. 19, 0). d. With angled sides (fig. 22, a and b). Cylindrical vessels (to 29 cm. in diameter ). a. With slightly recurved sides (fig. 22, ¢). b. With straight sides. ce. With rim flange and flaring rim (fig. 22, d). Miniature incurved bowls with thick bottoms. Decoration: Nearly all surface burial Black ware vessels are decorated. Three principal types of decoration occur: a. Parallel furrows (fig. 19, b; fig. 22, a). b. Incisions through slip, sometimes filled with red pigment (fig. 2210): ce. Incisions not through slip (fig. 22, c). Design elements: . Parallel lines. . V-shapes. . Cross hatching. . Concentric circles. . Rectangular enclosures with rounded corners. . Steps. . Angular meander. 3. Rust Red, smooth ware. Slip: Like that of the Rust Red ware of Middle Tres Zapotes B but more lavishly applied. Surface: Smooth, more uniformly even, and better polished than that of Middle Tres Zapotes Rust Red. Paste: Less porous, more evenly fired, more finely tempered than in Mid- dle Tres Zapotes; rust red in color except in the case of the tripod bowl shown in figure 24, b, which, if it were to be classified on the basis of paste, rather than slip, would have to be listed as Yellow ware. Forms: Olla bowls with a maximum diameter of 8.5 to 10 em. and height of 4.5 to 6 cm. A typical specimen is shown in figure 26, b. How- ever, instead of being flat, the bottom may be either round or slightly concave as viewed from the outside. Aberrant forms. a. Olla bowl with conical supports, furrowed to imitate melon (fig. 24, b). b. Composite silhouette bowl, outside rough, inside slipped and polished. The paste is coarse and sandy like that of the Rust Red, rough ware. The upper section of the bowl has vertical sides and carries an incised design of cross hatching arranged in step form. The tiny squares thus marked out show traces of red paint. mone oe 8 og 28 BUREAU OF AMERICAN ETHNOLOGY [Bunn. 139 4. Reddish-Brown ware. Slip: Maerz and Paul’s 6—-A-12, Rust Sorolla. Surface: Smooth. Paste: Like that of the Rust Red, smooth ware, in the case of the olla bowls; otherwise, identical with the Yellow ware. The commonest color is buff. Forms: Olla bowls like those of the Rust Red, smooth ware. Simple silhouette dishes. a. With curved sides, similar to figure 17, b; slipped on inside only. b. With flaring sides. (1) Plain rim (fig. 17, e). (2) Everted rim with grooved decoration (fig. 17, g). ec. With outeurved sides, diameter of base 13.5 em., diameter of orifice 22 cm., height 4.5 cm., thickness 4mm. In this case the colored slip overlays a white one. Plate with concave bottom, flaring sides, and rim directed outward (ie 2252 1D)) 5. Orange ware. a. Normal. Slip: Maerz and Paul’s 4-C-12 in color, generously applied. Surface: Smooth. Paste: Identical with the unslipped Yellow and Pink wares. Forms: Simple silhouette dishes with flaring, sides. A typical specimen is 12 cm. in diameter at the bottom, 17 cm. in diameter at the top, 3.4 cm. high, and 6 mm. thick. Small ollas with everted rims, height about 7 cm., diameter of orifice slightly less, thickness 2 to 5 mm. On the outside only the bottom is left unslipped; on the inside the neck only is slipped. b. Aberrant: This ware has a sort of blood-orange color (Maerz and Paul’s 4-F-12, Mosque) and a brilliant polish. It is represented in our collections by only one specimen, the large sherd shown in figure 88, g, and is presumably an importation from the Huaxteca, since it is only in collections from that region that the ware is at all common. An intrusive vessel of this ware, of exactly the same shape as our specimen, may be seen in the Tarascan collection of the American Museum of Natural History. 6. Dark Brown ware. Slip: A dark woody brown in color (Maerz and Paul’s 7-L-12, Caldera) and of good quality. Surface: Smooth. Paste: Identical with Gray ware. Forms: Simple silhouette dishes. a. With outcurved sides. b. With flaring sides and slab feet. (These forms have incised designs similar to those on the corre- sponding Black ware forms.) Composite silhouette vessels in which both upper and lower sections are cylindrical, but the upper section is of greater diameter. The union of the two is accomplished by a right-angle bend and marked on the external by a narrow flange. | | Wrranr] CERAMICS OF TRES ZAPOTES 29 7. Dubonnet Red ware. Slip: A fugitive red of a shade highly reminiscent of Dubonnet wine (Maerz and Paul’s 6-J-3 to 7-H-5). Surface: Smooth. Paste: In some cases identical with that of the Yellow, in others, the Gray ware. Forms: Miniature plates, like that shown in figure 20, a, which may originally have had the red slip outside as well as inside, for this slip frequently overlays white. Gourd forms (fig. 18, a). Small ollas, represented by one incomplete specimen having a neck 5 em. long and a diameter of 5.5 cm. The rim is flat and level. Simple silhouette dishes with curved sides. A typical specimen has a diameter of 14 cm., height of 2.8 cm., and thickness of 2 mm. Aberrant hourglass form (fig. 19, e). Spoollike objects with square ends. The only complete specimen is 11 cm. long and has an outside diameter of 3 cm. The ends measure 5.4 em. to the side and have rounded corners. III. PSEUDODICHROME WARES These wares are primarily the unslipped Yellow ware decorated with bands, stripes, or circular patches in one of the pigments em- ployed in manufacturing the ordinary monochrome wares. The con- trast between the color thus applied and the natural color of the fired clay, usually cream or buff, creates a dichrome effect. The following colors have been used in this way: 1. Orange, like that of the Normal Orange ware, but either more thinly spread or else partly lost. 2. Brown, varying from the reddish brown of the Monochrome ware to a definite tan. . Black, always dull and largely worn off. . Dubonnet Red. Bm OO The principal forms among the burial vessels are: Plates with flaring sides and everted rim. A typical specimen has a diameter of 25.5 cm. at the rim, a height of 5 cm., and a thickness of about 5 mm. The only decoration is a black band along the rim. It is, is course, pos- sible, however, that additional design elements, perhaps in other colors, were once present—a possibility which would upset the classification here adopted. Simple silhouette, round-bottomed dishes with diameters of 16 to 19 cm.; height, 4.3 to 5 em.; and thickness of only 2 or 3 mm. ‘These dishes have . traces of either brown or red decoration. The designs are too fragmentary for reconstruction. Recurved bowls with band of orange on outside (fig. 26, d) or with design in brown (fig. 27, c). 30 BUREAU OF AMERICAN ETHNOLOGY (Buty. 139 IV. DICHROME WARES 1. Dubonnet Red-and-Orange. This is the commonest of the dichrome wares. Fundamentally it is made up of Orange ware vessels with a rim band of Dubonnet Red, generally on the inside, but sometimes present on the outside as well. There are three main forms, all of them of simple silhouette: Bowls with curved sides, about 19 or 20 cm. in diameter and 6.5 to 8 em. high. In one case, the Dubonnet border is 4 cm. wide. Bowls with recurved sides, the red border present both inside and out (fig. 26, c). Bowls with flaring or slightly outcurved sides. These may exceed 30 cm. in diameter. Several of them exhibit remarkable, stream- lined, incised rabbit figures in profile, vividly expressive of move- ment and quite modern in feeling (fig. 26, f). The incisions extend through the slip. Near the base of the vessel runs an incised horizontal line and above this a series of wide crescents. The rabbit figure itself and the incised zone at the base are painted red, while the rest of the surface is left orange. In this case there is no rim band. 2. Dubonnet Red-and-Dark Brown. The one example of this combination is the very aberrant form shown in figure 26, e. Here the vessel was originally gray. The entire outer surface, except the bottom, is painted red, and there is an inner rim band of dark brown. Below this band the inner surface is unslipped. 8. Dubonnet Red-on-White. This ware is likewise represented by only one specimen (fig. 27, a). Not enough of the design remains for reconstruction. 4. Brown-on-White. The only example is the small olla with loop handles shown in figure 27, h. Much of the decoration is erased. Black-on-Rust Red (fig. 28, a). . Black-on-Dubonnet Red. This ware is represented by the very beautiful gourd-shaped vessel shown in figure 18, Bb. The design is blocked out by incisions through the slip and further elaborated by lines scratched upon the black field. The bottom of the vessel is not slipped and reveals a buff-colored clay. oa V. PSEUDOTRICHROME WARES These differ from the pseudodichrome only in that two colors in- stead of one enter into the design. The following combinations occur: 1. Red-and-Black, illustrated by: a. A plate of the type described under the Pseudotrichrome of Middle Tres Zapotes B, but smaller—4.8 cm. in height and 24 cm. in diameter. Curiously enough, the colors in this specimen are reversed, bands which in the earlier (?) specimen were red now being black, and vice- versa. WEIANT] CERAMICS OF TRES ZAPOTES Al 1. Red-and-Black, illustrated by—Continued. b. A simple silhouette bowl with rounded. bottom and vertical sides, 12 cm. in diameter, 3.2 ecm, in height, and 2 mm. in thickness. The interior has a red slip and a black band along the rim, but the ex- terior exhibits two black and one red band upon an unslipped, buff- colored background, the red band being the lowermost. e. An inecurved, simple silhouette bowl, 14 cm. in height and 20 em. in diameter at the orifice. There is a black rim band on both inner and outer surfaces. The upper third of the vessel, both inside and out, is painted red, and externally the lower border of the red area is marked by two close, parallel, narrow, black lines. On the exterior, within the red zone, occur a series of fairly large, black, circular areas each surrounded by a line of black dots. 2. Red-and-Orange, illustrated by: A small olla, the neck of which is painted orange, while the outturned rim is decorated on its upper surface by a band of red. This vessel is about 9.5 ecm. in height, of which 3.3 is represented by the neck. 3. Brown-and-Black, the only example of which is to be seen in figure 27, d. VI. TRICHROME WARES Four vessels from the burial material illustrate these wares. The fugitive character of the decoration, however, suggests that other ves- sels, which we are now compelled to assign to a different classification, may well have belonged originally to this group. The color combina- tions extant are: 1. Red-and-Black on White or Cream, illustrated by: a. The very beautiful spouted vessel with strap-handle shown in figure 27, g. b. The large chili grinder shown in figure 28, d, which is decorated also on the interior. c. A plate with flaring sides and everted rim, 6 cm. in height and about 35 em. in diameter, having a red rim-band 1.1 cm. wide and showing traces of red and black circles near the junction of sides and bottom. 2 Dubonnet Red-and-Orange on White, illustrated by: A simple silhouette, flat-bottomed bowl with vertical sides (diameter of base 9 cm. and of orifice about 18 cm., height 7.3., thickness 6 mm.), which. had received first an overall white slip, then a coat of orange on the inte- rior, while the flat horizontal rim was painted red. 32 BUREAU OF AMERICAN ETHNOLOGY Figure 1.—Unslipped or partially slipped wares. (Buu. 139 WHIANT] CERAMICS OF TRES ZAPOTES 33 = Ficurn 2.—Black ware, incised before firing. dep a b Ficurn 3.—Brown ware. 34 BUREAU OF AMERICAN ETHNOLOGY VA a _N \y Figure 4.—Black ware, incised after firing. [Bu.. 139 WEIANT] _ CERAMICS OF TRES ZAPOTES 35 (ee | y Ficurn 5.—Red ware. Ficure 6.—Red-and-White Incised ware. 501626—43—-4 36 BUREAU OF AMERICAN ETHNOLOGY Cc FicuRE 7.—Necks of Speckled ware. d Ficurn 8.—Smothered ware. [Bou. 139 WEIANT] CERAMICS OF TRES ZAPOTES Ficurn 9.—Porous White ware bowl. DO MSS NR Cc Fieurr 10.—Vessels of Normal White ware. 38 BUREAU OF AMERICAN ETHNOLOGY Zz fog CD ys MM te (= Figurp 11.—Modified Black ware. AVEIANT ] CERAMICS OF TRES ZAPOTES Ficur® 12.—Black ware incised before firing. 39 40 GET eM BUREAU OF AMERICAN ETHNOLOGY [BuLu. 139 (7 oo Y, Se ee eee Waren ae // | SeinamEe Tecan 3) ome ey), \ \ eee eee a CEA IR Kes™ Kea oN Figure 13.—Black ware incised after firing. -WaranT] CERAMICS OF TRES ZAPOTES 41 Fiacurn 14.—Rust Red vessel. POPPA S SPOT H CESS SHS SSGSEOSSISIITIVDMOSHIT TH IVFSTAGTGISOSEBIS Peon ee® Ficurp 15.—Dead-leaf Brown ware bowl. Ficurp 16.—Pseudodichrome olla. 42 BUREAU OF AMERICAN ETHNOLOGY i Figur® 17.—Simple silhouette bowls from surface burials. [Buut. 139 CERAMICS OF TRES ZAPOTES 43 WEIANT] Figure 18.—Gourd forms from surface burials. 44 BUREAU OF AMERICAN ETHNOLOGY e Ficurr 19.—Composite silhouette forms from surface burials. [BuLu. 139 @ My Y CERAMICS OF TRES ZAPOTES a 45 (Bux. 139 BUREAU OF AMERICAN ETHNOLOGY 46 Figure 21.—Black and Dark Brown wares, incised before firing. WHIANT] CERAMICS OF TRES ZAPOTES 47 en Oo (2 fs3 1/4) (SR 16) U2 45 46 2273 JAI) J jj 97 48.949 50 Sf 52 53 S54 S55 S6 S58 60 6/ Ficurs 34.—Rim sherds from necks, Rie Ranchito collection. The following table gives the most usual size or the size range cor- responding to the commoner forms shown in figures 32, 83, and 34. Height is given only when sherds sufficiently complete are available to make this measurement. Heights for figure 34 refer to the neck alone, not the complete vessel. Thicknesses in italics express the range within a single vessel. *Du Solier, W., personal communication. WEIANT] CERAMICS OF TRES ZAPOTES 63 TABLE 1.—Forms and sizes of vessels, general Ranchito collection Diam- A Diam- = : Thick- : * Thick- Rim sherds eter of Height Rim sherds eter of Height orifice BESS orifice HERS Cm. Fig. 33, Nos.: Cm. 8 BON DD Es as ee 1 IR allow te | ae ce 4.5-9 Lio ee ee eee! (Sees meee feet], jaa (eee ae 1.2- 4.2 60_ 11 5 5 = 6,3 ¥ 6 - 6.5 214-22 - 5- 3.5 27 ~-57 4. 5- 6.5 4 -10 3. 5- 7 6 -9 2 -3.5 6 -8 2. 5- 3.5 Er asek Nia 1.8 3-6 1 -7.5 6 2.8 4 -10 2.7- 9 ane, UE SRS EY a Li hae een be 11 4.5 ee eee | ee eee | 22 9.7 Seneca | egg BO ene eee 7 ee sateen en lk ok te 4 suet cose fase: |eec: Wee eee eee 8 1.2 3-4 7 It is worthy of note that among the neck forms are some which attain the astonishing thickness of 57 mm. We have already called attention to the association of such necks with the huge ollas of the deep burials at the Ranchito site (Middle Tres Zapotes B). Such vessels may have been used, also, as storage vessels. On many of the necks, especially those of the general form seen in figure 34, No. 30, a crude effigy has been molded. (See pl. 56 and accompanying discussion.) FORMS OF SUPPORT Figures 35 and 36 show the characteristic forms of support en- countered in the general Ranchito collection. Lack of complete ves- sels renders it impossible to state in all cases the form of vessel from which a particular form of support is derived. In many cases, how- ever, the association is readily established. Slab-feet (fig. 35, d, e, f) commonly belong to flat-bottomed dishes with slightly flaring sides (often with everted rim) like those shown in figure 21, 8, ¢, d. Such vessels are predominantly black, dark brown, or gray and almost always carry incised decoration, frequently in the form of panels. The flat form of slab (fig. 35, e) is solid and may support a plain, black, cylindrical vessel. It is far less common than the wedge- shaped slab, which is hollow. The latter is, more often than not, pro- vided with one or more openings. These may be triangular, as in 64 BUREAU OF AMERICAN ETHNOLOGY [Butu. 139 figure 35, d, or they may take the form of parallel slits which taper slightly from above downward. Very similar supports occur in Periods II and III at Uaxactun (Ricketson, 1937) and Period II at San José, British Honduras (Thompson, 1939). oe a h i Ficure 35.—Forms of support, general Ranchito collection. Cylindrical supports having a slit in the bottom occur in sizes of the order of figure 35, ¢, a quadrangular variant. Annular bases similar to those seen in figure 35, g and A, and more rarely ring bases, occur in connection with Rust Red, rough ware bowls. They range in depth from 1.2 to 4.5 cm. and in diameter from 6 to 15 cm. WEIANT] CERAMICS OF TRES ZAPOTES 65 Forms of the type shown in figure 36, a, 5, c, and d tend to be asso- ciated with simple silhouette, round-bottomed bowls, especially very thin vessels of Gray ware, but this association is not exclusive. (See, for example, fig. 24, c.) 7 awe FIGURE 36.—Forms of support, general Ranchito collection. Forms e and f, figure 36, are especially abundant among sherds of Gray, Pink and Yellow, and White-slipped wares; they tend to go with low flat-bottomed dishes having outcurved sides. Form g is commonest in connection with heavy Rough ware vessels of the shape indicated that have been polished and slipped on the in- side (rust red, reddish brown, and orange predominating), while / is characteristically gray or black. 66 BUREAU OF AMERICAN ETHNOLOGY [BuL. 189 Forms i and j are by far the most usual at Tres Zapotes. They occur in large numbers among sherds of Gray, Pink and Yellow, and White-slipped wares, where they are even more numerous than e and 7. For an example of a complete vessel, see figure 24, a. An inter- Fieurn 37.—Handles of vessels, general Ranchito collection. esting example of the predominance of form over function is the groove in figure 36, 7, which, while it imitates the cascabel form 7 in appearance, is actually solid, being too small in size to permit hollow- ing out and inclusion of the pellet. At Uaxactun cascabel supports WEIANT] CERAMICS OF TRES ZAPOTES 67 ‘Figurn 38.—Spouted forms and unidentified pottery object, general Ranchito collection. 501626—43——6 68 BUREAU OF AMERICAN ETHNOLOGY [Buux. 139 occur in Period II, where they differ from those shown here in that they are not constr ne and tend to be flattened on their bottoms. Form & is aberrant. It is not possible to state with what type of vessel it served. HANDLES i | Vessels provided with handles or lugs appear to have been relatively infrequent. Those so equipped are, for the most part, heavy vessels’ of great size. In figure 33, Nos. 70-74, for example, we see the rim _ sherds of large traylike vessels of rough Yellow ware provided with loop-handles which stem from various levels along the side of the vessel; these may be horizontal, vertical, or inclined. | Somewhat similar vessels of the Rust Red, rough ware seem to have. had handles of the sort shown in figure 37, a and d. Such handles are occasionally in the form of an effigy and may be placed on the inside of the vessel. (See pls. 54 and 55 and discussion.) | Large, incurved, Rough ware bowls frequently have shelf- handles 6 to 9 cm. long. Cross sections of such handles are given in figure 37, e and f. ) Figure 37, c, is rather exceptional, while 6, from a + ea Red, rough | ware bowl, is unique in the collection. SPOUTED VESSELS Spout-handle vessels are exceedingly common, especially in Gray, White, and Black wares. The bridge from spout to neck of vessel may or may not be present, its presence or absence being unrelated to the size of the vessel. The general range of sizes is shown in figure 38, a, b,c, and e. Tene spouts like the spout of a pitcher are exceedingly rare. One of the very few examples excavated is the incised specimen of Rust Red, rough ware seen in figure 38, d. In this connection it is inter-— esting to recall that at Monte Alban pitchers do not appear until | Period V, the period of Mixtec domination. DISTRIBUTION OF FORMS ACCORDING TO WARE The following table indicates with which wares the forms shown in : figures 32, 33, and 84 are associated. . Numerals at the heads of columns : refer to wares as listed on page 56. : WEIANT] CERAMICS OF TRES ZAPOTES 69 TABLE 2.—Distribution of forms according to wares k Wares ! ; Wp sensseeneesrmeeeeeecsesent peoe ieee el lonel lose pond [ead oe (O25 2 ee 2 eee eee a d me. 33, Nos.: =~ eae 1 For wares indicated by numerals, see p. 56. DECORATIVE TECHNIQUES OTHER THAN PAINTING Fine incision—A. type of decoration found principally on Black ware, but also occasionally on White-slipped, Rust Red, Smooth, and other wares consists of very fine lines cut through the slip. The design is crudely executed. Use is made especially of parallel lines, crescents, zigzags, and cross-hatching. Perfect symmetry hardly exists, and lines conceptually parallel never are so in fact. Figure 40, g-J, are examples of this decoration at its best. The design here occurs on the rims of flat-bottomed dishes (Polished Black ware), having nearly straight and slightly flaring sides. The 70 BUREAU OF AMERICAN ETHNOLOGY [Buny. 139 incisions contain red pigment, resembling in this respect, as well as_ in their pattern, a form of decoration common to Monte Alban I. Figure 41, a, c, e, and f illustrate the use of the same technique of ————S——— 1 | ! ! t ' 1 ! 1 ! ' 1 ' Ficurn 39.—Incised rims, general Ranchito collection. decoration on very wide everted rims. Such rims are highly remi- niscent of the rims occurring in material from the early periods of Uaxactun (Ricketson, 1937), Playa de los Muertos (Strong, Kid- . WEIANT | CERAMICS OF TRES ZAPOTES 71 der, and Paul, 1938, pl. 10, c, g, A, 7), San José, British Honduras (Thompson, 1939), Copan,’ and Monte Alban.*® In figure 43, b, we have one of the rare examples in which this type of incision decorates practically the entire wall of the vessel. SSS 7 S SS SSS nh i J k Fieurn 40.—Incised rims, general Ranchito collection. Broad, shallow incision—This type of decoration differs from the preceding only in that it appears to have been executed with an T Collection from Mound 36, Copan, Peabody Museum, Harvard University. ® Monte Alban collections, Museo Nacional de Historia, Arqueologia, y Etnografia, (Mexico, D. F. 72 BUREAU OF AMERICAN ETHNOLOGY [BuuL. 159 implement less sharp, with the result that the lines produced are broader, although still barely deep enough to cut the slip. Numer- ous examples, among them several rims of the early type noted in connection with fine incision, are illustrated in the figures 39, a, d—i, 1; Ficurn 41.—Incised rims, general Ranchito collection. 40, a, b, d, e, f; 41, hs 42, ¢, d; 48, a, c, d, e; 44, a, b, c; 45, 7; 46, ae; 47, a-d, 9; 48, a, b, e. The design of figure 40, d, deserves special attention, inasmuch as Lothrop (1926, p. 182) has pointed out that vertical lines flanked by wavy lines constitute a very characteristic pattern on Maya pottery from Copén and the Ulua Valley. WEIANT] CERAMICS OF TRES ZAPOTES 73 Multiple scratching.—This is the “decoracién raspada” of Monte Alban II, in which the pattern is formed by a series of very close, ap- proximately parallel scratches. It occurs only on Polished Black pot- tery, and the incisions are painted red. So characteristic is this dec- oration of Monte Alban II and yet so plentiful is it at Tres Zapotes that cultural contact between the two sites on an early time level seems it a \ FIguRE 42.—Incised and modeled rims, general Ranchito collection. an inescapable conclusion. (For illustrations see figs. 41, d, i; 44, d; 45, e; 46, f; 47, e, 7.) Deep incision.—This is the technique most characteristic of Monte Albin III. The incising precedes application of the slip. Geometric designs cut up the surface of the vessel into sharply outlined blocks which contrast strongly with the cruder patterns of the shallow in- cisions. Most examples of this form of decoration are to be found among the polished Black, Dark Brown, and Gray wares. (For illus- trations see figs. 45, 6, c,d; 48, g.) 74 BUREAU OF AMERICAN ETHNOLOGY [BuLw. 139 Indented, grooved, and fluted decoration—Thumbnail indentations, as well as indentations, grooves, and fluted effects produced by the: use of a blunt implement, are alsocommon. Their use is not restricted ' to any particular wares, although Polished Black ware furnishes most. Ficure 43.—Incised sherds, general Ranchito collection. of the examples. (For illustrations see figs. 39, 0, c, j; 40, c, 41, b, g; 42, h, 48, f, 9; 45, a; 47, A; 48, d, 7.) There is a close parallel, as far as one may judge from the published report, between figure 48, d, and the fluted ware of San José, British Honduras (Thompson, 1939). | } WEIANT] CERAMICS OF TRES ZAPOTES. 75 Modeling and filleting.—Decorative effects achieved by these tech- . niques, except for the scallops seen in many of the everted rims, are comparatively rare. Figure 42, g, furnishes an example of modeling; figure 42, i, of filleting combined with shallow incision. WHE SJ —————— |} = Ficurn 44.—Incised sherds, general Ranchito collection. Combined techniques.—Examples of specimens in which two or more of the decorative techniques described occur together are rare. Figure 42, i, has just been cited. Figure 42, e, is a case of deep incision com- bined with modeling. Figure 48, c, combines multiple scratching, seen 76 BUREAU OF AMERICAN ETHNOLOGY [Buut. 139 at the left, with broad shallow incision (center and right sections) and indentations along the base. This particular specimen is of singular interest because the design may well have been suggested by a piece of architecture. Compare with the west wall of the Stone Platform (map 10). Ficurn 45.—Incised sherds, general Ranchito collection. MISCELLANEOUS AND ABERRANT SPECIMENS To these categories belong the specimens shown in figure 49, as well as the object seen in figure 88, 7. Not unusual are sherds g and 2, figure 49. The former is fairly typical of the thick-walled miniature vessels already noted in connec- tion with surface burials. The latter is one of many perforated disks WEIANT] CERAMICS OF TRES ZAPOTES ai found which might have served as spindle whorls. Disks of about the same size occur, also, without perforation. The other specimens are aberrant. Ficurn 46.—Incised sherds, general Ranchito collection. Except for some of the bowls with loop-handle supports which covered surface burials, a is about the only example of hobnail decora- tion encountered. The single boss of } and the toothlike protuberance of e make these two specimens unique. 78 BUREAU OF AMERICAN ETHNOLOGY (Buu. 139 The odd shapes of ¢ and d and the carefully planed and finished extremity of d make the source and function of these objects a question. Of very special interest is f, a fragment of incensario of the frying- pan type, the only such fragment in the entire collection. It will be Sai (e we = \ Sr igure 47.—Incised sherds, general Ranchito collection. recalled that incensarios of this type are rare at Monte Alban before the fourth and fifth periods. The specimen shown here is dull black in color and has a surface which is not very smooth. By far the most extraordinary specimens of the lot are figure 49, h, and figure 38, /, both made of pink clay and slipped with white. In WEIANT] CERAMICS OF TRES ZAPOTES 79 the former, which is represented both as seen from above and in profile, unshaded edges are unbroken. In the latter, only those edges at the NIN, a wee Sa nee aa Se Ficurs 48.—Incised sherds, general Ranchito collection. left which face the observer are broken. The two objects are equally mysterious as regards their possible use. Figure 49, j, is an elongated clay pellet of uncertain function. 80 BUREAU OF AMERICAN ETHNOLOGY [Buxu. 139 | SPECIMENS OF SPECIAL VALUE FOR COMPARATIVE PURPOSES | { A small group of these is shown in figure 50. All are specimens which point rather definitely either to a period or to a geographic area. 1) ' (] : { \COLCTIMTILLLLLn..___ ULL i Figure 49.—Miscellaneous sherds and pottery objects, general Ranchito collection. The sherd a strongly resembles both in form and decoration pottery which Thompson (1939) considers diagnostic of San José I. WEIANT] CERAMICS OF TRES ZAPOTES 81 The foot form b, of which two specimens only were obtained (and these apparently from the same vessel), is reminiscent of Holmul I, Monte Alban II, and other early Middle American horizons. Never- theless, the specimens in question did not come from any great depth Ficurn 50.—Specimens suggesting alien influence, general Ranchito collection. (approximately a meter), and they are of the Orange ware that is well represented among surface burial vessels but not found at all among deep burial vessels. We are thus forced to regard them as neoarchaic survivals. Gamio (1926-27, p. 216) found such foot forms in the neoarchaic material excavated at Salcaja, Guatemala. 82 BUREAU OF AMERICAN ETHNOLOGY [Buu. 139 It is of interest to note, in this connection, that the sherd d bears an incised design identical with one figured by Lothrop (1933) from Salcaja. The fragment c is part of a cylindrical seal made of the same red clay as the “archaic” Tres Zapotes figurines (pls. 1-15). What makes the specimen remarkable is the human figure in relief done in the style known as that of Los Danzantes, the famous sculptured slabs which Dr. Caso (1935) has shown to belong to the earliest period of Monte Alban. y, Fe ee ie Ficgurw 51.—Typical designs from ‘‘Stick-polished” pottery. Of the same clay is the object designated e, the so-called candelero of Teotihuacan archeology; hence a link with the Valley of Mexico in classic Toltec times. The pear-shaped vessel with annular base, 7, is a form known to have been popular on the Mexican highlands, along the coast, and as far south as Costa Rica and Nicaragua. Its time range extends from Toltec well into Aztec times; at Copan it occurs during the period of reoccupation after the end of the Old Empire (Vaillant, 1927). This specimen has a white body and a brown base, a color combination which lends plausibility to the conjecture that it is of Totonac origin, or at least, Totonac inspiration (Spinden, E., 1933). WEIANT] CERAMICS OF TRES ZAPOTES 83 A222 Ea HANS Ficurn 52.—Incised spindle whorls and mold. CLILOPLLL TOR COCBRIEE LE Ficurn 53.—Orange and Brown-on-Buff dish from Upper Tres Zapotes level suggesting Mixtec influence. d e f Ficurs 54.—Miniature vessels. 501626—43——_7 PART 2. THE FIGURINES TRES ZAPOTES FIGURINES OF ARCHAIC TYPE CLASSIC POINTED-CHIN TYPE (PLS. 1, 2) The figurines shown in plates 1 and 2 are characteristically small with long pointed chins that tend to give the face a roughly triangu- lar shape. They wear turbanlike headdresses subject to great indi- vidual variation. Modifications have been effected by filleting. The eyes consist of deep circular perforations to represent the iris and triangular perforations at either side, typically with a downward slant so that the eyes have the shape of an inverted V. The glance may be directed slightly upward, straight ahead, or slightly to one side. The nose is fairly long and narrow and the nostrils are indi- cated by circular perforations. The lips protrude slightly, are nar- row and somewhat parted. There is a circular perforation at the corners of the mouth. Typically the lower part of the face is prog- nathous. In a few cases the ears are not shown. When present they have from one to three transverse incisions. In other cases the ears are indicated only by small circular earplugs. The back of the head is rather flat and sometimes slightly concave. The general effect created by these figurines is that of a mischievous child. Some of the specimens shown in plate 2 deviate slightly from the norm for the group. In those of the first two rows, the triangular perforations for the eyes appear to have been made with an especially blunt implement. Moreover, they are, to an abnormal degree, de- tached from the central perforation, and their corners are rounded to such an extent that they become virtually oval in form. This feature, when combined with a certain fullness of the cheeks, has a softening effect that contrasts somewhat with the piercing quality of the typical expression. Figure 12 presents the unusual feature of a furrowed right cheek, while figures 16 and 17 have furrows above the eyes and lack perforations for the nostrils. Marked strabismus is apparent in figure 15. Some of the figurines of this group are of yellow clay, but the majority are of terra-cotta red. CLASSIC PROGNATHOUS TYPE (PL. 3) The specimens shown on plate 3 are in the same technique as those of plates 1 and 2. They differ from the latter in the following respects: 84 WEIANT] CERAMICS OF TRES ZAPOTES 85 (1) They exhibit a greater degree of prognathism. (2) Their greatest facial breadth occurs typically at the level of the mouth, rather than at the level of the tip of the nose. (3) The chin is less pointed. (4) The upper part of the head tends to be conspicuously narrower than the lower part. Marked development of the jaws is perhaps the outstanding feature. It may be noted that in those specimens which include the upper part of the torso the neck is extremely short and thick. No orna- ments are worn about the neck. Figure 16 strongly suggests goiter and most of the other specimens of the group give the impression of some type of glandular dyscrasia. In at least one specimen (fig. 4) there is convergent strabismus. Whether or not this effect was intentional there is, of course, no way of knowing. Had the artists who made these figurines esteemed it as great a mark of beauty as did the Mayas of the fifteenth century, one might expect to find it appearing much more frequently than it actually occurs. It is, however, by no means uncommon. Consider- able dexterity is shown in directing the gaze in any desired direction— upward, downward, sidewise, or even obliquely. Figure 6 presents a type of earplug not previously noted, a solid disk rather than, a ring. CLASSIC RECTANGULAR-FACE TYPE (PLS. 4, 5) This group shows close affinities with the type of plate 3. The prog- nathism is much less pronounced, however, and the faces are rela- tively longer. Some specimens exhibit a slight narrowing of the face at about the level of the eyes, with a widening of both forehead and jaws. The form of the chin is quite variable, but never sharply pointed. Ears and ear ornaments are subject to the same variations as those seen in the preceding plates. The long rectangular shape of the face is the salient feature. The specimens shown in plate 4 may be considered the norm for this group, while most of those in plate 5 are variants. Note the bearded figure (pl. 5, fig. 19). CLASSIC BEATIFIC TYPE (PLS. 6, 7) _ The figurines of this group do not differ radically from those of plates 4 and 5. However, the features are less angular; the faces, generally speaking, are less elongated ; and the cheeks tend to be puffed cut. The most conspicuous characteristic is the marked upward gaze of the eyes, which combined with a slight upward and backward tilt ‘of the head creates a sort of beatific or sanctified expression. Head- dresses, when complete, exhibit, without exception, filleted append- ‘ages, usually suggesting buttons, placed on the middle of the forehead. 86 BUREAU OF AMERICAN ETHNOLOGY [Buxy. 139 The torso, as seen in plate 7, figures 16 and 19, is nude and entirely without ornament. ‘The figures are apparently female, but the breasts are not accentuated. The abdomen is full and rounded and, in figure 19, suggests pregnancy. A TYPICAL TRANSITIONAL TYPE (PL. 8) The specimens shown on plate 8 may be regarded as transitional (although probably not in a chronological sense) between those of plates 6 and 7 on the one hand and plates 10-12 on the other. The following comparisons, for example, will serve to illustrate this point: Figure 8 with plate 6, figure 11, and with plate 11, figure 12. Figure 9 with plate 6, figure 8, and with plate 12, figure 20. Figure 14 with plate 6, figure 1; plate 7, figures 5 and 17; and then with plate 11, figures 10 and 18. The faces, particularly in the first two rows, approximate the baby- face type. In some cases, the triangular perforations of the eyes are crudely made and not carefully placed in relation to the central cir- | cular perforation. For the most part, the uplifted gaze is supplanted by a horizontal or downward one. The nose is slighted, being indi- — cated at times by little more than the openings for the nostrils. Like- wise, the mouth may be hinted at only by the perforations at the | corners. The cheeks are generally puffed out. Earplugs, when present, are more often directed forward than laterally. | It is perhaps worthy of note that nearly half the specimens of this group show strabismus. The specimens of the last row merge readily into plate 10 type, from which they differ principally in that the hair is not shown draped | over the ears. In this respect they resemble another transitional | group, plate 9. A TYPIOAL TRANSITIONAL TYPE (PL. 9) The specimens shown on plate 9 are more specifically transitional | in style between plates 6 and 7 and plates 10-12 than those shown | in plate 8. Headdresses of the pattern seen in plate 6, figure 4, | and plate 7, figure 1, recur and undergo considerable elaboration, | achieving quite bizarre effects in figures 8,9, and 10. At first glance, the headdresses of 8 and 10 suggest animals, but careful examination fails to permit any such identification. The headdresses of figures | 11-15 are all unique. Figures 11 and 12 are further distinguished | by marked facial distortion. In figure 11 this effect is due in part | to pellets applied to the upper lip presumably to represent lip-plugs. | Similar ornaments may have broken off figure 14, which wears a collar | of the same sort. Lip-plugs are to be seen also in figure 15, a specimen | of unusually fine workmanship. WEIANT] CERAMICS OF TRES ZAPOTES 87 Two traits may be said to characterize the members of this group: (1) Elaborate headdress; (2) a particular form of head and face. Intimations of this headform are already seen in the plate 6 group, notably in figures 11 and 12. Like the head form of plate 3 type figurines, maximum facial breadth occurs at the level of the mouth, and from this level upward the face becomes progressively narrower. Prognathism, however, is here much less pronounced, and the jaws do not have the marked downward slant that characterizes the plate 3 type. Again, it may be noted that the chin is here less well devel- oped and often obscured by what we should cali a “double chin.” Substitution of the appropriate style of headdress and manner of representing the hair would readily convert these specimens into the plates 10-12 type.® In the two instances in which a part of the torso is conserved (figures 5 and 6), the neck resembles those seen in. plate 3, while the chest finds its counterpart in the torsos of plate 7. TYPICAL VAILLANT’S A TYPE (PLS. 10, 11, 12) The general technique of the figures shown on plates 10, 11, and 12 is the same as that of the types already described. They are made of terra cotta red clay, typically rather coarse. The majority are larger in size than that prevailing in preceding groups. Many small heads of this type do occur, too, however. The form of head and face is that described in, connection with plate 9. No ear is shown, but a large circular earplug is characteristic. With few exceptions, the inverted V-shape which characterized the eyes in preceding groups has here been modified so that the eyes either slope obliquely downward toward the nose or else extend horizontally. The nose is short and broad. Typically the hair hangs down the sides of the head over the ears. There is virtually no neck. The torso is short and frequently be- decked with ornaments. As a rule, there is little attention to ana- tomical detail. Both standing and seated figures occur. A complete standing figure may be seen in plate 10, figure 6. The legs are short _and bifurcated to permit the figure to stand upright by itself. No distinction, is made between foreleg and thigh, and, except for a few ‘notches to suggest toes, the feet are not indicated. Figure 8 shows , a seated figure; as the torso is not quite like any of the headless torsos ‘collected to which legs are attached, it is impossible to infer whether ithe legs were originally bent to conform with a squatting posture, or / whether they were no more than extended stumps like the one in the \ photograph. Headless torsos with pendulous breasts similar to fig- ® Compare specifically fig. 4 with pl. 12, figs. 4 and 5; and fig. 13 with pl. 12, fig. 12. 88 BUREAU OF AMERICAN ETHNOLOGY [Buxy. 139 | ure 11, on the other hand, make it quite likely that this is the head of | a squatting figure. It is of considerable interest to note that this type of figurine is either intimately related to, or identical with, Vaillant’s Type A figurine in Valley of Mexico material (Vaillant, 1938, p. 536, fig. 1,d). That it falls definitely within the general Tres Zapotes tradi- | tion is not without significance, and we shall have occasion to refer again to this circumstance.”® In the opposite direction, we find this type sporadically at Uaxactun, | Guatemala (Ricketson, 1937, pl. 74, row c, No. 1), and even in El | Salvador (Weber, 1922, p. 685, Abb. 14, 15). Present evidence points | to Tres Zapotes as the source of this far-flung distribution. | TYPICAL GROTESQUE VARIANTS (PLS. 13, 14) Plates 13 and 14 represent a fairly homogeneous group made of the same terra cotta red clay as the group just considered (pls. 10-12). Typically its members are larger than the latter group, although in- | dividual specimens are occasionally quite small. The eyes, while made | in the same technique, are ranged obliquely downward from their outer | corners to the nose (except in two or three cases in which they are hori- zontal), and this creates a Mongoloid appearance. ‘The nose is long | and prominent, often convex in profile, and generally provided with : a broad extremity and dilated nostrils. The lips protrude much more | than in types already considered, and the perforations at the corners | of the mouth may, instead of being circles, take the form of a deep irregularly shaped grove. | The hair is sometimes shown in bangs over the forehead and hang- | ing down over the ears on either side of the face. The headdresses | vary, but two types predominate: one, an elongated wrapped or coiled | turban ; the other, a broad lower headdress featuring a crescentic orna- | ment that hangs low over the forehead, reaching almost to the nose. The torso of these figurines, as seen in plate 13, figure 3, is as devoid of naturalistic details as that of the standing figure shown in plate 10. It is extremely flat and, like the latter, has bifurcated feet. Neither specimen can hardly be said to possess a neck. The frequently grotesque character of the faces in this group sets them off rather sharply from those previously discussed and makes | their identification a simple matter. Despite this fact, it is rather ob- vious that they share a great many traits in common with the other | types considered up to this point. We shall attempt later to show that they can be linked by transitional forms with some of these, and that | they need not, therefore, be regarded as at all foreign to the main body 10 Wor other Valley of Mexico examples, see Boas and Gamio, 1921, pl. 44, Nos. 2, 14, and 17; pl. 45, No. 6; pl. 48, No. 20. WANT] CERAMICS OF TRES ZAPOTES 89 of Tres Zapotes hand-made figurines. In fact, they seem to be all but unknown elsewhere. Staub shows one specimen from the Huaxteca (Staub, 1921, pl. 2, fig. 30), but not a single example appears in the pub- lished items of the Strebel collection (Strebel, 1885-89). Two speci- mens from Cempoala and one or two from El Salvador in the collection of the American Museum of Natural History are reminiscent of the type, but the resemblances are too slight to permit conclusions. INTERRELATION OF TYPICAL TYPES (PL. 15) In order to emphasize the essential unity of the figurines which have been shown in plates 1-14, three series have been set up on plate 15 showing how one type readily merges into another. In each series one can discern easy transitions through three principal variants of the Tres Zapotes hand-made figurine. Beginning at the extreme left with (1) the grotesque type of plates 13 and 14, we pass through (2) Vail- lant’s A type of plates 10, 11, and 12, occupying a position midway in the series, into what may be termed (3) the classic Tres Zapotes type of plates 1-5. What at first seemed a despairingly heterogeneous col- lection of figurines is thus seen to consist of types which bear an evident stylistic and conceptual relationship with one another. This point is further emphasized in our discussion of plate 30. Its full significance cannot, at present, be interpreted. It is impossible, on the basis of the evidence now available, to derive from the differences observed among these specimens any chronological implications. Such differences may, perhaps, merely reflect the individuality of individual artists, or they may conceivably be regional variations of the separate small communi- ties which, in all probability, made use of Tres Zapotes as a religious capital. Let us consider now the distribution of the classic Tres Zapotes type of figurine. The type is so rare in collections from other sites that there can be little doubt that it emanates from Tres Zapotes or the immediate vicinity. We find it, of course, in the Tuxtla collection of Seler-Sachs (1922, vol. 6, pl. 10, p. 18). A variant appears in the Batres collection from the vicinity of Alvarado (Batres, 1908, pl. 25, fig.2.) Strebel found a good example of it at Misantla, where it must have been unique, for he comments on the unusual form of the eyes and remarks that the type reminds him of the Palenque bas-reliefs, an observation in which we have been unable to concur (Strebel, 1885-89, vol. 2, pl. 12, p. 34). In the Strebel collection there are also variants of this type of figurine from the Rancho E] Pantano and Las Animas (Krickeberg, 1933, grab. 36 and 37, respectively). Variants have turned up also in the Huaxteca (Staub, 1919, pl. 5, figs. 14 and 15), and, as previously noted, in the Valley of Mexico. The American Museum of Natural History exhibit from San Juanico, D. F., in- cludes specimens resembling those of plate 3. 90 BUREAU OF AMERICAN ETHNOLOGY [Buxt. 139 A UAXACTUN TYPE (PLS. 16, 17) These figurines differ considerably from the preceding types. Most cf them are of red clay, although some are brown. In some instances, and possibly in all cases, they were white-slipped. The specimen shown in plate 17, figure 1, retains nearly all of its white slip, and the hair has been painted red. The faces are round. True headdresses are rare. Occasionally what appears to be a tight-fitting cap is worn, but for the most part these figures are bareheaded and the hair is indicated by a raised area upon which lines are scratched. Pompadour, bangs, and other styles are represented. The nose is triangular in shape and in more than half the cases lacks the nostril perforations. The eyes are either almond-shaped openings or crescentic slits. In two cases (pl. 16, fig. 6, and pl. 17, fig. 8) the opening is double. Rarely is there a central perforation to indicate the pupil. The mouth consists ordinarily of a simple horizontal groove, generally giving the effect of a slight smile. In plate 17, figure 8, it is made by two triangular perforations in much the same manner as the eyes. The lips may be thick and realistically modeled, or scarcely indicated at all apart from the fissure denoting the mouth. One specimen (pl. 16, fig. 1) has a wrinkled face; several others, notably figures 9, 10, and 12 of the same plate, exhibit dimples in the cheeks. The circular earplugs are lacking, and the ears in many cases stand out almost at right angles to the head. Figurines of this type occur sporadically in collections from the Gulf Coast. One from San Eligio, Veracruz, may be seen in the Strebel collection (Strebel, 1885-89, vol. 2, pl. 12, fig. 47). One from the vicinity of Alvarado is figured by Batres (1908, pl. 19, fig. 2), al- though in this case the eyes are distinctly perforated for the pupils. Seler (1908-28, vol. 5, pl. 18, top row, center) shows us a specimen from Teotihuacan. If, however, this type is foreign to Tres Zapotes tradition (and this seems likely), it is probably not to the north or west that one must look for the source, but to the east and southeast. We find it, for example, in the Guatemala highlands (Gamio, 1926-27, p. 130, figure in upper left-hand corner), in the Ulua Valley (Gordon, 1898, pl. 10, a), at Uaxactun (Ricketson, 1937, pl. 74, row a, No. 1; row b, No. 3; row c, Nos. 2, 3,4), and in British Honduras (Gann, 1939, pl. 6, fig. 2; resemblance not close). The Uaxactun examples, similar even to the detail of the dimpled cheek, are particularly convincing. BABY-FACES (PLS. 18, 19) These are the baby-faces of so-called Olmec style. None are of typical Tres Zapotes red clay, although three examples are red in color. Typically they are of White or Brown ware. Originally all of them were probably white-slipped. WEIANT] CERAMICS OF TRES ZAPOTES 91 The modeling is more realistic than with the typical Tres Zapotes figurines. The eyes are shown either closed or in the form of narrow slits. Except for the single variant shown in plate 18, figure 2, central perforations in the eye do not occur. The nose tends to be short and broad, and usually, though not always, the nostrils are indicated. No ear ornaments are worn. Typically the mouth droops somewhat at the corners. Ordinarily it is shown in its entirety, rather than merely suggested by corner perforations. Headdresses are rare and, when present, are quite simple. Often a forelock of hair is worn over the middle of the forehead. The faces may be either short and round or long, but, in any case, the cheeks are puffed, and there is a suggestion of “double chin.” In both of these plates the central figure is hollow; all the others are solid. The hollow figures are of a very thick ware. Some of the figurines of this group resemble somewhat the famous monolithic head of Tres Zapotes, the Cabeza Colosal (Stirling, 1939, p. 185). Plate 18, figure 9, and plate 19, figure 5, probably show the closest resemblance, although no figurine of the group approaches the artistry of the Cabeza. Figurines in this style have a wide distribution. Locally they are well represented. Batres (1908, table 45, left) shows an interesting specimen from San Andrés Tuxtla and one from the highway between Veracruz and Alvarado (1908, pl. 8, fig. 1). In the former case the baby-face is the central feature of the headdress of another type of figurine. Lehmann (1922, pl. 25) shows specimens from Santiago Tuxtla, from the eastern border of Zapotec territory (1922, pl. 32), and from Chiapas (1922, pl. 36). Joyce has reported two very fine specimens from the vicinity of Tonalé, State of Veracruz (Joyce, 1931, p. 17, and pl. B, fig. 1, a, 6). These show a striking resemblance to plate 18, figures 5 and 7, although the eyes are different. Quite similar to the Tonala figures, but still more like our plate 18, figure 1, are two figurines from Gualupita burials (State of Morelos) (Vaillant and Vaillant, 1934, fig. 14, Nos.2,3). Striking farther afield, we find baby-faces in Guatemala (Spinden, 1915, pl. 21, fig. 7), in the Ulua Valley, and at Lubaantun, in southwestern British Honduras (Joyce, 1933, pl. 8, last two rows; pl. 9, figs. 1, 4, 8, 15). The recent discovery of colossal heads at La Venta, State of Tabasco," and the finding of a thoroughly un-Maya type of stone sculpture in Yucatan, one characteristic of which is the baby-face (Andrews, 1939, pl. 1, e), give us an almost continuous distribution of this style of figure from the central part of the State of Veracruz eastward along the Gulf Coast as far as Honduras. The westward extension is not so well delineated, but it goes much farther than the 11 New York Post, March 26, 1940. 92 BUREAU OF AMERICAN ETHNOLOGY [Buu. 139 site in Morelos we have mentioned. Examples are numerous in the extensive private collection of Miguel Covarrubias from the State of Guerrero. Despite the wide distribution, no site where systematic excavation has been undertaken (with the possible exception of Lubaantun, where, according to Thompson, “the ‘baby-face’ type, with puffed out cheeks, is well represented” *?) has yielded any great quantity of these figures. The type appears intrusive at Tres Zapotes. It may possibly have drifted in from Honduras. It would be of considerable interest to ascertain whether the Totonac smiling figures evolved from the baby-face type. One sees occasion- ally baby-face specimens which seem to foreshadow the well-known Totonac type in feeling. An example is plate 18, figure 3. Moreover, the baby-face type at Tres Zapotes is definitely older than the smiling Totonac type, the latter being associated exclusively with surface burials. Among the hollow Tres Zapotes figurines are to be found specimens which give the impression of being possible links in the chain of such an evolution, and these will be noted. Rigid confirma- tion of this hypothesis by stratigraphic methods is, of course, lacking. MORELOS TYPES (PLS. 20, 21) We have here a group of figurines differing radically from preceding types. They are not made of the typical Tres Zapotes red clay; some are gray, some yellow, and some a dull red. Plate 20, figure 15, and plate 21, figure 14, are of light gray clay, probably containing volcanic ash. Typically these heads are small in size. They are flat and the back is slightly concave. Headdresses include hood and turbanlike forms and a small conical hat. Occasionally only the hair is shown. The eyes may be long oblique slits without central perforation, or they may be almond-shaped, placed horizontally or nearly so, and pro- vided with central perforations which are either circular or in the form of linear indentations parallel with the nose. The nose is tri- angular in shape and lacks nostril perforations. Treatment of the mouth varies considerably. Corner perforations are usually absent. The lips are thick, and the upper one often approaches the nose. The circular earplug is usually lacking, although in rare instances it is present. When the ear is indicated, it exhibits the incisions so fre- quently observed in other figurine types. 2 Joyce, Clark, and Thompson, 1927: Thompson’s discussion of the figurines. See, also, pl. 18, fig. 1, first two figurines of first row and second one in second row; pl. 19, fig. 2, third figurine in first row; and pl. 20, fig. 2, second specimen, which differs from those shown here in that the eyelids are in relief, but shows considerable resemblance to the Cabeza Colosal. WEIANT] CERAMICS OF TRES ZAPOTES 93 Figures 9-14, plate 21, are distinctive in that the eyelids stand out in relief, This group shows closer affiliations with certain Mexican highland types than any other. A number of specimens in plate 20 suggest Vaillant’s type Cix found in Gualupita II (Vaillant and Vaillant, 1934, fig. 10, Nos. 1, 8, and 7. Compare especially with plate 20, figs. 2, 8,5, and 9). Those in the lower half of plate 21 resemble type K, a type hitherto thought regional for the state of Morelos and regarded by Vaillant as diagnostic of Gualupita I (Vaillant and Vaillant, 1934, fig. 8, Nos. 16, 17, 19, and 21). The Gualupita specimens, however, appear to be somewhat cruder than those shown here. The type is not unknown in the Huaxteca (Seler, 1908-23, vol. 5, table 20, fig. 2, top row, center), and it may be mentioned, also, that a solitary specimen in the San Salvador collection at the American Museum (museum number 1/1715) strongly resembles figure 2 of plate 21. VARIANTS (PL. 22) The figurines shown on plate 22 represent several subtypes or vari- ants of forms already discussed. Figures 1-4 are obviously variants of the plate 1 and plate 2 type. Figure 3 has what appears to be an animal headdress; the others are wearing stockinglike caps. Note the variable treatment of ear and earplugs. Figures 5-10 seem not far removed from the type shown in plates 6 and 7. A unique feature, however, is the shrunken cheeks with ver- tical incisions. This small group may well be attempts, within this general tradition, to represent the Old God (Fire God). Figure 6, more than any of the others, approaches the conventional representa- tion of this god. Figure 16, if judged mainly on the basis of the cheeks, could be regarded as one of this group. Figures 11-15 are conspicuous for their beards, but do not give as definite an impression of age as those just noted. The last two in the group show crude attempts at representing side whiskers as well as chin whiskers. All are perhaps variants on the Old God theme. Figures 17-20 can probably be regarded as crude variants of the plates 6 and 7 type, all of them below average in size. VARIANTS (PL. 23) This group, like the preceding, consists essentially of variants, sub- normal in size, of the types shown in plates 1, 2, 6, and 7. While re- taining the typical headdresses, ear forms, and eye technique of the latter types, many of the faces are of the baby-face variety. This is especially true of the third row, where figure 16 is outstanding in this respect. G4. BUREAU OF AMERICAN ETHNOLOGY [Buin 139 AN ABERRANT GROUP (PL. 24) We have on plate 24 a group of rather aberrant specimens possessing a fair degree of homogeneity within itself. They reflect both the plate 3 type and the nearly complete specimen shown on plate 15. Hunchbacks with long protruding chins predominate. Figure 4 is veally transitional between plate 1 and plate 3. (Compare especially with plate 1, figure 4, and plate 3, figure 7.) Figure 6 would make a good hypothetical link between the very crude style represented by plate 15, figure 1, and the relatively more refined style of plate 3, figure 14. Figure 9 is undoubtedly the most aberrant of the group. The bulbous appendage on the chest seems to grow out of the neck and yet, at the same time, to be suspended by some sort of heavy supports pass- ing over the shoulders, as though it might be a burden of some kind (a gourd?) carried in this way. Figurines shaped like figures 5, 6, and 7 occur in the early Uaxactun material (Ricketson, 1937, plate 71). TWO ABERRANT GROUPS (PL. 25) Two aberrant groups are shown on plate 25. Figures in the upper half of the plate are muzzled. Vaillant (1935, fig. 6, No. 2) found muzzled figurines belonging to his type Di in Gualupita I. Staub (1935) mentions the occurrence of muzzled figurines in the earliest levels at Cacalilao, north of the Panuco, in the Huaxteca. Joyce, Clark, and Thompson (1927, pl. 19, fig. 2) have found such figurines in British Honduras, and Joyce (1933, text fig. 5 and comment) ob- serves that the muzzle was part of the accoutrements of ball-players, for which reason he suggests that, in figurines, it is the insignia of Quet- zalcoatl as Ehecatl, patron of the ball game. In the great collection of the Trocadero, published by Hamy (1897, pl. 9), there is a statue of Totec, military companion of Quetzalcoatl, which suggests the type of figurine under consideration; this statue is believed to have come from the State of Tamaulipas. It must be admitted, however, that none of the illustrations cited bear a very close resemblance to those shown here. The latter possibly represent an early regional type of Ehecatl. The figurines in the lower half of the plate are, no doubt, variants of the type seen in plate 1, figures 8 and 10, lacking, for the most part, the sharply pointed chin that characterizes the plate 1 group. The features are less realistic, although hair, rather than headdress, is the rule. MISCELLANEOUS VARIANT AND ABERRANT SPECIMENS (PL. 26) Plate 26 shows a varied assortment of aberrant and variant types of Tres Zapotes figurines. WEIANT] CERAMICS OF TRES ZAPOTES 95 Figures 1 and 2 resemble each other in general features, but can- not be definitely assigned to any major group. The eyes of figure 2 lack the corner perforations, while in figure 1 the central perfora- tions, instead of being circular, have been extended laterally almost to the exclusion of the corner perforations. Figure 3 is unique. It is a two-faced head made of red clay and originally white-slipped. The surface is quite smooth. Each face has puffy cheeks with vertical striations and a well-formed chin. A forelock of hair extends over the middle of each forehead, and a wide band around the head appears to hold the hair in place. Single, almond-shaped excavations pointing upward and outward represent the eyes. Figures 4 and 5 resemble each other to the extent that each has a hoodlike headdress, an oval face, and a long triangular nose. The furrows alongside the nose of the former give an aged, wrinkled appearance. The perforations for eyes, nostrils, and mouth con- form to the general Tres Zapotes tradition, even though it is impos- sible to fit these figurines into a major group. Figures 6 and 7 are variants of the type shown in plates 16 and 17. In figure 6 the features are very crudely indicated. In figure 7, while the eyes are quite typical of the plate 17 type, other features are much more in keeping with the baby-face type, as seen for ex- ample, in plate 18, figure 7. Figure 8 is a bearded variant of the plate 7 type. Figure 9 is a particularly crude example of the same, or of the plate 3 type. Fig- ure 10 is a genuinely “archaic” specimen not obviously related to any of the others. Figure 11 belongs to the plate 21 type, but is extraordinary on account of the very unusual cuplike ear ornaments. In figure 12 the curved upper lids of the eyes, standing out in relief, and the unusual headdress are the aberrant features. Figure 13 is a variant of the plate 1 type; figure 14, of the baby- face type (compare especially pl. 23, fig. 16); and figure 15, of the plate 17 type. Figure 16 has the full round face of the baby-face type, but differs from the baby-faces in that the eyes are shown open, with both the central and the corner perforations. Moreover, it lacks ears. Figures 17 and 18 are variants of the plates 16 and 17 type, from which they differ chiefly in the treatment of the eyes. Not only the eyes, but the headdress of figure 18, link it with specimens in plates 1-7. It is thus transitional in style between the latter and the type shown in plates 16 and 17. Figure 19 is too incomplete for classification. The upper half of the head is broken off and nose and mouth are greatly eroded. Per- 96 BUREAU OF AMERICAN ETHNOLOGY [Butt 139 forations at the sides represent earplugs. A thick disk-shaped object is held against the right side of the torso by the pressure of the arm. MISCELLANEOUS VARIANT AND ABERRANT SPECIMENS (PL. 27) Miseellaneous variant and aberrant specimens of Tres Zapotes figurines are also shown on plate 27. Figures 1 and 2: Variants of plate 1 type. Figures 3, 4, and 5: Crude figurines combining features of both plate 1 and plates 16 and 17 types. Figures 6 and 7: Two unusual specimens. Figure 7 has a hollow cylindrical core extending from the top to the level of the mouth. Figures 8 and 9: Variants of plates 16 and 17 type. - Note eyelids in relief in figure 8. Figure 9 is hollow. Figures 10 and 11: Variants of plate 1 type. Note eyelids in relief and peculiar expanse of cranium suggestive of hydrocephalus. Figures 12 and 18: Variants of plate 12 type. These two speci- mens look considerably like a Middle Zacatenco type from the Valley of Mexico (Vaillant, 1935, fig. 12, No. 9). Figures 14-17: Four aberrant specimens differing considerably from each other, although made of the same clay. Figure 14 greatly resembles a specimen in the Batres collection from the vicinity of Alvarado (Batres, 1908, pl. 26, fig. 3). PROFILES (PL. 28) Plate 28 shows profiles of some of the major type specimens of the preceding plates. The corresponding full-face figures are given in the following tabulation: Profile Plate 28: Full face Big We. SS hee ee VB ae ee ee Plate 5, fig. 2. Bie Dinas - See ome era ie. ete a Plate 10, fig. 7. Sg ete NO ANE TUT ee GENO REE Plate 10, fig. 10. Bie. 43. MS ao. Clk i ee eee ee Plate 13, fig. 9. Big OR AGE eee tee hip eee Plate 13, fig. 8. Big. (6.5.02 ee ee eee Plate 13, fig. 7. Wig iho a Be Sal ta Se Bee Plate 18, fig. 7. NS ce 2a ee ee Plate 20, fig. 13. Pag Oe 2 See hese a ed ee Plate 17, fig. 6. ERISA es Oe BAe Swe eee Pee eee eee Plate 16, fig. 7. Biot Wiebe seo ee Ye) ee Plate 16, fig. 2. Rae, WD. nl Be Feb shire ee ee Plate 21, fig. 9. Big 1G. toate. 4 ee ee ee ee Plate 20, fig. 14. PP es er Se Plate 21, fig. 1. Wig or oso cee eke So ee eee Plate 21, fig. 4. Rigs GMs SSA Sere 2: Are eee Plate 21, fig. 13. WEIANT] CERAMICS OF TRES ZAPOTES 97 EARLY DEITIES (PL. 29) The figurines of the first row of specimens shown on plate 29 are reminiscent of the “old woman type” found by the Ricketsons at Uaxactun (Ricketson, 1937, pl. 75, d, e, e’), except that the fourth one is bearded. Those of the second row are somewhat similar. Figures 8 and 9 resemble the Uaxactun puffed-cheek whistle type (Ricketson, 1937, pl. 15, f). Of particular interest are the figurines of the third row. Figures 10 and 11 seem to be crude and unsuccessful attempts at making the personage seen in figures 12 and 13, while figure 14 would appear to be a stable conventionalized representation of the same personage. There can be little doubt that this personage is a rain deity. He re- sembles the idol at the top of San Martin Pajapan Mountain (Blom and LaFarge, 1926, vol. 1, p. 47, fig. 43), whose peak can be seen on clear days from Tres Zapotes, and it is, of course, a commonplace that mountain tops frequently served as shrines of the rain god. But we have much more specific evidence. This figurine bears un- mistakable resemblance to the Zapotec rain god Cocijo as we find him on the earliest of the funerary urns—for example, the miniature vases from the tombs of Monte Albin I. Comparison with the Tlaloc of the famous jade vase from Nanchititla, State of Mexico (Plancarte collection) (Caso, 1938, p. 33), gives further confirmation of this identification. Even more illuminating is a figurine from the Arroyo Guasimal, in the collection made by Weyerstall (1932, pl. 9, ¢), which combines the typical encircled eyes of a Tlaloc with the “tigerlike” nose and mouth parts of Cocijo, such as we have here. Incidentally, this figurine should be compared, also, with the mask on the reverse side of Stela C (Stirling, 1940, p. 8, fig. 7). MAJOR ARCHAIC TYPES (PL. 30) All the major types of solid, hand-made, Tres Zapotes figurines, with the exception of the baby-face type, have been assembled on plate 30 for quick reference and comparison. The types of which they are representative are noted in the following tabulation: Plate 30, figs. : Type BUR SUT CL i Pistesid; Qos 1 eee Pointed chin. SSpaiET ICG Upp fe so i a el i BPlateyo 22a aes eee ee Prognathous. epee eee ae ere De nk Rlates ay one ee eee Rectangular face. GO Fane ies Se es er PIStESNG, 6 ieee ee Beatific. (oar sehen, RPL, eee eee! Plate Qoe ls se Sie eae ees Transitional. Oreo [on ES Oe oe ee Platessd 0, ails t2 ts Vaillant’s A. TL PEN Xo a ae ete Blates: 13; 014. See Grotesque variants. SEAT Gl eee ee ee Plates 16, ds 2 Uaxactun. PAN pl Gee eee ee Rites e 20, 21s Morelos. 98 BUREAU OF AMERICAN ETHNOLOGY [Butt 139 It should be noted that, despite differences due to variations in Leaddress and shape of face, figures 1-10 all exhibit the same tech- nique of representing eyes, nostrils, and mouth. Moreover, it re- quires no great stretch of the imagination to see in figures 11 and 12 either a crude prototype or a degenerated form of the preceding. All of the various types represented in figures 1-12, therefore, appear to ke but slightly diverging trends within a common tradition. This conclusion is strengthened by the fact that any attempt to classify these figurines on the basis of headdress elements, manner of repre- senting the ear, or type of ear ornament would cut directly across the groupings which have been made in plates 1-15. In every grouping, for example, are to be found some figurines with plain or grooved ear, some with circular earplugs, and some bearded figures. The turban headdress is all but universal. When it comes to the baby-faces (pls. 18, 19) and the types repre- sented in this plate by figures 13 and 14 and figures 15 and 16, re- spectively, the association with the common tradition just noted becomes dubious. UNCLASSIFIED FIGURINES (PL. 31) Miscellaneous figurines difficult to classify are collected on plate 31. Figures 1-5 constitute a small aberrant subgroup. Note the perfora- tions for suspension in figure 1. Figure 3 achieves considerable realism and is artistically so superior to the others that it is perhaps a mistake to include it with them. Figures 6, 7, 20, and 23 are unclassifiable, while the very grotesque group figures 8-19, some of them possibly intended to represent birds, seem to be related to the figurines of plate 29. Figure 22, contrary to the impression created by the photograph, is solid. It is made of hard, sandy, red clay and has a perforation at the back of the head. The portrayal of a child, seated and pensive, is delightfully realistic. Figure 24, a hollow figurine made of orange clay, represents a hunch- back. Figures 24 and 25 both recall certain specimens in the Seler- Saville collection from Oaxaca, at the American Museum of Natural History. FIGURINE BODIES (PLS. 32-36) Five general types of figurine bodies can be discovered among the solid, hand-made specimens, as follows: A. The bifurcated-leg type—Of these there are two subvarieties: (1) Flat; (2) steatopygous. The flat specimens with bifurcated legs may be seen in plate 32, figures1and2. They appear to wear a belt and a fringed apron, these articles being indicated by incisions. The legs are abnormally short. The feet are indicated only by slight incisions. It is evident from the WSIANT] CERAMICS OF TRES ZAPOTES 99 construction of these figurines that they were made to stand upright without danger of toppling over. Of plate 35, figures 4, 5, and 6 are probably variants of this type. A nearly complete specimen of the steatopygous variety of the bifurcated-leg type is shown in plate 32, figure 3. Figures 4-10 are other examples, although steatopygy is less pronounced. All are well supplied with filleted ornaments about the neck, waist, hips, and pubic region. Asa rule, the abdomen is more realistically represented than the breasts. The legs are disproportionately shorter, even, than in the flat specimens. Bodies of this type are probably associated with heads cf the type shown in plates 10-12. B. Simple, unadorned, standing type-—These are shown in plate 38. They are completely devoid of ornament and wearing apparel. A possible exception is figure 13, the lower perforated portion of which may indicate clothing of some kind. A conspicuous feature in most cases is the high narrow waist, exaggerated occasionally to the point where it might almost be termed a wasp-waist. The breasts are rarely accentuated. In figures 10 and 11 not even the navel is shown, al- though this may be due to attrition. Complete arms occur only in figures 9, 15, and 16. In the first instance, the arm takes the form of an extended stump, in the second, it is bent at the side, and in the third, the two arms are folded across the chest, with one hand distinctly visible. In the only case in which an entire leg remains intact (fig. 10), it appears asa slightly bent stump. These torsos are the only ones having a back that is realistically modeled, rather than flat. It is not at all certain to what head types these bodies belong. There is a suggestion about some of them of the fragmentary torso parts to be seen in plate 24, while the clay of figure 16 points strongly to plate 20, figure 15. C. Seated figures.—These fall into three subvarieties: (1) Figures wearing filleted ornaments about neck, waist, and pubic region. These are the seated counterparts of Type A, and like them are small-breasted. Plate 34, figures 1-4, shows the best examples. (2) Figures wearing pubic apron or skirt, but no ornaments. In contrast to the ornamented group, these figures have very full and often pendulous breasts. (See, for example, pl. 34, figs. 7-14.) One wonders whether the difference in attire corresponds with an actual difference which prevailed between the older and the younger women, or between the married and the unmarried. (3) Nude figures with the legs crossed, often with the body leaning forward slightly and the hands placed upon the knees (pl. 35, figs. 1-3). These are the seated counterparts of Type B. They may be male. D. Figurines with tripod support—Examples of this type are shown in plate 35, figures 7-11. A pair of roughly conical stumps 501626—43——8 100 BUREAU OF AMERICAN ETHNOLOGY [Buut. 139 serve as the anatomical legs, while a third stump, bulkier and less regular in form, extends backward from the base of the torso to com- plete the tripod. One or two belts surround the waist, while addi- tional strapping, or else a leaf-shaped apron, covers the pubic area. There may be some question as to the propriety of including this group along with figurines of human type, inasmuch as the only com- plete specimen (fig. 11) is a monkey. Figure 10, however, might well have been human. It would be impossible, on the basis of torso alone, to identify any of the group. Figure 12, a purchase specimen, is shown here for comparison. It consists only of head, apparently human, and the tripod support. E. Club-legged, steatopygous type.—This type is shown in plate 36, figures 1-8. The torso is nude except for a scanty loin cloth. It is well-proportioned. The breasts are distinctly formed but never pen- dulous. The abdomen is full and rounded—sometimes definitely obese. In a few cases, it might be suspected of indicating pregnancy. The upper part of the thigh may be nearly globular in shape. In one instance (fig. 4) the leg is bent. Figure 8 is unusual because of the cylindrical object held under the left armpit. Bodies of this type are very probably associated with heads of the plates 6 and 7 type. Besides the five main groups just described, a small number of speci- mens which do not fit into these classifications may be noted. They are shown in the lower half of plate 36. Figure 9, in which the torso is much compressed, is really a variant of the bifurcated-leg type, similar to the one in plate 10, figure 6. Figure 10 is unusual on ac- count of the leg band and the skirtlike extension to the rear which gives the figurine a nearly triangular base for support. Figure 11 is extraordinary by reason of the monkey head (?) which protrudes from the body at the level of the genitals. Figure 12 is unique be- cause of the collar and breast ornament, as well as the position of the circular earplugs. Figures 138-16 are the only figurines found in which the nipples are indicated. They are not otherwise radically different from prevailing types. Figure 16 might be considered a particularly crude example of the club-legged steatopygous type. PRIMITIVE MAYA AND ALLIED TYPES (PL. 37) Figure 1, a solid figurine, is made of dark, bluish gray clay. Fig- ures 2 and 3, which are hollow, appear on the inside to be made of exactly the same clay as figure 1, while outside they are cream-colored. This cream-colored layer has considerable depth, as may be observed by inspecting the fractured surface on the forehead of figure 2. It would appear, then, that these figurines have been fired in the same technique as that used in making the ware of pottery which we have called “Smothered.” They are the only examples of this ware to be WHIANT] CERAMICS OF TRES ZAPOTES 101 found among the figurines. The eyes and ears of figures 1 and 2 are in true Tres Zapotes style, while the one intact eye of figure 3 is of the coffee-bean type. The remaining figurines shown here are of Brown or Rust Red, rough ware. ‘They possess a certain degree of unity of style, with heavy filleted eyelids, a long nose with dilated nostrils, and thick lips as prominent features. Figure 4 has a tubular body, but the head is solid with concave back. Figure 6, on the other hand, is hollow throughout. Figure 9, although of the same general shape, is solid throughout. In figure 11 the head is divided into upper and lower compartments by a partition possibly intended to represent the roof of the mouth, the lower surface of which can be seen in the illustra- tion. Figure 7, by reason of its unusual eye form, is aberrant. Fig- ures 9 and 10 both wear lip ornaments. Some, at least, of these figurines are probably whistles. Rickards’ collection of pottery and whistles from the mounds of Tabasco con- tains a specimen closely resembling the type of figurines we have just been discussing (Rickards, 1910, 1, p. 78, bottom row, third from right). The Ganns (1939, pl. 3, No. 4), at Nohmul, in the Corozal District of British Honduras, obtained an effigy jar strik- ingly like our figure 4, while Thompson (1931, pl. 27), in the south- ern Cayo District, found incensarios with effigies not unlike figure 9, resting upon a flat background and having a tubular base for support. Dieseldorff (1926-33, vol. 3, pl. 4, No. 14) shows a figurine from Tzultacas, Guatemala, not unlike figure 6 (although, in Diesel- dorff’s specimen, the nose terminates in a horizontal bar ornament which does not, as in figure 6, take the place of an upper lip). Wor- thy of mention, also, is the presence among Gamio’s specimens from Finca Arevalo of a figurine quite reminiscent of this group (long nose and pellet of clay on lower lip suggestive of figure 9 and long flanges at the sides of the face as in figure 4), which Gamio (1926-27, p. 202) designates as primitive Maya. It is apparently a type rather widely distributed throughout northern Central America. FIGURINES REFLECTING THE HIGH CULTURES A TEOTIHUACAN TYPE (PL. 38) The figurines shown on plate 38 are made of an orange-colored clay. The heads are solid, with a slightly concave back, but the neck (and, in that case, presumably the body also) may be hollow, as in figure 4. The type is widely represented in collections from Totonac terri- tory. Batres, for example, shows specimens from the south shore of the Papaloapan River and the vicinity of Alvarado (Batres, 1908, pls. 6,9 (fig. 2), 10 (figs. 1, 2), 15 (fig. 1), 28 (fig. 1) ; see also 102 BUREAU OF AMERICAN ETHNOLOGY [Buty 139 Danzel, 1923, vol. 2, fig. 44). One of these, a seated female figure with legs crossed, has a headdress very similar to that of figure 5. Another exhibits the same sort of large circular earplugs, similarly placed, as those of figure 4. We find the type again in collections from the Huaxteca: the same triangular faces; almond-shaped elevations for eyes, placed beneath prominent brow ridges; thick lips, slightly parted; large circular or disk-form ear ornaments directed forward; and wide headdress in the form of one or more filleted bands across the forehead, some- times beaded as in figure 5, sometimes striated vertically as in figure 7. A number of examples occur in the Huaxtec collection of the American Museum of Natural History (Stout, 1938, pl. 8, top row). Of greater interest, however, is the fact that the type occurs very prominently in Teotihuacan culture. The great atlas of Pefafiel fig- ures specimens nearly identical with figures 4, 6, and 7 (Pefafiel, 1900, pl. 5), and similar heads show up in the material from Coyot- latelco (Vaillant, 1938, p. 537, fig. 2, q). The type forms only an insignificant fraction of the Tres Zapotes material, from which we may surmise that it represents foreign in- fluence, emanating, in all probability, from the Valley of Mexico on the Teotihuacan time level.?® SOME MIDDLE AMERICAN DEITIES (PL. 39) A number of familiar representatives of the Middle American pantheon are shown on plate 39. Figure 1, a solid white-slipped figurine, represents Quetzalcoatl in his role as Ehecatl, god of the wind, a deity generally assumed to be of Nahua origin. Figure 2 is obviously a Tlaloc. This figurine is rather crudely made out of coarse brownish clay. The illustration gives the erroneous impression that it is hollow. Actually, it is solid from the level of the nose up, the hole through the top being accidental. The lower half of the figure only is hollow. It was found at a depth of about 2.7 m. in Mound F of the Ranchito Group. Figure 3 is the mask of Xipe, god of the flayed, wearing the skin of the sacrificial victim. This and other Xipe figurines came from the excavations in and around Mound D of the Ranchito Group at a depth of 1.5 to 2 meters. The cult of Xipe is thought to have originated at or near the town of Yopico, close to the boundary separating the States of Oaxaca and Guerrero (Caso, 1936, p. 27). It had a widespread distribution reaching as far south as Nicaragua (Spinden, 1928, p. 189), was intensely developed at Monte Albin, whence it may have spread to the Valley of Mexico, but does not ** Compare, also, with the head on incense burner from Santiago Ahuitzotla (Tozzer, 1921, p. 14), and with the Valley of Mexico (Toltec) specimen in Joyce (1927, p. 107, middle row, right). WEIANT] CERAMICS OF TRES ZAPOTES 103 appear on present evidence to have achieved any great popularity either at Tres Zapotes or at other sites near the Gulf. Figures 4 to 7 inclusive are masks of the Old God in full-fledged Teotihuacin style (Pefiafiel, 1900, pl. 14). These and similar speci- mens from other sites in the Papaloapan Basin—for example, the Arroyo Guasimal (Weyerstall, 1932, pl. 9,d@)—are an important link in the chain of evidence for strong Teotihuacan-Toltec influence on the Middle Tres Zapotes B level. The same deity appears in some- what different style in figures 8, 9,10, and 12. Figure 12 is strikingly like the lower part of an effigy in the Strebel collection from the region of Atotonilco and Quimistlan, Veracruz, which Seler regarded as an importation from Maya territory (Seler, 1904 a, p. 108, fig. 24, b; also 1908-23, p. 455, abb. 45, c). Our specimens, however, are not glazed, like those which Seler discusses. The clay of figure 8 is red; that of figures 9, 10, and 12, dark gray. The very wide range of distribution of figurines of this type is evident from the fact that examples occur in both the El Salvador collection and in the Seler- Saville collection from Cuilapan, State of Oaxaca, at the American Museum of Natural History. A third variant, also of wide dis- tribution, is that seen in figures 11 and 13. Danzel (1923, vol. 2, fig. 39) shows a fine specimen from Cempoala, in Totonac territory, which he says resembles the Maya Sun God Kinichahau. Our specimens have the same sort of eyes, nose, and wrinkled cheeks, but lack the filed teeth which commonly characterized this god. Mrs. Nuttall (1910, pl. 9, fig. 1) provides an example from the Island of Sacrificios ; Weyerstall (1932, pl. 10, c), one from the Arroyo Guasimal. Examples are, of course, not lacking in Guatemala (for example, Coban (Hirt- zel, 1925, p. 669, fig. 5), in the lowland country, and Kaminaljuyu (Anon., 1936, fig. 2), in the highlands), nor from the Ulua Valley, Honduras (Gordon, 1898, pl. 8, d; see also Seler, 1908-23, p. 455, abb. 45, d), while from the tombs of Zaachila and Cuilapa, in the State of Oaxaca, come Zapotec versions of the same personage (Seler, 1904 b, pl. 35). MISCELLANEOUS FIGURINES (PL. 40) (Mostly unclassified) A number of figurines from Middle and Upper Tres Zapotes, only a few of which can be identified or classified, are shown on plate 40. All are hollow except the three in the last row. Some are undoubtedly whistles. Whistles with two faces, as in figure 13, have been found at Lubaantun (Joyce, 19338, pl. 2, especially fig. 2), although they bear no close resemblance to the one shown kere. Figure 8 is perhaps a death god. Figure 10 is presumably part of a mask of the Old God, Teotihuacdn style. (See discussion of pl. 39.) 104 BUREAU OF AMERICAN ETHNOLOGY [Bu. 139 Figure 11 is probably a spider monkey. Figure 12 may represent Ehecatl, the wind god. Figure 14 is the only Aztec-type figurine found, which is rather remarkable, inasmuch as the region is known historically to have come under Aztec control, even to the extent that Aztec, or Mexicano, had become the dominant language. Figure 15 shows a surprising resemblance to the face of the Aztec goddess Ciuacoatl (Danzel, 1923, vol. 2, figs. 52 and 53), on the one hand, and to an archaic figurine found at a depth of 2 m. at Tzultacas, Guatemala (Dieseldorff, 1926-33, vol. 3, pl. 4, fig. 15), on the other. The pellets of clay to represent the pupils of the eye are distinctive. Figure 16 is very like an unclassifiable type found by Vaillant in Gualupita II, in the State of Morelos. (Vaillant and Vaillant, 1934, fig. 10, No. 11; compare, also, Noguera, 1930, fig. 45, a, a Tarascan specimen.) It may denote another link between that area and the coast, although it is surely as aberrant for Tres Zapotes as for the Mexi- can highlands. Observe, nevertheless, the tuft which passes over the center of the head from the middle of the forehead, a coastal trait often present in the case of the laughing figurines from Totonac country. As the top of the Gualupita specimen has been broken off, it is un- certain whether or not it shared this trait. MOLD-MADE MAYOID FIGURINES (PL. 41) Maya influence is marked in the figurines shown on plate 41. Figure 1 was found at the bottom of the west edge of the promontory in which the Ranchito Group of mounds is situated, among the debris washed down from the main terrace. It apparently represents a priest wearing the disguise of a large bird and in the act of presenting an offering. A figurine almost identical in conception was found by the Ganns at Nohmul, British Honduras (Gann, 1938, pl. 3, No. 2, a). A similar headdress may be noted on a Guatemalan specimen identi- fied by Dieseldorff (1926-83, vol. 8, pl. 40 B, abb. 99) as Quetzalcoatl in the guise of Venus. The little “tiger god” (fig. 2) was found in Mound D of the Ranchito Group. His posture, arms close to the sides, forearms flexed, and hands upraised with palms to the front, is characteristic of the Maya mold-made figurines from Campeche (Butler, 1935, p. 654). Figure 3, on the other hand, takes the posture more common to this type of figurine as found in Veracruz (Butler, 1935, p. 648). Figures 4 and 6 are examples of what has been called the “flying man” type or the “winged man.” As defined by Butler (1935, p. 648), this is “a man, standing, with outstretched arms, shoulder wings, and a thick tubular collar or roll of fat at his neck.” The wings of the specimens shown here have been broken off. Two speci- WEIANT ] CERAMICS OF TRES ZAPOTES 105 mens exhibiting identical headdress, reported as coming from the Tuxtla region, are to be seen in the Batres collection. (Batres, 1908, pls. 45, 55. For a similar specimen from Yucatan, although in tripod form, see Lehmann, 1922, pl. 42.) In one of these a ring supplants the left hand; in the other, the right hand. The symbolism of figures of this type is not clear. Figure 5, again, is in the Campeche style. The physiognomy, how- ever, has its counterpart in a clay head from Nohmul (Gann, 1938, pl. 5, No. 2). Figure 9 appears to be a close relative. Figure 7 is doubtless a variant of the Fat God of the Toltecs and the Totonacs discussed by Beyer (1928, figs. 1, 2; see also Strebel, 1885-89, vol. 2, pl. 14, No. 32). While the resemblance to his illustra- tions is not close, this specimen has one trait in common with them, the peculiar leaf-shaped ear ornament, a feature which he particu- larly stressed. The deity represented in figure 8 has the right hand supplanted by a rabbit’s head. These figurines, like the preceding, are of pink or cream-colored clay (in one instance, orange) and belong to the Upper Tres Zapotes level. MOLD-MADE MAYOID FIGURINES (PL. 42) Additional mold-made figurines with distinctly Maya flavor are seen on plate 42. Again they are made of pinkish or cream-colored clay. Figure 2 had a brown slip; figure 7, white. They are either rattles, like figure 2, which contains several clay pellets, or whistles, like figure 4, in which the headdress is the mouthpiece. The outlet for air may be almost anywhere on the back of the figure. In figure 1 it is at the back of the head. While the posture exhibited by figure 2 has been stated to be espe- cially characteristic of the mold-made figurines of Campeche, its distri- bution is by no means limited to that area. Figurines similar in headdress, type of clothing shown, posture, and form of support are to be found, for instance, at Cerro de las Mesas (Strebel, 1885-89, vol. 2, pl. 32, figs. 35, 39, 44, 45) ; on the shores of the Papaloapan River; ** on the Island of Jaina (Hamy, 1897, pl. 26, fig. 81); and even at Lubaantun (Joyce, 1933, pl. 1, No. 2—a head only). Figure 7 is the “seated woman” type of figurine described by Butler (1935, p. 649). As she points out, it is a type that has a very wide distribution. Ordinarily the left hand rests on the knee, while the right hand holds a fan at the level of the waist. While some of the details are lacking here, the figurine conforms in the main to this characterization. Occasionally, a child is held in the left arm, as in figure 5, which, however, is atypical, since the figure is not seated. 14 Batres, 1908, pl. 55. In this case, however, the eres and mouth are perforated. 106 BUREAU OF AMERICAN ETHNOLOGY [Butn. 139 Figure 6 is of special interest for two reasons. The eyes are slightly crossed, and the face is tattooed. A tattooed figure from San Andrés Tuxtla occurs in the Batres collection (Batres, 1908, pl. 47). One from Santiago Tuxtla with two rows of dots around the mouth appears in the Seler collection from this region (Krickeberg, 1933, grab. 44), while from Yucatan comes a specimen showing greater similarity to the one in question than either of the Tuxtla examples (Krickeberg, 1933, grab. 45). Similar specimens have been excavated, also, along the Tenejapam River, near El Remolino (Weyerstall, 1932, pl. 1 and pl. 2, a). It is known, of course, that strabismus and tattooed skins were both marks of beauty among the Maya. MOLD-MADE MAYOID FIGURINES (PL. 43) There can be no question that the Mayoid figurines just described (pp. 105-106) were manufactured at Tres Zapotes, for not only are they made of the same material as the Upper Tres Zapotes Yellow and Pink ware (including Cream, Orange, and Brown) with their characteristic, smooth, chalky feel, but the very molds used, likewise of the same material, appeared in the course of the excavations. Figures 1 and 2 are fragments of such molds. Parts of still other figurines of this general type are shown here. Costumes featuring a low belt and a paneled skirt, somewhat after the fashion of figure 10, are known from Campeche (Butler, 1935, p. 655, fig. 5, a) and Yucatan and from Cerro de las Mesas, Veracruz (Krickeberg, 1933, grab. No. 47, 6). Figures 5 and 6 are ornaments of large figurines. Except for an occasional stray limb, we found no trace of figurines large enough to have worn such ornaments. “TOTONAC” FIGURINES (PL. 44) The group of figurines shown on plate 44 is in the well-known style commonly called Totonac. The majority are of the laughing type with the tip of the tongue caught between the teeth. While many of the large specimens in this style which have been found elsewhere are provided with tubular extensions at the back which seem to have served for insertion into temple walls (Spinden, 1928, p. 166), the heads found at Tres Zapotes belong, as is evident from the complete specimens, to male figures which assume either a standing or sitting posture with arms extended, forearms flexed, and hands upraised. Not all are laughing. Figure 6 has a particularly severe expression; it resembles greatly a couple of heads in the Batres collection from the vicinity of Alvarado (Batres, 1908, pl. 8, fig. 2, and pl. 11). Figure 9 might even be a death mask. Figure 7 reflects the possible baby-face origin of these figurines. WEIANT] CERAMICS OF TRES ZAPOTES 107 Figure 4 is unusual by reason of the marked slant of the eyes. Figures 1 and 8 wear curious cone-shaped ear ornaments. A speci- men in the Comargo-Strebel collection in Berlin from the Mistequilla region of Veracruz exhibits this trait (Krickeberg, 1933, grab. 39, a), as does, also, a standing figure from Cocuite, Veracruz (Blom and La Farge, 1926, p. 17, fig. 13). All of these figurines are of pink or cream-colored clay. Figure 5 has a brown slip. All of these specimens come from the Upper Tres Zapotes level. They are not associated with yokes. Figure 8 is from Mound F;; figure 11, from Mound C, in the Ranchito Group. SOME “TOTONAO”’-MAYA COMPARISONS (PL. 45) In the group of specimens shown on, plate 45 some interesting rela- tionships are suggested. Figures 1, 2, and 3 show the baby-face motif as it might have been treated by artists working in the Totonac tradition. Figures 5-8 will be recognized as the type of baby-face already shown in plate 18, figure 5, a type previously known from Tonala, Vera- cruz, not far from the Tabasco boundary, and hence close to centers of Maya influence. For that reason it is interesting to compare these figurines with figures 9-16, a genuine Maya type. The similarity of facial expression, form of mouth, manner of showing the teeth, and shape of eyes is quite apparent. Faces clearly comparable to those of figures 9-16 may be seen on figurines from Labna, Yucatan (Thomp- son, E. H., 1897, pl. 12, Nos. 6, 8, and 11), on pottery vessels from Coban, Guatemala (Seler, 1904 a, p. 98, fig. 19, 2), and on figurines from Alta Verapaz, Guatemala (Dieseldorff, 1926-33, vol. 1, pl. 4, fig. 16), to mention, but three Maya sites. The striations (rays) about the face in figure 9 and the filed teeth which are so conspicuous in figure 16 are both marks of the Sun God. However, a specimen very similar to those of this group, of unspecified Guatemalan origin, having crescents above the eyes and grooves at the sides of the face (but differing from these in that it wears a beard) is identified by Diesel- dorff (1926-33, vol. 3, pl. 18; abb. 32 and commentary) as the Old God, Fire God, or God of the Uayeb, the five unlucky days at the end of the year. The wrinkles indicated by markings on the nose and the cheeks, as in our figures 10, 11, and 13, add plausibility to such an identification. The important point, however, is that a good case can be made for cultural relationship between a Coastal variant of the baby-face and a conspicuous type of Maya figurine. But if the figurines we have just been considering seem to have seized upon the least pleasing aspects of the baby-face and intensified them, figures 17, 18, and 19 seem, in a style no less Maya, to have captured and preserved the joviality, plumpness, and rotundity of 108 BUREAU OF AMERICAN ETHNOLOGY [Bunn. 139 such faces as we see in plate 18, figures 3 and 6. The mode of repre- senting the hair in figure 19 is, according to Dieseldorff, typical of representations of Venus (Dieseldorff, 1926-83, vol. 3, pl. 10; abb. 15 and commentary.) WHISTLES AND MUSICAL INSTRUMENTS WHISTLES OF THE TUXTLA REGION (PL. 46) Whistles of the type shown on plate 46, in the form of monkey,” toad, or some other animal, very often holding a receptacle, appear to be a local specialty of the Tuxtla region. Batres (1908, pl. 44, fig. 1) shows such a specimen from San Andrés Tuxtla; Weyerstall (1932, pl. 11, ¢), one from the Arroyo Guasimal. . 3 Act Boos ames eo —_ ae i pa i pean we ec ive Muscovy duck. SIA ge ee | eee LE Ee ee Duck. Missxtioiandt 14s: 2 ite St ema taeeey. Hawk. WC ory DE rer hes ick ol we ere Boome, 2 OE Flamingo. Wiesn24 andp26s 22 ee ew Owl. NEARS a eS ee eee Bird of prey. BIRDS AND REPTILES (PL. 49) Additional whistles, some in the form of birds (for the most part unidentifiable), others mainly as reptiles, appear on plate 49. Figures 5 and 9 are purchase specimens. The former is very similar to a specimen in the Batres collection from the Papaloapan Basin (Batres, 1908, pl. 51). It is supposed to represent a crocodile. The clay is of the rough, rust-red variety and the entire upper surface and sides of the specimen are coated with asphalt. Figure 3 is both whistle and rattle. It is made of cream-colored clay and covered with white slip. Figure 16, although incomplete, looks suspiciously like an Ulua Valley type of figurine consisting of an animal supporting another of the same kind. Lothrop (1926, vol. 2, pl. 191, fig. f) found such figurines in Costa Rica and considered that they had been imported from Honduras. THE COATI-MUNDI AND UNIDENTIFIED FORMS (PL. 50) Among the animal-form tripod whistles the coati-mundi is a fa- vorite theme. Like the bird forms, it occurs both in crude technique, made of coarse red clay, and in more realistic expression, made of smooth yellow or pink clay. There is a wide range of sizes, but small specimens are less common than large ones. Redfield (1936), in an interesting study, identifies the coati with festal buffooning. It is well represented in collections from the Tuxtla region. (Seler, 1908-23, vol. 5, pl. 48; Seler-Sachs, 1922, pl. 18 (4), 110 BUREAU OF AMERICAN ETHNOLOGY [Butw. 139 p. 14.) Moreover, as in the case of the bird-form whistles, there are parallels in the material from Uaxactun (Ricketson, 1937, p. 216, fig. 140, ¢), although in the latter the eyes take the form of slits, as in the human figurines, rather than the circular pit-form which predomi- nates at Tres Zapotes. It is, however, probably worth while to observe that Tres Zapotes specimens which do have eye slits (fig. 7, pl. 50, for example) are of the rough red clay and presumably earlier than the others. Figures 8, 9, and 10 have not been identified. Figure 8 is the spout of a vessel; it is a particularly fine example of modeling. Figure 9, also, is a pottery fragment. MONKEYS AND MISCELLANEOUS MAMMALS (PLS. 51, 52) In plates 51 and 52 are shown miscellaneous figurines representing mammals. Plate 51 is devoted exclusively to monkeys. The more crude, solid specimens, like figures 1, 2, 5, and 9, are made of the same clay as the figurines of plates 1-14 and appear to be closely associated with the latter. Hollow specimens like figures 20 and 21, on the other hand, tie in with the Yellow and Pink wares of Upper Tres Zapotes. Tripod whistles of the form of figure 16 are reported from the vicinity of Alvarado (Batres, 1908, pl. 38, fig. 2), whence come, also, specimens more or less like figures 18, 22, and 23 (Batres, 1908, pl. 38, fig. 2). Figures 20 and 21 probably reflect Mayoid influence, but, for the most part, the artists of Tres Zapotes seem to have handled the monkey theme in their own way. While no monkeys are to be found today in the immediate vicinity of Tres Zapotes, very old residents recall the time when there were monkeys on the Tuxtla Mountain, and they are still to be found on San Martin. The assortment in plate 52 includes dogs, coatis, wildcats, and “tigers.” Probably all are whistles. A specimen in the Seler-Saville collection of the American Museum of Natural History that is almost identical with figure 20 comes from Xoxo, near Monte Alban, State of Oaxaca. TUBULAR INSTRUMENTS (INCLUDING A PANPIPE) (PL. 53) We have in plate 53 a collection of wind instruments in the Pink and Yellow wares described in connection with surface burial pottery. Many of them, perhaps originally all, were white-slipped. The simple tubular forms are frequently adorned with the head of a bird. Figure 1 shows the head of a vulture; figure 2, that of a condor or an eagle; figure 3, an eagle.° In figures 8 and 12 the heads are probably those msi Identification by Charles E. O’Brien, ornithologist of the American Museum of Natural istory. WrIANT] CERAMICS OF TRES ZAPOTES it of a guan and a goose, respectively, while, in figure 11, the effigy is human. Of extraordinary interest is figure 13, since this is really a panpipe. So far as we have been able to ascertain, this is the first and only instance that a panpipe has turned up anywhere in North America. Double tubular instruments similar to figure 16 have been found at San Andrés Tuxtla (Batres, 1908, pl. 44, fig. 2). Many of the instruments shown here are provided with a pellet of clay to create a warbling effect when blown. PART 3. MISCELLANEOUS CERAMIC MATERIAL AND WORK IN STONE SPECIAL POTTERY AND FIGURINE FRAGMENTS EFFIGY HANDLES (PLS. 54, 55) The crude monkey, jaguar, bird, human, and other effigies shown in plates 54 and 55 are the lugs of large, shallow, flat-bottomed dishes made of rough, sandy, cream-colored or rust-red clay. The coarse texture is particularly evident in plate 55, figure 10. Occasionally, as in plate 54, figure 9, the surface is smooth and has received a reddish-brown slip. In some cases, as in certain Teotihuacén vessels, the lug is placed on the inner side of the rim (for example, pl. 55, fig. 5), while in other cases (such as pl. 54, figs. 5 and 6) it is on the outside. Seler (1908-23, vol. 5, pl. 47) shows specimens somewhat like plate 54, figures 6 and 7, from San Miguel Amontla and Santiago Ahuitzotla. For specific resemblances, however, one must confine himself to the Tuxtla region (Seler, vol. 5, p. 495, abb. 183 and 134; also, Seler- Sachs, 1922, pl. 8 (4), p. 18). The San Andrés Tuxtla specimens Seler calls inner handles of the incensario covers (“innere Griffe von Rauchergefassdeckeln”). Our Tres Zapotes specimens, however, as al- ready indicated, come from vessels which appear to have served in their own right, rather than as the covers of other vessels, and there is no evidence that these vessels functioned as incensarios. EFFIGY NECKS (PL. 56) Three principal wares are represented among the effigy necks shown on plate 56: (1) Speckled ware, of which figure 4 is an example. (We have al- ready pointed out that vessels of this form and mode of decoration are quite characteristic of Upper Tres Zapotes Speckled ware.) (2) Reddish-Brown Slipped ware, the clay of which is orange. Figures 2, 6, and 8 are examples, all of which have the face of the effigy blackened with asphalt. (3) White-slipped ware, the clay of which is cream-colored or brown and has a smooth chalky consistency. Figures 10-15, exclusive of 14, are examples. Crude effigies of this sort, varying in details from place to place, are so common that one cannot very confidently use them as clues to cultural contact. A few examples may, nevertheless, be noted from 112 WEIANT] CERAMICS OF TRES ZAPOTES its areas where other more convincing parallels occur. From a mound at Santa Rita, British Honduras, comes an egg-shaped tripod vase on which is modeled an effigy suggestive of those shown here, although the eyes differ completely in that they are of the coffee-bean type (Gann, 1918, pl. 11). Better examples have come from Ulua Valley (Gordon, 1898, pl. 7,7) and from Uaxactun (Ricketson, 1937, pl. 76, 6). Then, as might be expected, specimens almost identical with some of _ those shown here have turned up at San Andrés Tuxtla (Seler, 1908- 23, vol. 5, pl. 48, particularly the specimen in the lower left-hand corner of the plate). SCULPTURED POTTERY (PL. 57) The sherds and bow] fragments shown on plate 57 are among the most interesting specimens of Tres Zapotes pottery. They come principally from the lower levels of the deposit in the vicinity of Mound D of the Ranchito Group at a depth of approximately 3 m. (See map 7.) They are, for the most part, manufactured out of smooth, untempered, yellow or cream-colored clay, although a few, such as figures 14 and 17, are dark gray or black. Some specimens— for example, figure 11—show traces of white slip. These are Totonac characters (Spinden, E., 1933). Moreover, while specific resem- blances are hard to find, certain features of these specimens are highly reminiscent of sculptured stones at El Tajin. Compare, for example, the furled appendages of figure 16 with the similar design elements on the stone block called by Palacios and Meyer (1932, Fotografia No. 2) Banco S1, or with the leaves of the “tree of life” (Palacios and Meyer, Dibujo 12). Going farther afield, we find that the representation of feathers in figures 13 and 17 has its counterpart in specimens from the Ulua Valley (Lothrop, 1936, p. 144, fig. 3) and, to an even greater extent, in material from Piedras Negras (Butler, 1938, pl. 1, No. 4). One of the Ulua specimens shows a human figure wearing as a pendant a human head very similar in conception to that which appears in figure 18. Note the flattened, receding forehead both in this figure and in figure 19. This feature and the paneling seen in figure 18 give these two specimens a strongly Mayoid flavor. The general style and tech- nique of figure 12 resemble to a marked degree a specimen from Copan (Lothrop, 1936, fig. 1, ¢). Finally, it may be noted that the design in figure 9 is at least vaguely suggestive of the serpent numerals of the Dresden Codex (Morley, 1915, pl. 32). Despite the various parallels cited, however, there can be no doubt, in view of the thousands of other sherds of identical clay and firing found at Tres Zapotes, that these sherds are all of local manufacture. Lothrop (1936) has pointed out that sculptured pottery of the kind shown in figures 12-19 was already being manufactured by the Old 114 BUREAU OF AMERICAN ETHNOLOGY [BuLu. 139 Empire Maya, that it has a wide distribution, and that it may have had a northern origin. Its occurrence at Tres Zapotes is by no means exceptional for the Tuxtla region. At several places in this area, notably at Talocapan and Poyinapan, Lic. Juan Valenzuela *® and his colleagues of the Museo Nacional de Arqueologia, Historia y Etnografia of Mexico, working in collaboration with the Carnegie Institution of Washington, obtained such sherds in considerable abundance. The precise time level of this material in the Tuxtla region cannot be definitely stated as yet, but associated finds at Tres Zapotes suggest late Toltec times. AN EFFIGY VESSEL, A FIGURINE, AND A MASK (PL. 58) The large, hollow, baby-faced figurine (pl. 58, fig. 1) is a purchase specimen said to have been found in the Arroyo. It is made of a very light-colored clay and had a white slip. It measures 27 cm. in height. The death mask (fig. 2) is a type of figurine of wide distribution in Middle America. A specimen reported by Gann (1918, p. 122, fig. 70) differs but slightly from this one in that it lacks eyebrow ridges, nostril openings are indicated, and flanges occur at the sides of the head and are perforated as though for suspension. A specimen from Teotitlin del Camino (State of Oaxaca), figured by Danzel (1922, vol. 2, fig. 61), is a closer approximation to the present one. Of greatest interest, however, is an example published by Vaillant (1936, Panel 2, bottom row, 3d fig.) as typical of middle Toltec times, a specimen distinguishable from ours only by a somewhat narrower face and less pointed chin. The black effigy vessel representing a woman (fig. 3) was found in the northern half of Mound A of the Ranchito Group at a depth of 2.6m. It contained a piece of an infant’s skull. MISCELLANEOUS VESSELS, SHERDS, AND POTTERY OBJECTS (PL. 59) Figures 1 and 2 of plate 59 are white-slipped vessels from the layer of the surface burials at the Ranchito site. Vessels very similar to figure 1, except that the neck is taller and the spout handle is joined to the neck of the vessel by a horizontal bar, have been found at the Hacienda de San Francisco, near the Gulf Coast directly north of Tres Zapotes (Batres, 1908, pls. 3,4). In the latter case, traces of a painted design overlay the white slip. Figure 3 represents an object of unknown function. Figure 4 is a pipe from the purchase collections, the only one seen during the entire season’s work. It is quite similar to a specimen in 1¢ Private communication, July 9, 1939. Note also Seler-Sachs, 1922, pl. 6 (2). WEIANT] CERAMICS OF TRES ZAPOTES 115 the Huaxtec collection at the American Museum of Natural History (Stout, 1938, pl. 3). The incensario (fig. 5) is a purchase specimen from Saltillo, near San Juan, a few miles north of Tres Zapotes. It is of the same Rust- Red, rough ware as the bowl shown in figure 25, 7. The inside of the high annular support is smoke blackened. Figure 6 is a sherd of Yellow ware. The face may be a representa- tion of Xiuhtecutli, the fire god. At Matacanela, in the Tuxtla region, Blom and La Farge found a large stone box decorated with the same circular elements as those which surround this face (Blom and La Farge, 1926-27, vol. 1, p. 24, fig. 24), as well as a round stone altar having both the circular elements and the vertical rays seen here (Blom and La Farge, 1926-27, vol. 1, p. 25, fig. 26). From this we may conclude that the sherd in question is not foreign to Tres Zapotes, and that the effigy had a religious significance for the people who made it. A statue of Xiuhtecutli in the Naturhistorisches Mu- seum in Vienna supports a fire bow! decorated with alternating groups of circles and rays in the same row (Fuhrmann, 1923, fig. 15). The efligy-bowl neck of Black ware seen in figure 7 has a close paral- lel in a specimen from Etla, State of Oaxaca, on exhibit in the Ameri- can Museum of Natural History. Figures 8 and 9 are incised sherds of dark Gray ware. Figure 10 is of orange clay with cream-colored slip, through which the design has been incised. Figure 11 shows part of an incurved, carved bow! with white slip. Figure 12 shows the handle and part of the rim of a shallow bowl of the unslipped, sandy, Cream ware so abundant at the Ranchito site. MISCELLANEOUS EFFIGIES (PL. 60) Plate 60 shows a number of highly realistic, white-slipped effigies, all of them hollow. They include “tiger,” dog, and monkey heads, a turtle, the paw of a jaguar, the leg of a crouching human figure from the wall of a vessel, and part of a mask, perhaps of the Old God. No specimen is more finely executed than the turtle, which came from Mound C of the Ranchito Group. It contains pellets of clay - permitting it to be used asa rattle. Incidentally, turtle shells of clay, | painted white and used as musical instruments, are listed by Noguera (1937, p. 4) as one of the characteristic objects excavated at Tizatlan, Tlaxcala, and it is of interest to note that he equates the Tlaxcaltec pottery of Tizatlan with the beginnings of Mixteca-Puebla culture at Cholula, a time level which fits in very well with most of the Upper Tres Zapotes material. 501626—43—9 116 BUREAU OF AMERICAN ETHNOLOGY [Buu.. 139 LIMB FRAGMENTS OF JOINTED AND LARGE HOLLOW FIGURINES (PL. 61) While an occasional specimen in plate 61, like the one at the end of the second row, can be identified as belonging to some type of figurine for which we have complete representatives, already discussed, the ma- jority occupy an anomalous position in this collection for the reason that the type of torso to be expected in association with them is entirely missing. For instance, the specimens in the first row are presumably the limbs of the well-known Teotihuacin type of figurine with movable joints. But such figurines, or dolls, have a small, flat, triangular torso (Spin- den, 1928, fig. 57, p. 178). No such torsos have been found in the exca- vations at Tres Zapotes. The same thing holds true for the Seler collec- tion from the canton of Tuxtla (Seler-Sachs, 1922, pl. 10 (6), p. 24). This is indeed odd, and it is hardly to be accounted for by the supposi- tion that torsos have all been reduced to unrecognizable fragments, for the limbs of such figurines would certainly be more susceptible to breakage than the torsos. Can it be that visitors to Teotihuacan from the Tuxtla region made a practice of picking up these limb fragments as souvenirs? Or is it rather that the torsos were simply overlooked by workmen trained to concentrate on rim sherds and heads? The latter hypothesis seems unfortunately the more likely. In the case of the large hollow arms, and hands with the nails real- istically represented, extensive breakage before the advent of the archeologist may plausibly explain the absence of other parts. Both the filleted ornaments and the manner of showing the nails recall figures of the Zapotecan funerary urns, which in the Valley of Oaxaca happened to be preserved for us by reason of the fact that they had been placed in tombs (cf. Danzel, 1922, p. 58). MISCELLANEOUS CLAY OBJECTS SEALS (PLS. 62, 63) Among the flat seal fragments of plate 62, most of the specimens are of orange-colored clay, a few are cream-colored, and one, the bird effigy, is dark gray. In the column at the left side of the plate, the third specimen from the bottom has a cream slip over orange-colored clay. Occasional specimens have a reddish-brown slip. The bird effigy is very like that seen in a double bird-head design on a flat seal from the Ulua Valley (Ries, 1932, p. 447, fig. 12). The curious 8-like figure on the seal immediately below it has been taken — by Spinden as a symbol for 7, or the god No. 7; it is identical with a — fragment from Tabasco (Blom and La Farge, 1926-27). The circular | seal with spiral design suggests one with similar design from Teoti- — huacan (Pefiafiel, 1900, pl .10), while the large square fragment near — the bottom of the plate is typically Aztec in style. WnrANT] CERAMICS OF TRES ZAPOTES 117 Of the cylindrical seals shown in plate 63 all are of coarse red clay except the middle specimen of the second row, which is of coarse cream- colored clay. The specimens in the upper left- and right-hand corners show traces of white slip. The flat seal fragments near the lower right-hand corner are cream-colored and dark gray, respectively. The “danzante” seal (lower left corner), one of the most significant specimens obtained, has already been discussed (p. 82). The middle specimen of the third row is really a sherd of stamped pottery, rather than aseal. Being flat, it suggests the stamped bottom of an Aztec Period I vessel. Strebel (1885-89, Band 1, table 4, No. 53) shows a similar specimen in his Ranchito de las Animas collection. However, stamped pottery in this general style has a very wide dis- tribution. The material from Mound 36, Copan, on exhibit at the Peabody Museum of Harvard University, includes sherds of stamped pottery exhibiting designs of precisely the same sort, although these appear in rectangular panels with rounded corners on the walls of the vessels instead of on the bottom. The sherd shown here is a purchase specimen recovered from the arroyo. The clay is coarse and cream- colored. The middle specimen at the top of the plate, unlike the other cylindrical specimens, is hollow and has two perforations. SPINDLE WHORLS AND BEADS (PL. 64) We have in plate 64 a representative collection of spindle whorls and clay beads. The spindle whorls take the following forms: a. Truncated cones, b. Spherical slices. c. Bell shapes. They may be plain, or they may exhibit incised, carved, or modeled decoration. Two specimens, not photographed, were decorated with human figures, one of which wears an elaborate headdress. Spindle whorls occurred frequently throughout both surface and deep burial levels on the Ranchito site. Two additional specimens and what appears to be a mold used in making spindle whorls are shown in figure 52 (p. 83). EAR SPOOLS, RINGS, AND BEADS (PL. 65) Miscellaneous clay objects, principally ear spools, rings, and beads, make up the collection shown on plate 65. Both spherical and tubular beads are represented. Conspicuous specimens are the little disk with relief modeling of a frog and the ring made up partly of a monkey’s head, both sufficiently unique to be claimed by the Museo Nacional of Mexico. The dark-gray or black, grooved, spherical objects in the lower right-hand corner were abundant in the excavations on the Ranchito 118 BUREAU OF AMERICAN ETHNOLOGY [But. 139 site, especially in Mound F. We took them to be ear ornaments, but it is the opinion of Mr. Eduardo Noguera that they are weights used to sink fishnets. Certainly they would be well adapted to such a purpose. Whether the object in the lower left corner is in the same category remains problematical. WORK IN STONE STONE YOKES Fragments of stone yokes were fairly abundant at Tres Zapotes. Of the 15 recovered, 11 had ornamental carving while 4 were plain. All of the yoke fragments excavated were from the Ranchito site and from the adjacent First Terrace site. Both the open and closed varieties were present. Three of the closed examples (pls. 66, figs. 8, 14; 67, fig. 1) and a fourth (pl. 66, fig. 4) which may have been closed, were excavated in a small mound at the east edge of the Lower Terrace site and were in association with Upper Tres Zapotes ceramic material, including laughing-face figurines. The decorated pieces from the Ranchito site were with Middle Tres Zapotes ceramics. The implication is that the decorated, open type of yoke may have been somewhat more early than the plain and the closed yokes. One complete carved example was obtained from a milpa near Lirios (pl. 67, fig. 1). The sherds on this site were of Upper Tres Zapotes, or “Lirios” type. A similar incomplete example (pl. 68, fig. 1) was found at a site at the foot of Cerro Chico Zapote about 2 miles southeast of the Tres Zapotes locality. All of the specimens were of hard, decorative stone with the exception of a single example from the Lower Terrace mound, which was of vesicular lava (pl. 66, fig. 4). METATES Three complete metates were found, all associated with Middle or Upper Tres Zapotes material (pls. 67, fig. 2; 66, fig. 5; 68, fig. 13). These are of one basic type, with tripod support consisting of two legs at one end and a supporting ridge at the other. Two are made of basalt and one of fine-grained sandstone. All are of relatively small size. The mullers, made of fine-grained sandstone, are rather flat with rounded ends, the widest portion being in the middle (pl. 67, fig. 2). STONE VESSELS Fragments of three stone vessels were excavated at the Ranchito site. One of these was in the form of a “flower pot” with flat base and out- ward flaring sides (pl. 66, fig. 12). Another was a flat-bottomed bowl with a lug at the end (pl. 66, fig. 9). The third had evidently been a Worn] CERAMICS OF TRES ZAPOTES. 119 flat ovate dish of hard fine-grained stone with a ridge or shoulder on the inner side of the rim (pl. 66, fig. 6). Two complete vessels, made of lava, were obtained from Lirios. One (pl. 69, fig. 6) was roughly triangular in shape with flat bottom inside and out. The other (pl. 68, fig. 12) was rectangular with outward sloping sides. STONE RINGS Stone rings were abundant at the Ranchito site. Some were of basalt, some of vesicular lava, and some of sandstone. For the most part they were rather roughly formed. The perforations were gen- erally in the form of cones meeting at the middle (pl. 70, figs. 5, 6, 7). A few examples were found with double perforations, meeting at right angles. Another variant consisted of exactly similar imper- forate stones in which the depressions did not go completely through. These might be considered incompleted stone rings were it not for their relative abundance. A somewhat more elaborate stone ring made of granite in the form of a cogwheel was obtained from Lirios (pl. 70, fig. 4), SLING STONES So-called “sling stones” were also fairly numerous at the Ranchito site. These consist typically of a barrel-shaped stone, hollowed out so that one side of the barrel is modified into a loop handle (pl. 70, fios. 9,10, 11,12). Most of these were smooth and finished with con- siderable care. One specimen had the ends decorated with red paint. Tt seems likely that these were designed to be used for some “ironing” or smoothing operation. HUMAN FIGURES Small stone figures with comblike crests are characteristic of the region, but not a single one was found on the Tres Zapotes site. A few examples were obtained by purchase. Two of these (pls. 68, figs. 2, 3; 69, figs. 1, 2) came from the nearby Cerro Chico Zapote site and are made of basalt. One of these (pls. 68, fig. 2; 69, fig. 2) seems to be a large modified ceremonial celt. Another example skillfully carved from vesicular lava (pl. 71) was found on a site below Boca San Miguel. A crudely carved seated figure (pls. 68, fig. 6; 69, fig. 3) with arms crossed on the breast was made from consolidated volcanic ash and came from Lirios. A stone skull with broken tenon attachment (pls. 68, fig. 7; 69, fig. 4) came from the mound on the Lower Terrace site, and was in association with the stone yokes from this mound. MISCELLANEOUS STONE OBJECTS Stone balls, as a rule somewhat larger than a golf ball, were very abundant at the Ranchito site. Cylindrical, pestlelike stones, ranging 120 BUREAU OF AMERICAN ETHNOLOGY [Buxu. 139 from a few inches in length to a foot and a half, were also abundant, usually in fragments. Rubbing stones of various sizes and shapes oc- curred by the score. Usually these were natural pebbles with a high polish on one side. Fragments of three stone “pounders” with flaring base and cylindrical handle were excavated at the Ranchito site (pl. 69, fig. 5). Several bark beaters were found, ranging in shape from rectangular to oval (pl. 72, figs. 15, 16, 17). These were grooved around the outer edge. The ridges on the beating surfaces are typically finely spaced on one side and widely spaced on the other. The excavated specimens were associated with Upper Tres Zapotes ceramics. Polished celts were relatively common (pl. 72). These are of hard fine-grained stone, usually having the butt end square or slightly rounded. One jade example was purchased (pl. 74, fig. 4). The complete absence of stone “Hachas” and Palmate stones is worth mentioning. MINOR STONE OBJECTS An interesting polished greenstone human figurine with incised features was found in the arroyo near Group 8 (pl. 73, fig. 2). A double incised line crosses the forehead and similar double lines run across the waist and near the base. Three vertical grooves depend from the latter as though to indicate legs or feet. The arms are shown as crossed high on the chest. In the earth and rubble which composed the core of the masonry platform near the east end of the long mound was found a polished flat head made from a hard and very fine-grained black stone. The head had been broken, presumably from a complete figure, and the break at the neck ground down and smoothed (pl. 74, fig. 1). The upper part of the body of a jadeite figurine, minus the head, was excavated at the Ranchito site (pl. 74, fig. 5). A nicely carved small parrot, of a hard yellow stone, perforated at the back of the neck, was said to have been found about a half mile north of Tres Zapotes (pl. 74, fig. 3). JADE Stone beads, usually of jadeite of inferior colors, were moderately abundant, especially at the Ranchito site (pl. 75). In the trench dug through Mound 6 associated with a burial was a single bead of translucent emerald green jade. At various places in the diggings, particularly at the Ranchito site, were found small polished jade pebbles which were unperforated. A few tear-shaped pendants were also found (pl. 75, figs. 1, 3). One finely perforated fragment of a reworked carved jade specimen was dug up on the Ranchito site (pl. 75, fig. 2). WEIANT] CERAMICS OF TRES ZAPOTES 171 Other jadeite specimens from the Ranchito site consisted of two fragments of pointed implements (pl. 75, figs. 15, 16), a carved dog’s head, and several fragments of undecorated plaques (pl. 74, figs. 7. 10) 11, 12), A jade celt and the fragment of a figurine torso have already been mentioned. GALENA A number of galena specimens were found at the Ranchito site. . These were all roughly cubical in shape, and perforated by drilling two holes meeting in the center at right angles (pl. 76, figs. 1-5). OBSIDIAN Prismatic obsidian blades and cores (pl. 77) occurred abundantly throughout the site. Chipped projectile points and scrapers (pl. 78) were sparingly found. “A few small projectile points with concave base and notched sides (pl. 78, fig. 4) were found on the surface. Larger stemmed points were excavated with Upper Tres Zapotes ceramics at the Ranchito site (pl. 78, figs. 1, 2). Two lunate specimens (pl. 78, figs. 7, 8) were also excavated at the Ranchito site. One of these was formed entirely by flaking; the other had apparently been shaped by flaking and then ground smooth on both sides. PART 4. SYNTHESIS PROBLEMS The material which has been presented is bound up with a number of crucial problems in Middle American archeology and raises any number of questions—some of them necessarily controversial at this stage of inquiry. What degree of antiquity is implied in this mate- rial? Is there a genuine “archaic” component, or are we dealing with a case of “neoarchaic” survival in a marginal area, such as prevails in western Mexico? Was the culture of Tres Zapotes derived from a Q complex base? What light, if any, is thrown on the Olmec problem? What was the ethnic composition of the people who made the Tres Zapotes figurines? To what linguistic stock did they belong? Were they related to the people who practiced a figurine cult at Uaxactun before the erection of Pyramid E-VII Sub? What was their relation to the “archaic” peoples of the Valley of Mexico and their Nahuatlan successors of Toltec and Aztec times? To what extent did they influ- ence, or were they influenced by, the Maya of Old Empire and Renais- sance periods, the Totonac culture as exemplified at Cerro Montoso, the Mixteca-Puebla culture of Cholula? Can they be linked with Ran- chito de las Animas? Do they, to any extent, bridge the archeological gulf which separates the Huaxtecs from the Mayas despite the linguis- tic affiliation of these two peoples? These and many other problems challenge the student of Tres Zapotes ceramics at every turn. Many of them remain as baflling as they were before the excavations at Tres Zapotes were begun. Others can, for the first time, be answered with some degree of assurance, while still others, about which it has hitherto been idle to speculate, can now, at least, be made the subject of more or less plausible hypotheses. DIFFERENTIAL FEATURES OF MIDDLE TRES ZAPOTES A AND B AND UPPER TRES ZAPOTES Before tackling any of the problems just mentioned, it will be desirable to review the main stratigraphic features revealed by the excavations. Middle Tres Zapotes A—The pottery of this level includes four wares not found in other levels: Brown, Polished Gray, Red-and-White Incised, and Striated with white slip. The variety of vessel forms is considerable and includes the composite silhouette (fig. 4, 7), which, 122 WEIANT] CERAMICS OF TRES ZAPOTES 123 while not limited to this level, is perhaps significant because of its similarity to forms which are conspicuous in material of undoubted antiquity from other sites. 'Two-color decoration is unknown on this level except for the Red-and-White incised wire, and even in this case the two colors do not occur on the same surface, the red being limited to the interior, the white, to the exterior of the vessel. Incised pat- terns on Middle Tres Zapotes A sherds are invariably of a simple “freehand” type. One of the wares of this level, highly Polished Red, occurs also in the upper levels of the Long Mound (C), of the Arroyo Group, but is everywhere absent from Ranchito material. This, of course, is under- standable, when it is recalled that all Middle Tres Zapotes A material was obtained within the Arroyo Group, and that soil containing debris of this level undoubtedly went into the building of Mound C. All figurines of the Middle Tres Zapotes A level belong to the solid hand-made category. Tres Zapotes types are in the majority, but Uaxactun and Morelos types also occur on this level. By what span of time Middle Tres Zapotes A material antedates that of Middle B and Upper Tres Zapotes it is impossible to state, but the relative depth at which it was found and the circumstance that, in the Plaza of the Arroyo Group, it is separated from Upper Tres Zapotes material by a sterile deposit approximately 6 feet thick leave little doubt that it is earlier than any other ceramic material found by us during the first season. Middle Tres Zapotes B.—On this level Speckled ware (derived pos- sibly from Middle Tres Zapotes A Striated) becomes prominent. There is considerable elaboration of form and design. New decorative techniques are introduced—notably, multiple scratching with red paint rubbed into the scratches, and deep incision with sharply de- lineated geometric designs. The first evidences of painted design appear. Effigy handles are common. Huge ollas containing uncre- mated burials and very large cylindrical storage jars are salient fea- tures. Sculptured sherds in the Maya tradition and fragments of carved stone yokes occur in the deepest part of this level. Tres Zapotes figurines continue to be abundant, and the finding of one such figurine carefully placed inside the innermost vessel of one of the burials suggests that they still retained symbolic value. Xipe heads, figurines of Teotihuacan type (pl. 38), and the limbs of jointed dolls further complicate the picture. Upper Tres Zapotes——In the pottery of this level we encounter an amazing diversity of vessel form. Cremated burials in ollas covered with tripod bowls (Rust Red, rough ware) having loop-handle sup- ports, and often hobnail ornamentation (fig. 25, /), may be considered diagnostic of the level. The decorative techniques of Middle Tres 124 BUREAU OF AMERICAN ETHNOLOGY [Buuy. 139 Zapotes B are retained and given great freedom of expression, some of the designs being quite complicated and no two of them alike. In addition, color is extensively employed, ranging all the way from simple dichrome devices to full-fledged polychrome patterns in four colors. Two new groups of figurines appear: Mayoid mold-made forms of the general type characteristic of Campeche and Tabasco, and so-called Totonac laughing figures of notable size. Q COMPLEX ELEMENTS When the entire body of Tres Zapotes material is considered, a fairly large number of Q complex elements are seen to be present. Spouted vessels and effigy vessels are both common. Shoe-form ves- sels were not found in the first season’s work, although one specimen did turn up in the second season. It cannot be stated with certainty that the tetrapod support occurs, but the form shown in figure 50, 0, is quite similar to that associated with tetrapod vessels from other areas. Elongated tripod legs are missing, but high annular bases occur occasionally, and slipped hand-made figurines are not uncom- mon. Some of the Dichrome sherds exhibit negative painting, and, as for crude stone monuments, they are very prevalent throughout the Tres Zapotes archeological zone. It is apparent, then, that about two-thirds of the Q complex traits are represented. In spite of this, one can hardly argue that the Q complex is the substratum underlying Tres Zapotes culture, for, of the various traits enumerated, only one—slipped hand-made figurines— has been found on the Middle Tres Zapotes A level. The others have all been found under conditions which do not imply great antiquity. To be sure, the amount of Middle A material so far recovered is ex- ceedingly small, and details regarding the more recently discovered Lower Tres Zapotes are not yet available. More extensive excavation and new data may reveal other Q complex traits on early levels, but meanwhile one can only guess the possible role of the Q complex in the genesis of Tres Zapotes culture. THE ARCHAIC QUESTION As set forth by Lothrop, figurines qualify as “archaic” in the sense in which this term is used by Spinden, when they satisfy the follow- ing criteria: (a) Modeled in a flat gingerbread fashion (i. e., solid) and with details added by buttons and fillets to a gross underlying shape. (b) Modeling and shaping being done with fingers, molds being unknown. (c) The heads are characteristically of slight depth compared with their height. (d) When the figurines are intended to stand erect, as is often the case, the feet are pinched downward into a forward and backward cusp. WEIANT] CERAMICS OF TRES ZAPOTES 125 (e) The eyes are formed by characteristic grooves or double grooves, which are usually cut in buttons of clay, resulting in the so-called “coffee-bean” eye. [Lothrop, 1926. ] Except for the “coffee-bean” eye, the figurines which we have designated as of archaic type in the present study meet all the require- ments of these criteria. Some of the specimens shown in plate 21 have eyes approximating the “coffee-bean” type, although the two halves of the eye are separated by a vertical groove, rather than by a hori- zontal one, as is ordinarily the case. At any rate, the precise type of eye called “coffee-bean” is apparently not an absolutely essential criterion. Hence, if we accept the five criteria given, we are justified in applying the term “archaic.” This term, however, implies an antiquity comparable to that of Uaxactun I and Monte Alban I or, at least, an age not later than that of the Cuicuilco—Ticoman cultures. The question arises as to whether the Tres Zapotes material actually indicates such antiquity, or whether it indicates a late overflow of archaic elements into a marginal area where they underwent subsequent elaboration over a long period of time and remained functionally alive for centuries after the decline or disappearance of the mother cultures from which they were taken. The second view is precisely that taken by Dr. Spinden himself after cursory inspection of the photographs. It may be of some value in attempting to decide this question to examine first the percentages of the various figurine types included in the general category Archaic. These are given in the tabulation which follows: Solid Hand-made Figurines Type Percent Classiewires: Zapotes- ie! 24 on Feo eee deg Pe ae S 47.0 Mallat ss ly pen Are.) see 5 Ee doe a Ak beth Ped nen ee 19.5 GCEAOUREIS RULER ES 59 Soe neg 0 Se ee Os a ee ee eee 10. 0 EDPATIST OM Ae Mee keen Aa eee see EN ar neeeebemr sl en es 5.5 babys faces. stead at mtd. teak of Shi AES: SIDS le SES AP ala Morelosity pes: @nls. 20%21))2 21 east eeiagy Wel pete at ry Ae 2.8 Waxactun typei(pls.AG, Wi )ase= Fant eee ee 2b et eee 3.0 Miscellaneous Ser. tic Aero She eR ha LU ee ee 11.0 It is evident from these figures that 82 percent of the solid hand- made figurines of Tres Zapotes, plus an undetermined percentage within the group. designated as miscellaneous, belong to a common artistic tradition. We have shown that Vaillant’s A Type is an in- tegral part of this tradition. In the Valley of Mexico this type is regarded as intrusive, yet here it makes up more than a third of the main bulk of locally specialized figurines. The conclusion seems in- escapable that the Tres Zapotes area, if not Tres Zapotes itself, was the place of origin of Type A figurines. But if they appear in the Valley of Mexico on a late Copilco-Zacatenco horizon, as Vaillant (1930) has 126 BUREAU OF AMERICAN ETHNOLOGY [Bunn 139 demonstrated, then they must have been manufactured at Tres Zapotes at least as early as that period, and their claim to “archaic” antiquity is validated. This claim is further substantiated by the fact that they are found on the Middle Tres Zapotes A level in close association with early Uaxactun and Morelos types—types which can hardly be expected to have migrated after the cultural complexes in which they had their original setting had ceased to function. Moreover, they them- selves (or a close counterpart, similar even to being red, rather than white-slipped) occur in Period I deposits at Uaxactun. Again, the occurrence on the Middle Tres Zapotes A level of Pol- ished Gray ware reminiscent of Monte Albin I and of decorative techniques quite similar to those of Monte Albain*T and IT lend ad- ditional weight to this thesis. Nor can we forget the Cocijo figurine of definitely early type, or the danzante figure of the cylindrical seal, not to speak of Stela C with its mask and Baktun 7 date. On the other hand, we would not deny that many of the “archaic” traits—including, especially, the figurines—survived at Tres Zapotes well into Toltec times, or even later. In giving the differential fea- tures of Middle Tres Zapotes B, we called particular attention to evi- dence of such survival. THE OLMEC QUESTION The researches at Tres Zapotes contribute little toward unraveling the mystery which surrounds Olmec civilization. Olmec art at Tres Zapotes is represented by the early Cocijo figure and by baby-faces, as well as by the Cabeza Colosal and the mask of Stela C. Baby- faces make up a smaller proportion (a little over 1 percent) of the solid hand-made figurines than either the Uaxactun or Morelos types. They do not appear to have been manufactured at Tres Zapotes, and it is suggested that they may have been imported from Honduras. Yet obviously neither the Cabeza nor the now famous stela can have had any but a local origin, and stone sculptures of such magnitude imply a settled population. One thing which stands out in connection with Stela C is the association of an Olmec mask with an initial series date, a circumstance linking Olmec with early Maya perhaps more strongly even than do the “Olmec” masks of Pyramid E-VII Sub at Uaxactun. Finally, in our study of the figurines a case has been made for the probable evolution of both the “Totonac” laughing face and one of the best known types of Maya figurine from the Olmec baby-face. That the baby-face really sym- bolized a deity seems to be implied by its use as part of the regalia of much more sophisticated figures. We see it, for example, as part of the girdle ornamentation of the figure on Stela 13, Piedras Negras Werant] CERAMICS OF TRES ZAPOTES 127 (Spinden, 1928, pl. 19) and as an element in the headdress of a large clay figure from San Andrés Tuxtla (Batres, 1908, pl. 46). RELATIONS WITH THE MAYA OLD EMPIRE Analysis of the pottery of Tres Zapotes has revealed numerous similarities in vessel shape, rim form, form of support, and design with the ceramics of Old Empire Maya sites, notably Uaxactun, the Ulua Valley, Copan, San José, British Honduras, and Piedras Negras. Of particular value in this respect have been the sculptured sherds, because of their unmistakable identity. At least one type of figurine, discussed in the commentary on plate 37, was traced to primitive Maya sources. Taken in connection with the seventh cycle date of Stela C, these various bits of evidence leave no doubt that intimate cultural relations existed between Tres Zapotes and what has been called the Maya Old Empire. What was the nature of this contact? Some will no doubt argue that Tres Zapotes is part of a marginal area which received Maya Old Empire influences at a relatively late date and kept them alive long after the break-up of that “empire.” Again, as in the case of the “archaic” traits, we would not deny the possibility of such sur- vival, but the assumption that genuine Maya influence did not begin to be manifested here until toward the close of the Old Empire period appears to us unwarranted in the face of some of the facts. Dr. Caso has demonstrated by refined photographic technique that the initial series of Stela C is indeed a Baktun 7, and not a Baktun 9, date, and Mr. Stirling’s arguments for the contemporaneity of this date have not yet been refuted. ‘These facts alone should make one hesitate to rule out the possibility of early contact. In fact, when one considers the proximity of Tres Zapotes to Old Empire sites and the enormous distances over which Middle American traits sometimes diffused (for example, the pear-shaped vessel with high annular base, which Lothrop (1926) traced from Veracruz to the Pacific area of Costa Rica and Nicaragua, and the Cholula and Cerro Montoso de- signs which turn up in Ecuador and Peru), it seems incredible that isolation could have prevailed. The matter of Maya origins is still a moot question. Little light has been shed upon it by excavations in the known Maya area. The location of the Huaxtec, speaking a kindred language, makes very tempting the hypothesis of a coastal migration from the north, although, actually, the general southward drift which populated South America may, for all we know, have reversed itself in this region by the time incipient Maya culture came into being. Be that as it may, it is difficult to imagine a more favorable region than the Tuxtla region for the development of agriculture. Here the rain gods 128 BUREAU OF AMERICAN ETHNOLOGY [ Bubb. 139 are much less capricious than over the Valley of Mexico, and people from the latter region are known to have migrated at various times to coastal areas under pressure of famine. In the light of recent con- ceptions of the origin of agriculture in America one might more readily believe this to have been a place of origin than the Valley of Mexico. Moreover, it is abundantly supplied with fish and game. It is entirely logical, therefore, to seek the roots of Maya civilization and even of the Middle Cultures in precisely this region, and it may become necessary, in the future, to shift emphasis in research away from the classic Maya area into this one. What has so long been regarded as a peripheral (marginal) area on the receiving end of the cultural transmission line may turn out to be a center of dissem- ination. RELATIONS WITH THE MAYA RENAISSANCE Large, hollow, mold-made figurines more or less similar in type to those which have been found on the Island of Jaina, in the States of Campeche and Tabasco, and even in some parts of the State of Veracruz are well represented at Tres Zapotes, showing decided late Maya influence. These richly costumed figures are restricted to the Upper Tres Zapotes level and must therefore have arrived at a much later date than the Old Empire traits just discussed. Mrs. Spinden (1933) places such figurines in the State of Veracruz on the same time level as Cerro Montoso pottery; that is, about 1800 A. D. But at Tres Zapotes the salient features of Cerro Montoso pottery, as we shall see, are absent. Does this mean that Maya elements in the art of Tres Zapotes were not so “long dormant or delayed in transference” as Mrs. Spinden suggests and hence came into manifestation here before Cerro Montoso attained full efflorescence, or does it mean that Tres Zapotes, as a center of Maya renaissance, had, by the year 1300, attained such artistic and political vigor that it was able to withstand any inroads from the Mexican highlands? It does not seem possible to answer these questions at present. RELATIONS WITH TEOTIHUACAN Numerous traits have been cited which link Tres Zapotes with Teotihuacan. Among them may be mentioned especially a particular type of figurine (pl. 38), the limbs of jointed dolls, finely modeled masks of the Old God (pl. 39, figs. 4-7), the “candelero” (fig. 50, e), and effigy handles (pls. 54 and 55). The majority of these traits may be regarded as borrowed. This may not be true, however, of the effigy handles, since these are so abundant, not only at Tres Zapotes, but throughout the Tuxtla region, as to suggest this region as their place of origin. The Teotihuacin culture does not appear to have exerted any considerable influence on the pottery of Tres Zapotes. WoiAnr] CERAMICS OF TRES ZAPOTES 129 RELATIONS WITH TOTONACAPAN Totonacapan, or the territory of the Totonacs, lies to the north of Tres Zapotes. The three sites in this territory which have been most extensively studied from the point of view of ceramics are Ranchito de las Animas, Cerro Montoso, and El Tajin. With the pottery of Ranchito de las Animas, that of Tres Zapotes shares a number of characteristic traits. The assortment of Dichrome combinations is about the same in the two places. At Ranchito de las Animas white is the base color to which other colors are then added. There is abundant evidence that this was also the practice at Tres Zapotes. The ware which we have called Pseudodichrome occurs at Ranchito de las Animas, but Strebel (1904) believed that the unslipped part of the surface had originally held a white slip which subsequently wore off, while the design in a different color was retained. Few of the vessels of Ranchito de las Animas have sup- ports, and when they do, they are of simple form, never effigies. In this connection, it should be noted that not a single vessel from the Tres Zapotes deep burials has feet. At both sites simple geometric designs predominate. With Cerro Montoso there is far less in common. Human and animal-head foot-forms, an outstanding feature of Cerro Montoso pottery, do not occur at all in the Tres Zapotes material. Spirals, steps, and meanders, so common at Cerro Montoso, occur sparingly here. Animal figures (barring an occasional rabbit), death’s heads, smoke curls, and sun rays—all of them characteristic design elements at Cerro Montoso and known from Alvarado all the way to Cuicatlan, Cholula, and Tlaxacala—are entirely absent at Tres Zapotes. On the other hand, both the plain red malacates (spindle whorls) of Ranchito de las Animas and the malacates exhibiting relief carvings, often animal, of the Cerro Montoso type, occur at Tres Zapotes. Effigy handles similar to ours are found at Cerro Montoso (Strebel, 1885-89, vol. 1, pl. 11, figs. 7, 15, 18, 19, 20), but these probably date from late Toltec times. Thorough comparisons with El Tajin are not possible, since the only comprehensive analysis of the pottery from this site (that of Du Solier) has not yet been published. It may be noted, however, that the forms shown in figure 33, Nos. 50, 51, and 52, occur abun- dantly in Polished Black ware at both sites. Let us consider now some of the more general characteristics of Totonac pottery noted by Mrs. Spinden (in the work already cited) and see whether they apply to Tres Zapotes material. The Totonacs, remarks Mrs. Spinden, tended to depend on the beauty of the clay, using color for borders and design only. This observation is appli- cable to much of the Tres Zapotes surface burial material. Extensive 130 BUREAU OF AMERICAN ETHNOLOGY [Buut. 139 use of cream clay for the basic color likewise applies. Moreover, reference to our table giving the distribution of forms according to ware bears out the statement that Light Orange and Polished Black wares duplicate the Cream, although we should not have singled out these particular wares, since duplication at Tres Zapotes is far more extensive. In certain other respects the analogy breaks down. The use of brown, red, or black to duplicate the double-line feature of Totonac sculpture is not seen on the pottery of Tres Zapotes, nor are there any designs related to the palmate stones. The palmate stones themselves have not appeared at Tres Zapotes. Mrs. Spinden notes that the Totonacs favored low basins and large plates, while the Old Empire Maya preferred high narrow bowls. Both traits are seen at Tres Zapotes, but the former predominates. A word should be said regarding the laughing faces. Mrs. Spinden observes that these belong to a series with both hands raised in identical posture which is traceable from northern Yucatan through the Tuxtlas to Cerro de las Mesas. If we understand her correctly, she implies that they are one of the Maya elements which influenced the art of Veracruz about the year 1300 A. D. The fact that these figures in museum collections are generally labeled “Totonac,” how- ever, suggests that most such specimens probably came from Totonac territory. In any case, the point which for us is most significant is that Tres Zapotes shared with both Yucatan and Totonacapan a major artistic form. RELATIONS WITH ZAPOTECAN CULTURE We have already pointed out, in other connections, the presence of traits at Tres Zapotes reminiscent of early Zapotecan culture: The Polished Gray ware and wide, everted, incised rims of Middle Tres Zapotes A, the scratched decoration with red paint rubbed into the scratches, the danzante seal, and the early Cocijo figurine. The deep geometric incisions of Monte Albin III were noted in our analysis of the general Ranchito collection, while the strongest evidence of all for direct contact between Tres Zapotes and the Valley of Oaxaca is the beautifully carved stone yoke with a perfectly executed Zapotecan _ glyph (Caso’s C glyph (Caso, 1928)) discovered in the deeper levels — of Mound F of the Ranchito Group. This glyph is one of the — commonest to be seen on the headdresses of figures associated with Zapotecan funerary urns. Its presence here on a stone yoke, sup- posedly a Totonac trait and one never found in Zapotec country, beautifully symbolizes the interpenetration of the two cultures. We can, with reasonable assurance, declare that Tres Zapotes and the Valley of Oaxaca were in close contact culturally throughout the greater part of the long period during which the Zapotecs occupied Monte Alban. WEIANT] CERAMICS OF TRES ZAPOTES 131 RELATIONS WITH THE MIXTECA-PUEBLA CULTURE These are far less obvious than those with the civilization of the Zapotecs. From the Archives of the Mexican Nation sporadic groups of Mixtec-speaking people are known to have settled in the Papaloapan Basin and to have been living there in historic times. It is quite pos- sible that these were frontier groups who did not share extensively in the rich Mixteca-Puebla culture. They may have come into this region before the full flowering of that culture. It is interesting to recall, in this connection, that Ixtlilxochitl] reported that the Mixtecs went south by sea in the sixth century and later moved up into the mountains of Oaxaca from the coast. Cerro Montoso is regarded as a type site illus- trating Cholula (that is, Mixteca-Puebla) influence in the State of Veracruz, but, as we have seen, Tres Zapotes has very little in common with that site. Moreover, pitchers and skillet-form incensarios (ex- cept for a single fragment) —two salient features of Mixtec pottery in Oaxaca—are absent from the Tres Zapotes material. Zoomorphic supports and symbolic representations in Polychrome are missing entirely. Nevertheless, one occasionally encounters a Polychrome dish which has a rather definite Mixtec flavor. Consider, for example, the speci- men shown in figure 53. And then there are miniature vessels strik- ingly similar to the tiny specimens so abundant in collections from Ktla, Xoxo, Cuilapan, Tillantongo, and Nochistlin in the State of Oaxaca. Six of these are shown in figure 54. May it be that the Zapotecs, after their displacement from Monte Alban and retreat toward the east, constituted a kind of buffer state through which Mixtec influence percolated only in attenuated form ? RELATIONS WITH THE HUAXTECA Manifest cultural contact with the Huaxteca does not appear before the Uppre Tres Zapotes level. Here it is revealed in the Red-and- Black-on-Cream ware, of which the chili grinder (fig. 28, d) and the spouted vessel with strap-handle (fig. 27, 7) are outstanding examples. Noguera figures a specimen from the Huaxteca which closely parallels the latter (Noguera, 1932). The Rough Red tripod bowls with loop- handle supports used as lids for the surface burials are very probably an Importation from the Huaxteca. Dr. Vaillant is of the opinion that such bowls are still placed on graves in the Huaxteca at the present time. AZTEC REMAINS One might expect to find, in a region known to have been very much under the control of Mexico-Tenochtitlan, plenty of evidence of Aztec occupation in the form of artifacts, especially in a region where Aztec, 501626—43—10 132 BUREAU OF AMERICAN ETHNOLOGY [Bunn 139 or Mexicano, was spoken in historic times. Yet such is not the case at | 4 Hi 4 Tres Zapotes. Except for a single figurine (pl. 40, fig. 14), a few flat — seals, and one piece of stamped pottery of uncertain origin, we found no direct evidence of Aztec influence. How are we to account for this? Lothrop encountered the same situation in Nicaragua and ventured to explain it on the assumption that Aztec soldiers and merchants married native women, forming colonies which would naturally lack Aztec ceramic utensils. In this case, however, we know that the people of Tuxtla and Tlacotalpan paid tribute to Moctezuma. If so, they must have been regarded more or less as aliens by the people of Tenochtitlan, and the tribute which they paid probably guaranteed them the right to pursue their own arts and ways of living. The fact that they spoke Mexicano does not negate this argument, for it will be remembered that the early missionaries noted sharp dialectic differences between the speech of this region and that of the Valley of Mexico. Further- more, recent students of the linguistic questions, like Prof. Wigberto Jiménez Moreno, of the Universidad Nacional of Mexico, report that modern communities in the Tuxtla region speaking Mexicano actually speak an archaic form of the language, the form which Lehmann desig- nated Nahuat in contradistinction to Nahuatl. The writer was able to make the same observation in the case of a visitor to our camp who came from another village in the region. We may, therefore, suppose that the Nahuatlan groups of this region have been here for a very long time (that they had, in fact, been here for a long time when the Spaniards first arrived). They may well be descendants of the Toltecs. Their culture had plenty of time to develop along lines independent of the parent stock. These considerations would adequately account for the rarity of Aztec material remains at Tres Zapotes. Moreover, Tres Zapotes may well have been abandoned before the rise of Aztec hegemony. GENERAL CONCLUSIONS Tres Zapotes was the seat of a locally differentiated culture which flourished contemporaneously with at least some of the Middle Cul- tures of Middle America. During this early phase it influenced and was considerably influenced by areas to the south and east. The ties with the Valley of Mexico were probably not as strong, and, in rela- tion to the latter region, Tres Zapotes was perhaps more donor than receiver. The fundamental characters of the early culture probably survived into late prehistoric times. Neither architecture nor the use of metal ever flourished (so far as present evidence goes) at Tres Zapotes. The former is understandable by reason of lack of stone building material, but failure to find a single scrap of metal in our excavations is a circumstance difficult to comprehend. Certainly it argues against late occupation. 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Jn Mexican and Central American antiquities, calendar systems, and history. Bur. Amer. Ethnol. Bull. 28, pp. 284-305. SeLER-SAcuHs, C. 1922. Altertiimer des Kanton Tuxtla in Staate Vera Cruz. In Festschr. Eduard Seler, pp. 543-556. Stuttgart. SPINDEN, E. S. 1933. The piace of Tajin in Totonae archaeology. Amer. Anthrop., vol. 35, pp. 225-270. 136 BUREAU OF AMERICAN ETHNOLOGY [Buun. 139 SPINDEN, HERBERT J. 1915. Notes on the archeology of Salvador. Amer. Anthrop., vol. 17, pp. 446-487. 1928. Ancient civilizations of Mexico and Central America. Amer. Mus. Nat. Hist., Handbook Ser., 3, 8rd and rev. ed. STAvB, W. 1919. Some data about the pre-Hispanic and the now living Huaxtec Indians. El México Antiguo, vol. 1, No. 8. Mexico, D. F. 1921. Pre-Hispanie mortuary pottery, sherd deposits and other antiquities of the Huaxteca. El México Antiguo, vol. 1, pp. 218-237. Mexico, D. F. 1935. Archeological observations in the Huaxteca. Maya Res., vol. 2, No. 1. STreLIne, MaTTHEW W. 1939. Discovering the New World’s oldest dated work of man. Nat. Geogr. Mag., vol. 76, No. 2. 1940. An Initial Series from Tres Zapotes, Vera Cruz, Mexico. Nat. Geogr. Soe. Contr. Tech. Pap., Mexican Archeol. Ser., vol. 1, No. 1. 1943. Stone monuments of Southern Mexico. Bur. Amer. Ethnol. Bull. 138. Stout, D. B. 1938. Remarks on the Huaxtec collection in the American Museum. (Un- published paper read before the Society for American Archeology, December 30, 19388.) STREBEL, H. 1885-89. Alt-Mexiko. Archiol. Beitr. z. Kulturgesch. seiner Bewohner. 2 vols. Hamburg u. Leipzig. 1904. Uber Ornamente auf Tongefiissen aus Alt-Mexiko. Hamburg u. Leipzig. Strone, WitLIAM DuNCAN; Kipper, ALFRED, II; and PAut, A. J. DREXEL, JR. 1938. Preliminary report on the Smithsonian Institution-Harvard University archeological expedition to northwestern Honduras, 1936. Smith- sonian Misc. Coll., vol. 97, No. 1. THOMPSON, HE. H. 1897. The chultunes of Labndé, Yucatan. Mem. Peabody Mus. Amer. 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Hist., vol. 3D, No. 1. WEYERSTALL, A. 1932. Some observations on Indian mounds, idols, and pottery in the lower Papaloapam Basin, State of Vera Cruz, Mexico. Tulane Univ., Mid- dle Amer. Res. Ser., vol. 4, pp. 23-69. New Orleans. WEBER, F. 1922. Zur Archiologie Salvadors. In Seler Festschr. Stuttgart. i 4 Tey : ; . : ee a ah 40 on », oa ee = be waa “ es - : ’ SEEN a, am : Re) gonna , wa anata 7 sy herr dat weil weciatha iateaceatta tt aut : 3 3 ia | bare, Holi SS ‘Ge OF IM vate qa?) Cretral Abwyies. = hy. Mapai att 18) yeriton: iit sso ipsiecee patie sonltaviaedo sae, = “Siié..uinU saniv? .eoirali any 2197 to emia wba eyes bony) naw woh « 80-55 ak: feet, oP: anil cp ledintet ’ cree ‘A ett ies, INA java DF 4 Pitot Jute. antag splaink subtvylash os] oiido nv pam Yr Cie Ey 4B AS as Js ‘ (i rau, #4], 1 Vt TU ey? be i Jf nx To the awe Muyi aa. on » is . * La 4 i ‘ aot die Ontet) e's 8. ae “oe , yi , 6 7 ’ 5 ~ % ot. Parse , iat | ; ee i a. 7 vt: £ . 4-4 Zr ae eh 2 - trap Orage Res mint ~All mas i+, ots : hah +.) Mer cour ty, = ie ial am Hh, ae ' ce 2S of 2, ly La os, uaa, if 2 . uy ity KT ho rh ska Ls | * sad “* 44, (ort . steno? oe pariietige . . ip: $2 ‘ Tolow pee s itm sor i SfoGe Mrecclian materi ant, WE a z 4 uit , 49 7% ; ra oe ti P Goes 4 i ¥ , . P F i% oY 4 mA, ite of PRGA, Lier? et ( 9? Loe. Wa oy | ' Cul 34 i Wig hy Bahay Ta 1; 4) t Bt . a dO TERED, i ; 4 ‘ ‘s dled opting. 7 oe | Sapwkert an}, i Be, Oe ee o a Wh! | Hhpeler eettginy: Sek 7 a ong Avie, LS) eres re ha ) (tan Vw | iv) _ tm a F BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 1 oS 7 7 o Td te. 2 6 /0 /4 /8 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE- CLASSIC POINTED-CHIN TYPE. (See text, page 84.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 2 48 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: CLASSIC POINTED-CHIN TYPE. (See text, page 84.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 3 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: CLASSIC PROGNATHOUS TYPE. (See text, page 84.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 4 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: CLASSIC RECTANGULAR-FACE TYPE. (See text, page 85.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 FLATE5 19 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: CLASSIC RECTANGULAR-FACE TYPE. (See text, page 85) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 6 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: CLASSIC BEATIFIC TYPE. (See text, page 85.) te BUREAU OF AMERICAN ETHNOLOGY BULECEERINGI SSS PEATE 7. TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: CLASSIC BEATIFIC TYPE. (See text, page 85.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 8 TRES ZAPOTES FIGURINES OF ARCHAIC TYFE: A TYPICAL TRANSITIONAL TYPE. (See text, page 86.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 9 / 5 7 ane /4 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: A TYPICAL TRANSITIONAL TYPE. (See text, page 86.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 10 /4. 1S TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: TYPICAL VAILLANT’S TYPE A. (See text, page 87.) ee BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 11 19 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: TYPICAL VAILLANT’'S TYPE A. (See text, page 87.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 12 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: TYPICAL VAILLANT’S TYPE A. (See text, page 87.) ee BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 8 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: TYPICAL GROTESQUE VARIANTS. (See text, page 88.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 14 19 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: TYPICAL GROTESQUE VARIANTS. (See text, page 88.) “QYSIL OF JJoT SUOTZVPBIS DION (68 98ed ‘1x04 999) ‘“SAdA 1 AO NOILWISYNSLN] *AdAL DIVHOYYV AO SANIYNSDIA SALOdVZ SAY L BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 16 4/ 12 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: A UAXACTUN TYPE. (See text, page 90.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: A UAXACTUN TYPE. (See text, page 90.) 17 BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 18 70 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: BABY-FACE TYPE. (See text, page 90.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 19 TRES ZAPOTES FIGURINES OF ARCHAIC TYFE: BABY-FACE TYPE. (See text, page 90.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 20 73 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: MORELOS TYPES. (See text, page 92.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 21 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: MORELOS TYPES. (See text, page 92.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 22 49 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: VARIANTS. (See text, page 93.) 20 a BUREAU OF AMERICAN ETHNOLOGY BUEEE TING (39) PEATE 23 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: VARIANTS. (See text, page 93.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 24 +? 4 ve TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: AN ABERRANT GROUP. (See text, page 94.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 25 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: TWO ABERRANT GROUPS. (See text, page 94.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 26 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: MISCELLANEOUS VARIANT AND ABERRANT SPECIMENS. (See text, page 94.) BUREAU OF AMERICAN _ ETHNOLOGY BULLETIN 139 PLATE 2 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: MISCELLANEOUS VARIANT AND ABERRANT SPECIMENS. (See text, page 96.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 28 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: PROFILES. (See text, page 95.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 29 TRES ZAPOTES FIGURINES OF ARCHAIC TYFE: EARLY DEITIES. (See text, page 97.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 30 TRES ZAFOTES FIGURINES OF ARCHAIC TYPE: MAJOR ARCHAIC TYPES. (See text, page 97.) —— BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 31 23 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: UNCLASSIFIED FIGURINES. (See text, page 98.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 32 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: FIGURINE BODIES. (See text, page 98.) xX BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 33 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: FIGURINE BODIES. (See text, page 99.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 34 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: FIGURINE BODIES. (See text, page 99.) ¢ BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 35 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: FIGURINE BODIES. (See text, page 99.) BUREAU OF AMERICAN ETHNCLOGY BULLETIN 139 PLATE 36 lage ame TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: FIGURINE BODIES. (See text, page 100.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 37 TRES ZAPOTES FIGURINES OF ARCHAIC TYPE: PRIMITIVE MAYA AND ALLIED TYPES. (See text, page 100.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 38 - FIGURINES REFLECTING THE HIGH CULTURES: A TEOTIHUACAN TYPE. (See text, page 101.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 39 /2 FIGURINES REFLECTING THE HIGH CULTURES: SOME MIDDLE AMERICAN DEITIES. (See text, page 192.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 40 a 14 IS FIGURINES REFLECTING THE HIGH CULTURES: MISCELLANEOUS FIGURINES. (See text, page 103.) BUREAU OF AMERICAN ETHNOLOGY $ BULLETIN 139 PLATE 41 FIGURINES REFLECTING THE HIGH CULTURES: MOLD-MADE MAYOID FIGURINES. (See text, page 104.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 42 FIGURINES REFLECTING THE HIGH CULTURES: MOLD-MADE MAYOID FIGURINES. (See text, page 105.) ee ee BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 43 FIGURINES REFLECTING THE HIGH CULTURES: MOLD-MADE MAYOID FIGURINES AND MOLDS. (See text, page 106.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 44 FIGURINES REFLECTING THE HIGH CULTURES: **TOTONAC"’ FIGURINES. (See text, page 106.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 45 FIGURINES REFLECTING THE HIGH CULTURES: SOME ‘‘TOTONAC'’’-MAYA COMPARISONS. (See text, page 107.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 46 WHISTLES OF THE TUXTLA REGION. (See text, page 108.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 47 WHISTLES AND OCARINAS. (See text, page 108.) BUREAU OF AMERICAN ETHNOLOGY BIRD-EFFIGY WHISTLES. (See text, page 108.) BULLETIN 139 PLATE 48 = BUREAU OF AMERICAN ETHNOLOGY BULLETIN WHISTLES AND MUSICAL INSTRUMENTS: BIRDS AND REPTILES. (See text, page 109.) 139 PLATE 49 BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 50 4 WHISTLES AND MUSICAL INSTRUMENTS: THE COATI-MUNDI AND UNIDENTIFIED FORMS. (See text, page 109.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 51 22 WHISTLES AND MUSICAL INSTRUMENTS: MONKEYS. (See text, page 110.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 52 WHISTLES AND MUSICAL INSTRUMENTS: MISCELLANEOUS MAMMALS. (See text, page 110.) COLT o8ed_‘yx0} 90g) ‘(AdIdGNVd V DSNIGNIONI) SLNAWNYLSN] YvInEn Ll *SINAWNAYALSNI TVWOISNW GNV SATLSIHM O/ fs Alwid 6€} NiLaTIne ASOIONHLA NYOINaWY 40 nvaung BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 54 Td. 13 SPECIAL POTTERY AND FIGURINE FRAGMENTS: EFFIGY HANDLES. (See text, page 112.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PILATE 55 SS SPECIAL POTTERY AND FIGURINE FRAGMENTS: EFFIGY HANDLES. (See text, page 112.) BUREAU CF AMERICAN ETHNCLOGY BULLETIN 139 PLATE 56 SPECIAL POTTERY AND FIGURINE FRAGMENTS: EFFIGY NECKS. (See text, page 112.) BUREAU OF AMERICAN ETHNOLOGY BUEEETIN] 139 PEATE 57 SPECIAL POTTERY AND FIGURINE FRAGMENTS: SCULPTURED, POmimnER’. (See text, page 113.) (PIL eded “4x04 909) “ASVW VW ONV ‘SANINNSI4 V “ISSSSA ADIS4Sq NY *SINAW SVE ANIMNSI4 GNVY AYSALLOd IvidadS Alv1d 6€! Nita 71nNa ASOTONHLA NVOIMSAWY AO Nvayna BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 59 SPECIAL POTTERY AND FIGURINE FRAGMENTS: MISCELLANEOUS VESSELS, SHERDS, AND POTTERY OBJECTS. (See text, page 114.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 60 ONE /NCH SPECIAL POTTERY AND FIGURINE FRAGMENTS: MISCELLANEOUS EFFIGIES. (See text, page 115.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 61 SPECIAL POTTERY AND FIGURINE FRAGMENTS: LIMB FRAGMENTS OF JOINTED AND LARGE HOLLOW FIGURINES. ‘ (See text, page 116.) BUREAU OF AMERICAN ETHNOLOGY : BULLETIN 139 PLATE 62 MISCELLANEOUS CLAY OBJECTS: SEALS. (Sce text, page 116.) BUREAU CF AMERICAN ETHNCLCGY BUEEE TIN 139° PEATE ONE INCH MISCELLANEOUS CLAY OBJECTS: SEALS. (See text, page 117.) 63 BUREAU OF AMERICAN. ETHNOLOGY BULLETIN 139° PLATE 64 MISCELLANEOUS CLAY OBJECTS: SPINDLE WHORLS AND BEADS. (See text, page 117.) PN neat» BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 65 MISCELLANEOUS CLAY OBJECTS: EAR SPOOLS, RINGS, AND BEADS. (See text, page 117.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE WORK IN STONE: YOKES, METATE, AND VESSELS (See text, page 118.) 66 BUREAU OF AMERICAN ETHNOLOGY BUEECERINGISS SPEAhE 67 WORK IN STONE: 1. CARVED STONE YOKES. 2. METATES. (See text, page 118.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 68 WORK IN STONE: INCOMPLETE YOKE, METATE, VESSEL, AND HUMAN FIGURES. (See text, pages 118, 119.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 69 As ; WORK IN STONE: VESSEL, HUMAN FIGURES, ‘‘POUNDER,.’’ AND SKULL. (See text, pages 118, 119.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 70 23 WORK IN STONE: STONE RINGS, SLING STONES, AND OTHER OBJECTS. (See text, page 119.) BULLETIN 139 PLATE 71 Soe ty Bee Shai Legs Roh OS ge ph oe te a BUREAU OF AMERICAN ETHNOLOGY , y oy ONE /JNCH WORK IN STONE: SKILLFULLY CARVED HUMAN FIGURE. (See text, page 119.) BUREAU OF AMERICAN ETHNOLOGY BUEEETIN 139° PLATE 72 WORK IN STONE: BARK BEATERS AND POLISHED CELTS. (See text, page 120.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 73 WORK IN STONE AND CLAY: MISCELLANEOUS STONE AND CLAY OBJECTS (See text, page 120.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 129 PLATE 74 10 4/ te WORK IN STONE AND BONE: HEAD OF FIGURE, CARVED PARROT, JADE FIGURINE TORSO, JADE CELT, AND OTHER OBJECTS. (See text, page 120.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 75 a ye /6 WORK IN STONE: JADE BEADS, PENDANTS, AND POINTED IMPLEMENTS. (See text, page 120.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 76 WORK IN STONE: GALENA SPECIMENS AND OTHER OBJECTS. (See text. page 121.) BUREAU OF AMERICAN ETHNOLOGY BUEEEmIN 13898) (PEATE: 77, pcan WEE EOE A Hn, ee ee | WORK IN STONE: OBSIDIAN BLADES AND CORES. (See text, page 121.) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 139 PLATE 78 /O d/ WORK IN STONE: OBSIDIAN PROJECTILE POINTS AND LUNATE SPECIMENS. (See text, page 121.) 7 . = | Wee’ PE PT ey ae oT a CR a ; ' ' ihe Le vp uli 3 9088 0142