so inferior and diverse from the other Zuñi work that the future
archæologist will have need to beware, or (judging alone from the
ceramic remains which he finds at the two pueblos) he will attribute
them at least to distinct periods, perhaps to diverse peoples.


POTTERY INFLUENCED BY MATERIALS AND METHODS USED IN BURNING.

Other influences, to a less extent local, had no inconsiderable effect
on primitive Pueblo pottery: materials employed and methods resorted
to in burning.

Only one kind of fuel, except for a single class of vessels, is now
used in pottery-firing; namely, dried cakes or slabs of sheep-dung.
Anciently, several varieties, such as extremely dry sage-brush or
grease-wood, piñon and other resinous woods, dung of herbivora when
obtainable, charcoal, and also bituminous or cannel-coal were
employed. The principal agent seems, however, to have been dead-wood
or spunk, pulverized and moistened with some adhesive mixture so that
flat cakes could be formed of it. I infer this not alone from Zuñi
tradition, which is not ample, but from the fact that the sheep-dung
now used is called, in the condition of fuel, _kú ne a_, while its
name in the abstract or as sheep-dung simply is _má he_. Dry-rot wood
or spunk is known as _kú me_. In the shape of flat cakes it would be
termed _kú mo we_ or _kú me a_, whence I doubt not the modern word _kú
ne a_ is derived.

Of methods, four were in vogue. The simplest and worst consisted in
burying the vessel to be burned under hot ashes and building a fire
around it, or inverting it over a bed of embers and encircling it with