This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1914 edition. Excerpt: ...River. Fio. 107.--Design From A Bowl From Blue. Figure 107. This design in solid black represents two birds in terrace form, the zigzag line representing the running element of the design. The broad area of the terrace contains modifications of the bird symbol. (From the interior of a bowl, Blue, Arizona, Cat. No. HBBBHHHBaBaHraB 245503, U.S.N.M.) Figure 108. This design, which is a section of that covering a whole vase, apparently is intended to show a succession of zigzags formed by alternate opposed series in solid black and gradine. (Spur Ranch, Luna, New Mexico, Cat. No. 231987, U.S.N.M.) Figure 109. A similar design is found on the rim of a vase (fig. 104), and in it the zigzag line is manifestly important. The triangular spaces show the simplest form of the bird symbol. (Spur Ranch, Luna, New Mexico, Cat. No. 232001, U.S.N.M.) Figure 110. Another design shows a pair of zigzag lines treated very much as the white line decorations on the red bowls from the Blue River. This is from the rim of a vase found at Fort Bayard, New Mexico, by Mrs. W. O. Owen, Cat. No. 178826, U.S.N.M. Figure 111. This is a design simplified for application to the handle of a dipper. It apparently represents a succession of opposing black and gradine bird symbols whose opposition forms a zigzag. The denticulation on the margin of the triangles is apparently a feather convention. (Tularosa River, New Mexico. Collected by H. Hales, Cat. No. 155158, U.S.N.M.) Figure 112, design from the handle of the dipper previously mentioned. So far as is known the design is unique and it is difficult to assign its meaning. It is evidently a clipped or abbreviated design suited to the narrow space it must occupy, and appears to be the bird-rain triangular symbol arranged...

The American Southwest is one of the most important archaeological regions in the world, with many of the best-studied examples of hunter-gatherer and village-based societies. Research has been carried out in the region for well over a century, and during this time the Southwest has repeatedly stood at the forefront of the development of new archaeological methods and theories. Moreover, research in the Southwest has long been a key site of collaboration between archaeologists, ethnographers, historians, linguists, biological anthropologists, and indigenous intellectuals. This volume marks the most ambitious effort to take stock of the empirical evidence, theoretical orientations, and historical reconstructions of the American Southwest. Over seventy top scholars have joined forces to produce an unparalleled survey of state of archaeological knowledge in the region. Themed chapters on particular methods and theories are accompanied by comprehensive overviews of the culture histories of particular archaeological sequences, from the initial Paleoindian occupation, to the rise of a major ritual center in Chaco Canyon, to the onset of the Spanish and American imperial projects. The result is an essential volume for any researcher working in the region as well as any archaeologist looking to take the pulse of contemporary trends in this key research tradition.