It is said that among the Cochiti, Santa Clara, and some other Pueblos a vegetable matter is employed to produce some of their decorative designs; this, however, I was unable to verify, though some of the Indians assured me of the fact, and furnished me a bunch of the plant, which Dr. Vasey, of the Agricultural Department, found to be _Cleome integrifolia_, a plant common throughout the Western Territories. A few specimens of the ware, some burnt and some unburnt, said to be decorated with the oil or juice of this plant were secured. As heretofore remarked, notwithstanding the variety in ornamentation, there are really but few different figures, and these are mostly quite simple. Any one interested in the study of Indian art can find in the figures and plates of this catalogue all the original conceptions of the artists of the Pueblo Indians as depicted by them. While it is of value in the study of ethnology, and as affording a means of comparison in the study of archaeology, there is nothing in the composition or ornamentation, or in the form of the vessels, that ceramic artists of the civilized races would desire to copy. As a means of reference in the study of ancient American pottery, I consider the collection invaluable, as it can scarcely be possible that the forms and decorations contain nothing that has been handed down from a former age. Although the figures used have no symbolic characters connected with them in the mind of the modern artist, yet it is more than probable that at least some of them did have such a meaning to the ancient artists. For example, the little tadpole-shaped figure on the clay baskets used in their dances and sacred ceremonies by the Zuñians is understood by them to represent a little water articulate, which, as heretofore stated, is probably the larva of some insect or crustacean, very common in the pools and sluggish streams of the country inhabited by these Indians. Now, it is possible that this figure has been used with the same meaning from time immemorial, but I find, as pointed out to me by Prof. Cyrus Thomas, that almost exactly the same figure is on a vessel pictured on Plate VII of the manuscript Troano, where a religious ceremony of some kind is evidently represented. The same figure is also found in Landa’s character for the Maya day _Cib_, a word signifying copal, a gum or resin formerly used in religious ceremonies as incense. I find also on Plate XXXV of the same manuscript the figures of bowls or pots with legs similar to those of the Zuñi. I do not point out these resemblances as proof of any relation between the two races, but as mere illustrations of what possibly may be learned by a careful study of the forms and decorations of this pottery. It may also be well to add here another fact to which Professor Thomas calls my attention, viz., the similarity between the manner of wearing the hair by the Shinumo women, _i.e._, in knots at the side, as represented by the female images, and