----------------+--------------+----------------+--------+------------ | Capacity | Weight | Ratio | Mean ratio ----------------+--------------+----------------+--------+------------ Seri: | _Liters_ | _Kilograms_ | | Plain | 15.14 | 1.91 | 0.126 } | | | } 0.137 Painted | 15.61 | 2.30 | .147 } | | | | Papago: | | | | No. 1 | 17.03 | 4.08 | .239 } | | | } .253 No. 2 | 8.51 | 2.38 | .279 } | | | | Sia | 15.14 | 3.82 | .252 } Zuñi | 12.30 | 3.18 | .258 } .271 Acoma | 15.61 | 4.31 | .276 } Hopi | 13.72 | 4.06 | .295 } Neither the manufacture of the ware nor the sources of material have been observed by Caucasians. Examination of the specimens indicates that the material is a fine and somewhat micaceous clay, apparently an adobe derived from granitoid rocks; and such material might be obtained in various parts of Seriland. The structure of the ware reveals no trace of coiling or other building process, nor does the texture clearly attest the beating process employed by the Papago potters; but there is a well-defined lamellar structure, and the surfaces (especially inner) are striated circumferentially or spirally in such manner as to suggest a process of rubbing under considerable pressure. All the specimens are so asymmetric as to indicate the absence of mechanical devices approaching the potter’s wheel, while the necks are of such size as to admit the hand and forearm of an adult female but not of a warrior. Some suggestion of the manufacturing process is afforded by miniature fetishistic and mortuary specimens, such as those depicted in figures 17 and 18, and the larger specimens shown in figure 39, which were evidently shaped from lumps of suitable clay first hollowed and then gradually expanded by manipulation with the fingers, with little if any aid from implements of any sort. On putting the various indications together it would seem probable that the ware is made by the women, and that each piece is shaped from a lump of tempered and well-kneaded clay of suitable size, first hollowed and rudely shaped over one hand, and gradually expanded by spiral rubbing, kneading, and pressure between the hands of the maker. The burning is incomplete and variable, suggesting a little outdoor fire in a shallow pit adapted to a single vessel. The ware is without glaze or slip or other surficial treatment save that the lamellar texture is best