Prehispanic Artifacts From El Salvador

[[Page 13352]]

DEPARTMENT OF THE TREASURY

Customs Service

19 CFR Part 12

[T.D. 95-20]

RIN 1515-AB70

Prehispanic Artifacts From El Salvador

AGENCY: U.S. Customs Service, Department of the Treasury.

ACTION: Final rule.

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SUMMARY: This document amends the Customs Regulations to reflect the

imposition of import restrictions on certain prehispanic artifacts from

El Salvador. These restrictions are being imposed pursuant to an

agreement between the United States and the Republic of El Salvador

which has been entered into under the authority of the Convention on

Cultural Property Implementation Act in accordance with the United

Nations Educational, Scientific and Cultural Organization (UNESCO)

Convention on the Means of Prohibiting and Preventing the Illicit

Import, Export and Transfer of Ownership of Cultural Property. The

document also contains the Designated List of Archaeological Material

representing Prehispanic cultures of El Salvador which describes the

articles to which the restrictions apply.

EFFECTIVE DATE: March 10, 1995.

FOR FURTHER INFORMATION CONTACT:

Legal Aspects: Donnette Rimmer, Intellectual Property Rights Branch

(202) 482-6960.

Operational Aspects: Louis Alfano, Office of Trade Compliance (202)

927-0005.

SUPPLEMENTARY INFORMATION

Background

The value of cultural property, whether archaeological or

ethnological in nature, is immeasurable. Such items often constitute

the very essence of a society and convey important information

concerning a people's origin, history, and traditional setting. The

importance and popularity of such items regrettably makes them targets

of theft, encourages clandestine looting of archaeological sites, and

results in their illegal export and import.

The U.S. shares in the international concern for the need to

protect endangered cultural property. The appearance in the U.S. of

stolen or illegally exported artifacts from other countries where there

has been pillage has, on occasion, strained our foreign and cultural

relations. This situation, combined with the concerns of museum,

archaeological, and scholarly communities, was recognized by the

President and Congress. It became apparent that it was in the national

interest for the U.S. to join with other countries to control illegal

trafficking of such articles in international commerce.

The U.S. joined international efforts and actively participated in

deliberations resulting in the 1970 UNESCO Convention on the Means of

Prohibiting and Preventing the Illicit Import, Export and Transfer of

Ownership of Cultural Property (823 U.N.T.S. 231 (1972)). U.S.

acceptance of the 1970 UNESCO Convention was codified into U.S. law as

the ``Convention on Cultural Property Implementation Act'' (Pub. L. 97-

446, 19 U.S.C. 2601 et seq.). The spirit of the Convention was enacted

into law to promote U.S. leadership in achieving greater international

cooperation towards preserving cultural treasures that are of

importance not only to the nations whence they originate, but also to

greater international understanding of mankind's common heritage. The

U.S. is, to date, the only major art importing country to implement the

1970 Convention.

During the past several years, import restrictions have been

imposed on a emergency basis on archaeological and cultural artifacts

of a number of signatory nations as a result of requests for protection

received from those nations.

Now, for the first time, import restrictions are being imposed as

the result of a bilateral agreement entered into between the United

States and a signatory nation. This agreement has been entered into in

March 1995, pursuant to the provisions of 19 U.S.C. 2602. Accordingly,

the Customs Regulations are being amended to reflect the imposition of

the restrictions. Section 12.104g(a) is being amended to indicate that

restrictions have been imposed pursuant to the agreement between the

United States and the Republic of El Salvador.

This document contains the Designated List of Archaeological

Material representing Prehispanic cultures of El Salvador which are

covered by the agreement. Importation of articles on this list is

restricted unless the articles are accompanied by an appropriate export

certification issued by the Government of the Republic of El Salvador.

Because this agreement includes categories of objects from the Cara

Sucia Archaeological Region of El Salvador which have been subject to

emergency import restrictions, and because those restrictions are about

to expire, Customs is also amending paragraph (b) of this section by

removing the entry for El Salvador.

Designated List of Archaeological Material Representing Prehispanic

Cultures of El Salvador

Pursuant to an agreement between the United States and the Republic

of El Salvador, the following contains descriptions of the cultural

materials for which the United States imposes import restrictions under

the Convention on Cultural Property Implementation Act (P.L. 97-446),

the legislation enabling implementation of the 1970 UNESCO Convention

on the Means of Prohibiting and Preventing the Illicit Import, Export

and Transfer of Ownership of Cultural Property. The Designated List

below subsumes those categories of objects from the Cara Sucia

Archaeological Region of El Salvador for which emergency import

restrictions have been in place since 1987. With publication of the

Designated List below, protection of the Cara Sucia material continues

without interruption.

What follows immediately is a list of terms for time periods and

their subdivisions. Please note that some terms are overlapping and are

used to distinguish pivotal intervals in regional prehistory (these

terms are: Protoclassic, Terminal Classic, and Protohistoric).

Different references may vary slightly as to the beginning and end

dates for the periods listed here.

Archaic Period: circa 8000-1700 B.C.

Preclassic Period: 1700 B.C.-200 A.D.

Early Preclassic: 1600 B.C.-800 B.C.

Middle Preclassic: 800 B.C.-400 B.C.

Late Preclassic: 400 B.C.-200 A.D.

Classic Period: 200-900 A.D.

Protoclassic: 200 B.C.-200 A.D.

Early Classic: 200-600 A.D.

Late Classic: 600-900 A.D.

Terminal Classic: 800-900 A.D.

Postclassic Period: 900-1520 A.D.

Early Postclassic: 900-1200 A.D.

Late Postclassic: 1200-1520 A.D.

Protohistoric: circa 1400-1550 A.D.

The following Designated List is representational and may be

amended as appropriate.

1. Figurines

1a. Preclassic Figurines.

Most are solid ceramic figurines representing women with broad

torsos and thighs, and small or virtually flat breasts. These are

portrayed in a sitting or standing position. The eyes and mouth were

typically represented by jabbing small holes into the still wet clay

(punctation), many times with two [[Page 13353]] or three holes used to

depict each eye. Although the bodies are crafted without much detail,

elaborate coiffures are commonly shown.

Dating: Most Preclassic figurines date to the Late Preclassic

(corresponding to the Chul and Caynac Ceramic Complexes of western El

Salvador, and the Uapala Phase of eastern El Salvador).

Appearance: Often cream to white, but may also be red or brown

(ranging from dark brown to tan). Usually of very fine textured clay.

Size: Most range between 4'' (10 cm) to 8'' (20 cm) in height.

Examples smaller than about 4'' may be perforated for use as pendants.

Rare figurines 16'' (40 cm) or more in height have been reported.

Important Variants: Some of the larger figurines are hollow rather

than solid. Very rare examples have movable arms, with sockets set into

the shoulders and separate arm pieces that were actuated by means of

strings. Some figurines depict women cradling infants. Whistle

mechanisms are very rarely present. Painted designs in black or other

colors are very rare on these figurines.

Formal Names: Bolinas figurines (Boggs 1973a); Kulil, Xiquin, and

Tat Complex figurines (Dahlins 1978); Quelepa Figurine Types 1 and 2

(Andrews 1976).

1b. Lepa Figurines

Most are solid ceramic figurines representing standing humans,

while others are animal effigies that function as whistles, whistle

flutes, or wheeled figurines incorporating whistle flutes.

Human figurines: These figurines have a generally flattened

appearance and heads are usually crowned by a broad and narrow headband

(or hairdo) resembling a long bar. Eyes are shown by a single

punctuation (to represent the pupil) between two ridges defining the

eye itself. Feet are usually split in a ``Y'' shape to help support the

figurine. The figurines may be adorned with necklaces shown by a series

of clay pellets. Rarely is enough detail included to determine which

sex is intended (in such cases women are usually represented).

Pelleted Tubular Whistle Flutes: Tubes with a whistle mechanism

(blow-hole) at one end and a rolling pellet within, that produces a

continuously varying tone when blown and tilted up and down. Simple

bird or monkey heads may be added to the instrument's body.

Wheeled Figurines: Human or animal effigies with four tabular legs,

each with a perforation to accept wooden sticks as axles for the front

and rear wheels (the wheels themselves were ceramic discs rarely found

together with these artifacts). Decoration is mostly through applique

using relatively thick strips and pellets of clay.

Animal Effigy Whistle flutes: Made from a small sphere of clay with

very simple (schematic) applique to represent humans, birds, turtles,

armadillos, opossums, and other animals. In addition to the whistle

mechanism, these have one or two finger holes in their bodies that vary

their tone when covered. The most elaborate examples may have punctate

and ridge eyes like those found in the Lepa human figurines. May be

perforated for suspension.

Dating: Late Classic Lepa Phase of central and eastern El Salvador,

represented in Quelepa, Tehuacan, and other sites.

Appearance: Usually reddish brown to brick red, with a rough or

only moderately smoothed surface. Some have a polished white slip that,

when well preserved, may have elaborate designs painted in black, red,

and/or yellow. Pelleted tubular whistle flutes have been noted with

fugitive (post-firing) white and/or blue paint.

Size: Most human figurines range in height between 5'' (12 cm) to

10'' (25 cm). Unusually large examples are known to reach 15'' (38 cm)

in height, and these tend to bear painted designs more often than the

normal sized figurines. The pelleted tubular whistle flutes known are

7'' (18 cm) or slightly shorter in length. The wheeled figurines known

range from about 3.5'' (9 cm) to 5'' (13 cm) in length. The animal

effigy whistle flutes measure about 2-3'' (5-8 cm) in maximum length.

Important Variants: Larger figurines may be hollow rather than

solid, and may either contain pellets to act as a rattle, or may be

equipped with holes for use as a flute (``ocarina'').

Formal Names: The human figurines have been classed as Lower Lempa

Culture figurines (Haberland 1961) and as Quelepa Figurine Type 3

(Andrews 1976). The wheeled figurines have been termed Oriental Type

(Boggs 1973b). The animal effigy whistle flutes have been referred to

as Lepa Phase whistles (Andrews 1976; see also Boggs 1974).

1c. Cotzumalhuapa Figurines and Molds

Ceramic figurines, usually hollow and typically mold made in part

(especially heads). About half the known examples represent women and

most of the remainder depict a variety of animals (men are rare). Some

representations of plants and furniture (litters) are known. Whistle

mechanisms were optional for all forms of Cotzumalhuapa figurines.

Pelleted tubular whistle flutes and recently identified Cotzumalhuapa

wheeled figurines are also included here.

Molds: The molds used to produce these figurines were press molds

made of coarse textured fired clay, usually brick red or reddish brown

in color. The working faces of these molds present a complicated

depressed area that produces the impression, while the opposite side of

the mold is usually rounded and carelessly finished. A sheet of wet

clay was pressed into the mold and then carefully extracted with the

impression of, for examples, the front half of a female figurine (the

other half was added by hand modeling, as were optional details like

headgear should these be absent from the mold used).

Female Figurines: The figurines representing women have been

referred to as ``bell-form'' due to the shape of their conical hollow

bases. They usually portray elaborately dressed women, adorned with

necklaces, earplugs, and large headgear of variable shape (but often

resembling a half moon). The uniformity in portrayal suggests that we

are dealing with a personage, and it is not too speculative to suggest

that she was an important Cotzumalhuapa goddess. Rare figurines exist

where the female's body is covered by cacao pods, indicating a

relationship to agricultural production and, in these latter example,

with the intensive production of cacao that has been documented as an

important Cotzumalhuapa economic focus. Whistle mechanisms, when

present, are usually worked into one shoulder (the larger female

figurines tend not to possess whistle mechanisms).

Male Figurines: The very rare male figurines are known to include

representations of warriors (with clubs and shields) and injured or

diseased individuals (one example shows an individual with patches of

flesh missing from the maxillary area and nose).

Animal Figurines: Among the animals present in Cotzumalhuapa

figurines are: parrots, vultures, owls, doves, monkeys, felines

(probably jaguars are intended), bats, dogs, deer, frogs or toads,

turtles, iguanas, snakes, crocodiles, fish, clams, crabs, and others.

These reflect the rich fauna of the Cotzumalhuapa area, which included

mangrove lined estuaries, the adjoining coastal plains, and nearby

mountain ranges. Monkeys and parrots are, however, the most common

animals depicted. Most animal figurines have whistle mechanisms.

Because of the complicated forms required for animals, use of molds may

sometimes be limited [[Page 13354]] to face areas, and some are

entirely hand modeled.

Plant Figurines: Representations of corn cobs and cacao pods have

been found.

Pelleted Tubular Whistle Flutes: Tubes with a whistle mechanism

(blow-hole) at one end and a rolling pellet within, that produces a

continuously varying tone when blown and tilted up and down. One

example is apparently a bat effigy, with a bat head and disk

(representing the wings?) added to the tubular body of the instrument.

Wheeled Figurines: Cotzumalhuapa wheeled figurines have recently

been identified. One has a tubular body with four tabular supports,

each with a perforation to accept the wooden sticks that acted as axles

for the front and rear wheels. A mold-made dog head was added to one

end of the tube, and a tail to the other.

Other Figurines: Two figurines have been documented representing

the litters that were probably used to transport Cotzumalhuapa elites.

They resemble a small rectangular box with a canopy, supported by four

spiked feet. A pair of holes at each extreme permitted two sticks to be

inserted to act as the carrying poles. On one example the canopy was

modeled to represent the stretched skin of a crocodile arranged with

the head at one extreme and the tail at the other, with a spiked crest

running between the two. Other Cotzumalhuapa modeled clay artifacts

that may be included as figurines include objects resembling scepters,

bells, lidded boxes, and plaques with human faces.

Dating: Late Classic products of the Cotzumalhuapa culture which in

El Salvador included the western coastal plain to the upper drainage of

the Paz River; trade brought examples into Payu Ceramic Complex

contexts elsewhere in western and central El Salvador.

Appearance: Most are brown (from tan through reddish brown) to red

(brownish red to brick red), with a coarsely finished to moderately

smoothed surface. Rare examples are of Tiquisate Ware (characterized by

a very smooth, lustrous, and hard surface, cream to orange in color),

and may be ancient imports from the Pacific coast of Guatemala. Traces

of paint may be present (blue, black, red, yellow, and white have been

documented); the paint was usually applied after firing and tends to be

easily eroded. Those parts of figurines made without the benefit of

molds tend to be rather carelessly modeled.

Size: Female figurines usually range in height from 4'' (10cm) to

12'' (30cm), but some rare specimens reach 24'' (60cm) and perhaps more

in height. Animal and plant figurines tend to be small, typically

ranging from 3'' (8cm) to 6'' (16cm) in their maximum dimension, though

larger examples occur. The pelleted tubular whistle flute mentioned

measures 6'' in length (16cm). A measurement for a wheeled figurine is

5.5'' (14cm) in length. The models of litters are approximately 9''

(23cm) in length.

Important Variants: Cotzumalhuapa use of clay was very creative and

the observer should expect figurine forms not mentioned here.

1d. Payu Figurine Flutes and Whistles

Most Payu ceramic figurines known are musical instruments that have

been classified as whistles, whistle flutes, and flutes (commonly

called ``ocarinas''). Although their decoration varies considerably,

important hallmarks (when present) are the decorative use of parallel

strips of clay (sometimes with longitudinal grooves), and applique of

clay pellets with a distinctive dimple in their center. Molds were

sometimes employed to render the faces of humans and monkeys. Human

faces may include details commonly associated with Classic Maya

conventions, including cheek decorations (from tatoos or

scarification), extension of the bridge of the nose to above eye level,

and/or a steeply inclined forehead (representing cranial deformation).

Globular Flutes (``ocarinas''): Payu figurine globular flutes have

a very distinctive construction. Three spheres of clay were joined

together in a column or in an ``L'' shape (and pierced at the

junctures). The uppermost sphere was equipped with a blow-hole. Clay

was then packed around this assembly and decorative elements added. All

the ``L'' shaped flutes known were decorated to represent a standing

quadruped animal whose open mouth forms the blow-hole. The other

(straight) flutes were almost always modeled to represent a human

(either full-body or just the head portion).

Tubular Whistle Flutes: Basically a tubular form with a whistle

mechanism (blow-hole) in one end and three to five finger holes along

the body of the tube. The appliqued head and arms or a monkey or human

are always present next to the blow-hole.

Whistle Flutes: A small, spherical body with a whistle mechanism

and one or two finger holes is hidden to a lesser or greater degree

under effigy decoration. This decoration tends to be notably more

carefully executed and detailed than Lepa or Cotzumalhuapa examples.

Examples include effigies of: humans (full-body or heads), monkeys,

dogs, birds, and reptiles. Smaller whistle flutes may be perforated for

suspension.

Dating: An artifact class belonging to the assemblage associated

with the Payu Ceramic Complex (Late Classic Period).

Appearance: Most Payu figurines are of medium textured clay with a

moderately smoothed surface (and almost always unslipped). Color is

usually reddish brown but may range from tan to brick red. Traces of

paint are rare and may include blue-green, white, yellow, red, or

black. Painted decoration, when present, was usually added after firing

and tends to easily wear away.

Size: Globular flutes=3-8'' (8-21 cm); tubular whistle flutes=6-8''

(15-21 cm); whistle flutes=2-8'' (5-20 cm).

Formal Names: None. Many examples are illustrated in Boggs 1974

(noted as Late Classic, from western and part of central El Salvador).

1e. Guazapa Figurines

Early Postclassic ceramic figurines whose style is derived from

central Mexico and form part of the Guazapa Phase of central and

western El Salvador. The Guazapa Phase has been interpreted as marking

the large-scale migration of Nahua speakers into this area, these being

the ancestors of the historical Pipil.

Mazapan-Related Figurines: Very flat figurines whose rendition of

the human figure has been compared to gingerbread cookies. These

objects were made by pressing a sheet of clay into a mold, obtaining a

thin (0.75-1'' or 2-3 cm) solid figurine. The rear portion of the

figurine is left unfinished and may exhibit finger marks from when the

clay was pressed into its mold. The front displays a woman with a

blouse with a triangular front, coming to a point in the middle of the

waist. This type of blouse was referred to as a quechquemitl in central

Mexico at the time of the Conquest, when its use was restricted to

images of goddesses and goddess impersonators. These figurines are so-

named for their close similarity to figurines of the Mazapan (Toltec)

Phase of central Mexico.

Toad Effigies: Hand modeled large hollow toad effigies. They are

usually shown as sitting as erect as possible for a toad, looking

upwards. The front and rear of the toad's body is decorated with strips

and buttons of clay meant to represent festive ribbons and bows. The

tongue may be shown hanging from the mouth. In Postclassic Nahua

mythology, toads were considered as Tlaloc's (the rain god) helpers,

and it was they who announced the coming of the rains (the

[[Page 13355]] extended tongues are probably meant to represent their

thirsty anticipation of rain). Due to this association, some examples

are known of toad effigies that include two rings around the eyes (a

diagnostic trait of Tlaloc himself).

Tlaloc Bottles: Bottles with a more or less spherical body crowned

by a straight tubular neck with a flat, flaring rim. The body is

decorated with the face of the rain god Tlaloc whose most distinctive

trait is a ring around each eye. Many Tlaloc Bottles are in fact

plugged in the neck or body and could not have actually functioned as

vessels. Tlaloc was considered to dwell in the mountain peaks and pour

out the rains from a bottle; these artifacts were probably household

votive images of that bottle.

Very Large Effigy Figurines or Statues: Hand modeled hollow

figurines representing jaguars and gods or god impersonators. The

larger examples reach life size and may truly be considered as ceramic

statuary (in any case, they have been included under ``Figurines'' to

facilitate discussion). Known examples of gods or god impersonators

represent the gods Tlaloc (identifiable by the rings around his eyes),

Mictlantecutli (represented as a skeletal personage) and Xipe Totec

(portrayed as wearing a flayed human skin). The largest figures may be

crafted in several mating parts (for example, a Xipe Totec effigy was

made in two large halves joining at the waist, with a separate head).

Seventeen jaguar effigies were found in one excavation at Cihuatan; all

of these portray a jaguar sitting on its haunches decorated with

necklaces and a few bulbous objects placed on different parts of the

body.

Small Solid Figurines: Hand modeled figurines of humans that are

usually solid or mostly so, and that occasionally employed molds to

form the face. Most appear to represent males who may carry war

equipment (such as a dart thrower or atlatl) and large headgear. These

figurines tend to be relatively small and crudely modeled.

Wheeled Figurines: Small wheeled figurine, consisting in a tubular

hollow body with four tabular supports, each with a hole to accept

wooden sticks acting as axles for the front and rear wheels. The wheels

are flat ceramic disks. A tail was added to one end of the tubular body

and a head to the other. Examples are known with deer heads with

antlers, and dog heads with tongue extended over the lower lip.

Dating: Artifacts of the Early Postclassic Guazapa Phase of central

and western El Salvador (at Cihuatan, Igualtepeque, El Cajete, Ulata,

Santa Maria, Pueblo Viejo Las Marias, and other sites).

Appearance: Generally reddish brown to brick red, but may be as

light as tan in color. The surface may be smoothed but not polished and

has a sandy texture. Many give the impression of having been hastily

made. Traces of white, black, blue, yellow, and/or red fugitive paint

have been found on some figurines.

Size: Height of Mazapan-related figurines=6-10'' (15-25 cm); height

of toad effigies=6-9'' (15-23 cm); height of Tlaloc bottles=4-10'' (10-

25 cm); height of very large effigy figurines or statues=24-55'' (61-

140 cm); height of small solid figurines=6-18'' (15-30 cm); length of

wheeled figurines=5.5-8.5'' (14-22 cm).

Formal Names: Encompassed by the Guazapa Phase, the type site of

which is Cihuatan (see Boggs 1944, 1963, 1973b, 1976; Bruhns 1980;

Fowler 1981, 1990).

2. Other Small Ceramic Artifacts

2a. Spindle Whorls or Malacates

Small ceramic disc-shaped artifacts with a central perforation. As

viewed in section, these are thicker toward the center. They may have

incised or mold-made decoration. These are often mistaken for ceramic

beads and many may be strung together for transport or display.

Dating: Late Classic to Protohistoric Periods. Different varieties

are documented in relation to Late Classic Phases and ceramic complexes

(Lepa, Payu, Tamasha) through the Postclassic (Guazapa, Cuscatlan, and

others).

Appearance: Carefully formed and smoothed. Many were slipped, and

run the full range of black through brown through red. Fugitive white

paint has been noted as a rare filler for incised designs.

Size: 0.8-1.2'' (2.1-3.2cm) in diameter. Holes are always close to

0.25'' (0.6cm) in diameter.

Formal Names: Referred to as spindle whorls or malacates (see for

example Longyear 1944; Sharer 1978; Andrews 1976).

2b. Ceramic Seals

Ceramic seals present a high-relief pattern on clay surface and are

thought to have been used with paint to stamp designs for body and/or

textile decoration. Some were used to impress designs on still-wet

pottery objects. Some seals have been found still covered with red

pigment.

Seals may be flat, with a spike handle on the rear, or cylindrical

and used by rolling. Cylinder seals usually have a central perforation

that would have allowed a stick to be passed through and facilitate

their use like rolling pins.

Dating: To date, seals have been found in El Salvador in contexts

ranging from the Late Preclassic and Late Classic Periods (in relation

to the Chul, Caynac and Payu Ceramic Complexes and the Tamasha Phase).

Appearance: Well-smoothed and sometimes slipped surfaces. Color

ranges from black-brown through reddish-brown and red.

Size: Flat seals=1.2-5'' (3-13cm) in diameter; cylinder seals may

be 2.4-5'' (6-12cm) in length.

Formal Names: Usually referred to as seals or stamps, flat or

cylindrical (see Sharer 1978; Demarest 1986; Amaroli 1987).

2c. Miniatures

Very small ceramic objects made in the form of jars or flasks.

Often made of a very fine cream colored ceramic. These may be modeled

to resemble squash effigies, or may include stamped designs include

Maya glyphs, humans forms, or animals. Miniature vessels often contain

residuals of red pigment. Late Classic Period.

Size: 1.5-4'' (4-10cm) in height.

Formal Names: None.

2d. Spools

This category includes several varieties of spool-shaped artifacts

that functioned as earspools and as labrets. Often a short tab extends

from one side, while the other may have modeled (and sometimes mold

made) decoration. Alternatively, the spool sides may have incised

decoration. Early Preclassic through Postclassic Periods (Sharer 1978;

Amaroli 1987).

Size: Normally do not exceed 1.3'' (3.4cm) in their maximum

dimension.

3. Ceramic Vessels

3a. Polychrome Vessels

Copador Polychrome Vessels: Hemispherical bowls, bowls with

composite walls, cylindrical vases, and jars with painted designs in

red, black and optionally yellowish orange on a cream to light orange

base. The red paint used is almost always specular (small flecks of

crystals flash as the vessel is moved in strong light). Copador paste

is cream colored (or sometimes very light brown) and is not very hard

or dense. Designs (usually on the exterior) may include bands of motifs

derived from Maya glyphs, seated individuals, individuals in a swimming

position, melon-like stripes, birds or other animals, and others. Rare

examples have excavated lines or [[Page 13356]] patterns. Copador

Polychrome may usually be distinguished on the basis of its specular

red paint and cream colored paste.

Dating: Late Classic Period (defined as a member of the Payu

Ceramic Complex, also found commonly in Tamasha Phase deposits (Cara

Sucia)).

Size: Bowl diameter may vary from 4-12'' (10-30 cm), the height of

cylindrical vases may range from 6-12.5'' (15-32 cm), and jar height

ranges from approximately 5-11'' (12-28 cm).

Formal Names: Referred to as the Copador Ceramic Group (Sharer

1978).

Gualpopa Polychrome: This type is closely related to Copador

Polychrome, with which it shares a cream colored paste and the

hemispherical bowl form (rarer forms in Gualpopa are: flat bottomed

bowls with vertical walls, and composite walled bowls). Designs in

Gualpopa are painted in red (which unlike Copador is not specular) and

black on a cream-orange base. Gualpopa motifs are simpler than Copador.

Most common are geometric designs (spirals, ``melon'' bands, chevrons,

and others), but repeating birds, monkeys, or designs derived from Maya

glyphs may be found.

Dating: Late Classic, especially the first part of this period.

Defined as a member of the Payu Ceramic Complex.

Size: Diameters range from 6-15'' (16-38 cm).

Formal Names: Termed as the Gualpopa Ceramic Group (Sharer 1978).

Arambala Polychrome: Formerly referred to as ``false Copador'' due

to its close resemblance to Copador Polychrome. Arambala may be

differentiated from Copador by its reddish paste (contrasting with

Copador's cream paste) and the use of a dull red paint (rather than

Copador's specular red paint). Apart from these two differences,

however, Arambala closely duplicates Copador's repertoire of vessel

forms, dimensions, and decoration (please refer to the description for

Copador Polychrome for this information). A cream-orange slip was added

over Arambala's reddish paste to approximate Copador's base color, but

this slip often has a streaky appearance.

Dating: Late Classic Period. A member of the Payu Ceramic Complex

and present in the Tamasha Phase of Cara Sucia.

Size: (See the description for Copador Polychrome)

Formal Names: Defined as the Arambala Ceramic Group (Sharer 1978).

Campana Polychrome Vessels: Flat bottomed bowls with flaring walls,

usually large. Provided with 4 hollow supports that may take the form

of pinched cylinders or cylinders with human or animal effigies.

Intricate painted designs were executed in black-brown, dull red, and

orange, on a cream to cream-orange base. A large portrayal of a human

or animal is featured on the interior center of these vessels, and the

rims often have a distinctive encircling twisted rope and dot design.

Some examples have a few curving lines of broad (up to 0.5'' or 1.3 cm)

Usulutan negative decoration. Campana Polychrome paste is dense, hard,

and brick red. Other forms include small bowls without supports, with

flat bottoms and flaring walls, and cylindrical vases with bulging and

sometimes faceted midsections and occasionally short ring bases. The

cylindrical vases usually feature panels on opposing side of the vessel

with human or animal designs, and may have very short and wide tabular

supports.

Dating: Late Classic Period. Present in association with the Payu

Ceramic Complex (Sharer 1978), the Lepa Phase (Andrews 1976), and the

Tamasha Phase (Amaroli 1987).

Size: The large bowls with supports range from 10-20'' (25-50 cm)

in diameter. The small bowls without supports are usually 6-9'' (16-22

cm) in diameter. Cylindrical vases range in height from 7-10'' (18-25

cm).

Formal Names: Termed as the Campana Polychrome Ceramic Group

(Sharer 1978).

Salua Polychrome: Mostly cylindrical vases, usually with very short

and wide tabular supports. The larger examples may have two opposing

modeled head handles just below the rim representing monkeys or other

animals. Bold designs are painted on a cream to orange base, using

different combinations of black, dull red, dark orange, and yellow. The

normally invisible paste is brick red. Black was often used to create

ample panels (or even to cover almost the entire vessel) as a backdrop

for featured designs. The principal designs are strikingly displayed

and can include: mat patterns (petates), twisted cord patterns, animals

(jaguars, parrots, owls, and others), humans, sea shells, ballcourts

(represented by a two or four colored ``I''-shaped drawing) and other

motifs. Humans are often arrayed in finely detailed costumes and may be

represented playing musical instruments, sowing with a digging stick,

armed for battle, seated within a structure, or in other attitudes. A

decorative option was to excise or stamp designs in panels or

registers.

The remainder of the vessel (or, if a featured motif is lacking,

all of the vessel) is decorated with panels and registers with

circumferencial bands near the rim and geometric patterns elsewhere.

Other vessel forms known for Salua are short cylinders ranging grading

into bowls, convex walled bowls (i.e., with bulging sides), composite

walled bowls, and jars. Strangely enough, despite their exceptional

decoration, colored stucco was sometimes used to cover areas of Salua

vessels (when eroded this stucco leaves chalky traces). Salua vessels

have rarely been found filled with red pigment.

Dating: Late Classic (associated with the Payu Ceramic Complex and

the Lepa Phase).

Size: The cylindrical vessels grade into vertical walled bowls over

a range of heights from 3.5-12.5'' (9-32 cm). Bowl diameters range from

6-12'' (15-30 cm).

Formal Names: The name Salua is a local term employed in the

National Museum of El Salvador. It has been long recognized that

probably several different ceramic groups are lumped under this term,

and that at least some of these groups probably correspond with the so-

called Ulua or Sula Valley Polychromes of neighboring Honduras (which

in recent years have been divided among several ceramic groups). Sharer

(1978) cites Salua as a special group of the Payu complex, termed

Special: Polychrome B, and he also mentions the name Salua Polychrome.

At Quelepa it was noted as an unnamed ceramic group referred to as Dark

Orange and Black on Orange (Andrews 1976). Several examples are

illustrated in Longyear 1944 and 1966. It is interesting to note the

relative abundance of Salua Polychrome in national and private

collections in El Salvador in comparison with Honduran collections.

Quelepa Polychrome: Hemispherical and composite wall bowls, and

jars; bowls may have basal flanges or slight angle changes near the

rim. Bowls may have small solid or larger hollow supports. Quelepa

Polychrome has a hard and very white base (slip) over a fine red paste.

On this white base were painted designs in orange (often applied as a

wash over most of the vessel), red and black; very rarely a purple

paint may be present. Designs include ``checkerboards'', sunbursts,

circles, bands, wavy lines, and others. Animals may be depicted on the

interior or exterior (jaguars, birds, and monkeys have been noted).

Dating: Late Classic (a member of the Lepa Ceramic Complex).

Size: Bowls may measure from 4.5-15'' (11-38 qcm) in diameter.

[[Page 13357]]

Formal Names: Termed as the Quelepa Polychrome Ceramic Group in

Andrews 1976.

Los Llanitos Polychrome: Flaring walled bowls, most or all with

solid tabular supports (supports may have effigy decoration). A cream

colored slip was applied a red paste. Orange paint was applied to the

entire interior of the bowl and in small areas bordered by black on the

exterior. In addition to orange and black, colors may include dull red,

sepia, and rarely purple. Two designs diagnostic of Los Llanitos

Polychrome are a ``five-fingered flame'' and stacks of three or four

horizontal bars of decreasing length.

Dating: Late Classic (a member of the Lepa Ceramic Complex).

Size: 7-12.5'' (18-32 cm) in diameter.

Formal Names: Termed Los Llanitos Polychrome by Longyear (1944) and

as the Los Llanitos Polychrome Ceramic Group by Andrews (1976).

``Chinautla'' Polychrome: Flaring walled bowls with flat bases and

3 or 4 hollow conical supports with simple applique. Red and black-

brown designs were painted over a cream slip in registers, including

spirals, stepped frets, bars, and dots.

Dating: Late Postclassic (a member of the Ahal Ceramic Complex).

Size: 6.5-10'' (17-26 cm) in diameter.

Formal Names: First defined in Chalchuapa as the Chinautla Ceramic

Group in Sharer (1978) due to its similarities with the ``Chinautla

Polychrome tradition'' found mostly in the Guatemalan highlands. Most

would probably now agree that this tradition may be subdivided into

several distinct and locally distributed ceramic groups, of which the

Chalchuapa variety would be one.

Machacal Purple Polychrome: Bowls (hemispherical, composite walled,

or vertical walled with convex bases). With the exception of vertical

walled bowls, these may be supported by ring bases, pedestal bases or 4

hollow cylindrical supports. Possesses an orange base slip with red and

dark purple designs. Purple designs in the form of an horizontal ``S''

on the vessel exterior are common. Vessel bottoms usually have a simple

purple design that some people have considered to vaguely resemble a

bird. The generous use of purple paint on an orange base slip is a

distinctive characteristic of this variety.

Dating: End of the Early Classic and beginning of the Late Classic.

Size: 5-11.5'' (13-29 cm) in diameter.

Formal Names: Termed Red and Purple on Orange by Boggs (in Longyear

1944), and Machacal Purple-polychrome by Sharer (1978).

Nicoya Polychrome: Hemispherical bowls, bowls with rounded to

almost flat bases and flaring walls (these may have three hollow

cylindrical or conical supports with effigy decoration as an option,

often in the form of bird heads), cylindrical vases with ring bases,

jars. Red, black, and yellow paint was applied over a very smooth white

slip with a ``soapy'' texture. Usually over half of the vessel was left

white. Designs include registers with geometric designs, human figures,

and others. Rare vessels may have unusual forms and appendages.

Dating: Early Postclassic.

Size: Bowls range from 6-11'' (15-28 cm) in diameter; cylindrical

vases range from 6.5-12'' (17-30 cm) in height.

Formal Names: Long called Nicoya Polychrome due to its relationship

with the different varieties grouped under that name first defined for

Nicaragua and Costa Rica. The variety found in El Salvador differs

sufficiently from those varieties in forms and decoration to be

considered as an additional type.

Chancala Polychrome: Hemispherical bowls, often slightly flaring

from just under the rim. A cream base slip (often streaky in

appearance) was painted with designs in brown-black and red. Animals

rendered in a distinctive silhouette style were painted on opposing

sides of the exterior (monkeys, lizards, and birds seem to be

represented), with large solid circles, squares or cross-hatch designs

between the two. The upper portion of the exterior body is divided by

bands in a register holding step frets, circles, and/or other designs.

Dating: Late Classic.

Size: 6-8'' (15-20 cm) in diameter.

Formal Names: Termed Chancala Polychrome by Boggs (1972).

Salinitas Polychrome: Known in bowl forms with a streaky cream to

orange base slip. Black circumferencial bands define registers that

usually enclose alternating spirals and stylized animals outlined in

black with orange infilling.

Dating: Late Classic Period.

Formal Names: Termed Salinitas Polychrome by Boggs.

3b. Vessels With Usulutan Decoration

Here are included several different varieties of ceramics that

prominently feature Usulutan decoration as their distinctive trait.

Usulutan decoration is a negative technique, resulting in light-colored

lines against a darker background. The light lines were achieved by

applying a resist substance and then covering the vessel with a slip

that fired a darker color. Since this failed to adhere to the areas

with resist, these maintained their lighter shade (a simplified

explanation). In its most elaborate version, the resist substance was

applied with a multiple brush with as many as seven small brushes

fastened in a row, allowing the creation of swirling parallel lines.

The base color on these vessels ranges from salmon pink to dark yellow,

with the lines being a lighter shade of the same. Some varieties have

red paint added as rim bands or (in the case of the Chilanga Ceramic

Group) simple designs. Formal names for the ceramic groups considered

here are: Jicalapa, Puxtla, Izalco, and Chilanga (Sharer 1978, Demarest

1986, Andrews 1976).

3c. Plumbate Vessels

Unpainted vessels with a glazed appearance. Surface color ranges

from dark brown-black to lead-colored to salmon-orange, and sometimes

all are found on a single vessel. Some areas may be iridescent. This is

an extremely hard ceramic and ``rings'' when tapped. Vessel forms

include a variety of forms of jars, bowls, cylindrical vases, and may

even include figurines. Effigy decoration is common.

Dating: Terminal Classic (San Juan variety) and Early Postclassic

(Tohil variety).

Formal Names: Both San Juan and Tohil varieties are found in El

Salvador (Sharer 1978). It is interesting to note that approximately

one third of all Tohil vessels recorded in the only pan-Mesoamerican

inventory to date were from El Salvador (Shepard 1948).

3d. Olocuilta Orange and Santa Tecla Red Vessels

These two distinctive varieties of Late Preclassic ceramic vessels

share many forms and types of decoration. Forms include a variety of

bowls that may have very wide everted rims with scalloped and incised

designs (in extreme cases the rims may be extended to form fish or

other animal effigies when viewed from above). Bowls may also include

faceted flanges. Some bowls may take the form of toad effigies.

Usulutan decoration (very often poorly preserved) may be present. The

Santa Tecla Red variety is distinguished by its dense dark red slip,

while Olocuilta Orange has a light orange slip (often with a powdery

texture when slightly eroded). Santa Tecla Red may have graphite rubbed

into grooves.

Dating: Late Preclassic (Chul and Caynac Ceramic Complexes).

Formal Names: Santa Tecla and Olocuilta Ceramic Groups (Sharer

1978; Demarest 1986). Please note that in these sources ``Olocuilta''

(which is the name of a Salvadoran town) was misspelled ``Olocuitla''.

[[Page 13358]]

3e. Incised or Excised Vessels

Here are considered different varieties of ceramic vessels whose

salient visual trait is decoration based on incision or excision.

Pinos: Pinos vessels have a smooth streaky black to brown slip with

(post-slip) incisions on the exterior forming geometric designs. These

incisions are sometimes filled with red or white pigment. Forms include

a variety of bowl forms. Defined as part of the Chul and Caynac Ceramic

Complexes of the Late Preclassic Period (Sharer 1978; Demarest 1986).

Lolotique: A variety of bowl forms of a dark and dull red color

with fine post-slip incised geometric patterns. Defined as part of the

Chul and Caynac Ceramic Complexes of the Late Preclassic Period (Sharer

1978; Demarest 1986).

Chalate Carved: Cylindrical vessels with a band of false glyphs or

geometric designs carved below the rim. Details within this excavated

band may be emphasized with incision. Vessel bodies are usually tan

colored, and cream slip was sometimes added over the exterior, avoiding

the carved band which sometimes was painted with red slip. When the

cream slip is present, negative designs of dots, circles, water lilies,

or egrets may be barely visible on the vessel body. The name of this

Late Classic type is provisional and was proposed by Boggs based on its

abundance in the Chalatenango area.

Red Excised: Cylindrical vessels with a band of false glyphs or

geometric decoration excised below the rim and vertical excised grooves

usually covering the rest of the exterior, sometimes with two opposing

excised panels representing animal heads or other designs. Slipped with

a dark red-orange color. Short solid tabular or nubbin supports may be

present. Provisional name for a Late Classic type common in central El

Salvador.

Cotzumalhuapa Incised Cylindrical Vases: Cylindrical vases, orange

to brown in color, with fine incision including geometric motifs and

monkeys. The rim area is distinguished by a band or groove. Late

Classic Period.

3f. Vessels With Red Decoration

Here are grouped together varieties of ceramic vessels whose

principal decoration was executed in red paint.

Marihua Red on Buff: Forms include: hemispherical bowls, bowls with

rounded bases and flaring walls (these usually have three hollow or

cylindrical supports, sometimes in the form of bird heads), and jars

with three handles. Broad red lines form geometric designs on the buff

colored interior of bowls and the exterior of jars. Designs include

arcs, crosses, step frets, ehecatcozcatl (split snail shell motif), and

others. Very rare are finely incised designs in a band on the exterior

of bowls. Postclassic Period (Haberland 1964).

Guarumal: Almost all known examples are jars. Part of the jar

exterior (reddish brown in color) is painted with a dense and hard red

paint that is finely crazed. The paint may cover the upper portion of

vessels, or may be distributed as panels, large dots or arcs. Rarely

the entire vessel exterior is covered in red. A decorative option was

to apply white paint in circles (applied with a hollow cane) and/or

zigzagging lines. This white paint is also very hard and was applied

over red painted areas. A small rabbit applique may appear on the

vessel body. Late Classic Period (Beaudry 1983).

Delirio Red on White: Hemispherical bowls (sometimes made into an

armadillo effigy by means of a shingled exterior and appliqued head and

tail), bowls with flat or slightly rounded bottoms and flaring walls

(these may have hollow cylindrical supports), jars (which may have a

pair of effigy head handles below the rim), and other minor forms. A

hard white slip was painted in red with very intricate geometric

designs. Naturalistic forms are very rare. Late Classic Period (Lepa

Ceramic Complex--Andrews 1976).

Cara Sucia Red Painted: Jars with dull red-orange paint over a

cream-orange slip. The lower body is divided by vertical pairs of

bands. Birds or other motifs may be painted on the shoulder of the

vessel. Late Classic Period.

3g. Jars With Modeled Effigy Faces

Here are grouped together different varieties of ceramic jars that

sharing the presence of effigy faces or heads applied to the vessel

neck. Motifs include: old man, man with goatee and closed eyes, monkey,

bird, and schematic humans.

3h. Tiquisate Vessels

Tiquisate vessels are entirely orange (ranging from light cream-

orange to deep orange in color). Their surface is very hard and may

``ring'' when tapped. Vessel forms include hemispherical bowls and

cylindrical vases. Decoration may take the form of rows of bosses,

incised geometric designs, or stamped scenes of humans, animal heads,

twisted bands, or other designs. Late Classic.

3i. Fine Paste Vessels

Forms include small flat bottomed bowls with vertical walls and

hollow rattle supports, and piriform vessels with ring bases. Vessels

walls are very thin and ``ring'' when tapped. An orange may be applied

to the vessel with the exception of the base. Fine incising may be

found on the exterior of bowls and may retain white and blue post-fire

paint. Terminal Classic Period.

3j. Cara Sucia Pedestal-based Bowls

A distinctive type of bowl with a tall pedestal base. The bowls

often have a basal flange, and red painted zones are sometimes found on

the interior. Late Classic Period.

3k. Stuccoed Vessels

Here are grouped a variety of vessel forms and types whose common

denominator for the purposes at hand is the presence of stuccoed

decoration. The stucco involved is usually a white kaolin clay with

blue, blue-green, red, yellow, or brown pigment mixed in, and probably

had (originally) an organic binder or agglutinate. Since that binder

long since ceased to function, the stuccoed decoration tends to be very

fragile. Designs are usually simple bands or geometric motifs, but

occasionally human or animal figures may be represented. Entirely

stuccoed vessels seem to be most common in the Late Classic, and

perhaps especially so in the Terminal Classic.

3l. Guazapa Scraped Slip Vessels

Jars with a brown body, over which was applied a cream colored slip

that was finger dragged (like finger painting) while it was still wet,

creating curving or wavy designs. A reddish-orange wash was sometimes

applied over the scraped slip. Early and Late Classic Periods.

3m. Ancient Imports: Late Classic Palmar and Other Lowland Maya

Ceramics

Several vessels of so-called ``Peten Glossware'' have been found in

El Salvador that include the formally defined Palmar Ceramic Group, and

may also include examples of the Saxche Ceramic Group and others

(Sharer 1978). To date, three such vessels have been found in

scientific excavation (one in a Tazumal tomb in the 1940's, a Palmar

vessel in an offering with an eccentric flint in San Andres in the

1970's, and a Palmar vessel in a grave on the outskirts of San Salvador

in 1993). Several others have been documented in looting situations,

including three recorded by Sharer (1978), and in private collections.

Although these vessels were not made in the territory of El Salvador,

they were definitely ancient imports and as such form part of

Salvadoran cultural heritage, providing important testimony

[[Page 13359]] relative to long-distance social and economic

relationships.

Forms include bowls with flat or slightly rounded bottoms and walls

ranging from slightly flaring (nearly vertical) to broadly flaring

walls; shallow simple bowls; tecomates (spherical forms with a small

orifice); and cylindrical vases. Bowls may have ring bases, hollow

cylindrical supports, or other forms of supports. Decoration consists

of an orange or cream base slip over which were painted designs in

black, red, and sometimes yellow. Designs include: glyph bands; humans

standing, seated, dancing, or in other attitudes; heads (human, animal,

God K, and others); animals in different positions; and other themes

rendered in Late Classic Lowland Maya style.

4. Ceramic Drums

Ceramic drums comprise a globular body with a short rim on one

extreme (over which the drum surface was stretched) and a long open

shaft on the other extreme (which served as a stand). The body may have

incised decoration. Surfaces are usually slipped and well polished, and

may range from dark brown-black to brown to brownish red in color. Late

Classic Period.

5. Incense Burners

5a. Ladle Censers

This category groups together a variety of different spoon or ladle

shaped incense burners. These have a handle (which may be a hollow tube

or a flattened loop) which supports the ``spoon'' or ``ladle'' that

actually held the embers over which incense was sprinkled. The ladle

portion may have holes perforated to facilitate the circulation of air,

and in the taller, more cup-like versions these holes may take the form

of crosses or step frets (these are the so-called ``Mixteca-Puebla''

style censers). Animal heads, claws, or other effigies may be added to

end of the handle.

5b. Three-pronged Censers

Standing cylinders with three vertical prongs at the top and two

long vertical flanges on the sides. Effigy faces may be added to the

vessel bodies (bats have been noted). Post-fire paint added in red,

orange, and white. Late Preclassic and Early Classic Periods (Sharer

1978).

5c. Lolotique Spiked Censers

The bowl-shaped censer body is supported by a tall pedestal base

with perforations in the form of two large squares or circles, or

slits. Short spikes cover the base and body. May retain remnants of

post-fire red or white paint. Late Classic Period (Andrews 1978).

5d. Las Lajas Spiked Censers

Large hourglass-shaped censer covered by short spikes. Incised or

modeled decoration may be found on the everted rims found at top and

bottom. An internal shelf may be present to hold the large clay dish

that supported the embers. Early Postclassic Period (Fowler 1981).

5e. San Andres Stone Censers

Squat barrel-shaped censers of hard volcanic stone with columns of

spikes on part of the exterior. The upper part of these censers have a

dish-like depression to contain embers. Late Classic Period.

5f. Large Effigy Censers

Different varieties of censers whose common traits are their

relatively large size and the prominent presence of elaborate effigies

covering much or all of the censer body. In extreme cases, the censer

is entirely concealed within a virtual ceramic sculpture. As an

alternative to a single large effigy, some present several figures on a

single censer, or a single element (like a head) repeated several

times. Recorded effigies have included: the god Tlaloc (identifiable by

a large ring around each eye); an individual with bulbous protruding

eyes; the god Xipe Totec (appearing as an individual wearing a flayed

human skin); jaguars; monkeys; iguanas; large saurians (so-called Earth

Monsters), GIII (a manifestation of the Sun god identifiable by a

twisted cord extending vertically between the eyes and catfish-like

barbels curling from the sides of the mouth); and others. Mostly Late

Classic and Postclassic Periods.

5g. Cotzumalhuapa Goblet Censers

Large goblet shaped vessel forms (essentially a large bowl with

walls that begin as vertical and midway to the rim moderately flare

outward, with a pedestal base), usually with signs of burning on the

interior base. These censers may be unadorned, or may have two or three

hollow head effigies rising directly from the rim, or they may have

many small effigy heads attached in a row around the vessel just below

its rim (monkey and iguana heads have been documented). Lids, when

present, may appear as inverted bowls, with or without an effigy figure

on top (one example has a large seated monkey). Late Classic Period.

6. Mushroom Effigies

Though some regard these as phallic effigies, most agree that

mushrooms are represented. Two varieties are presented here.

6a. Ceramic Mushroom Effigies

Tall hollow bases rise from a flaring base and taper upwards to

support the mushroom ``cap''. The body may be plain or may carry red

paint and fine incisions (usually in the form of rows of triangles).

Probably Late Preclassic and Early Classic Periods.

6b. Stone Mushroom Effigies

Usually made of fine-grained volcanic stone. The shaft of the

mushroom rises from a base that may be cylindrical or square, and

occasionally has short supports. Near the ``cap'' may often be found

two raised bands representing the point from which the cap separates

from its stem as it opens. Late Preclassic and Early Classic Periods.

7. Stone Sculpture

7a. Preclassic Animal Head Sculptures

Monumental sculptures in volcanic stone representing very stylized

animal heads (Demarest 1986). These have usually been interpreted as

jaguar heads, but reptilian elements may also be present. These were

apparently architectural elements associated with Late Preclassic

Period pyramids.

7b. Cotzumalhuapa Sculpture

Monumental sculptures in volcanic stone in the Cotzumalhuapa style

(see Parsons 1967, 1969). Themes known from El Salvador include: a

snake emerging from the ground, a skeletal figure with a hat resembling

a derby, a coiled snake, and a disk with a jaguar face. Some of these

are made from two stones which connect by means of a hidden tenon. Late

Classic Period.

7c. Tenoned Head Sculptures

Long sculptures of volcanic stone with an animal head at one end

and an undecorated tenon at the other, intended to be mounted in

monumental architecture. The heads usually represent a bird or reptile.

Late Classic Period.

7d. Balsamo Sculpture

These portable sculptures are usually made of vesicular volcanic

stone and represent a human form in a squatting position. The vertebrae

are usually indicated as a notched ridge on the individual's back.

Although this form predominates, a grasshopper sculpture is also

documented. Postclassic Period.

7e. Yugos

``U''-shaped ballgame yugos (yokes) made of dense volcanic stone.

Very rare examples may carry carved decoration. Late Classic Period.

[[Page 13360]]

7f. Hachas

Thin ballgame hachas usually representing animal or human heads (a

variety of other designs are also found, such as a coiled snake and a

skull). Made of fine-grained volcanic stone. Some examples have iron

pyrite ``eyes'' and traces of red paint. Late Classic Period.

7g. Effigy Metates

Metates with a thin and slightly curving body, with an animal head

at one end. A tail may be present at the other end. These are usually

supported by three tall supports. Made of dense volcanic stone. Late

Classic and Early Postclassic Periods.

8. Small Stone Artifacts

8a. Jade or Similar Greenstone Artifacts

Lustrous and hard green-colored stone crafted into: beads

(spherical, globular, tubular, discoidal); pendants (plain or with

human or animal effigies, including so called ``axe gods'' and canine

tooth effigies); plaques (or pectorals) with elaborate designs; masks;

mosaics; earspools; animal or human effigies (heads or full figure); or

schematic squatting human forms (similar to examples from the El Cajon

area of Honduras).

8b. Eccentric Chipped Stone

Flint, chert, or obsidian flaked into eccentric forms. These may

include: a zigzag lance point form, a disc with three prongs or spike

on one side, and elaborate large effigy eccentrics apparently meant to

serve as scepters (similar to those found in caches at Copan, Quirigua,

and other sites). Late Classic Period.

8c. Obsidian Artifacts in General

Prismatic blades, bifacial artifacts (lance points, arrow points,

``knives''), cores, and other objects made from obsidian (a black

colored volcanic glass).

8d. Pyrite Mosaic ``Mirrors''

A mosaic of carefully fitted plaques of iron pyrite placed on a

thin disc-shaped backing made of stone or clay that may have designs on

one side. When new, the pyrite reflected light brilliantly, but

archaeological specimens have often lost their shine due to oxidation

(the pyrite may convert to a brownish black crust). Late Classic and

perhaps other periods.

8e. Paint Pallets

Small artifacts of vesicular volcanic stone with a dish shaped or

squared depression on one surface. Some pallets are simple, being

essentially natural cobbles of a flattened oblong shape with the

depression worked on one surface, or sometimes two depressions on

opposing surfaces. Others are elaborately carved and may include four

supports and animal or human head effigies. Traces of red pigment have

been found on some pallets. Late Classic and possibly other periods.

8f. Translucent Stone Bowls

Thin bowls carved from light colored translucent stone (which in

different cases has been labeled as marble, alabaster, and onyx). At

least some of these may be ancient imports from the territory of

Honduras. Late Classic Period.

8g. Barkbeaters

Tabular dense stone artifacts with numerous longitudinal parallel

incisions worked on one or both broad faces. On one variety (Classic

and Postclassic Periods), three of the four narrow sides have a broad

groove meant to receive a very pliable stick wound around it as a

handle. The other variety considered here has an integral stone handle

(Late Preclassic).

8h. Celts

These were originally mounted on wood handles for use as hatchets

or adzes. Made of very dense, fine-grained stone and are often highly

polished near the bit and sometimes over the entire body. Some examples

are made of jade or stone resembling jade.

9. Metal Artifacts

9a. Copper Celts

Mounted on wooden handles for use as hatchets or adzes. Long copper

celts with a rectangular cross section. May have a dark patina.

Postclassic Period.

9b. Copper Rings

Copper finger rings made with the lost wax technique. Documented

examples include filigree details or effigy heads. Terminal Classic and

Postclassic Periods.

9c. Copper Bells

Copper bells, plain or with effigies, usually made by the lost wax

technique. Postclassic Period.

9d. Tumbaga Artifacts

Tumbaga is an alloy of copper and gold. Artifacts made of Tumbaga

may present a mottled surface looking golden in parts. Tumbaga

artifacts documented for El Salvador include small animal figurines

made by the lost wax technique, and a small hammered sheet mask with

eyes and mouth cutouts. Late Classic Period.

Inapplicability of Notice and Delayed Effective Date

Because this amendment is being made in response to a bilateral

agreement entered into in furtherance of the foreign affairs interests

of the United States, pursuant to Sec. 553(a)(1) of the Administrative

Procedure Act, no notice of proposed rulemaking or public procedure is

necessary. For the same reason, a delayed effective date is both

impracticable and contrary to the public interest.

Regulatory Flexibility Act

Because no notice of proposed rulemaking is required, the

provisions of the Regulatory Flexibility Act (5 U.S.C. 601 et seq.) do

not apply. Accordingly, this final rule is not subject to the

regulatory analysis or other requirements of 5 U.S.C. 603 and 604.

Executive Order 12866

This amendment does not meet the criteria of a ``significant

regulatory action'' as described in E.O. 12866.

Drafting Information

The principal author of this document was Peter T. Lynch,

Regulations and Disclosure Law Branch, Office of Rules and Regulations,

U.S. Customs Service. However, personnel from other offices

participated in its development.

List of Subjects in 19 CFR Part 12

Customs duties and inspections, Imports, Cultural property.

Amendment to the Regulations

Accordingly, Part 12 of the Customs Regulations (19 CFR Part 12) is

amended as set forth below:

PART 12--[AMENDED]

1. The general authority is revised and specific authority citation

for Part 12, in part, continues to read as follows:

Authority: 5 U.S.C. 301, 19 U.S.C. 66, 1202 (General Note 20,

Harmonized Tariff Schedule of the United States (HTSUS)), 1624.

* * * * *

Sections 12.104-12.104i also issued under 19 U.S.C. 2612.

2. Paragraph (a) of Sec. 12.104g is added to read as follows:

Sec. 12.104g Specific items or categories designated by agreements or

emergency actions.

(a) The following is a list of agreements imposing import

restrictions on the described articles of cultural

[[Page 13361]] property of State Parties. The listed Treasury Decision

contains the Designated Listing with a complete description of specific

items or categories of archaeological or ethnological material

designated by the agreement as coming under the protection of the

Convention on Cultural Property Implementation Act. Import restrictions

listed below shall be effective for no more than five years beginning

on the date on which the agreement enters into force with respect to

the United States. This period may be extended for additional periods

of not more than five years if it is determined that the factors which

justified the initial agreement still pertain and no cause for

suspension of the agreement exists. Any such extension is indicated in

the listing.

------------------------------------------------------------------------

State party Cultural Property T.D. No.

------------------------------------------------------------------------

El Salvador..... Archaeological material representing T.D. 95-20

Prehispanic cultures of El Salvador.

------------------------------------------------------------------------

* * * * *

Sec. 12.104g [Amended]

3. Paragraph (b) of Sec. 12.104g is amended by removing, from the

listing of emergency import restrictions, the entry for El Salvador.

George J. Weise,

Commissioner of Customs.

Approved: March 7, 1995.

Dennis M. O'Connell,

Acting Deputy Assistant Secretary of the Treasury.

[FR Doc. 95-6122 Filed 3-9-95; 8:45 am]

BILLING CODE 4820-02-P