Archaeological and Ethnological Material From Peru

DEPARTMENT OF THE TREASURY

Customs Service

19 CFR Part 12

[T.D. 97-50]

RIN 1515-AC17

Archaeological and Ethnological Material From Peru

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 archaeological material of

Peru's pre-Columbian past dating to the Colonial period and certain

Colonial ethnological materials of Peru. These restrictions are being

imposed pursuant to an agreement between the United States and Peru

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 and

Ethnological Material which describes the articles to which the

restrictions apply. This document also amends the Customs Regulations

by removing the listing of Peru and identification of the cultural

property to which emergency import restrictions have been imposed.

Articles which had been protected under that provision are also covered

under the new listing.

EFFECTIVE DATE: June 11, 1997.

FOR FURTHER INFORMATION CONTACT: Legal Aspects: Donnette Rimmer,

Intellectual Property Rights Branch (202) 482-6960.

Operational Aspects: Louis Alfano, Commercial Enforcement, Office

of Field Operations (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 Act''). This was done 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 ethnological

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

protection received from those nations.

Peru has been one of the countries whose archaeological material

has been afforded emergency protections. In T.D. 90-37,

Sec. 12.104g(b), Customs Regulations, was amended to reflect that

archaeological material from the Sipan Archaeological Region forming

part of the remains of the Moche culture received import protection

under the emergency protection provisions of the Act. This protection

was extended in T.D. 94-54. Import restrictions are now being imposed

on certain pre-Columbian archaeological materials of Peru dating to the

Colonial period and certain Colonial ethnological material from Peru as

the result of a bilateral agreement entered into between the United

States and Peru. This agreement was entered into on June 9, 1997,

pursuant to the provisions of 19 U.S.C. 2602. Protection of the

archaeological material from the Sipan region previously reflected in

Sec. 12.104g(b) will be continued through the bilateral agreement

without interruption. Accordingly, Sec. 12.104g(a) of the Customs

Regulations is being amended to indicate that restrictions have been

imposed pursuant to the agreement between the United States and Peru

and the emergency import restrictions on certain archaeological

material from Peru is being removed from Sec. 12.104g(b) as those

restrictions are now encompassed in Sec. 12.104g(a).

This document contains the Designated List of Archaeological and

Ethnological Material representing the cultures of the native peoples

of Peru which are covered by the agreement. Importation of articles on

this list is restricted unless the articles are accompanied by an

appropriate export certificate issued by the Government of Peru.

In reaching the decision to recommend extension of protection, the

Deputy Director, United States Information Agency, determined that,

pursuant to the requirements of the Act, with respect to categories of

pre-Columbian archaeological material proposed by the Government of

Peru for U.S. import restrictions, ranging in date from approximately

12,000 B.C. to A.D. 1532, and including, but not limited to, objects

comprised of textiles, metals, ceramics, lithics, perishable remains,

and human remains that represent cultures that include, but are not

limited to, the Chavin, Paracas, Vincus, Moche (including objects

derived from the archaeological zone of Sipan), Viru, Lima, Nazca,

Recuay, Tiahuanaco, Huari, Chimu, Chancay, Cuzco, and Inca; that the

cultural patrimony of Peru is in jeopardy from the pillage of these

irreplaceable materials representing pre-Columbian heritage; and that

with respect to certain categories of ethnological material of the

Colonial period, ranging in date from A.D. 1532 to 1821, proposed by

the Government of Peru for U.S. import restrictions but limited to (1)

objects directly related to the pre-Columbian past, whose pre-Columbian

design and function are maintained with some Colonial characteristics

and may include textiles, metal objects, and ceremonial wood, ceramic

and stone vessels; and (2)

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objects used for religious evangelism among indigenous peoples and

including Colonial paintings and sculpture with distinct indigenous

iconography; that the cultural patrimony of Peru is in jeopardy of

pillage of these irreplaceable materials as documented by the request.

List of Designated Archaeological and Ethnological Material From

Peru

Pursuant to a Memorandum of Understanding between the United States

and the Republic of Peru, the following contains descriptions of the

cultural materials for which the United States imposes import

restrictions under the Convention on Cultural Property Implementation

Act (Pub. 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 includes archaeological materials known to

originate in Peru, ranging in date from approximately 12,000 B.C. to

A.D. 1532, and including, but not limited to, objects comprised of

textiles, metals, ceramics, lithics, perishable remains, and human

remains that represent cultures that include, but are not limited to,

the Chavin, Paracas, Vicus, Moche, Viru, Lima, Nazca, Recuay,

Tiahuanaco, Huari, Chimu, Chancay, Cuzco, and Inca cultures. The

Designated List also includes certain categories of ethnological

materials from Peru dating to the Colonial period (A.D. 1532-1821),

limited to: (1) objects directly related to the pre-Columbian past,

whose pre-Columbian design and function are maintained with some

Colonial characteristics and may include textiles, metal objects, and

ceremonial wood, ceramic and stone vessels; and (2) objects used for

religious evangelism among indigenous peoples and including Colonial

paintings and sculpture with distinct indigenous iconography. The

Designated List below also subsumes those categories of Moche objects

from the Sipan Archaeological Region of Peru for which emergency import

restrictions have been in place since 1990. With publication of the

Designated List below, protection of the Sipan material continues

without interruption.

The list is divided into seven categories of objects:

I. Pre-Columbian Textiles

II. Pre-Columbian Metals

III. Pre-Columbian Ceramics

IV. Pre-Columbian Lithics

V. Pre-Columbian Perishable Remains

VI. Pre-Columbian Human Remains

VII. Ethnological Objects

A. Objects Directly Related to the Pre-Columbian Past

B. Objects Used for Religious Evangelism Among Indigenous

Peoples

What follows immediately is a chart of chronological periods and

cultural classifications currently widely used for identifying

archaeological remains in Peru. All dates are approximate.

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Rowe Lumbreras

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1440-1532 A.D...................... Late Horizon............... Inca Empire.

1100-1440 A.D...................... Late Intermediate Period... Regional states and kingdoms.

600-1100 A.D....................... Middle Horizon............. Huari Empire.

200 B.C.-600 A.D................... Early Intermediate Period.. Regional Cultures.

1000-200 B.C....................... Early Horizon.............. Middle and Late Formative.

1700-1000 B.C...................... Initial Period............. Early Formative.

2500-1800 B.C...................... Late Pre-ceramic........... Late Archaic.

4500-2500 B.C...................... Middle Pre-ceramic......... Middle Archaic.

6000-4500 B.C...................... Early Pre-ceramic.......... Early Archaic.

12000-6000 B.C..................... Early Pre-ceramic.......... Hunter-Gatherers.

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The following Designated List is representational and may be

amended as appropriate.

I. Pre-Columbian Textiles

Textiles representing these principal cultures and main classes of

objects:

A. Chimu

Pillow--Piece of cloth sewn into a bag shape and stuffed with

cotton of vegetal fibers. Generally the cloth is made in tapestry

technique. 60 cm. x 40 cm.

Painted Cloth--Flat cloth of cotton on which designs are painted.

Range between 20 cm. and 6.1 m.

Headdress--Headdresses are usually made of feathers, especially

white, green, and dark brown, which are attached to cloth and fitted to

a cane or basketry frame. Feathers on the upper part are arranged to

stand upright.

Feather Cloth--Cloth decorated with bird feathers, especially

panels and tunics. They vary in shape and size; generally they depict

geometric motif and volutes. Vary from 20 cm.--3 m. in length, and may

be up to 1.5 m. in width.

Panels--Chimu panels may be of two types: tapestry weave or plain-

weave cotton. Isolated anthropomorphic designs predominate and may be

associated with zoomorphic motifs. Vary from 20 cm. x 20 cm. to 2.0 m.

x 1.8 m.

Belts and Sashes--Generally made in tapestry technique, and

predominantly of red, white, ocher, and black. As with other Chimu

textiles, they generally depict human figures with rayed headdresses.

Up to 2.20 m. in length.

B. Chancay

Loom--Looms are commonly found in Chancay culture, sometimes with

pieces of the textile still on the loom. Often these pieces of cloth

show varied techniques and are referred to as ``samples.'' 50 cm. x 20

cm.

Loincloth--Triangular panels of cloth with tapestry woven borders.

Dolls--Three dimensional human figures stuffed with vegetal fiber

to which hair and other decorations are added. Sometimes they depict

lone females; in other cases they are arranged in groups. Most

important, the eyes are woven in tapestry technique; in fakes, they

have embroidered features. Usually 20 cm. tall and 8 cm. wide.

False Head--In Chancay culture, false heads are made on a cotton of

vegetal fiber cushion covered with plain-weave cloth, decorated with

shells, beads, metal, wood, or painting to depict facial features. They

sometimes have real hair. Usually 30 cm. x 35 cm.

Unku/Tunic--Varied sizes and styles. Some are in plain weave,

others in gauze, still others are in tapestry technique or brocade.

They are recognized by their iconography, which includes geometric

motifs, birds, fish, plants, and human figures. Miniatures are tiny;

regular size examples are about 50 cm. x 50 cm.

Belt--Chancay belts are multicolored, with geometric motifs

rendered in tapestry technique. Sometimes the ends are finished in

faux-velour technique. 2 m. x 5 cm.

Panels--Chancay panels may be made in tapestry technique or may be

painted on plain weave cloth. In these latter cases, the panels may

depict fish,

[[Page 31715]]

parrots, monkeys, viszcachas, felines, foxes, and human figures. Vary

in size from miniatures to 4 m. x 2 m.

Standards--Chancay standards are supported on a frame of straight

reeds covered with cotton cloth which is painted in anthropomorphic

designs in ochers and black. Sometimes they have a handle. 20 cm. x 20

cm.

Gauze--Pieces of cloth made in openwork gauze technique, with very

fine cotton threads. May have embroidered designs in the same thread

that depict birds or other flora and fauna. Usually 80 cm. x 80 cm.;

some are smaller.

C. Nazca

Three-Dimensional Cloth--Cloth made in three dimensions, using

needles. Of many and bright colors, knitted in long strips. Each figure

is approx. 5 cm. long x 2 cm. wide.

Unku/Tunic--These include miniature and regular-sized tunics. They

are generally of one color, mostly light brown. The neck edges, hem,

and fringes have multicolored geometric designs. Fringes end in woven

braids. Vary in size from miniatures up to approx. 1.5 m. x .8 m.

Bags--There are bags of many sizes, from miniatures to large ones,

generally with a narrow opening and a wide pouch. Some are decorated

with fringe. Their iconography resembles the unku (tunic), stylized

designs in yellow, red, and dark and light blue.

Sash--Nazca sashes are made on special looms. Their ends are

decorated with plied fringe.

Tie-Dye (Painted) Cloth--Most common are those made in the tie-dye

technique, in which the textile is knotted and tied before it is dyed,

so that when it is untied, there are negative images of diamonds,

squared, and concentric dots. Most common are orange, red, blue, green,

and yellow colors. Vary from approx. 20 cm. x 20 cm. to 2.0 m. x 1.8 m.

Patchwork Cloth--Variant of the Tie-Dye cloth, in which little

panels are made and later sewn together so that the resulting textile

includes rectangles of tie-dyed panels of different colors. The cloth

may have a decorative fringe. Vary from 20 cm. x 20 cm. to 2.0 m. x 1.8

m.

Wara/Loincloth--Generally made of a flat piece of cloth with

colorful borders depicting stylized geometric motifs. They terminate in

fringe. 50 cm. x 30 cm.

Fans--The frame is of vegetal fiber provided with twisted cord into

which feathers are inserted. Commonly two colors of feathers are

attached in this way, such as orange and green, or yellow and blue. 30

cm. x 20 cm.

D. Huari

Panel--Characterized by a complex and abstract iconography. Made in

tapestry technique with a range of colors, including browns, beiges,

yellows, reds, oranges, and greens. Vary from 20 cm. x 20 cm. to 2.0 m.

x 1.8 m.

Unku/tunic--Large with an abstract and geometric iconography.

Commonly the designs repeat in vertical bands. Generally these tunics

have a cotton warp and camelid fiber weft. Some are so finely woven

that there are 100 threads per cm \2\. Vary in size from miniatures up

to 1.5 m. x 80 cm.

Caps--Most common are the so-called ``four-corner hats'' made in a

faux-velour technique that results in a velvety texture. On the base

cloth, small tufts of brightly-colored wool are inserted.

Vincha/headband or sashes--These garments are made in tapestry

weave or faux-velour technique and depict geometric motifs.

Bags--Bags have an opening which is somewhat narrower than the

body, with designs depicting felines, camelids, human faces, and faces

with animal attributes.

E. Paracas

Esclavina/Small shoulder poncho--Paracas esclavinas are unique for

their decoration with brightly colored images in Paracas style such as

birds, flowers, animals, and human figures. Vary in size from

miniatures up to 60 cm. x 30 cm.

Mantle--Paracas mantles can be divided into five types, based on

their decoration. All are approximately 2.5 m. x 1.6 m.

a. Mantles with a plain field and woven borders;

b. Mantles with decorative (embroidered) borders and plain field;

c. Mantles with decorative (embroidered) borders and a decorative

stripe in the center field;

d. Mantles with embroidered borders and center field embroidered in

checkerboard-fashion;

e. Mantles with embroidered borders and alternating diagonals of

embroidered figures in the center field.

Gauzes--Paracas gauzes are made of one color, such as lilac,

yellow, red, or grey. They are generally rectangular and have a soft

and delicate texture. Approx. 1 m. x 1 m.

Panels--Paracas panels are generally of cloth and may have been

used for utilitarian purposes. They are generally undecorated. Vary

from 20 cm. x 20 cm. to 2 m. x 1.8 m.

Skirts--Paracas skirts are of two types: some are plain, made of

cotton with decoration reserved for the ends; there are others that are

elaborately embroidered with colorful images rendered in wool. These

often form sets with mantles and other garments. Skirts are rectangular

and very wide, with two fringed ties. 3 m. long and 70 cm. wide.

Wara/Loincloth--Made of cotton, not as large as skirts, and may

have embroidered edges.

Slings--Paracas slings are decorated in Cavernas style, made of

vegetal fiber, and are of small size, generally 1.5 m. x 5 cm.

Furs--There are numerous examples of animal skins reported from

Paracas contexts, including the skins of the fox, vizcacha, guinea pig.

Most are poorly preserved.

F. Moche

Bags--Moche bags are usually square, small, and have a short

handle. They are made in tapestry technique with brightly-woven

designs. Principal colors used are white, black, red, light blue, and

ocher.

Panels--Recognizable by their iconography, these tapestry-technique

panels may show people on balsa-reed rafts surrounded by a retinue.

They are rendered in a geometric fashion, and are outlined in black and

shown in profile. Scenes of marine life and fauna predominate. Vary

from 20 cm. x 20 cm. to 2 m. x 1.8 m.

Ornamental canes--Small canes are ``woven'' together in a twill

technique using colorful threads that depict anthropomorphic designs.

Approx. 10 cm. x 10 cm.

G. Lambayeque

Panels--Lambayeque panels are small, made in tapestry technique, of

cotton and wool. Vary from 20 cm. x 20 cm. to 2 m. x 1.8 m.

H. Inca

Sling--There are two types of Inca slings. Ceremonial ones are

oversize and elaborately decorated with geometric motifs, with long

fringes. The other type is smaller and utilitarian, almost always with

decoration only on the pouch and far ends. The decoration is geometric

and the slings have fringed ends.

Unku/tunic--Inca tunics are well-made and colorful, mostly in red,

olive green, black, and yellow. Decorative elements may be arrayed

checkerboard fashion and are found on the upper and lower part of the

garment. Vary in size from miniatures up to approx. 1.5 m. x 80 cm.

Bags--Recognized by their bright colors, they have an opening that

is narrower than the body and a wide pouch with long fringe and handle.

Vary

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in size from miniatures up to 30 cm. x 20 cm.

Panels--Some are made in cotton using the double-cloth technique,

based on light brown and beige. Lines of geometrically-rendered llamas

predominate. Vary in size from 20 cm. x 20 cm. to 2 m. x 1.8 m.

Mantles--Inca mantles are of standard dimensions, sometime more

than a meter long, generally rectangular. They are multi-colored and

made of cotton warp and wool weft. Most common colors are dark red,

olive green, white, and black. Generally 2.5 m. x 1.6 m.

Kipu/quipu--Inca quipus (knotted string mnemonic devices) are made

of cotton and wool cords, sometimes with the two fibers plied together.

Rarely is their original color preserved, though sometime one sees

light blues and browns. Some are wrapped with colorful threads on the

ends of the cords. 80 cm. x 50 cm.

II. Pre-Columbian Metal Objects

A. Idols

Anthropomorphic or zoomorphic figures, some of which are hollow and

others which are solid. They may be of gold and silver, they may be

gilded, or of copper, or bronze. Sizes vary from 2 cm.--20 cm. in

height.

B. Small Plaques

Thin sheets of gold, silver, copper, or gilded copper, used to

cover the body and made in pieces. They have repousse or punched

designs on the edge and middle of the sheet. Average .6 cm in height.

C. Axes

Almost always T-shaped and solid. There are also axes in a

traditional axehead shape. May be of bronze or copper.

D. Mace Heads

These come in a great variety of shapes, including star-shaped,

flat, or of two or three levels. They may be made of copper or bronze.

Most have a central hole through which a wooden handle was affixed.

E. Musical Instruments

Trumpets: Wind instrument with a tubular body and flaring end,

fastened at the joint. May be of copper or bronze.

Bells: Of varying shapes and materials (including gold, silver,

copper, and silver-plated copper).

Conos: Instrument shaped from a sheet of hammered metal, with or

without a clapper. Can be of copper or silver. Up to .5 m. in height.

Rattles: Musical instrument with a central hold to accommodate a

handle. May be of copper or bronze. Vary from 6 cm.-25 cm. in height.

Jingle Bells: Spherical bells with an opening on the lower part and

a handle on the upper part so they can be suspended from a sash or

other garment. They contain a small stone or a little ball of metal.

The handles may be decorated. Jingle bells may decorate another object,

such as rhythm sticks, and may be of gold, silver, or bronze. Used in

all pre-Columbian cultures of Peru.

Chalchachas: Instruments shaped like a bivalve with repousse

decoration. Made of copper.

Quenas (flutes): Tubular instruments, generally of silver, with

perforations to vary the tone.

F. Knives

Knives vary depending on their provenance. They can have little or

no decoration and can be of different metals or made of two metals. The

best known are the tumis from the Sican culture, which have a straight

or trapezoidal handle and a half-moon blade. The solid handle may have

carved or stamped designs. Generally made of gold, silver, or copper.

In ceremonial examples, the blade and upper part may depict an

anthropomorphic figure standing or seated, or simply a face or mask

with an elaborate headdress, earspools, and inset semi-precious stones.

Tumi handles can be triangular, rectangular, or trapezoidal, and blades

can be ovaloid or shaped like a half-moon.

G. Pins

With a straight shaft and pointed end, pins can be flat or

cylindrical in cross-section. Most are hammered, and some are hollow.

They can be of gold, silver, copper, bronze, gold-plated silver or may

be made of two metals. Some pins are zoomorphic; others have floral

images, and still others depict fish. Some have a round head; others

have a flat, circular head; still others have the shape of a half-moon.

There are hollow-headed rattle pins; others have solid anthropomorphic

images. Most are up to 50 cm. in length, with heads that are up to 10

cm. in diameter. The small pins are about 5 cm. in length.

H. Vessels

There are a variety of metal vessels; they may be made of gold,

silver, gilded silver, gilded copper, silver-covered copper, and

bronze. There are miniatures, as well as full-size vessels. Such

vessels are known from all cultures. Forms include beakers, bowls, open

plates, globular vessels, and stirrup-spout bottles. The exact form and

surface decoration varies from culture to culture. Shapes include

beakers, bowls, and plates. Average .5 m.-.3 m. in height.

I. [Reserved]

J. Masks

May be made of gold, silver, gilded silver, copper, gilded copper,

silver-covered copper, or may be made of two metals. They vary greatly

in shape and design. The best known examples come from the following

cultures: Moche, Sican, Chimu, Huari, Inca, Nazca, and Chincha. The

northern coast examples often have insets of shell, precious or semi-

precious stones, and may have plant resins to depict the eyes and

teeth. Almost all examples that have not been cleaned have a surface

coloring of red cinnabar. Examples from Sican measure up to 49 cm. in

width by 29 cm. in height. Miniature examples can measure 7 cm. x 5

cm. Miniature masks are also used as decorations on other objects.

Copper examples generally show heavy oxidation.

K. Crowns

Thin or thick sheets of metal made to encircle the head. They may

be of silver, gold, copper, gilded silver, silver-covered copper, or

may be made of two metals. Some examples have a curved central part,

and may be decorated with pieces of metal and real or artificial

feathers that are attached with small clamps. Found in all cultures.

L. Penachos (Stylized Metal Feathers)

Stylized metal feathers used to decorate crowns. May be made of

gold, silver, copper, or silver-covered copper.

M. Tocados (Headdresses)

Headdress ornaments which may be simple or complex. They may be

made of one part, or may include many pieces. Found in all cultures.

They may take the form of crowns, diadems, or small crowns. They may

have two stylized feathers to decorate the crown and to hold it to the

hair (especially the Chimu examples). Paracas examples generally have

rayed appendages, with pierced disks suspended from the ends of the

rays.

N. Turbans

Long pieces of cloth that are wrapped around the head. Metal

ornaments may be sewn on turbans. Found in all cultures; the metal

decorations and the cloth vary from culture to culture.

O. Spoons

Utilitarian object of gold, silver, or copper.

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P. Lime Spatulas

Miniature spatula: a straight handle has a slightly spoon-shaped

end. The handle may have an anthropomorphic figure. Made of gold,

silver, or copper.

Q. Ear Spools

Ear spools are generally made of a large cylinder which fits

through the earlobe and an even larger disk or decorative sheet on one

side. The disk may be decorated with repousse, stamped, or engraved

designs, or may have inset stone or shell. May be made of gold, silver,

copper, or made of two metals. Ear spools are found in all cultures.

The largest measure up to 15 cm. height; typical diameter: 5 cm.-14 cm.

R. Nose Ornaments

Of varied shapes, nose ornaments can be as simple as a straight

tube or as complex as a flat sheet with repousse design. In the upper

part, there are two points to attach the ornament to the septum. They

may be of gold, silver, or copper or may be made of two metals.

S. Earrings

Decoration to be suspended from the earlobes.

T. Rings

Simple bands with or without designs. Some are two bands united by

filigree spirals. Some have inset stones. May be of silver, gold,

copper, or alloys.

U. Bracelets

Bracelets are made of sheets of metal with a straight or slightly

trapezoidal shape, with stamped or repousse designs. Some are simple,

narrow bands. Found in all cultures and with varied designs. May be of

gold, silver, bronze, or alloys of copper. Generally 4 cm.-14 cm. in

width.

V. Necklaces

Necklaces are made of beads and/or small carved beads. May be of

shell, bone, stone, gold, silver, copper, or bronze. The beads are of

varied shapes. All beads have two lateral perforations to hold the

cord.

W. Tweezers

Made in one piece, with two identical ends and a flexed central

handle. They are of varied shapes, including triangular, trapezoidal,

and ovaloid. The middle of the handle may have a hole so the tweezers

can be suspended from a cord.

X. Feather Carrier

Conical objects with a pointed, hollow end, into which feathers,

llama skin, or monkey tails are inserted and held in place with tar.

They may be made of gold, silver, or gilded or silver-plated copper.

III. Pre-Columbian Ceramics

A. Chavin

Date: 1200-200 B.C.

Characteristics

Decoration: A grey-black color. Incised, modeled, and high and low-

relief are combined to work out designs in grays and browns. The

surface may also juxtapose polishing and matte finish in different

design zones.

Forms: Bottles, plates, and bowls.

Size: 5 cm.-30 cm.

Identifying: Characteristic traits of Cupisnique and Chavin

ceramics include: globular body with a flat base and stirrup spout;

thick neck with an obvious and everted lip. Chavin style also includes

long-necked bottles, bowls with flaring walls, and highly-polished

relief-decorated surfaces.

Styles: Chavin influence is seen in Cupisnique, Chongoyape,

Poemape, Tembladera, Patapo, and Chilete.

B. Vicus

Date: 900 B.C.-A.D. 500

Characteristics

Decoration: Geometric designs in white on red, made using negative

technique. There are also monochrome examples.

Forms: Anthropomorphic, zoomorphic and plant-shaped vessels. Some

have a double body linked by a tube or common opening.

Size: 30 cm.-40 cm. tall.

C. Viru or Gallinazo

Characteristics

Decoration: Negative technique over orange background.

Forms: Faced anthropomorphic and zoomorphic vessels, face bottles

for daily use in dwellings, ``cancheros'' (type of pot without a neck

and with a horn-shaped handle).

Size: Up to 15 cm. high.

Identifying: The surface is basically orange; the vessels have a

truncated spout, an arched bridge (like a tube) as handle, and

geometric symbols in negative technique (concentric circles, frets and

wavy lines). When the vessels represent a face, the eyes are like

``coffee beans,'' applied on the surface and with a transverse cut.

D. Pucara

Date: 300 B.C.-300 A.D.

Characteristics

Decoration: Slip-painted and incised. Modeled elements include

stylized felines and camelids, along with an anthropomorphic image

characteristically depicted with a staff in each hand. Vessels are

typically decorated in yellows, black, and white on the red background

of the vessel. Designs are characteristically outlined by incision.

There may be modeled decoration, such as feline heads, attached to the

vessels.

Shapes: Tall bowls with annular ring bases predominate, along with

vessels that depict anthropomorphic images.

Size: Bowls are up to 20 cm. in diameter and 20 cm. in height.

E. Paracas

Date: Developed around 200 B.C.

Characteristics

Vessels are typically incised, with post-fired resin painting on a

black background.

Size: 10 cm.-15 cm. high

F. Nazca

Date: A.D. 100-600.

Characteristics

Color: Typically very colorful, with a range of slips including

cream, black, red, violet, orange, gray, all in a range of tones.

Slip: Background slip is generally cream or orange.

Shapes: Cups, bowls, beakers, plates, double-spout-and-bridge

bottles, anthropomorphic figures, and musical instruments.

Decoration: Realistic drawings of fantastic creatures, including

the ``Flying God.'' In late Nazca, bottles are broader and flatter and

the designs are arrayed in broad bands. Typically have decorations of

trophy heads, geometric motifs, and painted female faces.

Size: 5 cm.--20 cm.

G. Recuay

Date: A.D. 100-700.

Characteristics

Slip: Both positive and negative slip-painting is found, generally

in colors of black, cream and red.

Shapes: Sculptural, especially ceremonial jars known as ``Paccha''

which have an elaborate outlet to serve a liquid.

Decoration: Usually show groups of religious or mythical

personages.

Size: 20 cm.--35 cm. in height.

H. Pashash

Date: A.D. 1-600.

[[Page 31718]]

Characteristics

Decoration: Positive decoration in black, red, and orange on a

creamy-white background. Some show negative painting.

Shapes: Anthropomorphic vessels, bottles in the form of snakes,

bowls with annular base, and large vessels with lids.

Size: The anthropomorphic vessels are up to 20 cm. in height,

serpent bottles are around 25 cm. wide x 10 cm. tall, and lidded

vessels are more than 30 cm. in height.

Motifs: The decorations are rendered in positive or negative

painting in zones that depict profile-face images of zoomorphic

figures, serpents, or worms, seen from above and with trapezoidal

heads.

I. Cajamarca

Date: A.D. 500-900.

Characteristics

Decoration: Pre-fired slip painting with geometric designs,

including stepped triangles, circles, lines, dots, and rows of volutes.

They may include stylized birds, felines, camelids, batrachians, and

serpents. Spiral figures may include a step-fret motif in the base of

the bowls.

Shapes: Pedestal base bowls, tripod bowls, bottles with annular

ring base, goblets, spoons with modeled handles, bowls with carinated

edges.

J. Moche

Date: A.D. 200-700.

Characteristics

Forms: Stirrup-spout vessels, vessels in the shape of humans,

animals, or plants.

Colors: Generally red and white.

Manufacture: Often mold-made.

Size: 15 cm.--25 cm. in height.

Decoration: Wide range of images showing scenes of real life or

mythical scenes depicting gods, warriors, and other images.

K. Tiahuanaco

Date: A.D. 200-700.

Characteristics

Decoration: Pre-fired slip painting on a highly polished surface.

Background is generally a red-orange, with depictions of human, animal,

and geometric images, generally outlined in black and white lines.

Shapes: Plates, cups, jars, beakers, open-backed incense burners on

a flat base.

L. Lima

Date: A.D. 200-700.

Characteristics

Decoration: Pre-fired slip painting with interlocking fish and

snake designs, geometric motifs, including zig-zags, lines, circles,

and dots.

Shapes: Breast-shaped bottles, cups, plates, bowls, and cook pots.

Styles: Related to Playa Grande, Nieveria, and Pachacamac styles.

M. Huari

Date: A.D. 500-1000.

Characteristics

Colors: Orange, cream, violet, white, black, and red.

Motifs: Anthropomorphic, zoomorphic, and plant shapes, both

stylized and realistic. In Pachacamac style one finds vessels with a

globular body and long, conical neck. In Atarco style, there is slip

painting that retains Nazca motifs, especially in the full-body felines

shown running.

Slip: Background slip is commonly cream, red, or black.

Styles: Related to Vinaque, Atarco, Pachacamac, Qosqopa, Robles

Moqo, Conchopata, and Caquipampa styles.

Size: Most are around 25 cm. tall. Robles Moqo urns may be up to 1

m. in height.

N. Santa

Date: Derived from Huari style, around A.D. 800.

Characteristics

Decoration: Slip painted with figures and designs in black and

white on a red background. There are also face-neck jars.

Shapes: Effigy vessels, face-neck jars, double-body vessels.

Sizes: 12 cm.--20 cm. tall.

Shapes: Jars have a globular body and face on the neck. The border

may have black and white checkerboard. The body sometimes takes the

shape of a stylized llama head. Common are white lines dotted with

black. Double-body vessels generally have an anthropomorphic image on

the front vessel, and a plain back vessel.

O. Chancay

Date: A.D. 1000-1300.

Characteristics

Treatment: Rubbed surface.

Slip: White or cream with black or dark brown designs.

Molds: Molds are commonly used, especially for the anthropomorphic

figures called ``cuchimilcos,'' which represent naked male and female

figures with short arms stretched to the sides.

Size: 3 cm.--1 m.

P. Ica-Chincha

Date: Began to be developed in A.D. 1200.

Characteristics

Decoration: Polychrome painting in black and white on red.

Designs: Geometric motifs combined with fish and birds.

Shapes: Bottles with globular bodies and tall necks and with

flaring rims. Cups and pots.

Size: 5 cm.--30 cm. high.

Q. Chimu

Date: A.D. 900-1500.

Characteristics

Slip: Monochrome. Usually black or red.

Shapes: Varied shapes. Commonly made in molds. They may represent

fish, birds, animals, fruit, people, and architectural forms. One sees

globular bodies with a stirrup spout and a small bird or monkey at the

base of the neck.

Size: Between 30 cm.--40 cm. in height.

R. Lambayeque

Date: A.D. 700-1100.

Characteristics

Color: Generally black; a few are cream with red decoration.

Shapes: Double spout and bridge vessels on a pedestal base are

common. At the base of the spout one sees modeled heads and the bridge

also often has modeled heads.

Size: 15 cm.--25 cm. in height.

S. Inca

Date: A.D. 1300-1500.

Characteristics

Decoration: Slip painted in black, red, white, yellow, and orange.

Designs: Geometric designs (rhomboids and triangles) and stylized

bees, butterflies, and animals.

Sizes: 1 cm. to 1.5 m. in height.

IV. Pre-Columbian Lithics

A. Chipped Stone: Projectile Points

Paijan Type Points

Size: 8 cm.--18 cm.

Shape: Triangular or heart-shaped.

Color: Generally reddish, orange, or yellow. Can be made of quartz.

Leaf-Shaped Points

Size: 2.5 cm.--15 cm.

Shape: Leaf-shaped. Can be ovaloid or lanceolate.

Color: Generally bright reds, yellows, ochers, quartz crystals,

milky whites, greens and blacks.

[[Page 31719]]

Paracas Type Points

Size: .3 cm.--25 cm.

Shape: Triangular and lanceolate. Show marks of pressure-flaking.

Often they are broken.

Color: Generally black.

Chivateros-Type Blanks

Size: .8 cm.--18 cm.

Shape: Concave indentations on the surface from working.

Color: Greens, reds, and yellows.

B. Polished Stone

Bowl--Vessels of dark colored-stone, sometimes streaked. They have

a highly polished, very smooth surface. Some show external carved

decoration. Diameters range from 12 cm--55 cm.

Cups--Also vessels of dark-colored stone. Generally have flaring

sides. Typical of the Late Horizon. They are highly polished and may

have external carved designs or may be in the shape of heads. 18 cm.--

28 cm. in height.

Conopas--Small vessels in the form of camelids with a hollow

opening on the back. They are black to greenish-black and highly

polished. .8 cm.--16 cm. in length.

Idols--Small anthropomorphic figurines, frequently found in Middle

Horizon contexts. The almond-shaped eyes with tear-bands are

characteristic of the style. Larger examples tend to be of lighter-

colored stone while the smaller ones are of dark stones. 12 cm.--28 cm.

in height.

Mace head--Varying shapes, most commonly are doughnut-shaped or

star-shaped heads, generally associated with Late Intermediate Period

and Inca cultures. Commonly black, gray, or white, .8 cm.--20 cm. in

diameter.

Metal-working hammer--Elongated shapes, frequently with one flat

surface; highly polished. Generally of dark-colored stone, 3 cm.--12

cm.

C. Carved Material

Tenon head--These heads have an anthropomorphic face, prominent

lips, and enormous noses. Some, especially those carved of diorite,

have snake-like traits. The carved surface is highly polished.

Tablets--Tablets with high-relief design. The upper surface has a

patina. They range from 20 cm. to more than 1 m. in length.

V. Pre-Columbian Perishable Remains

A. Wood

Keros (Beakers)--The most common form is a bell-shaped beaker with

a flat base, though some have a pedestal like a goblet. Decoration

varies with the period:

Pre-Inca: Very rare, they have straight sides and incised or high-

relief decoration. Some have inset shells.

Inca: Generally they are incised with geometric designs on the

entire exterior.

Colonial Inca: Lacquer painted on the exterior to depict scenes of

daily life, nature, and war.

Staffs--Objects of ritual or ceremonial use made of a single piece

of wood. They can be distinguished on the basis of two or three of the

following traits:

On the lower third, the staff may have a metal decoration.

The body itself is cylindrical and of variable length.

The upper third may have decorations, including inset shell, stone,

or metal. Some staffs function as rattles, and in these cases, the

rattle is in the upper part.

Carvings--Worked blocks of wood, such as wooden columns (orcones)

to support the roofs of houses: Chincha, Chimu, and Chancay cultures.

Individuals may be depicted standing or seated on a pedestal. In the

upper part there is a notch to support the beams, which generally has a

face, sometimes painted, at the base of the notch. Their length varies,

but they are generally at least a meter or more.

Box--Small lidded boxes, carved of two pieces of wood. Generally

the outer surface of box and lid are carved in relief. Chimu-Inca

cultures. They measure approximately 20 cm. x 10 cm.

Mirror--Wooden supports for a reflective surface of polished

anthracite or pyrite. In some cases the upper part of backs of mirrors

are worked in relief or have inset of shell. Moche culture.

Paddle and rudder--Large carvings made of a single piece of wood.

Paddles have three parts: the blade and the handle (sometimes

decorated), and an upper decorated part, which can have metal plaques

or decorative painting. Rudders have two parts: the blade and a handle

which may be carved in relief. Chincha culture. Paddles can be 2.30 m.

in length and rudders are up to 1.4 m.

Utensils--Bowls and spoons made of wood decorated with zoomorphic

or anthropomorphic motifs.

Musical instruments--Trumpets and whistles. Trumpets can be up to

1.2 m. long and are generally decorated on the upper third of the

instrument. Whistles vary a great deal from the undecorated to those

decorated with human forms. Moche, Huari, and Inca cultures.

B. Bone

Worked bone--Most interesting are Chavin pieces with incised

decorations. The bones are generally the long bones of mammals. They

vary from 10 cm.-25 cm. in length.

Balance weights--Flat rectangles of bone about 10 cm. in length.

Chincha culture.

Musical instruments--Quenas (flutes) and antaras (panpipes) in

various shapes. Paracas, Chincha, and Ancon cultures.

C. Gourds

Vessels--Bowls, pots, and holders for lime (for coca chewing). Most

interesting are those which are carved or pyroengraved. Produced from

the Preceramic onward.

Musical instruments--Ocarinas, small flutes, and whistles. Inca

examples may have incised decoration, or decoration with cords and

feathers.

D. Cane

Musical instruments--Flutes (especially in Chancay culture),

panpipes, and whistles. Flutes are often pyroengraved. Panpipes can

have one or two tiers of pipes, which may be lashed together with

colored thread. Nazca culture.

E. Straw

Weaving baskets--Basketry over a cane armature, in the shape of a

lidded box. Sometimes the basketry is made of several colors of fiber

to work out geometric designs. Some still hold their original contents:

needles, spindle whorls, spindles, balls of thread, loose thread, etc.

Chancay culture.

F. Shell

Musical instruments--Marine shells (Strombus galeatus, Malea

ringens, etc.), some, especially those from the Formative Period, with

incised decoration.

Jewelry--Small beads and charms worked of shell, chiefly Spondylus

princeps, used mainly in necklaces and pectorals. Moche, Chimu, and

Inca cultures.

VI. Pre-Columbian Human Remains

The human remains included in this listing demonstrate

modifications of the remains due to ritualistic practices or other

intentional treatment of the deceased.

A. Mummies

Peruvian mummies were formed by natural mummification due to the

conditions of burial; they have generally not been eviscerated. Usually

found in flexed position, with extremities tied together, resulting in

a fetal position. In many cases the cords used to tie the body in this

position are preserved.

B. Deformed Skulls

Many ancient Peruvian cultures practiced cranial deformation. Such

[[Page 31720]]

skulls are easily recognized by their unnatural shapes.

C. Skulls Displaying Trepanation

Trepanation is an operation performed on a skull; the resulting

cuts, easily visible on a bare skull, take various forms. Cuts may be

less easily distinguished if skin and hair are present:

Principal Techniques

a. Straight cuts: these cuts are pointed at the ends and wider in

the center. Openings made this way have a polygonal shape.

b. Cylindrical-conical openings: the openings form a discontinuous

line. The resulting opening has a serrated edge.

c. Circular: generally made by a file. The resulting hole is round

or elliptical, with beveled or straight edges. This is the most common

form of trepanation.

D. Pre-Columbian Trophy Heads

Trophy heads can be identified by the hole made in the forehead to

accommodate a carrying cord. When the skin is intact, the eyes and the

mouth are held shut with cactus thorns. Finally, the occiput is missing

since that is how the brain was removed when the trophy head was

prepared.

E. Shrunken Trophy Heads From the Amazon

These heads have had the bones removed and then have been cured to

shrink them. They are recognizable because they conserve all the traits

of the original skin, including hair and hair follicles. The mouth is

sewn shut and generally there are carrying cords attached. There may be

an obvious seam to repair the cuts made when the skin was removed from

the skull. Finally, the skin is thick (up to 2.5 mm.) and has a dark

color. Trophy heads vary between 9.5 cm. and 15.5 cm. in height.

F. Tattoos

Tattooing in pre-Columbian Peru was practiced mainly on the wrists.

Most common are geometric designs, including bands of triangles and

rhomboids of a bluish color.

G. False Shrunken Heads

False shrunken heads can be recognized because they are made of the

skin of a mammal, with some of the fur left where the human hair would

be. The skin is first smoked, then pressed into a mold to give it a

face-like shape. The eyes, nose, mouth and ears are simple bumps

without real holes. Further, the skin is very thin and yellowish in

color. Often the ``heads'' have eyebrows and moustaches formed by

leaving some of the animal hair, but these features are grotesque

because they appear to grow upside down.

VII. Ethnological Objects

A. Objects directly related to the pre-Columbian past, whose pre-

Columbian design and function are maintained with some Colonial

modifications or additions in technique and/or iconography.

Colonial Indigenous Textiles

Predominant materials: cotton and wool.

Description: These textiles are characterized by the cut of the

cloth, with the four borders or selvages finished on the same loom.

Clothes are untailored and made from smaller pieces of convenient sizes

which were then sewn together. Colonial indigenous textiles of the

period are differentiated from pre-Columbian textiles primarily by

their decoration: western motifs such as lions, heraldic emblems, and

Spanish personages are incorporated into the designs; sometimes fibers

distinct from cotton or wool (threads of silver, gold, and silk) are

woven into the cloth; and the colors tend to be more vivid because the

fabrics were made more recently. Another important characteristic of

the clothing is the presence of tocapus or horizontal bands of small

squares with anthropomorphic, zoomorphic, phytomorphic and geometric

ideographs and designs. Characteristic textiles include:

Panels: Rectangular or square pieces of various sizes.

Anacus: Untailored woman's dress consisting of two or three long

horizontal pieces of cloth sewn together that was wound around the body

and held in place with ``tupus'' (pins).

Unku/Tunic: Man's shirt with an opening for the head. Sometimes has

sleeves.

Lliclla/Shoulder Mantle: Rectangular piece of cloth that women put

over their shoulders and held in place by a tupu; standard size:

40'' x 45''. Generally has a tripartite design based on contrasting

panels that alternate bands with decoration and bands with solid

colors.

Chumpi/Belt: A woven belt, generally using tapestry technique.

Tupus

Material: Silver, gilded silver, copper, bronze. May have inlays of

precious or semi-precious stones.

Description: Tupus were used to hold in place llicllas and ancus.

They are pins with a round or elliptical head, with piercing, repousse,

and incised decorations. The difference between pre-Columbian and

ethnological tupus can be seen in the introduction of Western designs,

for example bi-frontal eagles and heraldic motifs.

Keros

Material: wood.

Description: The most common form is a beakerlike cup with

truncated base. After the Conquest, keros started to be decorated with

pictorial scenes. The most frequently used techniques include incision,

inlaying pigments in wood, and painting. Ideography includes geometric

designs, figures under a rainbow (an Inca symbol), ceremonial rituals,

scenes of war, and agricultural scenes. Sometimes are in the form of

human or zoomorphic heads.

Cochas or Cocchas

Material: ceramic.

Description: Ceremonial vessels with two or more concentric

interior compartments which are linked. Often decorated with volutes

representing reptiles.

Aribalos

Material: ceramic.

Description: The post-Conquest aribalos have a flat base, often

using a glaze for finishing, and the decoration includes Inca and

Hispanic motifs.

Pacchas

Material: Stone, ceramic.

Description: One of the characteristics of pacchas is that they

have a drain which is used to sprinkle an offering on the ground. They

have pictorial or sculpted relief decorations symbolizing the benefits

hoped for from the ritual.

B. Objects that were used for religious evangelism among indigenous

peoples.

In Colonial paintings and sculptures Western religious themes were

reinterpreted by indigenous and mestizo artists who added their own

images and other characteristics to create a distinct iconography.

Specific types of objects used for religious evangelism during the

Colonial period include the following:

Sculpture

Types of statues include:

A three-dimensional sculpted image: In the Peruvian Colonial period

these were made of maguey (a soft wood) and occasionally of cedar or

walnut.

Images made of a dough composed of sawdust, glue and plaster: After

they are sculpted, figures are dressed with cloth dipped in plaster.

Images to be dressed: These are wooden frames resembling

mannequins, with only the head and arms sculpted in wood (cedar or

maguey). The images

[[Page 31721]]

are dressed with embroidered clothes and jewelry. Frequently other

elements were added, such as teeth and false eyelashes, wigs of real

hair, eyes of colored glass, and palates made of glass.

Paintings

Catholic priests provided indigenous and mestizo artists with

canvases and reproductions of Western works of art, which the artists

then ``interpreted'' with their own images and other indigenous

characteristics. These may include symbolically associating Christian

religious figures with indigenous divinities, or rendering the figures

with Andean facial characteristics or in traditional Andean costume. In

addition, each church, convent, monastery, and town venerated an effigy

of its patron or tutelar saint, some of them native to Peru.

Retables

Retables (retablos) are architectonic structures made of stone,

wood, or other material that are placed behind the altar and include

attached paintings, sculptures or other religious objects.

Liturgical Objects

Objects Used for Mass Ritual: Chalices, cibaries, candelabras,

vials for christening or consecrated oil, reliquaries, vessels for wine

and water, incense burners, patens, monstrances, pelicans and

crucifixes. Made out of silver, gold or gilded silver, often inlaid

with pearls or precious stones. Techniques: casting, engraving,

piercing, repousse, filigree.

Fixtures for sculpted images: Areoles, crowns, scepters, halo,

halos in the form of rays, and books carried by religious scholars and

founders of religious orders.

Ecclesiastical vestments: Some ecclesiastical vestments were

commissioned by indigenous individuals or communities for the

celebrations of their patron saint and thus are part of the religious

legacy of a particular town. In such cases, the vestment has the name

of the donor and of the town or church as well as the date.

Votive Offerings: These are representations of miracles or favors

received from a particular saint. They can be made of different

materials, usually metal or wood, and come in a variety of forms

according to the type of favor received, usually representing parts of

the human body in reference to the organ healed or agricultural

products in recognition of a good harvest or increase in a herd.

Inapplicability of Notice and Delayed Effective Date

Because the amendment to the Customs Regulations contained in this

document imposing import restrictions on the above-listed Peruvian

cultural property is being made in response to a bilateral agreement

entered into in furtherance of the foreign affairs interests of the

United States, pursuant to section 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 not

required.

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 Branch, Office of Regulations and Rulings, 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 and specific authority citation for Part

12, in part, continue 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 through 12.104i also issued under 19 U.S.C.

2612;

* * * * *

Sec. 12.104g [Amended]

2. In Sec. 12.104g, paragraph (a), the list of agreements imposing

import restrictions on described articles of cultural property of State

Parties is amended by adding ``Peru'' in appropriate alphabetical order

under the column headed ``State party'', the description

``Archaeological artifacts and ethnological material from Peru'' under

the column headed ``Cultural property'', and the reference ``T.D. 97--

50'' under the column headed ``T.D. No.''

3. In Sec. 12.104g, paragraph (b), the list of emergency actions

imposing import restrictions on described articles of cultural property

of State Parties is amended by removing the entry for ``Peru'' in its

entirety.

George J. Weise,

Commissioner of Customs.

Approved: June 5, 1997.

John P. Simpson,

Deputy Assistant Secretary of the Treasury.

[FR Doc. 97-15428 Filed 6-10-97; 8:45 am]

BILLING CODE 4820-02-P