13352 Federal Register / Vol. 60, No. 47 / Friday, March 10, 1995 / Rules and Regulations

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.

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
Federal Register / Vol. 60, No. 47 / Friday, March 10, 1995 / Rules and Regulations 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 (blowhole) 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, Tehuaca ́n, 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 (postfiring) 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
13354 Federal Register / Vol. 60, No. 47 / Friday, March 10, 1995 / Rules and Regulations

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 (blowhole) 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 sonamed 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
Federal Register / Vol. 60, No. 47 / Friday, March 10, 1995 / Rules and Regulations 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

Cihuata ́n; 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 Cihuata ́n,

Igualtepeque, El Cajete, Ulata, Santa

Marı ́a, Pueblo Viejo Las Marı ́as, 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 Cihuata ́n (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 moldmade 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, Cuscatla ́n, 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
13356 Federal Register / Vol. 60, No. 47 / Friday, March 10, 1995 / Rules and Regulations

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 blackbrown, 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) Usuluta ́n

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.
Federal Register / Vol. 60, No. 47 / Friday, March 10, 1995 / Rules and Regulations 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 Usuluta ́n Decoration

Here are included several different

varieties of ceramics that prominently

feature Usuluta ́n decoration as their

distinctive trait. Usuluta ́n decoration is

a negative technique, resulting in lightcolored 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 panMesoamerican 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. Usuluta ́n

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’’.
13358 Federal Register / Vol. 60, No. 47 / Friday, March 10, 1995 / Rules and Regulations

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 (postslip) 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 postslip 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 redorange 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

Andre ́s 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
Federal Register / Vol. 60, No. 47 / Friday, March 10, 1995 / Rules and Regulations 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 Andre ́s 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.
13360 Federal Register / Vol. 60, No. 47 / Friday, March 10, 1995 / Rules and Regulations

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 Cajo ́n

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

Copa ́n, 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 § 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 § 12.104g is added

to read as follows:

§ 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
Federal Register / Vol. 60, No. 47 / Friday, March 10, 1995 / Rules and Regulations 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

Prehispanic

cultures of El

Salvador.

T.D. 95–20

* * * * *

§ 12.104g [Amended]

3. Paragraph (b) of § 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