Illustrated Catalogue of the Collections Obtained from the Indians of New Mexico And Arizona in 1879: Second Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1880-81, Government Printing Office, Washington, 1883, pages 307-428

In Short

This systematic 1879 government report catalogues thousands of Indigenous artifacts collected from Southwestern Pueblo communities, including Zuñi, Laguna, Santa Clara, and Wolpi. Moving methodically through categories of stone implements, ceramic vessels, weaving tools, ceremonial items, and organic medicines, the text documents the material culture, artistic conventions, and daily technologies of the region. It records a transitional moment where ancient stone tools give way to modern reuses, and traditional ceramic geometries meet European influence. It survives as an indispensable primary record for comparative archaeology, ethnology, and Indigenous art history.

The Story

The work opens as an official administrative submission from expedition leader James Stevenson to the Bureau of Ethnology at the Smithsonian Institution. Detailing an exploratory mission conducted during the summer of 1879 across New Mexico and Arizona, the report bypasses routine travel anecdotes to focus entirely on the physical objects gathered by the team, which included ethnologist F. H. Cushing and photographer J. K. Hillers.

The narrative progression of this text is dictated by typological classification. Stevenson begins by examining heavy stone implements—axes, hatchets, mauls, hammers, and mortars—gathered largely from ancient cliff dwellings and mesa ruins. He notes a stark technological divide: contemporary Pueblo inhabitants no longer manufacture these heavy stone edge-tools, using volcanic stone instead to pound raw materials, such as crushing rock to temper pottery clay.

From ancient stone, the catalog shifts into the vast, living tradition of Southwestern ceramics, which comprises the bulk of the collection. Stevenson classifies pottery into distinct technical and stylistic categories: brown ware containing mica; polished, non-ornamented black ware; and an extensive group of cream-white pottery decorated with black, red, and brown pigments. He traces how geometric motifs, animal figures, and stylized nature symbols appear on functional forms such as water ollas, eating bowls, canteens, condiments cups, and ladles. At points, he compares these Pueblo designs—like the tadpole figure found on Zuñi sacred clay baskets—to similar glyphs in ancient Maya manuscripts, evaluating potential historical links in American ceramic art. European contact also leaves a visible imprint, seen in altered vessel shapes like pitchers and attempts at glazing.

Moving beyond ceramics, the text categorizes items of everyday utility, industry, and ceremonial life. It lists wooden tools, including loom combs that produce water-tight woven blankets, agricultural digging sticks, snow shovels, treasure boxes, and rotary drills used to bore holes through turquoise. It further encompasses articles of dress, dance regalia, children's toys, weapons, and botanical samples used for traditional medicine.

The report concludes with localized inventory listings from specific pueblos, such as Laguna and Santa Clara. Each pueblo displays its own signature styles, from Laguna's floral and bird-decorated water jars to Santa Clara's highly polished, unornamented black pottery. Through this structured sequence, the volume presents a systematic survey of nineteenth-century Southwestern material culture.

How It Unfolds

The survey begins The expedition presents its administrative transmittal, establishing its scope across New Mexico and Arizona while omitting travel anecdotes to prioritize direct scientific documentation of collected materials.

Ancient stone implements classified The catalog analyzes heavy stone axes, mauls, and mortars, discovering that modern communities no longer forge these tools but repurpose ancient volcanic stone implements for grinding pottery temper.

Typology of Pueblo ceramics The report divides regional earthenware into four primary groups, ranging from coarse micaceous brown ware to polished black pieces and widely decorated cream-white vessels.

Motifs and cross-cultural comparisons Detailed entries describe painted animal forms, rosettes, and geometric scrolls, comparing specific motifs—such as the Zuñi tadpole symbol—to figures found in ancient Maya codices.

Tools, weapons, and wooden artifacts The inventory turns to functional wooden implements, detailing specialized loom combs for tight weaving, seed planters, war clubs, gourd dance rattles, and rotary drills.

Regional collections detailed The text closes with site-specific inventories from pueblos like Laguna and Santa Clara, highlighting local variations such as Santa Clara's signature polished blackware and Laguna's distinct floral ceramic designs.

The People

James Stevenson The leader of the 1879 Smithsonian expedition and author of the catalogue. He seeks to build a comprehensive empirical record of Southwestern Indigenous material culture. His methodical focus prioritizes clear classification over personal travel narratives.

F. H. Cushing An ethnologist with the Smithsonian Institution who accompanies the expedition. He assists in gathering field data, interpreting ceremonial items, and documenting the functional uses of tools within the Pueblo communities.

J. K. Hillers The photographic artist for the Bureau of Ethnology. He captures visual representations of the artifacts, landscape, and communities, providing the baseline imagery referenced throughout the illustrated catalogue.

Cyrus Thomas A scholar whose comparative analysis is cited in the text regarding artistic iconography. His work connects specific Pueblo ceramic symbols, like the Zuñi tadpole, to parallel representations in historic Maya manuscripts.

In Its Own Voice

"On more than one occasion I have observed a woman using the edge of a handsome stone axe in pulverizing volcanic rock to mix with clay for making pottery."

— Stevenson observes the practical repurposing of ancient stone tools by contemporary Pueblo artisans.

"The blankets woven in this manner are water-tight."

— A brief description of the effectiveness of wooden weaving combs used in adjusting loom threads.

"Although the figures used have no symbolic characters connected with them in the mind of the modern artist, yet it is more than probable that at least some of them did have such a meaning to the ancient artists."

— Stevenson reflects on the historical continuity and shifting interpretations of Pueblo ceramic designs.

What It's Really About

At its core, the volume investigates material culture as a record of human adaptation, artistic continuity, and technological transition. Beyond merely listing objects, the text explores how functional items retain trace histories of their makers and users. It raises questions about the evolution of Indigenous art, examining how traditional symbolic motifs persist or change meaning over time. The catalog also documents the impact of inter-cultural contact, recording how trade and European influences introduced new vessel forms and utility concepts. Ultimately, it argues for the comparative scientific value of systematic ethnological collections in understanding the deep history of North American societies.

Why Read It Today

This work appeals to historians, archaeologists, ceramic artists, and readers interested in Southwestern Indigenous heritage. It functions not as a traditional prose narrative, but as an authentic primary archive. Reading it feels like walking through the intake rooms of an 1870s museum expedition, where every artifact—from a well-worn basaltic axe to a painted double-headed duck canteen—is logged with precise physical descriptions.

Prospective readers should be prepared for its dry, technical format. The bulk of the text consists of itemized catalog entries, numerical codes, and brief artifact dimensions rather than continuous storytelling. It also reflects the scientific framing and terminology of late nineteenth-century government ethnology. Yet, beneath its strict administrative structure lies a detailed portrait of Southwestern craft, resourcefulness, and material artistry that remains valuable for research and historical context today.