INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. ‘The quality of this reproduction is dependent upon the quality of the copy submitted, Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. 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UMI ato, Zo MaenSettlements in Time: A Study of Social and Political Development Di the Gallinazo Occupation of the North Coast of Peri A Dissertation Presented to the Faculty of the Graduate Schoo! of Yale University in Candidacy for the Degree of Doctor of Philosophy by Heidy P. Fogel May 1993(©) Copyright by Heidy P. Fogel 1993 ‘ALL RIGHTS RESERVEDABSTRACT Settlements in Time: A Study of the Social and Political Development During the Gallinazo Occupation of the North Coast of Pert Heidy P. Fogel Yale University 1993 This thesis examines the development of social complexity on the north coast of Pend during the period when the Gallinazo culture flourished (ca. 100 B.C. to A.D. 200). Our working hypothesis is that the Gallinazo polity was the first multi-valley state in this region, and that this state had an urban capital at the Gallinazo Group site in the Vir Valley. Ceramic, architectural and settlement pattern data from the Vird, Moche, and Santa Valleys were studied as a means of obtaining a regional perspective of cultural change during this period. Establishing the contemporaniety of sites is key to understanding the social implications of their distribution in space. A lack of chronological control hampered previous studies of the Gallinazo culture. Consequently a substantial part of our efforts were concentrated on the development of a relative chronology based on. ceramics Our three phase sequence is presented here. We utilized this sequence to re-date sites in the Vird and Santa Valleys and to place the Moche Valley sites into their proper chronological position. ‘The individual structures at the Gallinazo Group site were studied as a means of understanding changes at the site during the three phases of the Gallinazo period. ‘The Gallinazo Group site was then compared, on a phase by phase basis, to centers in the Santa and Moche Valley. By doing so, we established that the Gallinazo Group site had a superordinate position in the Gallinazo polity's multi-valley site system.We also used to settlement pattern data to demonstrate that the Gallinazo Group site was a city. ‘The settlement pattern systems of the three valleys were then compared, and the Vind Valley was proposed to be the center of the first large multi-valley state onThis thesis is dedicated to the memory of my father who, for many years, could not understand why his nice suburban daughter wanted to go off to the Peruvian desert to “rattle bones.” He eventually saw the light, but unfortunately he did not live to see me graduate‘Acknowledgements thesis would not have been possible without the continued and unconditional support of my thesis advisor Richard L. Burger. I cannot count the times that he has gone above and beyond the call of duty to assist me in this endeavor. At the times that I was the most tired of the proc and contemplated tossing the whole thing into the circular receptacle, I honestly kept going because I felt that quitting would be a disservice to his investment in this project and in me as his student. 1 also owe a special thanks to Michael D. Coe who has been supportive since that first freezing day in January when I flew in from Los Angeles to interview for the Master’s program at Yale, His enthusiasm, and encouragement is one of the main reasons that { chose to attend Yale, and subsequently decided to continue on in the Doctoral program. Carol Mackey has been a friend and advisor since my first trip to Peri in 1982. She gave me my first lessons on the analysis of Peruvian ceramies on hot afternoons oon our patio in Casma, Per. Carol very generously allowed me to use the data collected by the Chan Chan-Moche Valley project that-was-stored in the Chimu Archive in California, She was also kind enough to agree to be my outside reader, and see me through the end of this project. also would like to thank Ben Rouse, and Frank Hole both of whom suffered through innumerable versions of the grant proposals, the funding of which allowed forthe completion of this th ‘A very warm thank you to Gordon Willey, who has encouraged and assisted me since I was in his seminar over a decade ago. I would also like to extend a special thank you to Elizabeth Boone and the staff of Dumbarton Oaks who were fantastic during my time as a Junior Fellow as well as when I retumed to Washington to complete the revisions Michael Moseley also generously contributed to this project by sending his Personal copies of the Field notes and maps from the Chan Chan Moche Valley Project, David Wilson kindly provided his ceramic drawings trom the Santa Valley to be included in this study. Thank you to Colleen Beck who contributed both her expertise on the road systems of the Moche Valley and her valley map. Marcia Koth de Paredes, the director of Fulbright in Lima was of great assistance during my 1990 field season. 1 was able to complete my work thanks to the great assistance of Anna Maria Hoyle and Santiago Uceda of the LN.C. Trujillo, and Rolando Paredes, Elias Mujica, Roger Ravinez of the LN.C. in Lima, My assistants in Perd were outstanding colleagues and friends, my warmest thanks go to Daisy Barreto, ‘Theresa Vasallo Gonzalez, Edwin Blas, Elita Portocarrero, Galo Cisnegas, Jorge Sechun, Marie Isabel Paredes, Victor Pimentel, and Carlos Angulo. I also would like to thank Manuel Tam Chang whose friendship and advice was invaluable over the years. Finally to my husband Hal, well I guess its done, and you were right I needed to stay home while I wrote the last draft. Thank you so much for supporting me in every way during these last six long months.This work was made possible through grants from Yale University, the Josef Albers Foundation, The Museum of Natural History, Sigma Xi, the Hazard Fund, The Enders Fellowship, a Fulbright Hays Doctoral Dissertation Abroad Fellowship, a Junior Fellowship at Dumbarton Oaks, a Yale University Dissertation Writing Fellowship, and a Yale University Alumni Organization Special Dissertation Writing Fellowship.‘Table of Contents Acknowledgements ...... a iit List of Tables. xiii List of Mlustrations 0.0.0. e cece eee eee eee posasbeH sii List of Plates .. xix Provenience of lustrated Cerami *x List of Abbreviations . 7 se xxvii Chapter I: Introduction .. .. 1 Historical Background . . 3 Research on the Gallinazo Occupation of the Moche Valley 8 Research on the Gallinazo Occupation of the Santa Valley .......... 10 Geography and Ecology of the Viné and Moche Valleys u Chapter 2: The Virs Valley Ceramics 15 ‘The Early Gallinazo Phase... 2.0.6... .ee 0s ee eeee 20 BOWS 0. occ eee eee e eee eee eens 20 Flaring Neck Jars with Rounded Rim (FNIRR) 20 Flaring Neck Jars with Tapering Rims (FNJTR) . 24 Grater Bowls ........ 6550508onq o6de00n0bod 2 Pedestal Bases ........ . . 2 Restricted Vessel with Flattened Rim (RVWFR) 2.02.6... 06 2vill Vessels With Flange (VWF) .. 2B Neckless Ollas with Thickened Rim (NOWTR) 2B Decoration of Early Gallinazo Ceramics .. ... 4 ‘The Middle Gallinazo Phase rn 25 Bottles with Strap Handle . 25 Stirrup Spouted Bottles... 0.2... 06.060 cece eee neces 26 Bowls 26 Face Necked Jars (FNJ) .... . 29 Flaring Necked Jars with Bevelled Rim (FNIBR) 29 Flaring Necked Jars with Rounded Rims (FNJRR) 33 Flaring Necked Jars with Tapering Rims (FNJTR) 31 Flaring Necked Jar With Sculpted Shoulder ...........2.2.. 33 Jar with Carinated Bulge Collar 34 Pedestal Bases ....... pocbeone cee OF Restricted Vessels with Flattened Rims (RVWER) . . 35 Straight Necked Jars 36 Vessels with Flange (VWF) .. 2... ...0eeee sees eeeeees 37 Neckless Ollas with Thickened Rims (NOWTR) so 38 Decoration pongncencancos 39 The Late Gallinazo Phase a Bird Jars 7 43 Bones eee 46Bowls 7 52 Large Bowls ... 54 Com Poppers... . 55 Duck Shaped Jars. 58 Double Bowls with Strap Handles . .. ° 56 Face Necked Jars . Se0505000 56 Flaring Necked Jars with Bevelled Rims 59 Flaring Necked Jars with Rounded Rims 59 Flaring Necked Jars with Tapering Rims ......... ee ol Flaring Necked Jars with Flattened Rim ....... 69 Flaring Necked Jars with Loop Handles rn) Flaring Necked Jars with Squat Tapering Rims 1 Jars with Bulge Collars n Miniature Flaring Necked Jars with Bevelled Rim . 4 Restricted Jars with Sculpted Shoulder ....... 4 Restricted Vessels with Flattened Rims .. 5 Straight Necked Jars 5 Straight Necked Jar with Loop Handles B Straight Necked Jars with Everted Rims ......... 00.0000 - 78 Straight Necked Jars with Sculpted Shoulders 9 Unrestricted Vessels with Flattened Rims ..... ” Unrestricted Vessels with Rounded Rims . 80Vessels with Flange .. Neckless Ollas with Thickened Rims . . . Miscellaneous Vessels Decoration ............ Chapter 3: The Gallinazo Ceramics of the Moche Valley . Middle Gallinazo ...... Carinated Collared Jar MI Flaring Necked Jar with Everted and Flattened Rim MI Neckless Olla MI. Vessel with Flange MI ‘Vessel with Flange M2. ‘Vessel with Flange M3 Neckless Olla with Thickened Rim MI Neckless Olla with Thickened Rim M2 .. Late Gallinazo ... Collared Jar M1 Face Necked Jar MI Face Necked Jar M2: . Face Necked Jar M3. Flaring Necked Jar with Rounded Straight Necked Effigy Jar 1. 80 81 82 82 98 99 100 100 100 100 101 101 102 102 102 102 103 103 104 104Straight Necked Effigy Jar Mla Decoration . Chapter 4: The Gallinazo Group as a City ‘The Gallinazo Group Site ‘The Early Gallinazo Phase... . B00 ‘The Middle Gallinazo phase . Santa Valley Centers. . ‘The Moche Valley Centers The Late Gallinazo Phase The Santa Valley Sites . . ‘The Moche Valley Sites . ‘The Gallinazo Group Site as a City ...... 4. Chapter 5: Settlement Pattern Analy: ‘The Early Gallinazo Phase Occupation of the Viru Valley . ‘The Middle Gallinazo Phase ‘The Middle Gallinazo Occupation of the Viré Valley ‘The Middle Gallinazo Occupation of the Moche Valley The Middle Galtinazo Occupation of the Santa Valley . ‘The Late Gallinazo Occupations .. : ‘The Late Gallinazo Occupation of the Viré Valley xi 105 105 108 2 7 19 BL 136 138 160 164 167 176 178, 189 190 204 209 219 219‘The Late Gallinazo Occupation of the Moche Valley The Late Gallinazo Occupation of the Lower Santa Valley .. .. Conclusions Chapter 6: The Gallinazo Polity as A State . Conclusions APPENDICES ...... seceeeee The Viru Valley Grave Lots ......... ‘The Ceramics of the Moche Valley Plates... . Bibliography 229 251 255 264 295 298 360 394 402 4ulTable Table Figure Figure Figure List of Tables 1: Average Water Dis Cubic Meters for the Vird, Moche and Santa Valleys 2: The Santa Valley Collections Da List of Hlustrations Map of the North Coast of Pen. . 2: Map of the Vird Valley During the Gallinazo Period . . 3: Map of the Gallinazo Group Site ‘The Early Gallinazo Phase Ceramics Figure Figure Figure Figure Figure Figure Figure Figure Figure 4: Bow! 1, Unique Fragment, Large Bowl | .... 7 5; Flaring Necked Jar with Rounded Rim 1, Flaring Necked Jar with Rounded Rim la ..... paunenaenodogus0e 6: Flaring Necked Jar with Tapering Rim 1, Flaring Necked Jar with Tapering Rim la... 7: Flaring Necked Jar with Tapering B Rim 1a, Flaring Necked Jar with Tapering Rim 2 ...... Sone Bopeoe 8: Flaring Necked Jar with Tapering Rim 2 ....... 9: Grater Bowl 1, Grater Bowl 2... 10: Pedestal Base 1, Pedestal Base 2, Restricted Vessel with (Flntencd) Rim) tj eee ore Ves 1 with Flange 1, Vessel With Flange | 12; Neckless Olla with Thickened Rim 1, Neckless Olla with Thickened Rim 2. ‘The Middle Gallinazo Phase Ceramics Figure Figure 13: Adorno 1, Adorno 2, Adomo 3... 14: Bottle with Sap Handle, Bowl 2 . charge (Yearly and Monthly) in Millions of 215 259 299 300 301 302 303 304 305 306 307 308 309 310 3 312Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure 22: 24: 25: 26: 27: 28: 30: 3l: 32: Bowl 2a, Bowl 3 Bowl 3a, Bowl 4. Bowl 5, Bowl Sa, Bowl 6 Large Bowl 2 Large Bowl 2, Large Bow! 3 Face Necked Jar |. Fring Nesked Jar with Bevelled Rim 1, Stivup Sputed Bottle | Flaring Necked Jar with Rounded Rim 2 Flaring Necked Jar with Rounded Rim 2a Flaring Necked Jar with Rounded Rim 2b, Flaring Necked Jar with Rounded Rim 3... Flaring Necked Jar with Rounded with Rounded Rim 5 .. Flaring Necked Jar with Tapering Rim 3 ....... 4, Flaring Necked Jar Flaring Necked Jar with Tapering Rim 3a, Faring Necked Jar with Tapering Rim 3b. . Flaring Necked Jar wth Tapering Rim 4a, Paving Necks Jar with Taparng Rim ro Tapering Rim 4, Flaring Necked Jar Flaring Necked Jar with Tapering Rim 5, Flaring Necked Jar with Sculpted Shoulder, Jar with Carinated Bulge Collar . . Pedestal Base 4, Pedestal Base 4a . . Restricted Vessel with Flattened Rim 2 Restricted Vessel with Flattened Rim 2a, Restricted Vessel with Flattened Rim 3 313 314 35 316 3i7 318, 319) 320 321 322 323 324 325Figure Figure Figure Figure Figure Figure 33: 34: 35: 36: 31: 38: Straight Necked Jar 1, Straight Necked Jar 1a, Straight Necked Jar2. ere Vessel with Flafge 2, Ve with Flange 3... Neckless Olla with Thickened Rim 3... .... Neckless Olla with Thickened Thickened Rim 4 3a, Neckless Olla with Handle, Foot, Negative Painting Modelled Applique Decoration . ‘The Late Gallinazo Phase Ceramics Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure 39: 40: 4t 42: 43: 45: 46: 4: Adorno 4, Adorno 5, Adorno 6 . Adorno 7, Adorno 8, Adorno 9 Adorno 10, Adorno \1, Adorno 12 Bird Jar I, Bird-Jar 2, Bird Jar 3... Bird Jar 4, Bird Jar 5, Double Bodied Bottle, Pedestal Based Bird Bottle with Bridge Handle 1, Bottle with Strap Handle 2 Bottle with Strap Handle 2a, Bottle with strap Handle 3, Bottle with Strap Handle 4, Bottle with Strap Handle 5, Stirrup Spouted Bottle 2, Stirrup Spouted Bottle 3...... Stirrup Spouted Bottle 4, Whistling Bottle 1, Whistling Bottle 2, Whistling Bottle 3, Bowl 9, Bowl 10, Bowl II. . Large Bowl 4, Com Popper 1, Duck Shaped Jar 1, Double Bow! with Strap Handle . ee ee Face Necked Jar 2, Face Necked Jar 3, Face Necked Jar 4, Face Necked Jar 5, Face Necked Jar 6, Face Necked Jar 7, Face Necked Jar 8. Flaring Necked Jar with Rounded Rim 5, Flaring Necked Jar with Rounded Rim 5a, Flaring Necked Jar with Rounded Rim 5b, Flaring Necked Jar with Tapering Rim 6, Flaring Necked xv 337 338 339 340 341 342 343 344 aFigure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure 49; 90: Sl: 92: 33: 58: 59: 60: Jar with Tapering Rim 7 2.0... 6.002005 Flaring Necked Jar with Tapering Rim 7, Flaring Necked Jar with Tapering Rim 8 oo Flaring Necked Jar with Tapering Rim 9. Flaring Necked Jar with Tapering Rim 10, Flaring Necked Jar with Tapering Rim 10a, Flaring Necked Jar with Tapering Rim U1, Flaring Necked Jar with Tapering Rim 12, Flaring Necked Jar with Tapering Rim 13 pabeobod Flaring Necked Jar with Tapering Rim 14, Flaring Necked Jar with Tapering Rim 15, Flaring Necked Jar with Tapering Rim 16, Flaring Necked Jar with Tapering Rim 17, Flaring Necked Jar with Flattened Rim 1, Flaring Necked Jar with Loop Handles 1, Flaring Necked Jar with Loop Handles 1a Flaring Necked Jar with Loop Handles 2, Flaring Necked Jar with Loop Handles 3, Flaring Necked Jar with Squat Tapering Rim 1, Flaring Necked Jar with Squat Tapering Rim 2. . Jar with Bulge Collar 2, Jar with Bulge Collar 3, Jar with Bulge Collar 3a, Jar with Bulge Collar 4, Restricted Jar with Sculpted Shoulder 1......... Restricted Vessel with Flattened Rim 4, Restricted Vessel with Flattened Rim 5 Straight Necked Jar 3, Straight Necked Jar 4, Straight Necked Jar 5, Straight Necked Jar 5a, Straight Necked Jar 5b, Straight Necked Jar 6 ee Straight Necked Jar with Loop Handles, Straight Necked Jar with Evered Rim I, Swuight Necked Jar with Sculpted Shoulder 1.2... an 5 Unrestricted Vessel with Flattened Rim I. . Unrestricted Vessel with Rounded Rim 1, Neckless Olla with Thickened Rim 5. Neckless Olla with Thickened Rim Sa, Neckless Ola with Thickened Rim Sb... . xvi 346 347 348, 349) 350 352 353 354 358Figure 61: Neckless Olla with Thickened Rim 6, Miscellaneous Vessel 1, Miscellaneous Vessel 2... 2+ 2-00e0e005 ‘The Grave Lots of the Vira Valley Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure 62: 63: 64: 65: 66: 67: 68: 69: 70: 1: 12: Th 74: 1S: 16: Grave Lots of the Viré Valley .. 2.2... +5 Site CA 10C grave lot ID, CA 10C grave lot 2F, CA 10C grave lot 2G... - + 7 Site CA 10C grave lot 2, Site CA 10C grave lor 2L, Site CA JOC grave lot 4D... : a v-252 Site CA 10C grave lot 5A, Site V-164A grave 10, grave 7 Bececosdaseous6 Site V-252 grave 7, Site V-265A grave 2. . Site CA 10C grave lot 1A, Site CA 10C grave ID, Site CA 10C grave I Sepoee Site CA 10C grave lot LJ, Site CA2 grave lot 2A, Site CA 10C grave lot 2B... .. ppbopuccuucoc ao Site CA 10C grave lot 2C, Site CA 10C grave lot 2D, Site CA 1OC grave lot 21... ... : Site CA 10C grave lot 2E 2... eee eee pogtos Site CA 10C grave lot 2K, Site CA 10C grave 2M, Site CA 10C grave lot 3A oe a Site CA 10C grave lot 3B, Site CA 10C grave lot 3D, Si i0c/gaveloQhe ee Site CA 10C grave lot 3H, Site CA 10C grave lot 44 .. Site CA 10C grave da... Site CA 10C grave 4F, Site CA 10C grave lot 4G, Site CA 10C grave lot 5C . 5 Site CA 10C grave lot SD, Site CA 10C grave lot SE, Site CA 10C grave lot 5F, Site CA 10C grave SH . xvii 359 360 361 362 363 364 365 366 367 368 369 370 an 372 373Figure Figure Figure Figure Figure Th: 18: 19: 80: 8h Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure 83: 84: 85: 86: 88: 89: 90: ol: 92: 94: Site V-154B grave number not given, Site V-157A child burial 607. ee Site V-164A grave 2, Site V-164A grave 5, Site V-164A grave Site V-164A i We 8, Site V-I64A grave 9, Site V-164A grave Site V-164B grave 2, Site V-164B grave 3. Site V-164B grave 3 Site V-164B grave 4, Site V-164B grave 5 . Site V-I64C grave 1, Site V-I64C grave 2.2.6.2 see eee Site V-164D grave 3 Site V-164D grave 4. . Site V-252 grave 1 Site V-252 grave 2.22... eee Site V-252 grave 3. Site V-252 grave 4 Site V-252 grave 5 Site V-252 grave 6.2... esses este ee ee eee 5 Site V-252 grave 8, Site V-252 grave 9, Site V-252 grave 10 Site V-252 grave Ho... eee eee eee Site V-164B 620, Site V-IS4B 622 ..... ‘The Middle Gallinazo Phase Ceramics of the Moche Valley Figure 95: Carinated Collared Jar M1, Flaring Necked Jar with Everted 316 37 378, 379 380) 381 382, 3x3 384 385 386 387 388 389 390 301 392and Flattened Rim M1, Neckless Olla MI Figure 96: Vessel with Flange MI, Vessel with Flange M3, Neckless Olla with Thickened Rim M2 The Late Gallinazo Phase Ceramics of the Moche Valley Figure 97: Collared Jar M1, Face Necked Jar MI, Face Necked Jar M2, Figure 98: Face Necked Jar M3. Figure 99: Flaring Necked Jar with Rounded Rim MI, Straight Necked Effigy Jar MI, Straight Necked Effigy Jar Mla 7 Figure 100: Pelican Adorno, Applique Male Genitalia... . cee Figure 101: The Internal Structure of Late Gallinazo Adornos . . Plates Plate I: Early Gallinazo Occupation of the Gallinazo Group site . Plate 2: Middle Gallinazo Occupation of the Gallinazo Group site. Plate 3: Late Gallinazo Occupation of the Gallinazo Group site Plate 4: Early Gallinazo Occupation of the Viré Valley . Plate 5: Middle Gallinazo Occupation of the Vind Valley Plate 6: Late Gallinazo Occupation of the Vind Valley Plate 7: Middle Gallinazo Occupation of the Santa Valley Plate 8: Late Gallinazo Occupation of the Santa Valley 396 397 308 309 400 401 403 404 405 406 407 408 409 410xx Provenience of Illustrated Ceramics The Viru Valley Figure 4: Figure 5: Figure 6: Figure 7: Figure 8: Figure 9; Figure 10: Figure 11: Figure 12: Figure 13: ‘V-59B south room 1.5-2.0 meters, ‘V-S9B north room 2.3-2.7 meters, V-257 level 40-75 cm. ‘V-59B north room 2.3-2.7 meters, V-257 level 40-75 cm, V-257 level 40-75 cm, YV-257 level 40-75 cm, V-257 rooms A-B-D-E level d, ‘V-59B north room 2.3-2.7 meters, \V-S9B north room 2.3-2.7 meters \V-S9B north room 2.3-2.7 meters, V-257 rooms A-B-D-E level d V-157A room B level e, Y-59B north room 2.3-2.7 meters, V-SOB north room 2.3-2.7 meters, V-59B north room 2.3-2.7 meters V-59B south room 1.5-2.0 meters, V-257 level 40-75 cm V-59 north room level 1.5-2.0 meters, ‘V-59 north room level 1.5-2.0 meters, ‘V-59B north room, 1.5-2.0 meters, ‘V-59B north room, 1.5-2.0 meters, ‘V-257 level 40-75 em V-257 rooms A-B-D-E level d, V-257 rooms A-B-D-E level d V-257 room A levels b-c, ‘V-59B south room 1.5-2.0 meters ‘V-157A rooms A-B level d,Figure 4: Figure 15: Figure 16: Figure 17: Figure 18: Figure 19: Figure 20: Figure 21: Figure 22: V-257 level 0-40 cm, ‘V-59B bin in north east comer, level 75-125 em, V-257 level 0-40 em CA 10 grave SA, V-S9B level 50-125 em, V-157A rooms A-B level d, V-257 level 0-40 em, V-59B level 50-125 em V-IS7A rooms A-B level d, ‘V-59B level 50-125 cm, V-59B level 50-125 em, V-S9B level 50-125 em V-I55A room A level c-d, V-59B north room, 1.5-2.0 meters, V-S9B north room, 1.5-2.0 meters V-I57A rooms B-C level c, V-265A grave'2, 687 V-257 level 0-40 em, Y-155A Rooms D and F level d, V-I55A room A levels e-d, ‘V-257 level 0-40 cm, ‘V-257 level 0-40 em, V-S9B level 50-125 em V-I55A room A levels ed, V-59B level 50-125 em, V-I55A Rooms D and F levels e-d, V-164A grave 10, V-257 level 0-40 cm CA 10C grave 2G, V-I55A rooms C and E large jars level c, V-257 level 0-40 em, V-257 level 040 em V-59B level 50-125 em, CA 10C grave 2L V-59B north room, 1.5-2.0 meters,Figure 23: Figure 25: Figure 26: Figure 27: Figure 28: Figure 29: Figure 30: Figure 31 Figure 32: xxi V-S9B north room, 1.5-2.0 meters V-155A Rooms D and F lev V-1554 Rooms D and F levels e~ CA LOC grave 25 CA 10C grave 2F, ‘V-59B north room, 1.5-2.0 meters, ‘V-SOB level 50-125 em ‘V-59B north room, 1.5-2.0 meters, ‘V-SOB level 50-125 em ‘V-59 north room level 1.5-2.0 meters, V-59B north room, 1.5-2.0 meters, ‘V-257 level 0-40 em, V-257 level 40-75 cm ‘V-257 level 40-75 em, Graves at the Gallinazo Group site V-59B north room, 1.5-2.0 meters, V-IS7A rooms A-B level d V-257 level 40-75 em, ‘V-59B north room, 1.5-2.0 meters, V-S9B level 50-125 em, V-S9B level 50-125 cm, V-ISTA rooms A-B level d CA 10C grave 2G, ‘V-59 north room level 1.5-2.0 meters, ‘V-59 north room level 1.5-2.0 meters, V-252 grave 7, V-252 grave 7 V-59B north room, 1.5-2.0 meters, V-59B level 50-125 em, V-59B general to 50 cm in depth V-59B general to 50 cm in depth, V-S9B level 50-125 em CA 10 grave 1D, V-257 level 0-40 em, V-257 level 0-40 emFigure 33: Figure 34: Figure 35: Figure 36: Figure 37: Figure 38: Figure 39: Figure 40: Figure 41: Figure 42: Figure 43: Figure 44: xxiii V-I55A general level a, V-252 grave 7, CA 10C grave 4 V-SOB bin in north east comer, level 75-125 em, ‘V-59B level 50-125 em ‘V-59B level 50-125 em, ‘V-59B level 50-125 em V-257 level 0-40 cm, \V-59B level 50-125 cm, V-257 level 0-40 em, V-1S7A rooms A-B level d V-S9B level 50-125 em, V-S9B level 50-125 cm, ‘V-157A rooms B-C level c, V-S9B level 50-125 em V-59B level 50-125 cm, V-S9B level 50-125 em V-I55A room A level c-d, V-157A rooms A-B-C level a-b, V-IS7A room F level a-b V-157A room F level a-b, V-164A grave'8, V-164B grave 3 164C grave 1, V-252 grave 5, V-164D grave 3 CA 10C grave 1A, CA 10C grave 2D, VI64B grave 5 V-252 grave 4, V-252 grave 9, V-252 grave I, CA 10C grave 2D, CA2 grave 2A, V-I57A child burial 607 ‘V-ISTA child burial 607, V-164D grave 4, V-59,Figure 45 Figure 47: Figure 48: Figure 49: Figure 50: Figure 51 Figure 52: Figure 53: CA 10C grave 3E, V-252 grave 4, CA 10C grave 4A, CA 10C grave 4A CA 10C grave 4A, CA 10C grave 2E, V-I64A grave 7, V-I64A grave 9, CA L0C grave 2C, ‘V-252 grave 9, V-252 grave 8 V-I57A room F level a-b, CA 10€ grave 2B, CA 10 C grave SE, grave at the Gallinazo Group, V-252 grave 4, V-252 grave 4 CA 10€ grave 5D, V-252 grave 2, V-252 grave 4, V-157A child burial 607, V-164B grave 620, V-164D grave 4, V-164D grave 4 CA 10C grave 4G, CA 10C grave 4G, CA 10C grave 4F, Vird Valley, V-I64A grave 5, V-ISTA room F level a-b, CA 10C grave 21, V-164B grave 5 CA 10€ grave 4F, V-164C grave 2 V-252 grave 4, V-164A grave 2. ‘V-59B general to 50 em in depth, V-59B general to 50 cm in depth, ‘V-59B general to 50 em in depth V-252 grave 7, V-257 level 0-40 em, V-155A general level a CA 10C grave 3B, V-I57A child grave 607, V-252 grave 3 V-164 B grave 2, V-252 grave 7 ‘V-252 grave 2, 164D grave 4, V-252 grave 2 V-252 grave 4, V-252 grave 2, V-I64A grave 8 V-252 grave 3, CA 10C ID Vind Valley, V-154B, V-157A child burial 607 CA 10C grave 2K CA 10€ grave 3D Vind Valley CA 10C grave 4A, V-252 grave 6Figure 54: Figure 55: Figure 56: Figure 57: Figure 58: Figure 59: Figure 60: Figure 61 xxv CA 10C grave 3B, V-252 grave 4, CA 10C grave 2B, V-164C grave | all four in this row are from V-164B grave 2, ‘V-ISTA room F level a-b V-157A room F level a-b, V-157A room F level a-b, V-ISTA room F level a-b CA 10C grave 2K, CA 10C grave IT CA 10€ grave 4G, CA 10C grave 4G, V-164B 620 V-164B 620, V-164B 620, V-164B grave 5 V-252 grave 10, V-164B Grave 2, V-164B grave 3A V-154B 622, CA 10C grave 3A V-252 grave 4 V-I55A general level a, V-I5SA room A level c-d V-S9B general to 50 em in depth, V-157A rooms A-B-C level a-b, ‘V-59B general to 50 em in depth 'V-59B general to 50 em in depth, V-157A room F level a-b, ‘V-59B general to 50 em V-I57A rooms A-B-C level a-b, V-164C grave 1, V-I64B grave 3 ‘The Moche Valley Figure 95: Figure 96: Figure 97: Huanchaco Huanchaco Huanchaco Cerro Orejas * Huanchaco Cerro Orejas Huanchaco HuanchacoFigure 98: Figure 99: Figure 100: Cerro Orejas Cerro Orejas Cerro Orejas Cerro Orejas Huanchaco Cerro Orejas Huanchaco Huanchaco xxviList of Abbreviations Early Suchimancillo ESuch Face Necked Jars FNI Flaring Necked Jars with Bevelled Rims FNIBR Flaring Neck Jars with Rounded Rim FNIRR Flaring Neck Jars with Tapering Rims FNITR Instituto Nacional de Cultura * LNG. Late Suchimancillo Lsuch Neckless Ollas with Thickened Rim NOWTR Oficina Nacional de Evaluacion de Recursos Naturales ONERN Restricted Vessels with Flattened Rims RVWER Vessels With Flange vwrChapter 1: Introduction This thesis will explore the hypothesis that the Gallinazo polity . 1010 B.C = 200 A.D. was the first mull alley state on the north coast of Per, and that this state had an ‘urban capital at the Gallinazo Group site in the Viré Valley. Perd. Gallinazo cultural remains are found from the Casma to the Lambayeque Valleys. Although, the Gallinazo political hegemony may only have extended to the Santa, Chao, Vir, Moche and perhaps Chicama Valleys, its contacts and sphere of influence can be seen from as far south as the Rimac Valley and as far north as Piura. ‘The focus will be the Gallinazo occupations of both the. Viri and Moche Valleys A regional approach was utilized because it appeared to be the best approach to achieving ‘a meaningful understanding of Gallinazo society. The choice to cover such a great area mandated extreme selectivity in the choice of which questions to address. Attention was paid to the broader question at the expense of detailed studies of individual sites; the only notable exception to this rule is the work on the Gallinazo site itself. The first order of business will be addressing the problems with the Gallinazo chronology. Chronological control has been and will continue to be the key to understanding social and political change during the fluorescence of the Gallinazo culture, Settlement pattern studies can tell us nothing about social and political organization without a temporal framework to serve to decipher the diachronic pattern. With this in mind, we will discuss how the history of the study of the Gallinazo culture has influenced our perception of it. This introductory section will also present an2 explanation of how this history has influenced the methodology required to obtain the goals of this dissertation, Wendel! Bennett (1950: 15), who conducted the most extensive excavations at the Gallinazo Group site, described the most distinctive aspects of Gallinazo culture as follows: The Gallinazo culture is characterized by a honeycomb habitation pattern. The walls of the closely clustered rooms are made of tapia, adobes, of rectangular mold made adobes, both plain and cane marked. Pyramids are of raised platforms or mounds which have resulted from the superposition of habitation constructions and refuse. The shapes are dominated by variants of large and small ollas, constricted collar jars, spout and bridge vessels, poppers, stirrup spout vessels, spout and handle jars, and double vessels. Plain ware dominate and are mainly of buff and reddish color finish. Among the decorated pieces, resist negative painting is typical, but incision, punch, applique strips, and modeled adornas are also distinctive. Objects of cloth, wood, and other materials are rarely preserved. There are some nondescript stone and bone artifacts, some copper and gold work which show a reasonable variety of techniques, characteristic hollow stop legged figurines and incised clay whorls. ‘The Gallinazo culture developed in the Vird Valley. Although more than half a century has passed since its discovery, the interaction of Gallinazo settlements on both an intra-valley, and inter-valley level was poorly understood. ‘The work represented here was designed to elucidate these relations 8, and through doing so to give shape to understanding Gallinazo cultural patterning across yace and time. The Gallinazo culture was selected because it was the first state on the north coast of Perd, and perhaps in the Andes, as such it examining its social and political structure is erucial to explaining cultural development and change in this region,Historical Background: the Discovery and Initial Studies of the Gallinazo Culture in the iré Valley. Raphael Larco-Hoyle (1945) was the earliest investigator of Gallinazo materials. He is attributed with the "discovery" of the Gallinazo culture because in 1933, excavating at the site of Huaca Chica near Cerro Blanco in the Moche Valley, he recognized that a collet n negative painted ceramics belonged to a distinct and previously undefined culture that he called "Cultura Negativa He later went on to excavated a group of burials at the site Castillo de Tomaval in the Vir Valley and was able to identify tombs pertaining to what he called La Cultura Viré (1945). In his 1945 publication he states that he found a Gallinazo burial in stratigraphic superposition below a later Moche tomb at Tomaval. He published photos of these burials, and placed these cultures in their proper chronological position. The fi systematic search for Gallinazo sites in the Ving Valley was undertaken by Wendell C. Bennett (1939) in 1936 during an expedition sponsored by the American Museum of Natural History. Bennett identified 37 Gallinazo sites, and described 29 of them; he also excavated burials at 7 of the sites. The results of this work and descriptions of the contents of these burials were published by the Museum in 1939. The unpublished st form. The field notes and published results only describe these finds in a laundry largest number of burials were discovered at a mound that he labeled CA10C; in 1946 this structure was renumbered as V-163, V-152 and V-153 in the Vird Valley Projects site designation system. These mound, like most others studied by Bennett, were located4 within the Gallinazo Group archaeological complex. A detailed description of this site as well as all others studied in both 1936 and in 1946 will be provided in Chapter 4, Bennett's work was largely descriptive, and the associations of the artifacts were well documented and preserved. It is important to note that at the time when Bennett was working the study of Andean archacology was in its infancy. As a consequence, Bennett was handicapped by the lack of a well established cultural framework to use as a reference point for the study of Gallinazo materials, Fortunately, the high quality of his pioneering work allowed for the reconstruction of his excavations and the restudy of these materials. ‘The largest and most important project in the early history of the study of the Gallinazo culture was the Vini Valley Project of 1946. This project was designed to diachronically examine cultural adaptation to a Peruvian coastal environment (Willey 1953: 224). The Vird Valley project was conceived as a multi-disciplinary program which was to encompass the study of the valley's prehistoric and history occupations. The program was also designed as a cooperative effort between several institutions including the American Museum of Natural History, Columbia University, and the Bureau of American Ethnology. ‘The inspiration behind the program was anthropologist Julian Steward (1955: 8) who believed that cultures evolved as a result of interactions between their ecology, history, and local environment. The Viné Valley was selected as the study unit because it is a circumscribed geographical unit with a set of limited resources. An additional reason for the selection of this area was that Wendell Bennett was one of the architects5 of the Vind Valley program; his previous work in the area led him to conclude that the Viré Valley would be an excellent laboratory to study the interaction between settlement, history, and the environment (Willey 1988: 132). The goals of the project was most eloquently described by Donald Collier, of the Field Museum of Natural History (1955; 2: ‘The over-all purpose of the project was a reconstruction of the culture history of the valley from the time of the earliest human occupation to the present, Ideally such a history would include not only the evolution of technology, art, and religion, but also changing forms of society, and these would be understood in terms of internal development and external relations, None of us expected to achieve this ideal, but we hoped to accomplish some part of it and to demonstrate what might be done toward this end by a concentrated co-operative effort in a small valley that had been intensively occupied by human groups over a long period of time... Willey’s (1953), then of the Bureau of American Ethnology, authored the landmark study Prehistoric Settlement Patterns in the Vird Valley, Perd. The publication revolutionized the field of archaeology because it gave birth to regional analysi archeology. Willey describes some 92 Gallinazo sites in this volume, and provides an explanation of how the pattern of settlement fit into the cultural history of the Valley. Willey was the first to recognize the possibility that the Gallinazo Group sit te was. a city, as well as the first to suggests that the Gallinazo polity may have been some form of incipient state, albeit, a state restricted to the Viré Valley (1974). Willey’s (1953) maps and site descriptions were used as a guide for the survey work that was conducted for this, thesis in 1985 and 1987, and the data provided in his volume served as a corner-stone to this dissertation (see chapter 5 for a more detailed discussion).6 The original ceramic sequence for the Vind Valley Project was developed by Ford (1949) through the use of the type-variety system. In order to construct his relative chronology Ford synthesized his seriation of surface collections with excavated ceramic data, Using this method, Ford placed the Gallinazo style after the Moche style in his chronological scheme.' However he later restored the Gallinazo culture to its proper chronological position after excavations at the site of Huaca de la Cruz (Strong and Evans (1955) revealed deposits of Moche materials on top of several meters of well-stratified Gallinazo deposits, thus confirming Larco’s earlier observations. Its remarkable that Larco’s original work at the site of Cerro Blanco and Castillo de Tomaval was not incorporated into Ford's original chronology, especially in light of the fact that the members of the Viré Valley project had key meetings with Larco at family’s hacienda in Chicama (Willey 1990), Ford must have been familiar with Larco’s work and views, but it appears that Ford rejected Larco’s conclusion until Ford’s own research revealed that Larco was correct. Nonetheless, Ford’s chronological work stands as a major contribution to Andean studies in part because it is one of the few sequences which has incorporated all types of pottery from the most mundane domestic ceramics to the fine wares. It is also historically significant in that Ford’s study was among the first attempts to develop a scientific system for the construction of a relative chronology based on the study of "The Gallinazo sequence was divided into three phases by the members of the Vind Valley Project, we also have developed a three phase sequence. For the purposes of clarity and brevity when we refer to dates assigned by the members of the Vind Valley project we will use Gallinazo 1, II, and II] phase designations. When we are using our dates we will call the phases the Early, Middle, and Late Gallinazo.e ceramic attributes. Unfortunately, the type-variety system has limited utility in the study of temporal change in Gallinazo ceramics because it_uses paste and surface treatment (ware) as the primary attributes to determine chronological placement. A restudy of the Gallinazo materials has revealed that these attributes are static throughout the Gallinazo sequence, and consequently are inappropriate for generating a fine grained chronology (Fogel n.d.). ‘The limited validity of the Ford’s Gallinazo sequence is reflected in the problems which subsequent investigators have faced in its application. For example, Bennett (1950) misdated several of his strata, and was unable to determine the chronological placement of his grave lots with certainty or accuracy. Bennett's (1950) most important contribution to the Vird Valley project was the analysis of the Gallinazo group site itself, The restudy of the data from Bennett's excavations at the site was the basis upon which this thesis. The re-analysis of key strata ccuts was the means by which we determined that the Ford system needed to be replaced, and provided the materials upon which we developed the a new sequence. Other contributions to the archeology of the Gallinazo culture made by members of the Viri Valley Project include the work of Collier (1954), as well as Strong and Evans (1952). Collier was primarily interested in the Guafiape - Salinar cultural transition, In his pursuit of understanding this period he excavated at a number of sites including V-154, V-252, V-303, V-306, and V-309 which all had Gallinazo components. His published grave lots largely pertained to the Gallinazo - Moche transition. These grave lots were used to confirm the last phase of our sequence.Strong and Evans were primarily interested in deeply stratified si sof all periods in order to verify and refine the seriation proposed by Ford. Of the sites they explored, ‘V-59 (Huaea Gallinazo), V-51 (Castillo Tomaval), and V-162 (Huaca de la Cruz) contained Gallinazo remains. Their work at Huaca de la Cruz revealed deeply stratified ‘occupations where Moche materials were in stratigraphic superposition above Gallinazo materials. This discovery firmly reconfirmed the temporal relationship between the Gallinazo and Moche periods. Some burial data from their excavations at Huaca Gallinazo and at Castillo Tomaval will be included in this the Research on the Gallinazo Occupation of the Moche Valley The Chan Chan Moche Valley Project (1969-1974) was one of the largest projects ever undertaken on the Peruvian Coast. The members of this project directed their investigati ins at understanding cultural change in the Moche Valley, with a particular focus on the sites of Chan Chan and Moche. Following in the footsteps of their Viri Valley predecessors, the members of this project undertook survey and excavation at many sites which covered the valley's occupation throughout prehistory. Incidental to this, work were investigations and excavations at 34 sites with Gallinazo_ components. Important work was done at the site of Cerro Orejas, which is the largest known Gallinazo occupation in the valley. The famous ite of Moche, presumed to have been the capital of the later Moche state, proved to have been originally a Gallinazo site (Hastings and Moseley 1979; Donnan and Mackey 1982). Carol Mackey and Michael Moseley, the co-directors of the Chan Chan Moche Valley Project, have generously provided access to the field notes and collections9 produced by its members. These materials will serve as a comparative data set to the materials from Vir. Unfortunately, there has been a great deal of damage to the collections in the interim between the completion of the project in 1974, and our search for and study of the collections in 1990. The 1982/83 El Nifio event damaged the Instituto Nacional de Cultura (ILN.C.) storerooms at Tschudi, and the archeological materials deposited within their confines. We were, however, able to locate and analyze a great deal of material from Cerro Orejas. Cerro Arena, and a bit from the site of Moche. In 1969, Christopher Donnan directed a satellite project in the town of Huanchaco, a beach community 12 kms, northwest of the center of Trujillo. He excavated at the site of la Poza, and although the focus of his work was the Moche occupation, the site's major components were Gallinazo and Salinar. Donnan excavated in two areas (sectors ABB) at opposite ends of the site. His analysis of the materials were restricted to the burial that he published in Ancient Burial Patterns of the Moche Valley, Per. In order to increase our Moche Valley sample, Donnan made his sherd collections available to this, project (Donnan and Mackey 1982:58). Francisco Iriarte Brenner was the director of the LLN.C. in Tryjillo in the 1960’s. During this time a number of excavations throughout Huanchaco were executed under his supervision. Among these projects were excavations at the s € of la Poza, as well as the sites of Escuela 288, and H1988. Iriarte provided us with his field notes, and gave his Permission to work with these materials. More recently, John and Theresa Topic (1979, 1982, 1983, 1988) have directed two projects in the Vird and Moche Valleys: The Prehistori Fortifications Project, andlo the Huamachuco Archaeological Project. Their survey and excavations have recovered a wealth of data pertaining to the Gallinazo period, ‘They have discovered 52 additional sites with Gallinazo components in the upper reaches both of these Valleys, and have provocatively examined the question of what defines a site as a fortification complex (1988b). A particularly interesting problem which they have also addressed is what are the relations between the upper and lower valley, especially as they pertain to coastal- highland interaction in this region. Recently there was another set of excavations at La Poza in Huanchaco. In 1988, a project jointly sponsored by the N.C. Trujillo and the Universidad Nacional de ‘Trujillo, and co-directed by Segundo Vasquez and Genaro Barr (1991) exposed 40 units in both se tors A and B. The most startling of their results was the seeming co-existence of the Salinar and Gallinazo styles during the first of their two phase Gallinazo ‘occupation of the site. Barr’s (1990) explanation for this co-existence is that the Gallinazo style grew out of the Salinar style in situ, and that only the first two phases of the Gallinazo phases are present. Our interpretation of the Donnan and Iriarte collection from the same site will be discussed in the following chapters. Research on the Gallinazo Occupation of the Santa Valley David Wilson's (1983, 1988 work in the Santa Valley was modelled after the settlement pattern study of (Parsons 1971; Sanders, Parsons, and Santley 1979). Wilson sought to diachronically examine cultural change in the Santa Valley with a special emphasis on prehistoric state formation processes. Wilson concluded that the Moche state ‘was the first state in this region, and he believed that state formation in the Santa Valley‘was the direct result of a Moche invasion during the third phase of the Moche sequence. Wilson’s coverage of the valley is comprehet ive, and his maps of the changing patterns of settlement in the valley are excellent, Wilson has donated copies of published and unpublished materials from the Santa Valley, and has given permission to include these data within this dissertation. This material will serve as comparative data in both the discussion of the Gallinazo polity as a state, and inter-valley variations of the Gallinazo ceramic style. Before preceding it is important to step back, and examine the ‘geographic and ecological settings in the primary valleys of study, Vind and Mocke. Geography and Ecology of the Viri and Moche Valleys The north coast of Perd is located in one of the driest deserts in the western hemisphere. This region typically has less than .05 cm. of rain per annum. Moisture when present is most often in the form of a coastal fog. All north coastal valleys in Pert are subject to complex climatic phenomena known as El Nifios that occur approximately every 7 to 25 years. During El Nifio events devastating rains occur which cause rampant destruction. The cause of these rains are shifts in the ocean currents, Normally the cold Humboldt current and the upwelling it causes keep the air temperature on the coast cool and a rich marine food chain productive. Cyclically warmer currents change the temperature of the air and cause the condensation of moisture and the formation of rain clouds. The results of these changes are a deluge of rain and massive depletion of marine resources.12 Like all coastal valleys in Perd, Viri and Moche are bounded to the west by the Pacific Ocean and to the east by the foothills of the Andes. The natural vegetation in the area includes algarroba and huarango tees, Faunal resources include deer, lizards, rodents, snakes, and small birds (Collier 1943: 19). Marine resources encompass a wide variety of fish and mollusks. ‘The Viré Valley is located 35 kms. south of Moche and 20 kms, north of Chao. The Valley is bounded by Is on its north and south sides. The southern hills are called Cerro Compistan, Cerro Carretera, and Cerro Huarpe. ‘The northern hills are called Cerro de las Lomas. Both the northern and southern boundaries are rocky hills abutted by sand dunes. ‘The Vind Valley is an unusually small valley which is widest near its mouth and narrows inland towards the mountains. The cultivated area reached its maximum prehistoric and historic extent during the Gallinazo Period (Willey 1953: 393). Willey estimates that as much as 9,800 hectares were cultivated during the Late Gallinazo phase (Ibid. 393). The Rio Vird consists of two branches, the Upper Vird branch and Huacapongo tributary drainage, The Rio Vind does not head into the continental watershed and as a result this valley is "second class" agriculturally (Willey 1953: 18). On the north coast the most productive first class valleys are Santa, Moche, Chicama, and Lambayeque. ‘The second class valleys include Nepefia, Casma, Chao, Huarmey, and Supe (Willey 1953: 18).13 ‘The Moche valley is triangular in shape. This is because the Moche. River is deeply “entrenched in narrow canyons for most of its 110 km. course” (Moseley and Deeds 1982: 29). From its 600 meter mark to the coast the valley widens from .75 km. to 25 kms. On the south side of the Moche River three hills mark the valley's boundary these are: Cerro Orejas, Cerro Arena, and Cero Blanco. On the north side the only pro ant hill is Cerro Cabas, and as a result of there is a far greater amount of arable land on the north side of the river. However, it is more difficult to irrigate the northern sector because it has a shallower gradient than the south and consequently requires long lead off canals. Each of Moche’s the southern hills has a major prehistoric occupation at its base. Cerro Orejas had both a major Gallinazo and Chimu occupation, Cerro Arena was the location of a major Salinar occupation and a minor Gallinazo site, and the site of Moche is at the foot of Cerro Blanco, The tand below these sites, though limited, has been farmed through prehistoric and historic times.Brief outline of the Following Chapters ‘The following chapters will closely examine the Gallinazo occupations of these Valleys. We will begin by outlining the Gallinazo sequence as it was developed for the Vird Valley. ‘Then the focus will then shift to the Moche Valley data, Chapter 3 will discuss which forms are particular to the Moche Valley, as w=ll as the forms which these valleys share. The sequences will then be used to date the sites in the Vird and Moche Valleys the Santa Valley data will also be incorporated into this discussion, The purpose of Chapter 4 will be to examine the development of the Gallinazo Group site and to compare it to major population centers in the Moche and Santa Valleys. This discussion will address the dramatic difference in ize and examine possible functional differences between the Gallinazo Group site and centers in the other valleys. The fifth Chapter will address the settlement pattern analysis. We will seek to examine the functional relationship between contemporaneous sites in order to explore models of the settlement systems in each of the valleys. ‘The final chapter will address models of the organization and operation of Andean States, including the Moche polity, and the Wari and Inca Empires. 1n light of these models , we will examine the hypothesis that the Gallinazo polity conforms to the definition of Andean states. The concluding section of this thesis will outline our model of the interrelationship between the Vird, Moche, and Santa Valleys.Chapter 2: The Viré Valley Ceramics ‘This chapter will provide the details of the ceramic sequence for the Gallinazo ‘Occupation of the Viré Valley. The development and use of this sequence has been key to all of the analysis that constitutes this thesis. As has been stated previously, the development of a relative chronology based on ceramics was a prerequisite for a detailed examination of Gallinazo social and political patterning across space and time. This is because problems with the ceramic chronology of this period plagued the members of the Vind Valley project as well as all subsequent investigators until the new preliminary sequence was developed in 1987 (Fogel n.d.) For example, Bennett (1950) could place very few of his grave lots excavated at the Gallinazo Group site into their proper chronological position. Ford (1949) dated several single occupation sites with diagnostic very Late Gallinazo architecture to the Middle Gallinazo phase based on his mistaken interpretation of the ceramics. As a result a number of Willey’s (1953) architectural descriptions were inconsistent with the dates assigned based on ceramics, and this in turn undermines our attempts to trace changing patterns of settlement and political organization. David Wilson's (1988) work in the Santa Valley provides good example of problems that recent investigators have faced when attempting to use the Ford system to date sites with Gallinazo related occupations. The methodology Wilson employed. to lear the ceramic chronology of the north coast was the study of type collectionsassembled by Ford. Wilson memorized the diagnostic attributes of each phase of Ford’s Viri Valley sequence, and then applied Ford's system without modification to the data that he had collected during his survey of the Santa Valley. No excavation was carried out to generate a sequence based on the stratigraphy of the Santa Valley. ‘Through using this method Wilson was only able to identify two Gallinaze related phases in the Santa Valley, Early Suchimancillo and Late Suchimancillo, The Early Suchimancillo period was a combination of the Early and Middle Gallinazo phases, and the Late Suchimancillo phase corresponded with the Late Gallinazo phase in the Vir Valley. Wilson’s explanation for the conflation, of the Early and Middle phases of the Gallinazo, sequence was that the members of the Vird Valley project themselves had difficulty in separating out the two phases and that very few Early Gallinazo sites were identified in the Vin Valley. Originally we believed that his conflation of the sequence was due solely to the fact that there was no Early Gallinazo component to the Suchimancillo period. Although, this still appears to be true, this was not the only source of the problems with the Santa Valley sequence. Unfortunately, the Suchimaneillo sequence for the Santa Valley needed to be totally revised. ‘The Early Suchimancillo period, as it is defined by Wilson, is made up of both Middle and Late Gallinazo diagnosties, and the Late Suchimancillo phase has the same problem. Needle: to say, this makes the published Gallinazo settlement pattern data from the Santa Valley extremely problematic. As will be discussed in chapter 5, the temporal placement of many of7 the sites has been re-assigned, and as a result the entire pattern of settlement proposed for the Santa Valley has been reassessed. ‘The above mentioned examples are cited to simply provide an idea of the significance and complexity of the problems with the ceramic sequence. The following will provide a brief synopsis of the ceramic sequence presented in "The Gallinazo Occupation of the Vird Valley, Pe * (Fogel n.d.) with some information added as a result of subsequent research. The data that we added since 1987 is from three sources. ‘The first is the grave lots excavated by Bennett in 1936 in the Collection of the American Museum of Natural History in New York. The second is the grave lots from the 1946 excavations of Bennett that comprised a significant part of his contribution to the Viré Valley Project; these collections are housed at the Peabody Museum of Natural ory at Yale University. The third source of data is the grave lots excavated by William Duncan Strong and Clifford C. Evans during their participation in Viré Valley Project. ‘These collections are also housed at the ‘American Museum of Natural History in New York. ‘The sample of grave lots discussed here was studied to provide a cross-check of the sequence developed through studying pottery collections from the Wendell Bennett's excavations in public architecture and the domestic units at the Gallinazo Group site, Since the sample from the grave lots was primarily comprised of whole Jed an opportunity to examine the relationship between the rim forms and the body forms and decoration associated with them. These collections provided a wealth of information beyond what was available through the study of ceramicfragments. The analysis of the new data verified the sequence we had originally proposed. ‘The grave lot sample is heavily skewed to the Middle and Late Gallinazo phases. This'is most likely attributed to a number of factors that include the fact that over 99% of the sample is from the Gallinazo Group site, Although although there is, clear evidence of a substantial Early Gallinazo occupation at the site, Bennett rarely excavated to sterile. This may be attributable to the great depth of these deposits, some of which were greater than 8 meters in profundity. Another likely factor is that the location of cemeteries may have changed over time. As will be discussed in Chapter 5, the Late Gallinazo phase marks the conversion of some Middle Gallinazo domestic structures to cemeteries. Similar changes may have occurred during the transit ‘ion between the Early and Middle Gallinazo phases, and consequently it is very possible that the people of the Early Gallinazo phase may have chosen not to bury their dead at the Gallinazo Group site. This sequence was developed through the use of an attribute analysis system. Our methodology was to initially define all possible attributes for study, and then to examine the ceramic sample to determine which of these attributes were temporally sensitive. We found that form and decoration were the attributes that were most diagnostic of temporal change in the Gallinazo ceramic assemblages. ‘A note that needs to be made before the presentation of the data is that the number that follows the assigned color of many of the vessels is the Munsell color chart number. In addition, the texture of the paste is based on the following categories9 of the non plastic inclusions: fine paste has temper that is .25 mm or smaller, medium paste has inclusions that range from .25-.5 mm, coarse paste ranges from .5-1 mm, and s 1-2 mm and above. very coarse paste20 ‘THE EARLY GALLINAZO PHASE Bowls Bowl 1: (Figure 4) This vessel is an incurving polished bowl that is well made and has a rim that comes to a point. The surface is smudged black and the rim diameter is 16 em. Large bowl I: (Figure 4) This was called an "Oversized Bow!” in the original sequence, it is defined as a bow! that has a rim diameter in excess of 30 centimeters, and a rounded lip. Flaring Neck Jars with Rounded Rim (FNIRR) FNIRR 1: (Figure 5) ‘This redware vessel form has a variety of rim shapes that vary between ones that are well rounded and those that have a thick and thin quality. The mouth diameter ranges between 25 and 28 em., the paste is tempered with very coarse sand, Some of the exteriors of these vessels have black smudging suggesting use over fire, possibly as cook pots. ENURR Ia°: (Figure 5) This vessel form has the same characteristics as those above except that the rim angle is 50 to 54 degrees, the diameter of the mouth is 10.3 cm., and a cream slip is occasionally applied. *the small letter designation refers to subtypes. Subtypes were created in cases where forms were too similar to be split from a group, and too different to be included without further discussion,2 ‘The grave lot sample contained a whole vessel of this form that stands 14.1 com, tall, and has a rim angle of 54 degrees. The surface is wiped, and there are short striations on the surface. The temper cannot be determined due to the fact that the vessel is whole and the non-plastic inclusions are not visible. The pot is a shouldered and truncated heart shape (site CA 10C, grave 3C; catalogue #9742, American Museum of Natural History). Flaring Neck Jars with Tapering Rims (FNJTR) ENITR 1: (Figure 6) ‘These redware vessels have mouths that range from 19 to 20 cm. in diameter, and the rims stand at an 85-90 degree angle. These vessels are tempered with coarse sand, ENJTR 1a: (Figure 6-7) mouths have a smaller rim diameter. The rim angles range between 60 and 70 degrees, the diameter at the mouth is 10 em. and the neck height is 3.5 cm. ENJTR 2: (Figure 7-8) ‘These tall neck jars range in height from 6.5 to 12m, Mouth diameters only vary between 19 and 20 em., and rim angles range between 70 and 75 degrees. All vessels are tempered with very coarse sand.Grater Bowls Grater Bowl I: (Figure 9) These ves els tend to be very coarsely made, the firing is extremely uneven as a class of vessels, ‘The color of the paste ranges from red to black on the same vessel ‘Temper is very coarse sand, and the vessels of this form have bevelled lips and a herringbone incised pattern on the interior. Incisions are made at 5 degree angles, and the diameter at the mouth is 50 cm. rater Bowl 2: (Figure 9) This grater bowl is identical to form one except that its rim is rounded rather than bevelled, and the diameter at the lip is 48 em. Pedestal Bases Pedestal Base I: (Figure 10) Base diameters are consistently 16 em., and the base angle is 70 degrees. ‘These bases are 1.7 cm. tall. These vessels are tempered with fine sand and their exteriors are polished, paste is incompletely oxidized. Pedestal Base 2: (Figure 10) Vessels with this form of base are also made of an incompletely oxidized red paste, they have base diameters of 20 cm, and tapering profiles that narrow from .7 to 4em. They differ from Pedestal base | in that they are taller, they range in height form 2.0 to 2.6 cm. ‘These pedestal bases are set at a 60 degree angle and are slightly curved in profile. ‘They may be tempered with Restricted Vessel with Flattened IRVWER) er fine or coarse sand.RVWER I: (Figure 10) ‘These vessels have walls and rims that are the same width, and the rims are incurving. ‘They are made of redware, and are tempered very coarse sand. The diameter at the lip is 20 em. Vessels With Flange (VWF) ‘These unrestricted vessels have nearly vertical walls that curve inward, at about 84 degrees. ‘The flange measures 2.5 cm. from the interior to exterior surfaces, the outer 1.5 em is oriented horizontally, the remaining interior is bevelled. ‘The exterior lip is rounded, and there is a pointed interior flange. Diameter at the mouth is 33 cm., the paste is incompletely oxidized redware that tempered with very coarse sand. VWE 2: (Figure 11) This form has a flange that is slightly rounded and is set at an interior bevel. The firing of this vessel form is extremely uneven, the color of the s face ranges from red to black in fire clouded patches. Its paste is tempered with very coarse sand with high basalt and quartz content. ‘The walls of this vessel, like form 1, are nearly vertical and are slightly incurving. Diameter at mouth 32 em, This vessel form is the ‘one which I believe eventually develops into the Moche collared jar. Neckless Ollas with Thickened Rim (NOWTR) NOWTR I: (Figure 12) Restricted bowls with incurving walls that are at angles that range from 70 to 75 degrees. The thickened rims are rectangular and well formed. The exterior surface24 treatment may be polished, wiped, and or fire smudged. The single decorated example of this form has two parallel broad incisions on the thickened rim. The paste of these vessels is tempered with coarse sand, NOWTR 2: (Figure 12) ‘This form is unrestricted, it has a trapezoidal thickened rim and a bevelled lip. Technologically identical to form 1. Decoration of Early Gallinazo Ceramics ‘There are only two vessel forms in the Early Gallinazo sample that are decorated. These are a Flaring Necked Jar with Tapering Rim 1A (figure 7) that has a applique round nubbin on its shoulder, and a Vessel with Thickened Rim 1 (Figure 12) that has two parallel broad incisions that run horizontally around the thickened rim. The decorative use of applique round nubbins occurs throughout all three phases of the Gallinazo sequence, but in the Middle and Late Gallinazo phases the nubbins rarely occur as the only decorative element on a vessel. In the later phas they are often used in conjunction with punctations or pushed out areas on the body of a vessel. In contrast, the use of parallel incised bands on a Neckless Olla with Thickened Rim is diagnostic of the Early Gallinazo phase. During the Middle and Late Gallinazo phases punctate decoration replace this method of decoration, and incision is only used when zoned areas of punctation are delineated by a diagonal line.25 THE MIDDLE GALLINAZO PHASE During the Middle Gallinazo phase virtually all ceramic forms introduced during the Early Gallinazo phase were modified in some diagnostic manner. For example, the rims of Neckless Ollas with Thickened Rims became inverted, and new decorative elements, such as triangular punctation, were added. In addition during the Middle Gallinazo phase the number and variety of ceramic forms expanded, this is particularly evident in forms such as bowls. Of the form categories extant during the Early Gallinazo phase, orly Grater Bowls are absent in the later two phases. We believe that this absence is due to sampling rather than the elimination of this form from the Gallinazo ceramic inventory. Our belief is based on the fact that we have found a numnber of these vessels on survey, as well as at Middle and Late Gallinazo sites in the Moche Valley. Bottles with Strap Handle Bottles with Strap Handle 1: (Figure 14) This form was called a "Restricted Necked Jar with Strap Handle” in our original Gallinazo sequence (Fogel n.d.). This vessel form was made of an incompletely oxidized redware that may have a polished or unpolished surface. "The lip is flattened and the diameter at the mouth is ranges between 2.5 and 3 cm. ‘A whole vessel of this form was found in burial SC at mound CA 10C, The diameter at the mouth is 2.5 em. The jar is whole, and is made of redware, but due to its completely intact condition it is not possible to determine whether it is fully or incompletely oxidized. The surface is polished and has a seriés of 6 applique strips26 that are notched, they radiate vertically from the neck. The bottom of the bottle is slightly flattened (CA 10C grave SC; catalogue #42/9761, American Museum of Natural History). Review of Bottles with Strap Handles: ‘This vessel form appears for the first time during the late Middle Galtinazo phase and it continues to be manufactured during the early part of the Late Gallinazo phase, Stirrup Spouted Bottles Stirrup Spouted Bottle 1: (Figure 21) This is a pedestal based stirrup spouted bottle that has a rim with a slight exterior bevel. The bottle is coarsely made, and is decorated with notched applique strips. This bottle is contemporaneous with the bottle with strap handle 1. The stirrup spouted bottle is made of fully oxidized redware that is tempered with medium sand. Itis asymmetric and was the only grave good found in association with an adult individual. Vessel height 23.4 cm. (catalogue #29/9736, American Museum of Natural History). Bowls Bow! 2: (Figure 14) Bowl 2 vessels have incurving rims and tapering lips that range from pointed to round in profile. They differ from Early Gallinazo Bowl | in that they are shorter and thinner in profile. Diameters at mouth range from 8 to 16 cm., all of the surfaces ed. Alll vessel are made of redware with fine to medium temper of sand,2 some are smudged black. ‘There is a single decorated vessel that has the smallest lip diameter, and has a series of broad vertical grooves. Bow! 3: (Figure 15) Unrestricted bowls that have tapering lips. The diameter at the mouth ranges from 16 to 21 cm, They are made of a redware the is tempered with medium to coarse sand, White slip is present on some vessels. The single example of a decorated vessel of this form had two broadly incised horizontal rim bands and a series of broad vertical bands below them. Bowl 3a: (Figure 16) Bowl 3a is a round bodied bowl that tapers towards the base. Diameter at the mouth is 19 cm. all surfaces are polished. all vessel have a fully oxidized red paste, and white slip may be present. Bow! 4: (Figure 16) ‘These bowls have bases that are 4 mm thick and broaden to 6 or 7 mm at the walls of the vessel. ‘The exteriors are red with fire clouding, and may be polished or ‘wiped. The interior surfaces all have a white slip, diameter at the mouth ranges from 22 to 24 em, All Bowl 4 vessels are tempered with coarse sand. Bow! 5: (Figure 17) Flat bottomed bow! with sharp basal angle, all are well made and are consistently 5 mm in thickness tapering to 4 mm at the lip. This bowl is made of oxidized paste that has been smudged black and polished. Diameter at the mouth is 16 cm., temper is quartz.28, Bowl Sa: (Figure 17) A single example of t rounded lip, and a ring bast ‘The rim angle is 60 degrees, and the diameter at the lip is 18 em., The exterior is mudged blac! ., and unpolished. The vessel is 7.2 em, tall, and there are four incision on one spot of the ri The paste is fully oxidized red 2,5YR-5/6 and is tempered with coarse basalt particles (site V-265A. grave 2, catalogue #186123, Peabody Museum of Natural History, Yale University) Large Bowl 2: (Figure 18-19) Large Bowl 2 are unrestricted redware vessels that have thick rims and round lips. Paste may be fully or incompletely oxidized redware, and none of the vessels are polished. Exteriors may be smudged black or covered with a red or white slip. In this sample 80% of the vessels had very coarse sand temper, and the remaining 20% were tempered with coarse sand. ‘There is a negligible change of thickness between the body and the rim. Diameters at the mouth ranged from 22 to 36 cm. with the mean at 29 em, Large Bowl 3: (Figure 19) ‘An unrestricted bowl with flat bevelled lip. The surface of the vessel is smudged black, and its paste is an oxidized redware tempered with coarse sand; rim diameter 28 cm. Review of Bowls:29 ‘The Middle Gallinazo phase marks a broad expansion of the number of bow! forms. Middle phase bowls are generally taller than those of the Early Gallinazo period, and they have a much broader range of forms and decoration, Face Necked Jars (FNJ) ENJ 1: (Figure 20) The rims of these vessels are flat or bevelled and have a flat flange. The paste is fully oxidized redware, some of the examples of this jar have a white slip, and/or are polished. Temper ranges from medium to coarse sand, Diameter at the mouth is consistently 8 cm. Noses are modelled, nostrils punctate, mouths are incised, eyes may be the doughnut type or incised, ears are modelled and may be pierced. A whole v 1 of this type was recovered it has a flattened rim with an exterior bevel, doughnut eyes, an incised mouth, a modelled and punctate nose,modelled and punctate areas with a pierced hole immediately in front of them. It is redescribed here be cause it is a whole vessel it has a globular body a pedestal base, rim angle is 68 degrees height is 14.5 cm, Diameter of the mouth is 7.2 em. the paste is tempered with medium sand. Flaring Necked Jars with Bevelled ENJBR 1: (Figure 21) Flaring Necked with Bevelled Ri 's only occur during the Middle Gallinazo phase. This vessel form resembles the other flaring necked jars except that instead of a tapering or rounded rim, the outward flaring lip is bevelled. Diameter at the mouth measures 35 em, the neck is uneven and has a thick and thin quality.30 Flaring Necked Jars with Rounded Rims (FNJRR) ENIRR 2: (Figure 22) ‘This form has a tall neck with thick walls that range between 1.2 and 1.4 cm. in width. ‘The neck height ranges between 8.3 and 9.2 cm. This redware is tempered with very coarse sand. Rim diameter ranges between 42 to 45 em, the necks are nearly vertical, and may have a sharp exterior flare just below the rim. ENIRR 2a: (Figure 23) FNIRR 2a is similar in general dimension to those above except that the orientation of the neck is at a 65 degree angle, There is 2 bimodal distribution of rim diameters they cluster around 20 and 40 em, ‘A whole jar of this form was recovered that is made of a red ware that is incompletely oxidized and is fire clouded on its surface. ‘The paste is tempered with very coarse quartz and calcite. The diameter at the mouth is 18 em. and the rim angle is also 65 degrees. The vessel height is 24 cm., its base is rounded and fire blackened. The vessel is decorated with Adorno 3, a single conical adorno, that has four triangular punctations just below it, We cannot tell whether there was a mirror image of this adorno because opposite side of the vessel shoulder was absent. Another whole vessel of this form recovered is 28 cm. tall, and has a rim that is set at a 75 degree angle. The diameter at the lip is 12.3 em., and the vessel is polished with incomplete coverage. The redware vessel is light in color leaning towards the orange-buff range. The paste is tempered with very coarse sand, the surface is fire clouded, and the body is nearly perfectly round.31 FNIRR 3: (Figure 24) This vessel has an extremely tall neck that stands 20.2 cm. in height. Rim is oriented at an 80 degree angle. Diameter at the lip is 20 em. ENIRR 4: (Figure 25) A single unusual vessel that has an exterior bevel below the lip. Exterior is wiped, and is white slipped. Diameter at the lip is 25 em. Necked Jars Flaris T ering Rims (FNJTR) ENJTR 3: (Figure 25) ‘These vessels taper evenly from the juncture with the body to the vessel lip, The lip angle of these vessels ranges from a 53 to 70 degrees, and the diameter of the mouth ranges from 12 to 28 cm. ‘The temper of is redware ranges from coarse to very coarse sand, The necks of this form divide into two shape categories: those which are concave in profile, and those which range from having a straight side to a slight convexity. ENITR 3a: (Figure 27) These vessels are made of a fully oxidized redware that may have a white s The interior of the neck and the exterior of the vessel are polished. Rim angle is ‘unusual in that it is 45 degrees. The diameter at lip is 33 em. Temper is coarse s form appears to be influenced by forms in the Callejéin Huaylas, and it may be related to the beginnings of the Recuay style.2 These jars have tall necks that range in height from 5 to 8 em. ‘Temper may be sand or quartz, Diameters at the mouths of these vessels range from 20 to 32 em, The mode is at 20m. ‘The necks are imegular, with thick bases and irregular bulges. Surfaces may be wiped or have a white slip. ENJTR_4a: (Figure 28) Similar to FNJTR 4 except that the necks have a more definite curve and a more pointed rim. Diameter of the mouth ranges from 20 to 24 em, ENJTR 4b: (Figure 28) ‘These vessels have nearly vertical neck walls that flare markedly at the lip. Diameter at the lip is 36 cm, the redware paste is tempered with coarse sand. ENJTR 5: (Figure 29) Vessels of this form have tapering rims that are set at 52 to 61 degree angles. ‘Their necks are well formed and they flare dramatically 1.0-1.5 em. above the shoulder join, FNITRs are made of redware that tempered with medium to fine sand that has a high quartz content, Exteriors are polished as is the inside of the flaring rims, the interior of the bodies are scraped. Rim diameters range between 12 and 16 centimeters Whole Vessel FNJTR 5: (Figure 29) qT jar is very close to what is called a collared jar in the Moche ceramic inventory, because the neck is short and quite squat. The rim angle flares at 60 degrees, and the diameter of the mouth is 12 em. ‘The fully oxidized red paste is tempered with coarse sand, and the exterior of the vessel is thickly encrusted with33 carbon deposits. At the shoulder of this vessel there are 6 pushed out areas each of which is surrounded by 8 tiangular punctations. ‘The body shape is ovoid and squat, the height of the vessel measures 15.1 cm. Review of Flaring Necked Jas Flaring necked jars demonstrate a marked increase in the variety of forms during the middle phase. ‘The clearest middle phase diagnostics are the addition of the bevelled rim and sharply flaring forms to the flaring necked jars inventory. The cuteness of the rim angles may be a result of contact with the Callején de Huaylas, and the influence of the Recuay style. The Early Gallinazo forms tended to have rounded exterior joins, that can be clearly seen when comparing the profiles of these vessels, whereas the Middle Gallinazo vessels tend to have a sharp break in the profile between the body and the rim, As a consequence the j s between Middle phase necks and bodies tends to be thinner proportionately than those of the Early phase. ‘The exceptions to this rule are forms 3A and 5, however both of these forms can be distinguished from earlier forms based on their sharpness and the squatness of their rims. Flaring Necked Jar With Sculpted Shoulder Flaring Necked Jar with Sculpted Shoulder | (Figure 29) ‘This is the first of three neck forms of jars with sculpted shoulders, there is a restricted neck form, and a straight necked form as well. This Jar has an extremely well made neck with a flat rim and a body that has two undulations beginning at the shoulder and ending about 2/3 of the way down the body. The rim angle is 70degrees, and the diameter at the mouth is 8 em. The paste is red 2.5YR-5/6 with some areas of fire blackening, and it is tempered with very coarse sand. The surface is polished with complete coverage, and the vessel stands 13 em tall (site V-252, grave 7, catalogue # 186112, Peabody Museum of Natural History, Yale University). Jar with Carinated Bulge Collar Jar with Carinated Bulge Collar: (Figure 29) This jar is a the earliest version of one of the most diagnostic of the Late Gallinazo forms whi is a jar with a bulge collar that has pushed out areas incised with florets. ‘This vessel is larger version of those that will follow and it has an interesting difference from the later forms in the decoration. There are applique areas ‘around the neck that have incised florets instead of the pushed out areas present in type 3 and 3a. ‘The neck is also different than those below in that it is sharply carinated near its join with the body. The diameter of the mouth is 8 em, and the vessel height is 21.3 em. The vessel was irregularly fired leaving half of the vessel pale red 2.5YR-6/2 and the other half red 10R-5/6 with fire clouding present on both. jes. The jar is polished with incomplete coverage, and the temper is coarse sand (site 252, grave 7, catalogue # 186114, Peabody Museum of Natural History, Yale University). Pedestal Bases Pedi35 These bases measure between 9 and 10 em. in diameter. They are redware but also may be smudged black. The pedestals are set at a 60 degree angle. The vessels are tempered with coarse sand, Pedestal Base 4a: (Figure 30) This form is also set at a 60 degree angle. the bases of this form are very short, with a height of 1.1 em, Perhaps this form would more accurately be called a ring base. ‘The paste is an incompletely oxidized redware with coarse quartz and sand temper. Review of Pedestal Bases Early Gallinazo pedestal bases tend to be thick and squat whereas those of the Middle Gallinazo phase tend to be taller, have narrower proportions, and more incurving profiles. Restricted Vessels with Flattened Rims (RVWER) RVWER 2: (Figure 31) ‘These vessels have rims that are thicker than their bodies. ‘The flattened lips ‘may have a slight depre n on the rim. Diameter of the mouth ranges from 31 to 40 em. RYWER 2a: (Figure 32) RVWER 2a differ from form 2 in that they are thinner and smaller; the diameter at the mouth measures 16 cm., and the lips are slightly rounded on their exterior. Rim angle ranges from 62 to 64 degrees. RVWER 2b: (Figure 32)36 ‘This form is represented by a single vessel that is very distinctive in form, so much so that we originally believed that it may have been imported. Although, this is ill a possibility, a re-examination of the attributes of the vessel led us believe that it conformed the general family of Restricted Vessels with Flattened rims. ‘This vessel conforms to all the attributes of form 2, but it was separated out and assigned its own form classifi tion because its body is very unique in that it is bell shaped. We strongly suspect that many of the incomplete vessels listed above are actually jars with incurving necks that have round or ovoid bodies. ‘This bell shaped jar is 12 em, tall, and it is a light orange buff redware. Non-plastic inclusions are not visible and cannot be idemtfied. (Site CA 10C grave lot 1D). RYWER 3: (Figure 32) RVWFR is ilar to both forms 2 and 2a with the exception that the rim diameter is slightly larger measuring 18 cm., and that there is a slight thickening on the rims exterior. The paste used to make this vessel form is brown Straight Necked Jars, Straight Necked Jar 1: (Figure 33) This form was previously called a Vertical Necked Jar (Fogel n.d.), this form is made of fully oxidized redware that is tempered with coarse sand. Diameter at the lip is 14. em. Straight Necked Jar La: (Figure 33) ‘This jar has a nearly vertical neck that has a slight bulge. and a rim that is, slightly inverted. It is also distinctive in that its body is slightly flattened and37 asymmetric in profile. Its profile resembles a number of whole vessel forms present in Iriate’s collections form Huanchaco, in the Moche Valley. The diameter at the mouth is 6 em, and the vessel height 16.8 em. ‘The paste is red 2.5YR-46, has a fire clouded surface that is polished with complete coverage, and is tempered with very coarse sand (site V-252, grave 7, catalogue #186111, Peabody Museum of Natural History. Yale University). Straight Necked Jar 2: (Figure 33) ‘An unusual jar with narrow rim diameter than measures 6.2 cm. This is made of an incompletely oxidized redware that tempered with very coarse caleite and sand. Jar is interesting because it has 2 small strap handles that are placed at either side of the neck, ‘The surface is polished and the coverage is incomplete. Body is globular and the height of the vessel is 13 em. (CA 10C grave 4D, catalogue #9753, American Museum of Natural History). Vessels with Flange (VWF) VWF type 2: (Figure 34) A single vessel of this type was present in our sample it was an open bowl with flattened lip that is made of an incompletely oxidized paste covered with a white slip. ‘The flattened lip tapers to an exterior flange and it has a slight interior thickening. Temper is coarse sand and the diameter at the mouth measures 42 cm. VWE 3: (Figure 34) Restricted bowl with tiangular punctations near the neck. The vessel’s rim is bevelled on its exterior surface. Diameter at the mouth is 26 cm. the temper is38 ‘medium quartz, the rim is set at a 65 degree angle. White slip may be present on both the interior and exterior surfaces*, Neckless Ollas with Thickened Rims (NOWTR) NOWTR 3: (Figure 35) Restricted bowl that is made of fully oxidized redware. Exteriors may range from red to brown in color, fire clouding is often present, and fire blackened exteriors are also present, Most vessels have coarse paste that is tempered with sand and/or grog and/or ale . Rim diameters range from 31 to 49 em, with a mean at 36.4 em. All bowls have markedly-incurving rims. and the majority of the thickened rims have very square corners. WTR 3a: (Figure 36) Incurving bow! that has a trapezoidal thickened rim. The walls are slightly more vertical than form 3, the temper is coarse sand. NOWTR 4: (Figure 36) Unrestricted bowls that have rectangular thickened rims, and lips that are flat and horizontal, The bowls are very rounded and incurving. rim angle ranges from 60 to 70 degrees with the mode at 70 degrees. Paste is tempered with very coarse sand and may so have calcite inclusions. Vessels are made of oxidized redware that may * This vessel is closer in form to a collared jar than a bowl in form, we now suspect that this vessel’s placement in the Middle Gallinazo phase may be a product of mixing, and that it is actually a Late Gallinazo form. This vessel appears to be a Gallinazo- Moche transitional piece due to its form and the way that it is painted.39 have a red slipped exterior. diameter at the mouth range from 30 to 44 em, Some vessels have smudged black exteriors and may be polished, Review of Neckless Ollas with Thickened Rims ‘The Middle Gallinazo phase marks an explosion in the variety of vessels with thickened rims. Although these are clearly derived from Early Gallinazo kened rim forms. The marked incurving of the walls of all of the forms during the Middle Gallinazo phase is a very clear diagnostic trait. During the Late Gailinazo period incurving bowls are completely replaced by vessels that have vertical walls.Decoration ‘The Midetle Gallinazo marks a great increase in the n'unber and variety of decorative elements present on Gallinazo ceramics. For example, triangular punctation, a decorative element that is particular to the Gallinazo culture, appears for the first time. ‘The following will provide a synopsis of decorative techniques that were employed during the Middle Gallinazo phase. Adornos Adomos are: modelled forms that project from a vessel's exterior walls. Although they do not constitute a vessel form, there are often recovered in discreet fragments that may be classified. They have been included as a separate category because some of the variances in form and modelling technique appear to be indicative ‘of temporal change (Fogel n.d. p.31). ‘The style of the facial features present on these decorations correlate well with relevant features of the face necked jars. For example the appearance of doughnut shaped eyes occurs in both of these vessel forms at the same time. Adomo 1: (Figure 13)40 Adomo | is a zoomorphic head that is hollow, has modelled ears and nose, cane impressed eyes, and no mouth, ‘The paste of these adornos is incompletely oxidized and tempered with either medium or co: se mixture of quartz and basalt, Adomo 2: (Figure 13) This adorno is also a zoomorphic figure, with modelled ears, and punctate eyes, both the nose and mouth are absent. These adomos may or may not be covered with a white slip, they are all made of redware that is tempered with medium sand. Adomo 3: (Figure 13) A conical adoro that is hollow and made of fine orange paste. The exterior of this adomo is often polished, and its interior is scraped. Finger Impressed Rim: Perhaps the most diagnostic decorative feature of the Middle Gallinazo phase is the practice of placing finger impressed dentations on the lower edge of thickened rims (see Bennett 1950: 74-75). Although there were no vessels with this type of decoration in the Vind Valley sample presented here we did locate many while on survey in the Vind Valley, and they are clearly illustrated in Bennett's 1950 monograph on the Viré Valley. This vessel form was also common in the collections from the Moche Valley. This type of decoration frequently co-occurs with dentate punctation, but it also may occur alone. Negative painting (Figure 37)4 Black on red resist painting is a very diagnostic Gallinazo attribute that first appears during the Middle Gallinazo period. Occasionally vessels decorated with this technique may have a white slip applied to their interior surface. Modeled Applique Decoration: (Figure 37) ‘The Middle Gallinazo phase also marks the introduction of applique and dentate strips as decorative elements. This type of decoration continues into the early part of the Late Gallinazo phase on vessels that have attributes that pertain to the transition between these s phases. However, this decorative technique disappears in the later part of the Late Gallinazo phase. New appliqued decoratio that appeared during this phase include snake forms ‘and facial features on anthropomorphic and zoomorphic forms such as noses, ears, and doughnut eyes. Patterned Incision: This type of decoration is particular to the Middle Gallinazo phase and it only ‘occurs on bowls with polished surfaces. Two incised bands are excised from the vessel these bands are parallel to each other and the rim of the vessel. Below these bands are a series of vertical incisio s that are parallel to one another, they begin below the rim bands, and we suspect that they run to the bottom of the vessel, but we have not located a whole vessel or a base fragment of a vessel with this type of design. ‘Triangular Punctation:42 Thi vm of decoration was used in many contexts including on the broad part of thickened rin ‘They may occur as a single or double line, or within zones, delineated by incised angular lines. ‘Triangular punctation was also used in conjunction with applique nubbins, it may encirele them or form a line under them. Triangular punctations also occur on the body of vessels and often are applied in double rows.‘THE LATE GALLINAZO PHASE ‘The Late Gallinazo Phase marked a virtual explosion of in the addition of new forms in the Gallinazo ceramic inventory. Once again, virwally all forms extant during the Middle Gallinazo phase were altered in some manner such as the change of rim angle on Flaring Necked Jars with Tapering Rims. However, there is also a great deal of stasis present in the cannons of ceramic decoration. For example many Middle Gallinazo decorative techniques, such as triangular punctation and negative painting, continued to be utilized. Overall the Late Gallinazo Phase was the time of greatest diversity of ceramic forms in the Gallinazo sequence. Bird Jars One of the most prevalent forms in the burial collections were a vessel form that we call the bird jar. Fragments of these vessels were also found in the collections from public and domestic architecture, however their significance and prevalence was not recognized. In some cases isolated applique motifs that we called "handles" in the original sequence, are now known to be wing fragments from these bird vessels. A bird vessel is a flaring necked jar that has an applique head, opposing wings, and a tail, occasionally the wings or the tail is absent but the head is always present. Bird Jar 1: (Figure 42) This vessel is a flaring necked jar with tapering rim, that has a carinated body with attached head, opposing tail, and two wing appliques. The diameter at the mouth is 7 to 10 em., rim angle is 65 to 75 degrees, the height of the vessel is [1.1 em. This44 bottle is made of fully oxidized redware (2.5YR-4/6) that may have a fine or a coarse temper. One of the specimens is a thick vessel that has a squat body,the other has a thin body that is especially fine at the point of dX, (3 mm. thick) and has a tall well proportioned body. Both have tall necks, and their tails have four incisions that run from the body to the point of the tail, The eyes and the mouth of all the bird’s heads are punctate. The vessel polished with incomplete coverage (CA 10/e-La; #21/9707 Bennett's 1936 collection and site V-252 grave 2, catalogue #186075, Peabody Museum of Natural History, Yale University). Bird Jar 2: (Figure 42) ‘This form is a wingless bird jar, that is a flaring necked jar with tapering rim, It is a fully oxidized redware with traces of negative paint. The diameter at the mouth is 85 em. the rim angle is 53 degrees. ‘The jar is polished, and the coverage is complete. The vessel is tempered with fine quartz, the head is applique and is double notched mouth and nose, and punetate eyes. The tail is a single flat topped nubbin ‘The body is ovoid and broad. (CA 10C 2D, catalogue #41/9724, American Museum of Natural History, Yale University). Bird Jar 3: (Figure 42) This jar has a sharply flaring rim that has an angle of 58 to 65 degrees until just below the lip, then it flares out again at 45 to 47 degrees. The diameter at the mouth is 11.6 to 13.3 em, and the vessels height is 21.9 cm. The paste is a fully oxidized reddish brown (Munsell SYR-4/4) or red (10R-6/3) the temper is coarse sand that has a high basalt content. The surface is polished with incomplete coverage. ‘The45 wings and tail are modelled appliques the tail may have 5 punctations, the head is an adorno that probably is on the internal support construction type. it is symmetrical with eye depressions that have applique button-like eyes, a modelled and incised beak that comes to’a point, and two cock-eyed nostril punctations are present, or a head of the same roughly triangular shape with punctate eyes and nostrils, There is a finger depression in the center of the head of the bird. (This vessel is from grave 5 at site ‘V-164B, its catalogue number is 186037, Peabody Museum of Natural History, Yale University). Bird Jar 4: (Figure 43) ‘This bird jar has a nearly vertical neck that flares out to a 74 degree angle at about half way between the rim and the join with the body. The diameter at the mouth is 10.2 em. and the vessel height is 17 cm, ‘The bird head of this vessel is very eccentric and asymmetrical, it has punctate eyes, a single punctate nostril, and a very curvy incised mouth that is broken by an imegularly shaped piece of clay that may be ‘a hanging crest like on a turkey. The wings are also unusual they are semi-lunate and the i jons fall on the body rather than on the wing itself. The tail is pointed and incise. The paste is fully oxidized SYR-5/4 tempered with very coarse sand. The surface is polished with incomplete coverage, and there are traces of what appears to have been a white slip (site V-252, grave 4, catalogue #186095, Peabody Museum of Natural History, Yale University). Bird Jar 5: (Figure 43)46 This jar is the most unique in the collection, it has four carinations, the head of the bird has bulging frog like eyes and it is a very asymmetrical head. The diameter of the mouth is 8.6 cm. the rim angle is 77 degrees. The vessel height is 19.2 em, and the exterior is polished with incomplete coverage. The bird head has doughnut eyes and an incised beak. ‘The wings are applique and punctate with 5 punctations on the right side, and 6 on the left, the tail is the pointed type with two punctations. The paste is fully oxidized and is reddish brown 2.5YR-5/4 with fire clouding, tempered with medium sand (site V-252. grave 9. catalogue #186118, Peabody Museum of Natural History, Yale University). Review of Bird Jars Although all Bird Jars in this collection date to the Late Gallinazo phase, I believe that this is a product of sampling problems rather than this form being diagnostic of the Late Phase. This is because there are forms that were called “handles" in the Early phase of the preliminary sequence (Fogel n.d. appendix) that are now clearly wing fragments of Bird Jars. Although their existence in this phase may be a product of mixing, it is more likely that the pieces that were present in Bennett's excavated sample were remnants of Early Gallinazo forms. Bottles Double Bodied Bottle 1: (Figure 43) ‘This bottle has two drum shaped bodies that are joined. It unique in this collection and is made of fully oxidized redware tempered with coarse Sand that has a high quartz and basalt content. The spout has broken off, it appears to have been of47 the tapering variety. ‘The vessel was polished with complete coverage. ‘The bridge that connects the two drum shaped bodies is tubular and was constructed by pre forming the tube and applying clay to the join, (Grave | site V-252 186070 17a 1.2. Peabody Museum of Natural History, Yale University). Pedestal Based Bird Bottle with Bridge Handle 1: (Figure 43) This vessel is a fully oxidized redware bottle that is tempered with medium quartz particles. ‘The spout tapered, but the rim has broken off. ‘The eyes are and -d circles with punctate centers. The beak has a ridge at the top and an incised line to separate the upper from the lower beak. The bottle is polished with incomplete coverage, The base angle is 51 degrees the body globular (CA 10C 2D #16). Bottle with Strap Handle 2: (Figure 44) This bottle with strap handle has a carinated body, a flat bottom, and geometric negative painted design. It is made of fully oxidized redware that has medium ‘micaceous sand temper. Its mouth measures 2.9-3.3 em. its rim is rounded and, slightly everted, the neck and measure 88-90 degrees and it is 15-17 em. tall. Wide strap handle has negative painted design and the surface is polished. Late Gallinazo, (CA2 Grave 2A; Site V-157A Child burial, catalogue # 185972, Peabody Museum of Natural History, Yale University). Bottle with Strap Handle 2a: (Figure 44) This type is very similar to that above except that the lip is flat, The diameter at the lip is 3 em, to 3.2 em, and the bottle is 15.2 to 16.8 em, tall. The rim angle 85 to 89 degrees, the body is carinated and its entire surface is negative painted ora8 slipped white. The paste is red 2.5YR-5/6, the temper is fine Quartz, and the surface is polished with incomplete coverage (Site V-157A, infant grave 607, Peabody Museum of Natural History, Yale University). Although this is a Late Phase bottle, the rim form is very close to the Middle Phase form, consequently we date this vessel form to the early part of the Late Gallinazo phase. Bottle with Strap Handle 3: (Figure 44) This undecorated bottle has a flattened rim and a diameter at the mouth that measures 2.2 em, The bottle’s neck narrows near the rim, and it has a broad strap handle. The bottom is incurving, the body is very round, the fine workmanship on the base has led me to place this vessel near the transition to the Mache style contemporaneous with form 2. However, we cannot firmly date this vessel until we study the assemblage that it was part of.(#61/389A Strong and Evans excavations at Castillo Tomaval). Bottle with Strap Handle 4: (Figure 44) This effigy bottle that has a narrow neck, the diameter at the rim is 3 em. The rim angle is 85 degrees, and its height is 10 cm. The bottle is completely covered with a cream slip and it is well polished. The body of the vessel is a head, the spout protrudes from the top and a strap handle is attached to the back of the head. The eyes were formed by making a circular depression in the body of the vessel, the a oughnut shaped applique and punctate eyes were set in to the concavity. The nose and ears are modelled, the mouth is an incised smile. The rim is flat and there is a slight exterior bevel and thickening similar to what is called the Moche I stirrup spout49 form, This form is mmmon in the village of Huanchaco on the outskirts of the Trujillo (Grave CA 10C grave 3E, catalogue #9744, American Museum of Natural History) Boitle with Strap Handle 5: (Figure 44) This bottle is made of fully oxidized redware that is tempered with fine sand. ‘The spout has broken off, and there is no trace of it. This may have been a very unusual bottle with a strap handle. The body of the vessel is cake shaped with a flat bottom and a rounded top. ‘The vessel was too salt damaged to determine whether the surface had been polished (Grave 4, site V-252; 18693 20A, Peabody Museum of Natural History, Yale University). Stirrup Spouted Bottle 2: (Figure 44) A single vessel falls into this category because it is a rare transitional Gallinazo-Moche form. The vessel depicts an man that has a flaring necked jar on his shoulder It has a white slip and a black positive painted design that is applied in a manner that simulates negative painting. It also is hand made upon which all of the person's extremities are appliqued. It is asymmetrical and the arms of the person depicted are of very different sizes. The facial features are close to Moche in style, with large incised almond shaped eyes, a Gallinazo style incised mouth, modelled nose50 and ears and extremities, paste is fully oxidized redware’ (Grave CA 10C grave 4B, ‘atalogue #41/9763: American Museum of Natural History), Stirrup Spouted Bottle 3: (Figure 44) ‘Transitional Gallinazo-Moche piece found in association with Stirrup Spouted Bottle form 1. The body is double pointed and resembles that well known Moche mountain peak motif discussed by Benson (1970) and Donnan (1980). Once again the decoration is a positive painted replication of Gallinazo negative designs, however, in this case the painting is directly on the redware paste rather than on a white slip. This, vessel is made of a fine red paste that this tempered with extremely fine quartz particles. The technology is very much like Moche vessels, however this vessel is hand-made. Diameter at its mouth is 2.4 em, Rim angle is 84 degrees, and the v height is 19.1 em. Stirrup Spouted Bottle 4: (Figure 45) This bottle has a flattened rim and it measures 2.7 em. in diameter at the lip. This vessel is an archaeized Chavin piece. It has a bar and conical adorno pattem that have a spike-like appearance. The spike like adorno are patterned between the applique bands. Fully oxidized vessel with a polished surface. The vessel's surface is divided into four quadrants each of which is separated by a raised strip, three nubbins are placed on the corner of each side of the stirrup 5 It should be noted that during our work in the Moche Valley we came across Moche vessels that were hand made, the vessel discussed above is a Gallinazo vessel with strong Moche influences, where as those from the Moche Valley were clearly Moche {11 in style, but they still retained some Gallinazo features, and were not mold-made.31 spout. Base is flat, rim angle 84-9) degrees. Originally we believed this vessel to be an anomaly until we saw Bennett's notes at the A.M “H. that describe an identical piece that was recovered in 1936, and that it had been a piece selected by the Museo Nacional in Lima. It is possible that these vessels may be the first example of mold made pottery in this region. However, this possibility was not considered when the collections were originally studied, a restudy of this vessel is required to determine the techniques employed for its construction® (Same provenience as form 1). Whistling Bottle 1: (Figure 45) Whist ling Bottle 1 is made of a negative painted redware with a modelled bird head that has an incised whistling mouth, an excised whistling hole on the top of its head, punctate nostrils, and applique and doughnut shaped eyes.” The vessel has a bridge handle and a tapering spout. Four tuber shaped bulbs hang from a tube shaped body. The two side bulbs are shorter than the two placed in the front and in the back, the diameter at the lip is 1 cm. it is polished and 14.5 em. tall. Whistling Boitle 2: (Figure 45) ‘This vessel has a great deal of salt damage and is incomplete. The body is cake shaped, it is carinated near the shoulder, and it has a bridge handle. The modelled “Prior to the new international laws concerning national patrimony, collections could be exported to other countries provided that the National Museum of Perd was able to select what they wanted for their collections, the remainder was exported as property of the foreign research institution. This bottle, though unique to 1 Leo Casinelli in Trujillo Pera. collection, has an exact duplicate in the collection of32 figure which once existed is too eroded to distinguish any features but the drilled hole that indicates that it was a whistling bottle (site V-I64A, grave 7, 525-7, catalogue #186002, Peabody Museum of Natural History, Yale University). Whistling Bottle 3: (Figure 45) A bird effigy Bottle that has a pedestal b: bridge handle and a missing spout. The eyes are applique ovals, the beak is modelled and incised, and there are pronounced modelled eyebrows. ‘There is a whistling hole in the top of the bird’s head, its height is 14.8 cm. (sit V-164A, grave 9, drawing 73a, catalogue #186011, Peabody Museum of Natural History, Yale University) Review of Bottles For the most part, Middle phase bottles are new forms that have been added to the artifact inventory. The advent of Stirrup Spouted bottles occurs during the transition between the Middle and Late Phase and continues throughout the prehistoric sequenc Stirrup Spouted bottles are well known from the Early Horizon, and there appears to be a hiatus in their use during the Early Gallinazo Period. Bottles with strap handles occur exclusively in both the Middle and Late Gallinazo periods as well. The transition between the Middle and Late phases is marked by a change in rim form, a refinement of their manufacture, and an expansion of decorative techniques, used. Bowls Bowl 7: (Figure 45)3 Steep sided incompletely oxidized redware bowls that may have black smudged interiors. Diameter at lip is 24 em., and both the interior and exterior surfaces are polished with incomplete coverage. Bowl 8: (Figure 45) Bow 8 isa vessel with a sharp basal angle that is black smudged and polished on its exterior surface, and a scraped interior. Paste is fine, walls are thick and expand towards the rim. ‘This is a unique form that is represented by a rimless fragment. Bowl_9: (Figure 45) A well formed bowl that has a 9.9 em, lip diameter, it is 6.3 em. tall, and its rim is at a 66 degree angle. The bowl is slightly bell shaped, it is made of an incompletely oxidized redware, that has fire clouding, and is tempered with fine quartz, The surface of this unique vessel is wiped (Site CA 10C grave 2C) Bow! 10: (Figure 45) This bowl is very unique in the collection in both form and decoration. It is a pedestal base bow! that has rim that s has an exterior bevel, and a slight thickening on the interior side that is a product of the pushing down of the rim to form the bevel ‘The rim has three groups of inc jons on the rim, two groups have four incisions, and ‘one group has five. Under two groups of the incisions there are parallel rows of four punetations, and on one side the is a very unusual figure. the head has a modelled brow and nose, the nose is rectangular and has four punctations on it. the eyes are incised slits and the mouth is an incised smile. There are punctations under the nose,34 oon the cheeks, and on the chin, there is also an extension of the applique brow, that seems to end in hand with two incised digits. The diameter at the rim is 15.5 cm., the vessel height is 6.8 cm., the rim angle is 76 degrees, the base angle is 64 degrees. ‘The paste is very dark grey 2.5YR-N3, it is reduced and it is tempered with very coarse sand. The exterior is polished with incomplete coverage, the interior is irregular, and polished with incomplete coverage as well (site V-252, grave 7, catalogue #186117, Peabody Museum of Natural History, Yale University). Bowl 11: (Figure 45) Open bowl with flattened rim that has dimpled bowl base. ‘The rim is decorated with a pattern of triangular and square punctations, Diameter at the lip is 16.2 em. the vessel height is 9 cm., and the rim angle is 81 degrees. Paste is light red 2.5YR-6/6, it js fully oxidized, and it is tempered with very coarse sand (site V-252, grave 8, catalogue # 186115, Peabody Museum of Natural History, Yale University) Large Bowls Large bowl 4: (Figure 46) Unique vessel that is an incurving bowl with a flattened and bevelled lip. Diameter at the mouth is 30 cm.* The paste in an incompletely oxidized redware that may have a red slip on their interior. Temper is coarse sand. This is. the transitional form that became the Moche the incurving lipped jars. The Moche incurving lipped jars “This vessel form was created as part of our original sequence (Fogel n.d).We now suspect that this may not be a fragment of a bow, but rather it may be a rim fragment ‘om an olla. It will remain in this category until we expand our Vind Valley sample.55 replaced appear to have the Flaring necked jars in the coarse ware inventory; they appear in similar frequencies and context during Moche period. Corn Poppers Com Popper 1: (Figure 46) This form is a fully oxidized redware com popper with carinated body of which two are present in this collection. ‘The mouth diameter ranges are 5.8 and 9.5 em. The handles are incomplete, the exterior on both vessels are polished. Their tops are very smooth and the bases have deep polishing scars. The interiors are scraped, and the paste is tempered with very coarse sand. The height of these vessel from base to lip are 11.4 em. This form is well known from Moche cultural contexts, but were also present during the Late Gallinazo period. ‘Their absence during earlier periods suggests that this may be a Late Gallinazo horizon marker, but their scarcity, suggests that this be left an open question. (CA 10C grave 2E, catalogue #10/2798; 48/9762, Amer n Museum of Natural History). Duck Shaped_Jars Duck Shaped Jar 1: (Figure 46) ‘This asymmetrical pot comes to a point at one end, and a handle on the ‘opposing side of the neck, There are two vessels of this form in the sample, both have thick encrustation of fire blackening. One of the specimens has a badly eroded neck, the diameter of the mouth of these vessels are 8.5 and 12 cm. ‘The paste is tempered with coarse to very coarse sand, and the surface color of both of these36 vessels are on the brown side of the red color scale ( 2.5 yr-5/6 red, 2.Syr-6/4 light reddish brown). The height on one vessel is 13.2 em, and the other is 14 em. The rim angles are 85 and 75 degrees respectively. ‘The vessel that has a 75 degree rim angle, is decorated with a series of 4 lines of rectangular punctations that radiate from the tail on in four opposing directio . to about a third of the way up the body to the vessel's neck. (Grave 5 site V-252 catalogue #186089, Peabody Museum of Natural History, Yale University, 590-4 55A/186089, Peabody Museum of Natural History, Yale University). Late Gallinazo in date. Double Bowls with Strap Handles Double Bowl with Strap Handle: (Figure 46) This is a vessel with two joined bowls that have a strap handle that straddles their rims at the center join, The smaller side is a bow! of 6.6 em. in diameter the ‘other measures 7 cm, in diameter. The height of the vessel at its tallest point is 8 em. ‘The vessel has a wiped surface and is fully oxidized 2.5YR-64-6/6 redware with fire clouding. These appear to be two joined collared jars which would make this vessel date to the Late Gallinazo Period. Another vessel of this type was recovered by Bennett in 1936, it is in the collection of the Museo Nacional de Anthropologia ¥ Arqueologia in Lima (Grave 4 Site V-252: 66A/186090 Peabody Museum of Natural History, Yale University; Collier 1955: 66. V-303, grave 4). Face Necked Jars Face Necked Jar 2: (Figure 47)7 This jar has an asymmetrical face with round incised eyes that have a punctate center, a modelled and punctate nose, an incised smiling mouth, and modelled ears. The eyes tend to be more characteristic of bird vessels in this collection than face necked jars. The jar is made of an incompletely oxidized redware that is tempered with coarse sand. The rim of this ve:.21 is very poorly preserved, the approximate diameter at its lip is 9.2 em. Exterior surface is polished with complete coverage. (site CA 10C grave 4B, catalogue #9752 American Museum of Natural History). Face Ne ced Jar 3: (Figure 47) This jar is very unusual because the neck has a form of a bulge collar except that it is decorated with facial features rather than the pushed out areas and punctations that are usually found on this form. ‘The diameter at the mouth is 6.5 em., and the paste is red tempered with very coarse sand and grog, ‘The face has a modelled nose with punctate nostrils, eyes and mouth are incised, and the ears are ‘modelled and punctate. The body is round with a slightly flattened bottom, ‘The height of the vessel is 16.4 em. (site V-252, grave 2, Catalogue Number 186074, Peabody Museum of Natural History, Yale University; Collier 1955: 66, V-303, grave 4), Face Necked Jar 4: (Figure 47) This jar is rimless, it has a modelled nose with punctate nostrils, an mouth, and incised diamond shaped eyes. The ears are modelled and large. The body is globular and the base is flattened. ‘The surface is polished and the coverage is38 incomplete. ‘The paste color is reddish brown SYR-5/4 (catalogue #186096, Peabody Museum of Natural History, Yale University). Face Neck Jar 5: (Figure 47) of its ri so This vessel is missing the upper pot is not possible to determine the exact form, It has the features Face Necked Jar | of the Middle Phase. It has doughnut eyes, a modelled and punctate nose, and an incised small, modetied and punctate ears. ‘The rim form however, appears to be different than the Middle Phase form, it appears to be taller. Once again this vessel appears to be on the cusp between the Middle and Late Gallinazo phases. The body is globular, the paste is red 2.5YR-5/6, and the temper is medium sand (Site V-157A, grave 607, Peabody Museum of Natural History, Yale University). Face Necked Jar 6: (Figure 47) This jar has loop handles at the base of the neck, a rim angle of 83 degrees, and a rim diameter of 10.5 em, The eyes on this vessel are very unusual in that they are a combination of doughnut and coffee bean eye features. The applique that forms the eyes is oval, there is punctate center, and a punctation\incision at either end of each of the eyes. It has modelled eyebrows and cheeks. ‘The nose is modelled and has punctate nostrils, and the mouth is two long dashed incisions that form a smile. Its ears are inset, modelled and have three punctations, the base of the vessel is slightly flattened. Paste is red 10R-5/6, and is tempered with coarse sand. This vessel dates to the very end of the Late Gallinazo period, it shows a good deal of influence39 from the Moche Valley, (site V-164B, unnumbered grave, catalogue #185979, Peabody Museum of Natural History, Yale University). Review of Face Necked Jars: The Late Gallinazo phase marks a broad expansion of the forms of Face Necked Jars. Middle Gallinazo forms are better made and are more standardized than later forms. Late Gallinazo Face Necked Jars may be constructed in a haphazard manner. ‘The faces of the late forms are not only different in technique, but also are placed on a larger variety of forms. The doughnut shaped ey s frequently found on Middle Gallinazo forms continue but punctate, incised, and pushed in areas are frequently used as well. Flaring Necked Jars with Bevelled Rims ENJBR 2: (Figure 48) This unique vessel s very close to a cup in proportions. ‘The diameter of mouth is 10 cm. the paste is red and tempered with very coarse sand. The paste is incompletely oxidized, may be a very Late Gallinazo vessel. (Site V-252, grave 6, catalogue #186102, Peabody Museum of Natural History, Yale University). Flaring Necked Jars with Rounded Rims Flaring Necked Jar with Rounded Rim 5: (Figure 48) Vessel similar to form 2A of the Middle Phase in that they both show strong, Callején de Huaylas influences. Jar has a lip that may be 10.5 to 21 cm. in diameter, and it flares to a from a 59 to 65 degree angle.60 This vessel is 18.8 cm. tall, it has a 59 degree rim angle. it is negative painted on its shoulder, and it has a carinated body and a flat base. The diameter at the mouth is 10.5 em, itis polished with complete coverage, and it had a red paste. ‘The vessel ‘was heavily reconstructed, so that I was unable to determine a number of important characteris A second vessel of this type was found that is 22 cm tall, has a rim angle of 65 degrees, and is covered with a white slip LOYR-8/2. two applique nubbin adornos, on set on either side of the vessel. The diameter at the mouth is 12 em., the paste is an incompletely oxidized redware that has fire clouding. and is tempered with sand with a high quartz content, and calcite. (V-164A, grave 2, catalogue # 185991, 525-2, Peabody Museum of Natural History, Yale University). A third whole vessel of this form has a rim angle of 60 degrees, and a diameter at the mouth of 10.3 em, ‘The vessel height measures 13.6 em, and the exterior is, light red 2.5YR-6/8 with fire clouding. The surface is coarsely burnished, and has a singular applique nubbin on its shoulder. ‘The paste is tempered with very coarse micaceous sand (site V-164A, grave 11, 535-11, catalogue #186012, Peabody Museum of Natural History, Yale University). A fourth whole vessel of this type was found, it has a rim angle of 58 degrees, a height of 18.5 cm. and a diameter at the mouth of 10.6 em. ‘The exterior is light red, 2.5YR-5/8, it has a modelled solid adomo with punctate eyes and nostrils. ‘The paste is completely oxidized, and is tempered with very coarse sand and calcite. The61 vessel is poorly made, and is asymmetrical (site V-164D, grave 4, 578-4, catalogue #186059, Peabody Museum of Natural History, Yale University). ENIRR 5: (Figure 48) FNIRR 5a is a subtype of vessel FNIRR because it is identical it except that it flares to a 70 degree angle just below the lip and that the lip diameter may be as small a 9.3 em. A slight thickening may occur at the lip as well. The one nearly complete form has a squat body with proportions that make the jar appear wider than itis tall (CA 10C; grave 3A), ENURR SI (Figure 48) This jar is a miniature version of the two above, with a height of 9.4 em. a rim angle of 69 degrees and a lip diameter of 7 em. The paste is reddish brown SYR-5/4, it is tempered with fine sand, and the surface is polished with complete coverage. The vessel is very asymmetrical, the base is rounded and very thick, measuring 1.4 em (site V-I64A, grave 5, 525-5, catalogue #185999, Peabody Museum of Natural History, Yale University). ENIRR 6: (Figure 48) Tall necked jars with nearly vertical rims, set at an 85 degree angle. Diameter at its mouth is 34 cm, the neck is very irregular in thickness and contour. Past may be incompletely oxidized, tempered with coarse sand, fire clouded on the exterior and smudged on the interior. Elaring Necked Jars with Tapering Rims Flaring Necked Jar with Tapering Rim 6: (Figure 48)62 Flaring necked jar with nearly vertical rim and double drilled holes, probably. used for hanging the vessel. Diameter at the mouth is 12 em, ‘The jar flares out to a 12 degree angle just before the lip. The holes were drilled from the outside when the clay was stil plastic. The paste is fully oxidized, it may have a white slip and be polished with incomplete coverage, ENJTR 7: (Figure 48-49) ‘These vessels have necks that are set at a 43 to 63 degree angle, and are extremely well made and even in thickness. These redware vessels are tempered with fine sand, or quartz, surface may be wiped, or white slipped and polished. Mouth diameter ranges between 10 and 24 em. ( new additions: Site V-164B, grave 3, catalogue #186027 and 186031, Site V-164D, grave 3, catalogue #196052; Peabody Museum of Natural History, Yale University; site V-252, grave 4, catalogue #186084, Peabody Museum of Natural History, Yale University). 2 whole vessels of this type have unusual decor features, they have twin adornos placed side by side. One of these vessels (catalogue #186032) has two flat roughly triangular adornos that have three punctations that seem to form a face (V- 164b, grave 3, 576-6, Peabody Museum of Natural History, Yale University) Another whole vessel of this form has an unusual combination of decorative features, it has a tall adorno that extends 2 em, form the vessé shoulder and it has 7 pushed out areas that are located about half way between the neck join and the base. The adorno is a bird head with punctate eyes, punctate nostrils and an incomplete beak. The rim angle is 60 degrees, the diameter at the lip is 12 em. and the vessel is63 20 em. tall. The vessel’s base is flattened, its paste is light red 2.5YR-6/6, and it is tempered wit coarse sand that has a high basalt content, ‘The paste is fully oxidized, and the surface is polished with complete coverage (site V-164C, grave 2, 577-2, catalogue # 186042, Peabody Museum of Natural History, Yale University) The most distinctive of this type of vessel has a white slip painted neck and a zig-zag pattern that runs vertically around the body. The body is teardrop shaped with a very wide soft JX near the base. There is a modelled adorno that has an incised ‘open mouth, and punctate eyes. The base is slightly flattened (site V-164B, grave 5, catalogue #186042, Peabody Museum of Natural History, Yale University). ENJTR 8: (Figure 49) Fully oxidized redware that is tempered with medium to coarse sand, and mica or micaceous clay may also be used. ‘The surface may be polished or wiped and the diameter of the mouth ranges from 20 to 22 cm, ENJTR 9: (Figure 50) Tall necked vessels that range from 7 to 12 em. in height from the join with the body. Rim angles cluster at 70 and 80 degrees, with at single example that flares out to 60 degrees just before the lip. Most of the vessels have irregular undulating necks. ‘The single whole vessel of this type has a body that has a very broad shoulder, and a slightly flattened bottom (site V-252, grave 3, catalogue #186083, Peabody Museum of Natural History, Yale University). It is identical to those above except in cone detail; the necks are more vertical, and are set at a 74 to 78 degree angle. The64 diameter of the this form at its mouth is 10 cm. One of these vessels has a low relief adorno, that has punctate eyé 's, and an broadly incised mouth, that has a very skeletal appearance. Paste color is reddish brown (2.5YR-5/4) (site V-252 grave 6, catalogue #186107; Peabody Museum of Natural History, Yale University) ENITR_10: (Figure 51) Small vessel with squat well formed rim set at a 60 to 65 degree angle. Rim diameters are 7 to 10 cm., fully oxidized redware tempered with micaceous sand or medium quartz. A whole vessel of FNJTR 10 (Figure 51) was recovered this vessel is 12.3 em. tall, and has a rim angle of 65 degrees. The diameter at the mouth is 7 em., the exterior has a great deal of fire clouding but it is also decorated with negative painting. ‘The exterior of the vessel is polished and the interior is scraped. The vessel is well formed and heart shaped. (CA 10C grave lot 3B, American Museum of Natural History, V-252, grave 3, catalogue #186080, Peabody Museum of Natural History, Yale University). A second whole vessel FNJTR 10 (Figure 51) was found in a child’s grave. ‘This vessel is 11.5 em. tall, and has a rim diameter of 7.4 em, ‘The rim angle is 60 degree: sa well formed globular jar, that has 8 applique and notched strip running from its shoulder to its base. The surface of this vessel is wiped and there is an adorno that has punctate eyes, and 3 inci in the jons that are oddly placed, one ‘ion, and one of the other two runs across the figures forehead. The past is65 fire clouded and ranges in color from pale red (10R-5/3 to dark reddish grey (1OR- 3/1), the temper is a high quartz content micaceous sand. A note on the decoration of this vessel: these applique and incised bands occur virtually exclusively in the Middle Gallinazo period. It appears that this vessel is very carly in the Late Gallinazo period, it represents the narrow tip of a battleship shape curve of frequency (Site V-157A, a child’s grave labelled 607, catalogue #185968, Peabody Museum of Natural History, Yale University). ENJTR 10: (Figure 51) Similar to those above in every way except that the decoration consists of a single nearly flat adorno that has punctate eyes, and a single punctation that indicates its mouth. ‘The rim angle is 60 degrees, its diameter is 6 cm. The vessel height is 12.6 cm., paste color red 2.5YR-5/6, temper:medium basalt and calcite, the surface is polished with incomplete coverage, and the base nearly pointed (site V-164B, grave 2, 576-2, catalogue #186025, Peabody Museum of Natural History, Yale University). ENJTR 1: (Figure 51) Flaring necked vessel with squat nearly vertical rim; precursor to the Moche collared jar. Paste is incompletely oxidized redware tempered with very coarse quartz. All surfaces have white slip, exterior is polished, diameter at the lip may range from 30 to 34 em. ENJTR 12: (Figure 51) Jar has a rim diameter of 7.7 em., and the vessel height is 13.4 cm. It is polished and a fully oxidized redware, that is tempered with medium quartz grains.66 Bottom is flattened, the vessel is decorated with a tall adorno with punctate features, the body is a flattened heart shaped vessel. Strong Recuay influences in rim and body form, rim angle is 50 degrees, Late Gallinazo in date. ENJTR 13: (Figure 51) This jar has a very sharply everted rim that flares out at a 36 to 40 degree angle, the diameter at the mouth is 8 to 9.8 em., and the paste is a fully oxidized redware with fine to medium sand temper. The surface may be polished with incomplete coverage. Each example has an applique adomo with punctate eyes, and an incised nose and mouth combination, or a flat adorno that has punctate eyes nose and mouth. These vessels are complete and stand 13.7 to 14.2 em. tall, and have globular bodies. This rim form is very unusual for a Gallinazo piece, its form and rim are Recuay influence. (Site V-252, grave 2, catalogue #186076, Peabody Museum of Natural History, Yale University). ENJTR 13a: (Figure 51) ‘A miniature version of the vessel above, with a less dramatic rim flare at 53 degrees. The diameter of the mouth is 5 cm. itis a whole vessel that is 7.1 em. tall. ‘The paste is red (2.5YR-5/6) with negative paint design and medium quartz temper. Like those above a single adorno is present that has punctate eyes and nostrils. The body is globular with a broad shoulder and has a slightly flattened base (Site V-252 grave 4, catalogue #186088, Bennett's 1946 excavation, ENJTR 14: (Figure 52)or This vessel has a rim that flares dramatically to a 50 degree angle. The only example of this type is a whole vessel that has a body that is flattened in profile, and that is 24 cm. tall. The paste is red 2.5YR-5/6 and fire clouded. The vessel’s surface is polished with incomplete coverage. ‘The diameter at the mouth is 1] em. There is. a modelled bird head adorno near the base of the neck, the adomo has punctate eyes and incised nostrils, The bottom of the bottle is flattened (site V-252, grave 2, catalogue #186078, Peabody Museum of Natural History, Yale University). ENITR 15: (Figure 52) This vessel has a carinated body and sharply flaring rim that has an angle of 51 degrees. The rim is very well formed, and the diameter of the mouth is 4.3 cm. The paste is light reddish brown 5YR-5/6, the surface is wiped the base is pointed. One side has a modelled conical adomo 7, and the other side has a modelled animal with huge eyes that are made in the doughnut style, modelled ears, punctate mouth, punctate spots on the body, inci d fingers and toes, and a long pointed tail that is covered with punctations, The temper is medium sand (site V-164A, grave 8, catalogue number 186006, Peabody Museum of Natural History, Yale University). ENJTR 16: (Figure 52) This vessel has a short neck, and is very close in form to collared jar. ‘The body of this vessel is tall and ovoid, and shows definite Recuay influence. The angle of the rim is 63 to 70 degrees, the diameter of the mouth is 8 to 9.5 em, and the vessel is 12.5 to 17.2 em tall. It either has no decoration or it has a bird head aderno that has a flat squared off bill reminiscent in position to pelican adomnos that areon present in the collections from Huanchaco in the Moche Valley. The paste is fully oxidized red 10R-S/6, and it is tempered with coarse sand that has a high quartz and basalt content or fine quartz (V-164B, grave 5, 576-5, catalogue #186040, V-252. grave 3, catalogue #186081, both from Peabody Museum of Natural History, Yale University). ENJTR 17: (Figure 52) This jar has a neck that is set at a 68 degree angle, and the vessel is 18.8 em tall. Its adoro is so unusual that it merited its own category, it is adoro 10, The paste is yellowish red SYR-5/6 and it is tempered with very coarse sand with pebbles, calcite, mica, and basalt. The body is globular in shape with a rounded bottom. This jar comes from a child’s grave that has many unusual vessels within it (site V-164C, grave 1, 606, catalogue #186069, Peabody Museum of Natural History, Yale University). Review of Flaring Necked Jars ‘The patterning of this form of vessel over the three Gallinazo phases is a gradual progression from a nearly vertical neck to a more out-flaring form from the Early to the Late Gallinazo phases.69 Early phase 70 to 80 degree angle Middle phase 50-70 degree angle Late Phase 39 to 70 degree angle (with a majority clustering between 39 and 60 degrees) I believe that this move to a more out flaring form is a product of contact with the Recuay culture of the Callején de Huaylas. This strong influence appears during the Middle phase when, by no accident the negative painted technique first appears in the Gallinazo assemblage. The preceding Puerto Moorin culture of Vir, and the Huaraz culture of the Callej6n de Huaylas shared many traits and forms including the white~ on-red painting technique, as did many other cultures during this time period including the Salinar culture of the Moche Valley. Consequently it is difficult to directly link Vird with the Callején de Huaylas during the preceding period. However, the co- occurrence of the conquest of the Santa Valley and the adoption of Recuay attributes does suggest a clear path from Vird to the Callején de Huaylas region, Ita so brings the question of the temporal relationship between these styles into question. I strongly suspect that the forms that are diagnostic of the Moche I and I phases are actually ceramic components of the Late Gallinazo phase, and that the Moche Polity is established during what is now called Moche Ill. The C14 dates for the Recuay culture, and the clear influence of this style on the Gallinazo assemblage further strengthens this argument in the absence of C14 dates for the Gallinazo culture Flaring Necked Jars with Flattened Rim Flaring Necked Jar with Flattened Rim 1: (Figure 52)70 ‘A Unique vessel that is made of a red paste tempered with very coarse. sand, ‘The diameter at the mouth is 14.2 em, and the rim angle is 80 degrees. ‘The height is 22 em. the body is globular the base is very slightly flattened. ‘There is a slight groove in the-rim, which is a diagnostic trait of the Late Gallinazo Period (site CA 10C, grave 1D, catalogue #9710, American Museum of Natural History). Flaring Necked Jars with Loop Handles Flaring Necked Jar with Loop Handles 1: (Figure 52) ‘These jars have a have a flat rim with an angle the ranges from 63 to 67 degrees, and a pierced loop handle situated at the join between the neck and the body. The diameter at the lip may be 6 to 8.2 cm., and the height ranges from 8 em to II cm, ‘The paste is a fully oxidized red ware (SYR-5/4)that is tempered with medium sand and is polished with incomplete coverage. A White slip may be present (IOYR- 8/2) the body is squat with a flat bottom or rounded bottom (catal American Museum of Natural History). Flaring Necked Jar with Loop Handles 1a: (Figure 52) A whole vessel of this type is present in the collection it is identical to the requirements for form one with the exception that the rim tapes to a point. The diameter at the mouth is 7 cm., its height is 10 cm., rim angle is 65 degrees, and the exterior is polished with incomplete coverage. The past is fully oxidized and yellowish red SYR-6/6 in color and is tempered with very coarse sand. (Site V-164B, grave 2, 576-02, catalogue #186019, Peabody Museum of Natural History, Yale University),1m Flaring Necked Jar with Loop Handles 2: (Figure 53) ‘This form is represented by a single vessel that has a loop handle at either side of its neck, a pedestal base, and a carinated body. Diameter at is mouth is 11.7 em. vessel is incomplete its rim angle is 60 degrees. The fully oxidized redware is tempered with coarse sand. It was the only vessel interred with a flexed burial. The vessel and the body position suggest strong Recuay influences (grave CA 10C 3D). Flaring Necked Jar with Loop Handles 3: (Figure 53) This type of jar is distinguished from those above because of its more vertical neck the rim angle is 71 to 74 degrees, and the fact that the vessel’s body is flattened in protile, The paste is a fully oxidized red ware that is tempered with medium sand, and may have a white slip. Rim diameter 10.3 om., the height of the vessel is 13.9 to 24 em. Flaring Necked Jars with Squat Tapering Rims Flaring Necked Jar with Squat Tapering Rim 1: (Figure 53) This jar was set aside as a separate form because of the fact that is has pairs opposing drilled holes. ‘The rima angle is 55 degrees the vessel height measures 10 cm. and the diameter of the rim is 6.3 em. it is a complete vessel with an ovoid body. It is made of fully oxidized paste and is tempered with coarse sand. Found in association with stirrup spouted bottle 3, Flaring Necked Jar with Squat Tapering Rim 2: (Figure 53) This is a late Gallinazo form that might better be called a collared Jar the rim is only 1.3 em. tall. The vessel is 11.7 em tall, and has a mouth diameter of 7 em.n ‘The paste is light reddish brown 2.5Y-6/4, and the surface is polished with incomplete coverage. The paste is also incompletely oxidized and tempered with coarse sand jars with Bulge Collars Jar with Bulge Collar 1: (Figure 54) This jar has an interior bevel, and marks the first appearance of the form that becomes one of the most common Moche forms, It replaces the Flaring Necked Jar with Tapering Rim of the Gallinazo period in the Moche ceramic inventory. In other words after the Gallinazo-Moche transition this vessel form becomes the most common form in the domestic ceramic inventory. The mouth of these vessels are 10) and 10.2 cm, in diameter, they have a fully oxidized red paste that is tempered with very coarse sand, and it is unpolished. I have seen hundreds of examples of this vessel form in the collections of the Chan Chan-Moche Valley project, and Donnan’ collections from Huanchaco that date to the Moche period, as well as in Donnan’s (1976) Santa Valley report. (catalogue #60/9740, American Museum of Natural History). Jar with Bulge collar 2: (Figure 54) This vessel is an effigy jar of a person with a trumpline that appears to be hauling the pot itself. It measures 12.7 cm. at its lip. its rim tapers to a point after the bulge of the collar. It ia made of a negative painted redware that is tempered with very coarse quartz and sand. It has a modelled form. with a head and arms that protrude off the vessel at its neck and shoulder, the fi ure has a trumpline around its forehead and in its hands. It has punctate eyes, mouth, and hands, it also hasB doughnut shaped appliques set into its deep eye sockets? (62/3878; Strong and Evans 1946 excavations at V-163). Jar with Bulge Collar 3: (Figure 54) This jar is defined both on the basis of form and decoration. It is composed of sof a globular, and/or carinated body, a bulge collar that is decorated with a se! pushed out areas with or without incision, a flattened rim that has a slight external thickening with a single row of circular or triangular punctations that are closely spaced. The diameter at the mouth ranges from 4,2 to 5 cm. exterior of the vessel is, polished fully oxidized redware tempered with very coarse or coarse sand, body bay be slightly carinated and the base may be slightly flattened, height 11.1 em. Paste color is 10R 5/6 (site CA 10C grave 2B, catalogue #41/9718, American Museum of Natural History; Grave 4 Site V-252; 67 A/186094 Peabody Museum of Natural History, Yale University) Jar with Bulge Collar 3a: (Figure 54) This jar is a variation on the type above, it lacks the rim flattening and decoration, and adds two crescent shaped adornos on opposite sides of the shoulder. ‘This vessel is also a larger version of the this jar form, its height is 20.5 em, the rim diameter is 8.8 cm., and its base is slightly flattened. The paste is red 10R-5/6 with fire clouding, and it is tempered with very coarse micaceous sand and shell. The °1 have seen a Moche Vessel in a private collection ont he area of Huaca el Dragon that has exactly the same motif executed completely in the Moche style."4 surface is polished with complete coverage (site V-164C, grave 1, 606, catalogue #186067, Peabody Museum of Natural History, Yale Univer Jar with Bulge Collar 4: (Figure 54) Jar has incurving rim, and is decorated with pushed out areas that have incised florets. Diameter at the mouth is 6 em., and the rim is set at a 45 degree angle. The paste is brown, and the temper is very coarse sand. Four of these identical vessels were interred in Grave 3 site 164B (catalogue numbers 186933, 186016, 186017, 186018, Peabody Museum of Natural History, Yale University). Four vessels that were a slight variation on this vessel form were interred in Grave 2 a site V-16B as well (the catalogue numbers of these vessels were 186021, 186022, 186023). These vessels ranged in height from 9.7 to 10.3 em., their rim diameters were 4, 4.5, and 4.8 cm, and each of the florets that decorated the pushed out areas consisted of 2 triangular incisions. Miniature Flaring Necked Jars with Bevelled Rim Miniature Flaring Necked Jar with Bevelled Rim 1: Thi Figure 54) jar is 5.9 cm. tall, has 4 pierced holes on its neck, situated in two ‘opposing pairs. The holes were made prior to firing when the paste was still plast ‘The surface of this vessel is polished with incomplete coverage. The jar’s bevelled lip is angled towards the exterior, the diameter of its mouth is 3.8 cm. ‘The vessel is very well made, and it is tempered with coarse calcite, and micaceaus sand (site CA 10C grave 3H, catalogue #58/9748, American Museum of Natural History) Restricted Jars with Sculpted Shoulder5 Restricted Jar with Sculpted Shoulder 1: (Figure 54) Restricted Jar with Sculpted Shoulder 1 is a fully oxidized redware vessel that has a double shoulder, and a diameter at its mouth that measures 28 em. The lip of the vessel is slightly flattened but has a rounded exterior edge. Restricted Vessels with Flattened Rims RYWER 4: (Figure 55) This vessel form are fully oxidized redware vessels that are tempered with very coarse sand. The diameter at mouth ranges between 26 and 28 em. and the neck walls widen at the lip and then are flattened. RYWER 5: (Figure 55) ‘These vessels are made of incompletely oxidized redware that is polished with incomplete coverage. Interior has a red slip, and the lip is black. The body is 6 mm, thick and it broadens to 1.1 em, at the lip. Paste is coarse and tempered with quartz and basalt, The lip is bevelled on the interior, the exterior contour is very smooth, the broadening occurs in the interior. Diameter at mouth is 30 em. Review of Restricted Vessels with Flaring Rims The form of these vessels during the Late Gallinazo phase is extremely distinct from related earlier forms, and consequently is very diagnostic, The marked interior flare of these vessels is clearly different than the Early and Middle Gallinazo phase forms. Straight Necked Jars Straight Necked Jar 3: (Figure 56)16 A unique vessel that has a straight neck that angles slightly inward to a 78 degree angle, and has a nearly perfectly round body. The diameter of the mouth is 9.7 com, the paste is a fully oxidized red ware that is tempered with very coarse quartz. ‘The neck is decorated with a pattern of 4 vertical bands of ci ‘ular punctations, that are approximately 7-12 in a row. these bands surround the entire neck of the vessel. Vessel height is 26.7 em. Suaight Necked jar 4: Figure 56) The rim of this vessel is absent, the diameter of the mouth can be approximated at 9.2 em. ‘The body of this jar is almost perfectly round, the bottom is slightly flattened. The paste is completely oxidized redware, that is tempered with very coarse sand and calcite. There are 2 opposing round flat applique nubbins on the vessel's shoulder, the height is 21 cm. and the rim angle is 82 degrees (site CA 10C grave II catalogue #9712, American Museum of Natural History), Straight Necked Jar 5: (Figure 56) ‘These jars have rims that range from 5 to 6.9 cm. in diameter, they range in height from 10.5 to 13.7 cm, ‘The surface may be polished or wiped, the bodies are globular, and their bases are all slightly flattened, the redware paste is frequently fire clouded, and the temper ranges from coarse to very coarse sand. ‘The rim angle ranges from 88 to 90 degrees. ‘The lips of all these vessels are flattened, In burial 4G at site CA 10C (V-163) where their is a pair of these vessels, they are very close in size and are both unpolished. (site CA 10C grave 2C). Straight Necked Jar Sa: (Figure 56)1 This form is represented by a single jar that is a miniature version of the Straight Necked Jar 5. The rim angle is 84 degrees, the vessel height is 9.5 em., and the diameter at the mouth is 4 em, The vessel is red SYR-5/4 the surface is fire clouded, the temper is very coarse sand with a high basalt content, The body is globular and the base is very slightly flattened, the rim is rounded (site V-252 grave 4, catalogue #186087, Peabody Museum of Natural History. Yale University). Straight Necked Jar 5b: (Figure 56) This single jar is extremely si ilar to Straight Necked Jar 5 with the exception that it is larger is all diameters. ‘There are four of these vessels included in a single grave V-154B grave designation 620, and they differ slightly in rim angle and dimensions. All four of the jars have straight necks with flat rims, but one of them has a profile that is closer to a jar with a bulge collar. The rim angles are very close there is one that is 88 degrees, and the other three are 90) degrees. The heights range from 18.8 to 20.3 em., and the bases are all rounded. All the vessels are fire clouded red in color, and are 2.5YR-4/8, 10R-4/6, and two are 10R-5/6. All of the vessels are tempered with very coarse sand, two have a very high basalt content. ( catalogue #'s 185976, 185977, 185978, 185979, Peabody Museum of Natural History, Yale University). Straight Necked Jar 6: (Figure 56) This jar form has a diameter at the mouth that ranges from 8.6 cm. to 9.7 em. and a vessel height that may be 19.8 cm. ‘The rim is rounded and the interior may be very uneven and undulating in profile or extremely even. The rim angle is 85 to 878 degrees, the paste is reddish brown 2.5YR-4/4 or light red 2.5YR-6/8 the temper is not visible on one of the vessel the other is tempered with very coarse sand. One of the vessels has a pelican head adorno that has a long modelled beak and punctate eyes closely related to materials from Huanchaco in the Moche Valley ( site V-164B, grave 5, catalogue #186039; site V-252, grave 11, catalogue #186122, Peabody Museum of Natural History, Yale University). Straight Necked Jar with Loop Handles ‘Straight Necked Jar with Loop Handle 1: (Figure 57) This jar has a diameter at the mouth that measures 5.8 cm., there are two pierced loop handles that extend three quarters of the way up the neck. ‘The vessel height is 11.3 om, and the neck angle is 90 degrees. ‘The paste is reddish brown 2.5- 5/6 it is fully oxidized and is tempered with very coarse sand (site V-252, grave 10, catalogue #186120, Peabody Museum of Natural History, Yale University), Straight Necked Jars with Everted Rims Straight Necked Jar with Everted Rim 1: (Figure 57) ‘There are four examples of this form in the collection. ‘This form is a transitional Gallinazo-Moche vessel form that is well made, and all but one of the examples have white positive painting executed in a geometric pattem including an alternating positive and negative step motif. It has four drilled holes 2 pairs on opposite sides of the neck. It is fully oxidized and it is tempered with very coarse sand and calcite. Diameter at mouth is 7.6, 8 em, 8.3, and 11.2 cm, ‘The rim angle is 85, 86, 88 and 90 degrees, and the heights of these vessels is 14.5, 15.4, 15.6 and9 21.6. All of the vessels of this form are unpolished, and fit into Bennett's (Ford's) Puerto Moorin white on red category. The rim form, originally led us to believe that it was actually a Gallinazo-Moche transitional piece. The grave lot associations confirmed this to be the case. In all of the examples of this form, the paste is tempered with coarse sand. (site CA 10C grave 3A, catalogue #33/9738: 59/9739, American Museum of Natural History). Straight Necked Jars with Sculpted Shoulders Straight Necked Jar with Seulpted Shoulder 1: (Figure 57) The rim angle of this vessel is 87 degrees, and the vessel height is 16.4 em. The diameter of the mouth is 8.5 em., the surface is polished with incomplete coverage. The paste is yellowish red (SYR-4/8), itis fully oxidized, and it is tempered with very coarse high basalt sand with calcite. The shoulder of this vessel has a pushed out ridge at the shoulder, the body is tubular, and the base is slightly pointed, and then flattened at the tip. (Site V-252 grave 4, catalogue #186085, Peabody Museum of Natural History, Yale University). Unrestricted Vessels with Flattened Rims ied Vessels Unrest jth Flattened Rim 1: (Figure 58) Unrestricted Vessel with Flattened Rim 1 are made of redware and are tempered with very coarse sand. The rim of t form is horizontal and flattened, and there is a concavity at about the midpoint of the rim. This Vessel surface may or may not have a red slip, diameter at the lip ranges from 34-49 em. The walls arex0 nearly vertical and are set at an 80-85 degree angle. This is an exclusively Late phase form and shows up frequently in assemblages in the Vind, Moche and Santa Valleys. Unrestricted Vessels with Rounded Rims Unrestricted Ves 4 with Rounded Rim 1: (Figure 59) Vessels of this form are made of redware that is tempered with very coarse sand, The rim angle of this form ranges from between 74 to 86 degrees. Vessels with Flange WE 5: A fally oxidized redware vessel form that is a restricted bowl with flange. The paste is tempered with very coarse micaceous sand, and they have both intemal and extemal flanges. Diameter at the mouth is 24 em, and the vessel walls are set at a 60 degree angle. VWF WWF 6 is a restricted bow! with tapered and rounded external flange. The bevelled lip has a concavity near the center. Diameter at the mouth is 30 cm. and the rim angle is 80 degrees. The paste is a fully oxidized redware that is tempered with very coarse sand. Review of Vessels with Flang As will be discussed in the following chapter, vessels with flange show a clear transition to the diagnostic Collared Jar of the Moche period. The transition is marked by the angle of the flange becoming more vertical, and a disappearance of the interior thickening that is common during the Gallinazo period. It should be noted that this81 vessel form is poorly represented in the Gallinazo materials of the Vird Valley, and is more common in the collections from the Moche Valley. Neckless Ollas with Thickened Rims NOWTR 5: (Figure 59) This form has a rectangular bevelled and thickened rim that protrudes from the vessel with nearly vertical walls, The angle of the rim ranges from 75 to 89 degrees. ‘This vessel form is very similar to Middle phase form 3, except for that its rim angle is more vertical. The diameter at it the lip is between 49 and 50 em. The vessel's surface may be wiped or polished, the paste is incompletely oxidized redware that is tempered with very coarse sand. NOWTR Sa: (Figure 60) NOWTR Sa is similar to form NOWTR 5 except that the rim is smaller and the vessel is thinner. Diameter at the mouth is 38 cm., the rim angle is 85 degrees. ‘The red paste is fire blackened suggesting possible use as a cooking pot. NOWTR 5b: (Figure 60) This vessel form has a rim that is thickened and trapezoidal in section. Diameter at the mouth ranges from 36 to 49 cm, the paste is red and is tempered with sand, and or grog. Similar to form 5a except for the orientation of the NOWTR 6: (Figure 61) This form is defined by a single vessel that is the finest of this example in the collection. It is made of fully oxidized redware that has a white slip on all surfaces.x2 Lip is bevelled and the rim is rectangular; the walls straighten to 87 degrees, and the diameter at the ip is 20 em, Review of Neckless Ollas with Thickened rims ‘The changes in this form over time are extremely diagnostic. The Late Gallinazo Vessels with Thickened rim have walls that are nearly vertical, the incurving bowl of the middle phase is entirely absent. Miscellaneous Vessels This ategory was added to include rare vessels that are incomplete, usually missing their rim, but that provide enough information to be worthy of description. Misc, Vessel 1: (Figure 61) This flaring necked jar is missing its rim, so that it eannot be placed into a specific category. It has a sculpted body and an adorno, it is so unusual that it I cannot determine whether the figure represented is animal or vegetable. The vessel has two modelled "arms" that are basically 2 curved pushed out areas that are semi- lunate shaped, and cover about 75% of the height of the vessel. The adorno is also unusual in that it ‘a small nubbin that is flattened at the end, and curves to one side. The base is flattened, the paste is fully oxidized reddish brown 2.5 YR-5/4, and is, covered with a white slip 1OYR-8/2. ‘The surface is polished with incomplete coverage, and the temper is coarse sand (site V-I64A, grave 1, 606, catalogue #186068, Peabody Museum of Natural History, Yale Universit ity). Decorat83 Generally there are the addition of very few new decorative elements during the Late Gallinazo phase. Middle Gallinazo forms, however, were often employed in new an distinctive ways. For example, small conical applique nubbins are used in zoned decorative panels for the first time. Other innovations will be addressed below. Adornos Adomo 4: Figure 39) Hollow adorno made of a coarse red paste that depicts a zoomorphic figure with modelled ears, doughnut shaped eyes, modelled nose with impressed nostrils, and cane impressed mouth. Adorno (Figure 39) Fully oxidized redware that is tempered with fine sand. The head depicted is zoomorphic and is solid. It has modelled and punctate ears, modelled nose with punctate nostrils, open incised mouth, and a polished surface, Adormo_6: (Figure 39) Solid adorno that depicts a zoomorphic head made of fully oxidized redware tempered with coarse sand. Nose and ears are modelled, eyes are cane impressed. Extremely similar to type | of the Middle phase, except the it is sole in construction, and this difference may be a temporal marker. Adomo 7: (Figure 40) Solid conical adorno, diagnostic of both the Middle and Late Gallinazo phases. Adorno 8: Figure 40)84 A solid zoomorphic adoro that has modelled ears, and eyes that are incised lengthwise with a square tool. Adorno 9: (Figure 40) This adoro is attached to a jar that is nearly complete with the exception that its rim is missing. The adomo is solid, it is a bird head that has recessed eye sockets with applique circular eyes, punctate nostrils, a flat beak that is pointed and has incised bill separations. Paste color is light reddish brown SYR-6/4, and it is tempered with medium sand, Adomo 10: (Figure 41) Adorno 10 is attached to the vessel shoulder, it is nearly flat in profile, it has modelled eyebrows, a modelled triangular nose, and recessed doughnut eyes. ‘The mouth is an incised slit, and there is a pronounced forehead cleft. The adorno is also unusual in that it is tilted to one Adomo L1: Figure 41) This adorno is nearly flat it has a concave heart shaped face, modelled nose that has punctate nostrils, a incised open mouth, and doughnut eyes Gite V-252, grave 5, catalogue #186099, Peabody Museum of Natural History, Yale University). Adomo 12: (Figure 41) Tall bird head adomo with a modelled neck, the head is narrow in frontal view, the eyes are cane marked, there is a modelled beak. and punctate nostrils (site V-I64D, grave 3, catalogue #186952, Peabody Museum of Natural History, Yale University).85. A Note on Adorno Construction Until the recent field season in Perd, we did not find a fragmented hollow adorno, and thus was unable to speak to the const ruction technique of at least the largest of these adornos. While studying the Moche Valley collection we came across a fragment (Figure 101), that clearly shows the interior support construction that was used in the hollow adomos formation. The potter formed one of these adomos in a series of steps, the first step was the application of a circular hollow column, the second stage was to flatten a circular disk of clay and to place this across the opening of the hollow column, and press the dis 1. The $s middle against the body of the v« last step was the formation of the adornos exterior, this was accomplished by making a small round bottomed cup using the "pinch" technique and then joining this inverted cup to the body over the built foundation. The facial features were then incised and/appliqued to the exterior of the adorno. Broad Vertical Incis Although incision is a decorative technique that is used throughout the sequence, finger width pulls that run vertically down the side of a vessel occur only during the Late Gallinazo phase (see Figure ). Round Punctation: ‘The Late Gallinazo phase is the only time at which circular punctation was employed as a decorative technique. It was most often utilized in a zoned design in which parallel lines of punctation were grouped into quadrangles that were separated86 by frets of undecorated areas (good examples of this include Straight Necked Jar 3 figure 56, and Bowl 10 figure 45). Positive Black P: ‘There are only two examples of the use of this form of decoration in all the collections that have been studied and they both occur in at grave 4A at site CA 10C. Both of these vessels are transitional Gallinazo-Moche and positive black paint is applied in a manner that is designed to simulate negative painting (Stirrup Spouted Bottles 2 and 3, White Paint on Red: White on red paint is virtually absent throughout the three phases of the Gallinazo séquence, but it appeared towards the end of the Late Gallinazo sequence on 1 variety of forms including Straight Necked Jars with Everted Rim | (Figure 57) and Flaring Necked Jar with Tapering Rim 7 (Figure $2) Grave Lots Data The following section will provide a list of the grave lots utilized in this study and the forms that were contained within each lot. The lots will be arranged according to their temporal placement as well as their provenience. It should be noted that site CA 10C is mounds V-163 and V-152, V-153 of the Gallinazo Group site. Early Gallinazo Site 164 C grave 2 1) Flaring Necked Jar with Tapering Rim 1A87 Middle Gallinazo Site CA 10C grave lot ID 1) Restricted Vessel with Flattened Rim 2 Site CA 10C grave lot 2f 1) Flaring Necked Jar with Rounded Rim 2B Site CA 10C grave lot 2G 1) Face Necked Jar 5 with Pedestal Base 2) Flaring Necked Jar with Tapering Rim 5 with pushed out areas, that have triangular punctations surrounding them Site CA 10C grave lot 2) 1)Flaring Necked Jar with Rounded Rim 2A Site CA 10C grave lot 2L. 1) Stirrup Spouted Bottle 1 Site CA 10C grave lot 4D 1) Straight Necked Jar 2 Site CA 10 grave lot 5A. 1) Bottle with Strap Handle Site V-164 A grave 10 1) Large bow! 2 2) Plaring Necked Jar with Tapering Rim 4 3) Flaring Necked Jar with Tapering Rim 3 that has pedestal base 2, and applique and notched band decoration88 Site V-252 grave 7 1) Flaring Necked Jar with Tapering Rim 3 2) Flaring Necked Jar with Sculpted Shoulder 1 3) Jar with Carinated Bulge Collar 4) Straight Necked Jar 1a Site V-265A grave 2 1) Bowl 5A Late Gallinazo: Site CA 10C grave lot 1A 1) Bird Jar 1 Site CA 10C grave 1D 1) Flaring Necked Jar with Flattened lip 1F Site CA 10C grave lot 1 1) Straight Necked Jar 4 Site CA 10C grave lot J 1) Duck Bodied Jar 1 Site CA2 grave lot 2A 1) Bottle with Strap Handle 2 2) Flaring Necked Jar 6 Site CA 10C grave lot 2B 1) Jar with Bulge Collar 3 2) Flaring Necked Jar with Flattened Collar andx9 Loop Handles 1 3) Flaring Necked Jar 7 with Tapering Rim and Modelled Bird head Adorno Site CA L0C grave lot 2C 1) Vertical Necked Jar 5 2) Bowl 9 3) Flaring Necked Jar with Tapering Rim 12 Site CA 10C grave lot 2D 1) Bird Jar 2 2) Flaring Necked Jar with Flat Rim and Loop Handles 1 3) Pedestal Based Bird Bottle with Bridge Handle 1 Site CA 10C grave lot 21 1) Flaring Necked Jar with Rounded Rim 5 Site CA 10C grave lot 2E 1) Comm Popper 1 2) Whistling Bottle 1 Site CA 10C grave lot 2 1) Flaring Necked Jar with Rounded Rim 5 (with double Carinated body) Site CA 10C grave 2M 1) Flaring Necked Jar with Tapering Rim 12 Site CA 10C grave lot 2K 1) Flaring Necked Jar with Loop Handles 3 2) Straight Necked Jar 20 Site CA 10A Grave lot 3 1) Straight Necked Jar with Everted Rim 1 2) Straight Necked Jar with Everted Rim 1 3) Plaring Necked Jar with Rounded Rim 5a Site CA 10C grave lot 3B 1) Flaring Necked Jar with Tapering Rim 10 2) Jar with Bulge Collar { Site CA 10C Grave lot 3C 1) Flaring Necked Jar with Rounded Rim 1A 2) Double Bow! with Strap Handle 1 is drawn in the field notes, and was retained by the Museo Nacional in Lima in 1936, Site CA 10C grave lot 3D 1) Flaring Necked Jar with Loop Handles 2 Site CA 10C grave lot 3E 1) Bottle with Strap Handle 4 Site CA 10C grave lot 3H 1) Miniature Jar with Bevelled Rim 1 Site CA 10C grave lot 4A 1) Flaring Necked Jar with a Squat Tapering Rim 2) Stirrup Spouted Bottle 3. Site CA 10C grave lot 4F 1) Flaring Necked Jar with Tapering Rim 71 2) Flaring Necked Jar with Rounded Rim 5 Site CA 10C grave lot 4G 1) Straight Necked Jar 5 2) Straight Necked Jar 5 3) Flaring Necked Jar with Rounded Rim 5 4) Flaring Necked Jar with Rounded Rim 5 Site CA 10C grave lot SC 1) Corn Popper 1 2) Rimless jar that is carinated Site CA 10C grave lot SD 1) Face Necked Jar 2 2) Negative Painted Rimless Vessel Site V-154B grave number not given 1) Flaring Necked Jar with Loop Handles 1 (identical to the one in the Child burial below. Site V-157A child burial 607 1) Flaring Necked Jar with Tapering Rim 2) Bottle With Strap Handle 2A 3) Face Necked Jar 5 4) Flaring Necked Jar with Loop Handles 1 5) Bottle with Strap Handle 2 there are 7 more vessels in this grave92 Site V-IS7C grave 1 (Child Burial) 1) Bird Jar 3 2) Jar with Bulge Collar 3a 3) Miscellaneous Vessel 1 4) Flaring Necked Jar With Tapering Rim 17 with Adorno 10 Site V-I64A grave 2 1) Flaring Necked Jar with Tapering Rim 7 2) Flaring Necked Jar with Rounded Rim 5 Site V-N64A grave 5 1) Flaring Necked Jar With Rounded Rim Sb Site V-164A grave 7 1) Whistling Bottle 2 Site V-164A grave 8 1) Flaring Necked Jar with Tapering Rim 15 2) Rimless Flaring Necked Jar with 2 adornos, on is a conical nubbin and the other is a zoomorphic head with modelled ears, and incised rectangular eyes (adomnos 7 and 8). Site V-I64A grave 11 1) Flaring Necked Jar with Rounded Rim 5 Site V-164B grave 2 1) Jar with Bulge Collar 4 2) Jar with Bulge Collar 4%3 3 Jar with Bulge Collar 4 4) Jar with Bulge Collar 4 5) Flaring Necked Jar with Loop Handles 1a 6) Flaring Necked Jar with Loop Handles 1 7) Flaring Necked Jar with Tapering Rim 10A. Site V-164B grave 3 1) Flaring Necked Jar With Loop Handles 1 2) Flaring Necked Jar with Tapering Rim 7 3) Flaring Necked Jar that is mi ing its rim. 4) Jar with Bulge Collar 4 5) Jar with Bulge Collar 4 6) Jar with Bulge Collar 4 7) Jar with Bulge Collar 4 8) Flaring Necked Jar with Tapering Rim 7 9) Flaring Necked Jar with Tapering Rim 8 10) Flaring Necked Jar with Tapering Rim 7 11) Flaring Necked Jar with Tapering Rim 8 12) Flaring Necked Jar with Tapering Rim 7 13) Flaring Necked Jar with Tapering Rim 7 14) Ado 9, Rimless vessel that is extremely well made with even walls, and a very smooth bottom service. Well preserved with the exception of its94 ing rim. Body shape is unusual in that it is pear shaped, it is basically a Recuay body Shape, strongly influenced by the Callején de Huaylas. Site B-164B grave 4 1) Bottle with Strap Handle 2A Site V-I64B grave 5 1) Bird Jar 3 2) Flaring Necked Jar with Tapering Rim (5 3) Straight Necked Jar 6 4) Flaring Necked Jar with Tapering Rim 7 Site V-164C grave 2 1) Flaring Necked Jar with Tapering Rim 7 Site V-164D grave 3 1) Flaring Necked Jar with Tapering Rim 7, Adorno 12 Site V-164D grave 4 1) Flaring Necked Jar with Tapering Rim 7 2) Flaring Necked Jar with Tapering Rim 8 3) Flaring Necked Jar with Tapering Rim 7 4) Flaring Necked Jar with Tapering Rim 13 5) Flaring Necked Jar with Loop Handles 3 6) Flaring Necked Jar with Rounded Rim 5 7) Face Necked Jar (drawing not located yet) 8) Flaring Necked Jar with Tapering Rim 795 Site V-252 Grave | 1) Double Bodied Bottle 1 Site V-252 Grave 2 1) Plaring Necked Jar with Tapering Rim 14 2) Flaring Necked Jar with Tapering Rim 13 3) Face Necked Jar 3 4) Flaring Necked Jar with Tapering Rim 9 5) Bird Jar 1 6) Straight Necked Jar Site V-252 grave 3 1) Flaring Necked Jar with Tapering Rim 9 2) Plaring Necked Jar with Tapering Rim 10 3) Flaring Necked Jar with Tapering Rim 16 4) Flaring Necked Jar with Tapering Rim 6 Site V-252 Grave 4 1) Straight Necked Jar with Sculpted Shoulder 1 2) Jar with Bulge Collar 3 3) Duck Shaped Jar 1 4) Flaring Necked Jar with Tapering Rim 13A 5) Double Bowl with Strap Handle | 6) Straight Necked Jar 3A 7) Face Necked Jar 496 8) Bottle with Strap Handle 5 9) Flaring Necked Jar with Tapering Rim 7 10) Flaring Necked Jar with Tapering Rim and Loop Handles (Drawing missing). 1) Bird Jar 4 Site V-252 grave 5 1) Flaring Necked Jar with Loop Handles 1 2) Straight Necked Jar 2 3) Straight Necked Jar with Adorno 11 that is missing its rim and that has 3 pushed out areas at the shoulder. Site V-252 grave 6 1) Flaring Necked Jar with Tapering Rim 3A 2) Decorated Sherd that has an applique dentate strip 3) Flaring Necked Jar with Tapering Rim 3 4) Flaring Necked Jar with Bevelled Rim 2 5) Flaring Necked Jar with Squat Tapering Rim 2 6) Straight Necked Jar 6 7) Jar with Strap Handle 6 8) Bottle with Double Spout and Bridge Handle 9) Bird Jar 3 10) Flaring Necked Jar with Rounded Rim 5 11) Negative Painted Sherds7 12) Decorated Sherd Site V-252 grave & 1) Jar with adorno that has punctate eyes and mouth, entire neck is missing. Body shape and adorno are of the Late Gallinazo type 2) Bowl I Site V-252 grave 9 1) Bow! 10 2) Bird Jar 5 Site V-252 grave 10 1) Straight Necked Jar with Loop Handles Site V-252 grave I 1) Straight Necked Jar 6Chapter 3: The Gallinazo Ceramics of the Moche Valley This apter will address two main issues, the temporal relationship between the Gallinazo occupations of the Vird and Moche Valleys, and inter-valley variation in ceramic style. The forms discussed here are those that, as yet, have not appeared in the collections from the Viré Valley. Our review of the Moche Valley materials has led us to conclude that the major Gallinazo occupation of the Moche Valley did not occur until the Middle Gallinazo period. Although there is some evidence of an Early Gallinazo presence at the site of Cerro Orejas, the evidence is restricted to a single form rather than a suite of artifacts. The form that has been found there is Vessel with Flange 2, this form happens to be the same early form that is found at a single site in the Santa Valley, It is possible that this form was commonly traded or imitated during the Early Gallinazo period, or it may be indicative of more deeply buried Early Gallinazo phase remains. We believe that the former explanation is more likely due to the fact that it is the same form which occurs in both valleys, and it occurs without other Gallinazo Materials. Overall the Moche Valley materials are virtually identical to the Gallinazo materials of the Vird Valley. The full range of Flaring Necked forms are present, as are the Restricted Vessels with Flattened Rim, Vessels with Thickened Rims, Face 98.99 Necked Jars, etc. There is, however a degree of variation that represents differences between the Valleys. ‘The materials presented here are from three sourves, the largest collection was, from the Chan Chan Moche Valley Project, the second largest group is from the Excavations of Christopher Donnan in Huanchaco, and the third group was excavated by Iriate who also excavated in Huanchaco, For the most part, the discussion of the materials from the latter two projects will be restricted to the whole vessels.” Middle Gallinazo Carinated Collared Jar M1: (Figure 95) This redware vessel has a rim diameter of 7.5 em. with a carinated shoulder, rounded base, and a very short collar on the jar, that barely distinguished it from a neckless olla, The vessel form is classic Salinar, and there is a snake applique on one ie Middle Gallinazo in style with an applique head that has punctate features. This vessel is one of the examples that demonstrates that the first Gallinazo ‘occupation of the Moche Valley occurs during the Middle Gallinazo period. It shows that the Salinar style, or Salinar attributes, extended past the end of the Puerto Moorin style (the White-on-Red post Early Horizon culture of the Vird Valley), and was coeval with Early Gallinazo period of the Vird Valley. (Huanchaco, PV 24-5 " ‘The work described here is preliminary. we have additional collections that we intend to study in the near future. However, we have studied thousands of sherds and feel confident of the opions expressed.100 specimen 781, excavations of Iriarte). Flaring Necked Jar with Everted and Flattened Rim MI: (Figure 95) ‘This is a unique vessel that is a Salinar-Middle Gallinazo hybrid, that has a ar-neck form with an unusual adaptation of m flattening. A punctate that is roughly triangular adorns the flattened rim. The paste was very poorly fired and ranges in color from pinkish grey SYR-6/2 on its exterior to light reddish brown SYR-6/4 on its interior. The temper is medium sand, the exterior is burnished, and the interior is wiped. Diameter at the mouth is 15 em. (Huanchaco, PV-24-5). s : (Figure 95) This vessel is a very unusual form, which is from the Huanchaco area. The Olla very unusual shape that would fall into the Salinar period was it not for the applique lobster that has incisions on its surface. This is a Salinar-Middle Gallinazo hybrid vessel that is characteristic of the collections from the Huanchaco area, (Donnan’s 1974 excavations pit 13). Vessel with Flange MI: (Figure 96) This vessel form is a eross between two Middle Gallinazo Vind Valley forms: a Vessel with Flange 3, and a Neckless Olas with Thickened Rim 3 These Moche Valley vessels with square flanges occurred in the same body forms, » and frequency as Neckless Ollas with Thickened Rims 3 did in the Viré Valley. This vessel has a rim that measures 25 cm. in diameter, and has paste that is 2.5YR-5/6 red in color. The shoulder is decorated with a punctate triangle, I suspect that there were many more of these motifs present on the vessel ill strated but the fragment was simply to small tolol show the pattern. ‘The temper is very coarse sand, and the bowl is incurving. (Middle Gallinazo, Cerro Ore} K3955, 0=54, Drawing MVS3: Chan Chan Moche Valley Project) Vessel with Flange This vessel form is one of the most problematic because our sample for the consists of four vessels, two for the Middle Gallinazo period, and two for the Late Gallinazo Period. This vessel form shows up in great quantities in surface collections in the Moche Valley. Some of the vessels lend however. can be placed easily due to surface decoration, and rim angle, and the criteria for each of these decisions will be outlined in the ceramic descriptions. ‘The reason I have highlighted the problems with this vessel form is because it is one * sae few Early Gallinazo forms that appear in Santa, and Moche Valleys. We suspect that further research will reveal that the form Vessel with Flange 2 may continue relatively unchanged through part of the Middle Gallinazo Period in all three valleys. Vessel with Flange M3: (Figure 96) This vessel has a diameter at the mouth of 23 em. and a body angle of 70 degrees below the flange. The paste is weak red 10R-5/2, and the temper is very coarse sand with calcite temper. The surface is blackened, which may be a result of partial reduction in firing, or post depositional blackening. ‘There are two rows of punctate triangles just above the shoulder, this decoration in combination with the form suggests that this is a Middle Gallinazo form (Cerro Orejas, K3955, 0=70).102 th Thickened Rim MI: This form is a hybrid between the Neckless Olla of the Salinar period, and the vessel with Neckless Ollas with Thickened Rims of the Gallinazo Period, ‘This vessel is a middle Gallinazo vessel that has a slightly incurving thickened rim that is almost triangular in shape, and has the very diagnostic Middle Gallinazo finger impressions along the lower edge of the thickened rim, The diameter at the mouth is 58 em., the paste is reddish brown 2.5YR-5/4, the paste is incompletely oxidized, and it is tempered with coarse micaceou: nd. (Cerro Orejas, K3955 0=63, drawing 66, Chan Chan Moche Valley Project). Neckless Olla with Thickened Rim M2: (Figure 96) ‘This vessel form is similar to NOWTR MI except that it is smaller and has thickening on both the interior and exterior of the rim. ‘The diameter at the mouth is 11 em, and the paste is fully oxidized and light reddish brown 2.5YR-6/3. ‘The temper is very coarse quartz and sand, with a high quartz content. ‘The exterior was unevenly burnished and has gouges on its face, the interior surface is gouged as well (Huanchaco PV-24-5). Late Gallinazo Collared Jar M1: (Figure 97) This jar is the more vertical of the vessel that has been referred to as a vessel with flange. The collared jar is a common form during the Moche period. The iameter at the mouth is 19 to 36 em., the rim angle is 47 to 56 degrees, the paste is weak red 1OR-S/4 or red 2.5YR-5/6. ‘The paste may be completely or incompletely103 oxidized redware that is tempered with coarse sand with a high basalt content.. This is either a very Late Gallinazo piece or an early Moche vessel (perhaps Moche IIT) (K3955 0=! 2, Drawing MV 91, MV 192; Chan Chan Moche Valley Project). Face Necked Jar Ml: (Figure 97) This Face necked Jar has a very squat neck, coffee bean eyes, applique and punctate nose, incised mouth, incised pattern of lines on its cheeks, and modelled and punctate ears. ‘The body is almost a complete circle in its frontal veiw, and lightly flattened in profile. ‘The front of the body is pushed out to a point, The diameter of the mouth is 8 em. and the paste is red 10R-5/6, and the exterior has a pink 7.5YR-7/4 slip. ‘The vessel is tempered with coarse sand. This short necked variety of the Face Necked Jar has only been found in Huanchaco, and is at Late Gallinazo form judging by the shape of the rim, and the coffee bean eyes. (PV24-5, specimen 147). Face Necked Jar M2: (Figure 97) This vessel is a straight necked variation of the vessel described above, that has loop handles at the base of the necke, coffee bean eyes, a modelled and punctate nose, a modelled and incised mouth, and a flattened body, ‘The redware paste is decorated with negative painting. Diameter at the mouth is 6 om., vessel height 14.85 cm., its, base is slightly flattened. (Iriarte’s excavations, Py 24-6, specimen 742, drawing MV 24). Face Necked Jar 13: (Figure 98) This jar with nearly vertical neck that is set at a 72-86 degree angles. The diameter at the mouth is 16-18 cm. The Jar is Flaring Necked Jar with a Rounded Rim104 that has applique facial features. It is different than the Vird Valley materials in two major ways, firstly there is no modelling of the neck is association with the formation of facial featur s, all Viri Valley forms are modelled, and secondly the facial features are located near the base of the neck. The paste is reddish brown 2.5YR-5/6, or LOR- 4/6 and is tempered with coarse micaceous sand or coarse sand and calcite. The facial features are an applique eye brow with two punctations, that could also be an ear, a doughnut shaped eye, and an applique nose and mouth combination that has two circular punctations for nostrils, and two longer incisions where the mouth is located. Another example of this form has a nose that is indicated by two punetations, and an incised mouth, a third form has a eye that is a single punctation, and a modelled and punctate nose (Cerro Orejas, K3955; FO, FS, 69; FO, FS, 64; drawing MV25, MV34A, MV 58; Chan Chan Moche Valley Project). Flaring Necked Jar with Rounded Rim MI: (Figure 99) This vessel has a lip that is slightly incurving, and is quite unusual for this type of form, It resembles the Moche incurving vessels in profile by has a rounded rather than bevelled rim. ‘The rim also a series of finger impressions that surround the lip. red ‘The diameter at the mouth is 20 cm. and the rim angle is 80 degrees. ‘The past 2.5YR-5/6, with odd coloring on the surface due to fire clouding. It is made of a fully oxidized redware that is tempered with very coarse sand. (Cerro Orejas, K3955; 0=54; Drawing MV70, Chan Chan Moche Valley Project). Straight Necked Effigy Jar I: (Figure 99)105 ‘This straight necked Jar has a circular body that is flattened, and has an applique face on the shoulder of one of the thinner sides. The rim is slightly flattened, the diameter at the lip is 6.5 cm, ‘The face has modelled ears, . that are placed above the eyes like eyebrows, doughnut eyes, a modelled and punctate nose, and an asymmetrical in« ised smiling mouth. Similar in type to Bottle with Strap Handle 4 (2) the Viri Valley. Dates to the Late Gallinazo Period (Iriate’s excavations in Huanchaco, PV 24-5, specimen 1043, drawing MV27). Straight Necked Effigy Jar Mla: (Figure 99) Similar to the vessel above with the exception of the shape of the body. ‘The body is football shaped with a slightly flattened bottom. ‘The diameter of the mouth is 14cm, and the angle of the rim is 85 degrees. The paste is reduced and dark grey N4 and tempered with coarse pure quartz, The surface is slipped reddish brown 2.5YR- 5/4, The interior is also slipped and is light red 2.5YR-6/6. Like the vessel above the placed on the narrower side on the shoulder, it has a modelled and ‘a mouth is an incised smiling mouth, doughnut eyes, and modelled ears. (Cerro Orejas, K3955, 0-54; Chan Chan Mache Valley Project), Decoration (Figure 100) Pelican Adorno: An adoro with doughnut eyes, two punctate nostrils, and an incised long beak, ‘We have found other examples of this adomo on the surface of the site of La Poza in Huanchae The paste is fully oxidized, tempered with very coars sand and shell,106 and is reddish yellow SYR-6/6 in color. This specimen is also from Huanchaco (PV- 24-5). Applique Male Genitalia: This vessel is an incomplete straight necked Jar (it is missing its rim) that is flattened in Profile. It has applique nubbins on its shoulders, and an applique penis, and testicles on one of its flattened sides. It is the only precursor to Moche erotic pots that we have found in the Gallinazo collections of all valleys studied. Conclusions ‘The brevity of this chapter is due to the fact that there is virtually no difference between the assemblages in the Vird and Moche Valleys. Aside from the differences mentioned above it should be noted that the paste of vessels from the Huanchaco area is darker red in color (reddish brown 2.5YR-5/6) than those of the other parts of the Moche Valley, and the vessels from Vird. This could a product of the utilization of a different clay source than in other pasts of the valley, or in the neighboring valley. Furthermore, the ceramics from Huanchaco are perhaps the most different of any collection in the Mache, Vird, and Santa Valleys, and that many of these forms are closer in style to materials from the Viods region. It is premature to specutate the reasons for these similarities. Further research on the nature of core and periphery relations during the Gallinazo period, as well as further study of the Vics materials is required to understand the Piura region’s relationship to the Gallinazo polity. The striking similarity between the Gallinazo ceramics of the Moche and Viri Valleys exists down to the level of the domestic wares. ‘This similarity also is evident