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public considerations. The Commission (iii) The arrangements in place for the DEPARTMENT OF HOMELAND believes that having a transparent sharing of information with the SECURITY process for terminating an exemption Commission do not warrant from registration will, in the event that continuation of the exemptive relief U.S. Customs and Border Protection the Commission believes such a granted. DEPARTMENT OF THE TREASURY termination may be warranted, provide (2) The Commission shall provide an appropriate notice and opportunity written notification to the affected party 19 CFR Part 12 to comment to the public, affected of its intention to terminate an persons, exempt § 30.10 firms, and exemption pursuant to paragraph (a) of [CBP Dec. 20–04] market participants who may be affected this section and the basis for that RIN 1515–AE53 by the termination of an order of § 30.10 intention. Such written notification also exemption. shall be published prominently on the Extension of Import Restrictions on 3. Antitrust Considerations Commission’s website. Archaeological Material and Imposition Section 15(b) of the CEA requires the (3) The affected party may respond to of Import Restrictions on Commission to take into consideration the notification in writing no later than Ecclesiastical Ethnological Material the public interest to be protected by the 30 business days following the receipt From antitrust laws and endeavor to take the of the notification, or at such time as the AGENCY: U.S. Customs and Border least competitive means of achieving the Commission permits in writing. Any Protection, Department of Homeland objectives of the CEA in issuing any other person may respond to the Security; Department of the Treasury. notification in writing no later than 30 order or adopting any Commission ACTION: Final rule. regulation. The Commission has business days following the publication determined that the final amendments on the Commission’s website of the SUMMARY: This document amends the to § 30.10 have no anticompetitive written notice issued to the affected U.S. Customs and Border Protection effects. The final regulation is a party, or at such time as the (CBP) regulations to reflect an extension procedural rule that will not cause a Commission permits in writing. of import restrictions on certain change in the behavior that would alter (4) If, after providing any affected archaeological material from the the level playing fields of regulated person appropriate notice and Republic of El Salvador (El Salvador). entities. opportunity to respond, the Commission The document further amends the Designated List contained in T.D. 95–20, List of Subjects in 17 CFR Part 30 determines that relief pursuant to paragraph (a) of this section is no longer which describes the types of articles to Consumer protection, Fraud. warranted, the Commission shall notify which the import restrictions apply, to For the reasons set forth in the the person of such determination in reflect the addition of certain preamble, the Commodity Futures writing, including the particular reasons ecclesiastical ethnological material. The Trading Commission amends 17 CFR why relief is no longer warranted, and import restrictions, which were last part 30 as follows: issue an Order Terminating Exemptive extended by CBP Dec. 15–05, were due Relief. Any Order Terminating to expire on March 8, 2020, unless PART 30—FOREIGN FUTURES AND Exemptive Relief shall provide an extended. The Assistant Secretary for OPTIONS TRANSACTIONS appropriate timeframe for the orderly Educational and Cultural Affairs, United transfer or close out of any accounts States Department of State, has ■ 1. The authority citation for part 30 determined that conditions continue to continues to read as follows: held by U.S. customers impacted by such an Order. warrant the imposition of import Authority: 7 U.S.C. 1a, 2, 6, 6c, and 12a, restrictions on archeological material unless otherwise noted. (5) Any person whose relief has been from El Salvador. Additionally, the terminated may apply for exemptive ■ Assistant Secretary for Educational and 2. Add paragraph (c) to § 30.10 to read relief 360 days after the issuance of the as follows: Cultural Affairs, United States Order Terminating Exemptive Relief if Department of State, has made the § 30.10 Petitions for exemption. the deficiency causing the revocation requisite determinations for adding * * * * * has been cured or relevant facts and import restrictions on certain categories circumstances have changed. (c)(1) The Commission may, in its of ecclesiastical ethnological material discretion and upon its own initiative, Issued in Washington, DC, on March 9, from the Colonial period through the terminate the exemptive relief granted 2020, by the Commission. first half of the twentieth century. On to any person pursuant to paragraph (a) Robert Sidman, March 2, 2020, the Government of the United States and the Government of El of this section, after appropriate notice Deputy Secretary of the Commission. and an opportunity to respond, if the Salvador entered into a Memorandum of Commission determines that: Note: The following appendix will not Understanding (MOU) that supersedes (i) There is a material change or appear in the Code of Federal Regulations. the existing agreement that first became omission in the facts and circumstances effective on March 8, 1995. Pursuant to the new MOU, the import restrictions pursuant to which relief was granted Appendix to Foreign Futures and for archaeological material will remain that demonstrate that the standards set Options Transactions—Commission in effect for an additional five years forth in appendix A to this part forming Voting Summary the basis for granting such relief are no until March 2, 2025. The new MOU longer met; or On this matter, Chairman Tarbert and further covers import restrictions on (ii) The continued effectiveness of any Commissioners Quintenz, Behnam, Stump, ecclesiastical ethnological material until such exemptive relief would be contrary and Berkovitz voted in the affirmative. No March 2, 2025. to the public interest or inconsistent Commissioner voted in the negative. DATES: Effective March 16, 2020. with the purposes of the exemption [FR Doc. 2020–05097 Filed 3–17–20; 8:45 am] FOR FURTHER INFORMATION CONTACT: For under paragraph (a) of this section; or BILLING CODE 6351–01–P legal aspects, Lisa L. Burley, Chief,

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Cargo Security, Carriers and Restricted published CBP Dec. 05–10 in the approximately A.D. 1525 to 1950) until Merchandise Branch, Regulations and Federal Register (70 FR 11539) to March 2, 2025. Rulings, Office of Trade, (202) 325– extend the import restriction for an Accordingly, CBP is amending 19 CFR 0300, [email protected]. additional five-year period to March 8, 12.104g(a) to reflect the extension of the For operational aspects, Genevieve S. 2010. Third, on March 8, 2010, import restrictions, and the Designated Dozier, Management and Program following the exchange of diplomatic List of cultural property described in Analyst, Commercial Targeting and notes, CBP published CBP Dec. 10–01 in T.D. 95–20 by adding certain categories Analysis Center, Trade Policy and the Federal Register (75 FR 10411) to of ecclesiastical ethnological material Programs, Office of Trade, (202) 945– extend the import restriction for an from El Salvador from the Colonial 2952, [email protected]. additional period of five years to March period through the first half of the SUPPLEMENTARY INFORMATION: 8, 2015. Fourth, on March 6, 2015, twentieth century ranging in date from following the exchange of diplomatic approximately A.D. 1525 to 1950, as set Background notes, CBP published CBP Dec. 15–05 in forth below. The restrictions on the Pursuant to the Convention on the Federal Register (80 FR 12080) to importation of archaeological and Cultural Property Implementation Act, reflect the extension of the import ecclesiastical ethnological material will Public Law 97–446, 19 U.S.C. 2601 et restrictions for an additional five-year be in effect through March 2, 2025. seq. (hereinafter, ‘‘the Cultural Property period to March 8, 2020. Importation of such material from El Implementation Act,’’ or ‘‘the Act’’), On June 5, 2019, the United States Salvador will be restricted through that which implements the 1970 United Department of State proposed in the date unless the conditions set forth in Nations Educational, Scientific and Federal Register (84 FR 26174) to 19 U.S.C. 2606 and 19 CFR 12.104c are Cultural Organization (UNESCO) extend the Memorandum of met. Convention on the Means of Prohibiting Understanding (MOU) between the The Designated List and additional and Preventing the Illicit Import, Export United States and El Salvador information may also be found at the and Transfer of Ownership of Cultural concerning the imposition of import following website address: https:// Property (823 U.N.T.S. 231 (1972)), the restrictions on certain categories of eca.state.gov/cultural-heritage-center/ United States entered into a bilateral archeological material from the Pre- cultural-property-advisory-committee/ agreement with the Republic of El Hispanic Cultures of El Salvador. current-import-restrictions by selecting Salvador (El Salvador) on March 8, On November 7, 2019, after the material for ‘‘El Salvador.’’ 1995, concerning the imposition of consultation with and recommendations import restrictions on certain categories by the Cultural Property Advisory Designated List of Archaeological and of archaeological material from El Committee, the Assistant Secretary for Ecclesiastical Ethnological Material of Salvador’s Pre-Hispanic cultures and Educational and Cultural Affairs, United El Salvador ranging in date from approximately States Department of State, determined The Designated List contained in T.D. 8000 B.C. to 1550 A.D. On March 10, that: (1) El Salvador’s cultural heritage 95–20, which describes the types of 1995, the former U.S. Customs Service continues to be in jeopardy from pillage articles to which the import restrictions (now U.S. Customs and Border of Pre-Hispanic archeological resources apply, is amended to reflect the addition Protection (CBP)) published T.D. 95–20 and that the import restrictions should of certain ecclesiastical ethnological in the Federal Register (60 FR 13352), be extended for an additional five years; material to the Designated List. In order which amended § 12.104g(a) of title 19 and (2) El Salvador’s cultural heritage is to clarify certain provisions of the of the Code of Federal Regulations (19 in jeopardy from pillage of certain types Designated List contained in T.D. 95–20, CFR 12.104g(a)) to reflect the imposition of ecclesiastical ethnological material the amendment also includes minor of these import restrictions and from the Colonial period through the revisions to the language, organization, included a list designating the types of first half of the twentieth century and and numbering of the Designated List. archaeological material covered by the import restrictions on such types of For the reader’s convenience, CBP is restrictions. ecclesiastical ethnological material reproducing the Designated List Import restrictions listed at 19 CFR should be imposed. contained in T.D. 95–20 in its entirety, 12.104g(a) are effective for no more than On March 2, 2020, the Government of with the changes, below. five years beginning on the date on the United States and Government of El The Designated List includes which the agreement enters into force Salvador entered into a MOU, titled archaeological material from El Salvador with respect to the United States. This ‘‘Memorandum of Understanding ranging in date from approximately period may be extended for additional between the Government of the United 8000 B.C. to A.D. 1550, and States of America and the Government periods of not more than five years if it ecclesiastical ethnological material from of the Republic of El Salvador is determined that the factors which El Salvador from the Colonial period Concerning the Imposition of Import justified the initial agreement still through the first half of the twentieth Restrictions on Categories of pertain and no cause for suspension of century ranging in date from Archaeological and Ethnological the agreement exists. See 19 CFR approximately A.D. 1525 to 1950. 12.104g(a). Material of the Republic of El Salvador.’’ Since the initial notice was published The new MOU supersedes the existing Categories of Material on March 10, 1995, the import agreement that first became effective on I. Archaeological Material restrictions were subsequently extended March 8, 1995. Pursuant to the new A. Figurines four (4) times. First, on March 9, 2000, MOU, the import restrictions for B. Other Small Ceramic Artifacts following the exchange of diplomatic archaeological material will remain in C. Ceramic Vessels notes, the former U.S. Customs Service effect for an additional five years until D. Ceramic Drums (now CBP), published T.D. 00–16 in the March 2, 2025. The new MOU further E. Incense Burners Federal Register (65 FR 12470) to covers import restrictions on certain F. Mushroom Effigies extend the import restrictions for a categories of ecclesiastical ethnological G. Stone Sculptures period of five years to March 8, 2005. material (from the Colonial period H. Small Stone Artifacts Second, on March 9, 2005, following the through the first half of the twentieth I. Metal Artifacts exchange of diplomatic notes, CBP century ranging in date from II. Ethnological Material

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A. Paintings d. Important Variants: Some of the with these artifacts). Decoration is B. Sculptures larger figurines are hollow rather than mostly through applique´ using C. Furniture solid. Very rare examples have movable relatively thick strips and pellets of D. Metalwork arms, with sockets set into the shoulders clay. E. Textiles and separate arm pieces that were d. Animal Effigy Whistle Flutes: Made F. Documents and Manuscripts actuated by means of strings. Some from a small sphere of clay with very simple (schematic) applique´ to I. Archaeological Material figurines depict women cradling infants. Whistle mechanisms are very rarely represent humans, birds, turtles, Archaeological material covered by present. Painted designs in black or armadillos, opossums, and other the MOU includes material from El other colors are very rare on these animals. In addition to the whistle Salvador ranging in date from figurines. mechanism, these have one or two approximately 8000 B.C. to A.D. 1550. e. Formal Names: Bolinas figurines finger holes in their bodies that vary Examples of archaeological material (Stanley H. Boggs, ‘‘Pre-Maya Costumes their tone when covered. The most covered by the MOU include, but are and Coiffures’’ in Americas 25(2): 19– elaborate examples may have punctate not limited to, the following objects: 24, Organization of American States, and ridge eyes like those found in the Simplified Chronology 1 Washington, DC, United States (1973) Lepa human figurines. May be (hereinafter, referred to as ‘‘Boggs perforated for suspension. Archaic period: c. 8000–1700 B.C. 1973a’’)); Kulil, Xiquin, and Tat e. Dating: Late Classic Lepa Phase of Preclassic period: 1700 B.C.–A.D. 200 Complex figurines (Bruce H. Dahlin, central and eastern El Salvador, Early Preclassic: 1700–800 B.C. ‘‘Figurines’’ in The Prehistory of represented in Quelepa, Tehuaca´n, and Middle Preclassic: 800–400 B.C. Chalchuapa, El Salvador, Vol. 2, other sites. Late Preclassic: 400 B.C.–A.D. 200 University of Pennsylvania Press, f. Appearance: Usually reddish brown Classic period: 200 B.C.–A.D. 900 Philadelphia, Pennsylvania, United to brick red, with a rough or only Protoclassic: 200 B.C.–A.D. 200 States (Robert A. Sharer ed. 1978) moderately smoothed surface. Some Early Classic: A.D. 200–600 (hereinafter, referred to as ‘‘Dahlin have a polished white slip that, when Late Classic: A.D. 600–900 1978’’)); Quelepa Figurine Types 1 and well preserved, may have elaborate Terminal Classic: A.D. 800–900 2 (E. Wyllys Andrews, V., ‘‘The designs painted in black, red, and/or Postclassic period: A.D. 900–1524 Archaeology of Quelepa, EI Salvador’’ in yellow. Pelleted tubular whistle flutes Early Postclassic: A.D. 900–1200 Middle American Research Institute 42, have been noted with fugitive (post- Late Postclassic: A.D. 1200–1524 Tulane University, New Orleans, firing) white and/or blue paint. Protohistoric: c. A.D. 1400–1550 Louisiana, United States (1976) g. Size: Most human figurines range in A. Figurines (hereinafter, referred to as ‘‘Andrews height between 5 in (12 cm) to 10 in (25 1976’’)). cm). Unusually large examples are 1. Preclassic Figurines known to reach 15 in (38 cm) in height, Most are solid ceramic figurines 2. Lepa Figurines and these tend to bear painted designs representing women with broad torsos Most are solid ceramic figurines more often than the normal sized and thighs, and small or virtually flat representing standing humans, while figurines. The pelleted tubular whistle breasts. These are portrayed in a sitting others are animal effigies that function flutes known are 7 in (18 cm) or slightly or standing position. The eyes and as whistles, whistle flutes, or wheeled shorter in length. The wheeled figurines mouth were typically represented by figurines incorporating whistle flutes. known range from about 3.5 in (9 cm) jabbing small holes into the still wet a. Human Figurines: These figurines to 5 in (13 cm) in length. The animal clay (punctation), many times with two have a generally flattened appearance effigy whistle flutes measure about 2–3 or three holes used to depict each eye. and heads are usually crowned by a in (5–8 cm) in maximum length. Although the bodies are crafted without broad and narrow headband (or hairdo) h. Important Variants: Larger much detail, elaborate coiffures are resembling a long bar. Eyes are shown figurines may be hollow rather than commonly shown. by a single punctuation (to represent the solid, and may either contain pellets to a. Dating: Most Preclassic figurines pupil) between two ridges, defining the act as a rattle, or may be equipped with date to the Late Preclassic eye itself. Feet are usually split in a ‘‘Y’’ holes for use as a flute (‘‘ocarina’’). (corresponding to the Chul and Caynac shape to help support the figurine. The i. Formal Names: The human Ceramic Complexes of western El figurines may be adorned with figurines have been classed as Lower Salvador, and the Uapala Phase of necklaces shown by a series of clay Lempa Culture figurines (Wolfgang eastern El Salvador). pellets. Rarely is enough detail included Haberland, ‘‘On Human Figurines from b. Appearance: Often cream to white, to determine which sex is intended (in San Marcos Lempa, El Salvador, C.A.’’ but may also be red or brown (ranging such cases, women are usually in El Antiguo 9: 509–524, from dark brown to tan). Usually of very represented). Me´xico, D.F. (1961) (hereinafter, fine textured clay. b. Pelleted Tubular Whistle Flutes: referred to as ‘‘Haberland 1961’’)) and as c. Size: Most range between 4 in (10 Tubes with a whistle mechanism Quelepa Figurine Type 3 (Andrews cm) to 8 in (20 cm) in height. Examples (blowhole) at one end and a rolling 1976). The wheeled figurines have been smaller than about 4 in (10 cm) may be pellet within that produces a termed Oriental Type (Stanley H. Boggs, perforated for use as pendants. Rare continuously varying tone when blown ‘‘Figurillas con ruedas de Cihuata´n y el figurines of 16 in (40 cm) or more in and tilted up and down. Simple bird or Oriente de El Salvador’’ in Coleccio´ n de height have been reported. monkey heads may be added to the Antropologı´a 3, Direccio´n de instrument’s body. Publicaciones, Ministerio de Educacio´n, 1 This list of terms of time periods and their c. Wheeled Figurines: Human or , El Salvador (1973) subdivisions contains some terms that overlap and animal effigies with four tabular legs, (hereinafter, referred to as ‘‘Boggs are used to distinguish pivotal intervals in regional each with a perforation to accept 1973b’’)). The animal effigy whistle prehistory (these terms are: Protoclassic, Terminal Classic, and Protohistoric). Different references may wooden sticks as axles for the front and flutes have been referred to as Lepa vary slightly as to the beginning and end dates for rear wheels (the wheels themselves Phase whistles (Andrews 1976; see also the periods listed. were ceramic discs rarely found together Stanley H. Boggs, ‘‘Notes on Pre-

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Columbian Wind Instruments from El figurines are parrots, vultures, owls, coarsely finished to moderately Salvador’’ in Baessler-Archiv 22, doves, monkeys, felines (probably smoothed surface. Rare examples are of Baessler-Institut, Berlin, Germany jaguars are intended), bats, dogs, deer, Tiquisate Ware (characterized by a very (1974) (hereinafter, referred to as ‘‘Boggs frogs or toads, turtles, iguanas, snakes, smooth, lustrous, and hard surface, 1974’’)). crocodiles, fish, clams, crabs, and cream to orange in color), and may be others. These reflect the rich fauna of ancient imports from the Pacific coast of 3. Cotzumalhuapa Figurines and Molds the Cotzumalhuapa area, which . Traces of paint may be Ceramic figurines, usually hollow and included mangrove lined estuaries, the present (blue, black, red, yellow, and typically mold-made in part (especially adjoining coastal plains, and nearby white have been documented); the paint heads). About half the known examples mountain ranges. Monkeys and parrots was usually applied after firing and represent women, and most of the are, however, the most common animals tends to be easily eroded. Those parts of remainder depict a variety of animals depicted. Most animal figurines have figurines made without the benefit of (men are rare). Some representations of whistle mechanisms. Because of the molds tend to be rather carelessly plants and furniture (litters) are known. complicated forms required for animals, modeled. Whistle mechanisms were optional for use of molds may sometimes be limited k. Size: Female figurines usually all forms of Cotzumalhuapa figurines. to face areas, and some are entirely hand range in height from 4 in (10 cm) to 12 Pelleted tubular whistle flutes and modeled. in (30 cm), but some rare specimens recently identified Cotzumalhuapa e. Plant Figurines: Representations of reach 24 in (60 cm) and perhaps more wheeled figurines are also included corn cobs and cacao pods have been in height. Animal and plant figurines here. found. tend to be small, typically ranging from a. Molds: The molds used to produce f. Pelleted Tubular Whistle Flutes: 3 in (8 cm) to 6 in (16 cm) in their these figurines were press molds made Tubes with a whistle mechanism maximum dimension, though larger of coarse textured fired clay, usually (blowhole) at one end and a rolling examples occur. The pelleted tubular brick red or reddish brown in color. The pellet within that produces a whistle flute mentioned measures 6 in working faces of these molds present a continuously varying tone when blown (16 cm) in length. Wheeled figurines complicated depressed area that and tilted up and down. One example measure 5.5 in (14 cm) in length. The produces the impression, while the is apparently a bat effigy, with a bat models of litters are approximately 9 in opposite side of the mold is usually head and disk (representing the wings) (23 cm) in length. rounded and carelessly finished. A added to the tubular body of the l. Important Variants: Cotzumalhuapa sheet of wet clay was pressed into the instrument. use of clay was very creative and the mold and then carefully extracted with g. Wheeled Figurines: Cotzumalhuapa observer should expect figurine forms the impression of, for examples, the wheeled figurines have only recently not mentioned here. front half of a female figurine (the other been identified. One has a tubular body half was added by hand modeling, as with four tabular supports, each with a 4. Payu Figurine Flutes and Whistles were optional details like headgear if perforation to accept the wooden sticks Most Payu ceramic figurines known these were absent from the mold used). that acted as axles for the front and rear are musical instruments that have been b. Female Figurines: The figurines wheels. A mold-made dog head was classified as whistles, whistle flutes, representing women have been referred added to one end of the tube, and a tail and flutes (commonly called to as ‘‘bell-form’’ due to the shape of to the other. ‘‘ocarinas’’). Although their decoration their conical hollow bases. They usually h. Other Figurines: Two figurines varies considerably, important portray elaborately dressed women, have been documented representing the hallmarks (when present) are the adorned with necklaces, earplugs, and litters that were probably used to decorative use of parallel strips of clay large headgear of variable shape (but transport Cotzumalhuapa elites. They (sometimes with longitudinal grooves), often resembling a half moon). The resemble a small rectangular box with a and applique´ of clay pellets with a uniformity in portrayal suggests that we canopy, supported by four spiked feet. distinctive dimple in their center. Molds are dealing with a personage, and it is A pair of holes at each extreme were sometimes employed to render the not too speculative to suggest that she permitted two sticks to be inserted to act faces of humans and monkeys. Human was an important Cotzumalhuapa as the carrying poles. On one example, faces may include details commonly goddess. Rare figurines exist where the the canopy was modeled to represent associated with Classic Maya female’s body is covered by cacao pods, the stretched skin of a crocodile conventions, including cheek indicating a relationship to agricultural arranged with the head at one extreme decorations (from tattoos or production and, in these latter and the tail at the other, with a spiked scarification), extension of the bridge of examples, with the intensive production crest running between the two. Other the nose to above eye level, and/or a of cacao that has been documented as an Cotzumalhuapa modeled clay artifacts steeply inclined forehead (representing important Cotzumalhuapa economic that may be included as figurines cranial deformation). focus. Whistle mechanisms, when include objects resembling scepters, a. Globular Flutes (‘‘ocarinas’’): Payu present, are usually worked into one bells, lidded boxes, and plaques with figurine globular flutes have a very shoulder (the larger female figurines human faces. distinctive construction. Three spheres tend not to possess whistle i. Dating: Late Classic products of the of clay were joined together in a column mechanisms). Cotzumalhuapa culture, which in El or in an ‘‘L’’ shape (and pierced at the c. Male Figurines: The very rare male Salvador included the western coastal junctures). The uppermost sphere was figurines are known to include plain to the upper drainage of the Paz equipped with a blowhole. Clay was representations of warriors (with clubs River. Trade brought examples into then packed around this assembly and and shields) and injured or diseased Payu Ceramic Complex contexts decorative elements added. All ‘‘L’’- individuals (one example shows an elsewhere in western and central El shaped flutes known were decorated to individual with patches of flesh missing Salvador. represent a standing quadruped animal from the maxillary area and nose). j. Appearance: Most are brown (from whose open mouth forms the blowhole. d. Animal Figurines: Among the tan through reddish brown) to red Other (straight) flutes were almost animals present in Cotzumalhuapa (brownish red to brick red), with a always modeled to represent a human

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(either full-body or just the head Conquest, when its use was restricted to headgear. These figurines tend to be portion). images of goddesses and goddess relatively small and crudely modeled. b. Tubular Whistle Flutes: A tubular impersonators. These figurines are f. Wheeled Figurines: Small wheeled form with a whistle mechanism named for their close similarity to figurine, consisting of a tubular hollow (blowhole) at one end and three to five figurines of the Mazapan () Phase body with four tabular supports, each finger holes along the body of the tube. of central Mexico. with a hole to accept wooden sticks The applique´d head and arms of a b. Toad Effigies: Hand modeled large acting as axles for the front and rear monkey or human are always present hollow toad effigies. They are usually wheels. The wheels are flat ceramic next to the blowhole. shown as sitting as erect as possible for disks. A tail was added to one end of the c. Whistle Flutes: A small, spherical a toad, looking upwards. The front and tubular body and a head to the other. body with a whistle mechanism and one rear of the toad’s body is decorated with Examples are known with deer heads or two finger holes is hidden to a lesser strips and buttons of clay meant to with antlers and dog heads with tongue or greater degree under effigy represent festive ribbons and bows. The extended over the lower lip. decoration. This decoration tends to be tongue may be shown hanging from the g. Dating: Artifacts of the Early notably more carefully executed and mouth. In Postclassic Nahua mythology, Postclassic Guazapa Phase of central detailed than Lepa or Cotzumalhuapa toads were considered Tlaloc’s (the rain and western El Salvador (at Cihuata´n, examples. Examples include effigies of god) helpers, and it was they who Igualtepeque, El Cajete, Ulata, Santa humans (full-body or heads), monkeys, announced the coming of the rains (the Marı´a, Pueblo Viejo Las Marı´as, and dogs, birds, and reptiles. Smaller extended tongues are probably meant to other sites). whistle flutes may be perforated for represent their thirsty anticipation of h. Appearance: Generally reddish suspension. rain). Due to this association, some brown to brick red, but may be as light d. Dating: An artifact class belonging examples of toad effigies include two as tan in color. The surface may be to the assemblage associated with the rings around the eyes (a diagnostic trait smoothed but not polished and has a Payu Ceramic Complex (Late Classic of Tlaloc himself). sandy texture. Many give the impression Period). c. Tlaloc Bottles: Bottles with a more of having been hastily made. Traces of e. Appearance: Most Payu figurines or less spherical body crowned by a white, black, blue, yellow, and/or red are of medium textured clay with a straight tubular neck with a flat, flaring fugitive paint have been found on some moderately smoothed surface (and rim. The body is decorated with the face figurines. almost always unslipped). Color is of the rain god Tlaloc whose most i. Size: Height of Mazapan-related usually reddish brown but may range distinctive trait is a ring around each figurines: 6–10 in (15–25 cm); height of from tan to brick red. Traces of paint are eye. Many Tlaloc Bottles are in fact toad effigies: 6–9 in (15–23 cm); height rare and may include blue-green, white, plugged in the neck or body and could of Tlaloc bottles: 4–10 in (10–25 cm); yellow, red, or black. Painted not have actually functioned as vessels. height of very large effigy figurines or decoration, when present, was usually Tlaloc was considered to dwell in the statues: 24–55 in (61–140 cm); height of added after firing and tends to easily mountain peaks and pour out the rains small solid figurines: 6–18 in (15–30 wear away. from a bottle. These artifacts were cm); length of wheeled figurines: 5.5– f. Size: Globular flutes: 3–8 in (8–21 probably household votive images of 8.5 in (14–22 cm). cm); tubular whistle flutes: 6–8 in (15– that bottle. j. Formal Names: Encompassed by the 21 cm); whistle flutes: 2–8 in (5–20 cm). d. Very Large Effigy Figurines or Guazapa Phase, the type site of which g. Formal Names: None. Many Statues: Hand modeled hollow figurines is Cihuata´n (see Stanley H. Boggs, ‘‘A examples are illustrated in Boggs 1974 representing jaguars, gods, or god Human-Effigy Figure from Chalchuapa, (noted as Late Classic, from western and impersonators. The larger examples El Salvador’’ in Notes on Middle part of central El Salvador). reach life size and may truly be American Archaeology and Ethnology considered ceramic statuary (in any 31, Carnegie Institution of Washington, 5. Guazapa Figurines case, they have been included under Washington, DC, United States (1944) Early Postclassic ceramic figurines ‘‘Figurines’’ to facilitate discussion). (hereinafter, referred to as ‘‘Boggs whose style is derived from central Known examples of gods or god 1944’’); Stanley H. Boggs, ‘‘Apuntes Mexico and form part of the Guazapa impersonators represent the gods Tlaloc sobre varios objetos de barro Phase of central and western El (identifiable by the rings around his procedentes de Los Guapotes en El Lago Salvador. The Guazapa Phase has been eyes), Mictlantecutli (represented as a de Guija’’ in Antropologı´a e Historia de interpreted as marking the large-scale skeletal personage), and Xipe Totec Guatemala 15(1), Instituto de migration of Nahua speakers into this (portrayed as wearing a flayed human Antropologı´a e Historia, Guatemala area, these being the ancestors of the skin). The largest figures may be crafted (1963) (hereinafter, referred to as ‘‘Boggs historical Pipil. in several mating parts (for example, a 1963’’); Boggs 1973b; Stanley H. Boggs, a. Mazapan-Related Figurines: Very Xipe Totec effigy was made in two large ‘‘Antigu¨ edades salvadoren˜ as errantes: flat figurines whose rendition of the halves joining at the waist, with a dos Xipe Totecs del lago de Gu¨ ija’’ in human figure has been compared to separate head). Seventeen jaguar effigies Anales del Museo Nacional ‘‘David J. gingerbread cookies. These objects were were found in one excavation at Guzma´ n’’ 49, Direccio´n de made by pressing a sheet of clay into a Cihuata´n; all of these portray a jaguar Publicaciones, Ministerio de Educacio´n, mold, obtaining a thin (0.75–1 in (2–3 sitting on its haunches, decorated with San Salvador, El Salvador (1976) cm)) solid figurine. The rear portion of necklaces and a few bulbous objects (hereinafter, referred to as ‘‘Boggs the figurine is left unfinished and may placed on different parts of the body. 1976’’); Karen Olson Bruhns, ‘‘Cihuata´n: exhibit finger marks from when the clay e. Small Solid Figurines: Hand An Early Postclassic Town of El was pressed into its mold. The front modeled figurines of humans that are Salvador, the 1977–78 Excavations’’ in displays a woman with a blouse with a usually solid or mostly so, and that Monographs in Anthropology 5, The triangular front, coming to a point in the occasionally employed molds to form Museum of Anthropology, University of middle of the waist. This type of blouse the face. Most appear to represent males Missouri, Columbia, Missouri, United was referred to as a quechquemitl in who may carry war equipment (such as States (1980) (hereinafter, referred to as central Mexico at the time of the a dart thrower or atlatl) and large ‘‘Bruhns 1980’’); William R. Fowler, Jr.,

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The Pipil-Nicarao of Central America from the Late Preclassic and Late Classic vessel is moved in strong light). (unpublished dissertation) (on file with Periods (in relation to the Chul, Caynac Copador paste is cream colored (or Department of Anthropology, University and Payu Ceramic Complexes and the sometimes very light brown) and is not of Calgary, Canada (1981) (hereinafter, Tamasha Phase). very hard or dense. Designs (usually on referred to as ‘‘Fowler 1981’’); William b. Appearance: Well-smoothed and the exterior) may include bands of R. Fowler, Jr., ‘‘The Figurines of sometimes slipped surfaces. Color motifs derived from Maya glyphs, seated Cihuata´n, El Salvador’’ in The New ranges from black-brown through individuals, individuals in a swimming World Figurine Project, Vol. 1, Research reddish-brown and red. position, melon-like stripes, birds or Press, Provo, Utah, United States (Terry c. Size: Flat seals: 1.2–5 in (3–13 cm) other animals, and others. Rare Stocker ed. 1990) (hereinafter, referred in diameter; cylinder seals may be 2.4– examples have excavated lines or to as ‘‘Fowler 1990’’)). 5 in (6–12 cm) in length. patterns. Copador Polychrome may B. Other Small Ceramic Artifacts d. Formal Names: Usually referred to usually be distinguished on the basis of as seals or stamps, flat or cylindrical its specular red paint and cream colored 1. Spindle Whorls or Malacates (see Sharer 1978; Arthur A. Demarest, paste. Small ceramic disc-shaped artifacts ‘‘The Archaeology of Santa Leticia and i. Dating: Late Classic Period (defined with a central perforation. As viewed in the Rise of the ’’ in as a member of the Payu Ceramic section, these are thicker towards the Publication 52, Middle American Complex, which is commonly in center. They may have incised or mold- Research Institute, Tulane University, Tamasha Phase deposits (Cara Sucia)). made decoration. These are often New Orleans, Louisiana, United States ii. Size: Bowl diameter may vary from mistaken for ceramic beads and many (1986) (hereinafter, referred to as 4–12 in (10–30 cm), the height of may be strung together for transport or ‘‘Demarest 1986’’); Paul E. Amaroli, cylindrical vases may range from 6–12.5 display. Informe preliminar de las excavaciones in (15–32 cm), and jar height ranges a. Dating: Late Classic to Protohistoric arqueolo´ gicas en Cara Sucia, from approximately 5–11 in (12–28 cm). Periods. Different varieties are departamento de Ahuachapa´ n, El iii. Formal Names: Referred to as the documented in relation to Late Classic Salvador (unpublished manuscript) (on Copador Ceramic Group (Sharer 1978). Phases and ceramic complexes (Lepa, file with Direccio´n de Patrimonio b. Gualpopa Polychrome: This type is Payu, Tamasha) through the Postclassic Cultural, San Salvador, El Salvador) closely related to Copador Polychrome, (Guazapa, Cuscatla´n, and others). (1987) (hereinafter, referred to as with which it shares a cream colored b. Appearance: Carefully formed and ‘‘Amaroli 1987’’). paste and the hemispherical bowl form smoothed. Many were slipped, and run 3. Miniatures (rarer forms in Gualpopa are: Flat the full range of black through brown bottomed bowls with vertical walls and through red. Fugitive white paint has Very small ceramic objects made in composite walled bowls). Designs in been noted as a rare filler for incised the form of jars or flasks. Often made of Gualpopa are painted in red (which, designs. a very fine cream colored ceramic. unlike the Copador, are not specular) c. Size: 0.8–1.2 in (2.1–3.2 cm) in These may be modeled to resemble and black on a cream-orange base. diameter. Holes are always close to 0.25 squash effigies, or may include stamped Gualpopa motifs are simpler than in (0.6 cm) in diameter. designs of Maya glyphs, human forms, Copador. Most common designs are d. Formal Names: Referred to as or animals. Miniature vessels often geometric designs (spirals, ‘‘melon’’ spindle whorls or malacates (see, e.g., contain residuals of red pigment. Late bands, chevrons, and others), but John M. Longyear, III, ‘‘Archaeological Classic Period. repeating birds, monkeys, or designs Investigations in El Salvador’’ in a. Size: 1.5–4 in (4–10 cm) in height. derived from Maya glyphs may be Memoirs of the Peabody Museum of b. Formal Names: None. found. Archaeology and Ethnology 9(2), i. Dating: Late Classic, especially the Harvard University, Cambridge, United 4. Spools first part of this period. Defined as a States (1944) (hereinafter, referred to as This category includes several member of the Payu Ceramic Complex. ‘‘Longyear 1944’’); Robert J. Sharer, ed., varieties of spool-shaped artifacts that ii. Size: Diameters range from 6–15 in The Prehistory of Chalchuapa, El functioned as earspools and as labrets. (16–38 cm). Salvador, University of Pennsylvania, Often a short tab extends from one side, Philadelphia, Pennsylvania, United iii. Formal Names: Termed as the while the other may have modeled (and Gualpopa Ceramic Group (Sharer 1978). States (1978) (hereinafter, referred to as sometimes mold-made) decoration. ‘‘Sharer 1978’’); Andrews 1976). c. Arambala Polychrome: Formerly Alternatively, the spool sides may have referred to as ‘‘false Copador’’ due to its 2. Ceramic Seals incised decoration. close resemblance to Copador a. Dating: Early Preclassic through Ceramic seals present a high-relief Polychrome. Arambala may be Postclassic Periods (Sharer 1978; pattern on clay surface and are thought differentiated from Copador by its Amaroli 1987). to have been used with paint to stamp reddish paste (contrasting with b. Size: Normally do not exceed 1.3 in designs for body and/or textile Copador’s cream paste) and the use of (3.4 cm) in their maximum dimension. decoration. Some were used to impress a dull red paint (rather than Copador’s designs on still-wet pottery objects. C. Ceramic Vessels specular red paint). Apart from these Some seals have been found still two differences, however, Arambala 1. Polychrome Vessels covered with red pigment. Seals may be closely duplicates Copador’s repertoire flat, with a spike handle on the rear, or a. Copador Polychrome Vessels: of vessel forms, dimensions, and cylindrical and used by rolling. Hemispherical bowls, bowls with decoration (which are described above). Cylinder seals usually have a central composite walls, cylindrical vases, and A cream-orange slip was added over perforation that would have allowed a jars with painted designs in red, black, Arambala’s reddish paste to stick to be passed through and facilitate and optionally yellowish orange on a approximate Copador’s base color, but their use like rolling pins. cream to light orange base. The red this slip often has a streaky appearance. a. Dating: To date, seals have been paint used is almost always specular i. Dating: Late Classic Period. A found in El Salvador in contexts ranging (small flecks of crystals flash as the member of the Payu Ceramic Complex

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and present in the Tamasha Phase of detailed costumes and may be fine red paste. On this white base were Cara Sucia. represented playing musical painted designs in orange (often applied ii. Size: See the description for instruments, sowing with a digging as a wash over most of the vessel), red, Copador Polychrome. stick, armed for battle, seated within a and black; very rarely a purple paint iii. Formal Names: Defined as the structure, or in other attitudes. A may be present. Designs include Arambala Ceramic Group (Sharer 1978). decorative option was to excise or stamp ‘‘checkerboards’’, sunbursts, circles, d. Campana Polychrome Vessels: Flat designs in panels or registers. bands, wavy lines, and others. Animals bottomed bowls with flaring walls, The remainder of the vessel (or, if a may be depicted on the interior or usually large. Provided with four hollow featured motif is lacking, all of the exterior (jaguars, birds, and monkeys supports that may take the form of vessel) is decorated with panels and have been noted). pinched cylinders or cylinders with registers with circumferencial bands i. Dating: Late Classic (a member of human or animal effigies. Intricate near the rim and geometric patterns the Lepa Ceramic Complex). painted designs were executed in black- elsewhere. Other vessel forms known ii. Size: Bowls may measure from 4.5– brown, dull red, and orange, on a cream for Salua are short cylinders, bowls, 15 in (11–38 cm) in diameter. to cream-orange base. A large portrayal convex walled bowls (i.e., with bulging iii. Formal Names: Termed as the of a human or animal is featured on the sides), composite walled bowls, and Quelepa Polychrome Ceramic Group in interior center of these vessels, and the jars. Despite their exceptional Andrews 1976. rims often have a distinctive encircling decoration, colored stucco was g. Los Llanitos Polychrome: Flaring twisted rope and dot design. Some sometimes used to cover areas of Salua walled bowls, most or all with solid examples have a few curving lines of vessels (when eroded this stucco leaves tabular supports (supports may have broad (up to 0.5 in (1.3 cm)) Usuluta´n chalky traces). Salua vessels have rarely effigy decoration). A cream colored slip negative decoration. Campana been found filled with red pigment. was applied on a red paste. Orange Polychrome paste is dense, hard, and i. Dating: Late Classic (associated with paint was applied to the entire interior brick red. Other forms include small the Payu Ceramic Complex and the Lepa of the bowl and in small areas bordered bowls without supports, with flat Phase). by black on the exterior. In addition to bottoms and flaring walls, and ii. Size: The cylindrical vessels grade orange and black, colors may include cylindrical vases with bulging and into vertical walled bowls over a range dull red, sepia, and rarely purple. Two sometimes faceted midsections and of heights from 3.5–12.5 in (9–32 cm). designs diagnostic of Los Llanitos occasionally short ring bases. The Bowl diameters range from 6–12 in (15– Polychrome are a ‘‘five-fingered flame’’ cylindrical vases usually feature panels 30 cm). and stacks of three or four horizontal on opposing sides of the vessel, with iii. Formal Names: The name Salua is bars of decreasing length. human or animal designs, and may have a local term employed in the National i. Dating: Late Classic (a member of very short and wide tabular supports. Museum of El Salvador. It has been long the Lepa Ceramic Complex). i. Dating: Late Classic Period. Present recognized that probably several ii. Size: 7–12.5 in (18–32 cm) in in association with the Payu Ceramic different ceramic groups are lumped diameter. Complex (Sharer 1978), the Lepa Phase under this term, and that at least some iii. Formal Names: Termed Los (Andrews 1976), and the Tamasha Phase of these groups probably correspond Llanitos Polychrome by Longyear (Amaroli 1987). with the so-called Ulua or Sula Valley (Longyear 1944) and Los Llanitos ii. Size: The large bowls with supports Polychromes of neighboring Polychrome Ceramic Group by Andrews range from 10–20 in (25–50 cm) in (which, in recent years, have been (Andrews 1976). diameter. The small bowls without divided among several ceramic h. ‘‘Chinautla’’ Polychrome: Flaring supports are usually 6–9 in (16–22 cm) groups).2 Sharer cites Salua as a special walled bowls with flat bases and three in diameter. Cylindrical vases range in group of the Payu complex, termed or four hollow conical supports with height from 7–10 in (18–25 cm). Special: Polychrome B, and he also simple applique´. Red and black-brown iii. Formal Names: Termed as the mentions the name Salua Polychrome designs were painted over a cream slip Campana Polychrome Ceramic Group (Sharer 1978). At Quelepa, it was noted in registers, including spirals, stepped (Sharer 1978). as an unnamed ceramic group referred frets, bars, and dots. e. Salua Polychrome: Mostly to as Dark Orange and Black on Orange i. Dating: Late Postclassic (a member cylindrical vases, usually with very (Andrews 1976). Several examples are of the Ahal Ceramic Complex). short and wide tabular supports. The illustrated in Longyear 1944 and John ii. Size: 6.5–10 in (17–26 cm) in larger examples may have two opposing M. Longyear, III, ‘‘Archaeological diameter. modeled head handles, just below the iii. Formal Names: First defined in Survey of El Salvador’’ in Handbook of rim, representing monkeys or other Chalchuapa as the Chinautla Ceramic Middle American Indians, Vol. 4, animals. Bold designs are painted on a Group by Sharer (Sharer 1978) due to its University of Texas Press, Austin, cream to orange base, using different similarities with the ‘‘Chinautla Texas, United States (Gordon F. Ekholm combinations of black, dull red, dark Polychrome tradition’’ found mostly in and Gordon R. Willey eds. 1966) orange, and yellow. The normally the Guatemalan highlands, which is (hereinafter, referred to as ‘‘Longyear invisible paste is brick red. Black was subdivided into several distinct and 1966’’). often used to create ample panels (or f. Quelepa Polychrome: locally distributed ceramic groups, of even to cover almost the entire vessel) Hemispherical and composite wall which the Chalchuapa variety would be as a backdrop for featured designs. The bowls and jars. Bowls may have basal one. principal designs are strikingly i. Machacal Purple Polychrome: flanges or slight angle changes near the displayed and can include: Mat patterns Bowls (hemispherical, composite rim, and small solid or larger hollow (petates), twisted cord patterns, animals walled, or vertical walled with convex supports. Quelepa Polychrome has a (jaguars, parrots, owls, and others), bases). With the exception of vertical hard and very white base (slip) over a humans, sea shells, ballcourts walled bowls, these may be supported by ring bases, pedestal bases, or four (represented by a two or four colored 2 In comparison with Honduran collections, there ‘‘I’’-shaped drawing), and other motifs. is a relative abundance of Salua Polychrome in hollow cylindrical supports. Possesses Humans are often arrayed in finely national and private collections in El Salvador. an orange base slip with red and dark

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purple designs. Purple designs in the Museo Nacional de San Salvador, San 4. Olocuilta Orange and Santa Tecla Red form of a horizontal ‘‘S’’ on the vessel Salvador, El Salvador (1972) Vessels exterior are common. Vessel bottoms (hereinafter, referred to as ‘‘Boggs These two distinctive varieties of Late usually have a simple purple design that 1972’’)). Preclassic ceramic vessels share many l. Salinitas Polychrome: Known in some people have considered to vaguely forms and types of decoration. Forms bowl forms with a streaky cream to resemble a bird. The generous use of include a variety of bowls that may have orange base slip. Black circumferencial purple paint on an orange base slip is very wide everted rims with scalloped bands define registers that usually a distinctive characteristic of this and incised designs (in extreme cases, enclose alternating spirals and stylized variety. the rims may be extended to form fish i. Dating: End of the Early Classic and animals outlined in black with orange or other animal effigies when viewed beginning of the Late Classic. infilling. ii. Size: 5–11.5 in (13–29 cm) in i. Dating: Late Classic Period. from above). Bowls may also include diameter. ii. Formal Names: Termed Salinitas faceted flanges. Some bowls may take iii. Formal Names: Termed Red and Polychrome by Boggs. the form of toad effigies. Usuluta´n Purple on Orange by Boggs (in Longyear decoration (very often poorly preserved) 2. Vessels With Usuluta´n Decoration 1944), and Machacal Purple-polychrome may be present. The Santa Tecla Red by Sharer (Sharer 1978). Here are included several different variety is distinguished by its dense j. Nicoya Polychrome: Hemispherical varieties of ceramics that prominently dark red slip, while Olocuilta Orange bowls, bowls with rounded to almost feature Usuluta´n decoration as their has a light orange slip (often with a flat bases and flaring walls (these may distinctive trait. Usuluta´n decoration is powdery texture when slightly eroded). have three hollow cylindrical or conical a negative technique, resulting in light- Santa Tecla Red may have graphite supports with effigy decoration as an colored lines against a darker rubbed into grooves. option, often in the form of bird heads), background. The light lines were a. Dating: Late Preclassic (Chul and cylindrical vases with ring bases, and achieved by applying a resist substance Caynac Ceramic Complexes). jars. Red, black, and yellow paint was and then covering the vessel with a slip b. Formal Names: Santa Tecla and applied over a very smooth white slip that fired a darker color. Since this Olocuilta Ceramic Groups (Sharer 1978; with a ‘‘soapy’’ texture. Usually over failed to adhere to the areas with resist, Demarest 1986).4 half of the vessel was left white. Designs these maintained their lighter shade (a 5. Incised or Excised Vessels include registers with geometric simplified explanation). In its most designs, human figures, and others. Rare elaborate version, the resist substance Here are considered different varieties vessels may have unusual forms and was applied with a multiple brush with of ceramic vessels whose salient visual appendages. as many as seven small brushes fastened trait is decoration based on incision or i. Dating: Early Postclassic. in a row, allowing the creation of excision. ii. Size: Bowls range from 6–11 in swirling parallel lines. The base color a. Pinos: Pinos vessels have a smooth (15–28 cm) in diameter; cylindrical on these vessels ranges from salmon streaky black to brown slip with (post- vases range from 6.5–12 in (17–30 cm) pink to dark yellow, with the lines being slip) incisions on the exterior forming in height. a lighter shade of the same. Some geometric designs. These incisions are iii. Formal Names: Long called Nicoya varieties have red paint added as rim sometimes filled with red or white Polychrome due to its relationship with bands or (in the case of the Chilanga pigment. Forms include a variety of the different varieties grouped under Ceramic Group) simple designs. Formal bowl forms. Defined as part of the Chul that name first defined for Nicaragua names for the ceramic groups and Caynac Ceramic Complexes of the and Costa Rica. The variety found in El considered here are: Jicalapa, Puxtla, Late Preclassic Period (Sharer 1978; Salvador differs sufficiently from those Izalco, and Chilanga (Sharer 1978, Demarest 1986). varieties in forms and decoration to be Demarest 1986, Andrews 1976). b. Lolotique: A variety of bowl forms considered as an additional type. of a dark and dull red color with fine k. Chancala Polychrome: 3. Plumbate Vessels post-slip incised geometric patterns. Hemispherical bowls, often slightly Unpainted vessels with a glazed Defined as part of the Chul and Caynac flaring from just under the rim. A cream appearance. Surface color ranges from Ceramic Complexes of the Late base slip (often streaky in appearance) dark brown-black to lead-colored to Preclassic Period (Sharer 1978; was painted with designs in brown- salmon-orange, and sometimes all are Demarest 1986). black and red. Animals rendered in a found on a single vessel. Some areas c. Chalate Carved: Cylindrical vessels distinctive silhouette style were painted may be iridescent. This is an extremely with a band of false glyphs or geometric on opposing sides of the exterior hard ceramic and ‘‘rings’’ when tapped. designs carved below the rim. Details (monkeys, lizards, and birds seem to be Vessel forms include a variety of forms within this excavated band may be represented), with large solid circles, of jars, bowls, cylindrical vases, and emphasized with incision. Vessel bodies squares or cross-hatch designs between may even include figurines. Effigy are usually tan colored, and cream slip the two. The upper portion of the decoration is common. was sometimes added over the exterior, exterior body is divided by bands in a a. Dating: Terminal Classic (San Juan avoiding the carved band which was register holding step frets, circles, and/ variety) and Early Postclassic (Tohil sometimes painted with red slip. When or other designs. variety). the cream slip is present, negative i. Dating: Late Classic. b. Formal Names: Both San Juan and designs of dots, circles, water lilies, or ii. Size: 6–8 in (15–20 cm) in Tohil varieties 3 are found in El egrets may be barely visible on the diameter. Salvador (Sharer 1978). vessel body. The name of this Late iii. Formal Names: Termed Chancala Classic type is provisional and was Polychrome by Boggs (Stanley H. Boggs, 3 One third of all Tohil vessels recorded in the proposed by Boggs based on its ‘‘Cera´mica cla´sica del barrio Santa only pan-Mesoamerican inventory to date were abundance in the Chalatenango area. ´ from El Salvador (Ann O. Shepard, ‘‘Plumbate: A Anita, San Salvador en la coleccion Mesoamerican Trade Ware’’ in Publication 573, Orlando de Sola’’ in Anales del Museo Carnegie Institution of Washington, Washington, 4 In these sources, ‘‘Olocuilta’’ (which is the name Nacional ‘‘David J. Guzma´ n’’ 9 (37–41), DC, United States (1948)). of a Salvadoran town) was misspelled ‘‘Olocuitla’’.

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d. Red Excised: Cylindrical vessels and tail), bowls with flat or slightly stuccoed decoration tends to be very with a band of false glyphs or geometric rounded bottoms and flaring walls fragile. Designs are usually simple decoration excised below the rim and (these may have hollow cylindrical bands or geometric motifs, but vertical excised grooves usually supports), jars (which may have a pair occasionally human or animal figures covering the rest of the exterior, of effigy head handles below the rim), may be represented. Entirely stuccoed sometimes with two opposing excised and other minor forms. A hard white vessels seem to be most common in the panels representing animal heads or slip was painted in red with very Late Classic, and especially in the other designs. Slipped with a dark red- intricate geometric designs. Naturalistic Terminal Classic. orange color. Short solid tabular or forms are very rare. Late Classic Period 12. Guazapa Scraped Slip Vessels nubbin supports may be present. (Lepa Ceramic Complex—Andrews Provisional name for a Late Classic type 1976). Jars with a brown body over which common in central El Salvador. d. Cara Sucia Red Painted: Jars with was applied a cream colored slip that e. Cotzumalhuapa Incised Cylindrical dull red-orange paint over a cream- was finger dragged (like finger painting) Vases: Cylindrical vases, orange to orange slip. The lower body is divided while it was still wet, creating curving brown in color, with fine incision by vertical pairs of bands. Birds or other or wavy designs. A reddish-orange wash including geometric motifs and motifs may be painted on the shoulder was sometimes applied over the scraped monkeys. The rim area is distinguished of the vessel. Late Classic Period. slip. Early and Late Classic Periods. by a band or groove. Late Classic Period. 7. Jars With Modeled Effigy Faces 13. Ancient Imports 6. Vessels With Red Decoration Here are grouped together different Late Classic Palmar and Other Here are grouped together varieties of varieties of ceramic jars that share the Lowland Maya Ceramics Several vessels ceramic vessels whose principal presence of effigy faces or heads applied of so-called ‘‘Peten Glossware’’ have decoration was executed in red paint. to the vessel neck. Motifs include: Old been found in El Salvador that include a. Marihua Red on Buff: Forms man, man with goatee and closed eyes, the formally defined Palmar Ceramic include: Hemispherical bowls, bowls monkey, bird, and schematic humans. Group, and may also include examples with rounded bases and flaring walls of the Saxche Ceramic Group and others (these usually have three hollow or 8. Tiquisate Vessels (Sharer 1978). To date, three of such cylindrical supports, sometimes in the Tiquisate vessels are entirely orange vessels have been found in scientific form of bird heads), and jars with three (ranging from light cream-orange to excavations (one in a tomb in handles. Broad red lines form geometric deep orange in color). Their surface is the 1940s, a Palmar vessel in an offering designs on the buff colored interior of very hard and may ‘‘ring’’ when tapped. with an eccentric flint in San Andre´s in bowls and the exterior of jars. Designs Vessel forms include hemispherical the 1970s, and a Palmar vessel in a include arcs, crosses, step frets, bowls and cylindrical vases. Decoration grave on the outskirts of San Salvador ehecatcozcatl (split snail shell motif), may take the form of rows of bosses, in 1993). Several others have been and others. Very rare are finely incised incised geometric designs, or stamped documented in looting situations, designs in a band on the exterior of scenes of humans, animal heads, including three recorded by Sharer bowls. Postclassic Period (Wolfgang twisted bands, or other designs. Late (Sharer 1978), and in private Haberland, ‘‘Marihua Red-on-Buff and Classic. collections. Although these vessels were the Pipil Question’’ in Ethnos 29 (1–2), not made in the territory of El Salvador, National Museum of Ethnography, 9. Fine Paste Vessels they were ancient imports, and, as such, Stockholm, Sweden (1964) (hereinafter, Forms include small flat bottomed form part of the Salvadoran cultural referred to as ‘‘Haberland 1964’’)). bowls with vertical walls and hollow heritage, providing important testimony b. Guarumal: Almost all known rattle supports, and piriform vessels relative to long-distance social and examples are jars. Part of the jar exterior with ring bases. Vessel walls are very economic relationships. (reddish brown in color) is painted with thin and ‘‘ring’’ when tapped. An orange Forms include bowls with flat or a dense and hard red paint that is finely may be applied to the vessel with the slightly rounded bottoms and walls crazed. The paint may cover the upper exception of the base. Fine incising may ranging from slightly flaring (nearly portion of vessels, or may be distributed be found on the exterior of bowls and vertical) to broadly flaring walls, as panels, large dots or arcs. Rarely the may retain white and blue post-fire shallow simple bowls, tecomates entire vessel exterior is covered in red. paint. Terminal Classic Period. (spherical forms with a small orifice), A decorative option was to apply white and cylindrical vases. Bowls may have paint in circles (applied with a hollow 10. Cara Sucia Pedestal-Based Bowls ring bases, hollow cylindrical supports, cane) and/or zigzagging lines. This A distinctive type of bowl with a tall or other forms of supports. Decoration white paint is also very hard and was pedestal base. The bowls often have a consists of an orange or cream base slip applied over red painted areas. A small basal flange, and red painted zones are over which were painted designs in rabbit applique´ may appear on the sometimes found on the interior. Late black, red, and sometimes yellow. vessel body. Late Classic Period Classic Period. Designs include: Glyph bands, humans (Marilyn P. Beaudry, ‘‘The Ceramics of standing, seated, dancing, or in other 11. Stuccoed Vessels the Zapotita´n Valley’’ in Archaeology attitudes, heads (human, animal, God K, and Volcanism in Central America: The Here are grouped a variety of vessel and others), animals in different Zapotita´ n Valley of El Salvador, forms and types whose common positions, and other themes rendered in University of Texas Press, Austin, denominator for the purposes at hand is Late Classic Lowland Maya style. Texas, United States (Payson D. Sheets the presence of stuccoed decoration. ed. 1983) (hereinafter, referred to as The stucco involved is usually a white D. Ceramic Drums ‘‘Beaudry 1983’’)). kaolin clay with blue, blue-green, red, Ceramic drums comprise a globular c. Delirio Red on White: yellow, or brown pigment mixed in, and body with a short rim on one extreme Hemispherical bowls (sometimes made probably had (originally) an organic (over which the drum surface was into an armadillo effigy by means of a binder or agglutinate. Since that binder stretched) and a long open shaft on the shingled exterior and applique´d head long since ceased to function, the other extreme (which served as a stand).

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The body may have incised decoration. alternative to a single large effigy, some heads, and, thus, are commonly called Surfaces are usually slipped and well- present several figures on a single Jaguar Heads, but reptilian elements polished, and may range from dark censer, or a single element (like a head) may also be present. These were brown-black to brown to brownish red repeated several times. Recorded effigies apparently architectural elements in color. Late Classic Period. have included: The god Tlaloc associated with Late Preclassic Period (identifiable by a large ring around each E. Incense Burners pyramids. eye), an individual with bulbous 1. Ladle Censers protruding eyes, the god Xipe Totec 2. Cotzumalhuapa Sculpture This category groups together a (appearing as an individual wearing a Monumental sculptures in volcanic variety of different spoon- or ladle- flayed human skin), jaguars, monkeys, stone in the Cotzumalhuapa style (see shaped incense burners. These have a iguanas, large saurians (so-called Earth Lee A. Parsons, ‘‘Bilbao, Guatemala’’ handle (which may be a hollow tube or Monsters), GIII (a manifestation of the (Vol. 1) in Publications in Anthropology a flattened loop) which supports the Sun god identifiable by a twisted cord 11, Milwaukee Public Museum, ‘‘spoon’’ or ‘‘ladle’’ that actually held extending vertically between the eyes Milwaukee, Wisconsin, United States the embers over which incense was and catfish-like barbels curling from the (1967) (hereinafter, referred to as sprinkled. The ladle portion may have sides of the mouth), and others. Mostly ‘‘Parsons 1967’’); Lee A. Parsons, holes perforated to facilitate the Late Classic and Postclassic Periods. ‘‘Bilbao, Guatemala’’ (Vol. 2) in Publications in Anthropology 12, circulation of air, and in the taller, more 7. Cotzumalhuapa Goblet Censers Milwaukee Public Museum, Milwaukee, cup-like versions these holes may take Large goblet shaped vessel forms the form of crosses or step frets (these Wisconsin, United States (1969) (essentially a large bowl with walls that (hereinafter, referred to as ‘‘Parsons are the so-called ‘‘Mixteca-Puebla’’ style begin as vertical and midway to the rim censers). Animal heads, claws, or other 1969’’)). Themes known from El moderately flare outward, with a Salvador include: A snake emerging effigies may be added to end of the pedestal base), usually with signs of handle. from the ground, a skeletal figure with burning on the interior base. These a hat resembling a derby, a coiled snake, 2. Three-Pronged Censers censers may be unadorned, or may have and a disk with a jaguar face. Some of Standing cylinders with three vertical two or three hollow head effigies rising these are made from two stones which prongs at the top and two long vertical directly from the rim, or they may have connect by means of a hidden tenon. many small effigy heads attached in a flanges on the sides. Effigy faces may be Late Classic Period. row around the vessel just below its rim added to the vessel bodies (bats have (monkey and iguana heads have been 3. Tenoned Head Sculptures been noted). Post-fire paint added in documented). Lids, when present, may red, orange, and white. Late Preclassic Long sculptures of volcanic stone appear as inverted bowls, with or and Early Classic Periods (Sharer 1978). with an animal head at one end and an without an effigy figure on top (one undecorated tenon at the other, 3. Lolotique Spiked Censers example has a large seated monkey). intended to be mounted in monumental The bowl-shaped censer body is Late Classic Period. architecture. The heads usually supported by a tall pedestal base with F. Mushroom Effigies represent a bird or reptile. Late Classic perforations in the form of two large Period. Though some regard these as phallic squares or circles, or slits. Short spikes effigies, most agree that mushrooms are 4. Balsamo Sculpture cover the base and body. May retain represented. Two varieties are presented remnants of post-fire red or white paint. These portable sculptures are usually here. Late Classic Period (Andrews 1978). made of vesicular volcanic stone and 1. Ceramic Mushroom Effigies represent a human form in a squatting 4. Las Lajas Spiked Censers position. The vertebrae are usually Tall hollow bases rise from a flaring Large hourglass-shaped censer indicated as a notched ridge on the base and taper upwards to support the covered by short spikes. Incised or individual’s back. Although this form mushroom ‘‘cap’’. The body may be modeled decoration may be found on predominates, a grasshopper sculpture plain or may carry red paint and fine the everted rims found at top and is also documented. Postclassic Period. incisions (usually in the form of rows of bottom. An internal shelf may be triangles). Probably Late Preclassic and 5. Yugos present to hold the large clay dish that Early Classic Periods. supported the embers. Early Postclassic ‘‘U’’-shaped ballgame yugos (yokes) Period (Fowler 1981). 2. Stone Mushroom Effigies made of dense volcanic stone. Very rare examples may carry carved decoration. Usually made of fine-grained volcanic 5. San Andre´s Stone Censers Late Classic Period. stone. The shaft of the mushroom rises Squat barrel-shaped censers of hard from a base that may be cylindrical or volcanic stone with columns of spikes 6. Hachas square, and occasionally has short on part of the exterior. The upper part Thin ballgame hachas usually supports. Near the ‘‘cap’’ may often be of these censers have a dish-like representing animal or human heads (a found two raised bands representing the depression to contain embers. Late variety of other designs are also found, point from which the cap separates from Classic Period. such as, a coiled snake and a skull). its stem as it opens. Late Preclassic and Made of fine-grained volcanic stone. 6. Large Effigy Censers Early Classic Periods. Some examples have iron pyrite ‘‘eyes’’ Different varieties of censers whose G. Stone Sculpture and traces of red paint. Late Classic common traits are their relatively large Period. size and the prominent presence of 1. Preclassic Animal Head Sculptures elaborate effigies covering much or all of Monumental sculptures in volcanic 7. Effigy the censer body. In extreme cases, the stone representing very stylized animal Metates with a thin and slightly censer is entirely concealed within a heads (Demarest 1986). These have curving body, with an animal head at virtual ceramic sculpture. As an usually been interpreted as jaguar one end. A tail may be present at the

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other end. These are usually supported alabaster, and onyx). At least some of mid-twentieth century. This by three tall supports. Made of dense these may be ancient imports from the ethnological material was not mass- volcanic stone. Late Classic and Early territory of Honduras. Late Classic produced or industrially produced, and Postclassic Periods. Period. most works were anonymous. Examples of ethnological material covered by the H. Small Stone Artifacts 7. Barkbeaters MOU include, but are not limited to, the 1. Jade or Similar Greenstone Artifacts Tabular dense stone artifacts with following objects: numerous longitudinal parallel Lustrous and hard green-colored stone A. Paintings crafted into: Beads (spherical, globular, incisions worked on one or both broad tubular, or discoidal), pendants (plain or faces. On one variety (Classic and Paintings depicting figures, narratives, with human or animal effigies, Postclassic Periods), three of the four and events, relating to ecclesiastical including so called ‘‘axe gods’’ and narrow sides have a broad groove meant themes, usually done in oil on wood, canine tooth effigies), plaques (or to receive a very pliable stick wound metal, walls, or canvas (linen, jute, or pectorals) with elaborate designs, around it as a handle. The other variety ). considered here has an integral stone masks, mosaics, earspools, animal or B. Sculptures human effigies (heads or full figure), or handle (Late Preclassic). schematic squatting human forms 8. Celts Sculptural images of scenes or figures, ´ carved in wood and usually painted, (similar to examples from the El Cajon These were originally mounted on area of Honduras). relating to ecclesiastical themes, wood handles for use as hatchets or including Christ, the Virgin Mary, 2. Eccentric Chipped Stone adzes. Made of very dense, fine-grained saints, Anima Sola (souls in purgatory), Flint, chert, or obsidian flaked into stone and are often highly polished near and other figures. eccentric forms. These may include: A the bit and sometimes over the entire zigzag lance point form, a disc with body. Some examples are made of jade 1. Relief Sculptures or stone resembling jade. three prongs or spike on one side, and Low-relief plaques, often with elaborate large effigy eccentrics I. Metal Artifacts polychrome painting, relating to apparently meant to serve as scepters ecclesiastical themes. (similar to those found in caches at 1. Copper Celts Copa´n, Quirigua´, and other sites). Late Mounted on wooden handles for use 2. Sculpted Figures Classic Period. as hatchets or adzes. Long copper celts Wood carvings of figures relating to with a rectangular cross section. May 3. Obsidian Artifacts in General ecclesiastical themes. Figures are have a dark patina. Postclassic Period. decorated with polychrome painting, Prismatic blades, bifacial artifacts 2. Copper Rings sometimes using the estofado technique. (lance points, arrow points, ‘‘knives’’), Hands and faces may be more finely cores, and other objects made from Copper finger rings made with the lost carved than the torso. Eyelashes, eyes, obsidian (a black colored volcanic wax technique. Documented examples and hair may be added. Clothing might glass). include filigree details or effigy heads. be sculpted and painted. In some cases, Terminal Classic and Postclassic 4. Pyrite Mosaic ‘‘Mirrors’’ the torso consists of a simple wood Periods. frame covered in fabric clothing. Figures A mosaic of carefully fitted plaques of may have articulated arms, and iron pyrite placed on a thin disc-shaped 3. Copper Bells sometimes legs, so they can be posed to backing made of stone or clay that may Copper bells, plain or with effigies, represent various religious scenes. have designs on one side. When new, usually made by the lost wax technique. Sculpted figures may be life-sized or the pyrite reflected light brilliantly, but Postclassic Period. miniaturized. Some figures have metal archaeological specimens have often 4. Tumbaga Artifacts accessories, such as, halos, aureoles, lost their shine due to oxidation (the and staves. pyrite may convert to a brownish black Tumbaga is an alloy of copper and crust). Late Classic and perhaps other gold. Artifacts made of Tumbaga may C. Furniture periods. present a mottled surface looking golden in parts. Documented Tumbaga artifacts Furniture used for ecclesiastical 5. Paint Pallets from El Salvador include small animal purposes, usually made from wood with Small artifacts of vesicular volcanic figurines made by the lost wax glass, metal, and/or textiles attached. stone with a dish-shaped or squared technique, and a small hammered sheet 1. Altarpieces or Retablos depression on one surface. Some pallets mask with eyes and mouth cutouts. Late are simple, being essentially natural Classic Period. Elaborate ornamental structures cobbles of a flattened oblong shape with placed behind the altar, including II. Ecclesiastical Ethnological Material the depression worked on one surface, attached paintings, sculptures, and or sometimes two depressions on Ethnological material covered by the other religious objects. MOU includes ecclesiastical material opposing surfaces. Others are 2. Reliquaries and Coffins elaborately carved and may include four from the Colonial period through the supports and animal or human head first half of the twentieth century Containers made from wood, glass, effigies. Traces of red pigment have ranging in date from approximately A.D. and/or metal that hold and exhibit been found on some pallets. Late Classic 1525 to 1950 that was made by artisans sacred objects or human remains. and used for religious purposes. and possibly other periods. 3. Church Furnishings Salvadoran artisans created paintings, 6. Translucent Stone Bowls sculptures, furniture, metalwork, Furnishings used for liturgical rites, Thin bowls carved from light colored textiles, and craftwork for religious use including pulpits, tabernacles, lecterns, translucent stone (which in different in churches and cofradias, or confessionals, pews, choir stalls, cases has been labeled as marble, ecclesiastical lay organizations, until the chancels, baldachins, and palanquins.

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4. Processional Furnishings F. Documents and Manuscripts Signing Authority Litters, canopies, coffins, cases, Original handwritten texts or printed This regulation is being issued in crosses, banners, and cofradia insignias texts of limited circulation, primarily on accordance with 19 CFR 0.1(a)(1) carried in processions and made of paper, parchment, or vellum, including pertaining to the Secretary of the wood, glass, and/or textiles. religious texts, hymnals, and church Treasury’s authority (or that of his/her delegate) to approve regulations related D. Metalwork records. Documents may contain wax, clay, or ink seals or stamps denoting an to customs revenue functions. Ritual objects for ceremonial ecclesiastical institution. Documents are ecclesiastical use made of gold, silver, List of Subjects in 19 CFR Part 12 generally written in Spanish, but may and/or other metals, such as, Cultural property, Customs duties and include words from indigenous monstrances, lecterns, chalices, censers, inspection, Imports, Prohibited languages, such as, Nawat, , or candlesticks, crucifixes, crosses, merchandise, Reporting and . decorative plaques, tabernacles, recordkeeping requirements. processional banners, church bells, and Inapplicability of Notice and Delayed Amendment to CBP Regulations cofradia insignias; and objects used to Effective Date dress sculptures, including, among For the reasons set forth above, part others, crowns, halos, and aureoles. This amendment involves a foreign 12 of Title 19 of the Code of Federal affairs function of the United States and Regulations (19 CFR part 12), is E. Textiles is, therefore, being made without notice amended as set forth below: Textiles used to perform religious or public procedure (5 U.S.C. 553(a)(1)). services made from cotton or silk that For the same reason, a delayed effective PART 12—SPECIAL CLASSES OF may be embroidered with metallic and/ date is not required under 5 U.S.C. MERCHANDISE or silk thread, brocades, prints, lace, 553(d)(3). ■ fabrics, braids, and/or bobbin lace. 1. The general authority citation for Regulatory Flexibility Act part 12 and the specific authority for 1. Religious Vestments § 12.104g continue to read as follows: Because no notice of proposed Garments worn by priests and/or rulemaking is required, the provisions Authority: 5 U.S.C. 301; 19 U.S.C. 66, 1202 other ecclesiastics, including cloaks, (General Note 3(i), Harmonized Tariff of the Regulatory Flexibility Act (5 tunics, surplices, chasubles, dalmatics, Schedule of the United States (HTSUS)), U.S.C. 601 et seq.) do not apply. albs, amices, stoles, maniples, cinctures, 1624; rochets, miters, bonnets, and humeral Executive Orders 12866 and 13771 * * * * * veils. Sections 12.104 through 12.104i also CBP has determined that this issued under 19 U.S.C. 2612; 2. Garments To Dress Sculptures document is not a regulation or rule * * * * * Life-sized or miniaturized garments, subject to the provisions of Executive ■ 2. In § 12.104g, paragraph (a), the including tunics, robes, dresses, jackets, Order 12866 or Executive Order 13771 entry for El Salvador in the table is capes, stoles, veils, belts, and because it pertains to a foreign affairs revised to read as follows: embroidered cloths. function of the United States, as described above, and therefore is § 12.104g Specific items or categories 3. Coverings and Hangings specifically exempted by section 3(d)(2) designated by agreements or emergency Altar cloths, towels, and tabernacle of Executive Order 12866 and section actions. veils used for religious services. 4(a) of Executive Order 13771. (a) * * *

State party Cultural property Decision No.

******* El Salvador ...... Archaeological material representing El Salvador’s Pre-Hispanic cultures ranging in date from ap- CBP Dec. 20–04. proximately 8000 B.C. through A.D. 1550 and ecclesiastical ethnological material from the Colo- nial period through the first half of the twentieth century ranging in date from approximately A.D. 1525 to 1950.

*******

* * * * * EQUAL EMPLOYMENT OPPORTUNITY SUMMARY: In accordance with the Dated: March 6, 2020. COMMISSION Federal Civil Penalties Inflation Adjustment Act Improvements Act of Mark A. Morgan 29 CFR Part 1601 2015, which further amended the Acting Commissioner, U.S. Customs and Federal Civil Penalties Inflation Border Protection. RIN 3046–AB17 Adjustment Act of 1990, this final rule Approved: adjusts for inflation the civil monetary 2020 Adjustment of the Penalty for Timothy E. Skud, penalty for violation of the notice- Violation of Notice Posting Deputy Assistant Secretary of the Treasury. posting requirements in Title VII of the Requirements Civil Rights Act of 1964, the Americans [FR Doc. 2020–05694 Filed 3–16–20; 11:15 am] with Disabilities Act, and the Genetic BILLING CODE 9111–14–P AGENCY: Equal Employment Opportunity Commission. Information Non-Discrimination Act. DATES: This final rule is effective March ACTION: Final rule. 18, 2020.

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