Federal Register / Vol. 62, No. 112 / Wednesday, June 11, 1997 / Rules and Regulations 31713

Issued in Washington, D.C. on June 5, 1997 in nature, is immeasurable. Such items Columbian archaeological materials of by the Commission. often constitute the very essence of a Peru dating to the Colonial period and Jean A. Webb, society and convey important certain Colonial ethnological material Secretary of the Commission. information concerning a people’s from Peru as the result of a bilateral [FR Doc. 97–15246 Filed 6–10–97; 8:45 am] origin, history, and traditional setting. agreement entered into between the BILLING CODE 6351±01±P The importance and popularity of such United States and Peru. This agreement items regrettably makes them targets of was entered into on June 9, 1997, theft, encourages clandestine looting of pursuant to the provisions of 19 U.S.C. archaeological sites, and results in their 2602. Protection of the archaeological DEPARTMENT OF THE TREASURY illegal export and import. material from the Sipan region Customs Service The U.S. shares in the international previously reflected in § 12.104g(b) will concern for the need to protect be continued through the bilateral 19 CFR Part 12 endangered cultural property. The agreement without interruption. appearance in the U.S. of stolen or Accordingly, § 12.104g(a) of the [T.D. 97±50] illegally exported artifacts from other Customs Regulations is being amended RIN 1515±AC17 countries where there has been pillage to indicate that restrictions have been has, on occasion, strained our foreign imposed pursuant to the agreement Archaeological and Ethnological and cultural relations. This situation, between the United States and Peru and Material From Peru combined with the concerns of the emergency import restrictions on museum, archaeological, and scholarly certain archaeological material from AGENCY: U.S. Customs Service, communities, was recognized by the Peru is being removed from § 12.104g(b) Department of the Treasury. President and Congress. It became as those restrictions are now ACTION: Final rule. apparent that it was in the national encompassed in § 12.104g(a). interest for the U.S. to join with other This document contains the SUMMARY: This document amends the countries to control illegal trafficking of Designated List of Archaeological and Customs Regulations to reflect the such articles in international commerce. Ethnological Material representing the imposition of import restrictions on The U.S. joined international efforts cultures of the native peoples of Peru certain archaeological material of Peru’s and actively participated in which are covered by the agreement. pre-Columbian past dating to the deliberations resulting in the 1970 Importation of articles on this list is Colonial period and certain Colonial UNESCO Convention on the Means of restricted unless the articles are ethnological materials of Peru. These Prohibiting and Preventing the Illicit accompanied by an appropriate export restrictions are being imposed pursuant Import, Export and Transfer of certificate issued by the Government of to an agreement between the United Ownership of Cultural Property (823 Peru. States and Peru which has been entered U.N.T.S. 231 (1972)). U.S. acceptance of In reaching the decision to into under the authority of the the 1970 UNESCO Convention was recommend extension of protection, the Convention on Cultural Property codified into U.S. law as the Deputy Director, United States Implementation Act in accordance with ‘‘Convention on Cultural Property Information Agency, determined that, the United Nations Educational, Implementation Act’’ (Pub.L. 97–446, 19 pursuant to the requirements of the Act, Scientific and Cultural Organization U.S.C. 2601 et seq.) (‘‘the Act’’). This with respect to categories of pre- (UNESCO) Convention on the Means of was done to promote U.S. leadership in Columbian archaeological material Prohibiting and Preventing the Illicit achieving greater international proposed by the Government of Peru for Import, Export and Transfer of cooperation towards preserving cultural U.S. import restrictions, ranging in date Ownership of Cultural Property. The treasures that are of importance not only from approximately 12,000 B.C. to A.D. document also contains the Designated to the nations whence they originate, 1532, and including, but not limited to, List of Archaeological and Ethnological but also to greater international objects comprised of textiles, metals, Material which describes the articles to understanding of mankind’s common ceramics, lithics, perishable remains, which the restrictions apply. This heritage. The U.S. is, to date, the only and human remains that represent document also amends the Customs major art importing country to cultures that include, but are not limited Regulations by removing the listing of implement the 1970 Convention. to, the Chavin, Paracas, Vincus, Moche Peru and identification of the cultural During the past several years, import (including objects derived from the property to which emergency import restrictions have been imposed on a archaeological zone of Sipan), Viru, restrictions have been imposed. Articles emergency basis on archaeological and Lima, Nazca, Recuay, Tiahuanaco, which had been protected under that ethnological artifacts of a number of Huari, Chimu, Chancay, Cuzco, and provision are also covered under the signatory nations as a result of requests Inca; that the cultural patrimony of Peru new listing. for protection received from those is in jeopardy from the pillage of these nations. EFFECTIVE DATE: June 11, 1997. irreplaceable materials representing pre- Peru has been one of the countries Columbian heritage; and that with FOR FURTHER INFORMATION CONTACT: whose archaeological material has been respect to certain categories of Legal Aspects: Donnette Rimmer, afforded emergency protections. In T.D. ethnological material of the Colonial Intellectual Property Rights Branch 90–37, § 12.104g(b), Customs period, ranging in date from A.D. 1532 (202) 482–6960. Regulations, was amended to reflect that to 1821, proposed by the Government of Operational Aspects: Louis Alfano, archaeological material from the Sipan Peru for U.S. import restrictions but Commercial Enforcement, Office of Archaeological Region forming part of limited to (1) objects directly related to Field Operations (202) 927–0005. the remains of the Moche culture the pre-Columbian past, whose pre- SUPPLEMENTARY INFORMATION: received import protection under the Columbian design and function are emergency protection provisions of the maintained with some Colonial Background Act. This protection was extended in characteristics and may include textiles, The value of cultural property, T.D. 94–54. Import restrictions are now metal objects, and ceremonial wood, whether archaeological or ethnological being imposed on certain pre- ceramic and stone vessels; and (2) 31714 Federal Register / Vol. 62, No. 112 / Wednesday, June 11, 1997 / Rules and Regulations objects used for religious evangelism ranging in date from approximately those categories of Moche objects from among indigenous peoples and 12,000 B.C. to A.D. 1532, and including, the Sipa´n Archaeological Region of Peru including Colonial paintings and but not limited to, objects comprised of for which emergency import restrictions sculpture with distinct indigenous textiles, metals, ceramics, lithics, have been in place since 1990. With iconography; that the cultural perishable remains, and human remains publication of the Designated List patrimony of Peru is in jeopardy of that represent cultures that include, but below, protection of the Sipa´n material pillage of these irreplaceable materials are not limited to, the Chavin, Paracas, continues without interruption. as documented by the request. Vicu´ s, Moche, Viru´ , Lima, Nazca, The list is divided into seven Recuay, Tiahuanaco, Huari, Chimu´ , List of Designated Archaeological and categories of objects: Chancay, Cuzco, and Inca cultures. The Ethnological Material From Peru Designated List also includes certain I. Pre-Columbian Textiles Pursuant to a Memorandum of categories of ethnological materials from II. Pre-Columbian Metals Understanding between the United Peru dating to the Colonial period (A.D. III. Pre-Columbian Ceramics States and the Republic of Peru, the 1532–1821), limited to: (1) objects IV. Pre-Columbian Lithics following contains descriptions of the directly related to the pre-Columbian V. Pre-Columbian Perishable Remains VI. Pre-Columbian Human Remains cultural materials for which the United past, whose pre-Columbian design and States imposes import restrictions under VII. Ethnological Objects function are maintained with some A. Objects Directly Related to the Pre- the Convention on Cultural Property Colonial characteristics and may Columbian Past Implementation Act (Pub. L. 97–446), include textiles, metal objects, and B. Objects Used for Religious Evangelism the legislation enabling implementation ceremonial wood, ceramic and stone Among Indigenous Peoples of the 1970 UNESCO Convention on the vessels; and (2) objects used for Means of Prohibiting and Preventing the religious evangelism among indigenous What follows immediately is a chart Illicit Import, Export and Transfer of peoples and including Colonial of chronological periods and cultural Ownership of Cultural Property. The paintings and sculpture with distinct classifications currently widely used for Designated List includes archaeological indigenous iconography. The identifying archaeological remains in materials known to originate in Peru, Designated List below also subsumes Peru. All dates are approximate.

Rowe Lumbreras

1440±1532 A.D ...... Late Horizon ...... Inca Empire. 1100±1440 A.D ...... Late Intermediate Period ...... Regional states and kingdoms. 600±1100 A.D ...... Middle Horizon ...... Huari Empire. 200 B.C.±600 A.D ...... Early Intermediate Period ...... Regional Cultures. 1000±200 B.C ...... Early Horizon ...... Middle and Late Formative. 1700±1000 B.C ...... Initial Period ...... Early Formative. 2500±1800 B.C ...... Late Pre-ceramic ...... Late Archaic. 4500±2500 B.C ...... Middle Pre-ceramic ...... Middle Archaic. 6000±4500 B.C ...... Early Pre-ceramic ...... Early Archaic. 12000±6000 B.C ...... Early Pre-ceramic ...... Hunter-Gatherers.

The following Designated List is Panels—Chimu panels may be of two woven in tapestry technique; in fakes, representational and may be amended types: tapestry weave or plain-weave they have embroidered features. Usually as appropriate. cotton. Isolated anthropomorphic 20 cm. tall and 8 cm. wide. designs predominate and may be I. Pre-Columbian Textiles False Head—In Chancay culture, false associated with zoomorphic motifs. heads are made on a cotton of vegetal Textiles representing these principal Vary from 20 cm. x 20 cm. to 2.0 m. x fiber cushion covered with plain-weave cultures and main classes of objects: 1.8 m. cloth, decorated with shells, beads, Belts and Sashes—Generally made in A. Chimu metal, wood, or painting to depict facial tapestry technique, and predominantly features. They sometimes have real hair. Pillow—Piece of cloth sewn into a bag of red, white, ocher, and black. As with Usually 30 cm. x 35 cm. shape and stuffed with cotton of vegetal other Chimu textiles, they generally fibers. Generally the cloth is made in Unku/Tunic—Varied sizes and styles. depict human figures with rayed Some are in plain weave, others in tapestry technique. 60 cm. x 40 cm. headdresses. Up to 2.20 m. in length. Painted Cloth—Flat cloth of cotton on gauze, still others are in tapestry which designs are painted. Range B. Chancay technique or brocade. They are between 20 cm. and 6.1 m. Loom—Looms are commonly found in recognized by their iconography, which Headdress—Headdresses are usually Chancay culture, sometimes with pieces includes geometric motifs, birds, fish, made of feathers, especially white, of the textile still on the loom. Often plants, and human figures. Miniatures green, and dark brown, which are these pieces of cloth show varied are tiny; regular size examples are about attached to cloth and fitted to a cane or techniques and are referred to as 50 cm. x 50 cm. basketry frame. Feathers on the upper ‘‘samples.’’ 50 cm. x 20 cm. Belt—Chancay belts are multicolored, part are arranged to stand upright. Loincloth—Triangular panels of cloth with geometric motifs rendered in Feather Cloth—Cloth decorated with with tapestry woven borders. tapestry technique. Sometimes the ends bird feathers, especially panels and Dolls—Three dimensional human are finished in faux-velour technique. 2 tunics. They vary in shape and size; figures stuffed with vegetal fiber to m. x 5 cm. generally they depict geometric motif which hair and other decorations are Panels—Chancay panels may be made and volutes. Vary from 20 cm.—3 m. in added. Sometimes they depict lone in tapestry technique or may be painted length, and may be up to 1.5 m. in females; in other cases they are arranged on plain weave cloth. In these latter width. in groups. Most important, the eyes are cases, the panels may depict fish, Federal Register / Vol. 62, No. 112 / Wednesday, June 11, 1997 / Rules and Regulations 31715 parrots, monkeys, viszcachas, felines, D. Huari with decoration reserved for the ends; foxes, and human figures. Vary in size Panel—Characterized by a complex there are others that are elaborately from miniatures to 4 m. x 2 m. and abstract iconography. Made in embroidered with colorful images Standards—Chancay standards are tapestry technique with a range of rendered in wool. These often form sets supported on a frame of straight reeds colors, including browns, beiges, with mantles and other garments. Skirts covered with cotton cloth which is yellows, reds, oranges, and greens. Vary are rectangular and very wide, with two painted in anthropomorphic designs in from 20 cm. x 20 cm. to 2.0 m. x 1.8 m. fringed ties. 3 m. long and 70 cm. wide. ochers and black. Sometimes they have Unku/tunic—Large with an abstract Wara/Loincloth—Made of cotton, not a handle. 20 cm. x 20 cm. and geometric iconography. Commonly as large as skirts, and may have Gauze—Pieces of cloth made in the designs repeat in vertical bands. embroidered edges. openwork gauze technique, with very Slings—Paracas slings are decorated Generally these tunics have a cotton fine cotton threads. May have in Cavernas style, made of vegetal fiber, warp and camelid fiber weft. Some are embroidered designs in the same thread and are of small size, generally 1.5 m. so finely woven that there are 100 that depict birds or other flora and x 5 cm. threads per cm 2. Vary in size from fauna. Usually 80 cm. x 80 cm.; some Furs—There are numerous examples miniatures up to 1.5 m. x 80 cm. are smaller. of animal skins reported from Paracas Caps—Most common are the so-called contexts, including the skins of the fox, C. Nazca ‘‘four-corner hats’’ made in a faux- vizcacha, guinea pig. Most are poorly velour technique that results in a Three-Dimensional Cloth—Cloth preserved. made in three dimensions, using velvety texture. On the base cloth, small needles. Of many and bright colors, tufts of brightly-colored wool are F. Moche knitted in long strips. Each figure is inserted. Bags—Moche bags are usually square, approx. 5 cm. long x 2 cm. wide. Vincha/headband or sashes—These small, and have a short handle. They are Unku/Tunic—These include garments are made in tapestry weave or made in tapestry technique with miniature and regular-sized tunics. faux-velour technique and depict brightly-woven designs. Principal colors They are generally of one color, mostly geometric motifs. used are white, black, red, light blue, light brown. The neck edges, hem, and Bags—Bags have an opening which is and ocher. fringes have multicolored geometric somewhat narrower than the body, with Panels—Recognizable by their designs. Fringes end in woven braids. designs depicting felines, camelids, iconography, these tapestry-technique Vary in size from miniatures up to human faces, and faces with animal panels may show people on balsa-reed approx. 1.5 m. x .8 m. attributes. rafts surrounded by a retinue. They are Bags—There are bags of many sizes, E. Paracas rendered in a geometric fashion, and are from miniatures to large ones, generally outlined in black and shown in profile. with a narrow opening and a wide Esclavina/Small shoulder poncho— Scenes of marine life and fauna pouch. Some are decorated with fringe. Paracas esclavinas are unique for their predominate. Vary from 20 cm. x 20 cm. Their iconography resembles the unku decoration with brightly colored images to 2 m. x 1.8 m. (tunic), stylized designs in yellow, red, in Paracas style such as birds, flowers, Ornamental canes—Small canes are and dark and light blue. animals, and human figures. Vary in ‘‘woven’’ together in a twill technique Sash—Nazca sashes are made on size from miniatures up to 60 cm. x 30 using colorful threads that depict special looms. Their ends are decorated cm. anthropomorphic designs. Approx. 10 with plied fringe. Mantle—Paracas mantles can be cm. x 10 cm. Tie-Dye (Painted) Cloth—Most divided into five types, based on their common are those made in the tie-dye decoration. All are approximately 2.5 m. G. Lambayeque technique, in which the textile is x 1.6 m. Panels—Lambayeque panels are knotted and tied before it is dyed, so a. Mantles with a plain field and small, made in tapestry technique, of that when it is untied, there are negative woven borders; cotton and wool. Vary from 20 cm. x 20 images of diamonds, squared, and b. Mantles with decorative cm. to 2 m. x 1.8 m. concentric dots. Most common are (embroidered) borders and plain field; H. Inca orange, red, blue, green, and yellow c. Mantles with decorative colors. Vary from approx. 20 cm. x 20 (embroidered) borders and a decorative Sling—There are two types of Inca cm. to 2.0 m. x 1.8 m. stripe in the center field; slings. Ceremonial ones are oversize and Patchwork Cloth—Variant of the Tie- d. Mantles with embroidered borders elaborately decorated with geometric Dye cloth, in which little panels are and center field embroidered in motifs, with long fringes. The other type made and later sewn together so that the checkerboard-fashion; is smaller and utilitarian, almost always resulting textile includes rectangles of e. Mantles with embroidered borders with decoration only on the pouch and tie-dyed panels of different colors. The and alternating diagonals of far ends. The decoration is geometric cloth may have a decorative fringe. Vary embroidered figures in the center field. and the slings have fringed ends. from 20 cm. x 20 cm. to 2.0 m. x 1.8 m. Gauzes—Paracas gauzes are made of Unku/tunic—Inca tunics are well- Wara/Loincloth—Generally made of a one color, such as lilac, yellow, red, or made and colorful, mostly in red, olive flat piece of cloth with colorful borders grey. They are generally rectangular and green, black, and yellow. Decorative depicting stylized geometric motifs. have a soft and delicate texture. Approx. elements may be arrayed checkerboard They terminate in fringe. 50 cm. x 30 1 m. x 1 m. fashion and are found on the upper and cm. Panels—Paracas panels are generally lower part of the garment. Vary in size Fans—The frame is of vegetal fiber of cloth and may have been used for from miniatures up to approx. 1.5 m. x provided with twisted cord into which utilitarian purposes. They are generally 80 cm. feathers are inserted. Commonly two undecorated. Vary from 20 cm. x 20 cm. Bags—Recognized by their bright colors of feathers are attached in this to 2 m. x 1.8 m. colors, they have an opening that is way, such as orange and green, or Skirts—Paracas skirts are of two narrower than the body and a wide yellow and blue. 30 cm. x 20 cm. types: some are plain, made of cotton pouch with long fringe and handle. Vary 31716 Federal Register / Vol. 62, No. 112 / Wednesday, June 11, 1997 / Rules and Regulations in size from miniatures up to 30 cm. x May be of copper or bronze. Vary from and surface decoration varies from 20 cm. 6 cm.–25 cm. in height. culture to culture. Shapes include Panels—Some are made in cotton Jingle Bells: Spherical bells with an beakers, bowls, and plates. Average .5 using the double-cloth technique, based opening on the lower part and a handle m.–.3 m. in height. on light brown and beige. Lines of on the upper part so they can be geometrically-rendered llamas suspended from a sash or other garment. I. [Reserved] predominate. Vary in size from 20 cm. They contain a small stone or a little J. Masks x 20 cm. to 2 m. x 1.8 m. ball of metal. The handles may be May be made of gold, silver, gilded Mantles—Inca mantles are of standard decorated. Jingle bells may decorate silver, copper, gilded copper, silver- dimensions, sometime more than a another object, such as rhythm sticks, covered copper, or may be made of two meter long, generally rectangular. They and may be of gold, silver, or bronze. metals. They vary greatly in shape and are multi-colored and made of cotton Used in all pre-Columbian cultures of design. The best known examples come warp and wool weft. Most common Peru. from the following cultures: Moche, colors are dark red, olive green, white, Chalchachas: Instruments shaped like Sican, Chimu´ , Huari, Inca, Nazca, and and black. Generally 2.5 m. x 1.6 m. a bivalve with repousse´ decoration. Chincha. The northern coast examples Kipu/quipu—Inca quipus (knotted Made of copper. string mnemonic devices) are made of Quenas (flutes): Tubular instruments, often have insets of shell, precious or cotton and wool cords, sometimes with generally of silver, with perforations to semi-precious stones, and may have the two fibers plied together. Rarely is vary the tone. plant resins to depict the eyes and teeth. their original color preserved, though Almost all examples that have not been F. Knives sometime one sees light blues and cleaned have a surface coloring of red browns. Some are wrapped with Knives vary depending on their cinnabar. Examples from Sican measure colorful threads on the ends of the provenance. They can have little or no up to 49 cm. in width by 29 cm. in cords. 80 cm. x 50 cm. decoration and can be of different height. Miniature examples can measure metals or made of two metals. The best 7 cm. × 5 cm. Miniature masks are also II. Pre-Columbian Metal Objects known are the tumis from the Sican used as decorations on other objects. A. Idols culture, which have a straight or Copper examples generally show heavy trapezoidal handle and a half-moon oxidation. Anthropomorphic or zoomorphic blade. The solid handle may have figures, some of which are hollow and K. Crowns carved or stamped designs. Generally others which are solid. They may be of made of gold, silver, or copper. In Thin or thick sheets of metal made to gold and silver, they may be gilded, or ceremonial examples, the blade and encircle the head. They may be of silver, of copper, or bronze. Sizes vary from 2 upper part may depict an gold, copper, gilded silver, silver- cm.—20 cm. in height. anthropomorphic figure standing or covered copper, or may be made of two B. Small Plaques seated, or simply a face or mask with an metals. Some examples have a curved central part, and may be decorated with Thin sheets of gold, silver, copper, or elaborate headdress, earspools, and inset semi-precious stones. Tumi pieces of metal and real or artificial gilded copper, used to cover the body feathers that are attached with small ´ handles can be triangular, rectangular, and made in pieces. They have repousse clamps. Found in all cultures. or punched designs on the edge and or trapezoidal, and blades can be middle of the sheet. Average .6 cm in ovaloid or shaped like a half-moon. L. Penachos (Stylized Metal Feathers) height. G. Pins Stylized metal feathers used to C. Axes With a straight shaft and pointed end, decorate crowns. May be made of gold, Almost always T-shaped and solid. pins can be flat or cylindrical in cross- silver, copper, or silver-covered copper. There are also axes in a traditional section. Most are hammered, and some M. Tocados (Headdresses) axehead shape. May be of bronze or are hollow. They can be of gold, silver, Headdress ornaments which may be copper. copper, bronze, gold-plated silver or may be made of two metals. Some pins simple or complex. They may be made D. Mace Heads are zoomorphic; others have floral of one part, or may include many These come in a great variety of images, and still others depict fish. pieces. Found in all cultures. They may shapes, including star-shaped, flat, or of Some have a round head; others have a take the form of crowns, diadems, or two or three levels. They may be made flat, circular head; still others have the small crowns. They may have two of copper or bronze. Most have a central shape of a half-moon. There are hollow- stylized feathers to decorate the crown hole through which a wooden handle headed rattle pins; others have solid and to hold it to the hair (especially the was affixed. anthropomorphic images. Most are up to Chimu examples). Paracas examples 50 cm. in length, with heads that are up generally have rayed appendages, with E. Musical Instruments to 10 cm. in diameter. The small pins pierced disks suspended from the ends Trumpets: Wind instrument with a are about 5 cm. in length. of the rays. tubular body and flaring end, fastened at H. Vessels N. Turbans the joint. May be of copper or bronze. Bells: Of varying shapes and materials There are a variety of metal vessels; Long pieces of cloth that are wrapped (including gold, silver, copper, and they may be made of gold, silver, gilded around the head. Metal ornaments may silver-plated copper). silver, gilded copper, silver-covered be sewn on turbans. Found in all Conos: Instrument shaped from a copper, and bronze. There are cultures; the metal decorations and the sheet of hammered metal, with or miniatures, as well as full-size vessels. cloth vary from culture to culture. without a clapper. Can be of copper or Such vessels are known from all O. Spoons silver. Up to .5 m. in height. cultures. Forms include beakers, bowls, Rattles: Musical instrument with a open plates, globular vessels, and Utilitarian object of gold, silver, or central hold to accommodate a handle. stirrup-spout bottles. The exact form copper. Federal Register / Vol. 62, No. 112 / Wednesday, June 11, 1997 / Rules and Regulations 31717

P. Lime Spatulas skin, or monkey tails are inserted and Characteristics Miniature spatula: a straight handle held in place with tar. They may be Decoration: Slip-painted and incised. has a slightly spoon-shaped end. The made of gold, silver, or gilded or silver- Modeled elements include stylized handle may have an anthropomorphic plated copper. felines and camelids, along with an figure. Made of gold, silver, or copper. III. Pre-Columbian Ceramics anthropomorphic image characteristically depicted with a staff Q. Ear Spools ´ A. Chavın in each hand. Vessels are typically Ear spools are generally made of a Date: 1200–200 B.C. decorated in yellows, black, and white large cylinder which fits through the on the red background of the vessel. earlobe and an even larger disk or Characteristics Designs are characteristically outlined decorative sheet on one side. The disk Decoration: A grey-black color. by incision. There may be modeled may be decorated with repousse´, Incised, modeled, and high and low- decoration, such as feline heads, stamped, or engraved designs, or may relief are combined to work out designs attached to the vessels. have inset stone or shell. May be made in grays and browns. The surface may Shapes: Tall bowls with annular ring of gold, silver, copper, or made of two also juxtapose polishing and matte bases predominate, along with vessels metals. Ear spools are found in all finish in different design zones. that depict anthropomorphic images. cultures. The largest measure up to 15 Forms: Bottles, plates, and bowls. Size: Bowls are up to 20 cm. in cm. height; typical diameter: 5 cm.–14 diameter and 20 cm. in height. cm. Size: 5 cm.–30 cm. Identifying: Characteristic traits of E. Paracas R. Nose Ornaments Cupisnique and Chavı´n ceramics Date: Developed around 200 B.C. Of varied shapes, nose ornaments can include: globular body with a flat base be as simple as a straight tube or as and stirrup spout; thick neck with an Characteristics complex as a flat sheet with repousse´ obvious and everted lip. Chavin style Vessels are typically incised, with design. In the upper part, there are two also includes long-necked bottles, bowls post-fired resin painting on a black points to attach the ornament to the with flaring walls, and highly-polished background. relief-decorated surfaces. septum. They may be of gold, silver, or Size: 10 cm.–15 cm. high copper or may be made of two metals. Styles: Chavin influence is seen in Cupisnique, Chongoyape, Poemape, F. Nazca S. Earrings Tembladera, Patapo, and Chilete. Date: A.D. 100–600. Decoration to be suspended from the earlobes. B. Vicu´ s Characteristics T. Rings Date: 900 B.C.–A.D. 500 Color: Typically very colorful, with a range of slips including cream, black, Simple bands with or without Characteristics red, violet, orange, gray, all in a range designs. Some are two bands united by Decoration: Geometric designs in of tones. filigree spirals. Some have inset stones. white on red, made using negative Slip: Background slip is generally May be of silver, gold, copper, or alloys. technique. There are also monochrome cream or orange. U. Bracelets examples. Shapes: Cups, bowls, beakers, plates, Bracelets are made of sheets of metal Forms: Anthropomorphic, double-spout-and-bridge bottles, with a straight or slightly trapezoidal zoomorphic and plant-shaped vessels. anthropomorphic figures, and musical shape, with stamped or repousse´ Some have a double body linked by a instruments. designs. Some are simple, narrow tube or common opening. Decoration: Realistic drawings of bands. Found in all cultures and with Size: 30 cm.–40 cm. tall. fantastic creatures, including the ‘‘Flying God.’’ In late Nazca, bottles are varied designs. May be of gold, silver, C. Viru´ or Gallinazo bronze, or alloys of copper. Generally 4 broader and flatter and the designs are cm.–14 cm. in width. Characteristics arrayed in broad bands. Typically have decorations of trophy heads, geometric Decoration: Negative technique over V. Necklaces motifs, and painted female faces. orange background. Necklaces are made of beads and/or Size: 5 cm.—20 cm. Forms: Faced anthropomorphic and small carved beads. May be of shell, zoomorphic vessels, face bottles for G. Recuay bone, stone, gold, silver, copper, or daily use in dwellings, ‘‘cancheros’’ bronze. The beads are of varied shapes. Date: A.D. 100–700. (type of pot without a neck and with a All beads have two lateral perforations horn-shaped handle). Characteristics to hold the cord. Size: Up to 15 cm. high. Slip: Both positive and negative slip- W. Tweezers Identifying: The surface is basically painting is found, generally in colors of Made in one piece, with two identical orange; the vessels have a truncated black, cream and red. ends and a flexed central handle. They spout, an arched bridge (like a tube) as Shapes: Sculptural, especially are of varied shapes, including handle, and geometric symbols in ceremonial jars known as ‘‘Paccha’’ triangular, trapezoidal, and ovaloid. The negative technique (concentric circles, which have an elaborate outlet to serve middle of the handle may have a hole frets and wavy lines). When the vessels a liquid. so the tweezers can be suspended from represent a face, the eyes are like ‘‘coffee Decoration: Usually show groups of a cord. beans,’’ applied on the surface and with religious or mythical personages. a transverse cut. Size: 20 cm.—35 cm. in height. X. Feather Carrier D. Pucara Conical objects with a pointed, H. Pashash hollow end, into which feathers, llama Date: 300 B.C.–300 A.D. Date: A.D. 1–600. 31718 Federal Register / Vol. 62, No. 112 / Wednesday, June 11, 1997 / Rules and Regulations

Characteristics Characteristics P. Ica-Chincha Decoration: Positive decoration in Decoration: Pre-fired slip painting Date: Began to be developed in A.D. black, red, and orange on a creamy- with interlocking fish and snake 1200. white background. Some show negative designs, geometric motifs, including zig- Characteristics painting. zags, lines, circles, and dots. Shapes: Anthropomorphic vessels, Shapes: Breast-shaped bottles, cups, Decoration: Polychrome painting in bottles in the form of snakes, bowls with plates, bowls, and cook pots. black and white on red. annular base, and large vessels with Styles: Related to Playa Grande, Designs: Geometric motifs combined lids. Nieveria, and Pachacamac styles. with fish and birds. Size: The anthropomorphic vessels Shapes: Bottles with globular bodies are up to 20 cm. in height, serpent M. Huari and tall necks and with flaring rims. bottles are around 25 cm. wide x 10 cm. Date: A.D. 500–1000. Cups and pots. tall, and lidded vessels are more than 30 Size: 5 cm.—30 cm. high. Characteristics cm. in height. Q. Chimu´ Motifs: The decorations are rendered Colors: Orange, cream, violet, white, in positive or negative painting in zones black, and red. Date: A.D. 900–1500. that depict profile-face images of Motifs: Anthropomorphic, Characteristics zoomorphic figures, serpents, or worms, zoomorphic, and plant shapes, both seen from above and with trapezoidal stylized and realistic. In Pachacamac Slip: Monochrome. Usually black or heads. style one finds vessels with a globular red. Shapes: Varied shapes. Commonly I. Cajamarca body and long, conical neck. In Atarco style, there is slip painting that retains made in molds. They may represent Date: A.D. 500–900. Nazca motifs, especially in the full-body fish, birds, animals, fruit, people, and architectural forms. One sees globular Characteristics felines shown running. Slip: Background slip is commonly bodies with a stirrup spout and a small Decoration: Pre-fired slip painting cream, red, or black. bird or monkey at the base of the neck. with geometric designs, including Styles: Related to Vinaque, Atarco, Size: Between 30 cm.—40 cm. in stepped triangles, circles, lines, dots, Pachacamac, Qosqopa, Robles Moqo, height. and rows of volutes. They may include Conchopata, and Caquipampa styles. R. Lambayeque stylized birds, felines, camelids, Size: Most are around 25 cm. tall. Date: A.D. 700–1100. batrachians, and serpents. Spiral figures Robles Moqo urns may be up to 1 m. in may include a step-fret motif in the base height. Characteristics of the bowls. Shapes: Pedestal base bowls, tripod N. Santa Color: Generally black; a few are cream with red decoration. bowls, bottles with annular ring base, Date: Derived from Huari style, Shapes: Double spout and bridge goblets, spoons with modeled handles, around A.D. 800. bowls with carinated edges. vessels on a pedestal base are common. Characteristics At the base of the spout one sees J. Moche modeled heads and the bridge also often Decoration: Slip painted with figures has modeled heads. Date: A.D. 200–700. and designs in black and white on a red Size: 15 cm.—25 cm. in height. Characteristics background. There are also face-neck jars. S. Inca Forms: Stirrup-spout vessels, vessels Shapes: Effigy vessels, face-neck jars, in the shape of humans, animals, or Date: A.D. 1300–1500. double-body vessels. plants. Characteristics Colors: Generally red and white. Sizes: 12 cm.—20 cm. tall. Manufacture: Often mold-made. Shapes: Jars have a globular body and Decoration: Slip painted in black, red, Size: 15 cm.—25 cm. in height. face on the neck. The border may have white, yellow, and orange. Decoration: Wide range of images black and white checkerboard. The body Designs: Geometric designs showing scenes of real life or mythical sometimes takes the shape of a stylized (rhomboids and triangles) and stylized scenes depicting gods, warriors, and llama head. Common are white lines bees, butterflies, and animals. other images. dotted with black. Double-body vessels Sizes: 1 cm. to 1.5 m. in height. generally have an anthropomorphic K. Tiahuanaco image on the front vessel, and a plain IV. Pre-Columbian Lithics Date: A.D. 200–700. back vessel. A. Chipped Stone: Projectile Points Characteristics O. Chancay Paijan Type Points Decoration: Pre-fired slip painting on Date: A.D. 1000–1300. Size: 8 cm.—18 cm. a highly polished surface. Background is Characteristics Shape: Triangular or heart-shaped. generally a red-orange, with depictions Color: Generally reddish, orange, or of human, animal, and geometric Treatment: Rubbed surface. yellow. Can be made of quartz. Slip: White or cream with black or images, generally outlined in black and Leaf-Shaped Points white lines. dark brown designs. Shapes: Plates, cups, jars, beakers, Molds: Molds are commonly used, Size: 2.5 cm.—15 cm. open-backed incense burners on a flat especially for the anthropomorphic Shape: Leaf-shaped. Can be ovaloid or base. figures called ‘‘cuchimilcos,’’ which lanceolate. represent naked male and female figures Color: Generally bright reds, yellows, L. Lima with short arms stretched to the sides. ochers, quartz crystals, milky whites, Date: A.D. 200–700. Size: 3 cm.—1 m. greens and blacks. Federal Register / Vol. 62, No. 112 / Wednesday, June 11, 1997 / Rules and Regulations 31719

Paracas Type Points Pre-Inca: Very rare, they have straight Balance weights—Flat rectangles of Size: .3 cm.—25 cm. sides and incised or high-relief bone about 10 cm. in length. Chincha Shape: Triangular and lanceolate. decoration. Some have inset shells. culture. Musical instruments—Quenas (flutes) Show marks of pressure-flaking. Often Inca: Generally they are incised with and antaras (panpipes) in various they are broken. geometric designs on the entire exterior. Colonial Inca: Lacquer painted on the shapes. Paracas, Chincha, and Ancon Color: Generally black. exterior to depict scenes of daily life, cultures. Chivateros-Type Blanks nature, and war. C. Gourds Staffs—Objects of ritual or ceremonial Size: .8 cm.—18 cm. Vessels—Bowls, pots, and holders for Shape: Concave indentations on the use made of a single piece of wood. They can be distinguished on the basis lime (for coca chewing). Most surface from working. interesting are those which are carved or Color: Greens, reds, and yellows. of two or three of the following traits: On the lower third, the staff may have pyroengraved. Produced from the B. Polished Stone a metal decoration. Preceramic onward. Musical instruments—Ocarinas, small Bowl—Vessels of dark colored-stone, The body itself is cylindrical and of flutes, and whistles. Inca examples may sometimes streaked. They have a highly variable length. have incised decoration, or decoration polished, very smooth surface. Some The upper third may have with cords and feathers. show external carved decoration. decorations, including inset shell, stone, Diameters range from 12 cm—55 cm. or metal. Some staffs function as rattles, D. Cane Cups—Also vessels of dark-colored and in these cases, the rattle is in the upper part. Musical instruments—Flutes stone. Generally have flaring sides. (especially in Chancay culture), Typical of the Late Horizon. They are Carvings—Worked blocks of wood, such as wooden columns (orcones) to panpipes, and whistles. Flutes are often highly polished and may have external pyroengraved. Panpipes can have one or carved designs or may be in the shape support the roofs of houses: Chincha, ´ two tiers of pipes, which may be lashed of heads. 18 cm.—28 cm. in height. Chimu, and Chancay cultures. Individuals may be depicted standing or together with colored thread. Nazca Conopas—Small vessels in the form culture. of camelids with a hollow opening on seated on a pedestal. In the upper part the back. They are black to greenish- there is a notch to support the beams, E. Straw which generally has a face, sometimes black and highly polished. .8 cm.—16 Weaving baskets—Basketry over a painted, at the base of the notch. Their cm. in length. cane armature, in the shape of a lidded length varies, but they are generally at Idols—Small anthropomorphic box. Sometimes the basketry is made of least a meter or more. figurines, frequently found in Middle several colors of fiber to work out Box—Small lidded boxes, carved of Horizon contexts. The almond-shaped geometric designs. Some still hold their two pieces of wood. Generally the outer eyes with tear-bands are characteristic original contents: needles, spindle surface of box and lid are carved in of the style. Larger examples tend to be whorls, spindles, balls of thread, loose relief. Chimu´ -Inca cultures. They of lighter-colored stone while the thread, etc. Chancay culture. measure approximately 20 cm. × 10 cm. smaller ones are of dark stones. 12 Mirror—Wooden supports for a cm.—28 cm. in height. F. Shell reflective surface of polished anthracite Mace head—Varying shapes, most Musical instruments—Marine shells or pyrite. In some cases the upper part commonly are doughnut-shaped or star- (Strombus galeatus, Malea ringens, etc.), of backs of mirrors are worked in relief shaped heads, generally associated with some, especially those from the or have inset of shell. Moche culture. Late Intermediate Period and Inca Formative Period, with incised Paddle and rudder—Large carvings cultures. Commonly black, gray, or decoration. made of a single piece of wood. Paddles white, .8 cm.—20 cm. in diameter. Jewelry—Small beads and charms have three parts: the blade and the Metal-working hammer—Elongated worked of shell, chiefly Spondylus handle (sometimes decorated), and an shapes, frequently with one flat surface; princeps, used mainly in necklaces and upper decorated part, which can have highly polished. Generally of dark- pectorals. Moche, Chimu´ , and Inca metal plaques or decorative painting. colored stone, 3 cm.—12 cm. cultures. Rudders have two parts: the blade and C. Carved Material a handle which may be carved in relief. VI. Pre-Columbian Human Remains Tenon head—These heads have an Chincha culture. Paddles can be 2.30 m. The human remains included in this anthropomorphic face, prominent lips, in length and rudders are up to 1.4 m. listing demonstrate modifications of the and enormous noses. Some, especially Utensils—Bowls and spoons made of remains due to ritualistic practices or those carved of diorite, have snake-like wood decorated with zoomorphic or other intentional treatment of the traits. The carved surface is highly anthropomorphic motifs. deceased. Musical instruments—Trumpets and polished. whistles. Trumpets can be up to 1.2 m. A. Mummies Tablets—Tablets with high-relief long and are generally decorated on the design. The upper surface has a patina. Peruvian mummies were formed by upper third of the instrument. Whistles They range from 20 cm. to more than 1 natural mummification due to the vary a great deal from the undecorated m. in length. conditions of burial; they have generally to those decorated with human forms. not been eviscerated. Usually found in V. Pre-Columbian Perishable Remains Moche, Huari, and Inca cultures. flexed position, with extremities tied together, resulting in a fetal position. In A. Wood B. Bone many cases the cords used to tie the Keros (Beakers)—The most common Worked bone—Most interesting are body in this position are preserved. form is a bell-shaped beaker with a flat Chavı´n pieces with incised decorations. base, though some have a pedestal like The bones are generally the long bones B. Deformed Skulls a goblet. Decoration varies with the of mammals. They vary from 10 cm.–25 Many ancient Peruvian cultures period: cm. in length. practiced cranial deformation. Such 31720 Federal Register / Vol. 62, No. 112 / Wednesday, June 11, 1997 / Rules and Regulations skulls are easily recognized by their by leaving some of the animal hair, but can be seen in the introduction of unnatural shapes. these features are grotesque because Western designs, for example bi-frontal they appear to grow upside down. eagles and heraldic motifs. C. Skulls Displaying Trepanation Trepanation is an operation VII. Ethnological Objects Keros performed on a skull; the resulting cuts, A. Objects directly related to the pre- Material: wood. easily visible on a bare skull, take Columbian past, whose pre-Columbian Description: The most common form various forms. Cuts may be less easily design and function are maintained is a beakerlike cup with truncated base. distinguished if skin and hair are with some Colonial modifications or After the Conquest, keros started to be present: additions in technique and/or decorated with pictorial scenes. The iconography. most frequently used techniques Principal Techniques include incision, inlaying pigments in Colonial Indigenous Textiles a. Straight cuts: these cuts are pointed wood, and painting. Ideography at the ends and wider in the center. Predominant materials: cotton and includes geometric designs, figures Openings made this way have a wool. under a rainbow (an Inca symbol), polygonal shape. Description: These textiles are ceremonial rituals, scenes of war, and b. Cylindrical-conical openings: the characterized by the cut of the cloth, agricultural scenes. Sometimes are in openings form a discontinuous line. The with the four borders or selvages the form of human or zoomorphic resulting opening has a serrated edge. finished on the same loom. Clothes are heads. c. Circular: generally made by a file. untailored and made from smaller The resulting hole is round or elliptical, pieces of convenient sizes which were Cochas or Cocchas with beveled or straight edges. This is then sewn together. Colonial indigenous Material: ceramic. the most common form of trepanation. textiles of the period are differentiated Description: Ceremonial vessels with from pre-Columbian textiles primarily two or more concentric interior D. Pre-Columbian Trophy Heads by their decoration: western motifs such compartments which are linked. Often Trophy heads can be identified by the as lions, heraldic emblems, and Spanish decorated with volutes representing hole made in the forehead to personages are incorporated into the reptiles. accommodate a carrying cord. When the designs; sometimes fibers distinct from skin is intact, the eyes and the mouth cotton or wool (threads of silver, gold, Aribalos are held shut with cactus thorns. and silk) are woven into the cloth; and Material: ceramic. Finally, the occiput is missing since that the colors tend to be more vivid because Description: The post-Conquest is how the brain was removed when the the fabrics were made more recently. aribalos have a flat base, often using a trophy head was prepared. Another important characteristic of the glaze for finishing, and the decoration includes Inca and Hispanic motifs. E. Shrunken Trophy Heads From the clothing is the presence of tocapus or Amazon horizontal bands of small squares with Pacchas anthropomorphic, zoomorphic, These heads have had the bones phytomorphic and geometric ideographs Material: Stone, ceramic. removed and then have been cured to and designs. Characteristic textiles Description: One of the characteristics shrink them. They are recognizable include: of pacchas is that they have a drain because they conserve all the traits of Panels: Rectangular or square pieces which is used to sprinkle an offering on the original skin, including hair and of various sizes. the ground. They have pictorial or hair follicles. The mouth is sewn shut Anacus: Untailored woman’s dress sculpted relief decorations symbolizing and generally there are carrying cords consisting of two or three long the benefits hoped for from the ritual. attached. There may be an obvious seam horizontal pieces of cloth sewn together B. Objects that were used for religious to repair the cuts made when the skin that was wound around the body and evangelism among indigenous peoples. was removed from the skull. Finally, the held in place with ‘‘tupus’’ (pins). In Colonial paintings and sculptures skin is thick (up to 2.5 mm.) and has a Unku/Tunic: Man’s shirt with an Western religious themes were dark color. Trophy heads vary between opening for the head. Sometimes has reinterpreted by indigenous and mestizo 9.5 cm. and 15.5 cm. in height. sleeves. artists who added their own images and Lliclla/Shoulder Mantle: Rectangular other characteristics to create a distinct F. Tattoos piece of cloth that women put over their iconography. Tattooing in pre-Columbian Peru was shoulders and held in place by a tupu; Specific types of objects used for practiced mainly on the wrists. Most standard size: 40′′×45′′. Generally has a religious evangelism during the Colonial common are geometric designs, tripartite design based on contrasting period include the following: including bands of triangles and panels that alternate bands with Sculpture rhomboids of a bluish color. decoration and bands with solid colors. Types of statues include: G. False Shrunken Heads Chumpi/Belt: A woven belt, generally using tapestry technique. A three-dimensional sculpted image: False shrunken heads can be In the Peruvian Colonial period these recognized because they are made of the Tupus were made of maguey (a soft wood) and skin of a mammal, with some of the fur Material: Silver, gilded silver, copper, occasionally of cedar or walnut. left where the human hair would be. bronze. May have inlays of precious or Images made of a dough composed of The skin is first smoked, then pressed semi-precious stones. sawdust, glue and plaster: After they are into a mold to give it a face-like shape. Description: Tupus were used to hold sculpted, figures are dressed with cloth The eyes, nose, mouth and ears are in place llicllas and ancus. They are dipped in plaster. simple bumps without real holes. pins with a round or elliptical head, Images to be dressed: These are Further, the skin is very thin and with piercing, repousse´, and incised wooden frames resembling mannequins, yellowish in color. Often the ‘‘heads’’ decorations. The difference between with only the head and arms sculpted have eyebrows and moustaches formed pre-Columbian and ethnological tupus in wood (cedar or maguey). The images Federal Register / Vol. 62, No. 112 / Wednesday, June 11, 1997 / Rules and Regulations 31721 are dressed with embroidered clothes Inapplicability of Notice and Delayed appropriate alphabetical order under the and jewelry. Frequently other elements Effective Date column headed ‘‘State party’’, the were added, such as teeth and false Because the amendment to the description ‘‘Archaeological artifacts eyelashes, wigs of real hair, eyes of Customs Regulations contained in this and ethnological material from Peru’’ colored glass, and palates made of glass. document imposing import restrictions under the column headed ‘‘Cultural property’’, and the reference ‘‘T.D. 97— Paintings on the above-listed Peruvian cultural property is being made in response to a 50’’ under the column headed ‘‘T.D. Catholic priests provided indigenous bilateral agreement entered into in No.’’ 3. In § 12.104g, paragraph (b), the list and mestizo artists with canvases and furtherance of the foreign affairs of emergency actions imposing import reproductions of Western works of art, interests of the United States, pursuant which the artists then ‘‘interpreted’’ restrictions on described articles of to section 553(a)(1) of the cultural property of State Parties is with their own images and other Administrative Procedure Act, no notice indigenous characteristics. These may amended by removing the entry for of proposed rulemaking or public ‘‘Peru’’ in its entirety. include symbolically associating procedure is necessary. For the same George J. Weise, Christian religious figures with reason, a delayed effective date is not indigenous divinities, or rendering the required. Commissioner of Customs. figures with Andean facial Regulatory Flexibility Act Approved: June 5, 1997. characteristics or in traditional Andean John P. Simpson, costume. In addition, each church, Because no notice of proposed Deputy Assistant Secretary of the Treasury. convent, monastery, and town venerated rulemaking is required, the provisions [FR Doc. 97–15428 Filed 6–10–97; 8:45 am] an effigy of its patron or tutelar saint, of the Regulatory Flexibility Act (5 some of them native to Peru. U.S.C. 601 et seq.) do not apply. BILLING CODE 4820±02±P Retables Accordingly, this final rule is not subject to the regulatory analysis or DEPARTMENT OF HEALTH AND Retables (retablos) are architectonic other requirements of 5 U.S.C. 603 and HUMAN SERVICES structures made of stone, wood, or other 604. material that are placed behind the altar Executive Order 12866 Food and Drug Administration and include attached paintings, sculptures or other religious objects. This amendment does not meet the 21 CFR Part 113 criteria of a ‘‘significant regulatory Liturgical Objects action’’ as described in E.O. 12866. [Docket No. 75N±0333] Objects Used for Mass Ritual: Drafting Information Thermally Processed Low-Acid Foods Chalices, cibaries, candelabras, vials for Packaged in Hermetically Sealed The principal author of this document christening or consecrated oil, Containers; Technical Amendment reliquaries, vessels for wine and water, was Peter T. Lynch, Regulations Branch, incense burners, patens, monstrances, Office of Regulations and Rulings, U.S. AGENCY: Food and Drug Administration, pelicans and crucifixes. Made out of Customs Service. However, personnel HHS. silver, gold or gilded silver, often inlaid from other offices participated in its ACTION: Final rule; technical with pearls or precious stones. development. amendment. Techniques: casting, engraving, List of Subjects in 19 CFR Part 12 piercing, repousse´, filigree. SUMMARY: The Food and Drug Customs duties and inspections, Administration (FDA) is amending its Fixtures for sculpted images: Areoles, Imports, Cultural property. current good manufacturing practices crowns, scepters, halo, halos in the form Amendment to the Regulations (CGMP’s) regulations for canning low- of rays, and books carried by religious acid foods in hermetically sealed scholars and founders of religious Accordingly, Part 12 of the Customs containers, to correct a typographical orders. Regulations (19 CFR Part 12) is error. This action is being taken to Ecclesiastical vestments: Some amended as set forth below: ensure the accuracy of the regulations. ecclesiastical vestments were EFFECTIVE DATE: June 11, 1997. PART 12Ð[AMENDED] commissioned by indigenous FOR FURTHER INFORMATION CONTACT: individuals or communities for the 1. The general authority and specific LaJuana D. Caldwell, Office of Policy celebrations of their patron saint and authority citation for Part 12, in part, (HF–27), Food and Drug thus are part of the religious legacy of continue to read as follows: Administration, 5600 Fishers Lane, a particular town. In such cases, the Rockville, MD 20857, 301–443–2994. vestment has the name of the donor and Authority: 5 U.S.C. 301, 19 U.S.C. 66, 1202 (General Note 20, Harmonized Tariff SUPPLEMENTARY INFORMATION: In a final of the town or church as well as the Schedule of the United States (HTSUS)), rule published in the Federal Register date. 1624; of March 16, 1979 (44 FR 16209), FDA Votive Offerings: These are * * * * * revised the specific CGMP’s for canning representations of miracles or favors Sections 12.104 through 12.104i also low-acid foods to ensure safe received from a particular saint. They issued under 19 U.S.C. 2612; manufacturing, processing, and can be made of different materials, * * * * * packaging procedures for low-acid usually metal or wood, and come in a canned foods in hermetically sealed variety of forms according to the type of § 12.104g [Amended] containers. The document was favor received, usually representing 2. In § 12.104g, paragraph (a), the list published with a typographical error in parts of the human body in reference to of agreements imposing import 21 CFR 113.40(b)(10)(ii). This document the organ healed or agricultural restrictions on described articles of corrects that error. products in recognition of a good cultural property of State Parties is Publication of this document harvest or increase in a herd. amended by adding ‘‘Peru’’ in constitutes final action on this change