In the matter of decoration there is found a general similarity of methods in the different regions. Apparently the first decorations were the unavoidable result of methods of manufacture, whether moulded or coil-made. In the first instance the meshes of the wicker mould, or such part of them as could not easily be covered up with a sandy paste to prevent adhesion, impressed themselves upon the soft clay; or the fabric that was employed to remove the work from a mould made impressions upon the ware. If coil-made, the pinching of the clay rope into position left marks of the finger-tips and the finger-nails with a regularity that doubtless came to be admired and then modified to conform to fancy, and finally finger markings and other markings and indentations grew, especially in our South-west, into a regular system of decoration. The irregularity due to pinching the rope in place is less with the expert than it was with the primitive potters, and it is now smoothed off entirely with a “rib,” the left hand being placed opposite the pressure applied with the right.[97] In the earlier forms the fingers of the right hand held stiffly downward seem to have been used to even up the irregularity of the coils to some extent, as may be discerned in figure page 116, where there are diagonal grooves across the lines of the coil, evidently made, the left hand being inside the jar, by drawing the fingers of the right, or rather the forefinger braced against the others, diagonally upward upon the outer surface. The operation would be almost identical with the modern practice except that the fingers were used instead of a “rib.” Indentations were also made with a sharp instrument in a pattern, and another method seems to have been to smooth off all the pinch marks, except in certain areas that when left would form a pattern. Thus in the latter case the pattern was produced by a system of obliteration. In figure on page 118, a vase from the Moki country, of the ancient Pueblo manufacture, shows this method of making a pattern by smoothing down pinch marks. To do this the pinch marks would intentionally be made with some regularity.

Another method of ornamentation was that of scratching or engraving the ware after it had been fired. This is seen in figures on pages 120 and 121, from Arkansas. Still another method of ornamentation was produced after the ware was smoothed to its finish, whether coil-made or not, by drawing on it with a point. An example of this is seen on page 103, also from Arkansas. The method that was most employed by the ancient Amerinds, and is used by those of to-day, as well as by most potters the world round, is colour. A slip or wash of fine clay was given to the ware, and polished and decorated in colours before firing. In this way many beautiful results were obtained in all the regions of North America. Almost every colour was used, but white, black, red, and yellow are most common. These pigments were laid on in a single wash, or were applied in more or less elaborate patterns. The Pueblos, ancient and modern, have produced an astonishing variety of designs, and the same may be said of the Mexicans, Mayas, Zapotecs, Chiriquis, and other stocks of the South. A large volume could barely do justice to this subject, but enough has been given here to show the nature, distribution, and trend of pottery making by the Amerindian Tribes.[98]