Lost City of the Incas (Phoenix Press) by Hiram Bingham

terrible diseases, comedy and tragedy, all are found represented in coastal ceramic art. The striking lack of any such tendencies in the pottery of the Incas leads to the conclusion that they must have had a strong prejudice against the use of the human form in decoration. This may have been due to the custom among thePeruvian highlanders of protecting themselves against the bitter cold of the high plateau by always having their bodies clothed. Thousands of years ago this custom may not have prevailed, since the Indians of the southernmost part of South America, who live amidst the snow and ice of Tierra del Fuego, are scarcely clothed at all. Once clothing had been invented, however, and its use furthered by the domestication of the wool-bearing alpaca and llama, comfort would dictate that it be continually used. As a result, custom would, in the course of time, decree that any exposure of the body was indecent. The growth of such strict ideas of decency would naturally promote a sense of shame which would lead to the practice of using geometric patterns or conventionalized birds and animals rather than the human form. Consequently it is not surprising that Inca pottery does not represent the human form even though their highly developed sense of the beautiful induced them to make jars and dishes as graceful as those of ancient Greece. Practically all the pottery found in our excavations at Machu Picchu was pure Inca.
    The most characteristic Inca pattern and the most common of the vessels intended for holding liquids was a bottle-shaped vase with a pointed bottom, frequently 2 or 2½ feet in height and capable of holding 6 or 7 gallons of
chicha
, with two band-shaped handles attached vertically to the lower body, and a strikingly long neck. Each jar as a rule has two pierced, ear-like nubbins attached to its rim. The front of each bottle-shaped vase has on its shoulder a stout nubbin decorated to represent the conventionalized head of a fierce beast, usually with two eyes and a crudely incised mouth, and sometimes ears, lips, teeth, and even nostrils. It has been suggested that the makers believed that the ill-natured demon who caused good
chicha
to be spilt might be frightened away by this uncouth animal. These nubbins could have been used to tie on a cover to keep the precious
chicha
from spilling, or for decorative tassels which would indicate the quality of the maker of the beverage. Since these jars were intended to be carried on the back and shoulders by means of a rope passed through the handles and around the bignubbin, they were nearly always decorated on only one side, and the side which rubbed against the back of the carrier was left undecorated. Although not at all like a Greek aryballus, that name has been applied to it by Peruvian writers for many years. So far as I know it is not found in any part of the world except where Inca civilization prevailed. Many examples of it were found at Machu Picchu.
    A shallow dish or saucer used for drinking has a handle on one side, sometimes a broad loop but more often the conventionalized head of a friendly bird or animal, which sets comfortably under the thumb, and a small raised decoration on the opposite rim. These dishes are always carefully made, attractively painted, on the inside only, with elaborate geometric patterns. These saucers somewhat resemble in form the classic patera, which was used in pouring out libations at sacrifices. It is amusing to note that the Incas made the handle of these drinking ladles just as pleasing as they made the nubbins of the great jars fierce and revolting, no doubt to encourage drinkers to enjoy themselves.
    In a mountain region where there is little fuel for open fires and where the drinking of cold water frequently brings on mountain sickness which is often disastrous, it is natural that the craving of the body for additional heat and liquid should be gratified by soup and beer. The utensils used for
chicha
are carefully painted